# The Scoop > Where Australian Performing Arts Take Centre Stage > Generated by All in One SEO Pro v5.0.3, this is an llms-full.txt file, used by LLMs to index the site. ## Posts ### [Announcing West Australian Ballet Season 2027](https://thescoop.au/announcing-west-australian-ballet-season-2027/) **Published:** October 7, 2026 **Author:** Newsroom **Content:** ![The Scoop West Australian Ballet Season 2027](https://thescoop.au/wp-content/uploads/2026/10/Screenshot-2026-10-07-at-33819-pm-981x628.png "West Australian Ballet Season 2027 • The Scoop")**West Australian Ballet**, Australia’s oldest continuously performing ballet company, will mark its **75th anniversary in 2027** with a season spanning the company’s beginnings under founder Madame Kira Bousloff OAM to the artists and ideas shaping its future. West Australian Ballet **Artistic Director, Leanne Stojmenov** said **Season 2027** reflects the significance of the milestone: *“Our 75th anniversary is about honouring our past without being held by it. I don’t see it as a collection of ballets, I see it as a conversation across generations. It’s about taking everything that is wonderful about this company, its history, its resilience, its sense of place, and celebrating the extraordinary people who will take it forward from here.”* With 75 years of sweeping tradition off its feet, West Australian Ballet presents its Season 2027: **Ballet at the Quarry: Kira** The year begins at the Quarry Amphitheatre with *Ballet at the Quarry: Kira*, honouring the extraordinary woman who founded West Australian Ballet in 1952. The program features ***Les Sylphides***, Bousloff’s favourite ballet and one she staged for the company’s first appearance at Perth Festival in 1955, alongside the West Australian premiere of Stanton Welch’s ***Divergence***. Welch is one of Australia’s most internationally successful choreographers and the son of former West Australian Ballet Artistic Director Garth Welch. ![The Scoop West Australian Ballet Season 2027](https://thescoop.au/wp-content/uploads/2026/10/Ballet-at-the-Quarry-hero-Photo-credit-Hypnosis-Creative-Agency-and-Mauro-Palmieri-1-980x628.png "West Australian Ballet Season 2027 • The Scoop")Ballet at the Quarry Photo by Hypnosis Creative Agency and Mauro Palmieri**The Dream & Forgotten Land** In May, two works by two of the most significant choreographers of the 20th century make their WA premieres. Sir Frederick Ashton’s ***The Dream***, his celebrated one-act take on Shakespeare’s *A Midsummer Night’s Dream*, is presented as part of the international Ashton Worldwide 2024–2028 festival. The double bill also features Jiří Kylián’s ***Forgotten Land***, as the dance world celebrates the 80th birthday of one of contemporary ballet’s most influential choreographers. **Genesis** After outgrowing its traditional home at the West Australian Ballet Centre, *Genesis* will move to Studio Underground at the State Theatre Centre of Western Australia in 2027. Long known as a space for experimentation and new choreography, *Genesis* moved to Dolphin Theatre in 2026 and will continue its growth in a new venue next year, allowing more audiences to experience the intimate and creative season. ![The Scoop West Australian Ballet Season 2027](https://thescoop.au/wp-content/uploads/2026/10/Genesis-Hero-Photo-credit-Hypnosis-Creative-Agency-and-Mauro-Palmieri-934x628.png "West Australian Ballet Season 2027 • The Scoop")Genesis Photo by Hypnosis Creative Agency and Mauro Palmieri**Coppélia** Few works have such a long history with West Australian Ballet. Bousloff first commissioned *Coppélia* in 1956, followed by Luis Moreno’s version, and then Chrissie Parrott’s distinctly Australian interpretation in 1998, complete with pink barbecues.The current production, created by our very own Greg Horsman, also puts a quintessentially Australian spin on the classic comedy, setting it in 19th-century Hahndorf, South Australia, complete with mechanical dolls, mistaken love and AFL. **The Snow Queen** The anniversary year closes with the Australian premiere of Scottish Ballet’s *The Snow Queen*, the first Scottish Ballet production presented by West Australian Ballet. Created by Scottish Ballet Artistic Director Christopher Hampson, the spectacular production brings Hans Christian Andersen’s beloved tale, the story that inspired Disney’s *Frozen*, to Australian audiences for the first time. ![The Scoop West Australian Ballet Season 2027](https://thescoop.au/wp-content/uploads/2026/10/The-Snow-Queen-Photo-by-Hypnosis-Creative-Agency-and-Mauro-Palmieri-937x628.png "West Australian Ballet Season 2027 • The Scoop")The Snow Queen Photo by Hypnosis Creative Agency and Mauro Palmieri**Executive Director Lauren Major** said the anniversary was a chance to recognise the people who have supported the company across seven and a half decades: *“Our 75th Anniversary Season is a celebration of everything that has shaped West Australian Ballet: the artists, audiences, supporters and communities who have shared in this remarkable journey.* *Seventy-five years is an extraordinary achievement, and one that belongs to everyone who has played a part in the company’s story. It is their support that has allowed West Australian Ballet to grow, evolve and continue sharing dance with Western Australians today.”* **West Australian Ballet Season 2027 packages go on sale 10am on 14 October 2026. Single tickets are on sale 10am 28 October 2026. For more information, visit the website.** Website: <https://waballet.com.au/season-2027> Socials: <https://www.instagram.com/waballet/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Hypnosis Creative Agency and Mauro Palmieri SEASON 2027 AT A GLANCE: **Ballet at the Quarry: Kira** 5 – 27 February Live at Quarry Amphitheatre. City Beach **The Dream & Forgotten Land** 14 – 29 May Live at His Majesty’s Theatre with West Australian Symphony Orchestra **Genesis** 24 June – 3 July Live at Studio Underground State Theatre Centre of Western Australia **Coppélia** 3 – 18 September Live at His Majesty’s Theatre with West Australian Symphony Orchestra **The Snow Queen** 19 November – 12 December Live at His Majesty’s Theatre with West Australian Philharmonic Orchestra **Categories:** News --- ### [Announcing Foo Fighters For One Night Only At Crown Live](https://thescoop.au/announcing-foo-fighters-for-one-night-only-at-crown-live/) **Published:** October 6, 2026 **Author:** Newsroom **Content:** ![The Scoop Foo Fighters Crown Live](https://thescoop.au/wp-content/uploads/2026/10/Screenshot-2026-10-06-at-124924-pm-1083x628.png "Foo Fighters Crown Live • The Scoop")One of the world’s biggest rock bands is coming to Crown Melbourne’s newest entertainment venue. For one unforgettable evening, **Foo Fighters** will play an exclusive and intimate show at **Crown LIVE** on **16 November**, bringing their stadium-filling sound and energy to a venue designed for unforgettable up-close moments. Known for selling out and headlining the world’s biggest venues and festivals, Foo Fighters will wrap up the Melbourne leg of their ‘Take Cover’ Australian Tour with one final, extraordinary show – performing for just 1,250 lucky fans in an historic one-night-only event. Access to highly sought-after tickets will be offered to the public and Crown Rewards members, who can register their interest now at <https://www.crownmelbourne.com.au/foofighters>. Following the one-week registration period, successful entrants will be selected via demand allocation and invited to secure tickets through Ticketmaster. Crown Melbourne CEO, **Ed Domingo**, said bringing a band of Foo Fighters’ stature to Crown LIVE captures the venue’s ambition to deliver ground-breaking entertainment experiences that can’t be found anywhere else. *“Foo Fighters are renowned for filling stadiums across the globe, so the opportunity to see them up close in such an intimate venue as Crown LIVE is going to be a once-in-a-lifetime experience.* *We believe the measure of a great venue isn’t the size of the crowd it can hold, but the calibre of experience it can create for the people in the room. This is exactly the kind of event Crown LIVE was designed to deliver.”* ![The Scoop Crown LIVE Melbourne](https://thescoop.au/wp-content/uploads/2026/10/Crown-LIVE-Foyer-2-People--4K-update-1-people-1117x628.jpg "Crown LIVE Melbourne • The Scoop")Crown LIVE Melbourne Image suppliedFoo Fighters’ **Dave Grohl** said the band is excited by the opportunity to perform in such a unique setting: *“There’s something electric about stripping it all back and getting closer to the fans. We play some of the biggest venues in the world, so the chance to play a club show and share that energy packed into smaller spaces with sweat dripping off the ceiling and walls is something that always excites us.”* Beyond Foo Fighters, Crown LIVE will deliver an entertainment lineup unlike any other Australian venue. The growing calendar spans globally recognised comedy, music, Broadway musicals and Vegas-style residencies, with **Russell Peters**, **Ashanti**, ***Elf The Musical***, **The Choir of Man** and **‘A Special Evening with Christian Horner’** all set to take the stage. From arena-filling music icons and Grammy Award winners to Broadway favourites, feel-good theatre shows and internationally acclaimed live productions, the breadth of programming reflects Crown LIVE’s ability to deliver premium entertainment for every audience. The opening of Crown LIVE follows an exciting lineup of announcements as part of Crown Melbourne’s $200 million transformation, reshaping the Southbank precinct into the ultimate next-generation destination for entertainment, dining and nightlife. With Crown LIVE sitting alongside incoming global dining names including **Mott 32** and **Victor Churchill**, plus high-energy concepts such as **Amaya Modern Mexican** and **Barbershop Cuts & Cocktails**, Crown is bringing together world-class food, live performance, bars and late night experiences under one roof – giving guests more choice, more reasons to visit, and more ways to shape their night once it starts at Crown. **Foo Fighters play for one night only at Crown LIVE on 16 November 2026.** **Registrations are open at the website link below, and close 12 October.** Successful applicants will be notified on 21 October 2026. Register your chance [here](https://www.crownmelbourne.com.au/entertainment/crown-live/shows/foo-fighters). Website: <https://www.crownmelbourne.com.au/entertainment/crown-live/shows/foo-fighters> Socials: <https://www.instagram.com/crownlivemelb/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Announcing Avenue Q Australian Tour For 2027](https://thescoop.au/announcing-avenue-q-australian-tour-for-2027/) **Published:** October 6, 2026 **Author:** Newsroom **Content:** ![The Scoop AVENUE Q musical Australian Tour 2027](https://thescoop.au/wp-content/uploads/2026/10/AVENUE-Q-1x1-Puppets-880x628.jpeg "AVENUE Q musical Australian Tour 2027 • The Scoop")Packed with mischief, bad behaviour, political incorrectness and songs you probably shouldn’t sing at work, the Tony Award winning musical **Avenue Q** is returning to Australia from **May 2027**. Created by Jeff Marx and Robert Lopez, co-creator of *The Book of Mormon* and Disney’s *Frozen*, **Avenue Q** is an irresistibly charming and furry tale of the lovable characters on a downtown New York street trying to make sense of life’s burning issues. Fresh out of college with a useless degree, big dreams and absolutely no idea what he’s doing, Princeton moves to New York City and winds up on Avenue Q. There he meets a neighbourhood of puppet misfits trying to figure out the same things the rest of us are: how to find a job, fall in love, pay the bills, survive adulthood and maybe stop looking at porn for five minutes. Spoiler: they’re not particularly good at any of it. Featuring hysterically funny songs including *The Internet is for Porn* and *Everyone’s A Little Bit Racist,* **Avenue Q** is a hilarious musical with a warm (and very fuzzy) heart. Think the fuzzy puppet nostalgia of your childhood, except everyone grew up, moved into a questionable share house and discovered sex, unemployment, racism, relationships, rent and the internet. An all-news Australian production, **Avenue Q** will be directed by Luke Joslin, who is returning to the block in a sort of landlord capacity as Director, after playing Trekkie Monster in the original Australian production. Hilarious, cheeky and uproariously entertaining, with a cast of 11 hugely talented performers and puppets, **Avenue Q** is the musical like no other and above all, is very, very funny. ***Avenue Q* is presented by GMG Productions and Stoddart Entertainment Group and opens in Brisbane from 26 May 2027 ahead of a national tour. See full dates below.** Join the waitlist [here](https://aveq.com.au/#waitlist). Website: <https://aveq.com.au/> Socials: <https://www.instagram.com/avenueqonstage/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. 2027 Australian Tour Dates Brisbane 26 May – 6 June, Lyric Theatre, QPAC Melbourne 10 June – 4 July, Athenaeum Theatre Gold Coast 8 – 17 July, HOTA, Home of the Arts Adelaide 21 – 25 July, Her Majesty’s Theatre Canberra 28 July – 1 August, Canberra Theatre Centre Sydney 5 – 29 August, Roslyn Packer Theatre Western Sydney 1 – 4 September, Coliseum Theatre Newcastle 8 – 12 September, Civic Theatre Perth 22 September – 3 October , Regal Theatre **Categories:** News --- ### [Announcing Queensland Ballet 2027 Season & Annual Giving Day](https://thescoop.au/announcing-queensland-ballet-2027-season-annual-giving-day/) **Published:** October 6, 2026 **Author:** Newsroom **Content:** ![The Scoop Queensland Ballet 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/QLD-BALLET-2027-Brand-Hero-Neneka-Yoshida-Joshua-Ostermann-942x628.jpeg "Queensland Ballet 2027 Season • The Scoop")**Queensland Ballet** has unveiled its ambitious **2027 Season** as the Company marks its annual **Giving Day** with a major fundraising drive to support its artists, productions and programs across Queensland. For the first time, Queensland Ballet’s Annual Season Launch and Annual Giving Day will come together on the same day – **Queensland Ballet Day**, celebrating both the Company’s artistic future and the community of audiences, donors, partners and supporters who make its work possible. The 2027 season will take Queensland Ballet beyond its Brisbane home and into communities across the state, bringing together major productions, regional partnerships, family works and some of ballet’s most celebrated repertoire. The program reflects a broader ambition for Queensland Ballet: that the Company’s artistic growth is matched by a growing connection with the people and communities it represents. The second season under **Artistic Director Ivan Gil-Ortega**, will feature the Australian premiere of **Annabelle Lopez Ochoa**’s *Doña Perón: The Story of Evita*; the return of **Leo Mujić**’s visceral *Hamlet* following its acclaimed 2026 season, and audience favourite **Derek Deane**’s *Strictly Gershwin* reimagined for QPAC’s Glasshouse Theatre. Also featured will be a new **My First Ballet** production of *The Little Prince*; with narration by award-winning actor **David Wenham**, the lavish new production of *The Nutcracker*, and *Icons*, a spectacular showcase celebrating some of the greatest works from the classical ballet canon, alongside recent audience favourites. Brisbane audiences will also be treated to *Elegantly Wasted*, a ballet set to the reimagined songs of **INXS**, which was met with standing ovations and excellent [reviews](https://thescoop.au/review-elegantly-wasted-triumphs-in-a-bold-new-fusion/) following its world premiere on the Gold Coast earlier this year. The 2027 season follows an audacious first season from Gil-Ortega, which saw Queensland Ballet embrace works of extraordinary scale and artistic range, from Christian Spuck’s monumental *Messa da Requiem* to contemporary works set to the music of Sia and INXS, alongside the creation of a lavish new production of *The Nutcracker*. ![The Scoop Queensland Ballet 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Qld-BAllet-Neneka-Yoshida-Joshua-Ostermann-2027-small-941x628.jpeg "Queensland Ballet 2027 Season • The Scoop")Neneka Yoshida and Joshua Ostermann Photo by David Kelly**Artistic Director Ivan Gil-Ortega** said: *“At Queensland Ballet, we believe the arts are essential to the human experience. They move people, bring communities together and help shape a stronger future. In 2027, we are quite literally sharing the stage, taking the dancers and productions to more Queensland communities, opening our doors to new audiences and collaborating with partners across the state.* *Queensland is our home, and Queensland Ballet should belong to every Queenslander, whether they live in Brisbane, on the Gold Coast or in one of our regional communities.* *We are delighted to partner with Toowoomba, Stanthorpe, Redlands and Bundaberg Councils to bring ballet closer to audiences and create more opportunities for communities to experience the artistry of the dancers. That is the Queensland Ballet we are building.”* The season announcement coincides with Queensland Ballet’s annual Giving Day, with the Company calling on its community to stand side by side with its dancers and team to help support the future of ballet in Queensland. For 12 hours, from 9am to 9pm on Tuesday 6 October, every donation made to Queensland Ballet will be quadrupled by a group of visionary match donors. A $10 donation becomes $40, $100 becomes $400 and $1,000 becomes $4,000. Also, on 6 October, proceeds from a special **Queensland Ballet Costume Sale** at Thomas Dixon Centre will contribute to the day’s fundraising total. Queensland Ballet **Executive Director Dilshani Weerasinghe** said bringing the Season Launch and Giving Day together recognised the vital role audiences and supporters play in the life of the Company: *“Every ticket purchased, every young dancer enrolled in our Academy, every community program attended and every donation made helps Queensland Ballet continue to create extraordinary work and share ballet with communities across the state.* *On 6 October, we are inviting Queenslanders to stand side by side with our dancers and our entire Queensland Ballet community as we celebrate what comes next and help make that future possible.”* ![The Scoop Queensland Ballet 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/QLD-BAllet-Hamlet-Edison-Manuel-as-Hamlet-Photo-David-Kelly-039A6951-942x628.jpg "Queensland Ballet 2027 Season • The Scoop")Edison Manuel as Hamlet Photo David Kelly**2027 Season Overview** HAMLET 19 – 20 February 2027, Empire Theatre, Toowoomba 11 – 19 June 2027, Talbot Theatre Following its acclaimed 2026 Brisbane premiere, Queensland Ballet will open its 2027 season in Toowoomba with *Hamlet* by Croatian choreographer Leo Mujić. Dark, cinematic and intensely physical, Mujić’s interpretation strips Shakespeare’s tragedy to its emotional core, exploring grief, betrayal, love and revenge through the language of dance. Opening the season outside Brisbane signals Queensland Ballet’s growing commitment to ensuring major Company productions are experienced by audiences across the state. ![The Scoop Queensland Ballet 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Icons_2500x1406-1116x628.png "Queensland Ballet 2027 Season • The Scoop")Still from Icons Image suppliedICONS: BALLET’S GREATEST HITS 4 March, Stanthorpe Civic Centre, Stanthorpe 6 March, Goondiwindi Waggamba Community Cultural Centre 10 March, The Events Centre, Caloundra 13 March, The Moncrieff Entertainment Centre, Bundaberg 17 – 18 March, The Redcliffe Entertainment Centre, Redcliffe 16 – 17 April, Redland Performing Arts Centre, Cleveland 22 April, Brolga Theatre, Maryborough 14 – 22 May, Talbot Theatre, Brisbane Queensland Ballet will celebrate the virtuosity, athleticism and versatility of its dancers with *ICONS*, a snapshot of ballet’s top hits, from some of the most famous ballets. From the grandeur and precision of *Swan Lake* to the drama and romance that have made works such as *Don Quixote*, *Giselle*, *Romeo and Juliet* audience favourites. *ICONS* will offer both ballet devotees and first-time attendees, a taste of why these works have endured for generations. ELEGANTLY WASTED: FEATURING THE SONGS OF INXS 8 April – 8 May 2027, Talbot Theatre After a triumphant world premiere on the Gold Coast, Queensland Ballet’s *Elegantly Wasted* brings its electrifying fusion of ballet and the iconic music of INXS to Brisbane in 2027. Bold, seductive and unmistakably contemporary, Annabelle Lopez Ochoa’s acclaimed new work pulses with energy, athleticism, and rock ’n’ roll swagger. ![The Scoop Queensland Ballet 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Soiree_2500x1406-1117x628.png "Queensland Ballet 2027 Season • The Scoop")Soirée explores the world of Margaret Olley suppliedSOIRÉE 21 – 24 April 2027, Talbot Theatre *Soirée* returns in 2027 exploring the vibrant world of **Margaret Olley**, one of Australia’s most beloved artists. Queensland Ballet once again partners with Philip Bacon Galleries and Camerata, Queensland’s Chamber Orchestra, and Queensland Ballet’s Jette Parker Young Artists and dancers from the Academy of Queensland Ballet’s Clark Graduate Program. *Soirée offers* an intimate and imaginative experience that brings Olley’s colourful legacy to life on stage. THE LITTLE PRINCE 2 – 10 July 2027, Talbot Theatre Queensland Ballet’s popular My First Ballet series returns in 2027 with *The Little Prince*, narrated by award winning actor, David Wenham. Inspired by Antoine de Saint-Exupéry’s beloved story, *The Little Prince* follows an extraordinary journey through distant worlds and unexpected friendships, exploring love, loss, curiosity and what it means to see the world with an open heart. Created especially for children and families by former Queensland Ballet Principal Dancer and Company repetiteur, **Camilo Ramos**, the production continues Queensland Ballet’s commitment to making ballet welcoming and accessible from a child’s very first encounter with the artform. ![The Scoop Queensland Ballet 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Dona-Peron_2500x1406-1117x628.png "Queensland Ballet 2027 Season • The Scoop")Still from Doña PerónDOÑA PERÓN: THE STORY OF EVITA 30 July – 28 August 2027, Talbot Theatre *Doña Perón* explores Eva Peron’s journey from illegitimate daughter to dancehall performer, acclaimed radio personality to Argentina’s First Lady, and her untimely death in her early thirties from cancer. Choreographed by Annabelle Lopez Ochoa, who created the highly successful *Elegantly Wasted* and *Coco Chanel: the Life of a Fashion Icon.* ACADEMY GALA 4 – 7 August 2027, Talbot Theatre A highlight of the Queensland Ballet season, the Academy Gala celebrates the extraordinary talent, dedication and artistry emerging through the Academy of Queensland Ballet. Featuring dancers from all levels of the Academy, this inspiring performance showcases a dynamic program of classical, neo-classical and contemporary works. Beloved by families and the wider Queensland Ballet community alike, the *Gala* offers audiences the chance to witness tomorrow’s artists today, as the next generation of ballet talent shines on stage in a joyful celebration of excellence, passion and possibility. ![The Scoop Queensland Ballet 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Strictly-Gershwin_HERO-942x628.jpeg "Queensland Ballet 2027 Season • The Scoop")Strictly Gershwin celebrates some of the most enduring music of the twentieth century Image suppliedSTRICTLY GERSHWIN 9 – 23 October, 2027, Glasshouse Theatre, QPAC October sees the return of audience favourite, Derek Deane’s *Strictly Gershwin*, a glamorous celebration of George and Ira Gershwin and the golden age of song and dance. Created by internationally renowned choreographer Derek Deane OBE, who is currently creating Queensland Ballet’s spectacular new production of *The Nutcracker*, *Strictly Gershwin* brings together ballet, ballroom, tap and musical theatre in a sweeping tribute to some of the twentieth century’s most enduring music. Camerata Chamber Orchestra will bring classics including *Rhapsody in Blue, An American in Paris* and songs from the Gershwin catalogue to life, evoking the glamour of Broadway and Hollywood while showcasing the versatility of Queensland Ballet’s dancers. ![The Scoop Queensland Ballet 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Nutcracker-27_2500x1406-1117x628.png "Queensland Ballet 2027 Season • The Scoop")The Nutcracker returns in 2027 after a special commission from Derek Deane Image suppliedTHE NUTCRACKER 10 – 23 December 2027, Glasshouse Theatre, QPAC Choreographed by internationally acclaimed dance-maker Derek Deane, OBE***,*** this lavish production was specially commissioned and created for Queensland Ballet for the 2026 season. Deane has reimagined the treasured story, creating several new characters and subtle plot twists that promise to surprise and delight. Set against breathtaking new designs and costumes by renowned designer, Lez Brotherston, OBE, (*Adventures in Motion Pictures*), the production will transport audiences into a world where magic comes to life on stage. **Queensland Ballet’s 2027 Season and Giving Day will launch on Tuesday 6 October 2026. Giving Day runs from 9am to 9pm, with donations quadrupled during the 12-hour campaign.** Learn more about Giving Day [here](https://www.qbgivingday.com/). Website: <https://www.queenslandballet.com.au/> Socials: <https://www.instagram.com/qldballet/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: David Kelly **Categories:** News --- ### [Review: Romeo + Juliet Film In Concert Breathes New Life Into A Modern Classic](https://thescoop.au/review-romeo-juliet-film-in-concert-breathes-new-life-into-a-modern-classic/) **Published:** October 1, 2026 **Author:** Benjamin Webb **Content:** ![The Scoop William Shakespeare's Romeo + Juliet Film in Concert](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-30-at-91246-pm-1200x594.png "William Shakespeare's Romeo + Juliet Film in Concert • The Scoop")Ever since studying Baz Luhrmann’s film *Romeo + Juliet* in high school, I’ve been utterly spellbound by its electric, hyper-stylised chaos. I fell head over heels for Shakespeare’s text, always quietly knowing in my gut that I’d make a killer Romeo myself – a claim I finally got to prove true on stage with Shakespeareience Australia in Sydney last April. So, walking into the iconic Concert Hall at the Sydney Opera House for the world premiere of *William Shakespeare’s* *Romeo + Juliet Film in Concert*, presented by Disney Concerts and Baz Luhrmann, my expectations were soaring sky-high. I wasn’t just attending as a reviewer; I was stepping into a cinematic sanctuary that shaped my entire artistic DNA. When Baz Luhrmann unleashed the film in 1996, it shattered the traditional period-piece mould, racking up over $147 million worldwide and earning an Academy Award nomination for Best Art Direction. Starring Leonardo DiCaprio and Claire Danes as the star-crossed lovers, the film redefined how modern audiences connected with classic Elizabethan verse. Fast forward 30 years, and this brand-new film-in-concert adaptation kicks off its global tour right here in Australia – marking Sydney as its very first stop before sweeping across Australia and international halls through 2027. ![The Scoop Romeo + Juliet Film in Concert](https://thescoop.au/wp-content/uploads/2026/10/RomeoandJuliet_OperaHouse_Sept29DIGIRES24-943x628.jpg "Romeo + Juliet Film in Concert • The Scoop")The 1996 film redefined how modern audiences connected with classic Elizabethan verse Image suppliedThe immediate, sheer visceral wall of sound took my breath away. Seeing Craig Armstrong’s cinematic score and Nellee Hooper’s grand choral arrangements brought to life directly under the glowing silver screen elevated the movie from a piece of ’90s nostalgia into a living, breathing theatrical event. I walked out of the auditorium floating on an adrenaline rush, completely overwhelmed by how fresh and deeply heartbreaking the story feels when backed by a full symphonic force. The crowd in attendance was a magnificent blend of die-hard cinema lovers, classical music aficionados, and millennials draped in ’90s-inspired fashion. And, effortlessly playing with their heartstrings was The Metropolitan Orchestra, led by Chief Conductor Sarah-Grace Williams. Williams commands the stage (whilst playing an instrument herself!) with absolute precision, anchoring complex rhythmic shifts and ensuring the live orchestral balance never overpowers the film’s dialogue. ![The Scoop Romeo + Juliet Film in Concert](https://thescoop.au/wp-content/uploads/2026/10/RomeoandJuliet_OperaHouse_Sept29DIGIRES69-943x628.jpg "Romeo + Juliet Film in Concert • The Scoop")I was completely overwhelmed by how fresh the story feels when backed by full symphonic force Image suppliedThe aggressive brass and thunderous percussion during the opening shootout turned the cinematic action into a visceral concert experience. The soaring orchestration behind Des’ree’s *I’m Kissing You* gave the iconic fish tank meeting a goosebump-inducing intimacy. And the strings during the tomb scene were hauntingly lush, capturing every nuance of grief and tragic timing. It was also a treat to be greeted with a special message from Baz at the start of the film, an unexpected touch. And audience cheers, which were encouraged, added to the lively atmosphere. *William Shakespeare’s* *Romeo + Juliet Film in Concert* is an absolute triumph that breathes exhilarating new life into a modern cinematic classic. Whether you grew up reciting the lines in high school English, or are experiencing the film’s legendary score for the first time, this is a breathtaking, pulse-pounding symphony of romance and tragedy that simply demands to be experienced live. A grand, cinematic celebration, it proves that true love, much like brilliant music, never fades. ***William Shakespeare’s* *Romeo + Juliet Film in Concert* is presented by Disney Concerts & Baz Lurhmann. It ran on 29 September 2026 at the Concert Hall, Sydney Opera House. See 2027 tour dates below.** For more information and to book tickets, visit the website. Website: <https://www.romeoandjulietinconcert.com/> Socials: <https://www.instagram.com/disneyaunz/> [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Images supplied. 2027 Australian Tour Dates: Perth Tuesday 25 May, Riverside Theatre Brisbane Thursday 27 May, Convention & Exhibition Centre Melbourne Friday 28 May, Palais Theatre Sydney Saturday 29 May, Darling Harbour Theatre **Categories:** Concerts, Sydney --- ### [Announcing State Theatre Company 2027 Season](https://thescoop.au/announcing-state-theatre-company-2027-season/) **Published:** September 30, 2026 **Author:** Newsroom **Content:** ![The Scoop State Theatre Company South Australia 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/Artistic-Director-Petra-Kalive-and-Executive-Director-Kath-Fyffe-942x628.jpg "State Theatre Company South Australia 2027 Season • The Scoop")Local stories take the spotlight in **State Theatre Company South Australia**’s 2027 season, with a strong focus on stories from Australian writers and most of those productions making their world premieres. Announced tonight at Her Majesty’s Theatre by **State Theatre Company South Australia’s Artistic Director Petra Kalive**, the season is an epic journey with stories that echo through time, inviting audiences to immerse themselves in bold new theatrical drama, comedy and reimagined classics featuring familiar faces and brilliant new talent. Starting with a gripping retelling of one of the world’s oldest stories, the season also features a revisit of an Australian classic and world premiere book adaptation. Artistic Director **Petra Kalive** said: *“Out of eight plays, six new Australian works anchor this season: two State Theatre Company commissions, two brilliant new works from award-winning artists and two exciting SPARK productions.* *There were new international works and classics in our early conversations, but as the season took shape, we kept choosing the stories that spoke most profoundly to the world we’re living in now – and they turned out to be mostly written by Australians. That tells you something about the state of Australian writing, and I find it thrilling. These are Australian stories – and stories that echo through time.* *Many of the plays in the season use the classics or history to help us understand the world we live in now. They are multifaceted, complex and sometimes contradictory, and that’s exactly what this season celebrates.”* ![The Scoop An Iliad Sydney Theatre Company David Wenham](https://thescoop.au/wp-content/uploads/2026/04/An-Iliad_STC_credit_Daniel-Boud_074-941x628.jpg "An Iliad Sydney Theatre Company David Wenham • The Scoop")In season opener *An Iliad*, Lisa Peterson and Denis O’Hare’s acclaimed and dynamic adaptation transforms Homer’s Ancient Greek saga of heroes, gods and battles into an urgent and personal exploration of difference, disagreement and the devastation of war. Starring iconic Australian film, television and theatre actor David Wenham with live music from Helen Svoboda, this is a rare opportunity to experience Wenham’s magnetic performance up close. In February, one of Australia’s most enthralling actors, Margaret J Harvey, returns to the stage for the first time in over 10 years with a powerful contemporary solo work, *The Dark Matter of Usulal.* Grounded in the living cosmologies of Saibai Island and *e*xploring the body as a carrier of story, this celebration of femininity uses performance, sound, movement and digital imagery to honour the stories of those who came before. In April, more than 10 years since it was last performed at the Company and more than 70 years since its premiere changed Australian theatre forever, *Summer of the Seventeenth Doll* comes to the Dunstan Playhouse under the direction of Petra Kalive. Starring Anna Lindner (*The Importance of Being Earnest*), Nathan Page (*My Brilliant Career*), Allycia Angeles (*Kimberley Akimbo*) and Kate Cheel (*Commentary*), this all-Adelaide production is set to remind audiences why Ray Lawler’s classic remains one of the country’s most enduring plays. World premieres round out the remainder of the season, including *Evil Hour* by James Smith and *Snappy* by Michele Lee in July and August. Smith, best known for his work as an actor (*The Dictionary of Lost Words, Jack Maggs* and *Euphoria*), makes his State Theatre Company South Australia playwriting debut with *Evil Hour*, a gripping new Australian gothic drama inspired by South Australian history and women who have been forgotten. ![The Scoop State Theatre Company South Australia 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/Snappy-Photo-of-Michele-Lee-by-Claudio-Raschella-942x628.jpg "State Theatre Company South Australia 2027 Season • The Scoop")Michelle Lee in Snappy Photo by Claudio RaschellaIn August, the Company partners with Griffin Theatre for the premiere of *Snappy,* Michele Lee’s sharp new tragi-comedy and reimagining of Ibsen’s classic *A Doll’s House.* A play about the mental load, motherhood, friends, strangers and keeping it all together, this is a bold new play from the winner of the 2025 Griffin Award. Award-winning bestseller, *The Bookbinder of Jericho*, from bestselling South Australian author Pip Williams, then hits the stage in September in a world-first adaptation of the beloved novel. The co-production from State Theatre Company South Australia, Sydney Theatre Company and Arts Centre Melbourne has been adapted for the stage by South Australian playwright Verity Laughton, who brought the vivid world of the Ruby Award-winning *The Dictionary of Lost Words* to the stage for two sell-out seasons in Adelaide and nationally in 2024 and 2025. A companion piece to Williams’ international bestseller *The Dictionary of Lost Words, The Bookbinder of Jericho* is set in 19th Century Oxford, this time from the viewpoint of Peggy, twin sister to Maude (played by new Adelaide talent Billie-Rose Russell). The work also stars Melissa Kahraman and Ksenja Logos (*The Dictionary of Lost Words)* under the direction of Shannon Rush. The SPARK program returns to Adelaide College of the Arts with two South Australian plays *Squid* and *A Guide to Success in the Workplace.* In its second year, SPARK continues to be a space for fearless, unfiltered, electric theatre from local independent theatre makers. *A Guide to Success in the Workplace*, a twisted ‘horror musical’ about toxic workplace culture from the mind of multidisciplinary performer Taylor Nobes, comes to the Main Theatre in July under the direction of Shannon Rush and starring local talents Luke Bria, Eddie Morrison, Adam Ovadia and Astrid Pill alongside Nobes. In September, Luke Wiltshire (ABC’s *Homebodies*) brings his autobiographical story of transitioning, *Squid,* to the stage under the direction of Stephen Nicolazzo. A one-man play with warmth, humour and remarkable honesty, *Squid* transforms a profoundly personal story into a celebration of resilience and self-discovery. ![The Scoop State Theatre Company South Australia 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/The-Dark-Matter-of-Usulal-Photo-of-Margaret-Harvey-by-Claudio-Raschella-817x628.jpg "The Dark Matter of Usulal Photo of Margaret Harvey by Claudio Raschella • The Scoop")Margaret Harvey in The Dark Matter of Usulal Photo by Claudio Raschella**2027 Season Overview** An Iliad 29 JAN – 18 FEB DUNSTAN PLAYHOUSE By Lisa Peterson and Denis O’Hare Adapted from Homer’s *Iliad* Translated by Robert Fagles A wry, witty and world-weary poet steps forward to recount the myth of the Trojan War, cursed to retell humanity’s greatest conflict until we finally learn to overcome our appetite for violence and destruction. After millennia wandering battlefields, trenches and ruined cities, he has reached breaking point. Tonight, he wants the story to end. Following its sold-out season at **Sydney Theatre Company**, award-winning international star **David Wenham** returns to this extraordinary role in this critically admired adaptation of Homer’s epic. Ancient myth collides with the modern world in a powerful, deeply personal meditation on conflict, compassion and what it means to remain human. Directed by **Damien Ryan** (Artistic Director, Sport for Jove) and accompanied live on stage by musician **Helen Svoboda**, this is a rare opportunity to experience Wenham’s magnetic performance up close. Hailed by Time Out New York as “shocking, glorious, primal and deeply satisfying,” *An Iliad* is an unforgettable theatrical event and a stirring call for empathy in a world still at war. DIRECTOR **Damien Ryan** DESIGNER **Charles Davis** LIGHTING DESIGNER **Alexander Berlag**e SOUND DESIGNER **Brady Watkins** ASSOCIATE DIRECTOR **Ian Michael** GREEK LANGUAGE CONSULTANT **Deborah Galano**s ILLUSIONS & MAGIC CONSULTANT **Adam Mada** VOICE & TEXT DIRECTOR **Charmian Gradwell** ILLUSIONS & MAGIC ASSOCIATE **Bruce Glen** WITH **David Wenham** MUSICIAN **Helen Svoboda** STATE THEATRE COMPANY SOUTH AUSTRALIA IN ASSOCIATION WITH ADELAIDE FESTIVAL PRESENTS The Dark Matter of Usulal 19 FEB – 6 MAR ODEON THEATRE By Margaret J Harvey One of Australia’s most enthralling actors, **Margaret J Harvey**, returns to the stage for the first time in over 10 years, with an intimate and visually arresting solo performance. WOMXN is unravelling. As the life she knows begins to slip away, whispers from her ancestors call her towards something she cannot yet understand. Searching for something to hold on to, WOMXN is drawn into a vast, living realm where memory, spirit and the cosmos become one. Grounded in the living cosmologies of Saibai Island, *The Dark Matter of Usulal* takes us on an extraordinary journey through the stories and knowledge of those who came before. Part intimate journey, part cosmic awakening, *The Dark Matter of Usulal* connects us to an unknown ancient story to make sense of the world we find ourselves in. Through performance, sound, movement and digital imagery, *The Dark Matter of Usulal* asks what holds when the ground shifts, and what continues long after the ending has already been declared. CREATOR, DIRECTOR & PERFORMER **Margaret J Harvey** FEATURING THE VOICE OF **Zey Harvey-Connellan** ASSOCIATE DIRECTOR & DRAMATURG **Danielle Micich** DIGITAL VISUAL DESIGN **Desmond Connellan** LIGHTING & SPATIAL DESIGN **Jenny Hector** SOUND/COMPOSITION DESIGN **Marco Cher-Gibard** STAGE & PRODUCTION MANAGER **Genevieve Davidson** ![The Scoop State Theatre Company South Australia 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/Summer-of-the-Seventeenth-Doll-Photo-of-Anna-Lindner-and-Nathan-Page-by-Claudio-Raschella-942x628.jpg "State Theatre Company South Australia 2027 Season • The Scoop")Anna Lindner and Nathan Page in Summer of the Seventeenth Doll Photo by Claudio RaschellaSummer of the Seventeenth Doll 16 APR – 8 MAY DUNSTAN PLAYHOUSE By Ray Lawler Tender, funny and heartbreakingly honest, Ray Lawler’s astonishingly modern masterpiece remains one of the country’s most enduring plays – not because it belongs to the past, but because it captures the universal ache of watching life change before you’re ready. The Australian classic that changed theatre forever returns to the Adelaide stage under the insightful direction of Artistic Director, **Petra Kalive**. More than 70 years after its groundbreaking premiere, *Summer of the Seventeenth Doll* continues to move audiences with its unforgettable portrait of love, friendship and the passing of time. For sixteen summers, cane cutters Roo and Barney have escaped the backbreaking grind of Queensland’s sugarcane harvest for Melbourne, where love and laughter have made the world feel possible year after year. But when they return for their seventeenth summer, the friendships and rituals that once defined them crack under the weight of time. DIRECTOR **Petra Kalive** SET AND COSTUME DESIGNER **Kathryn Sproul** LIGHTING DESIGNER **Gavin Norris** CAST **Allycia Angeles**, **Kate Cheel**, **Anna Lindner**, **Nathan Page**. ![The Scoop State Theatre Company South Australia 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/A-Guide-to-Success-in-the-Workplace-Photo-of-Taylor-Nobes-by-Claudio-Raschella-941x628.jpg "State Theatre Company South Australia 2027 Season • The Scoop")Taylor Nobes in A Guide to Success in the Workplace Photo by Claudio Raschella**SPARK PROGRAM (SHOW 1)** STARLO PRODUCTIONS PRESENTS A Guide to Success in the Workplace 8 – 17 JULY MAIN THEATRE, ADELAIDE COLLEGE OF THE ARTS By Taylor Nobes *A Guide To Success In The Workplace* is a riotous collision of horror, satire, and bloody catharsis. It’s for anyone carrying a secret fantasy of getting back at those who mistreated them. Come for the show tunes, stay for the vengeance. A hilarious horror musical about power, complicity, and the lengths people will go to cover up bad behaviour – even the ones in HR. It’s Sarah’s second week at the office. She made the mistake of boarding Trevor’s E-scooter after last Happy Hour. It’s a bad time for Sarah to talk about what happened that night because today’s Fun Sock Day, the Empathy Seminar is this afternoon, and there’s another Happy Hour tonight! When Sarah is left carrying the cost of the company motto, Good Only Counts If People See You Doing It, she has only one choice: to take matters into her own hands… This new South Australian play with original songs is about what happens when every door marked ‘safe’ turns out to be locked from the inside. When everyone you ask for help does everything but listen, you will surely go mad, right? See you at Happy Hour, Trev. DIRECTOR **Shannon Rush** DRAMATURG/ PRODUCTION MENTOR **Elena Carapetis** SET & COSTUME DESIGN **Shani Engelbrecht** LIGHTING DESIGNER/ TECH OPERATOR **Ellen Demaagd** CAST **Luke Bria**, **Eddie Morrison**, **Taylor Nobes**, **Adam Ovadia**, **Astrid Pill**. STATE THEATRE COMPANY SOUTH AUSTRALIA IN ASSOCIATION WITH VITALSTATISTIX PRESENT ![The Scoop State Theatre Company South Australia 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/Evil-Hour-Photo-of-Elizabeth-Hay-by-Claudio-Raschella-460x628.jpg "State Theatre Company South Australia 2027 Season • The Scoop")Elizabeth Hay in Evil Hour Photo by Claudio RaschellaEvil Hour 9 – 24 JULY SPACE THEATRE By James Smith Some secrets refuse to stay buried… South Australia. 1850. Lillian Oliver has built her life on faith, obedience and the certainty that God has a plan. But when a young woman fleeing violence arrives at her door, the foundations of everything she believes begin to crack. As forgotten histories resurface and strange forces gather around her, Lillian is drawn towards a hidden legacy of women’s knowledge, one whispered through generations but condemned as dangerous. With every revelation, the boundaries between the sacred and the supernatural begin to blur, forcing her to confront the truth about her marriage, her family and herself. *Evil Hour* is a gripping new Australian gothic drama inspired by South Australian history and steeped in suspense. **James Smith**, best known for his work as an actor (*The Dictionary of Lost Words, Jack Maggs* and *Euphoria*), makes his State Theatre Company South Australia playwriting debut with a thrilling story where faith collides with fear, myth intertwines with memory, and women who were once silenced finally reclaim their voices. DIRECTOR **Nescha Jelk** DESIGNER **Ailsa Paterson** LIGHTING DESIGNER **Nic Mollison** CAST **Elizabeth Hay, Annabel Matheson**. STATE THEATRE COMPANY SOUTH AUSTRALIA AND GRIFFIN THEATRE COMPANY PRESENT Snappy 6 – 28 AUG DUNSTAN PLAYHOUSE By Michele Lee Wildly funny, deeply moving and startlingly original, *Snappy* is a razor-sharp new comedy about impossible expectations and the quiet breaking point we all pretend isn’t there. Nina used to be the master of her own design. Controlled. Controlling. Perfect. But when the illusion shatters, she wakes up in a life she doesn’t recognise, inhabiting a self she no longer knows. The cracks in her reality are widening. Time is bending, identity is blurring, and the carefully ordered existence she built is transforming into something strange, lawless, and beautiful. Winner of the 2025 Griffin Theatre Award, Michele Lee’s reimagining of Ibsen’s classic, *A Doll’s House* is equal parts funny and tragic. *Snappy* is about what it costs to build a good life. It’s about the mental load that accumulates, the friendships that hold us and the strangers who reflect us back to ourselves. It’s about fathers, sons, mothers, daughters, artists, accountants, the people who love us and the people we become. What does it cost to come back to yourself? Because sometimes, holding it together is the most dangerous performance of all. DIRECTOR **Petra Kalive** CAST **Rishab Kern** STATE THEATRE COMPANY SOUTH AUSTRALIA, SYDNEY THEATRE COMPANY AND ARTS CENTRE MELBOURNE PRESENT ![The Scoop State Theatre Company South Australia 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/The-Bookbinder-of-Jericho-Photo-of-Billie-Rose-Russell-by-Claudio-Raschella-419x628.jpg "State Theatre Company South Australia 2027 Season • The Scoop")Billie Rose Russell in The Bookbinder of Jericho Photo by Claudio RaschellaThe Bookbinder of Jericho 24 SEP — 16 OCT DUNSTAN PLAYHOUSE Adapted by Verity Laughton From the novel by Pip Williams Following the triumph of sold-out national tours of *The Dictionary of Lost Words*, the acclaimed creative team returns with *The Bookbinder of Jericho*, based on Pip Williams’ internationally bestselling companion novel. In 1914 in Oxford, England, as war redraws the world, Peggy and Maude Jones continue stitching pages, repairing spines and preserving stories – while their own lives begin to unravel. Peggy dreams of something more. More than the bindery. More than the narrow life expected of a working-class woman. But ambition comes at a cost, and leaving behind the sister who depends on her may be the hardest choice she’ll ever make. As the war rages on, refugees arrive, old certainties collapse and new possibilities emerge. Peggy is forced to decide whether duty will define her life – or whether she’ll finally dare to write her own story. Filled with music, poetry and unforgettable characters, this powerful historical drama explores sisterhood, ambition, sacrifice and the enduring power of words. *The Bookbinder of Jericho* is a celebration of the women whose stories history almost forgot. DIRECTOR **Shannon Rush** SET & COSTUME DESIGNER **Ailsa Paterson** SOUND DESIGNER **Max Lyandvert** CAST **Melissa Kahraman**, **Ksenja Logos**, **Billie-Rose Russell**. ![The Scoop State Theatre Company South Australia 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/Squid-Photo-of-Luke-Wiltshire-by-Claudio-Raschella-941x628.jpg "State Theatre Company South Australia 2027 Season • The Scoop")Luke Wiltshire in Squid Photo by Claudio Raschella**SPARK PROGRAM (SHOW 2)** Squid 30 SEP — 9 OCT X SPACE, ADELAIDE COLLEGE OF THE ARTS By Luke Wiltshire How can you move forward if you’re too scared to look back? Luke finds himself at a crossroads, stuck between who he wants to be and who he really is. With nowhere left to turn, Luke must finally face who he’s been avoiding, his younger pre-transition self, Squid. From playgrounds in regional Queensland, to public schools in Adelaide, Luke and Squid revisit first crushes, terrible kisses and the nagging feeling that something isn’t quite right. As Luke remembers what it was like to be Squid, he faces a choice – accept that Squid will always be a part of him or leave that person behind and chase finally fitting in. *Squid* is a heartfelt autobiographical play about identity, belonging and the courage it takes to finally embrace yourself. A one-man play with warmth, humour and remarkable honesty, *Squid* transforms a profoundly personal story into a celebration of resilience and self-discovery. A play about learning to love yourself, because it’s never really that simple. DIRECTOR **Stephen Nicolazzo** WRITER & PERFORMER **Luke Wiltshire** DRAMATURGY **Emily Steel** **Subscriptions to State Theatre Company South Australia’s 2027 season are now on sale at the website.** Website: <https://statetheatrecompany.com.au/season-2027/> Socials: <https://www.instagram.com/statetheatresa/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Artistic Director Petra Kalive and Executive Director Kath Fyffe. **Categories:** News --- ### [Announcing Malthouse Theatre 2027 Season](https://thescoop.au/announcing-malthouse-theatre-2027-season/) **Published:** October 1, 2026 **Author:** Newsroom **Content:** ![The Scoop Malthouse Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/MagicSing_RGB_Gianna-Rizzo-copy-892x628.jpg "Malthouse Theatre 2027 Season • The Scoop")**Malthouse Theatre** has launched its **2027 season**, the first full program from **Artistic Director and Co-CEO Dean Bryant** – featuring eight electric productions, all new Australian works and seven of them world premieres – spanning outrageous comedy, moving drama, chilling horror, fierce cabaret and an irreverent shakeup of the classics. Bryant’s inaugural season tackles some of the biggest questions of our times. What are the consequences of letting AI control our lives? What do we owe the people who raised us? Can pop music be a political force? Can a religious life help an atheist find meaning? And how well do you ever know someone, even the love of your life? Some of the country’s best-loved performers meet bold new Australian voices in 2027. **Eddie Perfect** transports Molière into the age of AI in *The Tartuffe™*, directed by **Dean Bryant** and starring **Karis Oka** and **Noah Szto**. Award-winning novelist **Ellen van Neerven** makes their playwriting debut with *swim*, starring **Cynda Jace Beare** and **Tahlee Fereday**. **Sarah Goodes** and **Joanna Murray- Smith** reunite for *Stone Yard Devotional*, bringing **Charlotte Wood**‘s bestselling novel to the stage with **Lisa McCune** and **Catherine McClements**. **Christina O’Neill** leads the Filipino-Australian cabaret extravaganza *MAGIC SING: Pinoy Pop Power!* created by **Victoria Falconer** and **Bryant**. ![The Scoop Malthouse Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/GWTW_Hero_Giulia-McGauran-copy-scaled-e1790834756646-929x628.jpg "Malthouse Theatre 2027 Season • The Scoop")Gone With The Wind Photo by Giulia McGauranWith **Yvette Lee** as Director and Choreographer; *Mystery Road: Origin*’s **Tuuli Narkle** takes on a one-person adaptation of *The Turn of the Screw* by **Keziah Warner**. **Yve Blake** brings her signature smarts to Malthouse with *Jackpot*. Independent darlings **Bloomshed** take on Scarlett O’Hara in *Gone With The Wind*, and **Thomas Weatherall** performs his self-penned sophomore stage work, *Lucy*. Theatregoers can expect an AI hairdressing robot, cloistered nuns, two sisters at war and a very political southern belle. Of the 2027 season, Artistic Director and co-CEO **Dean Bryant** said: *“Theatre gives us permission to turn off our phones, take a seat and become an audience together, and that’s what this season is built around. It’s the first season I’ve put together from start to finish, and I wanted it to be unmistakably ours: every work by Australian creators, nearly all of them world premieres, from artists taking on big questions with humour and nerve.* *Theatre that electrifies and sends audiences out fully charged is what we’re aspiring to. Come in, sit down, lock in…and let go.”* ![The Scoop Malthouse Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Tartuffe_Giulia-McGauran-copy-scaled-e1790834428428-929x628.jpg "Malthouse Theatre 2027 Season • The Scoop")Eddie Perfect Karis Oka and Noah Szto in Tartuffe Photo by Giulia McGauranOpening the season from **Friday 19 February** is the world premiere of *The Tartuffe™*, written by and starring **Eddie Perfect** (*The Beast, Beetlejuice*) after Molière and directed by **Dean Bryant**. Orgon is having an existential crisis, so in comes The Tartuffe, an AI-powered hairdressing robot who listens, cares and wants to know what’s on for the weekend. Then the family gives it access to, well, everything. Perfect will be joined on stage by **Karis Oka** (*Beetlejuice*), rising comedy star **Noah Szto** (Melbourne International Comedy Festival Best Newcomer 2024 and Director’s Choice 2025) and a team of clowns, in a dystopian laugh-fest from the team behind Victorian Opera’s Green Room Award-winning *Candide* that will make audiences regret everything they’ve ever told ChatGPT. Landing at Malthouse for its Victorian premiere from **Wednesday 12 May**, *swim* is Mununjali poet **Ellen van Neerven**‘s (*Throat, Heat and Light*) debut work for the stage. On a sizzling summer’s day at the public pool, genderfluid protagonist E negotiates the space between the change rooms, until the words of their Aunty come to them on the diving blocks and the crystalline blue tiles give way to much deeper water. First staged at **Griffin Theatre Company**, this magical realist play is brought to the Kulin Nations by **ILBIJERRI Theatre Company**, **YIRRAMBOI** and **Malthouse**, directed by ILBIJERRI Artistic Director **Andrea James**, and starring **Cynda Jace Beare** (*Poems of a Transsexual Nature*) and **Tahlee Fereday** (*Black Light, Because the Night*). ![The Scoop Malthouse Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/SWIM_Hero_Laura-Du-Ve-copy-942x628.jpg "Malthouse Theatre 2027 Season • The Scoop")Cynda Jace Beare and Tahlee Fereday in swim Photo by Laura Du VéFrom **Friday 4 June**, the Merlyn transforms into a liminal world of immersive sound and luminous imagery in the world premiere of *Stone Yard Devotional*, blurring the line between theatre and art installation. **Charlotte Wood**‘s Booker Prize-shortlisted novel is adapted by **Joanna Murray-Smith** and directed by **Sarah Goodes**, reuniting them after *Julia*, *The Talented Mr. Ripley* and *Switzerland*, from an original concept by Justine Clarke and Sarah Goodes. Legendary actors **Lisa McCune** and **Catherine McClements** star in the story of a woman who detaches herself from her life and finds herself among a group of cloistered nuns, in a Malthouse Theatre production in association with **Jacaranda Productions**. Take the mic for the world premiere of *MAGIC SING: Pinoy Pop Power!*, an evening of power ballads, politics and fierce Filo pride. While rock ‘n’ roll and punk shaped the sound of protest in the West, Filipinos found an emotional outlet in the sky-high vocals of Whitney, Celine and Mariah, belted down the (Magic Sing) mic at every family function and karaoke bar across the diaspora, from the 1986 People Power Revolution through the waves of migration that followed. From **Wednesday 7 July**, **Christina O’Neill** (*All About Eve, My Brilliant Career*) leads a trio of Filipino-Australian divas, directed and choreographed by **Yvette Lee**, and created by cabaret goddess extraordinaire **Victoria Falconer** (*HOUSE OF ROT, My Brilliant Career*) and **Dean Bryant**. ![The Scoop Malthouse Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Stoneyard-930x628.png "Malthouse Theatre 2027 Season • The Scoop")Catherine McClements and Lisa McCune in Stoneyard Devotional Photo by Nicole ReedFrom **Friday 23 July**, the Beckett is haunted by the world premiere of *The Turn of the Screw*, **Keziah Warner**‘s (*Hour of the Wolf, Nosferatu*) one-person adaptation of Henry James’ gothic horror. **Tuuli Narkle** (*NCIS: Sydney, Mystery Road: Origin*) is a young woman with no money, no work and a frosty sharehouse who takes a mysterious job minding two children at Bly Manor, only to find her dream of *Downton Abbey* turns out to be a lot more *The Shining*. Directed by **Jessica Arthur** (*GAME. SET. MATCH., Koreaboo*), it looks the audience dead in the eye and asks: do you believe me? **Yve Blake** (*FANGIRLS, Mackenzie*) takes the most illegal thoughts you’ve ever had about your family and screams them out loud in the world premiere of the **Dean Bryant**-directed *Jackpot*, from **Friday 13 August**. Over one sleepless night and a shared bottle of whiskey, two sisters negotiate who will care for their mother in a pitch-black comedy exploring family obligation, housing inequality and what we owe our parents, and what they owe us. ![The Scoop Malthouse Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Jackpot_Hero_Gianna-Rizzo-copy-931x628.jpg "Malthouse Theatre 2027 Season • The Scoop")Jackpot Photo by Gianna RizzoNext year’s season will also host the world premiere of *Lucy* from **Friday 17 September**, written by and starring **Thomas Weatherall** and directed by **Dean Bryan**t. Sam and Lucy fall for each other fast and forever: he’s darkness, she’s all light; he’s cautious, she’s impulsive. As time goes on, Sam finds Lucy has more in common with him than he thought, as the despair that drew them together starts to drag her down. Weatherall (AACTA-nominated for *The Narrow Road to the Deep North*; *Heartbreak High*) follows his rapturously received solo debut *Blue* with his first Melbourne stage work, a story about the changing shape of a relationship, and what to do when you no longer recognise it. From **Friday 12 November**, **Bloomshed** (*Pride and Prejudice*) return to Malthouse with the world premiere of *Gone With The Wind*, an unflinching adaptation of Margaret Mitchell’s classic that holds a mirror to the Australian mythos. Scarlett O’Hara hates politics. She likes parties, cakes and green dresses that show off her 13-inch waist. But when a surprise election is called and the men rush off to fight the ‘good fight’, her comfortable world of instant gratification turns upside down. Their urgent response to a polarised Australia is fierce, funny and all about franking credits, with marginal seats turning orange faster than saying the words, “please explain”. Wrapped in the warm cloak of a whirlwind romance, it asks whether nostalgia for a world that never existed is the answer. ![The Scoop Malthouse Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/10/Lucy_Hero_Laura-Du-Ve--942x628.jpg "Malthouse Theatre 2027 Season • The Scoop")Thomas Weatherall in Lucy Photo by Laura Du Vé**ADDITIONAL PROGRAMMING** From **Thursday 6 May**, **YIRRAMBOI** marks ten years, cracking open the heart of Naarm to reveal the hum of Country beneath. First Peoples have shaped worlds, physical, spiritual and ancestral, guided by lore, kinship and an unbroken relationship with Country, through governance systems, knowledge and ceremonial practices that were not only sophisticated but opulent, and through languages that map entire ecologies and songlines that track time, stars and kinship across thousands of generations. In this world, the festival says, we are not dreaming of what might come, we are embodying what already is. The much-loved **Malthouse Comedy** returns from **Wednesday 24 March**, taking over the entire venue as part of the Melbourne International Comedy Festival. Since 2016, Malthouse Theatre has curated a massive program of comedy for the festival, bringing some of the most exciting names in comedy alongside emerging local artists to its packed-out venues, and attracting more than 23,000 people annually. Curated and presented by Malthouse Theatre. Details of the YIRRAMBOI and Malthouse Comedy programs will be released later in the year. **See the Malthouse Theatre website for more information or follow them on the socials to stay up to date with the latest news.** From **Thursday 1 to Wednesday 21 October**, an early bird offer of 25% off every 2027 Malthouse Theatre production will be available via the website, with ticket prices at the lowest levels they’ll be all season. Website: <https://www.malthousetheatre.com.au/discover/season-2027> Socials: <https://www.instagram.com/malthousetheatre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Christina O’Neill in *Magic Sing: Pinoy Pop Power!*, photo by Gianna Rizzo. **MALTHOUSE THEATRE 2027 SEASON AT A GLANCE** 8 productions 8 new Australian works 7 world premieres **THE TARTUFFE™** Friday 19 February–Friday 19 March, Merlyn Theatre Opening Night, Wednesday 24 February By Eddie Perfect, after Molière Directed by Dean Bryant Cast includes Eddie Perfect, Karis Oka and Noah Szto **SWIM** Wednesday 12 – Saturday 22 May, Beckett Theatre Opening Night, Wednesday 12 May By Ellen van Neerven Directed by Andrea James Cast includes Cynda Jace Beare and Tahlee Fereday **STONE YARD DEVOTIONAL** Friday 4 – Saturday 26 June, Merlyn Theatre Opening Night, Wednesday 9 June By Charlotte Wood, adapted for the stage by Joanna Murray-Smith Directed by Sarah Goodes Cast includes Lisa McCune and Catherine McClements **MAGIC SING: PINOY POP POWER!** Wednesday 7 – Saturday 10 July, Merlyn Theatre Opening Night, Wednesday 7 July Created by Victoria Falconer and Dean Bryant Directed and choreographed by Yvette Lee Cast includes Christina O’Neill **THE TURN OF THE SCREW** Friday 23 July – Saturday 21 August, Beckett Theatre Opening Night, Wednesday 28 July By Keziah Warner, based on the novella by Henry James Directed by Jessica Arthur Cast includes Tuuli Narkle **JACKPOT** Friday 13 August – Saturday 4 September, Merlyn Theatre Opening Night, Wednesday 18 August By Yve Blake Directed by Dean Bryant **LUCY** Friday 17 Sep – Saturday 9 Oct, Beckett Theatre Opening Night, Wednesday 22 September By Thomas Weatherall Directed by Dean Bryant Cast includes Thomas Weatherall **GONE WITH THE WIND** Friday 12 November–Saturday 4 December, Merlyn Theatre Opening Night, Wednesday 17 November Created by Bloomshed, after Margaret Mitchell **YIRRAMBOI** Thursday 6–Sunday 16 May, taking over Malthouse **MALTHOUSE COMEDY** Wednesday 24 March–Sunday 18 April, taking over Malthouse Part of Melbourne International Comedy Festival **Categories:** News --- ### [Announcing Little Shop of Horrors 2027 Australian Tour](https://thescoop.au/announcing-little-shop-of-horrors-2027-australian-tour/) **Published:** October 5, 2026 **Author:** Newsroom **Content:** ![The Scoop Little Shop of Horrors 2027 Woodward Productions](https://thescoop.au/wp-content/uploads/2026/10/Screenshot-2026-10-04-at-21913-pm-1200x613.png "Little Shop of Horrors 2027 Woodward Productions • The Scoop")After premiering in Brisbane this year to unanimous rave [reviews](https://thescoop.au/review-little-shop-of-horrors-revival-blooms-in-brisbane/), the sold-out, smash hit production of ***Little Shop of Horrors*** left theatre fans desperate for more. Today, **Woodward Productions** confirms that the much-loved production is finally on the move, set to play strictly limited seasons in Hobart, Melbourne and Wollongong, **with additional cities rumoured for 2027.** (Sydney, Canberra and a return to Brisbane are to be confirmed – stay tuned!) Playing at the **Theatre Royal** **Hobart** from **April 2027**, the **Athenaeum Theatre** **Melbourne** from **May 2027**, and **Illawarra Performing Arts Centre** from **July 2027**, the dark comedy musical sees nerdy florist Seymour Krelborn stumble upon a new breed of plant at Mushnik’s flailing flower shop on Skid Row. Naming it ‘Audrey II’ after his co-worker crush, Seymour soon discovers the foul-mouthed, R&B-singing carnivore plant has sinister intentions. Equal parts hilarious, camp, and sci-fi horror, this high-octane spectacle blends B-movie mayhem, outrageous comedy, and jaw-dropping puppetry with a killer score of ’60s pop, doo-wop, and rock ‘n’ roll. ***Little Shop of Horrors*** is the ultimate cult classic about ambition, greed, and the terrifying cost of getting everything you ever wanted. Woodward Productions Founder and Producer **Alex Woodward** said he was excited to tour this new, full-scale Australian version of *Little Shop of Horrors,* following its sell-out season at Brisbane’s QPAC earlier this year. *“Little Shop of Horrors was one of the first shows I’d seen that had me completely rapt. It had that same effect on audiences when we staged it in Brisbane. We can’t wait for Melbourne and Hobart to experience the magic mix of elaborate plant puppetry and a deranged dentist that has garnered such a cult following for more than 40 years.* *Audiences are in for a potent nostalgia hit that is very camp, ridiculously fun and slightly gory*.” ![The Scoop Little Shop Of Horrors Musical QPAC Brisbane](https://thescoop.au/wp-content/uploads/2026/01/LittleShop-4676-942x628.jpg "Little Shop Of Horrors Musical QPAC Brisbane • The Scoop")Kirby Burgess in the sold out Brisbane season at QPAC Photo by Joel DevereuxWith Music by Alan Menken and Book and Lyrics by Howard Ashman, since its premiere at Off-Off-Broadway in 1982, *Little Shop of Horrors* has enraptured millions of theatregoers worldwide and was adapted into a film in 1986 starring Rick Moranis, Ellen Greene and Steve Martin. This revival is directed by **Alister Smith**, who has realised musical adaptations of other cult classics like *Bring It On*, *Cruel Intentions* and *The Wedding Singer*. Music Supervisor **David Young** (*Frozen*) and Musical Director **Heidi Loveland** (*Carrie: The Musical*) will lead a six-piece band through *Little Shop of Horrors’* blend of 60s pop, doo-wop and R&B, delivering unforgettable earworms like *Suddenly Seymour*, *Feed Me (Git It)*’ and ‘*Dentist!*’. Designer **Penny Challen**, Lighting Designer **Declan O’Neil** and Choreographer **Dan Venz** will illuminate the gleeful allure of the American Dream in 1960s New York, B-Movie kitsch and meaningful silliness that is synonymous with *Little Shop of Horrors.* *“After more than ten years away from Brisbane stages, Little Shop of Horrors has returned in full bloom. If the sell-out season is any indication, audiences are more than ready to be fed.”* – The Scoop The waitlist is now open and the most ravenous plant fans can sign up for pre-sale access [here](https://littleshopmusicalaustralia.com/). **Tickets** for *Little Shop of Horrors* will then be released to the general public **early November**. ***Little Shop of Horrors* runs at the Theatre Royal Hobart from April, the Athenaeum Theatre Melbourne from May, and Illawarra Performing Arts Centre from July 2027.** Sign up for pre-sale tickets at the website below. Website: <https://littleshopmusicalaustralia.com/> Socials: <https://www.instagram.com/littleshopaustralia/> Read our Review of the Brisbane Season Hero image supplied. **Creatives** Producer **Alex Woodward, Woodward Productions** Music **Alan Menken** Book & Lyrics **Howard Ashman** Director **Alister Smith** Music Supervisor **David Young** Musical Director **Heidi Loveland** Designer **Penny Challen** Lighting Designer **Declan O’Neil** Choreographer **Dan Venz** Sound Designer & Operator **Ben Murray** The full cast for the tour of ***Little Shop of Horrors*** will be announced soon. 2027 Australian Tour Hobart from April 2027, Theatre Royal Melbourne from May, Athenaeum Theatre Wollongong from June, Ilawarra Performing Arts Centre **Categories:** News --- ### [Review: The Unfriend Is The Escape We Need Right Now](https://thescoop.au/review-the-unfriend-is-the-escape-we-need-right-now/) **Published:** October 4, 2026 **Author:** Ronson Blake **Content:** ★★★★☆ ![The Scoop The Unfriend Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/10/TheUnfriend_STC_ImageCredit_PrudenceUpton_200-942x628.jpg "The Unfriend Sydney Theatre Company • The Scoop")Steven Moffat has written some very successful TV shows such as *Coupling*, the Emmy Award-winning *Sherlock*, and *Dr Who*. One of my favourite *Dr Who* episodes, ‘Blink’, introduced the murderous Weeping Angels, inspired by cemetery statuary. Moffat clearly understands basic human fear because that *Dr Who* episode is a genuinely creepy, scary affair. Fear, though, can take many forms, and in Moffat’s first foray into playwriting, *The Unfriend*, it’s not existential dread that is interrogated, but the quintessential British fear of appearing impolite and risking eternal embarrassment. Sydney Theatre Company’s production of *The Unfriend* is directed by Simon Phillips, with design by Isabel Hudson. The show is billed as being “dark.” It ain’t. Light and frothy, even a little old-fashioned in its awkward ‘comedy of manners’ Englishness, it elaborates on what is apparently a true story to wonderful comic effect. The opening of Act One plays like a prologue where, on a cruise, Elsa (Helen Thomson), a blunt American seemingly on friendly terms with everyone, meets an English couple, Peter (Tim Walter) and his wife Debbie (Alex Lee), who are rather more reserved and equivocating. It’s a classic cultural collision. They part, Peter and Debbie promising but not intending to stay in touch. Peter and Debbie lead a pretty insular life: they don’t know the name of their longstanding neighbour (Huw Higginson). Their kids Alex (Ty Arnott) and Rosie (Brooklyn Davies) are a mystery, and Peter needs *The Guardian* to tell him what he should be angry about. ![The Scoop The Unfriend Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/10/TheUnfriend_STC_ImageCredit_PrudenceUpton_556-942x628.jpg "The Unfriend Sydney Theatre Company • The Scoop")The set is a substantial thing that replicates the ground floor of a middle class English home Photo by Prudence UptonSo when Elsa invites herself to stay, it triggers all kinds of anxiety, not alleviated by a Google search revealing Elsa may be a serial murderer. However, even as Peter and Debbie persistently try to get her to leave, she ingratiates herself, with unexpected positive effect, into their world. *The Unfriend* has a noticeable sitcom aesthetic, and director Phillips leans into this. The characters tend to be hyper-realised, and there is some statically staged delivery. Video projection from Morgan Moroney enhances the sitcom feel while adding a touch of modernity. Hudson’s set is a substantial thing, replicating the ground floor of a middle-class English home and detailed with somewhat incongruous items: modern kitchen appliances, mid-century furniture and a (faux) classic balustrade. There are bone china teacups, of course. *The Unfriend* is not perfect. It mines familiar territory, which means that the audience is sometimes there before the delivery – the humour telegraphed, though, with expectations fulfilled. And it’s not all a laugh-a-minute. There are flat spots, one of which unfortunately arrives straight after the cracking opening, making you yearn for Elsa’s arrival. It’s also a little loose and unfocused and should probably be a tight 90 min run straight through. The second act’s truly monstrous set piece, however, is almost worth the price of admission alone. In an excruciatingly prolonged scatological joke, Moffat doesn’t just go there; he packs a bag, saddles up, and stays a while. And Phillips rides shotgun, giving full rein to humour that is not so much delicate brushwork as full-on Jackson Pollock. ![The Scoop The Unfriend Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/10/TheUnfriend_STC_ImageCredit_PrudenceUpton_636-942x628.jpg "The Unfriend Sydney Theatre Company • The Scoop")Thomson steals scenes as an irresistible alpha female Photo by Prudence UptonThomson is outrageously good as Elsa. While there are echoes of Jennifer Coolidge in *White Lotus*, and her own turn as Lynelle in *Colin from Accounts,* here, Thomson has created a whole new beast, stealing scenes as an irresistible alpha female in leopard-print and velour. The script gives Elsa zingers and Thomson’s timing is razor-sharp. Her jousting with Walter crackles with malicious delight. Walter imbues Peter with Basil Fawlty-like discomfort, minus the obsequious snark. His physical comedy, all awkward limbs and side-glances, is top shelf, particularly during the second act shenanigans with Ben Wood as a nonplussed PC Junkin. Huw Higginson plays the (equally ignored and annoying) passive-aggressive neighbour fussing about a boundary fence, which is perhaps no more substantial than the boundaries Peter and Debbie are failing to maintain with Elsa. Higginson gives a masterful performance in stillness and facial expression at the beginning and end of Act Two. *The Unfriend* is a play that makes no attempt to be socio-political commentary, and thank God for that. Sometimes to escape the daily newsfeed horrors, you just need a bloody good night out. If the tears of laughter on opening night were evidence, this Sydney Theatre Company production is it. ***The Unfriend* is presented by Sydney Theatre Company and runs to 31 October at the Roslyn Packer Theatre. 22 Hickson Road Walsh Bay NSW 2000.** Tickets are available [here](https://www.sydneytheatre.com.au/whats-on/2026/productions/the-unfriend). Website: <https://www.sydneytheatre.com.au/whats-on/2026/productions/the-unfriend> Socials: <https://www.instagram.com/sydneytheatreco/> Read more of our Theatre Reviews Photo credits: Prudence Upton **Categories:** Sydney, Theatre --- ### [Review: Eliza Is A Trippy Thriller Masterpiece](https://thescoop.au/review-eliza-is-a-trippy-thriller-masterpiece/) **Published:** October 3, 2026 **Author:** Jessica Flynn **Content:** ★★★★½ ![The Scoop Eliza Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/10/Dan-Spielman_Photo-By-Pia-Johnson-2-942x628.jpg "Eliza Melbourne Theatre Company • The Scoop")There is no buzzword more pertinent in today’s society than ‘AI’. While the modern world endlessly debates the topic, *Eliza* takes us back to where it all began – to raw, human emotion and simple origins that spiralled out of control. Shedding light on a true tale often forgotten in today’s saturated tech world, *Eliza*, directed by Paige Rattray, follows the troubled journey of Dr Joseph Weizenbaum, a quirky genius brought to life by Dan Spielman. In an impressive and high-stamina performance, remaining on stage for practically the full 100 minutes without interval, Weizenbaum begins by recounting the deeply personal story of his upbringing under an abusive father and his escape of wartime Germany. *Eliza* carefully weaves the human narratives amongst the tale of technological discovery at MIT University in 1966, touching on themes of humanity, ambition and control in a story expertly crafted by Tom Holloway through MTC’s NEXT STAGE Writers’ Program. ![The Scoop Eliza Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/10/Dan-Spielman-Manali-Datar_Photo-By-Pia-Johnson-942x628.jpg "Eliza Melbourne Theatre Company • The Scoop")The play weaves the human narratives with the tale of technological discovery at MIT University in 1966 Photo by Pia JohnsonNext, we are introduced to the professor’s secretary Becky, played by the energetic and boisterous Manali Datar, who links Dr Weizenbaum’s personal struggles to the idea of ELIZA, an early form of ‘chatterbot’, speaking like a counsellor to mimic and seduce its audience into believing it is human. We then meet the Professor’s colleague Roland, portrayed by the hilarious Hamish Michael. He plays multiple characters with ease through the performance, using his voice expertly to create distinctive personalities for each. Michael’s delivery choices for the Faculty Director are particularly humorous, with ironies peppered amongst a fantastically exaggerated accent. As the three protagonists make scientific breakthroughs, the aura of excitement and discovery gives way to jealousy, paranoia and chaos. The professor loses control professionally and personally as his creation morphs into something bigger than he could have imagined. A theme that cleverly mirrors the contemporary debates we are having in today’s world. Becoming increasingly isolated, Spielman’s performance offers depth of connection to the audience. He brings vulnerability to his monologues, coupled with emotional outbursts that punctuate the scene and shock the viewer deliciously. ![The Scoop Eliza Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/10/Dan-Spielman-Hamish-Micheal-Manali-Datar_Photo-By-Pia-Johnson-942x628.jpg "Eliza Melbourne Theatre Company • The Scoop")The aura of excitement and discovery gives way to jealousy paranoia and chaos Photo by Pia JohnsonThe use of lighting and sound, designed by Paul Jackson and Kelly Ryall respectively, is thoughtful during these scenes. Choices leave the audience questioning whether the professor’s therapist is indeed human or a computer, exaggerated further with the lighting mirroring the tone of the scene. The wider set designed by Dale Ferguson is brilliantly considered and adds significantly to the audience’s need to challenge themselves through the production. I particularly love the use of mirrors to literally cause the audience to reflect internally on our relationship with technology. All of this is set behind a bland office that grows to be ever more chaotic and expansive as ELIZA herself evolves. *Eliza* is a trippy thriller masterpiece that prompts and probes the viewer in just the right ways. Few productions have the same ability to merge influential modern-day themes with historic true stories, whilst also evoking emotions of empathy, humour, and discomfort. With a short run in Melbourne now commencing, *Eliza* is a must-watch. ***Eliza* is presented by Melbourne Theatre Company and runs to 31 October at Southbank Theatre, the Sumner. 140 Southbank Boulevard Southbank Vic 3006.** Tickets: <https://tickets.mtc.com.au/production/19788> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/eliza> Socials: <https://www.instagram.com/melbtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo: Pia Johnson **Categories:** Melbourne, Theatre --- ### [Review: Pride and Prejudice* (*sort of) Embraces The Giddy Chaos Of Girlhood](https://thescoop.au/review-pride-and-prejudice-sort-of-embraces-the-giddy-chaos-of-girlhood/) **Published:** October 2, 2026 **Author:** Isabella Visser **Content:** ★★★★★ ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/10/Zoe-Ioannou-Amy-Lehpamer-Teo-Vergara-PRIDEANDPREJUDICESORTOF_PRODSHOTS_-Credit-Matthew-Chen-6-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")*Pride and Prejudice\* (\*sort of),* produced by Neil Gooding Productions and Woodward Productions, tells the beloved story of Elizabeth Bennet and Mr Darcy through the eyes of the family’s hilarious servants. It finds an unrelenting joy in the trivial dramas featured in the original story and embraces the utter excitement of seeing a juicy piece of gossip play out right in front of the audience. The show is a celebration of Jane Austen’s original narrative, while also exuberantly satirising the social trivialities and expectations for women. The classic story follows the five Bennet sisters and their harried mother who is desperate to have them marry men of large fortunes, before they’re made destitute and kicked out of their estate upon their father’s death. This adaptation reframes the narrative by having five incredibly talented women, as the household servants, play more than fifteen different characters in a jam-packed and exhilarating retelling. It highlights the ways that the servants may have impacted the original narrative, whether it’s by preventing Elizabeth from throwing away Mr Darcy’s letter or having a room ready at Netherfield Park for an extra guest. *Pride and Prejudice\* (\*sort of)* premiered in 2018 at the Tron Theatre in Glasgow and has since travelled across the globe. Its revival on the West End won the Olivier Award for Best Entertainment or Comedy. The 2026 Australian tour has made stops at Melbourne, Sydney, Wollongong, and Canberra, before making its final stop in Brisbane. ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/10/Amy-Lehpamer-Teo-Vergara-Kaori-Maeda-Judge-PRIDEANDPREJUDICESORTOF_PRODSHOTS_-Credit-Matthew-Chen-5-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")The production is a party you wish wouldnt end Photo by Matthew ChenPlaywright Isobel McArthur highlights the timelessness of *Pride and Prejudice* and the importance of women’s roles in the narrative. She brings Austen’s humour to the spotlight in a way unlike any other adaptation that weaves together regency mannerisms, modern jokes and fourth wall breaks into an absolute blast from the past. McArthur also previously portrayed the dual roles of Mr Darcy and Mrs Bennet in the show’s award-winning West End production. Director Simon Harvey creates a wondrous spectacle of physical and verbal comedy that’s guaranteed to have audiences laughing uncontrollably. The combination of classic karaoke hits and upbeat dancing carefully designed by Associate Director and Choreographer Simone Sault, makes *Pride and Prejudice\* (\*sort of)* a party you wish wouldn’t end. The stage design by Ana Inés Jabares-Pita is a book lovers dream, with a bookcase filled with vintage hardcover novels that reaches high above the stage and an elegant staircase that’s perfect for dramatic entrances. Her costume designs are both beautifully vibrant and transformative, perfect for the show’s many quick changes. Teo Vergara’s Elizabeth Bennet is sharper than ever before. Their well-timed expressions and biting sarcasm are thrillingly cutting. This version of Elizabeth is petty, improper and isn’t afraid to speak her mind. Especially when Vergara breaks out into an epic rendition of *You’re So Vain* at the Meryton Ball, dedicated especially to the pompous Mr Darcy after publicly refusing to sing a duet with Elizabeth. Zoe Ioannou is a marvel playing both Mr Darcy and Mrs Bennet. As the shortest person in the cast, her portrayal of Mr Darcy manages to instil an air of arrogance and superiority while hilariously digging into the tall, dark and handsome archetype. ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/10/Kaori-Maeda-Judge-Teo-Vergara-Zoe-Ioannou-Ruby-Shannon-PRIDEANDPREJUDICESORTOF_PRODSHOTS_-Credit-Matthew-Chen-1-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")The show is a triumph that is chock full of vibrant enthusiasm and off the charts musical talent Photo by Matthew ChenShe plays up the character’s socially awkward nature and obsession with Elizabeth Bennet in scenes that include some very interesting attempts at hugging. Ioannou also brilliantly transforms into the over the top and erratic Mrs Bennet within seconds of exiting the stage. Portraying both Charles and Miss Bingley, Amy Lehpamer brings an amazing absurdity to the production through the characters’ featherbrained behaviour. From ridiculously climbing over furniture and eccentric dance moves as Miss Bingley to getting her hand stuck in a Pringles can as Charles Bingley, Lehpamer is hysterically entertaining from start to finish. Kaori Maeda-Judge is excitable and full of emotion in her depiction of Jane Bennet. She brilliantly plays up the devastation of being forced apart from her first love in a way that is comically tragic. Her role as Lady Catherine de Bourgh seems to take up the whole stage as she masterfully attracts the centre of attention. Playing up to five different characters, Ruby Shannon expertly balances the personalities of the dull Mr Collins, quirky Mary and outgoing Lydia. While her adaptation of Mr Collins is as tedious as ever, it’s the polar opposite of the excitable, chaotic and crude Lydia Bennet. However, it’s Shannon’s performance in *Young Hearts Run Free* that steals the show. *Pride and Prejudice\* (\*sort of)* is a regency romp that gives a middle finger to tradition and embraces the giddy chaos of girlhood. It’s a triumph that’s chock full of vibrant enthusiasm, off the charts musical talent and general hilarity. *Pride and Prejudice\* (\*sort of)* will have audiences doubled over and kicking their feet, wishing for more. ***Pride and Prejudice\* (\*sort of)* runs in Brisbane to 18 October at the** **Playhouse, QPAC as the final stop on its national tour.** Tickets: <https://www.prideandprejudicesortof.com.au/#book> Website: <https://www.prideandprejudicesortof.com.au/> Socials: <https://www.instagram.com/prideandprejudicesortofau/> [Read our Review of the Sydney Season](https://thescoop.au/review-pride-and-prejudice-sort-of-delivers-riotous-regency-chaos-in-sydney/) Photo credits: Matthew Chen **Categories:** Brisbane, Theatre --- ### [The Bachelor of Acting Class of 2026 Takes Their Final Bow At Showcase](https://thescoop.au/the-bachelor-of-acting-class-of-2026-takes-their-final-bow-at-showcase/) **Published:** October 2, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Bachelor of Acting Showcase 2026 Queensland Conservatorium Griffith University](https://thescoop.au/wp-content/uploads/2026/10/Showcase-Photos-03-942x628.jpeg "Bachelor of Acting Showcase 2026 Queensland Conservatorium Griffith University • The Scoop")There is something special about reaching the end of three years of acting training. By the time a graduating class arrives at its final Showcase, the audience has the opportunity to see not just what they can do, but the remarkable range of work they have explored along the way. For the third-year Acting students of Queensland Conservatorium, Griffith University, the 2026 Bachelor of Acting Showcase marks the culmination of that journey, and a celebration of a cohort whose training has been defined by talent, dedication and artistic growth. This is the seventh cohort to graduate from the Bachelor of Acting course, which commenced in 2018. The course began in the humble surroundings of Burke Street Studios and has since grown into a program based at the Cultural Centre in the heart of Southbank, placing its students among Brisbane’s major performing arts institutions and alongside industry professionals at neighbouring QPAC. Program Director Jacqui Somerville has overseen the course’s growth into an important pathway for emerging actors, and this year’s graduating class now joins the ranks of those who have gone before them. I have personally had the privilege of following this cohort throughout their training, attending three of their public performances. That journey began with *Understory* in 2025, an original work devised by the students with playwright Claire Christian, before moving into their third-year productions, *[Nell Gwynn](https://thescoop.au/review-nell-gwynn-is-a-witty-restoration-romp-bursting-with-joy/)* and *[August: Osage County](https://thescoop.au/review-august-osage-county-heralds-theatres-next-generation/)*. ![The Scoop Bachelor of Acting Showcase 2026 Queensland Conservatorium Griffith University](https://thescoop.au/wp-content/uploads/2026/10/Acting-Showcase-2026-942x628.jpg "Acting Showcase 2026 • The Scoop")A scene from The Return by Reg Cribb Photo by Hermione DevlinThose productions presented two very different theatrical challenges. *Nell Gwynn* invited the students to embrace the energy and theatricality of Restoration comedy while also finding the emotional depth beneath its historical setting. *August: Osage County*, meanwhile, demanded a very different kind of commitment, asking the ensemble to sustain the intensity and complexity of one of contemporary theatre’s most demanding family dramas. Showcase brings that breadth together in one final celebration. Presented for the second year in a row in the Diane Cilento Studio at Queensland Theatre Company, the intimate black-box space creates an opportunity to see the graduating actors up close as they move between a diverse selection of scenes, characters and theatrical styles. The evening opens with Georgia Cassidy in a scene from Laura Mannio’s *The Wedding Toast*, with the ensemble joining her on stage to add depth. From there, the Showcase moves into an adaptation of *Parallel Lives* by Mo Gaffney and Kathy Najimy, bringing the women of the cohort together in an endearing and amusing scene complete with Southern accents. The male members of the cohort explore a very different tone in a scene from Claire Christian’s *Pash*, based on Gordon Graham’s *The Boys*. Rather than presenting complete productions, these selections offer brief windows into larger works, allowing the audience to experience the range of styles and storytelling approaches the students have encountered during their training. ![The Scoop Bachelor of Acting Showcase 2026 Queensland Conservatorium Griffith University](https://thescoop.au/wp-content/uploads/2026/10/Showcase-2026-1-1-1-942x628.jpg "Bachelor of Acting Showcase 2026 Queensland Conservatorium Griffith University • The Scoop")An adapted scene from Parallel Lives Photo by Hermione DevlinComedy features prominently throughout the evening. Bonny Treloar explores the highly physical world of Richard Bean’s *One Man, Two Guvnors*, while Oliver Hunter tackles a comic rant from Laura Wade’s *Posh*. Mia Thomas brings the playful world of *Dating Hamlet* by Bruce Kane to the stage, while Jack Miller and Oliver Hunter delve into the wonderfully absurd world of Cole Escola’s *Oh, Mary!*, complete with its running joke about the horses laughing. The dramatic selections shift the mood again. Michael Hawkins takes on the famous “Tomorrow” speech from Shakespeare’s *Macbeth*, welcoming an opportunity to engage with classical text. Jamie Watson and Naire McDonald explore the intimacy of Brian Friel’s *Translations* in a scene centred on two people finding a connection despite a language barrier. Musical theatre provides another opportunity to demonstrate the breadth of the performers’ skills. Christina Morgan brings the larger-than-life world of *Smash* to the stage with *Let’s Be Bad*, while Ben Jason-Easton and Olivia Van Gool explore the quieter, more intimate world of *Once*. And bringing the evening to a suitably entertaining close, Ellie Dawson takes on *Girl Scout* from *Beetlejuice the Musical*. ![The Scoop Bachelor of Acting Showcase 2026 Queensland Conservatorium Griffith University](https://thescoop.au/wp-content/uploads/2026/10/Showcase-3-942x628.jpg "Bachelor of Acting Showcase 2026 Queensland Conservatorium Griffith University • The Scoop")A scene from Holding the Man Photo by Hermione DevlinAcross the evening, the selections move from Shakespeare to contemporary comedy, from intimate drama to musical theatre, from ensemble scenes to solo pieces and from heightened physical comedy to moments of genuine tenderness. That variety is perhaps the greatest gift of a Showcase. Rather than attempting to tell one story, it gives graduating actors the opportunity to show audiences the many different stories they are capable of telling. For this cohort, it also offered a final snapshot of three years of training and collaboration. From the in-house Chekhov production in their first year of training, to the second year Shakespeare school’s touring unit, to the three public performances, the Class of 2026 has had the opportunity to stretch themselves across an extraordinary range of theatrical worlds. The Showcase may mark the end of their formal training at the Queensland Conservatorium, Griffith University, but it is also the beginning of the next chapter. Twelve actors now step into the wider industry, carrying with them three years of training, collaboration, experimentation and discovery. Congratulations to the Class of 2026. We can’t wait to see where the next chapter takes you. **The Queensland Conservatorium Griffith University 3rd year Bachelor of Acting Showcase runs until 3 October at the Diane Cilento Studio, Queensland Theatre Company.** **78 Montague Road South Brisbane Qld 4101.** Tickets are available [here](https://tickets.queenslandtheatre.com.au/events?startDate=2026-10-01). Website: <https://www.queenslandconservatorium.com.au/> Socials: <https://www.instagram.com/qldcon.acting/> [Read Our Review of August: Osage County](https://thescoop.au/review-august-osage-county-heralds-theatres-next-generation/) Photo credits: Hermione Devlin **Categories:** Brisbane, Theatre --- ### [Review: August Osage County Heralds Theatre's Next Generation](https://thescoop.au/review-august-osage-county-heralds-theatres-next-generation/) **Published:** July 13, 2026 **Author:** Jackson Kellaway **Content:** ![The Scoop August Osage County Queensland Conservatorium Griffith University](https://thescoop.au/wp-content/uploads/2026/07/IMG_4524-940x628.jpg "August Osage County Queensland Conservatorium Griffith University • The Scoop")I walked into *August: Osage County* at Metro Arts on Saturday night with no prior knowledge. I had seen a production by the Acting cohort at the Queensland Conservatorium, Griffith University before, so I knew they were good. Nothing, however, could have prepared me for the storytelling I was about to witness. The Pulitzer Prize-winning play, written by Tracy Letts, is dark, but it’s packed with moments of humour. It follows a family coming together after the disappearance of Beverly Weston, the patriarch of the household. Along the way, it explores grief, death, infidelity, assault and drug abuse. These are heavy themes to bring to the stage, but the cast handle them with care. It is obvious these performers have become a close-knit ensemble over the past three years. That chemistry shines through in every scene, with impeccable comic timing across the entire cast. Michael Hawkins plays Beverly Weston, and his opening monologue immediately sets the tone for the play. A southern drawl fills the theatre as the man of the house discusses his wife’s needs with Johnna, the new live-in carer and housekeeper. He portrays an alcoholic father with precision and restraint, never once falling into the trap of an overacted stereotype. Enter Violet Weston, played by Bonny Treloar, the matriarch of the family. Violet is a spiralling drug addict with mouth cancer, trapped in a constant state of paranoia. Later, this is compounded by the apparent suicide of her husband. ![The Scoop August Osage County Queensland Conservatorium Griffith University](https://thescoop.au/wp-content/uploads/2026/07/IMG_4528-940x628.jpg "August Osage County Queensland Conservatorium Griffith University • The Scoop")The chemistry of the cohort shines through with impeccable comic timing across the cast Photo by Chloe Forbes Treloar commands the stage from the moment she enters, delivering an authentic and deeply layered performance. Her spiteful remarks and cutting delivery towards her family never feel cruel for the sake of it. Instead, they come from a place of deep hurt, making even Violet’s harshest moments feel heartbreakingly human. Treloar navigates the heightened emotional points with incredible power while still allowing the quieter, more vulnerable moments to breathe. Throughout the play, we are introduced to the three Weston daughters. Georgia Cassidy plays the eldest daughter, Barbara Fordham, capturing eldest sibling energy perfectly. Her Type A personality is evident throughout, even as everything around Barbara begins to unravel. Jamie Watson plays Bill Fordham, Barbara’s husband, taking a character that could easily fade into the background and giving him a genuine emotional journey. Although Bill has emotionally checked out of his marriage, Watson still shows the care his character has for both his wife and daughter. Ivy Weston, played by Mia Thomas, is the middle daughter who has remained closest to her parents. As the story unfolds, her patience begins to wear thin. Thomas plays the role with quiet confidence, making it clear that she is exhausted by her opinionated mother and often unhelpful siblings. ![The Scoop August Osage County Queensland Conservatorium Griffith University](https://thescoop.au/wp-content/uploads/2026/07/IMG_4529-940x628.jpg "August Osage County Queensland Conservatorium Griffith University • The Scoop")The level of skill emotional intelligence and passion for the craft makes it clear this cohort means business Photo by Chloe ForbesKaren Weston, the youngest of the three sisters, is played by Olivia van Gool. If Cassidy embodies eldest sibling energy, then van Gool absolutely nails youngest sibling energy. Karen is bubbly, constantly talking, and always eager to remind everyone just how wonderful her life is. Christina Morgan plays Mattie Fae Aiken, Violet’s sister, navigating the complicated character with precision. Morgan creates a character who is as frustrating as she is entertaining. Jack Miller plays Charlie Aiken, Mattie Fae’s husband. Miller brings just enough bravado to stand up to his wife while also revealing Charlie’s softer, more caring side, particularly in the scenes with his son. Little Charles Aiken is played by Oliver Hunter, who quickly became an audience favourite. The audible “awws” throughout the theatre were proof of that. Hunter’s awkwardness, gentle nature and the constant belittling from his mother made the audience want to take him under their wing and protect him. Ellie Dawson plays Jean Fordham, daughter of Barbara and Bill, delivering the bratty teenager with perfection. Every disapproving glare aimed at her parents feels utterly authentic. She captures teenage exasperation with uncanny accuracy. Ben Jason-Easton plays Steve Heidebrecht, Karen’s “perfect” fiancé. Jason-Easton portrays the sleazy Steve with an unnerving ease that makes every scene he appears in increasingly uncomfortable. ![The Scoop August Osage County Queensland Conservatorium Griffith University](https://thescoop.au/wp-content/uploads/2026/07/IMG_4522-940x628.jpg "August Osage County Queensland Conservatorium Griffith University • The Scoop")Nothing could have prepared me for the storytelling I was about to witness Photo by Chloe ForbesNaire McDonald plays Johnna Monevata, the Westons’ live-in carer and housekeeper. Johnna increasingly becomes the quiet thread that holds the family together. McDonald brings a warmth and gentleness that provides a welcome contrast to the chaos unfolding around her. The level of skill, emotional intelligence and passion for the craft displayed makes it clear this cohort means business. Directed by Ngoc Phan, it is obvious these performers have embraced every lesson from their award-winning director. The staging is equally impressive, making clever use of the space with clearly defined rooms of the house while leaving the walls open so the audience can witness the action unfolding throughout the home. Another directorial choice that stands out is combining Acts Two and Three into one continuous act. This meant the audience went into the interval with Violet in a delusional state, repeatedly chanting, *“And then you’re here,”* before the production goes full circle, ending with Violet once again alone, softly repeating, *“And then you’re gone.”* It is a simple but incredibly effective framing device that left the audience sitting with the emotional weight of the family’s journey long after leaving the theatre. *August: Osage County* serves as a reminder of the exceptional training available to young performers right here in Queensland. If this cohort is anything to go by, the future of Australian theatre is in very good hands. ***August: Osage County* is presented by the third year Bachelor of Acting students from the Queensland Conservatorium, Griffith University. It runs to 18 July at New Benner Theatre, Metro Arts**. **97 Boundary Street West End Qld 4101.** Tickets: <https://metroarts.com.au/event/august-osage-county/> Website: <https://www.queenslandconservatorium.com.au/> Socials: <https://www.instagram.com/qldcon.acting/> [Read our Review of Nell Gwynn](https://thescoop.au/review-nell-gwynn-is-a-witty-restoration-romp-bursting-with-joy/) Photo credits: Chloe Forbes **Categories:** Brisbane, Theatre --- ### [Announcing New Work Wild Abandon For Melt Festival](https://thescoop.au/announcing-new-work-wild-abandon-for-melt-festival/) **Published:** October 1, 2026 **Author:** Newsroom **Content:** ![The Scoop Wild Abandon Playlab Theatre Melt Festival](https://thescoop.au/wp-content/uploads/2026/10/PL26_WildAbandon_BPH-BannerSml_1050x520_0001_Preferred.jpg "Wild Abandon Playlab Theatre Melt Festival • The Scoop")***Wild Abandon*** is a bold, sensual, multi-narrative drama coming to **MELT Festival in 2026**. A daring new work by **Seán Dowling**, **Ian Lawson**, and **Merlynn Tong**, it’s a funny, messy, and unexpectedly tender play about sex, intimacy, and the rules we make to feel safe. Set across a single night in a nondescript hotel room, *Wild Abandon* follows three couples arriving with three different agendas — all chasing the same thing: permission. Permission to want what they want. Permission to break their own rules. Permission to be seen, without being swallowed whole by shame, expectation, or someone else’s fantasy. It’s the final night of Lilly’s “free pass” from her marriage when, in a hotel bar, she meets Francis, a trans woman who’s tired of men wanting to test their queerness. Their connection moves fast, and defences come down, leaving them exposed to the worst of each other. Serene and Jade are past lovers who promised to meet again in this hotel room if they’re single in five years. Sparks fly the moment they lay eyes on each other. However, as truths unravel, old wounds are excavated, and desires are undermined by lies they’ve told themselves. In a hotel room, Jo is waiting alone. Mik is late. When he does turn up, this Grindr hook-up rapidly goes off-script as they struggle to connect. Facades crack, and maladaptive base instincts come to their defence. *Wild Abandon* interrogates patterns we are nurtured into, where every character is challenged to find love for themselves as they desperately seek it in another. ![The Scoop Wild Abandon Playlab Theatre Melt Festival](https://thescoop.au/wp-content/uploads/2026/10/PL26_WildAbandon_Banner_1920x1080__01-1116x628.jpg "Wild Abandon Playlab Theatre Melt Festival • The Scoop")**ABOUT THE PLAYWRIGHTS** SEÁN DOWLING is a transgender playwright, actor and editorialist based in Meanjin. Her work blends the tradition of the Seanchaí (pronounced “shan-a-kee”), the ancient Irish clan storyteller, with the modern “Obnoxious Online Opinion-Haver.” She received the 2025 Varuna Trans and Gender Diverse Fellowship for her upcoming novel *Unexploded Ordinance*, and has been Playlab Theatre’s Playwright-in-Residence since 2021. Seán writes at the crossroads of sex, gender, politics and pop culture. After debuting with Playlab in 2024 with *Unconditional* (co-written with Cameron Hurry), *Wild Abandon* is her second major work. MERLYNN TONG is a writer and actor whose stage credits include *Legends (of the Golden Arches)* (Performing Lines WA), *The Poison of Polygamy* (La Boite), *Golden Blood* (Griffin), *Blue Bones* (Playlab Theatre) and *White Pearl* (Sydney Theatre Company). Her one-woman show *Blue Bones* won six Matilda Awards, including the Lord Mayor Award for Best New Work, Best Mainstage Production and Best Female Actor. Her work *Golden Blood* was shortlisted for a Victorian & NSW Premier’s Literary Award and a Sydney Theatre Award for Best New Australian Work. IAN LAWSON is a multi-award-winning Director and Dramaturg known for developing and directing critically acclaimed works including *Blue Bones*, *The Dead Devils of Cockle Creek*, *Magpie*, *Horizon*, *Slow Boat*, *White China* and *Big Yikes!*. Ian was Associate Director at La Boite (2002–08), where he directed numerous productions, including *My Love Had a Black Speed Stripe*, *Last Drinks*, *The Danger Age*, and *The Narcissist*, and its return season for Sydney Theatre Company. **ABOUT PLAYLAB THEATRE** Playlab Theatre has been challenging perspectives on Australian society through excellence in theatre for more than 54 years. Unique nationally, we develop, produce and publish contemporary Australian stories—keeping playwrights at the centre of the creative process. ***Wild Abandon* is a Playlab Theatre Production, presented in partnership with Brisbane Powerhouse for MELT Festival.** **It runs 11 – 21 November 2026 at the Underground Theatre, Brisbane Powerhouse.** Tickets are available [here](https://brisbanepowerhouse.org/events/wild-abandon/). Website: <https://brisbanepowerhouse.org/events/wild-abandon/> Socials: <https://www.instagram.com/melt.fest/> and [https://www.instagram.com/playlab\_theatre/](https://www.instagram.com/playlab_theatre/) [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. WARNING: Please note this production is R18+ and includes coarse language, adult themes, sexual content, and partial nudity. **CREATIVES** Director **Daniel Lammin** Sound **Wil Hughes** Lighting **Steven May** Intimacy / Fight Choreographer **NJ Price** Cast **Zac Callaghan**, **Julian Curtis**, **Seán Dowling**, **Jodie Le Vesconte**, **Anna McGahan**, and **Merlynn Tong** **Categories:** News --- ### [Announcing Stars Of Breaking Bad For Australian Tour 2027](https://thescoop.au/announcing-stars-of-breaking-bad-for-australian-tour-2027/) **Published:** September 30, 2026 **Author:** Newsroom **Content:** ![The Scoop An Evening With Bryan Cranston and Aaron Paul Breaking Bad](https://thescoop.au/wp-content/uploads/2026/09/5B2A8735-933x628.jpg "An Evening With Bryan Cranston and Aaron Paul Breaking Bad • The Scoop")The stars of Breaking Bad, Bryan Cranston and Aaron Paul, are heading to Australia and New Zealand in January 2027. For five years **Bryan Cranston** and **Aaron Paul** lived inside them: the chemistry teacher, cooking his way to ruin. The aimless kid, struggling to find his identity. They filmed in the desert, drove home in the dark, and came back the next morning to do it all again. By the end of it they had made something a generation will never let go of – and they had found, in each other, enduring friendship. For the first time together in Australia, Bryan and Aaron will be on stage together to talk about how the show was made, what it gave to each, and what it took out of them. They will discuss everything *Breaking Bad*: the writing, the production’s long days, the mistakes, the danger, the scenes that cracked them up with laughter – and the ones that broke them up with despair. **Tickets** on presale from **1pm local time today** with general on sale from 1pm local time, **Friday 2 October 2026**. The New York Times has just placed *Breaking Bad* as the #1 show of the 21st Century – as voted on by over 500 stars, show-runners, and other notable names. *Breaking Bad* made them international stars… but find out what they’re really made of. What drives them? What they advise young artists hoping to have a career in the performing arts. What they enjoy doing when they’re not working. Their personal lives…and if they’ve tried Vegemite! This is not a panel and not a press tour. It is two extraordinary men, in two ordinary chairs, in an unguarded conversation about the roles that defined a generation, the years that shaped them, and the friendship: improbable, durable, the kind people write about – that has carried them through everything since. Join them for a talk about their Empire Business. And they’ll be sharing news on their tequila & mezcal, of course! ![The Scoop An Evening With Bryan Cranston and Aaron Paul Breaking Bad](https://thescoop.au/wp-content/uploads/2026/09/5B2A5480-942x628.jpg "An Evening With Bryan Cranston and Aaron Paul Breaking Bad • The Scoop")Aaron Paul and Bryan Cranston are coming to Australia in January 2027 Image supplied**ABOUT BRYAN CRANSTON:** Bryan Cranston is an Academy Award nominee, and an Emmy, Golden Globe, Screen Actors Guild, Tony, and Olivier Award winner. He won four Emmy Awards for Outstanding Lead Actor in a Drama Series for his portrayal of Walter White in AMC’s *Breaking Bad*. He holds the honour of being the first actor in a cable series, and the second lead actor in the history of the Emmy Awards, to receive three consecutive wins. In 2014 he won a Tony Award for his role as Lyndon Johnson in the bio-play *All the Way*. In film, Cranston received an Academy Award nomination for his leading role in *Trumbo*. Among his numerous television and film appearances, he was nominated for a Golden Globe and three Emmys for his portrayal of Hal in FOX’s *Malcolm in the Middle*. He is the author of *A Life in Parts*. Beyond acting, he co-founded Dos Hombres mezcal with Aaron Paul, a venture that reflects the deep friendship forged during their years on *Breaking Bad.* **ABOUT AARON PAUL:** Aaron Paul is a critically acclaimed actor best known for his transformative role as Jesse Pinkman in the groundbreaking series *Breaking Bad.* For this role, he earned three Primetime Emmy Awards for Outstanding Supporting Actor in a Drama Series, cementing his status as one of television’s most celebrated performers. A native of Idaho, Paul built an impressive career across television, film, and digital media, with notable roles in *Mission: Impossible III, K-Pax, Beverly Hills 90210, Melrose Place,* and the HBO series *Westworld.* He also provided voice work for the acclaimed Netflix animated series *BoJack Horseman.* In 2019, Paul co-founded Dos Hombres mezcal with Bryan Cranston. ![The Scoop An Evening With Bryan Cranston and Aaron Paul Breaking Bad](https://thescoop.au/wp-content/uploads/2026/09/5B2A8787-942x628.jpg "An Evening With Bryan Cranston and Aaron Paul Breaking Bad • The Scoop")Presale tickets open today with general tickets available on Friday Image supplied**ABOUT BREAKING BAD:** *BREAKING BAD* follows protagonist Walter White (Bryan Cranston), a chemistry teacher who lives in New Mexico with his wife (Anna Gunn) and teenage son (RJ Mitte) who has cerebral palsy. White is diagnosed with Stage III cancer and given a prognosis of two years left to live. With a new sense of fearlessness based on his medical prognosis, and a desire to secure his family’s financial security, White chooses to enter a dangerous world of drugs and crime and ascends to power in the world. The series explores how a fatal diagnosis such as White’s releases a typical man from the daily concerns and constraints of normal society and follows his transformation from mild family man to a kingpin of the drug trade. Breaking Bad premiered in January 2008 and concluded in 2013 after five seasons and 62 episodes. At its conclusion, *Breaking Bad* was widely regarded as one of the greatest television series of all time. The show won 16 Primetime Emmy Awards, 2 Golden Globe Awards, and a combined total of 110 industry awards, with 262 nominations across major international award bodies. **FANE presents An Evening With Bryan Cranston and Aaron Paul, touring to Brisbane, Perth, Melbourne and Sydney from 15 January 2027. Full dates are below.** Tickets on presale from 1pm local time today with general on sale from 1pm local time, Friday 2 October 2026. Tickets and further details [here](https://fane.com.au/whats-on/an-evening-with-bryan-cranston-aaron-paul/#tickets). Website: <https://fane.com.au/whats-on/an-evening-with-bryan-cranston-aaron-paul/> Socials: <https://www.instagram.com/faneaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. 2027 Australian Tour Dates: Brisbane 15 January, Entertainment Centre Perth 18 January, RAC Arena Melbourne 22 January, Convention & Exhibition Centre Sydney 25 January, TikTok Entertainment Centre **Categories:** News --- ### [Announcing The Picture Of Dorian Gray: A 2027 Homecoming](https://thescoop.au/announcing-the-picture-of-dorian-gray-a-2027-homecoming/) **Published:** September 29, 2026 **Author:** Newsroom **Content:** ![The Scoop The Picture of Dorian Gray Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/PODG_1200x630_HR-1196x628.jpg "The Picture of Dorian Gray Sydney Theatre Company • The Scoop")The **Sydney Theatre Company** global Olivier and Tony Award-winning hit, Kip Williams’ cine-theatre adaptation of ***The Picture of Dorian Gray*** returns to **Australia in 2027** to play strictly limited seasons at the Ian Potter Theatre at Arts Centre **Melbourne**, **Sydney** Theatre Company’s Roslyn Packer Theatre and Queensland Performing Arts Centre (QPAC)’s Glasshouse Theatre in **Brisbane**. Nikki Shiels, who was alternate performer for the 2022 Sydney and Melbourne seasons, will return to the role, playing 26 characters in the high wire feat of performance, stagecraft and technology described by *The Hollywood Reporter* as “an exhilarating piece of storytelling.” ![The Scoop Sydney Theatre Company 2027 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-The-Picture-of-Dorian-Gray_NikkiShiels_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season Launch • The Scoop")Image credit Holly WardDirector and adaptor, **Kip Williams** said: *“I am delighted to be bringing The Picture of Dorian Gray home to Australia next year, and so excited to once more have the opportunity to share this story with the amazing audiences of Melbourne and Sydney and introduce Dorian to Brisbane.* *I am also over the moon to be reuniting with the phenomenal Nikki Shiels. Nikki is one of the greatest actors of her generation, and I cannot wait to see her pour her prodigious gifts into all 26 characters of Oscar Wilde’s prophetic tale.”* Premiering at Sydney Theatre Company in 2020 with Eryn Jean Norvill, *The Picture of Dorian Gray* opened to audience and critical acclaim and went on to tour Australia, including two encore seasons in Sydney, before becoming the hottest ticket in town during sold-out runs on the West End and Broadway with Sarah Snook, where it was hailed as “a triumph” (*The New York Times*). **Sydney Theatre Company’s *The Picture of Dorian Gray* runs in Sydney from June, Brisbane in August and Melbourne in September 2027. See full dates below.** Waitlist for Melbourne [here](https://pages.wordfly.com/sydneytheatreco/pages/2027-Dorian-Gray-ACM-Waitlist/?sid=##subscriberMailingId##) and Sydney [here](https://www.sydneytheatre.com.au/whats-on/2027/productions/picture-of-dorian-gray-2027). Tickets for Brisbane are on sale [here](https://www.qpac.com.au/whats-on/2027/the-picture-of-dorian-gray). Website: <https://www.sydneytheatre.com.au/whats-on/2027/on-tour/the-picture-of-dorian-gray-melbourne> Socials: <https://www.instagram.com/sydneytheatreco/> [Read more about STC’s 2027 Season](https://thescoop.au/announcing-sydney-theatre-company-2027-season/) Hero image: Daniel Boud 2027 Australian Tour Dates: Sydney 30 June – 25 July, Roslyn Packer Theatre Brisbane 10 – 28 August, Glasshouse Theatre, QPAC Melbourne 7 – 18 September, Ian Potter Theatre, Arts Centre Melbourne **A Sydney Theatre Company Production** The Picture of Dorian Gray **By Oscar Wilde** Director and Adaptor **Kip Williams** Designer **Marg Horwell** Lighting Designer **Nick Schlieper** Composer & Sound Designer **Clemence Williams** Video Designer **David Bergman** **Categories:** News --- ### [Film Review: The Great Arch Finds The Fault Line Between Vision & Compromise](https://thescoop.au/film-review-the-great-arch-finds-the-fault-line-between-vision-compromise/) **Published:** September 29, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop THE GREAT ARCH film](https://thescoop.au/wp-content/uploads/2026/09/THE-GREAT-ARCH-11-Michel-Fau-©Julien-Panie-2025-AGAT-FILMS-LE-PACTE-839x628.jpg "THE GREAT ARCH film • The Scoop")Political careers are terminal. Monuments are built to outlive them. That promise has rarely looked more seductive, or dangerous, than it does now, as leaders again reach for arches, towers and grand public works to project permanence beyond the next election. Stéphane Demoustier’s *The Great Arch* returns to François Mitterrand’s Paris of the 1980s, when architecture became a form of presidential authorship. Yet its subject is not simply what powerful men build. It is what happens to the people required to turn their visions into concrete. Written and directed by Demoustier, and adapted from Laurence Cossé’s 2016 novel *La Grande Arche*, the film dramatises the creation of the Grande Arche at La Défense. In 1983, an international competition is won by Johan Otto von Spreckelsen, an obscure 53-year-old Danish architect and teacher with only a handful of churches and his own home behind him. He calls the great white cube his life’s work. He repeats it often enough that the phrase begins to sound less like pride than a warning. Why had recognition eluded him until then? How did his design defeat submissions from established firms? The film leaves those questions hovering over its perfect geometric model. Perhaps Spreckelsen could imagine something so pure because he did not yet understand all the technical, political and regulatory reasons it could not remain that way. Claes Bang plays him with a precision that is charismatic and infuriating. There is something thrilling in Spreckelsen’s refusal to let committees sand down an idea until nothing memorable remains. He has spent his life teaching students what architecture might be. At last, somebody has handed him the resources to prove it. Then the materials, budgets, bureaucrats and engineers arrive. ![The Scoop THE GREAT ARCH film](https://thescoop.au/wp-content/uploads/2026/09/THE-GREAT-ARCH-10-Claes-Bang-©Julien-Panie-¸2025-AGAT-FILMS-LE-PACTE-839x628.jpg "THE GREAT ARCH Claes Bang • The Scoop")Claes Bang plays Spreckelsen with a precision that is charismatic and infuriating ©Julien Panie 2025 AGAT FILMS LE PACTEHis great opportunity becomes an Icarus story conducted through blueprints and concrete slabs. Spreckelsen knows how the Arch should look, but every physical limit feels to him like a moral failure by somebody else. When experienced French architect Paul Andreu explains that a structure of this size must move with the elements, the metaphor almost writes itself. Great buildings must sway. Spreckelsen will not. Swann Arlaud gives Andreu a weary practicality that prevents the conflict from becoming a simple contest between an artist and a philistine. He has already built at monumental scale. The Grande Arche could not stand without its two sides. Neither can the film. Bang and Arlaud become opposing pillars, bearing the weight between inspiration and execution. One man creates the shape; the other understands how to keep it upright. The tragedy is that each needs what he resents in the other. Mitterrand is initially Spreckelsen’s most powerful ally. Michel Fau plays the President with calm, while Xavier Dolan supplies comic relief as the public servant tasked with translating sovereign whim into administrative reality. Their office scenes occasionally slip into *Yes, Minister* territory: *Oui, Président*, perhaps. There is a democratic warning inside the comedy. Mitterrand recognises the emotional force of Spreckelsen’s idea, but he does not possess Andreu’s technical knowledge. ![The Scoop THE GREAT ARCH film](https://thescoop.au/wp-content/uploads/2026/09/THE-GREAT-ARCH-02-Swann-Arlaud-Xavier-Dolan-Claes-Bang-©Julien-Panie-¸2025-AGAT-FILMS-LE-PACTE_0-842x628.jpg "THE GREAT ARCH film • The Scoop")There is a democratic warning inside the comedy ©Julien Panie 2025 AGAT FILMS LE PACTEA charismatic leader and an uncompromising visionary can reinforce each other’s certainty, overruling people who know where the ground will shift and what the materials can bear. Expertise becomes an obstruction until the obstruction proves real. Spreckelsen resisted pleas to treat the marble tiles; seven years later they needed to be replaced with granite. Sidse Babett Knudsen, as Spreckelsen’s wife Liv, and Arlaud bring pragmatic intelligence into rooms swollen with ideals. They can see that the project is consuming the man before he can admit it. Knudsen is especially affecting in the smaller passages away from Paris: fishing, watching television, sharing the habits of a marriage that existed before the Arch and may not survive it. Those glimpses also expose the film’s most productive uncertainty. We mainly know Spreckelsen while the project has him in its grip. Was the grandiosity always present? Did he lord his knowledge over his students while waiting for the world to recognise him? Or does a once-in-a-lifetime commission produce the madness required to complete it? Bang allows all those possibilities to remain alive. His Spreckelsen can joke with students and sit quietly beside his wife, then become rigid with fury when another person touches the sacred geometry. Part of us is drawn to that refusal to bend. Another part remembers every compromise we have made to keep a job, relationship or dream alive and wonders why he believes himself exempt. Following *The Brutalist*, *The Great Arch* confirms how much drama can be found in scale drawings, material samples and load-bearing calculations. ![The Scoop THE GREAT ARCH film](https://thescoop.au/wp-content/uploads/2026/09/THE-GREAT-ARCH-03-Sidse-Babett-Knudsen-Claes-Bang-©AGAT-FILMS-LE-PACTE_0-838x628.jpg "THE GREAT ARCH film • The Scoop")Sidse Babett Knudsen brings pragmatic intelligence into rooms swollen with ideals ©AGAT FILMS LE PACTEThat makes the film’s most conspicuous omission difficult to ignore. The competition-winning design was developed by Spreckelsen with Danish engineer Erik Reitzel, whose structural work helped make the cube possible. Yet the drama concentrates its collaborative struggle around Spreckelsen and Andreu. For a film so interested in the gap between solitary genius and collective construction, Reitzel’s absence raises questions about how much history has been rearranged to produce a cleaner conflict. Demoustier is not making a documentary, and compression is unavoidable. Still, leaving an engineer out of a story filled with disputes about engineering risks reproducing the very mythology the film interrogates: that a monument springs from one exceptional mind, with everyone else reduced to obstacle or assistant. The Arch endures because it was never purely one man’s work. That truth diminishes neither Spreckelsen’s vision nor the toll its realisation took on him. It gives the achievement its proper scale. *The Great Arch* understands that artistic purity can be magnificent on paper and brutal in practice. Its politics land sharply in an age of leaders who prefer compliant spectacle to awkward expertise. Its finer achievement, though, is more intimate. It looks at a man who finally receives everything he thought he wanted and discovers that a life’s work must enter a world he cannot control. Monuments may resist time. Their makers remain mortal, fallible and dependent on others. Even the grandest arch needs somebody willing to let it sway. ***The Great Arch* is presented by Palace Cinemas and nationally this Thursday 1 October 2026.** Check the website for session times. Website: <https://www.palacefilms.com.au/the-great-arch> Socials: <https://www.instagram.com/palacecinemas/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Film stills: ©Julien Panie 2025 AGAT FILMS LE PACTE. Watch the trailer here: **Film details:** Title: The Great Arch Director: Stéphane Demoustier Cast: Claes Bang, Sidse Babett Knudsen, Xavier Dolan, Swann Arlaud, Michel Fau Country of Origin: France Duration: 107 mins Rating: PG Showing at cinemas around the country: **Sydney:** Palace Central, Palace Norton Street, Palace Moore Park, Hayden Orpheum Cremorne, Roseville Cinema **Melbourne:** Palace Balwyn, Palace Brighton Bay, Cinema Como, Palace Westgarth, Palace Pentridge, Palace Penny Lane Cinema, Cinema Nova, The Kino, Palace Regent Cinema Ballarat **Adelaide:** Palace Nova Eastend & Prospect **Brisbane:** Palace Barracks & Palace James St Cinemas, Graceville Regal **Byron Bay:** Palace Byron Bay **Canberra:** Palace Electric **Perth:** Palace Raine Square, Luna Leederville, Luna on SX **Hobart:** State Cinema **Categories:** Film --- ### [Review: Les Femmes Brings Fresh Energy To Classic Hits](https://thescoop.au/review-les-femmes-brings-fresh-energy-to-classic-hits/) **Published:** September 28, 2026 **Author:** Daisy Heywood **Content:** ★★★★★ ![The Scoop Les Femmes West End Electric Brisbane](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-27-at-121411-pm-878x628.png "Les Femmes West End Electric Brisbane • The Scoop")*Les Femmes*, a powerhouse trio of female vocalists, made their Brisbane debut at *The West End Electric* in Brisbane yesterday. Reimagining songs originally performed and made famous by men, the group puts a fun feminist spin on rock, pop and R&B classics, transforming familiar tracks into something entirely their own. The *West End Electric* was the perfect setting for the trio’s debut performance: an intimate yet dramatic venue that allowed their powerful voices and infectious energy to take centre stage. The show kicked off with a striking rendition of Frank Sinatra’s *That’s Life*. Emma Mylott, Jacinta Gulisano and Kirrah Amosa burst onto the stage in shirts and ties, glittery suit trousers, and (very) high heels. It was a playfully feminine nod to a show that celebrates songs made famous by men, placing them in the hands of women. From the opening number, the trio’s individual strengths were unmistakable. Emma brings an undeniable intensity and edge to the stage, Jacinta delivers extraordinary pop melodies, whilst Kirrah’s vocals add a rich, sultry warmth to the performance. ![The Scoop Les Femmes West End Electric Brisbane](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-27-at-121605-pm-831x628.png "Les Femmes West End Electric Brisbane • The Scoop")Each section of the show is dedicated to the important men in our lives Photo by Leslie LiuWhilst each artist is an accomplished performer in her own right, the beauty of *Les Femmes* lies in how well they come together. The trio deliver flawless harmonies and captivating vocal arrangements in a performance that is completely enthralling. *Les Femmes* dedicates different sections of the show to the important men in our lives: partners, friends, fathers, exes and everything in between. I particularly loved the distinction between each section, with the trio effortlessly shifting tone and energy from one to the next. One moment they were performing a sexy and sultry romance section, and the next they were having fun with songs belonging to the ‘players’, the ‘charmers’ and the ‘good guys’. Each section brought its own personality to the show, exploring the ways that many different men can feature in our lives, for better or for worse. The section that particularly captivated me opened with the familiar *Rocket Man* and was dedicated to perhaps the most significant men in many of our lives: our fathers. My dad has brought me up to love and appreciate music, introducing me to many of the artists that *Les Femmes* celebrated during their performance, such as Elton John, George Michael and Queen, alongside many others. ![The Scoop Les Femmes West End Electric Brisbane](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-27-at-121447-pm-880x628.png "Les Femmes West End Electric Brisbane • The Scoop")The beauty of Les Femmes lies in how well they come together Photo by Leslie LiuFor me, the section was a nostalgic reminder of the role my dad has played in shaping my love of music. As I listened to the songs that my dad and I both love, I found myself wishing he could have been there beside me to share the moment. Emma, Jacinta and Kirrah aren’t just singers; they are performers. From the impressive choreography and hilarious crowd work to the chemistry between them, the trio made it clear that they were genuinely having fun. The magnetic energy of *Les Femmes* was infectious as the audience danced and sang along to the show, giving me goosebumps throughout. And somehow, they managed to do all of this in heels! Unsurprisingly, it was mainly women in the audience, but there were also plenty of men. With shows scheduled for Brisbane and Sydney, all in a Sunday afternoon time slot, *Les Femmes* is perfect for those looking for a good day out, or for anyone who loves great music and a bit of a dance. ***Les Femmes* is playing Sunday afternoons on the 18 October & 29 November at *The Grand Electric Sydney* and 27 September & 8 November at *The West End Electric Brisbane.*** Tickets for Brisbane are [here](https://feverup.com/m/700723). Tickets for Sydney are [here](https://feverup.com/m/648769). Website: <https://www.lesfemmes.com.au/> Socials: <https://www.instagram.com/lesfemmes.au/> [Read more of our Latest Reviews](https://thescoop.au/latest/) Photo credits: Leslie Liu Photography **Categories:** Brisbane, Circus, Concerts --- ### [Bespoke By Queensland Ballet Opens This Week](https://thescoop.au/bespoke-by-queensland-ballet-opens-this-week/) **Published:** September 28, 2026 **Author:** Newsroom **Content:** ![The Scoop Queensland Ballet Bespoke 2026](https://thescoop.au/wp-content/uploads/2026/09/QlD-Ballet-Bespoke-2026-Jospeh-Moss-bottomSooan-LeeGabriel-Lowe-topJakob-Perrett-32-942x628.jpg "Queensland Ballet Bespoke 2026 • The Scoop")This week, **Queensland Ballet** opens its annual ***Bespoke*** season at the Talbot Theatre, Thomas Dixon Centre, presenting three new contemporary works by internationally experienced choreographers *Where the Water Once Was* by **Claire Voss**, *Between the Lines* by **Paul Knobloch** and *What Remains* by **Victor Zarallo**. In 2026, *Bespoke* takes a new direction under Queensland Ballet Artistic Director Ivan Gil-Ortega, who invited artists from across the dance world to submit original concepts that push the boundaries of movement, music and design. From those submissions, three standout ideas were selected and developed into new works. **Ivan Gil-Ortega** said: *“Part of my vision is to give all choreographers and designers the opportunity to create and collaborate. When artists from different disciplines come together, it sparks new ideas and allows bold new voices to emerge.”* *I trained in the tradition of the legendary choreographer John Cranko and was aware of how he nurtured and influenced a generation of choreographic voices such as Sir Kenneth MacMillian, Sir Peter Wright and German choreographer, Christian Spuck, whose works we presented this year.”* *Choreographers Claire Voss, Victor Zarallo, and Paul Knobloch each bring a distinctive creative spark to their concepts. By giving them the space and support to bring their visions to life, we’re helping shape the future of the artform.”* ![The Scoop Bespoke Queensland Ballet](https://thescoop.au/wp-content/uploads/2026/09/Bespoke-26-Choreographers-Claire-Voss-Paul-Knobloch-Victor-Zarello-Photo-Jakob-Perrett-2-942x628.jpg "Bespoke Queensland Ballet • The Scoop")Bespoke 26 Choreographers Claire Voss Paul Knobloch and Victor Zarello Photo by Jakob PerrettWhile each work inhabits a very different world, they are connected by a common question: how do we respond to the forces that challenge our sense of identity, security and balance? Claire Voss turns her attention to one of the most pressing challenges facing the planet in *Where the Water Once Was*. Created with composer Connor D’Netto, the work confronts climate change, water scarcity and humanity’s increasingly complex relationship with one of our most fundamental resources. Featuring 12 dancers, with women representing water and men embodying drought-stricken landscapes, the work asks audiences to consider the consequences of our everyday choices and our shared responsibility for the future. ![The Scoop Bespoke Queensland Ballet](https://thescoop.au/wp-content/uploads/2026/09/Qld-Ballet-Bespoke-2026-choreographer-Paul-Knobloch-Emily-Sprout-Photo-Jakob-Perrett-16-942x628.jpg "Qld Ballet Bespoke 2026 choreographer Paul Knobloch Emily Sprout Photo Jakob Perrett-16 • The Scoop")Choreographer Paul Knobloch and Emily Sprout Photo by Jakob PerrettPaul Knobloch’s *Between the Line*, created with composer Matej Perunicic, turns the examination inward. Exploring the delicate space between angst and ease, the work considers how pressure, perfection and the desire for control manifest in the mind and body. As repetition and rhythm intensify, movement becomes a pathway towards release, inviting us to surrender what cannot be controlled and find moments of balance amid uncertainty. Vitor Zarallo’s *What Remains* created with composer Brady Watkins, explores the tension between individuality and conformity. Using 20 dancers across five movements, a central female character navigates guidance, social pressure, trust and adaptation, striving to find her place within the collective without sacrificing the essence of who she is. ***Bespoke* is presented by Queensland Ballet and runs 2 – 17 October 2026 at Thomas Dixon Centre,** **406 Montague Road West End Qld 4101.** Tickets are available [here](https://purchase.queenslandballet.com.au/overview/3420). Website: <https://www.queenslandballet.com.au/performances/2026/bespoke> Socials: <https://www.instagram.com/qldballet/> [Read more about Queensland Ballet](https://thescoop.au/?s=queensland+ballet) Hero image: Jospeh Moss, Sooan Lee and Gabriel Lowe in rehearsal for *Bespoke*. Photo by Jakob Perrett **Categories:** News --- ### [Announcing S,B&W Foundation Grants In Celebration of 40th Anniversary](https://thescoop.au/announcing-sbw-foundation-grants-in-celebration-of-40th-anniversary/) **Published:** September 28, 2026 **Author:** Newsroom **Content:** ![The Scoop S,B&W Foundation Grants 2027](https://thescoop.au/wp-content/uploads/2026/09/Rodney-Seaborn-with-Carol-Martin-Celebrating-the-Stables-25th-Birthday-and-the-10th-Anniversary-of-SBW-Foundation-November1996-932x628.jpg "S,B&W Foundation Grants 2027 • The Scoop")Last week, the Seaborn, Broughton & Walford Foundation, a charity established in 1986 to assist the performing arts in Australia, celebrated its 40th Anniversary year by announcing $400,000 in Grants awarded to successful applicants for 19 projects scheduled for 2027. In presenting the awards, S,B&W Foundation’s President Peter Lowry AM, congratulated the recipients, wished them well and expressed thanks to the Grants Panel who had the task of selecting winners from over 100 entries, a 40% increase on last year. The 2026 Grants were awarded to ten individuals and seven organisations, with an additional two Foundation Directed Grants reflecting the Founder’s inclinations. Peter also mentioned the importance of the loyal Friends of the Foundation in carrying out the Foundation’s mission, a dedicated community of performing arts supporters now numbering over 1,000. The venue, the UUSC Club was chosen in honour of the Founder, the late Dr Rodney Seaborn AO OBE, who was a member, and selected it for anniversaries in previous decades. Toasts were proposed to Dr Seaborn by his friend, artist Paul Delprat, and to the S,B&W Foundation by the Hon Ben Franklin MLC President of the State Legislative Council and a former Arts Minister. The MC was Simon Moore OAM, prominent radio presenter, producer and Chair of the Board of Directors at 2MBSFM Fine Music, where the S,B&W Foundation is a sponsor of two popular performing arts programs, *Stage & Screen* and *In Conversation*. Attendees appreciated the opportunity to meet and converse with other performing arts practitioners and welcomed the eclectic mix of successful applicants, from many branches of the performing arts, a proportion coming from interstate in line with the Foundation’s mission to assist the performing arts throughout Australia. Entertainment was provided by Steven Kramer, composer and writer of *Phar Lap – The Electro-Swing Musical*, an award-winning production that was supported by the Foundation. Steven, who together with cast member Justin Smith performed *Heart* from the show, confirmed that the show’s journey continues. It will return to Carriageworks in July 2027 before embarking on a national tour. ![The Scoop S,B&W Foundation Grants 2027](https://thescoop.au/wp-content/uploads/2026/09/Peter-Lowry-and-Dr-Seaborn-954x628.jpeg "S,B&W Foundation Grants 2027 • The Scoop")Peter Lowry and Dr Seaborn Image suppliedINDIVIDUAL GRANTS **Jack Bolton (ACT)** To support his Master of Opera Singing at the Hochschule für Musik und Theater in Leipzig, Germany, providing advanced vocal training, performance opportunities and professional development. **Patrick Cronin (Vic) To support the development of *The Journey*, an immersive theatre experience for young audiences, combining music, storytelling and 360-degree sound to take children on an imaginative journey through unconventional performance spaces. **Jeremy Goldstein (NSW) To support the development of *Spider Love*, a new theatre work exploring working-class queer identity, masculinity, friendship and belonging through poetry, documentary testimony and personal histories. **Melinda Hole (NSW)** To support international professional development, mentorship and artistic exchange in Australia, Germany and Austria, strengthening her career as a conductor and fostering international musical connections. **Alon Ilsar (Vic) To develop *Cymbalism*, an innovative new performance language combining percussion, movement, interactive visuals and his custom-designed electronic instrument, the AirSticks. **Caroline Lee (Vic) To support the creative development of *Exhibition*, a multidisciplinary theatre work exploring the lives and artistic legacies of marginalized female artists through performance, text and design. **Eugene Lynch (NSW)** To support his interstate residency in Melbourne while directing Victorian Opera’s 2027 production of Mozart’s *The Marriage of Figaro*, marking his debut with the company. **Jessica Nicholls (SA) To support the international tour of Shake Shake Theatre’s puppet production, *The Story of Mr B*, to the Back to Ours Festival in Hull, England, bringing Australian puppetry to young audiences and families. **Augusta Supple (NSW) To support Parramatta’s Lit! Play Development Program, providing paid opportunities for Western Sydney playwrights and theatre-makers to develop new Australian works through workshops and public readings. **Solomon Thomas (NSW) To support the development of *The Shed*, an innovative theatre work combining live performance, documentary interviews, field recordings and soundscapes in the form of a true-crime podcast. ORGANISATION GRANTS **Canberra Youth Theatre (ACT)** To support *New Stories, Young Voices*, bringing two new Australian plays by emerging playwrights Sonia Dodd and Sarah Matthews to the stage in 2027, while providing professional opportunities for young theatre-makers. **Country Arts South Australia (SA)** To support *Kumarangk: Sisterhood*, a Ngarrindjeri-led theatre production telling the true story of the women who resisted the construction of the Hindmarsh Island Bridge, celebrating their leadership, cultural knowledge and connection to Country. **Ensemble Offspring (NSW) To support a regional tour of *Bila’s Big Dance*, a First Nations musical storytelling experience for children, sharing contemporary Indigenous music and stories with audiences in regional communities. **PYT Fairfield (NSW)** To support a contemporary reimagining of *The Ratbags*, the company’s inaugural 1987 production, bringing together its original playwright, Donna Abela, and emerging artists from the Fairfield community to celebrate PYT’s 40th anniversary. **RaCreate Productions (NSW)** To support the world premiere of *Interior Exterior*, a new Australian play exploring migration, family relationships and cultural identity. **Sydney Chamber Opera (NSW)** To support the fully staged world premiere of *The Raft*, a new Australian chamber opera by Cathy Milliken, exploring themes of exile, migration, survival and human compassion. **Sydney Opera House Trust (NSW)** To support *Kids Sensory Music Playtime*, an accessible live music program introducing children with sensory and physical disabilities to classical music and orchestral instruments through interactive performances. FOUNDATION DIRECTED GRANTS Foundation Directed Grants are awarded at the discretion of the Foundation to recognise organisations whose ongoing work embodies the philanthropic vision of the Foundation’s founder, Dr Rodney Seaborn AO OBE. **ATYP – Hayden Tonazzi (NSW)** This Foundation Directed Grant is made in recognition of the Australian Theatre for Young People’s longstanding contribution to the Australian performing arts. For more than 60 years, ATYP has nurtured generations of young actors, writers, and theatre-makers, providing professional training, creative opportunities, and pathways into the industry. This grant acknowledges the organization’s enduring commitment to developing Australia’s next generation of theatre practitioners. **Australian Theatre Live – Grant Dodwell (NSW)** This Foundation Directed Grant is awarded in recognition of Australian Theatre Live’s significant contribution to the accessibility and preservation of Australian theatre. Through the professional recording and distribution of full-length stage productions, Australian Theatre Live has enabled Australian theatre to reach audiences across Australia and internationally, while preserving an important record of contemporary performance for future generations. **To learn more about the Seaborn, Broughton & Walford Foundation, visit their website.** Website: <https://www.sbwfoundation.com/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Rodney Seaborn with Carol Martin Celebrating the Stables 25th Birthday and the 10th Anniversary of S,B&W Foundation November 1996, supplied. **Categories:** News --- ### [Announcing NIDA Spring Production Season](https://thescoop.au/announcing-nida-spring-production-season/) **Published:** September 28, 2026 **Author:** Newsroom **Content:** ![The Scoop NIDA 2026 Spring Production Season](https://thescoop.au/wp-content/uploads/2026/09/NIDA-2026_Spring-Season-Hero_low-res-942x628.jpg "NIDA 2026 Spring Production Season • The Scoop")NIDA, the National Institute of Dramatic Art, has announced its 2026 Spring Season, featuring four landmark works helmed by acclaimed female directors **Rachael Maza AM,** **Zindzi Okenyo, Margaret Thanos** and **Claudia Osborne** and celebrate imagination, innovation and the next generation of creative talent. NIDA’s annual production seasons offer audiences a first look at the performers and behind the scenes specialists poised to enter the entertainment industry. Professionally directed, this is a cornerstone of NIDA’s training program, serving as the major creative projects for graduating students while showcasing the skill and artistry developed throughout their studies. **Rachael Maza AM,** the trailblazing First Nations director who led ILBIJERRI Theatre Company for 18 years, reimagines **Michael Gow**’s beloved classic ***Away***. In its 40th anniversary year, Maza brings a First Nations lens to Australia’s most-produced play for the very first time. **Rachael Maza AM** said: *“For Indigenous peoples, Country is not simply a place, but a living relationship of responsibility, continuity and belonging. That understanding sits at the heart of this play. As three families set off on their summer holidays, Away reveals something deeper about who we are, where we belong and our enduring connection to Country.”* NIDA alum and beloved children’s entertainer, director and musician, **Zindzi Okenyo** (Acting, 2006) brings forensic precision to the Australian premiere of ***The Doctor***, **Robert Icke’s** a gripping moral thriller that exposes unconscious bias with razor-sharp wit. **Zindzi Okenyo** said: *“The beauty of this piece is the humanity that sits stifled underneath and that for a clearer, brighter future we all need to be able to seek humanity in every day, remaining open to the possibility that ‘us’ may in fact be closer to ‘them’ than we could ever imagine.”* With debuts at Sydney Theatre Company and Belvoir, celebrated young director **Margaret Thanos** leads **Elinor Cook’s** provocative ***Image of an Unknown Young Woman***, a penetrating exploration of empathy, activism and asking what we owe strangers in an age when a single image can ignite a revolution. Fresh from staging Opera Australia’s 2026 *Hansel and Gretel*, NIDA alum **Claudia Osborne** (Directing, 2019) collaborates with performers and musicians from the Sydney Conservatorium of Music to bring **Ravel and Colette’s** enchanting opera ***L’enfant et les sortilège******s*** to life, in a magical tale where childhood rebellion transforms an entire world. **2026 Spring Season tickets are on sale now at the NIDA website. View full season line-up [here](https://go.nida.edu.au/e/1035233/nd-events-student-productions-/46nmq/820388856/h/iyB33_y5nTh3KHQixUvOu1WnDGUgvbLi-XkchVnoShM).** Website: <https://www.nida.edu.au/news-and-events/student-productions/> Socials: <https://www.instagram.com/nidacommunity/> [Read more NIDA News at The Scoop](https://thescoop.au/?s=nida) Images supplied. **Categories:** News --- ### [Review: Death Of A Salesman Buries The Great Myth](https://thescoop.au/review-death-of-a-salesman-buries-the-great-myth/) **Published:** September 28, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Adelaide](https://thescoop.au/wp-content/uploads/2026/09/DEATH-OF-A-SALESMAN_Josh-Helman-Anthony-LaPaglia_-photo-Jeff-Busby_1335-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Adelaide • The Scoop")Late in *Death of a Salesman*, Willy Loman empties soil from a white sack and spreads it into a mound. He wants to plant something because nothing will grow around his boxed-in Brooklyn home. On Dale Ferguson’s stark stage, the pile already resembles a grave. The image gathers everything Neil Armfield’s production has spent three hours uncovering. Willy has spent his life planting ideas in his sons: be masculine, be popular, never look ordinary and never admit defeat. Biff and Happy are the literal seeds of his life. He has watered them with instructions, boasts and impossible expectations, then wondered why they have not grown into the men he ordered them to become. Anthony LaPaglia enters huffing and puffing beneath the weight of his suitcases. His exhaustion initially appears muscular or cardiovascular rather than theatrical shorthand for despair. His body is failing before his mind can understand what is happening. Willy has begun looking at the scenery beside the road. After decades of driving past it in pursuit of the next sale, he seems almost startled by its existence. The veil may be lifting just enough for him to glimpse a life beyond selling. He never manages to step into it. LaPaglia’s performance refuses to make Willy lovable merely because he is suffering. His shirt comes untucked, his tie sits carelessly and his belly presses against his clothes. Dale Ferguson and Sophie Woodward’s costume design has stripped the salesman of the immaculate appearance upon which his trade depends. We can see the labour required to keep presenting Willy Loman to the world and the presentation is coming apart. The costumes otherwise remain within restrained 1940s earth tones. They belong to people trying to appear respectable without possessing much spare money. Paula Arundell’s Woman is the glaring exception. Her scarlet dress burns against the muted family palette, making Willy’s infidelity visible before its circumstances are known. ![The Scoop Death of a Salesman Adelaide Anthony LaPaglia](https://thescoop.au/wp-content/uploads/2026/09/DEATH-OF-A-SALESMAN_Paula-Arundell-Anthony-LaPaglia_-photo-Jeff-Busby_1629-942x628.jpg "Death of a Salesman Adelaide Anthony LaPaglia • The Scoop")LaPaglia refuses to make Willy lovable merely because he is suffering Photo by Jeff BusbyHer laugh from the box above the bleachers is even more unsettling. It hangs over the action until Biff finally hears it in the Boston hotel room and discovers that his father’s moral authority is another sales pitch. His reprimands about the boys not helping Linda with the laundry seem like farce given his dirty laundry. Willy does not appear to experience his stories as lies. Happy does. Ben O’Toole’s Happy manufactures a successful identity for his father, Biff, Miss Forsythe and himself, adjusting the product to suit the customer. Willy has completed the more difficult transaction: he has sold his mythology to himself. Growing up without a father to model manhood, Willy absorbed a culture that told him success belonged to the charming, athletic and well connected. He might have stepped from the pages of Dale Carnegie, believing that winning friends mattered more than knowledge or discipline. His sons did have a model. They had Willy. Ferguson replaces the Loman home with the grandstand of Ebbets Field, the site of Biff’s remembered football triumph. Armfield and Ferguson conceived it as a modern American amphitheatre, drawing upon the classical theatre that influenced Arthur Miller before he wrote the play. It turns the downfall of a travelling salesman into a public tragedy. Unlike many Greek tragedies, Willy’s fall does not occur within a single terrible day. It has been approaching across a lifetime. The people from that life wait in shadow, enter his memories and return to their seats when he has finished with them. At times the characters point towards this gathering, as though Willy’s thoughts have become visible. Yet they are not quite a conventional Greek chorus. Miss Forsythe sits among them long before Willy encounters her. Others resemble a society that watches families and assigns them a place in the hierarchy. The Greeks recognised fate; Willy’s America insists upon hard work. The play asks which belief is more honest and whether it is easier to remain amiable from the top of the heap. ![The Scoop Death of a Salesman Adelaide Anthony LaPaglia](https://thescoop.au/wp-content/uploads/2026/09/GWB_DEATH-OF-A-SALESMAN-photo-Jeff-Busby_1813-942x628.jpg "Death of a Salesman Adelaide Anthony LaPaglia • The Scoop")We can see the labour required to keep presenting Willy Loman to the world Photo by Jeff BusbyMark Saturno gives Howard the distracted pressure of a man with clients waiting and little time for an ageing employee’s life story. His tape recorder captures his family’s voices while he remains deaf to the human being opposite him. Howard claims the business cannot carry Willy yet has spent the equivalent of two weeks of Willy’s requested wage on the machine. He mentions his maid as casually as though everyone has one. Howard may be constrained by the business, but he owns it. Willy has given the company decades and discovers that loyalty was never one of the products being sold. LaPaglia allows a dangerous optimism to return when Willy asks for an office position. When Howard refuses, he even offers to return to the road. His desperation produces pity; his pride immediately complicates it. He will accept humiliation from Howard but refuses Charley’s genuine offer of work. Willy is capitalism’s casualty and one of its more zealous missionaries. He ridicules Bernard for lacking masculine charisma, enjoys Biff humiliating a teacher and teaches his sons that being well liked matters more than being useful. James Smith’s Bernard disproves every lesson. He studies, remains loyal and becomes successful without broadcasting it. When asked about his trip, he quietly reveals that he is going to argue a case before the Supreme Court. No drum roll. No sales pitch. Charley and Bernard offer a more decent way through the system, not a way outside it. Josh Helman’s Biff is the only Loman attempting to escape. He believes that speaking the truth will release his father, as though one honest conversation can end decades of self-deception. But Willy’s greatest sale has been to himself. He does not suddenly buy another reality because his son gives a persuasive speech. Biff’s love of physical work initially appears liberating, yet it contains its own fantasy. He still runs from job to job and measures failure through his hourly rate. Willy’s status anxiety has taken root even in the son rejecting it. The difference is that Biff has tried enough lives to abandon the fantasy of a road not taken. In Boston, he saw his father’s myth split open and found no fruit beneath the peel. ![The Scoop Death of a Salesman Adelaide Anthony LaPaglia](https://thescoop.au/wp-content/uploads/2026/09/DEATH-OF-A-SALESMAN_Darcy-Brown-Ben-OToole_-photo-Jeff-Busby_1476-942x628.jpg "Death of a Salesman Adelaide Anthony LaPaglia • The Scoop")Armfield lets memory seep into the present rather than announcing flashbacks Photo by Jeff BusbyHelman makes their final confrontation an act of rescue. Biff is not trying to destroy Willy. He wants both men released from the obligation to be magnificent. Willy watches his son collapse into his arms and converts even this plea into evidence of future greatness. Letting go of the delusion would mean annihilation. Happy needs the delusion too. O’Toole makes his sexual boasting feel both compulsive and rehearsed. He recognises parts of his behaviour, including his affairs with attached women, but has no interest in stopping. He sees his father’s deterioration and desperately hopes Biff can repair it without cracking the family façade. At the funeral, he chooses to continue Willy’s dream. Biff is the apparent failure; Happy is the true heir. Alison Whyte’s Linda occupies a harsher reality. She keeps the accounts and knows what Willy earns, borrows and owes. Her defence of him is therefore both loving and complicit. Whyte suggests that Linda knows more than she permits herself to say. Her bitterness towards Happy’s womanising may carry displaced knowledge about Willy. Yet at the funeral she appears shocked that Willy’s fantasy of buyers travelling across the country has produced so few mourners. Armfield lets memory seep into the present rather than announcing flashbacks. Bernard runs behind the grandstand calling about Biff’s failed mathematics exam before the memory takes form. Anthony Phelan’s Ben descends with his walking stick. The Woman undresses while another scene continues, preparing the betrayal Willy cannot keep buried. At moments it takes time to determine whether Linda is speaking to Willy in the present, inhabiting his memory or interrupting another conversation inside his head. That uncertainty places us within his confusion. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/05/DEATH-OF-A-SALESMAN_Alison-Whyte_-photo-Jeff-Busby_1265-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")Alison Whyte suggests that Linda knows more than she permits herself to say Photo by Jeff BusbyAlan John’s music and the sound design by David Greasley and David Tonion supply occasional clues. A jaunty, almost cartoonish flute accompanies Willy playing football with his younger sons. This is his happiest world: the boys are captive buyers, young enough to swallow every claim whole. Niklas Pajanti’s lighting keeps the waiting figures in partial darkness until memory or judgment calls them forward. With the actors already onstage and only two tables establishing most locations, transitions remain swift. The three-hour production sustains its momentum because Willy has no clean boundary between then and now. The chorus disappears for the funeral. The absence empties the vast Festival Theatre. Willy wanted proof that he mattered and imagined a crowd would provide it. Instead, the watchers vanish at the moment he needs them most. Linda stands alone beneath the light and says they are free. The house has finally been paid for, just when nobody remains to share it with her. Whyte is reduced first to an isolated figure and then a silhouette. The line is usually read as freedom from debt. Here it sounds more desolate. In the land of the free, perhaps death is the only complete release from work, repayment and the expectations of people looking down from the stands. Willy’s mound of soil has become his grave. He chose the wrong seeds, but the production does not pretend that everyone begins with the same soil or receives the same weather. LaPaglia went to America and achieved the success Willy pursued. Fate smiled upon one Adelaide-born dreamer and not the other. Dreaming is not the failure; confusing fortune with virtue is. Work cannot promise immortality, popularity cannot establish worth and children cannot be cultivated according to a parent’s preferred design. Eventually, all the selling stops. We return to the same earth, dime a dozen. *Death of a Salesman* is a jungle. It’s also a rare diamond. You’ll walk out richer. ***Death of a Salesman* is presented by GWB Entertainment and Andrew Henry Presents. It runs to 4 October at the Festival Theatre Adelaide as the final leg on the national tour.** Tickets are available [here](https://premier.ticketek.com.au/shows/show.aspx?sh=DEATHOFA26). Website: [http://salesmanaustralia.com.au](http://salesmanaustralia.com.au/) Socials: <https://www.instagram.com/salesmanaustralia/> [Read our interview with Alyson White](https://thescoop.au/alison-whyte-we-need-human-stories-now-more-than-ever/) Photo credits: Jeff Busby **Categories:** Adelaide, Theatre --- ### [Review: Cirque Alice Takes Sydney Down The Rabbit Hole](https://thescoop.au/review-cirque-alice-takes-sydney-down-the-rabbit-hole/) **Published:** September 27, 2026 **Author:** Leo Manson **Content:** ★★★★★ ![The Scoop Cirque Alice Sydney Lyric Theatre](https://thescoop.au/wp-content/uploads/2026/09/Alice-and-little-rabbit-c-Base-Entertainment-Asia-942x628.jpg "Cirque Alice Sydney Lyric Theatre • The Scoop")What could be a better backdrop for a night of extravagant circus performance than the wild world of Alice in Wonderland? Louis Carroll’s 1865 novel takes new shape in the diverse performances by the *Cirque Alice* cast. The show is guided by Alice, played by Layla Schillert. At just 20 years old, the rising Aussie star uses her seemingly effortless soprano to weave each act together. Like the audience, Alice travels act to act and watches each performance with awe. Schillert’s complex vocals are accompanied by gorgeous live violin performed by Oliver-nominated musician Raphael Papo. Like Alice, Papo, as the white rabbit, can be found on the stage as a flighty onlooker to the marvels that occur before him. Between acts, Paul Dabek as the Mad Hatter mixes comedy and magic. This leaves the audience laughing themselves to tears. Dabek has this zany charisma that leaves audiences wanting more. Despite the large crowd at Sydney’s Lyric Theatre, he keeps the audience involved in his act. He does so by selecting participants to involve in his acts and other crowd work. ![The Scoop Cirque Alice Sydney Lyric Theatre](https://thescoop.au/wp-content/uploads/2026/09/FINALE-c-Base-Entertainment-Asia-942x628.jpg "Cirque Alice Sydney Lyric Theatre • The Scoop")With a diverse array of performers there is something for everyone Photo by Base Entertainment AsiaThe puppets by Max Humphries and Cheryl ‘Chuck’ Brown that create the iconic Cheshire Cat’s smile are phenomenal. It’s an impactful moment that stands out in a production otherwise focused on death-defying acts. Humphries also creates the gorgeous white rabbit puppet that appears in the scene where Alice grows taller. At its most surreal is the caterpillar. This act comprises the contortionists Munkhjin Tuvd, Bayarmaa Ganbat, Shinechimeg Otgonbayar, and Dolgorsuren Ganbold. Before the caterpillar appears, audiences are captivated by the dancers adorned in intricate flower costumes. When these dancers disappear, the caterpillar is a confronting sight. They appear in the middle of the stage, wrapped around each other. It’s hard to tell where one performer begins and the other ends, but they slowly separate in a truly hypnotic performance. Part of the Queen of Hearts-themed section features acts from *America’s Got Talent* winners, The Ramadhani Brothers. Backed by tense musical arrangements organised by Martin Raabe-Olsen and Marius Christiansen, the pair’s acrobatics are astonishing. It’s also the moments of imperfection – like the moment when Ibrahim Mwaimise missteps – that remind audiences how real it all is. ![The Scoop Cirque Alice Coliseum Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/10/Caterpillar-contortion-3-942x628.jpg "Cirque Alice Coliseum Theatre Sydney • The Scoop")At its most surreal is the caterpillar Photo by Base Entertainment AsiaAnother compelling performer is Anna Stelmakh, who takes the role of both a Flamingo and the White Queen. Her performance gradually builds anticipation that pays off incredibly. Whether on skates or spinning in the air, Stelmakh’s talent is undeniable. Every single element of *Cirque Alice* has been carefully planned as to how it fits within the world of Carroll’s original work, from the meticulous costume design by Angela Aaron to the moody lighting design by Hugo Mercier Bosseny. Aaron’s tea party costumes on the dancers are particularly cute during the dormouse’s breathtaking balancing act. Tim Lawson and Simon Painter’s *Cirque Alice* is a fusion of the best elements of the performing arts. With such a diverse array of performers, there’s something for everyone. ***Cirque Alice* runs to 11 October at the Lyric Theatre Sydney. 55 Pirama Road Pyrmont NSW 2009.** Tickets: <https://www.sydneylyric.com.au/cirque-alice> Website: <https://cirquealice.com/> Socials: <https://www.instagram.com/cirquealice/> [Read more of our Latest Reviews](https://thescoop.au/latest/) Photo credits: Base Entertainment Asia **Categories:** Circus, Sydney --- ### [Announcing Queensland Symphony Orchestra 2027 Season](https://thescoop.au/announcing-queensland-symphony-orchestra-2027-season/) **Published:** September 25, 2026 **Author:** Newsroom **Content:** ![The Scoop Male musician playing a brass horn against a dark background, with light trails following the notes as he moves.](https://thescoop.au/wp-content/uploads/2026/09/QSO27_039A5235_EDITED_RGB-web-e1790314354691-997x628.jpeg "QSO Season 2027 Queensland Symphony Orchestra • The Scoop")**Queensland Symphony Orchestra (QSO)** celebrates its 80th anniversary in 2027, inviting audiences to revel in a monumental program of beloved classics, world-leading musicians and works by some of Australia’s most exciting contemporary voices. The anniversary season highlights several significant cultural milestones, from a complete Beethoven cycle commemorating 200 years since the composer’s death to the *QSO 80: Season Opener*, featuring John Adams’ epic *Harmonielehre* in honour of the composer’s 80th birthday. QSO’s signature *Maestro Series* anchors the 2027 season with a grand program of major orchestral works, including Wagner / Maazel’s *The Ring Without Words*, Sibelius’ *Finlandia*, Bartók’s Concerto for Orchestra and Mahler’s Symphony No.2. Audience favourites will return including the light and uplifting *Music on Sundays* series, intimate performances in *Studio Sessions* at the QSO Studio and a celebration of local and emerging talent through *QSO at the Queensland Conservatorium* concerts. The centrepiece *QSO 80: Anniversary Gala* presents a never-before-seen collaboration between QSO and internationally acclaimed production and design company **Dead Puppet Society**. Blending live puppetry and orchestral music, the performance will bring together Wagner’s *Tannhäuser* Overture – one of the first pieces performed by QSO in 1947 – and Stravinsky’s *Petrushka* (1947 version), alongside a new fanfare by Brisbane-based composer **Joseph Twist**. ![The Scoop QSO Season 2027 Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/09/QSO27_039A3038_EDITED_RGB-web-e1790314685774-983x628.jpeg "QSO Season 2027 Queensland Symphony Orchestra • The Scoop")QSO celebrates its 80th anniversary in 2027 Image suppliedContinuing his longstanding relationship with QSO, **William Barton** will return to the stage for this milestone event as soloist in *Kalkadungu,* a work he co-wrote with **Matthew Hindson.** QSO Chief Executive **Michael Sterzinger** said the anniversary season will honour QSO’s rich legacy while looking boldly into the future: *“We’re celebrating a remarkable milestone: 80 years of inspiring, connecting and enriching communities through the power of live orchestral music. The 80th anniversary season will honour not only the great masterpieces of the past but also the music of the future.* *Mirroring the ambition of the inaugural season – which featured works by composers from as early as 1551 to the contemporary voices of today – QSO’s 2027 program will feature music spanning nearly five centuries, alongside world premiere performances of new works by Australian composers.* *In 2027, we are commissioning eight new works from five composers, while music by 13 living composers will feature across the season – more than one in five of the 61 composers represented in the program.* *It’s a fitting way to mark 80 years – by celebrating where we have come from, while continuing to create, champion and perform the music that will shape the future of orchestral music in Queensland.”* ![The Scoop QSO Season 2027 Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/09/QSO27_039A5319_EDITED_RGB-web-e1790314963859-962x628.jpeg "QSO Season 2027 Queensland Symphony Orchestra • The Scoop")Australian talent is at the heart of the 2027 season Image suppliedCinema takes centre stage with the *Stage & Screen* program bringing some of the world’s most iconic film music to the Brisbane Convention & Entertainment Centre, including *Maestro of the Movies: A Tribute to John Williams*. *QSO at the Movies* will also return with live orchestral screenings of *Star Wars: A New Hope* and *How to Train Your Dragon 2*, building on the sell-out success in 2026. QSO will reinstate their Artist-in-Association role, with soprano and proud Koa, Kuku Yalanji and Wakka Wakka woman **Nina Korbe** taking on the role in 2027. During the residency, Nina will perform across a diverse program, from Handel’s *Messiah* and Holst’s *The Mystic Trumpeter* to contemporary works in QSO’s staple *Cinematic* program in October. **Mr Sterzinger** said Australian talent is at the heart of the 2027 season, with the QSO’s own musicians taking centre stage as soloists in the *Portraits* series, shining a spotlight on the exceptional talent within the orchestra. *“To showcase the local voices of today is incredibly important to us. They’re woven throughout all the series and QSO continues its commitment to championing artistic innovation and ensuring that Australia’s musical stories are heard on the world stage.”* ![The Scoop QSO Season 2027 Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/09/QSO27_039A4460_EDITED_RGB-web-e1790315090329-1045x628.jpeg "QSO Season 2027 Queensland Symphony Orchestra • The Scoop")QSO will reinstate their Artist in Association role with Nina Korbe stepping up in 2027 Image suppliedMinister for Education and the Arts **John-Paul Langbroek** said QSO’s 2027 season celebrates the extraordinary breadth and depth of the orchestra’s 80-year contribution to Queensland’s vast arts and cultural landscape. *“QSO’s exciting 2027 program reflects its standing as one of Australia’s great orchestras, and its enduring commitment to delivering world-class performances, regional touring, music education and innovative collaborations.* *The Crisafulli Government is proud to support QSO with core organisational funding this year. This investment aligns with priorities of our Queensland’s Time to Shine strategy including arts for all Queenslanders and strengthening Queensland’s reputation as a vibrant cultural destination in the lead-up to the 2032 Olympic and Paralympic Games.”* QSO Director – Artistic Planning **Matthew Wood** said a highlight of the season is *Mana Moana,* an uplifting concert that mixes gospel, classical and traditional Pasifika musical styles, in collaboration with New Zealand’s Signature Choir. *“Queensland is home to the largest Pasifika population in Australia, so it’s a very special and important program.* *Mana Moana is about the ocean as a symbol of connection and heritage, using song and music to explore the powerful relationship that is shared across the Pasifika cultures. It’s a very powerful and fun show; anyone who comes will be on their feet, singing at the top of their voices.”* **Mr Wood** said the 2027 season places emerging talent alongside familiar favourites, with this focus particularly evident in *Rising Stars* and the newly introduced *Pulse* concert series featuring a programme of music by living composers including the world premiere of two QSO commissions. *“Just as we love to celebrate the classics, we’re equally proud to celebrate revolutionary and significant new music. It’s easy to forget nowadays how shocking and innovative composers such as Beethoven were to audiences of their day and throughout the year, you’re going to hear more cutting-edge and contemporary music that really shines a spotlight on Australian composers who are living and working today.”* ![The Scoop QSO Season 2027 Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/09/QSO27_039A4548_EDITED_RGB-web-e1790315383831-973x628.jpeg "QSO Season 2027 Queensland Symphony Orchestra • The Scoop")QSO 2027 subscription packages are on sale from Monday Image suppliedQSO Chief Conductor **Umberto Clerici,** who will conclude his current tenure at the end of 2027, said the program is a culmination of everything he has achieved in his role at QSO. *“In my time as Chief Conductor, we built up the orchestra and pushed the programming to a more edgy, creative and international level. We prepared the ground, planted the seeds, watered the plant, and now, we are enjoying watching the trees grow into a beautiful forest. It requires a lot of pushing to be adventurous in playing and programming, but to me, it’s the only way to offer audiences a deep, exciting experience.* *Every time we play, we have to deliver something incredible and create these immersive experiences for our audiences, because people make an effort to come; the only way to justify that is to show them something special.”* In 2027, QSO will continue its commitment to regional touring, returning to Charleville, Chinchilla, Gladstone, Gold Coast, Mackay, Miles, Roma, Tara, Townsville and Toowoomba to bring live orchestral music and education programs to audiences across the state and furthering a legacy of connection through music. QSO will also continue its work supporting the next generation of Queensland musicians, providing emerging musicians with opportunities to learn, perform and develop alongside professional members of the orchestra via its *QSO Academy, Compose, Young Instrumentalist Prize,* and *SidebySide* program. QSO’s 2027 subscription packages are on sale from **Monday, 28 September at 9am AEST** and tickets to select individual concerts are on sale from **Monday, 9 November at 9am AEST**. **For more information about Queensland Symphony Orchestra’s 2027 Season and to secure the best seats in the house, visit the website.** Website: <https://qso.com.au/> Socials: <https://www.instagram.com/qsorchestra/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [From The Greatest Showman To The Stage: The Circus is Calling Des Flanagan](https://thescoop.au/from-the-greatest-showman-to-the-stage-the-circus-is-calling-des-flanagan/) **Published:** September 25, 2026 **Author:** Sebastien Skubala **Content:** ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2026/08/CA5-copy-1116x628.jpg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")***Come Alive! The Greatest Showman Circus Spectacular*** made its Australian premiere in Sydney earlier this year and is now making its way around the country, with the national tour currently in **Perth**. Blending the much-loved anthems of the hit film with spectacular circus acts and musical theatre, the production is a high-octane celebration of everything audiences loved about *The Greatest Showman*, while taking its own journey beyond the film. At the centre of the action is **Des Flanagan**, who steps into the role of The Showman, made famous by Hugh Jackman. For Flanagan, the role brings his own unexpected full-circle moment: he remembers seeing the film and walking out singing its songs for weeks. He never imagined that years later he would be leading the Australian premiere tour of a show inspired by the film. With a background that includes *Moulin Rouge!* and *CATS*, Flanagan is no stranger to the demands of a big musical, but *Come Alive!* has him embracing something a little different, including the joy of watching children experience the spectacle of live performance for the first time. The Scoop caught up with Des Flanagan to talk about his *Greatest Showman* memories, running away with the circus to Perth, his early performing days and what audiences can expect when *Come Alive!* rolls into town. Read the full interview below. ![The Scoop Des Flanagan Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2026/09/CA_STILL_003-1116x628.jpg "Des Flanagan Come Alive! The Greatest Showman Circus Spectacular • The Scoop")Des Flanagan in Come Alive The Greatest Showman Circus Spectacular Image suppliedLet’s start by talking about *The Greatest Showman* feature film starring Hugh Jackman. I distinctly remember where I was when I first saw it at the cinema, because, strangely enough, it was January 2018 while I was on holiday in Perth! Do you remember where you were when you first saw the film? And did you ever imagine you’d be playing the title role in the Australian premiere tour of a show inspired by it? I certainly do remember! I watched it at a cinema out near Dandenong with a mate. Both of us walked out of it bouncing off the walls. I sang that music for weeks. I certainly loved the idea, but the eventuation of that idea was not something I anticipated at all. However, *Come Alive!* as a show really just celebrates the anthems from the film. The story and characters are on their own journey. But it’s all just as enthralling. *Come Alive! The Greatest Showman Circus Spectacular* brings together musical theatre elements with authentic circus performances. Have you noticed that reflected in the audiences so far, in that it is bringing in a mix of musical theatre fans and a circus-loving crowd? Of course it appeals to the different audiences, but because the disciplines are so well woven together it’s hard to discern exactly what it is. It’s a high-octane, overwhelming theatre experience. ![The Scoop Des Flanagan Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2026/09/CA18-1117x628.jpg "Des Flanagan Come Alive! The Greatest Showman Circus Spectacular • The Scoop")Des Flanagan in Come Alive The Greatest Showman Circus Spectacular Image suppliedWhat are you loving about performing in Perth so far, and about Perth audiences in general? Perth is one of my favourite places to be, so I always really enjoy touring here. There’s something about the frequency and people here. I love the beaches, tennis, golf, food and coffee culture. Audiences tend to be a bit more lively here too, and what could be a better show to cater for that than this one? After training in Musical Theatre at VCA, you spent some time working with Echelon Productions. Incredibly, I just wrapped working for Echelon myself as part of their Perform Education shows for Book Week. What did those early schools touring experiences teach you that you still carry forward in your work? So much of this show is the interaction with the audience. Particularly as The Showman. My favourite interactions are with the children. Their minds are well and truly blown by what they are witnessing. Being able to be a part of those formative experiences for them is a gift to me, and the training began all those years ago working with Echelon throughout Sydney. ![The Scoop Des Flanagan Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2026/09/CA28-copy-1116x628.jpg "Des Flanagan Come Alive! The Greatest Showman Circus Spectacular • The Scoop")Des Flanagan in Come Alive The Greatest Showman Circus Spectacular Image suppliedYou appeared recently in the national tour of *CATS*, and *Come Alive!* is set to visit every major Australian city with dates extending well into 2027. What do you most love about touring, and do you have any survival tips for staying healthy? I feel like I’ve been touring non stop for the past few years, and what a fortunate thing to say in this industry. I love the familiarity I have now with each city. I’m constantly being a tourist and exploring new places in and around them, but weirdly, many of them feel like home to me now. A survival tip would be: phone calls to friends and family! You’ve played some iconic leading roles such as Christian in *Moulin Rouge!,* Leo Bloom in *The Producers* and of course, Rum Tum Tugger. What roles or shows are still on your bucket list? All of those roles I never had on my radar; I was just lucky enough to get the opportunity to play them. There is joy to find in the unexpected, and that’s how I’m now finding myself going about my career. I see what happens and what presents itself. I never thought I’d run away with the circus, but boy am I glad I have! So I don’t really have a bucket list. ![The Scoop Des Flanagan Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2026/09/Des-Flanagan-HS-502x628.jpeg "Des Flanagan Come Alive! The Greatest Showman Circus Spectacular • The Scoop")Des FlanaganWe have a lot of drama school students and emerging performers following The Scoop, so this question is for them. What advice would you give to someone hoping to pursue a career in musical theatre or performing arts in general? You’re a multifaceted human being; find all the things that make you *you*. Especially outside of work. Have fun with the pursuit. See what path presents itself. Be kind, choose kindness. And finally, what can audiences expect when they attend *Come Alive?* Audiences should come expecting the unexpected. However, I promise you, they will be wowed by the variety of artists at the top of their game, the classic anthems from the film that people know and love and a theatre experience they will be sure to remember for a lifetime. ***COME ALIVE! The Greatest Showman Circus Spectacular* runs to 10 October 2026 at Crown Perth – Riverside Entry, as part of a national tour. See dates below.** **Great Eastern Highway, Burswood WA 6100.** **P4 Car Park Outside Riverside Entry.** Tickets are available [here](https://premier.ticketek.com.au/shows/Show.aspx?sh=COMEAPER26). Website: <https://comealiveshow.com.au/> Socials: <https://www.instagram.com/comealiveaus/> [Read more about Come Alive!](https://thescoop.au/announcing-cast-for-come-alive-the-greatest-showman-circus-spectacular/) Images supplied. 2026/7 Australian Tour Dates: Perth From 28 August 2026, Crown Perth, Riverside Entry Adelaide From 29 October 2026, Morphettville Racecourse [Tickets](https://comealiveshow.com.au/tickets/adelaide) Brisbane From 24 Dec 2026, Royal Queensland Golf Course [Tickets](https://comealiveshow.com.au/tickets/brisbane) Melbourne From 25 Feb 2027, Caulfield Racecourse [Tickets](https://comealiveshow.com.au/tickets/melbourne) **Categories:** Features --- ### [Review: My Fair Lady Returns With All Its Classic Magic](https://thescoop.au/review-my-fair-lady-returns-with-all-its-classic-magic/) **Published:** September 24, 2026 **Author:** Sophie Cornett **Content:** ★★★★★ ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/09/MY-FAIR-LADY-photo-Jeff-Busby_6452-copy-942x628.jpg "My Fair Lady Opera Australia • The Scoop")*My Fair Lady* has a rich history, from Bernard Shaw’s original play and Gabriel Pascal’s film *Pygmalion*, through Lerner and Loewe’s beloved musical adaptation and the iconic Audrey Hepburn movie. For generations, the story of Eliza Doolittle and Henry Higgins has captured the hearts and imaginations of audiences around the world. Now, it’s an absolute delight to see *My Fair Lady* grace the Sydney Opera House stage once again. Beautifully brought to life, this is a production that deserves to be savoured, and one not to be missed. In 2016, John Frost and Opera Australia celebrated the 60th anniversary of *My Fair Lady* with a production that paid beautiful homage to the original, recreating its iconic costume and scenery designs. What made that production particularly special was the involvement of the magnificent Julie Andrews, who originated the role of Eliza Doolittle on Broadway in 1956. Andrews took on the role of director, bringing her own connection to this beloved musical to the production. Now, a decade later, that same production has returned with its lavish designs and timeless story once again taking centre stage. Karen Johnson Mortimer has expertly taken the helm directing this production, and as associate director to Julie Andrews during the 2016 run, no one is more qualified to bring her direction back to the stage. You can feel the respect and adoration for the story, the characters and the rich history of the musical in every beat of this performance. The music is glorious and soars through the theatre under the expert music direction of David Young and the incredible talent of the Opera Australia Orchestra. As a particular lover of an Overture, I have to say that this musical has one of my all-time favourites, truly transporting audiences into the story. ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/09/MY-FAIR-LADY-photo-Jeff-Busby_2938-copy-942x628.jpg "My Fair Lady Opera Australia • The Scoop")You can feel the respect and adoration for the story in every beat of this performance Photo by Jeff BusbyChoreographer Christopher Gattelli has crafted a beautiful sequence of movements that so perfectly aligns with the world. It was particularly delightful to see familiar movements and patterns across the upper-class balls and lower-class Covent Garden revelry, showing how this love of celebration is shared across levels of society. Claire Lyon shines in the role of Eliza Doolittle. Her immaculate vocals and characterisation perfectly capture the transformation she undergoes while maintaining her heart, wit and sense of self. Nathaniel Parker is a wonderful Professor Henry Higgins. The professor’s arrogance is brilliantly tangible in every interaction, but there is also a beautiful nuance to his character as we see moments of softness peak through as the story progresses. Tony Llewellyn-Jones is utterly charming in the role of Colonel Pickering. It is so delightful to see the playful and gentle interactions he has with Eliza and Henry. Alfred P. Doolittle is portrayed by the incredible Reg Livermore, who brings absolutely brilliant comedic timing, physicality and vocal characterisation to the role. Robyn Nevin portrays Mrs Higgins with a warmth that perfectly counterbalances Henry. Yet it is also so exciting to see the strength of character and wit that she imbues into her conversations with him. ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/09/MFL-photo-Jeff-Busby_6160-copy-942x628.jpg "My Fair Lady Opera Australia • The Scoop")It is magnificent to see the original costume and set design come to life Photo by Jeff BusbyAnne Wood in the role of Mrs Pearce is delightful. She enters every scene with a sense of authority and a no-nonsense attitude that truly accentuates the absurdity of the situation in a marvellous way. Freddy Hellier is utterly wonderful as the besotted Freddy Eynsford-Hill, depicting his blossoming love for Eliza in every moment. David Whitney as Zoltan Karpathy is also a delightful addition to the story, so strongly committing to the character and making the importance of his presence known. The ensemble harmonies and coordinated movement are an absolute delight, lending such richness to the story both vocally and visually. It is magnificent to see the original costume and set design from Cecil Beaton and Oliver Smith come to life. The immaculate attention to detail that has gone into every frame is extraordinary. You could feel the awe from the audience seeing the ballroom come to life and the famous Ascot Gavotte tableau. Congratulations to the entire creative and technical team for their brilliant efforts in bringing this beautiful production to life. *My Fair Lady* is a beautiful exploration of language, class and the importance of staying true to oneself. This production is a dazzling love letter to all the productions that have come before. Whether it is your first or hundredth exposure to the tale of *My Fair Lady*, this is absolutely a production to see. ***My Fair Lady* runs to 31 October at the Sydney Opera House. It then runs at the Ian Potter State Theatre at Arts Centre Melbourne from 14 November 2026.** Tickets for Sydney are available [here](https://myfairladythemusical.com.au/tickets/sydney/) and for Melbourne [here](https://myfairladythemusical.com.au/tickets/melbourne/). Website: <https://myfairladythemusical.com.au/> Socials: <https://www.instagram.com/myfairladyaus/> [Read our Interview with Claire Lyon](https://thescoop.au/meet-claire-lyon-my-fair-ladys-new-eliza-doolittle/) Photo credits: Jeff Busby **Categories:** Musical Theatre, Sydney --- ### [Review: She Kills Monsters 2026 Sydney Fringe Festival](https://thescoop.au/review-she-kills-monsters-2026-sydney-fringe-festival/) **Published:** September 24, 2026 **Author:** Leo Manson **Content:** ★★★½ ![The Scoop She Kills Monsters Epiphany Arts 2026 Sydney Fringe](https://thescoop.au/wp-content/uploads/2026/09/SKM26_04-1191x628.png "She Kills Monsters Epiphany Arts 2026 Sydney Fringe • The Scoop")*She Kills Monsters* by Epiphany Arts Inc. combines the brevity of the play’s ‘Young Adventurers Edition’ with the risqué humour of the original 2011 script. Despite its facade as a raucous *Dungeons and Dragons* adventure, *She Kills Monsters* harbours a compelling exploration of sisterly bonds. Those sisters are Agnes and Tilly Evans, who are played by Holly Gallagher and Ruby Elane, respectively. Sick of her nerdy sister disrupting her average life, Agnes wishes she didn’t have a sister at all. This wish kills Tilly in a car accident, leaving Agnes searching for a way to understand her late sister. She’s even willing to check out Dungeons and Dragons. Though many plays can lose focus in their second half, *She Kills Monsters* does the opposite. Its beginnings may feel unclear, but its effective comedic timing quickly establishes why it’s a worthy watch. The play contains many dance numbers to ’90s hits. These, along with its fight scenes, are well choreographed. They keep the show feeling quick and leave space for the moments between songs to make a bigger impact. ![The Scoop She Kills Monsters Epiphany Arts 2026 Sydney Fringe](https://thescoop.au/wp-content/uploads/2026/09/SKM26_08-1191x628.png "She Kills Monsters Epiphany Arts 2026 Sydney Fringe • The Scoop")The dance numbers and fight scenes are well choreographed Image suppliedA handful of these musical numbers feature live vocal performances. Directors Annie Macarthur and Anna Jaques made a clever choice in introducing this element to the play. The vocal talent in *She Kills Monsters* is compelling. Ruby Elane’s delicate performance of Alanis Morissette’s *Uninvited* is a surprisingly tender moment. It pulls together the music and rising tension effectively transitioning the play to its final scenes. What stands out most in this show is its brutal comedy. This primarily resides in its collection of well-cast mean girls. Vera, played by Stephanie Calia, is one of the show’s strongest performances. As Vera, Calia consistently delivers bitey one-liners. Her voice perfectly suits the role. It captures how Vera’s tough exterior hides a kind heart and good intentions. Indeed, Calia as Vera is a must-see. Additionally, though her outfit is more reminiscent of Y2K fashion than the ‘90s, it perfectly captures Vera as a powerful presence the second she steps on stage. It’s a nice example of characterisation. ![The Scoop She Kills Monsters Epiphany Arts 2026 Sydney Fringe](https://thescoop.au/wp-content/uploads/2026/09/SKM26_07-1191x628.png "She Kills Monsters Epiphany Arts 2026 Sydney Fringe • The Scoop")The show is an emotionally resonant and fun romp into the world of Dungeons and Dragons Image suppliedOn a similar note, the two succubuses, played by Astrid Macarthur and Ivy Wilkes, are another strong case of mean girl excellence. This is Macarthur’s third time in the role, and she’s got her character down to a fine art. The two are delightfully evil. Tully Agostino-Morrow as Miles and Thomas Emery as Steve are also fun to watch in their scenes. Emery in particular nails being a cartoonish nerd. The use of a projector adds some multimedia embellishments, and the illustrations of the DND character introductions are adorable. They feel as if they were pulled directly from Tilly’s sketchbook. The production could have benefited from some consistent costume design to better establish how different Tilly and Agnes are. This would also help the play’s transitions from the DND campaign to the real world. *She Kills Monsters* is an emotionally resonant and fun romp into the world of *Dungeons and Dragons*. With a talented cast of young, Sydney-based actors and a backdrop of ‘90s hits, it’s for sure a promising production. ***She Kills Monsters*** **is presented by Epiphany Arts Inc and runs to 26 September 2026 at the Eternity Playhouse as part of Sdney Fringe. 39 Burton Street Darlinghurst NSW 2010.** Tickets: <https://sydneyfringe.com/events/she-kills-monsters/> Website: <https://www.epiphanyartsinc.com/> Socials: <https://www.instagram.com/epiphanyartsinc> and <https://www.instagram.com/sydneyfringe/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied. **Categories:** Musical Theatre, Sydney --- ### [ENCORE! Exhibition Puts Our Stage Treasures In The Spotlight](https://thescoop.au/encore-exhibition-puts-our-stage-treasures-in-the-spotlight/) **Published:** September 24, 2026 **Author:** Newsroom **Content:** ![The Scoop ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne](https://thescoop.au/wp-content/uploads/2026/09/image004-1116x628.jpg "ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne • The Scoop")The **Australian Museum of Performing Arts’ (AMPA)** new exhibition, ***ENCORE! 50 Objects. 50 Years. One Collection.***, officially opened in Melbourne last week, bringing 50 extraordinary pieces of Australian performing arts history to Melbourne. Running exclusively at **Arts Centre Melbourne** until May next year, *ENCORE!* offers a fascinating glimpse into a collection of more than 875,000 costumes, instruments, props, set models and photographs preserved by the Australian Performing Arts Collection. And what a selection of objects they have chosen. There are the legendary gold hot pants worn by **Kylie Minogue** in the music video for *Spinning Around*, famously acquired for just 50 pence at a London flea market, and the gown **Olivia Newton-John** wore for a 1978 appearance on the ABC network in the US, watched by an audience of more than 30 million. The exhibition brings together pieces worn by some of Australia’s most celebrated performers, including **Hugh Jackman**‘s costume from the 2006 *The Boy from Oz* arena tour and **Joan Sutherland**‘s black velvet gown from her 1965 performance of *La Traviata* alongside Luciano Pavarotti. ![The Scoop Encore! Exhibition AMPA Melbourne](https://thescoop.au/wp-content/uploads/2026/09/2026_09_14-ACM-Encore-Install_119077_Encore_pic_Eugene-Hyland-1-942x628.jpg "Encore! Exhibition AMPA Melbourne • The Scoop")Installation view of *ENCORE* at Australian Museum of Performing Arts Arts Centre Melbourne Photos by Eugene HylandThen there’s **Dame Nellie Melba**‘s spectacular jewel-encrusted gold cloak, worn during a performance in St Petersburg in 1891 and so impressive that it earned praise from the Russian Tsarina. Among the other treasures are **Helen Reddy**‘s Grammy Award for *I Am Woman* and **Peter Allen**‘s *I Go to Rio* maracas, objects that might look relatively humble at first glance, but carry enormous stories of Australian entertainment history. And there are pieces that will transport you straight back to a particular moment in Australian pop culture. The collection includes the **Ossie Ostrich** puppet from *Hey Hey It’s Saturday*, as well as the original neon-red *L’Amour* sign created by **Baz Luhrmann** and **Catherine Martin** for Opera Australia’s *La Bohème*. That distinctive design would go on to be referenced in their films, including *Moulin Rouge!*, *Romeo + Juliet* and *Strictly Ballroom*. ![The Scoop Encore! Exhibition AMPA Melbourne](https://thescoop.au/wp-content/uploads/2026/09/2026_09_14-ACM-Encore-Install_119105_Encore_pic_Eugene-Hyland-1-942x628.jpg "Encore! Exhibition AMPA Melbourne • The Scoop")Installation view of *ENCORE* at Australian Museum of Performing Arts Arts Centre Melbourne Photos by Eugene HylandOne of the exhibition’s most recent acquisitions also has a very different story. **Midnight Oil** drummer **Rob Hirst**‘s Ludwig drum kit was donated last year by the band’s fan group, the Powderworkers, after they crowdfunded to secure the beloved kit at auction. Celebrating 50 years of AMPA as Australia’s largest repository of performing arts history, *ENCORE!* is ultimately about much more than preserving objects. Each piece carries a story, of an artist, a performance, a cultural moment or a piece of Australian history. It offers visitors the chance to reconnect with the people and performances that have helped shape our cultural landscape. Spread across six distinct galleries, the exhibition begins with *Time & Place*, where a recorded performance by legendary Gunditjmara and Bundjalung singer-songwriter **Archie Roach** sets the scene. *International Icons* celebrates Australians who have made their mark on the world stage, with a gold runway lined with elaborate costumes worn by artists whose influence has travelled far beyond our shores. ![The Scoop Encore! Exhibition AMPA Melbourne](https://thescoop.au/wp-content/uploads/2026/09/2026_09_14-ACM-Encore-Install_119010_Encore_pic_Eugene-Hyland-1-942x628.jpg "Encore! Exhibition AMPA Melbourne • The Scoop")Installation view of *ENCORE* at Australian Museum of Performing Arts Arts Centre Melbourne Photos by Eugene Hyland*Spectacle on Stage* turns the spotlight on the biggest and boldest productions, while *Finding a Voice* introduces groundbreaking artists who have built their work around their own identities. *Relics of Performance* explores the sentimental souvenirs and talismanic keepsakes performers have treasured well beyond the final curtain call. Finally, *Disruption* celebrates the artists and moments that challenged convention, broke the mould and helped change Australian culture forever. With such a vast collection to draw from, choosing just 50 objects was never going to be easy. Ian Jackson, Curator of Dance and Opera at the Australian Performing Arts Collection and lead curator of *ENCORE!*, said the team was looking for objects that could do more than simply look spectacular: *“We were looking for the objects that could tell the strongest stories, the ones with real history that spoke to what the performing arts can mean to people.”* ![The Scoop Encore! Exhibition AMPA Melbourne](https://thescoop.au/wp-content/uploads/2026/09/2026_09_14-ACM-Encore-Install_119141_Encore_pic_Eugene-Hyland-1-942x628.jpg "Encore! Exhibition AMPA Melbourne • The Scoop")Installation view of *ENCORE* at Australian Museum of Performing Arts Arts Centre Melbourne Photos by Eugene HylandThat storytelling extends beyond the objects themselves, with the curatorial team taking particular care to make the exhibition accessible to younger visitors as well as adults. For children discovering these performers, productions and pieces of Australian entertainment history for the first time, *ENCORE!* offers a chance to see the real objects behind some very big stories. And there couldn’t be a better time to visit Arts Centre Melbourne. To celebrate the reopening of the **Ian Potter State Theatre** following its major refurbishment, **entry to *ENCORE!* will be free** across **10 and 11 October 2026**. With everything from Kylie’s hot pants and Dame Nellie Melba’s cloak to Midnight Oil’s drum kit and Ossie Ostrich, *ENCORE!* promises a fascinating trip through five decades of Australian performing arts, and just a tiny glimpse into a collection of more than 875,000 stories waiting to be discovered. If you’re in Melbourne, this is one collection worth exploring for yourself. ***ENCORE! 50 Objects. 50 Years. One Collection* is presented by** **Arts Centre Melbourne** **and is on now. It runs to 9 May 2027. Australian Museum of Performing Arts (AMPA), Hamer Hall, Arts Centre Melbourne**. Wednesday to Sunday, 10am–7pm. Open Mondays and Tuesdays during school holidays and public holidays. Tickets are available [here](https://acml-tnew-prod.tnhs.cloud/events?k=ENCORE&startDate=2026-09-01&promoapplied=true). Website: <https://www.artscentremelbourne.com.au/ampa/exhibitions/encore> Socials: <https://www.instagram.com/artscentremelbourne/> [Read more about ENCORE!](https://thescoop.au/new-exhibition-encore-shines-a-spotlight-on-australias-stage-history/) Image credits: Installation view of *ENCORE!* at Australian Museum of Performing Arts, Arts Centre Melbourne. Photos by Eugene Hyland. **Categories:** News --- ### [Review: Escape by Diavolo 2026 Brisbane Festival](https://thescoop.au/review-escape-by-diavolo-2026-brisbane-festival/) **Published:** September 24, 2026 **Author:** Jackson Kellaway **Content:** ★★★★☆ ![The Scoop Escape Diavolo Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-02-at-91420-pm-958x628.png "Escape Diavolo Brisbane Festival • The Scoop")When I told people I was going to see *Escape* for Brisbane Festival and they asked me what it was about, I didn’t quite know how to answer. Is it movement using structures onstage? Having now seen the production, presented by Diavolo \| Architecture in Motion, I realise *Escape* is so much more than that. It is an exploration of shapes, pushing the boundaries of the physical world and the movement of a collective group. Not only is there dancing, acrobatics and parkour, the production also has heart and takes the audience on an emotional journey. As this was the Brisbane opening night, we had a few words prior to the show from director Jacques Heim. He welcomed us with an excitable energy that immediately amped up the crowd. The show then opened with the performers entering from the audience, each one engaging with us by asking if we were ready or simply saying thanks for coming. They then walked onstage and each stepped through the door placed centre stage, taking us into the space. Their space. A space that is exposed and stripped back. You could see the structures that would be used throughout the performance sitting side stage. The first sequence utilises a cube of scaffolding. The ensemble climb, bounce and flip off, through and on top of the structure. It takes the idea of a children’s jungle gym to the next level. ![The Scoop Escape Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-02-at-91436-pm-962x628.png "Escape Brisbane Festival • The Scoop")The performers deliver an impressive show with an incredible sense of collective movement Photo by Cheryl MannMy friends and I sometimes shout *“Parkour!”* when jumping from the footpath onto the road as a joke. I’m afraid that’s about all my joints could handle. What these performers do is so much more. It is one brain. A collective moving through the space. The audience was unable to predict where their bodies would move next. It was as if Newton’s laws of physics were being broken. As a performer myself, I enjoy acknowledging elements of a show that a standard audience member may not notice or even care about. One thing that stood out to me was the shouting happening onstage. I know they are doing it for certain changes in the sequence or when the acrobats are ready to fly through the air. But I see it almost as a check-in: I am here. We are here. An acknowledgement of trust. This is so important in a show that has no downtime. There is always something happening. Even the set pieces are moved on and off by the performers. This is done seamlessly, as your eyes are constantly drawn to another part of the stage. The sequence that includes four separate arcs is particularly impressive. At first, the performers are balancing on them and weaving in and out. Then the pieces form one large wheel, which is wheeled all around the stage with the performers intertwined between the spokes. ![The Scoop Escape Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-02-at-91448-pm-937x628.png "Escape Brisbane Festival • The Scoop")Escape takes the audience on an emotional journey Photo by Cheryl MannMy brain almost couldn’t comprehend how these performers were able to manoeuvre around these fast-moving pieces without hesitation… or injury! The final sequence features a ginormous semi-circle seesaw. The looming presence this piece brings to the stage is powerful. Watching the artists run back and forth, mimicking the waves of the sea, could make someone feel nauseous. Nevertheless, the navigation of this piece is performed with what appears to be absolute precision. The performers deliver an impressive show with care, trust and an incredible sense of collective movement. The emotional journey is clear, and the enjoyment and wonder onstage is infectious. Heim said it perfectly: *“The goal of Escape was not really to create an art piece here, but to use our art to find peace.”* And perhaps that is what *Escape* ultimately becomes. Not just a showcase of what the human body can do, but a reminder of what can happen when a group of people trust each other completely. ***Escape* is presented by Diavolo \| Architecture in Motion and runs to 27 September 2026 at the Playhouse, QPAC, as part of Brisbane Festival.** Tickets are available [here](https://www.qtix.com.au/whats-on/2026/bf-escape). Website: <https://www.brisbanefestival.com.au/events/escape> Socials: <https://www.instagram.com/brisbanefestival/> and [https://www.instagram.com/diavolo\_la/](https://www.instagram.com/diavolo_la/) [Read more of our Brisbane Festival Reviews](https://thescoop.au/?s=brisbane+festival) Photo credits: Cheryl Mann **Categories:** Brisbane, Circus, Dance --- ### [Review: Make, Believe, Magic, The Worlds of The Jim Henson Company 2026 Brisbane Festival](https://thescoop.au/review-make-believe-magic-the-worlds-of-the-jim-henson-company-2026-brisbane-festival/) **Published:** September 12, 2026 **Author:** Daisy Heywood **Content:** ![The Scoop Make, Believe, Magic The Worlds of The Jim Henson Company](https://thescoop.au/wp-content/uploads/2026/09/FraggleRock_BackToTheRock_ProductionStill_Apple_002-1116x628.jpg "Make, Believe, Magic The Worlds of The Jim Henson Company • The Scoop")*Make, Believe, Magic, The Worlds of the Jim Henson Company* has officially landed right here in Brisbane exclusively at QAGOMA as part of Brisbane Festival, and it is most definitely magic! The exhibition is an immersive journey through the imaginative storytelling of the Jim Henson Company, featuring props and characters from *Fraggle Rock and Fraggle Rock: Back to the Rock*, the worlds of *The Dark Crystal*, *Labyrinth*, *Sesame Street*, *The Muppets* and more. And yes, Kermit the frog does make an appearance! Spanning the entire ground floor of GOMA, the Gallery of Modern Art, the world-exclusive exhibition takes visitors on a journey to celebrate the 70-year legacy of The Jim Henson Company’s ambitious creativity, iconic characters, and enchanting worlds. The buzz of excitement at the exhibition was impossible to ignore, with countless ‘big kids’ adorned in colourful outfits, crazy shoes and elaborate hair pieces. The atmosphere captured the enduring appeal of the Jim Henson Company, and the unique creativity that continues to transcend childhood and inspire generations of all ages. ![The Scoop Make, Believe, Magic The Worlds of The Jim Henson Company](https://thescoop.au/wp-content/uploads/2026/09/Labyrinth_ProductionStill_THJC_001-953x628.jpg "Make, Believe, Magic The Worlds of The Jim Henson Company • The Scoop")Still from Labyrinth 1986 Image courtesy of the Jim Henson CompanyThe exhibit itself took me back to my own childhood, watching *The Muppets Christmas Carol* and *The Muppets Treasure Island* with my parents, who were secretly just watching for themselves. Walking through the exhibition, I was reminded of just how much of Henson’s work has become woven into so many childhood memories just like mine. However, this exhibit was so much more than a feeling of nostalgia. With more than 500 pieces spanning iconic puppets, handcrafted props and unique costumes, it quickly became clear that this was more than an exhibition of familiar characters. It offers a glimpse behind the magic of the Jim Henson Company, revealing the sheer amount of imagination and depth of talent that exist behind the scenes. The element I particularly loved was the display of original sketches and storyboards throughout the exhibition. These offer a rare glimpse into the intricate creative processes that have brought some of popular culture’s most enduring creations to life. What made the experience especially enjoyable was the exhibition’s interactive feel. The Henson Company’s work had not simply been placed behind glass but was opened up to visitors. ![The Scoop Make, Believe, Magic The Worlds of The Jim Henson Company](https://thescoop.au/wp-content/uploads/2026/09/HENSON_FraggleRock_still_004-1012x628.jpg "Make, Believe, Magic The Worlds of The Jim Henson Company • The Scoop")Production still from Fraggle Rock 1983 to 1987 Image courtesy of the Jim Henson CompanyI was able to watch iconic clips from shows and adverts, walk through immersive sets, as well as try my luck at becoming a puppeteer (I won’t be quitting my day job any time soon). The exhibition encouraged me to rediscover Henson’s world through a playful environment, without making me feel childish for doing so. The most awe-inspiring moment for me was turning the corner into the immersive set of *Fraggle Rock and Fraggle Rock: Back to the Rock*. I was able to walk through Fraggle Rock myself, joined by the beloved Fraggle Five: Gobo, Red, Mokey, Wembley and Boober. The mesmerising set, careful details and playful atmosphere were undoubtedly magical. It is most definitely something you must experience for yourself. With plenty to choose from, *Make, Believe, Magic, The Worlds of the Jim Henson Company* exhibition definitely deserves a spot on your must-see list for this year’s Brisbane Festival. ***Make, Believe, Magic: The Worlds of The Jim Henson Company* runs as part of Brisbane Festival. It will be on until 18 April 2027. GOMA, the Gallery of Modern Art, Stanley Place South Brisbane Qld 4101.** Tickets: <https://www.qagoma.qld.gov.au/exhibition/make-believe-magic-the-worlds-of-the-jim-henson-company> Website: <https://www.brisbanefestival.com.au/events/make-believe-magic> Socials: <https://www.instagram.com/qagoma/> and <https://www.instagram.com/brisbanefestival/> [Read more of our Brisbane Festival News & Reviews](https://thescoop.au/?s=brisbane+festival) Hero image: Production still from *Fraggle Rock: Back to the Rock* 2022 to present. Image courtesy of Apple, The Jim Henson Company. **Categories:** Brisbane, Film --- ### [Review: Girls & Boys Delivers A Whiplash You Don't See Coming](https://thescoop.au/review-girls-boys-delivers-a-whiplash-you-dont-see-coming/) **Published:** September 23, 2026 **Author:** Nick Dale **Content:** ★★★★☆ ![The Scoop Girls & Boys Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/State-Theatre-Company_Girls-and-Boys_Dress-Run-Feb25-2022_2761_HiRes-941x628.jpg "Girls & Boys Sydney Theatre Company • The Scoop")Sydney Theatre Company’s *Girls & Boys* creates an illusion of safety and comfort, then takes it apart, piece by piece. Justine Clarke has the audience spellbound in Dennis Kelly’s one-woman play, now back at Wharf 1 Theatre, lulling us in with amusing anecdotes before revealing something far darker. The opening scene feels like sitting in a pub while a particularly garrulous friend holds the floor with hilarious travel stories. Clarke bursts onto the stage in bright yellow trousers and a big grin, almost clown-like. She proceeds to launch into travel anecdotes and observations about people holding up queues at airports that all seem quite tame at first, before graphic sexual descriptions surprise the audience. The way vulgarities fall out of her mouth, against the shiny *Play School*-like backdrop, is a jarring juxtaposition that’s both hilarious and awkward. It’s a clever, unique set-up for a story that shifts between comedy and documentary-like, deadpan delivery, while something bubbles under the surface. The effect is strangely hypnotic. First staged by director Mitchell Butel with State Theatre Company South Australia for the 2022 Adelaide Festival, the play oscillates between monologues to the audience and scenes in the home, where the Woman (Justine Clarke) plays with and mothers her two invisible children, a boy and a girl. Her stories move from hilarious social observations when travelling to her raucous youth, to first meeting her husband, raising a family and the cut-throat world of the film industry. Kelly’s script is rich with clever, highly evocative lines, such as *“It was like a thought wandering into your mouth without permission.” ![The Scoop Girls & Boys Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/State-Theatre-Company_Girls-and-Boys_Dress-Run-Feb25-2022_2809_HiRes-942x628.jpg "Girls & Boys Sydney Theatre Company • The Scoop")The script is rich with clever and highly evocative lines Photo by Sam RobertsThe essential brilliance in Butel’s direction lies in the use of space, casting, and stage iconography. Casting Justine Clarke, a beloved anchor of Australia’s childhood for two decades on *Play School*, is a stroke of genius. This, together with Ailsa Paterson’s stunning set design, creates an unsettling juxtaposition between a sense of buoyancy and safety and an eerie emotional undercurrent, one that lingers below Clarke’s grin. The shiny, pristine, *Play School*-like stage is replete with skeletal window frames and simple, colourful set pieces. Clarke appears stranded amidst a hollow, uncanny valley-like space, a bit *Truman Show*, a bit *Pleasantville*. She’s given the entire space to play with, alone, much like her work on *Play School*. Writer Dennis Kelly uses the woman’s profession as a documentary filmmaker as a meta-theatrical cue, creating a hyper-observational style of storytelling. The narrative is at times disjointed. There are long monologues that go into somewhat dry detail of corporate jargon, television industry politics and long international flights. At first amusing and intriguing, the clinical detachment threatens to lose the play’s momentum and tests the patience, often taking me out of the story. Yet the mundane details create a false sense of security that makes what’s to come all the more shocking. ![The Scoop Girls & Boys Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/GIRLS_AND_BOYS_PRODUCTION_STILLS_by_MATT_BYRNE-09540-942x628.jpg "Girls & Boys Sydney Theatre Company • The Scoop")Justine Clarke delivers a masterclass in physical detail Photo by Matt ByrneClarke commands the stage with absolute precision. She delivers a masterclass in physical detail, bouncing about the stage and miming interactions with her children with a physicality so precise it’s mesmerising in itself. She balances the often-jarring shifts in tone with remarkable control. Yet all that exuberance hides an emotional restraint that’s haunting. At times I found myself wanting some more explosive, emotional moments. But this seems to be the writer’s intention: to build a foreboding undercurrent that hits us square between the eyes in the final moments. While the climax almost misses its mark after the script’s more detached stretches, Justine Clarke saves it with an arresting, raw performance that’s transfixing. Kelly’s script is confronting. It forces us to look at the fragile nature of our ‘civilised’ world. The play makes a powerful comment on gender-based social constructs, targeting how threats to male identity can lead to extreme violence. *Girls & Boys* takes you on a journey you thought you knew, only to deliver a whiplash you didn’t see coming. ***Girls & Boys* is presented by Sydney Theatre Company and runs to 1 November 2026 at Wharf 1 Theatre. Wharf 4/5 Walsh Bay, Sydney NSW 2000.** Tickets are available [here](https://www.sydneytheatre.com.au/whats-on/2026/productions/girls-boys). Website: <https://www.sydneytheatre.com.au/whats-on/2026/productions/girls-boys> Socials: <https://www.instagram.com/sydneytheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Hero image: Sam Roberts **Categories:** Sydney, Theatre --- ### [Rhonda Burchmore: 45 Years of Musical Theatre and Counting](https://thescoop.au/rhonda-burchmore-45-years-of-musical-theatre-and-counting/) **Published:** September 23, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Rhonda Burchmore ANASTASIA](https://thescoop.au/wp-content/uploads/2026/09/2761-Rhonda-Burchmore-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-copy-942x628.jpeg "Rhonda Burchmore ANASTASIA • The Scoop")Brisbane marks the final stop for ***Anastasia***, an Australian premiere musical that has captivated audiences across Melbourne, Perth, Sydney and Adelaide. Among the stellar cast is **Rhonda Burchmore**, playing the glamorous and mischievous Countess Lily alongside Georgina Hopson in the title role and Nancye Hayes as the Dowager Empress. For Burchmore, *Anastasia* is the latest chapter in an extraordinary career that has included some of Australia’s most significant musical theatre productions, from *Mamma Mia!* and *Into the Woods,* to *Guys and Dolls* and *The Drowsy Chaperone*. Last Friday, The Scoop caught up with Burchmore ahead of opening night to talk all things *Anastasia*, including national tours, working alongside Hayes, and the roles still left on her bucket list – and why we might just need a Barbie musical. Read the full interview below. We’re entering the final stretch of the Australian premiere season of *Anastasia*, which kicked off just after Christmas last year. I feel like I’ve been there the whole time because The Scoop has followed the show in every city. But for people like me, who haven’t seen the film or the musical yet, can you tell us a little bit about the show, and how your role fits into it? The story is about Anastasia, whose family is destroyed with the Russian Revolution. The Bolsheviks come, but she escapes, and she is trying to find some link to her past, when the story takes her to Paris. Her beloved grandma, played by Nancye Hayes, is also searching for – who she believes – is that one person who survived. She goes on to find love and hope and joy, and a grandma. And along the way, she meets lots of characters. I play Nancye Hayes’ lady-in-waiting, Countess Lily, who had a wonderful life in Russia, and then escapes to Paris, where it’s not so flash. And she gets down and has a lot of fun with her expats from Russia at the Neva Club. She’s a vodka-drinking fun girl, but there are lots of sides to Lily. It’s revealed that she’s had an affair with Vlad, played by Rodney Dobson, and that all gets rekindled in the second half of the show. ![The Scoop Rhonda Burchmore ANASTASIA](https://thescoop.au/wp-content/uploads/2026/09/IMG_8920-837x628.jpeg "Rhonda Burchmore ANASTASIA • The Scoop")Rodney Dobson and Rhonda Burchmore in Anastasia Photo by Jeff BusbyLooking back over the tour, can you share some of the highlights, whether that’s on stage, backstage, or at the stage door? I think..when it all came together on the stage for the first time at the Regent Theatre. That whole old-world thing at the Regent suited the show so much. And to see it come to life with the orchestra and the costumes on opening night, that was thrilling. We were wondering whether our audience was going to love it, wondering how they were going to react. And they loved it. Audiences throughout Australia have been phenomenal. It’s like the icing on the cake finishing here in Brisbane. The preview audiences have just been going crazy, which is fantastic. They do say that Brisbane audiences are a bit special. We hear that at the media calls from producers, and I wasn’t really sure if it was true or not, but I think we’ve just got this genuine love for musical theatre. It’s just phenomenal and makes me feel so welcome as an artist. A lot of them think that I *am* from Queensland. It’s just, it’s such a wonderful vibe, and it’s such a beautiful theatre to play. If I can also say that the highlight for me has been becoming absolute besties with Nancye Hayes through this show. That, for me, is my biggest takeaway: getting to know this glorious woman and hearing so many stories about her life. ![The Scoop Lynn Ahrens Anastasia the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Lynn-Ahrens-941x628.jpg "Lynn Ahrens Anastasia the Musical Sydney • The Scoop")Rhonda Burchmore with lyricist Lynn Ahrens and Nancy Hayes at the Sydney opening night That’s beautiful. I just finished reading your autobiography, *Legs 11* and I would love to take a moment to talk about some of the other Australian premiere productions you’ve been a part of. People don’t realise how many iconic Australian premieres you’ve done over the years. I was in the original *Mamma Mia!* It came to Australia before it went to Broadway, and I had to audition for Benny and Bjorn from ABBA. Not many people can say that. They had absolute control over who was in the cast. *Hot Shoe Shuffle* was written for me with David Atkins. There’s been *Into The Woods*, *Mame, Guys and Dolls*, *Urinetown, The Drowsy Chaperone.* And I believe *Into the Woods* was your first show with Georgina Hopson; she was Cinderella to your Witch? Yes, that was one of her first shows. She was outstanding back then, and she’s phenomenal as Anastasia. But yeah, you look back and think, how many people have been doing it as long as I have? Which is about 45 years. There’s only a handful of us. There’s Nancye, who’s been doing this for 60-odd years, Caroline O’Connor, Marina Prior, a few of us who are still doing it and loving it. ![The Scoop Rhonda Burchmore ANASTASIA](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-22-at-41153-pm-1165x628.png "Rhonda Burchmore ANASTASIA • The Scoop")Georgina Hopson and Rachel Beck with Rhonda Burchmore in the Australian premiere of Into The Woods Photos by Nick MorrisseyI don’t think people quite realise how much stamina is needed to do eight shows a week, in back-to-back productions. What are your non-negotiables for staying healthy on tour? I’m at a point now that if I travel, if I’m moving to a different city, I like nice things. I take my own pillow, and you know, they say one suitcase only, but I travel with about five. But the scariest thing for me is that you can’t control if you catch something. I mean, I had a record, I don’t think, of missing a show in my life. But life happens, and I’ll just try to take a Panadol and go on. You know, that work ethic. Then you’ve got Nancye, who is the only one in our company of 250 shows or more that has not missed a show. She’s got the most amazing work ethic, and I try for that, but sometimes things intervene. Even though I present as a bit of a party girl, I do go home if I know I’ve got matinees and try to get as much sleep as I can. Berocca thrown in with a Red Bull. All the bad things, but you know, whatever works. After all these years, I’m still here. ![The Scoop Rhonda Burchmore ANASTASIA](https://thescoop.au/wp-content/uploads/2026/09/Anastasia-1101x628.png "Rhonda Burchmore ANASTASIA • The Scoop")What’s left on Rhonda Burchmore’s bucket list? There are things I would have loved to do, but because of my height and age, there was no way. When I was little, I wanted to play Maria in *The Sound of Music*, but I would have been more likely to play the mountain. *(Laughs)* I would have loved to play Christine in *Phantom*, but that’s a different voice. So you have to be realistic. It feels like only yesterday when I began, and it goes so quickly. But I would have loved, and there’s still maybe a chance, to play Norma Desmond in *Sunset Boulevard*. I’d like to play Mrs Lovett in *Sweeney Todd*. Those kinds of things. *Hello, Dolly*. I thought of something that hasn’t happened yet. Why hasn’t anyone done a Barbie musical? Well, that’s it. I could be Barbie. We need to talk to Margot Robbie’s people. Well, yeah, you’ve seen my Barbies. I have. I spent the last week cleaning. I’ve got 400 collector Barbies. Amazing. Yeah, whatever happened to Barbie? I don’t know. But we can put it out there, I’m planting a seed. Barbie the Musical. ![The Scoop Rhonda Burchmore ANASTASIA](https://thescoop.au/wp-content/uploads/2026/09/Rhonda-621x628.png "Rhonda Burchmore ANASTASIA • The Scoop")Rhonda BurchmoreIt’s the start of the school holidays in Brisbane, which is great timing because *Anastasia* is a musical that appeals to the whole family. What would you say to anyone sitting on the fence, wondering whether to bring the kids? Get off the fence and off your Netflix lounge. There is nothing more perfect for mums and dads than to tell the kids to put down their phones and come and witness live theatre at its best here at QPAC. There’s a live orchestra, magnificent costumes, wonderful acting. For two hours, they can be absorbed by the magnificence of live theatre. Some people will say it’s so expensive, but it’s money well spent as an education and an experience for the kids. **Rhonda Burchmore appears in *Anastasia* *the Musical* which is playing to 18 October at the Lyric Theatre, QPAC**. Tickets: <https://anastasiathemusical.com.au/tickets/brisbane/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> and <https://www.instagram.com/rhondaburchmore/> [Read our Review of the Brisbane Season](https://thescoop.au/review-anastasia-brings-theatrical-magic-to-brisbane/) Photo credits: Jeff Busby **Categories:** Features --- ### [Review: Anastasia Brings Theatrical Magic To Brisbane](https://thescoop.au/review-anastasia-brings-theatrical-magic-to-brisbane/) **Published:** September 19, 2026 **Author:** Sarah Skubala **Content:** ★★★★★ ![The Scoop ANASTASIA the Musical](https://thescoop.au/wp-content/uploads/2026/08/2901-Georgina-Hopson-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpeg "ANASTASIA the Musical • The Scoop")*Anastasia* joins the list of major touring musicals to make their final stops in Brisbane, following *[CATS](https://thescoop.au/review-cats-lands-on-its-feet-for-a-brisbane-farewell/)*, *[Annie](https://thescoop.au/review-annie-musical-charms-brisbane-big-time/)* and *[Jesus Christ Superstar](https://thescoop.au/review-jesus-christ-superstar-reigns-with-grit-and-glitter/)*. Perhaps that is one reason cast and creatives so often remark on the warmth and enthusiasm they receive from Brisbane audiences. The Scoop has followed the *Anastasia* tour since it opened in [Melbourne](https://thescoop.au/review-anastasia-the-musical-delivers-a-powerful-hope-filled-escape/) just after Christmas last year, tracking its journey through [Perth](https://thescoop.au/review-anastasia-casts-its-spell-over-perth/), [Sydney](https://thescoop.au/review-anastasia-lands-in-sydney-with-glittering-gowns-the-ghosts-of-history/) and [Adelaide](https://thescoop.au/review-anastasia-finds-its-way-to-adelaide-in-glorious-style/). Along the way, we’ve chatted with lyricist [Lynn Ahrens](https://thescoop.au/lynn-ahrens-on-the-enduring-magic-of-anastasia/), who flew out from the US for the Sydney opening. Ahead of last night’s Brisbane opening, I spoke with the legendary Rhonda Burchmore, who plays Countess Lily (interview still to come). *Anastasia* draws on one of the great mysteries of 20th-century Russian history: the fate of Grand Duchess Anastasia Romanov, the youngest daughter of Tsar Nicholas II and Tsarina Alexandra. Following the Russian Revolution, the Romanov family were executed by Bolshevik forces in 1918. For decades afterwards, rumours persisted that Anastasia had somehow survived, giving rise to one of the most enduring historical legends of the 20th century. That history has always felt particularly close to home for me. My Russian grandfather was just 19 when he fled the country in 1927, escaping in the night on board a Japanese freight ship. Arriving at Thursday Island, he entered a strange new country he would never leave. Nor would he see his Russian family again. Making his way to Sydney, he became part of the generation of migrant labourers who worked on major infrastructure projects, including the Sydney Opera House. So when I watch *Anastasia*, a story about a lost princess searching for her identity, I’m also watching a musical that draws on a period of Russian history that shaped my own family’s story. ![The Scoop ANASTASIA the Musical Brisbane Australia](https://thescoop.au/wp-content/uploads/2026/09/3164-The-Australian-Cast-of-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-941x628.jpeg "ANASTASIA the Musical Brisbane Australia • The Scoop")Outstanding performers abound in this cast Photo by Jeff BusbyOf course, the stage musical takes considerable creative licence with that history. *Anastasia* picks up years after the Romanovs deaths and imagines a young woman with no memory of her past, who is told she may be the missing Grand Duchess. Known as Anya (Georgina Hopson), she joins forces with the con man, Dmitry (Robert Tripolino) and the former aristocrat Vlad (Rodney Dobson), as they attempt to make their way from revolutionary Russia to Paris, where the promise of a new life awaits. At the centre of it all, Georgina Hopson is superb as Anya. She has a natural comic instinct, landing the humour exactly when it is needed, but it is her vulnerability that brings the emotional force. Her beautiful, expressive face conveys both the uncertainty of a young woman searching for her identity and the quiet bearing of someone who could genuinely belong to royalty. Hopson’s singing has the same emotional clarity, especially in *Once Upon a December*, where, confronted by the music box, Anya begins to unlock fragments of memory. There is something exquisitely fragile in the moment, and Hopson allows the character’s confusion and longing to cut through the spectacle. By contrast, *Journey to the Past*, the iconic Act One closer, allows her to unleash the full scale of her voice, and she turns it into a genuine showstopper. Her connection with Tripolino as Dmitry during *In a Crowd of Thousands* is beautifully touching. Their shared sense of recognition gives the number a genuine tenderness. And when Anya finally reunites with the Dowager Empress, played by the legendary Nancye Hayes, the emotional stakes rise again. It is an especially poignant scene, and feels personal rather than simply the culmination of the plot. ![The Scoop Anastasia Musical Australian Premiere Melbourne](https://thescoop.au/wp-content/uploads/2025/12/1425-Rodney-Dobson-Georgina-Hopson-and-Robert-Tripolino-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "Anastasia Musical Australian Premiere Melbourne • The Scoop")Anastasia has it all including lavish costumes and an ingeniously transportive set Photo by Jeff BusbyOutstanding performers abound in this cast. From Robert Tripolino’s soaring tenor in *My Petersburg*, and Elliot Baker’s luscious bass in *Stay, I Pray You*, to Joshua Robson’s knockout operatic solo as Gleb in *Still*, this is a vocally impressive company. They are backed by an enormously talented ensemble. Rodney Dobson brings a lovable, charismatic warmth to Vlad, playing off the formidable Rhonda Burchmore as Countess Lily. Their duet, *The Countess and the Common Man,* gives both performers plenty of room to shine. It is also a thrill to see multiple generations take to the stage. At 83, Nancye Hayes brings decades of theatrical history to the Dowager Empress, while little Anastasia was played on opening night by Eva Boldery, one of four young local talents sharing the role. There is something particularly special about seeing the span of generations represented on the same stage, from one of Australia’s great theatrical legends to performers taking their first steps in the world of musical theatre. *Anastasia* has it all: tragedy, comedy, romance, lavish costumes, an ingeniously transportive set, beautiful singing and dancing, even a touch of ballet. And the level of talent is exceptional, reminding us why we keep heading back to the theatre. But for me, there is something deeper at its heart. My grandfather left Russia as a young man, travelling into an uncertain future and ultimately building a life in a country he had never imagined calling home. Nearly a century later, I found myself sitting in a Brisbane theatre watching a story inspired by the country and history he had left behind. That is the real magic of theatre. Sometimes a story can find its way into your own life. I don’t think I’ll remember *Anastasia* simply as the musical I followed across Australia, I’ll remember it as the musical that brought my grandfather’s Russia a little closer to home. ***Anastasia* *the Musical* runs to 18 October at the Lyric Theatre, QPAC as the final stop on its national tour.** Tickets: <https://anastasiathemusical.com.au/tickets/brisbane/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Read our Interview with Lynn Ahrens!](https://thescoop.au/lynn-ahrens-on-the-enduring-magic-of-anastasia/) Photo credits: Jeff Busby **Categories:** Brisbane, Musical Theatre --- ### [Announcing Bell Shakespeare 2027 Season](https://thescoop.au/announcing-bell-shakespeare-2027-season/) **Published:** September 21, 2026 **Author:** Newsroom **Content:** ![The Scoop BELL Shakespeare 2027 Season Mackenzie](https://thescoop.au/wp-content/uploads/2026/09/BELLShakespeare_MACKENZIE_PhotoBrettBoardman_005274-941x628.jpg "BELL Shakespeare 2027 Season Mackenzie • The Scoop")**Bell Shakespeare** has announced its **2027 Season**, with three productions to be presented around the country. A contemporary staging of ***As You Like It*** will start the year, followed by a dark and dangerous production of ***Measure for Measure***, and an extensive national tour of **Yve Blake**’s critically acclaimed play ***Mackenzie***. Opening the season in March, Shakespeare’s joyous romantic comedy *As You Like It* is reimagined by **Marion Potts** (*Henry 5, Doubt*) for a camera-ready, reality TV era. Banished from court, Rosalind, played by **Matilda Ridgway** (*Macbeth, Coriolanus*), disguises herself as a boy and flees to the Forest of Arden with her cousin Celia, where she encounters Orlando, the man she loves. Potts explores how in the forest the characters’ artificiality and hyper-performed gender roles are stripped away to reveal their truer selves. Shakespeare’s razor-sharp drama *Measure for Measure* is presented by the company for the first time in over 20 years as a raw 90-minute production that cuts straight to the play’s dark heart. Overwhelmed by Vienna’s growing corruption, the Duke steps aside, handing authority to his second-in-command, Angelo, who sets about enforcing long-dormant morality laws. When Claudio’s fiancée becomes pregnant, Angelo swiftly sentences him to death. Claudio’s sister Isabella, played by **Rose Riley** (*Hamlet, Romeo & Juliet*), makes an impassioned plea for her brother’s life, and Angelo offers her a choice in return: he will release her brother if she will sleep with him. Director **Saro Lusty-Cavallari** highlights the contemporary resonances of the play, with a society gripped by rising puritanism, abuses of power, hypocrisy and temptation. ![The Scoop Group of actors on a dimly lit stage reaching upward around a central woman in a vintage brown outfit under purple-blue lights](https://thescoop.au/wp-content/uploads/2026/06/BELLShakespeare_MACKENZIE_PhotoBrettBoardman_002692-941x628.jpg "Mackenzie Bell Shakespeare Kimberley Hodgson • The Scoop")Mackenzie will return in 2027 for a major national tour Photo by Brett BoardmanYve Blake’s hit play *Mackenzie* returns for an extensive national tour following its sold out world premiere run in [Sydney](https://thescoop.au/review-mackenzie-brings-pop-energy-to-the-scottish-play/) and [Melbourne](https://thescoop.au/review-bell-shakespeares-mackenzie-is-something-really-special/) this year. A hilarious, twisted, and deeply camp reimagining of Shakespeare’s *Macbeth*, the production recasts Macbeth as a 13-year-old child star in the heights of early 2000s TV stardom and Lady Macbeth as her ruthlessly ambitious stage mum. Directed by **Virginia Gay**, and featuring four original songs by Blake, *Mackenzie* will tour to capital cities and regional centres across the country. Bell Shakespeare Artistic Director **Peter Evans** said: *“Welcome to Season 2027: a season centred on gender, power and corruption, delivered with delight, absurdity and profundity. Marion Potts applies her insight to As You Like It, for a production that promises to reflect our media-savvy, image-conscious times.* *Meanwhile, Saro Lusty-Cavallari has created a finely edited and focused version of Measure for Measure, a play scholars sometimes refer to as a ‘problem play’, but I think it shows Shakespeare at the top of his game. It feels extremely contemporary in its portrait of a corrupt city, its extraordinary scenes of sexual harassment and abuses of power.* *Finally, I am beyond thrilled with the success of Mackenzie, and can’t wait to take it to audiences all across the country. Shakespeare’s ability to find himself amongst our contemporary concerns is demonstrated again with these three remarkable works. I look forward to seeing audiences in the theatre.”* Alongside this mainstage programming, Bell Shakespeare will present their extensive national outreach and education program in schools, communities and Juvenile Justice centres across Australia. Other events throughout the year will include the inaugural **John Bell Lecture**, a new annual lecture series that will kick off in 2027 with John Bell, and a panel series titled **Performing Gender**, exploring gender in Shakespeare’s plays. There will be deep dives into *As You Like It* and *Measure for Measure*, the continuation of the lively script reading series **Play in a Day** featuring **John Fletcher**’s 1611 play *The Tamer Tamed*, the return of the ever-popular **Sonnets & Semillon**, and school holiday programming. ![The Scoop Bell Shakespeare 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-21-at-24354-pm-981x628.png "Bell Shakespeare 2027 Season • The Scoop")Matilda Ridgway will appear in As You Like It Image suppliedABOUT BELL SHAKESPEARE Bell Shakespeare is Australia’s national theatre company specialising in the works of William Shakespeare and his contemporaries. Founded in 1990 with the aim of sharing Shakespeare’s plays in a way that was relevant and exciting to all Australians, the company has evolved further than its visionary founder, John Bell AO, could have hoped. Today, Bell Shakespeare tours major theatre productions, education programs and outreach initiatives to every state and territory in Australia. Performing and teaching in theatres, schools, juvenile justice centres and regional and remote communities, the company enjoys unrivalled reach and impact, further extending its influence through innovative digital programs. AS YOU LIKE IT Shakespeare’s joyous romantic comedy is reimagined by Marion Potts for our camera-ready era, where all the men and women really are merely players. Meet Rosalind – witty, brilliant and brave. When she meets Orlando sparks fly, but before their romance can flourish, she is exiled by her tyrannical uncle, who deems her too popular, too beloved by the people. Now an outlaw, Rosalind disguises herself as a boy named Ganymede and escapes to the forest with her cousin, Celia. Orlando has his own problems, so he flees to the forest too. And when their paths collide, Rosalind, in disguise, sets about teaching Orlando how to love. But the Forest of Arden doesn’t play by the rules. Among the runaway lovers, melancholy philosophers, and locals with terrible romantic advice, something dangerous starts to happen. They become themselves. **Sydney Opera House** \| 6 March – 4 April (Previews 6, 7, 9, 10 March) **Canberra Theatre Centre** \| 13 – 17 April (Preview 13 April) **Arts Centre Melbourne** \| 22 April – 9 May (Preview 22 April) ![The Scoop Bell Shakespeare 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-21-at-24246-pm-1122x628.png "Bell Shakespeare 2027 Season • The Scoop")Rose Riley will appear in Measure For Measure Image suppliedMEASURE FOR MEASURE Thrillingly raw and relevant to our times, *Measure for Measure* is Shakespeare’s razor-sharp drama about temptation, power and hypocrisy. Overwhelmed by the growing chaos and corruption of the city, the Duke of Vienna steps aside, handing authority to his uncompromising second-in-command, Angelo. But the Duke doesn’t leave town – he dons a disguise and sticks around to watch the experiment unfold. The puritanical Angelo sets about enforcing long dormant morality laws. When Claudio’s fiancée becomes pregnant, Angelo swiftly sentences him to death. Claudio’s sister, the pure-hearted Isabella, makes an impassioned plea for her brother’s life. So Angelo makes Isabella an offer: He will release her brother if she sleeps with him. Director Saro Lusty-Cavallari’s 90-minute production cuts straight to the play’s dark heart. Who judges the judges? And what is one woman’s soul worth, in this strangely familiar city? **The Neilson Nutshell** \| 3 – 24 July (Previews 3, 4, 6, 7 July) **Arts Centre Melbourne** \| 29 July – 8 August (Preview 29 July) MACKENZIE Back by popular demand after sold-out 2026 seasons in Sydney and Melbourne, Yve Blake’s smash hit *Mackenzie* returns to Australian stages. Mackenzie is 13 and she’s booked her first-ever TV gig: a tiny part on a huge kids show. It’s a small start, but Mackenzie’s mum has always felt sure that her baby was destined for superstardom. One day, Mackenzie and her best on-set friend Beau encounter a geriatric make-up artist who is struck with a vision: that Mackenzie will be NUMBER ONE POP GIRL OF THE WORLD. Directed by the electric Virginia Gay, this hilariously macabre play (with songs) charts Mackenzie’s rise to fame fuelled by a cut-throat stage mum who will stop at absolutely nothing. Set in the heights of early 2000s TV stardom, prepare for a wild ride that will leave you in stitches… and deeply disturbed. *“**Mackenzie is something really special – a hilarious, thoughtful take on one of the most adapted plays in the English language.”* – The Scoop **Canberra Theatre Centre** \| 25 – 29 May **Sydney Opera House** \| 21 July – 14 August (Preview 21 July) **And touring nationally** with dates to be announced. **Tickets for Bell Shakespeare’s 2027 Season performances are on sale now.** Download the Season 2027 brochure [here](https://drive.google.com/file/d/1leEBltfpvvh-aH0g0nHiL0srn_yHwHdm/view). Website: <https://www.bellshakespeare.com.au/season> Socials: [Socials: https://www.instagram.com/bellshakespeare/](Socials:%20https://www.instagram.com/bellshakespeare/) [Read our review of Mackenzie](https://thescoop.au/review-bell-shakespeares-mackenzie-is-something-really-special/) Hero image credit: Brett Boardman **Categories:** News --- ### [Review: Living In The '70s by The 60 Four 2026 Adelaide Fringe](https://thescoop.au/review-living-in-the-70s-by-the-60-four-2026-adelaide-fringe/) **Published:** February 21, 2026 **Author:** Genevieve Hudson **Content:** ★★★★★ ![The Scoop Five men in white shirts and black ties pose around a clothing rack, wearing jackets draped over their shoulders as props in a studio shot.](https://thescoop.au/wp-content/uploads/2026/09/Andre-Goosen-2024-1-942x628.jpg "The 60 Four Adelaide Fringe. Photo by Andre Goosen • The Scoop")If you’re desiring a trip down memory lane or just an evening of funky ‘70s music, *Living in the ‘70s* by The 60 Four delivers such an experience with plenty of energy and colour. From the show’s beginning, the tone is set as fast-paced, cheeky, and a fun celebration of the decade with the ‘best music.’ In their 10th year in the Adelaide Fringe, The 60 Four’s passion for this musical era has not faded, and they are still keen to share their talents and enthusiasm. Ben Francis, the company’s Director and Founder, leads his fellow vocalists Finnegan Green, Lachlan Williams, and Jack Conroy to open the show with the energetic *You Should Be Dancing* by The Bee Gees. From the familial banter in between songs to the songs themselves, it is evident that they work incredibly well together and have done so since leaving high school. ![The Scoop The 60 Four Living in the'70s Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Creative-By-Frankie-1-942x628.jpg "The 60 Four Living in the '70s Adelaide Fringe • The Scoop")The tone is fast paced cheeky and a fun celebration of the decade with the best music Photo by Frankie the CreativeFrancis masterfully captures the higher vocals of the Gibb brothers, while Green delightfully demonstrates his range in a famous hit by KISS. By comparison, Williams and Conroy favour the lower, richer tones of Daddy Cool and The Eagles. With each taking turns to lead a song, matched to their vocal strength, it’s often hard to tell where one voice ends and one begins. Harmonies are well-practised and blend seamlessly together, remaining reminiscent of the original songs. Choreography is a huge part of this performance and often involves either synchronised or complementary movements, which only adds to the vibrancy of the performance. The moves perfectly match the beat and the mood of the music being played. The accompanying live band are superb, matching the vocalists’ energy and immediately recalibrating from one song to the next. Each musician is also given a moment to shine, demonstrating their musical prowess from the keyboard to the saxophone. ![The Scoop The 60 Four Living in the'70s Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Creative-By-Frankie-2-942x628.jpg "The 60 Four Living in the '70s Adelaide Fringe • The Scoop")Audiences are invited to sing dance and cheer to their hearts delight Photo by Frankie the CreativeWith the stage lit up in shades of blue, the bright orange jackets are a great contrast against the black background. They are rivalled only by the fabulous surprise change for the encore medley. The 60 Four offer more than just a performance this Adelaide Fringe season. They deliver an immersive, celebratory experience of the ‘70s that feels more like a sing-along than a tribute concert. Audiences are invited to sing, dance, and cheer to their heart’s delight as they are treated to a fantastic musical spectacle. It will certainly leave you wanting more. Whether you’re a diehard fan of the era or just want something fun, you’ll come away from *Living in the ‘70s* wanting to dig out your old CDs or stream these classics for days afterwards. ***Living in the ’70s* is presented by The 60 Four and runs to 1 March as part of the 2026 Adelaide Fringe. The Flamingo at Gluttony, Rymill Park Adelaide SA 5000.** The 60 Four will also perform [Hits of the ’60s and ’70s](https://adelaidefringe.com.au/fringetix/hits-of-the-60s-and-70s-by-the-60-four-af2026) as part of Adelaide Fringe. Visit their website for the full 2026 tour dates. Tickets: <https://adelaidefringe.com.au/fringetix/living-in-the-70s-by-the-60-four-af2026> Website: <https://the60four.com/> Socials: <https://www.instagram.com/the60four/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Hero image photo credit: Andre Goosen **Categories:** Adelaide, Concerts --- ### [Review: The Homecoming Finds Dark Humour In A Family At War](https://thescoop.au/review-the-homecoming-finds-dark-humour-in-a-family-at-war/) **Published:** September 21, 2026 **Author:** Jack Bengough **Content:** ★★★★★ ![The Scoop The Homecoming Harold Pinter Australian Shakespeare Company Melbourne](https://thescoop.au/wp-content/uploads/2026/09/3109-942x628.jpg "The Homecoming Harold Pinter Australian Shakespeare Company Melbourne • The Scoop")*The Homecoming* is a dark comedy by Harold Pinter exploring the complex relationship of a family of men living in North London. This familial relationship is pushed to its limits when one of the sons returns home after years away with his wife, whom the rest of his family have never met. The Australian Shakespeare Company has opened their season of this revered play at the Athenaeum Theatre in their secondary theatre space. Set in the quaint living room of a North London home in the 1960s, *The Homecoming* is about a family of men: patriarch Max (Richard Piper), his sons Lenny (Ben Guerens), Joey (Eddie Orton) and Teddy (Peter Houghton), and Uncle Sam (David Field). Teddy returns to the family home after years abroad with his wife Ruth (Kate Kendall) to the surprise of his family, who never even knew he had married. What unfolds is, at face value, shocking and confronting, but it is delivered in a fashion that is captivating and darkly funny. All of these men have complicated relationships with women, to say the least, and Ruth’s insertion into their lives unleashes the worst parts of them all. ![The Scoop The Homecoming Harold Pinter Australian Shakespeare Company Melbourne](https://thescoop.au/wp-content/uploads/2026/09/1126-942x628.jpg "The Homecoming Harold Pinter Australian Shakespeare Company Melbourne • The Scoop")What unfolds is shocking and confronting but also captivating and darkly funny Ben Fon*The Homecoming,* as a text, has been the subject of much discussion as far as what it has to say about the relationship men have with women. Director Greg Carroll and the cast never put their fingers on the scale, encouraging and inviting the audience to actively participate in the production and try for themselves to decipher Pinter’s intentions. Richard Piper and Ben Buerens have incredible chemistry on stage. Their characters, Max and Lenny, are constantly interlocked in a conflict for power over the household. Uncle Sam, on the other hand, is resigned to the sidelines. David Field brings a performance that is warmer and kinder than the other men but, at the same time, diminutive and pathetic. Joey is a short-fused dullard who is never really taken seriously by the rest of the men, always pushed down as the youngest son. Eddie Orton brings a puppy-dog-like performance to the character, always brimming with energy and rage. Teddy is the closest thing the play has to a protagonist. Peter Houghton’s performance in the role feels light and grounded, a man who actively lives in the outside world, unlike his family stuck in their own small one. The normality of Teddy falls away as the second act unfolds, and he remains coldly calm to the events unfolding around him. ![The Scoop The Homecoming Harold Pinter Australian Shakespeare Company Melbourne](https://thescoop.au/wp-content/uploads/2026/09/1462-941x628.jpg "The Homecoming Harold Pinter Australian Shakespeare Company Melbourne • The Scoop")The play is simply gripping with stellar performances across the board Photo by Ben FonKate Kendall is undeniably the star of the show as Teddy’s wife, Ruth. In the text, the beauty of the character of Ruth is how unassuming she is, just the family’s new sister/ daughter-in-law meeting her husband’s family for the first time, unsure of who they are and where she may stand with them. It’s a shock to the audience when suddenly she begins to take an incredible influence over these men. Kendall nails this in her performance, coming off as sheepish and shy, subtly asserting her power over the men when necessary. The set, designed by Carroll, is decked out with dark leather and wood, the atmosphere of which is uplifted by Peter Amesbury’s lighting design. In addition, there is some excellent shadow play thanks to the lighting; these long shadows cast by the performers often have an awesome impact on the dynamic visuals of the scene. The Australian Shakespeare Company’s take on *The Homecoming* is simply gripping, with stellar performances across the board and a fantastic production to boot – it is a must-see. ***The Homecoming* is presented by the Australian Shakespeare Company and runs to 3 October at the Athenaeum Theatre 2. 188 Collins Street Melbourne Vic 3000.** Tickets are available [here](https://tickets.shakespeareaustralia.com.au/sales/performances/studio/the-homecoming). Website: <https://www.shakespeareaustralia.com.au/productions/the-homecoming-ath-2> Socials: <https://www.instagram.com/homecomingplayau/> and <https://www.instagram.com/shakespeareaust/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Ben Fon **Categories:** Melbourne, Theatre --- ### [Review: Housework Brings Scandal, Ambition & Aussie Wit To The Stage](https://thescoop.au/review-housework-brings-scandal-ambition-aussie-wit-to-the-stage/) **Published:** September 21, 2026 **Author:** Caitlin Green **Content:** ★★★★½ ![The Scoop Housework Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/Housework_STC_ImageCredit_PrudenceUpton_050-942x628.jpg "Housework Sydney Theatre Company • The Scoop")I’m a sucker for a political drama. I’ve spent probably too many nights binge-watching the usual suspects: *Scandal* or *Parks and Recreation*. Sydney Theatre Company’s *Housework* has everything you love about your classic political romp: backroom dealings, deception and a good old-fashioned power play, but with a distinctly Australian twist. Emily Steel’s new work follows first-time MP Ruth Mandour (Susie Youssef) as she arrives in Canberra ready to introduce her first private member’s bill. Along with her chief of staff (Emily Taheny) and bright-eyed young staffer (Franca Lafosse), Ruth is quickly thrown into the whirlwind of Parliament, wading through a mess of political egos and media frenzies. You watch each character pick a side of the increasingly blurry line between compromise and completely selling your soul. The question at the centre of *Housework* is valid (and juicy): can you actually change a broken system without learning to play the game? Thank God this show never gets bogged down trying to answer it. Instead, you get all the glorious shades of grey. At around two hours and ten minutes, it’s a seriously hefty run time. But it never drags. No scene overstays its welcome. The pacing is near perfect, and director Shannon Rush has mined Steel’s script for every last drop of comedy. The play screams to life in its opening few moments. *Survivor*-esque drumming fills the theatre, and the stage erupts into a montage of the frantic movement of Parliament. Before anyone has really said anything, we know exactly where we are: Canberra, baby. ![The Scoop Housework Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/Housework_STC_ImageCredit_PrudenceUpton_331-942x628.jpg "Housework Sydney Theatre Company • The Scoop")Under the direction of Shannon Rush Housework is a bloody good time Photo by Prudence UptonThe design from Ailsa Paterson is deceptively simple. So simple, it’s genius. A huge dark wooden table dominates the stage surrounded by marble pillars, a nod to Parliament House’s facade. With the help of genuinely stunning lighting design by Nigel Levings, this same space morphs into offices, dingy hotels and even a Chinese restaurant with total ease. Clever use of backlighting transforms the pillars into hallways and cool Canberra evenings. The attention to detail is key here. This creative team has done their homework. A flicker of parliamentary green light to signal when the house is in session is an especially nice touch. Then there is the cast, who are exceptional. Susie Youssef as Ruth is a delight. Her comedic timing is impeccable, and she has this beautiful quality that gets the audience onside immediately. Emily Taheny is this production’s mooring. She just commands the stage with such force. Laurence Boxhall, though, is a standout for me. He takes huge swings with his choices and somehow lands every single one. He is outrageously funny. Franca Lafosse is charming and shines in the moments when she can flex her physical comedy. A sequence involving her attempting to eat dumplings had me in stitches. Johnny Nasser brings exactly the self-assured swagger required of a powerful Minister for Science. ![The Scoop Housework Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/Housework_STC_ImageCredit_PrudenceUpton_371-942x628.jpg "Housework Sydney Theatre Company • The Scoop")Playing the Prime Minister is Indira Naidoo who is the connective tissue holding the world together Photo by Prudence UptonIndira Naidoo does some of the production’s most generous work. Playing the Prime Minister alongside several other roles, she is the connective tissue holding the world together. The production lands because of her skilful work in the final scenes and utilising her for transitional periods throughout the show is a stroke of directorial genius. What I love most about *Housework*, though, is how unapologetically Australian it is. Steel’s dialogue has that incredibly specific Aussie cadence. It feels natural without ever being lazy. No word is wasted. This show understands the absurdity of our political system, the treatment of women within it and our strange relationship with the people we elect to represent us. And there is no one better to captain the ship than Shannon Rush. Every single element feels considered, from the performances to the lighting to the slick scene transitions, while still maintaining the sense that everyone on stage is having an absolute ball. That joy is infectious. From the moment I sat down, I was totally consumed by the feeling. Under Rush’s direction, *Housework* is a bloody good time. It doesn’t need to reinvent the political drama. Instead, it takes everything delicious about the genre – scandal, ambition, sex, betrayal, ego – and lets Canberra have a crack. I left the theatre immediately thinking of five people I needed to bring back with me. There is really no better testament to what a truly fantastic piece of work this is than that. *Housework* proves to me, again, that this country is bursting at the seams with talent. I’m so glad Sydney Theatre Company is making a space for Aussie voices on the country’s biggest stage. ***Housework* is presented by Sydney Theatre Company and runs to** **17 October at the Drama Theatre. Sydney Opera House, Bennelong Point** **Sydney NSW 2000.** Tickets are available [here](https://www.sydneytheatre.com.au/whats-on/2026/productions/bennelong-in-london). Website: <https://www.sydneytheatre.com.au/whats-on/2026/productions/housework> Socials: <https://www.instagram.com/sydneytheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Prudence Upton **Categories:** Sydney, Theatre --- ### [Review: LUKE Is A Provocative New Voice In Australian Theatre](https://thescoop.au/review-luke-is-a-provocative-new-voice-in-australian-theatre/) **Published:** September 20, 2026 **Author:** Jessica Flynn **Content:** ★★★★★ ![The Scoop Luke by Angus Cameron Red Stitch Actor Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/09/WILL-LONSDALE-OLGA-MAKEEVA_PNC7051_Parenthesy-61_LR-942x628.jpg "Luke by Angus Cameron Red Stitch Actors Theatre Melbourne • The Scoop")*LUKE* by Angus Cameron is an extraordinary queer Australian story premiering at Red Stitch Theatre in Melbourne. Trust me when I say you want to be part of the crowd that can say they saw it first, because I have a feeling this provocative new work is going to become an important part of Australian theatre history. Beginning in 2007, *LUKE* follows an unlikely trio: Chris, a fresh high school graduate, and his two older teachers, Damon and Olena. What begins on one fateful night, where performance and memory become increasingly difficult to separate, ripples across the next two decades. As we move between past and present, Cameron carefully unpacks the ways our memories shift, our perceptions change, and the power dynamics of one moment can continue to shape lives long after it has passed. What I love most about *LUKE* is that it refuses to make things easy. It is playful one moment and deeply uncomfortable the next, constantly forcing us to question what we think we have seen and how quickly we are willing to accept something at face value. ![The Scoop Luke by Angus Cameron Red Stitch Actor Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/09/WILL-LONSDALE-OLGA-MAKEEVA-DION-MILLS_PNC7051_Parenthesy-147_LR-942x628.jpg "Luke by Angus Cameron Red Stitch Actors Theatre Melbourne • The Scoop")The wonderfully intimate theatre places us directly inside the living room Photo by Cameron GrantDirector Iain Sinclair brings Cameron’s courageous vision to life with both tenacity and tenderness, allowing the audience to sit with the contradictions rather than neatly resolving them for us. Red Stitch’s wonderfully intimate theatre places us directly inside Olena’s anachronistic living room, where there is nowhere to hide. Every micro-expression is visible, and every inflection of the voice carries weight. The cast rise beautifully to this challenge. William Lonsdale brings an extraordinary complexity to Chris, capturing both the naivety and trepidation of a fresh high school graduate before gradually evolving the character across the decades. Subtle changes in his voice, posture and physicality speak volumes as Chris grows into a more confident and mature version of himself. Olga Makeeva is equally compelling as Olena. There is a wonderful authenticity to her performance, bringing Olena’s playful, practical and at times confronting personality vividly to life. Dion Mills is outstanding as Damon. His ability to dance between convincing and uncomfortable scenes creates exactly the atmosphere *LUKE* needs. Watching him move seamlessly from silly games of reciting Shakespeare to confronting conversations creates the confusion and unease the audience needs to reflect on the message of the play. ![The Scoop Luke by Angus Cameron Red Stitch Actors Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/09/WILL-LONSDALE-OLGA-MAKEEVA-DION-MILLS_PNC7051_Parenthesy-189_LR-942x628.jpg "Luke by Angus Cameron Red Stitch Actors Theatre Melbourne • The Scoop")The play refuses to give us a simple answer or tells us what to think Photo by Cameron GrantNathan Burmeister’s set cleverly uses every inch of the space, transporting us through different periods while maintaining a comforting familiarity. I particularly loved the nostalgic nods to Russia that Burmeister imagines for Olena’s living room. Reinforced even more by the costumes evolving with both the set and the characters’ mindsets. Seamless sound design by Ethan Hunter and smart lighting by Niklas Pajanti complete the transformation, creating spaces that feel a million miles away from Dandenong Road. Director Iain Sinclair, quoting F. Scott Fitzgerald, reflects on the ability to hold two opposing ideas in our minds at once and still function. *LUKE* is a powerful embodiment of this idea, refusing to give us a simple answer or tell us what to think. Instead, it asks us to sit in the discomfort, look a little closer at the stories we tell ourselves and question how quickly we make assumptions about others. I hope to see this work grow far, because this is exactly the kind of theatre that deserves to be part of the conversation. Provocative and thought-provoking, *LUKE* stirs the pot in just the right way. ***LUKE* is presented by Red Stitch and runs to 11 October 2026. Red Stitch Actors’ Theatre, Rear 2 Chapel Street St Kilda East Vic 3183.** Tickets are available [here](https://boxoffice.redstitch.net/WEBPAGES/EntaWebShow/ShowCalendar.aspx). Website: <https://www.redstitch.net/luke-2026> Socials: <https://www.instagram.com/redstitch/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Cameron Grant **Categories:** Melbourne, Theatre --- ### [Review: Spamalot Is A Gleeful Ride To The Holy Grail](https://thescoop.au/review-spamalot-is-a-gleeful-ride-to-the-holy-grail/) **Published:** September 20, 2026 **Author:** Jacqui Moore **Content:** ★★★★☆ ![The Scoop Monty Python's Spamalot Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/09/9976-copy-942x628.jpg "Monty Python's Spamalot Drew Anthony Creative • The Scoop")When you step into Melbourne’s Athenaeum Theatre and find the audience dotted with knights, damsels and the occasional peasant, it’s clear you’re in for a riotous night. *Monty Python’s* *Spamalot*, presented by Drew Anthony Creative, is a joyous collision of classic Python absurdity and musical theatre spectacle, a must-see for long-time devotees and newcomers alike. Winner of the 2005 Tony Award for Best Musical, *Spamalot* follows King Arthur and his Knights of the Round Table on their quest for the Holy Grail, gleefully weaving in beloved Python references such as the Knights Who Say “Ni!” and the indomitable Black Knight. What delighted me most was the number of children and young people in attendance, many clearly embarking on their very first Monty Python adventure. It’s always a pleasure to watch a cast so wholly committed to the chaos and craft of a show, and the *Spamalot* ensemble certainly doesn’t disappoint. Stephen Curry leads the company as King Arthur, marking his official musical theatre debut. A natural master of audience rapport, Curry breaks the fourth wall with effortless charm, always seeming to know exactly where the next laugh is hiding. ![The Scoop Monty Python's Spamalot Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/09/3069-copy-942x628.jpg "Monty Python's Spamalot Drew Anthony Creative • The Scoop")The show is a joyous collision of classic Python absurdity and musical theatre spectacle Photo by Ben FonJaz Flowers is the undeniable audience favourite and the production’s most commanding presence as the Lady of the Lake. Her vocals are sublime, her characterisation meticulous, and her performances of *Find Your Grail* and *Diva’s Lament* are among the finest I’ve encountered. Her playful approach to vocal runs showcases both her technical prowess and mischievous sense of fun, giving the character a magnetic, irresistible edge. Arthur’s Knights of the Round Table are a formidable ensemble. Gareth Isaac is a standout as Sir Robin, delivering a flawless rendition of *You Won’t Succeed on Broadway*, demonstrating just how at home he is on stage. Ethan Jones brings rich vocals and razor-sharp comedic instinct to Sir Galahad, leaning into the character’s self-obsession with giddy precision. Jesse Vasiliadis (Sir Lancelot) and Noah Skape (Sir Bedevere) round out the quartet with assured timing and genuine ensemble chemistry. Jamie Rolton brings wonderfully understated charm to Patsy, pairing deft comic timing with a terrific rendition of *Always Look on the Bright Side of Life*, which becomes one of the show’s most uplifting moments. ![The Scoop Monty Python's Spamalot Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/09/KNIGHTS-OF-THE-ROUND-TABLE-copy-942x628.jpg "Monty Python's Spamalot Drew Anthony Creative • The Scoop")The Spamalot ensemble certainly doesnt disappoint Photo by Ben FonWhile the cast is unstoppable, the production elements, however, occasionally feel underdeveloped. With minimal set pieces and a strong reliance on animated rear projections, the visual world often serves its purpose without fully enriching the storytelling. Although the animations are at times interactive, they don’t significantly enhance the action and can feel more like a playful experiment than an integrated design choice. While the projections clearly draw inspiration from classic Monty Python aesthetics, their prominence leaves the stage looking somewhat sparse in places. Costumes are generally effective and character-appropriate, though a little more detailing could have elevated the overall polish. The absence of a live band is also noticeable, as live music would have added another layer of vibrancy to a production already brimming with energy. Despite these occasional production shortcomings, *Monty Python’s Spamalot* remains an infectiously entertaining night at the theatre. Drew Anthony Creative’s production captures the irreverent spirit of Monty Python with a cast that throws itself wholeheartedly into every absurdity, delivering plenty of laughs, memorable performances and musical theatre flair along the way. For devoted Python fans, it’s a nostalgic celebration of familiar favourites; for younger audiences discovering this wonderfully silly world for the first time, it’s an invitation to join the madness. So grab your ticket and come along prepared to “laugh and smile and dance and sing.” ***Monty Python’s Spamalot*** **runs at the Athenaeum Theatre to 4 October 2026.** **188 Collins Street Melbourne Vic 3000.** It then runs at the Sydney Event Centre at the Star Sydney from 15 – 18 October, before transferring to the Coliseum Theatre from 22 – 25 October 2026. Melbourne tickets are available [here](https://www.ticketmaster.com.au/artist/927819). Sydney Event Centre tickets are available [here](https://www.ticketmaster.com.au/venue/158311?attractionId=927819&did=producer), and Coliseum Theatre tickets are available [here](https://premier.ticketek.com.au/shows/show.aspx?sh=SPAMCOLI26&eg=PROMOTER&ep=PROMOTER). Website: <https://www.drewanthonycreative.com.au/spamalot-melbournesydney-2026> Socials: <https://www.instagram.com/drewanthonycreative/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Ben Fon **Categories:** Melbourne, Musical Theatre --- ### [Announcing Melbourne Theatre Company 2027 Season](https://thescoop.au/announcing-melbourne-theatre-company-2027-season/) **Published:** September 18, 2026 **Author:** Newsroom **Content:** ![The Scoop Melbourne Theatre Company Season 2027](https://thescoop.au/wp-content/uploads/2026/09/Dirty-Diamonds_Ruby-Henaway-Lila-McGuire_Photo-by-Jo-Duck-copy-904x628.jpg "Melbourne Theatre Company Season 2027 • The Scoop")**Melbourne Theatre Company** Artistic Director & CEO Anne-Louise Sarks today reveals the Company’s ambitious **2027 Season** – eleven productions spanning bold new Australian work, sharp provocations on classics, compelling dramas and international hits. **Anne-Louise Sarks**, Artistic Director & CEO of Melbourne Theatre Company, said: *“Season 2027 invites audiences to join us at the theatre for thrilling, moving and surprising storytelling. There’s a lot of fun in this season. It’s playful, it’s edgy and importantly, it asks us to look again at some of the stories we thought we knew*. *Our new season highlights who we are: a company that backs Australian artists, commissions new Australian work and gives artists the support to continue making ambitious theatre from the ground up. Six of our eleven productions have been supported through our NEXT STAGE Writers’ Program and five are Melbourne Theatre Company commissions.* *That investment in new work and artists is at the heart of everything* *we do.* *And alongside that, we’re bringing major international works to Melbourne* – *giving audiences the chance to experience some of the most exciting theatre on the global stage.”* ![The Scoop Melbourne Theatre Company Season 2027](https://thescoop.au/wp-content/uploads/2026/09/Clarice_Rachel-Griffiths_Photo-By-Jo-Duck-942x628.jpg "Melbourne Theatre Company Season 2027 • The Scoop")Rachel Griffiths returns to MTC in Clarice Photo By Jo Duck**Season 2027 highlights include:** **Rachel Griffiths returns to Melbourne Theatre Company for the first time in 20 years,** to star as the largely forgotten modernist painter Clarice Beckett in the world premiere of *Clarice*, a new work developed through a unique creative collaboration between Griffiths, AACTA Award-winning writer Trudy Hellier and multi-award-winning director Simon Phillips. **Actor and playwright Kate Mulvany embarks on a virtuosic one-person tour de force, embodying all the characters of Shakespeare’s** *Richard III****,*** directed by Ian Michael. This new adaptation sheds a new light on the misunderstood Machiavellian figure, by interrogating the differing ways in which power is wielded by disabled and able-bodied individuals. **The Australian premiere of** *Stereophonic*, the most Tony Award-nominated play in Broadway history, featuring an original score by Will Butler, formerly of Arcade Fire. **The Australian premiere of** *John Proctor is the Villain*, one of the most talked-about new plays in the world right now – seven Tony Award nominations, two Outer Critics Circle Awards, and a feature film in development with Tina Fey and Sadie Sink attached. Directed by Anne-Louise Sarks. **A world premiere reimagining of H.G. Wells’** *The War of the Worlds*, adapted by award-winning Wirlomin Noongar writer Claire G. Coleman and co-created and directed by Joe Paradise Lui – turning the classic invasion story inside out by looking at it through a new lens. **A world premiere inspired by a real meeting between** **Bob Hawke, Kerry Packer and Clive Lloyd**, in Julian Larnach’s *Rebels*, directed by Jessica Arthur. **A First Nations road trip crime caper**, *Dirty Diamonds*, written and directed by Abbie-lee Lewis, inspired by the real Argyle diamond mine heist – a co-production with Belvoir, in association with Yirra Yaakin and RISING. **The whip-smart, big-hearted new musical spectacular**, *Phar Lap: The Electro-swing Musical*, fresh from winning Best Production of a Musical at the Sydney Theatre Awards. It’s an all-singing, all-dancing ensemble with an infectious song list inspired by Duke Ellington and Daft Punk. Directed by Sheridan Harbridge. **A major new work from celebrated *Lantana* writer Andrew Bovell,** *Every Second Wednesday,* directed by Sarah Goodes – a rare, deeply human story centring the parents, partners and siblings who love someone through addiction. **Sigrid Thornton, Nadine Garner and Erik Thomson to front Edward Albee’s Pulitzer Prize-winning** *A Delicate Balance*, directed by Iain Sinclair (*West Gate*). **The Australian premiere of** *The Authenticator* by Winsome Pinnock – dubbed *“the godmother of Black British playwriting”* by *The Guardian* – directed by Zindzi Okenyo. ![The Scoop Melbourne Theatre Company Season 2027](https://thescoop.au/wp-content/uploads/2026/09/Stereophonic_Geraldine-Hakewill-Alex-Malone_Photo-by-Jo-Duck-536x628.jpg "Melbourne Theatre Company Season 2027 • The Scoop")Stereophonic is a coproduction with Belvoir and Qld Theatre Co Photo by Jo Duck**Melbourne Theatre Company’s Season 2027:** Stereophonic 25 January – 13 March Southbank Theatre, The Sumner Opening the year in the Sumner is *Stereophonic*, the most Tony Award-nominated play in Broadway history. Written by **David Adjmi** with an original score by **Will Butler**, formerly of Arcade Fire, this play-with-music follows a band on the verge of a breakthrough, chasing the perfect take across a decade-defining album. Directed by Daniel Evans (*National Theatre Live: Our Generation*), this co-production with **Queensland Theatre Company** and **Belvoir St. Theatre** features **Geraldine Hakewill** (*Ms Fisher’s Modern Murder Mysteries*) and **Alex Malone** *(The Killings at Parish Station).* Richard III 13 February – 20 March Arts Centre Melbourne, Fairfax Studio In the Fairfax Studio, one of Australia’s leading actors, **Kate Mulvany** (*Hunters, The Twelve*), adapts and delivers a landmark solo performance of Shakespeare’s *Richard III* – playing every character herself. Directed by **Ian Michael** (*Troy*), this reimagining promises to be a theatrical feast – human, darkly funny and heartbreaking. What if history’s greatest monster got to tell his own story, alone? ![The Scoop Melbourne Theatre Company Season 2027](https://thescoop.au/wp-content/uploads/2026/09/A-Delicate-Balance_Nadine-Garner-Erik-Thomson-Sigrid-Thornton_Photo-by-Jo-Duck-scaled-e1789628801699-657x628.jpg "Melbourne Theatre Company Season 2027 • The Scoop")A Delicate Balance stars Nadine Garner Sigrid Thornton and Erik Thomson Photo by Jo DuckA Delicate Balance 3 April – 15 May Southbank Theatre, The Sumner Acclaimed actors of the stage and screen, **Sigrid Thornton** (*[Mother Play](https://thescoop.au/review-mother-play-is-a-devastating-and-beautiful-meditation-on-family/)*), **Nadine Garner** (*The Doctor Blake Mysteries*) and **Erik Thomson** (*Packed to the Rafters*), unite to star in Edward Albee’s Pulitzer Prize-winning dark comedy, *A Delicate Balance.* Award-winning director **Iain Sinclair** (*[West Gate](https://thescoop.au/review-west-gate-is-a-story-of-mateship-memory-tragedy/)*) returns to direct the story of a household that unravels when friends arrive fleeing an unnamed terror*,* bringing with him the same design team as *A View from the Bridge*. The War of the Worlds 1 – 22 May Southbank Theatre, The Lawler Award-winning Wirlomin Noongar writer **Claire G. Coleman** (Terra Nullius) turns H.G. Wells’ *The War of the Worlds* inside out. In a bold new adaptation for the Company’s Education & Families program, co-created with and directed by **Joe Paradise Lui** (*[LEGENDS: of the Golden Arches](https://thescoop.au/review-legends-is-a-golden-and-fiery-feast-of-identity/)*) this production hands the history back to the people that lived it. Few know that Wells drew inspiration from The Black War, the catastrophic colonisation of the Palawa people of Lutruwita, when writing the original 1898 novel. This new telling brings warmth, humour and theatricality to the stage, while inviting audiences to see a familiar story from a new perspective. Premiering in the Lawler Theatre, before embarking on a regional schools’ tour across Victoria. Dirty Diamonds 22 May – 26 June Arts Centre Melbourne, Fairfax Studio A co-production with **Belvoir**, in association with **Yirra Yaakin** and **RISING**, *Dirty Diamonds* is a Blak, badass crime caper with shades of *Thelma & Louise* – with a better ending. Written and directed by **Abbie-lee Lewis** and inspired by the real Argyle diamond mine heist of the 1980s, it follows two First Nations women on a wild road trip from Perth to the Kimberley in search of answers, starring **Lila McGuire** (*Goolagong*) and **Ruby Henaway** *(The Sapphires).* Rebels 5 June – 10 July Southbank Theatre, The Sumner Based on real events, *Rebels* imagines what was really said when Bob Hawke, Kerry Packer and Clive Lloyd met behind closed doors at Kirribilli House in 1985 – to decide the future of Australian cricket. It’s a moment that would become about more than sport; a moment where what a nation stands for is brought into question. Written by **Julian Larnach** and directed by **Jessica Arthur**, this NEXT STAGE-supported new Australian work is a fast-moving, gripping three-hander and importantly, a local Australian story. ![The Scoop Melbourne Theatre Company Season 2027](https://thescoop.au/wp-content/uploads/2026/09/John-Proctor-is-the-Villain_Masego-Pitso_Photo-by-Jo-Duck-796x628.jpeg "Melbourne Theatre Company Season 2027 • The Scoop")John Proctor is the Villain is a coproduction with Sydney Theatre Co Photo by Jo DuckJohn Proctor is the Villain 5 July – 7 August Arts Centre Melbourne, Playhouse Artistic Director, Green Room Award-winning director **Anne-Louise Sarks** leads the Australian premiere of *John Proctor is the Villain*, one of the most talked-about new plays in the world. Kimberly Belflower’s electrifying reframing of *The Crucible* hands the story to the teenage girls at its margins – funny, fierce, and already headed for the big screen with a producing team that includes Tina Fey and Sadie Sink. Starring **Masego Pitso** (*Is God Is*). The Authenticator 2 August – 4 September Southbank Theatre, The Sumner Direct from its premiere at London’s National Theatre, *The Authenticator* by **Winsome Pinnock** – celebrated by *The Guardian* as “the godmother of Black British playwrights” – is a gripping, comedy-infused mystery-thriller about a family inheritance and the secrets buried inside it. Directed by **Zindzi Okenyo** (*Destiny*) and starring **Mandy McElhinney** *(House of Hancock, Howzat! Kerry Packer’s War)*, **Chika Ikogwe** (*Heartbreak High*) and **Brigid Zengeni** (*Interceptor, The Good Liar*). ![The Scoop Person in a bright pink outfit sits on a striped chair while a horse’s head appears on the right, against a purple plaid backdrop.](https://thescoop.au/wp-content/uploads/2026/09/Phar-Lap_Photo-by-Vien-Tran-Coco-Production-e1789627632688-852x628.jpg "Melbourne Theatre Company Season 2027 • The Scoop")Phar Lap the musical arrives from the Hayes as part of a tour Photo by Vien Tran Coco ProductionPhar Lap: The Electro-Swing Musical 9 September – 16 October Southbank Theatre, The Sumner Fresh from winning Best Production of a Musical at the Sydney Theatre Awards, *Phar Lap: The Electro-Swing Musical* brings the story of the ‘horse that stopped a nation’ to life with a score inspired by Duke Ellington and Daft Punk. Directed by **Sheridan Harbridge** (co-writer, *[My Brilliant Career](https://thescoop.au/review-my-brilliant-career-shines-in-a-glorious-encore-season/)*), starring **Joel Granger** (*Happiness*), this joyous underdog tale had audiences clamouring for tickets at its sold-out **Hayes Theatre Co** premiere. Every Second Wednesday 9 October – 13 November Arts Centre Melbourne, Fairfax Studio Highly regarded writer **Andrew Bovell** (*Lantana*, *Strictly Ballroom*) returns with *Every Second Wednesday*, directed by **Sarah Goodes** (*Julia*). A rare and deeply human portrait of the people usually left out from stories of addiction – the parents, partners and siblings who keep showing up – starring **Ian Bliss** (*The Black Woman of Gippsland*), **Diana Glenn** *(The Slap)*, **Danielle Cormack** (*Wentworth, The Twelve)* and **Debra Lawrance** *(Home and Away, Please Like Me)*. Clarice 2 November – 18 December Southbank Theatre, The Sumner Closing the season, **Rachel Griffiths** (*Brothers & Sisters, Muriel’s Wedding*) returns to Melbourne Theatre Company for the first time in twenty years to star in the world premiere of *Clarice*. Griffiths will play one of Australia’s greatest early painters – modernist painter Clarice Beckett – all but forgotten after her death, until one woman refused to let her disappear from history. This visually rich production invites audiences to see the world – and Melbourne – through Beckett’s eyes. It’s a unique artistic collaboration between acting and producing icon **Rachel Griffiths**, AACTA Award-winning writer **Trudy Hellier** and acclaimed director **Simon Phillips**. Also starring **Katherine Tonkin** (*Macbeth, Crazy Fun Park*), **Darcy Kent** (*West Gate*) and **Richard Piper** (*Wentworth, Pirates of the Caribbean: Dead Men Tell No Tales*). **For more information and to book tickets for Season 2027, visit the Melbourne Theatre Company website.** Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2027> Socials: [https://www.instagram.com/melbtheatreco/](socials:%20https://www.instagram.com/melbtheatreco/) [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Ruby Henaway and Lila McGuire in *Dirty Diamonds*. Photo by Jo Duck. **Categories:** News --- ### [Announcing Cirque Empire For Sydney This January](https://thescoop.au/announcing-cirque-empire-for-sydney-this-january/) **Published:** September 17, 2026 **Author:** Newsroom **Content:** ![The Scoop Cirque Empire Sydney](https://thescoop.au/wp-content/uploads/2026/09/Cirque-Empire-PHOTO-SUPPLIED-942x628.jpg "Cirque Empire Sydney • The Scoop")The Coliseum Theatre has announced the world premiere season of ***Cirque Empire***, an epic new spectacle from the creators of the global smash hits *[Cirque Alice](https://thescoop.au/review-cirque-alice-is-the-perfect-easter-treat/), [Now You See Me Live](https://thescoop.au/review-now-you-see-me-live-amazes-brisbane/)* and *Circus 1903* which will transform the Coliseum Theatre in **Sydney** into a 1920s party from **7 January 2027**. Produced by **Simon Painter** and **Tim Lawson**, ***Cirque Empire***boasts extraordinary acts from some of the greatest performers around the globe promising the most outrageous entertainment in a decade of decadence. The year is 1922. A visionary young impresario recently inherited his late father’s fortune and invested every penny in creating the ultimate New York City destination for roaring twenties revelry. He has imported the most breathtaking, outrageous, and exotic talent from across the globe to perform nightly in his opulent theatrical extravaganza, assembling an eclectic cast of characters from high-flying aerialists and avant-garde acrobats to hysterical comedians and dazzling dancers. Executive Producer, **Tim Lawson**, said he was thrilled to be returning to the Coliseum with a world premiere production: “*We had such fun and great success with Cirque Alice at the Coliseum last year, it was our first choice to open Cirque Empire. The show will, as always, boast spectacular entertainment that will dazzle audiences of all ages – whether you’re on a date night or you want to bring the whole family along.”* ![The Scoop Cirque Empire Sydney](https://thescoop.au/wp-content/uploads/2026/09/Cirque-Empire-PHOTO-SUPPLIED-1-1116x628.jpg "Cirque Empire Sydney • The Scoop")Cirque Empire will turn the Coliseum Theatre into a 1920s party Image suppliedWith the cast to be announced in the coming months, **Creative Producer Simon Painter** said audiences could expect a lineup of some of the most extraordinary performers on Earth who must be seen to be believed. From jaw-dropping international circus acts to side-splitting comedians, alongside an elite troupe of Australia’s most sensational dancers. *“The cast that has been selected for this show is amongst the very best acrobatic, dance and comedic talent that has ever been presented in any circus show, and we cannot wait to share these truly unbelievable acts with Sydney audiences.”* **Richard Errington**, CEO of West HQ, said: “*Securing Cirque Empire for the Coliseum Theatre is a significant win for Western Sydney and reflects our commitment to bringing exceptional live entertainment to the region. Cirque Empire offers audiences a spectacular and distinctive live experience. It’s another example of the calibre and diversity of entertainment being delivered right here in Western Sydney.* *This is about more than one show – it’s about building the identity of the Coliseum Theatre as a destination for live entertainment. Cirque Empire adds to that momentum and reinforces the Coliseum’s role in putting Western Sydney firmly on the cultural map.”* Prepare for a night of roaring glamour and outrageous spectacle! ***Cirque Empire* premieres 7 – 16 January 2027 at the Coliseum Theatre, Sydney.** **33 Railway Street Rooty Hill NSW 2766.** Tickets go on pre-sale from 22 September 2026 at 10am. Website: <https://coliseumtheatre.com.au/whats-on/cirque-empire/> Socials: <https://www.instagram.com/thecoliseumtheatre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. The season is presented by the Coliseum Theatre in association with Tim Lawson and Simon Painter. **Categories:** News --- ### [Film Review: Life Is Life 2026 ST. ALi Italian Film Festival](https://thescoop.au/film-review-life-is-life-2026-st-ali-italian-film-festival/) **Published:** September 17, 2026 **Author:** Nick Dale **Content:** ★★★★☆ ![The Scoop ST. ALi Italian Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/08/Life-is-Life_1-1158x628.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")Can an 80-year-old, 4th-grade-educated shepherd stand up against a pushy multimillion-dollar juggernaut and win? Riccardo Milani’s *Life is Life* (*La Vita va Cosi*), a Best Comedy winner at the 2026 Nastro d’Argento Awards, poses just that. Written by Ricardo Milani and Michele Astori, the film was inspired by the true story of Sardinian shepherd Ovidio Marras, who spent decades opposing a tourist development threatening one of Italy’s last untouched coastlines. It opens on the eve of the millennium, the precipice of a time when things were about to rapidly shift. We’re immediately brought into a sharp juxtaposition of imagery and character. Pappy Efisio sits on a beach looking out at sea, his face weathered with years of working the land, as his cows mill about. Then to Milan and the rush of the city streets as the president of a major real estate company heads to his office. These opposite realities hilariously collide as Mariano (Aldo Baglio) is sent south to pressure the 80-year-old Efisio (Giuseppe Ignazio Loi) into selling his ancestral land, a farm carried down through generation upon generation, for a cool $150 million. Giacomo (Diego Abatantuono), the president of a powerful Milanese real estate group, wants the coastline for a luxury resort, but Efisio’s stubborn, steadfast refusal – a simple, unwavering *no –* sends the business elite, and the struggling township, into spiral. ![The Scoop Crowd of diverse adults gathered outdoors, with a man in a dark cardigan at center addressing the group.](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-16-at-23026-pm-e1789533122106-1131x628.png "Life is Life ST. ALi Italian Film Festival • The Scoop")The choice to cast a non professional actor as the Pappy is a brilliant one Image suppliedThe film is a triumph, full of surprising switches in tone. There’s quirky, melodramatic comedy and moments of slapstick with a resonant emotional undertone. The pristine, untouched beach contrasts starkly with the sharp, shiny edges and uninspiring offices of corporate Milan. The village crowd scenes at Efisio’s house, when the townspeople come to plead their cases for the sale of his land, are expertly crafted. The razor-sharp script is cleverly constructed, hilariously showing how hyper-capitalism has us all caught in the undertow. Efisio’s refusal to budge has a ripple effect through the town. As pressure mounts, the desperate village people trying to keep their businesses afloat turn on him, clamouring and protesting at his door. Milani has cleverly, expertly balanced quirky, laugh-out-loud humour with moments that are arresting and moving. There are moments in the film that border on an overt morality tale, with lines that could be taken as didactic. But the script and commanding performances pull it back, unravelling a story full of surprisingly powerful and poignant exchanges. Efisio is the grounding centre of the film, his laconic resoluteness hilarious against the desperate panic of the people around him. Played by Giuseppe Ignazio Loi, an 84-year-old Sardinian shepherd in his first-ever screen role, Milani’s choice to cast a non-professional actor as the Pappy who sticks stubbornly to his principles is a brilliant one. The man’s untouched authenticity perfectly mirrors the land he is protecting. ![The Scoop Life is Life ST. ALi Italian Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Life-is-Life_2_1080-scaled-e1789532498977-695x628.jpg "Life is Life ST. ALi Italian Film Festival • The Scoop")The film is a triumph full of surprising switches in tone Image suppliedA true highlight for me is the contrast between the other two core performances. Aldo Baglio as Mariano provides amusing, almost slapstick humour. While he’s at times explosively expressive, he never veers outside the tone of the film or undermines the narrative. Virginia Raffaele as Francesca is the everywoman. She commands the screen with a presence, a distinct groundedness that is compelling. Her comedy is wonderfully restrained, wry and sarcastic. Torn between two worlds, she represents the daily human struggle of the modern world. These two serve as a stark contrast, representing the opposite poles of Italy, creating a vibrant pop in their scenes together, bolstering the story along. *Life Is Life* offers a balanced take on the modern-day struggles of society and what it is to grapple with living in a capitalist world. It acknowledges the social cost of steadfast principles and unwavering virtue, while also highlighting the necessity of it. Milani’s direction is far too sharp for didacticism, instead unravelling a narrative that’s both profound in its social critique and poignant in its emotional undercurrent. In the end, Efisio’s quiet, stubborn *no* has never felt more necessary. ***Life Is Life* screens at the 2026 ST. ALi Italian Film Festival, presented** **by Palace. In cinemas now in the locations below**. Tickets: <https://italianfilmfestival.com.au/films/iff26-life-is-life> Website: <https://italianfilmfestival.com.au/> Socials: <https://www.instagram.com/italianfilmfest/> [Read More About The Italian Film Festival](https://thescoop.au/?s=italian+film) Watch the trailer below: **Film details:** Title: Life Is Life (*La Vita va Cosi*) Director: Riccardo Milani Cast: Diego Abatantuono, Aldo Baglio, Virginia Raffaele, Giuseppe Ignazio Loi, Geppi Cucciari Country of Origin: Italy Duration: 118 mins Rating: CTC 2026 Festival Dates and Venues by City: **Canberra** 16 September – 14 October, Palace Electric Cinema **Adelaide** 16 September – 13 October, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney** 17 September – 14 October, Palace Moore Park, Palace Norton St, Palace Central **Byron Bay and Ballina** 17 September – 14 October, Palace Byron Bay, Ballina Fair Cinemas **Melbourne** 18 September – 15 October, The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Penny Lane, Palace Westgarth, The Kino, Pentridge Cinema, Cinema Nova **Ballarat** 18 September – 15 October, Palace Regent Cinemas **Brisbane** 24 September – 18 October, Palace Barracks, Palace James Street **Perth** 24 September – 18 October, Palace Raine Square, Luna Leederville, Luna on SX, Windsor Cinema **Categories:** Film --- ### [Film Review: Holy Cannoli 2026 ST. ALi Italian Film Festival](https://thescoop.au/film-review-holy-cannoli-2026-st-ali-italian-film-festival/) **Published:** September 17, 2026 **Author:** James Murphy **Content:** ★★★★½ ![The Scoop ST ALi. Italian Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Holy-Cannoli_1-942x628.jpg "ST ALi. Italian Film Festival • The Scoop")Pif needs only three letters. When a satirist becomes so familiar within a nation that even his shortened name needs no explanation, he earns unusual freedom. He can approach the sacred without immediately being accused of sacrilege. In Italy, few institutions are more sacred than the Catholic Church. Food may come close. A disagreement over how to fill a cannolo can acquire the heat of a theological schism. Every region has its traditions, its authorities and its heretics. Pierfrancesco Diliberto, known as Pif, brings both faiths together in *Holy Cannoli* (*Che Dio perdona a tutti*). He directs, co-writes and stars in this Palermo-set romantic comedy, adapted from his own novel. It opens the 2026 ST. ALi Italian Film Festival in its Australian premiere. Pif plays Arturo, a successful real estate agent whose deepest commitment is to Sicilian desserts. He maintains a social-media account devoted to judging culinary creations and defending traditional recipes. Cassata, cannoli and other pastries must observe the old laws. Innovation is usually evidence of moral decline. Arturo is a dessert conservative, searching for purity in a world that keeps adding unnecessary ingredients. Pastry gives him pleasures that sex and religion have so far failed to provide. Then he meets Flora. Giusy Buscemi plays the devout Catholic pastry chef with enough radiance to make Arturo reconsider his priorities. The speed and intensity of her attraction to this awkward, dessert-bellied bachelor require some suspension of disbelief. The film knows this and treats their unlikely chemistry as part of the joke. ![The Scoop Holy Cannoli ST. ALi Italian Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Holy-Cannoli_3-942x628.jpg "Holy Cannoli ST. ALi Italian Film Festival • The Scoop")Pierfrancesco Diliberto directs co writes and stars in the romantic comedy adapted from his own novel Image suppliedTheir courtship becomes a Palermo variation on *9½ Weeks*. Creams are spread. Cannoli are filled. Food moves from private obsession to erotic language. Mickey Rourke had a refrigerator; Arturo has an entire Sicilian pasticceria. Buscemi is captivating. She has the composure of a classic Italian screen star, and the camera loves her. It is easy to imagine her moving into Bond films or Hollywood romantic leads. There is one obstacle. Arturo is not Catholic. Rather than risk losing Flora, he pretends otherwise. The deception soon develops structural problems. He cannot sustain a convincing conversation about doctrine and does not know that the Eighth Commandment prohibits bearing false witness. Lying about being Catholic while forgetting the commandment against lying is the kind of contradiction Pif enjoys. Arturo eventually attempts a sincere conversion. He approaches Christianity as he approaches pastry: identify the original recipe, follow every instruction and reject unauthorised substitutions. Here the film’s comic premise acquires sharper teeth. Religions and recipes both face the tension between preservation and adaptation. Should followers obey the letter of an inherited text, or apply its principles to circumstances its authors could never have imagined? ![The Scoop Female chef with a patterned headband leaning over a counter, concentrating on a hands-on task in a dim kitchen.](https://thescoop.au/wp-content/uploads/2026/09/Holy-Cannoli_4-942x628.jpg "Holy Cannoli ST. ALi Italian Film Festival • The Scoop")Giusy Buscemi plays the devout Catholic pastry chef with enough radiance to make Arturo reconsider his priorities Image suppliedArturo chooses the letter. He becomes so committed to Catholic rules that he loses sight of why faith exists. Compassion narrows into judgment. Love becomes conditional. The man who once inspected cannoli for impurities begins examining everyone around him for sin. This gives *Holy Cannoli* room to examine extremism without abandoning romantic comedy. A person may believe they are defending truth while becoming cruel in its service. Rules can provide moral direction, but they can also provide shelter from the more difficult work of understanding another person. Pif directs the sharpest barbs towards performative faith. Some characters know the prayers, attend Mass and participate in religious rituals while continuing to commit adultery, indulge prejudice and speak harshly about refugees. Their Christianity functions as cultural membership rather than a demanding moral practice. Francesco Scianna supplies considerable machismo as Tommaso, the handsome womaniser who embodies this contradiction. He knows how to look Catholic while arranging his life around appetites that church teaching supposedly forbids. Arturo, meanwhile, becomes doctrinally serious enough to expose what everyone else has quietly agreed to ignore. That truth can be difficult to bear. Some audience members walked out as the film’s critique of religious hypocrisy intensified. The reaction demonstrates that Pif has found the sensitive tissue beneath the comedy. The film’s boldest device brings the Pope into Arturo’s living room. After a dessert binge sends his blood sugar soaring, Arturo begins hallucinating conversations with the pontiff. It sounds absurd, and it is. Yet Carlos Hipólito plays the Pope with such warmth that the scenes become unexpectedly tender. ![The Scoop Holy Cannoli ST. ALi Italian Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Holy-Cannoli_2-941x628.jpg "Holy Cannoli ST. ALi Italian Film Festival • The Scoop")On opening night some audience members walked out as the critique of religious hypocrisy intensified Image suppliedThis imagined pontiff clearly carries the spirit of Pope Francis, the Argentinian leader who tried to move Catholic attention from rigid doctrine towards mercy, poverty and human dignity. Hipólito is endearing without reducing him to a benevolent grandfather. The conversations also clarify the film’s central idea. Faith cannot exist only in churches, prayers or public rituals. It must enter the conscience and influence everyday decisions. That becomes difficult when desire, pride or another cannolo enters the room. Pif has a gift for comedy that travels. Some jokes depend upon Italian Catholic culture, but many come from physical embarrassment, sexual insecurity, appetite and the distance between the person we claim to be and the one revealed by temptation. Hypocrisy needs no subtitles. The film occasionally pushes its romantic premise beyond credibility, and its lesson becomes more explicit than necessary. Yet Pif’s affection for his characters keeps the satire from curdling. He is interested in human weakness because it is human, shared and frequently ridiculous. *Holy Cannoli* argues that purity can become another form of vanity. Arturo wants the perfect dessert, the perfect faith and the certainty of being correct. Love demands something less orderly. It requires accommodation, honesty and forgiveness. God may forgive everyone. Families, lovers and outraged dessert critics can take a little longer. **Holy Cannoli screens at the 2026 ST. ALi Italian Film Festival, presented** **by Palace. In cinemas from today in the locations below**. Tickets: <https://italianfilmfestival.com.au/films/iff26-holy-cannoli> Website: <https://italianfilmfestival.com.au/> Socials: <https://www.instagram.com/italianfilmfest/> [Read more about the ST. ALi Italian Film Festival](https://thescoop.au/?s=italian+film) Watch the trailer below: **Film details:** Title: Holy Cannoli (*Che Dio perdona a tutti*) Director: Pierfrancesco ‘Pif’ Diliberto Cast: Pierfrancesco ‘Pif’ Diliberto, Carlos Hipólito, Francesco Scianna, Giusy Buscemi Country of Origin: Italy Duration: 117 mins Rating: M 2026 Festival Dates and Venues by City: **Canberra** 16 September – 14 October, Palace Electric Cinema **Adelaide** 16 September – 13 October, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney** 17 September – 14 October, Palace Moore Park, Palace Norton St, Palace Central **Byron Bay and Ballina** 17 September – 14 October, Palace Byron Bay, Ballina Fair Cinemas **Melbourne** 18 September – 15 October, The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Penny Lane, Palace Westgarth, The Kino, Pentridge Cinema, Cinema Nova **Ballarat** 18 September – 15 October, Palace Regent Cinemas **Brisbane** 24 September – 18 October, Palace Barracks, Palace James Street **Perth** 24 September – 18 October, Palace Raine Square, Luna Leederville, Luna on SX, Windsor Cinema **Categories:** Film --- ### [Jason Goes Crazy After Kylie Doco: Announcing Cuckoo's Nest](https://thescoop.au/jason-goes-crazy-after-kylie-doco-announcing-cuckoos-nest/) **Published:** May 26, 2026 **Author:** Newsroom **Content:** ![The Scoop One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan](https://thescoop.au/wp-content/uploads/2026/05/One-Flew-Over-the-Cuckoos-Nest-Melbourne-2026-Jason-Donovan-02-PIC-CREDIT-MATT-CROCKETT-942x628.jpg "One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan • The Scoop")A major theatrical event is coming to Melbourne, with internationally acclaimed entertainer **Jason Donovan** returning home to the city where his career first began to star in a bold new production of ***One Flew Over the Cuckoo’s Nest***. One of Australia’s most beloved stage and screen stars, Jason will take on the iconic role of Randle P. McMurphy in the gripping new production, playing exclusively at **Melbourne**’s historic **Athenaeum Theatre** for a strictly limited season from **13 November 2026**. Tickets are on sale now at <https://cuckoosnest.com.au/> Joining **Jason Donovan** on stage is acclaimed Australian actress **Nadine Garner** as the formidable Nurse Ratched, alongside award-winning international actor **Jeremy Proulx** as Chief Bromden. Adapted from the landmark novel by Ken Kesey, Dale Wasserman has written a play for the ages. Regularly performed to packed houses around the world, this gripping stage adaptation delivers a raw and unforgettable night in the theatre, filled with intensity, humanity and searing drama. ![The Scoop One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan](https://thescoop.au/wp-content/uploads/2026/05/image001-1-1200x506.jpg "One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan • The Scoop")Inside a psychiatric institution ruled with ruthless control by the formidable Nurse Ratched, the patients have learned one thing — always live by the rules. Into this suffocating system bursts the rebellious Randle P. McMurphy, a charismatic troublemaker who refuses to submit quietly. Through wit, defiance and sheer force of personality, McMurphy inspires the patients around him to rediscover courage, dignity and the fragile spark of freedom. Directed by acclaimed Australian director **Roger Hodgman**, ***One Flew Over the Cuckoo’s Nest*** remains one of the most seminal and provocative stories ever told — a raw, thrilling and deeply human clash between individuality and authority. Funny, shocking, confronting and ultimately unforgettable, this bold new production is theatre at its very best. For Jason, the production marks a powerful and exciting departure from many roles that have defined his celebrated career, allowing audiences to see him in one of modern theatre’s most demanding dramatic roles. After decades of success in the UK across theatre, television and music, Jason continues to receive acclaim for his stage work, including productions such as *The Rocky Horror Show, Priscilla Queen of the Desert*, *Joseph and the Amazing Technicolor Dreamcoat*, and many others. ![The Scoop Man in an olive T-shirt with dog tags sits on a metal chair against a gray studio backdrop, looking at the camera.](https://thescoop.au/wp-content/uploads/2026/05/One-Flew-Over-the-Cuckoos-Nest-Melbourne-2026-Jason-Donovan-01-PIC-CREDIT-MATT-CROCKETT-942x628.jpg "One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan • The Scoop")Returning to Melbourne carries special significance to Jason Photo by Matt CrockettMost recently, Australian audiences embraced his triumphant return to the stage in the most recent national tour of *The Rocky Horror Show*, where he starred as *Frank n Furter* to audience and critical acclaim. He also continues to sell out shows across the UK and Ireland and recently saw him perform to more than 40,000 fans on his Doin’ Fine 25 tour and the Doin’ Fine Encore tour earlier this year. Returning to Melbourne for this production carries special significance for Jason, whose career first emerged from the city’s vibrant entertainment scene of the 1980s before going on to international stardom. **Jason Donovan** said: *“Coming home to Melbourne to star in One Flew Over the Cuckoo’s Nest feels incredibly special. I recently saw the production at The Old Vic in London and was completely blown away by it. It’s powerful, confronting, funny and deeply human theatre.* *The story may have been written many years ago, but its themes still feel incredibly relevant today — challenging authority, questioning the status quo and pushing back against the system.* *McMurphy is an absolute powerhouse of a character, he provokes, disrupts and inspires those around him to resist, and it’s unlike anything I’ve played before, which is exactly why I wanted to take it on. To bring this iconic story to Melbourne audiences is something I’m genuinely excited about.”* ![The Scoop One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan Nadine Garner](https://thescoop.au/wp-content/uploads/2026/05/One-Flew-Over-the-Cuckoos-Nest-Melbourne-2026-Nadine-Garner-02-PIC-CREDIT-BENNY-CAPP-884x628.jpg "One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan Nadine Garner • The Scoop")Nadine Garner also began her career in Melbourne from a young age Photo credit Benny CappAcclaimed actress **Nadine Garner** also brings an extraordinary depth of experience and theatrical credibility to the production. One of Australia’s most respected performers across stage and screen, The Helpmann Award and AFI Award winner’s career began in Melbourne’s thriving young acting scene of the 1980s before evolving into an acclaimed body of work spanning theatre, television and film. Notable screen credits include *The Doctor Blake Mysteries*, *City Homicide, The Henderson Kids and Raw FM.* Acclaimed performances in theatre include *The Cherry Orchard, Cosi*, *Private Lies, Life Span of a Fact and Taming of the Shrew* with many of Australia’s leading theatre companies. In addition, Sam Mendes’ *Cabaret,* which she received a Helpmann Award and Green Room Award for her performance as Fraulein Kost. **Nadine Garner** said: *“I’m thrilled to be part of this production and especially excited to work alongside Jason. This is such an iconic piece of theatre — bold, emotional and incredibly relevant — and I think audiences will be completely drawn into this world from the moment the curtain rises.”* ![The Scoop One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan Nadine Garner](https://thescoop.au/wp-content/uploads/2026/05/One-Flew-Over-the-Cuckoos-Nest-Melbourne-2026-698x628.jpg "One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan Nadine Garner • The Scoop")No stranger to ***One Flew Over the Cuckoo’s Nest*** or the pivotal role of Chief Bromden, Jeremy has earned critical acclaim for his performances in productions around the world. His celebrated turn in the role includes the Tony Award-winning Alliance Theatre in 2016, which earned him a BroadwayWorld.com Best Actor award, alongside acclaimed seasons in the UK and USA which in 2020, he received an Encore Michigan Wilde Award. **Jeremy Proulx** said: *“I am thrilled to be making my Australian debut with such a talented ensemble of actors, technicians and artists who will no doubt bring their amazing creative voices and gifts for storytelling to the process in bringing to life such a classic story onstage.* *Playing Chief Bromden throughout this past decade with various other theatre companies from around the world has been one of the greatest gifts of my career and I am beyond excited to be sharing his powerful story again, this time with Australian audiences. Chi-Miigwetch (thank you) for allowing me to part of this wonderful company.”* Don’t miss this bold new production of a legendary masterpiece presented by Storeyboard Entertainment, Stoddart Entertainment Group and Jason Donovan. ***One Flew Over the Cuckoo’s Nest* plays exclusively from 13 November 2026 from a strictly limited season to 20 December at the Athenaeum Theatre, Melbourne.** Tickets: <https://www.ticketmaster.com.au/artist/885265> Website: <https://cuckoosnest.com.au/> Socials: <https://www.instagram.com/oneflewoverau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Matt Crockett **Creatives** Director **Roger Hodgman** Set Design **Richard Rogers** Costume Design **Ella Butler** Original Music **Kohan van Sambeeck** Production Manager **Stuart Johnston** Presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. **Categories:** News --- ### [Announcing Full Cast For One Flew Over The Cuckoo's Next](https://thescoop.au/announcing-full-cast-for-one-flew-over-the-cuckoos-next/) **Published:** July 31, 2026 **Author:** Newsroom **Content:** ![The Scoop One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-31-at-103349-pm-1200x623.png "One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan • The Scoop")A major theatrical event is coming to Melbourne, with internationally acclaimed entertainer **Jason Donovan** returning home to the city where his career first began to star in a bold new production of ***One Flew Over the Cuckoo’s Nest***. One of Australia’s most beloved stage and screen stars, Jason will take on the iconic role of Randle P. McMurphy in the production, playing exclusively at Melbourne’s historic Athenaeum Theatre for a strictly limited season from **13 November**. Joining him is an outstanding Australian cast led by acclaimed Australian actress **Nadine Garner** as the formidable Nurse Ratched and internationally acclaimed actor **Jeremy Proulx** as Chief Bromden. The cast also includes **Harvey Almond** as Dr. Spivey**, Martin Blum** as Scanlon**, Chris Connelly** as Ruckley/Aide Turkle**, Mia Dabkowski-Chandler** as Nurse Flynn/Sandra**, Darcey Eagle** as Candy Starr**, Gyton Grantley** as Cheswick**, David James** as Harding**, George Kapiniaris** as Martini**, Daniel R. Nixon** as Billy Bibbit, **Jack Scott** as Aide Williams**, Deep Sroa** as Aide Warren**.** Tickets are on sale now at [CUCKOOSNEST.COM.AU](http://cuckoosnest.com.au/) Director **Roger Hodgman** said: *“What has always made One Flew Over the Cuckoo’s Nest endure is that along with its subversive wit and humour it is an incredibly powerful story about freedom, dignity and hope. McMurphy is one of theatre’s great roles because he refuses to accept the world as it is and inspires others to believe life can be different.* *Jason brings exactly the courage, humour and generosity the role demands, while Nadine Garner has all the intelligence, authority and complexity needed to make Nurse Ratched a truly formidable opponent.* *Bringing together a company of actors of this calibre is a director’s dream. I’m looking forward to seeing this outstanding ensemble discover the relationships, tensions and humanity that make this story so powerful, and to creating a production that is as entertaining as it is thought-provoking.”* ![The Scoop One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan ](https://thescoop.au/wp-content/uploads/2026/07/FULL-CAST-BOARD-502x628.jpg "One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan • The Scoop")Adapted from the landmark novel by Ken Kesey, Dale Wasserman has written a play for the ages. Regularly performed to packed houses around the world, this gripping stage adaptation delivers a raw and unforgettable night in the theatre, filled with intensity, humanity and searing drama. Inside a psychiatric institution ruled with ruthless control by the formidable Nurse Ratched, the patients have learned one thing — always live by the rules. Into this suffocating system bursts the rebellious Randle P. McMurphy, a charismatic troublemaker who refuses to submit quietly. Through wit, defiance and sheer force of personality, McMurphy inspires the patients around him to rediscover courage, dignity and the fragile spark of freedom. Directed by acclaimed Australian director **Roger Hodgman**, *One Flew Over the Cuckoo’s Nest* remains one of the most seminal and provocative stories ever told — a raw, thrilling and deeply human clash between individuality and authority. Funny, shocking, confronting and ultimately unforgettable, this bold new production is theatre at its very best. For Jason, the production marks a powerful and exciting departure from many roles that have defined his celebrated career, allowing audiences to see him in one of modern theatre’s most demanding dramatic roles. Returning to Melbourne for this production carries special significance for Jason Donovan, whose career first emerged from the city’s vibrant entertainment scene of the 1980s before taking him to international stages. Inspired by seeing the acclaimed production at London’s Old Vic Theatre, Donovan was eager to take on the role of Randle P. McMurphy, captivated by a story that is powerful, confronting, funny and deeply human. ![The Scoop Man in an olive T-shirt with dog tags sits on a metal chair against a gray studio backdrop, looking at the camera.](https://thescoop.au/wp-content/uploads/2026/05/One-Flew-Over-the-Cuckoos-Nest-Melbourne-2026-Jason-Donovan-01-PIC-CREDIT-MATT-CROCKETT-942x628.jpg "One Flew Over the Cuckoo's Nest Melbourne 2026 Jason Donovan • The Scoop")Jason Donovan Photo by Matt CrockettA timeless exploration of authority, conformity and the courage to challenge the system, *One Flew Over the Cuckoo’s Nest* remains as relevant today as ever. McMurphy stands as one of theatre’s most compelling anti-heroes — provoking, disrupting and inspiring those around him to resist — making it a role unlike any Donovan has played before and one he is thrilled to bring home to Melbourne audiences. Acclaimed actress Nadine Garner brings extraordinary depth of experience and theatrical credibility to the production. One of Australia’s most respected performers across stage and screen, the Helpmann Award and AFI Award-winning actress began her career in Melbourne’s thriving acting scene of the 1980s before building an acclaimed body of work spanning theatre, television and film. Her notable screen credits include *The Doctor Blake Mysteries*, *City Homicide*, *The Henderson Kids* and *Raw FM*, alongside acclaimed stage performances in *The Cherry Orchard,* *Così*, *Private Lives*, *Life Span of a Fact* and *The Taming of the Shrew* with many of Australia’s leading theatre companies. Garner also starred in Sam Mendes’ acclaimed production of *Cabaret*, for which she received both a Helpmann Award and a Green Room Award for her performance as Fraulein Kost. No stranger to *One Flew Over the Cuckoo’s Nest* or the pivotal role of Chief Bromden, Jeremy Proulx has earned critical acclaim for his performances in productions around the world. His acclaimed portrayal of Bromden at Atlanta’s Tony Award-winning Alliance Theatre in 2016 earned him a BroadwayWorld Best Actor Award, before he reprised the role in acclaimed productions across the UK and USA. In 2020, he also received an Encore Michigan Wilde Award for his performance. ***One Flew Over the Cuckoo’s Nest* plays exclusively from 13 November 2026 from a strictly limited season to 20 December at the Athenaeum Theatre, Melbourne.** Tickets: <https://www.ticketmaster.com.au/artist/885265> Website: <https://cuckoosnest.com.au/> Socials: <https://www.instagram.com/oneflewoverau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Matt Crockett **Creatives** Director **Roger Hodgman** Set Design **Richard Rogers** Costume Design **Ella Butler** Original Music **Kohan van Sambeeck** Production Manager **Stuart Johnston** Presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. **Categories:** News --- ### [Win Tickets To Shaun The Sheep In Cinemas 24 September](https://thescoop.au/win-tickets-to-shaun-the-sheep-in-cinemas-24-september/) **Published:** September 15, 2026 **Author:** Newsroom **Content:** ![The Scoop Shaun The Sheep The Beast of Mossy Bottom](https://thescoop.au/wp-content/uploads/2026/09/1920-x-1080-1116x628.jpg "Shaun The Sheep The Beast of Mossy Bottom • The Scoop")**SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM** is a brand-new fun, hilarious and spooky adventure for the whole family, only in cinemas **24 September 2026**. SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM sees the residents of Mossy Bottom Farm looking forward to Halloween – until the clumsy Farmer trashes the Flock’s beloved pumpkin patch! When Shaun turns MAD SCIENTIST to fix the problem, things rapidly spiral out of control… With The Farmer missing and a wild beast roaming the woods of Mossingham, all the ingredients are in place for a monstrously fun family adventure. Featuring returning voice actors, Justin Fletcher, John Sparkes and Kate Harbour, SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM showcases the beauty of stop-motion animation while packing its characters full of personality and humour. ![The Scoop Shaun The Sheep The Beast of Mossy Bottom](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-15-at-55045-pm-1117x628.png "Shaun The Sheep The Beast of Mossy Bottom • The Scoop")Shaun The Sheep The Beast of Mossy Bottom is in cinemas from 24 SeptemberThe Scoop is **giving away five, in-season family passes** **to the film**, thanks to **StudioCanal!** Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply like the post, give us a follow and comment ‘Scoop’ under the post. The tickets are valid at any cinemas across Australia screening SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM. (Terms and conditions can be found on the tickets.) Round up your flock these school holidays for SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM, the latest film from Aardman Animation, creators of Wallace & Gromit. **SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM opens nationally on Thursday 24 September at participating cinemas.** Website: <https://www.shaunthesheepmovie.com.au/> Socials: <https://www.instagram.com/studiocanalaus/> and <https://www.instagram.com/shaunthesheep/> [Back to the Newsroom](https://thescoop.au/newsroom/) Watch the trailer here: **Film details:** Title: Shaun The Sheep: The Beast of Mossy Bottom Director: Steve Cox, Matthew Walker Cast: Justin Fletcher, John Sparkes, Kate Harbour Country of Origin: UK Duration: 80 mins Rating: G **Categories:** competition, News --- ### [Announcing Moulin Rouge! Ensemble & Swing Cast](https://thescoop.au/announcing-moulin-rouge-ensemble-swing-cast/) **Published:** September 15, 2026 **Author:** Newsroom **Content:** ![The Scoop Moulin Rouge! Musical Sydney](https://thescoop.au/wp-content/uploads/2026/09/MR-CAST-ENSEMBLE-HEADSHOTS-1-879x628.jpeg "Moulin Rouge! Musical Sydney • The Scoop")Global Creatures today reveals the ensemble members that will take to the stage in the spectacular new Australian company of ***Moulin Rouge! The Musical***, opening at the **Sydney Lyric in March 2027**. The extraordinary ensemble members are **Calista Nelmes** (Satine Alternate), **Joshua Russell** (Principal Cover Christian/The Duke), **David Duketis** (Principal Cover The Duke/Santiago/Zidler), **John Rex Berry, Sarah Bourke, Bridgette Coach, Emma Feliciano, Louis Fontaine, Anthony Garcia, Alfie Gledhill, Sebastian Johnston, Adam Lyon, Sebaga Neumann, Bella Runnalls, Jordan Tomljenovic, Lucas Van Rhijn** and **Jennifer Wolfe.** Our spectacular swings are **Bayley Edmends, Brittany Ford, Sara Haruta, Lachlan Inwood, Jayden Prelc, Emma Russell, Callum Ryan** and **Nicole Vella.** More seats have been released with performances on sale through to **2nd May 2027** at [moulinrougemusical.com.au](http://moulinrougemusical.com.au) ![The Scoop Moulin Rouge! Musical Sydney](https://thescoop.au/wp-content/uploads/2026/09/MRTM-Elephant-Love-Medley_Original-Netherlands-Cast_CREDIT-Johan-Persson-copy-942x628.jpg "Moulin Rouge! Musical Sydney • The Scoop")Moulin Rouge Original Netherlands Cast Credit Johan PerssonThe ensemble members join the new Australian principals already [announced](https://thescoop.au/announcing-moulin-rouge-the-musical-first-cast/) for the production. **Ben Hall** will portray The Duke of Monroth, the wealthy and powerful aristocrat whose arrival threatens to change the future of the Moulin Rouge forever. **Tim Omaji** returns to the spectacular world of *Moulin Rouge! The Musical* as Henri de Toulouse-Lautrec, while **Tyler Chapman** takes on the role of Santiago and **Thalia Smith** will play Nini. With more spectacular seats now on sale, the countdown continues for the return of the worldwide phenomenon to Australia. The actors playing Satine, Christian and Zidler and the Lady M’s will be announced in coming months. Winner of 10 Tony Awards®, including Best Musical, *Moulin Rouge! The Musical* transforms Baz Luhrmann’s revolutionary film into an extraordinary theatrical celebration of Truth, Beauty, Freedom and – above all – Love. Featuring more than 70 songs spanning over 160 years of music, the musical brings together some of the world’s most iconic songs in an exhilarating mash-up extravaganza, all set inside the eye-popping excess, glitz, grandeur and glory of the Moulin Rouge. Following its original sold-out Australian tour, which welcomed 1.4 million theatregoers across Melbourne, Sydney, Perth and Brisbane, the spectacular returns home to Sydney with an entirely new Australian company. ***Moulin Rouge! The Musical* is presented by Global Creatures and opens at Sydney Lyric Theatre from 13 March 2027.** Tickets are available [here](https://www.ticketmaster.com.au/moulin-rouge-the-musical-australia-tickets/artist/2769840). Website: <https://moulinrougemusical.com.au/> Socials: <https://www.instagram.com/moulinmusicalau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image supplied. **Categories:** News --- ### [Announcing Male Cast For The Shawshank Redemption](https://thescoop.au/announcing-male-cast-for-the-shawshank-redemption/) **Published:** September 15, 2026 **Author:** Newsroom **Content:** ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/07/The-Shawshank-Redemption_3-c-Jack-Merriman-942x628.jpg "The Shawshank Redemption 2027 Australian Tour • The Scoop")As final performances for the Sydney and Melbourne seasons for the Australian tour of ***The Shawshank Redemption*** go on sale today, **additional cast members** were revealed. The stage adaptation of one of the most popular and enduring films of all times, *The Shawshank Redemption* will play in **Sydney from 2 – 31 January 2027** and **Melbourne from 3 February to 7 March**, before moving to **Perth**, **Adelaide** and **Brisbane**. Head to [ShawshankLive.com.au](http://shawshanklive.com.au/) for tickets. **Stephen Anzo** (*Headless, The Big Fix*) will be playing the role of Nelson, alongside **Laurence Boxhall** (*The Mousetrap, Lord of the Rings*) as Tommy and **Soren Jensen** (*Harry Potter and the Cursed Child, The Curious Incident of the Dog in the Night-Time*) as Hadley. **Stephen Lopez** (*Pirates of the Caribbean: Dead Men Tell No Tales, Fisk*) will play Rico, **Blessing Mok** (*Bad Blood Blues, NCIS: Sydney*) is Entwistle, and **Nathan O’Keefe** (*The Importance of Being Earnest, Betrayal*) plays Rooster. Completing the cast are **Mark Saturno** (*The Normal Heart, A View From The Bridge*) as Dawkins and **Jeremiah Wray** (*Macbeth, A Few Good Men*) as Bogs Diamond. They join acclaimed television, film and theatre actor **David Berry** (*Outlander, A Place To Call Home, Home and Away*) who will play Andy Dufresne, prolific stage and television actor **Bert LaBonté** (*The Book of Mormon, Colin From Accounts, Cloudstreet*) playing “Red”, and one of Australia’s most recognised screen actors **Rodger Corser** (*Doctor Doctor, Rush*, Channel 9’s *The Floor*) in the role of the Warden. ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/09/TSR-More-cast-502x628.jpg "The Shawshank Redemption 2027 Australian Tour • The Scoop")*The Shawshank Redemption* is a powerful stage production that places you just metres from the action. Raw, intimate and deeply moving, this is theatre at its most compelling – where every moment unfolds live before your eyes. Based on Stephen King’s celebrated novella, this gripping adaptation tells an unforgettable story of hope, friendship and the resilience of the human spirit. Wrongly convicted of the brutal murders of his wife and her lover, Andy Dufresne is sentenced to life imprisonment in the notorious Shawshank prison. As he navigates the harsh realities of incarceration, he forms an unlikely friendship with fellow inmate Red, discovering that even in the darkest of places, hope can endure. But when the corrupt Warden seeks to exploit Andy’s talents for his own gain, a quiet and daring plan begins to emerge, one that will challenge the very walls of Shawshank itself. Adapted for the stage by Owen O’Neill and Dave Johns, and directed by David Esbjornson who directed Angela Lansbury and James Earl Jones in the Australian tour of *Driving Miss Daisy*, this acclaimed production captures the emotional power and humanity that have made *The Shawshank Redemption* one of the world’s most enduring stories. The 1994 film adaptation, nominated for seven Academy Awards, has become one of cinema’s most beloved classics. Now, experience a story of hope, friendship and redemption brought vividly to life in an unforgettable live theatrical event. ***The Shawshank Redemption* opens 2 January at the Theatre Royal Sydney. It then embarks on a national tour. See full dates below.** Tickets are available [here](https://www.shawshanklive.com.au/#tour-dates). Website: <https://www.shawshanklive.com.au/> Socials: <https://www.instagram.com/shawshanklive/> [Read our Interview with David Berry & Bert LaBonté](https://thescoop.au/get-to-know-the-stars-of-the-shawshank-redemption/) Hero image: Still from the 2026 UK production Photo by Jack Merriman. 2027 Australian Tour: Sydney from 2 January, Theatre Royal Melbourne from 4 February, Playhouse, Arts Centre Melbourne Perth from 12 March, Regal Theatre Adelaide from 1 April, Her Majesty’s Theatre Brisbane from 28 April, Glasshouse Theatre, QPAC **Categories:** News --- ### [Film Review: Sweetheart 2026 ST. ALi Italian Film Festival](https://thescoop.au/film-review-sweetheart-2026-st-ali-italian-film-festival/) **Published:** September 15, 2026 **Author:** Nick Dale **Content:** ★★★★★ ![The Scoop ST. ALi Italian Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/08/Sweetheart_1-1.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")All too often, the rush of life and the obligations of society demand our constant attention. Margherita Spampinato’s exquisitely rendered debut film, *Sweetheart (Gioia Mia)*, asks us to stop and hold the moments in between, however fleeting. Inspired by Spampinato’s own childhood, the film follows Nico (Marco Fiore), a hyper-connected eleven-year-old shipped off to Sicily for the summer to stay with his great aunt Gela (Aurora Quattrocchi) – a devoutly religious old woman living alone in an ancient home frozen in time. There is no Wi-Fi and no screens; just secrets, superstition, and ancient spirits. The film opens with Nico’s babysitter, Violetta, telling him a story about a shell on a beach and the sound of the wind to help him fall asleep before she departs to get married. It is a simple, sweet moment that sets up a profound sense of longing that permeates the narrative. In its texture, the film takes on a similar tone to the likes of *Lost in Translation* mixed with *Cinema Paradiso*. It captures that aching sense of yearning through quiet, intimate moments. Ultimately, however, *Sweetheart* earns its own rightful place in the realm of classics. One could view the film as a coming-of-age story, and for Nico, it is; but to me, it is far more a circle-of-life story. It brings together two individuals at highly vulnerable thresholds, creating a gentle refuge where time slows down and the delicate thresholds of childhood and old age come into focus. ![The Scoop Sweetheart Giopia Mia Italian Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-14-at-93838-pm-946x628.png "Sweetheart Gioia Mia Italian Film Festival • The Scoop")Sweetheart earns its own rightful place in the realm of classics What’s unique is that the film focuses completely on childhood and the ageing. There is a feisty group of local kids that Nico is encouraged to play with, and Gela’s elderly neighbours, a group of women who gather like local seers to play cards, but we never see the middle generation represented. Kept at a distance through phone calls from Nico’s mother and father, this choice serves to take us out of the rush and responsibility of daily adult life, allowing us to linger in the fragile, unhurried bookends of human existence. Spampinato has directed this exquisite film with a delicate, observant hand. She holds the story and characters so carefully, it all feels as precious as Gela’s grandmother’s vase that, as she says, “lasted two wars and the Messina earthquake.” Directing children is never an easy task, but Spampinato excels at this by directing the actors with generous patience, giving them space to feel free. The camera lingers on quiet moments, allowing the performances to shine in the most organic way. Legendary Sicilian actress Aurora Quattrocchi (what a name!) is effortlessly lived-in as Gela. She is masterfully restrained and complex at the same time, her quiet presence blending seamlessly into the space and narrative, while her vulnerability tugs at the surface. Young Marco Fiore’s intelligent performance is a true standout. He displays a natural on-screen chemistry with expressive eyes that take us into his world as he discovers and responds to this ancient home in Sicily. ![The Scoop Sweetheart Gioia Mia Italian Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-14-at-93728-pm-945x628.png "Sweetheart Gioia Mia Italian Film Festival • The Scoop")The film reminds us that life is precious in the most refined observant and beautiful way The film beautifully weaves these two perspectives in and out of each other, blurring the lines. There are moments when Gela reveals a sweet, childlike vulnerability, while Nico takes on the weathered wisdom of years. Cinematographer Claudio Cofrancesco captures the film with still, long often hand-held shots. Often working with natural light, his shots of light falling gently across the actors and the dining table create a sense of beautiful fragility, like holding an heirloom passed down through generations. Composer Alice Zecchinelli’s score is aptly delicate and unobtrusive. The piano and gentle strings create atmosphere that just edges around the secrets and emotions lingering under the surface. Spampinato lets the sounds of the space – the dog puffing, the birds chirping, the scraping of a chair, bring us back into the simplicity of the moment. In a world that wants us to rush past it all, this film reminds us that life is precious in the most refined, observant, beautiful way. It captures the fleetingness of childhood, how quickly youth slips away, and how those in later years ache for past connections. Margherita Spampinato’s *Sweetheart* is an exquisite treasure, a delicate piece of filmmaking that gently beckons us back to what it’s all about: our humanity. **Sweetheart *(Gioia Mia)* screens at the 2026 ST. ALi Italian Film Festival, presented** **by Palace. In cinemas from 16 September in the locations below**. Tickets: <https://italianfilmfestival.com.au/films/iff26-sweetheart> Website: <https://italianfilmfestival.com.au/> Socials: <https://www.instagram.com/italianfilmfest/> [Read more about the Italian Film Festival](https://thescoop.au/?s=italian+film) Watch the trailer here: **Film details:** Title: Sweetheart *(Gioia Mia)* Director: Margherita Spampinato Cast: Aurora Quattrocchi, Marco Fiore, Martina Ziami, Camille Dugay Country of Origin: Italy Duration: 92 mins Rating: PG 2026 Festival Dates and Venues by City: **Canberra** 16 September – 14 October, Palace Electric Cinema **Adelaide** 16 September – 13 October, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney** 17 September – 14 October, Palace Moore Park, Palace Norton St, Palace Central **Byron Bay and Ballina** 17 September – 14 October, Palace Byron Bay, Ballina Fair Cinemas **Melbourne** 18 September – 15 October, The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Penny Lane, Palace Westgarth, The Kino, Pentridge Cinema, Cinema Nova **Ballarat** 18 September – 15 October, Palace Regent Cinemas **Brisbane** 24 September – 18 October, Palace Barracks, Palace James Street **Perth** 24 September – 18 October, Palace Raine Square, Luna Leederville, Luna on SX, Windsor Cinema **Categories:** Film --- ### [Hayes In New Places: Announcing Hayes Theatre Co 2027 Season](https://thescoop.au/hayes-in-new-places-announcing-hayes-theatre-co-2027-season/) **Published:** September 15, 2026 **Author:** Newsroom **Content:** ![The Scoop Hayes Theatre Co Season 2027](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-14-at-100624-pm-1178x628.png "Hayes Theatre Co Season 2027 • The Scoop")As they prepare for their final year as Artistic Directors, **Richard Carroll and Victoria Falconer** have announced Hayes Theatre Co’s biggest season yet for 2027, taking its acclaimed brand of musical theatre beyond its home in Potts Point with a program of ambitious new work, bold reimaginings, beloved classics and major theatrical events. Under the banner **Hayes in New Places**, the season sees Hayes Theatre Co venture into two larger Sydney venues while continuing to deliver an expansive program at the Hayes Theatre – marking an exciting new chapter for the company as it looks beyond its home while keeping sight of what makes Hayes unique. Leading the season is Steven Kramer’s *[Phar Lap: The Electro-Swing Musical](https://thescoop.au/review-phar-lap-the-electro-swing-musical-is-one-for-the-history-books/)*, starring **Joel Granger**, returning to Sydney for an expanded staging at **Carriageworks from 8 July to 8 August**, ahead of a **national tour**, culminating at **Melbourne Theatre Company**. In 2025, this unique, blisteringly funny musical received rave reviews, sold out its season and cleaned up at the Sydney Theatre Awards. Now, *[Phar Lap](https://thescoop.au/hold-your-horses-phar-lap-races-again-in-2027/)* returns on a bigger scale, bringing its electro-swing sound and larger-than-life Australian story to a new home. In another landmark event for Hayes, the **Foundry Theatre** will be transformed into an underground bar in **October** for *Mack The Knife*, a major new work created by Richard Carroll, Victoria Falconer and Jordan Shea, which re-imagines the world of *The Threepenny Opera*. Beginning as an immersive promenade experience, the work evolves into a rock-cabaret musical shaped by the audience each night, pushing the boundaries of what a music theatre experience can be. ![The Scoop Hayes Theatre Co Season 2027](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-14-at-94341-pm-1200x595.png "Hayes Theatre Co Season 2027 • The Scoop")Phar Lap returns in 2027 to Carriageworks and then races around the country on a national tourBack at its home in Potts Point, Hayes Theatre Co presents a thrilling and varied season of eight productions, spanning cabaret, comedy, opera, contemporary musical theatre and emotionally charged drama. The year opens with *Peter Allen: Not the Boy Next Door*, a new cabaret-concert honouring the legacy and songbook of Australian showbiz legend Peter Allen. Directed by Hayden Tonazzi with arrangements and musical direction by Steven Kramer, it plays a three-week season from **13 January**. The season continues in **February** and **March** with Claudia Barrie’s outrageously hilarious production of the musical farce *Lucky Stiff*, before *[House of Rot](https://thescoop.au/review-house-of-rot-grey-gardens-2026-adelaide-cabaret-festival/)* returns following its sell-out success at the 2026 Winter Cabaret Festival. **May** brings the Australian premiere of the heart-wrenching folk epic *Swept Away*, directed by Drew Livingston, followed in **July** by a new production from director Jacinta John of the Pulitzer Prize and three-time Tony Award-winning emotional masterpiece *Next to Normal*. In **August**, opera gets the Hayes treatment with Matthew Barclay’s vibrant, Bridgerton-style, technicolour reimagining of Mozart’s beloved opera buffa *Così fan tutte* or The School for Lovers. **September** sees Sydney Theatre Award winner and Hayes favourite Cameron Mitchell return to direct and choreograph the achingly cool sci-fi satire *Be More Chill*. The season comes to a close in **October** with the heartwarming, intimate storytelling of *Flowers for Mrs Harris***,** starring Rachael Beck and directed by Julia Robertson. ![The Scoop Hayes Theatre Co Season 2027](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-14-at-94411-pm-1200x597.png "Hayes Theatre Co Season 2027 • The Scoop")Cosi fan tutte brings a taste of opera to the Hayes with a Bridgerton style reimagining Hayes Theatre Co will once again bring audiences and artists together through two major festivals. The **Festival of New Work** returns for its fourth year, extended to three weeks. The Winter Cabaret Festival also returns in June in a new form and with a blazing new name: **Flare**. Many regular Hayes events return including three new Neglected Musicals: ***1776*** in March, ***A Funny Thing Happened on the Way to the Forum*** *in May* and ***Dames at Sea*** in October. In time for Mardi Gras 2027 are ***Theys at the Hayes*** and cabaret special ***Victoria Falconer’s Parlour Night***. Also returning in 2027 are audience favourites ***Musical Bang Bang***, ***Home Grown***, ***An Evening With*** and **Carols by Cabaret** with tickets on sale in 2027. **Richard Carroll** and **Victoria Falconer**, Artistic Directors of Hayes Theatre Co, said: *“2027 is the year Hayes goes bigger than ever. In addition to another full, varied, and thrilling season at the Hayes Theatre itself, we’re expanding far beyond, with a national tour of Phar Lap, and new musical Mack The Knife premiering at Foundry Theatre.* *Australian music theatre is some of the best in the world – these are the stories we tell ourselves about who we are, and we believe they deserve to be heard by as many people as possible.”* With its most expansive program yet, Hayes Theatre Co’s 2027 season is an invitation to discover music theatre in new places, in new forms and at every scale, while continuing to champion the artists, audiences and Australian work. **Subscriptions to Hayes Theatre Co 2027 Season are on sale now, with single tickets on sale at various times in coming months. Phar Lap single tickets are available now at the link below.** Phar Lap tickets: <https://hayestheatre.com.au/event/phar-lap-2027-carriageworks/> Website: <https://hayestheatre.com.au/2027-season/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: Class Of 2026 Musical Theatre Showcase Queensland Academy](https://thescoop.au/review-class-of-2026-musical-theatre-showcase-queensland-academy/) **Published:** September 14, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Group of about 20 dancers posing together on a dark theater stage in colorful outfits, smiling at the camera.](https://thescoop.au/wp-content/uploads/2026/09/QAEMT_3yShowcase_656-scaled-e1789364099442-927x628.jpg "Class of 2026 QAEMT Musical Theatre Showcase • The Scoop")And just like that, it’s showcase season again. For the Queensland Academy of Excellence in Musical Theatre Class of 2026, Showcase marks the culmination of three years of intensive training. Presented as a continuous performance in a single act, Showcase combines individual and small-group musical theatre segments with short acting scenes, offering each graduating artist an opportunity to step into the spotlight. Established at Griffith University in 2011 under the leadership of Professor Paul Sabey, the Bachelor of Musical Theatre is now celebrating its 16th year and has produced graduates who have gone on to work across musical theatre, film and television in Australia and internationally. Showcase places the focus solely on the performers, with unamplified voices, simple lighting and minimal staging. The stripped-back presentation in the intimate Tony Gould Gallery intentionally resembles an audition environment. This is apt as there are invited industry guests in attendance, including prospective talent agents. Perhaps this is what makes a performance like this feel so unique. These are young artists taking one of their first big steps into the industry, and this is their opportunity to show the world what they can do. ![The Scoop Class of 2026 QAEMT Musical Theatre Showcase](https://thescoop.au/wp-content/uploads/2026/09/QAEMT_3yShowcase_206-942x628.jpg "Class of 2026 QAEMT Musical Theatre Showcase • The Scoop")Showcase places the focus solely on the performers Photo by Kenn WylchiThe Scoop has enjoyed reviewing productions for this cohort since 2025, with *[Songs for a New World](https://thescoop.au/review-songs-for-a-new-world-queensland-academy-of-excellence-in-musical-theatre/)*, *[35mm](https://thescoop.au/review-35mm-a-musical-exhibition-makes-art-from-lifes-snapshots/)* and [*& Juliet*](https://thescoop.au/review-juliet-brings-shakespeare-to-the-pop-era/) among the titles. Thanks to my growing Brisbane writing team, this was my first time seeing this particular cohort on stage. I arrived at Showcase in much the same position as the prospective agents; the performers had a limited window to make an impression. This Showcase is billed as a one-hour presentation, and as a straight-through performance, it is a fast-moving event. I couldn’t help but wonder whether extra time might have allowed each performer to reveal even more of what they can do. And, much like an audition, this review can only assess what was presented on the night. It is a snapshot rather than a definitive judgment: one performance, one set of material, and one moment in these young artists’ development. As a collective cohort, their vocal abilities are outstanding. Griffith University has consistently demonstrated its ability to nurture exceptional vocal talent, and it was a thrill to experience the power of these young voices when they came together. ![The Scoop Class of 2026 QAEMT Musical Theatre Showcase](https://thescoop.au/wp-content/uploads/2026/09/QAEMT_3yShowcase_450.jpg "Class of 2026 QAEMT Musical Theatre Showcase • The Scoop")As a collective cohort their vocal abilities are outstanding Photo by Kenn WylchiThe group performances were a particular highlight, displaying impressive technical mastery through expert harmonies, dynamics and vocal control. Standout segments included *New Money* from *The Great Gatsby*, featuring soloist Alessia Charman; *Goodbye* from *Catch Me If You Can*, featuring soloist Jackson Hughesman; and *The Mob Song* from *Beauty & the Beast*, featuring soloist Lachlan Dunks. But the standout of the standouts was *The Flesh Failures* (*Let the Sunshine In)* from *Hair*, featuring soloist Ned Kelly. The sheer vocal and emotional force of the ensemble was extraordinary. It was one of those moments when the individual voices suddenly became something much bigger than the sum of their parts, and one I won’t soon forget. Lily Bennetts and Caelan McCarthy were outstanding in their solo segments. Bennetts brought fierce, fearless commitment to *What Lola Wants* from *Damn Yankees*. It was an exhilarating performance. She absolutely went there, and it was fabulous. McCarthy’s performance of *Leave* from *Once* showcased vocal prowess, emotional vulnerability and guitar-playing skills, allowing him to demonstrate a different set of strengths. Among the duets, Ella Wood and Harry Ince were beautiful together in *You Matter To Me* from *Waitress*. Their connection was immediately apparent, complemented by Wood’s vocal control and her tender acting through song. It was a standout segment. ![The Scoop Class of 2026 QAEMT Musical Theatre Showcase](https://thescoop.au/wp-content/uploads/2026/09/QAEMT_3yShowcase_100-scaled-e1789364525490-920x628.jpg "Class of 2026 QAEMT Musical Theatre Showcase • The Scoop")QAEMT has consistently demonstrated its ability to nurture exceptional vocal talent Photo by Kenn WylchiAlessia Charman and Jackson Hughesman brought genuine chills to their performance of *Seventeen* from *Heathers*. In the straight acting scenes, Harry Ince commanded the stage in *Go and Close*, from *Glengarry Glenn Ross*. Performing such well-known repertoire can be a risk, but Ince made this scene his own, creating a character that left me eager to see more. After the show, I reflected on the audition-room analogy. The Showcase is a short time in which to introduce yourself, particularly when the reviewer’s experience is limited to the live performance on the night. Industry guests have the benefit of additional material, including individual showreels recorded in advance. My role is simply to assess what I see on stage. And what I saw was a cohort with an exceptionally high collective vocal standard, alongside individual performers who demonstrated the confidence, individuality and versatility to make a strong impression. A graduation showcase is, after all, not an ending but a first glimpse of what might come next. I left the Tony Gould Gallery wanting more, which, for the Class of 2026, feels like a pretty good place to begin. **The Class of 2026 Musical Theatre Showcase runs to 19 September. It’s presented by the graduates of the Queensland Academy of Excellence in Musical Theatre (QAEMT) at Tony Gould Gallery, QPAC.** **Corner of Melbourne Street and Grey Street South Brisbane Qld 4101.** Tickets: <https://www.qtix.com.au/whats-on/2026/qcgu-class-of-2026-musical-theatre-showcase> Website: <https://www.griffith.edu.au/arts-education-law/queensland-academy-of-excellence-in-musical-theatre> Socials: <https://www.instagram.com/qaemt.griffithuni/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Kenn Wylchi **Categories:** Brisbane, Musical Theatre --- ### [Announcing Sydney Theatre Company 2027 Season](https://thescoop.au/announcing-sydney-theatre-company-2027-season/) **Published:** September 14, 2026 **Author:** Newsroom **Content:** ![The Scoop Sydney Theatre Company 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-Mitchell-Butel_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season • The Scoop")**Sydney Theatre Company Artistic Director Mitchell Butel** has announced the **Company’s 2027 Season**, his second since taking on the role. Throughout 2027, across its three venues, STC will present thirteen productions including **four world premieres** of new Australian writing and six Australian premieres. The 2027 season will be bookended by two international hits at Roslyn Packer Theatre: opening in January, the Australian premiere of Robert Icke’s contemporary adaptation of **OEDIPUS** with beloved stars **Heather Mitchell** and **Richard Roxburgh** performing together on stage for the first time in thirty years; and closing with the Sydney premiere of the Old Vic Production of **Jack Thorne’s A CHRISTMAS CAROL** starring **Tim Minchin**. World premieres include an adaptation of Jenny Hocking’s **THE PALACE LETTERS** by **Melanie Tait** starring **Georgie Parker** as Hocking and **Jonathan Biggins** as Gough Whitlam; an adaptation of **Pip Williams’ THE BOOKBINDER OF JERICHO** by Verity Laughton**; MISS FISHER’S MURDER MYSTERIES: DEATH BY DECKCHAIR**, a brand-new story in the Miss Fisher catalogue written by Deb Cox, co-creator of the original hit series with Fiona Eagger; and 2026 Patrick White Playwrights Award winner, **Disapol Savetsila’s** AMAH AND NANNA. Australian premieres include **Celeste Barber** making her STC debut in **THE BOOK OF LIZ** by **Amy Sedaris** and **David Sedaris;** a new Australian production of **Simon Stephens’** West End and Broadway hit **VANYA** starring **Eryn Jean Norvill; Gina Gionfriddo’s** Tony Award-winning **BECKY SHAW** starring **Andrea Demetriades** and directed by Sydney Theatre Company Artistic Director Mitchell Butel; and **JOHN PROCTOR IS THE VILLAIN**, directed by Melbourne Theatre Company Artistic Director Anne Louise Sarks. Other productions include the return of Kip Williams’ Olivier and Tony Award-winning **THE PICTURE OF DORIAN GRAY** starring **Nikki Shiels**; **David Ireland’s** two-hander **THE FIFTH STEP** starring **Ashan Kumar** and **Erik Thomson**; and direct from State Theatre Company South Australia, Butel’s final commission, **Jacob Boehme’s LOGAN ST.** Butel says that a common theme throughout the stories in the 2027 season is the notion of family and community and that the ‘‘constellation of stars’’ and theatrical brilliance on offer for audiences in 2027 are experiences that AI will ‘’never match’’: ‘*’AI cannot do what these artists can do live on stage, and it will never be able to match the brilliance, complexity and immediacy that is created in a theatre.* *Working in unison with our teams of award-winning and top-drawer creatives, our 2027 stars will bring to life thirteen magnificent theatrical stories that speak directly to the time and place in which we find ourselves – international hits, beloved classics reimagined and reborn, dramas that feel fresh as the morning and comedies that capture the zeitgeist consummately.* *Throughout the diversity of viewpoints, voices, history and entertainment we will bring you in 2027, many of the stories explore family: how they shape us, how some families are chosen, how they can hurt us, but also how they can heal.* *Families are also made when we create theatre. The community of staff and creators at STC is something to behold, working together to create brilliant theatre for our other family – our community of audiences.”* ![The Scoop Sydney Theatre Company 2027 Season Oedipus](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-Oedipus-Heather-Richard_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season Oedipus • The Scoop")Oedipus stars Richard Roxburgh and Heather MitchellOEDIPUS Created by **Robert Icke** After **Sophocles** **Scenic Designer** Hildegard Bechtler **Costume Designer** Wojciech Dziedzic **Lighting Designer** Natasha Chivers **Sound Designer** Tom Gibbons **Video Designer** Tal Yarden **Revival Director** Lizzie Manwaring **Associate Video** Designer Taylor Edelle Stuart **With** Samuel Brewer, Maggie Dence, John Gaden, Heather Mitchell, Richard Roxburgh and more to be announced. **27 Jan – 28 Feb 2027, Roslyn Packer Theatre** Richard Roxburgh and Heather Mitchell reunite on the Sydney Theatre Company stage for the first time in 30 years in this unmissable Olivier and Tony Award-nominated adaptation by one of the most exciting talents in British theatre. Director-writer Robert Icke (*1984*, *Oresteia*, *The Doctor*) has triumphed in the West End and on Broadway with his “electrifying” (*The New York Times*) reimagining of the Oedipus myth as a contemporary political thriller. Now Sydney Theatre Company and Adelaide Festival bring this landmark theatrical event to Australia. It’s election night, and the count has begun. Triumph looms for Oedipus (Roxburgh), a landslide imminent. His wife (Mitchell) has brought his nearest and dearest together for an evening that will transform this family forever. The family is close, the marriage strong and loving, but this tight-knit unit is about to be rocked to its core. “A suspenseful and exhilarating political thriller that leaves your jaw on the floor” (*USA Today*), *Oedipus* will leave you breathless as it hurtles down the tracks like a runaway train. ![The Scoop Sydney Theatre Company 2026 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-LoganSt-Alexis-Ali_1200x630-1196x628.jpg "Sydney Theatre Company 2026 Season Launch • The Scoop")Logan St stars Ali Ammouchi and Alexis WestLOGAN ST Written and directed by **Jacob Boehme** **Designer** Kathryn Sproul **Lighting Designer** Nic Mollison **Composer & Music** Director Dale Cornelius **Sound Designer** Patrick Pages-Oliver **Video Designer** Mark Oakley **Video Artist** Matt Byrne **With** Ali Ammouchi, Alexis West and Aunty Lynette Crocker, Aviana Daveson, Uncle Lewis O’Brien. **5 Feb – 7 Mar 2027, Wharf 1 Theatre** **“*An extraordinary production… timely and essential”*** *The Saturday Paper* One of the most warmly received new Australian plays of 2026, *Logan St* comes to Sydney Theatre Company direct from State Theatre Company South Australia, where it was praised as “a triumph of artistry, truth-telling and heartfelt humanity” (*Stage Whispers*). Written and directed by Adelaide Festival sensation Jacob Boehme (*Guuranda*), a Narungga and Kaurna man, *Logan St* weaves elements of family history into a tapestry of touching human connection with unforgettable performances from Alexis West and Ali Ammouchi. Goolie (Ammouchi), a 60-year-old Afghan cameleer, meets Dulcie (West), a young First Nations woman, after she helps herself to one of the pomegranates growing in his garden, in the backyard of an Adelaide mosque. It’s 1941 and a friendship blossoms that will endure for decades. They swap recipes and cook together, as delicious aromas waft through the theatre, while Goolie is appalled to learn that Dulcie must suppress her identity to live independently. Adelaide’s Logan St was known as ‘Little Beirut’ in the 1940s, and Boehme’s stage play invites audiences into the neighbourhood’s kitchens – central spaces for culture, community and storytelling. Beautifully designed video elements take us even further back, to Kangaroo Island in 1836, where a Kaurna girl has been abducted by sealers. As these tracks converge, the interplay between score, soundscape and even scent folds time together in a beautifully atmospheric production of a “profoundly moving work” (*[The Scoop](https://thescoop.au/review-logan-st-uncovers-the-forgotten-histories-beneath-adelaides-streets/)*). ![The Scoop Sydney Theatre Company 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-Becky-Shaw-Andrea_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season • The Scoop")Becky Shaw stars Andrea DemetriadesBECKY SHAW By **Gina Gionfriddo** Directed by **Mitchell Butel** **Designer** Jeremy Allen **Lighting Designer** Damien Cooper **Composer & Sound Designer** David Bergman **With** Tom Dawson, Andrea Demetriades, Lincoln Younes and more to be announced. **15 Feb – 25 Mar 2027, Drama Theatre, Sydney Opera House** ***“Gina Gionfriddo’s tangled tale of love, sex and ethics… is as engrossing as it is ferociously funny, like a big box of fireworks fizzing and crackling across the stage from its first moments to its last”*** *The New York Times* Directed by Sydney Theatre Company Artistic Director Mitchell Butel, *Becky Shaw* is a gloriously wicked comedy of contemporary manners by two-time Pulitzer Prize nominee and screenwriter Gina Gionfriddo (*House of Cards*, *Law and Order*). Loosely based on William Thackeray’s novel *Vanity Fair*, Gionfriddo’s *Becky Shaw* was revived on Broadway in 2026 in a Tony-winning production. In this brand-new Australian production, Andrea Demetriades (*Home*, *I’m Darling*, *The River*) steps into the deliciously complex role of Suzanna, a woman who learns never to play matchmaker. Suzanna’s relationship with her acid-tongued foster brother Max is complicated. Max is cynical, damaged, and abrasive – but he is also loyal to Suzanna, and her dependence on him in the aftermath of her father’s death spills over into something… not exactly sibling-like. The charge is still there even after Suzanna marries nice guy Andrew. When they set Max up on a blind date with Andrew’s colleague Becky, what could go wrong? “Gionfriddo is some kind of genius” (*Variety*), and *Becky Shaw* is her masterwork. Don’t miss this riotously funny portrait of romantic entanglement and the unspoken bounds of class. ![The Scoop Sydney Theatre Company 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-The-Palace-Letters-Georgie_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season • The Scoop")Georgie Parker stars in The Palace LettersTHE PALACE LETTERS By **Melanie Tait** Adapted from the book by **Jenny Hocking** Directed by **Priscilla Jackman** **6 Apr – 22 May 2027, Drama Theatre** **Composer & Sound Designer** James Peter Brown **With** Jonathan Biggins, Georgie Parker and a cast of five. Beloved stage and screen star Georgie Parker leads this riveting portrayal of historian Jenny Hocking’s fight to uncover the truth about Gough Whitlam’s dismissal, tracing a web of intrigue that leads all the way to Buckingham Palace. In 1975, Australia faced its most serious constitutional crisis. In 2020 – thanks to Hocking – we finally gained access to long-suppressed correspondence from those turbulent days and weeks, revealing what was said in the corridors of power on two continents. At the heart of Hocking’s landmark legal battle to have the papers released is the question of what the Queen knew of the Governor General’s intentions and when – and what it means for Australian independence. Playwright Melanie Tait (*The Appleton Ladies’ Potato Race*) has crafted a dynamite and witty political thriller that moves between past and present, capturing the events and febrile atmosphere of The Dismissal. Parker and a gifted ensemble – including Jonathan Biggins (*The Gospel According to Paul*) as Gough Whitlam – bring these turbulent events to vivid life. The Sydney Opera House is the perfect venue for this pulse-pounding new work about an iconic event in Australia’s history, an original Sydney Theatre Company commission directed by Priscilla Jackman (*RBG: Of Many, One*). ![The Scoop Sydney Theatre Company 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-Amah-and-Nanna-Lynne-Anette_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season • The Scoop")Lynne McGranger and Annette Shun Wah star in Amah and Nanna AMAH AND NANNA By **Disapol Savetsila** Directed by **Darren Yap** **Designer** Nick Fry **Lighting Designer** Verity Hampson **Composer & Sound Designer** Max Lambert **With** Madeleine Jones, Lynne McGranger, Annette Shun Wah and more to be announced. **10 Apr – 16 May 2027, Wharf 1 Theatre** The winner of the 2026 Patrick White Playwrights Award, *Amah and Nanna* sees Aussie entertainment grand dames Annette Shun Wah (*Floating Life*, *Eat Carpet*) and Gold Logie-winner Lynne McGranger (*Home and Away*) as two women from very different worlds who realise they have a lot in common. When Nanna brings her infant grandson along to a political rally and the tyke is photographed in a Southern Cross baby sling, her daughter swiftly cuts off all contact. Nanna is devastated and angry, and the yapping dog owned by her next-door neighbour isn’t helping. While “seeing to” the mutt, she’s sprung by Amah (Shun Wah) – a Thai Chinese woman around the same age – who is dealing with her own family challenges. Written by Disapol Savetsila – who was the youngest playwright ever programmed at Sydney Theatre Company with 2017’s *Australian Graffiti* – and directed by Darren Yap (*Miracle City*, *Letters to Lindy*), this urgently relevant and darkly comic thriller follows two vivacious seniors as they embark on a very unlikely friendship and a cross-country road trip toward self-discovery and the Red Centre. Savetsila explores identity, tolerance, grievance politics and belonging in Australia, threaded through with his trademark heart and humour, and in gripping fashion. Like Thelma and Louise before them, Amah and Nanna light out for the great unknown while forces beyond their control swirl in the desert air, taking audiences on the ride of a lifetime. ![The Scoop Sydney Theatre Company 2027 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-MissFishersMurderMystery_AmberMcMahon_1000x1100-942x628.jpeg "Sydney Theatre Company 2027 Season Launch • The Scoop")Amber McMahon stars in Miss Fishers Murder Mysteries Death By DeckchairMISS FISHER’S MURDER MYSTERIES: DEATH BY DECKCHAIR By **Deb Cox** Created by **Fiona Eagger** and **Deb Cox** Directed by **Daniel Evans** **Based on** The Phryne Fisher series of books by Kerry Greenwood **Developed with** Elizabeth Coleman **With** Aljin Abella, Blazey Best, Amber McMahon, Ryan Morgan and more to be announced. **8 May – 13 Jun 2027, Roslyn Packer Theatre** ***When murders pile up onboard a cruise ship, only one woman can find the culprit…*** The iconic Miss Phryne Fisher shimmies onto the stage for the first time in this glittering world premiere production written by Deb Cox, co-creator of the original hit series with Fiona Eagger. Starring Amber McMahon (*Accidental Death of an Anarchist*), this is Miss Fisher quite literally as you have never seen her before. It’s 1929, and Kerry Greenwood’s chic lady detective is sailing to the South Seas on a cruise when a murder, a jewel robbery and rumours of a mysterious curse throw the ship’s crew and passengers into a state of uproar. While Miss Fisher is more than happy to mix crime with cocktails and pleasure cruising, handsome Detective Inspector Jack Robinson finds himself drawn into the mystery – and way too much dancing – whether he likes it or not. Dodging danger at every turn while running circles around her suspects, Miss Fisher meets a light-fingered academic, a honeymooning magician and the dissolute heir to a newspaper fortune. Think *Knives Out*, only with cloche hats and fox stoles. McMahon brings glamour, cheek and a healthy dose of razor-sharp wit to a high-seas adventure that hurtles between the upper and lower decks. Is it possible the mystery is tied not only to class divisions, but to the Titanic itself? Directed by **Queensland Theatre Company Artistic Director Daniel Evans**, and co-produced with **Queensland Theatre Company** and **Jones Theatrical Group** with **Every Cloud Productions**, *Miss Fisher’s Murder Mysteries: Death by Deckchair* brings the jazz age to sumptuous theatrical life. ![The Scoop Sydney Theatre Company 2027 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-Book-of-Liz-Celeste-Barber_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season Launch • The Scoop")Celeste Barber stars in The Book of LizTHE BOOK OF LIZ By **Amy Sedaris** and **David Sedaris** Co-directed by **Mitchell Butel** and **Tait de Lorenzo** **With** Celeste Barber and a cast of three. **29 May – 4 Jul 2027, Wharf 1 Theatre** A runaway from an Amish-like religious sect falls down the rabbit hole in this cult off-Broadway comedy from memoirist David Sedaris and his writer-actor sister Amy – a show that makes zealots of everyone who sees it. Imagine Peter Weir’s *Witness* crossed with *The Unbreakable Kimmy Schmidt* by way of *The Wizard of Oz* and you’re getting warm, but nothing compares to the sheer wonder of *The Book of Liz*. In her Sydney Theatre Company debut, powerhouse comic sensation Celeste Barber stars in the Australian premiere production of this Sedaris marvel co-directed by Sydney Theatre Company Artistic Director Mitchell Butel and Tait de Lorenzo (*Anna X*). Clueless about sex and the modern world but armed with a formidably sunny disposition, Sister Elizabeth Donderstock (Barber) runs away from her community after she’s forced to give up her recipe for cheese balls, the town’s chief export. On the road she encounters a series of eccentric characters, including a Ukrainian migrant who sounds like Dick Van Dyke in *Mary Poppins* and wears a peanut costume to spruik the themed restaurant that Liz may soon be managing. What follows is a gloriously silly picaresque about finding your place and your worth, “a delightfully off-key hymn to cliches we all live by, whether we know it or not” (*The New York Times*). ![The Scoop Sydney Theatre Company 2027 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-The-Picture-of-Dorian-Gray_NikkiShiels_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season Launch • The Scoop")Nikki Shiels stars in The Picture of Dorian GrayTHE PICTURE OF DORIAN GRAY By **Oscar Wilde** Adapted and directed by **Kip Williams** **Designer** Marg Horwell **Lighting Designer** Nick Schlieper **Composer & Sound Designer** Clemence Williams **Video Designer** David Bergman **With** Nikki Shiels **30 Jun – 25 Jul 2027, Roslyn Packer Theatre** ***The Olivier and Tony Award-winning production makes a triumphant homecoming*.** Kip Williams’ global smash hit cine-theatre adaptation of Oscar Wilde’s story returns to where it all began after becoming the hottest ticket in town during sold-out runs on the West End and Broadway, where it was hailed as “a triumph” (*The New York Times*) and “an exhilarating piece of storytelling” (*The Hollywood Reporter*). Now Australian audiences have the chance to see this groundbreaking production (or see it again), with Nikki Shiels (*Sunday*) demonstrating why she’s one of Australia’s greatest actors as she is passed the baton from Eryn Jean Norvill and Sarah Snook. Wilde’s classic story is reimagined with breathtaking theatrical imagination and big-screen bravado in a tour-de-force show that continues to surprise, finding new wrinkles in the tale of the wrinkle-free young aristocrat Dorian Gray. Beautiful but impressionable, Dorian falls under the malign influence of Lord Henry Wotton and descends into a life of hedonism. The underbelly of Victorian London is ugly, even putrid, but Dorian remains outwardly unblemished, even as the years pass. Shiels, who was the alternate performer during the 2022 Sydney and Melbourne seasons, plays 26 characters in a highwire feat of performance, stagecraft and technology. Don’t miss the thrill of watching a supreme talent walk the tightrope in “a dazzling, dangerous solo show” (★★★★★ *The Guardian*) and “a game-changing piece of theatre.” (★★★★★ *The Telegraph*). ![The Scoop Sydney Theatre Company 2027 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-The-Fifth-Step_Ashan-Erik_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season Launch • The Scoop")Ashan Kumar and Erik Thomson star in The Fifth StepTHE FIFTH STEP By **David Ireland** Directed by **Kenneth Moraleda** **Designer** Hailley Hunt **Lighting Designer** BROCKMAN **Composer & Sound Designer** Sam Cheng **With** Ashan Kumar and Erik Thomson. **31 Jul – 19 Sep 2027, Wharf 1 Theatre** ***“Bristling with playwright David Ireland’s signature style of knotty provocation and ribald comedy”*** *The Guardian* This darkly hilarious two-hander about a young man and his Alcoholics Anonymous sponsor stars Erik Thomson (*Aftertaste*, *Packed to the Rafters*) and Ashan Kumar (*Amber*, *Daytime Deewane*) in the Australian premiere production of the West End runaway success. Director Kenneth Moraleda (*[4000 Miles](https://thescoop.au/review-sydney-theatre-companys-4000-miles-explores-love-and-family/)*) skilfully excavates the faultlines that appear after Luka (Kumar) asks the older James (Thomson) to sponsor him. James starts preparing Luka for the fifth step, the confessional stage in the AA program, but rigorous honesty is harder than it looks, and James has secrets of his own. James counsels Luka against hanging out with his old friends, and the younger man begins smarting at the control James exerts over his life and relationships. For his part, James is surprised to discover that Luka has undergone a religious conversion and thinks he bumped into Jesus in the gym. Or was it Willem Dafoe? As trust falters and resentment mounts, the men inch ever closer to outright war. As entertaining as it is acute about power and authority, *The Fifth Step* is “taut, funny and richly compassionate” (*Financial Times*). ![The Scoop Sydney Theatre Company 2027 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-John-Proctor-Is-The-Villian-Masego-Pitso_1_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season Launch • The Scoop")Masego Pitso stars in John Proctor is the VillainJOHN PROCTOR IS THE VILLAIN By **Kimberly Belflower** Directed by **Anne-Louise Sarks** **With** Masego Pitso and a cast of eight. **3 Sep – 16 Oct 2027, Drama Theatre** ***“A vital, hilarious, thrilling, urgently necessary new play”*** *The New York Times* High school is a battleground in this funny and ferocious new Australian production of the Broadway and West End knockout *John Proctor is the Villain*, directed by **Melbourne Theatre Company Artistic Director Anne-Louise Sarks** (*My Brilliant Career*). Masego Pitso (*[Picnic at Hanging Rock](https://thescoop.au/review-picnic-at-hanging-rock-a-powerful-descent-into-the-abyss/)*) stars in Kimberly Belflower’s powder keg play about a group of young people studying *The Crucible* while navigating sex, gossip and fractured friendships in a small American town. Arthur Miller’s classic takes on new resonance when shocking accusations are levelled in the classroom and the community takes sides, leaving the students to ponder the nature of power in art and in life. Updating Miller’s portrait of mob hysteria for the social media age, Belflower gives us “the kind of heroes we actually need” (*New York Magazine*) – five teenagers just trying to work it out, hilarious and mad as hell. This is coming-of-age drama that isn’t afraid to be thorny and provocative and just as complex as adolescence itself. Nominated for seven Tony Awards, *John Proctor is the Villain* arrives in Australia as one of the world’s most talked-about new plays and after a sold-out transfer to London’s Royal Court, where it was hailed as “joyous, blazingly intelligent” (*Financial Times*) and “thrilling to watch” (*The New Statesman*). ![The Scoop Sydney Theatre Company 2027 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-Vanya-EJ_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season Launch • The Scoop")Eryn Jean Norvill stars in VanyaVANYA By **Simon Stephens** Co-created by **Simon Stephens**, **Andrew Scott** and **Sam Yates** After **Anton Chekhov’s Uncle Vanya** Co-directed by **Marion Potts** and **Eryn Jean Norvill** **With** Eryn Jean Norvill. **16 Oct – 5 Dec 2027, Wharf 1 Theatre** ***“Funny, sexy and surprisingly emotional”*** *The Independent* Eryn Jean Norvill (the originating star of *The Picture of Dorian Gray*) returns to Sydney Theatre Company in an Olivier Award-winning adaptation of Chekhov’s 1898 tragicomedy, written by Simon Stephens (*The Curious Incident of the Dog in the Night-Time*) to be performed by a single actor. Vanya manages the country estate of Alexander, an acclaimed film director with a beautiful younger wife, Helena. Alexander’s daughter Sonia holds a candle for local doctor Michael, but the good doctor loves Helena, and so does Vanya. What follows is the familiar story but with a modern twist – and a healthy sense of mischief amid the pathos. Hailed as “one of the most gifted actors of her generation” (*The Guardian*), Norvill again displays all her virtuoso talent and versatility playing each member of this troubled household – characters whose inability to reach one another is made all the more potent by the actor’s aloneness. Norvill is matched by one of Australia’s greatest stage directors, Marion Potts (*[Doubt: A Parable](https://thescoop.au/review-doubt-a-parable-asks-the-big-questions/)*), who infuses this classic tale of love, loss and yearning with just the right mix of tragedy and comedy, finding “a new way of seeing into the heart of its beauty” (*The New York Times*). ![The Scoop Sydney Theatre Company 2027 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-The-BookBinder-Jericho_Billie-Rose-Russell_1_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season Launch • The Scoop")Billie Rose Russell stars in The Bookbinder of JerichoTHE BOOKBINDER OF JERICHO Adapted by **Verity Laughton** from the novel by **Pip Williams** Directed by **Shannon Rush** **Costume Designer** Ailsa Paterson **Composer & Sound Designer** Max Lyandvert **With** Melissa Kahraman, Ksenja Logos, Billie-Rose Russell and more to be announced. **23 Oct – 11 Dec 2027, Drama Theatre** The team behind national theatrical phenomenon *[The Dictionary of Lost Words](https://thescoop.au/review-dictionary-finds-dignity-and-humour-in-lost-words/)* reunite to bring Pip Williams’ beloved companion novel *The Bookbinder of Jericho* to the stage in this **hotly anticipated world premiere**. *The Bookbinder of Jericho* transports audiences to Oxford, where working-class twins Peggy and Maude live on a narrowboat at the advent of the First World War. The sisters work at the university press binding books, but whip-smart Peggy hankers for more. Her boss is always catching her reading the books instead of binding them. Peggy gazes longingly across the street to Oxford’s Somerville College, where girls her own age are free to spend their days reading in the library. Peggy begins to see the possibility of another life, one in which she can use her brains instead of her fingers. But will her love for a Belgian soldier be her salvation or her downfall? Working on an epic canvas, playwright Verity Laughton and director Shannon Rush (*Housework*) and her team once again harness “soaring technical design” (*Time Out*) to bring a little-known slice of history alive in astonishing detail, shining a celebratory light on these women in their time and the words they live by. ![The Scoop Sydney Theatre Company 2027 Season Launch](https://thescoop.au/wp-content/uploads/2026/09/STC-S27-A-Christmas-Carol-Tim-Minchin_1200x630-1196x628.jpg "Sydney Theatre Company 2027 Season Launch • The Scoop")Tim Minchin stars in the Old Vic Production of A Christmas CarolA CHRISTMAS CAROL An Old Vic Production A version by **Jack Thorne** Conceived and directed by **Matthew Warchus** **Set & Costume Designer** Rob Howell **Composer & Arranger** Christopher Nightingale **Lighting Designer** Hugh Vanstone **Sound Designer** Simon Baker **Movement** Lizzi Gee **With** Tim Minchin and a cast of 17. **11 Nov – 26 Dec 2027, Roslyn Packer Theatre** Tim Minchin returns to the Sydney Theatre Company stage in a magical five-time Tony Award-winning show for the whole family. Written by superstar playwright and screenwriter Jack Thorne (*Harry Potter and the Cursed Child*, Netflix’s *Adolescence*) and directed with an irrepressible sense of showmanship by *Matilda The Musical* mastermind Matthew Warchus, this stunningly immersive festive favourite is reason to rejoice. As the gas lanterns are lit and the snow falls on a freezing Christmas night, Ebenezer Scrooge (Minchin) is called upon by the Ghosts of Christmas Past, Present and Future. They show him scenes from his life, and the miserly Scrooge is forced to reckon with regret and loss. But is it too late to thaw his cold heart? Celebrated by audiences across the globe, this transporting adaptation from The Old Vic sparkles with gold tinsel, “fostering an infectious spirit of good cheer that reaches giddy heights” (*The Hollywood Reporter*). Get ready to be swept into a world of Yuletide feasts as carols such as *Joy to the World* and *Silent Night* fill the Roslyn Packer Theatre. Ring the bells – a white Christmas is coming to Sydney! **Tickets for Sydney Theatre Company 2027 season are on sale for renewing subscribers from 15 September 2026 and new subscribers from 29 September at** **the website link below.** Website: <https://www.sydneytheatre.com.au/> Socials: <https://www.instagram.com/sydneytheatreco/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Artistic Director Mitchell Butel, photo by Holly Ward. All other images supplied by Sydney Theatre Company. Watch the 2027 Season trailer below: **Categories:** News --- ### [Announcing Cast For We Will Rock You Geelong](https://thescoop.au/announcing-cast-for-we-will-rock-you-geelong/) **Published:** September 14, 2026 **Author:** Newsroom **Content:** ![The Scoop We Will Rock You What's On? Production Company Geelong](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-14-at-53251-pm-1200x609.png "We Will Rock You What's On? Production Company Geelong • The Scoop")Geelong audiences are about to experience the explosive rock musical ***We Will Rock You***, with What’s On? Production Company bringing Queen’s legendary music and the spectacular world of the musical to Costa Hall on **26 and 27 February 2027**. The production brings together a powerhouse cast of professional performers alongside some of Victoria’s most exciting emerging and community theatre talent, creating a unique professional/community collaboration for Geelong audiences. Leading the cast as **Galileo** is **Joseph Spanti**, most recently seen as Danny Zuko on the Australian Tour of Grease. Spanti brings both considerable musical theatre experience and the vocal firepower required to take on some of Queen’s most iconic songs. Joining him as **Scaramouche** is **Kate Hudson-James**, an incredibly exciting talent who in 2025 graduated from Griffith University in Queensland. Kate is joined by acclaimed Australian Theatre Legends **Chelsea Gibb (**currently touring Menopause The Musical) and **John O’Hara (**recently returned from the Australian tour of Jesus Christ Superstar) taking on the formidable antagonists, **Killer Queen** and **Khashoggi.** The cast also features recent Geelong Writers Festival Best Actor winner **Peter Noble as Buddy**, with outstanding musical duo **Jessica Aiezza as Oz**, and **Kane Worthy as Brit** who have credits such as National Anthems for the AFL and even a cheeky gig as Back-Up for Robbie Williams! Now That’s ROCK! Together, this exceptional principal cast will lead an ensemble of professional, emerging and community performers in a production designed to celebrate both the theatrical spectacle of *We Will Rock You* and the enduring power of Queen’s music. A different kind of musical theatre experience Based on the songs of Queen and written by Ben Elton, *We Will Rock You* transports audiences to a dystopian future where individuality and live music have been outlawed. At its heart is a story about rebellion, friendship, freedom and the importance of finding your own voice. ![The Scoop We Will Rock You](https://thescoop.au/wp-content/uploads/2026/09/PRINCIPAL-CASTING-TILE-628x628.jpg "We Will Rock You What's On? Production Company Geelong • The Scoop")For What’s On? Production Company, the production also represents an opportunity to bring together two worlds. **Paul Watson**, Producer/Director of What’s On? Production Company, said: *“Our vision has always been to create something that feels genuinely exciting and professional while giving local performers the opportunity to share the stage with either established or emerging professional artists.* *“We Will Rock You is the perfect show for that. Queen’s music crosses generations, and we want this production to feel like a huge rock concert, a theatrical event and a celebration of the Geelong performing arts community all at once.”* The production is being created specifically for Costa Hall, with a large-scale concert-inspired design featuring live musicians, projections, theatrical staging and the unmistakable sound of Queen. Audiences can expect iconic songs including ***Bohemian Rhapsody, Somebody to Love, We Will Rock You, We Are the Champions, Another One Bites the Dust, Radio Ga Ga, I Want to Break Free*** and many more. Queen belongs on the Costa Hall stage With Queen’s music continuing to attract audiences across generations, *We Will Rock You* is expected to appeal not only to musical theatre fans, but to Queen devotees, rock music lovers and audiences who simply want to experience these songs performed live in a spectacular theatrical setting. The production is deliberately aimed at making *We Will Rock You* an event for the whole region, attracting audiences from Geelong, Melbourne, Ballarat, Bendigo and surrounding Victorian communities. **What’s On? Production Company** is committed to producing ambitious musical theatre that brings together professional standards, local talent and accessible opportunities for performers and creatives. And with Queen providing the soundtrack, the result promises to be one very loud weekend in Geelong. ***We Will Rock You* is presented by What’s On? Production Company and runs 26 – 27 February 2027. Costa Hall, Deakin University, 1 Gheringhap Street Geelong Vic 3220.** Tickets are available at the website link below. Website: <https://geelongartscentre.org.au/whats-on/all-events/we-will-rock-you/> Socials: <https://www.instagram.com/whatsonproductioncompany/> and <https://www.instagram.com/geelongartscentre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Announcing First Highlights Russell Hobbs British Film Festival](https://thescoop.au/announcing-first-highlights-russell-hobbs-british-film-festival/) **Published:** September 14, 2026 **Author:** Newsroom **Content:** ![The Scoop 2026 Russell Hobbs British Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Savage-House_1-963x628.jpg "2026 Russell Hobbs British Film Festival • The Scoop")Some of Britain’s finest stars feature in the **first highlights** of the **2026 Russell Hobbs British Film Festival**. Presented by Palace, this year’s festival includes a spectacular line up of dramas, diverse and illuminating documentaries, romantic comedies and more, all screening at Palace Cinemas, Palace Nova and Luna Palace Cinemas from **28 October**. One of the most talked about films to hit the festival circuit recently is romantic comedy **WICKER**. Starring acclaimed British actress **Olivia Colman** and the brilliant **Alexander Skarsgård**, this hilarious, raunchy and irresistible fable tells the tale of an ostracised fisherwoman and the sexy husband she wishes for. Visceral historical drama **THE UPRISING** stars Andrew Garfield as a grief-stricken labourer in the 14th century who ignites a peasant’s revolt. The films also stars **Jamie Bell, Stephen Dillane** and **Katherine Waterston**. ![The Scoop 2026 Russell Hobbs British Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Wicker_1-942x628.jpg "2026 Russell Hobbs British Film Festival • The Scoop")Still from Wicker starring Olivia Colman and Alexander SkarsgardDocumentary **PARKY** is an intimate portrait of ‘the king of the chat show’ **Sir Michael Parkinson**. Over a career spanning five decades, Britain’s greatest interviewer was beloved by millions and knighted by the Queen. His legendary interview subjects ranged from Muhammad Ali, Billy Connolly, Kylie Minogue, Bob Hawke, Madonna, Sir David Attenborough and many who feature in this revealing documentary. **Richard E. Grant** and **Claire Foy** lead the cast of **SAVAGE HOUSE,** a darkly comedic, cautionary tale of greed, ambition and power. Two desperate social climbers in 18th century England sacrifice everything to host the aspirational dinner party of their dreams, in this sumptuously crafted period piece. The much-loved Bill Nighy stars in the poignant drama **500 MILES** which follows a broken family that must come together as two young boys embark on an epic journey to reunite with their estranged grandfather. ![The Scoop 2026 Russell Hobbs British Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Parky_1-944x628.jpg "2026 Russell Hobbs British Film Festival • The Scoop")Still from ParkySet across breathtaking landscapes of Ireland, from iconic locations in Dublin to the sweeping Dingle Peninsula, 500 MILES artfully explores the complexities of families and the forces that pull them apart and reunite them. Writer-director Nick Moorcraft (*Fisherman’s Friends: One and All, BFF22*) returns with **MOTHER’S PRIDE,** a deeply moving and heartfelt comedy. **Jonno Davies** stars as Cal, a man rediscovering purpose and connection as he returns to his small country hometown. After a series of misfortunes, he works to re-invigorate his family’s pub which is on the brink of closure. **The Russell Hobbs British Film Festival opens on Wednesday 28 October and runs** **in Sydney, Melbourne, Ballarat, Byron Bay, Canberra and Adelaide. It opens Thursday 29 October in Brisbane and Thursday 5 November in Perth.** The full programme to be announced and tickets on sale in early October. Website: <https://britishfilmfestival.com.au/> Socials: <https://www.instagram.com/britishfilmfest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Still from *Savage House*. Watch the trailer for *Wicker* below: The Russell Hobbs British Film Festival presented by Palace screens in the following locations: **Canberra**: 28 Oct – 29 Nov Palace Electric Cinemas **Adelaide**: 28 Oct – 29 Nov, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Melbourne**: 28 Oct – 29 Nov, The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino, Pentridge Cinema, Palace Church St **Ballarat:** 28 Oct – 29 Nov, Palace Regent Ballarat **Sydney**: 28 Oct – 29 Nov, Palace Norton Street, Palace Moore Park, Palace Central **Byron Bay**: 28 Oct – 29 Nov, Palace Byron Bay, Ballina Fair Cinemas **Brisbane**: 29 Oct – 29 Nov, Palace Barracks, Palace James Street **Perth**: 5 Nov – 6 Dec, Palace Raine Square, Luna on SX, Leederville and Windsor **Categories:** News --- ### [Review: The Heartbreak Choir Sings From The Heart](https://thescoop.au/review-the-heartbreak-choir-sings-from-the-heart/) **Published:** September 14, 2026 **Author:** Jackson Kellaway **Content:** ★★★★☆ ![The Scoop The Heartbreak Choir PIP Theatre](https://thescoop.au/wp-content/uploads/2026/09/203731-T2635_260908_A1513-942x628.jpg "The Heartbreak Choir PIP Theatre • The Scoop")*The Heartbreak Choir* is PIP Theatre’s yearly self-produced mainstage show and the first one I have been able to attend. When I discovered PIP Theatre last year, I was pleasantly impressed. The venue is so welcoming and has an atmosphere that feels like home. It might be the mismatched furniture, the plants throughout the venue or the friendly staff. Whatever it is, I always have an enjoyable experience when I visit PIP Theatre. *The Heartbreak Choir* centres around seven characters who are grieving, and through music they deepen their connection with each other. I agree with Sherryl-Lee Secomb’s director’s note that this play is a moving piece that highlights the healing power of music. I commend Secomb for allowing these actors a safe space to explore the emotional journeys these characters each go on. As I walked into the venue, I immediately recognised the set. A testament to set designer Regan Henry, who encapsulates a community hall so well that it made this reviewer smirk. From the cut-out window of the kitchenette, the generic toilet sign to portrait of Her Majesty the Queen hanging on the wall, every detail brought back memories of times where I have sat in a similar building learning, creating and connecting. The story follows choir leader Barbara, played by Catarina Hebbard. Barbara has found a new venue for her choir, and why they need it is something the audience will soon discover. ![The Scoop The Heartbreak Choir PIP Theatre](https://thescoop.au/wp-content/uploads/2026/09/190757-T2635_260908_A0967-942x628.jpg "The Heartbreak Choir PIP Theatre • The Scoop")Through music the characters deepen their connection with each other Image suppliedHebbard plays a mother figure to the group with a grounded energy. At times, you see the cracks starting to form in her strong facade. Hebbard brings a trusting emotion to her character that reminded me of an aunty. She presents her relationships with each character differently, much like real life. There is no mistaking the experience Hebbard brings to the stage. The trusty friend of Barbara and the choir treasurer is Totty, played by Diedre Grace. This character is my favourite in the show. I am sure most people in the audience would have someone in their life who is this person. Someone who has lived in this town her whole life, knows the history, knows everybody’s business and has an unexpected wealth and influence. Grace plays this role expertly, with impeccable comic timing. What the character lacks in social cues, she makes up for in hilarity and heart. Brightholly Nininahazwe brings her character, Assini, to life with reverence. Assini is someone you immediately like, often acting as the voice of reason as a religious woman, then finding the loophole to take a slight dig. Nininahazwe is a breath of fresh air, entering the room with an obvious love of connecting to others. Rounding out the original choir members are Mack and Savannah, a mother and daughter played by Gemma Galley and Michael Enright. Mack is a proud mother who has a hard exterior. Throughout the show, though, she goes on an emotional rollercoaster, something Galley navigates comfortably and confidently. She would be too loud of a character to be in my friend circle. However, in this group, that heightened energy works. ![The Scoop The Heartbreak Choir PIP Theatre](https://thescoop.au/wp-content/uploads/2026/09/203627-T2635_260908_A1496-scaled-e1789342669113-955x628.jpg "The Heartbreak Choir PIP Theatre • The Scoop")The Heartbreak Choir takes a refreshing look at our relationships and examines what we hold dear Image suppliedSavannah is quiet, reserved and highly anxious, forced to use sign language when uncomfortable. Admittedly, this was not a character I could particularly relate to; however, Enright makes it so I don’t have to. Enright brings a sincerity to a character who doesn’t have many lines but has many moments. One moment I wish more of the audience noticed was Enright blessing themselves under the portrait of the Queen before realising, *“Wait, this isn’t right.”* The remaining characters are Peter and Beau, father and son, played by Bradley McCaw and Benjamin Cole. It is Peter’s wife’s suicide that encourages him to seek out the choir – his late wife’s friends – in an attempt to find understanding and connection. McCaw brings a purposeful awkwardness to a character who is more used to saying what he thinks as opposed to what he feels. The emotional peaks and troughs throughout are expressive and well placed. Beau is the reserved son who is burdened by grief, anger and guilt. Cole is fitting in the role, with his confidence growing as the truths are laid bare, eventually joining the choir with his own talent. It is endearing to see the father-son relationship strengthen in a way that, without the choir, may not have happened. *The Heartbreak Choir* takes a refreshing look at our relationships and examines what we hold dear. It reminds us that we choose what to celebrate and what breaks our hearts. We choose to connect. We choose our community. ***The Heartbreak Choir* is presented by PIP Theatre runs to 19 September 2026.** **20 Park Road Milton Qld 4064.** Tickets: <https://piptheatre.sales.ticketsearch.com/sales/salesevent/166352> Website: <https://piptheatre.org/heartbreak-choir/> Socials: <https://www.instagram.com/piptheatreau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied. **Categories:** Brisbane, Musical Theatre --- ### [Hold Your Horses! Phar Lap Races Again In 2027](https://thescoop.au/hold-your-horses-phar-lap-races-again-in-2027/) **Published:** September 13, 2026 **Author:** Newsroom **Content:** ![The Scoop Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2025/10/Nat-Jobe-Manon-Gunderson-Briggs-Amy-Hack-Justin-Smith-Phar-Lap-c-John-McCrae-942x628.jpg "Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney • The Scoop")Hayes Theatre Co is thrilled to announce the award-winning sold-out hit of 2025, ***Phar Lap: The Electro-Swing Musical***, will return in 2027. This new Australian musical with the biggest heart returns to Sydney in an expanded, unbridled production playing at **Carriageworks**, before a national tour including a season at **Melbourne Theatre Company**, **Merrigong Theatre Company, Geelong Arts Centre**, **The Art House Wyong**, and many more. A gangly Kiwi racehorse. A trainer down on his luck. A nation ready to believe in a long-shot. ***Phar Lap: The Electro-Swing Musical*** is the rags-to-riches story that galloped into history, reimagined with heart, wit and a toe-tapping electro-swing score. The road isn’t easy – there are gambling scandals, double-crosses, an attempted shooting and a career-threatening addiction to sugar. It’s high stakes, high drama and highly historically accurate. ***Phar Lap*** boasts an irresistible electro-swing score by **Steven Kramer**, with inspirations from Duke Ellington to Daft Punk. Brassy, lively and retro – these songs will take you from the race course to the rave hall. It was an unprecedented sold-out hit at Hayes in 2025, and now ***Phar Lap*** gallops back to Sydney, again starring New Zealand born but Australian claimed triple threat **Joel Granger** *(Guys and Dolls, The Book of Mormon)* as the titular hero. ![The Scoop Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2025/10/Lincoln-Elliot-Joel-Granger-in-Phar-Lap-c-John-McCrae-941x628.jpg "Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney • The Scoop")Phar Lap returns in 2027 to Carriageworks Sydney and a multi city tour Photo by John McRae*“Phar Lap: The Electro-Swing Musical is a delightful homage to this icon of Australian history. This tale is told in the only way we can truthfully represent it, through irreverent humour, witty one-liners and an energy that reflects the true heart and soul of Australian culture.”* – [The Scoop](https://thescoop.au/review-phar-lap-the-electro-swing-musical-is-one-for-the-history-books/) Winner of three 2025 Sydney Theatre Awards including Best Production of a Musical, Best Direction of a Musical (Sheridan Harbridge) and Best Performance in a Leading Role in a Musical (Joel Granger), ***Phar Lap*** swaps horse shoes for tap shoes celebrating Australia’s big-hearted equine hero. **Richard Carroll** and **Victoria Falconer**, Artistic Directors of Hayes Theatre Co, said: *“Phar Lap is a really special show – it’s funny, it’s clever, it’s undeniably unique – and truly deserving of the praise it’s received as a new Australian classic. Audiences at our Hayes season were genuinely bowled over by this energetic, irreverent telling of a story that’s so deeply ingrained in our collective culture – so it’s very exciting that many more people will now have the chance to see it.”* Pop the champagne, harness up and get ready for a wild ride. *Phar Lap: The Electro-Swing Musical* is the show that will stop the nation in 2027! ***Phar Lap: The Electro-Swing Musical* runs from 8 July – 8 August 2027 at Carriageworks. 245 Wilson Street Eveleigh NSW 2015.** It then embarks on a tour. Dates to come. Tickets on sale now from the website. Website: <https://hayestheatre.com.au/event/phar-lap-2027-carriageworks/?swcfpc=1> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Read our Review of the Premiere Season](https://thescoop.au/review-phar-lap-the-electro-swing-musical-is-one-for-the-history-books/) Photo credits: John McRae **Categories:** News --- ### [Review: Sweeney Todd Breathes New Life Into A Classic](https://thescoop.au/review-sweeney-todd-breathes-new-life-into-a-classic/) **Published:** September 13, 2026 **Author:** Jesse Oey **Content:** ★★★★★ ![The Scoop Sweeney Todd Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/09/Brendan-Matthews-Tobias-Kate-Yaxley-Mrs-Lovett-942x628.jpg "Sweeney Todd Chapel Off Chapel Melbourne • The Scoop")In a great black pit, where the vermin of the world turn beauty to filth and greed, a humble barber returns from exile, bristling with grief. A grim question emerges from the haze: Could revenge be his inevitability? This chilling conjecture sits at the core of *Sweeney Todd: The Demon Barber of Fleet Street* by Soundworks Productions, now showing for a limited season at Melbourne’s historic Chapel Off Chapel. Director Benjamin Samuel cunningly reimagines Sweeney Todd’s smoggy 1840s London as a gory purgatory of sorts, where roaming souls saunter across the intimate stage. Clad in blood-soaked burgundy, they channel the story’s bleak narratives against the soot-stained backdrop of Harry Gill’s minimalist, sharp-edged set, sheltered in shadows through Sidney Younger’s lighting design. The show’s rapid-fire, topsy-turvy score, written by beloved Broadway genius Stephen Sondheim, rattles from the word go. It kicks off with *The Ballad of Sweeney Todd* and remains utterly ominous throughout. Bringing these iconic, famously challenging songs to life is no mean feat, yet this production ambitiously steps up to the plate, under Musical Director Jack Barnard’s assured leadership. ![The Scoop Sweeney Todd Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/09/Aidan-Niarros-Sweeney-Todd-942x628.jpg "Sweeney Todd Chapel Off Chapel Melbourne • The Scoop")This production ambitiously steps up to the plate to bring these iconic songs to life Photo by Matthew ChenAidan Niarros forcefully leads the charge as Fleet Street’s titular demon barber. A stark comparison to Johnny Depp’s delicate portrayal in the 2007 Tim Burton adaptation, Niarros’ take on Benjamin Barker / Sweeney Todd is arrestingly nuanced, conveying the duality of Benjamin’s sadness and Mr Todd’s seething violence ferociously, with a booming baritone to match. His commanding presence looms large through intense, spine-chilling stares, and he makes a point of frequently locking eyes with the audience, as if to intimidate. His incensed delivery of *Epiphany*, Act One’s penultimate track, is truly extraordinary. Vivacious Kate Yaxley is chaotically captivating as pie shop owner and partner-in-crime Mrs Lovett. A faithful sidekick to Sweeney Todd’s vengeful schemes, Yaxley fully commits to her scene-stealing performance, embodying Mrs Lovett at her most deranged – devoted, unpredictable, plus a startling sprinkle of unrequited longing. Her agile, expressive voice glides over the score’s demanding complexities. She is hilarious when belting *The Worst Pies in London* and *Poor Thing,* and sickly-sweet during *By the Sea.* Alongside her, Brendan Matthews tugs at heartstrings as innocent orphan Tobias, transitioning from mischievous vagrant to lovable youngster thriving under Mrs Lovett’s care. A brief tender moment shared during *Not While I’m Around* provides a short-lived emotional reprieve from all the unrelenting frenzy. Ashley Garner is resolute and earnest as bright-eyed sailor Anthony, prepossessed and pining for songbird Johanna, played by stunning soprano Annabelle Rosewarne. Their effortless chemistry and melodious vocal blend, brightly on show during Garner’s solo *Johanna*, then their sweet duet *Kiss Me,* serve as a much-needed breath of fresh air. ![The Scoop Sweeney Todd Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/09/Christian-Gillett-Judge-Turpin-Annabelle-Rosewarne-Johanna-942x628.jpg "Sweeney Todd Chapel Off Chapel Melbourne • The Scoop")This is a confident and modern revival that is an unmissable spectacle Photo by Matthew ChenTheir tragic love story flips the stereotypical damsel-in-distress trope on its head, with Johanna heroically rescuing the pair from capture through a courageous show of strength, partway through Act Two. Rounding out the main cast, Christian Gillett and Daniel Hillman lean into their villainous roles with bravado as the disturbing duo Judge Turpin and Beadle Bamford. Gillett is truly unnerving as the immoral judge, while Hillman seems comfortable delving further into the Beadle’s duplicitousness, serving sass and salacity as he struts across the stage. Choreographer Skylar Delphinus’ Eastern-inspired movements and Jessamine Moffett’s costume design frame every scene in furious fluidity. As the story rapidly descends into full-blown pandemonium, slight stage and prop mishaps did little to dim the capable cast’s luminous conviction. The frantic futility of revenge is on full display in the finale, when instead of reaping retribution, Sweeney Todd’s universe ultimately crumbles, leaving death and destruction in its wake. To quote its closing song, “*to seek revenge may lead to hell, but everyone does it, though seldom as well.*” Tackling a Sondheim classic is never easy and takes sizeable courage, but Soundworks Productions executes the premise’s labyrinthine demands with invigorating precision. It’s gutsy, inventive, and steadfastly optimistic; a confident, modern revival that boldly breathes new life into a beloved classic. *Sweeney Todd* is an unmissable spectacle! ***Sweeney Todd:* *The Demon Barber of Fleet Street* is presented by Soundworks Productions and runs to 23 September at Chapel Off Chapel. 12 Little Chapel Street Prahran Vic 3181.** Tickets: <https://chapel.sales.ticketsearch.com/sales/salesevent/164575> Website: <https://www.sweeneytodd.com.au/> Socials: <https://www.instagram.com/soundworks.productionsau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Matthew Chen **Categories:** Melbourne, Musical Theatre --- ### [Review: Dracula Dances Into Melbourne In A Mesmerising Gothic Spectacle](https://thescoop.au/review-dracula-dances-into-melbourne-in-a-mesmerising-gothic-spectacle/) **Published:** September 11, 2026 **Author:** Jessica Flynn **Content:** ★★★★★ ![The Scoop Dracula BIG Live Ballet Melbourne](https://thescoop.au/wp-content/uploads/2026/09/9-1116x628.jpg "Dracula BIG Live Ballet Melbourne • The Scoop")I have never been more aware of how much a dancer can say without uttering a word. *Dracula* is hypnotic from beginning to end, drawing you into its gothic world through movement, music and some of the most striking production design I have seen on stage. As a modern ballet, it is completely captivating. Every scene feels panoramic, as though you could take a picture at any moment and every dancer would be perfectly in place. Choreographed by Joel Burke, this wordless adaptation of Bram Stoker’s 1897 novel stays true to the themes of love, obsession and the battle between good and evil. When Mina Harker and her husband Jonathan encounter Count Dracula, he and his Ghosts of past victims draw them into their world. As Jonathan fights to pull Mina back from Dracula’s obsessive grasp, Mina’s innocence slowly gives way to something far more dangerous. As Count Dracula, Ervin Zagidullin is fierce and authoritative. His leaps are physically astonishing and graceful that it is easy to forget he is the immortal Lord of the Vampires. The moment he steps onto the stage, he captivates with his demeanour and movement. Throughout the show, Zagidullin beautifully captures sympathy for the Count’s heartbreak despite his cruelties. ![The Scoop Dracula BIG Live Ballet Melbourne](https://thescoop.au/wp-content/uploads/2026/09/4-1116x628.png "Dracula BIG Live Ballet Melbourne • The Scoop")As a modern ballet Dracula is completely captivating Image suppliedAbbey Hansen is impressive as Mina, who slowly unravels the innocent view of the world she began with. Hansen creates an intimacy with her fellow dancers while remaining a transfixing presence on stage. Her technical skill is stunning and precise throughout the performance, even during the particularly demanding extended pas de deux between Mina and Dracula in Act II. Joel Burke brings a poignant quality to Jonathan Harker, shining during his solos. His physical and emotional strength comes together during Act II as he toys with guilt, grief and hunger. Holding simultaneous roles as Choreographer and Artistic Director, his passion for the project is clear. The Ghosts are another standout. Completely captivating, the quartet transforms the atmosphere into a haunted world, weaving in and out of each other with such fluidity that they appear to move together through water and silk. This precision extends to the ensemble, whose movements are in perfect sync – even down to the slightly-too-perfect smiles. The whole cast is exceptional and has obvious chemistry as each moves together seamlessly. The production design is just as impressive. The costumes by Sophia Drakos, Fiona Holley, Jennifer Burke and Alisha Biddles enhance rather than compete with the movement. Draped lines on the women’s skirts create a dreamy quality across the stage, while Dracula’s silhouette through puffed sleeves and large capes reinforces his commanding presence. ![The Scoop Dracula BIG Live Ballet at its Darkest](https://thescoop.au/wp-content/uploads/2026/08/7-1116x628.jpg "Dracula BIG Live Ballet at its Darkest • The Scoop")The lighting enhances each moment and shifts audiences deeper into this haunted world Image suppliedThe set, designed by Martin Thomas, is awe-inspiring in grandeur and detail, making the impossibly quick and quiet scene changes impressive. There’s nothing like a stained glass filled with skulls to signify ‘goth.’ But it is the lighting designed by Verity Hampson that left the biggest impression on me. I cannot think of another show I have seen that has used lighting this effectively. The design never distracts, instead carefully enhancing each moment and shifting audiences deeper into this haunted world. While I was occasionally distracted by familiar songs ringing throughout the score, the gothic atmosphere remained intact. Burke’s choreography is enchanting and sees him take the daunting task of transforming a gothic novel into a wordless art form in his stride. There is something rare about ballet in an age of instant gratification and short clips. Without dialogue, we are forced to slow down. To notice the visual cues and piece together the story through physical and musical language. It places an emphasis on every muscle, expression and breath. *Dracula* is easily the best live performance of 2026. BIG Live’s production is technically impressive and also succeeds in translating a 129-year-old story into a ballet feast exploring obsession, love, power and loss. There is a very good reason BIG Live is the world’s fastest-growing ballet company, and *Dracula* is a mesmerising showcase of why. ***Dracula: Ballet at its Darkest* is presented by BIG Live runs** **to 25 October in Melbourne at Her Majesty’s Theatre. It then runs in Sydney**, **see full dates below.** Tickets available at the links below. Website: <https://bigliveco.com/performances/dracula/> Socials: <https://www.instagram.com/bigliveco/> [Read more about BIG Live](https://thescoop.au/?s=big+live) Images supplied. 2026 Australian Tour Dates: Melbourne 10 September – 25 October, Her Majesty’s Theatre [Tickets](https://hmt.com.au/dracula-ballet-at-its-darkest/) Sydney 22 – 27 September, State Theatre [Tickets](https://www.statetheatre.com.au/show-calendar/dracula/) Sydney 7 – 29 November, Capitol Theatre [Tickets](https://www.capitoltheatre.com.au/dracula-ballet-at-its-darkest) **Categories:** Dance, Melbourne --- ### [Win Tickets To The Weight In Cinemas 17 September](https://thescoop.au/win-tickets-to-the-weight-in-cinemas-17-september/) **Published:** September 12, 2026 **Author:** Newsroom **Content:** ![The Scoop The Weight film Russell Crowe Ethan Hawke](https://thescoop.au/wp-content/uploads/2026/09/TheWeight_SocialBanner_16x9_V3_Sep17-1116x628.jpg "The Weight film Russell Crowe Ethan Hawke • The Scoop")After a premiere at this year’s Sundance Film Festival, **THE WEIGHT** starring Ethan Hawke and Russell Crowe, comes to cinemas this September. Directed by Padraic McKinley, historical drama THE WEIGHT had its international premiere at the 2026 Venice International Film Festival. Set in Oregon in 1933, when Samuel (Ethan Hawke) is torn from his daughter and sent to a brutal prison, Warden Clancy (Russell Crowe) offers him a high-stakes proposition: join a dangerous crew of prisoners on a perilous mission to smuggle gold out of a remote mine, and he’ll earn his freedom. With little choice but to accept, Samuel is thrust into the unforgiving wilderness alongside a group of hardened criminals, where the promise of riches quickly turns the men against one another. As the journey grows increasingly treacherous, tensions rise and loyalties fracture, revealing that the greatest danger may not be the hostile terrain, but the greed, suspicion and violence festering within the group. With every mile bringing him closer to freedom – and further into danger – Samuel must navigate a deadly web of betrayal and survival, risking everything in the hope of making it back to his daughter. The Scoop is **giving away five, in-season double passes** **to the film**, thanks to Rialto Distribution! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The tickets are valid at select cinemas screening THE WEIGHT. (Terms and conditions can be found on the tickets). **THE WEIGHT opens on Thursday 17 September in participating cinemas nationally.** Website: <https://rialtodistribution.com/film/the-weight/> Socials: <https://www.instagram.com/rialtodistributionau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Watch the trailer below: **Film details:** Title: The Weight Director: Padraic McKinley Cast: Ethan Hawke, Russell Crowe, Julia Jones Country of Origin: USA Duration: 115 mins Rating: MA 15+ **Categories:** competition, News --- ### [The Scoop 2026 Guide To Australian Musical Theatre](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) **Published:** January 10, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Waitress the Musical](https://thescoop.au/wp-content/uploads/2026/05/The-cast-of-WAITRESS-c-Jeff-Busby_1043-942x628.jpg "Waitress the Musical • The Scoop")The New Year has arrived, and it’s time to take down those Christmas decorations and start looking at the year ahead. The Scoop has put together a mammoth **2026 Musical Theatre Show Guide** to assist in planning (especially for those who are budgeting for interstate musical trips). Our focus in this list is mostly on main stage musicals, but there are plenty of indie, community and student productions scheduled for 2026 around Australia as well that are worth checking out. All our latest reviews are at our [Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/ "Musical Theatre Reviews") page. We’ll continue to update the list as the year rolls out. Click on the musical name below, which we have listed alphabetically, and it will take you to the information. Everything is correct at the time of publishing in January, and we will do our best to update it throughout the year. Without further ado, here is a list of main stage musicals scheduled for 2026, in alphabetical order by show name: [& Juliet](#Juliet "& Juliet") [A Beautiful Noise: The Neil Diamond Musical](#A-Beautiful-Noise) [American Psycho](#American) [](#A-Beautiful-Noise "A Beautiful Noise: The Music of Neil Diamond ")[Anastasia](#Anastasia "Anastasia") [Annie](#Annie "Annie") [Back to the Future](http://%2AFuture "Back to the Future") [Barbra: The Greatest Star](#Barbra) [Beetlejuice](#Beetlejuice "Beetlejuice") [Cats](#Cats "Cats") [Dirty Rotten Scoundrels](#dirty "Dirty Rotten Scoundrels") [Evil Dead The Musical](#Evil-Dead "Evil Dead The Musical") [Fiddler on the Roof](#Fiddler "Fiddler on the Roof") [Elf](#Elf) [Footloose](#Footloose "Footloose") [Gutenberg! The Musical!](#Gutenberg "Gutenberg! The Musical!") [Hair](#Hair) [Head Over Heels](#Head-Over-Heels "Head Over Heels") [Heathers](#Heathers "Heathers") [How To Succeed In Business Without Really Trying](#Business "How To Succeed In Business Without Really Trying ")[Into The Woods Adelaide](#Woods-Adelaide "Into The Woods Adelaide ")[Into The Woods Brisbane](#Woods-Brisbane "Into The Woods Brisbane ")[Little Shop of Horrors](#little-shop "Little Shop of Horrors") [Mamma Mia!](#Mamma) [Mamma Mia! Gold Coast](#Mia) [Menopause The Musical](#menopause) [MJ The Musical](#MJ "MJ The Musical") [Mrs. Doubtfire](#Mrs-Doubtfire "Mrs. Doubtfire") [My Brilliant Career](#My-Brilliant "My Brilliant Career ")[My Fair Lady](#My-Fair-Lady "My Fair Lady") [Ned Kelly](#Ned-Kelly) [Once](#Once "Once") [Pretty Woman](#Pretty-Woman "Pretty Woman") [Putting It Together](#Putting-it-together "Putting It Together ")[Saturday Night Fever](#Saturday "Saturday Night Fever") [Shrek The Musical](#Shrek "Shrek The Musical") [Silver Tongue](#Silver-Tongue "Silver Tongue") [SIX](#SIX "SIX") [Spamalot](#Spamalot) [Stella](#Stella "Stella") [The Addams Family](#Addams "The Addams Family") [The Book of Mormon](#Mormon "The Book of Mormon") [The Great British Bake Off](#Great-British-Bake-Off)[The Last Ship](#The-Last-Ship) [The Lion King](#The-Lion-King "The Lion King") [The Phantom of the Opera](#Phantom "The Phantom of the Opera ")[The Pirates of Penzance Melbourne](#Pirates "The Pirates of Penzance") [The Pirates of Penzance Sydney](#Pirates-Sydney)[The Prom](#Prom "The Prom") [The Sapphires](#Sapphires "The Sapphires") [Tootsie](#Tootsie) [Waitress](#Waitress "Waitress") [We Are The Tigers](#Tigers "We Are The Tigers") [Whispering Jack: The John Farnham Musical](#Whispering-Jack "Whispering Jack: The John Farnham Musical") ![The Scoop Kate Hudson-James & Juliet Empire Theatre Toowoomba](https://thescoop.au/wp-content/uploads/2026/01/Juliet-Cast-copy-1116x628.jpg "Kate Hudson-James & Juliet Empire Theatre Toowoomba • The Scoop")And Juliet Image supplied& Juliet Toowoomba 13 – 22 March Get tickets [here](https://tickets.empiretheatre.com.au/event/-juliet-gmt6nx). The worldwide smash-hit musical *& Juliet* is heading to Toowoomba’s esteemed Empire Theatre in March, featuring an all-singing, all-dancing, all-star cast of more than two dozen young performers. In the title role is [Kate Hudson-James](https://thescoop.au/kate-hudson-james-steps-into-the-spotlight-with-juliet/), making her professional debut. The global phenomenon turns Shakespeare’s classic tragedy on its head, posing the question: “What if Juliet’s story didn’t end with Romeo?” *& Juliet* takes the action from fair Verona and transplants it firmly into the colourful, nostalgic 1990s and 2000s, serving up feel-good escapism and pop-fuelled theatre. ![The Scoop Will Swenson A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2025/10/A-BEAUTIFUL-NOISE-BROADWAY-CAST-3-942x628.jpg "Will Swenson A Beautiful Noise The Neil Diamond Musical • The Scoop")A Beautiful Noise The Neil Diamond Musical Image suppliedA Beautiful Noise: The Neil Diamond Musical Melbourne 5 August – 11 October Sydney from 14 November Brisbane from 20 March 2027 Get tickets [here](https://theneildiamondmusical.com.au/). The Australian premiere of *[A Beautiful Noise:](https://thescoop.au/announcing-will-swenson-for-a-beautiful-noise-the-neil-diamond-musical/)The Neil Diamond Musical* is coming to Melbourne’s Princess Theatre from 5 August and Sydney from 14 November. Presented by Paul Dainty, Ken Davenport and Bob Gaudio, in association with Neil Diamond himself, *A Beautiful Noise* is the uplifting true story of how a kid from Brooklyn became a chart busting, show-stopping American rock icon. Acclaimed Broadway star Will Swenson, who originated the role of Neil Diamond on Broadway, will lead the [cast](https://thescoop.au/announcing-stellar-cast-for-neil-diamond-musical/). ![The Scoop American Psycho A Musical Thriller See You Sunday Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2025/09/SYSAmericanPsychoProductionShots-01005-942x628.jpg "American Psycho A Musical Thriller See You Sunday Chapel Off Chapel Melbourne • The Scoop")American Psycho The Musical Photo by Matthew ChenAmerican Psycho Melbourne from 29 October Brisbane from 5 February 2027 Book tickets [here](https://www.americanpsycho.com.au/). Set in the money-obsessed Manhattan of the late 1980s, *[American Psycho – The Musical](https://thescoop.au/announcing-american-psycho-musical-for-melbourne-brisbane/)* is a blood-soaked thrill ride through greed, privilege and moral decay, soundtracked by a slick score and iconic hits from Phil Collins, Tears for Fears, New Order and Huey Lewis and the News. Presented by See You Sunday, the musical returns to Chapel Off Chapel in Melbourne in October. It’s then set for the Brisbane Powerhouse in 2027, and sees Conor Beaumont reprising his role as Patrick Bateman. ![The Scoop Anastasia Musical Australian Premiere Melbourne](https://thescoop.au/wp-content/uploads/2025/12/1425-Rodney-Dobson-Georgina-Hopson-and-Robert-Tripolino-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "Anastasia Musical Australian Premiere Melbourne • The Scoop")Anastasia the Musical Photo by Jeff BusbyAnastasia On in Melbourne to 20 February Perth 3 – 28 March Sydney 7 April – 18 July Adelaide 2 – 30 August Brisbane 16 September – 18 October Get tickets [here](https://anastasiathemusical.com.au/). The hit Broadway musical, *[Anastasia](https://thescoop.au/announcing-cast-for-anastasia-the-musical/)*, made its Australian premiere in [Melbourne](https://thescoop.au/review-anastasia-the-musical-delivers-a-powerful-hope-filled-escape/) in December at the Regent Theatre starring Georgina Hopson. Presented by Opera Australia and John Frost for Crossroads Live, the romantic and adventure-filled hit, inspired by the beloved film, will tour the country in 2026. It heads to [Crown Perth](https://thescoop.au/review-anastasia-casts-its-spell-over-perth/) from 3 March, [Sydney Lyric](https://thescoop.au/review-anastasia-lands-in-sydney-with-glittering-gowns-the-ghosts-of-history/) from 7 April, Festival Theatre Adelaide from August and the Lyric Theatre QPAC from September. ![The Scoop Annie Musical Sydney Australia 2025](https://thescoop.au/wp-content/uploads/2025/04/Stephanie-McNamara-and-child-cast-in-ANNIE-c-Daniel-Boud-941x628.jpg "Annie Musical Sydney Australia 2025 • The Scoop")Annie the Musical Photo by Daniel BoudAnnie On in Brisbane until 31 January Get tickets [here](https://anniemusical.com.au/). After a premiere in [Sydney](https://thescoop.au/review-annie-proves-golden-age-of-musicals-is-here/) followed by a [Melbourne](https://thescoop.au/review-the-sun-comes-out-for-annie-in-melbourne/) season, John Frost for Crossroads Live presents *[Annie the Musical](https://thescoop.au/review-annie-musical-charms-brisbane-big-time/)*, now playing in Brisbane. Featuring [Greg the original Yellow Wiggle](https://thescoop.au/announcing-original-wiggle-greg-page-in-annie-the-musical/) in his musical theatre debut alongside musical theatre greats Anthony Warlow and Debora Krizak, it closes at the end of January. ![The Scoop BACK TO THE FUTURE The Musical Sydney](https://thescoop.au/wp-content/uploads/2025/10/BTF_ProductionPhoto_credit_Daniel-Boud_198-964x628.jpg "BACK TO THE FUTURE The Musical Sydney • The Scoop")Back to the Future the Musical Photo by Daniel BoudBack to the Future On in Sydney until 25 January Get tickets [here](https://backtothefuturemusical.com.au/). *[Back to The Future: The Musical](https://thescoop.au/review-back-to-the-future-brings-gigawatt-energy-to-australia/)* made its Australian premiere in October at the Sydney Lyric Theatre, presented by John Frost for Crossroads Live. It stars Tony Award-winner Roger Bart, who originated the role of Doc Brown on the West End and Broadway, and rising star [Axel Duffy](https://thescoop.au/how-back-to-the-future-turned-axel-duffy-into-a-leading-man-a-true-crowd-favourite/) as Marty McFly. The musical won’t be extending its tour to any further cities as originally hoped, so don’t miss the chance to catch this time travelling musical before its gone. ![The Scoop Barbra: The Greatest Star Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2025/11/01-Barbra-The-Greatest-Star-879x628.jpeg "Barbra: The Greatest Star Hayes Theatre Co • The Scoop")Barbra The Greatest Star Image supplied by Hayes Theatre CoBarbra: The Greatest Star Sydney 21 January – 14 February Get tickets [here](https://hayestheatre.com.au/event/barbra/). Kicking off the much-anticipated 2026 season at Hayes Theatre Co in Sydney is the dazzling concert event, *[Barbra: The Greatest Star](https://thescoop.au/review-barbra-proves-she-is-still-the-greatest-star/)*, a heartfelt tribute to the incomparable Barbra Streisand. Director and performer Brittanie Shipway will both helm and star in the show, alongside Stellar Perry, Laura Murphy and Tana Laga’aia. ![The Scoop Beetlejuice The Musical Brisbane 2026 QPAC Andy Karl](https://thescoop.au/wp-content/uploads/2025/11/3-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-942x628.jpg "Beetlejuice The Musical Brisbane 2026 QPAC Andy Karl • The Scoop")Beetlejuice the Musical Photo by Eugene HylandBeetlejuice Brisbane from 6 June Get tickets [here](https://beetlejuicethemusical.com.au/). Based on Tim Burton’s dearly beloved film, *[Beetlejuice The Musical](https://thescoop.au/announcing-beetlejuice-for-brisbane-in-2026/)* tells the story of Lydia Deetz, a strange and unusual teenager whose whole life changes when she meets a recently deceased couple and a demon with a thing for stripes. Presented by Michael Cassel Group, the show made its Australian premiere in [Melbourne](https://thescoop.au/review-beetlejuice-brings-the-chaos-in-a-spirited-spectacle/) in 2025 starring Eddie Perfect and [Karis Oka](https://thescoop.au/strange-and-unusual-karis-oka-reflects-on-playing-lydia-in-beetlejuice/). After opening at the Lyric Theatre QPAC in Brisbane with Andy Karl in the title role, and confirming seasons in Perth, Adelaide, and Sydney, the tour is set to close early on 5 July. ![The Scoop CATS the Musical Sydney](https://thescoop.au/wp-content/uploads/2025/06/Gabriyel-Thomas-and-the-cast-of-CATS-c-Daniel-Boud_057-942x628.jpg "CATS the Musical Australian Tour 2025 • The Scoop")Cats the Musical Photo by Daniel BoudCats On in Melbourne until 31 January Brisbane 6 – 22 February Get tickets [here](https://catsthemusical.com.au/). Experience the 40th Australian Anniversary of Andrew Lloyd Webber’s record-breaking musical *[Cats](https://thescoop.au/memory-and-meaning-gabriyel-thomas-steps-into-the-spotlight-in-cats/)*, touring Melbourne and Brisbane in 2026. Presented by John Frost for Crossroads Live, the show made a [Sydney](https://thescoop.au/review-cats-the-musical-is-back-on-stage-and-better-than-ever/) premiere last year, with stops in [Adelaide](https://thescoop.au/review-cats-pounces-back-into-adelaide-with-jellicle-joy/) and [Perth](https://thescoop.au/review-cats-pounces-on-perth-with-pure-purr-fection/). The show is on now at Hamer Hall [Melbourne](https://thescoop.au/cats-musical-welcomes-in-the-new-year-in-melbourne/), and the tour ends with a two week season at the Lyric Theatre QPAC. ![The Scoop Dirty Rotten Scoundrels Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/04-Dirty-Rotten-Scoundrels-copy-880x628.jpeg "Dirty Rotten Scoundrels Hayes Theatre Co Sydney • The Scoop")Dirty Rotten Scoundrels Image supplied by Hayes Theatre CoDirty Rotten Scoundrels Sydney 21 May – 22 June Get tickets [here](https://hayestheatre.com.au/event/dirty-rotten-scoundrels/). Presented by Redfern Lae Productions in association with Hayes Theatre Co Sydney, [*Dirty Rotten Scoundrels*](https://thescoop.au/announcing-bold-and-brilliant-2026-season-for-hayes-theatre-co/) is based on the hit 1988 film starring Michael Caine and Steve Martin. This Tony-nominated musical comedy follows two cunning conmen as they go head-to-head on the French Riviera in a winner-takes-all game of deception. Full cast have now been [announced](https://thescoop.au/suspiciously-talented-cast-announced-for-dirty-rotten-scoundrels/). ![The Scoop Elf The Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/07/Elf-The-Musical_Sydney-Opera-House_credit_Daniel-Boud_025-1005x628.jpg "Elf The Musical Melbourne • The Scoop")Elf the Musical Photo by Daniel BoudElf The Musical Melbourne 27 November – 27 December Get tickets [here](https://www.ticketmaster.com.au/crown-live-melbourne-tickets-southbank/venue/304373). Following its smash-hit Australian premiere season at the Sydney Opera House in 2024, [*Elf The Musical* ](https://thescoop.au/announcing-elf-the-musical-to-premiere-melbourne/)will premiere in Melbourne in the new theatre, CROWN LIVE. Produced by John Frost and Crown Resorts, the heart-warming musical brings holiday magic and Christmas cheer to audiences over the festive season, with Gareth Isaac reprising his role as Buddy. Full cast announcement is [here](https://thescoop.au/announcing-full-cast-for-elf-the-musical/). ![The Scoop Evil Dead The Musical Sydney Melbourne 2026](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-07-at-21321-pm-985x628.png "Evil Dead The Musical Sydney Melbourne 2026 • The Scoop")Evil Dead The Musical Image suppliedEvil Dead The Musical Sydney 20 February – 21 March Melbourne from 26 March – 12 April Get tickets [here](https://www.evildeadmusical.com.au/). Stoddart Entertainment Group presents *Evil Dead The Musical:* a hilariously gory, blood-soaked rock musical based on the iconic 80s *Evil Dead* cult film franchise. It runs at the Seymour Centre Sydney from 20 February and Chapel Off Chapel in Melbourne from 26 March. Leading the charge as Ash is Harley Dasey, while Grace Alston steps into the dual roles of Annie and Shelley**.** Emma Wilby joins them as Cheryl, while Jake Ameduri plays Scott. Playing Linda (Ash’s loyal girlfriend) is Elaina Bianchi, while Oliver Clisdell will play Ed, and Harrison Riley will play Jake. ![The Scoop Fiddler on the Roof Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Photography-by_-Marc-Brenner-5-942x628.jpg "Fiddler on the Roof Australia 2026 • The Scoop")Fiddler on the Roof UK Production Photo by Marc BrennerFiddler on the Roof Sydney from 31 July – 6 September Brisbane from 9 October Melbourne from 31 October Perth from January 2027 Get tickets [here](https://fiddlerontherooftour.com/). The critically acclaimed *Fiddler on the Roof* will have its inaugural premiere season at Theatre Royal Sydney from July, before touring to Brisbane at the Glasshouse Theatre QPAC from 9 October and Melbourne’s Her Majesty’s Theatre from 31 October. Date and venue for Perth is still to be announced. Starring Troy Sussman, Alexis Fishman, Sigrid Thornton in her first musical theatre role in a decade, and [John Waters](https://thescoop.au/announcing-john-waters-for-fiddler-on-the-roof/) alongside a [cast](https://thescoop.au/announcing-fiddler-on-the-roof-australian-cast-sigrid-thornton-returns/) of rising talent and seasonal professionals. Set in 1905 in the tiny village of Anatevka, Tevye the milkman clings to proud traditions as a matchmaker seeks husbands for his five daughters. As each daughter challenges his beliefs in a changing world, Tevye must decide whether to hold fast to his roots or learn to embrace the unfamiliar. ![The Scoop Footloose The Musical 2026 Adelaide](https://thescoop.au/wp-content/uploads/2026/01/Footloose-942x628.jpg "Footloose The Musical 2026 Adelaide • The Scoop")Footloose The Musical Image suppliedFootloose Adelaide 11 – 19 April Brisbane 24 April – 2 May Other city dates to be announced. Get tickets [here](https://footloosethemusical.com/). After a successful Melbourne season in 2025, *Footloose: The Musical* is going on tour! The musical arrives at Her Majesty’s Theatre Adelaide from April, then the Royal ICC in Brisbane, with Perth, Sydney and a return Melbourne season to be announced. Keep an eye on the [website](https://footloosethemusical.com/) for details. This brand-new remastered production will have you dancing in the aisles to the iconic hits you know and love. Join Ren, the city kid turned rebel with a cause, as he shakes up a small town where music and dancing are outlawed. ![The Scoop Gutenberg! The Musical! Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/03-Gutenberg-The-Musical-879x628.jpeg "Gutenberg! The Musical! Hayes Theatre Co Sydney • The Scoop")Gutenberg The Musical Image supplied by Hayes Theatre CoGutenberg! The Musical! Sydney 10 April – 10 May Get tickets [here](https://hayestheatre.com.au/event/gutenberg/). The Broadway smash hit *[Gutenberg! The Musical!](https://thescoop.au/announcing-bold-and-brilliant-2026-season-for-hayes-theatre-co/)*, coming to Hayes Theatre Co Sydney, is a love letter to the underdog, and to music theatre itself. Richard Carroll directs the first production of *Gutenberg!* in Australia since it broke Broadway records in 2023-24 – bringing together Sydney Theatre Award winners Stephen Anderson and Ryan Gonzalez in an irresistibly irreverent celebration of creativity, resilience, and the sheer joy of putting on a show – even when no one asked you to. ![The Scoop Hair the Musical Melbourne](https://thescoop.au/wp-content/uploads/2025/10/4-2025-cast-for-the-Australalian-production-of-HAIR-Photo-credit-Ben-Fon--941x628.jpg "Hair the Musical Melbourne • The Scoop")Hair the Musical Photo by Ben FonHair Sydney from 6 June Get tickets [here](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/110/?tix-tr=HAIRWEB). Following its acclaimed [Melbourne season](https://thescoop.au/review-hair-lets-the-sun-shine-in-melbourne-once-more/), Australian Shakespeare Company’s new production of [HAIR](https://thescoop.au/announcing-hair-musical-for-sydney-in-june/) will open at Theatre Royal Sydney from 6 June for a strictly limited season. The Grammy and Tony Award-winning American tribal love-rock musical, which first played in Sydney in 1969, returns to the city with its story of peace, freedom and rebellion for a new generation of audiences. ![The Scoop Head Over Heels Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/02-Head-Over-Heels-879x628.jpeg "Head Over Heels Hayes Theatre Co Sydney • The Scoop")Head Over Heels Image supplied by Hayes Theatre CoHead Over Heels Sydney 20 February – 22 March Get tickets [here](https://hayestheatre.com.au/event/head-over-heels/). Presented by Well Done Creative in association with Hayes Theatre Co Sydney, *[Head Over Heels](https://thescoop.au/announcing-bold-and-brilliant-2026-season-for-hayes-theatre-co/)* is a joyfully queer, high-camp musical comedy that combines Shakespearean style romance with the iconic 80s pop anthems of The Go-Go’s. Set in a mythical kingdom obsessed with tradition, this riotous romp follows a royal family on a journey to save their world only to discover the true power of embracing change, authenticity, and love in all its glorious forms. Starring Jenni Little, Shannen Alyce Quan, Gaz Dutlow, Ellie Chan, Nancy Denis, Adam Noviello, Ellen Ebbs, Minerva Khodabande, J Ridler and Thomas Campbell. ![The Scoop Heathers The Musical Australia New Zealand Tour 2026](https://thescoop.au/wp-content/uploads/2026/04/Heathers-The-Musical-L-R-Calista-Nelmes-Nic-Van-Lits-Amelia-Rojas-David-Cuny-Emma-Caporaso-1-copy-942x628.jpg "Heathers The Musical Australia New Zealand Tour 2026 • The Scoop")Heathers the Musical Photo by Cameron GrantHeathers Melbourne from 8 April Adelaide 16 – 26 July Gold Coast 30 July – 9 August Canberra 14 – 23 August Sydney 26 – 29 August, Coliseum Theatre Sydney 1 – 19 September, Roslyn Packer Theatre Perth 30 September – 11 October Get tickets [here](https://heathersthemusical.com/australia/). Bill Kenwright Ltd, Paul Taylor-Mills, GMG Productions and Stoddart Entertainment presents *[Heathers The Musical](https://thescoop.au/announcing-heathers-the-musical-for-australia-2026/)*, the high-octane, black comedy rock musical based on the cult 1989 film starring Winona Ryder and Christian Slater. The musical will play from April 2026 as part of a major Australia–New Zealand tour. The production features a stellar Australasian cast including some exciting up-and-coming talent, with the Class of 2026 announced [here](https://thescoop.au/announcing-heathers-the-musical-cast-for-australian-tour/)! *Heathers The Musical* runs in Melbourne from 8 April at the Playhouse, Arts Centre Melbourne, Adelaide 16 – 26 July at Her Majesty’s Theatre, Gold Coast 30 July – 9 August at HOTA, Home of the Arts, Canberra 14 – 23 August at Canberra Theatre Centre, Sydney 26 – 29 August at the Coliseum Theatre and 1 – 19 September at Roslyn Packer Theatre, and finally, Perth 30 September – 11 October at the Regal Theatre. ![The Scoop How to Succeed In Business Without Really Trying Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/01/How-to-Succeed-e1767926565486-1000x628.png "How to Succeed In Business Without Really Trying Hayes Theatre Co • The Scoop")How to Succeed In Business Without Really Trying Image supplied by Hayes Theatre CoHow To Succeed In Business Without Really Trying Sydney 28 August – 27 September Get tickets [here](https://hayestheatre.com.au/event/how-to-succeed-in-business-without-really-trying/). LPD Productions in association with Hayes Theatre Co Sydney presents *[How To Succeed In Business Without Really Trying](https://thescoop.au/announcing-bold-and-brilliant-2026-season-for-hayes-theatre-co/)*, a rollicking comic gem of satire and song and a joyful, knowing wink to the ambitious window washer lurking inside us all. Directed and choreographed by Cameron Mitchell, Jake Speer leads the cast, with the full announcement [here](https://thescoop.au/announcing-how-to-succeed-musical-cast-for-hayes-theatre-co/). ![The Scoop Into the Woods State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-09-at-10039-pm-1.png "Into the Woods State Opera South Australia • The Scoop")Into The Woods Image supplied by State Opera South AustraliaInto The Woods Adelaide 22 – 29 August Get tickets [here](https://stateopera.com.au/productions/into-the-woods-2026/). State Opera South Australia’s Golden Jubilee season includes *Into The Woods*, everyone’s favourite Sondheim fairytale musical, this August at Her Majesty’s Theatre. Starring former State Opera Children’s Chorus member, Hugh Sheridan, as The Baker and Johanna Allen as his wife alongside a great, all South Australian cast. ![The Scoop Into The Woods Queensland Theatre](https://thescoop.au/wp-content/uploads/2026/01/IntoTheWoods_HeroImage-scaled-e1767928584658-962x628.jpg "Into The Woods Queensland Theatre • The Scoop")Into The Woods Image supplied by Queensland Theatre CompanyInto The Woods Brisbane 11 – 21 November Toowoomba 3 – 4 December Get tickets [here](https://www.qpac.com.au/whats-on/2026/opera-queensland-into-the-woods). Queensland Theatre Company’s Season 2026 ends in a fitting crescendo, bringing together three of the state’s cultural powerhouses. Queensland Theatre Company, Opera Queensland and Queensland Symphony Orchestra will bring a new production of *[Into The Woods](https://thescoop.au/queensland-theatre-company-launches-season-2026-all-feeling-no-filter/)* to QPAC’s sparkling Glasshouse Theatre, sharing the stage for the first time. Nina Korbe and Amy Lehpamer join a stellar [cast](https://thescoop.au/announcing-into-the-woods-cast-creative-team/) of celebrated musical theatre and opera performers. ![The Scoop Little Shop Of Horrors Musical QPAC Brisbane](https://thescoop.au/wp-content/uploads/2026/01/LittleShop-4676-942x628.jpg "Little Shop Of Horrors Musical QPAC Brisbane • The Scoop")Little Shop of Horrors Photo by Joel DevereuxLittle Shop of Horrors On in Brisbane until 15 February Look for tickets [here](https://www.qpac.com.au/whats-on/2026/little-shop-of-horrors), although the season has sold out. Queensland Performing Arts Centre in association with Woodward Productions brings *[Little Shop of Horrors](https://thescoop.au/announcing-first-cast-for-little-shop-of-horrors-brisbane/)* to [Brisbane](https://thescoop.au/review-little-shop-of-horrors-revival-blooms-in-brisbane/) and it’s open now! The musical runs to 15 February at the Cremorne Theatre, QPAC and will be a one city exclusive season. Maxwell Simon stars as Seymour, Kirby Burgess stars as Audrey, while Matthew McKenzie and Charles Ball bring the infamous Audrey II to life through voice work and puppetry. ![The Scoop MAMMA MIA! The Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2025/12/02A5151-982x628.jpg "MAMMA MIA! The Musical AG Theatre Melbourne • The Scoop")Mamma Mia The Musical Photo by Natalie EdgeMamma Mia! The Musical Melbourne 7 February – 8 March Get tickets [here](https://booktickets.com.au/mammamia/). AG Theatre brings *[Mamma Mia! The Musical](https://thescoop.au/cast-announced-for-mamma-mia-the-musical-melbourne/)* to Melbourne this Summer for a special, five week engagement at the National Theatre. Featuring twenty-two of ABBA’s greatest hits, including *Dancing Queen, Voulez Vous, S.O.*S and *Take a Chance On Me*, the iconic songs are guaranteed to have audiences dancing in the aisles! Full cast has been announced [here](https://thescoop.au/cast-announced-for-mamma-mia-the-musical-melbourne/). ![The Scoop Mamma Mia! Gold Coast](https://thescoop.au/wp-content/uploads/2026/06/Jo-Anne-Jackson-Juliette-Coates-Timothy-Aaron-Cooper-and-Chloe-Rose-Taylor-942x628.jpg "Mamma Mia! Gold Coast • The Scoop")Mamma Mia the Musical Photo by AC PhotographyMamma Mia! The Musical Gold Coast 4 – 20 September Get tickets [here](https://mammamiagoldcoast.com.au/#tickets). The Very Popular Theatre Company brings [*Mamma Mia!* ](https://thescoop.au/announcing-cast-for-mamma-mia-at-the-star-gold-coast/)to The Star on the Gold Coast. Leading the cast is Erin Cornell as Donna Sheridan, with Emily Monsma as Sophie Sheridan. *Mamma Mia!* has captivated over 70 million people across the globe since its 1999 debut in London’s West End and remains a favourite, feel good musical. ![The Scoop Menopause the Musical 2026](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-03-at-42715-pm-1200x619.png "Menopause the Musical 2026 • The Scoop")Menopause the MusicalMenopause The Musical Geelong 21 – 23 August Parramatta 27 – 30 August Melbourne 2 – 6 September Newcastle 11 – 13 September Adelaide 16 – 27 September Brisbane 30 September – 11 October Canberra 15 – 18 October Get tickets [here](https://menopausethemusical.com.au/). Since its 2001 premiere, *[Menopause The Musical®](https://thescoop.au/announcing-menopause-the-musical-2026-cast/)* has played to over 17 million women (and brave men) in more than 500 cities and nine languages. In Las Vegas, it’s the longest-running musical in the city’s history, thanks to a record-breaking 17-year run — and counting. The 2026 Australian tour kicks off in Geelong in August, starring Catherine Alcorn, Sally Bourne, Lena Cruz and Chelsea Gibb, with Hester van der Vyver as understudy. ![The Scoop MJ The Musical Melbourne Ilario Grant](https://thescoop.au/wp-content/uploads/2025/09/MJ-The-Musical-Illario-Grant_credit_Daniel-Boud_800_HEBE-copy-941x628.jpg "MJ The Musical Melbourne Ilario Grant • The Scoop")MJ The Musical Photo by Daniel BoudMJ The Musical On in Melbourne until 13 March Brisbane from 27 March Perth from 7 June Get tickets [here](https://mjthemusical.com.au/). After an Australian premiere in [Sydney](https://thescoop.au/review-mj-the-musical-a-spectacular-homage-to-one-of-the-greatest-artists-of-all-time/) in 2025, Michael Cassel Group presents *[MJ The Musical](https://thescoop.au/announcing-mj-the-musical-for-brisbane-in-march-2026/)*, now playing in [Melbourne](https://thescoop.au/review-mj-the-musical-brings-pure-pop-adrenaline-to-melbourne/) with Ilario Grant starring as the King of Pop. It will tour to Brisbane from 27 March at the Lyric Theatre, QPAC and complete its Australian tour in Perth from 7 June at Crown Theatre. ![The Scoop Mrs Doubtfire Musical](https://thescoop.au/wp-content/uploads/2026/02/Gabriel-Vick-in-West-End-production-of-MRS-DOUBTFIRE-copy-837x628.jpg "Mrs. Doubtfire Musical Melbourne Australia • The Scoop")Mrs. Doubtfire Melbourne from 25 November Sydney from March 2027 Get tickets [here](https://mrsdoubtfiremusical.com.au/tickets/melbourne/). *[Mrs. Doubtfire](https://thescoop.au/announcing-mrs-doubtfire-musical-for-australia/)*, the feel good comedy musical based on the beloved film, will make its Australian premiere at the Princess Theatre Melbourne from November 2026, starring [Jake Speer](https://thescoop.au/announcing-jake-speer-as-mrs-doubtfire-in-australian-premiere-musical/). The musical will then run at the Capitol Theatre in Sydney from March 2027, presented by Jones Theatrical Group. Full cast has now been [announced](https://thescoop.au/announcing-mrs-doubtfire-musical-australian-cast/). ![The Scoop Melbourne Theatre Company Season 2026](https://thescoop.au/wp-content/uploads/2025/10/Drew-Livingston-Cameron-Bajraktarevic-Hayward-Christina-ONeill-Kala-Gare-Lincoln-Elliott-Victoria-Falconer-and-Raj-Labade-in-My-Brilliant-Career-Photo-by-PiaJohnson-1044x628.jpg "Melbourne Theatre Company Season 2026 • The Scoop")My Brilliant Career Photo by Pia JohnsonMy Brilliant Career Melbourne 23 January – 28 February Canberra 7 – 15 March Sydney 21 March – 3 May Wollongong 8 – 17 May Get tickets [here](https://tickets.mtc.com.au/production/19714). Melbourne Theatre Company kicks off its 2026 Season with *[My Brilliant Career](https://thescoop.au/review-my-brilliant-career-shines-in-a-glorious-encore-season/)* starring [Kala Gare](https://thescoop.au/kala-gare-relights-the-fire-in-my-brilliant-career/). The back by popular demand musical, based on the novel by Miles Franklin, runs in Melbourne from 23 January – 28 February at Southbank Theatre, The Sumner. After winning five Green Room Awards in 2024 including Outstanding Production, *My Brilliant Career* will tour to the Canberra Theatre Centre from 7 March, Roslyn Packer Theatre Sydney from 21 March, and the Illawarra Performing Arts Centre Wollongong from 8 May. ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2025/08/MFL_PhotobyJeff-Busby_3757_L-1170x628.jpg "My Fair Lady Opera Australia • The Scoop")My Fair Lady Photo by Jeff BusbyMy Fair Lady Sydney 12 September – 30 October Melbourne from 14 November Get tickets [here](https://myfairladythemusical.com.au/). Celebrating 70 dazzling years since its debut, Lerner and Loewe’s iconic *[My Fair Lady](https://thescoop.au/announcing-return-of-my-fair-lady-to-sydney/)* returns to the Sydney Opera House from September, presented by John Frost For Crossroads Live and Opera Australia. It will be guided by musical theatre and Hollywood royalty Julie Andrews and co-directed by Karen Johnson Mortimer. [Claire Lyon](https://thescoop.au/announcing-claire-lyon-to-play-eliza-doolittle-in-my-fair-lady/) stars as Eliza Doolittle. In keeping with the anniversary milestones, Opera Australia will also mark its platinum 70th anniversary in 2026, making it an extra special double celebration. The show will also tour to Melbourne from November, making it the first major musical to perform at Arts Centre Melbourne’s refurbished Ian Potter State Theatre. ![The Scoop Reg Livermores Ned Kelly The Musical](https://thescoop.au/wp-content/uploads/2026/04/VO2026-Reg-Livermores-Ned-Kelly-The-Musical-©-Jeff-Busby-3-942x628.jpg "Reg Livermores Ned Kelly The Musical • The Scoop")Reg Livermores Ned Kelly the Musical Photo by Jeff BusbyNed Kelly Ballarat 28 March Melbourne 24 – 25 July Get tickets [here](https://www.victorianopera.com.au/production/reg-livermores-ned-kelly-the-musical/). Victorian Opera will revive an iconic work of Australian theatre with Reg Livermore’s *[Ned Kelly: The Musical](https://thescoop.au/announcing-cast-for-ned-kelly-the-musical/)*. The exclusive season runs for two performances only at Her Majesty’s Theatre in Ballarat. Following original seasons in Adelaide and Sydney in the late 1970s, this landmark musical returns to the stage for the first time in 48 years. It features a stellar cast of Australian musical-theatre greats including Ethan Jones in the title role. It heads to [Melbourne](https://thescoop.au/announcing-reg-livermores-new-ned-kelly-musical-for-melbourne/) in July. ![The Scoop Once the Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/03/Once-1197x628.png "Once the Musical AG Theatre Melbourne • The Scoop")Once Melbourne 8 – 23 May Get tickets [here](https://booktickets.com.au/once/). Melbourne’s independent theatre company AG Theatre will present *[Once](https://thescoop.au/ag-theatre-announces-once-to-hit-melbourne-in-may/)* for a limited season at Melbourne’s Chapel off Chapel in May. *Once* follows a Dublin-born busker and vacuum-fixer as he meets a young Czech mother with a faulty vacuum cleaner who reinvigorates his passion for music. It combines the infectious rhythm of Irish céili, an incredibly talented cast of actor-musicians, an Academy Award-winning soundtrack and a heart-warming story. Cast is yet to be announced. ![The Scoop Pretty Woman The Musical](https://thescoop.au/wp-content/uploads/2025/10/8-Pretty-Woman-The-Musical-Australia-Photography-by-Daniel-Boud-copy-942x628.jpg "Pretty Woman The Musical • The Scoop")Pretty Woman The Musical Photo by Daniel BoudPretty Woman On in Sydney until 5 April Perth from 18 April – 24 May Adelaide 31 May – 28 June Melbourne 14 July – 13 September Get tickets [here](https://prettywomanthemusical.com.au/). Head to Hollywood with the dazzling stage adaptation of one of the most beloved romantic comedies of all time – *[Pretty Woman: The Musical](https://thescoop.au/pretty-woman-announced-for-perth-adelaide-melbourne-in-2026/)*. Presented by Jones Theatrical Group, *Pretty Woman* premiered in [Brisbane](https://thescoop.au/review-pretty-woman-arrives-in-a-feel-good-stage-makeover/) in October before heading to Sydney, where it is currently playing at the Theatre Royal. Starring [Samantha Jade and Ben Hall](https://thescoop.au/falling-in-love-samantha-jade-ben-hall-on-the-magic-of-pretty-woman/) as Vivian and Edward, the musical will tour in 2026 to Crown Theatre Perth, Her Majesty’s Theatre Adelaide and the Regent Theatre Melbourne. ![The Scoop Putting It Together Musical Sydney](https://thescoop.au/wp-content/uploads/2026/01/Cast-of-PUTTING-IT-TOGETHER-c-Daniel-Boud_095-942x628.jpg "Putting It Together Musical Sydney • The Scoop")Putting It Together Photo by Daniel BoudPutting It Together On in Sydney until 15 February Get tickets [here](https://www.foundrytheatre.com.au/putting-it-together#times). A dazzling celebration of Stephen Sondheim’s greatest work, Impresario Productions presents *[Putting It Together](https://thescoop.au/announcing-sondheims-putting-it-together-for-sydney-this-january/)*, coming to the Foundry Theatre in [Sydney](https://thescoop.au/review-putting-it-together-is-a-glamorous-toast-to-sondheim/). Featuring a seamless revue of Sondheim’s most iconic songs, all wrapped within a clever and intimate story set at an all-night, black tie party. This once-in-a-lifetime event brings together some of Australia’s finest performers: Caroline O’Connor, Michael Cormick, Nigel Huckle, Bert LaBonté and [Stefanie Caccamo](https://thescoop.au/stefanie-caccamo-unpacks-the-intimacy-of-sondheims-putting-it-together/), alongside Australia’s finest creative team. ![The Scoop Saturday Night Fever Drew Anthony Creative Melbourne](https://thescoop.au/wp-content/uploads/2025/10/SNF-Tony-and-Night-Fever-942x628.jpg "Saturday Night Fever Drew Anthony Creative Melbourne • The Scoop")Saturday Night Fever Photo by Photo by Natalie EdgeSaturday Night Fever On in Melbourne until 25 January Get tickets [here](https://www.ticketmaster.com.au/saturday-night-fever-tickets/artist/844061). Drew Anthony Creative brings the smash hit musical *[Saturday Night Fever](https://thescoop.au/review-saturday-night-fever-brings-disco-energy-to-melbourne/ "Saturday Night Fever")* to Melbourne, direct from a highly successful Perth season. The show runs at the historic Athenaeum Theatre this January and stars Ethan Churchill as Tony Manero, Regan Barber as Stefanie, George Kapiniaris as Frank Manero alongside a talented cast of performers. ![The Scoop Shrek The Musical Showcase Entertainment Group](https://thescoop.au/wp-content/uploads/2025/12/Shrek-The-Musical-Showcase-Entertainment-Group-1116x628.jpg "Shrek The Musical Showcase Entertainment Group • The Scoop")Shrek The Musical Image suppliedShrek On in Melbourne until 10 January Frankston 12 – 14 January Bendigo 16 – 17 January Sydney 21 – 24 January Get tickets [here](https://shrekmusical.com.au/). Bringing the beloved DreamWorks classic from screen to stage, *[Shrek The Musical](https://thescoop.au/review-shrek-the-musical-is-the-perfect-holiday-treat/)* transforms the world of Far Far Away into a vibrant theatrical adventure presented by Showcase Entertainment Group. The production boasts million-dollar sets, intricately crafted costumes, and immersive lighting design, bringing cinematic scale to the live stage. ![The Scoop Silver Tongue Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/08-Silver-Tongue-879x628.jpeg "Silver Tongue Hayes Theatre Co Sydney • The Scoop")Silver Tongue Image supplied by Hayes Theatre CoSilver Tongue Sydney 13 November – 12 December Get tickets [here](https://hayestheatre.com.au/event/silver-tongue/). Created by breakout Australian talents Miranda Middleton, Jacob Parker and Alec Steedman, and developed by Hayes Theatre Co Sydney over several years, *[Silver Tongue](https://thescoop.au/announcing-bold-and-brilliant-2026-season-for-hayes-theatre-co/)* is a world premiere you won’t want to miss – a swashbuckling romp full of heart, swagger, and constant surprises. A bold, funny, wryly inventive, and gloriously offbeat re-imagining of Robert Louis Stevenson’s *Treasure Island*, the musical is brought to life by a [cast of actor-musicians](https://thescoop.au/new-australian-musical-silver-tongue-announces-cast-ahead-of-world-premiere/) led by Hayes favourite Billie Palin in the title role. Get ready for a wet, wild and witty voyage packed with big ideas, whip-smart dialogue, and punchy, genre-blending songs. ![The Scoop Six the musical the scoop review](https://thescoop.au/wp-content/uploads/2025/01/SIX-AUSTRALIA-2024-KIMBERLEY-HODGSONDEIRDRE-KHOOLOREN-HUNTERZELIA-ROSE-KITOKOCHELSEA-DAWSONGIORGIA-KENNEDY-PHOTO-JAMES-D-MORGAN-GETTY-IMAGES-scaled-scaled.jpg "SIX AUSTRALIA 2024-KIMBERLEY HODGSON,DEIRDRE KHOO,LOREN HUNTER,ZELIA ROSE KITOKO,CHELSEA DAWSON,GIORGIA KENNEDY - PHOTO JAMES D MORGAN-GETTY IMAGES • The Scoop")SIX the Musical Photo by James D MorganSIX Melbourne 24 July – 23 August Sydney 9 October – 8 November Brisbane from January 2027 Get tickets [here](https://sixthemusical.com.au/). From Tudor Queens to Pop Princesses, Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr will turn up the mics in *[SIX: The Musical](https://thescoop.au/announcing-six-the-musical-for-2026-2027/)*. Remixing five hundred years of history into an 80-minute electrifying pop-concert musical, it what has become a global cultural phenomenon. Seasons are confirmed at the Comedy Theatre Melbourne from July, Theatre Royal Sydney from October and QPAC’s Playhouse Theatre in Brisbane from January 2027. Produced in Australia by Louise Withers, Michael Coppel and Linda Bewick. The cast of Queens are [here](https://thescoop.au/new-queens-casting-announced-six-the-musical-australia/). ![The Scoop Person in blue cloak standing on stage, facing a large lit trophy mural amid cloudy backdrop.](https://thescoop.au/wp-content/uploads/2026/06/16x9-Spamalot-Cup-Still-1116x628.jpg "Monty Python's Spamalot Drew Anthony Creative • The Scoop")Monty Pythons Spamalot Image suppliedMonty Python’s Spamalot Melbourne 16 September – 11 October Sydney 15 – 18 October and 22 – 25 October Get tickets [here](https://www.drewanthonycreative.com.au/spamalot-melbournesydney-2026). After a spectacular season in Perth, *[Monty Python’s Spamalot](https://thescoop.au/announcing-monty-pythons-spamalot-for-melbourne-sydney/)* will gallop into Melbourne and Sydney starring [Steven Curry](https://thescoop.au/announcing-stephen-curry-as-king-arthur-for-spamalot/) as King Arthur. Presented by Drew Anthony Creative, the show will run at the Athenaeum Theatre in Melbourne before transferring to Sydney, with two short seasons at the Event Centre at the Star Sydney and the Coliseum Theatre. ![The Scoop Stella A New Australian Musical](https://thescoop.au/wp-content/uploads/2026/06/Kaya-Byrne-Johanna-Allen-Geraldine-Hakewill-Joe-Kosky-Shubshri-Kandiah-photo-credit-Ben-Fon-942x628.jpg "Stella A New Australian Musical • The Scoop")Stella A New Australian Musical Photo by Ben FonStella: A New Australian Musical Melbourne 12 – 20 June Get tickets [here](https://stellathemusical.com/). The world premiere of *[STELLA](https://thescoop.au/announcing-stella-a-new-australian-musical-on-the-life-of-miles-franklin/)* tells the remarkable story of Miles Franklin. Seven years in the making, this new production draws on Franklin’s sharp, witty and distinctive voice, weaving her own words into the piece, balancing humour and heart. A genre-spanning score moves from Australian and Irish folk and bush ballads through to salsa, neo-classical, pop, punk rock and classic musical theatre, capturing the energy, resilience and adventurous spirit of one of Australia’s most iconic literary figures. It runs for a limited season. ![The Scoop The Addams Family Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/05-The-Addams-Family-879x628.jpeg "The Addams Family Hayes Theatre Co Sydney • The Scoop")The Addams Family Image supplied by Hayes Theatre CoThe Addams Family Sydney 11 July – 9 August Get tickets [here](https://hayestheatre.com.au/event/the-addams-family/). Joshua Robson Productions in association with Hayes Theatre Co Sydney presents *[The Addams Family](https://thescoop.au/announcing-bold-and-brilliant-2026-season-for-hayes-theatre-co/)*. Join Gomez, Morticia, Wednesday, and the rest of the delightfully macabre clan as they navigate love, family, and chaos in their own peculiar way. By the team behind the 2025 Hayes Theatre season of *The Producers*, the kooky cast is yet to be announced. ![The Scoop The Book of Mormon Sydney 2025](https://thescoop.au/wp-content/uploads/2025/07/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_011-927x628.jpg "The Book of Mormon Sydney 2025 • The Scoop")The Book of Mormon Photo by Daniel BoudThe Book of Mormon On in Sydney until 25 January Melbourne from 6 February Brisbane from 31 July Perth from 20 October Adelaide from 19 December Get tickets [here](https://thebookofmormonmusical.com.au/). The Mormons are back! *[The Book of Mormon](https://thescoop.au/announcing-complete-cast-for-the-book-of-mormon/)* is spreading the good word in [Sydney](https://thescoop.au/review-the-book-of-mormon-spreads-the-good-word/) at the Capitol Theatre, with a cast led by [Sean Johnston and Nick Cox](https://thescoop.au/hello-catching-up-with-the-stars-of-the-book-of-mormon/). This outrageous musical comedy, presented by Jones Theatrical Group, Important Musicals and Anne Garefino, follows the misadventures of a mismatched pair of missionaries, sent on a mission to a place that’s about as far from Salt Lake City as you can get. In 2026, the musical is heading to [Melbourne](https://thescoop.au/review-the-book-of-mormon-hits-melbourne-with-big-laughs/)‘s Princess Theatre from February. It will be arriving at [Brisbane](https://thescoop.au/the-mormons-are-back-announcing-melbourne-brisbane-seasons-for-2026/)‘s new Glasshouse Theatre from July, Crown Theatre [Perth](https://thescoop.au/announcing-the-book-of-mormon-for-perth-adelaide/) from October and [Adelaide](https://thescoop.au/announcing-the-book-of-mormon-for-perth-adelaide/) from December. ![The Scoop The Great British Bake Off Musical](https://thescoop.au/wp-content/uploads/2026/02/The-Great-British-Bake-Off-West-End-production-image-837x628.jpg "The Great British Bake Off Musical • The Scoop")The Great British Bake Off Musical West End production Image suppliedThe Great British Bake Off Melbourne dates TBA Sydney dates TBA Brisbane dates TBA Waitlist [here](https://www.bakeoffmusical.com.au/). *[The Great British Bake Off Musical](https://thescoop.au/announcing-the-great-british-bake-off-musical-for-australia/)* is based on the beloved global television phenomenon and it’s heading to Australia! Produced by See You Sunday who brought us *American Psycho* last year, the musical was first seen in 2023 on the West End. The Australian premiere is confirmed for Melbourne and will tour to Sydney and Brisbane. Dates, venues and cast details to come. ![The Scoop The Last Ship The Musical Sting Glasshouse Theatre QPAC](https://thescoop.au/wp-content/uploads/2026/01/TLS-MainImage-Low-Res-1022x628.jpg "The Last Ship The Musical Sting Glasshouse Theatre QPAC • The Scoop")The Last Ship The Musical Image suppliedThe Last Ship Brisbane 9 April – 3 May Get tickets [here](https://qpac.n.qtix.com.au/tickets/series/thelastship26). Grammy Award winning artist Sting will perform in his musical, *[The Last Ship](https://thescoop.au/announcing-sting-to-perform-in-his-musical-the-last-ship-exclusive-to-qpac/)*, at QPAC’s newest venue, Glasshouse Theatre, a Karl Sydow production exclusive to Brisbane. The global icon will play a leading role in a renewed version of the acclaimed musical first developed by Sting in 2011 and initially inspired by his 1991 album *The Soul Cages*. Rooted in his own childhood in the British shipbuilding town of Wallsend, *The Last Ship* tells the moving story of a community of shipbuilders in the northeast of England, faced with the closure of their shipyard – the heart of their existence. ![The Scoop The Lion King Sydney 2026](https://thescoop.au/wp-content/uploads/2025/11/1-The-Lion-King-Sydney-2026-941x628.jpg "The Lion King Sydney 2026 • The Scoop")The Lion King Image supplied by Disney Theatrical GroupThe Lion King Sydney 18 April – 4 October Brisbane from 15 November Get tickets [here](https://thelionkingmusical.com.au/). The global phenomenon, *[The Lion King](https://thescoop.au/announcing-disneys-the-lion-king-for-sydney-2026/)* returns in April, opening at the Capitol Theatre in Sydney, and then moves to the Lyric Theatre, QPAC in Brisbane in November. As the world’s #1 musical, it has been seen by more than 124 million worldwide. *The Lion King* will be the ninth production from Disney Theatrical Group to play in Sydney over the past thirty years. Returning to lead the cast as Rafiki will be Buyi Zama, who has played Rafiki in the 2003 and 2013 tours. New Zealander Nick Afoa made his theatre debut twelve years ago as Simba before performing the role on London’s West End. Afoa now returns to play Mufasa. Read more about the cast [here](https://thescoop.au/announcing-principal-cast-for-the-lion-king/). ![The Scoop Phantom of the Opera Handa Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2025/07/54660136154_e46e86f966_k-942x628.jpg "Phantom of the Opera Handa Opera Sydney Harbour • The Scoop")The Phantom of the Opera Photo by Prudence UptonThe Phantom Of The Opera Sydney 27 March – 3 May Get tickets [here](https://opera.org.au/productions/the-phantom-of-the-opera-on-sydney-harbour/). To celebrate its 40th anniversary, Andrew Lloyd Webber’s *[The Phantom Of The Opera](https://thescoop.au/announcing-cast-for-phantom-of-the-opera/)* returns to Sydney for a limited season at Handa Opera on Sydney Harbour from 27 March. Unmatched views of world-renowned Sydney Opera House, a live orchestra, nightly fireworks and pop-up restaurants and bars, Handa Opera on Sydney Harbour is one of the most unique theatrical experiences in the world. It’s the only place where you can see this magnificent, grand-scale production under the stars. Newcomer Jake Lyle will playThe Phantom, making his musical theatre debut. Celebrated soprano Amy Manford is Christine Daaé, playing the role to critical acclaim in both the recent Australian in-theatre tour and the West End production. Rising star Jarrod Draper completes the trio as Raoul, Vicomte de Chagny. The full cast announcement is [here](https://thescoop.au/announcing-full-cast-for-the-phantom-of-the-opera/). ![The Scoop The Pirates of Penzance Victorian Opera](https://thescoop.au/wp-content/uploads/2026/01/Pirates-837x628.jpeg "The Pirates of Penzance Victorian Opera • The Scoop")The Pirates of Penzance Image suppliedThe Pirates of Penzance Melbourne 31 January – 6 February Get tickets [here](https://www.victorianopera.com.au/production/the-pirates-of-penzance/). Set sail for a swashbuckling summer as Gilbert & Sullivan’s uproariously silly operetta *The Pirates of Penzance* storms the stage of the Palais Theatre, presented by Victorian Opera. Bursting with much-loved music, the score will leave you grinning in a production directed by Stuart Maunder and conducted by James Pratt. Ben Mingay plays The Pirate King, Antoinette Halloran plays Ruth, with Nina Korbe as Mabel and Nicholas Jones as Frederic. ![The Scoop Brittanie Shipway The Pirates of Penzance](https://thescoop.au/wp-content/uploads/2026/03/Brittanie-Shipway-Jay-Lagaaia-in-The-Pirates-of-Penzance-PHOTO-John-McCrae-2-942x628.jpg "Brittanie Shipway The Pirates of Penzance • The Scoop")The Pirates of Penzance Sydney 12 May – 7 June Get tickets [here](https://www.ticketmaster.com.au/pirates-of-penzance-tickets/artist/981726?). For the first time ever, Hayes Theatre Co brings one of its landmark productions to the Foundry Theatre stage. After a sold-out extended season at Hayes in 2025, plus visits to Wyong, Wollongong and Canberra, Hayes Theatre Co-Artistic Directors Richard Carroll and Victoria Falconer will raise the Jolly Roger once again as they revive their acclaimed version of *[The Pirates of Penzance](https://thescoop.au/announcing-hayes-musical-the-pirates-of-penzance-for-foundry-theatre/).* ![The Scoop The Prom Musical Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/01/The-Prom-Musical-Sydney-1053x628.png "The Prom Musical Teatro at the Italian Forum Sydney • The Scoop")The Prom Image suppliedThe Prom Sydney from 24 March – 19 April Get tickets [here](https://teatroitalianforum.com.au/date/the-prom/). Teatro at the Italian Forum will present the Australian premiere of the Broadway smash hit *The Prom*. Four eccentric Broadway stars are in desperate need of a new stage. So when they hear that trouble is brewing around a small-town prom, they know that it’s time to put a spotlight on the issue…and themselves. On a mission to transform lives, Broadway’s brassiest join forces with a courageous girl and the town’s citizens and the result is love that brings them all together. The full cast has been [announced](https://thescoop.au/announcing-cast-of-the-prom-musical-to-premiere-in-march/) and includes Caroline O’Connor as Dee Dee Allen and Sophie Montague as Emma. ![The Scoop Queensland Theatre Company 2026 Season](https://thescoop.au/wp-content/uploads/2025/10/Sapphires_Additional-942x628.jpg "Queensland Theatre Company 2026 Season • The Scoop")The Sapphires Image supplied by Queensland Theatre CompanyThe Sapphires Brisbane 28 April – 24 May Canberra 30 May – 7 June Get tickets [here](https://queenslandtheatre.com.au/plays/the-sapphires). Immortalised on film, the real-life story of four Yorta Yorta women who sang for troops during the Vietnam War, *[The Sapphires](https://thescoop.au/queensland-theatre-company-launches-season-2026-all-feeling-no-filter/)* returns to the Brisbane and Canberra stages in a knockout new production by Queensland Theatre Company and Canberra Theatre Centre. Former QTC Artistic Director Wesley Enoch returns to direct the stellar and soulful musical, featuring a talented cast of First Nations artists including Aurora Liddle-Christie, Taeg Twist, Ruby Henaway and Tehya Makani. ![The Scoop Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/02/TOOTSIE_LOGO_1920x1080_02-1116x628.jpg "Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney • The Scoop")Tootsie the Musical Image supplied by Teatro at the Italian ForumTootsie Sydney from 26 May Get tickets [here](https://www.ticketmaster.com.au/artist/2728443?did=venue). Co-Founders Nathan M Wright and Andrew Bevis are bringing the hit Broadway musical *[Tootsie](https://thescoop.au/announcing-tootsie-musical-to-make-australian-premiere-sydney/)* to Teatro at the Italian Forum in May. Full cast announcements for the highly anticipated Australian premiere is [here](https://thescoop.au/announcing-cast-for-tootsie-the-musical-sydney/). ![The Scoop WAITRESS the Musical](https://thescoop.au/wp-content/uploads/2026/05/Gabriyel-Thomas-Natalie-Bassingthwaighte-and-Mackenzie-Dunn-in-WAITRESS-c-Jeff-Busby_3079_V2-942x628.jpg "WAITRESS the Musical • The Scoop")Waitress the Musical Photo by Jeff BusbyWaitress Melbourne 1 May – 19 July Get tickets [here](https://premier.ticketek.com.au/shows/show.aspx?sh=WAITRESS26&eg=WAITRESS&ep=WAITRESS). John Frost for Crossroads Live presents the long-awaited Australian premiere of *[Waitress](https://thescoop.au/announcing-waitress-for-melbourne-in-may-2026/)*, opening at Her Majesty’s Theatre Melbourne on 1 May. The inspiring musical from pop sensation Sara Bareilles stars Natalie Bassingthwaighte and Rob Mills. Principal cast were [announced](https://thescoop.au/announcing-principal-cast-for-waitress-the-musical/) ahead of the [full exciting line up](https://thescoop.au/exciting-cast-announced-for-waitress-australian-premiere/). This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. ​When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined. The previously announced Sydney season will no longer be going ahead, with producers citing challenging economic conditions as the reason for the early ending. ![The Scoop We Are The Tigers Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/We-are-the-tigers-829x628.png "We Are The Tigers Hayes Theatre Co Sydney • The Scoop")We Are The Tigers Image supplied by Hayes Theatre CoWe Are The Tigers Sydney 9 October – 8 November Get tickets [here](https://hayestheatre.com.au/event/we-are-the-tigers/). Cheers Productions in association with Hayes Theatre Co Sydney presents *[We Are The Tigers](https://thescoop.au/announcing-bold-and-brilliant-2026-season-for-hayes-theatre-co/)*, directed and choreographed by Chiara Assetta. It’s the annual sleepover of the Giles Corey High Cheerleading Squad, and captain Riley is determined to lead her squad to redemption after last year’s spectacular flop. But what starts as a night of pizza and team bonding quickly spirals into chaos. There’s a killer on the loose and one of their own is dead. Will the squad rally together, or will the pyramid collapse for good? ![The Scoop Whispering Jack The John Farnham Musical 2026](https://thescoop.au/wp-content/uploads/2025/09/John-Farham-994x628.jpg "Whispering Jack The John Farnham Musical 2026 • The Scoop")Whispering Jack The John Farnham MusicalWhispering Jack: The John Farnham Musical Sydney 15 November – 3 January Get tickets [here](https://www.sydneytheatre.com.au/whats-on/productions/2026/whispering-jack-the-john-farnham-musical). To celebrate the 40th anniversary of the highest-selling Australian album of all time, *Whispering Jack*, Sydney Theatre Company and Artistic Director Mitchell Butel join forces with Michael Cassel Group, Gaynor Wheatley, TalentWorks and acclaimed writer Jack Yabsley to bring Farnham’s life, mischief and musical genius to the stage. The world premiere of *[Whispering Jack: The John Farnham Musical](https://thescoop.au/announcing-whispering-jack-the-john-farnham-musical-for-2026/)* is a celebration, not just of hits like *Pressure Down*, *Age of Reason*, *Two Strong Hearts* and *That’s Freedom*, but also of friendship, family and a great Australian artist’s desire to shine a light on the world around us. [Michael Paynter](https://thescoop.au/announcing-michael-paynter-to-play-john-farnham-in-new-musical/) will play The Voice with the rest of cast now [announced](https://thescoop.au/announcing-full-cast-for-whispering-jack-the-john-farnham-musical/). The season runs at Roslyn Packer Theatre as part of STC’s 2026 season. **And that’s your Australian Musical Theatre Guide to 2026! If we’ve missed anything, drop us an email** **at editor@thescoop.au.** Socials: <https://www.instagram.com/thescoop.au/> Socials: <https://www.tiktok.com/@thescoop.au> Linktree: <https://linktr.ee/thescoopau> [Read The Scoop’s Favourite Musicals in 2025 Article!](https://thescoop.au/the-scoop-favourite-shows-of-2025-part-one-musicals/) Hero image: The Canadian company of *Waitress*. Photo by Marie-Andrée **Categories:** Features, Musical Theatre, News --- ### [Film Review: Coyote vs. Acme Sees The Ultimate Underdog Take On Corporate America](https://thescoop.au/film-review-coyote-vs-acme-sees-the-ultimate-underdog-take-on-corporate-america/) **Published:** September 12, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Coyote vs. Acme Film](https://thescoop.au/wp-content/uploads/2026/09/Coyote-vs-Acme-1-1200x501.jpg "Coyote vs. Acme Film • The Scoop")Wile E. Coyote has spent decades falling from cliffs, swallowing explosives and being crushed by anvils. Now he has finally realised who should pay for it. The film *Coyote vs. Acme* has already survived its own encounter with corporate power. Warner Bros. Discovery completed it, then shelved it in 2023 for a tax write-off. Public outrage followed. Ketchup Entertainment eventually bought the rights in 2025 and delivered the theatrical release. That history makes the film’s target almost too perfect. A corporation tried to erase a finished film about a corporation treating lives and creative work as disposable. Director Dave Green combines live action and animation in the tradition of *Who Framed Roger Rabbit*. The screenplay is by Samy Burch, from a story developed with James Gunn and Jeremy Slater. Its premise originated in Ian Frazier’s 1990 *New Yorker* piece, “Coyote v. Acme.” Wile E. hires struggling lawyer Kevin Avery (Will Forte) to sue Acme for selling him defective products. Forte plays Kevin as a man already flattened by the machinery he wants to challenge. He once believed the law could deliver justice. Years of losing to powerful opponents have left him cynical, broke and cautious. Wile E.’s persistence begins to restore something Kevin thought had died. After watching Wile E. fail for years, we discover how deeply we have been rooting for him. We want him to find friendship; we want one plan to work. We might even want him to catch that beeping bird. ![The Scoop Coyote vs. Acme Film](https://thescoop.au/wp-content/uploads/2026/09/Coyote-vs-Acme-Still-2026-04-22-120517_1271-1200x501.jpg "Coyote vs. Acme Film • The Scoop")The film combines live action and animation in the tradition of Who Framed Roger Rabbit The film finally asks the obvious question: why not spend the Acme money on a supermarket roast chicken? Wile E is a single loner; why not go buy a bachelor’s handbag? But purchasing dinner would not satisfy Wile E. He wants to prove that he is clever enough to capture it himself. There is no ego stroke in quietly buying a cooked bird. Wile E. is Captain Ahab with rocket skates. The Road Runner is his white whale with a better top speed. He is also Sisyphus in the New Mexico desert. Each morning brings another plan, another product and another boulder rolling back downhill. We have inherited our own version of his faith. Wake early. Work hard. Apply ingenuity. Buy the products advertised by enormous corporations. Eventually, we are promised, we will catch our Road Runner and secure the perfect life. That is not how dopamine works. Increasingly, it is not how capitalism works either. Satisfaction would be disastrous for Acme. A contented coyote is no longer a high-value customer. Every failed purchase must therefore create the need for another one. At moments, Acme resembles Amazon after a cartoon makeover. It sells everything and accepts little responsibility for what arrives or how it gets there. The customer and the workers bear the injuries while the company keeps the profit. The courtroom battle allows the film to examine access to justice. Rights mean little when enforcing them requires money, time and expert representation. Poorer litigants can be correct and still lose through exhaustion. ![The Scoop Coyote vs. Acme Film](https://thescoop.au/wp-content/uploads/2026/09/Coyote-vs-Acme-Still-2026-04-22-120517_1841-1200x496.jpg "Coyote vs. Acme Film • The Scoop")The collision between the cartoon and real world feels physicalAcme also hides a product-testing program built upon expendable subjects. The story recalls real histories of experiments conducted upon animals, poor communities and racial minorities. Harm becomes acceptable when powerful institutions decide the victim does not matter. John Cena’s Buddy Crane embodies the type of man such systems reward. He is square-jawed, Goliath-muscled and polished by privilege. He is the corporate Chad who assumes victory is his natural condition. Cena understands the joke without playing Buddy as a fool. His confidence comes from knowing the institution will protect him. Wile E. may have ingenuity, but Buddy has status, resources and the rules. Who thought we would ever see John Cena and Tweety face each other in battle? Lana Condor brings energy and conviction to Paige Avery, Kevin’s idealistic niece. She has not yet absorbed his belief that resistance is pointless. Eric Bauza recreates the sounds of childhood as Looney Tunes voices, including Bugs Bunny, Daffy Duck and Foghorn Leghorn. Green and cinematographer Brandon Trost make the collision between the cartoon and real world feel physical. Bugs Bunny’s burrowing tears through real concrete. When Wile E. falls from the sky, his silhouette remains stamped into the red earth. The metal-detector sequence is a glorious example of the film’s visual precision. Wile E. attempts to unload an impossible arsenal of Acme products before passing through security. The joke keeps escalating until snorts become more likely than ordinary laughter. ![The Scoop Coyote vs. Acme Film](https://thescoop.au/wp-content/uploads/2026/09/Coyote-vs-Acme-Still-2026-04-22-120517_1241-1200x489.jpg "Coyote vs. Acme Film • The Scoop")Almost every beloved Looney Tunes character makes an appearance Beneath the slapstick sits a sharp political idea. The Coyote and Road Runner remain locked in permanent opposition. Each defines the other through conflict. Their chase can even resemble the modern divide between left and right. Both sides remain consumed by defeating an opponent. Neither notice that the corporation supplies the weapons, sets the terms and profits from the pursuit. The film does not excuse obsession. Wile E. must confront how much of his identity depends upon the Road Runner. Yet it understands why surrender feels impossible. Letting go would mean admitting that years of pain achieved nothing. That is where *Coyote vs. Acme* becomes unexpectedly moving. It respects persistence while questioning the systems that exploit it. It lets failure hurt without treating the person who failed as worthless. Those expecting light-hearted nostalgia will still find plenty of it. Almost every beloved character makes an appearance. Yet that is not all, folks. *Coyote vs. Acme* is a warm, system-questioning collision of classic cartoons, Greek mythology, courtroom drama and social criticism. It asks why hard work so often enriches those selling the tools. It asks whether justice remains possible when a corporation can afford to outlast its victims. Most importantly, it looks again at animation’s greatest loser and recognises something heroic: Wile E. keeps getting up. For once, the world gets up beside him. ***Coyote vs*. *Acme* opens nationally on Thursday 17 September at participating cinemas.** Find cinemas [here](https://www.flicks.com.au/movie/coyote-vs-acme/). Website: <https://www.pinnaclefilms.com.au/films/> Socials: <https://www.instagram.com/pinnaclefilmsau/> [Win Tickets To See The Film!](https://thescoop.au/win-tickets-to-coyote-vs-acme-in-cinemas-17-september/) Watch the trailer here: **Film details:** Title: Coyote vs. Acme Director: Dave Green Cast: Will Forte, John Cena, Lana Condor Country of Origin: USA Duration: 101 mins Rating: CTC **Categories:** Film --- ### [Ruby Day: A New Sensation In Queensland Ballet’s Elegantly Wasted](https://thescoop.au/ruby-day-a-new-sensation-in-queensland-ballets-elegantly-wasted/) **Published:** August 20, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Queensland Ballet Elegantly Wasted Ruby Day](https://thescoop.au/wp-content/uploads/2026/08/QLD-Ballet-Elegantly-Wasted-Ruby-Day-Photo-David-Kelly-941x628.jpeg "Queensland Ballet Elegantly Wasted Ruby Day • The Scoop")When Queensland Ballet’s ***Elegantly Wasted*** opens at HOTA, Home of the Arts on the Gold Coast next month, it will mark the world premiere of a bold new contemporary ballet set to the music of Australian rock icons INXS. For **Ruby Day**, one of the company’s youngest artists, it is also a significant moment in a career that has gathered remarkable momentum in a very short time. Ruby Day officially joined Queensland Ballet in November 2024 after receiving the Rudolph Nureyev Foundation’s Best Young Talent Award at the prestigious Prix de Lausanne. Her journey through Queensland Ballet Academy, from the Associate Program to Company Artist, has been an unusually rapid one, bypassing the Jette Parker Young Artist program along the way. Her first season with the company culminated in sharing the role of Clara in *The Nutcracker*. Now, she finds herself at the centre of a brand-new work, created by acclaimed Belgium-Colombian choreographer Annabelle Lopez Ochoa, whose previous Queensland Ballet production, *Coco Chanel: the Life of a Fashion Icon*, was a sell-out success. It is quite a leap for a young dancer who, remarkably, didn’t grow up in a dancing family. A Brisbane local, Day discovered ballet without the kind of longstanding family connection to the art form that often characterises the early lives of professional dancers. Her trajectory since then has been anything but conventional. *Elegantly Wasted* also presents a very different challenge from the classical repertoire that has helped establish her with Queensland Ballet. Dancing to the unmistakable music of INXS, the work explores the band’s music through a contemporary lens, bringing together dance, music and a distinctly Australian cultural legacy. Yesterday The Scoop joined Queensland Ballet in the rehearsal room to get a glimpse of *Elegantly Wasted* before its Gold Coast season. We sat down with Ruby Day to talk about stepping into a world premiere, working with Annabelle Lopez Ochoa, dancing to INXS and the extraordinary journey that has brought her to this point. Read the full interview below. ![The Scoop Ruby Day on the right in Elegantly Wasted Queensland Ballet HOTA INXS](https://thescoop.au/wp-content/uploads/2026/08/Elegantly-Wasted-FULL-CALL-Rehearsal_24-07-26_Jakob-Perrett-11-942x628.jpg "Ruby Day in Elegantly Wasted Queensland Ballet HOTA INXS • The Scoop")Ruby Day on the right in rehearsal alongside some of the dancers performing in Elegantly Wasted Photo by Jakob PerrettWhat was your first reaction when you found out you’d be dancing to the music of INXS? Were you familiar with their music? When I first heard we were dancing to the music of INXS, I didn’t actually know who they were. I went through Spotify and I listened to their music. I knew the classics, but apart from that, I didn’t have much of an idea of who they were as a band. I watched the Mystify documentary and the Kylie Minogue documentary, and now I understand who they are. The conversation was that this was a three-year partnership. We did *Elastic Hearts* last year to the music of Sia, which was incredible, so fun. And we got to do it again earlier [this year](https://thescoop.au/review-elastic-hearts-brings-joy-through-dance-the-music-of-sia/). And then I had the opportunity to be part of the photoshoot to promote the INXS piece. I didn’t really know exactly what it was to be used for, whether it was just going to be for Instagram. But how the images turned out is pretty cool. And then for INXS to repost them, it was definitely quite exciting. *Elegantly Wasted* is set in a luxury hotel lobby, with these young influencers constantly performing and curating their lives. How would you describe the world you’re stepping into and what is Annabelle Lopez Ochoa’s movement vocabulary like to dance? I think the world we’re stepping into with INXS is honestly very relatable. In one of the first rehearsals, Annabelle actually had us on our phones, walking around with them. And the following day I caught myself doing that in real life. It made me reflect, the world that we’re exploring is quite familiar. I’d say the vocabulary of the movement’s a little bit more commercial. It has elements of classical ballet and familiar positions, but we also explore quite a lot of walking heel toe and it’s a bit more grounded. In rehearsal, a lot of the choreography started in flats and in sneakers and then evolved to a more classical technique in pointe shoes. ![The Scoop Elegantly Wasted Queensland Ballet HOTA](https://thescoop.au/wp-content/uploads/2026/08/013A6747-copy-942x628.jpg "Elegantly Wasted Queensland Ballet HOTA • The Scoop")Ruby Day alongside Edison Manuel in Elegantly Wasted Photo by David KellyIs there a particular INXS song in the ballet that you’ve really connected with, either because of the choreography or simply because of the music? I am fortunate to be performing a pas de deux with Edison Manuel to *Never Tear Us Apart*, which is one of their most famous songs. It’s very acrobatic and physical, so it’s been super exciting to work on that. The last song in the piece is *Don’t Change*, which became quite famous as the last song INXS often played at their concerts. It’s become one of my favourites to perform in the piece, because of Annabelle’s choreography and the meaning behind the song. I first saw you dance in the 2024 season of *Soirée*, just as you were transitioning from the Academy into the Company. Did you ever imagine your journey would move this quickly? What have you discovered about yourself that you didn’t know when you first joined Queensland Ballet? I never thought my career would go on this trajectory. Since joining the company, I discovered that there’s a very wide world of ballet. It’s not just the classics, there’s a lot of different avenues. Even with the contemporary ballets, there’s some in flat barefoot and some in pointe shoes. I had quite a fixed mindset on what ballet was, and I think becoming a professional has definitely broadened my horizons on that. ![The Scoop Elegantly Wasted Queensland Ballet HOTA](https://thescoop.au/wp-content/uploads/2026/08/Ruby-Day-484x628.png "Elegantly Wasted Queensland Ballet HOTA • The Scoop")Ruby DayFor someone who thinks they don’t know anything about ballet, but they love INXS, why should they come and see this? I think the exciting thing about this collaboration is that Queensland Ballet and HOTA are combining two completely different audiences. Someone who may never think to come and watch the ballet but knows the music of INXS may feel inspired to open a door to a new world of art, and vice versa for those who wouldn’t usually go to a music concert. I think those die-hard INXS fans who may be deterred by the ballet aspect should definitely come and see it because the way the music’s been orchestrated completely brings it a new life. It’s so different to what you would expect, but it works so well, especially with the choreography. ***Elegantly Wasted: Featuring the Songs of INXS* is presented by Queensland Ballet in partnership with HOTA, Home of the Arts. It runs 10 – 12 September at HOTA on the Gold Coast.** Tickets: <https://www.queenslandballet.com.au/performances/2026/elegantly-wasted> Website: <https://hota.com.au/events/elegantly-wasted-featuring-the-songs-of-inxs> Socials: [Socials: https://www.instagram.com/hotagc/](socials:%20https://www.instagram.com/hotagc/) and <https://www.instagram.com/qldballet/> [Read more about Elegantly Wasted](https://thescoop.au/announcing-elegantly-wasted-by-queensland-ballet-hota-with-music-of-inxs/) Hero image: Ruby Day, photo by David Kelly **Creatives**. Music **INXS** Concept and choreography. **Annabelle Lopez Ochoa**. Sound Designer **Jake Rodriguez**. Additional Music Production **Nigel Butler**. Costume Design **Josh McIntosh**. Set and Lighting Design Jon Buswell. **Categories:** Features --- ### [Review: Elegantly Wasted Triumphs In A Bold New Fusion](https://thescoop.au/review-elegantly-wasted-triumphs-in-a-bold-new-fusion/) **Published:** September 11, 2026 **Author:** Sarah Skubala **Content:** ★★★★★ ![The Scoop Queensland Ballet Elegantly Wasted at HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/09/013A6089-copy-942x628.jpg "Queensland Ballet Elegantly Wasted at HOTA Gold Coast • The Scoop")As I made the brutal, peak-hour commute down the highway from Brisbane to the Gold Coast to the opening of *Elegantly Wasted*, there was no better soundtrack to set the mood in the car than a *Best of INXS* playlist. *Elegantly Wasted* is a world premiere work and the second instalment in a three-year partnership between Queensland Ballet and HOTA, Home of the Arts. The partnership will see three music-led world premieres created exclusively for the Gold Coast, with *[Elastic Hearts](https://thescoop.au/review-elastic-hearts-brings-joy-through-dance-the-music-of-sia/),* featuring the music of Sia, kicking off the series in 2025. This year, INXS, one of Australia’s most celebrated cultural exports, becomes the soundtrack to a new contemporary ballet choreographed by Annabelle Lopez Ochoa. Set within the polished anonymity of a grand hotel lobby, *Elegantly Wasted* explores a world where image is everything, and nothing is quite as it seems. In this space, spontaneity is curated, intimacy is choreographed, and even solitude becomes a performance. As a ballet lover and deep appreciator of INXS, I was eagerly awaiting this premiere. It delivered and left me wanting more. ![The Scoop Queensland Ballet Elegantly Wasted at HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/09/013A6768-scaled-e1789106286955-1022x628.jpg "Queensland Ballet Elegantly Wasted at HOTA Gold Coast • The Scoop")The song lyrics take on new meaning to reinforce the central ideas of the piece Photo by David KellyThirteen INXS songs feature in this work, which runs for just over an hour. As both a music nerd and a fan, it is therefore my pleasure – and obligation – to list the songs at the end of this review. Having also seen *Elastic Hearts*, I believe *Elegantly Wasted* is the more successful of the two at fusing music, movement and storytelling. The song selections are particularly effective, with the lyrics taking on new meaning to reinforce the work’s central ideas: the desire to belong, the excitement of youth, and exploring what it means to be ‘cool.’ The hotel lobby set brings these ideas into the modern world, with shopping bags emblazoned with familiar emojis and words like ‘visibility,’ ‘platform,’ and ‘click,’ firmly placing us in the age of social media. Other words like ‘blonde’ and ‘liberate’ offer more direct nods to INXS. While Sia’s music fittingly felt more deconstructed, orchestrated and remixed, the INXS songs appear to have undergone minimal interference. Given how deeply ingrained the music is for many people, that creative choice works. Indeed, whether *Need You Tonight* had any reworking beyond a stylised ending is up for debate. ![The Scoop Queensland Ballet Elegantly Wasted at HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/09/013A6334-942x628.jpg "Queensland Ballet Elegantly Wasted at HOTA Gold Coast • The Scoop")Elegantly Wasted is a reminder of just how exciting contemporary ballet can be Photo by David KellyThe musical variations did lead to some interesting moments in the opening night audience. It was a particularly supportive crowd, but there were several instances of awkward applause, breaking out in moments that didn’t necessarily call for it, while occasionally failing to arrive where you might expect it. This is hardly surprising, though; the audience is finding its way through the work too. But let’s get to the performance highlights, and there are many. Ines Hargreaves and Joshua Ostermann dance a compelling pas de deux to *Taste It*. Jon Buswell’s lighting design amplifies their silhouettes onto the wall, and I found myself admiring both their live movements and their shadowy counterparts. Hargeaves, in particular, impresses throughout the work and is a compelling young dancer to watch. The *Taste It* segment bookends *Learn To Smile*, which sees Sophie Zoricic hanging from a luggage trolley in a series of seductive visual formations as she is wheeled around the stage by Luca Armstrong and D’Arcy Brazier. *The Gift* features six male dancers, who expertly intertwine their movement with the set pieces. There is a lot of dynamic couch-ography in this work, and I am so here for it. *Need You Tonight*, featuring Rian Thompson flanked by Ines Hargreaves and Jessica Stratton-Smith, is a campy crowd favourite. *By My Side*, featuring an emotional pas de deux from Vito Bernasconi and Renee Freeman, culminates in a dramatic acrobatic finish. The lighting effect across Freeman as she enters the space is particularly inspired. ![The Scoop Queensland Ballet Elegantly Wasted at HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/09/013A6743-scaled-e1789105836466-937x628.jpg "Queensland Ballet production of Elegantly Wasted at HOTA Gold Coast • The Scoop")The pas de deux set to Never Tear Us Apart brings the drama Photo by David KellyAt the centre of the work is the iconic *Never Tear Us Apart*, featuring Ruby Day and Edison Manuel, who bring drama and technical skill to their pas de deux. The song is intercut with a segment from the company, unexpectedly wearing flat, black lace-up ankle boots. On the costumes, Josh McIntosh’s designs help tell a clear story. What starts in blacks and greys with just a hint of silver, sparkle and fringing, gives way to full-blown splashes of colour, most spectacularly in the *Don’t Change* finale. Without knowing the creative process, it appears that individuality has been prioritised over cohesion, resulting in an eclectic blend of costume pieces and styles across the company. (The black sequin hot pants are a huge yes from me.) *Elegantly Wasted* is a reminder of just how exciting contemporary ballet can be, particularly when bold music, movement and design come together so imaginatively. The Queensland Ballet and HOTA partnership continues to produce ambitious work that challenges its dancers, engages its audiences and leaves you wanting more. As I resumed my highway playlist at the end of the night, I found myself hoping *Elegantly Wasted* might return as part of Queensland Ballet’s 2027 season, following in the footsteps of *Elastic Hearts*. And while this second instalment has left me keen to see where the partnership goes next, I’ll be eagerly awaiting the announcement of its third and final work. ***Elegantly Wasted: Featuring the Songs of INXS* is presented by Queensland Ballet in partnership with HOTA, Home of the Arts. It runs to 12 September at HOTA on the Gold Coast.** Tickets: <https://www.queenslandballet.com.au/performances/2026/elegantly-wasted> Website: <https://hota.com.au/events/elegantly-wasted-featuring-the-songs-of-inxs> Socials:[ https://www.instagram.com/hotagc/](socials:%20https://www.instagram.com/hotagc/) and <https://www.instagram.com/qldballet/> [Read our Interview with Ruby Day](https://thescoop.au/ruby-day-a-new-sensation-in-queensland-ballets-elegantly-wasted/) Photo credits: David Kelly Elegantly Wasted Song List: Suicide Blonde From the album *X*, 1990 Mediate From the album *Kick*, 1987 Taste It From the album *Welcome to Wherever You Are*, 1992 Learn To Smile From their self-titled debut album, 1980 Disappear From *X*, 1990 Kill The Pain From the album *Full Moon, Dirty Hearts*, 1993 Never Tear Us Apart From *Kick*, 1987 Need You Tonight From *Kick*, 1987 The Gift From *Full Moon, Dirty Hearts*, 1993 By My Side From *X*, 1990 The Stairs From *X*, 1990 Elegantly Wasted From the album of the same name, 1997 Don’t Change From the album *Shabooh Shoobah*, 1982 **Categories:** Dance, Gold Coast --- ### [Review: The Sunshine Boys Sees Old Friends, Feuds & Great Comedy](https://thescoop.au/review-the-sunshine-boys-sees-old-friends-feuds-great-comedy/) **Published:** September 11, 2026 **Author:** James Murphy **Content:** ★★★★½ ![The Scoop The Sunshine Boys Adelaide Repertory Theatre](https://thescoop.au/wp-content/uploads/2026/09/SSB26_RT_017-942x628.jpg "The Sunshine Boys Adelaide Repertory Theatre • The Scoop")Willie Clark still gets *Variety* delivered. His nephew brings it around, and the old vaudevillian checks the obituaries. When the bookings stop coming, there is always the satisfaction of outliving the competition. It is a wonderfully sour detail in Neil Simon’s *The Sunshine Boys,* like the milk he’s forgotten to drink in the fridge. Adelaide Repertory Theatre’s production, directed by Peter Goers, finds the loneliness beneath such small victories. These men once had audiences; now they have afternoons to get through. First staged on Broadway in 1972, Simon’s comedy reunites estranged vaudeville partners Willie Clark and Al Lewis for a television special. They have not worked together for eleven years. Willie has spent much of that time rehearsing his grievances. Their professional name promises something brighter. The Sunshine Boys are in their twilight, still negotiating the loss of noon. Al has his New Jersey porch; Willie has a window in a New York residential hotel. The sun goes down from either vantage point. Usually, the great struggle in stories about performers is ‘making it.’ Simon considers the less encouraging possibility that you might make it and still end up here. Success provides no exemption from ageing. Nor does applause necessarily prepare you for its absence. Robert Cusenza carries most of the action as Willie, balancing cantankerousness with the comic instinct that once earned his character a living. Willie can turn almost any conversation into an argument, like Frank Costanza from *Seinfeld*. Cusenza keeps those arguments entertaining while allowing us to see how little else Willie has. He rarely leaves his apartment. His forgetfulness suggests possible cognitive decline, but his isolation has another cause. What is waiting outside if nobody wants to employ him? He never agreed to retire. Al made that decision, and Willie has been living with the consequences ever since. ![The Scoop The Sunshine Boys Adelaide Repertory Theatre](https://thescoop.au/wp-content/uploads/2026/09/SSB26_RT_013-799x628.jpg "The Sunshine Boys Adelaide Repertory Theatre • The Scoop")Objects once packed in the case now furnish a life that has stopped moving Photo by Andrew TrimmingsThe travelling case at the centre of the set make that loss tangible. Covered in stickers, they have become a desk. Objects once packed for the next engagement now furnish a life that has stopped moving. The television supplies company and fresh material for professional contempt. Willie watches other people telling stories and measures their abilities against his own. Even without an audience, he remains in the business. Robin “Smacka” Schmelzkopf gives Al a contrasting dignity. He has found other things to discuss and reasons to feel proud, including his daughter’s large black Chrysler. Willie struggles to locate any equivalent outside his career. References to his absent wife suggest another loss, although its place in his unhappiness remains elusive. That contrast prevents the play from becoming a general lament about getting old. These men have responded differently to the same professional ending. Al has allowed his world to expand beyond the act. Willie has allowed his to shrink around its absence. Their first reunion is especially well handled. Pauses, silence and physical comedy give the meeting its uncomfortable rhythm. Each man must deal with the actual person standing before him after years of arguing with the version in his head. Cusenza and Schmelzkopf understand how an old partnership survives in habits neither participant particularly enjoys. Irritation itself becomes familiar company. Their timing lets us glimpse the successful act beneath the accumulated resentment. ![The Scoop The Sunshine Boys Adelaide Repertory Theatre](https://thescoop.au/wp-content/uploads/2026/09/SSB26_RT_018-942x628.jpg "The Sunshine Boys Adelaide Repertory Theatre • The Scoop")The distinction between sketch nurse and registered nurse matters Photo by Andrew TrimmingsTom Tassone is suitably exasperated as Willie’s nephew and agent, Ben Silverman. With something of a young Tony Soprano about him, he faces the exhausting overlap between family obligation and professional responsibility. Getting Willie work is difficult enough. Getting him to cooperate may be worse. The New York accents are convincing across the cast. They give Simon’s exchanges their necessary rhythm without making the dialogue difficult to follow. Lauren Thiel is perfectly cast as the nurse in the vaudeville sketch. Her experience in burlesque, comedy and dance serves a role requiring confidence as much as glamour. She is a knockout, with the timing to make the old routine’s gender expectations part of the joke. The distinction between her sketch nurse and the registered nurse played by Penni Hamilton-Smith also matters. One belongs to the men’s theatrical fantasy; the other to the practical business of ageing. Jonathon Holds, Seth Gilmour and Goers complete the supporting stage cast. There is personal history behind the production’s affection. In his program note, Goers writes about approaching this play at 70. His collaborations with Cusenza and Schmelzkopf stretch back roughly half a century and more than four decades respectively. Cusenza’s program interview offers an even plainer connection. Asked about future dream roles, he says: “I’m just happy that I’m still wanted.” That admission stays with the performance. Over the past four years, Goers’ directing has repeatedly explored the golden age of theatre and radio, artistic ego, biting wit and mortality. This production brings those interests together with a golden glow. ![The Scoop The Sunshine Boys Adelaide Repertory Theatre](https://thescoop.au/wp-content/uploads/2026/09/SSB26_RT_036-776x628.jpg "The Sunshine Boys Adelaide Repertory Theatre • The Scoop")Goers makes a persuasive case for returning to the play Photo by Andrew TrimmingsA few choices could be sharper. Cusenza’s pyjamas establish Willie’s withdrawal, but greater comic dishevelment would strengthen the contrast with Al’s composure. Occasionally, a flatter delivery would also let Simon’s lines land harder. Some jokes need less assistance. The projected theatre behind the set is more distracting. Early lighting changes fill it during Willie’s recollection of his glory days. Afterwards, it remains empty, a clear image of the audience he has lost. Yet its digital appearance sits awkwardly against the physical room and intermittently weakens the illusion. The script presents a more substantial complication. As Cusenza acknowledges in the program, parts have aged poorly. Al’s hand gestures describing the ideal nurse make that immediately apparent. Some gender and racial humour now carries baggage beyond the joke Simon intended. There is an apt discomfort here. A play about men overtaken by changing tastes has itself been overtaken in places. Admiring Simon’s craftsmanship need not mean pretending every routine travels comfortably into the present. Goers makes a persuasive case for returning to it nonetheless. The laughs are plentiful, but the production’s lasting appeal comes from recognising what Willie fears. Losing the job also means losing somewhere to go, someone to argue with and a reason to get dressed. He wants another booking. What he needs may be sitting opposite him, equally old and equally annoying. ***The Sunshine Boys* is presented by Adelaide Repertory Theatre and runs to 19 September. Arts Theatre, 53 Angas Street Adelaide SA 5000.** Tickets: <https://artstheatresa.sales.ticketsearch.com/sales/salesevent/159440> Website: <https://adelaiderep.com/season-2026/the-sunshine-boys> Socials: <https://www.instagram.com/theadelaiderep/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Andrew Trimmings **Categories:** Adelaide, Theatre --- ### [Review: Scenes With Girls 2026 Brisbane Festival](https://thescoop.au/review-scenes-with-girls-2026-brisbane-festival/) **Published:** September 11, 2026 **Author:** Daisy Heywood **Content:** ★★★½ ![The Scoop Scenes With Girls Salad Days Collective DOOR 3 Queensland Theatre](https://thescoop.au/wp-content/uploads/2026/09/0N2A0005-942x628.jpg "Scenes With Girls Salad Days Collective DOOR 3 Queensland Theatre • The Scoop")Following a sold-out 2024 season, *Scenes with Girls* returns, this time as part of Queensland Theatre’s 2026 DOOR 3 program in a season for Brisbane Festival. Written by Miriam Battye and presented by Matilda Award-winning independent theatre company Salad Days Collective, *Scenes With Girls* explores the raw and emotional fragility of modern female friendships. Showing in the intimate Diane Cliento Studio, it is the perfect space to explore the complexities of friendship that we all know so well. Hannah Ward plays the sex-obsessed Lou, who works on ‘collecting’ sexual experiences with men to successfully reject the modern ‘female narrative’ she so scathingly describes. Jasmine Prasser as Tosh, a celibate and wholly unhinged character, perfectly encapsulates messy and unfiltered female rage. Then there is poor Fran, played by Georgina Sawyer, who struggles to keep up with Tosh and Lou’s razor-sharp humour and obnoxiously loud personalities. The set, designed by Laurent Milton, perfectly captures a flat share of young women. The bras and underwear strewn around the stage, and the decor that looks straight out of TK Maxx, make the set a remarkably authentic portrayal of a familiar, lived-in atmosphere. It feels instantly recognisable to those who have also lived with their besties. ![The Scoop Two women sit on a couch indoors, one in a pink top and the other in a light jacket, appearing to converse; mugs on a table nearby and colorful blankets in the foreground.](https://thescoop.au/wp-content/uploads/2026/09/DSC03175-942x628.jpg "Scenes With Girls Salad Days Collective DOOR 3 Queensland Theatre • The Scoop")The set a remarkably authentic portrayal of a familiar lived in atmosphere Image suppliedThe costumes, consisting of comfy trackies and mismatched t-shirts, also create a sense of authenticity that refuses to be denied. Even the lighting by Noah Milne and sound by Tommi Civili feels entirely intentional, working together to heighten the play’s wonderfully chaotic energy. The sudden shifts in flashy lighting and bursts of music mirror the tumultuous nature of Tosh and Lou’s lives, reflecting the sense of unpredictability that encapsulates their friendship throughout. I cannot fault the performance of the leading ladies. Each actor brings a perfectly distinctive personality to their character. I particularly loved Prasser as Tosh, who is endearingly chaotic, messy, and raw throughout. Saying this though, I found both Tosh and Lou completely unlikeable characters. The punchy and quick-witted dialogue between them would most certainly fail the Bechdel test. Their early conversations are characterised by each woman obnoxiously talking over the other, constantly steering the conversation back towards herself. Each attempt at genuine connection is interrupted by phone notifications, texting, and Google searching. ![The Scoop Three women sit on a pink couch in a tiled room, chatting with mugs on a table in front of them.](https://thescoop.au/wp-content/uploads/2026/09/DSC02926-942x628.jpg "Scenes With Girls Salad Days Collective DOOR 3 Queensland Theatre • The Scoop")Each actor brings a perfectly distinctive personality to their character Image suppliedThe women cruelly critique Fran for falling victim to the female narrative that they themselves are unknowingly complicit in. Every time Fran appeared on stage, she was a welcome break from the noise of Tosh and Lou. Battye’s *Scenes With Girls* is an interesting piece. It offers a messy, raw and unfiltered account of contemporary girlhood, highlighting the importance of re-centring female friendships rather than romantic ones. However, for me, I felt that the central relationship between Tosh and Lou was ultimately fragile and shallow. Their friendship did not seem truly characteristic of the intimate female friendships that so many of us have experienced. *Scenes With Girls* left me feeling all the more grateful for my own female friendships, simply because they bear so little resemblance to Tosh and Lou’s. But perhaps this is exactly what good theatre is supposed to do: leave us questioning how its themes are reflected in our own lives. ***Scenes With Girls* is presented by Salad Days Collective. It runs to 19 September as part of Queensland Theatre’s 2026 DOOR 3 program** **at** **Diane Cilento Studio, and as part of Brisbane Festival. Queensland Theatre, 78 Montague Road South Brisbane Qld 4101.** Tickets are available [here](https://tickets.queenslandtheatre.com.au/8844/). Website: <https://www.brisbanefestival.com.au/events/scenes-with-girls> Socials: <https://www.instagram.com/salad.days.collective/> [Read more of our Brisbane Festival News & Reviews](https://thescoop.au/?s=brisbane+festival) Images supplied. **Categories:** Brisbane, Theatre --- ### [New Australian Musical Silver Tongue Announces Cast Ahead of World Premiere](https://thescoop.au/new-australian-musical-silver-tongue-announces-cast-ahead-of-world-premiere/) **Published:** September 10, 2026 **Author:** Newsroom **Content:** ![The Scoop Silver Tongue Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/08-Silver-Tongue-879x628.jpeg "Silver Tongue Hayes Theatre Co Sydney • The Scoop")Hayes Theatre Co is set to welcome a bold new Australian musical this November with the full cast announcement for *Silver Tongue*, a new work by breakout Australian talents **Miranda Middleton, Jacob Parker and Alec Steedman**, developed by Hayes Theatre Co over several years. Opening 13 November, ***Silver Tongue*** brings together a stellar ensemble of actors, musicians and music-makers to tell a new Australian story through an original score. Tickets are now available at [hayestheatre.com.au](http://hayestheatre.com.au/). Leading the cast in the title role of Silver Tongue is **Billie Palin** (*Pirates of Penzance*). **Natalie Abbott** (*Muriel’s Wedding*) plays Dick**,** alongside **Marty Alix** (*Hamilton*) as Jim. Co-Artistic Director **Victoria Falconer** (*My Brilliant Career*) takes on the role of Peg, while also serving as Music Director, with **Jack Green** (*Bright Star*) playing Squire / Dad. The ensemble is completed by **Tana Laga’aia** (*Jesus Christ Superstar*) as Hands and also serving as Assistant Music Director with **Shannen Alyce Quan** (*Little Women*) as Livesey. Composer **Alec Steedman** (*Bright Star*) will also appear on stage on violin, with **Lawrence Hawkins** (*RENT*) joining the production as a standby. A bold, funny, wryly inventive, and gloriously offbeat re-imagining of Robert Louis Stevenson’s *Treasure Island* – new musical ***Silver Tongue*** rips up the map and re-draws the legend with killer songs, knockabout humour, and a touch of that special Hayes Theatre magic. ![The Scoop Silver Tongue Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-10-at-44711-pm-500x628.png "Silver Tongue Hayes Theatre Co • The Scoop")The cast of Silver TongueThe story follows Jim, a young person adrift in the world, wrestling with questions of ambition and identity as they chase after a map and a myth, and the notorious Silver Tongue, a salty, swaggering, magnetic pirate queen who’s equal parts mentor, menace and mystery. This unlikely duo set off on a rollicking treasure hunt, where double – and triple – crossing soon see them diving into uncharted waters, and ultimately into a whole new quest for truth, redemption, and the chance to write their own story. Co-Artistic Director of Hayes Theatre Co, **Richard Carroll** (*Pirates of Penzance, Calamity Jane*)*,* directs this bold new work. They are joined by Movement Director **Vi Lam** (*Miss Saigon*), and Assistant Director and co-writer **Miranda Middleton** (*Bright Star*). Director **Richard Carroll** said: *“This extraordinary show captures everything we love about music theatre – it’s epic, silly, imaginative, ambitious, hilarious, moving, and so much more. From hearing the first notes of Alec’s beautiful song “Write My Story”, we knew this ingenious re-telling of the story of Treasure Island belonged on the Hayes stage.”* Music Director **Victoria Falconer** said: *“Alec, alongside co-writers Miranda and Jacob have created a real rollicking tale with a rich, sea shanty-infused, folky-orchestral score; it’s been a pleasure to develop it with them over the past few years. We can’t wait to bring the tale to life with our brave and brilliant team of actor-musicians.”* Get ready for a wet, wild and witty voyage packed with big ideas, whip-smart dialogue and punchy, genre-blending songs. With its bold new sound and irreverent spirit, ***Silver Tongue*** joins the next wave of original Australian music theatre, bringing fresh voices and an original score to the Hayes stage. ***Silver Tongue* runs from 13 November to 12 December at Hayes Theatre.** **19 Greenknowe Avenue Potts Point NSW 2011.** Tickets are available [here](https://boxoffice.hayestheatre.com.au/WebPages/EntaWebShow/ShowPerformance.aspx). Website: <https://hayestheatre.com.au/event/silver-tongue/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Image supplied. **Categories:** News --- ### [Review: Gilbert & Sullivan A Soirée Of Song & Satire](https://thescoop.au/review-gilbert-sullivan-a-soiree-of-song-satire/) **Published:** September 9, 2026 **Author:** Jackson Kellaway **Content:** ★★★★☆ ![The Scoop Gilbert and Sullivan A Soirée of Song & Satire Prospero Arts](https://thescoop.au/wp-content/uploads/2026/09/Prospero_soiree_-4_websize-942x628.jpg "Gilbert and Sullivan A Soirée of Song & Satire Prospero Arts • The Scoop")Gilbert & Sullivan (G&S) were a dynamic duo whose names have been ingrained in the memories of so many theatregoers over the decades. Although I have seen a lot of theatre over the years, my knowledge of this iconic duo only really extends to *The Pirates of Penzance*. I think I was in Year 7 when I played the role of the Major General. What a career highlight. The first thing I noticed walking into the QPAC Concert Hall for *Gilbert & Sullivan: A Soirée of Song & Satire* was the Prospero Orchestra onstage. I thoroughly enjoy watching an orchestra because it is entertainment in its own right. The way each section moves in synchronicity, working together to create visceral reactions across the audience, is genuinely awe-inspiring. Leading the orchestra was Musical Director James Dobinson, who expertly conducted his arrangement of the Savoy Operas. I particularly loved his interactions with the cast throughout the evening, as well as his impressive work on the iconic QPAC organ. The evening was packed with hits from the Gilbert & Sullivan catalogue, including *Iolanthe*, *The Mikado* and *The Gondoliers*, to name just a few. These numbers were woven together beautifully, with engaging choreography and intricate interactions between the cast, all under the direction of Stuart Maunder. Every member of this cast has an impressive list of credits to their name, along with some sort of connection to G&S, so it is no surprise they were chosen for this production. ![The Scoop Gilbert and Sullivan A Soirée of Song & Satire Prospero Arts](https://thescoop.au/wp-content/uploads/2026/09/Prospero_soiree_-54_websize-942x628.jpg "Gilbert and Sullivan A Soirée of Song & Satire Prospero Arts • The Scoop")The evening was packed with hits from the Gilbert and Sullivan catalogue Photo by Brit MobbsStarting with the award-winning Nina Korbe, whose soprano voice was nothing short of perfection. Having seen Korbe in *The Drover’s Wife*, I already knew the talent she possessed, but seeing her in this setting was another experience entirely. The emotion she displayed was particularly powerful in *Stay, Fred’ric, Stay!* and *Oh, Here Is Love*, a duet with Billy Bourchier. The chemistry between these two onstage was formidable. Bourchier has been on my radar since I saw him in *The Book of Mormon* many moons ago, which just happens to be my all-time favourite musical. His playful silliness onstage is a pleasure to watch. From the facial expressions to the dancing, it was pure joy. Of course, there is no overlooking his vocal talent either — an inspiration to all aspiring tenors, myself included. It would be hard to match Bourchier’s onstage energy, but Ben Mingay certainly stepped up to the plate. Mingay commanded the stage in his reprising of The Pirate King, a role he is well known for. I thoroughly enjoyed seeing the contrast between this character and the more flamboyant numbers such as *I Am the Monarch of the Sea* and *When I Was a Lad*. Taking to the stage and reprising another previously performed role was Jason Barry-Smith. I couldn’t help but mouth along to *I Am the Very Model of a Modern Major-General*, which Barry-Smith performed with plenty of pride and precision. There is no doubt that, with his talent, he deserved his spot on that stage. ![The Scoop Gilbert and Sullivan A Soirée of Song & Satire Prospero Arts](https://thescoop.au/wp-content/uploads/2026/09/Prospero_soiree_-16_websize-942x628.jpg "Gilbert and Sullivan A Soirée of Song & Satire Prospero Arts • The Scoop")The whole evening was an absolute delight Photo by Brit MobbsBarry-Smith also showcased several numbers from *Ruddigore* alongside soprano Irena Lysiuk, with the pair navigating the intricate songs triumphantly. Lysiuk’s standout moment came in *Moon and I*, where her vocals were both majestic and controlled. This was wonderfully countered by the sillier numbers, including *Three Little Maids*, which showcased the witty genius of Gilbert & Sullivan. Cassandra Seidemann presented her mezzo-soprano vocals with class and confidence. She even had the opportunity to sing *The Lost Chord*, accompanied by the grandiose QPAC organ, which filled the Concert Hall with a gorgeous wall of sound. The whole evening was an absolute delight, and I can confidently say there were a few *tra la las* on the way home. Prospero Arts have delivered an electric evening of entertainment, proving that the music of Gilbert & Sullivan can still feel fresh, funny and utterly enjoyable decades after these works first graced the stage. ***Gilbert & Sullivan: A Soirée of Song & Satire* is presented by Prospero Arts and ran to 9 September at the Concert Hall, QPAC.** The season has now ended. Website: <https://prosperoarts.com.au/project/gilbertandsullivan/> Socials: <https://www.instagram.com/prosperoarts/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: By B’rit Creative **Categories:** Brisbane, Musical Theatre --- ### [Win Tickets To Coyote vs. Acme In Cinemas 17 September](https://thescoop.au/win-tickets-to-coyote-vs-acme-in-cinemas-17-september/) **Published:** August 31, 2026 **Author:** Newsroom **Content:** ![The Scoop Coyote vs. Acme](https://thescoop.au/wp-content/uploads/2026/08/CvA_1200x800-942x628.png "Coyote vs. Acme • The Scoop")**COYOTE VS. ACME** stars your favourite Looney Tunes characters on screen in a hilarious and action packed adventure……only in cinemas from **17 September 2026**. After enduring years of catastrophic product failures at the hands of ACME, Inc., Wile E. Coyote (Genius) finally fights back! Teaming up with billboard accident lawyer Kevin Avery (Will Forte), he takes on slick corporate counsel Buddy Crane (John Cena) and ACME, Inc., the profit-obsessed conglomerate behind every one of the Coyote’s chaotic catastrophes. Also, there’s a roadrunner. And dynamite! **COYOTE VS. ACME** follows Wile E. Coyote as he finally takes his decades-long battle with Acme Corporation to court. After countless failed attempts to catch the Road Runner using Acme products, Wile E. hires Albuquerque lawyer Kevin Avery to sue the company for the damage its defective inventions have caused. What begins as a personal injury case soon uncovers a much bigger conspiracy involving Acme’s secret Project Sisyphus, a product-testing program that has been using cartoon characters as unsuspecting guinea pigs. ![The Scoop Coyote vs. Acme](https://thescoop.au/wp-content/uploads/2026/08/Coyote-vs-Acme-Image3-1200x484.jpg "Coyote vs. Acme • The Scoop")With Kevin’s niece Paige (Lana Condor) and a mysterious whistleblower helping uncover the truth, the case takes them from the courtroom to a congressional hearing in Washington, where Acme’s executives are forced to answer for their actions. Along the way, Kevin and Wile E. must overcome their own failures and differences, while Wile E. finally has to confront his obsession with catching the Road Runner. The Scoop is **giving away five, in-season double pass** **e-tickets** **to the film**, thanks to **Pinnacle Films**! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply like the post, give us a follow and comment ‘Scoop’ under the post. The tickets are valid at any cinemas across Australia screening COYOTE VS. ACME (terms and conditions can be found on the tickets). **COYOTE VS. ACME opens nationally on Thursday 17 September at participating cinemas.** Find cinemas [here](https://www.flicks.com.au/movie/coyote-vs-acme/). Website: <https://www.pinnaclefilms.com.au/films/> Socials: <https://www.instagram.com/pinnaclefilmsau/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Coyote vs. Acme Director: Dave Green Cast: Will Forte, John Cena, Lana Condor Country of Origin: USA Duration: 101 mins Rating: CTC **Categories:** competition, News --- ### [Review: Tangalooma Dunes Cabana Club: Our New Favourite Beach Spot](https://thescoop.au/review-tangalooma-dunes-cabana-club-our-new-favourite-beach-spot/) **Published:** September 7, 2026 **Author:** Sarah Skubala **Content:** ★★★★★ ![The Scoop Tangalooma Dunes Cabana Club](https://thescoop.au/wp-content/uploads/2026/09/2026_TangaloomaResort_Cabana_ReubenNutt_HighRes_022-942x628.jpg "Tangalooma Dunes Cabana Club • The Scoop")Tangalooma Dunes Cabana Club may just be The Scoop’s new favourite spot in Queensland. As someone who didn’t grow up in Brisbane, I am always open to discovering new and exciting day trips to explore the surrounding regions. A day trip to Noosa has become a logistical impracticality, with an average one-way commute taking two hours. And given how overrun it’s become, that effort is becoming harder to justify. Similarly, on a bad day, the traffic down to the Gold Coast can take almost as long, especially if you’re bound for Coolangatta. It was a joy, then, to discover a new option that leads to an island so beautiful, you’ll forget where in the world you actually are. It’s Tangalooma Island Resort on Moreton Island. In particular, their brand-new, beachfront Dunes Cabana Club. Created in partnership with Carnival Cruise Lines, Tangalooma Dunes Cabana Club is Australia’s first year-round beachfront cabana club, and it’s opening very soon for individual bookings. ![The Scoop Tangalooma Dunes Cabana Club](https://thescoop.au/wp-content/uploads/2026/09/2026_TangaloomaResort_Cabana_ReubenNutt_HighRes_014-942x628.jpg "Tangalooma Dunes Cabana Club • The Scoop")Tangalooma Dunes Cabana Club is opening very soon for individual bookings Photo by Reuben NuttIt was an unseasonably warm day for the VIP opening, but the 31-degree forecast proved to be the perfect temperature for the island. There wasn’t a blustery ocean breeze all afternoon, and the night was pleasant enough that no warm layer was required. Which was lucky for me, because I forgot to pack one. Spring may just be the best time to be in this part of the world. To get to Dunes Cabana Club, it is an easy drive to the car park at Holt Street Wharf in Pinkenba. From there, a fully air-conditioned catamaran takes about 75 minutes to get to the island. To be fair, this still means the journey takes about two hours, but the experience is much more pleasant with the view of the ocean out the window and someone else operating the transport. Consisting of 20 architecturally designed white cabanas, Dunes Cabana Club overlooks manicured lawns which lead right onto the west-facing Tangalooma Beach. Each cabana can house up to 8 people, with wrap-around bench seating and a private bar fridge to keep beverages and share platters cool. There are multiple power points for charging electronics, and valuables can be locked away if you want explore the beach. ![The Scoop Tangalooma Dunes Cabana Club](https://thescoop.au/wp-content/uploads/2026/09/260816_CarnivalSplendour_Day2_04_Cabanas_04792-942x628.jpg "Tangalooma Dunes Cabana Club • The Scoop")Each cabana can seat up to 8 people Photo by Reuben NuttThe entire space is also available for private functions, corporate bookings and special events, with the venue holding up to 160 people. As the festive season fast approaches, I could not think of a better place to host a company Christmas party. The Dunes Cabana Club is removed enough from the main resort to feel private, but close enough to take advantage of the amenities, including the nearby toilets. As for the island itself, this is a slice of paradise I never knew existed so close to Brisbane. You really do forget where you are in the world. The bird life is charming, with curlews scattered across the shoreline, and pelicans sitting atop pylons at the boat terminal with such stillness that I thought they were sculptures. ![The Scoop Tangalooma Dunes Cabana Club](https://thescoop.au/wp-content/uploads/2026/09/260816_CarnivalSplendour_Day2_04_Cabanas_04893-942x628.jpg "Tangalooma Dunes Cabana Club • The Scoop")The island so beautiful you will forget where in the world you are Photo by Reuben NuttThe pied cormorants are friendly; while waiting for the boat ride home, we had a stray one wander up and check if our phone was edible. And it was a thrill to spot a pair of baby masked lapwing chicks out and about with their parents at golden hour. About that sunset. The cabana hire package currently spans 9am to 5pm, but it would be a huge mistake to leave the island before the sun goes down. With a night boat departing at 7pm, there is just enough time to dip your toes in the water, have a drink on the Beach Deck upstairs at The Wheelhouse (our mocktail was aptly titled Day At The Beach), and bask in the afterglow. I have never seen a sky so vividly orange, and I’ve been to Hawaii. Three times. I am already making plans to get back to the island. Day tripping out of Brisbane just became a lot more enticing. **Tangalooma Dunes Cabana Club is located at Tangalooma Island Resort on Moreton Island. Individual bookings will open mid-to-late Spring 2026. Special event, conferences and product launch bookings are now open.** Sign up for Dunes Cabana Club updates [here](https://www.tangalooma.com/cabanas/sign-up-for-more-info). Check out our highlights reel of the day [here](https://www.instagram.com/p/Dc49MEgqowf/). Website: <https://www.tangalooma.com/cabanas> Socials: <https://www.instagram.com/tangaloomaislandresort/> [Read more of our Latest Reviews](https://thescoop.au/latest/) Photo credits: Reuben Nutt **Categories:** Brisbane, News --- ### [The Empire Starts Search For Jesus Christ Superstar Creative Team](https://thescoop.au/the-empire-starts-search-for-jesus-christ-superstar-creative-team/) **Published:** September 8, 2026 **Author:** Newsroom **Content:** ![The Scoop The Empire Theatre Creative Team Jesus Christ Superstar](https://thescoop.au/wp-content/uploads/2026/09/The-Empire_-JULIET_Credit-Cassidy-Cloupet-942x628.jpg "The Empire Theatre Creative Team Jesus Christ Superstar • The Scoop")The home of Australia’s largest regional theatre, **The Empire** has begun the search for an exceptional creative team to lead its **2027 production** of Tim Rice and Andrew Lloyd Webber’s iconic musical, ***Jesus Christ Superstar**.* Originally staged by The Empire in 1999, *Jesus Christ Superstar* established the annual tradition of staging large-scale productions in the 1,561-seat Empire Theatre that has become a staple of the South-East Queensland cultural calendar – a tradition that continues almost three decades later. Recent successes include [*& JULIET* ](https://thescoop.au/review-juliet-brings-pop-power-big-heart-to-the-empire/)in 2026, *[Come From Away](https://thescoop.au/review-come-from-away-brings-heart-hope-and-humanity/)* in 2025 and Rodgers and Hammerstein’s *Cinderella* in 2024, bringing together local performers with leading professional creatives such as Queensland-based Director **Tim Hill**, New York-based Australian Director/Choreographer **David Wynen**, Choreographer **Tess Hill** and Music Supervisor, well-known vocalist, **Luke Kennedy**. ![The Scoop The Empire Theatre Creative Team Jesus Christ Superstar](https://thescoop.au/wp-content/uploads/2026/09/The-Empire_Credit_-Lucy-RC-Photography-942x628.jpg "The Empire Theatre Creative Team Jesus Christ Superstar • The Scoop")2027 marks 30 year since the opening of The Empire Theatre Photo by Lucy RC PhotographyThe 2027 production will see *Jesus Christ Superstar* return to the stage, marking 30 years since the restored Empire Theatre reopened its doors in 1997. Expressions of interest are now open for the roles of **Director**, **Choreographer**, **Music Director** and **Scenic Designer**, with auditions for the production to be held in early 2027. *Jesus Christ Superstar* will play eight performances across a two-week season from **24 June to 3 July 2027**. Download the 2027 Major Production Media Pack [here](https://empiretheatre.com.au/uploads/TheEmpire-MajorProduction-2027-CreativeEoI.pdf). **For more information on the creative roles available and to submit an expression of interest, visit The Empire Theatre website.** Information link: <https://empiretheatre.com.au/community/get-involved> Website: <https://empiretheatre.com.au/> Socials: [https://www.instagram.com/empire\_theatre/](https://www.instagram.com/empire_theatre/) [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: *& Juliet*, photo by Cassidy Cloupet **Categories:** News --- ### [Announcing Junior Theatre Festival Move To Melbourne In 2027](https://thescoop.au/announcing-junior-theatre-festival-move-to-melbourne-in-2027/) **Published:** September 8, 2026 **Author:** Newsroom **Content:** ![The Scoop Junior Theatre Festival Melbourne 2027](https://thescoop.au/wp-content/uploads/2026/09/32A-942x628.jpg "Junior Theatre Festival Melbourne 2027 • The Scoop")Melbourne is set to become Australia’s new Jazz Hands Capital with the news that the **Junior Theatre Festival Australia** will relocate to a bigger stage at the **Melbourne** Convention and Exhibition Centre (MCEC) from **October 2027.** The move, from its home of ten years at Newcastle’s Civic Theatre, marks the beginning of a significant new chapter for the Southern Hemisphere’s largest celebration of young people in musical theatre, allowing the event to grow from its current annual capacity of approximately 1,400 participants to more than 5,000 participants annually in the years ahead. Daniel Stoddart, Founder of **OzTheatrics**, said: *“At a time when parts of the professional theatre industry face ongoing challenges and uncertainty, youth musical theatre in Australia is experiencing extraordinary growth.* *Schools, academies and community organisations across Australia continue to embrace musical theatre at unprecedented levels, with Broadway Junior™ productions becoming increasingly popular and accessible for young performers.* *With more than 50% of Broadway Junior licenses in Australia presented in Victoria, we know that the move to Melbourne will be a welcomed one by musical theatre fans.”* The Junior Theatre Festival offers participants from across Australia a variety of activities including Broadway Junior adjudications, student workshops and masterclasses, new musical showcases, pilot programs supporting the development of new Australian musicals, teacher professional development workshops, masterclasses and keynote events as well as celebrity guest performances and industry networking opportunities. ![The Scoop Junior Theatre Festival Melbourne 2027](https://thescoop.au/wp-content/uploads/2026/09/23-LEFT-HAND-SIDE--942x628.jpg "Junior Theatre Festival Melbourne 2027 • The Scoop")The Junior Theatre Festival is moving to Melbourne from 2027 Image suppliedThe festival in Australia is part of a global network of Junior Theatre Festivals held in the United States, United Kingdom and New Zealand, and works closely with the world’s leading theatrical licensing group, Music Theatre International Australasia to celebrate Broadway Junior™ musicals. **Stuart Hendricks**, Managing Director, Music Theatre International Australasia, said: *“Broadway Junior has transformed the way young Australians engage with musical theatre. The growth of Junior Theatre Festival Australia reflects the passion of teachers, schools and students across the country, and Melbourne provides the perfect platform for the festival’s next stage of growth.”* **Junior Theatre Festival Australia is presented by OzTheatrics** and proudly sponsored by Music Theatre International Australasia, Secret Melbourne, Fever and JH Productions, with more exciting sponsors and details about the event to be revealed shortly. **For further information on attending Junior Theatre Festival in 2027, visit** **the website at the link below.** Website: <https://juniortheaterfestival.com/jtf-australia/> Socials: <https://www.instagram.com/oztheatrics/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Win Tickets To The 2026 ST. ALi Italian Film Festival](https://thescoop.au/win-tickets-to-the-2026-st-ali-italian-film-festival/) **Published:** September 8, 2026 **Author:** Newsroom **Content:** ![The Scoop ST ALi. Italian Film Festival](https://thescoop.au/wp-content/uploads/2026/09/The-Greater-Good_2-942x628.png "ST ALi. Italian Film Festival • The Scoop")This Spring, Palace is thrilled to bring the **2026 ST. ALi Italian Film Festival** to cinemas as the largest festival of Italian cinema in the world. Showcasing an incredible selection of new Italian cinema celebrating the country’s language stories and culture, the festival includes works from contemporary Italian auteurs, documentaries, comedies, a retrospective focus on iconic Italian actor Anna Magnani, two very special guests and the premiere of a new Australian Italian co production. Opening the 2026 festival is the Palermo-set box office hit romantic comedy from Pierfrancesco ‘Pif’ Diliberto **HOLY CANNOLI** (*Che Dio perdona a tutti),* a story of love, faith and delicious pastries. We follow Arturo, a successful real estate agent (played by Pif) with a passion for desserts who falls for a charming, devoutly Catholic pastry chef, Flora. This year’s Festival Centrepiece is the highly awarded **SWEETHEART** (*Gioia mia)*. Claiming Best Actress and Best New Director at the 2026 David di Donatello Awards amongst other accolades, this enchanting drama follows a a young boy, Nico, who is sent to spend a summer in Sicily with his elderly aunt, played by beloved Italian actor Aurora Quattrocchi. A reluctant summer transforms into something much more intriguing when Nico discovers his aunt’s mysterious Sicilian house holds secrets and, perhaps, ancient spirits lurking within its walls. ![The Scoop ST ALi. Italian Film Festival](https://thescoop.au/wp-content/uploads/2026/09/Holy-Cannoli_1-942x628.jpg "ST ALi. Italian Film Festival • The Scoop")Still from Holy CannoliClosing the Festival and direct from this year’s Venice International Film Festival is **THE ECHO CHAMBER**, directed by Andrea Pallaoro. Based on Bernardo Bertolucci’s final screenplay, this love story where the boundaries between presence and absence, care and dependence and desire and control blur until they dissolve stars Alicia Vikander, Luca Marinelli (*The Eight Mountains*) and Susan Sarandon. The 2026 Festival Special Presentation is the bittersweet **THREE GOODBYES** (*Tre ciotole),* based on the bestselling novel by Michela Murgia. When a couple (played by acclaimed actors Alba Rohrwacher and Elio Germano) split up after what seems like a trivial argument, their lives dramatically change in this emotional, ultimately life-affirming tale from award winning director Isabel Coixet. These films and many more will screen nationally from **16 September**. Check full Festival dates below. The Scoop is **giving away five, in-season double passes** **to the ST. ALi Italian Film Festival**, thanks to Palace Cinemas! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ and ‘your city name‘ under the post. The tickets are valid for all ST. ALi Italian Film Festival sessions, pending availability, except special event screenings. **The 2026 ST. ALi Italian Film Festival is presented** **by Palace and screens from 16 September in the locations below**. Tickets are now on sale! Website: <https://italianfilmfestival.com.au/> Socials: <https://www.instagram.com/italianfilmfest/> [Full Program Announcement is Here](https://thescoop.au/announcing-2026-st-ali-italian-film-festival-full-program/) Heron image: still from *The Greater Good*. Watch the trailer below: 2026 Festival Dates and Venues by City: **Canberra** 16 September – 14 October, Palace Electric Cinema **Adelaide** 16 September – 13 October, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney** 17 September – 14 October, Palace Moore Park, Palace Norton St, Palace Central **Byron Bay and Ballina** 17 September – 14 October, Palace Byron Bay, Ballina Fair Cinemas **Melbourne** 18 September – 15 October, The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Penny Lane, Palace Westgarth, The Kino, Pentridge Cinema, Cinema Nova **Ballarat** 18 September – 15 October, Palace Regent Cinemas **Brisbane** 24 September – 18 October, Palace Barracks, Palace James Street **Perth** 24 September – 18 October, Palace Raine Square, Luna Leederville, Luna on SX, Windsor Cinema **Categories:** competition, News --- ### [Announcing Belvoir St Theatre 2027 Season](https://thescoop.au/announcing-belvoir-st-theatre-2027-season/) **Published:** September 7, 2026 **Author:** Newsroom **Content:** ![The Scoop Belvoir St Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/4_A-CLOCKWORK-ORANGE-1116x628.jpg "Belvoir St Theatre 2027 Season • The Scoop")Belvoir St Theatre has announced its 2027 Season, including nine mainstage productions and two late-night shows. Across the year, more than a hundred artists will bring the season to life in a celebration of new voices and beloved legends, bold Australian writing, First Nations storytelling, Tony Award-winning hits, fabulously rogue female characters, and all the thrilling, risk-taking theatrical brilliance audiences love about Belvoir. Belvoir’s Artistic Director, **Eamon Flack**, said: *“Theatre is the opposite of the internet. Theatre is AI proof. Theatre is real. Theatre is the pure model of democracy. Australia needs more great theatre, more artistic licence, more of the joyful and sometimes hard work of holding many truths in one place among many people. That’s the hopeful, hopeless, heart-on-our sleeves wish that drives our work here.* *Some of these names may be new to you, but that’s the thing I’m proudest of with this season – the artists of the future stepping up for the first time, the plays and stories taking their place because they deserve it, not ‘cause they’re known brands.”* ![The Scoop Belvoir St Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/1_GAME-SET-MATCH_2-1116x628.jpg "Belvoir St Theatre 2027 Season • The Scoop")Game Set Match is a Malthouse Theatre production presented with Sydney Festival**BELVOIR’S 2027 SEASON** GAME. SET. MATCH. **7** **– 24** **January** ***A Malthouse Theatre Production, co-presented with Sydney Festival*** Josh’s mum was a famous tennis legend, and he’s lived in her shadow all his life. But now she’s gone, and on the evening of her funeral, he meets Ray. She can return serve – and they hit it off over a long, bittersweet night of memory, sparring and revelation. Will they? Won’t they? Or is that the wrong question? Is this a romance, a wake, a game – or something else? The Malthouse hit comes to Belvoir for a strictly limited Sydney Festival showing. By Megan Wilding Directed by **Jessica Arthur** With **Rick Davies and Megan Wilding** THE LARK **10** **February to 7** **March** ***Presented in association with Arts Centre Melbourne and Hey Dowling*** Rose has lived and worked at The Lark all her life. It’s a small inner-city pub, but for Rose it’s a universe. Now, inevitably, gentrification has come to her part of the world, and demolition is around the corner. All things must pass, but can Rose escape The Lark’s song and find something beyond the drip trays – and the ghosts which haunt this little piece of Australia? A eulogy for a vanishing world, and a deft capturing of the grandeur in one seemingly little life. Written by **Daniel Keene** Directed by **Matt Scholten** With **Noni Hazlehurst** ![The Scoop Belvoir St Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/3_STEREOPHONIC-1116x628.jpg "Belvoir St Theatre 2027 Season • The Scoop")Stereophonic is produced with Melbourne and Queensland Theatre CompanySTEREOPHONIC **20** **March to 25** **April** ***Co-produced with Melbourne Theatre Company and Queensland Theatre Company*** A band on the verge of a breakthrough retreats to a recording studio to make the rock’n’roll album that could define a generation. But ambition comes at a cost: cocaine, egos, rivalry and fractured relationships all threaten to destroy the very thing they’re trying to create. Over weeks that blur into months, they chase the perfect take – and each other. David Adjmi (*Stunning, Marie Antoinette*) wrote this *“epic canvas rendered in hyper-intimate detail”* (The New York Times) over a decade ago, and the now critically acclaimed fly-on-the-wall portrait of creativity and obsession is the most nominated play in Tony Award history, going on to win five. Written by **David Adjmi** Original songs by **Will Butler** Directed by **Daniel Evans** With **Geraldine Hakewill, Alex Malone** A CLOCKWORK ORANGE **8** **May to 6** **June** A time not too far from our own. A city, plagued with youth crime. Alex is fifteen, intelligent, passionate about Beethoven – and a sociopath. Beating up elderly academics, brawling with other gangs, breaking and entering – that’s one thing. But when he lands up in gaol, it’s the end of the road. Or is it? The State wants to try a radical new therapy to cure young criminals – the Ludovico Technique. Alex is the guinea pig, and he’s quickly ready to be let back on the streets. He’s cured. He’s cured all right. By Anthony Burgess Adapted by **Tom Wright** Directed by **Margaret Thanos** With **Paula Arundell, Marco Chiappi, Rose Riley, Brittany Santariga, James Thomasson, Darius Williams** ![The Scoop Belvoir St Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/5_INTELLIGENT-LIFE-IN-THE-UNIVERSE-1116x628.jpg "Belvoir St Theatre 2027 Season • The Scoop")The Search for Signs of Intelligent Life in the UniverseTHE SEARCH FOR SIGNS OF INTELLIGENT LIFE IN THE UNIVERSE **12** **June to 18** **July** In 1985 Lily Tomlin’s legendary comic characters became a satirical classic when Jane Wagner stitched them into a show that became Broadway legend. It’s a wise-cracking parade of humanity, swirling around Trudy, a bag lady who doesn’t miss a trick. The aliens want her to prove there’s some redeeming feature to the species. She’s seen the lot, and, well, our report card ain’t looking grand. The great Robyn Nevin *(Neighbourhood Watch)* plays Trudy under the direction of showman Simon Phillips *(Grief is the Thing with Feathers).* Poignant, funny and above all entertaining, here’s something different. Written by **Jane Wagner** Directed by **Simon Phillips** With **Robyn Nevin, Zahra Newman** DIRTY DIAMONDS **31** **July to 22** **August** ***Co-Produced with Melbourne Theatre Company, in association with Yirra Yarkin Theatre Company*** Cassie and Jordan don’t know each other from a bar of soap. Jordan is a Noongar DJ with street smarts and attitude. Cassie is a Kalkadoon forensic investigator, used to calmly solving problems from the outside, not finding herself in the midst of them. But now Cassie and Jordan are in a car with a biker ex on their tails. How did they get in this mess? And what, as they drive from Perth to the Kimberley, will this contemporary odd couple learn from each other? A witty, sharp road-play drama of two young women, a return to Country, and some serious stuff. Written and Directed by **Abbie-lee Lewis** Associate Director **Eamon Flack** Assistant Director **Bobbi Henry** With **Ruby Henaway, Lila McGuire, Ian Michael** ![The Scoop Belvoir St Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/7_WISH-YOU-WERE-HERE-1116x628.jpg "Belvoir St Theatre 2027 Season • The Scoop")Wish You Were HereWISH YOU WERE HERE **28** **August to 19** **September** It’s 1978 and protests against the Shah have become a daily event in Iran. In a suburban corner a group of close friends plan weddings, trade inappropriate jokes and lead something like normal lives despite what’s happening on the streets. Playful, intimate and surprisingly naughty, these girlfriends are completely unfiltered behind closed doors. But as the situation worsens, each one must wrestle with whether to emigrate and make new lives, or face an uncertain future at home. What sort of Iran is just over the horizon? Written by **Sanaz Toossi** Directed by **Mehhma Malhi and Ayah Tayeh** With **Violette Ayad, Minerva Khodabande** THE LANDLORD **25** **September to 24** **October** It’s 2027. A pair of terrace houses in Surry Hills. They belong to John, who lives in the nice one, and today he is celebrating turning sixty-five. His 30-something son has moved back home after his life fell apart. His daughter has left her husband – after John paid all that bloody money for the wedding. Things are coming to a head, on this his birthday night. The lives of our landlord family and their tenant in the leaky house next door are going to become messily intertwined. And in the end, landlords have the power. Or do they? Written by **Grace Chapple** Directed by **Hannah Goodwin** With **Ariadne Sgouros, Zoe Terakes** ![The Scoop Belvoir St Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/9_DANCING-AT-LUGHNASA-1116x628.jpg "Belvoir St Theatre 2027 Season • The Scoop")Dancing At LughnasaDANCING AT LUGHNASA **6** **November to 12** **December** Donegal, 1936. The Mundy sisters live on the edge of poverty. There’s five of them in one small cottage, plus Christina’s seven-year-old Michael, and now their older brother Jack is home from mission work in Africa. One afternoon, when their dodgy wireless cuts out yet again, Agnes suddenly decides they should all go to the harvest dance for the Festival of Lughnasa – and a wild yearning for life begins to possess these mild-mannered people in their quiet corner of a world beginning its slide towards chaos. Written by **Brian Friel** Directed by **Eamon Flack** With Tamsin Carroll, Luke Mullins, Matilda Ridgway **UP LATE** REDFERN RENAISSANCE **On sale in November** ***Co-presented with Sydney Festival*** Back for its third year, *Redfern Renaissance* returns to Belvoir with another celebration of Redfern’s artists, storytellers and cultural leaders. Join us as the theatre comes alive with music, performance, conversation and special moments that can’t be found anywhere else. Joyful, generous and proudly local, Redfern Renaissance shines a spotlight on the First Nations history of Redfern. Come together on Gadigal Country for an evening of culture, connection and celebration. Creative Director **Angeline Penrith** With **special guest artists** ![The Scoop Belvoir St Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/09/99_UP-LATE-WITH-BIANCA-HUNT-1116x628.jpg "Belvoir St Theatre 2027 Season • The Scoop")Up Late With Bianca HuntUP LATE WITH BIANCA HUNT **On sale in November** ***Co-presented with Sydney Festival*** *Up Late with Bianca Hunt* is the night out you wish happened more often. Part talk show, part comedy gig, part live music event, Bianca takes over Belvoir for three unforgettable nights packed with sharp conversations, surprise guests and the kind of laughter that echoes all the way to the bar. Bringing together artists, cultural trailblazers and some of the country’s most exciting creative voices, *Up Late* is smart, funny and distinctly Blak. Come for the guests, stay for the unexpected. With **Bianca Hunt and special guests** **Eamon Flack** said: *“This is a season of generations and generation – growth, passing on, many ages of life and culture, the many great stories that lie just out of sight. And, as always, a rousing celebration of life. Long live Belvoir!”* **Subscriptions for Belvoir St Theatre’s 2027 season are on sale from today via the website.** Website: <https://belvoir.com.au/2027-season/> Socials: <https://www.instagram.com/belvoirst/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: A Clockwork Orange. Images supplied. **Categories:** News --- ### [Review: Mamma Mia! Brings Joy To The Gold Coast](https://thescoop.au/review-mamma-mia-brings-joy-to-the-gold-coast/) **Published:** September 7, 2026 **Author:** Jackson Kellaway **Content:** ★★★★☆ ![The Scoop Mamma Mia! Gold Coast](https://thescoop.au/wp-content/uploads/2026/09/20260904MamaMia-39-958x628.jpg "Mamma Mia! Gold Coast • The Scoop")*Mamma Mia!* Here I go again..? When I was asked to review The Very Popular Theatre Company’s *Mamma Mia!* on the Gold Coast, I was hesitant. Having performed in *Mamma Mia!* myself just one month ago, I knew I was going to be looking at this production through a slightly different lens to any of my other reviews. I know the songs, the story and the choreography intimately, so I was interested to see how another company would bring this much-loved show to life. *Mamma Mia!* is a classic. A musical with ABBA hits intertwined throughout the story – what’s not to love? Everybody knows the story of soon-to-be-wed Sophie Sheridan, who invites her three potential fathers to her wedding. The three men arrive not knowing the real reason they have been invited. Donna Sheridan, Sophie’s mother, is less than pleased to see the men arrive just hours before the big day. What follows is a tale of friendships, love and some hilarious one-liners. Director Erin James delivers exactly what audiences on the Gold Coast want from *Mamma Mia!* – a fun, high-energy and uplifting production. A jukebox musical’s only downside is that it can attract an audience who may not be familiar with theatre etiquette. Pair that with a production held at The Star Casino, and on opening night, it certainly brought a few distractions from the action onstage. ![The Scoop Mamma Mia! Gold Coast](https://thescoop.au/wp-content/uploads/2026/09/20260904MamaMia-109-939x628.jpg "20260904MamaMia-109 • The Scoop")Erin Cornell plays Donna with undeniable confidence Photo by Wallis MediaThroughout the show, I could hear empty cans hitting the wooden floor. There was a woman two seats down who was sending texts throughout the show, not to mention the man three rows in front who whipped out his phone at one point to take a photo. Thankfully, the cast remained completely committed despite these distractions and continued to put on a great performance. Speaking of the cast, let’s talk ensemble. With an ensemble of 20 alongside the leads, the large dance numbers had a lot of bodies on stage. Choreographer Rachel Stark does a great job managing this, with the dance numbers remaining tight and in sync. In a cast this large, the slightest arm movement or line out of place can become very noticeable, but the ensemble works together exceptionally well. The ensemble vocals are strong, with beautifully balanced harmonies creating some particularly joyous moments. Unfortunately, the orchestra occasionally overpowered the vocals, making it difficult to hear some of the ensemble singing. There were moments where I just wanted to close my eyes so I could focus on the voices. That said, the orchestra itself is fantastic, bringing the instantly recognisable score to life from the very first notes. Under the musical supervision of Dan Wilson and conducted by Jonathon Gardner, the musicians bring energy and excitement to every beat. It was a joy to look around the audience and see heads bobbing along to the music. In the role of Donna Sheridan, we have Erin Cornell, reprising the role from the Newcastle season in 2025. This character is no small feat, especially in Act Two, with one show-stopping number after another. Cornell plays Donna with undeniable confidence, giving her the light and shade she deserves while delivering an emotional journey vocally. The contrast between acts, and even between individual songs, is captivating. ![The Scoop Mamma Mia! Gold Coast](https://thescoop.au/wp-content/uploads/2026/09/20260904MamaMia-130-984x628.jpg "Mamma Mia! Gold Coast • The Scoop")Emily Monsma is a delight to see in the role of Sophie Photo by Wallis MediaPlaying her daughter Sophie Sheridan is Emily Monsma, a recognisable name to many theatre fans. Monsma recently finished the Australasian tour of *Wicked*, where she performed in the ensemble and covered Glinda. She brings a beautiful naivety to Sophie at the beginning of the show, which gradually develops into strength. Her energy alongside Sophie’s onstage best friends Ali (Juliette Coates) and Lisa (Katie Loxston) is pure joy to witness. The three have such natural chemistry that you can genuinely believe they’d been friends for years. There is no doubt Monsma is talented, reinforced by her vocals throughout the show. She is a delight to see in the role of Sophie. Turning our attention to Donna’s best friends, Rosie (Jo-Anne Jackson) and Tanya (Chloe Rose Taylor), arrive to support their fellow dynamo during this stressful time. Jackson’s portrayal of Rosie is so much fun to watch. Her attitude commands the stage, but she also reveals a more reserved and desperate side during *Take a Chance on Me*. A highlight of this number was when Jackson came down the ladder and literally stopped the show to catch her breath. I was laughing out loud along with the rest of the audience. Taylor brings an air of confidence to Tanya without ever becoming cocky. There is a self-assuredness to her portrayal of Tanya’s sex appeal – she doesn’t need to flaunt it. Her hero number, *Does Your Mother Know*, is a crowd favourite in most productions, and this is no different. Whether it was Tanya playing with Pepper or the shirtless ensemble men, this number is hot. ![The Scoop Mamma Mia! Gold Coast](https://thescoop.au/wp-content/uploads/2026/09/20260904MamaMia-93-953x628.jpg "Mamma Mia! Gold Coast • The Scoop")The shirtless men are a crowd favourite Photo by Wallis MediaSpeaking of hot, I did wonder if the audition brief required that all the male cast had to be ripped. This was especially true for Pepper, played by Jake Ameduri, who spends most of the show showing off his abs or biceps. Ameduri is wonderfully performative in the role and, at times, had the audience eye-rolling at his lines. But that is Pepper; he’s always getting up your nose. Playing Sophie’s soon-to-be husband, Skye, is Harley Dasey, who does a great job with a role that can easily become a forgotten part of the story. His accent is consistent throughout, and he is vocally confident in *Lay All Your Love on Me*. The more inebriated members of the audience gave a shriek of delight when a surprise pantsing of the groom occurred. The three dads, Sam (Matt Edwards), Harry (Timothy Aaron Cooper) and Bill (Danny Folpp), are the final piece of the *Mamma Mia!* puzzle. These three characters are all very different, and the actors play those contrasts well. Edwards brings an emotional integrity to Sam and shows this dynamic particularly well in his song *SOS*. Folpp has great chemistry with Rosie in *Take a Chance on Me* and excellent comedic timing when delivering his many funny one-liners. The standout for me is Cooper and his portrayal of Harry. His character’s emotional arc throughout the show is clearly defined, and his vocals are a highlight. I found myself eagerly awaiting his next song, which is always a good sign. ![The Scoop Mamma Mia! Gold Coast](https://thescoop.au/wp-content/uploads/2026/09/20260904MamaMia-189-949x628.jpg "Mamma Mia! Gold Coast • The Scoop")The vocals are strong with beautifully balanced harmonies creating particularly joyous moments Photo by Wallis MediaSpecial mention also has to go to Set Designer Josh McIntosh and Lighting Designer Christopher Snape. The large set pieces changed seamlessly between scenes, which was impressive to watch onstage. I particularly love the benches and long tables used during *Super Trouper*, which are then transformed into a catwalk. It is such an effective and clever use of the set, and was one of those moments that made me appreciate the thought that had gone into the design. The lighting is colourful, bright and spectacular, often perfectly timed with the orchestra. It adds another layer of energy to the production and makes the larger musical numbers feel even bigger. There were several moments where microphones were not turned on in time for certain lines of dialogue, which was unfortunate. It’s something I have noticed across several productions recently. While I don’t think it took away from the story here, it did briefly pull the audience away from the Greek Islands. Hopefully this is something that can continue to be refined. For a show built around some of the most recognisable songs in musical theatre, *Mamma Mia!* is ultimately about joy – and this production delivers plenty of it. From the infectious ABBA score to the energetic ensemble and a cast clearly having a great time, there is plenty for Gold Coast audiences to sing, laugh and dance along to. ***Mamma Mia!* is presented by The Very Popular Theatre Company and runs to 20 September at The Star Gold Coast, Casino Drive, Broadbeach Qld 4218.** Tickets are available [here](https://mammamiagoldcoast.com.au/#tickets). Website: <https://mammamiagoldcoast.com.au/> Socials: <https://www.instagram.com/mammamiagc/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Peter Wallis, Wallis Media **Categories:** Gold Coast, Musical Theatre --- ### [Review: Koreaboo La Boite Theatre 2026 Brisbane Festival](https://thescoop.au/review-koreaboo-la-boite-theatre-2026-brisbane-festival/) **Published:** September 6, 2026 **Author:** Isabella Visser **Content:** ★★★★☆ ![The Scoop Koreaboo La Boite Theatre Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/GRIFFIN_Koreaboo_PhotoBrettBoardman_000613-941x628.jpg "Koreaboo La Boite Theatre Brisbane Festival • The Scoop")La Boite Theatre presents *Koreaboo*, an enlightening perspective on adoptee reconnection and coming to grips with one’s identity. Facing the personal struggles that come with early adulthood, Hannah (Michelle Lim Davidson) is eager to reunite with her biological mother, Soon Hee (Heather Jeong), in Korea and learn more about her heritage. But she’s met with both language and emotional barriers that seem impossible to overcome. Soon Hee spends all her time working at the 24hr mart, refusing to go outside or even be seen with Hannah. Only their shared love of K-pop and TV dramas seems to heal the shattered edges of their relationship. But when Hannah gets a spot on their favourite reality talent show, Soon Hee pushes her to embrace a culture where she doesn’t quite fit. Being both too Korean for Australia and too Australian for Korea, Hannah must come to grips with her own identity. A Griffin Theatre Company production, *Koreaboo* made its debut in Sydney last year to much acclaim. Its revival for Brisbane Festival is as meaningful as it is exciting. ![The Scoop Koreaboo La Boite Theatre Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/GRIFFIN_Koreaboo_PhotoBrettBoardman_000962-941x628.jpg "Koreaboo La Boite Theatre Brisbane Festival • The Scoop")This revival for Brisbane Festival is as meaningful as it is exciting Photo by Brett BoardmanDirector Jessica Arthur beautifully presents a play with many distinct layers. On one hand, it’s fun and filled with pop-culture references from both BTS and *Sex and the City* that are cleverly delivered to bring the most laughs. The play is also incredibly poignant, and Arthur’s guidance highlights the stirring sentimentality and raw expectations in the play. Drawing on her own experiences as a Korean adopted into an Australian family, playwright Michelle Lim Davidson navigates themes of cultural identity and family. She re-centres the narrative of intercountry adoption around the adoptees themselves, giving them a voice and looking beyond the idealised reunion stories so often depicted in film and television. Also starring as the hopeful Hannah, Davidson’s performance bubbles with an eagerness to build a relationship with Soon Hee. From sharing childhood tap dance competition routines to taking every opportunity to connect over pop culture, she is an absolute ray of pure sunshine. Her passion doesn’t stop when scenes grow more tense but is only heightened by a palpable sense of disappointment. Davidson’s performance masterfully balances frustration and optimism. ![The Scoop Koreaboo La Boite Theatre Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/GRIFFIN_Koreaboo_PhotoBrettBoardman_003483-941x628.jpg "Koreaboo La Boite Theatre Brisbane Festival • The Scoop")The onstage chemistry between Davidson and Jeong is the highlight of the play Photo by Brett BoardmanHeather Jeong shines as Soon Hee, Hannah’s biological mother. She plays a hardworking and proud Korean woman with unpredictable comedic timing that is hilarious to watch. She impressively jumps between seriousness and giddiness to the best effect. Davidson and Jeong’s onstage chemistry is the highlight of the play. The dynamic duo is perfectly in sync and time their comedic moments impeccably to bounce off one another’s energy. The stage design by Mel Page is simply extraordinary. Her set is a near-exact replica of a small inner-city convenience store, but with more charm. The incredible design reflects the character’s creativity and resilience via eccentric displays of gnomes, Spam mountain, and the fridge that’s prone to bursts of smoke. Glowing with unexpected humour and warmth, *Koreaboo* is an uplifting story about reconnecting with family and finding a place to belong. ***Koreaboo* is a Griffin Theatre Company production, presented by La Boite Theatre in association with Brisbane Festival. It runs to 19 September 2026 at the Roundhouse Theatre.** Tickets: <https://www.brisbanefestival.com.au/events/koreaboo> Website: <https://laboite.com.au/shows/koreaboo> Socials: <http://instagram.com/laboitetheatre/> and <https://www.instagram.com/brisbanefestival/> [Read more of our Brisbane Festival News & Reviews](https://thescoop.au/?s=brisbane+festival) Photo credits: Brett Boardman **Categories:** Brisbane, Theatre --- ### [Black Swan Perth Premieres New Work Day (After Day) In The Life Of The Useless](https://thescoop.au/black-swan-perth-premieres-new-work-day-after-day-in-the-life-of-the-useless/) **Published:** September 7, 2026 **Author:** Newsroom **Content:** ![The Scoop Day After Day in the Life of the Useless Black Swan State Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/Day-After-Day-best-8866-942x628.jpg "Day After Day in the Life of the Useless Black Swan State Theatre Company • The Scoop")When life is falling apart, can AI help mend a broken heart? **Black Swan State Theatre Company** presents the world premiere of ***Day (After Day) In The Life Of The Useless***, a razor sharp and unexpectedly moving new comedy from acclaimed Western Australian playwright and performer **Will O’Mahony**, playing at the Heath Ledger Theatre until **20 September 2026**. What is the best way to get over an ex? For Pete, the answer is surprisingly simple. After being dumped just days before his wedding – his fiancée calling him “a robot” before leaving for a new lover – he turns to artificial intelligence for guidance. *“The best revenge is living well,”* the chatbot replies in just 1.49 seconds. If only it were that easy. Directed by Adam Mitchell and performed by a cast of five, this brand-new Black Swan commission follows Pete as he attempts to rebuild his life one spectacular misstep at a time. What unfolds is a wildly entertaining spiral of disastrous own goals, awkward encounters and crushing bad luck. ![The Scoop Day After Day in the Life of the Useless Black Swan State Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/Day-After-Day-best-8931-942x628.jpg "Day After Day in the Life of the Useless Black Swan State Theatre Company • The Scoop")The play is a wildly entertaining spiral of disastrous own goals awkward encounters and crushing bad luck Photo by Daniel J Grant***Day (After Day) In The Life Of The Useless*** explores broken hearts, obsolescence, and the absurd and terrifying comforts of living in-step with AI. Will O’Mahony’s signature blend of incisive humour and emotional honesty shines through in this timely new work. It offers a deeply relatable portrait of what it means to start over when life refuses to follow the script. **O’Mahony** says the play examines the messy reality of trying to move forward after life takes an unexpected turn: *“When it rains, it pours. When things go wrong, they often go wrong all at once and, despite our best efforts, nothing can hold back the tide. This play I hope is many things but I think of one of them is the sheer heroism in trying to course correct a life that has been knocked silly.”* O’Mahony says he hopes audiences recognise something of themselves in Pete’s ‘fish out of water’ experience. *“Pete wakes up to a world that looks the same, sounds the same, but is decidedly not the same. Yet despite getting almost everything wrong, he keeps showing up, he keeps giving his best — as flawed and human as those ‘bests’ may be.* *I think that’s something we can all relate to, even admire. The absurd resilience in getting up tomorrow and having another crack, even when we’re battered and bruised and seemingly cursed.”* ![The Scoop Day After Day in the Life of the Useless Black Swan State Theatre Company](https://thescoop.au/wp-content/uploads/2026/09/Day-After-Day-production-stills-2026-8909-942x628.jpg "Day After Day in the Life of the Useless Black Swan State Theatre Company • The Scoop")This brand new Black Swan commission follows Pete as he attempts to rebuild his life Photo by Daniel J GrantDarkly funny, but painfully true, ***Day (After Day) In The Life Of The Useless*** asks questions that are both timely and timeless: What happens when life doesn’t go to plan? Can you hold onto yourself, let alone reinvent yourself, when everything is falling apart? How does a human rest and recover when we’ve built a relentless network that refuses to slow down? And are our AI overlords already among us, hiding in plain sight? ***Day (After Day) In The Life Of The Useless* is presented by Black Swan State Theatre Company and runs to 20 September. Heath Ledger Theatre, State Theatre Centre of WA. 174 – 176 William Street Perth WA 6000.** Tickets are available at the website. Website: <https://blackswantheatre.com.au/season-2026/day-after-day-in-the-life-of-the-useless> Socials: <https://www.instagram.com/blackswanstc/> Read more about Black Swan’s 2026 Season Photo credits: Daniel J Grant **Warnings:** Contains coarse language, references to suicide, and mild violence. **Categories:** Perth, Theatre --- ### [Review: High School Musical Keeps The Wildcats Spirit Alive](https://thescoop.au/review-high-school-musical-keeps-the-wildcats-spirit-alive/) **Published:** September 6, 2026 **Author:** Wendy Samantha **Content:** ★★★★☆ ![The Scoop High School Musical James Terry Collective](https://thescoop.au/wp-content/uploads/2026/09/HSM_JTC-25-942x628.jpg "High School Musical James Terry Collective • The Scoop")A sparkling standout production of *High School Musical* is breaking free at the National Theatre in St Kilda! Live on stage for a limited season, this energetic production, presented by James Terry Collective, captures the fun, friendship and nostalgia of the beloved Disney musical. You will walk out feeling there’s not a star in heaven that you can’t reach. Taking audiences back to the 2000s, this production, based on the iconic Disney movie, follows the classic boy-meets-girl story. Popular basketball star Troy Bolton (Gabriel Tiller) finds himself falling for book-smart, shy-natured Gabriella Montez (Sophia Kouknas), in a romance sparked by their shared love of singing. As the students gather to audition for the annual musical, friendships, social groups and expectations cause numerous challenges. With Troy’s ever-growing sporting commitments and Gabriella’s academic ambitions, the pair find themselves facing a growing number of obstacles. Meanwhile, twins Sharpay (Meg Williams) and Ryan (Josh Gates) Evans plot to compete for the spotlight. Celebrating first love, friendship, individuality and courage, the musical’s message has always been that we don’t need to conform to a single idea of who we are. We should have the freedom to explore our interests, follow our dreams and forge our own path in life. Happiness doesn’t have to come from fitting neatly into a stereotype or choosing just one avenue. We can be many things, pursue many passions and still find our place in the world. The creative team makes every dance number bop to the top, with colourful choreography, familiar songs and plenty of sparkle. Capturing the highs and lows of teenage life, we are taken through classes, extra-curricular activities, school competitions, first love, friendship and all the gossip that comes with high school. It’s a nostalgic trip back to a time when there was no social media and flip phones were a big thing! ![The Scoop High School Musical James Terry Collective](https://thescoop.au/wp-content/uploads/2026/09/HSM_JTC-13-942x628.jpg "High School Musical James Terry Collective • The Scoop")The talented cast look like they are having the time of their lives Photo by Ben Fon and Matthew ChenThe talented cast brings the production to life with infectious enthusiasm. They look like they are having the time of their lives, throwing themselves into every move and reminding us of those iconic Disney dance steps. Setting the audience up to visit the hallways of East High, Gabriel Tiller as Troy Bolton oozes charisma and charm with his warm smile and a natural confidence, making him an instant favourite around the East High lockers. Paired with Sophia Kouknas as Gabriella Montez, the couple’s vocals simply soar. Kouknas brings a warm innocence to Gabriella. Her radiant presence captures the character’s quiet strength as she navigates the pressures of teenage social drama without compromising her self-respect or boundaries. Meg Williams’ Sharpay Evans is deliciously theatrical as she embraces every dramatic possibility a school production can offer. As her vivacious brother Ryan, Josh Gates brings plenty of glossy charm, and the pair’s impeccable comedic timing makes them a fabulous double act! Massimo Zuccara as Chad brings an engaging presence to the stage, while Rufaro Zimbudzi as Taylor offers a natural radiance in her performance. Together, the pair add layers of personality to the mix. Sarah Wood is creatively engaging as Kelsi Nielsen, while Evan Evans is authentic and lovable as Zeke Baylor. Lachie Beck brings plenty of exuberance to Jack Scott, and Ella Spiniello is delightfully quirky as Martha Cox. The dynamic ensemble is complemented by Chelsea Plumley’s wacky portrayal of Ms Darbus and Adam-Jon Fiorentino’s forthright Coach Bolton. They allow the cast to bounce off each other’s energy, with each character bringing their own individuality to the stage. ![The Scoop High School Musical James Terry Collective](https://thescoop.au/wp-content/uploads/2026/09/HSM_JTC-1-969x628.jpg "High School Musical James Terry Collective • The Scoop")There are so many standout moments including Getcha Head in the Game Photo by Ben Fon and Matthew ChenChoreographers Callum Marshall and Issy Fox have created a stunning array of dances, executed with a fiercely contagious positive energy. Musical director David Youings keeps the music bright and energetic, allowing the familiar songs to shine. The band is superb, bringing a brightness to every note and sending the audience grooving out the doors. The costumes are perfectly judged, capturing the look audiences will remember from the movie. They also help define each character while allowing the performers plenty of freedom of movement. Jason Bovaird’s lighting is designed with boldness and amplifies the energy on stage. There are so many standout moments, including the electrifying opening number, the duet harmonies, the flips and tricks, every moment of *Get’cha Head in the Game*, Troy’s final goal, and the animals at detention, which has to include a huge shout-out to the earthworm. As the final curtain came down to a standing ovation, the opening night crowd was full of joy. Words of positivity could be heard throughout the theatre, including *“What a wonderful show to introduce kids to musical theatre!”* and *“It was SO good!”* *High School Musical* is the yearbook you’ll keep reaching for, bringing back memories of friendship, first love, school days and dreams of what might come next. James Terry’s vision keeps the Wildcats spirit alive, delivering a production that fills the stage with irresistible energy. ***High School Musical* is presented by James Terry Collective. It runs to 13 September at the National Theatre, 20 Carlisle Street St Kilda Vic 3182.** Tickets: <https://nationaltheatre.org.au/disneyshighschoolmusical/> Website: <https://www.hsmonstage.com.au/> Socials: <https://www.instagram.com/highschoolmusicalau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Ben Fon, Matthew Chen **Categories:** Melbourne, Musical Theatre --- ### [Review: Strong Is The New Pretty 2026 Brisbane Festival](https://thescoop.au/review-strong-is-the-new-pretty-2026-brisbane-festival/) **Published:** September 5, 2026 **Author:** Jackson Kellaway **Content:** ★★★★☆ ![The Scoop Group of dancers on a dark stage waving white flags and silver streamers during a performance.](https://thescoop.au/wp-content/uploads/2026/09/Brisbane_Festival_Strong_is_the_New_Pretty_Credit_Morgan_Roberts-12-942x628.jpg "Strong is the New Pretty Brisbane Festival • The Scoop")I am a theatre guy, not a sports guy. I did, however, grow up in an NRL household (insert eye roll). My memories include Broncos flags hanging out the front of the house and my parents yelling at the TV. I never understood the hype. I am, however, always open to a new experience, so when I was asked to attend *Strong Is The New Pretty*, the new play revolving around the Australian Football League Women’s (AFLW), I went. And GURL, I am so glad I did! This story is everything. It highlights the fight women faced to establish a professional league of their own, particularly at a time when women weren’t necessarily in the decision-making rooms, and the industry was dominated by men. The story follows three key heroes: The Commissioner (Lucy Bell), The Godmother (Tara Morice) and The Sergeant (Amber McMahon). These three women were integral to the commencement of the AFLW, and each brought a real sparkle to their characters. Women who wanted more. More representation in sport. The same respect afforded to men. And, perhaps most importantly, a world where young girls could see that there was a place in sport for them to belong. ![The Scoop Strong is the New Pretty Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/Brisbane_Festival_Strong_is_the_New_Pretty_Credit_Morgan_Roberts-6-942x628.jpg "Strong is the New Pretty Brisbane Festival • The Scoop")The cast is also top notch with everyone getting their standout moments Photo by Morgan RobertsBell’s portrayal of The Commissioner is diplomatic and fascinating to watch as she navigates the politics of the AFL board. Morice brings a determination to the stage that demands the audience listen and has us cheering for the cause. McMahon commands attention with every word, while also showing the Sergeant’s more tender moments with her team. The rest of the cast is also top-notch, with everyone getting their standout moments while playing a multitude of characters. This was particularly true during the drafting of players into the league. I particularly loved the costuming choices. Each cast member was dressed individually, with some costumes representing the multitude of professions and backgrounds that make up the women in the sporting world. The cast is also responsible for creating the sound effects throughout the show, adding another layer of fun and keeping the production feeling incredibly dynamic. The staging is equally clever. A banner-like screen displays match scores, scene titles and commentary from the public about women playing AFL. This moment reinforces just how much these women had to fight just to be recognised as deserving a place in the game. On opening night, there were a couple of moments where microphones weren’t turned on in time for line deliveries. There also appeared to be a moment where a line prompt was given from offstage. These are things you wouldn’t expect at a production of this calibre. Thankfully, neither detracted from the story, and ultimately, that is what we came for. ![The Scoop Strong is the New Pretty Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/Brisbane_Festival_Strong_is_the_New_Pretty_Credit_Morgan_Roberts-16-942x628.jpg "Strong is the New Pretty Brisbane Festival • The Scoop")The production team paired with the stellar cast makes for an incredible night of theatre Photo by Morgan RobertsOne thing I loved was seeing such a predominantly female-led creative team behind the production. Playwright Suzie Miller, who is also the genius behind *RBG: Of Many, One*, is a personal favourite of mine. She leads an incredible creative team alongside director Sarah Giles, designer Christina Smith and choreographer Kelley Abbey, just to name a few. Yes, you read that right: choreographer. I think more plays should have a fun little dance break. The production team, paired with the stellar cast, makes for an incredible night of theatre. To think that the play is based on relatively recent events proves we still have so much more growing to do as a society. Perhaps the biggest compliment I can give *Strong Is The New Pretty* is this: I walked in as someone who knew very little about sport. I walked out with a new sense of community, team spirit and maybe, just *maybe*, even a desire to go and see an AFLW game. Watch this space. ***Strong Is The New Pretty* runs at the Playhouse, QPAC from 1 – 19 September 2026 as part of Brisbane Festival.** It then tours to Canberra, Geelong and Sydney. Tickets: [https://www.brisbanefestival.com.au/events/strong-is-the-new-pretty](https://www.brisbanefestival.com.au/events/strong-is-the-new-pretty') Website: <https://strongisthenewprettyplay.com.au/> Socials: [https://www.instagram.com/sitnp\_play/](https://www.instagram.com/sitnp_play/) and <https://www.instagram.com/brisbanefestival/> [Read more of our Brisbane Festival News & Reviews](https://thescoop.au/?s=brisbane+festival) Photo credits: Morgan Roberts *Strong is the New Pretty* is a Brisbane Festival, Sydney Theatre Company and Trish Wadley Productions co-production, originally commissioned by Trish Wadley Productions. 2026 Australian Tour: Brisbane 1 – 19 September, Playhouse, QPAC Canberra 24 September – 3 October, Canberra Theatre Centre Geelong 8 – 11 October, Geelong Arts Centre Sydney 22 October – 5 December, Drama Theatre, Sydney Opera House **Categories:** Brisbane, Theatre --- ### [Review: The Choir Of Man 2026 Brisbane Festival](https://thescoop.au/review-the-choir-of-man-2026-brisbane-festival/) **Published:** September 5, 2026 **Author:** Regan Baker **Content:** ★★★★☆ ![The Scoop The Choir Of Man Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/ChoirOfMan_PRODUCTION-1-0045-Credit-The-Other-Richard-942x628.jpg "The Choir Of Man Brisbane Festival • The Scoop")Brisbane Festival certainly knows how to make an entrance. For opening night, QPAC was playing host to the all-female cast of *Strong Is The New Pretty*, while just outside, the Magic Mirrors Spiegeltent had gone in completely the opposite direction with *The Choir of Man*. Nine British blokes. A fully functioning pub. Beer on tap. And 75 minutes of absolute bangers. If that doesn’t sum up the wonderfully chaotic breadth of Brisbane Festival, I’m not sure what does. First staged at the Edinburgh Fringe in 2017, *The Choir of Man* has since travelled through London, Chicago and Europe before finally making its way down here to Australia. And it’s easy to see why it’s lasted. The premise is wonderfully uncomplicated. The set is a pub. Not a theatrical interpretation of a pub. Not an abstract collection of timber designed to symbolise one. It is, quite literally, a pub. Beer taps, stools, tables, old-school British decor and enough stained glass to make your grandfather feel immediately comfortable. The taps work too. There’s a 15-minute pre-show before the actual performance begins, which I won’t spoil because discovering it is half the fun. I’ll just say this: get there early. There are freebies involved, and the audience very quickly learns that this particular fourth wall was never especially important to begin with. ![The Scoop The Choir Of Man 2026 Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/ChoirOfMan_PRODUCTION-1-0349-Credit-The-Other-Richard-941x628.jpg "The Choir Of Man 2026 Brisbane Festival • The Scoop")The set is quite literally a pub with beer taps stools and old school British decor Photo by The Other RichardOnce the show proper kicks off, *The Choir of Man* tears through pop and rock songs from across the decades, including *Somebody To Love*, *500 Miles*, *Hello*, *Chandelier* and *Save Tonight*. Then, because apparently these blokes understand Australians frighteningly well, *You’re the Voice* turns up too; an instant way to get the audience on side. The cast of Ifan Gwilym-Jones, Norton James, George Knapper, Connor Mellor, Alex Mallalieu, Mark Loveday, Kristian Morse, Tyler Orphé-Baker and Tristan Whincup are ridiculously good together. Vocally, there isn’t a weak link among them. Their harmonies are huge, the solo performances land beautifully and, importantly, they actually feel like a group of mates rather than nine musical theatre performers who met at rehearsal six weeks ago. The only thing I wanted was a little more volume. When you’ve got songs like *Welcome to the Jungle* in the chamber, you’re allowed to make the tent shake a bit. George Knapper provided one of the night’s biggest surprises when he suddenly launched into a tap routine across the bar and tables. I certainly didn’t walk into the Spiegeltent expecting a man to start tap dancing above the beer taps, but there we are. It was brilliant. *Some Nights* is another standout. Using beer mugs as percussion, it somehow makes the clinking of glassware sound considerably better than it normally does at closing time. ![The Scoop The Choir Of Man 2026 Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/Brisbane_Festival_Choir_of_Man_Credit_Morgan_Roberts-564-942x628.jpg "The Choir Of Man 2026 Brisbane Festival • The Scoop")Their harmonies are huge and the solo performances land beautifully Photo by Morgan RobertsFor all the singing, drinking and pub banter though, there’s a surprisingly lovely idea sitting underneath the whole thing. The show looks at the history of the “public house” and what pubs have traditionally meant to communities. Not just as somewhere to drink, but somewhere to meet. Somewhere to celebrate. Somewhere to complain about your boss, talk absolute rubbish with strangers, mourn, flirt badly and occasionally sit beside somebody when they’re having a rough time. That’s where *The Choir of Man* moves beyond a jukebox concert. Each performer has his own story and personality, and while the show never gets bogged down trying to manufacture drama, there are genuine moments of vulnerability mixed amongst the silliness. It gives the night some weight without suddenly becoming a TED Talk about male friendship. Alex Mallalieu deserves particular praise. Performing as a Swing in the central storytelling role, he carried the night with confidence and warmth, even while dealing with a few unnecessary interruptions from one particularly enthusiastic patron. He handled it like an absolute professional and carried straight on. There’s a real danger with a show this relentlessly cheerful that it could start feeling forced. Thankfully, it never does. The reason is probably quite simple. The lads look like they’re genuinely having fun. They muck around with each other, interact with the audience and somehow maintain the feeling that everyone inside the Spiegeltent has just stumbled into their local pub on a particularly good night. Except this local has world-class singers, live instruments and a bloke tap dancing on the furniture. *The Choir of Man* doesn’t reinvent musical theatre, nor does it need to. It’s warm, funny, loud-ish, incredibly well sung and almost aggressively likeable. You’ll know most of the songs, you’ll probably sing along to several of them, and there’s a decent chance you’ll leave wanting a pint. ***The Choir of Man* runs to 26 September as part of the 2026 Brisbane Festival. Magic Mirrors Spiegeltent, Festival Village, Southbank Qld 4101.** Tickets are available [here](https://qtix.com.au/whats-on/2026/bf-the-choir-of-man). Website: <https://www.brisbanefestival.com.au/events/the-choir-of-man> Socials: <https://www.instagram.com/choirofman/> [Read more of our Brisbane Festival News & Reviews](https://thescoop.au/?s=brisbane+festival) Photo credits: The Other Richard **Categories:** Brisbane, Musical Theatre --- ### [New Eddie Perfect Record Label Will Release Beetlejuice Australian Cast Recording](https://thescoop.au/new-eddie-perfect-record-label-will-release-beetlejuice-australian-cast-recording/) **Published:** September 4, 2026 **Author:** Newsroom **Content:** ![The Scoop Eddie Perfect Beetlejuice Musical](https://thescoop.au/wp-content/uploads/2026/05/1-Beetlejuice-The-Musical-Australian-Production-Photo-by-Michelle-Grace-Hunder-copy-942x628.jpg "Eddie Perfect Beetlejuice Musical • The Scoop")Excited Animal Records proudly announces the release of “Beetlejuice The Musical Live at the Regent Theatre Melbourne” available just in time for Halloween on 31 October 2026. Beetlejuice The Musical! The Musical! The Musical! is the Broadway sensation making a Beautiful Sound all over the globe. For the first time, theatre lovers will be able to enjoy the 8-time Tony nominated cult classic live, with **Eddie Perfect’s new record label releasing a live cast recording of the 2025 Melbourne season**. Beetlejuice The Musical Live At The Regent Theatre Melbourne stars Tony nominated composer/lyricist **Eddie Perfect** as the stripy-suited demon, along with a stellar Australian cast that includes **Karis Oka, Rob Johnson, Erin Claire, Elise McCann, Tom Wren, Angelique Cassimatis, Rebecca Ordiz, Noni McCallum and Adam Lyon**. **Eddie Perfect**, Beetlejuice composer/lyricist and lead performer launches EXCITED ANIMAL RECORDS – a home for Australian music theatre cast albums. ![The Scoop Eddie Perfect Beetlejuice the Musical Excited Animal Records](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-04-at-85821-am-1144x628.png "Eddie Perfect Beetlejuice the Musical Excited Animal Records • The Scoop")**Perfect**, known for his comedic lyricism, captivating melodies and darkly funny performances says that it’s about time the Australian music theatre community had a dedicated platform for showcasing its extraordinary talent: *“The Melbourne season of Beetlejuice The Musical is one of the performing highlights of my life. The response from Australian audiences was passionate and loud, and what they wanted above all else? An Australia Cast album. So here it is. Beetlejuice The Musical Live At The Regent Theatre.* *It’s an album that feels like a night at the Regent, with all the laughter, tears, screams, scares and cheers audiences have come to expect. This Australian cast album represents the first recording since the original Broadway Cast Recording released in 2019, which has racked up over 350 million streams globally.* **Pre-sale for the vinyl is now live**, with pre-sale orders automatically receiving a **limited edition first pressing**, signed by Eddie Perfect and Karis Oka. ![The Scoop Smiling man in a gray suit sits forward in an office chair against a dark green backdrop.](https://thescoop.au/wp-content/uploads/2026/05/Eddie-Perfect-Credit-Benny-Capp-copy-829x628.jpg "Eddie Perfect Beetlejuice the Musical • The Scoop")Eddie Perfect Photo by Benny Capp**Perfect** continued: *“I created this album to celebrate the incredible cast, orchestra and crew of Beetlejuice The Musical Australia because I believe our Australian music theatre industry is an under-recognised world-class gem.* *This album is the first release from Excited Animal Records, a label with a simple goal; to produce more, release more, and advocate for more quality cast recordings of Australian musicals, and to champion the artists and creators who make them.* *Excited Animal Records is about capturing the anarchic spark that makes live theatre so special. We hope our debut release, and all releases to come, bring the thrill of music theatre to every Excited Animal.”* ****Beetlejuice The Musical Live at the Regent Theatre Melbourne is available on 31 Oct**ober 2026 from Excited Animal Records.** **Pre-sale for the vinyl is available now.** Pre-sale link: <https://excitedanimalrecords.bandtshirts.com.au/> Socials: <https://www.instagram.com/excitedanimalrecords/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Eddie Perfect as Beetlejuice in the Australian premiere in Melbourne 2025. Photo by Michelle Grace Hunder **Categories:** News --- ### [Review: How To Succeed Proves Some Things Never Change, & Others Really Should](https://thescoop.au/review-how-to-succeed-proves-some-things-never-change-others-really-should/) **Published:** September 3, 2026 **Author:** Ronson Blake **Content:** ★★★☆☆ ![The Scoop How to Succeed in Business Without Really Trying](https://thescoop.au/wp-content/uploads/2026/09/Katie-Greene-Stacey-Thompsett-Georgia-Lagaaia-Madeline-Pratt-in-How-to-Succeed-in-Business-WORT-c-John-McRae-1-942x628.jpg "How to Succeed in Business Without Really Trying • The Scoop")Bounding out of the time vault and onto the Hayes Theatre stage comes LPD Productions’ *How to Succeed in Business Without Really Trying*, directed and choreographed by Cameron Mitchell. Based on a 1952 satirical self-help book by Shepherd Mead, the musical version of *How to Succeed* was first performed in 1961 and became a huge Tony and Pulitzer-winning hit. It constructs a conceit that incorporates Mead’s self-help book into the musical’s book/script – here voiced mellifluously by Tony Sheldon – and which is populated with names that wouldn’t look out of place at a White House cabinet meeting. J. Pierrepont Finch (Jake Speer) is a twenty-something window washer going nowhere who finds a book – an instructional manual – on how to ascend a corporation with little effort and a lot of cunning. Finagling a job with the World Wide Wicket Company, Finch naturally, for this is the 1960s, starts in the mailroom, where he is taken under the wing of mailroom boss, Twimble (Wayne Scott Kermond). Twimble provides him with the secret to a successful career: don’t be ambitious; follow “The Company Way.” When anointed as new head of the mailroom, Finch takes the book’s advice (never get stuck in the mailroom) and declines. Quite bizarrely, this is seen as an act of selflessness, and of course Finch is promoted to a vice president role. Thus begins Finch’s inexorable rise through the ranks of gormless corporate flunkies. This is not *Succession*, however. It’s froth and bubble, an easy-going satire of corporate and gender politics with characters – really caricatures – we all recognise, coated with the thinnest veneer of irony. ![The Scoop How to Succeed in Business Without Really Trying](https://thescoop.au/wp-content/uploads/2026/09/Simon-Burke-Max-McDonald-Lucy-Lalor-in-How-to-Succeed-in-Business-WORT-c-John-McRae-5-942x628.jpg "How to Succeed in Business Without Really Trying • The Scoop")The show is an easy going satire of corporate and gender politics coated with the thinnest veneer of irony Photo by John McRaeThough the women are generally shown to be smarter than the men (with the exception of Finch, who manipulates everyone), they are still largely operating within a restrictive gender role, and as a result their conception of success or life goals is similarly circumscribed. The book by Abe Burrows, Jack Weinstock, and Willie Gilbert lightly plays up this disparity, and Mitchell’s direction emphasises the point through facial expression and sharp choreography. Still, I’m not entirely buying it. The stuff that has dated is kind of glossed over. Some of the jokes have dated very badly and fall flat, and there’s a missed chance or two along the way to update. “A secretary is not a toy” is a case in point. Although Frank Loesser’s lyrics were satirical for the time, we are now living post-#MeToo, and this number deserved a much better treatment that stresses today’s reality. Role or gender reversal, perhaps? One thing this show makes abundantly clear is that Jake Speer is a damn good musical theatre performer. His charmingly roguish presence keeps Finch on the right side of the audience’s affections. Simon Burke (sounding a lot like John Lithgow) is equally as good, making J B Biggley endearingly daft. They had the chemistry that was sadly lacking between Speer and Georgia Laga’aia as Rosemary. Unfortunately for Laga’aia, such is the strength and sweet clarity of her voice that the miked amplification was unnecessary and did her no favours. Sound was a problem generally, because at other times the balance between band and vocals was weighted too much to the former. ![The Scoop How to Succeed in Business Without Really Trying](https://thescoop.au/wp-content/uploads/2026/09/Max-McDonald-Zachary-Webster-Kaeng-ChanKye-Hall-Taye-Grant-in-How-to-Succeed-in-Business-WORT-c-John-McRae-4-942x628.jpg "How to Succeed in Business Without Really Trying • The Scoop")The big strength is the choreography by Cameron Mitchell Photo by John McRaeThe minor characters are generally well-played. Lucy Lalor as Hedy LaRue delivers the sass, and Noni McCallum as Miss Jones does a great line in sarcasm. Max MacDonald plays up the Snidely Whiplash side of Bud Frump in a broad-brush approach typical of the production. In a musical that indulges too many reprises, sustaining energy does become an issue. Noticeably, the rapid scene changes required towards the end of Act One slow a momentum that was already beginning to struggle. It’s quite a long stint in uncomfortable seats. The production’s big strength is Mitchell’s choreography. In such a small space, the large ensemble’s movements are pinpoint accurate. The ‘zombie dance’ of *Coffee Break* is inspired, and *Brotherhood of Man*, paying homage to Bob Fosse, is a show-stopper. Christine Mutton has had one hell of a day out designing the costumes. From skirt suits, through hideously funny knitwear, to the glamour of Paris ‘originals’, they nail the colourful craziness of the 60s. As if to reinforce the idea that the past is a foreign country, the set from Dominic Foffani comprises a building that unseams, folding back as two wings to reveal the building’s interior, drawing the audience into the musical’s 1960s milieu. And, for better or worse, that’s where we are. Mitchell has deliberately chosen to respect a 1960s time capsule. To be fair, Loesser’s music is jaunty, the choreography first-class, and the cast gives it a good rip. So, step back in time if you will. ***How to Succeed in Business Without Really Trying*** **is presented by LPD Productions in association with Hayes Theatre Co. It runs to 27 September at Hayes Theatre Co. 19 Greenknowe Avenue Potts Point NSW 2011.** Tickets: <https://hayestheatre.com.au/event/how-to-succeed-in-business-without-really-trying/> Website: <https://hayestheatre.com.au/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: John McRae **Categories:** Musical Theatre, Sydney --- ### [Review: Strategic Love Play Explores Dating & The Art Of Not Knowing](https://thescoop.au/review-strategic-love-play-explores-dating-the-art-of-not-knowing/) **Published:** September 3, 2026 **Author:** Olivia Calverley-Haack **Content:** ![The Scoop Strategic Love Play Sharehouse Productions](https://thescoop.au/wp-content/uploads/2026/08/SLP-Prod-Photo-3-948x628.png "Strategic Love Play Sharehouse Productions • The Scoop")What happens when two strangers meet after the endless swiping, matching and messaging of modern dating? *Strategic Love Play* sees playwright Miriam Battye turn the awkwardness of a first date into something much more unpredictable. Presented by Sharehouse Production Company in association with Flight Path Theatre, the production places two strangers in a confined, familiar space and allows their conversation to spiral from uncomfortable small talk into something increasingly intimate, strange and honest. Performed in the relatively small Flight Path Theatre, the proximity between the audience and performers makes the experience feel almost voyeuristic. Rather than watching a relationship unfold from a comfortable distance, the audience feels as though they have been placed directly at the table with these two people, witnessing a date that perhaps feels a little too personal. The play explores the exhaustion and absurdity of contemporary dating and the pressure to determine whether a stranger might be “the one” after a single meeting. Director Ava Rusch finds a strong balance between the comedy and discomfort of Battye’s writing, allowing the awkwardness of the characters’ interactions to sit naturally rather than forcing the humour. The production feels deliberately contained, yet never static, with the direction making effective use of the space and the performers’ physical and emotional proximity. ![The Scoop Two people sit at a high round table on a stage, leaning toward each other, with four drinks and a small candle between them under warm lighting](https://thescoop.au/wp-content/uploads/2026/08/SLP-Prod-Photo-4-942x628.png "Strategic Love Play Sharehouse Productions • The Scoop")The audience feels immersed in the experience alongside the characters Photo by Clarence Lin ThienThe design is executed extremely well. Both lighting and sound played an important role in shaping the production’s atmosphere, subtly shifting the audience between the awkwardness, humour and increasing intensity of the date. Rather than simply supporting the action, the design helps create the intimate and slightly unsettling world of *Strategic Love Play*, making the audience feel immersed in the experience alongside the characters. Stage manager Matilda Holton deserves recognition for running a controlled and cohesive production, particularly given the unpredictable nature of the material. The technical and performance elements work together to maintain the rhythm and atmosphere of the piece. Performers Georgia-Paige Theodos and Caleb Jamieson bring energy and commitment to characters who are not always easy to understand or like. Their chemistry keeps the audience invested even when the conversation begins to take unexpected turns. Both performers are able to embrace the awkwardness of the situation, making the performance feel extremely familiar. Together they capture the strange contradictions of dating: wanting connection while simultaneously wanting to escape it. ![The Scoop Close-up of a woman with long brown hair talking to someone off-camera, hands raised and holding a glass, under purple stage lighting in a dark setting.](https://thescoop.au/wp-content/uploads/2026/08/SLP-Prod-Photo-5-946x628.png "Strategic Love Play Sharehouse Productions • The Scoop")The performers capture the strange contradictions of dating Photo by Clarence Lin ThienThis unpredictability can occasionally work against the production. There were moments where I felt somewhat lost about where the characters were coming from. Some of the things they said or did appeared sporadic, making it difficult to understand their motivations or how the conversation had arrived at a particular point. This could be read as a deliberate challenge from the production. The characters are complex, and the audience is not necessarily given every piece of information required to immediately understand them. In this sense, the confusion can place the audience in a similar position to the characters themselves: trying to figure out another person based on fragments of information. Nevertheless, there were moments where I felt that this complexity needed more clarity. Despite this, the production remains compelling because it refuses to make modern romance feel simple. Rather than presenting dating as a straightforward search for connection, *Strategic Love Play* exposes the awkwardness, exhaustion and unpredictability involved in trying to understand another person. Its comedy emerges from this discomfort, while its intimacy ensures that the audience cannot simply sit back and observe. *Strategic Love Play* is a strong example of what independent theatre can achieve. With an emerging creative team and cast, Sharehouse Production Company demonstrates the value of creating opportunities for young artists to take creative risks and tell contemporary stories. While the production may occasionally leave its audience searching for answers, perhaps that is part of its appeal. Like dating itself, *Strategic Love Play* does not always make sense, but it keeps you interested enough to stay for the next conversation. ***Strategic Love Play* is presented by Sharehouse Production Company in association with Flight Path Theatre and ran to 29 August 2026. 142 Addison Road Marrickville NSW 2204.** The season has now ended. Website: <https://www.flightpaththeatre.org/whats-on/strategic-love> Socials: <https://www.instagram.com/sharehouseproductionco/> [Read More About Sharehouse](https://thescoop.au/no-one-is-coming-to-save-you-inside-sharehouse-productions-urgent-debut/) Photo credits: Clarence Lin Thien **Categories:** Sydney, Theatre --- ### [Announcing Brisbane Season For The Shawshank Redemption](https://thescoop.au/announcing-brisbane-season-for-the-shawshank-redemption/) **Published:** September 3, 2026 **Author:** Newsroom **Content:** ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/08/Rodger-Corser-David-Berry-Bert-LaBonte-The-Shawshank-Redemption-c-Daniel-Boud_56390-942x628.jpg "The Shawshank Redemption 2027 Australian Tour • The Scoop")A Brisbane season for the Australian tour of the stage adaptation of one of the most popular and enduring films of all time, ***The Shawshank Redemption***, has been announced today. *The Shawshank Redemption* will play at the **Glasshouse Theatre, QPAC from 28 April 2027 for a two weeks only**, following seasons in Sydney, Melbourne, Perth and Adelaide. Waitlist now at [ShawshankLive.com.au](https://www.shawshanklive.com.au/) to be first in line for tickets when sales begin next week. Acclaimed television, film and theatre actor **David Berry** (*Outlander, A Place To Call Home, Home and Away*) will play Andy Dufresne, the quiet, smart former banker wrongly sentenced to life for murdering his wife and her lover. Cast as “Red” Redding, a long-term inmate known for smuggling contraband items into the prison who develops a friendship with Andy, is prolific stage and television actor **Bert LaBonté**, currently starring in *The Book of Mormon* in Brisbane*,* (also *Colin From Accounts, Cloudstreet*). Returning to the stage after 20 years as the Warden, the deeply hypocritical, religious and cruel prison boss, will be one of Australia’s most recognised screen actors **Rodger Corser** (*Doctor Doctor, Rush*, Channel 9’s *The Floor*). **Rodger Corser** said: “*After 20 years in film and television, I couldn’t resist the opportunity to return to the stage for a story as powerful as The Shawshank Redemption. Its themes of hope, resilience and friendship resonate just as strongly today as they did when the film was released more than 30 years ago*.” **David Berry** added: “*I’m thrilled to be returning to the stage in such a timeless and deeply human story, alongside two extraordinary actors like Bert and Rodger*.” **Bert LaBonté** said: “*The opportunity to tell this iconic story – and to take on a role as rich and loved as Red was impossible to say no to. I can’t wait to get into the rehearsal room and begin exploring him*.” ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/07/The-Shawshank-Redemption_10-c-Jack-Merriman-942x628.jpg "The Shawshank Redemption 2027 Australian Tour • The Scoop")Still from the 2026 UK production Photo by Jack Merriman*The Shawshank Redemption* is a powerful stage production that places you just metres from the action. Raw, intimate and deeply moving, this is theatre at its most compelling – where every moment unfolds live before your eyes. Based on Stephen King’s celebrated novella, this gripping adaptation tells an unforgettable story of hope, friendship and the resilience of the human spirit. Wrongly convicted of the brutal murders of his wife and her lover, Andy Dufresne is sentenced to life imprisonment in the notorious Shawshank prison. As he navigates the harsh realities of incarceration, he forms an unlikely friendship with fellow inmate Red, discovering that even in the darkest of places, hope can endure. But when the corrupt Warden seeks to exploit Andy’s talents for his own gain, a quiet and daring plan begins to emerge, one that will challenge the very walls of Shawshank itself. Adapted for the stage by Owen O’Neill and Dave Johns, and directed by David Esbjornson who directed Angela Lansbury and James Earl Jones in the Australian tour of *Driving Miss Daisy*, this acclaimed production captures the emotional power and humanity that have made *The Shawshank Redemption* one of the world’s most enduring stories. The 1994 film adaptation, nominated for seven Academy Awards, has become one of cinema’s most beloved classics. Now, experience a story of hope, friendship and redemption brought vividly to life in an unforgettable live theatrical event. ***The Shawshank Redemption* runs in Brisbane from 28 April – 9 May 2027 at the Glasshouse Theatre, QPAC as part of a national tour. See full dates below.** Waitlist for Brisbane tickets [here](https://www.shawshanklive.com.au/#ss-waitlist-panel). Website: <https://www.shawshanklive.com.au/> Socials: <https://www.instagram.com/shawshanklive/> [Read our Interview with David Berry and Bert LaBonté](https://thescoop.au/get-to-know-the-stars-of-the-shawshank-redemption/) Hero image: Rodger Corser, David Berry, and Bert Labonté. Photo by Daniel Boud 2027 Australian Tour: Sydney from 2 January, Theatre Royal Melbourne from 4 February, Playhouse, Arts Centre Melbourne Perth from 12 March, Regal Theatre Adelaide from 1 April, Her Majesty’s Theatre Brisbane from 28 April, Glasshouse Theatre, QPAC **Categories:** News --- ### [Review: Heathers Opens In Sydney To Viral Online Video](https://thescoop.au/review-heathers-opens-in-sydney-to-viral-online-video/) **Published:** September 3, 2026 **Author:** Sophie Cornett **Content:** ★★★★★ ![The Scoop Heathers The Musical](https://thescoop.au/wp-content/uploads/2026/09/Heathers-The-Musical-L-R-Emma-Caporaso-Amelia-Rojas-Calista-Nelmes-Abigail-Sharp-1-942x628.jpeg "Heathers The Musical • The Scoop")The thunderous applause that filled the theatre on opening night in Sydney was testament to just how eagerly Australian theatre lovers had been waiting for *Heathers: The Musical* to hit our shores. The national tour’s opening at the Roslyn Packer Theatre was made even more eventful by falling on 1 September, known among fans as ‘Heathers Day,’ the date of Veronica Sawyer’s first Dear Diary entry. To mark the occasion, an exclusive video was released that night across [social media](https://www.tiktok.com/@thescoop.au/video/7680545042141809927?lang=en-GB), bringing together the iconic Heathers trio from the Australian, New York and UK & Ireland productions. Filmed across three continents, their performance of *Candy Store* offered an extra thrill for fans, and a fitting way to celebrate the day. *Heathers: The Musical* is adapted from the 1988 film written by Daniel Waters, with music, book and lyrics written by Kevin Murphy and Laurence O’Keefe. This black comedy explores the dark and twisted side of popularity, and leaves us wondering what we would sacrifice in order to ‘fit in.’ *Heathers* follows Veronica Sawyer as she aligns herself with the popular ‘Heathers’ in a desperate bid to survive her final years at Westerberg High School. As she sacrifices more of herself in the pursuit of social security, she finds company in the mysterious and deeply damaged newcomer, Jason ‘J.D.’ Dean. Multiple deaths are quickly to follow, and Veronica is left asking herself: at what point is it enough? I went into this production completely unfamiliar with the story, apart from the song *Candy Store* popping up regularly in my musical theatre playlists. For those in a similar situation, I will warn that the production does feature a lot of potentially distressing themes and crude language. So keep this in mind when deciding whether to bring younger people along. ![The Scoop Heathers The Musical](https://thescoop.au/wp-content/uploads/2026/09/Heathers-The-Musical-cast-1-942x628.jpeg "Heathers The Musical • The Scoop")Audiences will be entertained no matter where they look on stage Photo by Cameron GrantDirector Andy Fickman has staged a phenomenal production that captures all of the high-energy, deeply emotional and preposterously funny beats of the story. The cast as an ensemble truly bring so much life and energy to every single scene. This is just a delightfully fun show, and audiences will be entertained no matter where they look on stage. Emma Caporaso immaculately embodies Veronica Sawyer. Her vocals and physicality are truly delightful, and she conquers the emotional range of the role flawlessly. Conor Beaumont is charmingly vicious as ‘J.D.’ He draws the audience in so intensely that you can see where his arc is leading but desperately hope it might end differently. Calista Nelmes is an absolute superstar as she portrays the iconic role of Heather Chandler. She brings a perfect ‘popularity incarnate’ energy to the stage. Heather Chandler is accompanied by her partners in crime, Heather Duke and Heather McNamara, portrayed by Amélia Rojas and Abigail Sharp. Both performers are incredible, and it is delightful to watch them transform from subservient cronies to women in their own right. Nic Van Lits and David Cuny play the stereotypical jocks Kurt Kelly and Ram Sweeney, and their dynamic is an absolute treat. Despite the characters being so desperately unlikeable, they light up the stage with their energy and physical comedy. Mel O’Brien beautifully portrays the role of Martha Dunnstock. As the moral compass of the show, it is so wonderful to see how she remains sincere amongst the carnage. ![The Scoop Heathers The Musical Australia New Zealand Tour 2026](https://thescoop.au/wp-content/uploads/2026/04/Heathers-The-Musical-L-R-Calista-Nelmes-Nic-Van-Lits-Amelia-Rojas-David-Cuny-Emma-Caporaso-1-copy-942x628.jpg "Heathers The Musical Australia New Zealand Tour 2026 • The Scoop")The cast as an ensemble truly bring so much life and energy to every single scene Photo by Cameron GrantAs additional highlights, Zoe Gertz delivers an outstandingly funny performance in *Shine a Light*, while Ellis Dolan and Brodie Masini, as Ram and Kurt’s dads, are tremendous in *Dead Gay Son*. Choreographer Gary Lloyd and stunt director Lyndall Grant have done a fantastic job of making the intense physicality driving this story slick and visually striking. From the opening bars, you can immediately tell why this musical has gained such widespread adoration. Musical director Martine Wengrow masterfully guides the band and cast through the genre rollercoaster that is this production’s soundtrack. Designer David Shields has created a visual masterpiece of costumes and set that immediately transports us back in time and perfectly captures the emotional journey of each and every character. Ben Cracknell’s lighting design makes the story feel so immersive. As the audience left the theatre on opening night, a true sense of connection could be felt. We are all in this lifeboat together, and only together can we weather the storm. *Heathers: The Musical* absolutely lives up to the hype and truly showcases our extraordinary local talent. ***Heathers: The Musical* runs to 19 September at the Roslyn Packer Theatre, Sydney as part of its national tour.** See full dates below. Tickets: <https://www.sydneytheatre.com.au/whats-on/2026/productions/heathers-the-musical> Website: <https://heathersthemusical.com/australia/> Socials: <https://www.instagram.com/heathersmusicalaunz/> [Read our review of the Gold Coast Season](https://thescoop.au/review-heathers-brings-big-fun-to-the-gold-coast/) Photo credits: Cameron Grant 2026 Remaining Australian Tour Dates: Sydney 1 – 19 September, Roslyn Packer Theatre [Tickets](https://www.roslynpackertheatre.com.au/whats-on/productions/2026/heathers-the-musical) Perth 30 September – 11 October, Regal Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=HEATHPER26) **Categories:** Musical Theatre, Sydney --- ### [Riverfire By Australian Retirement Trust Expands For 2026 Brisbane Festival](https://thescoop.au/riverfire-by-australian-retirement-trust-expands-for-2026-brisbane-festival/) **Published:** September 2, 2026 **Author:** Newsroom **Content:** ![The Scoop Riverfire by Australian Retirement Trust Photo by JD Lin](https://thescoop.au/wp-content/uploads/2026/09/Riverfire-by-Australian-Retirement-Trust-Credit-JD-Lin-942x628.jpg "Riverfire by Australian Retirement Trust 2026 Brisbane Festival • The Scoop")Brisbane’s ultimate night of celebration is gearing up to take over the city skyline once again. On **Saturday 5 September**, this year’s Brisbane Festival bursts into life with the return of ***Riverfire by Australian Retirement Trust***, a spectacular fusion of community spirit and world-class creativity that promises to deliver one of the nation’s most mesmerising visual feasts. Taking the spectacle to the next level in 2026, Brisbane Festival is introducing a **sixth fireworks barge** to the river network. Positioned directly between the Victoria Bridge and Neville Bonner Bridge, this extra launch site will bring the action closer to South Bank and the CBD, creating a denser, more immersive display for the heart of the city. Orchestrating this massive multi-site production is a dedicated team of 30 expert pyrotechnicians working around the clock. This year, the vibrant **Verso Projects. Festival Village, South Bank** will offer locals and visitors an uninterrupted, front-row seat to the unfolding magic, paired with a lively festival atmosphere. **Brisbane Festival Artistic Director Ebony Bott** said: *“Riverfire by Australian Retirement Trust is so much more than a visual spectacle; it is a profound celebration of our city’s vibrant identity and the joy of coming together*. *As I kick start my inaugural festival program to Queensland audiences, it will be absolutely amazing to stand alongside the community and witness Riverfire by Australian Retirement Trust come to life right from the heart of our Festival Village. It’s the perfect way to welcome everyone into three weeks of pure creative magic.”* **Minister for the Arts John-Paul Langbroek** described *Riverfire by Australian Retirement Trust* as an iconic event that brings together Queenslanders and visitors under a dazzling river skyline: *“This spectacular evening will kick off three weeks of extraordinary performances, installations, and arts experiences that share Queensland’s unique stories, and the incredible talent of local and international artists and companies.* *The Crisafulli Government is proud to support Brisbane Festival, which delivers on our Queensland’s Time to Shine strategy, activating the city with transformational arts and culture and increasing access to high quality arts experiences with more than 420 free community activities.”* ![The Scoop Riverfire by Australian Retirement Trust 2026 Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/Riverfire-by-Australian-Retirement-Trust-Credit-Atmosphere-Photography-942x628.jpg "Riverfire by Australian Retirement Trust 2026 Brisbane Festival • The Scoop")Photo by Atmosphere Photography**Brisbane Lord Mayor Adrian Schrinner** described *Riverfire by Australian Retirement Trust* as one of Brisbane’s best-loved traditions and a highlight on the city’s calendar. *“Riverfire by Australian Retirement Trust is the night Brisbane comes together, with half a million people gathering along the river for one of Australia’s biggest free events. There’s nothing quite like seeing families arrive early to claim a spot along our riverbanks, in our parklands and on rooftops, and this year the new sixth barge will bring the spectacular even closer to the heart of the city.* *Riverfire by Australian Retirement Trust attracts visitors from across Australia, filling our hotels, restaurants and entertainment precincts while giving local businesses a welcome boost. We’re proud to support this free celebration, which kicks off three weeks of arts, culture and live entertainment through Brisbane Festival and showcases why Brisbane is Australia’s lifestyle capital.”* The excitement begins before twilight, with the **Australian Defence Force** (ADF) scheduled to deliver thrilling aerial flyovers featuring C-17 Globemasters and F/A-18s. The twilight program will also feature a moving cultural presentation by First Nations artists **Tribal Experiences**, welcoming audiences through song and dance. The main event, broadcast live on *Triple M*, will feature a massive fireworks display precisely choreographed to a custom soundtrack, inspired by the 2026 Festival’s invitation to the city to SWITCH ON. LIGHT UP. COME ALIVE*.* ![The Scoop Brisbane Festival 2026 Riverfire by Australian Retirement Trust](https://thescoop.au/wp-content/uploads/2026/09/Riverfire-by-Australian-Retirement-Trust-Credit-Morgan-Roberts-942x628.jpg "Brisbane Festival 2026 Riverfire by Australian Retirement Trust - Credit Morgan Roberts • The Scoop")Photo credit Morgan RobertsFirst launched in 1998, *Riverfire by Australian Retirement Trust* has grown to become a beloved Queensland staple and has been embedded as the opening centrepiece of Brisbane Festival since 2009. Today, it stands as one of Australia’s largest free public gatherings, annually attracting over half a million spectators to the city’s riverfronts, parklands, and rooftops to witness the mastery of world-renowned display specialists **Foti Fireworks**. **Australian Retirement Trust’s Chief Member Experience Officer Simonne Burnett** said *Riverfire by Australian Retirement Trust* is a celebration of the people who help make Queensland shine: *“Riverfire is one of those special nights when Brisbane comes together, but it only happens because of the many people working behind the scenes and on the frontline, from emergency services and transport workers to hospitality teams, event crews and volunteers.* *As a fund trusted by half of Queensland’s working population, Australian Retirement Trust is proud to help celebrate the workers and communities who make this state such a wonderful place to live, work and retire.”* The event’s official mascot and most enthusiastic supporter, Artie, has curated a list of prime viewing spots across the city. The official vantage point map can be downloaded [here](https://us.list-manage.com/66fPmC_o5Pu?e=761358388c&c2id=e38396836798f647c9d2bb150e8767f2). As a brilliant showcase of Brisbane’s creative ambition, *Riverfire by Australian Retirement Trust* marks the opening chapter of three non-stop weeks of arts, culture, and world premieres, running across the city from **4 – 26 September 2026.** ***Riverfire by Australian Retirement Trust* runs 5 September as part of Brisbane Festival. See the full program, subscribe for updates and purchase tickets at the website.** For transport updates, accessibility details, ADF flight schedules, and vantage points, visit the link below. Website: <https://www.brisbanefestival.com.au/events/riverfire-2026> Socials: <https://www.instagram.com/brisbanefestival/> [Read more about Brisbane Festival](https://thescoop.au/announcing-brisbane-festival-2026-program-switch-on-light-up-come-alive/) Hero image photo credit: JD Lin *Riverfire by Australian Retirement Trust* is a free, non-ticketed event that opens Brisbane Festival 2026. **Categories:** News --- ### [Brisbane Festival 2026 Comes Alive Today](https://thescoop.au/brisbane-festival-2026-comes-alive-today/) **Published:** September 4, 2026 **Author:** Newsroom **Content:** ![The Scoop Brisbane Festival 2025](https://thescoop.au/wp-content/uploads/2026/09/Brisbane-Festival-Riverfire-by-Australian-Retirement-Trust-Credit-JD-Lin-scaled-e1788344694270-970x628.jpg "Brisbane Festival 2026 • The Scoop")Today marks the spectacular opening of **Brisbane Festival 2026**, launching 23 glorious days of performance, public art and participation across the city, under the banner *Switch On, Light Up, Come Alive.* Running until Saturday **26 September, Artistic Director Ebony Bott**‘s inaugural program ignites Brisbane’s streets, stages and skies in a bold, day-to-night celebration of the city itself. The festival features almost 2,000 artists and over 750 performances – from world premieres and major international productions to an expansive program of free community experiences and a colourful riverside takeover with the pop-up **Verso Projects. Festival Village, South Bank**. With more than 70% of the 2026 program completely free to the public, Bott has made accessibility a defining feature of her debut festival. Rather than simply watching from the sidelines, festival-goers are invited to become active participants, with experiences designed to bring people of all ages together in moments of shared wonder, mischief and fun. Emphasising her vision to connect the community from first light to after dark, **Brisbane Festival Artistic Director Ebony Bott** said: *“Bringing Brisbane Festival home to South Bank feels like opening our arms to the whole city, creating a Village where everyone can find their own kind of magic.* *But wherever you are in Brisbane, there’s something waiting to surprise, delight or connect you. Across theatres, parks, streets and neighbourhoods, Brisbane is at its most creative, most generous and most alive, and we can’t wait to share it with you.”* ![The Scoop Brisbane Festival 2026](https://thescoop.au/wp-content/uploads/2026/09/Brisbane-Festival-Night-Moves_-Choral-Cthonics-Credit-Mikhail-Karikis-904x628.jpg "Brisbane Festival 2026 • The Scoop")Night Moves Choral Cthonics Photo by Mikhail KarikisMinister for Education and the Arts **John-Paul Langbroek** said: *“Brisbane Festival was a highlight on Queensland’s premier cultural calendar of events and a powerful expression of the state’s creative vibrancy. “Brisbane Festival champions our homegrown arts industry, bringing together more than 300 Queensland artists and 59 local arts organisations working alongside leading national and international talent.* *The Crisafulli Government is proud to support Brisbane Festival which delivers on our 10-year arts and cultural strategy, Queensland’s Time to Shine and our commitment to build the state’s reputation for transformative arts experiences in the lead up to Brisbane 2032.”* Minister for the Environment and Tourism **Andrew Powell MP** said Brisbane Festival showcased exactly why Queensland continued to attract visitors from across Australia and the world: *“Brisbane Festival puts our capital city on show, giving visitors every reason to come to Brisbane and experience the energy, culture and excitement of one of Australia’s premier events.* *Brisbane Festival is the perfect gateway to a Queensland holiday, with visitors able to enjoy the Festival before heading out to explore our* world class *regions, from the Gold Coast and Sunshine Coast to the Reef and Outback.”* **Lord Mayor Adrian Schrinner** said Brisbane Festival transformed the city into one enormous stage for 23 days each September: *“Brisbane is Australia’s lifestyle capital and there is no better time to experience it than when our parks, riversides and public spaces come alive during Brisbane Festival. More than 70 per cent of the program is free and much of it happens in the suburbs, from Brisbane Serenades in neighbourhood parks to the Moorooka Block Party.* *We are proud to bring four special festival editions of the Lord Mayor’s City Hall Concerts to the lunch hour this September, with live music, silent film and incredible local talent. Brisbane Festival is a great example of how we’re creating more to see and do while making Australia’s lifestyle capital even better.”* ![The Scoop Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/09/Brisbane-Festival-Scorched-Earth-Credit-Pato-Cassinoni-934x628.jpg "Brisbane Festival • The Scoop")Scorched Earth Photo by Pato CassinoniVERSO PROJECTS. FESTIVAL VILLAGE, SOUTH BANK At the heart of this year’s program – literally and figuratively – is **Verso Projects**. **Festival Village, South Bank**: the festival’s riverside playground at South Bank, Cultural Forecourt. Home to tonight’s Opening Night celebrations and one of the city’s premier ***Riverfire by Australian Retirement Trust*** viewing locations, the precinct pulses with free and ticketed activity across the festival’s 23 days, including the long-awaited return of the **Magic Mirrors Spiegeltent**, the nightly river spectacular ***Bright Nights by ANZ***, and the interactive mass-choir installation ***Giant Sing Along*** by acclaimed Montreal studio Daily tous les jours. Operating from first light to after dark, the **Verso Projects. Festival Village** moves to the rhythm of the world’s earliest rising city, opening each day with the weekly ***Sunrise Ceremony: Bikki Wantimaa*** and a rotating program of wellbeing sessions, including **DAYBREAKER**‘s alcohol-free morning dance party on **Saturday 12 September**. Each evening, the **Magic Mirrors Spiegeltent** is transformed into the home of West End smash ***The Choir of Man***, a raucous, roof-raising celebration of music and community that is already wowing Brisbane audiences since its opening earlier this week. ![The Scoop Brisbane Festival 2026](https://thescoop.au/wp-content/uploads/2026/09/unnamed-942x628.jpg "Brisbane Festival 2026 • The Scoop")Magic Mirrors Spiegeltent Image suppliedNearby at South Bank Piazza, ***Fijian Flying Circus*** makes its Australian premiere under the big top, bringing a dazzling, high-energy celebration of spirit and culture from Fijian dance tribe **VOU**. Fusing unbelievable aerial acrobatics, gravity-defying stunts and laugh-out-loud storytelling it’s a magical, whole-of-family adventure. Pre- and post-show, **Verso Projects. Festival Village, South Bank** will play host to live music, DJs and late night action – including two special performances of ***Generations and Dynasties***, one exploring the legacy of **Uncle Graham Brady** and **Jungaji**, and another celebrating the musical lineage of **Deline, Naurita** and **Merindi Briscoe**; **Opera Queensland**‘s acclaimed convergence of opera and country, ***Are You Lonesome Tonight***; and the shared songs of ***Piano Man*** as he celebrates Queensland musical talent with a rotating roster of guest stars. The precinct also serves as one of the city’s premier viewing locations for the festival’s opening weekend centrepiece, ***Riverfire by Australian Retirement Trust***, returning **Saturday 5 September**. One of Australia’s most breathtaking annual events, *Riverfire by Australian Retirement Trust* lights up the Brisbane night sky and unites the city with a shimmering fireworks display launched from bridges, barges and rooftops around town, preceded by a thrilling RAAF flyover. ![The Scoop Strong is the New Pretty Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/06/Tara-Morice-Amy-Hack-Nyasha-Ogden-Amber-McMahon-and-Lucy-Bell-in-Sydney-Theatre-Companys-Strong-Is-The-New-Pretty-2026-Photo_-Holly-Ward1920x1080-1116x628.jpg "Strong is the New Pretty Brisbane Festival • The Scoop")Strong is the New Pretty cast Photo by Holly WardPROGRAM HIGHLIGHTS ***Strong is the New Pretty*** arrives at QPAC as one of the festival’s most anticipated world premieres – a co-production between **Brisbane Festival**, **Sydney Theatre Company** and **Trish Wadley Productions**, seeing celebrated playwright **Suzie Miller** (*Prima Facie, RBG: Of Many, One*) turn her talents to the untold story of how the AFLW was born. Fresh from a critically acclaimed US premiere at New York’s St. Ann’s Warehouse, ***Scorched Earth***, the bold new work from **Luke Murphy’s Attic Projects**, examines the darkest questions of the Irish psyche inside a stark interrogation room. The visceral, high octane and genuinely breathtaking, **ESCAPE** is the latest production from Los Angeles company **DIAVOLO \| Architecture in Motion**, turning moving architectural structures into the stage for elite athletic performance across dance, acrobatics, stunt work and circus arts. Also direct from the US is New York puppetry company **Wakka Wakka** presents ***Dead as a Dodo***, a mesmerising musical odyssey set deep in the underworld. From New Zealand, a sweeping new adaptation of **Witi Ihimaera**‘s epic tale, ***Woman Far Walking*** spans 185 years of Aotearoa’s history, led by award-winning actors **Miriama McDowell** and **Nī Dekkers-Reihana**, while **Binge Culture’s *Werewolf*** brings a gripping, darkly funny immersive horror-comedy inspired by the classic game of social deduction to the festival. Acclaimed choreographer **Tupua Tigafua** brings his delightfully mischievous dance work ***Shel We*** to Brisbane, a playful homage to **Shel Silverstein** – best known for children’s book *The Giving Tree* – that has already entranced audiences across New Zealand and Sweden with its deeply felt tribute to family and the ties that bind. ![The Scoop Mama Does Derby Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/R3_0534-942x628.jpg "Mama Does Derby Sydney Festival • The Scoop")Mama Does Derby Photo by Claudio Raschella Written by 2024 Scotsman First Fringe Award winner **Virginia Gay** and directed by **Clare Watson**, ***Mama Does Derby*** brings the sweaty, radical world of roller derby to **Brisbane Powerhouse**. Told through theatre, live punk band and roller derby’s radical spirit, it’s a rollicking new work about a single mum and daughter finding their feet in a regional town where neither quite belongs. Meanwhile, Gold Coast company **The Farm’s *No One Gets Out of Here Alive*** takes on mortality itself, drawing on opera, ballet, dance, voice and music to transform life’s big and small endings into a visceral, darkly funny and unexpectedly cathartic communal experience. Internationally acclaimed singer-songwriter **Lior** joins forces with renowned conductor **Kelly Lovelady** and the **Conservatorium Symphony Orchestra** for ***Compassion***, a symphony of universal peace and love, while Be the Sky, curated by Professor Vanessa Tomlinson, sees Tibetan musician **Tenzin Choegyal** collaborate with **Philip Glass** in a meditative rendering of the composer’s work, with Glass’s own pianist travelling from the US to join Tenzin and Conservatorium students on stage. **Night at the Parkland** returns, gathering local and international names beneath the stars – **Human Nature, Icehouse, The Temper Trap, the Cruel Sea with Magic Dirt, Missy Higgins** and **PNAU** among them. For a change of pace, organist **Calvin Bowman** takes on ***The Complete Bach Cycle***, working through the composer’s entire organ repertoire, from hushed, spiritually charged chorale preludes to virtuosic preludes and fugues, on **QPAC’s Concert Hall** pipe organ. ![The Scoop QAGOMA presents The Pop Up Sock Puppet Studio. Photo by Callistemon](https://thescoop.au/wp-content/uploads/2026/09/Brisbane-Festival-QAGOMA-Public-Program-The-Pop-Up-Sock-Puppet-Studio-Please-ensure-this-credit-accompanies-any-use-of-the-image-QAGOMA-presents-The-Pop-Up-Sock-Puppet-Studio-Photo-C-Callistemon-942x628.jpg "QAGOMA presents The Pop Up Sock Puppet Studio. Photo by Callistemon • The Scoop")QAGOMA presents The Pop Up Sock Puppet Studio Photo by CallistemonALL AGES FESTIVAL FUN Brisbane Festival 2026 brings a rich mix of performances and hands-on activities designed for young festivalgoers and families alike. Exclusively at **QAGOMA, *Make, Believe, Magic: The Worlds of The Jim Henson Company*** takes visitors on an unmissable journey through the creative magic behind some of the most cherished characters in screen history and the fantastical worlds of *The Dark Crystal, Labyrinth* and *Fraggle Rock*. Nearby at QPAC’s Cremorne Theatre, ***Betsy Balloon and the Very Great Terrible Flood*** brings **Bill Manhire**‘s rambunctious modern fable to life in the story of a girl from a balloon-factory island whose world quite literally pops, sending her to a rain-soaked city that is slowly, inexorably sinking. Across the **Verso Projects. Festival Village, South Bank**, children can dance along with ABC favourite ***Dance with Tom***, while First Nations storytelling comes to life through acrobatics and movement in ***Living Sculptures: How the Birds Got Their Colours***. At the **Magic Mirrors Spiegeltent**, family favourite T**he Listies:** ***This Show is a Joke*** delivers the anarchic, laugh-a-minute chaos the beloved duo are known for. ![The Scoop Brisbane Festival - St Lucia Serenades - Credit Mellumae](https://thescoop.au/wp-content/uploads/2026/09/Brisbane-Festival-St-Lucia-Serenades-Credit-Mellumae-942x628.jpg "Brisbane Festival - St Lucia Serenades - Credit Mellumae • The Scoop")St Lucia Serenades Photo by MellumaeThroughout the September school holidays there will be plenty more to keep the kids busy, from face-painting and roving performers, to children’s disco and **The Knock ‘Em Downs** curious carnival tent. These experiences, along with a full slate of performances, workshops and activities, come together in one vibrant celebration on **Sunday 20 September**, with a dedicated Family Fun Day, supported by Brisbane Airport, running throughout the Village. FOR AND BY THE COMMUNITY **Brisbane Serenades** returns with a vibrant series of free outdoor concerts across the city’s parks and neighbourhoods, while the **Moorooka Block Party** chalks up five years with a stacked lineup of live music, dance and family-friendly activities. Now in its second season, ***Community Choir: The Musical*** is a heartwarming and hilarious tale performed almost entirely by locals, blurring the line between choir and theatre to celebrate collective creativity and everyday voices made extraordinary. Alongside it, Brisbane’s most beloved dance battle of the ‘burbs, the ***Common People Dance Eisteddfod***, sees seven southeast Queensland teams jazz-sliding, body-rolling and high-kicking their way to glory. The suburban celebration continues across the city with neighborhood favorites like the coastal live music showcase **Manly Serenades** and the family-friendly **St Lucia Block Party** on The University of Queensland grounds. ![The Scoop Brisbane Festival 2026](https://thescoop.au/wp-content/uploads/2026/09/Brisbane-Festival-Quandamooka-Festival-Credit-Nikki-Michail-942x628.jpg "Brisbane Festival 2026 • The Scoop")Quandamooka Festival Photo by Nikki MichailThe annual **Quandamooka Festival** continues as one of the most significant First Nations cultural gatherings in Queensland with a celebration of the living culture, art and stories of the Quandamooka people of Minjerribah (North Stradbroke Island). Four special Festival-edition **Lord Mayor’s City Hall Concerts** add some extra sparkle to the lunch hour this September: **David Bailey**‘s live original score for Buster Keaton’s silent classics, the storytelling and rich traditional rhythms of **East of West**, the **UQ Music Gala**‘s showcase of bold local talent, and the Lord Mayor’s Children’s Program favourite **TheatreDome**. **Brisbane Festival runs 4 – 26 September 2026. See the full program, subscribe for updates and purchase tickets at the website.** Website: <https://www.brisbanefestival.com.au/> Socials: <https://www.instagram.com/brisbanefestival/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Riverfire by Australian Retirement Trust. Photo by JD Lin **Categories:** News --- ### [Announcing Little Anastasia Cast For Brisbane Season](https://thescoop.au/announcing-little-anastasia-cast-for-brisbane-season/) **Published:** September 2, 2026 **Author:** Newsroom **Content:** ![The Scoop Little Anastasia Perth Musical](https://thescoop.au/wp-content/uploads/2026/02/1023-Eleanor-Flynn-and-Nancye-Hayes-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "• The Scoop")Producers of the hit Broadway musical **ANASTASIA** have today revealed the talented young Queensland performers who will be sharing the role of Little Anastasia in the highly anticipated musical opening this month at QPAC’s Lyric Theatre. The local Queensland performers who scored the coveted role amongst many keen auditionees are **Eva Boldery** (10 years old), **Kalina Kita** (9 years old), **Harvey Rose McClelland** (9 years old) and **Holly Murray** (10 years old). These hugely talented young performers will join cast members **Georgina Hopson** as Anya, **Robert Tripolino** as charming con artist Dmitry, **Joshua Robson** in the role of antagonist Gleb, **Rodney Dobson** as Vlad, the much-loved **Rhonda Burchmore** as Countess Lily and theatre icon **Nancye Hayes AM** in the role of the Dowager Empress. The ensemble cast includes **Sophia Bae, Elliot Baker, Nicholas Cunningham, Davis Giotopoulos Moore, Todd Goddard, Matthew Jenson, Stephanie Kurlow, Bella Minniti, Simon Plant, Nathan Stafford**, **Alexis Van Maanen, Patrick Volpe, Annie Wilson, Deone Zanotto** and **Andrea Zappacosta** with the Swings team featuring **Manon Gunderson-Briggs, Iosefa Laga’aia, Nathan Pinnell** and **Emma Russell.** ![The Scoop Anastasia Musical Premiere QPAC](https://thescoop.au/wp-content/uploads/2026/09/Screenshot-2026-09-02-at-112140-am-502x628.jpeg "Anastasia Musical Australian Premiere QPAC • The Scoop")Inspired by the mysterious tale of Grand Duchess Anastasia Romanov’s rumoured escape in the dawning days of the Russian Revolution, the story comes to life with intrigue and wonder. Based on the 1997 Oscar-nominated animated film of the same name, it brings that beloved world to the stage. ANASTASIA has been brought to life by the Tony Award-winning creative team of Terrence McNally, Stephen Flaherty and Lynn Ahrens. **ANASTASIA** is a lavish musical for all ages. It transports audiences from the twilight years of the Imperial rule to the euphoria and exuberance of Paris in the 1920s. The story sees a brave young woman named Anya setting out to discover the mystery of her past. Pursued by an army officer determined to silence her, she enlists the aid of a dashing conman and a loveable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family. Directed by Tony Award winning director Darko Tresnjak**, ANASTASIA** premiered on Broadway in March 2017. It received a Tony Award nomination for Best Costume Design in a Musical. It also won more than 15 major international awards including Best Musical awards in Germany, the Netherlands and Spain. The book for **ANASTASIA** was written by the late five-time Tony Award-winning writer Terrence McNally. His credits include *Love! Valour! Compassion!, Master Class, Kiss of the Spider Woman* and *Ragtime.* Music and lyrics for **ANASTASIA** were written by the renowned writing team of Stephen Flaherty and Lynn Ahrens. They have been referred to as “one of the greatest songwriting teams in Broadway history.” (*Chicago Tribune*). Produced by John Frost for Crossroads Live and Opera Australia in special collaboration with Stage Entertainment Productions, Tom Kirdahy, Hunter Arnold and Dan Hinde. ***Anastasia* *the Musical* runs 16 September – 18 October at the Lyric Theatre QPAC as the final stop on its national tour.** Tickets: <https://anastasiathemusical.com.au/tickets/brisbane/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Read our review of the Adelaide Season](https://thescoop.au/review-anastasia-finds-its-way-to-adelaide-in-glorious-style/) Hero image: Eleanor Flynn and Nancye Hayes in ANASTASIA Melbourne. Photo by Jeff Busby **Categories:** News --- ### [Film Review: De Gaulle Résistance Takes A Fascinating Journey Into France's Fight For Freedom](https://thescoop.au/film-review-de-gaulle-resistance-takes-a-fascinating-journey-into-frances-fight-for-freedom/) **Published:** September 1, 2026 **Author:** Alex Thompson **Content:** ★★★★½ ![The Scoop De Gaulle: Résistance](https://thescoop.au/wp-content/uploads/2026/08/DG_MA_00555_Leclerc_by-Malgosia-Abramowska-942x628.jpg "De Gaulle: Résistance • The Scoop")We hear about the French Resistance, and rightly so, but what happened to the French military after France fell? What exactly was Free France, who fought for it, and how did those forces contribute to the eventual Allied victory? Until watching *De Gaulle: Résistance*, I realised I really didn’t know. I have always been fascinated by World War II and perhaps some of that comes from my own family’s history. They came to Australia after the war, losing family, friends and livelihoods during those years. Perhaps that’s why the war has always felt like more than just history to me. Yet living in Australia also means that the version of World War II we are most familiar with tends to be told from an Australian, British or American perspective. We hear about Tobruk, Churchill, D-Day and the American and British campaigns across Europe. Directed by Antonin Baudry, *De Gaulle: Résistance* is the first part of a two-part French epic following Charles de Gaulle’s emergence from relative obscurity in 1940 and his struggle to establish Free France. At around two hours and forty minutes, there is an enormous amount of history to cover, but the film drops us into the chaos of France’s defeat and follows de Gaulle as he tries to convince a defeated nation, its allies and even his own countrymen that France is not finished. The second part will continue the story later this year. I was particularly interested to discover that the film is adapted from British historian Julian Jackson’s acclaimed biography *A Certain Idea of France: The Life of Charles de Gaulle*. Jackson was also involved with the production as a historical adviser, which makes the film’s attempt to recreate this complicated period even more interesting. I have already found myself wanting to read the book because the film left me with the feeling that I had only just scratched the surface of a history I should have known more about. ![The Scoop De Gaulle: Résistance](https://thescoop.au/wp-content/uploads/2026/08/1_DGK3501-1007x628.jpg "De Gaulle: Résistance • The Scoop")The North African defence sequences are some of the strongest in the film Photo by Malgosia AbramowskaWhat struck me most was how much of this history was new to me. I knew de Gaulle as the French general who became the leader of the Free French. I had assumed, rather simplistically, that Free France was essentially the handful of French soldiers who escaped and continued fighting alongside the Allies. The reality was far more complicated. De Gaulle was trying to create a military and political force while France itself was divided, occupied and governed by Vichy. He wasn’t simply trying to win battles, he was trying to preserve the idea that France still existed as a nation capable of choosing its own future. Then there was Mers el Kébir. I had never heard about the 1940 British attack on the French fleet in Algeria, in which almost 1,300 French sailors were killed. Britain feared the French ships could eventually fall into German hands, but the attack understandably created enormous bitterness in France and made de Gaulle’s already difficult position even more complicated. It was one of those moments where I found myself thinking, how did I get this far through my interest in World War II without knowing this? Then comes Bir Hakeim, where Free French forces under General Pierre Koenig held their position in North Africa against German and Italian forces, buying valuable time for the British Eighth Army to withdraw. The film’s North African defence sequences are some of its strongest, and for an Australian viewer it was impossible not to think about the stories we tell about the Rats of Tobruk and wonder why the French contribution at Bir Hakeim isn’t equally familiar to us. The film made me realise that parts of the war were being fought on a much more complicated stage than the version of it I had absorbed. This is where *De Gaulle: Résistance* moves beyond the biopic and invites us to look again at the history we think we know. ![The Scoop De Gaulle Resistance](https://thescoop.au/wp-content/uploads/2026/08/DG_MA_01258_photo-by-Malgosia-Abramowska-942x628.jpg "De Gaulle Resistance • The Scoop")Simon Abkarian is superb as Charles de Gaulle Photo by Malgosia AbramowskaSimon Abkarian is superb as Charles de Gaulle. He plays him as stoic, proud, stubborn and absolutely convinced that he is right. There is something almost extraordinary about de Gaulle’s confidence at the beginning, a relatively unknown general behaving as though he already speaks for an entire country. Yet as the story develops, you begin to understand why that certainty was necessary. I came away thinking that perhaps de Gaulle really was the man France needed. He wasn’t necessarily easy to like, and the film doesn’t pretend he was, but somebody had to refuse to accept that France had ceased to exist simply because its government had surrendered. Abkarian makes that conviction believable without turning de Gaulle into a conventional heroic figure. Simon Russell Beale is equally impressive as Winston Churchill. Their relationship provides some of the film’s best moments, with Churchill appearing to recognise something in de Gaulle that others don’t, even while finding him enormously difficult to deal with. Their relationship feels like a mixture of political necessity, mutual respect and two enormous personalities constantly pushing against each other. The French performances are excellent across the board, particularly Benoît Magimel as General Pierre Koenig and Niels Schneider as General Philippe Leclerc. Both bring enormous presence to their roles and make the Free French military feel like a genuine fighting force rather than simply a collection of characters orbiting de Gaulle. The film also benefits from showing that the story wasn’t just being made by famous generals. The younger characters bring another perspective to the conflict. Anamaria Vartolomei’s Livia represents the desperation and fear inside France, while Florian Lesieur’s Fernand and Chaïm Feroleto’s Pierre show the human cost of that desperation. Livia survives, while the deaths of Fernand and Pierre are particularly heartbreaking because the film has allowed us to see the people behind the statistics of war. I also appreciated the film’s exploration of the Resistance through Jean Moulin, played by Félix Kysyl. His involvement gives us a glimpse of the enormous complexity of trying to coordinate resistance within occupied France, although this was one area where I wanted more. The Resistance is touched upon rather than explored in depth, and I suspect that is partly the consequence of trying to fit such an enormous story into one film. ![The Scoop De Gaulle Resistance](https://thescoop.au/wp-content/uploads/2026/08/DeGaulle_Photogramme01B_E006_C006_20231103_TIFF-16bits-Rec709G24_Re╠usolutionSource-6016x3200_20240830-1181x628.jpg "De Gaulle Resistance • The Scoop")The cinematographers have created some genuinely beautiful images Photo by Malgosia AbramowskaTechnically, the film is spectacular. Cinematographers Pierre Cottereau and Giora Bejach have created some genuinely beautiful images, but it was the editing and some of the transitions between scenes that really caught my attention. There are cuts that feel almost startling in their effectiveness, moving between the personal and the enormous historical events surrounding the characters. The North African sequences have real scale and intensity, while the recreation of wartime France and England is convincing down to the sets, uniforms, clothing and period vehicles. It never feels like actors have been placed into costumes and dropped into a historical setting. The film moves between French and English, with French dialogue accompanied by subtitles, and I thought that worked particularly well. It retains the French identity of the story while allowing the British and American characters to feel naturally integrated into the same world. What I ultimately loved about *De Gaulle: Résistance* is that it made me curious. A good historical film should entertain you, but a great one can make you realise how much you don’t know. I finished this film wanting to know more about de Gaulle, Koenig, Leclerc, the Free French, the Resistance, Vichy France, Bir Hakeim and the political battles being fought behind the battlefield. What other stories are out there? How many countries invaded by Germany have histories of courage and sacrifice that rarely make it into the films, books and plays we see in Australia? For a war buff, *De Gaulle: Résistance* is a must-see. It is a three-hour commitment, but it is the sort of film that sends you home wanting to open a history book. For me, that is exactly what happened. I went in thinking I knew quite a lot about World War II and came out realising there was an enormous French chapter I had barely understood. Perhaps that is the most important thing this film achieves. It opens a door into another part of a war we think we know, and makes you wonder what other stories are still waiting to be discovered. **DE GAULLE: Résistance opens on Thursday 3 September in participating cinemas nationally.** Website: <https://rialtodistribution.com/film/de-gaulle-resistance-liberte-aus/> Socials: <https://www.instagram.com/rialtodistributionau/> [Win Tickets to the Film!](https://thescoop.au/win-tickets-to-de-gaulle-resistance-in-cinemas-3-september/) Watch the trailer below: **Film details:** Title: De Gaulle: Résistance (Part 1) Director: Antonin Baudry Cast: Simon Abkarian, Simon Russell Beale, Florian Lesieu Florian Lesieu, Benoît Magimel Country of Origin: France Duration: 160 mins Rating: TBC **Categories:** Film --- ### [The Monologue Collective Is Giving Real Teenagers A Voice](https://thescoop.au/the-monologue-collective-is-giving-real-teenagers-a-voice/) **Published:** September 1, 2026 **Author:** Newsroom **Content:** ![The Scoop The Monologue Collection Riverside](https://thescoop.au/wp-content/uploads/2026/09/HORIZONTALPOSTER_NOTEXT_PHOTOBY_Julius-Koivistoinen-1200x600.png "The Monologue Collection Riverside • The Scoop")While HSC Drama enrolments collapse, this show is selling out. Because teenagers wrote it. HSC Drama enrolments are down almost 19% in five years. So why did the first show of a season written entirely by teenagers sell out weeks in advance? ***The Monologue Collective*** returns for its second season from **9 – 10 September** at **PHIVE Parramatta**, presented by **Riverside Live**. Nine brand-new monologues, all written by teenagers, all built for HSC students’ individual drama performance. The bet behind it is simple: teenagers show up for theatre when it’s actually about being a teenager. The 2021 season sold out twice. This one has already sold out its first show. Creator **Laneikka Denne**, who launched the project at 19 years old, and is now 24 and on commission with Belvoir St Theatre, said: *“I couldn’t find a monologue written by someone under 30 about what life is actually like as a teenager, so I started writing them myself. Teenagers are anxious about politics, money, the future. Give them a stage for that, and they’ll fill the room.* *Without opportunities like this, we risk raising a generation with no young artists and no theatre audience at all.”* ![The Scoop The Monologue Collective Riverside](https://thescoop.au/wp-content/uploads/2026/09/TMCWSDevelopmentPhotobyTonyLing3_Featuring_RevaShinde_Arabella-Marisol-Chavez-Palpan_PrabJunea-1-942x628.jpg "The Monologue Collective Riverside • The Scoop")Reva Shinde Arabella Marisol Chavez Palpan and Prab Junea Photo by Tony LingThe nine writers, aged 16 to 18, spent a week in an intensive at PYT Fairfield. They were mentored by industry names including Daley Rangi (Griffin Theatre Company), James Elazzi, Donna Abela, Malaika Mfalme and Jules Orcullo (Sydney Theatre Company). Bernadette Fam, a former New Work Manager at Malthouse, has provided dramaturgy, while Ryan Whitworth-Jones has directed the pieces. The Australian Theatre For Young People (ATYP) are providing production support, while Create NSW and Riverside are funding the initiative. Australian Plays Transform has given every writer a subscription. Past alumni have gone on to WAAPA and AFTRS. Nick Annas, a past *Monologue Collective* writer at 15 years old, has now written, directed and starred in his first feature film, *Crash Out*, at aged 20, alongside Joe Bird (*Talk to Me*) and Catherine Laga’aia (*Moana*). The monologues will be published nationally by Playlab Australia and recorded by Australian Theatre Live on 9 September. ***The Monologue Collective: Western Sydney Edition* is presented by Riverside and We Are Not Producers, and runs 9 – 10 September at Riverside Parramatta.** Tickets are available [here](https://boxoffice.riversideparramatta.com.au/WEBPAGES/EntaWebShow/ShowCalendar.aspx). Website: <http://riversideparramatta.com.au/whats-on/the-monologue-collective> Socials: <https://www.instagram.com/themonologuecollective/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Photo by Julius Koivistoinen **ABOUT THE MONOLOGUE COLLECTIVE** *The Monologue Collective: Western Sydney Edition* is the second series of a youth theatre program led by young Western Sydney playwright Laneikka Denne, where 9 Western Sydney teenagers develop 6-8 minute monologues for HSC Drama students to perform for their individual performance. The program is funded by Create NSW, Riverside Theatre in partnership with ATYP, with support from Australian Theatre Live, published by Play Lab Australia. **ABOUT THE SHOW** *The Monologue Collective: Western Sydney Edition* is funded by Create NSW, Riverside Theatre in partnership with ATYP, with support from Australian Theatre Live, published by Play Lab Australia. Produced by We Are Not Producers. **WRITERS** Amna Ahmed (16), Aynie Lane (17), Arabella Marisol Chavez Palpan (16), Jack Fitzpatrick (18), Khalia Chavaria (17), Maysaa Maghchouch (16), Prab Juneja (18), Raine Osborne (17) and Reva Shinde (16). **DIRECTOR** Ryan Whitworth-Jones **DRAMATURG** Bernadette Fam **PRODUCER** We Are Not Producers **ASSISTANT DIRECTOR** Mina Asfour **PRODUCTION DESIGNER** Ruby Jenkins **SOUND DESIGNER** Carol Gonzales **CAST** Lilian Alejandra Valverde Seth Rafael Barrun Karrine Kanaan **Categories:** News --- ### [Review: Death Of A Salesman Asks Whether The Life We Are Chasing Is Actually Worth Having](https://thescoop.au/review-death-of-a-salesman-asks-whether-the-life-we-are-chasing-is-actually-worth-having/) **Published:** August 30, 2026 **Author:** Adam Skubala **Content:** ★★★★½ ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/08/DEATH-OF-A-SALESMAN_Anthony-LaPaglia-Alison-Whyte_-photo-Jeff-Busby_1375-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")There are some theatre experiences that demand a drink afterwards. *Death of a Salesman* opened at the Lyric Theatre, QPAC, on a Sunday afternoon, which turned out to be the perfect time to see it. The performance runs for around three hours, giving you just enough time to find somewhere for dinner, order a stiff drink and start talking about what you’ve just witnessed with whoever you came with. Because you will need to talk about it. I turned 50 this year and, despite having heard of Arthur Miller’s *Death of a Salesman* for years, I had never actually seen it or read it. My main exposure had been through my son applying to drama schools, where it seems every audition list contains a Biff Loman monologue. Somehow, I had constructed a completely different idea of what the play was about. I thought it was about a salesman who went to an apartment and something strange happened. How wrong I was. Upon discovering this production, by GWB Entertainment and Andrew Henry Presents, was directed by Neil Armfield, I was immediately interested. I will never forget seeing Armfield’s *The Secret River* performed in an outdoor quarry for Adelaide Festival. There are certain directors whose names make you sit up when you see them attached to a production. Neil Armfield is one of those for me. Then I saw who was playing Willy Loman. Anthony LaPaglia feels almost perfectly cast as Willy. He has the age, physicality, voice and experience to inhabit a man who has spent his entire life trying to convince himself that he has made the right choices. LaPaglia moves around the stage as though Willy isn’t entirely anchored in the present. He can be coherent one moment, confused the next, then angry and defensive. At times his behaviour is so fractured that my wife genuinely wondered whether he had forgotten his lines. I suspect that was exactly the point. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/08/DEATH-OF-A-SALESMAN_Josh-Helman-Anthony-LaPaglia_-photo-Jeff-Busby_1726-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")Anthony LaPaglia feels almost perfectly cast as Willy Photo by Jeff BusbyWilly is a man whose present and past have become hopelessly tangled, and LaPaglia makes that disintegration painful to watch. His performance constantly leaves you wondering whether Willy is depressed, exhausted, deluded or simply beginning to lose his grip on reality. Alison Whyte is outstanding as Linda Loman. In what could have easily become the supporting character in someone else’s tragedy, Whyte gives Linda a presence that makes her feel like the emotional centre of the Loman home. She understands Willy better than almost anyone, but there is also something heartbreaking about the extent to which she has invested in keeping his version of reality alive. As their adult sons, Josh Helman as Biff and Ben O’Toole as Happy provide much of the play’s electricity. At times they feel like the central characters, particularly when they are together. Helman gives Biff a powerful mixture of frustration, anger and vulnerability. This is a young man who has spent his life being told that he is destined for greatness and is slowly coming to the realisation that he may never become the person everyone expected him to be. And that is where Miller’s play becomes incredibly uncomfortable. Happy, meanwhile, is desperately trying to convince everyone, including himself, that he has made it. He boasts about his success, chases women and constructs a life that sounds impressive until you look closely. In 2026, it is difficult not to see social media and dating apps in Happy’s behaviour. The curated lives, the constant comparison, the need to demonstrate that everything is going brilliantly. Happy isn’t really himself until the very end. Marco Chiappi’s turn as the Lowmans’ neighbour, Charley, is probably my favourite performance of the production. His New York accent is completely convincing, but more importantly, he brings an enormous amount of life to the stage whenever he appears. Charley feels like someone who actually exists outside the Loman family’s bubble, and Chiappi’s warmth makes him immediately likeable. ![The Scoop Anthony LaPaglia and Alison Whyte in the 2023 2024 season. Photo by Brett Boardman](https://thescoop.au/wp-content/uploads/2026/05/DEATH-OF-A-SALESMAN_Alison-Whyte-Anthony-LaPaglia_-photo-Jeff-Busby_1694-942x628.jpg "Anthony LaPaglia and Alison Whyte in the 2023 2024 season. Photo by Brett Boardman • The Scoop")The cast remain present creating a feeling that memories are constantly around him Photo by Jeff BusbyAnthony Phelan as Uncle Ben Loman is another fascinating directorial choice. Giving Ben an almost otherworldly, booming resonance through a microphone makes him feel like a voice from Willy’s imagination, representing the alternative life Willy believes he could have had. It becomes increasingly significant as Willy’s grip on reality begins to fracture. The production itself is deceptively simple. Dale Ferguson’s set and costume design don’t attempt to overwhelm the actors, and the bleacher-like structure representing Ebbets Field works beautifully. Having the wider cast remain present on stage, watching the action and appearing and disappearing around the Lomans, creates the feeling that Willy’s memories, dreams and regrets are constantly surrounding him. The actors occupy the same physical space even when the story moves between different periods of Willy’s life, reinforcing the idea that Willy isn’t just remembering the past, he’s also living in it. But the reason *Death of a Salesman* still hits so hard more than 75 years after Arthur Miller wrote it is the question at its centre: what happens when we spend our lives trying to become successful rather than trying to become ourselves? Miller wrote the play in 1949, yet so much of it feels disturbingly contemporary. Willy wants his sons to succeed because he believes success will prove that he was a good father. He keeps searching for the secret formula, wondering what he did wrong and whether one different decision might have changed everything. That feels remarkably familiar in a world of helicopter parents, elite programs, endless extracurricular activities, and parents desperately trying to discover the secret combination that will guarantee their children a successful future. How much pressure is fair to place on a child to become successful? And how much of that pressure actually comes from our own fears? ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/08/GWB_DEATH-OF-A-SALESMAN-photo-Jeff-Busby_1894-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")We may not be selling goods as travelling salesmen but many of us are chasing the same promises Photo by Jeff BusbyBiff is the person who eventually begins to understand that the life his father wants for him isn’t necessarily the life he wants for himself. His struggle feels particularly relevant now, when young people are surrounded by constant evidence of everyone else’s supposed success. Willy’s tragedy is that he genuinely believes he is doing all of this for his family. He dreams of being rich enough to give his boys everything they could ever want. He imagines the life he might have had if he made different choices. He carries the weight of every perceived failure and eventually convinces himself that there must be one final thing he can do to make everything right. And perhaps that is what makes the play so devastating. Willy isn’t just chasing money, he is chasing proof that his life mattered. The final moments, particularly Linda’s speech, stayed with me. Why, Willy? Why did this man have to spend his entire life believing he wasn’t enough? And after everything, the idea that they are finally free is both incredibly moving and profoundly sad. I walked into *Death of a Salesman* thinking I was going to see an old American classic that I probably should have encountered years ago. I walked out wondering how little we’ve actually changed. We may not all be travelling from city to city selling goods, but many of us are still chasing the same promise: that if we work hard enough, earn enough, raise successful enough children and eventually get to the other side of the struggle, everything will somehow be alright. Oh, to be rich and carefree. Maybe Willy Loman spent his entire life looking for something that was never there. And maybe that’s why, 75 years later, his story still hurts. ***Death of a Salesman* is presented by GWB Entertainment and Andrew Henry Presents. It runs to 6 September at The Lyric Theatre, QPAC as part of a national tour. See full dates below.** Tickets: <https://www.qpac.com.au/whats-on/2026/death-of-a-salesman> Website: [http://salesmanaustralia.com.au](http://salesmanaustralia.com.au/) Socials: <https://www.instagram.com/salesmanaustralia/> [Read our Interview with Alison Whyte](https://thescoop.au/alison-whyte-we-need-human-stories-now-more-than-ever/) Photo credits: Jeff Busby 2026 Australian Tour Dates: Melbourne 11 – 22 August 2026, Her Majesty’s Theatre Brisbane 28 August – 6 September, Lyric Theatre, QPAC Adelaide 26 September – 4 October, Festival Theatre **Categories:** Brisbane, Theatre --- ### [Announcing Full Cast For Elf The Musical](https://thescoop.au/announcing-full-cast-for-elf-the-musical/) **Published:** August 31, 2026 **Author:** Newsroom **Content:** ![The Scoop Elf The Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Elf-The-Musical_Original-Australian-Cast_credit_Daniel-Boud_027-941x628.jpg "Elf The Musical Melbourne • The Scoop")With tickets for the final performances going on sale this Friday, ***Elf The Musical*** today reveals the full Australian cast who will bring the beloved Christmas film to life at CROWN LIVE from **27 November** **2026**. **Tickets** for new performances across the festive season from 15 – 27 December **go on sale** at 9am AEST this **Friday 4 September** via Ticketmaster. Much-loved comedian and actor **Colin Lane** joins the cast as the dual roles of Santa and Mr Greenway, Walter Hobbs’ grumpy boss. Best known as one half of the award winning comedy duo *Lano & Woodley*, Lane has built an impressive career across stage and screen, with theatre credits including *Peter and the Starcatcher*, *Don’s Party* and *Curtains*, and appearances in some of Australia’s best loved television comedies including *Fisk*, *Utopia* and *Kath & Kim*. **Colin Lane** said: *“I’ve played plenty of characters over the years, but Santa is a pretty hard one to top. Elf is such a joyful, funny show and I love that it doesn’t take Christmas too seriously, whilst still having a huge heart. Getting to play both Santa and Mr Greenway – essentially the nicest man in the world and one of the grumpiest – should be enormous fun. I can’t wait to get into the Christmas spirit with Melbourne.”* Lane is joined by **Gareth Isaac** (*Waitress The Musical, Grease the Musical*) as Buddy, reprising the role following acclaimed performances in the Australian premiere season at Sydney Opera House. ![The Scoop Elf The Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Colin_Lane_HI_RES-5-419x628.jpg "Elf The Musical Melbourne • The Scoop")Colin LaneNewly announced cast include: **Brianna Bishop** (*Grease the Musical*) as Buddy’s love interest, Jovie; **Adam Murphy** (Aladdin, *Sister Act, Wicked*) as Buddy’s Dad, Walter Hobbs; **Katrina Retallick** (*Come From Away*) as Emily and **Ryan Yeates** (*Charlie and the Chocolate Factory*) as Michael, who complete the Hobbs family. **Hollie James** (*Mary Poppins*) is Mr Greenway’s cheerful secretary, Deb; **Elandrah Tavares** (*Waitress The Musical*, *Hamilton*) is the no-nonsense Store Manager; and **Joel Granger** is Buddy Alternate/Ensemble. Together, they will bring the much-loved holiday classic to life for Melbourne audiences. Completing the talented cast are ensemble performers: **Jack Coyne**, **Marina Grace Lee, Lachlan Inwood, Joseph Naim, Max Patterson, Jayden Prelc, Annabelle Rosewarne**, **Rose Shannon-Duhigg,** and **Nicole Vella.** Australian producer **John Frost** said: *“We are excited to introduce the incredible all-Australian cast bringing Elf The Musical to life in Melbourne this Christmas. The show is filled with heart, humour and festive spirit, and we have assembled a wonderful company to share the magic of this much-loved story.”* ![The Scoop Elf The Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Elf-The-Musical_Sydney-Opera-House_credit_Daniel-Boud_021-975x628.jpg "Elf The Musical Melbourne • The Scoop")Still from Elf the Musical original Australian cast Photo by Daniel Boud*Elf The Musical*, inspired by the beloved Christmas film starring Will Ferrell, is the hilarious and heartwarming story of Buddy, a young orphan whose life is changed forever when he mistakenly crawls into Santa’s sack of toys one Christmas Eve. Raised as an elf at the North Pole, Buddy finally discovers he is human and sets off on a journey to New York City to find his birth father. Along the way he must reconnect with his birth father who’s on Santa’s naughty list, win over a skeptical half-brother who doesn’t believe in Santa, and help restore the magic of Christmas. **Gareth Isaac** who plays Buddy added: *“In the words of Buddy himself, the best way to spread Christmas cheer is singing loud for all to hear! And that’s exactly what we’ll be doing every performance. This is a big blockbuster of a show and one that leaves the audience smiling ear to ear. It’s a joy to play Buddy every show, and we think Melbourne audiences will enjoy it just as much as Sydney did!”* *Elf the Musical* features songs by Tony Award nominees **Matthew Sklar** and **Chad Beguelin** (Disney’s *Aladdin on Broadway, The Wedding Singer*). The story comes to life with a book by Tony Award-winners **Thomas Meehan** (*Annie, The Producers, Hairspray*) and **Bob Martin** (*The Drowsy Chaperone*). Joining them to bring this magical feat to life is an incredible production team, including Video Design by **David Bergman** (*The Picture of Dorian Gray*, *Muriel’s Wedding The Musical*), Set Design by **Nick Fry** (*Titanique*), Sound Design by **James Kohler** (*Frozen*),and Lighting Design by **Trent Suidgeest** (*Phar Lap The Musical*). Directed by **Eric Giancola**, with choreography by **Mitchell Woodcock** and music direction by **Vicky Jacobs**, the Australian production features a stellar all-Australian cast and creative team. ***Elf The Musical* premieres in Melbourne in the new theatre, CROWN LIVE, from 27 November – 27 December 2026.** Tickets are on sale through [Ticketmaster](https://www.ticketmaster.com.au/crown-live-melbourne-tickets-southbank/venue/304373). Website: <https://elfthemusical.com.au/> Socials: <https://www.instagram.com/elfthemusicalaus/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Daniel Boud **Categories:** News --- ### [Announcing Elf The Musical To Premiere Melbourne](https://thescoop.au/announcing-elf-the-musical-to-premiere-melbourne/) **Published:** July 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Elf The Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/07/Elf-The-Musical_Sydney-Opera-House_credit_Daniel-Boud_025-1005x628.jpg "Elf The Musical Melbourne • The Scoop")Christmas has come early with the announcement that ***Elf The Musical*** will premiere in Melbourne in the new theatre, CROWN LIVE, from **27 November 2026**. Following its smash-hit Australian premiere season at the Sydney Opera House in 2024**,** the heart-warming musical heads to Melbourne, bringing holiday magic and Christmas cheer to audiences this festive season. Tickets go on sale to the general public this **Friday 24 July** at 9am from Ticketmaster. *Elf The Musical*, inspired by the beloved Christmas film starring Will Ferrell, is the hilarious and heartwarming story of Buddy, a young orphan whose life is changed forever when he mistakenly crawls into Santa’s sack of toys one Christmas Eve. Raised as an elf at the North Pole, Buddy finally discovers he is human and sets off on a journey to New York City to find his birth father. Along the way he must come to terms with a father on Santa’s naughty list, win over a skeptical half-brother who doesn’t believe in Santa, and help restore the magic of Christmas. Australian producer **John Frost** said: *“I’m thrilled to be bringing Elf The Musical back to Australia and to open the brand-new theatre, CROWN LIVE, with such a spectacular production. This new production is bigger, brighter and more magical than ever, with spectacular staging, larger-than-life production numbers and plenty of Christmas surprises!* *It’s a joyful, feel-good show filled with holiday magic – the perfect way to celebrate the Christmas season and experience a large-scale Broadway show.”* This full-scale Broadway musical features songs by Tony Award nominees **Matthew Sklar** and **Chad Beguelin** (Disney’s *Aladdin on Broadway, The Wedding Singer*). The story comes to life with a book by Tony Award-winners **Thomas Meehan** (*Annie, The Producers, Hairspray*) and **Bob Martin** (*The Drowsy Chaperone*). Featuring a stellar Australian cast and creative team, the Australian production of *Elf The Musical* is directed by **Eric Giancola,** with choreography by **Mitchell Woodcock,** and music direction by **Vicky Jacobs**. **Gareth Isaac** will reprise the lead role of Buddy, for which he received rave reviews. Further cast announcements will be made in coming months. A festive sensation around the world, *Elf The Musical* has captivated audiences of all ages. ***Elf The Musical* premieres in Melbourne in the new theatre, CROWN LIVE, from 27 November – 13 December 2026.** Tickets are on sale Friday 24 July through [Ticketmaster](https://www.ticketmaster.com.au/crown-live-melbourne-tickets-southbank/venue/304373). Waitlist: <https://elfthemusical.com.au/#waitlist> Website: <https://elfthemusical.com.au/> Socials: <https://www.instagram.com/elfthemusicalaus/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Daniel Boud **Categories:** News --- ### [Alison Whyte: We Need Human Stories Now More Than Ever](https://thescoop.au/alison-whyte-we-need-human-stories-now-more-than-ever/) **Published:** May 27, 2026 **Author:** Sebastien Skubala **Content:** ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/05/DEATH-OF-A-SALESMAN_Alison-Whyte_-photo-Jeff-Busby_1265-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")Following widespread acclaim in 2023-2024, Arthur Miller’s timeless Pulitzer Prize-winning classic play *Death of a Salesman* starring Anthony La Paglia and Alison Whyte will return to Melbourne for a limited season in August, before making its Brisbane debut, and then on to Adelaide. A gripping and emotional exploration of the American Dream and its consequences, *Death of a Salesman* has resonated with audiences for generations. Emmy®, Golden Globe® and Tony Award® winner Anthony LaPaglia will reprise his role as Willy Loman, directed by legendary stage and screen director Neil Armfield. They will be joined by a stellar Australian cast, including Logie and Helpmann Award winner **Alison Whyte**, reprising the role of Linda Loman, the complex and devoted wife of the failing salesman. The Scoop had the pleasure of chatting to Alison ahead of the season. Alison reflects on working with LaPaglia and Armfield, and discusses the joys of live theatre. Read the full interview below. ![The Scoop Anthony LaPaglia and Alison Whyte in the 2023 2024 season. Photo by Brett Boardman](https://thescoop.au/wp-content/uploads/2026/05/DEATH-OF-A-SALESMAN_Alison-Whyte-Anthony-LaPaglia_-photo-Jeff-Busby_1694-942x628.jpg "Anthony LaPaglia and Alison Whyte in the 2023 2024 season. Photo by Brett Boardman • The Scoop")Anthony LaPaglia and Alison Whyte in current touring season Photo by Jeff BusbyYou’re returning to *Death Of A Salesman* after a two-year break. What memories from the original production stand out most to you? I think the reaction from the audience, and it was universal in each state. There was never a night when we didn’t have people standing. That’s a testament to a beautiful classic, well-constructed play, and a really well-crafted production from Neil Armfield. It really was a joy to present, and I think audiences got a lot out of it. Just hearing little sobs at the end, it was fabulous, in a sense. To perform this play was a cathartic, beautiful thing, and I’m looking forward to getting back on the boards and doing it. What is it about Arthur Miller’s canon that makes it stand out from other plays of the 20th century? I think it really speaks to people in a very honest way. People can really relate to what the characters are going through. I mean, chasing this illusory American Dream, it’s something that we can relate to here in Australia, particularly for young folk. Trying to scrape together a deposit for a mortgage is not exactly easy, and I think with the cost of living, people can relate to that. The centre of the story sees Willie’s decline and the struggle that Linda has of trying to keep the family together, keep him together, and her two sons, who are not exactly disappointments. But there’s a disappointment that runs through all of the characters’ lives. Not that that sounds particularly uplifting. I’m just saying that people can understand that there’s an expectation, and not every expectation can be met. Sometimes it’s very unrealistic, and sometimes it’s society that puts it onto you, not just parents that put it onto you. I think people can relate to that. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/05/Jeff-Busby-937x628.png "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")In rehearsal for the previous season of Death of a Salesman Photo by Jeff BusbyI’m an actor as well, and I worked with Neil Armfield on *The Secret River* for the Adelaide Festival. You lucky thing. Yes, it was amazing. He was awesome, really receptive to offers. What has your experience been like working with Neil? I’ve worked with Neil a couple of times. He’s the real deal. As an actor, you just fully trust his pushing and pulling. It was funny doing the requiem of this play, the last little bit of Linda that she has by herself. It was like being conducted by someone. It was such a beautiful, beautiful experience. He’s magical to work with, and there’s a beautiful shorthand, which we have developed over the years, which is great. I’ve been in some doozies with him, so I feel very lucky. Working with Anthony LaPaglia, a powerhouse of a performer, was there anything about his process that surprised you? Lots of things, actually. He hadn’t been on the boards for a minute; he’d been doing film and telly. So he would admit that it was hard work. Stage work’s different, and he knew that. I mean, he’s won a Tony. But they’re different processes in a sense. It’s sort of like childbirth. You forget. Then, as soon as the labour pain starts, it all comes flooding back. But his Willy Loman is sensational. He brings a beautiful humanity and a warmth to it. We get to watch the whole show, because we’re on the bleachers looking down when we’re not performing. And he has an amazing inner life as a performer. I didn’t see his performance in *View From a Bridge*, for which he won the Tony, but as a performer watching him, he’s pretty magical up there. It’s going to be a joy to do it again with him. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/05/DEATH-OF-A-SALESMAN_Alison-Whyte_-photo-Jeff-Busby_1881-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")Alison Whyte as Linda Loman in the 2026 season Photo by Jeff BusbyFor audiences who saw the previous production, what can they expect to be different in the 2026 version? Obviously, whenever you see a show, it’s different every time you see it, even though you have a very strict structure. But that final element that comes into a show, the different audience, makes it a different experience. Because that last element, which is the collective watching it, gives it a fresh and, if it’s even if it’s ever so slight, different feeling. And that’s the beautiful thing about sitting in a collective and experiencing the story at the same time. It doesn’t happen in our modern world all that much now. And I think that’s very life-affirming and human-affirming to collectively experience a story. It reminds you of your humanity. People are real. You don’t even know what’s real anymore. Whether it’s an AI-generated performer or not. But people are real. They’re touchable, they’re tangible, they’re experiencing human emotion, human story. And we all want to be reminded every now and then that that’s what we are. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-26-at-81023-pm-649x628.png "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")You’ve had an amazing career with some awesome roles in musical theatre, plays, film, TV. What is still on your bucket list? Sebastien, here’s a bit of advice for a young actor: keep your expectations low. *(Laughs)* Because you’ll say, “I want to play Juliet.” I still haven’t got there. I don’t think I’m going to get there. I actually don’t know a good role until I bump into it, which seems like a weird thing. But roles I’ve loved doing include Linda Loman. I’ve loved playing Amanda Wingfield in *[The Glass Menagerie](https://thescoop.au/review-the-glass-menagerie-sees-a-stunning-adaptation-from-mtc/)*. And roles like Olive in *Summer of the Seventeenth Doll*. You don’t realise until you’re actually in them how exquisite these roles are. They’re beautiful, and they are experiences that have to be cherished. ***Death of a Salesman* runs 11 – 22 August at Her Majesty’s Theatre Melbourne. It then runs in Brisbane and Adelaide, see full dates below.** Tickets are available at the website. Website: [http://salesmanaustralia.com.au](http://salesmanaustralia.com.au/) Socials: <https://www.instagram.com/salesmanaustralia/> [Read more of our Interviews](https://thescoop.au/feature-articles/) Hero image: Alison Whyte in *Death of a Salesman*. Photo by Brett Boardman 2026 Australian Tour Dates: Melbourne 11 – 22 August 2026, Her Majesty’s Theatre Brisbane 28 August – 6 September, Lyric Theatre QPAC Adelaide 26 September – 4 October, Festival Theatre **Categories:** Features --- ### [Review: Death Of A Salesman Is A Devastating Reminder Of The Cost Of Success](https://thescoop.au/review-death-of-a-salesman-is-a-devastating-reminder-of-the-cost-of-success/) **Published:** August 14, 2026 **Author:** Jessica Flynn **Content:** ★★★★☆ ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/08/DEATH-OF-A-SALESMAN_Anthony-Phelan-Alison-Whyte-Anthony-LaPaglia_-photo-Jeff-Busby_1445-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")Arthur Miller’s *Death of a Salesman* may have premiered in 1949, but Neil Armfield’s devastating production makes it abundantly clear that Willy Loman’s struggle is far from a relic of post-war America. More than seven decades later, we are still chasing the promise of success, measuring ourselves by titles, salaries and status, even when they bear little resemblance to what we actually want or need from our lives. At the centre is Willy Loman (Anthony LaPaglia), a travelling salesman whose belief in the American Dream has become both his greatest motivation and his ultimate undoing. As his career falters, his relationships fracture, and his grip on reality begins to deteriorate, Willy desperately clings to the belief that being well-liked will somehow be enough to save him. LaPaglia is phenomenal, bringing all the gruffness and staunchness of a man who has spent his life believing fiercely in the system, even as that very system tears him down. It is a particularly impressive performance from LaPaglia, who is reprising the role after the production’s acclaimed previous seasons in 2023 and 2024. Best known for his screen work in *Boy Swallows Universe, Without a Trace, Florida Man* and for winning a Tony Award for Miller’s *A View from the Bridge* in 1997, he has an extraordinary ability to make Willy’s volatility feel simultaneously intimidating, pathetic and endearing. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/08/GWB_DEATH-OF-A-SALESMAN-photo-Jeff-Busby_1605-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")There is something wonderfully cinematic about this production but it never loses the rawness that makes live theatre so powerful Photo by Jeff BusbyWilly’s deteriorating mind is reflected beautifully in the production itself. Costumes designed by Dale Ferguson and Sophie Woodward are subtly transformed in the background. Something as simple as a pair of socks signals a shift between past and present. It requires the audience to occasionally remind themselves where – and when – they are. But that slight disorientation is entirely fitting. We are seeing the world through Willy’s eyes, where memories bleed into reality. There is something wonderfully cinematic about this production of *Death of a Salesman*, but it never loses the rawness that makes live theatre so powerful. Armfield’s direction gives Miller’s classic a muscularity and visual language that feels entirely its own, with the enormous bleachers of Ebbets Field looming over the action like a monument to Willy’s impossible dreams. It is stark and imposing, creating a world in which the past is never quite allowed to disappear. Alison Whyte is magnificent as Linda, displaying remarkable control over her voice and expressions. She draws us completely into the world of a woman who continues to hold her family together despite her husband’s failings. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/08/DEATH-OF-A-SALESMAN-photo-Jeff-Busby_1464-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")We are still chasing the promise of success even if it bears little resemblance to what we actually want or need from our lives Photo by Jeff BusbyJosh Helman brings heartbreaking complexity to Biff, embodying the consequences of placing a child on a pedestal so high that they can never realistically reach it. Ben O’Toole, meanwhile, is perfectly cast as Happy, maintaining the facade of the happy-go-lucky son while quietly revealing the desperation and hollowness underneath. Anthony Phelan’s Uncle Ben provides some much-needed quirky comic relief with his delivery at times, but there is an ominous quality beneath every appearance. He is the manifestation of the success Willy desperately wishes he had achieved and brings the heaviness of failure with him. And then there is the line that made me die a little as an office worker: *“What are you building? Lay your hand on it. Where is it?”* It is a brutal question because it cuts straight through the mythology of productivity and success. What *are* we actually building? That is what makes *Death of a Salesman* so enduring and emotionally bruising. Willy Loman’s tragedy is not simply that he fails to achieve the American Dream. It is that he spends his entire life pursuing an idea of success that was never truly his to begin with. In a world still obsessed with achievement, status and being “well liked,” Miller’s warning feels uncomfortably and painfully relevant. ***Death of a Salesman* is presented by GWB Entertainment and Andrew Henry Presents. It runs to 22 August at Her Majesty’s Theatre Melbourne, before touring to Brisbane and Adelaide. See full dates below.** Tickets are available [here](https://premier.ticketek.com.au/shows/Show.aspx?sh=DOAS26). Website: [http://salesmanaustralia.com.au](http://salesmanaustralia.com.au/) Socials: <https://www.instagram.com/salesmanaustralia/> [Read our Interview with Alison Whyte!](https://thescoop.au/alison-whyte-we-need-human-stories-now-more-than-ever/) Photo credits: Jeff Busby 2026 Australian Tour Dates: Melbourne 11 – 22 August 2026, Her Majesty’s Theatre Brisbane 28 August – 6 September, Lyric Theatre QPAC Adelaide 26 September – 4 October, Festival Theatre **Categories:** Melbourne, Theatre --- ### [Review: GRIMM Is A Dazzling Display Of Pure Pandemonium](https://thescoop.au/review-grimm-is-a-dazzling-display-of-pure-pandemonium/) **Published:** August 28, 2026 **Author:** Jesse Oey **Content:** ★★★★½ ![The Scoop A group of four performers in ornate red and black costumes pose on a theatrical stage with gold curtains and warm red lighting.](https://thescoop.au/wp-content/uploads/2026/08/PNC7048_Parenthesy-696_LR-942x628.jpg "GRIMM Shake & Stir Theatre Co Melbourne • The Scoop")Occupying the sinister space between Disney sunshine and scandalous Sondheim, GRIMM drags us into a dark, desolate forest, where familiar faces lurk in the shadows. The classic, enduring fairytales popularised by the Brothers Grimm are retold, with a terrible twist. It all starts innocently enough: we meet the little girl in a red hood; the silent stepdaughter longing to go to the ball; the tragic beauty being kept captive by a cursed beast; the alluring, enigmatic wolf… until, as the clock ticks towards midnight, we realise these aren’t *exactly* the stories we grew up with. Following a sold-out premiere season at QPAC for Brisbane Festival in 2024, Shake & Stir Theatre Co’s GRIMM arrives with a bang at the Arts Centre Melbourne’s Fairfax Studio, as part of a national tour. Brilliantly co-adapted by Artistic Director Nelle Lee, with Director (and co-adaptor) Daniel Evans at the helm, this juggernaut production is wild, wicked, and madly unforgiving. Set at an abandoned watering hole – hilariously named The Witch’s Tit – deep in the woods, Evans brings these classic tales to life in fluid, frenetic pacing. The show’s definite sense of mischief is palpable in the frantic way the cast tumble through their stories like they’re discovering them in real time. And speaking of, this frivolous foursome is a dazzling display of pure pandemonium, as they bounce between characters and playfully prance around the stage. Treating the entire theatre space as their stage, they frequently break the fourth wall and engage the audience in careless abandon. ![The Scoop GRIMM Shake & Stir Theatre Co Melbourne](https://thescoop.au/wp-content/uploads/2026/08/PNC7048_Parenthesy-631_LR-942x628.jpg "GRIMM Shake & Stir Theatre Co Melbourne • The Scoop")These classic tales are brought to life with fluid and frenetic pacing Photo by Cameron GrantLeading the charge, Nelle Lee brings a vibrant, victorious spark. Bright and bubbly as Little Red Riding Hood, yet sharp and vicious as captive prisoner Beauty, Lee dexterously bounds across the stage. She effortlessly flips between danger and delight with captivating ease, her resonant, charismatic voice imperious and resounding. Aljin Abela grounds the storytelling in his nuanced performance. Devious as gold-spinner Rumpelstiltskin and fragile as sensitive Beast, he shape-shifts from despair to defiance in rapid succession. At the show’s midway point, Abela offers a rare tender moment, shared with a fawn puppet (gently marionetted by Lee) that provides a much-needed emotional reprieve amongst all the unrelenting turmoil. Rounding out the cast, Helen Cassidy weaves her way in and out of characters including the timid Ashputtel (Cinderella) and the kooky Wicked Witch like an absolute chameleon. Alongside her, Henry Rollo is seductive as The Big Bad Wolf, then spitefully two-faced as Prince Charming, bringing swagger and solid vocals with a dash of camp for good measure. ![The Scoop GRIMM Shake & Stir Theatre Co Melbourne](https://thescoop.au/wp-content/uploads/2026/08/PNC7048_Parenthesy-228_LR-942x628.jpg "GRIMM Shake & Stir Theatre Co Melbourne • The Scoop") The impressive set is a dilapidated woodland playhouse Photo by Cameron GrantJosh McIntosh’s impressive set is a dilapidated woodland playhouse that looks rebuilt from scraps of old storybooks. Stacks of half-broken wooden beams and curtained potholes serve as the perfect backdrop to the evening’s terrifying terrors. Lighting designer Trent Suidgeest and sound designer Guy Webster skilfully combine sudden blackouts, flashing sparks, and abrupt noises to shock and surprise, conjuring a chilling atmosphere heavy with tension. Soundtracked against familiar present-day tunes and pop culture references that serve as subtle signposts to the show’s contemporary references, GRIMM reminds us that since time immemorial, fairytales have often served as little warnings and survival guides disguised as fables. It peppers in commentary about how these age-old, cautionary stories were, and still are, passed down through generations of women and girls with one everlasting theme: that some are still oppressed, appearance matters, and minorities are always prosecuted for being different. As the show itself postulates, *“the biggest tragedy, is that nothing ever changes.”* Provocative, explosive, and brimming with conviction, GRIMM is a confident triumph. Trudge your way into the woods at your own peril, and catch this gritty, charismatic knockout of a fairytale fever dream whilst it’s in town. ***GRIMM – Tales from the Brothers Grimm* is presented by Shake & Stir Theatre Co. It runs at Arts Centre Melbourne’s Fairfax Studio until 12 September 2026 as part of a national tour.** Tickets: <https://www.artscentremelbourne.com.au/whats-on/2026/theatre/grimm> Website: <https://shakeandstir.com.au/mainstage/grimm#touring-dates> Socials: <https://www.instagram.com/shakeandstir/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Cameron Grant **Categories:** Melbourne, Theatre --- ### [Review: The Book Of Everything Reminds Us That Life Doesn't Need To Be Complicated](https://thescoop.au/review-the-book-of-everything-reminds-us-that-life-doesnt-need-to-be-complicated/) **Published:** August 28, 2026 **Author:** Nick Dale **Content:** ★★★★☆ ![The Scoop The Book of Everything Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/08/2026_AUGUST_Belvoir_TheBookOfEverything_Production_PhotoBrettBoardman_000338-941x628.jpg "The Book of Everything Belvoir St Theatre • The Scoop")Neil Armfield’s revival of *The Book of Everything* at Belvoir St Theatre is a joyous, playful delight. It’s a totally refreshing production in a world full of endless digital noise, and a constant push for faster is better. Richard Tulloch’s adaptation of Guus Kuijer’s 2004 Dutch novel premiered on this stage in 2010 and now returns with five of the original cast, with prolific director Neil Armfield at the helm. This play feels completely tactile. A truly collective effort. Belvoir is known for its innovative staging and sound, and *The Book of Everything* carries that reputation forward with a true actor-led soundscape. You almost feel like getting on stage and joining in. A bit of analogue, anyone? There’s everything from a giant storybook of which actors turn the pages to change scenes, to bicycles, the tossing of green balls, hand clapping for hail and an uber-talented one-man orchestra. It’s post-war Amsterdam, 1951. Nine-year-old Thomas Klopper (Matthew Whittet) lives under the shadow of a violent, God-fearing father (John Gaden), a repressed mother (Claire Jones) and a sister, Margot (Rebecca Massey), simmering with her own unrest. Thomas finds refuge in his imagination, befriending the so-called witch next door, Mrs Van Amersfoort (Julie Forsyth), a girl with a leather leg named Eliza (Bridie McKim), and an irreverent Jesus (John Leary) who drops in for a chat. He writes it all down in his book, the book of everything. We open on a back wall illuminated in a deep, rich blue. Yves Klein blue, my friend informs me, and what a blue it is. The colour serves as the perfect trance, a ‘dive into another world’ feeling, as we’re pulled into Thomas’ imagination through a giant book designed by Kim Carpenter. ![The Scoop The Book of Everything Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/08/2026_AUGUST_Belvoir_TheBookOfEverything_Production_PhotoBrettBoardman_016134-941x628.jpg "The Book of Everything Belvoir St Theatre • The Scoop")This is fluid ensemble storytelling at its best Photo by Brett BoardmanArmfield conducts this work like a kaleidoscopic living canvas. With Julia Cotton’s intricate choreography, this is fluid ensemble storytelling at its best. The actors work in a harmonious synergy, moving between vibrant, playful chaos, family dinner scenes bubbling with tension, and moments of contemplative stillness. Julia Cotton creates an exquisite tapestry-like flow with actors weaving in and out of each other in action sequences, then retreating to chairs at the wall, but always involved, always active. There’s a thrilling, hilarious sequence when Thomas’ letter to his secret crush Eliza is sent to be delivered, with the actors performing the delivery. A delight to watch for even those most jaded of audiences. And visible to the side, uber-talented musician Jack Ward is a feature to behold. He’s a one-man orchestra, an octopus-like creature playing everything from piano to mini organ to cello to xylophone and back to cello again. His delivery of Iain Grandage’s score is always perfectly integrated and timed with the actors’ movements and the emotional moments. Matthew Whittet is riveting as Thomas, embodying a charming, exuberant innocence. His physicality is intensely energetic with an angular-like precision. He holds the narrative with effortless, endlessly engaging energy. Claire Jones as Thomas’ mother, a woman repressed and dominated by her husband, plays a delicate containment, covering a shaky vulnerability and sadness. Julie Forsyth is particularly captivating as Mrs Van Amersfoort, the eccentric so-called witch next door. She’s enigmatic, cheeky and full of warm charisma. ![The Scoop The Book of Everything Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/08/2026_AUGUST_Belvoir_TheBookOfEverything_Production_PhotoBrettBoardman_015243-941x628.jpg "The Book of Everything Belvoir St Theatre • The Scoop")The play lifts us out of the heaviness and reminds us that simplicity can shake us out of it all Photo by Brett BoardmanAnd Pamela Rabe, in consistent fine form, moves with precise chaotic energy about the stage as the feisty, unapologetically feminist Aunty Pie. She then slinks back to the corners as the cat, elegant and playful. The play takes on subjects like domestic violence, oppressive religion and the memories of Nazi terror but handles them with seamless tenderness. Richard Tulloch’s adaptation brings a quirky, snappy energy to the story, with tongue-in-cheek humour and vivid imagery that keeps it buoyant. He brings an irreverent, Aussie humour, particularly evident in the form of an ultra-chill Jesus Christ who wafts in and out of Thomas’ imagination. The slightly intriguing juxtaposition serves to soften the tension of heavy topics like domestic violence with surreal comedy. It’s an unusual blend of post-war Holland, the Dutch outfits and tailored dresses, together with some thick Aussie accents. We live in a complicated world these days, heavy with troubles and overwhelm. *The Book of Everything* lifts us out of the heaviness and reminds us that simplicity can shake us out of it all, and that togetherness is healing. This production will thrill and delight the young ones while reminding those of us in the cynical doldrums that life doesn’t need to be so damn complicated. ***The Book of Everything* is presented by Belvoir St Theatre in a co-production with Kim Carpenter’s Theatre of Image. It runs to 20 September, Upstairs Theatre, Belvoir Street Surry Hills NSW** **2010.** Tickets: <https://my.belvoir.com.au/overview/14654> Website: <https://belvoir.com.au/productions/the-book-of-everything-3/> Socials: <https://www.instagram.com/belvoirst/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Ian Potter State Theatre To Reopen With Free Program Housewarming](https://thescoop.au/ian-potter-state-theatre-to-reopen-with-free-program-housewarming/) **Published:** August 27, 2026 **Author:** Newsroom **Content:** ![The Scoop Housewarming Arts Centre Melbourne Ian Potter State Theatre](https://thescoop.au/wp-content/uploads/2026/08/unnamed-1-1-1109x628.jpg "Housewarming Arts Centre Melbourne Ian Potter State Theatre • The Scoop")To celebrate the reopening of the **Ian Potter State Theatre, Arts Centre Melbourne** have announced that Victorians are invited to [***Housewarming***](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_9x) **(9 – 12 October),** a series of spectacular free performances putting the spotlight on some of the state’s best performing artists. 18,000 free tickets will be available to the fast-paced high-energy theatre experience, specially commissioned to reopen the Ian Potter State Theatre. *Housewarming* features dance, circus, music and theatre from leading performing arts companies and artists, directed by the acclaimed Melbourne theatre-maker **Michael Kantor**. In *Housewarming*, award-winning musical comedy star **Jude Perl** will take audiences on a journey in search of the mysterious Lyrebird missing from the theatre’s iconic red curtain. Perl is joined by **Principal Artist Brett Chynoweth** (**The Australian Ballet**), singer-songwriters **Emma Donovan** and **Eliza Hull**, as well as dancer, **roya the destroya**, **Circus Oz, Opera Australia** (***The Magic Flute***)*,* **The Australian Ballet** (Choreography by **Tim Harbour**), **Melbourne Theatre Company** (*My Brilliant Career*)and **Bell Shakespeare** (*Mackenzie*). Also featured are **The Australian Ballet School** (*Butterfly*), **Stephanie Lake Company** (*The Chronicles*), a new commission by **Robin Fox**, Melbourne children’s choir **The Yarra Voices**, **Cypher Culture x Jungle City**, and musical theatre students from the **Victorian College of the Arts**. Family-friendly performances have been scheduled to mark the iconic theatre’s reopening, with much-loved performers **The Listies** taking the stage on **Sunday 11 October** as part of the *Housewarming* line-up, to ensure fun for all ages. On Monday 12 October shows for schools have been scheduled. All performances are free and with tickets expected to be in high demand members of the public are encouraged to book [online from 10am](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_9x) to secure a seat. ***Housewarming*** has been made free for Victorians through the generosity of donors to Arts Centre Melbourne. ![The Scoop ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne](https://thescoop.au/wp-content/uploads/2026/06/15_Summer-of-the-Seventeenth-Doll-set-model-854x628.jpg "ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne • The Scoop")Set model designed by Tony Tripp for Summer of the Seventeenth Doll featured at ENCORE exhibitionEntry to [***ENCORE!***](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_9y), a new exhibition at AMPA celebrating 50 years of the Australian Performing Arts Collection will be free across the *Housewarming* weekend. Visitors can also enjoy free guided tours, DJ sets, and roaming performances from ***Born in a Taxi.*** A line-up of food trucks will roll into the Forecourt serving delicious authentic Italian wood-fired pizza, flavourful Korean and Japanese street food, and premium Greek doughnuts all weekend. Also on offer will be a Connoisseur ice cream pop-up and treats from Arts Centre Melbourne’s Protagonist Cafe and The Barre. In addition, over two nights – **9 October and 10 October** – visitors can experience a dazzling laser light show, [***Spire Alight***](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_9z), on the iconic Theatres Building Spire. Using cutting-edge laser-light technology to trace every striking architectural detail – including its iconic ‘ballerina’ steel skirt – the Spire will be transformed from a static metallic tower into a breathtaking animated artwork, glowing to life in a spectacular laser-mapped light show. Arts Centre Melbourne’s Ian Potter State Theatre is reopening six months ahead of schedule following its first major refurbishment since opening in 1984. The theatre, which closed for upgrades in March 2024, will be the first completed milestone of the Victorian Government’s city-shaping Melbourne Arts Precinct Transformation project. The first performance at the upgraded theatre will be a world-premiere First Nations-led concert, [***Gugu Dindi Gunyah (Many Rivers. One Home***)](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_90) on Saturday 3 October. Arts Centre Melbourne Chief Executive Officer **Karen Quinlan, AM** said: *“The reopening of our renewed Ian Potter State Theatre is a huge milestone for Arts Centre Melbourne and a great achievement for all who have worked to make it a reality.* *This refurbishment means there is a future for our beloved theatre to showcase world-class performances, and we are delighted to welcome our resident companies home. We can’t wait to welcome audiences back into the theatre and for the community to enjoy all it has to offer.”* Minister for Creative Industries **Vicki Ward** said: *“We can’t wait to reopen the doors of the Ian Potter State Theatre’s to thousands of Victorians, free of charge. This landmark redevelopment will strengthen Victoria’s creative economy and kickstart the next chapter for the precinct.”* ![The Scoop Housewarming Arts Centre Melbourne Ian Potter State Theatre](https://thescoop.au/wp-content/uploads/2026/08/20260605-wergaia-country-lake-tyrrell-alice-skye-kutcha-edwards-01-credit-cam-matheson-1117x628.png "Housewarming Arts Centre Melbourne Ian Potter State Theatre • The Scoop")Gugu Dindi Gunyah Many Rivers One Home creative development on Country Photo credit Cam MathesonThe extensive refurbishment has made the theatre more accessible by allowing audience members with mobility challenges for the first time to choose seating across all levels. Two new lifts will also assist patrons to access the new wheelchair positions in the Stalls. New aisles have been introduced in the Stalls and Circle, and new rows were added to the Balcony. The upgrades have also made the theatre a more comfortable place for audiences through improved heating and cooling. There have also been technical upgrades to lighting and sound systems, as well as a careful preservation of the theatre’s heritage grandeur originally designed by **John Truscott**. **Bigger than four tennis courts, the Ian Potter State Theatre stage is the largest stage in the Southern Hemisphere.** It’s also the home of resident companies, the Australian Ballet and Opera Australia. After the theatre reopens, works will continue throughout the Arts Centre Melbourne Theatres Building, including the construction of a new and accessible stage door, space for a new flexible rehearsal area and two new food and beverage offerings. Following *Housewarming*, the Ian Potter State Theatre reopening program will continue with **Opera Australia’s** **The Wagner Gala Concert** on 16 October, **The Australian Ballet’s** season of Sir Peter Wright’s ***The Nutcracker*** from 24 – 31 October and the first musical in the upgraded theatre, Opera Australia’s 70th Anniversary production of ***My Fair Lady*** from 14 November 2026 – 17 January 2027. Arts Centre Melbourne has also announced that the Ian Potter State Theatre stage will host an epic free concert ***[Soundtrack to Our Lives](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_~z)*** on **18 April 2027.** Created by **Joseph O’Farrell (JOF)** the new participatory work is a [Betty Project](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_91), an initiative creating large-scale community experiences. From **22 – 24 April 2027** an exhilarating high-flying spectacular, [***The Next Big Thing***](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_92)*,* will take the stage***,*** a new intergenerational show from **Circus Oz** and the **Flying Fruit Fly Circus**, exploring what we can learn when generations defy gravity and expectation together. ![The Scoop Housewarming Arts Centre Melbourne Ian Potter State Theatre](https://thescoop.au/wp-content/uploads/2026/08/Housewarming_The-Australian-Ballet_48275_credit-Daniel-Boud-835x628.jpg "Housewarming Arts Centre Melbourne Ian Potter State Theatre • The Scoop")Principal Artist Brett Chynoweth of The Australian Ballet Photo by Daniel Boud**IAN POTTER STATE THEATRE REOPENING PROGRAM** [**Gugu Dindi Gunyah – 3 October**](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_90) A powerful world-premiere First Nations-led concert created by Mutti Mutti, Nari Nari, Yorta Yorta Songman Kutcha Edwards and sung entirely in the Aboriginal languages of Song Keepers from across Victoria. [**Housewarming 9 – 12 October**](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_9x) A free, fast-paced performance featuring more than 100 Victorian artists from the worlds of music, dance, theatre, and circus. Free performances run across one unforgettable weekend, with food entertainment and activities continuing beyond the stage. [**The Wagner Gala Concert – 16 October**](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_93) Opera Australia’s celebrated return to the Ian Potter State Theatre brings together music of extraordinary scale and power, composed by Richard Wagner for vast orchestral forces and voices that can fill a theatre. [**The Nutcracker 24 – 31 October**](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_~u) A special season of Sir Peter Wright’s timeless classic ballet to celebrate The Australian Ballet returning to the Ian Potter State Theatre. [**My Fair Lady 14 November 2026 – 17 January 2027**](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_~v) Celebrating 70 dazzling years since its glorious Broadway debut, Lerner and Loewe’s iconic *My Fair Lady* will be the first major musical to perform at Arts Centre Melbourne’s refurbished Ian Potter State Theatre. **[Soundtrack to Our Lives 18 April 2027](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_~z)** An epic free concert created by Joseph O’Farrell (JOF)and a Betty Project, creating large-scale community experiences inspired by creativity. [**The Next Big Thing 22 – 24 April 2027**](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_92) A new intergenerational show from Circus Oz and the Flying Fruit Fly Circus, exploring what we can learn when generations defy gravity and expectation together ***Housewarming* is presented by Arts Centre Melbourne and runs 9 – 12 October 2026 at the Ian Potter State Theatre**. Free tickets available to book now. Seats are limited so members of the public are encouraged to secure their ticket early. To view details of the full program visit the website. Tickets: <https://www.artscentremelbourne.com.au/whats-on/2026/festivals-and-series/housewarming> Website: [artscentremelbourne.com.au](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_9z) Socials: <https://www.instagram.com/artscentremelbourne/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Daniel Boud **ABOUT THE IAN POTTER STATE THEATRE** The [Ian Potter State Theatre](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_~w) reopens on 3 October 2026 after undergoing an extensive refurbishment since 2024. The refurbishment, part of the Melbourne Arts Precinct Transformation, has made the theatre more accessible and comfortable for all Victorians and modernised its amenities for a truly 21st century theatre experience. The refurbishment has included new aisles in the Stalls and Circle, upgraded seats, heating and cooling, accessible seating in the Stalls supported by two new lifts, and state-of-the-art lighting and sound systems to enhance all genres of performance. Alongside technical upgrades, the theatre’s heritage characteristics have been preserved to uphold interior designer John Truscott’s bold vision that has defined the auditorium for more than 40 years. The Ian Potter State Theatre is also the Melbourne performance stage of resident companies The Australian Ballet and Opera Australia. **ABOUT ARTS CENTRE MELBOURNE** Australia’s largest performing arts centre, [Arts Centre Melbourne](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeF0232jiEA0_ueglPPKJFWa95J80_QYUOe-1X2hj_~x) is comprised of three iconic Melbourne performance venues – Hamer Hall, Sidney Myer Music Bowl and the Theatres Building with its rooftop Spire – a landmark of the city’s skyline. As the premier performing arts centre in the state of Victoria, Arts Centre Melbourne is home to four Resident Companies: The Australian Ballet, Melbourne Symphony Orchestra, Melbourne Theatre Company, and Opera Australia. The Theatres Building houses the Ian Potter State Theatre, Playhouse, Fairfax Studio and The Show Room. **Categories:** News --- ### [Win Tickets To De Gaulle: Résistance In Cinemas 3 September](https://thescoop.au/win-tickets-to-de-gaulle-resistance-in-cinemas-3-september/) **Published:** August 26, 2026 **Author:** Newsroom **Content:** ![The Scoop De Gaulle Resistance](https://thescoop.au/wp-content/uploads/2026/08/DeGaulle_SocialBanner_9x16-1116x628.jpg "De Gaulle Resistance • The Scoop")France collapses and signs the Armistice. In the midst of the chaos, one man, **Charles de Gaulle**, refuses to give up. Taking the ultimate gamble he flees to London and seeks to convince the world that the battle for France is neither over or lost. What follows next is a triumphant story of faith, audacity and an unshakeable quest for freedom. **DE GAULLE** is a powerful account of Charles de Gaulle’s journey during World War II, told in a two-part epic. Antonin Baudry has crafted a powerful and dramatic view of a man at the very centre of a turning point in history, on his path to becoming a 20th century leader and cultural icon. The reality of intense politics, family struggles and the impact of war are deftly drawn in this geopolitical thriller, which has been more than five years in the making. Simon Abkarian commands the screen as the titular General, leading a stand-out ensemble cast including Benoît Magimel, Mathieu Kassovitz, Francois Darlan, Niels Schneider and the César-winner Anamaria Vartolomei (*The Count of Monte Cristo*). The talented Simon Russell Beale (*The Choral*) rounds out the cast as Winston Churchill, with the film exploring the complex relationship between De Gaulle and the British Bulldog. ![The Scoop De Gaulle Resistance](https://thescoop.au/wp-content/uploads/2026/08/DeGaulle_Photogramme01B_E006_C006_20231103_TIFF-16bits-Rec709G24_Re╠usolutionSource-6016x3200_20240830-1181x628.jpg "De Gaulle Resistance • The Scoop")The Scoop is **giving away five, in-season double passes** **to the film**, thanks to Rialto Distribution! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The tickets are valid at select cinemas screening DE GAULLE: Résistance. (Terms and conditions can be found on the tickets). **DE GAULLE: Résistance opens on Thursday 3 September in participating cinemas nationally.** Website: <https://rialtodistribution.com/film/de-gaulle-resistance-liberte-aus/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: De Gaulle: Résistance (Part 1) Director: Antonin Baudry Cast: Simon Abkarian, Simon Russell Beale, Florian Lesieu Florian Lesieu, Benoît Magimel Country of Origin: France Duration: 160 mins Rating: TBC **Categories:** competition, News --- ### [Announcing An Iliad Starring David Wenham For Melbourne 2027](https://thescoop.au/announcing-an-iliad-starring-david-wenham-for-melbourne-2027/) **Published:** August 26, 2026 **Author:** Newsroom **Content:** ![The Scoop An Iliad Sydney Theatre Company David Wenham](https://thescoop.au/wp-content/uploads/2026/08/An-Iliad_STC_credit_Daniel-Boud_061-941x628.jpg "An Iliad Sydney Theatre Company David Wenham • The Scoop")**Sydney Theatre Company**’s 2026 hit *An Iliad* starring **David Wenham** will run at the Playhouse at **Arts Centre Melbourne** for a strictly limited season from **18 March 2027**. This gripping, new production of Lisa Peterson and Denis O’Hare’s adaptation of Homer’s Ancient Greek saga mesmerised Sydney audiences with an astounding, five-star, sold-out run of this “masterclass in storytelling” (Limelight). Led by one of Australia’s most innovative directors, Damien Ryan (Sport for Jove), and accompanied live on stage by polymath musician Helen Svoboda, this is Melbourne’s chance to experience “the dark magic of masterful oral storytelling” (The Guardian) and Wenham’s “stupendous tour de force” (The Australian) performance. ![The Scoop An Iliad Sydney Theatre Company David Wenham](https://thescoop.au/wp-content/uploads/2026/04/An-Iliad_STC_credit_Daniel-Boud_031-941x628.jpg "An Iliad Sydney Theatre Company David Wenham • The Scoop")An Iliad 2026 season Photo by Daniel Boud*“Such is Wenham’s control that he can transform from naturalistic storyteller one minute to a versifying, raging Achilles the next. He becomes the very embodiment of human contradiction – rage and empathy. It is a performance that would comfortably command a world stage.”* The Scoop Wenham stars as The Poet: a wry, world-weary storyteller who is tasked with recounting one of Western Literature’s greatest tales – that of the Trojan War – over and over again, through the ages. Finally, after millennia of walking through battlefields, trenches and cities torn to the ground, he attempts to quit telling this story. ***An Iliad* is presented by Sydney Theatre Company and runs from 18 March – 11 April 2027 at the Playhouse, Arts Centre Melbourne.** Tickets are available [here](https://www.artscentremelbourne.com.au/whats-on/2027/theatre/an-iliad). Website: <https://www.artscentremelbourne.com.au/whats-on/2027/theatre/an-iliad> Socials: <https://www.instagram.com/sydneytheatreco/> and <https://www.instagram.com/artscentremelbourne/> [Read our Review of An Iliad](https://thescoop.au/review-an-iliad-sees-wenham-in-a-lyrical-devastating-retelling/) Photo credits: Daniel Boud **Age suitability:** This show is recommended for ages 14+. **Content warning:** This show contains strong language, use of strobe lighting, theatrical haze, mature themes including violence, war and death, alcohol use. AN ILIAD By **Lisa Peterson** and **Denis O’Hare** Adapted from Homer’s Iliad Translated by **Robert Fagles** Directed by **Damien Ryan** Designer **Charles Davis** Lighting Designer **Alexander Berlage** Composer **Helen Svoboda** Sound Designer **Brady Watkins** Associate Director **Ian Michael** With **David Wenham** Musician **Helen Svoboda** **Categories:** News --- ### [Review: Highway To Hell 2026 Wynnum Fringe](https://thescoop.au/review-highway-to-hell-2026-wynnum-fringe/) **Published:** June 26, 2026 **Author:** Regan Baker **Content:** ★★★★½ ![The Scoop Highway to Hell Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/06/20260625-HighwayToHellRockCircus-somefx-2260-942x628.jpg "Highway to Hell Wynnum Fringe • The Scoop")There are festival openings, and then there are festival openings that make you wonder whether the roof of the Augathella Spiegeltent has its own insurance policy. *Highway to Hell: The Rock ‘N’ Roll Circus*, which opened the 7th annual Wynnum Fringe Festival last night, belongs firmly in the second category. Produced and directed by Matilda Award winner Tom Oliver alongside co-director Andrew Cory, this isn’t your standard circus cabaret. It’s louder, sweatier, and rougher around the edges in all the right ways. And it’s genuinely unlike anything I’ve seen roll into Wynnum before. Imagine an old Australian country rock pub. The kind where XXXX is flowing, the carpet has seen things, and someone’s uncle is two beers away from requesting *Khe Sanh*. Now throw in world-class circus, powerhouse vocals, fire, aerials, contortion and a band that sounds like it’s trying to wake up half of Brisbane. That’s the vibe. At the centre of it all are Wes Carr and Mahalia Barnes, and what a pair to lead the chaos. Carr, best known as the Season Six winner of *Australian Idol* back in ’08, brings that rock front-man energy that feels completely at home in this setting. ![The Scoop Two lead singers perform on a brightly lit stage: a woman in a denim jacket and a man in a black leather jacket, both holding microphones as the audience watches.](https://thescoop.au/wp-content/uploads/2026/06/20260625-HighwayToHellRockCircus-somefx-2693-942x628.jpg "Highway To Hell Rock Circus Wynnum Fringe • The Scoop")The music in this show absolutely rips and the whole thing has the kind of live wire energy you cant fake Image by SomeFXBarnes, an idol in her own right of Australian soul, blues and rock music, as well as stints in TV and musical theatre, is similarly a vocal weapon. Put them together and the tempo of the night is well and truly in safe hands, taking the audience from pub-rock singalong to full-blown rock concert without ever letting the energy dip. Backed by Matty Smith and Mick Skelton of Thirsty Merc, Ben Rodgers from the Jimmy Barnes Band and Andrea Krakovska of Pseudo Echo, the music absolutely rips. I’m genuinely surprised the Augathella Spiegeltent didn’t lift off and land somewhere near Manly Harbour. Every anthem hits hard, every guitar line screams, and the whole thing has the kind of live-wire energy you can’t fake. Krakovska also delivers one of the night’s wildest moments, playing electric guitar while suspended upside down, because apparently playing upright is for cowards. It is ridiculous in the best possible way. Circus-cabaret favourites Katrina Louise and Melon the Human give the show its true physical punch. Louise is extraordinary, moving through hair-hang aerials, fire twirling, fire swallowing and other feats that made my spine hurt just watching. With Aussie rock anthems blasting behind her, every act feels bigger, hotter and more dangerous. ![The Scoop Highway to Hell: The Rock'N' Roll Circus Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/06/AndreaMelbourne-HR-46-942x628.jpeg "Highway to Hell: The Rock 'N' Roll Circus Wynnum Fringe • The Scoop")Andrea Krakovska delivers one of the nights wildest moments playing electric guitar suspended upside down Image suppliedThen there is Melon the Human, whose act sits somewhere between object manipulation, physical contortion and watching a man lose an argument with his own limbs. It’s weird, very funny, and has that classic Melon quality where you’re not always sure what’s happening, but you’re very glad you’re watching it. He has this wonderfully uncomfortable stage presence that feels completely his own, and it sits brilliantly in this space. By the end, the tent was literally rocking, and I could feel the floor of the Augethella bouncing under foot. *Highway to Hell: The Rock ‘N’ Roll Circus* is loud, proudly Australian, wonderfully unhinged and packed with talent from top to bottom. It’s the kind of show that grabs you by the collar, shoves a beer in your hand, and reminds you that circus does not have to be polished within an inch of its life to be spectacular. Sometimes it just needs fire, guitars, sweat, and a room full of people having an absolute bloody ball. ***Highway to Hell: The Rock ‘N’ Roll Circus*** **runs to 28 June as part of Wynnum Fringe**. **Augathella Spiegeltent, 166 Bay Terrace, Wynnum QLD 4178.** Tickets are available [here](https://splash.wynnumfringe.com/sessions/highway-to-hell-the-rock-n-roll-circus?utm_source=wynnumfringe&utm_medium=website&utm_campaign=highway-to-hell&sk.pid=sk.1.1778587283267.2143748635&sk.sid=20260625.075132.4097146850&sk.fbp=fb.1.1778587283268.5670640540&sk.gacl=177775610.1778587283&sk.gases=1782373893&_gl=1%2A168ucge%2A_ga%2AMTc3Nzc1NjEwLjE3Nzg1ODcyODM.%2A_ga_ZXF19F2HDG%2AczE3ODIzNzM4OTIkbzYkZzEkdDE3ODIzNzM5MTEkajQxJGwwJGgw%2A_ga_TC2B7HQFH0%2AczE3ODIzNzM4OTIkbzYkZzEkdDE3ODIzNzM5MTEkajQxJGwwJGgw%2A_ga_seeka_ga%2AMTc3Nzc1NjEwLjE3Nzg1ODcyODM.%2A_ga_seeka_ga_7VGHMX8ESG%2AczE3ODIzNzM4OTMkbzYkZzEkdDE3ODIzNzM5MTEkajQyJGwwJGgw%2A_ga_seeka_ga_1RS8GJD9JY%2AczE3ODIzNzM4OTMkbzYkZzEkdDE3ODIzNzM5MTEkajQyJGwwJGgw)! Website: <https://wynnumfringe.com/highway-to-hell/> Socials: <https://www.instagram.com/wynnumfringe/> [Read more about Wynnum Fringe!](https://thescoop.au/wynnum-fringe-2026-announcing-biggest-program-yet/) Live Images: SomeFX Poster Design Image: KTB MEDIA ![The Scoop Highway to Hell: The Rock'N' Roll Circus Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/06/WEB_H2H_WF26-446x628.jpg "Highway to Hell: The Rock 'N' Roll Circus Wynnum Fringe • The Scoop") **Categories:** Brisbane, Circus, Concerts --- ### [Announcing Sherlock Holmes To Return To The QPAC Stage](https://thescoop.au/announcing-sherlock-holmes-to-return-to-the-qpac-stage/) **Published:** August 26, 2026 **Author:** Newsroom **Content:** ![The Scoop Sherlock Holmes The Mystery of the Valkyrie QPAC](https://thescoop.au/wp-content/uploads/2026/08/TMOTV-Show-2023-294-942x628.jpg "Sherlock Holmes The Mystery of the Valkyrie QPAC • The Scoop")**Queensland Performing Arts Centre (QPAC)**, in association with **Woodward Productions** and **Neil Gooding Productions**, have announced that the case has been reopened, with a homegrown whodunnit, ***Sherlock Holmes – The Mystery of the Valkyrie*** returning to QPAC’s Playhouse from **14 to 29 November 2026**. Following its world premiere at QPAC in 2023, *Sherlock Holmes – The Mystery of the Valkyrie* is back for an exclusive Brisbane season that promises to keep Sherlock fans, amateur sleuths and true-crime devotees guessing until the very end. Written and directed by acclaimed Brisbane playwright and director **Michael Futcher**, this innovative production puts a fresh spin on the world’s most famous detective, through an original mystery, fast-paced action and cinematic visual design by award-winning video designer **Craig Wilkinson**. Six-time Matilda Award-winning actor **Eugene Gilfedder** returns as Sherlock Holmes, alongside acclaimed actor **Ian Stenlake**, best known for his roles in Australian television series *Sea Patrol* and *Stingers*, and recently on stage in *[The 39 Steps](https://thescoop.au/review-the-39-steps-is-a-foolish-fantastic-farce/)*, as his loyal companion, Dr Watson. ![The Scoop Sherlock Holmes The Mystery of the Valkyrie QPAC](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-26-at-123744-pm-1200x518.png "Sherlock Holmes The Mystery of the Valkyrie QPAC • The Scoop")Together, the duo is drawn into a gruesome murder investigation at London’s Birlstone Manor, where a seemingly routine case soon unravels into a dark web of intrigue and a reckoning with Holmes’ most infamous enemy, Professor Moriarty. The production continues QPAC’s support of Queensland artists and independent producers, with Brisbane-based Woodward Productions returning to QPAC following its recent acclaimed season of *[Little Shop of Horrors](https://thescoop.au/review-little-shop-of-horrors-revival-blooms-in-brisbane/)***.** Woodward Productions Founder and Producer **Alex Woodward** said the team welcomed the opportunity to bring the production back to audiences at QPAC: *“The cast line-up is some of the best actors in the country, and we’re incredibly grateful for QPAC’s continued support in bringing this production to life. It’s a privilege to bring this thrilling piece of theatre to Queensland again – it’s going to be an unforgettable night at the theatre.”* Woodward Productions has been bringing theatre to audiences across Australia since 2016. Tickets for *Sherlock Holmes – The Mystery of the Valkyrie* go on sale to the public from today, Wednesday 26 August via the QPAC website. ***Sherlock Holmes – The Mystery of the Valkyrie* runs 14 – 29 November 2026 at the Playhouse, QPAC.** Tickets are available [here](https://qpac.n.qtix.com.au/shop/tickets/series/themysteryofthevalkyrie26). Website: <https://www.qpac.com.au/whats-on/2026/sherlock-holmes-the-mystery-of-the-valkyrie> Socials: [https://www.instagram.com/woodward\_productions/](https://www.instagram.com/woodward_productions/) and <https://www.instagram.com/atqpac/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: Commentary Asks Who Gets The Tell The Story When Everyone Is Watching](https://thescoop.au/review-commentary-asks-who-gets-the-tell-the-story-when-everyone-is-watching/) **Published:** August 26, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Commentary State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/08/Gyton-Grantley-and-Anna-Steen-COMMENTARY_PRODUCTION_STILLS_by_MATT_BYRNE-09832-988x628.jpg "Commentary State Theatre Company South Australia • The Scoop")Five windowpanes divide a large blue box. Tall screens shaped like smartphones stand on either side. The stage is empty, but Nick Atkinson’s voice is already filling it, delivering the director’s commentary for his film *Low*. Matilda Woodroffe’s set establishes the visual grammar of Ash Flanders’ *Commentary*: windows, mirrors, screens and reflections. Each promises access to reality while placing another frame around it. Our lives are movies for which we supply our own commentary, casting ourselves as protagonist, victim or misunderstood genius. The problem is that everyone else is directing a film of their own. Then video of the incident that destroyed *Low* appears. Nick’s collaborator Hamish has filmed a teenage girl through her bedroom window. The camera initially seems to end the argument. Here is objective evidence. What other interpretation could there be? Flanders and director Petra Kalive do not dispute the violation. Nuance is not exoneration. Instead, *Commentary* expands its field of inquiry to the stories built around the image: who knew what, who benefited, who remained silent, who later rewrote events and who gets to decide when another person’s account becomes definitive. Twenty years after the film was buried, filmmaker-turned-university lecturer Nick is invited to present it at a retrospective. The accompanying director’s commentary offers him what he has always wanted: a captive audience and the opportunity to tell the story on his terms. He was the responsible collaborator, he insists; the genuine talent, betrayed by someone else’s pathology. Gyton Grantley’s masterful performance gradually dismantles that mythology. Nick is someone you recognise and loathe. Spend enough time around powerful men, and you will have met him: charismatic, entertaining and apparently vulnerable, yet capable of turning a room brittle whenever his fragile ego begins to splinter. The people around him seem to walk on eggshells, or broken glass, anticipating the rage that will follow any challenge to his version of himself. Grantley never reduces Nick to a swaggering monster. His conviction is real, as are his disappointments and flashes of tenderness. That makes him more unsettling. Kalive’s program note identifies a Salieri quality in Nick: he can recognise the artistic genius he does not possess. ![The Scoop Commentary State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/08/Shardae-Santos-and-Gyton-Grantley-COMMENTARY_PRODUCTION_STILLS_by_MATT_BYRNE-09964-1063x628.jpg "Commentary State Theatre Company South Australia • The Scoop")Grantley never reduces Nick to a swaggering monster Photo by Matt ByrneHamish had an instinctive, raw and self-destructive authenticity; Nick has competence, drive and the money and institutional position required to remain in circulation. He nurtured Hamish, resented him and has spent two decades rebuilding their collaboration with himself at its centre. Every relationship becomes material for this reconstruction. Nick blames Hamish for his stalled career, but his encounters with podcasters, former colleagues, his wife and his mistress reveal a more prosaic cause: ego, entitlement and a near-total incapacity for reflection. He pursues students partly because they still see the award-winning filmmaker he needs to believe he is, rather than the failed artist he fears he has become. The commentary track runs through the play, guiding our sympathies and inviting us into Nick’s confidence. Visual evidence repeatedly interrupts him. Memory shifts, timelines distort, and other people introduce incompatible accounts that feel, to them, equally true. Nick responds as he always has: he reframes. If the film no longer works, there is an interview, a podcast, a rebranded screenplay or another medium through which he can regain control. He cannot, because the thing that made *Low* extraordinary was never his alone. That knowledge poisons every reinvention. Nick’s tragedy is not simply mediocrity, but an inability to accept his own portion of it. The screens also place *Commentary* squarely within the social-media age. Every comment section now resembles a theatre full of competing directors’ tracks, each contributor attempting to enforce a preferred interpretation. Naomi Klein’s *Doppelganger* describes the uncanny split between physical and online selves, but the divide predates smartphones. Oscar Wilde built *The Importance of Being Earnest* around public and private identities: the work self, romantic self, marital self and illicit self. Social media did not invent performed identity. It industrialised it and gave the audience a reply button. Flanders describes the play as “vicious”, and its sharpest turn is towards us. Artists occupy an unusual place in public life because audiences use them to define themselves. Admiration becomes identity; fandom becomes tribe. When an artist is exposed, the audience may experience it as an accusation against its own judgment. The familiar question of whether we can love the art and hate the artist is also a question about what our consumption says about us. ![The Scoop Commentary State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/08/Kate-Cheel-Gyton-Grantley-Kate-on-screen_COMMENTARY_PRODUCTION_STILLS_by_MATT_BYRNE-05417-1035x628.jpg "Commentary State Theatre Company South Australia • The Scoop")The screens place the production squarely within the social media age Photo by Matt ByrneThe play interrogates the contemporary demand for purity without pretending that accountability is persecution. What mistakes may an artist survive? Does the nature of the offence matter? Is apology sufficient? Flanders’ tentative thesis appears to be that failure need not be final when it produces reflection, learning and change. Nick’s problem is not merely that he has made mistakes. It is that every admission is another performance designed to evade what those mistakes reveal. That distinction is vital to the production’s examination of power in the arts. Success is a lottery administered by gatekeepers who may confuse aesthetic authority with personal entitlement. The relationships between lecturers and ambitious film students are structurally unequal, regardless of how willingly a student enters them. Yet *Commentary* resists a simpler narrative in which every younger woman is presented only as powerless. Clea and Gen understand the currencies of the industry and sometimes deploy sexuality, access and attention in pursuit of careers. Their agency does not erase the older man’s institutional power. Conversely, Saskia’s recollections of being a young actor in her first role reveal how quickly an exciting opportunity can become an unsafe environment. By presenting these experiences together, Flanders refuses both victim-blaming and the flattening of women into passive symbols. That refusal will provoke arguments. It should. The play is resisting the polarisation through which one perspective must invalidate every other. Contradictory experiences can coexist without every judgment becoming equally sound. Kate Cheel is a riot as Saskia, who attends anxiously to her shiny skin during Zoom calls with Nick while complaining that she is ageing and trapped in a television detective series. Jennifer Innes’ accent work allows Cheel’s voice to drift between Los Angeles polish and an Australian undertow. Saskia remains privately warm towards Nick, even as public appearances, professional minders and reputational risk require her to maintain distance. It is a familiar arts-industry arrangement: affection behind closed doors, disavowal where the cameras can see. Cheel also plays Clea, while Anna Steen and Shardae Santos undertake their own transformations as Mish and Anna, and Gen and Frankie. The doubling reinforces the play’s concern with performed selves. Costume, voice and posture change, but traces of one persona appear to haunt the next. ![The Scoop Commentary State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/08/Shardae-Santos-and-Gyton-Grantley-COMMENTARY_PRODUCTION_STILLS_by_MATT_BYRNE-09636-1050x628.jpg "Commentary State Theatre Company South Australia • The Scoop")Lighting shifts the blue box between bedroom interrogation room and hall of mirrors Photo by Matt ByrneSantos gives Gen and Frankie complexity: they are young without being powerless, ambitious without becoming moral lessons. Steen is especially incisive as podcast host Anna, delivering pipe bombs about contemporary media and its audiences beneath the rhythm of professional curiosity. Jessica Ruby Patricks, appearing only on film, completes an ensemble in which women too often become images upon which Nick projects innocence, betrayal, temptation or blame, while continually asserting lives beyond his frame. Dan Thorpe’s composition and sound design are initially so subtle that they seem to sit beneath consciousness. When Nick’s narratives begin to fail, thriller textures gather and tension escalates. Thorpe’s video design, with content by Matt Byrne, turns screens from explanatory devices into adversaries: each new image is a rupture that Nick’s voice cannot quite contain. Nic Mollison’s lighting shifts the blue box between bedroom, confessional, interrogation room and hall of mirrors. References to Flinders University and the Adelaide Film Festival update the text and heighten the uncomfortable sensation that we are flies on the wall of Adelaide’s arts scene, watching familiar hierarchies operate at close range. The play offers no clean resolution to its questions of complicity, memory, power and punishment. Its politics are incisive, but its perspective remains the biting perspective of Flanders, refracted through Kalive and her collaborators. It will generate fierce foyer debates because nobody involved pretends to possess all the answers. That is not an evasion. It is the point. A work opposed to the tyranny of a single commentary track cannot finish by imposing one of its own. Like all good theatre, *Commentary* turns our inner monologues back upon us. Where have we edited our memories, inflated our virtues or cast another person as the cause of our failures? What have we learned from the harm we have caused? If we meet someone who finds those questions too confronting to look inward, someone who can only spin, reframe and blame, we should probably run. Tickets: <https://my.statetheatrecompany.com.au/overview/commentary> Website: <https://statetheatrecompany.com.au/shows/commentary/> Socials: [Socials: https://www.instagram.com/statetheatresa/](socials:%20https://www.instagram.com/statetheatresa/) ***Commentary* is presented by State Theatre Company South Australia and runs to 5 September at the Dunstan Playhouse. Adelaide Festival Centre, King William Street Adelaide SA 5000.** [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Matt Byrne **Categories:** Adelaide, Theatre --- ### [Announcing Moulin Rouge! The Musical First Cast](https://thescoop.au/announcing-moulin-rouge-the-musical-first-cast/) **Published:** August 25, 2026 **Author:** Newsroom **Content:** ![The Scoop Moulin Rouge! Musical Sydney](https://thescoop.au/wp-content/uploads/2026/08/2026-08-24_Moulin-Rouge-Cast__14-33_DSC_1697_pic_EugeneHyland_-942x628.jpg "Moulin Rouge! Musical Sydney • The Scoop")Global Creatures have today revealed the first artists who will bring the world of ***Moulin Rouge! The Musical*** to life when the internationally acclaimed production returns to **Sydney in March 2027**. Leading the announcement is **Ben Hall** as The Duke of Monroth. **Tim Omaji** returns as Henri de Toulouse-Lautrec. **Tyler Chapman** as Santiago and **Thalia Smith** as Nini. They complete the first cast announced for the new Australian production. Together they embody the bohemians, aristocrats and dazzling entertainers who inhabit the Moulin Rouge, bringing Baz Luhrmann’s beloved world to life with glamour, spectacle and heart. Producer **Carmen Pavlovic** said the announcement marks the first glimpse of an exciting new Australian company: *“Moulin Rouge! The Musical demands an extraordinary range of performance skills, and Ben, Tim, Tyler and Thalia are outstanding performers who each bring something uniquely special to these iconic roles.* *Together, they capture the spirit and passion at the heart of this story. As we build this new Australian company, we’re assembling a cast that will honour everything audiences love about this spectacular production while bringing fresh energy and excitement to the stage for Sydney in 2027.”* ![The Scoop Moulin Rouge! Musical Sydney](https://thescoop.au/wp-content/uploads/2026/08/Bohemians2_CREDIT-Michelle-Grace-Hunder-935x628.jpg "Moulin Rouge! Musical Sydney • The Scoop")Tim Omaji with the original Australian Cast Photo by Tim Carrafa **Ben Hall** will portray The Duke of Monroth, the wealthy and powerful aristocrat whose arrival threatens to change the future of the Moulin Rouge club forever. One of Australia’s most versatile performers, Ben has built an impressive career across stage and screen, including a long running role from 2016 – 2022 as Ned Willis on Neighbours. Theatre credits include *Les Misérables*, *[Pretty Woman](https://thescoop.au/falling-in-love-samantha-jade-ben-hall-on-the-magic-of-pretty-woman/)*, *Elvis: A Musical Revolution* and the upcoming *[Whispering Jack: The John Farnham Musical](https://thescoop.au/announcing-moulin-rouge-the-musical-first-cast/)*. **Tim Omaji** will reprise the role of Henri de Toulouse-Lautrec, the bohemian artist whose unwavering belief in Truth, Beauty, Freedom and Love lies at the heart of the story, returning to the *Moulin Rouge! The Musical* after captivating audiences in the original Australian production. A four-time platinum recording artist as Timomatic and former judge on *Australia’s Got Talent*, Tim’s theatre credits include *TINA – The Tina Turner Musical*, *RENT, [Pretty Woman](https://thescoop.au/review-pretty-woman-musical-makes-glamorous-finish-in-melbourne/)* and *In The Heights*, with screen credits including *Clickbait* and *La Brea*. **Tyler Chapman** will play Santiago, the fiery Argentinian bohemian and devoted friend to Toulouse-Lautrec and Christian. With his infectious charisma and steadfast belief in the bohemian ideals of Truth, Beauty, Freedom and Love, Santiago becomes a driving force in the fight to protect the Moulin Rouge and its future. This is Tyler’s **professional musical theatre debut**. **Thalia Smith** steps into the role of Nini, the sharpest and most knowing of the Lady M’s, whose loyalty to Satine is matched only by her willingness to speak a truth no one else will. Thalia’s stage credits include *[SIX the Musical](https://thescoop.au/review-six-serves-a-royal-flush-of-pop-perfection/)*, *CATS*, *Beauty and the Beast*, *Frozen* and *Charlie and the Chocolate Factory*. Further casting announcements, including the celebrated roles of Satine, Christian and Harold Zidler, will be revealed in the coming months. ***Moulin Rouge! The Musical* is presented by Global Creatures and opens at Sydney Lyric Theatre from 13 March 2027.** Tickets are available [here](https://www.ticketmaster.com.au/moulin-rouge-the-musical-australia-tickets/artist/2769840). Website: <https://moulinrougemusical.com.au/> Socials: <https://www.instagram.com/moulinmusicalau/> [Read more about Moulin Rouge!](https://thescoop.au/announcing-moulin-rouge-the-musical-for-sydney/) Hero image photo credit: Eugene Hyland **ABOUT MOULIN ROUGE OF PARIS The **Moulin Rouge of Paris**, managed by **Jean-Jacques Clerico** (CEO), is a dazzling and spectacular universe, the symbol of the Parisian way of celebrating since 1889. Starting life as a popular cabaret and dance hall, the venue became an iconic music hall in the Roaring Twenties, and then a theatre where numerous famous French and international artists stepped out into the limelight. Today, the Moulin Rouge and its 60 artists present the Féerie revue show: two hours of amazement between cabaret and music hall styles where dance scenes and surprise acts intersperse – without forgetting the Moulin Rouge’s most emblematic dance, the French Cancan! Since its creation, the Moulin Rouge of Paris has always been an invitation to live and share all the emotions and effervescence of a unique party extravaganza. [http://www.moulinrouge.fr/](https://aus01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.moulinrouge.fr%2F&data=05%7C01%7Crachelle.gibson%40global-creatures.com%7Ce3191073edba4239b84008da8bb012a8%7C24204859ccab47cf88ed715e9aa2e8c2%7C0%7C0%7C637975886825766772%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=zngX2l%2FSnVT5v7%2FU0Wm%2FmlXhktezIifmMVPsQ%2FOC6FE%3D&reserved=0) **ABOUT GLOBAL CREATURES Global Creatures is a powerhouse of original theatrical storytelling, renowned for creating spectacular, genre-defining productions that captivate audiences worldwide. From the awe-inspiring *Walking with Dinosaurs—The Arena Spectacular* and *How to Train Your Dragon Live Spectacular,* to the dazzling *Strictly Ballroom The Musical,* and the groundbreaking *King Kong* the company continues to push boundaries in live entertainment. The beloved *Muriel’s Wedding The Musical* toured throughout Australia in 2017 and 2019 and ran its UK premiere season in April 2025. Having performed to over 14 million audience members across 15 productions worldwide, *Moulin Rouge! The Musical* is currently playing on Broadway in New York until the end of August 2026, in London’s West End, a World Tour with upcoming productions set to open in Hamburg in November and non-replica productions in Scandinavia and Italy later this year. Previous international seasons have included Cologne, Seoul, Tokyo, Osaka, a North American tour, and an Australian tour from 2021-2024. The company is also co‑producing the world premiere of *ROLEPLAY,* a one-woman comedy turned psychological thriller by Hannah Reilly, at the Edinburgh Fringe in August 2026.In addition, the company is also developing a live theatrical adaptation of Trent Dalton’s acclaimed novel *Boy Swallows Universe* and has joined the producing team as General Partner on *Gatsby: An American Myth*, featuring music and lyrics by Florence Welch, a book by Martyna Majok, and direction by David Cromer. [www.global-creatures.com](http://www.global-creatures.com) **Categories:** News --- ### [Review: Anastasia Finds Its Way To Adelaide In Glorious Style](https://thescoop.au/review-anastasia-finds-its-way-to-adelaide-in-glorious-style/) **Published:** August 6, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Anastasia Musical Adelaide](https://thescoop.au/wp-content/uploads/2026/08/3080-Nancye-Hayes-and-Georgina-Hopson-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpeg "Anastasia Musical Adelaide • The Scoop")In a musical about deposed and murdered royalty, Australian theatre supplies two living queens. Rhonda Burchmore and Nancye Hayes finally enter the same story in the second act, and *Anastasia* rises with them. Like the best fairy tales, their gifts have ignored the passing years. *Anastasia the Musical* grew from the beloved 1997 animated film, with composer Stephen Flaherty and lyricist Lynn Ahrens returning to expand their score. Terrence McNally’s book moves the story closer to history. Rasputin and his companion bat Bartok are gone. A Soviet officer takes their place. Despite the DNA evidence, the survival story remains irresistible. An amnesiac street sweeper called Anya may be the lost Grand Duchess Anastasia. Two con men, Dmitry and Vlad, plan to pass her off as royalty and claim a reward from the Dowager Empress. Their deception becomes complicated when Anya starts remembering things no impostor should know. Director Darko Tresnjak considers the work a theatrical romance about a family torn apart and improbably reunited. Anastasia’s name means resurrection. Georgina Hopson must resurrect a woman, a dynasty and an audience’s childhood memories. She does it magnificently. Hopson first appears bundled in coarse wool, her checked skirt and heavy boots suited to the grey streets of Leningrad. Her Anya is watchful, stubborn and ready to fight. The transformation into royalty never erases the survivor underneath. *In My Dreams* establishes the scale and clarity of Hopson’s voice. *Journey to the Past* lets it fill the Festival Theatre. Pink blossoms spread across Paris as the projected city seems to extend around her, bathing the stage in mauve and rose. Hopson won a Green Room Award for *Ragtime*, another historical epic by Ahrens and Flaherty. She knows how to locate one woman’s private need inside a score carrying the weight of a nation. Linda Cho’s costumes make Anya’s uncertain identity visible. The Romanovs appear in pearl-white military uniforms, pale pink gowns, gold embroidery and tiaras, posed like a family portrait moments before history tears through the frame. Cho drew upon Nicholas II’s photographs, portraits and surviving garments. Leningrad replaces silk with charcoal wool, patched gloves and heavy fur. Paris releases the colour. Anya’s sapphire evening gown is the triumph: sequins pool into dark patterns, crystals loop across her shoulders and hips, and white opera gloves complete the revelation. She does not need a crown. The dress has announced her. ![The Scoop Anastasia Musical Australian Premiere Melbourne](https://thescoop.au/wp-content/uploads/2025/12/1425-Rodney-Dobson-Georgina-Hopson-and-Robert-Tripolino-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "Anastasia Musical Australian Premiere Melbourne • The Scoop")The musical still asks what remains of a promised future when ideology demands the murder of conscience Photo by Jeff BusbyAlexander Dodge’s curved Palladian wall and arched portal suggest both a Fabergé egg and the music box linking Anastasia to her grandmother. Three turntables move between palace, street, nightclub and opera house. Aaron Rhyne’s projections blur physical scenery and cinema. The reliance on screens may trouble audiences who want a major musical to arrive with trucks full of tangible architecture, especially while technology replaces more of the handmade world. Yet the action would lose velocity without them. During *Once Upon a December*, Anya’s family materialise across the palace walls and dance through her fractured memory. A transparent train carriage rotates while green Russian countryside races past. The performers climb, fight and leap around it with exact timing. Donald Holder’s lighting shifts from the red violence of imperial collapse to frozen streets and the impressionistic warmth of Paris. The projections frequently appear three-dimensional. West End Marius Robert Tripolino is a fitting prince for Anya. His streetwise Dmitry keeps the journey light, while his chemistry with Hopson peaks in *In a Crowd of Thousands*. A memory of a boy bowing at a royal parade confirms that their lives crossed long ago. The song exposes the class argument running through the score. Dmitry was distinguished from thousands when a princess noticed him. Vlad dreams of reclaiming a countess. Anya hopes a street sweeper is somebody special after all. Even Gleb, charged with defending enforced equality, wants to rise through the Party. Love for Anya collides with loyalty to his father and the system that rewards obedience. Joshua Robson played the Phantom at Sydney Harbour, and his voice retains too much beauty for Gleb to become a simple monster. He darkens the tone and gives the officer a severe, Javert-like bearing. The humane instrument underneath keeps sounding through. Replacing Rasputin with Gleb removes some comic wickedness. Bartok devotees may consider the missing bat counter-revolutionary sabotage. The change gives the musical moral weight: a son, lover and Party functionary fight within the same body. That conflict reaches its most elegant expression during *Quartet at the Ballet*. *Swan Lake* is apt: a swan is transformed into a princess while a street sweeper waits to be recognised as one. ![The Scoop ANASTASIA the Musical 2026 Australian Tour](https://thescoop.au/wp-content/uploads/2026/02/2761-Rhonda-Burchmore-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "ANASTASIA the Musical 2026 Australian Tour • The Scoop")Rhonda Burchmore takes control of the Neva Club in a yellow dress glowing like champagne Photo by Jeff BusbyPeggy Hickey’s choreography spans imperial mazurkas, Russian folk forms and Jazz Age Charlestons. Here ballet, memory and surveillance share the stage as four characters circle the same revelation. *Once Upon a December* ghosts the sequence instead of Tchaikovsky. The fairytale cannot entirely resolve its political contradiction. The Romanovs hoarded extraordinary wealth while much of Russia starved. Revolution answered injustice with terror, firing squads and another hierarchy. The musical favours the lost princess over the conditions that brought down her palace. It still asks what remains of a promised future when ideology demands the murder of conscience. Its answer comes through the older generation. Burchmore takes control of the Neva Club in a yellow dress glowing like champagne. She outdrinks the expatriates, mourns yesterday’s Russia and kicks those famous legs high enough to threaten the chandeliers. Her reunion with Dobson’s warm, wily Vlad in *The Countess and the Common Man* is the evening’s comic summit. Rhonda Burchmore ruffles Rodney Dobson’s hair, lifts one long leg almost to her head and, after their combustible reunion, invites some cool air beneath her skirt. Revolution has stripped Countess Lily of her Russian privilege. Hayes offers a different authority. After more than 60 years in Australian theatre, she makes the Dowager Empress formidable against imposters and tender towards Anastasia. Her voice carries age without frailty. The promise of her embrace has pulled Anya across Europe; Hayes makes us wait until trust is earned before opening her arms. The ten-piece orchestra is smaller than expected, yet Doug Besterman’s orchestrations sound rich. Russian choral, folk and ballet colours give way to the pulse of 1920s Paris. Five film songs remain; the additions give the characters more interior life. Children who grew up with the animation will recognise its musical spell. Parents bringing very young viewers should know that this version replaces a supernatural villain with firing squads, political persecution and a nightmare of the Romanov execution. It is family theatre with history’s teeth left in. The myth of Anastasia survives because facts and longing do different jobs. One tells us the child died. The other imagines that she found her way through the darkness, crossed Europe and reached the grandmother who never stopped waiting. After revolutions, gunshots and a continent crossed, the final image that matters is simple: Nancye Hayes opening her arms. ***Anastasia* *the Musical* runs** **to** **30 August at the Festival Theatre Adelaide as part of a national tour.** Tickets: <https://anastasiathemusical.com.au/tickets/adelaide/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Jeff Busby 2026 Australian Tour Dates: Adelaide 2 – 30 August, Festival Theatre Brisbane 16 September – 18 October, Lyric Theatre QPAC **Categories:** Adelaide, Musical Theatre --- ### [Lynn Ahrens On The Enduring Magic Of Anastasia](https://thescoop.au/lynn-ahrens-on-the-enduring-magic-of-anastasia/) **Published:** April 15, 2026 **Author:** Sebastien Skubala **Content:** ![The Scoop Lynn Ahrens Anastasia the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Lynn-and-cast-941x628.jpg "Lynn Ahrens Anastasia the Musical Sydney • The Scoop")Making its way across the globe, the beloved musical *Anastasia* has arrived in Sydney as part of its Australian tour, following a celebrated premiere season in [Melbourne](https://thescoop.au/review-anastasia-the-musical-delivers-a-powerful-hope-filled-escape/) and a recent run in [Perth](https://thescoop.au/review-anastasia-casts-its-spell-over-perth/). With its sweeping score and heartfelt story of identity, memory and belonging, the production continues to captivate audiences worldwide, landing on Australian shores with renewed energy. Featuring a book by the late Terrence McNally and a lush, emotionally resonant score by the Tony Award-winning duo Lynn Ahrens and Stephen Flaherty, *Anastasia* reimagines the beloved animated film for the stage with a more grounded, mature lens. Stripping away its more fantastical elements, the musical leans into history and humanity, charting one young woman’s journey to uncover who she truly is. The Scoop had the pleasure of chatting with **Lynn Ahrens** during her visit to Australia ahead of the Sydney premiere. Lynn reflects on the evolution of *Anastasia*, her decades-long creative partnership with Stephen Flaherty, and the universal power of storytelling through song. Read the full interview below. I just have to say, before we start, I am a performer and *Alone in the Universe* from *Seussical* was one of the first songs I ever sang as a kid. Oh that’s so sweet. Which part were you playing? **I was Jojo. Oh, I love it. Those are the kind of stories that make my day. That those characters are still out there in the world. ![The Scoop Lynn Ahrens Anastasia the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Lynn-Ahrens-941x628.jpg "Lynn Ahrens Anastasia the Musical Sydney • The Scoop")Rhonda Burchmore Lynn Ahrens and Nancye Hayes in Sydney Photo by David HooleyAbsolutely! Your writing is known for having such clarity and emotional precision. So I was wondering where you usually begin when shaping a song. Is it character, situation, or language? What’s your starting point? It’s a little of all of that, really. It’s knowing who the character is, knowing what circumstances they’re in at that moment, and why they want to sing. They always say that songs bubble up when a character is too emotional to speak anymore. And so we try to find those moments in the dialogue and say, Oh, this character is just going to burst into tears. But no, we’re going to make them sing. And it starts from there, and kind of channelling the character. In the case of *Alone in the Universe*, it’s two very lonely people who are reaching out to one another across a dark void. And you look for those moments of connection and emotion between the characters. With *Anastasia*, it was an animated film first, and now it’s been adapted for the stage. What felt most important to preserve in the adaptation process, and what needed to change for the stage? Oh, that’s a really good question. Well, first of all, we were working with Terrence McNally. We were the first people on the project, and we invited him on because we’d worked with him on two other shows and loved him. We felt he would be right because of his love of history and theatre. He really wanted to create something more mature and more realistic than a cartoon being put straight onto the stage. So that was the jumping-off point for the changes in the show. We created the character of Gleb, who didn’t exist. We eliminated the animated characters of Rasputin and the bat Bartok. And I think that’s how the stage musical evolved. Really looking for those mature characters, mature themes, but things that were still delightful. And filled with physicality and life, but not too cartoony, we really did not want to do that. You’ve had such a long and celebrated collaboration with Stephen Flaherty. What is it about your creative partnership that continues to produce magic? Oh, gosh. I mean, we still like each other. We still have a lot of laughs. We still have very similar sensibilities about what might make a good musical, where a song goes. We’re very similar in a lot of ways. And then, we also have our disagreements and our annoyances, but on we go. So I think there’s a synergy there that is undeniable. We’ve been working together for more than 40 years. There must be something we’re doing right. We’re still having fun. ![The Scoop Lynn Ahrens Anastasia the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Lynn--942x628.jpg "Lynn Ahrens Anastasia the Musical Sydney • The Scoop")Lynn Ahrens with Arianna Lorusso and Willow Wilson who are two of the Sydney Little Anastasias Photo by David HooleyWhat does it mean to see *Anastasia* continue to travel internationally and connect with audiences in places like Australia? *Anastasia* has taken on this extraordinary international life, and we are lucky enough that we get to go to opening nights all around the world. We have been to Madrid, to Tokyo, to the Netherlands. And here we are in Sydney. The thing of it all is that we get to see this story sometimes in languages that we don’t speak, but yet the emotion comes through loud and clear; it’s completely universal. That’s why it’s having this international blossoming. And it’s because it’s about all of us wanting to find our roots, wanting to find out who we are. It’s such a universal story. So I think that’s probably the reason for it, but I’m revelling in it. We’re having such a wonderful time in Australia. And the cast here, and the production, is exquisite. If there were any emerging lyricists trying to find their way and their voice in 2026, what advice would you give them? I would tell them to just dig deep and write every single day. Try to tell an incredibly good story, a solid story through music. And I might say, get a job that enables you to have writing time. Whatever that job might be. Let it be one where you have a certain freedom to write. It’s such a hard business, and so very few people actually get to do it professionally. I think that’s the advice I would give. It’s funny, tomorrow we’re going to see *My Brilliant Career*, and Matty and Dean were two mentees of mine. I’ve known them for a long time. Isn’t that wild? It’s going to be a wonderful full circle moment. ***Anastasia* the musical is on now in Sydney and runs** **to** **18 July at the Sydney Lyric Theatre.** **It then heads to Adelaide and Brisbane. See full dates below.** Tickets: <https://anastasiathemusical.com.au/tickets/sydney/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Read our Review of the Sydney Season!](https://thescoop.au/review-anastasia-lands-in-sydney-with-glittering-gowns-the-ghosts-of-history/) Photo credits: David Hooley Photography 2026 Australian Tour Dates: Sydney 7 April – 18 July, Lyric Theatre Adelaide 2 – 23 August, Festival Theatre Brisbane 16 September – 18 October, Lyric Theatre QPAC **Categories:** Features --- ### [Announcing Full Cast For Whispering Jack: The John Farnham Musical](https://thescoop.au/announcing-full-cast-for-whispering-jack-the-john-farnham-musical/) **Published:** August 25, 2026 **Author:** Newsroom **Content:** ![The Scoop Poster for Whispering Jack: The John Farnham Musical with a singer silhouette on the left and bold title on the right.](https://thescoop.au/wp-content/uploads/2026/07/STCs-Whispering-Jack-screen-res-1000x550px.jpg "Whispering Jack The John Farnham Musical Sydney Theatre Company • The Scoop")Sydney Theatre Company, Michael Cassel and Gaynor Wheatley today revealed the full cast for **Sydney Theatre Company**‘s world premiere season of ***Whispering Jack: The John Farnham Musical**,* playing **Roslyn Packer Theatre** from 15 November**.** Under the direction of STC Artistic Director **Mitchell Butel** and written by **Jack Yabsley**, ***Whispering Jack: The John Farnham Musical*** will bring to life the extraordinary story behind the album that made John Farnham a household name, as Australia celebrates the 40th anniversary of the record-breaking 1986 release of *Whispering Jack*. Joining **Michael Paynter** (John Farnham), **Bonnie Anderson** (Gaynor Wheatley) and **Ben Hall** (Glenn Wheatley) will be musical theatre dynamo **Laura Murphy** performing the role of John’s wife, Jill Farnham. Charting John’s career from gigging in RSL clubs in the late 1970s and touring with the *Little River Band* in the early 1980s to the recording and release of *Whispering Jack* in 1986 will be: **Oliver Lacey** as Ross Fraser, **Ariyan Sharma** as David Hirschfelder, **Elenoa Rokobaro** as Venetta Fields, **Tom Sharah** as Darryl Sambell, **Stephen Anderson** as Graeham Goble and **Trent Owers** will play both Beeb Birtles and Brett Garsed. **Madeleine Jones** will play Cherie Romaro, the 2Day FM radio executive whose instruction to play Farnham’s comeback single *You’re the Voice* “on the hour, every hour” helped propel *Whispering Jack* to become the highest-selling album of all time by an Australian artist in the local charts. ![The Scoop Whispering Jack The John Farnham Musical](https://thescoop.au/wp-content/uploads/2026/08/STC-Whispering-Jack_MEET-THE-CAST-1400-x-1600-px-4-1-440x628.jpg "Whispering Jack The John Farnham Musical • The Scoop")Throughout the season, **Harry Targett** will be alternate performer for the role of John Farnham. Completing the cast will be **Calista Nelmes**, **Chaya Ocampo, Anusha Thomas** and onstage swings **Shewit Belay, Clay Roberts** and **Andrew Waldin.** Acclaimed scriptwriter **Jack Yabsley**, Choreographer **Fabian Aloise** and Music Supervisor **Carmel Dean** will bring Farnham’s life, mischief and musical genius to the stage, with orchestrations by **Kris Kukul**. *Whispering Jack* is the story of an overnight sensation twenty years in the making and the incredible creative team bringing the 1970s and ‘80s Australian pop rock eras, infamous mullets and double denim to vivid life on the stage will be Set Designer **Jeremy Allen**, Costume Designer **Renée Mulder,** Lighting Designer **Matt Scott**, Sound Designer **Julian Spink** and Music Director **Zara Stanton.** ***Whispering Jack: The John Farnham Musical* plays Sydney Theatre Company’s Roslyn Packer Theatre** **from** **15 November 2026 – 3 January 2027.** Tickets are available [here](https://www.sydneytheatre.com.au/whats-on/2026/productions/whispering-jack). Website: <https://www.sydneytheatre.com.au/whats-on/2026/productions/whispering-jack> Socials: <https://www.instagram.com/sydneytheatreco/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. WHISPERING JACK: THE JOHN FARNHAM MUSICAL Book by **Jack Yabsley** Directed by **Mitchell Butel** Presented by **Sydney Theatre Company** In association with **Michael Cassel** and **Gaynor Wheatley** **With** Bonnie Anderson, Stephen Anderson, Shewit Belay, Ben Hall, Madeleine Jones, Oliver Lacey, Laura Murphy, Calista Nelmes, Trent Owers, Chaya Ocampo, Michael Paynter, Elenoa Rokobaro, Tom Sharah, Ariyan Sharma, Clay Roberts, Harry Targett, Anusha Thomas, Andrew Waldin Director **Mitchell Butel** Choreographer **Fabian Aloise** Music Supervisor & Arrangements **Carmel Dean** Orchestrator **Kris Kukul** Set Designer **Jeremy Allen** Costume Designer **Renée Mulder** Lighting Designer **Matt Scott** Music Director **Zara Stanton** Associate Director **Kenneth Moraleda** **Categories:** News --- ### [Sydney Theatre Company Announces New Cast & Dates: Whispering Jack Musical](https://thescoop.au/sydney-theatre-company-announces-new-cast-dates-whispering-jack-musical/) **Published:** July 8, 2026 **Author:** Newsroom **Content:** ![The Scoop Poster for Whispering Jack: The John Farnham Musical with a singer silhouette on the left and bold title on the right.](https://thescoop.au/wp-content/uploads/2026/07/STCs-Whispering-Jack-screen-res-1000x550px.jpg "Whispering Jack The John Farnham Musical Sydney Theatre Company • The Scoop")**Sydney Theatre Company** has added nine performances of ***Whispering Jack: The John Farnham Musical***, extending the season for a second time due to popular demand. Produced by **Sydney Theatre Company** in association with **Michael Cassel** and **Gaynor Wheatley**, the world premiere season will now play Roslyn Packer Theatre for seven weeks from **Sunday 15 November 2026 – Sunday 3 January 2027**. Tickets to the final week of performances are now on sale at the website. STC Artistic Director **Mitchell Butel**, who will direct the musical, also confirmed that performers **Bonnie Anderson** and **Ben Hall** will join **Michael Paynter** (playing John Farnham) in the roles of Gaynor and Glenn Wheatley. They will be joined by an ensemble cast (still to be announced) to bring to life the extraordinary story behind the album that made John Farnham a household name and Whispering Jack the highest selling Australian album of all time. **STC Artistic Director Mitchell Butel** said: *“I am beyond thrilled that Ben Hall and Bonnie Anderson — two supreme and beloved talents — will take on these crucial roles in our show. Ben’s ability to capture the fire and drive of Glenn Wheatley blew us all over in auditions.* *Having now gotten to know the truly divine and indomitable Gaynor Wheatley in the process of creating this show, I’m delighted that we’ve found someone in Bonnie who can bring to life Gaynor’s charm, wit and grace so winningly. John Farnham declared to the world in song to ‘have a little faith in us’ and I have so much faith in these two blazing stars.”* ![The Scoop Whispering Jack The John Farnham Musical Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Bonnie-Anderson-503x628.jpeg "Whispering Jack The John Farnham Musical Sydney Theatre Company • The Scoop")Bonnie Anderson will play Gaynor WheatleySinger, songwriter and actor **Bonnie Anderson** first captured the nation’s attention at just 12 years old, winning the inaugural season of *Australia’s Got Talent.* Since then, she has performed and released music as a solo artist, was nominated in the 2019 Logie Awards for most popular new talent for her portrayal as Bea Nilsson in *Neighbours* (2018–2021), and took the crown in Network Ten’s reality show *The Masked Singer Australia* in 2021. **Ben Hall** is currently starring as Edward Lewis in the national tour of *[Pretty Woman: The Musical](https://thescoop.au/falling-in-love-samantha-jade-ben-hall-on-the-magic-of-pretty-woman/)*, following acclaimed performances as Sam Phillips in *Elvis: A Musical Revolution*. His extensive musical theatre credits include Boublil and Schönberg’s *Les Misérables* and the beloved Australian production *Only Heaven Knows*. On screen, Hall is well known for his long-running role as Ned Willis in *Neighbours*, where his character was romantically involved with Bea Nilsson, played by Bonnie Anderson. ![The Scoop Whispering Jack The John Farnham Musical Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-08-at-10827-pm-503x628.png "Whispering Jack The John Farnham Musical Sydney Theatre Company • The Scoop")Ben Hall will play Glenn Wheatley**ABOUT WHISPERING JACK: THE JOHN FARNHAM MUSICAL** In 1986, John Farnham was approaching middle-age and a financially struggling artist. Working out of a suburban garage in outer Melbourne with a new band and manager Glenn Wheatley, he began recording an album that would ultimately redefine his place in Australian music. That album, *Whispering Jack*, with its lead single *You’re the Voice* would go on to become a cultural landmark: making Farnham a house-hold name and a national treasure. To celebrate the 40th anniversary of the highest-selling Australian album of all time, *Whispering Jack*, Sydney Theatre Company and Artistic Director **Mitchell Butel** join forces with **Michael Cassel Group** (*Hamilton, Harry Potter* and the *Cursed Child*), **Gaynor Wheatley** and acclaimed writer **Jack Yabsley** (*Gold Diggers*) to bring Farnham’s life, mischief and musical genius to the stage. **ABOUT SYDNEY THEATRE COMPANY** Sydney Theatre Company (STC) is Australia’s largest theatre company and has been a major force in Australian drama since its establishment in 1978. STC presents an annual curated program of around 700 performances a year at its two venues in Sydney’s Walsh Bay Arts Precinct, the Wharf Theatres, the Company’s home within a repurposed 100-year-old shipping wharf on Sydney Harbour, the Roslyn Packer Theatre, and as a resident company of Sydney Opera House. Helpmann Award-winning Australian actor and director Mitchell Butel has been Artistic Director since November 2024. STC is dedicated to producing works of ambition and scale, commissioning and presenting Australian plays, new interpretations of the classic repertoire and the best of new international writing. Internationally renowned artists who have worked with STC include Cate Blanchett, who was co-Artistic Director of STC with her husband, writer/director Andrew Upton from 2008-2013. Actors Rose Byrne, Toni Collette, Judy Davis, Elizabeth Debicki, Joel Edgerton, Yerin Ha, Isabelle Huppert, Tim Minchin, Richard Roxburgh, Eliza Scanlen, Sarah Snook, Mia Wasikowska, Jackie Weaver, Hugo Weaving and Sam Worthington. Directors John Crowley, Philip Seymour Hoffman, Barrie Kosky and Steven Soderbergh. Writers Tony McNamara (*The Great*), Suzie Miller (*Prima Facie, RBG: Of Many, One*) and Joanna Murray-Smith (*Honour, Switzerland*). Sydney Theatre Company productions that have toured internationally include former STC Artistic Director Kip Williams’ productions of *The Picture of Dorian Gray* starring Sarah Snook to the West End’s Theatre Royal Haymarket (2024) and Broadway (2025) and *Dracula* starring Cynthia Erivo to the West End’s Noel Coward Theatre in 2026; *The Present on Broadway*, Hedda Gabler and *A Streetcar Named Desire* at Brooklyn Academy of Music, *Uncle Vanya* at the Lincoln Center Festival and the Kennedy Center, and *The Maids* at New York City Center; *The Secret River* to Edinburgh International Festival and at the National Theatre in London and *Gross und Klein (Big and Small)* and *Waiting for Godot*, at The Barbican, London. ![The Scoop Whispering Jack The John Farnham Musical Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Michael-CASSEL-Gaynor-WHEATLEY-Mitchell-BUTEL-Photo-by-Nic-Walker-528x628.jpg "Whispering Jack The John Farnham Musical Sydney Theatre Company • The Scoop")Michael Cassel Mitchell Butel and Gaynor Wheatley Photo by Nic Walker**ABOUT MICHAEL CASSEL** Since launching Michael Cassel Group in 2012, Michael has produced major theatrical productions across Australia, Broadway, the West End and Asia. He was the lead producer of the Broadway and West End premiere of Sydney Theatre Company’s *The Picture of Dorian Gray*, starring Sarah Snook, which won two Tony Awards and two Olivier Awards. His other credits include *MJ the Musical, Beetlejuice The Musical, Hamilton, Harry Potter and the Cursed Child, Dear Evan Hansen, Titanique* and the upcoming West End production of *Dracula* starring Cynthia Erivo. Cassel has also produced global tours of *The Lion King, Les Misérables* and *& Juliet*, as well as televised events and concerts including *The Royal Edinburgh Military Tattoo,* Darren Criss and Patti LuPone. He was appointed a Member (AM) of the Order of Australia for his service to theatre, holds honorary doctorates from the University of Wollongong and Griffith University, and serves on the Board of the NIDA Foundation Trust, an independent body that raises funds for the National Institute of Dramatic Arts. **ABOUT GAYNOR WHEATLEY** Gaynor Wheatley’s journey from a celebrated actress to a supportive figure in the Australian music scene underscores her enduring presence and influence within the industry. She was married to Glenn Wheatley, and they were both instrumental in the career of John Farnham, having mortgaged their home to finance Farnham’s 1986 album *WHISPERING JACK* which became the highest-selling album by an Australian artist. Gaynor Wheatley has remained active in the music community. She played a key role in the 2023 documentary *John Farnham: Finding the Voice*, which chronicles the life and career of the Australian music icon. Most recently, as John’s manager, Gaynor oversaw the release of his memoir *The Voice Inside*, which was named Book of the Year in 2024. ***Whispering Jack: The John Farnham Musical* plays Sydney Theatre Company’s Roslyn Packer Theatre** **from** **15 November 2026 – 3 January 2027.** Tickets are on sale now at the website. Website: [sydneytheatre.com.au](https://www.sydneytheatre.com.au/) Socials: <https://www.instagram.com/sydneytheatreco/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. WHISPERING JACK: THE JOHN FARNHAM MUSICAL Book by **Jack Yabsley** Directed by **Mitchell Butel** Presented by **Sydney Theatre Company** In association with **Michael Cassel** and **Gaynor Wheatley** With **Bonnie Anderson, Ben Hall, Michael Paynter** and more cast to be announced. Director **Mitchell Butel** Choreographer **Fabian Aloise** Music Supervisor & Arrangements **Carmel Dean** Orchestrator **Kris Kukul** Set Designer **Jeremy Allen** Costume Designer **Renée Mulder** Lighting Designer **Matt Scott** Music Director **Zara Stanton** Associate Director **Kenneth Moraleda** **Categories:** News --- ### [Win Tickets To See Hadestown At Dendy Cinemas](https://thescoop.au/win-tickets-to-see-hadestown-at-dendy-cinemas/) **Published:** August 24, 2026 **Author:** Newsroom **Content:** ![The Scoop Hadestown The Musical Dendy Cinemas](https://thescoop.au/wp-content/uploads/2026/08/Hadestown-Cover.jpg "Hadestown The Musical Dendy Cinemas • The Scoop")All Aboard….go way down to Hadestown because the international hit [**HADESTOWN: THE MUSICAL**](https://www.youtube.com/watch?v=dsDiZmc9L9U) is coming to the big screen! Winner of eight Tony Awards and a Grammy Award, *Hadestown: The Musical* is the genre-defying musical blending modern American folk music with New Orleans-inspired jazz to reimagine a sweeping ancient tale of two intertwining love stories, that of young dreamers Orpheus and Eurydice, and King Hades and his wife Persephone. Filmed live on stage in London’s West End and featuring the original Broadway stars, *Hadestown: The Musical* invites audiences on a hell-raising journey to the underworld and back. To celebrate the release of **HADESTOWN: THE MUSICAL** at **Dendy Cinemas**, you could WIN a double pass! ![The Scoop Hadestown The Musical Dendy Cinemas](https://thescoop.au/wp-content/uploads/2026/08/Hadestown-TE-1116x628.jpg "Hadestown The Musical Dendy Cinemas • The Scoop")The Scoop is **giving away one, double e-pass** **to the film**, thanks to Dendy Cinemas. Ticket giveaway offer: One double pass to HADESTOWN: THE MUSICAL on **Tuesday 13 October** at 6:30pm or **Sunday 18 October** at 1pm at either **Dendy Coorparoo** or **Dendy Portside**. Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop Coorparoo’ or ‘Scoop Portside’ under the post. **HADESTOWN: THE MUSICAL runs in Australia 13 & 18 October 2026 as part of a limited season special presentation screening.** Tickets: <https://coorparoo.dendy.com.au/movie/hadestown-the-musical/> Website: <https://hadestownfilm.com/> Socials: <https://www.instagram.com/dendy.au/> [Back to the Newsroom](https://thescoop.au/newsroom/) Watch the trailer below: **Film details:** Title: Hadestown: The Musical Director: Brett Sullivan Cast: Reeve Carney, André De Shields, Amber Gray, Eva Noblezada, Patrick Page, Bella Brown, Madeline Charlemagne, Allie Daniel Country of Origin: UK Duration: 142 mins Rating: CTC **Categories:** competition, News --- ### [Review: Cleopatra & Antony Brings New Perspectives To An Old Tragedy](https://thescoop.au/review-cleopatra-antony-brings-new-perspectives-to-an-old-tragedy/) **Published:** August 24, 2026 **Author:** Jack Bengough **Content:** ★★★★☆ ![The Scoop Cleopatra & Antony Melbourne Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/08/Cleopatra-Antony-Press-Image-1-Photo-Credit-NickMicPics-942x628.jpg "Cleopatra & Antony Melbourne Shakespeare Company • The Scoop")Melbourne Shakespeare Company returns to fortyfivedownstairs with *Cleopatra & Antony*, an adaptation of Shakespeare’s historical tragedy by Sonya Suares. Serving as an abridged retelling of the original, *Cleopatra & Antony* explores the roles the title characters play in both the text and in history. But viewers might find it doesn’t go far enough to reinvent the classic play. The original *Antony and Cleopatra* tells the story of Queen Cleopatra and her relationship with Mark Antony, one of Caesar’s generals. The two fall in love, but their relationship is challenged by the geopolitics of the time. The story ends in tragedy with the pair dying after a failed attempt to wage war with the Roman Empire. Sonya Suares’ adaptation tells the story in much the same way, with the most notable change being to cut the story down into a ninety-minute production. With a change in the title, there was some expectation that Cleopatra would be more central in the story. While there are moments where Cleopatra’s role in history and unfair treatment in modern culture is discussed, it did leave me wanting for more. ![The Scoop Cleopatra & Antony Melbourne Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/08/Cleopatra-Antony-Press-Image-2-Photo-Credit-NickMicPicsj-941x628.jpg "Cleopatra & Antony Melbourne Shakespeare Company • The Scoop")Despite an updated adaptation Cleopatra still feels like a secondary character to Anthony Photo by Nick Mick PicsMuch like the original play, a large segment in the middle of the production sees Cleopatra pushed to the side. We follow Antony in the Roman Empire as he attempts to strengthen his political position. Despite the addition of monologues from Cleopatra’s attendant, Charmian, (Tsungirai Wachenuka) emphasising Cleopatra’s historical importance and power, she still feels like a secondary character to Antony. There is much to love about this production, however, particularly the impressive work from the cast. Akina Edmonds is incredible in the role of Cleopatra, flawlessly flitting between cunning and charming, scheming and seductive, elevating every scene she is in. As Cleopatra’s counterpart, Louis Lucente delivers a performance that initially leans into Antony’s machismo and brooding intensity, eventually giving way to a softer side. Damon Baudin’s turn as Octavius Caesar becomes one of the more captivating performances of the night. Despite his position as the ruler of the Roman Empire, Baudin’s Octavius is meek and distinctly weaselish, an intriguing contrast to the intimidating, chiselled bust of Julius Caesar present on stage throughout the production. Between these two performers, there is an interesting exploration of masculinity on display, playing excellently against Edmonds’ Cleopatra. ![The Scoop Cleopatra & Antony Melbourne Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/08/Cleopatra-Antony-Press-Image-4-Photo-Credit-NickMicPicsj-941x628.jpg "Cleopatra & Antony Melbourne Shakespeare Company • The Scoop")There is much to love about this production particularly the impressive work from the cast Photo by Nick Mick PicsThe surprise of the night is actor Jennifer Vuletic as Agrippa. Vuletic has an infectious presence on stage, from physicality to vocal delivery, while never drawing away from the other actors. The set, designed by Eloise Kent, includes minimal furnishing, but the curtains on stage are immediately eye-catching with their resemblance to ship sails. In the big naval battle towards the end of the play, these curtains shift side-to-side, giving that feeling of motion to the action on stage, a highlight of the show. As is the case with the venue, there are sightline issues created by the presence of rebar columns native to the space. Audiences should be aware that, depending on their position, they will not have visibility of some areas of the stage. In their 2025 season, Melbourne Shakespeare Company presented a compelling adaptation of *Othello*, which placed a greater focus on the titular character’s past as a wartime general. A similar approach here could have offered greater opportunity to explore Cleopatra’s perspective. Although not without its ups and downs, *Cleopatra & Antony* is a worthy production that will certainly satisfy Shakespeare lovers. ***Cleopatra & Antony* is presented by Melbourne Shakespeare Company and runs to 13 September at fortyfivedownstairs. 45 Flinders Lane Melbourne Vic 3000.** Tickets: <https://fortyfivedownstairs.com/event/cleopatra-antony/> Website: <https://www.melbourneshakespeare.com/cleopatra-and-antony> Socials: <https://www.instagram.com/melbourneshakespeare/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Nick Mick Pics **Categories:** Melbourne, Theatre --- ### [Scenes With Girls Returns With Guts, Chaos, Laughter & Heartbreak](https://thescoop.au/scenes-with-girls-returns-with-guts-chaos-laughter-heartbreak/) **Published:** August 24, 2026 **Author:** Newsroom **Content:** ![The Scoop Scenes With Girls Salad Days Collective Door 3 Queensland Theatre Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/08/QTC-SWG-1080x1920-SocialPost-Blank-785x628.jpeg "Scenes With Girls Salad Days Collective Door 3 Queensland Theatre Brisbane Festival • The Scoop")After a sold-out 2024 season that sparked rave reviews – and prompted at least one audience member to break up with her boyfriend – Matilda Award-winning independent theatre company Salad Days Collective brings ***Scenes With Girls*** back to **Brisbane** this **September** for a bold new season filled with guts, chaos, laughter and heartbreak. First staged at **PIP Theatre** in 2024, *Scenes With Girls* returns in 2026 as part of **Queensland Theatre’s DOOR 3 program** and **Brisbane Festival**, moving into the intimate Diane Cilento Studio for a new season of Miriam Battye’s razor-sharp, darkly funny and devastatingly familiar exploration of the ferocity and fragility of female friendship. DOOR 3 marks the entrance to Queensland Theatre’s Diane Cilento Studio and, following last years highly successful pilot program, returns in 2026 as a platform for three Queensland-based theatre collectives to stage three bold independent works across three seasons. For Brisbane-based **Salad Days Collective**, the program marks an exciting next step for a production that began its journey in the independent theatre scene and returns with even more guts, chaos and heart. Directed by Ruby Sanders, *Scenes With Girls* centres on Tosh and Lou, best friends and housemates who exist inside a world entirely of their own making. They have rejected the modern pressures of romance and dating, choosing instead to believe that having each other is enough. But when the outside world begins to creep in, their all-consuming bond is quietly put to the test. What follows is a messy, hilarious and deeply human examination of what it means to grow up, grow apart and redefine intimacy. ![The Scoop Scenes With Girls Salad Days Collective Door 3 Queensland Theatre Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/08/QTC-Door3-1920x1080-SDC-1117x628.png "Scenes With Girls Salad Days Collective Door 3 Queensland Theatre Brisbane Festival • The Scoop")Miriam Battye’s script turns the traditional love story on its head, placing female friendship at the heart of the narrative. Tosh and Lou’s relationship is intimate, chaotic and fiercely loyal. They share private jokes, finish each other’s sentences and navigate life with the shorthand of people who have spent countless hours together. Their friendship is a source of comfort and identity- but also, increasingly, conflict. The play explores the pressures young women face around sex, dating, romance and identity, while questioning what it means to reject societal expectations and whether that rejection can become its own form of performance. The 2024 PIP Theatre season received rave reviews for its sharp writing, compelling performances and authentic depiction of contemporary girlhood. Critics praised the performers’ chemistry, the show’s natural comedy and its ability to move from absurdity to genuine emotional devastation. Founded in Brisbane in 2024, Salad Days Collective is a Matilda Award-winning, artist-led independent theatre company dedicated to bringing young and non-traditional audiences back into the theatre. The company has quickly built a reputation for provocative, ambitious and visually striking work that centres contemporary voices and dynamic storytelling. With an ethos rooted in accessibility, collaboration and community connection, Salad Days Collective creates high-impact theatrical experiences that challenge expectations and invite new generations of theatre-goers into the room. Following its acclaimed PIP Theatre season, *Scenes With Girls* now enters a new chapter at Queensland Theatre’s Diane Cilento Studio, giving audiences another opportunity to experience this urgent, messy and painfully recognisable story of friendship. ***Scenes With Girls* is presented by Salad Days Collective and runs 4 – 19 September 2026. It runs as part of Queensland Theatre’s DOOR 3 program** **at** **Diane Cilento Studio. Queensland Theatre, 78 Montague Road South Brisbane Qld 4101.** Tickets are available [here](https://tickets.queenslandtheatre.com.au/8844/). Website: <https://queenslandtheatre.com.au/plays/scenes-with-girls> Socials: <https://www.instagram.com/salad.days.collective/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Drac Is Back: BIG Live Brings Dracula Ballet To Melbourne & Sydney In 2026](https://thescoop.au/drac-is-back-big-live-brings-dracula-ballet-to-melbourne-sydney-in-2026/) **Published:** August 24, 2026 **Author:** Newsroom **Content:** ![The Scoop Dracula BIG Live Ballet at its Darkest](https://thescoop.au/wp-content/uploads/2026/08/5-1-1116x628.png "Dracula BIG Live Ballet at its Darkest • The Scoop")Following sold-out seasons in London’s West End and the United States, and a record-breaking tour across Australia and New Zealand in [2025](https://thescoop.au/review-dracula-continues-to-cast-its-spell-across-the-country/), BIG Live’s critically acclaimed ***Dracula: Ballet at its Darkest*** will return home for 65 performances across **Melbourne** and **Sydney**. The Australian-born production will play 35 performances at **Her Majesty’s Theatre, Melbourne,** from **10 September to 25 October**, alongside two Sydney engagements: eight performances at the **State Theatre** from **22 to 27 September**, followed, due to overwhelming demand, by 22 additional performances at the **Capitol Theatre** from **7 to 29 November 2026**. The Capitol Theatre extension adds 22 performances to the originally announced eight-show State Theatre engagement, taking *Dracula*’s Sydney season to 30 performances in total. It will also return a major production to dates made available after the cancellation of *Beetlejuice: The Musical*, supporting work for artists, technicians, venue teams and the wider live-performance economy. The additional Sydney performances have been welcomed by **Foundation Theatres**, with Chief Executive **Graeme Kearns** placing the expansion in the context of the wider pressures facing the Australian live performance sector: *“The industry relies on producers with the confidence to invest, adapt and continue bringing ambitious works to our stages. It is particularly significant to see an Australian founded company developing work here, building an international audience for it and then bringing that success home.* *Productions of this scale sustain artists, musicians, technicians and theatre workers, while giving audiences compelling reasons to experience great live performances. We are delighted to welcome BIG Live back to the Capitol Theatre with Dracula.”* ![The Scoop Dracula BIG Live Ballet at its Darkest](https://thescoop.au/wp-content/uploads/2026/08/7-1116x628.jpg "Dracula BIG Live Ballet at its Darkest • The Scoop")More than two hundred thousand people are expected to see Dracula in its 2026 overseas season Image suppliedIn Melbourne, the season also marks BIG Live’s return to Her Majesty’s Theatre during the venue’s 140th anniversary year. Chief Operating Officer, Her Majesty’s Theatre, **Quan Tu**, said: *“In our 140th year of proudly entertaining Melbourne audiences, Her Majesty’s Theatre is delighted to welcome BIG Live back to our stage with Dracula: Ballet at its Darkest. We are proud to present an Australian-created production that has grown into a genuine international success, performing on major stages across the United Kingdom, the United States, Asia and Australasia.* *Its bold storytelling, exceptional artists and impressive theatrical scale make it a particularly exciting production to welcome back to Melbourne.”* For BIG Live, the 65-performance return is part of a wider story of Australian investment and international growth. Founded in Brisbane and operating without government funding, the independent company is on track to sell more than **400,000 tickets** across its productions in 2026, with more than **200,000 people** expected to see *Dracula* during its 2026 international tour alone. Executive Director and Co-founder, BIG Live, **Khalid Tarabay**, said: *“There’s no question the touring landscape is challenging right now, but there is also real cause for confidence. The response to Dracula – both across Australia and on major international stages – shows that when work genuinely resonates with people, the demand is there.* *We are proud to support Australian talent and to prove that Australian-led productions can hold their own anywhere in the world. As an independent company, we have built BIG Live around audience demand, long-term employment and the confidence to move quickly when opportunities arise.”* For Artistic Director and Co-founder **Joel Burke**, the Australian seasons are also a creative homecoming for a production developed in Brisbane and now established on major international stages: *“Dracula was created in Brisbane with the belief that ballet can deliver the same emotional intensity, scale and excitement as any major theatrical production. We wanted to create something cinematic, immediate and unapologetically theatrical – an experience that could connect with devoted ballet audiences while also bringing people into the theatre who may never previously have considered seeing a ballet.* *To see an Australian-created production welcomed by audiences in London, the United States and Asia, and now returning for these major seasons at home, is enormously rewarding.”* ![The Scoop Dracula BIG Live Ballet at its Darkest](https://thescoop.au/wp-content/uploads/2026/08/8-1116x628.jpg "Dracula BIG Live Ballet at its Darkest • The Scoop")Dracula the ballet is a cinematic reimagining of the Bram Stoker gothic classic Image supplied**BALLET AT ITS DARKEST** Choreographed by BIG Live Artistic Director and Co-founder **Joel Burke**, *Dracula: Ballet at its Darkest* is a bold, cinematic re-imagining of Bram Stoker’s gothic classic – a visceral exploration of forbidden love, grief, obsession, immortality and sacrifice. The production features a powerhouse cast of artists with experience at the Mariinsky Theatre, English National Ballet, Stuttgart Ballet, The Australian Ballet, Queensland Ballet and other leading companies. BIG Live principals **Ervin Zagidullin** and **Abbey Hansen** perform as Dracula and Mina Harker, with internationally renowned guest artist **Adamzhan Bakhtiyar** appearing at selected performances. Set within a world of gothic grandeur created by award-winning CTS Design, *Dracula* is driven by a powerful score led by Emmy Award-winning composer **Jason Fernandez** and featuring masterpieces by Bach, Rachmaninov, Mozart, Liszt, Mussorgsky, Mendelssohn, Saint-Saëns and Debussy. *Dracula*’s 2026 international tour has included the London Palladium, Sadler’s Wells, Edinburgh Festival Theatre, San Francisco’s Orpheum Theatre and Singapore’s Esplanade Theatre, before returning to Brisbane, Melbourne and Sydney. Further international performances are scheduled for Hong Kong and Bangkok in January 2027. ![The Scoop Dracula Ballet BIG Live International Gala](https://thescoop.au/wp-content/uploads/2025/09/Dracula-837x628.png "Dracula Ballet BIG Live International Gala • The Scoop")BIG Live Screen will bring the film Interstellar to the stage in 2027 set to a live score Image supplied**ABOUT BIG LIVE** BIG Live was founded by Joel Burke and Khalid Tarabay with a singular ambition: to make the transformative power of ballet accessible, thrilling and relevant to audiences worldwide. Frustrated by the limited and unstable career pathways available to talented ballet artists, the co-founders created BIG Live as a platform for stable, long-term artistic employment. Operating entirely without government funding, BIG Live is one of the world’s fastest-growing ballet companies and the fastest-growing and one of the highest-selling ballet companies in the Southern Hemisphere. Its story-led productions combine rigorous classical technique with the pace, theatricality and emotional clarity of contemporary live entertainment. BIG Live’s repertoire includes *[Dracula: Ballet at its Darkest](https://thescoop.au/review-dracula-the-ballet-is-love-at-first-bite/)*, *[The Great Gatsby](https://thescoop.au/review-the-great-gatsby-jazz-ballet-odyssey-is-a-triumph/)*, *[Romeo and Juliet](https://thescoop.au/review-big-lives-romeo-and-juliet-sells-out-its-adelaide-season/)*, [*The Nutcracker* ](https://thescoop.au/review-big-lives-the-nutcracker-shines-with-seasonal-charm/)and *[Ballet International Gala](https://thescoop.au/review-big-vi-another-triumph-for-ballet-international-gala/)* – the largest event of its kind in the Southern Hemisphere. The company has productions and touring dates in development and secured across Australia, Asia, the United Kingdom, Europe and North America through 2027 and 2028. BIG Live has also launched **BIG Live Screen**, a new live-entertainment business supporting musicians and orchestral performance. Its first Australian production, ***Interstellar Live***, will present Christopher Nolan’s complete film with Hans Zimmer’s score performed live by a 65-piece orchestra in **March 2027**. ***Dracula: Ballet at its Darkest* is presented by BIG Live runs 10 September – 25 October in Melbourne at Her Majesty’s Theatre. It then runs in Sydney from 22 – 27 September and 7 – 29 November 2026. See full dates below.** Tickets available at the links below. Website: <https://bigliveco.com/performances/dracula/> Socials: <https://www.instagram.com/bigliveco/> Read our Review of the World Premiere Season Images supplied. 2026 Australian Tour Dates: Melbourne 10 September – 25 October, Her Majesty’s Theatre [Tickets](https://hmt.com.au/dracula-ballet-at-its-darkest/) Sydney 22 – 27 September, State Theatre [Tickets](https://www.statetheatre.com.au/show-calendar/dracula/) Sydney 7 – 29 November, Capitol Theatre [Tickets](https://www.capitoltheatre.com.au/dracula-ballet-at-its-darkest) **Categories:** News --- ### [Review: Dracula The Ballet Is Love At First Bite](https://thescoop.au/review-dracula-the-ballet-is-love-at-first-bite/) **Published:** September 4, 2025 **Author:** Sarah Skubala **Content:** ![The Scoop Dracula Ballet International Gala](https://thescoop.au/wp-content/uploads/2025/09/Dracula-2-880x628.jpeg "Dracula Ballet International Gala • The Scoop")For over a century, *Dracula* has lured audiences with its tale of desire, fear, and the eternal hunger for power. BIG Live, also known as Ballet International Gala, unleashes a new interpretation as part of its successful 2025 season, and it is an absolute thrill. Choreographer Joel Burke has created a perfect ballet adaptation, distilling the storyline to include just the essential characters. Working alongside the dancers, who served as co-authors, and a stellar production team, the result is a mesmerising, gripping narrative ballet. Upon arrival, the Concert Hall is awash with vampiric red lighting – setting the scene before the curtain is even drawn. BIG Live have pulled together some of the most iconic classical music for the score. Many pieces will be instantly recognisable, with the horrific Night on Bald Mountain establishing the tone from the outset. The opening scene serves as a prologue of sorts, establishing how Count Dracula came to be. We meet the brave warrior Vlad, whose beloved wife is wrongfully killed by the Church he serves in war. This chain of events leads to Vlad the Impaler becoming Dracula, Lord of the Vampires. Eric Luchen’s stunning set transports us to Transylvania. Dracula’s gothic castle engulfs the stage, complete with a kaleidoscope of lead lighting panels and high arched doorways. A haunting portrait of Dracula’s late wife looms over the stage, spotlit by a killer lighting design by Dan Sharp. ![The Scoop Dracula Ballet International Gala BIG Live](https://thescoop.au/wp-content/uploads/2025/09/Dracula-4-880x628.jpeg "Dracula Ballet International Gala BIG Live • The Scoop")Joel Burke has created a perfect ballet adaptation with a distilled storyline and just the essential characters On opening night, our trio of leads included BIG Live Principals Ervin Zagidullin in the title role, with Joel Burke and Abbey Hansen as the soon-to-be doomed newlyweds, Jonathan and Mina. The trio are supported by four Ghosts, played by Giselle Osborne, Rose Maloney, Mia Zanardo and Emilia Bignami, and a robust Corps de Ballet. (There is a cast of alternates for some of the roles.) The storytelling is done so well that at times, one almost forgets they are watching a ballet. It’s well worth picking up a program and taking a look over the synopsis ahead of the performance for an overview of the adapted story. (There’s also a mention in the program of what’s in store for BIG Live’s next narrative ballet – and I am incredibly jazzed!) Act One rockets along at a neat 45 minutes, while Act Two feels fully fleshed out, running for almost an hour. Costuming can best be described as luscious, with no tutus to be seen. Instead, the candy coloured corsets of 1800s London clash with the ragged white skirts of the undead. Mina’s floaty dress is replicated both in life and in death, an excellent touch. And when Dracula first unfurls his bat wings, it is an iconic moment. It’s the dancing that true ballet lovers have come to see, and it is incredible. There’s a trust and easy chemistry between the three leads which can only come from working closely together over an extended period. I found it very hard to take my eyes off Abbey Hansen as Mina. Her dancing alongside both Burke and Zagidullin appears so effortless. It’s easy to forget the skill involved behind such exhilarating lifts and partner work. Burke and Zagidullin dazzle with their excellent leaps and spins. At one point, their leaps appear to mirror each other. An Act One highlight is the pas de deux between Hansen and Burke as Mina and Jonathan when they first arrive at the castle. Set to Debussy’s Clair de Lune, it’s a truly beautiful sequence. ![The Scoop Dracula Ballet International Gala BIG Live](https://thescoop.au/wp-content/uploads/2025/09/Dracula-3-880x628.jpeg "Dracula Ballet International Gala BIG Live • The Scoop")The dark subject matter is handled with grace and just the right amount of dramaThe four Ghosts are the perfect undead army, with pointe work formations so smooth, it feels like they are actually floating. I particularly loved seeing each ghost lined up under their own striking white spotlight. The Corps de Ballet are an impressive group of dancers, shining in Act Two with their extended celebration scene. The dark subject matter of *Dracula* is handled with grace and just the right amount of drama, with this adaptation feeling almost Shakespearean in the way the tragic story unfolds. Perhaps the most surprising element on opening night was the audience itself. This was no typical ballet crowd. *Dracula* has drawn people beyond the usual circle, proving that some stories can break through boundaries. And that is exactly what ballet in 2025 needs. With rich storytelling, evocative design, and breathtaking performances, *Dracula* proves that ballet can be both timeless and thrillingly contemporary. BIG Live has crafted a production that will seduce newcomers and satisfy seasoned ballet lovers. It’s a dark feast for the senses and a reminder that some stories, like Dracula himself, will never die. ***Dracula* is presented by BIG Live runs to 6 September in Brisbane and then tours Australia and New Zealand. See full dates below.** Tickets available at the links below. Website: <https://www.bigliveco.com/dracula> Socials: <https://www.instagram.com/balletinternationalgala/> [Read our Review of the Sydney Season!](https://thescoop.au/review-dracula-continues-to-cast-its-spell-across-the-country/) Photo credits: Braeden O’Connor 2025 Tour Dates Brisbane – Concert Hall, QPAC 3-6 September [Tickets](https://www.qpac.com.au/whats-on/2025/ballet-international-gala-dracula) Sydney – State Theatre, 11–12 September [Tickets](https://www.statetheatre.com.au/show-calendar/dracula/) Newcastle – Civic Theatre, 17-21 September [Tickets](https://civictheatrenewcastle.com.au/what-s-on/all-shows/big-live-presents-dracula) Melbourne – Hamer Hall, 27-29 September [Tickets](https://www.artscentremelbourne.com.au/whats-on/2025/dance/dracula) Christchurch – Isaac Theatre Royal, 4-5 October [Tickets](https://isaactheatreroyal.co.nz/dracula-in-associated-with-united-airlines) Auckland – Civic Theatre, 10–11 October [Tickets](https://www.statetheatre.com.au/show-calendar/dracula/) Canberra – Canberra Theatre Centre, 23-24 October [Tickets](https://canberratheatrecentre.com.au/show/dracula-2025/) **Categories:** Brisbane, Dance --- ### [Announcing Gilbert & Sullivan: A Soirée Of Song & Satire](https://thescoop.au/announcing-gilbert-sullivan-a-soiree-of-song-satire/) **Published:** July 2, 2026 **Author:** Newsroom **Content:** ![The Scoop Gilbert & Sullivan: A Soiree of Song & Satire Prospero Arts](https://thescoop.au/wp-content/uploads/2026/07/Pirates-of-Penzance_Joel-Devereux-942x628.jpg "Gilbert & Sullivan: A Soiree of Song & Satire Prospero Arts • The Scoop")Prospero Arts has announced the arrival of ***Gilbert & Sullivan: A Soirée of Song & Satire***, coming to **Brisbane** from **6 – 9 September**, with pre-sale tickets on sale now. The production promises an evening of elegance, wit, and iconic melodies – marking Prospero Arts’ newest and most anticipated addition to Brisbane’s cultural calendar this spring. Following a successful season in Melbourne with Opera Australia, Prospero Arts is recreating the acclaimed production exclusively for Brisbane audiences, inviting them to experience the delightfully dizzying, wonderfully witty, and downright joyful concert celebration of the undisputed kings of theatrical chaos, Gilbert & Sullivan, for themselves. This production, directed by **Stuart Maunder AM** and Musical Director **James Dobinson**, features a stellar cast of beloved Queensland stars and national stage royalty, accompanied by a 19-piece orchestra on stage. Director **Stuart Maunder AM** said: *“Audiences can expect world-class vocals, romance and a lot of laughs – a show guaranteed to have audiences singing along with a smile Whether you’re a lifelong Gilbert & Sullivan fan, or a theatre newcomer looking for a night of whimsy and delight – this is a show for you.”* *The world could always do with a little more silliness, a little more beauty and a lot more music. That’s exactly what this show offers, and we can’t wait for Brisbane to experience it with us.”* ![The Scoop Gilbert & Sullivan: A Soiree of Song & Satire Prospero Arts](https://thescoop.au/wp-content/uploads/2026/07/GS_1080X1080-628x628.jpg "Gilbert & Sullivan: A Soiree of Song & Satire Prospero Arts • The Scoop")Musical Maestro **James Dobinson** said the production showcases Gilbert & Sullivan at their musical best, celebrating the composers’ wit through unforgettable melodies and rich orchestral arrangements: *“These are songs that have delighted audiences for generations. They’re clever, beautiful and endlessly entertaining, and hearing them performed live by such an exceptional cast and the onstage orchestra is a true delight.”* Starring some of Australia’s most celebrated voices, the production features *West Side Story on Sydney Harbour* stars **Billy Bourchier** and **Nina Korbe**. Joining them is **Ben Mingay** from *Packed to the Rafters*, *Pirates of Penzance* and Opera Australia’s *The Magic Flute*, soprano **Cassandra Seidemann**, internationally renowned bass-baritone **Jason Barry-Smith** and the genre-defying vocalist **Irena Lysiuk**. *Gilbert & Sullivan: A Soiree of Song & Satire* is a show not to be missed. With a strictly limited run of 4 shows only, theatre-goers are encouraged to grab tickets before they sail away. Discounted pre-sale tickets are on sale now. General ticket sales start from Monday 6 July. ***Gilbert & Sullivan: A Soirée of Song & Satire* is presented by Prospero Arts and runs 6 – 9 September at the Concert Hall, QPAC.** Tickets: <https://www.qpac.com.au/whats-on/2026/gilbert-and-sullivan?s=EXTPRESALE> Website: <https://prosperoarts.com.au/project/gilbertandsullivan/> Socials: <https://www.instagram.com/prosperoarts/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Joel Devereux **Categories:** News --- ### [Announcing A Beautiful Noise: The Neil Diamond Musical For Brisbane](https://thescoop.au/announcing-a-beautiful-noise-the-neil-diamond-musical-for-brisbane/) **Published:** August 24, 2026 **Author:** Newsroom **Content:** ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/08/unnamed-1-942x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")In news set to send Queenslanders into a ***Sweet Caroline*** singalong for the ages, the smash-hit Broadway musical ***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL*** is headed to Brisbane, following its blockbuster Australian premiere and extraordinary audience response in Melbourne. The spectacular production will open at the **Lyric Theatre** QPAC on **20 March 2027** bringing the music, the man and the remarkable story of **Neil Diamond** to Queensland audiences for the very first time. Presented in Australia by producers **Paul Dainty AO** and **TEG Dainty, Ken Davenport** and **Bob Gaudio**, the acclaimed Broadway production arrives in Brisbane with some serious home-state pride attached: three Queenslanders will take to the stage, alongside a graduate of the Queensland Conservatorium of Music. **Tickets go on sale** to the general public at 9am on **Friday 4 September** via [qpac.com.au](http://qpac.com.au/) with the official **waitlist now open** at [www.theneildiamondmusical.com.au](http://www.theneildiamondmusical.com.au/) Created in collaboration with **Neil Diamond** himself, ***A BEAUTIFUL NOISE*** is the uplifting true story of how a kid from Brooklyn became a chart busting, show-stopping American rock icon and one of the most successful and beloved performers of all time. And what a story it is: with **more than 140 million albums sold**, a catalogue of anthems including ***America, Forever in Blue Jeans*** and the incomparable ***Sweet Caroline***, induction into both the **Songwriters Hall of Fame and Rock & Roll Hall of Fame**, a **Grammy® Lifetime Achievement Award**, and sold-out concerts around the world that saw him become a bigger live draw than Elvis, Neil Diamond’s extraordinary life was made for the stage. *Now, Queensland gets its turn.* Like *Jersey Boys* and *Beautiful: The Carole King Musical* before it, ***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL*** *—* from the Australian producers of*TINA – The Tina Turner Musical —* is an inspiring, exhilarating, energy-filled musical memoir, that tells the untold true story of how America’s greatest hit maker became a star, set to the songs that defined his career. Legendary singer-songwriter **Neil Diamond**’s bond with Australia has been nothing short of extraordinary, spanning decades of musical brilliance and heartfelt connections. He has undertaken seven major concert tours across the country, beginning with the iconic*Thank You Australia* tour in 1976 and followed by memorable returns in 1992, 1996, 1999, 2005, 2011 and 2015, his anthems resonating deeply with audiences and securing his place as a cherished figure in Australian music history for nearly half a century. His iconic 1972 live album, *Hot August Night*, spent 29 weeks at number one in 1973 and 1974 and 65 weeks on the chart, making it the third-longest-charting album of the era in Australian music history. ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/08/A-BEAUTIFUL-NOISE-AUSTRALIAN-CAST-_photo-Jeff-Busby-6-copy-942x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")The Australian premiere cast of A Beautiful Noise The Neil Diamond Musical Photo by Jeff Busby**Neil Diamond** said: *“Some of my most thrilling nights have been while sharing my music with audiences around the world. **A BEAUTIFUL NOISE** has already had an incredible journey on Broadway and is currently touring across the U.S. I hope Australian audiences enjoy the show as much as I have.”* **Paul Dainty AO, President and CEO of TEG DAINTY** said: *“Bringing A BEAUTIFUL NOISE to Australia is extremely special for me. I’ve had the great privilege of working with Neil as his Australian promoter for decades, and this production is a powerful celebration of his life and music.* *The response from Melbourne audiences has been extraordinary, with standing ovations AND SELL OUTS night after night and audiences embracing every moment of Neil’s incredible story and music. I know Brisbane audiences will be moved by the joy, emotion, and unforgettable songs that have made Neil a legend.”* The Australian cast of ***A BEAUTIFUL NOISE*** is led in Melbourne by **Broadway star** [Will Swenson](https://thescoop.au/will-swenson-on-neil-diamond-the-power-of-a-beautiful-noise/) in the titular role *Neil Diamond – Then*, bringing his acclaimed, award-winning performance to Australia for the very first time. Joining Swenson is an exceptional company of Australian talent, featuring principal cast members **Terence Crawford** (*Neil Diamond – Now*), **Ashleigh Rubenach** (*Marcia Murphey*), **Monica Sayers** (*Doctor*), **Alana Tranter** (*Jaye Posner*), **Tim Wright** (*Fred Weintraub / Tommy O’Rourke),* **Paul Hanlon***(Bert Berns / Kieve Diamond*), **Hannah Fredericksen** (*Ellie Greenwich / Rose Diamond*), with **Rob Mallett** (*Standby Neil Diamond – Then*), and **Mark Owen Taylor** (*Standby Neil Diamond – Now, Fred Weintraub / Tommy O’Rourke, Bert Berns / Kieve Diamond*). Rounding out the company as “The Beautiful Noise” ensemble are **Katrina Bickerton, Jordan Malone, Etuate Lutui***(Shilo soloist),* along with **Cameron Davey, Paul Leandre Escorrido, Matt Hourigan, Alana Iannace**, **Jerome Javier** (*Swing*) **Joshua Kobeck, Anna Mallows** *(Swing),* **James Maxfield** *(Swing),* **Isabella Roberts, Sophie Tzioumis, Emma Wilby** *(Swing),* and **Erica Wild** *(Swing)*. ![The Scoop Side-by-side portraits: a blonde woman with blue eyes on the left, and a smiling man with dark hair and light stubble against a leafy background on the right.](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-24-at-110059-am-1200x603.png "A Beautiful Noise The Neil Diamond Musical Brisbane • The Scoop")Hannah Fredericksen and Etuate Lutui There’s plenty of **Queensland pride on stage – and behind the scenes.** Brisbane-born **Hannah Fredericksen** plays the dual roles of legendary songwriter **Ellie Greenwich and Neil Diamond’s mother, Rose Diamond**. A former **Moreton Bay College** student, Fredericksen is well known to Australian theatre audiences from *Harry Potter and the Cursed Child*, in which she played Moaning Myrtle during its record-breaking Australian run. Remarkably, Brisbane will mark a very special first: **her Queensland stage debut and the first time she has performed professionally in her home state.** Joining her is **Etuate Lutui**, a 2022 graduate of the **Bachelor of Musical Theatre at Queensland Conservatorium Griffith University**, who delivers a moving, showstopping solo moment. **Brisbane-born Jordan Malone**, a fellow Con graduate, and **Maryborough-born Katrina Bickerton** round out the Queenslanders on stage, while **Brisbane’s Liam McIlwain** is Resident Director. ![The Scoop A Beautiful Noise The Neil Diamond Musical Brisbane](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-24-at-104558-am-1200x598.png "A Beautiful Noise The Neil Diamond Musical Brisbane • The Scoop")Jordan Malone and Katrina Bickerton***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL*** is directed by Tony Award® winner **Michael Mayer** (Spring Awakening, Hedwig and the Angry Inch), choreographed by Olivier Award winner **Steven Hoggett** (Once, Harry Potter and the Cursed Child), and written by four-time Academy Award nominee **Anthony McCarten** (Bohemian Rhapsody, The Two Popes). The design team for A BEAUTIFUL NOISE features Tony Award winner **David Rockwell** (Scenic Design), Tony Award nominee **Emilio Sosa** (Costume Design), four-time Tony Award winner **Kevin Adams** (Lighting Design), Tony Award winner **Jessica Paz** (Sound Design), and **Luc Verschueren** (Hair, Wig and Make Up Design). The production has Music Supervision and Arrangements by**Sonny Paladino**, Incidental Music and Dance Music Arrangements by **Brian Usifer,** Vocal Design by**AnnMarie Milazzo**, and Orchestrations by **Bob Gaudio, Sonny Paladino**, and **Brian Usifer**. ***A Beautiful Noise: The Neil Diamond Musical* runs from 20 March 2027 at The Lyric Theatre, QPAC as part of a national tour. See full dates below.** Waitlist for Brisbane tickets [here](https://theneildiamondmusical.com.au/tickets/brisbane/). Tickets for Brisbane go on sale from Friday 4 September at the link below. Tickets: <https://www.qpac.com.au/whats-on/2027/a-beautiful-noise> Website: <https://theneildiamondmusical.com.au/> Socials: <https://www.instagram.com/theneildiamondmusicalau/> [Read our Review from the Melbourne Premiere Season!](https://thescoop.au/review-a-beautiful-noise-the-neil-diamond-musical/) Photo credits: Jeff Busby Australian Tour Dates: Melbourne on now until 7 November, Princess Theatre Sydney from 14 November, Sydney Lyric Theatre Brisbane from 20 March, Lyric Theatre QPAC **Categories:** News --- ### [Review: State Opera Takes A Magical Journey Into The Woods](https://thescoop.au/review-state-opera-takes-a-magical-journey-into-the-woods/) **Published:** August 23, 2026 **Author:** Bethany Eloise **Content:** ★★★★★ ![The Scoop Stage scene: a witch in a green robe and red hood points at two costumed villagers by a wooden table and cauldron in a gray kitchen set.](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-WOODS-Photo-Andrew-Beveridge-HI-0025-942x628.jpg "Into the Woods State Opera South Australia • The Scoop")A man stands before the red velvet curtain. Not the narrator, but Artistic Director Dane Lam himself. Presenting with casual charm, Lam offers three things to celebrate: last night marked the premiere of one of five new productions created in South Australia. *Into The Woods* features an entirely South Australian cast. And the score is performed by a live orchestra. The full house erupted with support and anticipation. I am thrilled that one of Sondheim’s greatest musicals has been chosen for State Opera South Australia’s Golden Jubilee Season. Lam gave no apology for a musical taking over the opera stage. It is, he noted, “vocal storytelling of the highest order.” A production of this ambition deserves recognition for the creative choices that make it truly exceptional. This review contains spoilers. I will be highlighting some of the production’s most distinctive moments, and the choices that elevate *Into the Woods* beyond a conventional staging of this beloved musical. Ingeniously paired with opera *[Hansel and Gretel](https://thescoop.au/review-hansel-gretel-is-a-dollhouse-nightmare-with-a-lullaby-at-its-heart/),* which debuted the previous evening, both productions draw from well-known fairy tales of the Brothers Grimm. This German heritage is captured in Jonathon Oxlade’s set and costumes. The centrepiece is the woods, a revolving stage of monstrous two-dimensional trees, reminiscent of a German Christmas pyramid. Snow cascades as though shaken by a snow globe. The characters appear caught within the mechanism of this children’s toy. Both magical and menacing, the turning of the stage transports them deeper into the woods, beyond their control. Bernie Tan-Hayes allows the light to filter through mist and trees, casting shadows across faces. Backlighting forms silhouettes of characters, glowing in the darkness. ![The Scoop Into the Woods State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-WOODS-Photo-Andrew-Beveridge-HI-0120-942x628.jpg "Into the Woods State Opera South Australia • The Scoop")The staging is both magical and menacing Photo by Andrew BeveridgeThis is not a trip to Disneyland. We begin in the homes of Cinderella, the Baker and his wife, and Jack. They are bleak, grey, industrial. No warmth is provided for comfort; the characters earnestly wish for their heart’s desires. Clothed in traditional outfits, each character wears vibrant splashes of bright colour against the sombre background. The Witch appears strikingly juxtaposed in her starry green velvet cloak, complete with power-woman shoulder pads, hot-pink headscarf and gloves. Her extended fingers creep and crawl as she threatens and casts spells, smoke pouring forth with every lash of her arm. Costume and makeup draw equally on the grotesque and comical. The Wolf parades in a butcher’s apron, a knife tucked neatly into each pocket. The Steward, dressed in black like a runaway nun from the convent, prances particularly closely at the prince’s side. A giant golden egg struts onto the stage and poses in all its glory. At times, the extremity of artistic choices provokes bursts of laughter from the audience. My favourite is Jessica Mills as Cinderella’s Mother, draped in ropes of silver that emulate the radiating mirror of the tree. Each design is a dramatic and unforgettable creation of Oxlade’s imagination. As we venture into the woods, there are many daring sights to be seen. Grandmother’s House is a fire-truck-red doll’s house, only a metre or so high. Smoke puffs from the chimney. Childlike in form, the unassuming house is painted the red of lust and death. ![The Scoop Into the Woods State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-WOODS-Photo-Andrew-Beveridge-HI-0051-942x628.jpg "Into the Woods State Opera South Australia • The Scoop")As we venture into the woods there are many daring sights to be seen Photo by Andrew BeveridgeWhen opened, the Wolf lies alluringly inside, a cigar to his lips. The house closes for his inevitable slaughter, while the faces of Little Red Riding Hood and Grandmother pop out from small, head-sized windows. The bringer of death herself, the Giant, is the all-seeing eye over this desperate world. Her hands reach tangibly towards her prey. When death prevails, the stage is momentarily bathed in red light, striking greater fear in the hearts of the audience. The visceral presence of the Giant brings a thrilling intensity to the billowing voice of the performer, creating a sense of terror rarely experienced in other productions. Constantine Costi and Associate Director Shannon Burns understand this intelligent script and direct nuanced performances. Lines are delivered with sharp wit and weighted heartbreak. I found myself gaining new insights into this familiar piece of theatre. Characters mysteriously appear and disappear into the shadows of the woods as the revolve moves them around the circular stage. We feel the passing of time and the desperation of characters as their time grows short. Given the ensemble nature of the show, I cannot speak to every individual performer. All shine in their roles, bringing the magic and darkness of their characters to life. We welcome Hugh Sheridan and Johanna Allen back to the Adelaide stage as The Baker and The Baker’s Wife. Their voices are beautifully rich, and their comical squabbles capture the playful warmth of this weathered couple. Sheridan sings *No More* with stunning conviction, bringing a rawness to the song that makes the Baker’s grief palpable. There are many familiar State Opera South Australia regulars, including Rosie Hosking, Jessica Dean, Nicholas Cannon and Mark Oates. Hosking embodies the desperation and anger of the Witch, roaring *The Last Midnight* as her final number. ![The Scoop Into the Woods State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-WOODS-Photo-Andrew-Beveridge-HI-0005-942x628.jpg "Into the Woods State Opera South Australia • The Scoop")The performers bring both the magic and darkness of their characters to life Photo by Andrew BeveridgeDean presents a picture-perfect princess as Cinderella. Her multiple falls, leaving her bloomers exposed as her golden hoop dress lands over her face, are particularly adorable. She sings the role with warmth and a strong classical tone. Cannon provides plenty of humour in the dual roles of Wolf and Prince Charming. The sexual tension between himself and Andrew Crispe as Rapunzel’s Prince allows for suggestive swordplay throughout the crowd-pleaser *Agony*. Catherine Campbell delivers the biggest laughs with her portrayal of Jack’s Mother. Promising young performers Joey Haenen and Eliza Brill Reed make strong performances as Jack and Little Red Riding Hood. Conductor Anthony Hunt expertly leads the Adelaide Symphony Orchestra in this rich score. Jamie Mensforth balances the sound this precision, allowing audience members to hear every word. And there are many words with Sondheim. The sound of the foreboding footsteps of the Giant reverberate through the theatre. This is a fairy tale for adults; we journey into the depths of the woods and are confronted by regret and the consequences of our actions. Sexual predation, child neglect, infertility, infidelity and death are among the darker themes lurking beneath its whimsical surface. As the curtain falls, a spotlight shines on Cinderella’s final words, “*I wish,*” symbolising our never-ending desire for more. My wish is to see more South Australian musical theatre. The path through these woods may be hard and winding, but it is worth every step. ***Into the Woods* is presented by State Opera South Australia and runs to 29 August 2026 at Her Majesty’s Theatre. 58 Grote Street Adelaide SA 5000.** Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=INTOWOOD26> Website: <https://www.stateopera.com.au/productions/2026/into-the-woods> Socials: <https://www.instagram.com/stateoperasouthaustralia/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Andrew Beveridge **Categories:** Adelaide, Musical Theatre --- ### [Review: She Loves Me Brings Letters, Love & Lots Of Laughter](https://thescoop.au/review-she-loves-me-brings-letters-love-lots-of-laughter/) **Published:** August 23, 2026 **Author:** Jackson Kellaway **Content:** ![The Scoop Phoenix Ensemble She Loves Me](https://thescoop.au/wp-content/uploads/2026/08/Phoenix_SLM-29-942x628.jpg "Phoenix Ensemble She Loves Me • The Scoop")There is something rather delightful about discovering a musical with no preconceived expectations. Before heading to review Phoenix Ensemble’s production of *She Loves Me*, I knew virtually nothing about the show, not its story, its musical style or even the era in which it was written. By the time the curtain came down, I had discovered a charming, witty musical with a great deal of heart. Stepping into the theatre, director and set designer Sherryl-Lee Secomb immediately transports audiences into another world. Onstage is what looks like the interior of a shop, with cabinets covered in white sheets. A light tune is playing, one you could imagine playing in a high-end department store. The sign above the door reads “Maraczek’s,” which we find out is a *parfumerie*. The story follows two employees at the *parfumerie* who, unbeknownst to each other, have become pen pals and fallen in love through their letters. When they finally arrange to meet, the nervous Georg Nowak (David West) discovers that his mystery pen pal is Amalia Balash (Chloe Evans), the new employee at the shop. Rather than reveal the truth, he chickens out, leaving the pair to continue working alongside each other while their feelings begin to grow. Of course, there are a few revelations, a self-discovery song or two, and plenty of hints along the way before the penny finally drops and everything is tied up in a very satisfying happy bow. If this sounds a lot like *You’ve Got Mail*, it’s because that film was an adaptation of the original play, *Parfumerie*, on which *She Loves Me* is based. ![The Scoop Phoenix Ensemble She Loves Me](https://thescoop.au/wp-content/uploads/2026/08/Phoenix_SLM-21_websize-942x628.jpg "Phoenix Ensemble She Loves Me • The Scoop")Stepping into the theatre you are immediately transported into another world Photo by Brit MobbsLeading the show as Georg Nowak is David West. Georg is a serious, committed-to-his-job, no-nonsense kind of guy, someone who almost blends into the background. West brings this character to life and shows the audience the genuine journey he goes on. There’s excitement, disappointment and genuine love. West’s performance allows us to see the softer side of a character who initially appears quite reserved. On the other end of the anonymous letters is Amalia Balash, played by Chloe Evans. This character is a new hire at the shop and, while initially shy, develops into a proud go-getter who knows what she wants. Evans expertly plays this character with facial expressions and vocalisations that never detract from the story and always feel true to the character. Vocally, Evans delivers without fault, almost making it look easy. Standout songs are *Dear Friend*, the end-of-Act One ballad where she pours her heart out to her mysterious pen pal who is nowhere to be seen. Also, *Vanilla Ice Cream*, a brilliant number where she begins to connect the dots about Georg being her mystery correspondent. The character Arpad Laszlo, played by Joshua Brandon, is a delight to watch. Arpad is the delivery boy for the shop who longs for another one of the shop assistants. Brandon shows many sides to the character, from the puppy-dog infatuation with an older woman to the confident, eager shop assistant. There is a comedic brightness that Brandon brings to the character without ever becoming over the top. ![The Scoop Phoenix Ensemble She Loves Me](https://thescoop.au/wp-content/uploads/2026/08/Phoenix_SLM-26_websize-e1787452225946-984x628.jpg "Phoenix Ensemble She Loves Me • The Scoop")What stands out most is how much fun the cast appear to be having onstage Photo by Brit MobbsAnother character I have to mention is Steven Kodaly, played by August Cocks. This flamboyant Casanova is delightfully entertaining to watch. His air of confidence is unwavering throughout, and the musical numbers are sung with that same self-assurance. This is especially present in his two main numbers, *Ilona* and *Grand Knowing You*, where even when being fired, he maintains his pompous, nose-in-the-air presence. *She Loves Me* does not rely on big dance numbers. When the ensemble is onstage, the movement is often more stylised, working in the background rather than demanding attention. Jaime O’Donoghue’s choreographic work is particularly effective during *Tango Tragique*, complementing the action without taking away from it. The restraint suited the intimate setting, allowing the story and characters to remain the focus. Another standout is the hilarious *Christmas Sequence*, where a group of carollers perform a rendition of *The 12 Days of Christmas* as a countdown. This takes place while the shop assistants are serving customers during their busiest trading days of the year. What ensues is a number built around repetition and escalation. As Christmas gets closer, the music gets faster, the stylised choreography gets quicker and purposefully messier, and the staff become increasingly exhausted. By the end, they are completely wrecked, and anyone in the audience who has ever worked in retail at Christmas could definitely relate. Phoenix Ensemble has once again delivered a production that gives audiences plenty of opportunity to laugh, escape for a couple of hours and simply enjoy themselves. What stands out most is how much fun the cast appear to be having onstage. Their enjoyment is infectious, spreading through the audience and making *She Loves Me* an incredibly entertaining night at the theatre. ***She Loves Me* is presented by the Phoenix Ensemble and runs to 29 August. The Tin Shed, 60-74 James Street Beenleigh Showgrounds, Beenleigh Qld 4207.** Tickets: <https://www.trybooking.com/events/landing/1507617> Website: <https://phoenixensemble.com.au/> Socials: <https://www.instagram.com/phoenixensemble/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: B’rit Mobbs **Categories:** Brisbane, Musical Theatre --- ### [Review: VISTA Is A Powerful Reframing Of Reality](https://thescoop.au/review-vista-is-a-powerful-reframing-of-reality/) **Published:** August 23, 2026 **Author:** Cassandra Houghton **Content:** ★★★★☆ ![The Scoop Vista Stephanie Lake Company](https://thescoop.au/wp-content/uploads/2026/08/Vista-Stephanie-Lake-Company_Carriageworks_credit_Daniel-Boud_015-941x628.jpg "Vista Stephanie Lake Company • The Scoop")As one enters any dimly lit theatre for a contemporary dance performance, there is a sense of intrigue and anticipation. At Stephanie Lake Company’s VISTA, it is sustained throughout its distinct two-act production. While Night Feast colours the Brisbane Powerhouse’s forecourt outside, the audience inside remains on the edge of their seats. They move through two opposing worlds and shifting perspectives designed to challenge, engage, and immerse. VISTA is a new work for Stephanie Lake Company and is touring nationally, following a world premiere at Melbourne’s Malthouse Theatre where it received critical and audience acclaim. Embodying Lake’s signature physicality and precision, it’s easy to see why. In the opening world – a monochromatic first act – six dancers alternate between crisp motifs, fluid sequences, and almost mechanical movements. Amidst striking lighting and a pulsing soundscape of music, beats, and naturalistic sound, the dancers move between solo and group work. It’s not easy to interpret or find a narrative thread, but I don’t think you’re supposed to; at least, not at this stage. ![The Scoop Vista Stephanie Lake Company](https://thescoop.au/wp-content/uploads/2026/08/Stephanie-Lake-Company-by-Pippa-Samaya-3-942x628.jpg "Stephanie Lake Company • The Scoop")VISTA wrestles with the slipperiness of perception Photo by Pippa SamayaIn the program notes, Lake says that at its heart, VISTA wrestles with the slipperiness of perception: how one moment, one conversation, one event, can fracture into different readings depending on who is watching, and from where. From a front-row seat on the same level as the dancers, and, at times, less than a metre from them, the experience is immersive. Every expression, breath, and movement is inescapably clear. Act Two begins with a stark difference: the addition of colour. A burnt sunset palette paints the dancers and set design, evoking a sense of warmth. As the second act unfolds, perception and understanding do too. Sequences from the first act are mirrored, refracted, and expanded. Where once there was silence, suddenly there is rich sound, not just from the soundscape but from the dancers themselves. Laughter, murmurs, and conversation mix with the physical sound of the dancers together, adding layers to the performance and inspiring reactions from the crowd. ![The Scoop Vista Stephanie Lake Company](https://thescoop.au/wp-content/uploads/2026/08/Stephanie-Lake-Company-by-Pippa-Samaya-5-942x628.jpg "Stephanie Lake Company • The Scoop")Act Two begins with the stark difference of the addition of colour Photo by Pippa SamayaOne sequence makes this shifting perspective particularly powerful. In Act One, five dancers rush towards a solitary dancer at the back of the stage, who recoils at their approach. When the sequence returns in Act Two, the formation is reversed. From the front row, the dancers now charge towards us as much as towards their target, accompanied by the sounds of a schoolyard. It’s flinchingly compelling. It is the second act that offers more release, energy, joy; more vibrant life. A celebrated Canadian-born, Melbourne-based choreographer, Lake is renowned for her distinct choreographic style and striking visuals. ALPHA60’s costuming, Bosco Shaw’s evocative lighting, and Robin Fox’s pulsing score are integral to VISTA’s shape-shifting worlds. Technique and talented dancers, I expected. What I didn’t anticipate was the spectrum of emotions across two acts. Nor did I expect the motifs, movements, and sounds to spin around my head beyond the night and into the weekend. Stephanie Lake Company’s VISTA asks us to look once, look again, and wonder: are things as they seem, or should we change our perspective? I look forward to seeing what the company does next. **VISTA is presented by Stephanie Lake Company and ran to 22 August at the Brisbane Powerhouse as part of a national tour. The Brisbane season has now ended.** For more dates and cities, visit the website. Website: <https://www.stephanielake.com.au/vista> Socials: <https://www.instagram.com/stephanielakecompany/> and [https://www.instagram.com/bris\_powerhouse/](https://www.instagram.com/bris_powerhouse/) [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Hero image: photo by Daniel Boud. **Categories:** Brisbane, Dance --- ### [Review: Hansel & Gretel Is A Dollhouse Nightmare With A Lullaby At Its Heart](https://thescoop.au/review-hansel-gretel-is-a-dollhouse-nightmare-with-a-lullaby-at-its-heart/) **Published:** August 22, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Hansel and Gretel State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-HandG-Photo-Andrew-Beveridge-MEDIA-0034-942x628.jpg "Hansel and Gretel State Opera South Australia • The Scoop")Fog drifts between towering pine trees on a circular green stage. Sunlight falls from the left. Then the platform begins to rotate, as though the world itself has started turning, and Jonathon Oxlade’s set delivers its first surprise: a weathered dollhouse flashes into view. Its front has been lifted away to expose a family enduring poverty. Hansel sits with his head in his hands beneath the kitchen table or lies upstairs with his feet in the air. His parents mend clothes and make brooms to sell. Sparse shelves, rough boards and too many bodies compressed into a shallow wooden box tell us everything about the household before the singing does. It looks like a dream, but it is a nightmare. In such circumstances, children must make their own fantasies of abundance: forests full of berries, houses made of sugar and ovens into which oppressive forces can be pushed and burned. If only poverty, market forces and the ruling class could be dispatched so easily. Engelbert Humperdinck’s opera began as entertainment for the children of his sister and librettist, Adelheid Wette. Director Constantine Costi calls the result “a lullaby with teeth”: folk song and prayer carried by an orchestra of almost Wagnerian proportions. His production takes that description seriously. It offers enchantment without pretending that hunger is enchanting. ![The Scoop Theater stage scene with three performers in vintage costumes near a kitchen set, illuminated by blue-green lighting and oversized red/blue circular props.](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-HandG-Photo-Andrew-Beveridge-MEDIA-0070-1200x568.jpg "Hansel and Gretel State Opera South Australia • The Scoop")The production offers enchantment without pretending that hunger is enchanting Photo by Andrew BeveridgeCosti locates the story inside the frantic imaginations of Hansel and Gretel. The forest is not a destination reached by leaving home but a psychological space into which home keeps intruding. At one point their father, Peter, asleep or drunk at the table, rotates through the action. The world beyond the cottage is built from the emotional material found within it. That makes Catherine Carby’s doubling as Gertrude and the Witch the production’s defining interpretive decision. Costi’s program note draws on the child’s fear that the person who feeds you might also devour you: in the imagination of Hansel and Gretel, mother and monster become one figure capable of both love and threat. Carby’s Gertrude is terrifying when the jug containing the family’s only milk is broken. She loses control and banishes the children to the forest on impulse. Yet her pallid face is marked by the same hunger as theirs, and regret follows the explosion almost immediately. Scarcity is turning her into someone she never wanted to become; she is no closer than her children to the life she once imagined. The production’s sympathy for her matters because the opera can too easily make the mother the household villain while Peter drinks and squanders. Even the broom carries that contradiction. It represents the domestic labour keeping the family afloat but becomes the object through which women and housework are demonised: the housekeeper who must make everything function is cast as the enemy of pleasure. ![The Scoop Hansel and Gretel State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-HandG-Photo-Andrew-Beveridge-MEDIA-0077-942x628.jpg "Hansel and Gretel State Opera South Australia • The Scoop")Catherine Carby doubles as the Witch and Gertrude Photo by Andrew BeveridgeAs the Witch, Carby returns in sculpted 1980s shoulder pads, bright red hair, red gloves and a severe white confectioner’s uniform. She colours selected phrases with a witchy edge without cackling her way through entire arias. The result preserves both the comedy and the threat. Before that transformation, Peter arrives at the apex of Oxlade’s tallest pine tree, having climbed above the misery below. Morgan Pearse plays him as a larrikin intoxicated by a rare day of profitable broom sales and by the celebration that followed. Instead of saving for the next lean period, he has splurged on everything the family has been craving. “Hunger is the best cook,” he sings, but what use is a cook without ingredients? In this household, deprivation turns into gluttony the moment abundance becomes possible. Pearse brings the evening’s most precise diction and an ease that makes Peter’s *tra-la-la* refrain its most persistent earworm, rivalled only by the cuckoo calls passed between voices and orchestra. The charm never entirely erases the question of why Gertrude bears the burden of making scarcity work while Peter gets the showier pleasure of temporarily ending it. ![The Scoop Hansel and Gretel State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-HandG-Photo-Andrew-Beveridge-MEDIA-0010-942x628.jpg "Hansel and Gretel State Opera South Australia • The Scoop")Kangmin Justin Kim and Sofia Troncoso have buoyant chemistry and sharp comic timing Photo by Andrew BeveridgeKangmin Justin Kim’s Australian debut as Hansel is more than novel casting. Hansel is traditionally a mezzo-soprano trouser role; here, Kim’s countertenor changes the dramatic charge of familiar jokes. When Gretel offers him a flower wreath, and he protests that it is “for girls”, the line becomes a small examination of gender rather than a routine gag. Costi extends the thought when the siblings dress in their mother’s clothes and apply lipstick. It is children’s play, an exploration of gender and a sly image of theatrical performance itself. What is opera, after all, if not dressing up together and discovering what another voice or body might permit? Kim and Sofia Troncoso have buoyant chemistry and sharp comic timing. Their early dance is a highlight, and Kim’s countertenor soars when Hansel learns that rice pudding may be waiting for dinner. Their voices blend with an unusual brightness, and their squabbles, private jokes and instinctive physical closeness make them recognisable as siblings rather than adults demonstrating generic childishness. At times the orchestral balance challenged the voices. Gretel emerges as the more decisive child, while Hansel is seduced by the Witch’s excess. ![The Scoop Hansel and Gretel State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-HandG-Photo-Andrew-Beveridge-MEDIA-0049-942x628.jpg "Hansel and Gretel State Opera South Australia • The Scoop")The close of the second act supplies the productions most magical transformation Photo by Andrew BeveridgeHansel is seduced by the Witch’s excess; Gretel recognises the trap and watches for an opening. That contrast echoes their parents: Peter gives in to appetite, while Gertrude tries to stretch one jug of milk across a day. Gretel learns from the adults without surrendering to their authority. She uses the Witch’s own hocus-pocus to release Hansel, communicates the plan and fights beside him. Their victory is shared: one child takes each of the Witch’s legs as they force her towards the flames. State Opera describes the work as a celebration of self-reliance, but the production’s more persuasive ideal is mutual reliance. The children save themselves because they still have each other. Oxlade’s forest is constructed from layered, cut-out conifers, as simple as the trees in a picture book and as changeable as a thought. Bernie Tan-Hayes turns those flat green shapes into a living emotional landscape. Blue and cyan haze makes them loom; red light announces the Witch’s proximity; ominous timpani seem to stir the darkness itself. The revolving stage continually rearranges scale and perspective without impeding the singers. Away from their parents, the children are initially frightened by freedom. The cuckoos have eaten their breadcrumbs; the household rules no longer apply, and there is nobody else to protect them. Gradually, fear gives way to play. They recognise that they are not alone and fall asleep in one another’s arms. ![The Scoop Hansel and Gretel State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-HandG-Photo-Andrew-Beveridge-MEDIA-0039-942x628.jpg "Hansel and Gretel State Opera South Australia • The Scoop")Lucy Stoddart makes her two roles not merely night and morning but surrender and reanimation Photo by Andrew BeveridgeThe close of the second act supplies the production’s most magical transformation. The green trees open into silver reflections. Before the fourteen guardian children appear, lanterns are placed one by one around the revolving stage until its circle is filled with light. Each child lifts a lantern and bathes Hansel and Gretel in its glow. Humperdinck’s Evening Prayer, childhood faith, Oxlade’s geometry and Tan-Hayes’s light briefly become indivisible. Lucy Stoddart’s Sandman and Dew Fairy frame that sleep as a passage rather than an escape. Their appearances are brief, but Oxlade gives them comic extravagance: ballooning pantaloons, sand billowing from sleeves, a face crowned by a radiant sun or topped by a long-pointed hat. Stoddart has described the Sandman’s music as luxurious and dreamlike, a line that sits beautifully in the voice; the Dew Fairy begins the day again with a shorter, jumpier, bell-like quality. In collaboration with conductor Dane Lam, she makes the two roles not merely night and morning but surrender and reanimation. The Witch’s house is Oxlade’s funniest and most revealing invention. It first appears as a tiny gingerbread model hanging from a tree, far too small to enter. The Witch is comically revealed inside it and then wears it around her head. As the children nibble at the tree, they mistake her voice for the wind; later, the miniature house is placed over Gretel’s head. The abundance exists at the scale of imagination. Want can make a tiny prop feel like a feast. ![The Scoop Hansel and Gretel State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/08/ASB3858-SOSA-HandG-Photo-Andrew-Beveridge-MEDIA-0086-1017x628.jpg "Hansel and Gretel State Opera South Australia • The Scoop")The release of the children widens the story to all children living under poverty Photo by Andrew BeveridgeComedy vanishes when the fantasy opens onto an industrial kitchen. Grey-blue walls, metal plates, hanging tools and an abattoir-like oven replace confectionery charm. The oven burns like a red mouth in a cold wall. Carby’s Witch becomes frightening precisely because she has been so funny: the children and audience have both been encouraged to underestimate her. Under Lam, the Adelaide Symphony Orchestra brings out the score’s central contradiction. Folk melodies, dances and cuckoo calls emerge from an orchestral body capable of Wagnerian grandeur. When the spell breaks, the State Opera Children’s Chorus does not function as a sentimental decoration. These are a collective of exploited children, evidence that Hansel and Gretel’s ordeal is systemic rather than exceptional. Their release widens the story from one hungry family to all children living under, or attempting to escape, poverty. The reunion with the parents cannot simply reset the household. The children have imagined a world in which the person hoarding abundance can be overpowered and the imprisoned can be freed. Outside the theatre, ovens will not consume poverty, market forces or wealthy oligarchs on command. Yet fairy tales like *Hansel & Gretel* endure because they allow children to name what adults have normalised and to imagine that the world, like Oxlade’s circular stage, might turn again. ***Hansel & Gretel* is presented by State Opera South Australia and runs to 29 August 2026 at Her Majesty’s Theatre. 58 Grote Street Adelaide SA 5000.** Tickets are available [here](https://premier.ticketek.com.au/shows/show.aspx?sh=HANSELGR26). Website: <https://www.stateopera.com.au/productions/2026/hansel-and-gretel> Socials: <https://www.instagram.com/stateoperasouthaustralia/> [Read more of our Latest Reviews](https://thescoop.au/latest/) Photo credits: Andrew Beveridge **Categories:** Adelaide, Musical Theatre --- ### [Review: Ride The Cyclone Is Alive With Dark Humour](https://thescoop.au/review-ride-the-cyclone-is-alive-with-dark-humour/) **Published:** August 21, 2026 **Author:** Leo Manson **Content:** ![The Scoop Ride the Cyclone Rising Arts Flight Path Theatre](https://thescoop.au/wp-content/uploads/2026/08/IMG_0329-942x628.jpg "Ride the Cyclone Rising Arts Flight Path Theatre • The Scoop")Since its premiere in 2009, *Ride The Cyclone* has slowly garnered a cult following. The show was written by Canadian playwright Jacob Richmond, with music by Brooke Maxwell. It’s now seen various versions pop up around Australia, but this production finds its home in Marrickville’s quaint Flight Path Theatre. Produced by Wollongong-based Rising Arts Productions, this rendition remains mostly faithful to the original musical. The only major point of difference is the gender-swapped version of The Amazing Karnak, played by Kay Mae White. What stands out most in this production is its talented and well-cast actors. The musical is known for its humour but also features vocally complex musical numbers. The cast lets none of this fun go to waste. Particularly strong is Pita Lolohea as Ricky Potts. The Sydney-based actor’s nasal voice and awkward humour channel Richard Ayoade as Moss Maurice from *The IT Crowd*, especially in the absurdly hilarious song *Space Age Bachelor Man*. ![The Scoop Person wearing a black sequined hat and lace outfit holds a glowing white orb in a gilded frame, bathed in purple light.](https://thescoop.au/wp-content/uploads/2026/08/IMG_9924-2-502x628.jpg "Ride the Cyclone Rising Arts Flight Path Theatre • The Scoop")This production is imbued with unique embellishments Photo by Amèlie LoewSophia Laurantus as Constance Blackwood is another standout casting choice. Constance is a character that can often go overlooked; her optimism in her songs can feel exaggerated. They lack the glamour of *Noel’s Lament* or *What the World Needs*. Laurantus’ acting grounds the character. She tones down the energy, and her performance feels much more authentic. Though her song isn’t as technically complex, this more realistic take on Constance gives *Sugar Cloud* a lasting impact on the rest of the show. Taking the title of most impressive vocals is Xia Lian Wilson. The talented performer has recently completed a Bachelor of Musical Theatre at the Sydney Conservatorium of Music. As Jane Doe, Wilson flexes her impressive singing skills as she tackles the notorious *The Ballad of Jane Doe*. Previous renditions of *Ride The Cyclone* have become known for their creative set design. Despite the limits of working in Flight Path’s smaller space, Rising Arts has imbued this production with its own unique embellishments. Set designers Sienna Bourke and Isabella McCrory have evidently made attempts to replicate the grandiosity of previous productions. The falling letters on the side of the stage and Karnak’s box successfully sell that rundown carnival setting. ![The Scoop Woman in a plaid dress with lace sleeves and a blonde wig, looking distressed under green stage lighting; dramatic makeup with blue eyeshadow and black face paint shapes on cheeks.](https://thescoop.au/wp-content/uploads/2026/08/IMG_0545-502x628.jpg "Ride the Cyclone Rising Arts Flight Path Theatre • The Scoop")Taking the title of most impressive vocals is Xia Lian Wilson Photo by Amèlie LoewUsing a projector on the curtains is the strongest creative choice. In the beginning of *The Ballad of Jane Doe*, the black whirring projection helps transition the mood from the much lighter *Space Age Bachelor Man*. Despite the smaller space, choreographer Ebony Austin’s work is compelling. The black boards in *The Ballad of Jane Doe* are a unique choice and add a layer of confusion as Jane Doe is obscured. This benefited the character’s struggle to find her identity. There were a few production mishaps on opening night. The most detrimental was Eva Homola’s microphone as Ocean, which had issues for the majority of the musical. Additionally, Kay Mae White’s volume was too low, making it hard to hear her expository dialogue. While it was wonderful to see a smaller production company attempt creative staging, views of Karnak were restricted from some of the seats. Regardless, Rising Arts Productions’ *Ride The Cyclone* is a worthy watch for Sydney-based musical theatre fans. ***Ride The Cyclone* is presented by Rising Arts Productions and runs to 22 August at Flight Path Theatre. 9b/142 Addison Rd, Marrickville NSW 2204.** Tickets: <https://events.humanitix.com/ride-the-cyclone-q34yvbf9> Website: <https://www.flightpaththeatre.org/whats-on/ride-the-cyclone> Socials: [Socials: https://www.instagram.com/flightpaththeatre/](Socials:%20https://www.instagram.com/flightpaththeatre/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Amèlie Loew **Categories:** Musical Theatre, Sydney --- ### [Announcing 2026 ST. ALi Italian Film Festival Full Program](https://thescoop.au/announcing-2026-st-ali-italian-film-festival-full-program/) **Published:** August 21, 2026 **Author:** Newsroom **Content:** ![The Scoop ST. ALi Italian Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/08/Anna-Magnani-the-Untold-Story_1-1-scaled-e1787275752920-922x628.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")Palace is thrilled to announce the full line up of the **2026 ST. ALi Italian Film Festival**, the largest festival of Italian cinema in the world. Showcasing an incredible selection of new Italian cinema celebrating the country’s language stories and culture, the festival includes works from contemporary Italian auteurs, documentaries, comedies, a retrospective focus on iconic Italian actor Anna Magnani, two very special guests and the premiere of a new Australian Italian co production. The festival is screening nationally at **Palace Cinemas**, **Palace Nova**, **Luna Cinemas** and **Cinema Nova** from **16 September**. Festival Director **Elysia Zeccola** said: *“Australia’s favourite love affair with Italy is back for another exciting year with 33 films in the line up. We’re thrilled to be sharing the annual celebration of Italian culture with our passionate audiences nationwide.”* **Lachlan Ward**, CEO of ST. ALi, Festival Naming Rights Partner said: *“We’re proud to partner with the Italian Film Festival for the 7th year and celebrate the beauty and rich heritage of Italian cinema here in Australia. As a coffee company with Italian-heritage, ST. ALi has always believed coffee and Italian culture go hand in hand, and we look forward to sharing ST. ALi’s speciality coffee with festival goers this spring.”* ![The Scoop ST. ALi Italian Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/08/Sweetheart_1-1.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")Still from SweetheartOpening the 2026 festival is the Palermo-set box office hit romantic comedy from Pierfrancesco ‘Pif’ Diliberto **HOLY CANNOLI** (*Che Dio perdona a tutti),* a story of love, faith and delicious pastries. We follow Arturo, a successful real estate agent (played by Pif) with a passion for desserts who falls for a charming, devoutly Catholic pastry chef, Flora. This year’s Festival Centrepiece is the highly awarded **SWEETHEART** (*Gioia mia)*. Claiming Best Actress and Best New Director at the 2026 David di Donatello Awards amongst other accolades, this enchanting drama follows a a young boy, Nico, who is sent to spend a summer in Sicily with his elderly aunt, played by beloved Italian actor Aurora Quattrocchi. A reluctant summer transforms into something much more intriguing when Nico discovers his aunt’s mysterious Sicilian house holds secrets and, perhaps, ancient spirits lurking within its walls. Closing the Festival and direct from this year’s Venice International Film Festival is **THE ECHO CHAMBER**, directed by Andrea Pallaoro. Based on Bernardo Bertolucci’s final screenplay, this love story where the boundaries between presence and absence, care and dependence and desire and control blur until they dissolve stars Alicia Vikander, Luca Marinelli (*The Eight Mountains*) and Susan Sarandon. The 2026 Festival Special Presentation is the bittersweet **THREE GOODBYES** (*Tre ciotole),* based on the bestselling novel by Michela Murgia. When a couple (played by acclaimed actors Alba Rohrwacher and Elio Germano) split up after what seems like a trivial argument, their lives dramatically change in this emotional, ultimately life-affirming tale from award winning director Isabel Coixet. ![The Scoop ST. ALi Italian Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/08/The-Eyes-of-Others_1-942x628.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")Still from The Eyes of Others**NEW ITALIAN CINEMA** Screenwriter Ludovica Rampoldi’s directorial debut **A BRIEF AFFAIR** (*Breve storia d’amore)* features an all-star cast including Pilar Fogliati (*Somebody to Love*), Adriano Giannini (*Family Matters*), and Valeria Golino (*Fuori*). The film explores the complexity of relationships, love and passion through the unexpected twists and turns of a fling turned love story. Biographical drama **ALMOST GRAZIA** *(Quasi Grazia)* offers a profound reflection on the relationship between women and literature, depicting the life of Nobel Prize winning Sardinian author Grazia Deledda. The only Italian woman to receive this honour, 100 years ago this year, the film follows three pivotal moments in Deledda’s life. Starring Jasmine Trinca as a prosecutor investigating a mysterious event, **ILLUSION** (*Illusione)* from multi award-winning director Francesca Archibugi dives into a web of power, desire and lies in the European underworld. Trinca also stars in **THE EYES OF OTHERS** *(Gli occhi degli altri)* with Filippo Timi in a film which takes its inspiration from sensational real events which took place amongst the elite in 1960s Italy. Psychological thriller and legal drama **THE LESSON** *(La lezione) stars Matilda De Angelis and Stefano Accorsi and follows a young lawyer from Trieste who is re-engaged by a former client to file a lawsuit against his workplace, while secrets from her past start to emerge.* Based on a true story, **FOR YOU** (*Per te*) is a heartfelt drama that follows Paolo (played by Edoardo Leo) and his eleven-year-old son Mattia (played by brilliant newcomer Javier Francesco Leoni) who must cope with an unexpected diagnosis as Paolo begins to lose fragments of his memory. ![The Scoop ST. ALi Itallian Film Festival](https://thescoop.au/wp-content/uploads/2026/08/Almost-Grazia_2-1051x628.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")Still from Almost GraziaExploring motherhood, love and freedom, **BELOVED** *(Amata),* starring Miriam Leone, Stefano Accorsi and Tecla Insolia, follows the lives of two women connected by invisible threads. In the intense chamber drama **ANDREA’S ISLAND** *(L’isola di Andrea),* a legal battle is waged by two parents over the custody of their only child, from award-winning director Antonio Capuano, starring Teresa Saponangelo and Vinicio Marchion. **WORDS LEFT UNSPOKEN** (*Le cose non dette)* from Gabriele Muccino, based on the novel *Siracusa* by Delia Ephron, stars festival favourite Stefano Accorsi and Miriam Leone. Two couples from Rome meet for a transformative trip to Tangiers, Morocco, where tensions slowly emerge between them. Directed by and starring Rocco Papaleo, **THE GREATER GOOD** *(Il bene comune)* is both a story of resilience and a love letter to the southern Italian region of Basilicata. The story follows a hiking group whose search for an ancient pine tree in Pollino National Park becomes a transformative journey for each of them. **MALAVIA** is an affecting coming-of-age drama that follows a thirteen-year-old boy living in the forgotten outskirts of Naples, who dreams of becoming a famous rapper, but whose life unravels when faced with the realities of the music industry. In biting comedic drama **SHOW ME THE TRUTH** *(Fuori la verità),* featuring an all-star ensemble, the line between entertainment and voyeurism is blurred as a family decide to participate in a game show. ![The Scoop ST. ALi Italian Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/08/Malavia_1-942x628.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")Still from Malavia**REAL STORIES** The documentary **NINO. 18 DAYS** *(Nino. 18 Giorni )* explores the life and career of Neapolitan singer/actor superstar Nino D’Angelo, known for his famous blonde bob in the 1980s. Directed by Nino’s son Toni D’Angelo, it portrays an artist who transformed Neapolitan music into universal poetry while remaining faithful to his roots. Anissa Bonnefont’s remarkable documentary, **LA SCALA: THE FORCE OF DESTINY** *(La forza del destino),* follows 900 artists, staff and technicians at Milan’s legendary Teatro alla Scala over four months as they race to stage a new production of Verdi’s *The Force of Destiny*. Blending reality and fiction, farce and tragedy, **I WANT HER DEAD** (*Il quieto vivere)* is based on petty and absurd true events from director Gianluca Matarrese’s hometown, a remote Calabrian village. The emotionally charged tale portrays a family on the verge of implosion, veering into black comedy. Two not to be missed documentaries celebrate Italian Fashion on Film – **ARMANI AND THE BIRTH OF ITALIAN FASHION** and **BRUNELLO, THE GRACIOUS VISIONARY** *(Brunello, il visionario garbato).* The star-studded **ARMANI AND THE BIRTH OF ITALIAN FASHION** traces the rise of Italy’s style empires through the story of the legendary families that have been ruling it for decades. It features the final on-screen interview of Giorgio Armani and interviews with Tom Ford, Sharon Stone, Helen Mirren and Samuel L. Jackson amongst others. ![The Scoop ST. ALi Italian Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/08/Armani-and-the-Birth-of-Italian-Fashion_2-1162x628.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")Stiil from Armani and the Birth of Italian FashionAward-winning director Giuseppe Tornatore’s, **BRUNELLO, THE GRACIOUS VISIONARY** chronicles the life and philosophy of fashion luminary Brunello Cucinelli, from his humble origins in rural Perugia to the heights of success and a billion-dollar fashion empire. Australian/Italian co-produced documentary **SAND ROADS** follows three young Australian men as they embark on the adventure of a lifetime: a 50,000km quad bike journey across three continents to break a Guiness World Record while fundraising to combat global poverty. Now 16 years later, intimate road footage, a rediscovered diary and contemporary reflections form a heartfelt film about friendship and tragic loss. **ANNA MAGNANI – THE UNTOLD STORY** *(Anna)* is an intriguing biopic of the legendary Italian actor who won the Oscar for Best Actress in 1956 for *The Rose Tattoo*. Set during the night of her win, Magnani’s victory celebration is only brief, as explored by writer, director and star Monica Guerritore in her magnificent portrayal. The festival is delighted to screen two of Magnani’s most famous films; **BELLISSIMA,** Luchino Visconti’s searing portrait of postwar Italy’s celebrity obsession, where a mother’s desperate pursuit of film stardom exacts a heartbreaking personal toll. And **MAMMA ROMA**, in which Magnani portrays a mother fighting for her son’s future in Pier Paolo Pasolini’s gritty, once-banned neorealist classic that remains an unsparing depiction of postwar Italian survival. ![The Scoop ST. ALi Italian Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/08/Life-is-Life_1-1158x628.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")Still from Life is Life**COMEDY, ITALIAN STYLE** The comedy **TWIN STARS** (*Stella gemella)* portrays a couple facing a relationship crisis who suddenly learn they are expecting twins. But not a regular set of twins, an extremely rare case in which each twin has a different father! This delightful new comedy from Luca Lucini features stellar supporting performances from Margherita Buy and Laura Morante. The Italian box office hit from Riccardo Milani **LIFE IS LIFE** (*La vita va così)* is inspired by a true and timely story. The intertwined lives of a community in the picturesque landscapes of Sardinia are facing the prospect of a luxury resort development on their unspoiled coastline, but one elderly citizen isn’t going down without a fight. In romantic comedy **SEPARATE BEDS,** festival favourite Edoardo Leo stars as Valerio, a strict school Principal who leads a conventional yet disciplined life who crosses paths with the free spirited, independent and unconventional Alessandra. **LOVE DIVINE (***Il Dio dell’amore)* is an ensemble comedy about modern love and relationships in Rome starring Vinicio Marchioni, Isabella Ragonese, Vanessa Scalera, and Francesco Colella. ![The Scoop ST. ALi Italian Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/08/Incanto_1-942x628.jpg "ST. ALi Italian Film Festival 2026 • The Scoop")Still from Icanto**FOR LA FAMIGLIA** Intergenerational dramatic comedy **CLASSMATES** *(Domani interrogo),* based on Gaja Cenciarelli’s novel, stars Anna Ferzetti as a devoted English teacher assigned to the toughest class in a Rome high school. The film highlights the power of education, and the essential nature of respect and community in today’s classrooms. 2007-set coming-of-age drama **A YEAR OF SCHOOL** (Un anno di scuola) is adapted from the 1929 novella by Giani Stuparich and follows a 17-year-old Swedish girl who moves to Trieste and becomes the only girl in an all-male class, where she must navigate the challenges of adolescence. **INCANTO** is a fantasy family adventure about the importance of imagination and kindness, as a young girl escapes her controlling guardian and discovers a magical circus, where she begins to find her voice. Directed by and starring Fabio De Luigi, delightful romantic comedy **A BEAUTIFUL DAY** (*Un bel giorno)* sees a devoted single father persuaded by his four daughters to open his heart to love once more. **The 2026 ST. ALi Italian Film Festival is presented** **by Palace and screens from 16 September in the locations below**. Tickets are now on sale! Website: <https://italianfilmfestival.com.au/> Socials: <https://www.instagram.com/italianfilmfest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Still from *Anna Magnani, The Untold Story*. Watch the trailer here: 2026 Festival Dates and Venues by City: **Canberra** 16 September – 14 October, Palace Electric Cinema **Adelaide** 16 September – 13 October, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney** 17 September – 14 October, Palace Moore Park, Palace Norton St, Palace Central **Byron Bay and Ballina** 17 September – 14 October, Palace Byron Bay, Ballina Fair Cinemas **Melbourne** 18 September – 15 October, The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Penny Lane, Palace Westgarth, The Kino, Pentridge Cinema, Cinema Nova **Ballarat** 18 September – 15 October, Palace Regent Cinemas **Brisbane** 24 September – 18 October, Palace Barracks, Palace James Street **Perth** 24 September – 18 October, Palace Raine Square, Luna Leederville, Luna on SX, Windsor Cinema **Categories:** News --- ### [Review: The Gospel According To Paul Has Plenty To Preach About](https://thescoop.au/review-the-gospel-according-to-paul-has-plenty-to-preach-about/) **Published:** August 21, 2026 **Author:** Regan Baker **Content:** ★★★½ ![The Scoop The Gospel According To Paul Jonathan Biggins](https://thescoop.au/wp-content/uploads/2026/08/TheGospelAccordingToPaul_PhotoBrettBoardman_000971-942x628.jpg "The Gospel According To Paul Jonathan Biggins • The Scoop")There’s a very specific problem with reviewing a show about Paul Keating when you were just a kid when the man left office. You understand enough to know why everyone’s laughing, but every now and then a joke sails straight over your head and lands somewhere around 1993. That was roughly my experience with *The Gospel According to Paul*, Jonathan Biggins’ wonderfully sharp one-man tribute to Australia’s 24th Prime Minister, now playing at QPAC’s Playhouse as part of a national tour. As reported in The Scoop’s [Newsroom](https://thescoop.au/the-gospel-according-to-paul-tour-opens-this-month/) earlier this month, Biggins has returned to the role with fresh material covering everything from AUKUS and negative gearing to Pauline Hanson and the current state of Australian politics. The show has been touring in various forms since 2019, but this updated version proves there’s still plenty of life left in Keating’s particular brand of political savagery. And Biggins is frighteningly good. So good, in fact, that when the lights came up my fiancée turned to me and immediately asked, “So, did this guy literally just write a show about his own life and then star in it?” There was a brief silence before I very awkwardly had to explain, “You know that wasn’t actually Paul Keating…He’s an actor.” ![The Scoop The Gospel According To Paul Jonathan Biggins](https://thescoop.au/wp-content/uploads/2026/08/TheGospelAccordingToPaul_PhotoBrettBoardman_001841-942x628.jpg "The Gospel According To Paul • The Scoop")The show takes jabs at the revolving circus that is Australian politics Photo by Brett BoardmanIn her defence, Keating resigned from Parliament in 1996, well before my fiancée was even born. I was just a kid myself, so I’m hardly approaching this as a walking encyclopaedia of Australian political history. I did, however, understand enough to thoroughly enjoy the various jabs at John Howard, Pauline Hanson, Gough Whitlam and the revolving circus that is Australian politics. Biggins’ transformation is remarkable. The voice, posture, facial expressions and enormous sense of self-confidence are so convincing that after a while you genuinely stop thinking about the actor underneath it all. He does not simply impersonate Keating; he seems to crawl inside his skin, capturing that famous combination of intelligence, arrogance, charm and absolute willingness to verbally annihilate anyone standing in his way. The writing is equally strong. Political satire can date horribly quickly, but Biggins has kept the show moving with the times. There’s something wonderfully satisfying about watching 90 minutes of intelligent political humour that isn’t afraid to assume its audience can keep up. Well, most of the time. ![The Scoop The Gospel According To Paul Jonathan Biggins](https://thescoop.au/wp-content/uploads/2026/08/TheGospelAccordingToPaul_PhotoBrettBoardman_003110-942x628.jpg "The Gospel According To Paul Jonathan Biggins • The Scoop")Jonathan Biggins transformation is remarkable Photo by Brett BoardmanThe only element that didn’t quite work for me is the music. The handful of musical numbers don’t have the same confidence as the spoken material and at times interrupt the momentum of the performance. Given how sharp the writing is, I’m not entirely convinced the show needs them. There’s also no escaping the fact that *The Gospel According to Paul* will reward some generations more than others. QPAC recommends the production for audiences 15 and over. But unless you’re a particularly enthusiastic teenage political-history nerd, I’d probably push that number considerably higher. As a person in my early 30s, I honestly felt like I was hovering around the minimum age for full enjoyment. I caught plenty of the references, missed others entirely, and occasionally relied on the roar of older audience members to tell me something had landed particularly hard. Still, when it lands, it really lands. *The Gospel According to Paul* is political satire at its absolute best. It is clever, brutal, incredibly well observed and anchored by a performance from Biggins that borders on ridiculous in its accuracy. Maybe just give anyone born after the Howard Government a quick history lesson on the drive in. ***The Gospel According To Paul* runs in Brisbane at the Playhouse, QPAC to 23 August. It then runs Canberra Theatre Centre in September, Arts Centre Melbourne in October and Sydney Theatre Company in November. See further details below.** Ticket links can be found at the website and at the links below. Website: <https://softtread.com.au/the-gospel-according-to-paul/> Socials: <https://www.instagram.com/softtreadent/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman 2026 Australian Tour dates include (but are not limited to): Brisbane 18 – 23 August, Playhouse QPAC [Tickets](https://www.qpac.com.au/whats-on/2026/the-gospel-according-to-paul) Canberra 15 – 20 September, Playhouse, Canberra Theatre Centre [Tickets](https://canberratheatrecentre.com.au/show/the-gospel-according-to-paul-2026/) Melbourne 20 October – 1 November, Arts Centre Melbourne [Tickets](https://www.artscentremelbourne.com.au/whats-on/2026/comedy/the-gospel-according-to-paul) Sydney 6 November – 20 December, Wharf 1 Theatre [Tickets](https://www.sydneytheatre.com.au/whats-on/2026/productions/the-gospel-according-to-paul) **Categories:** Brisbane, Theatre --- ### [Announcing Elegantly Wasted By Queensland Ballet & HOTA With Music Of INXS](https://thescoop.au/announcing-elegantly-wasted-by-queensland-ballet-hota-with-music-of-inxs/) **Published:** June 25, 2026 **Author:** Newsroom **Content:** ![The Scoop Queensland Ballet HOTA Elegantly Wasted Ruby Day Joshua Ostermann](https://thescoop.au/wp-content/uploads/2026/06/Qlid-Ballet-Elegantly-Wasted-Ruby-Day-Joshua-Ostermann-942x628.jpeg "Queensland Ballet HOTA Elegantly Wasted Ruby Day Joshua Ostermann • The Scoop")**Queensland Ballet** in partnership with **HOTA, Home of the Arts, Gold Coast**, have announced the world premiere of ***Elegantly Wasted**,* a bold new contemporary ballet set to the **songs of INXS**, opening at HOTA from **10 – 12 September, 2026**. The new 65-minute commission, *Elegantly Wasted*, brings together an acclaimed team of Australian and international creatives. These include celebrated Belgium-Colombian choreographer **Annabelle Lopez Ochoa**, sound designer **Jake Rodriguez**, costume designer **Josh McIntosh** and set and lighting designer **Jon Buswell**. Choreographer **Annabelle Lopez Ochoa**, who created Queensland Ballet’s 2024 sell-out hit, ***Coco Chanel: the Life of a Fashion Icon**,* said the opportunity to reinterpret the songs of INXS through ballet was irresistible: *“INXS is one of Australia’s most successful musical exports and arguably one of the country’s most influential cultural forces. I was naturally drawn to the idea of collaboration between what many might consider the most unlikely of partners.* *Elegantly Wasted is set within the polished anonymity of a luxury hotel lobby and follows a group of impeccably dressed young influencers (drifting in and out of view), curating their lives through performance, projection and validation. Beneath the glamour, seduction and excess lies a deeper meditation on identity, loneliness and the human desire to connect.”* **Andrew Farriss**, INXS founding member and composer, said the collaboration reflects the band’s openness to reinterpretation and creative evolution, while remaining distinct from its own story: *“INXS have always embraced exploring new ideas and the different ways our music can connect with people. This ballet is a fresh artistic interpretation that stands in its own space. It’s not about the band’s story but shows how our music can inspire new forms of expression.* *It’s exciting to see the work approached from a completely new perspective. Annabelle has brought her own artistic vision to the music, and we’re looking forward to seeing how it comes to life.”* INXS were recently awarded the Ted Albert Award at the 2026 APRA Awards for their outstanding service to Australian music. The award adds to their decades long achievements across the globe including 75 million albums sold worldwide, seven US Top 10 singles, six APRA Music Awards, ARIAs, two Brit Awards, MTV Awards and numerous Grammy nominations. ![The Scoop Queensland Ballet HOTA Elegantly Wasted Joshua Ostermann Ruby Day photo David Kelly](https://thescoop.au/wp-content/uploads/2026/06/QLD-Ballet-Elegantly-Wasted-Joshua-Ostermann-Ruby-Day-photo-David-Kelly--419x628.jpg "Queensland Ballet HOTA Elegantly Wasted Joshua Ostermann Ruby Day photo David Kelly • The Scoop")Ruby Day and Joshua Ostermann Photo by David Kelly*Elegantly Wasted* marks Queensland Ballet’s second major contemporary music-led commission to premiere at HOTA. The first, *[Elastic Hearts](https://thescoop.au/queensland-ballet-and-hota-forge-bold-new-partnership-with-exclusive-world-premiere-of-elastic-hearts/)*, paired the music of Sia with choreography by Garry Stewart and premiered in November 2025 to [rave reviews](https://thescoop.au/review-elastic-hearts-presented-by-queensland-ballet-hota/) and strong audience demand. Minister for the Arts, **the Hon John-Paul Langbroek**, whose electorate is Surfers Paradise, said this partnership between Queensland Ballet, HOTA and Experience Gold Coast showcases the Gold Coast as one of Australia’s most dynamic cultural destinations: *“This partnership between Queensland Ballet, HOTA and Experience Gold Coast is creating new opportunities for Queensland artists and strengthening our state’s cultural offering. It is fitting that a bold new Australian work of this scale will make its world premiere at HOTA on the Gold Coast, showcasing Queensland’s creative ambition and talent to audiences.”* Queensland Ballet Executive Director, **Dilshani Weerasinghe**, said the three-year partnership between Queensland Ballet and HOTA supported by Experience Gold Coast provides a unique environment for experimentation and contemporary storytelling: *“Through the partnership, HOTA has become a proud launchpad for major new commissions, enabling us to create daring, large-scale works that connect with audiences beyond traditional ballet circles and engage a new generation of arts-goers. Those audiences are vital because today’s first-time attendees become tomorrow’s advocates, philanthropists and cultural ambassadors.”* Experience Gold Coast Head of Arts and Culture, **John Kotzas AM** said the partnership represents a significant commitment to bringing world-class ballet to the Gold Coast: *“We are proud to continue building a consistent pipeline of high calibre artistic experiences for our audiences. It’s an exciting opportunity to showcase the very best of Australian performing arts while strengthening the Gold Coast’s reputation as a thriving cultural destination.”* ***Elegantly Wasted* is presented by Queensland Ballet in partnership with HOTA, Home of the Arts. It runs 10 – 12 September at HOTA on the Gold Coast.** Tickets are available for *Elegantly Wasted* via HOTA’s website. Website: <https://hota.com.au/events/elegantly-wasted-featuring-the-songs-of-inxs> Socials: [Socials: https://www.instagram.com/hotagc/](socials:%20https://www.instagram.com/hotagc/) and <https://www.instagram.com/qldballet/> [Read our Interview with Ruby Day](https://thescoop.au/ruby-day-a-new-sensation-in-queensland-ballets-elegantly-wasted/) Hero image: Ruby Day and Joshua Ostermann from Queensland Ballet. Photo by David Kelly **Creatives**. Music **INXS** Concept and choreography. **Annabelle Lopez Ochoa**. Sound Designer **Jake Rodriguez**. Additional Music Production **Nigel Butler**. Costume Design **Josh McIntosh**. Set and Lighting Design Jon Buswell. **Categories:** News --- ### [Ruby Day: New Company Artist To Perform in Romeo & Juliet](https://thescoop.au/ruby-day-new-company-artist-to-perform-in-romeo-juliet/) **Published:** March 18, 2025 **Author:** Newsroom **Content:** ![The Scoop Ruby Day Queensland Ballet](https://thescoop.au/wp-content/uploads/2025/03/Ruby-Day-Queensland-Ballet-770x628.png "Ruby Day Queensland Ballet • The Scoop")Following her remarkable success at the prestigious Prix de Lausanne in Switzerland in 2024, new Queensland Ballet Company Artist **Ruby Day** will take the stage in their first season of the year, **Kenneth MacMillan’s *Romeo & Juliet.*** At just 18 years old, the Mount Gravatt East local officially joined the Company in November 2024 after being given the Rudolph Nureyev Foundation’s Best Young Talent Award at the Prix de Lausanne. Ruby’s journey through the Queensland Ballet Academy has been nothing short of inspiring. Beginning in the Associate Program, she progressed through the Academy’s levels, bypassing the Jette Parker Young Artist program (JPYA) and advancing directly from the Pre-Professional Program student (PPP) to Company Artist. Reflecting on her transition from student to professional, Ruby shared it has been a wonderful journey. *“It has been exciting. In the Academy, we train so hard for this moment. And now, even to be able to step into those Company Artist change rooms is a sense of accomplishment. But also, it’s a whole new chapter and there are so many more challenges ahead. I’m excited to continue working towards them,”* she said. Ruby’s first official Queensland Ballet season saw her perform last year in audience favourite, *The Nutcracker*; an experience that set the stage for a dazzling career. Looking ahead, Ruby is thrilled to be part of the upcoming season of Kenneth MacMillan’s *Romeo & Juliet*, describing it as a dream production. ![The Scoop Ruby Day Queensland Ballet](https://thescoop.au/wp-content/uploads/2025/03/QBIvan-73_websize-419x628.jpg "Ruby Day Queensland Ballet • The Scoop")Ruby Day Photo credit Brit Mobbs“*Romeo & Juliet* *is definitely a bucket list ballet. I think the choreography is so precise, and there are so many nuances to it. We’re [working with some incredible coaches](https://thescoop.au/en-pointe-and-star-crossed-a-backstage-exclusive-with-qbs-tony-lewis/) and répétiteurs that are coming in to keep the ballet alive. It’s very exciting,”* Ruby said. Although Ruby did not always envision a career in ballet, her dedication and passion led her to Queensland Ballet Academy, where she flourished. *“I didn’t always aspire to be a dancer. I started dancing when I was really young, and the focus wasn’t on ballet; I was focused on jazz and tap musical theatre. It wasn’t until I was a little bit older and I started working one-on-one with my ballet teacher and auditioned for Queensland Ballet Academy, that I fell in love with it. I don’t come from a dancing family. I’m the first one,”* she said. Her relentless drive and motivation have been instrumental in her success. “I’m very driven and motivated, so I think once I had the idea in my head that this was something that interested me and inspired me, it was always the goal I was striving for and working towards.” Ruby acknowledged the invaluable support of her mentors and teachers at Queensland Ballet Academy as being instrumental to her success. “The teachers at Queensland Ballet Academy are extremely passionate and inspiring. I always felt inspired by them being in front of me and the knowledge they had to give; I always wanted more. I’d ask them to give me corrections, give me more information,” Ruby said. “We were given lots of opportunities to work with choreographers – Mr Paul Boyd being the main one I worked with, and I benefited from his wealth of knowledge and experience. I also had the opportunity to experience a creation process. I’m very fortunate that in my graduating year, I had a piece choreographed for Jenson and I, as the principal couple, which is a very rare opportunity at that age.” ![The Scoop Ruby Day Queensland Ballet](https://thescoop.au/wp-content/uploads/2025/03/QBIvan-48_websize-419x628.jpg "Ruby Day Queensland Ballet • The Scoop")Ruby Day Photo credit Brit MobbsReceiving her letter of offer to join Queensland Ballet on her birthday was a moment she will never forget. *“I had a little bit of a pinch-me moment when I received my letter of offer coincidentally on my birthday – you can’t really ask for a better birthday gift. I’m looking forward to many things, but some big ones are definitely growing as an artist, as well as working alongside and learning from the inspiring d**ancers here at Queensland Ballet.”* Ruby extends her gratitude to those who have supported her journey. “I’m incredibly lucky to have had the support of so many people on my journey so far. I want to say a big thank you to Mr \[Christian\] Tàtchev and all the Queensland Ballet Academy faculty who have nurtured and supported me over the past few years, entrusting me with many opportunities that have allowed me to grow as a dancer. As well as my past teachers who still offer their ongoing guidance and support, and of course, a big thank you to my family for always being there for me and allowing me to chase my dreams.” As Queensland Ballet celebrates its 65th year, the Company continues to captivate audiences with an enchanting lineup of iconic masterpieces, world premieres, and a dynamic blend of established and emerging choreographic talents. This milestone season promises to transport audiences through ballet narratives inspired by classic literature and timeless stories. Queensland Ballet is thrilled to have Ruby Day as part of their talented ensemble and looks forward to witnessing her artistic growth and future achievements in 2025 and beyond. ***Kenneth MacMillan’s Romeo & Juliet* runs from 21 – 29 March 2025 at the Lyric Theatre, QPAC.** [Tickets](https://queenslandballet.n.qtix.com.au/tickets/series/qbromeoandjuliet25?_gl=1%2An0nu7m%2A_gcl_au%2AMTczMjQxMTExNi4xNzM4MDY0OTY0%2A_ga%2AMTAwODk0NDEzNy4xNzM4MDY0OTY0%2A_ga_LT0V5545Y5%2AMTczODA2NDk2NC4xLjEuMTczODA2NDk3NS40OS4wLjEyOTE5MDE5MzE.) are on sale now! Website: [https://www.queenslandballet.com.au/](https://www.queenslandballet.com.au/performances/2025/kenneth-macmillan-s-romeo-and-juliet) Socials: <https://www.instagram.com/qldballet/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Ruby Day dancing in an open rehearsal at the Talbot Theatre, Thomas Dixon Centre alongside the QB Company. Photo by [B’rit Mobbs](https://www.instagram.com/bybrit.creative/), [by Brit Creative](https://www.bybritcreative.com/). **Categories:** News --- ### [Review: The Jungle and The Sea Is A Sweeping Story Of Family, War & Survival](https://thescoop.au/review-the-jungle-and-the-sea-is-a-sweeping-story-of-family-war-survival/) **Published:** August 20, 2026 **Author:** Liz Baldwin **Content:** ★★★★☆ ![The Scoop The Jungle And The Sea Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/08/Anandavalli-Nadie-Kammallaweera-and-Prakash-Belawadi-Photo-by-Pia-Johnson-942x628.jpg "The Jungle And The Sea Melbourne Theatre Company • The Scoop")We see theatre to be transported to different worlds, to understand neglected stories, to connect with character and taste the gamut of emotion. It’s a big ask, and it’s rare that a single work can deliver on all fronts. But Belvoir St Theatre and Melbourne Theatre Company’s ambitious new production *The Jungle and the Sea* delivers across the board. The play is the latest fruit of the long collaboration between S. Shakthidharan and Eamon Flack. The pair’s previous work, *Counting and Cracking,* was a triumph, evoking hundreds of characters in decades to tell the story of a Tamil family across Sri Lanka and Australia. *The Jungle and the Sea* has a similar focus – a Tamil family stretched across Sri Lanka and Australia – but a different feel. It dwells longer in darker terrain. A short early scene establishes a sense of a close, loving family dynamic, but it’s the last moment of innocence before the shots of civil war splinter the family forever. The story splits: Appa (Prakash Belawadi) and daughter Lakshmi (Emma Harvie) escape to Australia, Ahilan (Shiv Palekar) is recruited to the Tamil Tigers, and the rest of the family – Amma (Anandavalli) and daughters Madhu (Nadie Kammallaweera), and Abi (Kalieaswari Srinivasan) – remain in Sri Lanka in hopes of finding their brother again. Sinhalese friends Kishan (Dushan Philips) and Himal (Rajan Velu) reckon with their changing relationships with the family. ![The Scoop The Jungle And The Sea Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/08/Emma-Harvie-Anandavalli-Kalieaswari-Srinivasan-Shiv-Palekar-Nadie-Kammallaweera-and-Prakash-Belawadi-Photo-by-Pia-Johnson-941x628.jpg "The Jungle And The Sea Melbourne Theatre Company • The Scoop")The story follows the familys two stories across three time periods Photo by Pia JohnsonWe follow the family’s two stories across three time periods. The dual structure is effective in highlighting, *Sliding Doors-*like, the diverging paths life can take from a decision in one fateful moment. But the two narratives are not of equal weight. The emotional heart of the play lies with the three women in Sri Lanka, as they abandon their home, search for Ahilan, and journey from one supposedly safe zone to another. Adequately capturing the complex history of the period is a difficult challenge, and sometimes the script veers too far into exposition. This is particularly the case when trying to illustrate differing political or philosophical viewpoints. Characters rehearse arguments about joining the Tigers or permitting funeral rites as though at an undergraduate debate. The script is far stronger when the characters’ emotions and realities are centred, clutching a chicken or contemplating marriage, for example. An exceptionally strong cast brings the story to life. Anandavalli and Belawadi portray the family’s matriarch and patriarch with gravitas and dignity, anchoring the play. Siblings Srinivasan and Kammallaweera offer a study in the subtle differences in how people respond to trauma. ![The Scoop The Jungle And The Sea Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/08/Kalieaswari-Srinivasan-Anandavalli-and-Nadie-Kammallaweera-Photo-by-Pia-Johnson-942x628.jpg "The Jungle And The Sea Melbourne Theatre Company • The Scoop")The emotional heart of the play lies with the three women in Sri Lanka Photo by Pia JohnsonPalekar’s gentle portrayal of Ahilan imbues the character’s journey with even more tragedy. Harvie captures the depth of feeling that can come from being forced to watch helplessly from the outside. Another highlight is the sublime music from composer Arjunan Puveendran. Performed live on stage, the Carnatic music relies heavily on vocalisation and improvisation. It adds a veil of closeness and reverence to the performance; hushed silences broken by soulful sounds. The only disappointment is the decision to have the central part of the stage constantly rotate. While the device works well at times, emphasising the monotony of days or adding tension to rushed conversations, it is overused and distracting at other times. It takes the heat out of more tender, emotional moments: the dinner conversation between Appa and Lakshmi, for example. And the physical noise of the movement threatens the power of the Carnatic music breaking through the quieter moments. Still, this doesn’t take away from the power of *The Jungle and The Sea*, a sweeping, stunning new Australian work from a brilliant cast and creative team. ***The Jungle and The Sea* is presented by Melbourne Theatre Company and produced by Belvoir St Theatre. It runs to 12 September at Southbank Theatre, The Sumner. 140 Southbank Boulevard Southbank Vic 3006.** Tickets: <https://tickets.mtc.com.au/production/19787> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/the-jungle-and-the-sea> Socials: <https://www.instagram.com/melbtheatreco/> [Read our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Pia Johnson **Categories:** Melbourne, Theatre --- ### [Announcing Matilda The Musical For Melbourne In October 2027](https://thescoop.au/announcing-matilda-the-musical-for-melbourne-in-october-2027/) **Published:** August 19, 2026 **Author:** Newsroom **Content:** ![The Scoop Matilda The Musical Melbourne Sydney Brisbane](https://thescoop.au/wp-content/uploads/2026/08/Revolting-Children-3-Matilda-Int-Tour-23-Photographer-Hanan-Assor-942x628.jpg "Matilda The Musical Melbourne Sydney Brisbane • The Scoop")Marking over a decade since Australian audiences first fell in love with the remarkable production, the **Royal Shakespeare Company’s** production of **Matilda The Musical**, based on **Roald Dahl’s** beloved book, will open at the **Princess Theatre** in **Melbourne** from **October 2027**, before travelling to the **Sydney Lyric** and **QPAC’s Lyric Theatre** in **Brisbane**. For more than 15 years, this revolutionary production, about a strong and determined heroine with a vivid imagination has captivated audiences around the globe with its wit, heart and unforgettable celebration of courage. Winner of 101 international awards, including 25 for Best Musical, and seen by more than 13 million people across over 100 cities worldwide, it has become one of the defining musical theatre productions of our time. Now in its 15th year in London’s West End, where it has become the 10th longest-running musical in West End history, the **Royal Shakespeare Company’s** acclaimed production continues to play to packed houses, delighting audiences of all ages with its warmth, wit and imagination. Australian audiences embraced **Matilda The Musical** with overwhelming enthusiasm during its original national tour, which enjoyed critical and audience acclaim and played to sold out houses across the country for more than two years. The production welcomed more than one million theatregoers and became the most awarded musical in Australian theatrical history. Amongst many other awards in Australia, in 2016 it won a record-breaking 13 Helpmann Awards sweeping every musical category. Filled with Australian **Tim Minchin’s** witty and unforgettable songs, spectacular choreography and a story overflowing with humour, heart and hope, this internationally celebrated musical masterpiece is a joyous celebration of bravery, kindness and the limitless power of imagination that continues to captivate audiences of every generation. Based on Roald Dahl’s beloved novel, **Matilda The Musical** tells the story of an extraordinary young girl with an astonishing imagination, a brilliant mind and an unbreakable spirit. As she dares to stand up to injustice and take control of her own destiny, Matilda discovers that even the smallest voice can make the biggest difference. ![The Scoop Matilda The Musical Melbourne Sydney Brisbane](https://thescoop.au/wp-content/uploads/2026/08/Revolting-Children-2-Matilda-Int-Tour-23-Photographer-Hanan-Assor-942x628.jpg "Matilda The Musical Melbourne Sydney Brisbane • The Scoop")Matilda The Musical international tour Photo by Hanan AssorThe **Royal Shakespeare Company** (RSC) is delighted to be working with **Louise Withers**, **Michael Coppel** and **Linda Bewick** to make this production possible. The RSC’s co-artistic directors, **Tamara Harvey** and **Daniel Evans**, credit the enduring power of the production to the magic of the storytelling: *“After its premiere over 15 years ago in Stratford-upon-Avon, Matilda Wormwood’s genius is still teaching us that even if you’re little you can do a lot,” they said, adding that the character’s resilience “continues to inspire and bring joy to new generations of children and families.”* Australian Producer **Louise Withers** said bringing **Matilda The Musical** to Australia in its 10th anniversary year is an opportunity to celebrate one of the most treasured musicals ever to grace Australian stages while introducing it to a new generation of theatregoers. *“When Matilda first opened in Australia, audiences embraced it with incredible warmth, joy and emotion. More than one million Australians experienced this extraordinary production, and a decade later it remains one of the most treasured musicals we’ve ever had the privilege to produce.* *The beauty of Matilda is that every generation discovers something different within it. Children see possibility, adults rediscover wonder, and families share an unforgettable experience together. Its themes of courage, resilience, kindness and standing up for what’s right feel just as meaningful today as ever. We’re thrilled to be introducing this remarkable production to a new generation while welcoming back those who have been waiting to share its magic with family and friends once again.”* ![The Scoop Matilda The Musical Melbourne Sydney Brisbane](https://thescoop.au/wp-content/uploads/2026/08/MATILDA-THE-MUSICAL-AUSTRALIA-2027-943x628.jpg "Matilda The Musical Melbourne Sydney Brisbane • The Scoop")Matilda The Musical arrives in Melbourne in October 2027Composer and lyricist **Tim Minchin** said: *“I am so, so excited that Matilda is touring Australia again. The 2015-17 tour was absolutely brilliant – a genuinely world-class production to rival the West End version (which is now in its 16th year!). Now, a decade later, a whole new batch of incredible Aussie performers and crew and craftspeople will be putting the show on, and a whole new generation of audiences of all ages will have a chance to get a dose of pure joy.”* **Matilda The Musical** continues to delight audiences around the globe. Alongside its record-breaking London production and worldwide tours, the acclaimed film adaptation, created by the original creative team, has introduced Matilda’s extraordinary story to millions more through Netflix, ensuring this remarkable musical continues to inspire audiences both on stage and on screen. Written by **Dennis Kelly**, with music and lyrics by Australia’s own **Tim Minchin** and developed and directed by **Matthew Warchus**, the production is designed by **Rob Howell**, with choreography by **Peter Darling**, orchestrations and additional music by **Christopher Nightingale,** lighting by **Hugh Vanstone**, sound by **Simon Baker** and illusions by **Paul Kieve**. The Australian 2027 Tour of the **Royal Shakespeare Company’s** production of **Matilda The Musical** will be produced by **Louise Withers, Michael Coppel** & **Linda Bewick** Join the waitlist now to be among the first to receive priority ticket information, on-sale announcements and exclusive production news for the 2027 Australian season of **Matilda The Musical.** **Matilda The Musical opens at the Princess Theatre Melbourne in October 2027. It then runs in 2028 at the Sydney Lyric Theatre before heading to Brisbane at the Lyric Theatre, QPAC.** Waitlist for tickets [here](https://matildathemusical.com.au/#waitlist). Website: <https://matildathemusical.com.au/> Socials: <https://www.instagram.com/matildathemusicalau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Matilda international tour, photos by Hanan Assor. **Categories:** News --- ### [Film Review: Digby & Camille 2026 Melbourne International Film Festival](https://thescoop.au/film-review-digby-camille-2026-melbourne-international-film-festival/) **Published:** August 18, 2026 **Author:** Alyssa Moller **Content:** ★★★½ ![The Scoop Digby & Camille Melbourne International Film Festival](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-17-at-25336-pm-912x628.png "Digby & Camille Melbourne International Film Festival • The Scoop")Full of energy, affection and personality, *Digby & Camille* is a sweet slice-of-life documentary about a couple living with Down syndrome, making its world premiere at Melbourne International Film Festival. Tender, funny and unabashedly affectionate, *Digby & Camille* captures an intimate portrait of a relationship that has spanned eight years. It explores the highs and lows of a life together, and the all-consuming nature of love that can sometimes put other parts of our lives on the back burner. Directed and shot by Trevor Graham, the film’s primarily handheld footage creates an intimate, unguarded feeling, giving us a close-up view into Digby and Camille’s world. Graham almost becomes a character in the film, as Digby acknowledges him behind the camera and occasionally assists him with directing. What’s lovely is that Digby also co-shoots the film, pointing his own camera and allowing us to see the world from his perspective. ![The Scoop Digby & Camille Melbourne International Film Festival](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-17-at-30541-pm-958x628.png "Digby & Camille Melbourne International Film Festival • The Scoop")The primarily handheld footage creates an intimate and unguarded feelingMy favourite choice in the film’s direction is the addition of Digby’s animation. It’s a beautiful way to pay homage to his art while adding another layer of heart to the story’s exposition. The animation also serves to highlight how out of place the few drone shots scattered throughout are. It’s a random addition that feels too smooth and detached from the intimate world created by the handheld footage. The film explores the couple’s strong desire to marry, and as we learn more about Digby and Camille’s relationship, we also get to meet their families and see the ways they support them. Both Digby’s parents and Camille’s mum are equally charming, coming across as warm, kind people who truly want what is best for their children. ![The Scoop Digby & Camille Melbourne International Film Festival](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-17-at-30631-pm-1098x628.png "Digby & Camille Melbourne International Film Festival • The Scoop")The film captures an intimate portrait of a relationship that has spanned eight yearsThey guide Digby and Camille through reasons why marriage might not be the best idea for them at this point in their lives. It’s a tricky thing to articulate, but Graham gives each member of the family a chance to explain their perspective, while allowing Digby and Camille the time to process what is being said. The result is a gentle but surprisingly complex exploration of love, independence and the sometimes difficult line between supporting someone and protecting them from the choices they want to make. Most importantly, Digby and Camille are never reduced to the questions surrounding their disability. They are two people who are deeply, joyfully in love and determined to imagine a future together. Their story may not follow the path they have dreamed of, but their feelings for each other are never in doubt. *Digby & Camille* is a heartwarming film that will remind you of the giddiness of falling in love and the joy of finding your person. It also leaves us with a more difficult question: who gets to decide what a fulfilling life should look like? ***Digby & Camille* made its world premiere at Melbourne International Film Festival from 9 – 16 August 2026, with regional screenings coming up from 22 – 23 August. Check the MIFF website and the film’s socials for further screening dates.** The film then heads to CinefestOZ Film Festival in Perth. Tickets: <https://miff.com.au/program/film/digby-camille> Website: <https://www.digbyandcamillemovie.com/> Socials: <https://www.instagram.com/melbfilmfest/> and <https://www.instagram.com/digbyandcamillemovie/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Hero image: Greg Weight Watch the trailer below: **Film details:** Title: Digby & Camille Director: Trevor Graham, Digby Webster Cast: Digby Webster, Camille Collins Country of Origin: Australia Duration: 92 mins Rating: M **Categories:** Film --- ### [From Glinda to Miranda: Suzie Mathers Enters A New Chapter With Mrs. Doubtfire](https://thescoop.au/from-glinda-to-miranda-suzie-mathers-enters-a-new-chapter-with-mrs-doubtfire/) **Published:** August 18, 2026 **Author:** Zara Blight **Content:** ![The Scoop Mrs. Doubtfire Musical Australia Suzie Mathers](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-18-at-15616-pm-932x628.png "Mrs. Doubtfire Musical Australia Suzie Mathers • The Scoop")It was announced today that **Suzie Mathers** will return to the main stage as Miranda Hillard in the Australian premiere tour of ***Mrs. Doubtfire***, the hit musical based on the beloved Robin Williams film. For Mathers, this return marks a new chapter, in a career that has taken her from Australia to the West End and beyond. Mathers is now stepping into the role of a mother while being a mother herself, bringing a very different perspective to Miranda than she had during her days playing Glinda in *Wicked*. The Scoop caught up with Suzie shortly after the announcement to talk about taking on an iconic role, the enduring heart of *Mrs. Doubtfire*, and why this joyous musical is all about having fun. Read the full interview below. Firstly, congratulations on your exciting casting news! What was your reaction when you found out you’d be playing Miranda Hillard in the Australian premiere of *Mrs Doubtfire*? Absolutely thrilled. I think it’s one of those things; no matter how long you’re in this industry, it still is insanely exciting when your agent calls you and says that you’ve landed a big job like this. I’m really looking forward to sinking my teeth in and getting started playing Miranda Hillard. ![The Scoop Mrs Doubtfire Musical](https://thescoop.au/wp-content/uploads/2026/02/Gabriel-Vick-in-West-End-production-of-MRS-DOUBTFIRE-copy-837x628.jpg "Mrs. Doubtfire Musical Melbourne Australia • The Scoop")Gabriel Vick in West End cast of Mrs Doubtfire Photo by Johan PerssonMiranda is a character audiences may already feel they know through Sally Field’s iconic film performance. What drew you to the role, and what are you hoping to bring to Miranda in this new musical interpretation? The great thing about bringing a movie to the stage is that we get to elevate it in a way that doesn’t happen in the movies. We get to add music. We get to add choreography and sing, all these kinds of new elements. But for me, I suppose the thing that drew me to this role is a little bit of life imitating art or art imitating life. I’m now a mum, and being able to take on this new chapter is really cool. I’m just looking forward to visiting some of those iconic lines that Sally Field has put into our psyche. Miranda is at the centre of a story about a family navigating separation, co-parenting and the desire to stay connected. Has becoming a mum changed the way you look at Miranda or the story she is part of? Your experience really does inform the way that you look at roles. Being a mum and knowing how important it is to do everything for your kids, knowing how much you love them and wanting to make sure that they are happy and safe. And just leading with love. It’s a very different version of me coming into this show than it was when I was playing with bubbles in *Wicked* all those years ago. ![The Scoop Mrs. Doubtfire Musical Australia Suzie Mathers](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-18-at-34110-pm-950x628.png "Mrs. Doubtfire Musical Australia Suzie Mathers • The Scoop")Suzie Mathers as Glinda in Wicked The original film is remembered for its outrageous comedy, but underneath the chaos is a story about a family trying to find its way through a difficult transition. What do you think makes that emotional core so enduring? I think the message of love is so strong, particularly in this story. Daniel will do anything to be with his kids and spend time with them. That is the most important thing for him. And then there’s the transformation he has by the end. Realising that he has to grow up as well and be there for his children. The themes are so universal, and audiences will really connect with that. But then at the same time, it’s such a joyful night out. Being able to lean into that comedy and go on that journey with the Hillard family will be really great for audiences. You’ve performed extensively in Australia, Asia and the UK, including playing Glinda in *Wicked*’s 10th Anniversary West End cast. What have those international experiences taught you about stepping into a role that already carries such strong audience expectations? I think you have to trust yourself and really sit in the role as your own. For Glinda in *Wicked*, especially, by the time I got to the West End, there had been eight women before me who had taken on the role. And here in Australia, there was myself and the lovely Lucy Durack, and now Courtney Monsma. People do have that expectation of what Glinda is going to be like. But I think you have to go in and bring your own heart and your own interpretation and really trust that. It’s sort of the same with *Mrs. Doubtfire*, with people having expectations of Sally Field and knowing her interpretation so well. But it’s important to also trust the messaging and lean into the heart of the story and the parts that I can bring to that. It is something that I really believe in: having the vibe and the elements of the character but being able to put my own spin on it. ![The Scoop Mrs. Doubtfire Musical Australia](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-26-at-93215-pm-1200x628.png "Mrs. Doubtfire Musical Australia • The Scoop")Mrs Doubtfire opens in November in Melbourne You originally trained in classical voice before moving into musical theatre at WAAPA. I am studying music theatre at the Sydney Conservatorium of Music. For young performers like me who dream of following a similar path, what do you wish you’d known when you were starting out? Ah, what I wish I had known. I mean, you are asking me to rewind 20 years now! Look, I think the thing I wish I’d known is you need to back yourself in the things that are in your lane and your strength. When you’re in drama school, you are encouraged to train in dance, and acting and singing. And then you come out into the real world, and you’re not always going to be able to get those dance roles if you are primarily a singer. But also, when we were training, it was always about getting the leading roles and moving to the front and centre of the stage as soon as we could. And I really feel like there is merit in starting as a Swing. Going into the Ensemble. Covering, doing the hard work, and pulling yourself through the ranks. Seeing how everything works and dedicating yourself in that way. I also think you can’t take yourself too seriously. You have to enjoy the work. You have to put in the hard yards but also have a lot of fun. Because it is an incredible industry to be a part of. It’s an incredible job to have, but we’re bringing joy. A show like *Mrs. Doubtfire* is there to make audiences laugh, to experience something incredible for a few hours. We take them out of the woes of the world and on an adventure. And it’s not about anything more than that. It’s about having fun. So really, if you take yourself too seriously, it can be too much. ![The Scoop Mrs. Doubtfire Musical Australia Suzie Mathers](https://thescoop.au/wp-content/uploads/2026/08/DSC1297-colour-screen-419x628.jpg "Mrs. Doubtfire Musical Australia Suzie Mathers • The Scoop")Suzie MathersWhat are you most excited for Australian audiences to experience when they come to see *Mrs Doubtfire*? Oh, I think it’s going to be absolutely thrilling to see how we move between the world of *Mrs. Doubtfire* and the Hillard family. It’s going to be so great. The show is big. It’s got big tap numbers, big, massive songs. Some of the scenes in the movie that I love the most, like when Robin Williams is in the seats changing or trying to find the look of Mrs. Doubtfire. In the show, you get to see that happen on stage up close in such a creative way. It’s a family-friendly comedy musical, a joyous night out. I think we just have to go and have some fun, and bring the audience with us. **Suzie Mathers will star in** ***Mrs. Doubtfire*, opening in Melbourne at the Princess Theatre from 25 November. It then runs in Sydney at the Capitol Theatre from March 2027.** Tickets for Melbourne are available [here](https://mrsdoubtfiremusical.com.au/tickets/melbourne/). Tickets for Sydney are available via the waitlist [here](https://mrsdoubtfiremusical.com.au/tickets/sydney/). Website: <https://mrsdoubtfiremusical.com.au/> Socials: <https://www.instagram.com/mrsdoubtfiremusicalau/> [Read the Full Cast Announcement!](https://thescoop.au/announcing-mrs-doubtfire-musical-australian-cast/) Images supplied. **Categories:** Features --- ### [Paramount Distributes 'The F Ward' To 100 Markets: Fastest-Selling Australian Drama Ever](https://thescoop.au/paramount-distributes-the-f-ward-to-100-markets-fastest-selling-australian-drama-ever/) **Published:** August 18, 2026 **Author:** Newsroom **Content:** ![The Scoop The F Ward Stan Australia](https://thescoop.au/wp-content/uploads/2026/08/FWA-S01-Secondary-Key_Art-3200x2400-1-837x628.jpg "The F Ward Stan Australia • The Scoop")**Paramount Global Content Distribution** has secured licensing deals in 100 key international territories for **THE F WARD**, which was commissioned by Stan, making it the fastest-selling Australian drama ever pre-launch. Co-produced by Roadshow Rough Diamond and CBS Studios, the buzzy new six-part medical drama stars Anna Friel and follows a group of young medical interns sent to the underfunded Pines Hospital in Sydney for one final chance to complete their medical training. Here, they must overcome their insecurities, their past, and their own expectations in a place where the stakes are life and death. The series launched last month on **Stan in Australia**, with The AU Review calling it “funny, heartfelt, (and) sharply written,” The Sydney Morning Herald noting the series is “excellent” and The West Australian called The F WARD “must-see TV.” Broadcasters and streaming platforms acquiring the series include: **Channel 4** (United Kingdom) **SkyShowtime** (Albania, Andorra, Bosnia & Herzegovina, Bulgaria, Croatia, Czechia, Denmark, Finland, Hungary, Kosovo, Montenegro, North Macedonia, Norway, Netherlands, Poland, Portugal, Romania, Serbia, Slovakia, Slovenia, Spain and Sweden) **Claro video** (Argentina, Brazil, Colombia, Chile, Costa Rica, Ecuador, El Salvador, Guatemala, Honduras, the Dominican Republic, Mexico, Nicaragua, Panama, Paraguay, Peru, and Uruguay) **AMedia Networks** (Armenia, Azerbaijan, Georgia, Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, Uzbekistan) **Streamz** (Belgium) **CBC for CBC TV and CBC Gem** (English-speaking Canada) **Quebecor Content** (French-speaking Canada) **COSMOTE TV** (Greece) **Siminn** (Iceland) **RTE** (Ireland) **JioHotstar** (India) **Sky NZ** (New Zealand) **HBO Asia** (Southeast Asia, Taiwan and Hong Kong) **MEGOGO & Kyivstar TV** (Ukraine) **Don McGregor**, President, Global Content Licensing, Paramount, said: *“Medical dramas have universal appeal, and the show’s underdog story and rising young cast gave it a real breakout energy. Buyers around the world moved quickly to secure ‘The F Ward,’ making it the fastest pre-launch sale ever for an Australian drama, and that alone speaks to the strength of this production.”* ![The Scoop The F Ward Stan Australia](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-18-at-13449-pm-926x628.png "The F Ward Stan Australia • The Scoop")Lola Bond and Ioane Saula in The F Ward Photo by John PlattCo-creator and producer, **Dan Edwards**, added: *“The audience response in Australia has been truly remarkable. Anna Friel and this exceptional cast have captured the altruistic ambitions, humour and heart of so many within our health system, which has resonated far beyond our first hopes.* *We’re delighted to learn the show has found so many significant partners around the world so quickly. Global audiences can now experience Australia’s greatest social service through the lens of a group of smart, young, almost broken intern doctors and their unconventional mentors.”* The series stars International Emmy® Award winner **Anna Friel** (*Pushing Daisies, Marcel*la), **Ioane Sa’ula** (*Bump*), **Lola Bond** (*Last Days of the Space Age*), **Dan Wyllie** (*Love My Way*), **Alex Fitzalan** (*Prosper*), **Emily Barclay** (*Babyteeth*), **Annie Boyle** (*Colin from Accounts*) and **Rishab Kern**. Rounding out the cast are **Arka Das** (*Sunny Nights*), **Paula Arundell** (*The Last Anniversary*), **Jeremy Sims** (*The Artful Dodger*), **Susie Porter** (*The Artful Dodger*), **Toby Schmitz** (*Boy Swallows Universe*), and **Alex Dimitriades** (*Strife*). THE F WARD is co-created by **Dan Edwards** (*Bump*) and **Kelsey Munro** (*Bump*) with executive producer **John Edwards**, and producers **Dan Edwards** and **Kelsey Munro** for Roadshow Rough Diamond. Stan Executive Producers are **Andy Ryan** and **Michael Healy** with **Lindsey Martin** and **Dave Clarke** for CBS Studios International. The series is written by **Kelsey Munro, Jessica Tuckwell, Shanti Gudgeon, Nick Coyle**, and **Jack Yabsley** and directed by **Natalie Bailey** (*Down Cemetery Road*) and **Neil Sharma** (*Critical Incident*). THE F WARD is a co-production produced by Roadshow Rough Diamond and CBS Studios with major production investment from Screen Australia. Financed with support from Screen NSW’s Made in NSW – TV Drama Fund. Paramount Global Content Distribution handles international distribution outside of Australia. About Paramount, a Skydance Corporation: Paramount, a Skydance Corporation (Nasdaq: PSKY) is a leading, next-generation global media and entertainment company, comprised of three business segments: Studios, Direct-to-Consumer, and TV Media. The Company’s portfolio unites legendary brands, including Paramount Pictures, Paramount Television, CBS, CBS News, CBS Sports, Nickelodeon, MTV, BET, Comedy Central, SHOWTIME®, Paramount+, Pluto TV, Skydance Animation, Film, Television, and Interactive/Games, and the newly established Paramount Sports Entertainment. **THE F WARD streams in Australia on Stan. For more information, visit the Paramount website.** Watch the series on Stan [here](https://www.stan.com.au/watch/the-f-ward). Website: [www.paramount.com](https://urldefense.com/v3/__https:/edge.prnewswire.com/c/link/?t=0&l=en&o=4667363-1&h=1409513746&u=http%2A3A%2A2F%2A2Fwww.paramount.com%2A2F&a=www.paramount.com__;JSUlJQ!!CxwJSw!Krl6M9XfNkxhFl0OVhtrw5IDtoiBv3sWizvTl3JQl9HaFwy8o9n4i1eqxSQujC5e-XekQKOrFWYEyPv2pg$) Socials: <https://www.instagram.com/stanaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. **Categories:** News --- ### [Announcing Mrs. Doubtfire Musical Australian Cast](https://thescoop.au/announcing-mrs-doubtfire-musical-australian-cast/) **Published:** August 18, 2026 **Author:** Newsroom **Content:** ![The Scoop Mrs. Doubtfire Musical Melbourne Australia](https://thescoop.au/wp-content/uploads/2026/02/Gabriel-Vick-and-cast-in-West-End-production-of-MRS-DOUBTFIRE-copy-942x628.jpg "Mrs. Doubtfire Musical Melbourne Australia • The Scoop")The final cast members have been announced for the Australian premiere of the feel-good comedy musical **MRS.** **DOUBTFIRE**, based on the beloved film starring Robin Williams. The musical will run at the Princess Theatre in **Melbourne** from **November 2026** and the Capitol Theatre in **Sydney** from **March 2027**. A mixture of some of Australia’s musical theatre favourites as well as our best emerging talent have been confirmed to join the cast including **Suzie Mathers** (*Wicked, Mamma Mia!*) as Miranda Hillard. **Alexandra Lethborg** will make her professional theatre debut as Lydia Hillard. **Hayden Tee** (*Les Misérables, Matilda)* will play Frank Hillard. **Thomas McGuane** (*Frozen, Back to the Future*) will play Stuart Dunmire and **Jo-Anne Jackson** will play Wanda Sellner. The cast joins **Jake Speer**, playing the dual role of the world’s favourite nanny Mrs. Doubtfire / Daniel Hillard and is best-known to audiences for his role as Oscar MacGuire in *Home & Away* (Seven Network) for three years. Other credits include *[A Mirror](https://thescoop.au/review-a-mirror-turns-the-audience-into-the-accused/)* (Belvoir St Theatre); *[Sweet Charity](https://thescoop.au/review-sweet-charity-is-stylish-simple-bursting-with-soul/)* (Prospero Arts); *A Midsummer Night’s Dream, [Timon of Athens](http://thescoop.au/review-i-hate-people-or-timon-of-athens-by-sport-for-jove/)* (Sport For Jove); *Photograph 51, Marjorie Prime* and *Barefoot In The Park* (Ensemble Theatre); *Catch Me If You Can, [How To Succeed In Business Without Really Trying](https://thescoop.au/announcing-how-to-succeed-musical-cast-for-hayes-theatre-co/)* (The Hayes Theatre); *Kinky Boots The Musical* (Michael Cassel Group) and *Henry V* (Kensington House Entertainment). Young performers **Hamilton Binnie Garcia, Max Clarke, Noah Sherburn** and **Loukas Stavrias Ingrosso** will share the role of Christopher Hillard. **Shyla Braic, Annabelle Christopoulos, Poppy En** and **Esme West** will share the role of Natalie Hillard. **Josh Burton** will be the standby Daniel Hillard. The full Ensemble and Swing teams includes **Aicha Bangoura, Sienna Embrey, Daniel Erbacher, Lucy Fraser, Taye Grant, Jackson Head, Kimberley Hodgson, Lauren Jimmieson, Zuleika Khan, Maria Lombardo, Callum Marshall, Kieran McGrath, Noah Missell, Maverick Newman, Teya Quarmyne** and **Mietta White.** ![The Scoop Mrs. Doubtfire Musical Melbourne Australia Jake Speer](https://thescoop.au/wp-content/uploads/2026/07/MDF060_NATIONAL_Landscape_Doubtfire_Daniel_Set_Photo-John-Tsiavis-1014x628.jpg "Mrs. Doubtfire Musical Melbourne Australia Jake Speer • The Scoop")Jake Speer as Mrs Doubtfire and Daniel Hillard Photo by John TsiavisBased on the 1993 hit film *Mrs Doubtfire* starring the much-loved Robin Williams, the musical played to sell-out crowds in the West End for almost two years as well as a Broadway season and tours across the US, Germany, South Korea and Brazil. A UK tour has recently been announced to begin in August this year. Featuring all the iconic moments you know and love, plus fabulous new songs and show-stopping dance numbers, **MRS. DOUBTFIRE** is directed by four-time Tony Award winning Jerry Zaks**.** Out-of-work actor Daniel Hillard will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate bid to stay in their lives. But as his character takes on a life of its own, Daniel discovers more than he bargained for about family, love and what it really means to be a father. Director Jerry Zaks most recently directed his 26th Broadway production, *The Music Man* starring Hugh Jackman and Sutton Foster. Other recent productions include the Tony Award-winning production of *Hello, Dolly!*, Steve Martin’s *Meteor Shower* and *A Bronx Tale*. He has received four Tony Awards and eight Tony Award nominations; four Drama Desk Awards; two Outer Critics Circle Awards and an Obie. He also directed the award-winning film *Marvin’s Room*, starring Meryl Streep and Diane Keaton, and *Who Do You Love?* ***Mrs. Doubtfire* opens in Melbourne at the Princess Theatre from 25 November. It then runs in Sydney at the Capitol Theatre from March 2027.** Tickets for Melbourne are available [here](https://mrsdoubtfiremusical.com.au/tickets/melbourne/). Tickets for Sydney are available via the waitlist [here](https://mrsdoubtfiremusical.com.au/tickets/sydney/). Website: <https://mrsdoubtfiremusical.com.au/> Socials: <https://www.instagram.com/mrsdoubtfiremusicalau/> [Read our Interview with Jake Speer!](https://thescoop.au/meet-jake-speer-your-new-mrs-doubtfire/) Hero image: Gabriel Vick in the West End production of MRS. DOUBTFIRE. Photo by John Persson **Categories:** News --- ### [Review: Into The Woods Finds The Magic In Happily Ever After](https://thescoop.au/review-into-the-woods-finds-the-magic-in-happily-ever-after/) **Published:** August 16, 2026 **Author:** Sophie Cornett **Content:** ![The Scoop Into The Woods Company of Dramatic Arts CODA](https://thescoop.au/wp-content/uploads/2026/08/Tessa-Piper-Chris-The-Bakers-Wife-the-Baker-Little-Red-942x628.jpg "Into The Woods Company of Dramatic Arts CODA • The Scoop")*Into the Woods* is a show that holds a concrete position in musical theatre history. The tale first debuted in 1986 and is a perfect example of the classic Stephen Sondheim theatrical style. Since then, many have retold this twisted fairy tale. Company of Dramatic Arts (CODA) has produced a delightful rendition of this legendary show, continuing to explore the age-old idea that a happy ending does not always look the way we think it will. *Into the Woods* intertwines the tales of several Brothers Grimm fairy tale characters, centred around the wish of a baker and his wife to have a child. As the ensemble of characters enter the woods, they achieve everything they ever wished for. But this does not lead to the exact happy ending they had imagined. For those who may be less familiar with the plot, a warning that the show does contain some mature and sensitive themes. An announcement is made at the beginning of the show advising that patrons are welcome to leave the theatre at any time if needed. Despite the fairy tale through-line, there are concepts in this show that may not be appropriate for young children. Director Daniel Walsh has crafted a wonderful production that truly allows the talent, ingenuity and camaraderie of the entire cast and crew to shine. The theatre design feels very immersive, which is a perfect reflection of the relevance of the themes explored beyond the fairy tale realm. Musical director Dom Serov has done a great job of directing the cast through the musical complexity of this production. It is also delightful to watch the band come to life during the show. ![The Scoop Into The Woods Company of Dramatic Arts CODA](https://thescoop.au/wp-content/uploads/2026/08/Cinderellas-Prince-Steward-Maximillian-Kendrick-Jody-Villanueva-942x628.jpg "Into The Woods Company of Dramatic Arts CODA • The Scoop")It is clear to see how the cast have come together to support each other Photo by Izzy SergiThis is a very ensemble-driven musical, and it is clear to see how the cast have come together to support each other through this immense production. While I unfortunately can’t shout out here the performance of every cast member, the entire cast’s characterisation and vocal harmonies are masterful. Chris Rutter is marvellous as the Baker, perfectly reflecting the evolution of the character’s mindset as he is transformed by the journey through the woods. Tessa Marsden performs as the Baker’s Wife. Her vocal talent and characterisation truly shine throughout the story. The Witch is masterfully portrayed by the powerhouse performer Claire Garment. It is incredible to see her command the stage. Her softer side is very much revealed in her interactions with Rapunzel, played by Bailee Guyer, whose ethereal vocals absolutely soar through the theatre. Jason Kennedy-Davidson is so much fun to watch, as he injects trouble into the story as both the Mysterious Man and the Narrator. Tahlia Allen is a beautiful Cinderella, capturing the character’s strength and kindness in her performance. Alexander Miech wonderfully portrays the clumsy teenage antics of Jack. It is also so delightful to watch his interactions with Milky White, puppeteered by Olive Caraturo, and his put-upon mother, played by Olivia Dustmann. ![The Scoop Into The Woods Company of Dramatic Arts CODA](https://thescoop.au/wp-content/uploads/2026/08/Olive-Caraturo-Alexander-Miech-Milky-White-Jack--942x628.jpg "Into The Woods Company of Dramatic Arts CODA • The Scoop")Into the Woods is a show that holds a concrete position in musical theatre history Photo by Izzy SergiI do have to give an honourable mention to Olive’s performance. Watching her bring the emotions and reactions of Milky-White to life was an absolute highlight of the show for me. Piper Ellis is charmingly chaotic as Little Red, and it is a delight to see her grow throughout the story. Maximillian Kendrick performs double duty as the sly Wolf and Cinderella’s Prince, and he embodies both characters with aplomb. *Agony*, which he performs alongside Rapunzel’s equally suave Prince, played by Hudson Perry, is a joy to watch. A shout-out to Hudson’s performance; his interactions with the audience and reactions on stage have perfect comedic timing. Opening night experienced a few issues associated with awkward scene transitions and slightly off lighting cues. However, I do want to praise the professionalism of the entire cast, crew, musicians and technical team. It was wonderful to see how supportive they were of each other on stage and how they worked together to adapt to the challenges. *Into the Woods* is a massive, delightful show. This latest production is an absolute testament to the dedication and talent of the performers, creative and technical team of CODA. At a time when supporting local musical theatre is more important than ever, this is absolutely a show to see! ***Into The Woods* is presented by Company of Dramatic Arts and runs to 22 August. PACT Centre for Emerging Artists, 107 Railway Parade Erskineville NSW 2043.** Tickets: <https://events.humanitix.com/coda-presents-into-the-woods> Website: <https://www.companyofdramaticarts.com/> Socials: <https://www.instagram.com/companyofdramaticarts/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Izzy Sergi **Categories:** Musical Theatre, Sydney --- ### [Get To Know The Stars Of The Shawshank Redemption](https://thescoop.au/get-to-know-the-stars-of-the-shawshank-redemption/) **Published:** August 16, 2026 **Author:** Caitlin Green **Content:** ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-15-at-82910-pm-942x628.png "The Shawshank Redemption 2027 Australian Tour • The Scoop")This week, the first cast members for the 2027 Australian premiere of *The Shawshank Redemption* were announced, with **David Berry** and **Bert LaBonté** taking on the iconic roles of Andy Dufresne and ‘Red’ Redding. They join Rodger Corser as The Warden. One of the most popular and enduring films of all time, and based on Stephen King’s novella, *The Shawshank Redemption* tells a story of hope, friendship and the resilience of the human spirit. Wrongly convicted of the brutal murders of his wife and her lover, Andy Dufresne is sentenced to life imprisonment in the notorious Shawshank prison. As he navigates the harsh realities of incarceration, he forms an unlikely friendship with fellow inmate Red, discovering that even in the darkest of places, hope can endure. Ahead of the remaining cast announcement, The Scoop sat down with David and Bert for an extended chat. Although they haven’t known each other for long, the pair share an easy chemistry as they discuss their favourite comfort films, the best directorial advice they’ve received and why they believe this enduring story is still relevant. Read the full interview below. Firstly, congratulations on your roles. What was your reaction when you found out you’d be playing Andy and Red? **David:** A mixture of feelings. It’s a little bit terrifying, and it’s also really exciting because these characters are so beloved. **Bert:** So beloved. And you sort of go, “Oh yes, absolutely.” But then you’re like, “Oh, hang on a minute..” **David:** …What have I agreed to? **Bert:** What have I agreed to. No, look, predominantly super excited that we’re going to bring these characters to life, and David’s an extraordinary actor, so it’s lovely to be able to play opposite him. **David:** Oh, stop. **Bert:** Okay, I will. ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-15-at-82006-pm-932x628.png "The Shawshank Redemption 2027 Australian Tour • The Scoop")David Berry as AndyThe relationship between Andy and Red is the emotional centre of the play. What do you do in rehearsals to build that connection between your characters? **David:** Well, we haven’t figured it out yet, but we’ve just added each other on Instagram, so we’ve taken the first big step. *(Laughs)* **Bert:** I think it’s just one of those things where you kind of cross fingers. We’ve never worked together before, but we hit it off immediately when we met. *The Shawshank Redemption* is one of the most beloved films of all time, and the themes continue to feel so relevant today. Why do you think it is such an important story to tell in 2027? **David:** It’s had longevity because the messages in it have such power and universality of hope and friendship and resilience. And of course it’s in the title: redemption. These are things that we all cling to in dark times and great times. They’re fundamental to what it means to be human. It really does a great job of tapping into that. **Bert:** *Shawshank*‘s one of those films, like your comfortable jumper films. You like to put it on every now and again just to bring you back to a place that is familiar and makes you feel certain things. That’s what this story is. It’s an incredible text as well. The writing is so good, and the characters are so rich and defined. Even the small characters. It’s such an ensemble piece. The world’s in an interesting place at the moment. It’s in a particularly precarious place. And I think stories about friendship and hope and resilience are really important right now. That’s what people are looking for. **David:** It’s funny. Even though I came to the movie later, and a lot of people came to it later, contemporary audiences are still discovering it now. Even at the time when people were watching it, it had a sense of nostalgia or warmth to it. And I don’t know what it is about the film, but it just feels immediately familiar, like that welcoming hug. It just gives you that sense of comfort and hope. ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-15-at-82631-pm-902x628.png "The Shawshank Redemption 2027 Australian Tour • The Scoop")Bert LaBonté as RedDo you have a warm jumper film that you both turn to? **Bert:** Well, *Shawshank* is one of them. I’ve seen it way too many times to admit, because you never think you’re going to be playing Red. Another warm jumper film? **David:** Mine might surprise you. **Bert:** Mine will definitely surprise you. Mine’s… **David:** Say it. **Bert:** I could get cancelled for this. Mine’s *Love Actually*. **David:** How are you going to get cancelled for that? **Bert:** Because people hate it. People have a real problem with it. **David:** Now I feel like I’m stepping out on the ledge when I say mine. **Bert:** What’s yours? **David:** Predator. *(Everyone laughs)* **David:** I don’t know what that says about my psychology. **Bert:** You would have been a kid when that came out. **David:** Don’t question it. **Bert:** A little kid. Rodger Corser has been announced as the Warden. What are you looking forward to about joining him in this world, and what does the dynamic between the three of you bring to the story? **Bert:** It’ll be exciting to work with Rodger. I’ve known him for a long time; I think it’s fantastic casting. He puts those glasses on, and he just looks like the role. **David:** I remember we had just briefly met each other, and then he put the glasses on. You could see the Warden very easily. And \*beep\* I could swear here, because we all know what function the Warden plays in the show. But I’d say that Roger’s not been cast to type in any way. I’m so excited to see what he’s going to bring to the role. ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-15-at-81607-pm-952x628.png "The Shawshank Redemption 2027 Australian Tour • The Scoop")Rodger Corser as The Warden David Esbjornson is directing you in this run. What is the best advice you’ve been given from a director previously? Something that you are going to bring to your preparation? **Bert:** Mine was: the truth can’t lose. If you believe what you’re saying, you’ll be fine. I remember it was the simplest direction I was ever given, and I utilise it a lot when I’m directing. Truth is your best friend. And on a play like this, I think that’s absolutely real. That’s what’s so rich about the film. These characters are so real. You know who they are without any introduction. There’s very little… What’s the word I’m looking for, David? **David:** Is it Predator? **Bert:** There’s very little build-up to who they are. You just know who they are. **David:** Preamble. **Bert:** Preamble. Thanks. That wasn’t the word, but it’ll do. *(Laughs)* **David:** I remember I was struggling one time with a particular thing that a character had to do, and I was being very closed-minded, saying I don’t think my character would do that. The director told me, “Look, you might think that, but characters can do anything.” And something about that really stuck with me. There’s endless possibility, endless choices that you can make. Your first choice, or the one you’re set on, isn’t always the correct one. A good director will help you find choices and enhance your performance. They’re the extra eye, the extra ingredient that can help you find something that is beyond yourself. ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-15-at-82403-pm-976x628.png "The Shawshank Redemption 2027 Australian Tour • The Scoop")Bert LaBonté David Berry and Rodger Corser Do you have any advice for young people who are trying to do the thing that you’re doing? Because it’s a tough industry. **Bert:** It is a tough industry. My advice. I’m 32 years deep now, and I always say this to young people, and I’ve done a bit of teaching as well. You’ve got to have a crack for a period of time. Don’t give yourself a timeline, but both feet have to be in. A lot of young people come into this industry now, and they’re like, I’m also studying this. If you’ve got one foot in another thing, that’s one foot out the door. You’re probably not going to commit to this, and that’s okay. There’s no shame in that. But if you’re going to have a go at this industry, you have to be all in for the time you give yourself. And that’s a tough period. Because you may be living just above the poverty line for a moment. You may be doing independent stuff and not getting paid what you deserve. But if you push hard enough, that wall will break, and you will find out what that is. Or you’ll discover this isn’t for you. But at least you had a go. **David:** I think young people are inundated with trying to get practical advice from either their parents or other actors. At the end of the day, no one really knows how they made it work. You just have to maintain a curiosity and see where it takes you. I often reflect on this because I do some teaching too, and I think the students that will have the most success are the ones that remain curious. When I started out, I would just get together with mates, and we wanted to sing. So we started busking at the local shopping centre, and that led to talent quests. Which led to being more comfortable in front of an audience. There was no, well, do this, and then this leads to that. Because no one can plot that out for you. It was just me following a curiosity, to the point where I was like, “Oh, how did I end up here? Oh, wow! Isn’t that a surprise?” **Bert:** I was in a band for nine years and doing cover gigs every weekend, and that was my outlet. Even though I wasn’t in the theatre or doing plays or TV, I was performing every weekend. And I think it’s what kept me in there because I just felt like I was still doing something in the space. ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-15-at-81210-pm-936x628.png "The Shawshank Redemption 2027 Australian Tour • The Scoop")David Berry and Bert LaBontéWhat do you think has made your career sustainable? What have you done for yourself that has made you feel like you can keep doing the uphill climb, especially in the early days? **Bert:** This is completely personal. But you’ve got to have interests outside of this. You can’t go to bed with this, or you’ll go crazy. The words I’m about to say are wrong, but I cared a bit less. Which, in turn, helped me focus when I was actually at the job. Whereas if you do the job and then you go home and you’re still doing the job, it’s not healthy. And it shows in your work and in your personality when you get into a room for an audition, or you’re in a cast, and it’s all about the job. You’ve got to have stuff outside just to keep yourself sane. **David:** Just to build on that, I owe a lot of my career to the support that I’ve had through my parents, through other people that are outside of my acting life, my partner’s family. I don’t think it’s possible to be in this industry and think that you can just lone-wolf it. You are reliant on people who believe in you, who have really backed you, and full credit to them. I couldn’t take all the credit for myself. Everyone struggles at times in this industry, and you need someone to help support you. And that’s usually the people who are closest to you: your family and loved ones. Whether its friends or a community, you need to find people who are going to love and support you. **David Berry and Bert LaBonté star in*The Shawshank Redemption* which opens 2 January at the Theatre Royal Sydney. It then embarks on a national tour. See full dates below.** Tickets are available [here](https://www.shawshanklive.com.au/#tour-dates). Website: <https://www.shawshanklive.com.au/> Socials: <https://www.instagram.com/shawshanklive/> [Read more about The Shawshank Redemption](https://thescoop.au/announcing-lead-cast-for-shawshank-redemption/) Hero image photo credit: Daniel Boud 2027 Australian Tour: Sydney from 2 January, Theatre Royal Melbourne from 4 February, Playhouse, Arts Centre Melbourne Perth from 12 March, Regal Theatre Adelaide from 1 April, Her Majesty’s Theatre Other venues still to be announced. Adapted for the stage by Owen O’Neill and Dave Johns, based on the novella *Rita Hayworth and Shawshank Redemption* by Stephen King. Directed by David Esbjornson. Produced by Impresario Productions, by arrangement with Bill Kenwright Limited. By arrangement with Knight Hall Agency Ltd in association with Paradigm Talent Agency. **Categories:** Features --- ### [Review: Animal Farm Finds New Bite In Orwell's Warning](https://thescoop.au/review-animal-farm-finds-new-bite-in-orwells-warning/) **Published:** August 14, 2026 **Author:** Jack Bengough **Content:** ★★★★☆ ![The Scoop Animal Farm Bloomshed Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Animal-Farm-2023_Bloomshed_Darebin-Arts-Speakeasy_photo-Sarah-Walker_2-944x628.jpg "Animal Farm Bloomshed Melbourne • The Scoop")On Wednesday night, Bloomshed opened a new season of *Animal Farm*, based on the novella by George Orwell, at Melbourne Arts Centre’s Fairfax Studio. Presenting at first blush as a bombastic, comedic take on the literary classic, *Animal Farm* manages to deliver a surprisingly potent message on our current times. Bloomshed is a close-knit company of performers who have been creating devised theatre since 2012. Their primary interest is to explore present-day political issues through the lens of theatre. Their adaptation of *Animal Farm* is no exception, diverting from the novella’s look at the Soviet Union under Joseph Stalin in the 1940s to instead look at current-day Australia. For those not familiar with the original work: *Animal Farm* tells the story of a farm owned and operated by a drunkard farmer, Mr Jones, who makes the lives of the farm animals miserable. Following the death of the elderly boar Old Major, two pigs, Snowball and Napoleon, orchestrate a rebellion against Mr Jones, and the animals successfully run him and his family off the farm. For a time, the animals live in utopian bliss under a new political structure they dub ‘Animalism.’ This utopia does not last, however, as Napoleon overthrows Snowball as the leader of the farm, and he subverts and twists the doctrines of Animalism to suit himself, turning the rest of the animals’ lives into misery. ![The Scoop Animal Farm Bloomshed Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Animal-Farm-2023_Bloomshed_Darebin-Arts-Spekeasy_photo-Sarah-Walker_4-944x628.jpg "Animal Farm Bloomshed Melbourne • The Scoop")The production reminds us that the story was always much more than just about Stalin Photo by Sarah WalkerBloomshed’s take on the tale sticks largely to the original story, but it is performed in an unexpected way. There is a heightened comedic sensibility to the show, which may take audiences a moment to warm into. Old Major is depicted at the start of the production with a head in the fashion of *Peppa Pig*, and the opening sequence is punctuated with the sounds of a rubber chicken being squeezed. There are delightfully choreographed dance numbers, witty back-and-forths between performers, and a beautiful rendition of *Wicked Game* by Chris Isaak. Everything is heightened to make light of the sheer absurdity of the situation, and to that end all choices prove effective. In the third act of the show, Bloomshed surprises the audience with an unexpected twist. The original narrative is scuttled partway through, and we are taken to a completely original sequence that grounds the narrative of *Animal Farm* in our current time and place. In doing so, it reminds us that Orwell’s novella was always much more than just about Stalin. Elizabeth Brennan delivers a delightfully filthy performance as Napoleon, regularly stealing scenes with the character’s mischievous antics. Lauren Swain accompanies Brennan as Napoleon’s conniving, fast-talking spokesperson, Squealer, in a perfectly slimy performance. James Malcher, Edan Goodall, Laura Aldous, Anna Louey and Sam Nix each play a variety of roles. These performers as a unit are undoubtedly the show’s backbone, as they flesh out scenes as various farm animals and other characters integral to the show’s final scene. ![The Scoop Animal Farm Bloomshed Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Animal-Farm-2023_Bloomshed_Elizabeth-Brennan-Lauren-Swain-Laura-Aldous_Darebin-Arts-Speakeasy_photo-Sarah-Walker-944x628.jpg "Animal Farm Bloomshed Melbourne • The Scoop")There is a heightened comedic sensibility to the show and delightfully choreographed dance numbers Photo by Sarah WalkerIt is Syd Brisbane, however, who stole the hearts of the audience on opening night. As the aged horse Boxer, Brisbane becomes the emotional lens through which we witness the true impact of the dystopia Napoleon has created. On the technical side, sound design by Justin Gardam is a major standout. Motifs like the rubber chicken squawks teamed with a strong soundtrack create an exceptionally strong atmosphere. Nathan Burmeister and Samantha Hastings’ set gives the cast lots of dimension to play with. The addition of the mirror upstage adds much to the visual presentation of the production. Lighting by John Collopy is appropriately restrained for the most part but dazzles up some of the bigger scenes of the performance. Bloomshed’s *Animal Farm* is a must-see adaptation for our times. It is funny and frequently absurd, but underneath the laughter is a message that lands with uncomfortable force. ***Animal Farm* is presented by Bloomshed and runs to 22 August at Fairfax Studio, Arts Centre Melbourne.** It then runs 3 – 5 September at the Canberra Theatre Centre. Tickets: <https://www.artscentremelbourne.com.au/whats-on/2026/theatre/animal-farm> Website: <https://www.bloomshed.org/animal-farm-1> Socials: <https://www.instagram.com/thebloomshed/> and <https://www.instagram.com/artscentremelbourne/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Sarah Walker **Categories:** Melbourne, Theatre --- ### [Review: Do Not Go Gentle Refuses To Go Quietly](https://thescoop.au/review-do-not-go-gentle-refuses-to-go-quietly/) **Published:** August 15, 2026 **Author:** Isabella Visser **Content:** ★★★★☆ ![The Scoop Do Not Go Gentle Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/08/stephen-henry-7404305-942x628.jpg "Do Not Go Gentle Queensland Theatre Company • The Scoop")What does a crew of early 20th-century explorers to Antarctica have in common with a group of modern-day aged care residents? A boundless hope, an adventurous spirit, regrets, and more. They explore life’s biggest questions in Patricia Cornelius’s beautifully haunting *Do Not Go Gentle,* presented by Queensland Theatre Company. A strange obsession with a failed mission sees five senior residents living with dementia navigate their past and come to terms with their futures as they slip closer and closer to the great unknown. In November 1911, their hero, British naval Captain Robert Falcon Scott (William Zappa), led a dangerous expedition into the freezing, unexplored Antarctic landscape with the goal of becoming the first person to reach the South Pole. However, in a race against Norwegian rival Roald Amundsen, Scott ultimately lost despite his fierce determination and unrelenting spirit. *Do Not Go Gentle* masterfully juxtaposes a doomed voyage with a life well lived. It is one long, spectacular metaphor for everything you dream of accomplishing but will never be able to do. Playwright Patricia Cornelius is a trailblazer in Australian theatre, with works including *My Sister Jill* (2002), *Slut* (2008) and *Runt* (2021). Cornelius proudly voices the aspirations and concerns that make up the lives of everyday Australians existing in the margins of society. ![The Scoop Do Not Go Gentle Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-15-at-24648-pm-1200x622.png "Do Not Go Gentle Queensland Theatre Company • The Scoop")The play tracks five senior residents living with dementia as they navigate their past via a strange obsession with a failed mission Her writing for *Do Not Go Gentle* has won multiple awards, including the NSW Premier’s Literary Award for Drama and the Victorian Premier’s Louis Esson Prize for Drama, both in 2011. The play premiered at Melbourne’s fortyfivedownstairs theatre before making its mainstage debut in 2023 with Sydney Theatre Company. In this production, award-winning and internationally renowned director Heather Fairbairn expertly paves the way to success. Under her guidance, the story’s themes of hope and resilience blossom. Fairbairn brings warmth to the cold and clinical climate and will have audiences hoping for a different ending to the perpetually doomed voyage. Leading the band of explorers is William Zappa as the perseverant Scott. He brilliantly embodies the confidence and optimism needed to guide the steadfast crew to the South Pole. Jennifer Flowers’ portrayal of Wilson is an absolute ray of sunshine. Surrounded by the sombre tones of the play, Flowers’ compassion and eagerness are a comforting light. Playing an ambitious retired journalist plagued by a failing mind and too many questions she can’t find answers to is the wonderful Christen O’Leary. Her unshakable passion and energy as Bowers are inspiring. She expertly balances both the courage and fear that occur when living with dementia. ![The Scoop Do Not Go Gentle Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/08/stephen-henry-7404222-1018x628.jpg "Do Not Go Gentle Queensland Theatre Company • The Scoop")The designs are deceptively minimal but slowly transform to reveal more about the characters Photo by Stephen HenryThe barren and eerie landscape of Antarctica is brought to the stage by designer Simone Romaniuk. At first, her stage design seems minimalistic and practical, with delicate white curtains representing snow and tents, as well as a wall of mirrors that reflect out into the audience. But as the show continues, Romaniuk’s full artistic talent is unveiled, with the stage and costumes slowly transforming to reveal the characters’ real life outside of their shared delusion. Sound designer Julian Starr and composer Alan John present a beautifully melancholic ambience. The combination of piano and 90-year-old Marilyn Richardson’s stunning operatic singing is mesmerising. *Do Not Go Gentle* celebrates the power of imagination as a tool to escape a painful and hard reality. It shows the depth and wisdom that comes with age, all the while poking fun at its little quirks. It will have audiences leaving the theatre misty-eyed and dreaming up their own adventures. Ultimately, *Do Not Go Gentle* shows the cold, hard truth of what really matters in life: companionship, purpose and the chance to leave behind a legacy that cannot be forgotten. It is a final voyage towards finding all three. ***Do Not Go Gentle* is presented by Queensland Theatre Company and runs to 30 August. Bille Brown Theatre**, **78 Montague Road South Brisbane 4101.** Tickets are available [here](https://tickets.queenslandtheatre.com.au/events?startDate=2026-08-11&_gl=1%2A1m0rkn4%2A_gcl_aw%2AR0NMLjE3ODY3MDk2OTMuQ2owS0NRanctZnJUQmhDdkFSSXNBRHY0WFk1TTRIOTlKOWotUHdpNzJ6LUtoSndkdHlVczZMa3dfZTMxc1hEQ2p3OVB6RTIxTURqT2R0c2FBc2JvRUFMd193Y0I.%2A_gcl_au%2AMTg2MTA4NzQxNC4xNzgyMzQ5OTc0%2A_ga%2AMTc4OTE4MDE2Ni4xNzgyMzQ5OTc0%2A_ga_JCHWY8Q8C3%2AczE3ODY3NjY4NzAkbzEzJGcxJHQxNzg2NzY2ODg0JGo0NiRsMCRoMA..). Website: <https://queenslandtheatre.com.au/plays/do-not-go-gentle> Socials: [https://www.instagram.com/qld\_theatre/](https://www.instagram.com/qld_theatre/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Stephen Henry Watch the cast and creatives on Do Not Go Gentle in this brief: **Categories:** Brisbane, Theatre --- ### [Announcing Cast For Mamma Mia! At The Star Gold Coast](https://thescoop.au/announcing-cast-for-mamma-mia-at-the-star-gold-coast/) **Published:** June 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Mamma Mia! Gold Coast](https://thescoop.au/wp-content/uploads/2026/06/Jo-Anne-Jackson-Juliette-Coates-Timothy-Aaron-Cooper-and-Chloe-Rose-Taylor-942x628.jpg "Mamma Mia! Gold Coast • The Scoop")The world’s favourite feel good musical ***Mamma Mia!*** is coming to **The Star Gold Coast** for a limited season from **4 September 2026.** **The Very Popular Theatre Company** is thrilled to announce a dynamite cast of 31 stage performers from across the country, with five Gold Coast and Brisbane cast members in principal roles. The global phenomenon will bring its joyous energy to South East Queensland fans, who are encouraged to sing along to 22 of ABBA’s greatest hits as they’re swept away by *Mamma Mia!*’s heartwarming, hilarious and uplifting story. Tickets are selling fast via [mammamiagoldcoast.com.au](https://mammamiagoldcoast.com.au/). Leading the cast is **Erin Cornell** (*Wicked, CATS*) as Donna Sheridan (played by Meryl Streep in the movie). Brisbane’s **Chloe Rose Taylor** (*Beauty and the Beast* UK Tour, *Cinderella* UK Tour) is Tanya and Gold Coaster **Jo-Anne Jackson** (*Titanique, Elvis: A Musical Revolution*) is Rosie. The trio make up the iconic all-female ‘70s band ‘Donna & the Dynamos’. The Gold Coast’s **Emily Monsma** (*Wicked, Hairspray*) will star as Donna’s daughter Sophie Sheridan (played by Amanda Seyfried in the movie). **Emily Monsma** said: *“I’m super excited to be back on the Gold Coast performing in Mamma Mia! It’s a show I hold very dear to my heart. I remember growing up and singing all the ABBA songs with my grandma and sister, and seeing an ABBA tribute show at The Star when I was 11 years old.”* ![The Scoop Mamma Mia! Gold Coast](https://thescoop.au/wp-content/uploads/2026/06/L-to-R-Juliette-Coates-Emily-Monsma-Jo-Anne-Jackson-Chloe-Rose-Taylor-and-SEQ-ensemble-cast-942x628.jpg "Mamma Mia! Gold Coast • The Scoop")Emily Monsma with some of the cast of Mamma Mia Photo by AC PhotographySet on a stunning, sun-soaked Greek island, the story follows a mother, her daughter and three potential dads, all brought to life through ABBA’s unforgettable pop masterpieces. With hits like **Dancing Queen, SOS** and **Mamma Mia,** the show promises an unforgettable night of live music and laughter. Other principal cast members include **Matt Edwards** (*Mamma Mia!*, *CATS*) as Sam Carmichael, Brisbane’s **Timothy Aaron Cooper** (Broadway National Tour of *A Gentleman’s Guide to Love and Murder, Jersey Boys*) as Harry Bright, **Danny Folpp** (*Billy Elliot, Chicago*) as Bill Austin, **Harley Dasey** (*Evil Dead the Musical, Avenue Q*) as Sky, **Samuel Allsop** (*Tarzan, Kinky Boots*) as Eddie, **Jake Ameduri** (*Sister Act, American Psycho*) as Pepper and Brisbane’s **Juliette Coates** (*Calamity Jane, Eat Slay Zombie*) as Ali. The electric ensemble also showcases a strong contingent of South East Queensland talent, including Gold Coast performers **Bella Keightley**, **Shelby Giles**, **Greyson Vaughn**, **Isaac Short, Kelsey Spencer, Anthony Vitetzakis** and **Ben Sullivan**. They join Brisbane artists **Lucy Ross, Laura Garrick**, **Isabel Kruse, Justin Wise, Hunter Ireland**, **Alex Watson** and **James Mac Callum**. ![The Scoop Mamma Mia! Gold Coast](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-20-at-102133-pm.png "Mamma Mia! Gold Coast • The Scoop")Ensemble cast from around Australia include **Portia England, Kaitlin West, Dijana Razumic, Katie Loxston, Cody Clayton** and **James Bird.** Together, the ensemble has worked on a formidable number of major productions such as *Wicked, Jersey Boys, Come From Away, Kinky Boots, Legally Blonde* and internationally touring shows, while featuring some of Queensland’s most exciting new musical theatre talent. The production’s acclaimed creative team includes Director **Erin James** (*Superstars – A Musical Celebration*, *She Loves Me*), with Associate Director **Sophie Carmody**. Musical Supervisor **Dan Wilson,** Musical Director **Jonathon Gardner** and Choreographer **Rachel Stark**. Collectively, the team has worked on major productions of *Wicked, The Lord of the Rings: A Musical Tale, Jersey Boys, Billy Elliot, Chess, Rock of Ages* and *Mamma Mia!* *Mamma Mia!* has captivated over 70 million people across the globe since its 1999 debut in London’s West End, with the 2008 movie adaptation becoming one of the highest grossing movie musicals of all time. Queensland audiences are advised to secure their seats fast for the smash-hit stage show that celebrates a joy like no other! ***Mamma Mia!* is presented by The Very Popular Theatre Company and runs from 4 – 20 September at The Star Gold Coast, Casino Drive, Broadbeach Qld 4218.** Tickets are available [here](https://mammamiagoldcoast.com.au/#tickets). Website: <https://mammamiagoldcoast.com.au/> Socials: <https://www.instagram.com/mammamiagc/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: AC Photography **Categories:** News --- ### [Review: The Sound Inside Listens To The Stories We Tell Ourselves](https://thescoop.au/review-the-sound-inside-listens-to-the-stories-we-tell-ourselves/) **Published:** August 14, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Woman in yellow sweater sits at wooden desk across from a man in a green jacket on a theater stage; desk holds books, papers, and stationery.](https://thescoop.au/wp-content/uploads/2026/08/R6_23778-942x628.jpg "The Sound Inside Holden Street Theatres • The Scoop")A woman stands beneath an illuminated streetlamp beside an empty park bench on Yale University’s campus. It is the middle of the night and she cannot sleep. Dressed in the yellows and browns of an academic, or possibly Velma from *Scooby-Doo*, Michelle Nightingale’s Bella Baird is alone but never experiences silence. Her inner monologue keeps talking. This is *The Sound Inside*. Adam Rapp’s intimate two-hander, presented by Holden Street Theatres, explores the voice within us and the things we use to escape it. Books, phones, sex, work and other people can distract us, but the mind is a persistent narrator. It examines our lives, rewrites our memories and sometimes convinces us that its bleakest interpretation must be the truth. Bella is a successful novelist and Yale creative-writing professor whose home is filled with books, including treasured first editions. Christopher Dunn (Benji Riggs) is a precocious, combative student who arrives at her office without an appointment and immediately violates the usual boundaries between teacher and pupil. Both have become misanthropes. Christopher rages against peers who lose themselves in the endless scrolling of their phones, describing social media as a form of “mental syphilis”. Bella largely agrees. Her longer historical view, however, recognises that the urge to escape ourselves is not new. Before we disappeared into screens, we disappeared into novels. Dostoyevsky’s *Crime and Punishment* becomes a recurring presence. It is ostensibly a novel about murder and morality, but Rapp is more interested in the voice that follows Raskolnikov afterwards. The act is completed. The mind refuses to let it end. Bella and Christopher are drawn together through this shared compulsion to read, interpret and create. Director Nick Fagan describes the play as resembling “a novel being written in real time”, and the production embraces that structure. Bella narrates sections of the action between passages of dialogue, moving between participant, author and unreliable interpreter of her own life. Christopher is also writing a novel. His emerging work draws upon his encounters with Bella, his autobiographical history, his inner monologue and the books that have formed him. David Foster Wallace’s *Infinite Jest* is not simply his favourite novel. Christopher calls it “his planet”, an admission containing both devotion and danger. Living within somebody else’s imaginative world can expand your own. It can also colonise it. Bella’s debut novel enters Christopher’s literary bloodstream alongside Dostoyevsky and Wallace. Rapp uses their conversations to examine the creative process without pretending that influence can be neatly separated from appropriation. Writers borrow plots, rhythms, ideas and structures from other writers. People do something similar. The voice we call our own contains parents, teachers, lovers, enemies and every book that has rearranged the furniture inside our heads. ![The Scoop Two young adults stand side by side on a dark stage; man in green jacket beside a woman in a mustard sweater, both looking off-camera.](https://thescoop.au/wp-content/uploads/2026/08/R6_24531-942x628.jpg "The Sound Inside Holden Street Theatres • The Scoop")The Sound Inside is concerned with connection and the difficulty of being known Photo by Leo HiragaFagan allows this literary density to breathe. That places an enormous burden on its two performers. Nightingale and Riggs meet it. Their American accents are remarkable, but the deeper achievement is their command of Rapp’s dense, precisely paced text. Neither performer makes the language sound memorised. Ideas appear to form in the moment, even as passages of narration demand the control and musicality of spoken prose. A particularly funny sequence finds Bella narrating a one-night stand with a hairy middle-aged man whose bad back dictates the rhythm of proceedings. His cautious thrusting resembles very small objects travelling along a production line. Nightingale describes the encounter with the emotional distance of a researcher documenting a minor industrial process. The laughter also exposes Bella’s predicament. She has tried to silence the sound inside with another body. Even during sex, she cannot stop narrating. Riggs gives Christopher the abrasive confidence of a brilliant young man who has learned enough to become contemptuous but not enough to doubt his contempt. The performers’ chemistry has foundations. Nightingale and Riggs previously worked together in *The Curious Incident of the Dog in the Night-Time*, and their trust is visible in the rhythm of these exchanges. Fagan’s direction and design keep the physical production restrained without making it static. A few carefully selected pieces establish the lonely Yale square, Bella’s office, a restaurant and her apartment. Martin Smith’s lighting design, supported by Charlie Dippy’s lighting and sound operation, redraws the space around them. The streetlamp isolates Bella in the darkness. Warmer light turns the same stage into dinner at a restaurant or Chinese takeaway at home. Heather Jones’ costumes reinforce the contrast between Bella’s curated academic identity and Christopher’s more agitated presence. These transitions are seamless enough that the production maintains the forward movement of a psychological thriller. The twists are best left undisclosed, although audiences confident they have solved the play early may find their own inner narrator is not as reliable as advertised. Holden Street Theatres’ production includes an interval, while Rapp’s original 90-minute structure does not. Ordinarily, interrupting a work dependent upon accumulating tension would be a substantial reservation. Here, the break arrives at an effective cliffhanger. ![The Scoop The Sound Inside Holden Street Theatres](https://thescoop.au/wp-content/uploads/2026/08/R6_23794-942x628.jpg "The Sound Inside Holden Street Theatres • The Scoop")Nightingale and Riggs make a demanding text feel like an intimate unpredictable conversation unfolding for the first time Photo by Leo HiragaModern audiences are accustomed to consuming psychological drama in 40-minute episodes rather than 90-minute marathons. More importantly, the interval gives everyone time to speculate over drinks. The theories continue in the foyer. Most will be proven wrong. Beneath its games with fiction and reality, *The Sound Inside* is concerned with connection and the difficulty of being known. Bella and Christopher try to escape themselves through each other. The complication is that another person cannot permanently silence the mind. At best, they can introduce a different voice. Death appears to offer the only complete reprieve from the sound inside. We did not possess an inner monologue before birth and apparently managed without one. Why, then, do we fear returning to that silence? Because the inner voice fears its own extinction most of all. It will make arguments for survival, but it can also deceive us. It can insist that hope has disappeared when we have merely lost sight of it. Bella and Christopher are both intelligent enough to examine their lives relentlessly. Neither is necessarily wise enough to recognise when examination has become entrapment. We are frequently warned about the dangers of avoiding our internal lives. Mindless scrolling diminishes attention. Constant stimulation prevents reflection. A society unable to sit with discomfort cannot understand itself. Rapp presents the other danger. In a world riven by overlapping crises, spending too much time alone with the voice inside can produce despair, cynicism and the belief that isolation represents superior insight. Nick Fagan’s South Australian premiere holds existential darkness, literary ambition and vicious humour in careful balance. Nightingale and Riggs make a demanding text feel like an intimate, unpredictable conversation unfolding for the first time. Perhaps theatre offers a happy medium. We sit together in the dark and listen to other people turn their inner lives into outer monologues. For a while, the sound inside our own heads has company. ***The Sound Inside* is presented by Holden Street Theatres and runs to 29 August in Adelaide. Holden Street Theatres, 32 – 24 Holden Street Hindmarsh SA 5007.** Tickets are available [here](https://holdenstreettheatres.online.red61.com.au/event/890:32/). Website: <https://www.holdenstreettheatres.com/the-sound-inside> Socials: <https://www.instagram.com/holdenstreettheatres/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Leo Hiraga **Categories:** Adelaide, Theatre --- ### [Announcing The Choir Of Man For Sydney This Summer](https://thescoop.au/announcing-the-choir-of-man-for-sydney-this-summer/) **Published:** August 14, 2026 **Author:** Newsroom **Content:** ![The Scoop The Choir Of Man Sydney Opera House](https://thescoop.au/wp-content/uploads/2026/08/ChoirOfMan_PRODUCTION-1-0379-Credit-The-Other-Richard-942x628.jpg "The Choir Of Man Sydney Opera House • The Scoop")Raise a glass this summer as international smash hit ***The Choir of Man*** opens its doors at the **Sydney Opera House**, with performances from **11 December 2026**. *The Choir of Man* is a stirring tribute to the power of music, community and friendship. It returns to Australia, on the back of sold-out US and European tours, and direct from a four-year run on the West End where it welcomed more than 280,000 people across a thousand performances. Tickets are on sale for the general public from 9am on **Friday 14 August** at [sydneyoperahouse.com.au](https://www.sydneyoperahouse.com/musical-theatre-cabaret/choir-man). Set in an on-stage pub, an ensemble of nine multi-talented instrumentalists combine foot-stomping singalongs and rollicking entertainment in this uplifting and celebratory production. Featuring classic rock, pub anthems and pop hits from artists such as Queen, Adele, Guns & Roses, Paul Simon, Avicci and Sia, this riotous night out is the greatest trip to “the local” you’ll ever have. Welcoming audiences into the best bar in the world with rousing harmonies and soulful storytelling will be **Mark Loveday** as the Barman alongside a cast of pub regulars. They include: **Ifan Gwilym-Jones** as Maestro, **Cal T King** as Beast, **Conor Mellor** as the Joker, **George Knapper** as Handyman, **Paul McArthur** as the Poet, **Kristian Morse** as The Hard Man, **Tyler Orphe-Baker** as Bore and **Tristan Whincup** as the Romantic. Rounding out the group are Resident Director and Swing **Norton James**, as well as **Alex Mallalieu** and **Bradley Walwyn** as Swings. Creator and Director **Nic Doodson** said: *“The Choir of Man is about individuality, generosity, humour and the joy of making music together. It’s a celebration of connection and belonging, brought to life by extraordinary voices and a soundtrack you already know and love. We can’t wait to embrace Sydney Opera House audiences into the community each night.”* ![The Scoop The Choir Of Man Sydney Opera House](https://thescoop.au/wp-content/uploads/2026/08/ChoirOfMan_PRODUCTION-1-0139-Credit-The-Other-Richard-942x628.jpg "The Choir Of Man Sydney Opera House • The Scoop")The Choir of Man West End season Photo by The Other RichardSydney Opera House Head of Contemporary Performance, **Harry Prouse**, said: *“Brimming with joy, The Choir of Man is an incredible success story of the Australian industry, from its origins with local creatives to a bona fide international-hit. It’s pure entertainment – equal parts pub night and live gig, all in an ode to friendship – it offers the ultimate leave-your-troubles-at-the-door night out. We’re thrilled to bring it back to the Sydney Opera House for a summer season filled with music, mates and good times.”* Contemporary Performance at the Sydney Opera House offers audiences entertainment in all its forms. From jaw-dropping circus and spectacular magic to side-splitting comedy, stories that capture the imagination told through dance or sung by powerful voices, to immersive experiences and cabaret that will get the heart-rate racing – the program guarantees a great night out for any occasion. It presents boundary-pushing performances, contemporary retellings of the classics and the productions and icons at the heart of popular culture – all brought to life by the crème-de-la-crème of artists, performers and directors from Australia and around the world. ***The Choir of Man* is presented by Sydney Opera House, Andrew Kay and Nic Doodson and runs from 11 December 2026. The Studio, Sydney Opera House, Bennelong Point Sydney NSW 2000.** Tickets are available [here](https://www.sydneyoperahouse.com/musical-theatre-cabaret/choir-man). Website: <https://www.sydneyoperahouse.com/musical-theatre-cabaret/choir-man> Socials: <https://www.instagram.com/sydneyoperahouse/> and <https://www.instagram.com/choirofman/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image credit: The Choir of Man, West End season. Photos by The Other Richard **Categories:** News --- ### [Announcing The Lion King Musical For Melbourne](https://thescoop.au/announcing-the-lion-king-musical-for-melbourne/) **Published:** August 13, 2026 **Author:** Newsroom **Content:** ![The Scoop Disney's The Lion King Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-13-at-93808-am-1200x541.png "Disney's The Lion King Musical Melbourne • The Scoop")One of the world’s most beloved stage productions is set to arrive in Melbourne, as **Disney’s THE LION KING** brings its internationally acclaimed production to audiences with performances from Thursday **25 March 2027**. Returning to Melbourne for the first time since 2015, the six-time Tony Award-winning musical will once again immerse audiences in its extraordinary blend of storytelling, breathtaking visuals and iconic music when the curtain comes up at the Regent Theatre. Tickets for the Melbourne season of **THE LION KING** go on sale from 9am on **Thursday 15 October** 2026. A waitlist to be one of the first in line for tickets is now open via [thelionkingmusical.com.au](https://thelionkingmusical.com.au/). The world’s #1 musical, THE LION KING is brought to life by an extraordinary company of performers from Australia, New Zealand and around the world. Now embarking on its third Australian tour, the landmark production has been experienced by more than 127 million people globally, a testament to the enduring power of its groundbreaking theatrical artistry. The Australian tour of Disney’s THE LION KING continues to achieve extraordinary success, breaking records while delighting audiences. Currently playing to sold-out houses in Sydney, the production has become the fastest-selling show in the history of the Capitol Theatre and recently recorded the highest-selling musical presale in Queensland Performing Arts Centre (QPAC) history. Critics have also been unanimous in their praise: *“There’s a reason The Lion King has stood the test of time. It is epic and heartfelt, with costumes and puppetry that continue to astonish. The music remains iconic, and the staging captures imaginations from the very first moment.”* – [The Scoop](https://thescoop.au/review-the-lion-king-sees-the-circle-of-life-perfectly-staged/) ![The Scoop The Lion King Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Aphiwe-Nyezi-as-Simba-The-Lion-King-c-Disney-Photo-by-Daniel-Boud-copy-985x628.jpg "The Lion King Musical Sydney • The Scoop")Aphiwe Nyezi as Simba in The Lion King Photo by Daniel BoudBuyi Zama leads the cast as Rafiki. She plays this iconic role for a third time here, having also held the role in the 2003 and 2013 tours. Zama is joined on stage by Nick Afoa as Mufasa, another alumni member of THE LION KING global family after making his theatre debut twelve years ago as Simba. Completing the principal cast is Daniel Frederiksen as Scar, Benn Welford as Zazu, Aphiwe Nyezi as Simba, Emily Nkomo as Nala, Jamie McGregor as Timon, Rutene Spooner as Pumbaa, Ezra Williams as Shenzi, Winston Hillyer as Banzai and Mat Verevis as Ed. A group of talented and diverse performers make up the ensemble, including: Shugri Abdi, Mario Acosta-Cevallos, Claire Abaijah-Griffin, Tara Bajan, Evangeline Batucan, Sophie Dadge, Ed Deganos, Leorate Dibatana, Junior Dilape, Matt Domingo, Joe Gaudion, Mukelisiwe Goba, Chaska Halliday, Jayme-Lee Hanekom, Annie-Lenore Hanman, Hamish Johnston, Khaya Mniki, Iteboge Modipane, Kearabetswe Mogotsi, Steven Mokone, Lwazi Mzimase, Buhle Nkomo, Rania Potaka-Osborne, Jack Rowan, Jacob Rozario, Laila Salloum, Asmara Soekotjo, Chemon Theys, Clifford Tlomatsana, Dean Vince, Tarisai Vushe, Brendan Xavier, Asemahle Xenti and Angel Zum. THE LION KING is the ninth Disney Theatrical Group production to tour the country over the past three decades, following acclaimed national tours of *Beauty and the Beast, Aladdin, Mary Poppins* and *Frozen*. Now in its fourth decade as a theatrical producer, Disney Theatrical is led by Managing Director Andrew Flatt and Executive Producer Anne Quart. Tickets for Disney’s THE LION KING Melbourne season will go on sale Thursday 15 October 2026 via the website. **Disney’s THE LION KING runs in Melbourne from 25 March 2027 at the Regent Theatre.** It is on now in Sydney and runs at the Capitol Theatre until Sunday 4 October 2026. Website: <https://thelionkingmusical.com.au/> Socials: <https://www.instagram.com/thelionkingau/> [Read our Review of the Sydney Season](https://thescoop.au/review-the-lion-king-sees-the-circle-of-life-perfectly-staged/) Photo credits: Daniel Boud 2026 / 2027 Australian Tour Dates: Sydney on now until 1 November, Capitol Theatre Brisbane from 15 November, Lyric Theatre QPAC Melbourne from 25 March, Regent Theatre Watch the trailer here: **Categories:** News --- ### [Review: Memento by Hear My Eyes Puts New Twist On Old Favourite](https://thescoop.au/review-memento-by-hear-my-eyes-puts-new-twist-on-old-favourite/) **Published:** August 11, 2026 **Author:** Jack Bengough **Content:** ★★★★½ ![The Scoop Hear My Eyes Memento Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Memento-1-942x628.jpg "Hear My Eyes Memento Melbourne • The Scoop")Australian music group Hear My Eyes returned to Melbourne’s Hamer Hall on the weekend in partnership with Melbourne International Film Festival to bring audiences a new re-imagining of another cult classic film, *Memento*. Fresh from teaming up with the Melbourne Electronic Sound Studio and co to deliver their take on James Cameron’s *Terminator 2: Judgement Day*, Hear My Eyes have teamed up with Michael “CAVS” Cavanagh of King Gizzard & the Lizard Wizard to re-imagine Christopher Nolan’s debut feature, released in 2000. Before major claims to fame like *Oppenheimer*, *Interstellar* and *The Dark Knight*, Christopher Nolan first made a name for himself with *Memento*, a neo-noir thriller that in many ways serves as the genesis of the filmmaker we know today. Starring Guy Pearce, *Memento* follows a man with short-term memory loss determined to find his wife’s killer. To bring the audience into the protagonist’s head space, the scenes are presented in reverse chronological order, starting at the end of the story and moving back to the beginning. Layers to the narrative are slowly revealed to the audience, completely re-contextualising future events they have already seen, by the end turning the entire plot, as the audience understood it, on its head. ![The Scoop Hear My Eyes Memento Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Memento-2-942x628.jpg "Hear My Eyes Memento Melbourne • The Scoop")Memento still holds up some 26 years after it was first released Photo by Simon Aubor*Memento* itself holds up some 26 years later. Guy Pearce joins co-stars Carrie-Anne Moss and Joe Pantoliano, who all turn in stellar performances. The mystery at the centre of the film, teamed with the unique elements employed by Nolan to convey the protagonist’s condition, comes together in exceptionally satisfying fashion. On its own merits, it is a film worth experiencing for anyone who is a fan of Christopher Nolan’s more recent output or even those simply looking for a tight mystery thriller for their Friday night movie watching. Australian outfit Hear My Eyes have been teaming up with various artists over the past few years to bring audiences re-imagined experiences for cult films. Back in April, the team stepped into more mainstream territory by pairing the Melbourne Electronic Sound Studio (MESS) up with *Terminator 2*. Off the back of that, they have made the clever choice to take an obscure release from a director whose latest film, *The Odyssey,* is now screening globally. Michael “CAVS” Cavanagh, the drummer for Melbourne-based rock band King Gizzard & the Lizard Wizard, enters the mix by providing an original, entirely percussive score played live over the film. With *Terminator 2*, MESS had a very traditional approach, with a score that was meticulously composed and rehearsed. ![The Scoop Hear My Eyes Memento Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Memento-3-942x628.jpg "Hear My Eyes Memento Melbourne • The Scoop")CAVS drumming feels precise and meaningful to the action occurring on screen Photo by Simon AuborDoing *Memento*, CAVS approaches the whole thing with a much more improvisational quality, swiftly moving between two custom drum kits to deliver his strictly percussive soundscape. His “prog rock” kit provides these dream-like synthetic beats, sometimes droning on to underpin a moment of tension or to provide a more dream-like ambience to scenes. On the other side of the stage, his more traditional jazz kit provided swinging beats, enhancing the more noir elements of the film and punching up the more action-packed sequences as well. It is worth noting that despite the improvisational quality to the performance, CAVS’ drumming always manages to feel precise and meaningful to the action occurring on screen. While the *Terminator 2* experience was very comfortable to sit back and let the movie speak for itself, only kicking into high gear during that film’s action sequences, CAVS was more than happy to jump right to the forefront even in the quieter, more dialogue-driven moments of *Memento*. This comes off as a harmless, if not welcome, decision to fans of the film. But for audiences seeing *Memento* for the first time, it may deter their experience. At its best, however, like during the film’s final sequence, CAVS’ drumming becomes almost cacophonous, as all the threads in the story begin to fall into place, while still leaving those breaths for the dialogue and performances in the movie to shine. For fans of the film, Hear My Eyes’ take on *Memento* is certainly not one to miss. ***Hear My Eyes – Memento* runs to 9 August at Hamer Hall, Arts Centre Melbourne as part of Melbourne International Film Festival. 100 St Kilda Road Southbank Vic 3006.** It then runs in Sydney on 29 August at City Recital Hall. Tickets are available [here](https://www.cityrecitalhall.com/whats-on/events/hear-my-eyes-memento/). Website: <https://www.hearmyeyes.com.au/events/memento/> Socials: <https://www.instagram.com/artscentremelbourne/> and <https://www.instagram.com/hearmyeyes/> [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Photo credits: Simon Aubor **Categories:** Concerts, Melbourne --- ### [Announcing Lead Cast For Shawshank Redemption](https://thescoop.au/announcing-lead-cast-for-shawshank-redemption/) **Published:** August 11, 2026 **Author:** Newsroom **Content:** ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/08/Rodger-Corser-David-Berry-Bert-LaBonte-The-Shawshank-Redemption-c-Daniel-Boud_56390-942x628.jpg "The Shawshank Redemption 2027 Australian Tour • The Scoop")The lead cast for the Australian tour of the stage adaptation of one of the most popular and enduring films of all time, ***The Shawshank Redemption***, was announced today. Direct from its acclaimed UK tour, *The Shawshank Redemption* will play in **Sydney**, **Melbourne**, **Perth** and **Adelaide** from **January** next year, with other venues to be announced. Tickets are on sale from Thursday with **presales starting today**. Head to [ShawshankLive.com.au](http://shawshanklive.com.au/) to buy tickets. Acclaimed television, film and theatre actor **David Berry** (*Outlander, A Place To Call Home, Home and Away*) will play Andy Dufresne, the quiet, smart former banker wrongly sentenced to life for murdering his wife and her lover. Cast as “Red” Redding, a long-term inmate known for smuggling contraband items into the prison who develops a friendship with Andy, is prolific stage and television actor **Bert LaBonté** (*The Book of Mormon, Colin From Accounts, Cloudstreet*). Returning to the stage after 20 years as the Warden, the deeply hypocritical, religious and cruel prison boss, will be one of Australia’s most recognised screen actors **Rodger Corser** (*Doctor Doctor, Rush*, Channel 9’s *The Floor*). **David Berry** said: “*I’m thrilled to be returning to the stage in such a timeless and deeply human story, alongside two extraordinary actors like Bert and Rodger*.” **Bert LaBonté** said: “*The opportunity to tell this iconic story – and to take on a role as rich and loved as Red was impossible to say no to.”* **Rodger Corser** added: *I can’t wait to get into the rehearsal room and begin exploring him*. *After 20 years in film and television, I couldn’t resist the opportunity to return to the stage for a story as powerful as The Shawshank Redemption.* *I**ts themes of hope, resilience and friendship resonate just as strongly today as they did when the film was released more than 30 years ago*.” ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/07/The-Shawshank-Redemption_3-c-Jack-Merriman-942x628.jpg "The Shawshank Redemption 2027 Australian Tour • The Scoop")Still from the 2026 UK production Photo by Jack Merriman*The Shawshank Redemption* is a powerful stage production that places you just metres from the action. Raw, intimate and deeply moving, this is theatre at its most compelling – where every moment unfolds live before your eyes. Based on Stephen King’s celebrated novella, this gripping adaptation tells an unforgettable story of hope, friendship and the resilience of the human spirit. Wrongly convicted of the brutal murders of his wife and her lover, Andy Dufresne is sentenced to life imprisonment in the notorious Shawshank prison. As he navigates the harsh realities of incarceration, he forms an unlikely friendship with fellow inmate Red, discovering that even in the darkest of places, hope can endure. But when the corrupt Warden seeks to exploit Andy’s talents for his own gain, a quiet and daring plan begins to emerge, one that will challenge the very walls of Shawshank itself. Adapted for the stage by Owen O’Neill and Dave Johns, and directed by David Esbjornson who directed Angela Lansbury and James Earl Jones in the Australian tour of *Driving Miss Daisy*, this acclaimed production captures the emotional power and humanity that have made *The Shawshank Redemption* one of the world’s most enduring stories. The 1994 film adaptation, nominated for seven Academy Awards, has become one of cinema’s most beloved classics. Now, experience a story of hope, friendship and redemption brought vividly to life in an unforgettable live theatrical event. ***The Shawshank Redemption* opens 2 January at the Theatre Royal Sydney before embarking on a national tour. See full dates below.** Presale tickets are available [here](https://www.shawshanklive.com.au/#waitlist). Website: <https://www.shawshanklive.com.au/> Socials: <https://www.instagram.com/shawshanklive/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Rodger Corser, David Berry, and Bert Labonté. Photo by Daniel Boud Adapted for the stage by Owen O’Neill and Dave Johns, based on the novella *Rita Hayworth and Shawshank Redemption* by Stephen King. Directed by David Esbjornson. Produced by Impresario Productions, by arrangement with Bill Kenwright Limited. By arrangement with Knight Hall Agency Ltd in association with Paradigm Talent Agency 2027 Australian Tour: Sydney from 2 January, Theatre Royal Melbourne from 4 February, Playhouse, Arts Centre Melbourne Perth from 12 March, Regal Theatre Adelaide from 1 April, Her Majesty’s Theatre Other venues still to be announced. **Categories:** News --- ### [Announcing Melt Festival 2026 Program](https://thescoop.au/announcing-melt-festival-2026-program/) **Published:** August 11, 2026 **Author:** Newsroom **Content:** ![The Scoop Melt Festival 2026 Brisbane Powerhouse](https://thescoop.au/wp-content/uploads/2026/08/Melt-Festival-26-Brisbane-Powerhouse-Rubber-Duck-by-Florentijn-Hofman-1034x628.jpg "Melt Festival 2026 Brisbane Powerhouse • The Scoop")Melt Festival, the biggest celebration of Queer arts and culture in Brisbane, returns with 100+ events across 70+ venues from 21 October – 8 November 2026. **Melt Festival** has today unveiled its biggest-ever program, transforming Brisbane into one of Australia’s most vibrant destinations for Queer arts and culture with over 100 events across more than 70 venues. Produced by **Brisbane Powerhouse**, Melt returns with a city-wide program spanning landmark public art, world premieres, headline concerts, spectacular river celebrations and powerful new Queer storytelling. **Louise Bezzina**, Brisbane Powerhouse CEO and Artistic Director said: *“Melt has always been about bringing people together through unforgettable shared experiences, and this year’s program does that on a scale we’ve never seen before. From international public art legend – Florentijn Hofman’s giant pink duck floating down the Brisbane River for our biggest-ever River Pride Parade, to a major new commission from Brisbane’s own Circa, the city will come alive in ways you simply won’t experience at any other time of year.* *Whether you’re part of the LGBTQIA+ community, an ally, a family discovering the festival for the first time or visiting Brisbane, Melt is an invitation to come together, celebrate and experience the city at its brightest.”* ![The Scoop Melt Festival 2026 Brisbane Powerhouse](https://thescoop.au/wp-content/uploads/2026/08/Melt-Festival-26-Brisbane-Powerhouse-The-Butterfly-Flew-into-the-Rave-1116x628.png "Melt Festival 2026 Brisbane Powerhouse • The Scoop")The Butterfly Who Flew Into The Rave Image suppliedChair for Community and the Arts Councillor **Vicki Howard** said Melt Festival’s biggest-ever program would create more to see and do across the city. *“When a five-storey pink duck takes up residence on the Brisbane River, you know the city is in for something special. Melt celebrates LGBTQIA+ artists, stories and communities through a major program of arts and cultural events.* *With so many wonderful events across so many venues, the festival will attract visitors, support local businesses and bring crowds to our popular lifestyle precincts from Fortitude Valley to Fish Lane. We are proud to support a festival that strengthens Brisbane’s reputation as an inclusive, welcoming city and Australia’s lifestyle capital.”* Minister for the Arts **John-Paul Langbroek** added: *“Queensland’s cultural events are a powerful draw card for visitors, giving people more reasons to come to Brisbane, stay longer and experience more of what the city has to offer. Melt Festival supports local businesses, adding to the energy of Brisbane’s restaurants, bars, entertainment precincts and visitor economy.* *The Crisafulli Government is proud to support events that grow visitation, strengthen local communities and showcase Queensland as a world-class destination for arts, culture and major events.”* Melt kicks off with its biggest and most ambitious opening weekend yet, transforming Brisbane’s streets, river and public spaces into a celebration of visibility, creativity and community. For the first time, **Brisbane Pride’s Rally and March and Fair Day** will align with **River Pride Parade** on **Saturday 24 October**, bringing together Brisbane’s largest celebrations in a single day that stretches from Fortitude Valley to New Farm and along the Brisbane River/Maiwar. ![The Scoop Melt Festival 2026 Brisbane Powerhouse](https://thescoop.au/wp-content/uploads/2026/08/Melt-Festival-26-Brisbane-Powerhouse-Mr-First-Nation-942x628.jpg "Melt Festival 2026 Brisbane Powerhouse • The Scoop")Miss First Nation at Melt Festival 2025 Image suppliedAs day turns to dusk, **River Pride Parade** returns in a new twilight time slot, with a colourful flotilla of boats and watercraft cruising from West End to Brisbane Powerhouse as thousands gather along the river to celebrate. Expanded riverside activations, dedicated viewing precincts and themed party boats promise an unforgettable afternoon that spills into the evening. A fleet of official party boats – including **WET ON DECK**, **Come To Daddy**, **Splash Out** and **FUEL** – bring even more colour, music and celebration to the river. The celebration continues at **Brisbane Powerhous**e, where **Melt’s Opening Party** with free entry keeps the energy going with DJs, live performances and festivities into the night. A central visual across the program is **Florentijn Hofman**‘s 15-metre, five-storey-high **Rubber Duck**. Reimagined in Melt’s signature hot pink, the monumental artwork will first appear on the Brisbane River/Maiwar near the CBD ahead of the festival, before joining the River Pride Parade as one of its flagship floats. It will then later take up residence near Brisbane Powerhouse for the duration of Melt. Having captivated audiences in Amsterdam, Hong Kong, Osaka, São Paulo and Pittsburgh, it’s set to become one of the defining images of Melt 2026. Another standout addition to the 2026 program is the inaugural **Mr First Nation**. Building on the success of Miss First Nation in 2025, producer **Ben Graetz**‘s new competition celebrates Aboriginal and Torres Strait Islander drag king performers and Blak excellence, with two heats leading to a glittering grand final on the festival’s opening weekend. Melt is also inviting Brisbane locals to become part of the festival through **Onesie World**, a major participatory artwork by artist and fashion researcher **Adele Varcoe** and celebrated Queer First Nations artist **Dylan Mooney**. More than an artwork to experience, Onesie World is a chance for the community to come together, get involved and help create a shared moment of queer joy and connection. ![The Scoop Melt Festival 2026 Brisbane Powerhouse](https://thescoop.au/wp-content/uploads/2026/08/Melt-Festival-26-Brisbane-Powerhouse-Adele_Varcoe_Onesie_World-1021x628.png "Melt Festival 2026 Brisbane Powerhouse • The Scoop")Onesie World Image suppliedFree community sewing workshops will run from **5 to 23 October** at Brisbane Powerhouse and the State Library of Queensland, inviting participants to help make 1000 onesies featuring Mooney’s iconic print. No sewing experience is needed. On **River Pride Parade day**, **24 October**, the onesies will be released back into the community, free to claim on a first-in-first dressed basis, transforming the Brisbane River into a vibrant collective celebration as thousands come together wearing a piece of the artwork they helped create. Beyond opening weekend, one of the festival’s defining artistic experiences is the world premiere of **Show Me Love**, a new Brisbane Powerhouse commission from the city’s globally recognised contemporary circus company, **Circa**. Created exclusively for Melt, this immersive production invites audiences to move through the hidden spaces and winding corridors of Brisbane Powerhouse, following Circa’s acrobats and guest artists as they explore the tension between instinct and control, vulnerability and strength, before culminating in a spectacular finale inspired by club culture. Across music, live performance and comedy, Melt welcomes internationally acclaimed artists alongside Australian favourites and exciting new voices. Arriving with a bang following his explosive rise to stardom in 2026, Queensland singer-songwriter **Jude York** will bring Euphoric dance floor-ready pop delicacies with emotional vulnerability to his hometown. Māori soul singer from New Zealand, **TEEKS**, will debut new music including his single *My Boy*. ![The Scoop Melt Festival 2026 Brisbane Powerhouse](https://thescoop.au/wp-content/uploads/2026/08/Melt-Festival-26-Brisbane-Powerhouse-Circa-ShowMeLove_HERO_Credit-Joel-Deveraux-LR-942x628.jpeg "Melt Festival 2026 Brisbane Powerhouse • The Scoop")Show Me Love by Circa Photo by Joel DevereuxJoining them will be Grammy-nominated, multiple ARIA Award-winning **Courtney Barnett** who’ll bring her *Creature of Habit* tour to Brisbane as part of the festival with pop icon **Melanie C**, showcasing an electrifying live show that celebrates her ninth studio album *Sweat*. Back by popular demand, **Melting Pot** returns to Brisbane Powerhouse in collaboration with **QUIVR** as Melt’s vibrant weekly hub to amplify local queer voices and stories throughout the festival. Celebrating the best of local queer creativity, Melting Pot will host a dynamic mix of emerging and established artists spanning art, fashion, music, theatre and more, creating a place for audiences and artists to gather, connect and celebrate between performances. A festival favourite also returning to the program is **Queer PowerPoint** transforming the humble slideshow into an evening of hilarious passion projects, niche obsessions and gloriously queer deep dives. In its new venue at Brisbane Powerhouse, this cult-hit experimental performance series sees queer presenters reclaim the corporate presentation format, using PowerPoint to explore everything from hot takes and hidden fascinations to wild speculation and outright fabrication, opening the door to a night of surprising stories, big ideas and queer imagination. Visual art, theatre and new performance continue to shape the festival across Brisbane with **The Huxleys** presenting *Bloodlines* – a sparkling séance for queer art’s silenced legends. ![The Scoop Melt Festival 2026 Brisbane Powerhouse](https://thescoop.au/wp-content/uploads/2026/08/Melt-Festival-26-Brisbane-Powerhouse-Queer-PowerPoint_Credit-DarcyGossMedia-941x628.jpg "Melt Festival 2026 Brisbane Powerhouse • The Scoop")Queer PowerPoint Photo by Darcy Goss MediaCurated by **Jacob Boehme**, the work channels artists lost to HIV/AIDS back into dazzling, defiant life through photography, video, costume and live performance, celebrating the creativity, resilience and enduring influence of those whose voices continue to inspire queer culture today. Elsewhere, new works continue to champion bold ideas and original voices. **Wild Abandon**, created by Sean Dowling, Merlynn Tong and Ian Lawson is a powerful new theatre work exploring queer intimacy, desire and self-acceptance through intersecting stories set within a single hotel. **The Butterfly Who Flew Into The Rave** by award-winning choreographer Oli Mathiesen, condenses the chaos and catharsis of a three-day rave into a high-energy theatrical experience. Award-winning writer Cassie Workman’s **Aberdeen** reimagines the life of Kurt Cobain through a dark, surreal blend of biography, time travel and the supernatural. The **Trans Theatre Symposium** brings together artists and audiences to explore the future of trans storytelling on stage. Beyond the stage, **Queer the Town** will once again transform Brisbane into a celebration of Queer culture, creativity and community across the city. Participating venues across Fish Lane, Fortitude Valley, Howard Smith Wharves and Queen’s Wharf will become part of the Melt experience, encouraging audiences to explore Brisbane’s restaurants, bars and entertainment precincts between performances. From discovering unexpected pop-up moments and hidden performances to sharing a meal before a show or celebrating late into the night, Queer the Town invites audiences to experience the city in a whole new way. **Melt Festival runs in Brisbane 21 October – 8 November 2026. Tickets are on sale now!** Website: <https://www.melt.org.au/> Socials: <https://www.instagram.com/melt.fest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Rubber Duck by Florentijn Hofman. Melt is supported by the Queensland Government, through Tourism and Events Queensland and Brisbane City Council, through Brisbane Economic Development Agency. **Categories:** News --- ### [Film Review: The Latcher 2026 Melbourne International Film Festival](https://thescoop.au/film-review-the-latcher-2026-melbourne-international-film-festival/) **Published:** August 10, 2026 **Author:** Alyssa Moller **Content:** ![The Scoop The Latcher Melbourne International Film Festival](https://thescoop.au/wp-content/uploads/2026/08/1-e1786278464450-961x628.png "The Latcher Melbourne International Film Festival • The Scoop")A story of grief and female trauma, *The Latcher* tells the story of a midwife haunted by an entity that materialises after the loss of her baby postpartum. Paralysed with fear, Alice, the film’s protagonist (Lucy Lovegrove), tries to find a way to get back with her husband and patch up her wounds. However, she finds herself helping her ex-sister-in-law give birth to a healthy baby, attempting to break the cycle. A psychological thriller with horror moments, the film creeps into Alice’s broken home and bears her scars. *The Latcher* is captured in evocative lighting, either starkly cold blue light or unsettlingly warm shades of gold, sculpting a beautiful image through which Alex Serafini’s cinematography shines. In a claustrophobic 4:3 aspect ratio, Serafini paints a bleak portrait of Alice’s surroundings, keeping her isolated in the frame and relegating the haunting ‘Bush Witch’ to the shadows. ![The Scoop Two women sit at a table in a dimly lit room; one wears a red blouse and looks toward the other, who holds their hands.](https://thescoop.au/wp-content/uploads/2026/08/6-e1786318858399-991x628.png "The Latcher Melbourne International Film Festival • The Scoop")The Latcher tells the story of a midwife haunted by an entity Image suppliedRyan Granger and Johnsen Cummings’ sound design works magic alongside Mitchell Sloan’s score, building out an ambient, almost non-existent at times soundscape. The score is a creeping sense of dread, a painful undercurrent of tension for the characters. In a birth scene at the film’s climax, the music carefully balances triumph with a lingering suspicion of threat in a truly admirable way. The landscape of the film is vast and cold, and Valentina Serebrennikova and Lufan Shi’s production design, particularly in the baby’s room, is sad and intricate. Paired with the moth motif, this sets the scene for Alice’s heartbreak; a house no longer a home, empty and isolating. The concept of this film is really compelling; the physical manifestation of grief, the body horror elements of childbirth and loss of a child at birth, the moth imagery and Bush Witch mythos. ![The Scoop Man washes dishes at the kitchen sink by a sunlit window, while a woman sits at a chair in the doorway background.](https://thescoop.au/wp-content/uploads/2026/08/5-841x628.png "The Latcher Melbourne International Film Festival • The Scoop")The film is captured in evocative lighting through which the cinematography shines Image suppliedHowever, I think this story could have benefited greatly from a female director. The nuances and sensitivity of the female protagonist are lost at times, as there is not enough of her character to latch onto as an audience member. She is a rather passive character in the film’s story and struggles to drive the narrative forward, only really taking a somewhat literal stand by the film’s climax. There is a missed opportunity for connection between Alice’s character and her ex-sister-in-law, Jess (Monique Fisher), one that could be deep, healing and comforting, but instead sits on the surface. With more women in head of department roles, I could see a film like this saying something that really connects with its audience, rather than a series of captivating visuals without much emotional substance. **The Latcher made its world premiere at Melbourne International Film Festival from 8 – 9 August 2026. Check the film’s socials for further screening dates.** Website: <https://miff.com.au/program/film/the-latcher> Socials: <https://www.instagram.com/melbfilmfest/> and <https://www.instagram.com/thelatcher/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Latcher Director: James Hunter Cast: Lucy Lovegrove, Monique Fisher, Darcy Kent Country of Origin: Australia Duration: 80 mins Rating: Unclassified (18+) **Categories:** Film --- ### [Review: Second Coming Is Saving The Planet, One Laugh At A Time](https://thescoop.au/review-second-coming-is-saving-the-planet-one-laugh-at-a-time/) **Published:** August 9, 2026 **Author:** Jenny Mason **Content:** ★★★★☆ ![The Scoop Second Coming La Boite Theatre Play Lab Theatre](https://thescoop.au/wp-content/uploads/2026/08/stephen-henry-7403745-904x628.jpg "Second Coming La Boite Theatre Play Lab Theatre • The Scoop")La Boite Theatre and Playlab Theatre present *Second Coming*, a spectacular and humorous take on leaving this world for another. Set in 2065, this world premiere, directed by Ian Lawson, imagines a future where Earth is burning, and humanity’s last hope lies in an ambitious mission to save its remaining species and transport them to Mars, the new ‘Second Eden.’ GENESIS, the corporate superpower behind the mission, has commissioned the project, selling salvation through a slick marketing campaign. Its commander, Zane, played by comedian and actor Darren Gilshenan, appears via a giant digital screen, delivering calls to the crew from his position of power. His trillionaire status gives the character a distinctly Elon Musk-like quality. The crew are on an ambitious expedition to save the animals of an Earth that is nearing destruction, regenerating preserved animal species on an alternative viable planet. However, all is not as it seems. Playwright Kathryn Marquet’s greatest achievement is the way she has created four very different central characters, brought vividly to life by the on-stage cast, who seamlessly interact with one another, displaying marvellous chemistry. ![The Scoop Second Coming La Boite Theatre Play Lab Theatre](https://thescoop.au/wp-content/uploads/2026/08/stephen-henry-00996-874x628.jpg "Second Coming La Boite Theatre Play Lab Theatre • The Scoop")Darren Gilshenan appears via a digital screen to deliver calls to the crew from his position of power Photo by Stephen HenryStaunchly leading the mission as Zara Chen is the talented Merlynn Tong. She is bold and owns the stage as the feisty and mighty Captain. Zara is loyal to Zane and the GENESIS mission but finds herself increasingly at odds with her crew. As Evie Messina, Ashlee Lollback plays the scientist responsible for keeping the endangered animals alive on their new planet. Lollback is beautifully earnest in her role. She is joined by her bumbling husband, Alan Smith, played by Anthony Standish, who serves a a ‘trailing spouse.’ Standish delivers an authentic portrayal of a partner wanting attention from his otherwise engaged wife. The crowd favourite is Gideon Mzembe playing Noah Kendrick. Handsome and self-absorbed, Kendrick delivers witty one-liners alongside his expertise in horticulture. As the play tracks the crew’s journey to Mars, it is punctuated by calls from their eccentric financier Zane and the crew’s livestreams back to Earth. The livestreams feature commercials and funny choreography, creating some of the production’s most entertaining moments. They also highlight the contrast between Evie’s ethical concerns and the commercialised nature of the mission. ![The Scoop Second Coming La Boite Theatre Play Lab Theatre](https://thescoop.au/wp-content/uploads/2026/08/stephen-henry-7403369-1008x628.jpg "Second Coming La Boite Theatre Play Lab Theatre • The Scoop")The cast seamlessly interact with one another displaying marvellous chemistry Photo by Stephen HenryLawson’s direction keeps the pace consistently strong. The set, costumes, lighting, sound and technology are all impressive, thanks to the team including Bill Haycock, Wil Hughes, Geoff Squires and Nevin Howell. Marquet’s well-crafted script offers a moral commentary on what colonising another planet might look like. The writing is magic, interweaving serious and poignant moments that ponder the consequences of the corruption and destruction of Earth with wit and much-needed comic relief. The script is also rich with references to literature, including the Bible, Rudyard Kipling and Jane Austen. It combines classical themes of morality with a futuristic setting involving AI, highlighting the difference between humanity and technology. By the play’s conclusion, audiences are left wondering whether the future we are heading towards risks forgetting what is really important. The effect is quite dystopian. *Second Coming* is a thought-provoking and thoroughly entertaining production that deserves every success. It is polished and professionally delivered by a remarkably engaging cast. Bravo to all involved. ***Second Coming* is presented by La Boite Theatre and Play Lab Theatre and runs to 22 August at the Roundhouse Theatre. 6 Musk Avenue Kelvin Grove 4059.** Tickets: <https://tickets.laboite.com.au/events> Website: <https://laboite.com.au/shows/second-coming> Socials: <https://www.instagram.com/laboitetheatre/> Read more of our Theatre Reviews Photo credits: Stephen Henry **Categories:** Brisbane, Theatre --- ### [Review: A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/review-a-beautiful-noise-the-neil-diamond-musical/) **Published:** August 9, 2026 **Author:** Jacqui Moore **Content:** ★★★★★ ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/08/A-BEAUTIFUL-NOISE-AUSTRALIAN-CAST-_photo-Jeff-Busby-6-copy-942x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")If you only make it to one show this year, choose *A Beautiful Noise: The Neil Diamond Musical*. Staged in Melbourne’s majestic Princess Theatre, this production demonstrates just how powerful a finely crafted jukebox musical can be. Conceived with Neil Diamond’s own guidance, the show carries a remarkable sense of honesty and emotional depth, each moment shaped by his unmistakable voice and perspective. Paired with Anthony McCarten’s compelling book, this is a musical that is richly entertaining and genuinely meaningful. In short, it is a triumph from start to finish. The story unfolds in the quiet space between two chairs: one occupied by an 85‑year‑old Neil Diamond (Terence Crawford), the other by his therapist (Monica Sayers). Through their conversations, Diamond is encouraged to revisit and interrogate the moments that shaped him. It’s an intimate, inventive and refreshingly candid framing device, steering the show away from glossy nostalgia and toward something much more meaningful. Instead of a feel‑good montage, we’re given an artwork that confronts the cost of fame and the emotional weight behind the music. That’s not to say we aren’t treated to Diamond’s hits. The show is full of them. But each number is placed with such care that it becomes a meaningful, affecting beat in the storytelling. Terence Crawford proves once again why he sits among the elite. As the older Neil Diamond, he brings remarkable nuance to his vocals, drawing the audience into every corner of Diamond’s memory. His raw, aching delivery of *I Am…I Said* held the room breathless. In moments like these, you almost believe the real Neil Diamond is standing before you, telling his story in real time. ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/08/unnamed-1-942x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")Will Swenson delivers pure star power as the younger Neil Diamond Photo by Jeff BusbyWill Swenson, as the young Diamond, delivers pure star power. Having originated the role on Broadway, he brings a fully realised, three hundred and sixty degree embodiment of Diamond: the voice, the mannerisms, and the grit. His chemistry with every performer on stage is electric, sparking energy through each scene he touches. Swenson’s voice is radiant and fills every corner of the Princess Theatre. The women in Diamond’s life are beautifully brought to the stage, offering some of the show’s most touching and memorable moments. Ellie Greenwich, Diamond’s discoverer, is brought to life with irresistible charm by Hannah Fredrickson, whose comic timing is unmatched and whose presence adds sparkle to every scene she touches. Diamond’s overlooked first wife, Jaye Posner, is portrayed with sincerity and quiet dignity by Alana Tranter. Her rendition of *Love On The Rocks* is exquisite. Understated, authentic and deeply felt, the song reveals the emotional cost of living in the shadow of a rising star. Ashleigh Rubenach is a standout as Diamond’s second wife, Marcia. She commands attention effortlessly, her connection with Swenson’s Diamond utterly palpable, bringing both warmth and complexity to a role that could easily have been simplified. Together, these performers enrich the narrative with nuance, strength and emotional intelligence, ensuring the women in Diamond’s life are not merely footnotes, but fully realised figures who shaped his journey. The multi‑talented ensemble is a symbolic force within the production – they *are* Neil Diamond’s music. Doubling in featured roles, this dynamic group brings every note, lyric and rhythmic pulse to life with effervescence and joie de vivre. Their presence becomes the heartbeat of the show: sometimes driving the narrative forward, sometimes surrounding Diamond like a living echo of his past. Whether delivering tight harmonies, expressive movement or subtle character work, the ensemble infuses the production with colour, vitality and emotional clarity. They elevate the story, embodying the soundscape that shaped Diamond’s life and legacy. ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/08/A-BEAUTIFUL-NOISE-AUSTRALIAN-CAST-_photo-Jeff-Busby-8-copy-1000x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")The presence of the ensemble becomes the heartbeat of the show Photo by Jeff BusbyIn a jukebox musical, the band is essential, and in *A Beautiful Noise*, they are nothing short of breathtaking. Led by Music Director Nigel Ubrihien, the nine-piece ensemble hits the audience with a wall of sound from the very first note and never lets up. They make us dance, cry, clap and boogie across the span of the show. Special mention must go to the brass section: Ed Fairlie (trumpet) and Ian Haines (trombone) paired with Carlo Barbaro’s reed work. Their musicianship adds an extra layer of vitality and punch to the score. Sonny Paladino’s orchestrations and arrangements are superb, ensuring every song has purpose, place and presence. Michael Mayer’s direction is exceptional, utilising the stage to its fullest potential and drawing the very best out of the cast. Steven Hoggett’s choreography celebrates the unique movement talents of each cast member, infusing the performance with joy and dynamism. Their work creates a production that feels meticulously crafted and wonderfully alive. Every transition is seamless, every gesture purposeful and every moment charged with emotional clarity. Mayer shapes the narrative with sensitivity and precision. Hoggett’s movement vocabulary adds texture, rhythm and forward momentum. It’s a partnership that elevates the storytelling, ensuring the show moves not just with musicality, but with intention, heart and theatrical intelligence. *A Beautiful Noise* is much more than just a jukebox musical. It’s a deeply considered portrait of an artist reckoning with the legacy he built and the life he lived to create it. What unfolds onstage is a celebration of memory and music, delivered with love and unmistakable theatrical genius. By the time the final chord rang through the Princess Theatre on opening night, we were left humming Neil Diamond’s songs and reflecting on the man behind them. His triumphs, his sacrifices, and the enduring impact of his work. For the many devoted Neil Diamond fans who have carried these songs with them for decades, *A Beautiful Noise: The Neil Diamond Musical* offers something particularly special: the chance to hear them again, not simply as beloved hits, but as part of the story of the man who wrote them. ***A Beautiful Noise: The Neil Diamond Musical* runs to 7 November at The Princess Theatre.** **It then runs in Sydney from 14 November at the Lyric Theatre.** Tickets are available [here](https://premier.ticketek.com.au/shows/show.aspx?sh=ABEAUTN26). Website: <https://theneildiamondmusical.com.au/> Socials: <https://www.instagram.com/theneildiamondmusicalau/> [Read our Interview with Will Swenson!](https://thescoop.au/will-swenson-on-neil-diamond-the-power-of-a-beautiful-noise/) Photo credits: Jeff Busby **Categories:** Melbourne, Musical Theatre --- ### [Announcing Ensemble Theatre 2027 Season](https://thescoop.au/announcing-ensemble-theatre-2027-season/) **Published:** August 10, 2026 **Author:** Newsroom **Content:** ![The Scoop Ensemble Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-09-at-61148-pm-1101x628.png "Ensemble Theatre 2027 Season • The Scoop")**Ensemble Theatre** is delighted to present its **2027 season**, featuring ten extraordinary productions. From world premieres to beloved classics, the season showcases outstanding new Australian voices and celebrated international playwrights, placing exceptional stories at the heart of every performance. Ensemble Artistic Director **Mark Kilmurry** said: *“It’s always exciting putting together a new season. And each year, as well as established plays I am thrilled we can commission two new Australian playwrights. I am looking forward to Brittanie Shipway’s Split Ends, an exciting new comedy, and Joanna Murray-Smith’s, Bombshells 2, a marvellous new take on the dilemmas of women’s lives. Without our Commissioners’ Circle none of this would be possible and I am very grateful for the support in creating new work.* *Of course, as Artistic Director, all ten plays in 2027 are dear to me, a few being a brand-new sparkling David Williamson social comedy Sleeping Dogs to open the season; Peter Quilter’s hugely successful End of the Rainbow, a terrific play with music about Judy Garland’s last concert; and, on my own bucket list, Hedda Gabler, in Michael Meyer’s wonderful translation, which gets right into the heart of this classic comedy drama.* *As ever, I’m excited to be working alongside our directors, actors and creative teams, and for me a sprinkling of an enormously funny Noel Coward in the last half of the season makes the year sing!”* ![The Scoop Close-up portrait of a man inside a tilted film-strip frame with yellow tape at the corners, against a muted background.](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-09-at-62126-pm-988x628.png "Ensemble Theatre 2027 Season • The Scoop")Sleeping Dogs Photo by Brett BoardmanEnsemble Theatre 2027 Season Details: SLEEPING DOGS: 22 JANUARY – 13 MARCH WORLD PREMIERE By **David Williamson** Directed by **Priscilla Jackman** Cast of 5 includes **Merridy Eastman** and **Colin Moody**. A Lifetime Achievement Award… and a lifetime of unfinished business. Max was once Tinseltown’s top dog — but with offers drying up, the fading film director returns home, only to discover the past snapping at his heels. As family tensions flare, buried truths are unleashed with David Williamson’s signature comedic bite. The former Hollywood heavyweight soon learns it may be wiser to let sleeping dogs lie. LIFE X3: 19 MARCH – 18 APRIL By **Yasmina Reza** Translated by **Christopher Hampton** Directed by **Lee Lewis** Cast of 4 includes **Gareth Davies, Rebecca Massey, Seán O’Shea**. What’s worse than a dinner(less) party from hell? Living through it three times. When guests arrive a day early, there’s no food and nowhere to hide — just a couple of chocolate fingers, too much wine, painfully awkward small talk, and a screaming child refusing to go to sleep. Yasmina Reza’s LIFE X 3 is a wickedly incisive, Olivier Award–nominated comedy that proves one socially disastrous evening can unravel in more ways than you ever imagined. ![The Scoop Ensemble Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-09-at-62614-pm-898x628.png "Ensemble Theatre 2027 Season • The Scoop")Split Ends Photo by Brett BoardmanSPLIT ENDS: 30 MARCH – 24 APRIL WORLD PREMIERE By **Brittanie Shipway** Directed by **Liesel Badorrek** Cast of 4 includes **Ainslie McGlynn, Tom Rodgers** and **Diane Smith**. In the sleepy town of Warragamba, Beety’s Beauty Boutique is a salon frozen in time — where the perms are tight, the gossip is tighter, and everybody knows your business. But when flashy city hairdresser Chitch arrives with plans to buy out the struggling salon for his family’s growing franchise, Beety’s perfectly set world is thrown into chaos and an unlikely partnership is formed. Bursting with razor-sharp wit, big laughs and plenty of style, Brittanie Shipway’s new Australian comedy is a warm, prickly celebration of local legends who prove it’s never too late for a fresh cut — or to find your true colours. END OF THE RAINBOW: 30 APRIL – 5 JUNE By **Peter Quilter** Directed by **Julia Robertson** Cast of 4 includes **Darcy Kent** and **Lucy Maunder**. Judy Garland. London, 1968. The comeback of a lifetime. At the Talk of the Town nightclub, the legendary performer prepares for a series of concerts that could restore her status — or bring everything crashing down. Featuring Garland’s iconic songs, END OF THE RAINBOW is a darkly funny, deeply human portrait of fame, music and the cost of living in the spotlight. Nominated for three Tonys and four Olivier Awards, and adapted into the Oscar-winning film Judy, this acclaimed play offers a dazzling and heartbreaking glimpse into the final chapter of the Hollywood star’s remarkable life. ![The Scoop Ensemble Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-09-at-70947-pm-1075x628.png "Ensemble Theatre 2027 Season • The Scoop")Hedda Gabler Photo by Brett BoardmanHEDDA GABLER: 11 JUNE – 10 JULY AUSTRALIAN PREMIERE By **Henrik Ibsen** Translated by **Michael Meyer** Directed by **Mark Kilmurry** Cast of 7 includes **John Adam, Aisha Aidara, Janet Anderson** and **Sam O’Sullivan**. Henrik Ibsen’s provocative masterpiece is a gripping portrait of a woman who will not be contained. Stuck in a suffocating marriage and longing for freedom, Hedda is determined to regain control of her life — no matter the cost. She schemes, manipulates and plays the game to win. When an old flame re-enters her world, Hedda’s carefully composed façade threatens to unravel. Directed by Mark Kilmurry, this thrilling classic remains as relevant today as ever. MONEY AND FRIENDS: 16 JULY – 21 AUGUST By **David Williamson** Directed by **Lee Lewis** Cast of 8 includes **Jamie Oxenbould**. By the sparkling waters of Crystal Inlet, four couples return year after year to their beloved beachside escape — trading Sydney’s hustle for sun, sea and easy friendship. But when Peter, too generous and kind-hearted for his own good, falls into serious financial trouble, the group’s camaraderie begins to crack. As loyalties are tested and tensions rise, each friend is forced to confront an uncomfortable question: how much are they really willing to sacrifice for someone they love? Packed with razor-sharp dialogue and unmistakable Australian wit, David Williamson’s MONEY AND FRIENDS is a hilarious and biting examination of money, morality and mateship. Audiences will be laughing one moment and squirming the next. ![The Scoop Ensemble Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-09-at-72347-pm-985x628.png "Ensemble Theatre 2027 Season • The Scoop")Bombshells 2 Photo by Brett BoardmanBOMBSHELLS 2: 27 AUGUST – 26 SEPTEMBER WORLD PREMIERE By **Joanna Murray-Smith** Directed by **Lee Lewis** Cast **Sharon Millerchip** The bombshells are back for round two! Five women. Five wildly different lives. One unforgettable ride. From a relentlessly upbeat air hostess to a mum hanging by a thread, their stories unravel in a funny and deeply human whirlwind. It’s sharp, relatable and full of heart — a celebration of finding your voice when life gets messy. Written by one of Australia’s most celebrated playwrights, Joanna Murray-Smith, and performed by the critically acclaimed Sharon Millerchip (A BROADCAST COUP, SHIRLEY VALENTINE), strap in for a one-woman tour de force not to be missed. THE YEAR IN TATTERS 2027 REVUE: 6 SEPTEMBER – 9 OCTOBER WORLD PREMIERE Directorial Advisor **Mark Kilmurry** Cast **Andrew Hansen, Mark Humphries, Emily Taheny** and **Chris Taylor** After their sellout debut season in 2026, the Tatters Revue team is back with an all-new show taking aim at the cultural highs and lows of 2027! Join Australia’s sharpest satirical performers as they return to the Ensemble stage to sift through the wreckage of yet another year where the world was flipped upside down. Turning the chaos into laughter, THE YEAR IN TATTERS is once again sure to be a season highlight, promising a night of songs, sketches and political satire to keep us all sane. ![The Scoop Ensemble Theatre 2027 Season](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-09-at-72853-pm-1083x628.png "Ensemble Theatre 2027 Season • The Scoop")Fallen Angels Photo by Brett BoardmanFALLEN ANGELS: 15 OCTOBER – 20 NOVEMBER By **Noël Coward** Directed by **Mark Kilmurry** Cast of 6 includes **Garth Holcombe, Madeleine Jones, Gabrielle Scawthorn** and **David Soncin** Two wives. One past lover. Zero decorum. When their husbands head out for the day… the champagne flows and old rivalries fizz. What’s a little pre-marital scandal between friends — especially when it’s with the same man? Who may be en route! Director Mark Kilmurry uncorks a sparkling revival of Noël Coward’s FALLEN ANGELS — an intoxicating romp from one of theatre’s comedy masters, brimming with wit and mischief. JOYFUL AND TRIUMPHANT: 26 NOVEMBER – 9 JANUARY By **Robert Lord** Directed by **Shane Anthony** Cast of 7 includes **Rebecca Massey** Christmas with the Bishops comes with all the trimmings: homemade decorations hanging by a thread, a strategically placed centrepiece doing its best to hide last year’s gravy stain and more than enough family drama to stuff a stocking. Robert Lord’s beloved classic unwraps four decades of triumphs, tensions and treasured traditions. With humour and heart, JOYFUL AND TRIUMPHANT is a celebration of the people we love most — despite our best efforts. **Subscriptions for Ensemble Theatre 2027 Season are on sale from 10am Tuesday 11 August via the website!** Website: <https://www.ensemble.com.au/> Socials: <https://www.instagram.com/ensembletheatre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Still from THE YEAR IN TATTERS, photo by Brett Boardman **Categories:** News --- ### [Review: Reservoir Dogs Meets Shakespeare In Playful Mash Up](https://thescoop.au/review-reservoir-dogs-meets-shakespeare-in-playful-mash-up/) **Published:** August 8, 2026 **Author:** Jacqui Moore **Content:** ★★★½ ![The Scoop William Shakespeare's Reservoir Dogs Ghostlight League](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-08-at-64642-pm-949x628.png "William Shakespeare's Reservoir Dogs Ghostlight League • The Scoop")The lyrical genius of Shakespeare collides with the razor‑edged storytelling of Quentin Tarantino in The Ghostlight League’s return to *William Shakespeare’s Reservoir Dogs*. Written by Sydney Shakespeare Company Artistic Director Steven Hopley and directed by The Ghostlight League Artistic Director Rob Lloyd, the production delivers exactly what its title promises: a bold re‑imagining of what might have unfolded had Shakespeare penned *Reservoir Dogs* first. Presented in association with Theatre Works, the result is an ambitious hybrid: part Elizabethan drama, part cult‑classic crime thriller. The production marks the final (tragic) instalment of The Ghostlight League’s Shakespeare pop-culture trilogy, following the history play *Shakespeare Aliens* and the comedy *Shakespeare Ghostbusters*. The ensemble cast of seven are assured, capable, and impressively sharp. I will always tip my hat to an actor’s ability to deftly interpret Shakespearean language, and every performer here demonstrates a clear command of that demanding craft. They navigate heightened text with clarity, emotion, and intention, ensuring the audience remains anchored. A particular commendation goes to Elysia Janssen for her portrayal of Sir Orange. Janssen delivers full‑throttle energy from start to finish, showcasing a dynamic range that sweeps confidently across the emotional spectrum. Her performance is a standout; it is fearless, playful, and deeply attuned to the tonal shifts of the piece. ![The Scoop William Shakespeare's Reservoir Dogs Ghostlight League](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-08-at-64654-pm-937x628.png "William Shakespeare's Reservoir Dogs Ghostlight League • The Scoop")The famous songs of the film are given a Shakespearean twist from the live band Photo by Tom NobleThe iconic Theatre Works space in St Kilda provides a visually striking backdrop for this production. Production designer Cassandra Hart’s set, an arrangement of wooden pallets, ropes, and barrels, is simple yet effective, offering an easy step into a Shakespearean world while nodding to the gritty warehouse aesthetic of Tarantino’s film. Acoustically, however, the venue’s cavernous architecture occasionally worked against the performers. Some lines were swallowed by the space, making the storyline difficult to follow unless you’re already a *Reservoir Dogs* devotee. The four‑piece band led by Musical Director Chloe Towan are an interesting and necessary inclusion, given the imperative role music plays in Tarantino’s films. The famous songs of the film are given a Shakespearean twist, offering a welcome anchor point for the audience throughout the show. ![The Scoop William Shakespeare's Reservoir Dogs Ghostlight League](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-29-at-25051-pm-1200x599.png "William Shakespeare's Reservoir Dogs Ghostlight League • The Scoop")I’d also like to acknowledge the band’s resilience. Performing one musician down is no small feat, and while moments of uncertainty surfaced, their commitment to pushing through was genuinely impressive. Despite any imperfections, *William Shakespeare’s Reservoir Dogs* offers a spirited night of theatre driven by creativity, commitment, and a clear love of both Shakespeare and Tarantino. It’s an ambitious, playful experiment that celebrates the joy of re‑imagining familiar stories in unexpected ways. It’s well worth attending if you’re keen to see a group of strong Shakespearean performers sink their teeth into something delightfully unconventional. ***William Shakespeare’s Reservoir Dogs*** **is presented by The Ghostlight League and Theatre Works and runs in Melbourne to 15 August 2026. Theatre Works, 14 Acland Street St Kilda Vic 3184.** Tickets are available [here](https://www.eventbrite.com.au/e/william-shakespeares-reservoir-dogs-tickets-1976080989434?aff=oddtdtcreator). Website: <https://www.theatreworks.org.au/2026/william-shakespeares-reservoir-dogs> Socials: <https://www.instagram.com/theghostlightleague/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Tom Noble **Categories:** Melbourne, Theatre --- ### [Review: A View From The Bridge Is A Must See At New Theatre](https://thescoop.au/review-a-view-from-the-bridge-is-a-must-see-at-new-theatre/) **Published:** August 8, 2026 **Author:** Leo Manson **Content:** ★★★★★ ![The Scoop A View from the Bridge New Theatre](https://thescoop.au/wp-content/uploads/2026/08/A-View-from-the-Bridge_091A3404-942x628.jpg "A View from the Bridge New Theatre • The Scoop")New Theatre’s production of Arthur Miller’s *A View from the Bridge* is a powerful exploration of the fallacies of masculinity. Tragic playwright Arthur Miller is best known for the 1949 play *Death of a Salesman* and the 1953 play *The Crucible. A View from the Bridge* came out not long after, in 1955, and is set in Brooklyn in the 1950s. It follows an Italian American family harbouring two cousins who have illegally immigrated from Italy. A major theme in the play is ambiguity. Audiences don’t see inside the minds of its characters but they do see their words and actions. The show compels audiences to make assumptions and intentionally leaves no clear answers. This production has an extremely talented cast. The main character, Eddie, is played by Alex Bryant-Smith. He very compellingly lulls audiences into a level of comfort. His acting feels real and raw. So too is the performance of Megan-Elizabeth Kennedy as Eddie’s loyal wife Beatrice. She captures a strong vulnerability in Beatrice that contrasts excellently with the stoic facade Bryant-Smith brings to Eddie. ![The Scoop A View from the Bridge New Theatre](https://thescoop.au/wp-content/uploads/2026/08/A-View-from-the-Bridge_0T8A9272-942x628.jpg "A View from the Bridge New Theatre • The Scoop")The show compels audiences to make assumptions and intentionally leaves no clear answers Photo by Bob SearyTheir daughter Catherine is played by Georgia Da Silva. It’s crushing to watch the transition from playing a buzzing, energetic young girl to an angry, lost young woman. Da Silva carefully builds this gradual change. Most importantly for the tragic tale*,* the characters feel real. The acting brings Miller’s characters off the page and turns them into what feels like a real family. This is in part due to the wonderful accents brought together by dialect coach Nick Curnow. Alongside being an actor and director, Curnow has worked in voice-over, training and coaching for clients such as Google and Spotify. His extensive experience in the industry ensures actors’ accents are up to par and don’t disrupt their realistic acting. Though Miller’s work is a tragedy, it is rife with humorous moments and characters. It only truly drops its humour in the shorter second act, which feels rewarding, though heartbreaking, to watch. Finn Couzner as the flamboyant Adolpho is one such example. Through his expressive body language, Couzner brings a lot of charm to the role. ![The Scoop A View from the Bridge New Theatre](https://thescoop.au/wp-content/uploads/2026/08/A-View-from-the-Bridge_091A3754-942x628.jpg "A View from the Bridge New Theatre • The Scoop")The moral questioning and societal critique within the work is one that stands the test of time Photo by Bob SearyCo-director Luke Visentin makes a phenomenal directorial debut. Working alongside New Theatre’s artistic director Louise Fischer, the pair have approached Miller’s work with tenderness and care. There’s a unique and slow dance scene in Act 2 that, with the help of Patrick Howard’s haunting sound design, feels perfectly placed. The moment is solemn, fleeting and foreboding all at once. Lighting and set design by Victor Kalka and Tom Bannerman, respectively, create a consistent and warm image of the apartment. The wooden stairs create a homey atmosphere and lead to some evocative imagery. These transition seamlessly into a lectern, where Elena Palvi delivers her thought-provoking monologues as Elfieri. Though the show has a 2-hour 15-minute run time, it breezes by like a whirlwind. Once the show concludes, the audience is left in a reflective silence. The moral questioning and societal critique within Miller’s work is one that stands the test of time. New Theatre’s excellent production of *A View from the Bridge* is one you simply cannot miss. ***A View from the Bridge* runs to 5 September at New Theatre Newtown. 542 King Street Newtown NSW 2081.** Tickets: <https://aunewtheatre.sales.ticketsearch.com/sales/salesevent/156914> Website: <https://newtheatre.org.au/a-view-from-the-bridge/> Socials: <https://www.instagram.com/newtheatresydney/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Bob Seary **Categories:** Sydney, Theatre --- ### [Review: Queensland Symphony Orchestra Levels Up With The Music Of Video Games](https://thescoop.au/review-queensland-symphony-orchestra-levels-up-with-the-music-of-video-games/) **Published:** July 25, 2026 **Author:** Sarah Skubala **Content:** ★★★★☆ ![The Scoop The Music of Video Games Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-28-at-53426-pm-e1785224220946-958x628.png "The Music of Video Games Queensland Symphony Orchestra • The Scoop")With no gaming enthusiasts among The Scoop’s Brisbane reviewing team, I approached *The Music of Video Games* by Queensland Symphony Orchestra from the perspective of a curious outsider. As a Gen Xer, my regular gaming days are long behind me, but this concert proves you don’t need an encyclopaedic knowledge of video games to appreciate the artistry of their music. The evolution of video game music has unfolded almost in parallel with my own life. As a child of the ‘80s, I spent many hours after school playing *Pong* and *Space Invaders* on my neighbour’s Atari. *Space Invaders* was revolutionary for its time, introducing one of gaming’s first completely continuous soundtracks. Today, video game music has become an art form in its own right. Dedicated composers now create sweeping orchestral scores for blockbuster titles, with concert halls regularly celebrating the genre. With the Grammy Awards now recognising excellence in video game soundtracks, what began as a handful of bleeps has evolved into music worthy of the symphony stage. Spanning more than four decades of gaming history, *The Music of Video Games*, under Guest Conductor Leonard Weiss alongside host Meena Shamaly, travels from the spirited melodies of *Sonic the Hedgehog* to the rousing lyricism of *Final Fantasy IX* and the haunting beauty of *Everybody’s Gone to the Rapture*. ![The Scoop The Music of Video Games Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/07/IMG_7438-837x628.jpeg "The Music of Video Games Queensland Symphony Orchestra • The Scoop")Queensland Symphony Orchestra at The Music of Video Games Photo by The ScoopThe selections demonstrate just how diverse video game composition has become. Whether familiar or completely new to the audience, each score in *The Music of Video Games* invites us into a richly imagined world. Act One showcases the genre’s remarkable stylistic range, from the epic sweep of *Metal Gear Solid* to the playful charm of *Angry Birds*, featuring impressive harp work from Emily Granger. The mood shifts completely with *L.A. Noire*, whose sultry jazz influences are beautifully realised through Tetsuya Lawson’s evocative trumpet solo. If Act One showcases the genre’s breadth, Act Two delivers many of the concert’s emotional high points. A sweeping score from *Journey* is elevated by a beautifully expressive cello solo from Hyung Suk Bae. Anticipation was palpable as the orchestra launched into music from *The Legend of Zelda*, one of the biggest crowd favourites. For me, the standout was *Tetris*. It was fascinating to learn that its instantly recognisable theme is adapted from the 19th-century Russian folk song *Korobeiniki*, a melody that has become inseparable from the iconic ’90s game. The concert concludes, fittingly, with music from gaming world’s most recognisable hero, *Super Mario Bros.*, sending the audience home on a wave of nostalgia. ![The Scoop The Music of Video Games Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-24-at-61147-pm-826x628.png "The Music of Video Games Queensland Symphony Orchestra • The Scoop")Queensland Symphony Orchestra in rehearsal for The Music of Video Games Image suppliedOne of the greatest pleasures of attending live orchestral concerts is the chance to watch the musicians up close. Before this performance, I had never seen such a varied percussion section, and during *Journey*, I found myself completely transfixed by the tubular bells. Their chimes evoke the sound of distant church bells, lending the score a haunting, sacred atmosphere. Also impressive is the Violin I section, particularly during Jessica Curry’s *Dear Esther* and *So Let Us Melt*. Their exquisite control of dynamics and beautifully unified playing creates some of the concert’s most memorable moments. Looking around the Concert Hall was almost as rewarding as listening to the music. At many Queensland Symphony Orchestra performances, the audience tends to skew older. Here, however, young music students sat alongside families, nostalgic gamers and seasoned attendees, united by a shared appreciation for these remarkable scores. Queensland Symphony Orchestra deserves enormous credit for programming concerts like *The Music of Video Games*. Beyond simply celebrating a modern art form, they introduce new audiences to the thrill of live orchestral performance. If even a handful of first-timers return to hear Mahler, Tchaikovsky or Australian composers after discovering the orchestra through Mario or Zelda, then the concert will have achieved something far more enduring than nostalgia. ***The Music of Video Games* is performed by the Queensland Symphony Orchestra and runs to 25 July at the Concert Hall, QPAC.** If you miss *The Music of Video Games*, a recording of the concert will be broadcast on ABC Classic radio at midday on 1 November 2026. Tickets are available [here](https://qso.n.qtix.com.au/shop/tickets/series/qsothemusicofvideogames26?_ga=2.75152594.1973870288.1784811702-1398473021.1783845431&_gac=1.249187189.1783845431.CjwKCAjw9szSBhBNEiwAC57Sq2hPqap8uyMzkozSl1hhF7QwWXerCrCOTdA04LyHEPba0rWe25rNYBoCcOkQAvD_BwE). Website: <https://qso.com.au/events/2026/concert-specials-2026/qso-the-music-of-video-games> Socials: <https://www.instagram.com/qsorchestra/> [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Images supplied. **Categories:** Brisbane, Concerts --- ### [Review: Cirque KOOZA Is The Blockbuster You Need To See Live](https://thescoop.au/review-cirque-kooza-is-the-blockbuster-you-need-to-see-live/) **Published:** August 8, 2026 **Author:** Sarah Skubala **Content:** ★★★★★ ![The Scoop Cirque du Soleil Kooza Brisbane Australia](https://thescoop.au/wp-content/uploads/2026/08/03_Charivari_0677-1-942x628.jpeg "Cirque du Soleil Kooza Brisbane Australia • The Scoop")Attending Cirque du Soleil has become an annual highlight, but KOOZA this year came with an unexpected upgrade: a front-row seat. Reviewing a Cirque production is both one of the easiest and hardest things to do. The experience itself is almost impossible to describe. How do you put into words the sensation of watching performers from around the world defy the limits of the human body, often just metres from where you are sitting? Now in Brisbane as part of its Australian tour, KOOZA marks the 11th Cirque du Soleil production to visit Australia in 26 years. Written and directed by David Shiner, the show follows The Innocent, a naive outsider transported into a colourful and chaotic kingdom where he encounters an eccentric cast of characters, including the formidable Trickster, a crazy King, his Clowns and his Mad Dog. Blending classic circus traditions with feats that seem to belong to another realm entirely, KOOZA is a dazzling celebration of physical skill, comic invention and sheer human possibility. And from a front-row seat, the experience is something else entirely. Particularly exciting for Brisbane audiences is seeing Gold Coast performer Mitch Wynter take centre stage as the Trickster. From the moment he springs out of a giant jack-in-the-box and into his multicoloured striped suit, Wynter has the audience in the palm of his hand. Described as the enigmatic owner and supreme master of KOOZA, Wynter more than lives up to the title. Without uttering a word, he commands the stage through a combination of dance, acrobatics and an intriguing physical presence. He draws us deeper into the strange world he inhabits while maintaining an effortless sense of control. ![The Scoop Cirque du Soleil Kooza Brisbane Australia](https://thescoop.au/wp-content/uploads/2026/08/11_Crooner_2983-941x628.jpg "Cirque du Soleil Kooza Brisbane Australia • The Scoop")Mitch Wynter also doubles as the lead in the Act Two Skeleton Dance Photo credits Matt Beard and Bernard LetendreOpposite Wynter is Kazakhstan’s Alexandr Yudintsev as The Innocent, a naive loner who arrives in this strange new world clutching his beloved kite. Yudintsev would have to be the best clown I’ve ever seen. There is something exquisitely vulnerable about his portrayal and the way he embodies the fragile child within us all. It’s his quiet observation that makes The Innocent so compelling. Even while the stage erupts around him with increasingly spectacular feats, Yudintsev remains completely in character. He is a wide-eyed, overwhelmed outsider trying to make sense of this bizarre world. By the closing scene, that vulnerability becomes unexpectedly moving, bringing tears to my eyes. As each performer strides onto the stage, flanked by costumes designed by Marie-Chantale Vaillancourt, they evoke something almost otherworldly. Knee-high boots, flowing capes, elaborate headdresses and tunics transform these performers into something akin to modern-day superheroes. Ukrainian performers Dmytro Dudnyk and Anastassiia Shkandybina present a duo unicycle act unlike anything I’ve seen before. What could easily appear to be an exercise in sheer physical exertion instead becomes a study in grace, strength and extraordinary control. Their movements are so fluid and assured that the immense skill required almost disappears beneath the artistry. Every lift, balance and transition appears effortless, creating a routine that is as beautiful as it is astonishing. ![The Scoop Cirque du Soleil Kooza Brisbane Australia](https://thescoop.au/wp-content/uploads/2026/08/07_Duo-Unicycle_1527-942x628.jpg "Cirque du Soleil Kooza Brisbane Australia • The Scoop")The duo unicycle act is unlike anything seen before Photo credits Matt Beard Bernard LetendreColombians Jimmy Ibarra Zapata and William Torres Patino are instant crowd favourites on the giant Wheel of Death. Dressed in suitably devilish attire, they launch themselves through a succession of jaw-dropping feats that push daredevilry to its limits. From my front-row seat, the experience is particularly visceral. The safety net stretches literally overhead as the supporting apparatus is assembled around us. The assisting team move at remarkable speed to construct it before the performers take over. Just as quickly, it is dismantled once the act is complete. It is Victor Levoshuk from Russia who delivers perhaps the most astonishing individual display of technical mastery in the show with his Chairs act. Levoshuk’s routine is virtually flawless. With extraordinary control and concentration, he stacks one chair after another atop a sturdy base, carefully ascending until we count eight chairs balancing below him. Every movement is deliberate, yet there is nothing laboured about it. He works with the calm assurance of an absolute master, making an act of extraordinary physical difficulty look almost deceptively simple. Watching him balance at such heights is a genuine thrill. There is plenty in KOOZA to keep younger audience members entertained too, with extended clown sequences led by the wonderfully madcap King, played by the US’s Mark Gindick, and his two Clowns, in the form of Canada’s Duncan Cameron and Spain’s Miguel Berlanga Madroño. An oversized, mischievous Mad Dog adds another layer of chaos. There’s an extended sequence involving an unsuspecting audience member which provides plenty of laughs. If you’re sitting in the front row, consider yourself warned. ![The Scoop Cirque du Soleil KOOZA Brisbane](https://thescoop.au/wp-content/uploads/2026/08/16_Chairs_4142-941x628.jpg "Cirque du Soleil KOOZA Brisbane • The Scoop")Watching the Chairs act at such heights is a genuine thrill Photo credits Matt Beard Bernard LetendreUsually beneath Cirque du Soleil’s big top, you can hear the live music without quite being able to pinpoint where the sounds are coming from. Stéphane Roy’s set design places the band in view atop a Bataclan. A massive, ornate, multi-storey travelling tower that dominates the centre of the stage, it serves as both live bandstand and entry point for the performers. Seeing Spirit Singer Kathryn Holtkamp from the USA and Soul Singer Suzanne Perkins from Jamaica performing alongside the various live horn players and musicians only heightens the atmosphere. It makes the music feel like an integral part of the spectacle rather than simply its soundtrack. Above the Bataclan, a vast canopy expands and contracts at key moments, transforming the space and creating images that feel more like watching a blockbuster unfold on a giant screen. Except there is no digital trickery separating us from what we’re seeing. It’s happening metres away, in real time, and that makes it infinitely more spectacular. Perhaps the most moving thing about sitting among the audience in the first few rows was how respectful everyone seemed to be of the live experience unfolding in front of us. Not a single phone appeared, despite filming being allowed and almost expected at events like this. Instead, there was a quiet, shared reverence for what we were witnessing together. In 2026, when so much of what we see and experience is filtered through a screen, and the line between what is real and what has been created, edited or enhanced can feel increasingly blurred, these fleeting, extraordinarily human moments of live performance feel more precious than ever. For a few hours beneath the big top, there was nothing between us and the performers: no screen, no filter, no edits. Just the shared experience of watching something extraordinary happen in real time. Perhaps that’s the real magic of Cirque du Soleil. **Cirque du Soleil KOOZA runs to 4 October in Brisbane under the Big Top on Curtin Ave East. Behind the Royal Queensland Gold Club, Eagle Farm Qld 4009. It then tours to Sydney. See dates below.** Plan ahead by visiting the KOOZA interactive [program](https://bienvenue.kooza.cirquedusoleil.com/home/). Tickets: <https://www.cirquedusoleil.com/australia/brisbane/kooza/buy-tickets> Website: <https://www.cirquedusoleil.com/kooza> Socials: <https://www.instagram.com/kooza.cirquedusoleil/> [Read our Review of the Melbourne Season!](https://thescoop.au/review-cirque-kooza-dazzles-melbourne-with-larger-than-life-magic/) Photo credits: Matt Beard & Bernard Letendre 2026 Australian Tour Dates: Brisbane 1 August – 4 October, Big Top at Eagle Farm Sydney 17 October – 3 January, Big Top at Entertainment Quarter Watch the trailer here: **Categories:** Brisbane, Circus --- ### [Review: Cirque KOOZA Dazzles Melbourne With Larger Than Life Magic](https://thescoop.au/review-cirque-kooza-dazzles-melbourne-with-larger-than-life-magic/) **Published:** May 22, 2026 **Author:** Wendy Samantha **Content:** ★★★★★ ![The Scoop Cirque du Soleil Kooza Melbourne Australia](https://thescoop.au/wp-content/uploads/2026/05/03_Charivari_0546-942x628.jpg "Cirque du Soleil Kooza Melbourne Australia • The Scoop")Prepare to have your jaw firmly planted on the floor. Cirque du Soleil’s KOOZA has arrived at Flemington Racecourse, bringing with it a thrilling explosion of acrobatics, colour and larger-than-life magic. From gravity-defying stunts to moments of pure theatrical wonder, this spectacular production will keep audiences gasping, cheering and completely spellbound. With unique artists from 15 different countries around the world, they have come together in Melbourne to kick off their 2026 Australian tour, after performances in North America, Europe, and Asia. Playing across an acrobatic journey that stories with perfect clowning, KOOZA is housed within themes of fear, identity, recognition and power. Each artist will challenge your belief in what you know to be real. Emotions will be heightened. Senses will be tested. After a whole week of set-up, around 100 workers have completed the big top that forms the exceptional arena, where everything feels alive! Bringing it all together requires absolute precision to build the house that holds excitement overload. As the opening night audience entered the space, there was a buzz of intense suspense and absolute wonder. Our eyes widened at the bright lights, and when the music filled the tent, there was a blur of comedic colours, swishes of energy, smiles, silliness, explosions of popcorn, and gushing wind. And, BAM! We set off on a thrilling experience. Opening the show is an ‘Innocent’ flying a little kite in the form of Kazakhstan artist Alexander Yudintsev. He also works absolute wonders with a rotating Cyr Wheel. But like anyone trying to catch the wind, it isn’t easy. ![The Scoop Cirque du Soleil Kooza Melbourne Australia](https://thescoop.au/wp-content/uploads/2026/05/04_Contorsion_0969-942x628.jpg "Cirque du Soleil Kooza Melbourne Australia • The Scoop")There are moments where their flexibility takes us to an unknown dimension Photos by Matt Beard and Bernard LetendreEnticed by American Trickster Kevin Beverley, suddenly we were transported into a world where clever clowns Mark Gindick (USA), Miguel Berlanga Madroño (Spain), and Duncan Cameron (Canada) had us smiling from ear to ear. Our grins were so wide because everything they did was purposefully hilarious. To create an aura of mystique on this journey, the vocalists and band enveloped us in music as we were invited into this new place. The mix of comedy and soundscape transported us to something exotic. It was weird, wondrous, and more than incredible. Click those heels because this is definitely not anything close to home! Our imagination was spinning as were faced with jaw-dropping contortion by the seamless Mongolian artists Sunderiya Jargalsaikhan, Ninjin Altankhuyag and Sender Enkhtur. There were moments where their flexibility took us to an unknown dimension. The talented Mizuki Shinagawa from Japan dropped from the sky in stunning beauty, waving around on her aerial silks. Her skill felt like the most elaborate ribboning wrapping up a present. Wheeling through next, the Ukrainian duo Anastasiia Shkandybina and Dmytro Dudnyk were flawlessly composed and masterful on the unicycle. Their act is a timeless piece of circling, rotating and balancing. Just before we hit intermission, we were faced with hair-raising high-wire mastery, with Spaniards Vicente Quiros, Roberto Quiros Dominguez, Jhon Brahyan Sanches joining Colombian Flouber Sanchez, bringing out all the gasps and cheers. ![The Scoop Cirque du Soleil Kooza Melbourne Australia](https://thescoop.au/wp-content/uploads/2026/05/KOO_Hoops_2-1-942x628.jpg "Cirque du Soleil Kooza Melbourne Australia • The Scoop")The team transports us into a vibrant new world of wonder and magicTheir footwork as they skipped, danced, jumped on and over each other, while the wire was stretched out in the air, was miraculous. All that they do is beyond astonishing. After a short interval to catch our breath, the second act presented us with darker movement. Columbian Jimmy Ibarra Zapata and Russian Ivan Zhernakov gave us a completely mind-blowing treat as they challenged the Wheel of Death. Terrifyingly amazing; we could not look away! Following this, Israeli artist Eden Bahar played the most remarkable drum solo, while the audience encouraged the clowns once more. Russian Victor Levoshuk displayed breathtaking skill when balancing on chairs, giving us controlled movements, precise backbends and high-rise balances, challenging gravity and the world as we know it! The final act saw the group take challenges to new heights on the teeterboard, flying through the air with somersaults and flips. Stilts are involved, and legs are strapped to a single pole for a smooth landing. Glistening with elaborate detail, the costumes lent the performers an unearthly presence, turning feats of human skill into something almost divine. This colourful mayhem is bright and luminous, matching the joy, warmth and wholehearted laughter that filled the big top. As the music soared into the evening sky and the lights dance above the audience, KOOZA becomes a truly uplifting experience, with the entire creative team and troupe transporting us into a vibrant new world of wonder and magic. Cirque du Soleil’s KOOZA is an exhilarating explosion of colour, movement and imagination that captivates from beginning to end. Enchanting, uplifting and genuinely awe-inspiring, it is quite simply one of the finest circus experiences imaginable. **Cirque du Soleil KOOZA runs to 19 July in Melbourne. It then tours to Brisbane and Sydney. See dates below.** Tickets: <https://www.cirquedusoleil.com/australia/melbourne/kooza/buy-tickets> Website: <https://www.cirquedusoleil.com/kooza> Socials: <https://www.instagram.com/kooza.cirquedusoleil/> [Read our Review of the Brisbane Season!](https://thescoop.au/review-cirque-kooza-is-the-blockbuster-you-need-to-see-live/) Photo credits: Matt Beard & Bernard Letendre 2026 Australian Tour Dates: Melbourne 20 May – 19 July, under the Big Top at Flemington Racecourse Brisbane 1 August – 4 October, under the Big Top at Eagle Farm Sydney 17 October – 3 January, under the Big Top at The Entertainment Quarter **Categories:** Circus, Melbourne --- ### [Review: Gunawarra Re-Creation, 2026 Clancestry Festival](https://thescoop.au/review-gunawarra-re-creation-2026-clancestry-festival/) **Published:** August 7, 2026 **Author:** Charmaine Idris **Content:** ★★★★★ ![The Scoop Gunawarra Re-Creation Ilbijerri Theatre Clancestry](https://thescoop.au/wp-content/uploads/2026/08/GunawarraReCreation_WEB_JacintaKeefePhotography_WEB-46-942x628.jpg "Gunawarra Re-Creation Ilbijerri Theatre Clancestry • The Scoop")*“To see my culture. To hear my language. To see my traditional dance on a mainstage is beyond my wildest dreams and beyond my ancestors’ wildest dreams. Telling this story has been a gift. Weaving creation stories with narratives of today are vital in understanding who I am and the culture I come from.”* ***Playwright Isobel Morphy-Walsh (Taun Wurrung)*** *Gunawarra Re-Creation’s* set design is splendid and is nothing short of impressive! Designed by Dan Barber, a solid-looking wooden outcrop rests upon a mirror-like, pitch-black shiny floor. Stacks of haphazardly placed reed-like metal protrusions languish in the wings. A vast orb hovers just above the stage on which haunting charcoal animations of Waa (ancestral crow), Bunjil (wedge-tailed eagle spirit of the Kulin Nation) and Gunawarra (black swan) are intermittently projected during the performance. The captivating drawings have also been created by Barber. Writer and Taun Wurrung/swan woman Isobel Morphy Walsh’s powerful contemporary play draws on the traditional Kulin story of Gunawarra, the black swan and how it came to have black feathers. Interwoven with her brilliant narrative is the story of Roo (Melodie Reynolds/Wongutha, Nadju, Mirning) and Murrun (Miela Anich/Badu, Kala Lagaw Ya), estranged mother and daughter who are mourning the loss of their much-loved Aunty Aggie (Lisa Maza/Yidinji, Meriam, Dutch). The mother and daughter duo begrudgingly return to this calming makeshift watering hole, the same one their Aunty Aggie used to visit with the two of them in tow. It is a place of healing and where they hope to reconcile the trauma of their past. It is here, through this special healing place, that they encounter the graceful Gunawarra, beautifully portrayed by Taun Wurrung woman, Hannah Morphy-Walsh. ![The Scoop Gunawarra Re-Creation Ilbijerri Theatre Clancestry](https://thescoop.au/wp-content/uploads/2026/08/GunawarraReCreation_WEB_JacintaKeefePhotography_WEB-78-942x628.jpg "Gunawarra Re-Creation Ilbijerri Theatre Clancestry • The Scoop")The outstanding set design is central to the unfolding of this ancestral story Photo by Jacinta KeefeBarber’s outstanding set design, complemented by Katie Sfetkidis’ striking lighting, is central to the unfolding of this ancestral story as it transforms the stage into a setting that feels very realistic. The revolving platform is an innovative addition to the overall design, as is the impressive flooring. The illusion of a watering hole morphs into something more palpable, where this writer could almost feel the coolness of the water on her skin as the mother and daughter duo convincingly undertake their cleansing ritual in the still waters. Emma Salmon (Nyikina) designed Gunawarra’s exquisite headdress, which is complemented by Barber’s flamboyant feathered removable cape. The intricate costume design enhances the mostly silent Morphy-Walsh’s animalistic, prowl-like albeit graceful movements. Sound designer James Henry’s (a Yuwaalaraay, Gamilaraay, Yorta Yorta and Yuin man) soaring music compositions underscore the deep-seated emotions and painful memories that unfold on stage. Sfetkidis’ superb lighting reflects the emotional depth of each scene. She has chosen a subtle approach that creates the perfect balance between intimacy and conflict. Movement consultant Zoë Brown-Holten’s ((Th)Dunghutti and Gomeroi woman) choreography employs postures and mannerisms that evoke physicality. These movements are expertly cued by Morphy-Walsh’s credible swan-like qualities and emulated convincingly by the other cast members. ![The Scoop Gunawarra Re-Creation Ilbijerri Theatre Company Clancestry](https://thescoop.au/wp-content/uploads/2026/08/GunawarraReCreation_WEB_JacintaKeefePhotography_WEB-17-942x628.jpg "Gunawarra Re-Creation Ilbijerri Theatre Company Clancestry • The Scoop")The production emphasises the fact that Blak women are imbued with an extraordinary capacity to heal Photo by Jacinta KeefeUnder the eagle-eyed direction of Yorta-Yorta, Gunaikurna woman, Andrea James, the relationships between Maza (Aunty Aggie), Reynolds-Diarra (Roo) and Anich (Murrun) emanate their love for each other, underscored by their fierce protectiveness of one another. The defiance between mother (Reynolds-Diarra) and daughter (Anich) is fierce but held steadfast by the common bond they share with their beloved aunt (Maza). As the past and present collide, unpacking First Nations’ cultural connections and emotional bonds form the basis of the writer’s creation stories and tether the narrative of this finely crafted production. This superb cultural storytelling of redemption cleverly blurs the lines between ancestral history and reality while invoking the tale of Gunawarra, the majestic black swan that symbolises rebirth against all odds. Ultimately, Morphy-Walsh’s endearing production is an ode to the indomitable strength of First Nations women. It is underscored by all-round solid performances by the multi-talented cast members, thoughtful direction by James and striking visuals by Barber. *Gunawarra Re-Creation* is an apt reminder of Blak women’s strength, their definitive authority, their innate wisdom. But above all, it emphasises the fact that Blak women are imbued with an extraordinary capacity to heal. ***Gunawarra Re-Creation* is presented by Ilbijerri Theatre Company and runs to 8 August** **as part of Clancestry. Cremorne Theatre, Queensland Performing Arts Centre (QPAC), South Brisbane Qld 4101.** Tickets: <https://www.qpac.com.au/whats-on/2026/clancestry-gunawarra-re-creation> Website: <https://www.ilbijerri.com.au/event/gunawarra-re-creation/> Socials: <https://www.instagram.com/atqpac/> and [https://www.instagram.com/ilbijerri\_theatre/](https://www.instagram.com/ilbijerri_theatre/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Jacinta Keefe **Categories:** Brisbane, Theatre --- ### [Review: Top Silk Peels Back The Gloss On 80s Ambition](https://thescoop.au/review-top-silk-peels-back-the-gloss-on-80s-ambition/) **Published:** August 7, 2026 **Author:** Nick Dale **Content:** ★★★½ ![The Scoop Top Silk Ensemble Theatre](https://thescoop.au/wp-content/uploads/2026/08/Nicholas-Brown-Rachel-Gordon-and-Samir-Nasser_Ensemble_ImageCredit_PrudenceUpton_597-942x628.jpg "Top Silk Ensemble Theatre • The Scoop")*Top Silk*, David Williamson’s 1989 play revived at Ensemble Theatre Sydney, goes full ‘80s. There’s ambition, corruption, family drama, gloss and, of course, the shoulder pads. The play captures the gilded surface and corrupt underbelly of the decade in true Williamson form. Jane (Gordon) is a legal aid solicitor who risks her family life to get her old flame Eddie (Jeremy Waters) out of jail. Her husband Trevor (Nicholas Brown), a high-flying barrister, is defending a powerful media mogul – Murdoch, anyone? – to advance his career. Meanwhile, their teenage son Mark (Samir Nasser), more left-leaning idealist than future lawyer, wants nothing to do with any of it. It’s Williamson back in the territory of *Emerald City*. A story of legal ambition, moral compromise, and the price of wanting more, with Rachel Gordon, who starred in that very production, now leading the charge. We’re plonked right back in the ‘80s from the get-go. Director Mark Kilmurry, set and costume designer Ailsa Paterson and lighting designer Kelsey Lee create that shiny, polished veneer vibe of the era, all sparkling surfaces, sparse and minimal but devoid of meaningful substance underneath. The team go full retro, with old-style scene changes, harsh overhead lighting and sterile fluorescent glare. There’s a presentational vibe and episodic feel to the scene shifts – a little *Dallas*, a little *Return to Eden*. ![The Scoop Two people stand in a courtroom setting: a woman in a white coat and green skirt on the left, and a man in a black suit with a powdered wig on the right.](https://thescoop.au/wp-content/uploads/2026/08/Rachel-Gordon-and-Nicholas-Brown_Ensemble_ImageCredit_PrudenceUpton_494-942x628.jpg "Top Silk Ensemble Theatre • The Scoop")The play captures the gilded surface and corrupt underbelly of the decade Photo by Prudence UptonThe first half is a little overly expository and literal. The work is often uncompromisingly direct, with the characters’ hidden motives immediately visible. But the lead actors start to relax in the living room scenes. These are the scenes most intimate, and they invite us in, contrasting well with the stiff, tense legal offices and courtroom. Gordon and Brown limber up, owning the space and bouncing off each other in true Williamson-style rapid fire. Samir Nasser, in his professional stage debut, is truly a standout. He’s immediately relatable, giving a naturalistic performance that grounds the narrative. He captures the authenticity of a late teen struggling with his sense of self and need for paternal approval. The scenes between Jane (Jane Gordon) and Eddie (Jeremy Waters) are particularly watchable as the two spark off each other with more ease, driven particularly by Waters’ rugged, embodied performance. Jeremy Waters is electric in his presence and relatable as Eddie. He brings a sense of visceral realism that he expresses through body and voice. He has that kind of voice that gives emotion a direct conduit to the audience. ![The Scoop Top Silk Ensemble Theatre](https://thescoop.au/wp-content/uploads/2026/08/Jamie-Oxenbould-and-Thomas-Campbell_Ensemble_ImageCredit_PrudenceUpton-942x628.jpg "Top Silk Ensemble Theatre • The Scoop")Ensemble has a knack for taking older works and landing them right into the current cultural zeitgeist Photo by Prudence UptonLater in the piece, there’s an exceptional scene between Jane and Jamie Oxenbould which has some authentic moments that feel born in the moment, with unrehearsed freshness. A more sophisticated comedy starts to emerge here, which almost takes flight and perhaps, as the run progresses, will start to take shape. Williamson doesn’t shy away from social mores and the problematic flaws that underlie them. His skill has always been blending the corporate and social worlds with the private lives of his characters, and the relatable unravelling in the living room. A head-spinningly prolific writer whose first work was published in the late ‘60s, Williamson is still capturing the moral dilemmas we all grapple with. While *Top Silk* is very of its time, there are elements that are relevant to today, particularly as the world around us swirls with rife corruption and corporate greed. This is where Williamson’s brilliance lies, and where Ensemble’s season selections shine – they have a knack for taking older works and landing them right into the current cultural zeitgeist. But overall, the play struggles to strike the balance between drama and comedy. It’s not quite a dramedy, not a full satire; if anything, it feels more like an intense drama to me, with elements of soap opera, though a little uncertain of what it wants to be. Though a little muddled in tone, *Top Silk* is sharp, direct and unapologetically Australian, and there’s a particular pleasure in watching all that ‘80s gloss crumble. ***Top Silk* is presented by Ensemble Theatre and runs to 12 September.** **78 McDougall Street Kirribilli NSW 2061.** Tickets are available [here](https://boxoffice.ensemble.com.au/WebPages/EntaWebShow/ShowPerformance.aspx). Website: <https://www.ensemble.com.au/shows/top-silk/> Socials: <https://www.instagram.com/ensembletheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Prudence Upton Watch the trailer here: **Categories:** Sydney, Theatre --- ### [Sabrina Wall Talks Triple Bill & The Growth of Voxalis Opera](https://thescoop.au/sabrina-wall-talks-triple-bill-the-growth-of-voxalis-opera/) **Published:** August 7, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Sabrina Wall Voxalis Opera Triple Bill](https://thescoop.au/wp-content/uploads/2026/08/Sabrina-Wall-Voxalis-2.png "Sabrina Wall Voxalis Opera Triple Bill • The Scoop")Brisbane-based **Voxalis Opera** has built a reputation for championing emerging artists while presenting opera that speaks directly to contemporary audiences. Its latest production, ***Triple Bill***, continues that mission through three intimate works exploring heartbreak, mental health and family, including the Australian premieres of two contemporary operas. Rather than relying on grand spectacle, the production places emotional truth centre stage, inviting audiences to experience opera at its most personal. One of the artists bringing those stories to life is soprano **Sabrina Wall**. Performing in Jake Heggie’s *Facing Forward / Looking Back*, Wall has witnessed the company’s remarkable growth firsthand while continuing to balance a flourishing performance career with life as a teacher. Ahead of *Triple Bill*, The Scoop caught up with Wall to discuss her journey with Voxalis Opera, why the company’s commitment to creating opportunities for Queensland artists is so important, and how this intimate program is helping redefine what opera can be for modern audiences. Read the full interview below. You’ve been performing with Voxalis since 2024, not long after the company was founded. Looking back over the past few years, how have you seen the company evolve, and what do you think it has contributed to Brisbane’s opera scene? Joining Voxalis in 2024 felt like getting in on the ground floor of something special. In a relatively short time, I’ve watched the company develop a distinct artistic voice and establish itself as a vibrant part of Brisbane’s cultural life. What stands out to me is the company’s belief in both excellence and opportunity. Voxalis consistently brings together outstanding artists while creating meaningful pathways for performers to grow. Every project feels driven by a genuine passion for storytelling and connection. I think its contribution to Brisbane’s opera scene has been significant. Voxalis has shown that opera doesn’t need to be distant or intimidating. It can be intimate, immediate, human and moving. By championing high-quality performances and fostering a strong artistic community, the company has helped broaden the reach and appeal of opera for audiences across the city (and beyond!). ![The Scoop Sabrina Wall Voxalis Opera Triple Bill](https://thescoop.au/wp-content/uploads/2026/08/Sabrina-Wall-Voxalis-3.png "Sabrina Wall Voxalis Opera Triple Bill • The Scoop")Sabrina Wall performing in Hansel and Gretel with Voxalis Opera Image suppliedOne of Voxalis’ guiding principles is creating meaningful opportunities for emerging Queensland artists. As someone who made your professional debut soon after graduating, how important are companies like Voxalis in helping bridge the gap between study and a sustainable performing career? My pathway was probably a little different from what people might expect. After graduating from the Queensland Conservatorium Griffith University in 2019, I went on to complete a Master of Teaching at QUT. My first professional opera engagement didn’t come until 2022 when I sang with Victorian Opera. That experience taught me that building a career in the arts is rarely a straight line. For many young performers, it’s a balancing act between further study or other employment and continuing to pursue performance opportunities whenever they arise. Companies like Voxalis play a really important role in that journey. They provide emerging artists with genuine professional experience, but they also give artists a place to belong. Being able to work alongside talented colleagues, perform exciting repertoire and contribute to Brisbane’s artistic community helps make a career in performance feel possible. Those opportunities can be the difference between someone continuing in the industry and deciding to walk away from it entirely. *Triple Bill* explores heartbreak, eating disorders, family relationships and identity. Opera is often associated with grand historical stories, yet these works feel remarkably contemporary. What do you think opera can offer audiences when it tackles issues that are so recognisable and relevant to everyday life? One of opera’s greatest strengths is its ability to take deeply personal experiences and make them feel universal. While people often associate opera with grand stories and larger-than-life characters, at its heart it’s always been about human emotion and relationships. The works in *Triple Bill* explore issues that many people will recognise in some way, whether that’s heartbreak, family dynamics, questions of identity or struggles with self-image. What this production offers is a space to engage with those experiences through music, which has a unique ability to communicate emotions that words alone sometimes can’t. I think audiences are often surprised by just how relevant opera can be. These stories remind us that opera isn’t a museum piece. It’s a living art form that continues to explore the things that matter to us most. When an audience member sees a part of their own experience reflected on stage, it can create a powerful sense of connection, empathy and understanding. That’s what great theatre and great opera do: they help us see ourselves, and each other, a little more clearly. As both a performer and a teacher, I see that as incredibly valuable. Some of the most important learning happens when we’re invited to step into someone else’s shoes. Opera has the capacity to foster that kind of empathy and reflection, which is one of the reasons I believe it remains such a relevant art form today. ![The Scoop Voxalis Opera Triple Bill](https://thescoop.au/wp-content/uploads/2026/08/Sabrina-Wall-Rehearsal-by-Voxalis-Opera-1200x600.png "Voxalis Opera Triple Bill • The Scoop")Sabrina Wall in rehearsal for Triple Bill by Voxalis Opera Image suppliedThe *Triple Bill* program brings together three very different works, from Poulenc’s *The Human Voice* to the Australian premieres of *Comfort Starving* and *Facing Forward / Looking Back*. Without giving too much away, what emotional journey do you hope audiences experience across the evening? I hope audiences leave feeling *something*. That might sound simple, but in a world where we’re constantly distracted and rushing from one thing to the next, there’s something powerful about allowing yourself to sit and feel. What strikes me about all three works is that they invite us into intensely personal moments. The circumstances are different, but each explores what it means to navigate relationships, identity, memory and loss. Across the evening, audiences will encounter moments of heartbreak, vulnerability and reflection, balanced with moments of tenderness, connection and hope. While the three works are very different, they’re united by a curiosity about what it means to be human. Without giving too much away, I hope audiences leave feeling both moved and connected. We often think of art as a form of escape, but some of the most powerful experiences in the theatre happen when we’re invited to engage more deeply with ourselves and others. These works remind us that our struggles, relationships and questions about who we are, are deeply human experiences that connect us, rather than divide us. Ultimately, I hope audiences leave not only having enjoyed an evening of beautiful music and storytelling but having recognised something of themselves in the characters and their journeys. ![The Scoop Sabrina Wall Voxalis Opera Triple Bill](https://thescoop.au/wp-content/uploads/2026/08/Sabrina-Wall-Voxalis-4.png "Sabrina Wall Voxalis Opera Triple Bill • The Scoop")Sabrina Wall performing in Hansel and Gretel with Voxalis Opera Image suppliedYou’re performing in Jake Heggie’s *Facing Forward / Looking Back*, which explores the complexities of a mother-daughter relationship. What drew you to this piece, and what has been the biggest challenge in bringing such an intimate story to life? What drew me to *Facing Forward / Looking Back* was how immediately human it felt. The first time I heard the work, I was completely overwhelmed by it. I remember sitting there in tears because the story felt so, so real. At its heart, the piece explores dementia and the evolving relationship between a mother and daughter. As I’ve gotten older, I’ve become increasingly aware of my own relationship with my mum and how those dynamics shift over time. There comes a point where you begin to see your parents not just as parents, but as people, with their own vulnerabilities, histories and challenges. I think that’s something many audience members will recognise. What I love about this work is that it approaches those themes with enormous compassion. It’s deeply specific in its storytelling, yet incredibly universal in the emotions it evokes. The biggest challenge in bringing it to life is honouring that intimacy. Dementia touches many families, and the mother-daughter relationship at the centre of the piece feels profoundly authentic. The challenge is being truthful in the small moments. Those moments of love, frustration, memory and loss are what make the work so powerful. As a performer, you have to allow yourself to be vulnerable enough to live inside those emotions on stage. And that’s also what makes the piece such a privilege to perform. When something moves you as deeply as this work moved me when I first encountered it, you hope you can help audiences experience that same sense of recognition and connection. Away from the stage, you’ve also built a career as a secondary Music and Drama teacher. Has working with young people influenced the way you approach stories like these, particularly those dealing with mental health, identity and family relationships? Absolutely. In many ways, teaching has strengthened my belief in the value of storytelling. Every day I work with young people, specifically young men, who are navigating questions of identity, relationships, belonging and well being. While the circumstances may be different, the emotions at the heart of those experiences are often the same ones explored in works like *Triple Bill*. As a teacher, I’ve come to appreciate how powerful it can be when someone feels seen in a story or a moment in life. Sometimes understanding begins with recognising that you’re not alone in what you’re experiencing. I think theatre can offer that same sense of recognition. Whether I’m in the classroom or on the stage, I’m interested in creating opportunities for empathy, reflection and human connection. Ultimately, that’s what drew me to teaching, and it’s what continues to draw me to opera. ![The Scoop Poster advertising Voxalis Opera's Triple Bill; a shirtless man sits in a dark, moody setting, with dates and venue in white text at the top and right.](https://thescoop.au/wp-content/uploads/2026/08/Voxalis-Opera-Triple-Bill-472x628.png "Voxalis Opera Triple Bill • The Scoop")One of the things that stands out about *Triple Bill* is its stripped-back approach. Without elaborate sets or spectacle, the storytelling relies almost entirely on the performers. As a singer, does that level of intimacy feel liberating or daunting? Honestly, the older I get, the more I enjoy this kind of storytelling. It’s easy to be impressed by spectacle, but it’s much harder and, for me, more rewarding to hold an audience’s attention with honesty. In *Triple Bill*, there is nowhere to hide. The audience is invited right into the emotional world of the characters, and that requires a real sense of vulnerability from the performers. That’s certainly daunting at times, but it’s also what makes the experience so powerful. Particularly in *Facing Forward / Looking Back*, the story is so intimate and recognisable that you don’t need grand gestures. The piece trusts that the audience will bring their own memories, experiences and relationships into the theatre with them. When that happens, something very special occurs… It stops feeling like a performance and starts feeling like a shared human experience. You’ve already sung roles from *Hansel and Gretel* to contemporary opera. Is there a dream role, or perhaps an opera, you’d still love to perform one day? What is it about that work that speaks to you? Oh, that’s easy and impossible at the same time! If we’re venturing outside opera, Eliza in *Hamilton* would be a dream role. I think she’s the emotional heart of that show. Her journey absolutely breaks me. On the opera side, I’d love to sing one of the great Puccini soprano roles. Every time I listen to Puccini, I’m reminded why audiences have loved his music for so long. He just understood people. I suppose that’s the common thread for me. I’m drawn to stories with real emotional stakes. The ones that make you laugh, cry, reflect, or, in my case, call my mum or dad on the way home. ![The Scoop Sabrina Wall Voxalis Opera Triple Bill](https://thescoop.au/wp-content/uploads/2026/08/SabrinaWall_MbarkStudio-09-Voxalis-Opera-489x628.jpg "Sabrina Wall Voxalis Opera Triple Bill • The Scoop")Sabrina WallYou’re both a professional performer and a teacher, so you’re helping shape the next generation of artists from both sides of the classroom. What advice would you give to young singers hoping to build a sustainable career in opera today? I think I’d tell young singers that there’s no single path to a fulfilling career in the arts. After graduating in 2019, I actually fell out of love with singing for a while. I didn’t spend those years desperately trying to establish myself as a performer. Instead, I completed a Master of Teaching because I genuinely wanted to become a teacher. Looking back, I’m so grateful for that and wouldn’t change a thing! So my advice would be not to panic if your journey doesn’t look like everyone else’s. Careers in the arts are rarely linear. Sometimes stepping away from something can help you rediscover why you loved it in the first place. Keep developing your craft, stay open to opportunities and don’t be afraid to build a life alongside your artistic ambitions. Some of the experiences that make you a stronger artist happen outside the rehearsal room. For me, becoming a teacher didn’t take me away from music. Ultimately, it gave me new reasons to return to it. ***Triple Bill* is presented by Voxalis Opera and runs 20 – 21 August 2026 at St Andrew’s Uniting Church, 299 Ann Street Brisbane Qld 4000.** Tickets: <https://events.humanitix.com/triple-bill> Website: <https://www.voxalis.com.au/triple-bill> Socials: <https://www.instagram.com/voxalisopera/> [Read more of our Feature Interviews](https://thescoop.au/feature-articles/) Hero image: Sabrina Wall performing in *Hansel and Gretel* with Voxalis Opera, supplied. Triple Bill Program: Francis Poulenc *The Human Voice* A devastating portrait of heartbreak Iain Bell *Comfort Starving* Centred on male teenage anorexia (Australian premiere) Jake Heggie *Facing Forward / Looking Back* A mother-daughter reflect on the past while seeking understanding in the present (Australian Premiere) A percentage of the gross revenue from *Triple Bill* will be donated to support those affected by the devastating double earthquake that struck Venezuela on 24 June. Content warning: This production contains strong references to self-harm, homophobia, and explicit language. Created in partnership with Voxalis Opera. For more information about our partnerships, visit [here](https://thescoop.au/partner-with-the-scoop/). **Categories:** Features --- ### [Review: The Book of Mormon Blesses Brisbane Once More](https://thescoop.au/review-the-book-of-mormon-blesses-brisbane-once-more/) **Published:** August 6, 2026 **Author:** Sarah Skubala **Content:** ★★★★½ ![The Scoop The Book of Mormon Musical Melbourne 2026](https://thescoop.au/wp-content/uploads/2026/02/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_467-942x628.jpg "The Book of Mormon Musical Melbourne 2026 • The Scoop")The arrival of *The Book of Mormon* brings one of musical theatre’s biggest comedy hits back to Brisbane. The first major touring musical to grace the city’s sparkling new Glasshouse Theatre, it remains as provocative as it is popular more than a decade after its Broadway debut. Anyone who has somehow escaped the phenomenon over the past decade should know what they’re in for. Created by *South Park* masterminds Trey Parker and Matt Stone alongside *Avenue Q* co-creator Robert Lopez, *The Book of Mormon* follows two mismatched Mormon missionaries sent from Salt Lake City to Uganda, where their earnest optimism collides with the harsh realities of village life. What unfolds is an audacious satire of organised religion, blind faith and Western exceptionalism, wrapped in a catchy, Tony Award-winning score. The Glasshouse Theatre makes a great first impression. From the ‘gold’ carpet spilling onto the street to the expansive foyer overlooking the Brisbane Wheel, the venue is purpose-built for blockbuster musicals. Practical touches, including generous amenities and excellent sight lines throughout the auditorium, ensure the experience is as enjoyable off stage as it is on. Leading the cast as the ambitious Elder Price, Queensland Con alum and Toowoomba local Sean Johnston has all the qualities of a classic leading man. His soaring tenor vocals are matched by an assured stage presence, while his earnest belief in Price’s lofty aspirations allows the satire to emerge naturally. Johnston never overplays the comedy. Instead he finds humour in the character’s unwavering confidence, carefully charting his journey from self-assured missionary to someone forced to confront his own beliefs. Johnston is in particularly fine form during *Orlando*, and delivers a crisp rendition of *I Believe* that is sure to remain lodged in audiences’ heads as they leave the theatre. ![The Scoop The Book of Mormon Melbourne Brisbane 2026](https://thescoop.au/wp-content/uploads/2025/10/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_212-942x628.jpg "The Book of Mormon Melbourne Brisbane 2026 • The Scoop")Nick Cox and Sean Johnston form a beautiful partnership as two mismatched Mormon missionaries Photo by Daniel BoudOpposite him, Nick Cox is superb as the socially awkward Elder Cunningham. With his dishevelled Mormon attire, glasses that magnify his eyes and boundless nervous energy, Cox perfectly captures the lovable chaos of a man hopelessly out of his depth. Yet beneath the comedy lies a genuine warmth that makes Cunningham impossible not to root for. His powerhouse performance of *Man Up* closes Act One with infectious rock-star energy. His uncanny embodiment of Bono during *I Am Africa* is a comic highlight. Together, Johnston and Cox form a beautifully balanced partnership. Their contrasting personalities drive both the show’s biggest laughs and its unexpectedly poignant moments. The emotional heart of the production belongs to Paris Leveque as Nabulungi. In an impressive professional stage debut, Leveque balances the character’s quiet optimism with a resilience born of hardship. Her beautifully sung *Sal Tlay Ka Siti* (aka Salt Lake City) captures Nabulungi’s yearning for a brighter future with sincerity and grace. Her delightful chemistry with Nick Cox makes *Baptize Me* one of the evening’s sweetest moments. By the time she reaches *Hasa Diga Eebowai (Reprise)*, Leveque lays bare the devastation of shattered dreams with such honesty that the comedy momentarily gives way to genuine pathos. In doing so, she ensures Nabulungi is never reduced to a caricature, instead imbuing her with intelligence, dignity and unwavering hope. The ensemble is every bit as polished as the principals, with the Mormon missionaries delivering some of the musical’s most memorable moments. Their opening number, *Hello!*, is joyous, with every perfectly timed knock at the front door and every deadpan grin drawing laughter from the packed opening-night audience. ![The Scoop The Book of Mormon Sydney 2025](https://thescoop.au/wp-content/uploads/2025/07/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_492-942x628.jpg "The Book of Mormon Sydney 2025 • The Scoop")Paris Leveque and Nick Cox bring a delightful chemistry to their duet Photo by Daniel BoudAn Act One highlight includes *Turn It Off*, led by Luke Haberecht’s delightful Elder McKinley. The brilliantly choreographed showstopper, complete with dazzling tap routines and a lightning-fast costume transformation, is executed with sharp comic timing. The momentum continues into Act Two with *Spooky Mormon Hell Dream*, a gloriously over-the-top spectacle that throws everything at the audience. Bursting with manic energy and larger-than-life theatricality, it also features a particularly timely villain update that earns some of the evening’s biggest laughs. The ensemble playing the Ugandan villagers deliver powerhouse vocals with wholehearted commitment. While many of the script’s broadest jokes are directed their way, the cast consistently grounds the material with authenticity, creating a sense of community that elevates the story beyond its satire. One minor technical quibble on opening night was the sound mix. At times, the band overpowered the singers, softening some of the rapid-fire lyrics. In a show where so much of the comedy depends on every punchline landing, a slight rebalance would sharpen an already polished production. *The Book of Mormon* has always been provocative, and much of its humour relies on audiences recognising the ideas and assumptions it is satirising. Seven years after first seeing the show, I found myself questioning whether some of that satire still lands with the same clarity. While the musical pokes fun at organised religion as much as Western perceptions of Africa, certain references now feel more confronting than they once did. Judging by the opening-night audience, many of the jokes continue to earn huge laughs. Yet for me, some moments prompted reflection more than laughter. Whether that shift says more about the changing cultural landscape or my own perspective is difficult to disentangle, but it made revisiting the musical a markedly different experience from my first viewing in 2019. What hasn’t changed is the extraordinary commitment of this Australian company, whose performances consistently find humanity beneath the musical’s broad satire. Whether audiences leave roaring with laughter or wrestling with its ideas, this exceptional cast gives *The Book of Mormon* everything it’s got. ***The Book of Mormon* runs in Brisbane to 4 October at the Glasshouse Theatre, QPAC.** It then tours to Perth and Adelaide, see full dates below. Tickets: <https://thebookofmormonmusical.com.au/tickets/brisbane/> Website: <https://thebookofmormonmusical.com.au/> Socials: <https://www.instagram.com/bookofmormonaunz/> [Read our interview with Sean Johnston and Nick Cox!](https://thescoop.au/hello-catching-up-with-the-stars-of-the-book-of-mormon/) Photo credits: Daniel Boud 2026 Australian Tour: Brisbane on now to 4 October, Glasshouse Theatre, QPAC Perth from 20 October, Crown Theatre Adelaide from 19 December, Festival Theatre **Categories:** Brisbane, Musical Theatre --- ### [Review: Fiddler On The Roof Celebrates Resilience, Faith & Love](https://thescoop.au/review-fiddler-on-the-roof-celebrates-resilience-faith-love/) **Published:** August 6, 2026 **Author:** Ronson Blake **Content:** ★★★★☆ ![The Scoop Fiddler on the Roof Theatre Royal Sydney](https://thescoop.au/wp-content/uploads/2026/08/Fiddler-on-the-Roof_Theatre-Royal-Sydney_credit_Daniel-Boud_007-2-copy-925x628.jpg "Fiddler on the Roof Theatre Royal Sydney • The Scoop")It’s back – again! *Fiddler on the Roof,* one of the great musicals of the 1960s, returns to Sydney on stage at the Theatre Royal. Created by Jerry Bock (music) Sheldon Harnick (lyrics) and Joseph Stein (book) based on stories by Sholem Aleichem, *Fiddler* is rarely out of production, though many (like myself) will recall it from the 1971 film adaptation starring Topol. This touring UK production created by director Jordan Fein, with choreography from Julia Cheng, and design from Tom Scutt, matches an all-Australian cast with immortal music and a timeless story. Tevye (Troy Sussman) is an impoverished milkman living in Anatevka, a Jewish shtetl in The Pale (now Ukraine) of Tsarist Russia. Married to Golde (Alexis Fishman), he has five daughters, of whom three, Tzeitel (Freya Boltman), Hodel (Ellen Ebbs) and Chava (Caity Plummer) are about to cause him grief. When Tzeitel rejects the local matchmaker Yente’s (Sigrid Thornton) choice of husband, Lazar (the always good John Waters), it precipitates cascading events. Both Hodel and Chava similarly decide that who they love and where they live is more important than a traditional arranged marriage. But how much tradition is Tevye prepared to forgo? Is his faith more important than love for a daughter? Change is coming, inexorably – and not least from the Tsar’s pogroms and forced dislocation. A lot rides on these big musical productions and first night nerves are evident. Everyone is feeling their way a little for the first half hour, vocalisations a little tight, Sussman as much as anyone, missing some comedic beats that Stein’s fabulously witty book requires. But he gives us a warm and generous Tevye and soon everything begins to click. The potential for this production to really soar is clear. ![The Scoop Actor stands on a table with arms raised, shouting, as costumed players surround him on a night outdoor stage scene.](https://thescoop.au/wp-content/uploads/2026/08/John-Waters_credit-Daniel-Boud-copy-942x628.jpg "Fiddler on the Roof Theatre Royal Sydney • The Scoop")Much of this productions strength is in the detail Photo by Daniel BoudWhile you wouldn’t call *Fiddler* a feminist tract – marriage is a given – these women are no pushovers. Perhaps they get it from their parents. Fishman finds Golde’s strength to match Tevye’s stubbornness, making her duet in *Do You Love Me* all the more touching. As their independently minded daughters, Boltman, Ebbs and Plummer are all excellent, each displaying their character’s determination in their own way, utterly believable. Plummer also astonishes in a symbolic instrumental duet in Act 2, a fierce contest of future and tradition. Tom Scutt’s set is a clever design that gives us wheatfields and a roof replete with the brilliant Ben Adler as the Fiddler. Adler weaves magic, a marker of tradition and continuity, in musical dialogue with Tevye’s thoughts. He moves sinuously around the set like he was born to it. Under Dominic Woodhead’s conducting, the orchestra/band is tight, and Mark Aspinall’s musical direction highlights the qualities of Bock’s score. Much of this production’s strength is in the detail: the care that’s taken to differentiate each member of the supporting cast; how the smoke envelopes the Fiddler without obscuring him; how the costuming’s muted colours that evoke Russian peasantry work in harmony with the autumnal lighting of the first act. Aideen Malone’s lighting, in fact, is a real force in this production, notably the burning wheatfields on interval. ![The Scoop Fiddler on the Roof Theatre Royal Sydney](https://thescoop.au/wp-content/uploads/2026/08/Fiddler-on-the-Roof_Theatre-Royal-Sydney_credit_Daniel-Boud_048-Edit-2-copy-903x628.jpg "Fiddler on the Roof Theatre Royal Sydney • The Scoop")The choreography and ensemble singing is simply inspired Photo by Daniel BoudAbove everything, though, the choreography and ensemble singing is simply inspired. *Tevye’s Dream* of Grandma Tzeitel coming back from the dead is a (literal) scream, audaciously and hilariously staged. By contrast, but no less effective, the *Sabbath Prayer* and *The Wedding* are contemplative and moving representations of faith. The iconic Bottle Dance is a breathless highwire act that had the audience cheering. And I felt shivers listening to the chorale, *Anatevka,* as the townspeople left for the unknown. Stunning. If nothing else, *Fiddler* *on the Roof* celebrates three things: resilience, faith and love. None of these is necessarily specific to the Jewish diaspora, and indeed the production makes clear the universality of the refugee plight. But on an opening night in Sydney with recent abhorrent events still reverberating, the sense of a community united is palpable. The final moments, where carefully calibrated lighting blurs the boundary between audience, cast and story, are poignant and pointed. This production is not some musty museum piece revived for no discernible reason. It heaves with life and energy, is frequently funny, and poignant and sad, giving full expression to those wonderfully perdurable lyrics and music. It speaks to our time. ***Fiddler on the Roof* runs to 3 October at the Theatre Royal, 108 King Street Sydney. It then runs in Brisbane, Melbourne and Perth. See tour dates below.** Tickets for Sydney are available [here](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/92?tix-tr=FOTRWEB&_gl=1%2Aey7scz%2A_ga%2AMjYyNjAzNzk4LjE3ODQ2MDQ2MDk.%2A_ga_8FKGJK34L0%2AczE3ODYwMDAyMTAkbzQkZzAkdDE3ODYwMDAyMTAkajYwJGwwJGg0MDM4MTcwNTk.). Website: <https://fiddlerontherooftour.com/> Socials: <https://www.instagram.com/fiddlerontherooftour/> Read our 2026 Musical Theatre Show Guide Photo credits: Daniel Boud 2026 Australian Tour Dates: Sydney on now until 3 October, Theatre Royal Brisbane 9 – 25 October, Glasshouse Theatre, QPAC Melbourne 31 October – 27 December, Her Majesty’s Theatre Perth 7 – 31 January, His Majesty’s Theatre **Categories:** Musical Theatre, Sydney --- ### [Announcing New Musical Clancy Of The Outback](https://thescoop.au/announcing-new-musical-clancy-of-the-outback/) **Published:** August 6, 2026 **Author:** Newsroom **Content:** ![The Scoop Clancy of the Outback Musical Stoddart Entertainment](https://thescoop.au/wp-content/uploads/2026/08/PNC7021_Parenthesy-63_HR-Back-Row_-L_R-Earl-Marrows-Alan-Marshall-Phil-Kettle-and-Daniel-Stoddart-Front-Row_-Bob-Andersen-Ashley-Taylor-Tickell-942x628.jpg "Clancy of the Outback Musical Stoddart Entertainment • The Scoop")Stoddart Entertainment Group is proud to announce the commissioning of a new Australian musical, ***Clancy of the Outback***, for development. Renowned for staging productions such as *The Play That Goes Wrong*, *Evil Dead The Musical*, and *Heathers The Musical*, the company will present this uniquely Australian story exploring identity, family, community, and acceptance through a uniquely Australian lens. The production is scheduled for its **premiere in 2027**. The production is based on Phil Kettle and Bob Andersen’s beloved children’s book series, *Clancy of the Outback*, which drew its inspiration from *Clancy of the Overflow*, one of Banjo Paterson’s most famous poems, which is told from the perspective of an urban dweller who encounters the legendary drover and shearer, Clancy, and comes to long for the idealised pleasures of his outback lifestyle. This original, one-act theatrical adventure will bring one of Australia’s most iconic children’s outback heroes to the stage, creating a fresh homegrown production that promises to captivate both young audiences and families. Stoddart Entertainment Group CEO/Producer **Daniel Stoddart** said: *“Australian stories deserve to be told on our stages, especially for young audiences. Clancy is adventurous, funny and deeply heartfelt, but what excites me most is that it doesn’t talk down to children. It treats them as intelligent, thoughtful audiences and invites families to experience all the hallmarks of a full-scale musical together.* *At a time of significant change for Australia’s theatre industry, we’re incredibly proud to be investing in new Australian musical theatre. Original work is the lifeblood of our industry, and Australian stories deserve to be created by Australian artists and shared with audiences across the country. Clancy of the Outback is more than a new production – it’s an investment in Australian creativity, in emerging talent, and in the future of home-grown musical theatre.”* ![The Scoop Clancy of the Outback Musical](https://thescoop.au/wp-content/uploads/2026/08/PNC7021_Parenthesy-17_LR-942x628.jpg "Clancy of the Outback Musical • The Scoop")Alan Marshall and Earl Marrows Photo by Cameron GrantThe production will feature book and lyrics crafted by an all Australian team led by Green Room Award-nominated writer **Dylan Marshall**, with an original score by **Earl Marrows**, a celebrated Australian composer and alumnus of New York University’s esteemed TISCH School of the Arts. Writer/Lyricist **Dylan Marshall** said: *“Clancy is a story about finding where you belong. While it’s wrapped in adventure and humour, at its heart it’s about connection – to people, to place and to community. Those themes feel incredibly relevant today.”* Composer **Earl Marrows** added: *“The score draws inspiration from the Australian landscape itself. We wanted the music to feel big-hearted, emotional and distinctly Australian while still delivering the excitement, humour and spectacle audiences expect from musical theatre.”* Bursting with humour, heart and thirteen original songs, *Clancy of the Outback* will follow a city kid who finds himself thrust into the heart of regional Australia. At The Overflow Station, Clancy learns to fit in with the lively dust-covered community, raises a baby kangaroo, discovers the beauty and hardship of life in the outback, and faces an environmental emergency that challenges his courage, resilience and sense of belonging. The production forms part of Stoddart Entertainment Group’s ongoing commitment to championing Australian stories and investing in the future of new Australian musical theatre. Further details, including premiere dates, creative team and casting, will be announced in the coming months. ***Clancy of the Outback* is presented by Stoddart Entertainment Group and is set to premiere in 2027.** Website: <https://stoddartentertainment.com.au/> Socials: <https://www.instagram.com/stoddartentertainment/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Back Row – Earl Marrows, Alan Marshall, Phil Kettle and Daniel Stoddart. Front Row – Bob Andersen and Ashley Taylor Tickell. Photo by Cameron Grant **Categories:** News --- ### [Announcing Death Of A Salesman For Adelaide](https://thescoop.au/announcing-death-of-a-salesman-for-adelaide/) **Published:** August 5, 2026 **Author:** Newsroom **Content:** ![The Scoop Death of a Salesman Anthony Lapaglia](https://thescoop.au/wp-content/uploads/2026/08/Death-of-a-Salesman_Anthony-Lapaglia_002-942x628.jpg "Death of a Salesman Anthony Lapaglia Adelaide • The Scoop")The critically acclaimed production ***Death of a Salesman**,* starring **Anthony LaPaglia** alongside Alison Whyte, Josh Helman and Ben O’Toole, commences previews at Her Majesty’s Theatre next Tuesday 11 August. The production also announced today it will tour to **Adelaide** via the Festival Theatre from **26 September to 4 October**, following the previously announced Brisbane season at QPAC from 28 August to 6 September. The season will see LaPaglia, born and raised in Adelaide, take to the stage in his hometown for the first time. Directed by legendary stage and screen director **Neil Armfield** (*Cloudstreet, The Diary of a Madman, The Secret River*), this celebrated production of Arthur Miller’s timeless Pulitzer Prize-winning classic offers theatregoers an unparalleled opportunity to witness the power of live theatre in a transformative experience. Golden Globe, Emmy and Tony Award-winning actor **Anthony LaPaglia** will star as Willy Loman in the outstanding Australian staging of **Arthur Miller’s** Pulitzer Prize-winning masterpiece *Death of a Salesman*, making its much-awaited Adelaide debut at Festival Theatre from 26 September to 4 October. Born and raised in Adelaide, LaPaglia will take to the stage in his hometown for the first time. LaPaglia has forged an extraordinary international career across stage and screen, winning a Tony Award for his performance in Arthur Miller’s *A View from the Bridge* on Broadway. He also won a Golden Globe and Emmy Award for his role in the television series *Without a Trace*. His Australian screen credits for which he has won 3 AACTA Awards, include *Lantana*, *Balibo*, *Holding the Man*, *Nitram* and *Boy Swallows Universe*. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia](https://thescoop.au/wp-content/uploads/2026/06/Death-of-a-Salesman_Loman-Family_017_credit_Daniel-Boud2-copy-942x628.jpeg "DEATH OF A SALESMAN Anthony LaPaglia • The Scoop")Josh Helman alongside LaPaglia Ben OToole and Alison Whyte Image suppliedAdelaide Festival Centre CEO **Kate Gould** said: “*Death of a Salesman is regarded as one of the greatest plays of the 20th Century. It is one of those rare works that continues to resonate with audiences across generations. We are thrilled to bring this remarkable staging to Adelaide.*” Adelaide-based producers **Torben** and **Richelle Brookman** of GWB Entertainment along with Andrew Henry Presents are behind the production, and said: “*Our production of Death of a Salesman has been a theatrical phenomenon since 2023 when it took Melbourne by storm. By the time we get to Adelaide it will have played over 130 performances to audiences exceeding 125,000, receiving some of the most glowing reviews imaginable. It is a huge source of pride to finally bring the production to our and Anthony LaPaglia’s hometown for what is likely to be its final season*.” *Death of a Salesman* follows Willy Loman, an ageing travelling salesman struggling to reconcile his dreams of success with the reality of his life, his family and the American Dream. More than 75 years after its premiere, Miller’s masterpiece remains one of the most powerful and enduring dramas in the theatrical canon. Joining **Anthony LaPaglia, Alison Whyte, Josh Helman** and **Ben O’Toole** on stage at Her Majesty’s next week is **Anthony Phelan, Marco Chiappi**, **Paula Arundell**, **Simon Maiden**, **Elizabeth Blackmore**, **Aisha Aidara** and **Darcy Brown**. The production features set design by **Dale Ferguson**, costume design by **Dale Ferguson and Sophie Woodward**, lighting design by **Niklas Pajanti**, music by **Alan John**, and sound design by **David Greasley and David Tonion**. ***Death of a Salesman* is presented by GWB Entertainment and Andrew Henry Presents. It runs 11 – 22 August at Her Majesty’s Theatre Melbourne, before touring to Brisbane and Adelaide. See full dates below.** Tickets are on sale now for Melbourne are [here](https://premier.ticketek.com.au/shows/Show.aspx?sh=DOAS26) and Brisbane are [here](https://www.qpac.com.au/whats-on/2026/death-of-a-salesman). Adelaide tickets are on presale now with general sale from 10am tomorrow via the Adelaide Festival Theatre [website](https://www.adelaidefestivalcentre.com.au/whats-on/death-of-a-salesman). Website: [http://salesmanaustralia.com.au](http://salesmanaustralia.com.au/) Socials: <https://www.instagram.com/salesmanaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. 2026 Australian Tour Dates: Melbourne 11 – 22 August 2026, Her Majesty’s Theatre Brisbane 28 August – 6 September, Lyric Theatre QPAC Adelaide 26 September – 4 October, Festival Theatre **Categories:** News --- ### [Announcing Private Lives Play For Melbourne](https://thescoop.au/announcing-private-lives-play-for-melbourne/) **Published:** August 4, 2026 **Author:** Newsroom **Content:** ![The Scoop Private Lives play Hugh Bonneville Lisa McCune Melbourne](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-04-at-24601-pm-1200x597.png "Private Lives play Hugh Bonneville Lisa McCune Melbourne • The Scoop")It was announced today that **Melbourne** will welcome the record breaking brand-new production of Noël Coward’s comedy masterpiece **Private Lives** in 2027, starring internationally acclaimed British actor **Hugh Bonneville** (*Downton Abbey, Paddington*) alongside four-time Gold Logie Award-winning Australian star **Lisa McCune** (*The King and I, South Pacific, Girl from the North Country*). The announcement follows unprecedented demand for the Sydney season, which recorded the highest first-day ticket sales for a play in **Theatre Royal Sydney**‘s history. After the Sydney season in February, the new production will open at **Melbourne’s Princess Theatre** from **18 March 2027** for a strictly limited season. Joint CEO and Creative Director Trafalgar Entertainment, **Sir Howard Panter** said: *“To achieve the highest first-day ticket sales for a play in the history of Theatre Royal Sydney before the curtain has even gone up is remarkable. It reflects not only the enduring appeal of Noël Coward’s Private Lives, but also the excitement of seeing Hugh Bonneville and Lisa McCune together in this exceptional new production. We are thrilled to now bring the production to Melbourne and look forward to sharing this very special theatrical event with audiences there.”* Joining **Hugh** **Bonneville** and **Lisa** **McCune** in the cast will be celebrated Australian actors **Leon Ford** (*The Pacific*, *Elvis*), Silver Logie Award-winner **Claire van der Boom** (*Rush*, *Sisters of War*) and multi-Helpmann Award-winner **Julie Forsyth** (*Cloudstreet*, *Endgame*). Acclaimed British actor **Hugh Bonneville** said: “*I’m thrilled to be making my Australian stage debut in Private Lives. Noël Coward’s writing remains as sharp, funny and insightful today as ever, and Elyot is a character I’ve always relished the idea of playing.* *To have the chance to bring this classic comedy to Australian audiences, and to work with such a talented cast is a genuine pleasure. I can’t wait to get to Sydney – my first visit to Australia! – and begin rehearsals for this brilliantly funny play.”* ![The Scoop Private Lives play Hugh Bonneville Lisa McCune](https://thescoop.au/wp-content/uploads/2026/07/HUGH_BONNEVILLE-Photo-Credit-GAVIN-BOND-502x628.jpg "Private Lives play Hugh Bonneville Lisa McCune • The Scoop")Hugh Bonneville Photo by Gavin BondElyot (**Hugh Bonneville**) and Amanda (**Lisa McCune**) thought they had put their disastrous marriage behind them. Divorced for five years and honeymooning with their new spouses, their lives are turned upside down when they discover they are staying right next door to each other. What follows is a deliciously funny clash of egos as old sparks fly, tempers flare and common sense goes out the window. Packed with razor-sharp one-liners, outrageous behaviour and enough romantic chaos to keep everyone on their toes, ***Private Lives*** is one of the funniest plays ever written. Since its sensational 1930 premiere, audiences have fallen in love with Coward’s wicked wit and unforgettable characters, while theatre legends including Richard Burton, Elizabeth Taylor, Maggie Smith and Alan Rickman have all taken on its iconic leading roles. Featuring Noël Coward’s beloved song *Someday I’ll Find You*, an enduring classic which has been recorded by some of the greats including Mario Lanza, Doris Day, Perry Como and Julie Andrews. This new production is helmed by internationally acclaimed British director **Christopher Luscombe**, an Associate Artist of the Royal Shakespeare Company, whose work has graced some of the world’s most prestigious stages. With a career spanning the RSC, Shakespeare’s Globe, the National Theatre, the Old Vic and the West End, his acclaimed productions include *Nell Gwynn*, *Much Ado About Nothing*, *Love’s Labour’s Lost* and *The Comedy of Errors*. Luscombe is also the creative force behind the internationally successful production of *The Rocky Horror Show*, which has enjoyed over two decades of worldwide success. He now brings his trademark wit, elegance and comic precision to Noël Coward’s most beloved play. **Hugh Bonneville’s** film credits include *Notting Hill*, *Iris*, *The Monuments Men* and *I Came By*, as well as the three *Downton Abbey* and *Paddington* movies. His television work includes the global hit *Downton Abbey*, for which he received nominations for a Golden Globe and two Emmys, the cast winning three SAG Awards for Outstanding Ensemble. Recent appearances include *Douglas Is Cancelled*, *The Agency*, *The Gold* and *The Gentlemen*, as well as a return to his role of Ian Fletcher in *Twenty Twenty Six* (BBC), successor to the BAFTA-winning *Twenty Twelve* and *W1A.* **Hugh**’s stage career spans four decades and includes seasons with the National Theatre and the Royal Shakespeare Company. His most recent roles include *Uncle Vanya* for the Shakespeare Theatre Company in Berkeley, California, and in Washington DC, and C.S. Lewis in *Shadowlands* at the Aldwych Theatre, London. ![The Scoop Private Lives play Hugh Bonneville Lisa McCune](https://thescoop.au/wp-content/uploads/2026/07/Lisa-McCune-1-628x628.jpg "Private Lives play Hugh Bonneville Lisa McCune • The Scoop")Lisa McCune Image supplied**Lisa McCune** is one of Australia’s most acclaimed and beloved actors, with a distinguished career spanning television, theatre and film. A multiple award-winning performer, she remains one of the most recognised faces in Australian entertainment, having received an extraordinary four Gold Logie Awards for Most Popular Personality on Australian television. Recently, **Lisa** has captivated audiences on stage in the Australian tour of *Alfred Hitchcock’s The 39 Steps*, the Sydney Theatre Company production of Lynn Nottage’s Pulitzer Prize-winning *Sweat*, and the Australian production of *Steel Magnolias.* On screen, she appeared in the latest season of Network 10’s *Taskmaster*, narrated the Nine Network’s acclaimed documentary series *Big Miracles*, and in 2024 was crowned champion of *Dancing with the Stars Australia* alongside professional partner Ian Waite. Joining Director **Christopher Luscombe** in the outstanding British and Australian creative team, is Set Designer **David Fleischer**, Costume Designer **Jennifer Irwin**, Dialect Coach **Charmian Gradwell**, Sound Designer **Jeremy Dunn**, Fight Choreographer **Scott Witt**, Resident Director **Andrew Bevis**, Choreographer **Nathan Mark Wright** and Composer **Nigel Hess**. Together, they bring a wealth of international theatre experience to this brand-new production, creating the perfect setting for Noël Coward’s razor-sharp comedy. Smart, stylish and irresistibly funny, ***Private Lives*** arrives at one of the finest theatres in Australia this summer. ***Private Lives*** **runs in Sydney from 6 February – 14 March 2027 at the Theatre Royal**. **It then runs in Melbourne from 18 March for a four week season at the Princess Theatre.** Join the priority waitlist for Melbourne tickets [here](https://privatelivesplay.com.au/#waitlist). General public tickets go on sale Friday 28 August. Purchase tickets for Sydney [here](https://privatelivesplay.com.au/tickets/sydney/). Website: <https://privatelivesplay.com.au/> Socials: <https://www.instagram.com/privatelivesplayau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Announcing Menopause The Musical 2026 Cast](https://thescoop.au/announcing-menopause-the-musical-2026-cast/) **Published:** August 3, 2026 **Author:** Newsroom **Content:** ![The Scoop Menopause the Musical 2026](https://thescoop.au/wp-content/uploads/2026/08/Screenshot-2026-08-03-at-42715-pm-1200x619.png "Menopause the Musical 2026 • The Scoop")The global hit ***Menopause The Musical®*** has unveiled the cast for its 2026 Australian tour, returning to stages across the country from August with a brand-new production. The tour opens in Geelong this month before travelling to Parramatta, Melbourne, Newcastle, Adelaide, Brisbane and Canberra, bringing audiences a night of uncontrollable laughter, uplifting celebration and shared sisterhood. Tickets are on sale now at [www.menopausethemusical.com.au](http://www.menopausethemusical.com.au/). Taking to the stage in this hilarious, feel-good production are four queens of Australian musical theatre: **Catherine Alcorn** as the Professional Woman, **Sally Bourne** as the Housewife, **Lena Cruz** as the Earth Mother and **Chelsea Gibb** as the Soap Star. Best known for her internationally acclaimed portrayal of Bette Midler in *The Divine Miss Bette*, **Catherine Alcorn** returns to ***Menopause The Musical®*** following her celebrated performances in the 2023 and 2024 Australian tours. A multi-award-winning performer, Catherine has built an impressive career spanning theatre, cabaret and live entertainment, performing throughout Australia, New Zealand and the United States. ![The Scoop Menopause the Musical 2026](https://thescoop.au/wp-content/uploads/2026/08/Menopause-The-Musical_26AU_Cast4500x2000-1200x533.jpg "Menopause the Musical 2026 • The Scoop")The 2026 cast of Menopause The Musical Image suppliedWith a career spanning more than four decades, **Sally Bourne** has entertained audiences across Australia and London’s West End. Making her professional stage debut in the title role of the original Australian production of *Annie*, Sally went on to appear in productions including *Les Misérables, My Fair Lady, Jesus Christ Superstar, Kinky Boots* and *Sister Act*, most recently appearing in *Ned Kelly: The Musical for Victorian Opera.* Originating the role of Cynthia in *Priscilla Queen of the Desert the Musical* and portraying Dr Sofia Martinez in the long-running television soap opera *Shortland Street*, **Lena Cruz** has forged a diverse career across stage and screen. Her musical theatre credits include *In the Heights*, *Into the Woods, Hair* and *Singin’ in the Rain*, while recent screen credits include Netflix’s *Heartbreak High*, SBS’s *Erotic Stories* and *Ina*. A favourite with musical theatre audiences, **Chelsea Gibb** launched her career as Roxie Hart in the Australian production of *Chicago*, going on to perform the iconic role throughout Australia and internationally over four years. She has since appeared in many musical theatre productions including *Anything Goes, The King and I* and *Cabaret*, while her screen credits include *Neighbours, All Saints* and *George of the Jungle 2.* The cast also features **Hester van der Vyver** as understudy. ![The Scoop Menopause the Musical 2026](https://thescoop.au/wp-content/uploads/2026/08/MTM-2025-Australian-Cast_2-Credit-David-Hooley-942x628.jpg "Menopause the Musical 2026 • The Scoop")2025 Menopause the Musical cast Photo by David HooleyInspired by a hot flush and a glass (okay… bottle!) of wine, this hilarious, taboo-breaking musical follows four women who meet while shopping. As they swap stories of hormonal heatwaves, memory meltdowns, and midnight sweats, they belt out parodied hits from the ’60s, ’70s and ’80s — including *I Will Survive*, *Hot Stuff*, *What’s Love Got to Do With It*, and *We Are Family* — and discover that menopause isn’t the end, but a bold new beginning, lived with honesty, humour and a new attitude. Since its 2001 premiere, ***Menopause The Musical®*** has played to over 17 million women (and brave men) in more than 500 cities and nine languages. In Las Vegas, it’s the longest-running musical in the city’s history, thanks to a record-breaking 17-year run — and counting. Australia’s love affair with the show began in 2005, when it opened at Melbourne’s Comedy Theatre. Originally slated for just two months, the season extended again and again, closing after seven months. Since then, the production has played to more than 1.5 million people across 200+ cities and towns nationwide — and holds the title as the longest-running musical ever to play Brisbane. Produced by SK Entertainment, this new production is brought to life by a creative team led by the multi-award-winning director and choreographer **Cameron Mitchell** (*Putting it Together, Calamity Jane*). Orchestrations and Arrangements by **Damon Wade** (*Jesus Christ Superstar, Zombie! The Musical*), Set Design by **Frances Story** *(Friends! The Musical Parody, Cinderella),* Lighting Design by **Jasmine Rizk** (*Cluedo*, *In The Heights*) and Costume Design by **Christine Mutton** (*Titanique, Hugh Jackman – Broadway to Oz).* ***Menopause The Musical®*** is more than a night at the theatre. It’s a celebration of resilience, friendship and finding the humour in one of life’s biggest transitions. *****Menopause The Musical®*** opens 21 August in Geelong Arts Centre before touring the country. See dates below.** Tickets are available at the [website](https://menopausethemusical.com.au/tickets/geelong/). Website: <https://menopausethemusical.com.au/> Socials: [https://www.instagram.com/menopausethemusical\_au/](https://www.instagram.com/menopausethemusical_au/) [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. 2026 Australian Tour Dates: Geelong 21 – 23 August, Geelong Arts Centre Parramatta 27 – 30 August, Riverside Theatre Melbourne 2 – 6 September, Athenaeum Theatre Newcastle 11 – 13 September, Civic Theatre Adelaide 16 – 27 September, Festival Theatre Brisbane 30 September – 11 October, Twelfth Night Theatre Canberra 15 – 18 October, Canberra Theatre Centre **Categories:** News --- ### [The Gospel According To Paul Tour Opens This Month](https://thescoop.au/the-gospel-according-to-paul-tour-opens-this-month/) **Published:** August 3, 2026 **Author:** Newsroom **Content:** ![The Scoop The Gospel According To Paul Jonathan Biggins](https://thescoop.au/wp-content/uploads/2026/08/Jonathan-Biggins-by-Brett-Boardman-942x628.jpg "The Gospel According To Paul Jonathan Biggins • The Scoop")*The Gospel According To Paul* is returning for a victory lap – including hot new takes on today’s world – as Jonathan Biggins transforms into the visionary, reformer and rabble-rouser, Paul Keating. Exploring the former PM’s landmark political achievements and personal obsessions, *The Gospel According to Paul* takes the light on the hill and shines it on a man who grew up in the Labor Party at the knee of Jack Lang, approached economics as an art form, and demanded we confront the wrongs of our past. This production captures Keating’s eviscerating Question Time wit and wraps it up in a Zegna suit. With acerbic updates on everything from AUKUS to negative gearing, to the rise of Pauline and the demise of the Liberal party, this up-to-the minute version of Biggins’ celebrated show returns with a multi-city tour including Brisbane, Canberra, Melbourne and Sydney that is not to be missed. Says writer and performer **Jonathan Biggins**: *“The world’s shambolic parade of hollow populist leaders is definitely not the procession we had to have. Oh, to be led once more by the man who knows a reformer isn’t just a machine in a pilates studio.”* ![The Scoop The Gospel According To Paul Jonathan Biggins](https://thescoop.au/wp-content/uploads/2026/08/TheGospelAccordingToPaul_PhotoBrettBoardman_003110-942x628.jpg "The Gospel According To Paul Jonathan Biggins • The Scoop")Jonathan Biggins as Paul Keating Photo by Brett BoardmanJonathan Biggins is one of Australia’s favourite comic actors and has attracted rave reviews for his performance as Keating. He is best known as co-creator and star of the long-running and much-loved annual political satire, *The Wharf Revue*, and is the author of a soon to be published crime novel. ★★★★★ *“With fresh takes on Keating’s recent media moments and zeitgeist zingers, no scumbag is safe in this show, not even our humble narrator. \[A\] hilariously funny, astute, inspiring show.”* Limelight Magazine ★★★★★ *“A masterclass in biographical theatre. Biggins’ superb acting alone carries the play but his sparkling and provocative script, channelling the protagonist’s characteristic acerbic wit, elevates the performance to another level.”* ArtsHub ***The Gospel According To Paul* runs at Brisbane’s QPAC in August, Canberra Theatre Centre in September, Arts Centre Melbourne in October and Sydney Theatre Company in November. See further details below.** Ticket links can be found at the website and below. Website: <https://softtread.com.au/the-gospel-according-to-paul/> Socials: <https://www.instagram.com/softtreadent/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Brett Boardman 2026 Australian Tour dates include (but are not limited to): Brisbane 18 – 23 August, Playhouse QPAC [Tickets](https://www.qpac.com.au/whats-on/2026/the-gospel-according-to-paul) Canberra 15 – 20 September, Playhouse, Canberra Theatre Centre [Tickets](https://canberratheatrecentre.com.au/show/the-gospel-according-to-paul-2026/) Melbourne 20 October – 1 November, Arts Centre Melbourne [Tickets](https://www.artscentremelbourne.com.au/whats-on/2026/comedy/the-gospel-according-to-paul) Sydney 6 November – 20 December, Wharf 1 Theatre [Tickets](https://www.sydneytheatre.com.au/whats-on/2026/productions/the-gospel-according-to-paul) **Categories:** News --- ### [Sharehouse Productions Returns with New Play Strategic Love](https://thescoop.au/sharehouse-productions-returns-with-new-play-strategic-love/) **Published:** August 2, 2026 **Author:** Newsroom **Content:** ![The Scoop Strategic Love Play Sharehouse Productions](https://thescoop.au/wp-content/uploads/2026/08/LandscapePoster-OptNOTEXT-1196x628.png "Strategic Love Play Sharehouse Productions • The Scoop")[Sharehouse Production Company](https://thescoop.au/no-one-is-coming-to-save-you-inside-sharehouse-productions-urgent-debut/) in association with Flight Path Theatre, is thrilled to present their second production, ***Strategic Love Play*** written by Miriam Battye. The season will run **25 – 29 August** at Flight Path Theatre. After endless swipes left and right two strangers meet for a pint. One is asking all the questions you shouldn’t ask on a first date, the other just wants to survive the night. What begins as awkward small talk quickly spirals into a too-honest, too-intimate proposition. Bold, witty, and brutally honest, Miriam Battye’s comedy pulls the audience right into the discomfort and hilarity of modern romance. *Strategic Love Play* features some of Sydney’s most promising emerging talent. The cast features up-and-comers **Georgia-Paige Theodos** (*Love*, Old Fitz) and **Caleb Jamieson** (*Traffic Light Party*, KXT). Both are NIDA trained actors who graduated in 2024 and 2023 respectively. For director **Ava Rusch** (*Oh, the Humanity and Other Good Intentions,* NIDA), this marks her directorial debut since graduating from NIDA’s prolific Directing MFA. Director **Ava Rusch** said: *“I actually love romance. But I also find the whole concept of dating rather strange. Yet we need this awkward stage to potentially find ‘the one.’ And with dating apps becoming the main source of how people find ‘the one’ it interested me to watch two people genuinely figure out if they can make it work past the texting stage.* *I feel the world of romance is a bit lost at the moment. I feel dating apps and social media tend to make people judge one another too quickly before ordering the drinks and waiting for the awkwardness to pass, you never know what an hour can do.* *Battye’s words cleverly show the other side of these online dates which is the exhaustion of being judged on a first date and just dating full stop. Going on another date and another and maybe this one? No another! Over and over again. So how brilliant to propose an alternate option and see how it unfolds.”* ![The Scoop Strategic Love Play Sharehouse Productions](https://thescoop.au/wp-content/uploads/2026/08/LandscapePoster2Alt-1196x628.png "Strategic Love Play Sharehouse Productions • The Scoop")Miriam Battye’s plays have been produced at iconic theatres such as the Royal Court, Manchester Exchange and Soho. Her recent screenwriting work was seen on HBO’s Succession and Netflix’s BEEF, cementing her as one of the most exciting voices of the modern day. *Strategic Love Play* features an entirely NIDA trained cast and creative team including Producers **Caitlin Green** (Diploma of Acting, 2023) and **Victor Xu** (Diploma Acting, 2023), Sound Designer **Otto Zagala** (BFA Technical Theatre and Stage Management, 2026) and Production Designer **Bronte Hunt** (BFA Design for Performance, 2025). Producer **Caitlin Green** said: *“It’s difficult to get work if you haven’t already done work. That catch 22 became the impetus for starting Sharehouse. Since then, platforming emerging artists has always been our north star. They’re hungry, scrappy, and have an untapped well of talent; which is amazing for us.* *Our entire producing team is NIDA-trained, and the connections we made during our time there has carried us into our careers. We’ve only continued to strike gold in the years since drama school. Every creative we’ve had the pleasure of working with has truly been the best of the best. We could not be more grateful for their commitment and talents. And you’ll definitely see some familiar faces returning for this show – we’ve got the A team.”* Praise for previous productions of *Strategic Love Play*: *“Cynical, fun, and as gripping as a friend’s rapid-fire WhatsApps from a disastrous first date.”* – Pamela Raith, Evening Standard *“Buoyed by sharp comic performances…entertaining for anyone familiar with the exhausting rituals of online dating.”* – Gillian Russo, New York Theatre Guide ***Strategic Love Play* is presented by Sharehouse Production Company in association with Flight Path Theatre and runs 25 – 29 August 2026. 142 Addison Road Marrickville NSW 2204.** Tickets: <https://events.humanitix.com/https-www-flightpaththeatre-org-whats-on-strategic-love> Website: <https://www.flightpaththeatre.org/whats-on/strategic-love> Socials: <https://www.instagram.com/sharehouseproductionco/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: Bennelong In London Gives History A Powerful Voice](https://thescoop.au/review-bennelong-in-london-gives-history-a-powerful-voice/) **Published:** August 2, 2026 **Author:** Nick Dale **Content:** ★★★★½ ![The Scoop Bennelong in London Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/08/Bennelong-in-London_Sydney-Theatre-Company_credit_Daniel-Boud_086-941x628.jpg "Bennelong in London Sydney Theatre Company • The Scoop")Jane Harrison’s *Bennelong in London*, directed by Ian Michael in its world premiere at Sydney Theatre Company, is a haunting, vital piece of truth-telling. It takes history off the museum walls and asks us to feel it in our bones. In a cosy living room, actor Sebastian Anderson (Guy Simon) is preparing to self-tape for an audition as Woollarawarre Bennelong, the Wangal man, diplomat and much-celebrated Aboriginal figure. In a desperate attempt to inhabit the role, Sebastian unwittingly invokes the spirit of Bennelong (Googoorewon Knox) into his living room. What follows is a conversation that slides back and forth through timelines. Sebastian absorbs Bennelong’s experience, grappling across a gulf of centuries that generates its own misunderstandings, friction, and revelations. Harrison’s narrative device of bringing a historical figure from the beginning of colonisation into a modern-day living room is truly inventive and engaging. What if you could learn through a conversation across centuries, rather than books that carry bias and all manner of inaccuracy and omission? What begins as audition prep becomes a multilayered narrative that builds to something arresting and profound. Bennelong walking into a 2026 living room calls up so much for all of us. It’s jarring and immediate. It reminds us that the land we have built our comfortable lives on was stolen from a people who cared for and understood it deeply. Harrison’s script strikes a balance between the intellectual and the visceral. It doesn’t romanticise Bennelong but layers him with real complexity. He’s an emissary and prisoner, diplomat and so-called savage, and as he says, “I’m a devil and a saint.” ![The Scoop Bennelong in London Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/08/Bennelong-in-London_Sydney-Theatre-Company_credit_Daniel-Boud_113-941x628.jpg "Bennelong in London Sydney Theatre Company • The Scoop")The narrative device of the play is truly inventive and engaging Photo by Daniel BoudThe writing is illuminating and incisive, offering an education that cuts to the bone. This play doesn’t need all the gimmicks, the elaborate stage changes and large cast. It works so well in its simplicity, letting the writing and actors drive the narrative. Ian Michael’s direction is expert-handed, gliding us between timelines and locations. Guy Simon is a nimble actor who leads the story together with Googoorewon Knox, taking us from the living room to the shores of the first landing on Bennelong Point, and back again, then aboard the colonial ships sailing Bennelong to London, and into Governor Arthur Phillip’s offices. Trent Suidgeest’s lighting is rich and intimate, working with primary colours to create little pockets of different times and spaces. James Peter Brown’s score is unimposing but wires into the emotional thread with a fluid beauty. His work is delicate and rousing, building the visceral sensation of the story. The moments of song are immediately powerful. When Knox plays the clapsticks and sings, it takes a story so complex and full of pain and trauma into embodiment, bypassing the intellect entirely. Simon is buoyant, sharp and alive as Sebastian. He’s charismatic from the start and sustains that energy throughout, effortlessly taking on various roles and accents, including Bennelong’s wife, Barangaroo. ![The Scoop Bennelong in London Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/08/Bennelong-in-London_Sydney-Theatre-Company_credit_Daniel-Boud_048-941x628.jpg "Bennelong in London Sydney Theatre Company • The Scoop")The writing is illuminating incisive and offers an education that cuts to the bone Photo by Daniel BoudKnox brings a cheeky innocence to Bennelong but not without fierce authority. He moves from commanding presence to crumbling grief in moments that feel unguarded. There are moments that are truly blistering in their shocking reality. When the actors reenact the capturing of Bennelong and his people onto the ship, with ropes around their necks, the truth we never really contemplate hits home. Earlier in the piece, the script at times drags with a slightly didactic style and Knox at times runs the risk of staying in the telling with a slight dry detachment. But there’s power in the ancestral energy he invokes, and the actors keep it alive, moving with quick shifts in momentum. In the words of Walt Whitman, this story contains multitudes. The creatives work in exquisite concert to deliver a piece that’s uncompromising yet tender, allowing these multitudes to speak through dance, music, movement and conversation. We’ve read about Bennelong in textbooks, seen the documentaries, stared at artefacts in museums pondering, “hmm, that’s interesting.” *Bennelong in London* takes us beyond the museum stroll, beyond the removed novelty of intellectual understanding, into something that gets into the bones. It is a visceral awakening that reminds us that what was done in the past doesn’t stay in the past. ***Bennelong in London* is presented by Sydney Theatre Company and runs to** **16 August at Wharf 1 Theatre. **Wharf 4/5 Walsh Bay Sydney** NSW 2000.** Tickets are available [here](https://www.sydneytheatre.com.au/whats-on/2026/productions/bennelong-in-london). Website: <https://www.sydneytheatre.com.au/whats-on/2026/productions/bennelong-in-london> Socials: <https://www.instagram.com/sydneytheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Daniel Boud **Categories:** Sydney, Theatre --- ### [Review: & Juliet Brings Shakespeare To The Pop Era](https://thescoop.au/review-juliet-brings-shakespeare-to-the-pop-era/) **Published:** August 1, 2026 **Author:** Jackson Kellaway **Content:** ![The Scoop Performer on a dark stage, wearing a sparkling outfit, raising a microphone wand while surrounded by dancing crowd under blue neon lights and a large blue sign overhead.](https://thescoop.au/wp-content/uploads/2026/08/QAEMT-Juliet-Romeo-942x628.jpg "& Juliet QAEMT Griffith University • The Scoop")What do you get when you mix pop hits, ’80s and ’90s fashion, and an insanely talented cast? The Queensland Academy of Excellence in Musical Theatre’s production of *& Juliet*, of course. If you’ve been following along on my reviewing journey, you’ll know that I love a good jukebox musical, and *& Juliet* is by far one of my favourites. In fact, this is the third time I’ve seen the show in the last year. This production, however, is unique in the way it was staged. Directed by Alister Smith with set design by Penny Challen, this version leans into the music’s era with a real rock-concert vibe. The use of graffiti-laden road cases to create the set is particularly clever. Stage lights on wheels are used throughout certain scenes, contributing to an exposed aesthetic that almost resembles a rehearsal room. This doesn’t detract from the larger-scale concert moments, though, which quite literally blew the audience away. As this production features double casting, it’s important to mention that I saw the Capulet cast. First, let’s talk about the ensemble, which is made up of first, second and third year students from the course. The sound this group produce is stunning. Their blend and harmonies are clear and strong, almost overpowering the leads at times. There are plenty of moments throughout the show for them to step forward and showcase their individual talents as well. ![The Scoop & Juliet QAEMT Griffith University](https://thescoop.au/wp-content/uploads/2026/08/QAEMT-Juliet-Juliette-Francois-942x628.jpeg "& Juliet QAEMT Griffith University • The Scoop")This is a polished energetic and ambitious production Photo by Kenn WylchiIn the title role, Alessia Charman is impressive. Charman’s vocal control is remarkable, particularly during the moments where you find yourself wondering how anyone can belt out these songs when your own voice gives up halfway through singing them in the car. Her vocal talent is equally matched by her dancing, and she leads many of the dance breaks alongside her girl group. Opposite her as Romeo is Jackson Hughesman, who demonstrates the emotional journey Romeo goes on with both comedy and heart. Hughesman particularly shows off his vocal talent in the Act Two opener, *Love Me Like You Do*. He delivers a strong performance that allows the character’s more vulnerable side to shine through. In the role of William Shakespeare is Saul Kavenagh. Having seen Kavenagh perform multiple times, I wasn’t surprised by the skill with which he portrayed the role. What did surprise me was the cheeky energy he brought to Shakespeare, offering a side to the character I hadn’t seen from him before. Playing Shakespeare’s wife, Anne Hathaway, is Lily Bennetts, who is hilarious in the role. Her confident portrayal of Anne is perfectly matched by her comedic timing, both in her scenes with Shakespeare and when she quite literally writes herself into Juliet’s story. Another notable character in the show is May, played by Sam Thomas. Written as Juliet’s best friend, May also goes on their own beautiful journey throughout the production. Thomas brings a sassy but grounded quality to the character. Their rendition of *I’m Not a Girl*, *Not Yet a Woman* was one of those moments that stirred up some emotions in this reviewer. Playing the role of Angelique is Addisyn Herndon, and her virile counterpart Lance is played by Lachlan Dunks. Both young performers are hilarious in their duet *Teenage Dream,* and it was a joy watching them onstage. ![The Scoop & Juliet QAEMT Griffith University](https://thescoop.au/wp-content/uploads/2026/08/QAEMT-Juliet_Cast-Mont-942x628.jpg "& Juliet QAEMT Griffith University • The Scoop")This production leans into the musics era with a real rock concert vibe Photo by Kenn WylchiThe costuming, also by Penny Challen alongside Gayle MacGregor, is another standout. The exposed ’80s neon bustles cleverly tie together both the era of the music and the Shakespearean setting, creating a visual style that feels playful without losing the connection to the original story. Some ensemble members are also dressed in crew shirts, effectively becoming roadies who assist with scene changes. It is a smart way to incorporate the first and second year cohorts into the production while also adding to the rock-concert aesthetic. Choreographer Dan Venz, as always, has done an excellent job. The dance numbers are tight, energetic and incredibly well executed, which is no small feat with a cast of this size. The choreography helps maintain the concert energy throughout the production and gives the ensemble plenty of opportunities to shine. *& Juliet* is a testament to the talent and dedication of not only a passionate group of young performers, but also the educators who care deeply about the quality of work being produced by a leading training organisation such as the Queensland Academy of Excellence in Musical Theatre. With a production this polished, energetic and ambitious, there is plenty for the audience to applaud. More importantly, it offers an exciting glimpse into the future of Australian musical theatre. ***& Juliet*** **runs to 8 August 2026.** **Presented by the Musical Theatre students at the Queensland Academy of Excellence in Musical Theatre (QAEMT), Griffith University. Conservatorium Theatre, 140 Grey Street South Brisbane Qld 4101.** Tickets: <https://www.queenslandconservatorium.com.au/juliet/> Website: <https://www.griffith.edu.au/arts-education-law/queensland-academy-of-excellence-in-musical-theatre> Socials: [Socials: https://www.instagram.com/qaemt.griffithuni/](socials:%20https://www.instagram.com/qaemt.griffithuni/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Kenn Wylchi **Categories:** Brisbane, Musical Theatre --- ### [Review: Heathers Brings Big Fun To The Gold Coast](https://thescoop.au/review-heathers-brings-big-fun-to-the-gold-coast/) **Published:** July 31, 2026 **Author:** Sarah Skubala **Content:** ★★★★★ ![The Scoop Heathers the Musical 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/07/Heathers-The-Musical-cast-4-copy-942x628.jpg "Heathers the Musical 2026 Australian tour • The Scoop")Anyone who’s seen *Heathers: The Musical* knows it’s unlike almost any other night at the theatre. Audiences cheer as though they’re at a rock concert, queues for merchandise and the post-show meet-and-greets stretch into the night, and fans, affectionately known as Corn Nuts, arrive in costume to celebrate a show that has become a phenomenon in its own right. Director Andy Fickman believes the musical’s enduring appeal lies in its honest exploration of bullying, mental health and the pressures of fitting in. Beneath the biting humour and infectious score is a story about outsiders, and it continues to speak to audiences nearly four decades after the original film’s release. Based on the 1989 cult classic starring Winona Ryder and Christian Slater, *Heathers* follows Westerberg High student Veronica Sawyer as she is swept into the orbit of the school’s ruling clique, the Heathers. What begins as a quest for popularity soon spirals into a darkly comic tale of murder, manipulation and teenage angst when she falls for the dangerously charismatic J.D. As a proud Gen Xer who grew up with the original film, it was heartening to see that many of its most iconic lines remain intact. Each familiar quip was met with knowing cheers from the audience, with the infamous ‘chainsaw’ line proving that *Heathers* has lost none of its cult appeal. In her professional debut, Emma Caporaso brings star quality to Veronica. Making the role completely her own, Caporaso wins the audience over with fourth-wall-breaking asides, a cheeky grin and a sparkling stage presence. Her rich vocals shine throughout, especially in her solo *I Say No*, while her playful charisma ensures Veronica remains someone the audience can’t help but root for. Caporaso shares an easy chemistry with Conor Beaumont’s J.D., making their increasingly turbulent relationship believable from the outset. Beaumont captures the brooding unpredictability that made Christian Slater’s original film performance so memorable, while still putting his own stamp on the role. Their sizzling rendition of *Dead Girl Walking* is a clear Act One highlight, while the heartfelt *Seventeen* provides a welcome moment of vulnerability, reminding us of the teenagers beneath the show’s dark satire. ![The Scoop Heathers the Musical 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/07/Heathers-The-Musical-cast-3-copy-942x628.jpg "Heathers the Musical 2026 Australian tour • The Scoop")It is easy to see why Heathers inspires the kind of fan devotion usually reserved for pop icons Photo by Cameron GrantIf there was any doubt about the enduring legacy of *Heathers*, it disappeared the moment the Heathers first stepped on stage. Their entrance was met with rock concert-worthy screams, a testament to the almost mythical status these characters have attained. Calista Nelmes takes Heather Chandler’s ‘mythic bitch’ persona to new heights, relishing every cutting remark with supreme confidence. Abigail Sharp reveals a softer side with Heather McNamara, adding welcome emotional depth beneath the clique’s polished exterior. Amélia Rojas impresses with a breathtakingly quick change transformation into the red Heather, capturing the character’s posture, mannerisms and commanding presence with uncanny accuracy. One of modern musical theatre’s signature numbers, *Candy Store* sends a thrill through the auditorium and lands with all the attitude and vocal firepower audiences have come to love. Beyond the principal cast, the supporting players deliver some of the evening’s biggest moments. As Kurt and Ram, Nic Van Lits and David Cuny make a fantastic double act. Their complete physical commitment, including spending Act Two in nothing but their underwear, is matched by incredible comic timing and a boundless sense of fun. Through clever physical comedy, they transform what could have been two one-dimensional bullies into characters the crowd actively looks forward to seeing. Their demise paves the way for one of the musical’s most unexpectedly hilarious numbers, *My Dead Gay Son*. As the fathers of Kurt and Ram, Brodie Masini and Ellis Dollan seize the moment with gusto, delivering the tongue-in-cheek anthem with an irresistible sense of joy that brings the house down. ![The Scoop Heathers the Musical 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/07/Heathers-The-Musical-L-R-Mel-OBrien-Emma-Caporaso-3-copy-942x628.jpg "Heathers the Musical 2026 Australian tour • The Scoop")The reconciliation is so authentic that the audience were left reaching for the tissues Photo by Cameron GrantAs the well-meaning but hopelessly out-of-touch Ms Fleming, Zoe Gertz delivers a showstopping rendition of *Shine a Light*. An extended audience interaction has the crowd in hysterics before Gertz brings the number home with a thrilling vocal finish. One of the evening’s most unexpected emotional highlights comes courtesy of Mel O’Brien as Martha Dunstock. O’Brien infuses *Kindergarten Boyfriend* with remarkable warmth and vulnerability, her crystal-clear vocals lending the ballad an affecting honesty. The emotional payoff comes in the finale, where her reconciliation with Caporaso’s Veronica is handled with such tenderness and authenticity that audience members were left reaching for the tissues. Underpinning the production is a first-rate creative team that fully embraces *Heathers’* heightened aesthetic. David Shields’ clever multi-level set transforms seamlessly between locations, while the refreshed costumes move away from the original film’s overtly ’80s styling in favour of a sharper, more contemporary preppy school uniform look. Martine Wengrow’s assured music direction sees the band deliver Laurence O’Keefe and Kevin Murphy’s infectious pop-rock score with the energy and punch of a live concert. Gary Lloyd’s dynamic choreography ensures each musical number bursts with energy. Ben Cracknell’s lighting design completes the picture, bathing Veronica and the Heathers in neon washes that reinforce their larger-than-life status. No matter whether you’re a longtime Corn Nut who can recite every line or you are discovering Westerberg High for the first time, this production captures exactly why *Heathers: The Musical* has become a modern musical theatre phenomenon. Wickedly funny, emotionally affecting and unapologetically bold, it’s easy to see why it inspires the kind of fan devotion usually reserved for pop icons. ***Heathers: The Musical* runs to 9 August at HOTA, Home of the Arts on the Gold Coast as part of its national tour.** See full dates below. Tickets: <https://tickets.hota.com.au/49744> Website: <https://heathersthemusical.com/australia/> Socials: <https://www.instagram.com/heathersmusicalaunz/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Cameron Grant 2026 Australian Tour Dates: Gold Coast 30 July – 9 August, HOTA, Home of the Arts [Tickets](https://tickets.hota.com.au/49744) Canberra 14 – 23 August, Canberra Theatre Centre [Tickets](https://canberratheatrecentre.n.qtix.com.au/tickets/series/ctcheathersthemusical26) Sydney 26 – 29 August, Coliseum Theatre [Tickets](https://premier.ticketek.com.au/shows/Show.aspx?sh=HEATHERS26) Sydney 1 – 19 September, Roslyn Packer Theatre [Tickets](https://www.roslynpackertheatre.com.au/whats-on/productions/2026/heathers-the-musical) Perth 30 September – 11 October, Regal Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=HEATHPER26) **Categories:** Gold Coast, Musical Theatre --- ### [Review: Heathers The Musical Is Candy Coated Big Fun](https://thescoop.au/review-heathers-the-musical-is-candy-coated-big-fun/) **Published:** April 11, 2026 **Author:** Jack Bengough **Content:** ★★★★½ ![The Scoop Heathers the Musical 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/04/Heathers-The-Musical-L-R-Emma-Caporaso-Amelia-Rojas-Calista-Nelmes-Abigail-Sharp-1-scaled-e1775825454562-932x628.jpg "Heathers the Musical 2026 Australian tour • The Scoop")Based on the 1989 film of the same name, *Heathers* has become a fan favourite for musical lovers in the last decade. Having major runs internationally, Australia is now lucky enough to be visited once again by the show after its first Australian tour in 2015. Directed by Andy Fickman, with choreography by Garry Lloyd, this run of the show brings a strong mix of new and familiar. As an observer with little background in either *Heathers* or musicals in general, this reviewer was pleasantly surprised by the quality of this production, in terms of narrative, songs, and all the touches this cast and crew bring to the table. For those just as uninitiated: *Heathers* is set at Westerberg High in the late 1980s, opening as Veronica Sawyer (Emma Caporaso) begins her senior year. Everybody is split up into their own social cliques, and nobody gets along. Existing above this toxic social culture are the titular “Heathers.” Heather Chandler (Calista Nelmes), Heather Duke (Amélia Rojas), and Heather McNamara (Abigail Sharp). The Heathers are the most popular and powerful girls in the school. Veronica is desperate to befriend them in order to get through her senior year as easily as possible. At the conclusion of the opening song, *Beautiful*, Veronica immediately achieves this goal, thus completely blowing away any expectations of the plot this reviewer had. Now being the fourth member of the Heathers, Veronica has to reckon with her own changing identity, as her new friends push her to commit morally questionable deeds. ![The Scoop Heathers The Musical Australia New Zealand Tour 2026](https://thescoop.au/wp-content/uploads/2026/04/Heathers-The-Musical-Emma-Caporaso-Conor-Beaumont-2-copy-942x628.jpg "Heathers The Musical Australia New Zealand Tour 2026 • The Scoop")Caporaso and Beaumont make for a fantastic on stage pairing Photo by Cameron GrantTaking her even further down this dark path is Jason “J.D.” Dean (Conor Beaumont), the new kid at Westerberg and Veronica’s love interest. *Heathers* begins as a high school drama in the vein of something like *Mean Girls*, but takes many twists, leading to a much more violent and darkly funny tale than one might first expect. Caporaso and Beaumont make for a fantastic on-stage pairing, with songs *Our Love is God* and *Seventeen* sitting among the best of the night. Caporaso’s desperation to save the boy she finds herself falling for from himself is truly believable. Beaumont’s portrayal of J.D.’s trauma makes for a convincingly sympathetic antagonist. Likewise, the three Heathers constantly spice up the show with their unique brands of chaos. Abigail Sharp’s bimbo cheerleader Heather McNamara provides laughs through the show. Amélia Rojas makes a flawless shift from downtrodden to tyrannical in her role as Heather Duke. Standing above the rest is Calista Nelmes as the downright psychotic Heather Chandler, whose onstage presence dominates the whole show. The supporting cast do fantastic work throughout to elevate the production as well. Jocks Kurt and Ram (Nick Van Lits and David Cuny) bring regular comedic relief via their exaggerated dude-bro tendencies. They take part in some impressive fight sequences thanks to fight director Lyndall Grant and consultant Lisa Connell. Mel O’Brien’s understated turn as the school’s “fat-girl” Martha Dunstock shines in her exceptional performance of *Kindergarten Boyfriend*. ![The Scoop Heathers The Musical Australia New Zealand Tour 2026](https://thescoop.au/wp-content/uploads/2026/04/Heathers-The-Musical-L-R-Calista-Nelmes-Nic-Van-Lits-Amelia-Rojas-David-Cuny-Emma-Caporaso-1-copy-942x628.jpg "Heathers The Musical Australia New Zealand Tour 2026 • The Scoop")Whether you know the show or have little knowledge of musicals *Heathers* is a great night at the theatre Photo by Cameron GrantSimilarly tricky to appraise are performers Ellis Dolan and Brodie Masini, who both play multiple roles as schoolteachers and fathers. The duo come together at the start of the second act to perform *My Dead Gay Son*, a highlight of the night. Zoe Gertz bounces between roles throughout the show, but as hippie schoolteacher, Ms Fleming, she wows with *Shine a Light*. It’s worth noting at this point that if you find yourself in the front row, brace yourself for some audience interaction. Bringing the show together is an incredibly confident team of musicians and designers. Music direction by Martine Wengrow and Arrangements by Laurence O’Keefe and Ben Green present the audience with a score full of catchy tunes that lift the excellent vocals by the whole cast. Designer David Shields has created a set that constantly shifts and morphs in surprising ways, taking the audience all across Westerberg from the comfort of their seats. Whether you know the show or are a first-time viewer, or even if you have little background knowledge of musicals, *Heathers* is a great night at the theatre. ***Heathers the Musical* runs to 9 May at Arts Centre Melbourne before touring Australia and New Zealand.** See full dates below. Tickets: <https://www.artscentremelbourne.com.au/whats-on/2026/musical/heathers-the-musical> Website: <https://heathersthemusical.com/australia/> Socials: <https://www.instagram.com/heathersmusicalaunz/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Cameron Grant 2026 Australian Tour Dates: Melbourne 8 April – 9 May, Playhouse, Arts Centre Melbourne [Tickets](https://www.artscentremelbourne.com.au/whats-on/2026/musical/heathers-the-musical) Adelaide 16 – 26 July, Her Majesty’s Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=THEATHER26) Gold Coast 30 July – 9 August, HOTA, Home of the Arts [Tickets](https://tickets.hota.com.au/49744) Canberra 14 – 23 August, Canberra Theatre Centre [Tickets](https://canberratheatrecentre.n.qtix.com.au/tickets/series/ctcheathersthemusical26) Sydney 26 – 29 August, Coliseum Theatre [Tickets](https://premier.ticketek.com.au/shows/Show.aspx?sh=HEATHERS26) Sydney 1 – 19 September, Roslyn Packer Theatre [Tickets](https://www.roslynpackertheatre.com.au/whats-on/productions/2026/heathers-the-musical) Perth 30 September – 11 October, Regal Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=HEATHPER26) **Categories:** Melbourne, Musical Theatre --- ### [Review: Ya'Djin Spirit Women, 2026 Clancestry Festival](https://thescoop.au/review-yadjin-spirit-women-2026-clancestry-festival/) **Published:** July 31, 2026 **Author:** Charmaine Idris **Content:** ★★★★★ ![The Scoop Group of dancers on stage, arms raised in colorful outfits during a performance, banner in the background and stage lighting casting warm colors.](https://thescoop.au/wp-content/uploads/2026/07/YaDjin-Spirit-Women-10-photography-by-Red-Handed-Production-942x628.jpg "YaDjin Spirit Women Clancestry QPAC • The Scoop")*“When you really hold up a mirror and see who we truly are, we come from this beauty, we’re a reflection of this beauty, it walks in us, it’s in us, f\*\*\*! How can you be ugly when you come from that.” **Aunty Chantay** **Link*** A traditional smoking ceremony heralded the opening night of the much-anticipated *Ya’Djin Spirit Women* after The First Creatives production premiered successfully in 2024. A few rectangular white sheets, the only props in this sparse stage setting, float randomly from the rafters. These provide the backdrop for the unfolding scenes. The stage is a blank canvas seemingly waiting in anticipation for what is about to unfold. A group of First Nations performers, young as well as mature, enter this minimalist space. Their demeanour is forlorn as they begin to don plain, ill-fitting white uniforms. Convincing choreography that emulates regular, mundane household chores – cooking, cleaning, sweeping – follows and sets the tone for the ensuing scenes. Respected First Nations elders, Aunty Patience Link and Aunty Chantay Link are the storytellers on whose harrowing stories this courageous production is based. The snappily groomed Aunties appear on a square white sheet that is placed front and centre of the stage. It is an intimate prop – capturing the attention of the audience as the Aunties speak unflinchingly of the effects of their generational trauma. ![The Scoop YaDjin Spirit Women Clancestry QPAC](https://thescoop.au/wp-content/uploads/2026/07/YaDjin-Spirit-Women-8-photography-by-Red-Handed-Production.jpg "Ya'Djin Spirit Women Clancestry QPAC • The Scoop")As each story unfolds the cast members perform a riveting dance theatre piece Photo by Red Handed ProductionsOn screen, the unwavering Aunties are committed to intermittently share with raw honesty and interspersed with humour their abuse, their dispossession, their loss of family, their motherhood, their fractured relationships and the unmitigated colonial violence they were forced to endure. As each story unfolds, the cast members perform a riveting dance/theatre piece dedicated to the relevant subject matter. The most compelling segment (there are several) is the retelling of motherhood through yet another stirring dance piece. Clad in colourful dresses, the dancers excelled in this retelling. The fear that your child could ‘be taken’ at any time unearths another level to becoming a First Nations mother who is under the control of colonialism. The pain is palpable as the performers move through this deeply moving choreography. Enduring this sacred part of being a woman but without the support of your clan resonated deeply with this writer. Costumes are simple but effective; brown cropped tops and matching shorts, dresses in colourful prints. Another highlight is the finale where each performer embodies their First Nations heritage adorned in traditional attire and participating in an ochre/coming of age ceremony. ![The Scoop Ya'Djin Spirit Women Clancestry QPAC](https://thescoop.au/wp-content/uploads/2026/07/YaDjin-Spirit-Women-9-photography-by-Red-Handed-Production-942x628.jpg "Ya'Djin Spirit Women Clancestry QPAC • The Scoop")Each performer especially the younger ones embody their respective onstage personas Photo by Red Handed ProductionsSongs are pre-recorded and delivered in both language and English, the choice of language adding depth to the delivery of the compositions. A more contemporary rap version accompanied by captivating hip-hop moves creates an upbeat feel neatly juxtaposed against the seriousness of the unfolding stories. Each performer, especially the younger ones, embody their respective onstage personas. Kudos to Sanaa Cobbo George, Aamilah Kindt and Amarli Ngere for their captivating interpretative performances. Praise to Allirah Fisher (Artistic Director/Performer), Madison Fisher (Lead Choreographer/Performer) and Erika Jayne Goldsmith (Creative Producer/Performer) for being brave enough to shine a light where there is darkness. More importantly for bringing to life through song, film, dance and theatre, the extraordinary stories of strong-willed Aunty Chantay and Aunty Patience. Your delivery of their stories is flawless! *Ya’djin* means ‘speak.’ It is a call to honour truth-telling. It is a commitment to create a pathway to healing, a healing that Australia so desperately needs in order to move forward from the past. *Ya’Djin Spirit Women* not only *‘*speaks’ loudly…It howls! It roars! ***Ya’Djin Spirit Women* is presented by The First Creatives and runs to 1 August** **as part of Clancestry. Cremorne Theatre, Queensland Performing Arts Centre (QPAC), South Brisbane Qld 4000.** Tickets are available [here](https://qpac.n.qtix.com.au/shop/tickets/series/fnclancestryspiritwomen26?_gl=1%2Azb3rxp%2A_gcl_aw%2AR0NMLjE3ODI4MDkzODguQ2p3S0NBancwbzNTQmhCVkVpd0FoMjgtaldRRzlWZ0x2N1pMTzhzYjI5Z0JaMU9PbkhjemQ0YzU2VTJySTB2c21ibklKUUlTVUdsZ3BSb0NEbG9RQXZEX0J3RQ..%2A_gcl_au%2AMjAyNjQxODE2OC4xNzg1MjkwNjAx%2A_ga%2AMjA4MDU0MzUyNC4xNzgxMjE0NDI5%2A_ga_VPHRWC1BRT%2AczE3ODU0NzQyMTgkbzEyNSRnMCR0MTc4NTQ3NDIxOCRqNjAkbDAkaDA.). Website: <https://www.qpac.com.au/whats-on/2026/clancestry-yadjin-spirit-women> Socials: <https://www.instagram.com/atqpac/> and <https://www.instagram.com/the.firstcreatives/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Red Handed Productions **Categories:** Brisbane, Theatre --- ### [Review: Funeral Flowers Is A Beautiful Solo Tour De Force](https://thescoop.au/review-funeral-flowers-is-a-beautiful-solo-tour-de-force/) **Published:** July 31, 2026 **Author:** Jacqui Moore **Content:** ★★★★★ ![The Scoop Funeral Flowers Red Stitch Theatre](https://thescoop.au/wp-content/uploads/2026/07/Red-Stitch-FuneralFlowers_Lucy-Ansell_Photo-by-JessDcruze_7-942x628.jpg "Funeral Flowers Red Stitch Theatre • The Scoop")I’ve got a riddle for you: where in Victoria can a single actor command a room so completely that an audience sits spellbound for an entire hour? The answer lies in St Kilda East at Red Stitch Actors’ Theatre. The Winter season of *Funeral Flowers* marks my first encounter with this remarkable “big‑little” company, and you can be sure it won’t be my last. Beautifully written by Emma Dennis‑Edwards and confidently directed by Candy Bowers, *Funeral Flowers* traces the journey of seventeen‑year‑old Angelique, a young woman caught in the generational cycle of poverty, prejudice, misogyny, and family incarceration. Yet Angelique refuses to be defined by her circumstances, clinging fiercely to the hope she finds in flowers and the art of floristry. This hour‑long monologue invites its audience to inhabit her world, urging us to search for even the faintest glimmer of light within an otherwise unforgiving landscape. ![The Scoop Funeral Flowers Red Stitch Theatre](https://thescoop.au/wp-content/uploads/2026/07/Red-Stitch-FuneralFlowers_Lucy-Ansell_Photo-by-JessDcruze_5-942x628.jpg "Funeral Flowers Red Stitch Theatre • The Scoop")The production is emotionally searing and artistically refined Photo by Jess D CruzeLucy Ansell is exceptional as Angelique. From the moment she steps onstage and greets the audience with a radiant smile, we’re instantly drawn to her and wholly invested in Angelique’s journey. Ansell moves with striking precision, shaping her voice, expressions, and physicality to inhabit every character in the narrative. Her choices around Mikey are particularly considered and beautifully judged. I could have watched her command the stage far beyond the sixty minutes the script allows. Bianca Pardo’s set design is minimal but evocative. The combination of child‑like play elements and raw concrete provides a versatile environment that supports Ansell’s performance and aligns closely with Bowers’ astute directorial vision. Composition and sound design by Christian Biko proved essential to the performance. Biko blends rap, hip‑hop, and steel‑drum calypso into the sonic landscape, enriching Angelique’s world with cultural depth and historical texture. ![The Scoop Funeral Flowers Red Stitch Theatre](https://thescoop.au/wp-content/uploads/2026/07/Red-Stitch-FuneralFlowers_Lucy-Ansell_Photo-by-JessDcruze_3-942x628.jpg "Funeral Flowers Red Stitch Theatre • The Scoop")Lucy Ansell is exceptional as Angelique Photo by Jess D CruzeLighting designer Kyra Ryan adds another vital layer, syncing their cues to the pulse of Biko’s music and offering perfectly timed support for Ansell’s character shifts and pivotal emotional beats. *Funeral Flowers* is a testament to what can happen when exceptional writing, incisive direction, and a powerhouse performer collide in an intimate space. Red Stitch has delivered a production that is emotionally searing and artistically refined, reminding us of the transformative potential of solo storytelling. It’s the kind of work that makes you want to return, not just to see what they do next, but to experience the thrill of theatre again at its most intimate and affecting. ***Funeral Flowers* is presented by Red Stitch and runs to 23 August. Red Stitch Actors’ Theatre, Rear 2 Chapel Street St Kilda East Vic 3183.** Tickets are available [here](https://boxoffice.redstitch.net/WEBPAGES/EntaWebShow/ShowCalendar.aspx). Website: <https://www.redstitch.net/funeral-flowers-2026> Socials: <https://www.instagram.com/redstitch/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Jess D Cruze Content warnings: *Funeral Flowers* contains strong language and mature themes. It includes depictions of sexual assault, rape, non-consensual sexual filming/exploitation, coercive control, emotional abuse, and references to drug use and the incarceration of a parent. For support, patrons can contact 1800RESPECT (1800 737 732) Recommended for ages 14+ **Categories:** Melbourne, Theatre --- ### [Review: SIX Serves A Royal Flush Of Pop Perfection](https://thescoop.au/review-six-serves-a-royal-flush-of-pop-perfection/) **Published:** July 30, 2026 **Author:** Wendy Samantha **Content:** ★★★★★ ![The Scoop SIX the Musical Melbourne 2026](https://thescoop.au/wp-content/uploads/2026/07/SIX-2026-27-AUSTRALIAN-TOUR-CAST_PHOTO-CREDIT-JAMES-D-MORGAN-_-GETTY-IMAGES_DSC_6521-copy-942x628.jpg "SIX the Musical Melbourne 2026 • The Scoop")It’s simply one of a kind, no category! *SIX the Musical* has blasted into Melbourne with an outstanding cast of queens rocking the roof off the Comedy Theatre. In a display of entertainment like no other, audiences will feel a surge of power, inspiration, sisterhood and beauty in this spectacular array of sparkle and colour, brought to life by six phenomenal vocal performances. Transforming the six wives of King Henry VIII into blinging pop icons, *SIX* is a concert-style production that empowers its audience as each queen reclaims her story, challenging the others to prove who endured the toughest fate. Divorced. Beheaded. Died. Divorced. Beheaded. Survived. Beneath its infectious pop anthems and concert-style spectacle, *SIX* shines a light on the limited rights and freedoms afforded to women in Tudor England. In reclaiming the voices of Henry VIII’s six wives, the musical delivers a joyous, empowering and thoroughly electrifying theatrical experience. This is the third season of *SIX* to tour Melbourne, with each production showcasing a powerhouse cast that brings something extraordinary. The original 2020 company featured the brilliantly talented Chloe Zuel, Kala Gare, Loren Hunter, Kiana Daniele, Courtney Monsma, Vidya Makan, Ella Burns, Karis Oka and Shannen Alyce Quan. The highly successful troupe went on to lead productions including *Hamilton*, *My Brilliant Career*, *Beetlejuice*, *Wicked*, *Frozen*, *& Juliet*. Returning in 2024 and back by popular demand, Loren Hunter was joined by fellow queens Kimberley Hodgson, Deirdre Khoo, Zelia Rose Kitoko, Chelsea Dawson, and Giorgia Kennedy, with Chiara Assetta, Gabriella Boumford, Thalia Smith and Cristina D’Agostino completing the company as swings and creative covers. The cast brought phenomenal strength and stand-out stardom, going on to shine in *The Rocky Horror Show*, *Mary Poppins*, *Aladdin*, *Mamma Mia!* and *Mackenzie*. *SIX* has become something of a proving ground for Australian musical theatre talent. With two previous casts producing performers who have gone on to lead many of the country’s biggest productions, anticipation was high for the 2026 queens. ![The Scoop Six The Musical Melbourne Australia 2026](https://thescoop.au/wp-content/uploads/2026/07/SIX-2026-27-AUSTRALIAN-TOUR-CAST_PHOTO-CREDIT-JAMES-D-MORGAN-_-GETTY-IMAGES_DSC_5164-copy-942x628.jpg "Six The Musical Melbourne Australia 2026 • The Scoop")SIX has blasted into Melbourne with an outstanding cast of queens rocking the roof off the Comedy Theatre Photo by James D MorganAs we stepped onto the purple carpet, we were excited to meet the new queens: Sarah Murr as Catherine of Aragon, Mia Paris Scalise as Anne Boleyn, Cara Bessey as Jane Seymour, Kadesa Honeyhill as Anna of Cleves, Angela Brischetto as Katherine Howard and Lorinda May Merrypor as Catherine Parr. These 2026 queens rise magnificently to the occasion, delivering six distinct performances that are every bit as commanding, charismatic and vocally thrilling as those that came before them. Leading the cast is Sarah Murr, who gives a stunning performance, combining commanding stage presence with exceptional vocal talent. Mia Paris Scalise’s impeccable comedic timing is a crowd favourite, and she simply shines. Cara Bessey brings the sweetest vocals with exceptionally powerful moments. Kadesa Honeyhill is definitely a charmer, adding flair, style and a cheeky sense of class. Angela Brischetto knows how to bring delightful musical moments whilst demonstrating dynamics in her character. Lorinda May Merrypor brings purpose to her role with an unforgettable portrayal displaying deep emotional truth. Supporting the queens is also the brilliant on-stage band known as The Ladies in Waiting. They include music director Claire Healy on keys, assistant music director Heidi Maguire, also on keys, Kathryn Stammers on drums, Danielle Colligan on guitar and Matilda Yang on bass. ![The Scoop Six The Musical Melbourne Australia 2026](https://thescoop.au/wp-content/uploads/2026/07/SIX-2026-27-AUSTRALIAN-TOUR-CAST_PHOTO-CREDIT-JAMES-D-MORGAN-_-GETTY-IMAGES_DSC_5037-copy-942x628.jpg "Six The Musical Melbourne Australia 2026 • The Scoop")SIX is a celebration of identity resilience and reclaiming the narrative Photo by James D MorganTogether they add a mixture of R&B and electric flavour to the rock-pop concert intensity and confident driving delivery. There is an attitude in this production unlike any other, where passion and vibrancy collide with a powerful blast of wondrous golden glitter. Gabriella Slade’s costumes are very much part of the force and power, with vibrance and girl group glamour. Each queen reflects a unique look and is decorated with sequins from head to toe. Tim Deiling’s lighting design pops every moment, enhancing silhouettes, storytelling and emotions in this shimmery, shiny, extremely exciting atmosphere where everything seems to sparkle. Each song is driven by strong choreography by Carrie-Anne Ingrouille that allows the performers to truly celebrate their characters. More than a dazzling pop concert, *SIX* is a celebration of identity, resilience and reclaiming the narrative. By giving each queen the chance to tell her own story, the musical transforms familiar historical figures into complex, compelling women whose experiences continue to inspire today. Whether you come for the history, the music or the spectacle, this is an unmissable night at the theatre. Gather your friends and prepare to leave the Comedy Theatre feeling every bit as empowered as the six Queens themselves. ***SIX the Musical* runs to 4 October at the Comedy Theatre, Melbourne before heading to Sydney and Brisbane.** See full dates below. Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=SIXMUS26> Website: <https://sixthemusical.com.au/> Socials: [https://www.instagram.com/sixthemusicalau](https://www.instagram.com/sixthemusicalau/) Read our 2026 Musical Theatre Show Guide Photo credits: James D. Morgan 2026 / 2027 Australian Tour Dates: Melbourne 24 July – 4 October, Comedy Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=SIXMUS26) Sydney 9 October – 22 November, Theatre Royal [Tickets](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/120/) Brisbane 2 – 31 January 2027, Playhouse Theatre, QPAC [Tickets](https://sixthemusical.com.au/tickets/brisbane/) **Categories:** Melbourne, Musical Theatre --- ### [William Shakespeare's Reservoir Dogs Returns To Melbourne In Bold Mash Up](https://thescoop.au/william-shakespeares-reservoir-dogs-returns-to-melbourne-in-bold-mash-up/) **Published:** July 29, 2026 **Author:** Newsroom **Content:** ![The Scoop William Shakespeare's Reservoir Dogs Ghostlight League](https://thescoop.au/wp-content/uploads/2026/07/1000012183-942x628.jpg "William Shakespeare's Reservoir Dogs Ghostlight League • The Scoop")Bringing together the iconic characters and dialogue from Shakespeare’s plays with the gritty underworld of Quentin Tarantino’s film, Theatre Works and The Ghostlight League present ***William Shakespeare’s Reservoir Dogs*** in Melbourne from **5 – 15 August 2026**. Telling the tale of six strangers brought together to commit a daring crime…plunder a coach of precious jewels; things go awry, and those who remain must fight to uncover who amongst their company is a rat. Written by Steven Hopley, ***William Shakespeare’s Reservoir Dogs*** premiered in Sydney in 2014 and was first performed in Melbourne in 2024, where The Ghostlight League received excellent reviews for their production. After starting work on their second show (*Shakespeare Ghostbusters*), **Artistic Director Rob Lloyd** said they came up with the idea of turning their Shakespeare Pop-Culture Mash-Up shows into a trilogy. With each show representing one of Shakespeare’s three genres, History (*Shakespeare Aliens*), Comedy (*Shakespeare Ghostbusters*) culminating at their end point; Tragedy (*William Shakespeare’s Reservoir Dogs*). ![The Scoop William Shakespeare's Reservoir Dogs Ghostlight League](https://thescoop.au/wp-content/uploads/2026/07/1000012067-942x628.jpg "William Shakespeare's Reservoir Dogs Ghostlight League • The Scoop")Still from William Shakespeares Reservoir Dogs 2024 season Image suppliedDirector and Producer **Rob Lloyd** said: *“**This is a return season for us in many ways. A return for the show after we presented it for the first time in 2024 at St. Martins to rave reviews, and a return to the Theatre Works stage for the first time since our very first production as a company. It feels like a homecoming of sorts and the perfect way to finally put our Shakespeare Pop-Culture Trilogy to bed.”* Six strangers are hired to rob a case of precious jewels from a coach on its way to the King. After their robbery is thwarted, the brigands realise that one of them must secretly be an officer in disguise. But which one? Co-Producer **Cassandra Hart**, who also plays Sir White, said: *“Hopley has written a script that captures the essence of Tarantino’s film and dialogue, but has turned it into Old English with an abundance of Shakespeare’s works and words peppered throughout. We are also set in Elizabethan England instead of 1990’s Downtown LA. We’d say its a pretty even blend of Tarantino to Shakespeare on this one!”* ![The Scoop William Shakespeare's Reservoir Dogs Ghostlight League](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-29-at-25051-pm-1200x599.png "William Shakespeare's Reservoir Dogs Ghostlight League • The Scoop")Lloyd added: *“The show follows Tarantino’s 1992 film extremely closely; with the storyline not being linear. Audiences can expect to be taken on a journey into the past and present as they follow the plight of our Dogs and their downfall.”* With suits and ties replaced by dublets, semi-automatic pistols with swords and a thumping soundtrack of ’70s hits turned Bardcore by a live band; thou must not miss this unforgettable experience that blends tragedy, comedy, and a dose of Tarantino’s signature flare and Shakespeare’s iconic style. ***“This is something incredible indeed”*** **★★★★★** – Lilitha Reviews ***“Fast, furious and a theatrical hoot”*** **★★★★.5** – Theatre Matters ***“This is a highly recommended play”*** **★★★★** – Arts Hub Cry Havoc! And Let Slip the (Reservoir) Dogs of War. ***William Shakespeare’s Reservoir Dogs*** **is presented by Theatre Works and The Ghostlight League and runs in Melbourne from 5 – 15 August 2026. Theatre Works, 14 Acland Street St Kilda Vic 3184.** Tickets are available [here](https://www.eventbrite.com.au/e/william-shakespeares-reservoir-dogs-tickets-1976080989434?aff=oddtdtcreator). Website: <https://www.theatreworks.org.au/2026/william-shakespeares-reservoir-dogs> Socials: <https://www.instagram.com/theghostlightleague/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. Watch the trailer below: Created in partnership with The Ghostlight League. For more information about our partnerships, visit [here](https://thescoop.au/partner-with-the-scoop/). **Categories:** News --- ### [Review: Logan St Uncovers The Forgotten Histories Beneath Adelaide's Streets](https://thescoop.au/review-logan-st-uncovers-the-forgotten-histories-beneath-adelaides-streets/) **Published:** July 29, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Logan St State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/07/LOGAN_STREET_STILLS_by_MATT_BYRNE-03355-942x628.jpg "Logan St State Theatre Company South Australia • The Scoop")Before *Logan St* begins, its audience is asked to speak. Across a floor-to-ceiling screen, Uncle Lewis O’Brien and Aunty Lynette Crocker welcome us to Kaurna Yarta. Matt Byrne’s camera moves through the landscape, capturing burbling streams and smoke curling through Country. Together, the audience declares that we have not come with ill intent, but with respect. It is a Welcome to Country like no other. It also prepares the room for a profoundly moving work about who has been permitted to speak, who was forced to whisper and what Country remembers after archives fall silent. *Logan St* is Kaurna and Narungga theatre-maker Jacob Boehme’s first mainstage production as both writer and director. He began with childhood stories about his family home at 31A Logan Street and an Afghan neighbour affectionately remembered as “Goolie with the gold tooth, who made us curries.” Conversations with family and Kaurna Elders, alongside archival research, revealed that this family folklore was part of a largely forgotten Adelaide history. Kathryn Sproul’s Space Theatre stage is almost bare. Five pomegranates lie upon the ground. A Logan Street sign stands in one corner beside a streetlamp. A grey-haired Dulcie arrives. Nic Mollison’s lighting and the sound design of Patrick Pages-Oliver and Mick Jackson create a car from headlights, slamming doors and darkness. The stage then slips into 1941. Three tall screens shaped like mosque windows project translations as Afghan neighbours Goolie and Muhammad argue across a fence. Goolie’s bird has been eating Muhammad’s peppers. Their squabble introduces one of the production’s great strengths: *Logan St* is consistently funny. A sixteen-year-old Dulcie enters in pigtails and attempts to steal the pomegranates. Goolie catches her. Their confrontation ends with an agreement that anything growing in the garden is theirs to share. That modest exchange supplies the play’s roots. Across the following nine years, Dulcie and Goolie share food, stories and cultural knowledge. Scenes jump forward two or three years at a time, allowing their friendship to deepen through accumulated domestic rituals rather than grand declarations. Alexis West captures teenage Dulcie’s mannerisms beautifully. She combines adolescent cheek with a watchfulness learned from living under constant scrutiny. Her body changes as Dulcie ages, but the spark remains. ![The Scoop Logan St State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/07/LOGAN_STREET_STILLS_by_MATT_BYRNE-03888-942x628.jpg "Logan St State Theatre Company South Australia • The Scoop")Across the years Dulcie and Goolie share food stories and cultural knowledge Photo by Matt ByrneAli Ammouchi gives Goolie warmth, pride and comic precision. His conversations with West have the loose rhythms of people who have spent years wandering into each other’s kitchens. Their affection feels lived rather than performed. Dulcie knows why Goolie’s tomatoes will not grow in the swampy soil. The knowledge came from her mother and from generations of relationship with the land. Later, she explains that First Nations people understood how copper sulfate could turn a flame green long before Western scientists claimed the discovery. Mollison bathes her face in green light as the campfire changes colour. The effect is simple and sacred. It also carries an ache. Dulcie wanted to become a scientist, but was removed from school before that future could take shape. The play repeatedly returns to the kitchen. Goolie chops carrots, peels potatoes and plans the feast that will follow Eid at the mosque. Nothing is mimed into emptiness. Knives meet boards and vegetables fill pots. That naturalism makes the angrier moments dangerous. When tins and spoons fly, their clang cuts through the theatre with the force of a domestic rupture. Food becomes an offering of trust. As Goolie prepares the Afghan dessert shirpera, the theatre fills with rosewater. Audience members receive a taste after the performance. Hospitality has already crossed the fence, passed between cultures and finally reached the stalls. The friendship also reveals how differently Australia distributed oppression. Goolie has endured racism and exclusion despite spending more than 50 years in the country he helped build. Yet he can still speak his language across the fence. Dulcie must whisper the songs taught by her mother. She needs an exemption certificate to work. The document demands that she surrender her culture and identity in exchange for conditional participation in settler society. Goolie is appalled. *Logan St* refuses to flatten their experiences into an easy equivalence. Afghan cameleers and their families were treated as second-class citizens. First Nations people were denied recognition as citizens of their own land. ![The Scoop Logan St State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/07/LOGAN_STREET_STILLS_by_MATT_BYRNE-05635-942x628.jpg "Logan St State Theatre Company South Australia • The Scoop")Logan St refuses to flatten the characters experiences into an easy equivalence Photo by Matt ByrneThe domestic story is interrupted by passages from the early colonial period. West also inhabits Munarto, while Aviana (Avi) Daveson appears as young Munarto on film. These sequences abandon the kitchen’s naturalism for a more stylised collision of performance, music and colonial art. Munarto moves before paintings of beautiful coastlines and apparently untouched landscapes. These works presented colonisation without its bodies, violence or grief. Boehme superimposes a Kaurna woman upon them, restoring a presence that the settler image had airbrushed away. Sonya Rankine’s exquisite songs give these passages their spiritual charge. Dale Cornelius’ music moves between Kaurna and Afghan cultural worlds without treating either as decorative atmosphere. Goolie’s prayers are framed by light with the same reverence given to Dulcie’s campfire and Munarto’s songs. The relationship between Munarto’s story and the action on Logan Street is initially opaque. At times, the ambiguity threatens to loosen the play’s emotional grip. Boehme deliberately withholds the connection, however, allowing the audience to understand it when Goolie does. At the climax, the timelines suddenly align. The history that had appeared fragmented becomes devastatingly clear. Boehme has spent 25 years working across dance, puppetry and visual theatre. His experience with movement, screens and music is woven seamlessly into this first mainstage text. The projected past and naturalistic present speak different theatrical languages, yet eventually tell the same story. The work is also unmistakably South Australian. Grote Street and Chinatown enter the conversation. Goolie knows which trader sells the best ginger and which suburbs hawk particular wares during the war; you go to Parkside for the chocolate. Historic fires are recalled through the people who observed them. Adelaide’s history emerges through shopping, cooking, labour and neighbourhood gossip. These details draw the audience closer to the ground beneath the city. Streets crossed every day acquire other lives. The final song is sung loudly, passionately and without apology. After 80 minutes of hearing what Dulcie had to whisper, its volume is overwhelming. Outside, rosewater dances on the tongue. Logan Street no longer sounds like an ordinary Adelaide address. ***Logan St* is presented by State Theatre Company South Australia and runs to 8 August at the Space Theatre. Adelaide Festival Centre, King William Street Adelaide SA 5000.** Tickets: <https://my.statetheatrecompany.com.au/overview/logan-st> Website: <https://statetheatrecompany.com.au/shows/logan-st/> Socials: [Socials: https://www.instagram.com/statetheatresa/](Socials:%20https://www.instagram.com/statetheatresa/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Matt Byrne **Categories:** Adelaide, Theatre --- ### [Film Review: CatVideoFest 2026 Proves Cat Videos Are Even Better On The Big Screen](https://thescoop.au/film-review-catvideofest-2026-proves-cat-videos-are-even-better-on-the-big-screen/) **Published:** July 29, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop CatVideoFest](https://thescoop.au/wp-content/uploads/2026/07/Cat-in-field-copy-910x628.png "CatVideoFest • The Scoop")Let’s address the obvious question first. Why would anyone pay to watch cat videos on the big screen when they can spend hours watching them for free online? The answer is surprisingly simple. Because *CatVideoFest* isn’t really about the videos themselves; it’s about sharing them. Part compilation film, part celebration of feline absurdity, and part fundraiser for cats in need, *CatVideoFest* transforms the solitary act of doom-scrolling into a communal cinema experience where an audience full of strangers collectively laughs, gasps and inevitably lets out a chorus of “awws.” Curated by director and producer Will Braden, the 73-minute feature assembles a collection of recent viral clips, mini-documentaries and internet favourites into a series of themed chapters inspired by classic film genres. It’s an intentionally rough-around-the-edges presentation, with the majority of footage shot vertically on mobile phones, but polished cinematography isn’t the point. These are authentic moments that just happen to feature some extraordinarily entertaining cats. The opening Drama chapter delivers one of the film’s highlights. A stressed kitten, encouraged by an older cat, attempts to scale a seemingly impossible wall. It’s surprisingly suspenseful, with the audience quickly becoming invested in whether the little climber will reach the top. ![The Scoop CatVideoFest](https://thescoop.au/wp-content/uploads/2026/07/cat-in-tree-942x628.jpg "CatVideoFest • The Scoop")The documentary style stories become the emotional heart of the film Image suppliedThe Action/Adventure chapter shifts gears with a mixture of athletic and adventurous felines. The recurring 2024 Catlympics sketches, featuring rivals Porky Belly and Jim competing in increasingly ridiculous events, become one of the film’s strongest running gags. There’s competitive dinner eating, feline breakdancing, and testing exactly how many pairs of socks can be balanced on a sleeping cat. The segments embrace their own silliness without overstaying their welcome. Elsewhere, ginger skateboarder Ed proves an undeniable scene-stealer, while a series of real-life adventure cats showcase lives that most humans would envy. Willow happily explores caves on a leash. Sigrid hisses at bewildered passers-by while accompanying owner Travis rides a bicycle. Findus, a Savannah cat, calmly rides a paddle board as though it’s the most natural thing in the world. The film thoughtfully credits many of its featured creators with on-screen Instagram handles, making it easy for audiences to continue following their feline adventures after the credits roll. Unexpectedly, the documentary-style stories become the emotional heart of the film. One particularly loveable tortoiseshell has voluntarily continued to put back on the recovery bucket she came home with after surgery more than 13 years ago, affectionately earning the nickname “little lamp.” ![The Scoop CatVideoFest](https://thescoop.au/wp-content/uploads/2026/07/CVF26_keyart_1980x1080-1151x628.jpg "CatVideoFest • The Scoop")CatVideoFest runs from 13 to 16 August in cinemas around Australia and New ZealandAnother memorable segment introduces Saverio, the roaming neighbourhood cat whose daily wanderings have united an entire Italian village. Belonging simultaneously to everyone and no one, he has become a cherished local celebrity whose presence brightens each day. Perhaps the greatest rule-breaker of them all is Louis Vuitton, a cat living on the United States-Canada border who regularly ignores international boundaries by hopping between the two countries, much to the delight of his local community. Along the way, we also meet a wonderfully eccentric collection of cat owners and enthusiasts. Whether they were deliberately selected for their larger-than-life personalities or whether cats simply attract delightfully quirky humans is left for audiences to decide. The film begins to lose some momentum during its extended Art chapter. While a handful of animated shorts land successfully, others feel disconnected from the rest of the compilation and interrupt the easy rhythm established earlier. Even here, however, there are memorable moments: Luna the black cat, who is trained to play piano keys that dispense dry food. Oliver, the feline companion quietly assisting a children’s book illustrator. And musician Sheldon, whose owner samples his meows to create infectious electronic dance tracks. ![The Scoop CatVideoFest](https://thescoop.au/wp-content/uploads/2026/07/Oliver-painting-635x628.png "CatVideoFest • The Scoop")Oliver the art cat Ironically, the closing Comedy section isn’t quite the laugh-out-loud finale its title promises. Aside from the delightfully dressed-up Kole, the costume cat, the final chapter feels comparatively subdued. The end of the film arrives rather abruptly after what feels like a more natural conclusion during an earlier montage of adorable clips set to music. Still, *CatVideoFest* isn’t trying to be a traditional documentary or carefully crafted feature film. It’s an annual celebration of the endlessly unpredictable ways cats entertain us, while supporting local animal shelters and rescue organisations through every screening. If you share your home with a cat, you’ll almost certainly leave the cinema with a renewed appreciation for your own furry companion’s peculiar habits. And if you don’t, you may just find yourself browsing adoption websites before the day is over. Sometimes the internet’s greatest gift really is a cat doing something completely ridiculous. Watching hundreds of people laugh at it together simply makes it even better. **CatVideoFest runs 13 – 16 August in participating cinemas nationally.** **Every ticket sold raises money for cats in need**. Find participating cinema locations [HERE](https://catvideofest.com/anz/). Website: <https://pivotpictures.com.au/movie/catvideofest/> Socials: <https://www.instagram.com/catvideofest/> [Win Tickets to See The Film!](https://thescoop.au/win-tickets-to-catvideofest-in-cinemas-13-august/) Hero image: Louis Vuitton, the border cat Want more? Many of the cats featured in *CatVideoFest* have active social media accounts. The film displays the creators’ Instagram handles throughout, so keep an eye out if you discover a new favourite. Watch the trailer here: **Film details:** Title: CatVideoFest Director: Will Braden Cast: Cats! Country of Origin: USA Duration: 73 mins Rating: G **Categories:** Film --- ### [Win Tickets To CatVideoFest In Cinemas 13 August](https://thescoop.au/win-tickets-to-catvideofest-in-cinemas-13-august/) **Published:** July 23, 2026 **Author:** Newsroom **Content:** ![The Scoop CatVideoFest](https://thescoop.au/wp-content/uploads/2026/07/CVF26_keyart_1980x1080-1151x628.jpg "CatVideoFest • The Scoop")**CatVideoFest** returns to Australian cinemas this August, with the funniest, most heartwarming and unforgettable cat videos from around the world for a one-of-a-kind big-screen celebration of our feline friends. **CatVideoFest** is a joyous, communal cinema experience featuring the latest and greatest cat videos – from hilarious home footage and animations, viral sensations and unexpected feline stars. It’s purr-fect for cat lovers of all ages. With a new film released into to cinemas each year, **CatVideoFest** is the brainchild of filmmaker **Will Braden** and US indie distributor Oscilloscope Laboratories. But **CatVideoFest** is more than just a celebration of cats. Since its North American launch in 2019, it has become a beloved, annual, worldwide event, **raising more than $1Million USD in contributions for cats in need** through partnerships with animal welfare organisations, charities, and shelters around the world, whilst also helping support adoptions, fostering, volunteer sign-ups and community engagement. **Exclusively available in cinemas** (it won’t be heading to digital platforms), **CatVideoFest** gives audiences the chance to laugh, cheer and collectively celebrate the cats who bring so much joy into our lives, while helping make a difference for cats in need. ![The Scoop CatVideoFest](https://thescoop.au/wp-content/uploads/2026/07/Cat-Fest-Artboard-1080-x-1080-FN_Artboard-2-copy-6-628x628.jpg "CatVideoFest • The Scoop")The Scoop is **giving away five, in-season double passes** **to the film**, thanks to **Pivot Pictures** and **Oscilloscope**! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The tickets are valid at select cinemas screening **CatVideoFest**. (Terms and conditions can be found on the tickets). WARNING: May cause excessive smiling and an irresistible urge to adopt a cat. **CatVideoFest runs 13 – 16 August in participating cinemas nationally.** **Every ticket sold raises money for cats in need**. Find participating cinema locations [HERE](https://catvideofest.com/anz/). Website: <https://pivotpictures.com.au/movie/catvideofest/> Socials: <https://www.instagram.com/catvideofest/> [Read our Review of the CatVideoFest Film!](https://thescoop.au/film-review-catvideofest-2026-proves-cat-videos-are-even-better-on-the-big-screen/) Watch the trailer here: **Film details:** Title: CatVideoFest Director: Will Braden Cast: Cats! Country of Origin: USA Duration: 73 mins Rating: G **Categories:** competition, News --- ### [Step Into The Woods As Iconic Musical Returns To Adelaide](https://thescoop.au/step-into-the-woods-as-iconic-musical-returns-to-adelaide/) **Published:** July 28, 2026 **Author:** Newsroom **Content:** ![The Scoop Into the Woods State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/07/SOSA-ITW-970x628.png "Into the Woods State Opera South Australia • The Scoop")Audiences are invited to step into the spellbinding world of ***Into the Woods***, the Tony Award-winning Broadway musical by legendary composer and lyricist Stephen Sondheim and acclaimed writer-director James Lapine. Directed by visionary Australian director Constantine Costi, *Into the Woods* arrives at Her Majesty’s Theatre, **Adelaide** from Saturday **22 August** **to** Saturday **29 August** 2026 (including a Saturday matinee). The production intertwines beloved Brothers Grimm fairytale characters including Cinderella, Little Red Riding Hood, Jack and the Beanstalk, Rapunzel and others. Audiences will also experience an original story of a Baker and his wife as they attempt to break a witch’s curse and start a family. For **Constantine Costi**, *Into the Woods* is a deeply human story which connects artists and audiences through the shared experience of live theatre and the opportunity for personal growth. *“It’s a very human exchange between the performers and audience, and I hope that people feel that euphoric rush that only live theatre can give you.* *We’ve been exploring the idea of the woods and returning to nature. Forests can feel like places of danger and darkness, but they’re also places where people grow and learn through experience.”* *Into the Woods* is one of the most celebrated musicals of all time, promising a magical live theatrical experience that explores love, loss, family and the consequences of the choices we make. Since its debut in 1987, Sondheim’s unforgettable score and James Lapine’s story have continued to captivate and move audiences of all ages. The production marks the return of former State Opera Children’s Chorus member **Hugh Sheridan** in the role of The Baker, alongside an all-South Australian cast including **Johanna Allen** as his wife. ![The Scoop Into the Woods State Opera South Australia](https://thescoop.au/wp-content/uploads/2026/07/SOSA-ITW-2-873x628.png "Into the Woods State Opera South Australia • The Scoop")Johanna Allen plays The Bakers Wife Photo by Kyahm Ross**Huge Sheridan** describes The Baker as a dream role: *“The opportunity to play The Baker in this brand-new production of my favourite show in my hometown is a dream come true. Stephen Sondheim has become a family favourite ever since working with him on my very first musical. It’s going to be a highlight of Australian theatre, and I’m so honoured to be part of it.”* State Opera South Australia Executive Director **Mark Taylor** said that *Into the Woods* is playing alongside *Hansel & Gretel* marking a significant pairing as part of the company’s Golden Jubilee Season. *“The opportunity to present two fairy tales’ side-by-side in the same season is a rare occasion and major opportunity to reach new audiences as part of our fiftieth-year celebrations. We look forward to welcoming audiences to Her Majesty’s Theatre in August.”* The South Australian Minister for the Arts **Kyam Maher** said that the production of the Stephen Sondheim musical will platform South Australia’s local artists. *“Into the Woods showcases the talent of South Australian artists, while creating a world-class experience for audiences. The production also represents the bold vision of State Opera South Australia to create work that will lead the company into its next era.”* *Into the Woods* is sure to be a night of captivating night of music, mystery, and magic. Where fairy tales come to life, and nothing is ever quite as it seems. ***Into the Woods* is presented by State Opera South Australian and runs 22 – 29 August 2026 at Her Majesty’s Theatre. 58 Grote Street Adelaide SA 5000.** Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=INTOWOOD26> Website: <https://www.stateopera.com.au/productions/2026/into-the-woods> Socials: <https://www.instagram.com/stateoperasouthaustralia/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Kyahm Ross *Into the Woods* is licensed exclusively by Music Theatre International (Australasia). Content: Mature themes. Suitable for ages 14+ Full Cast: The Baker: Hugh Sheridan The Baker’s Wife: Johanna Allen Lucinda: Eleanor Brasted Florinda: Michaela Burger Cinderella: Jessica Dean Cinderella’s Prince/ Wolf: Nicholas Cannon Little Red: Eliza Brill Reed Rapunzel’s Prince: Andrew Crispe The Witch: Rosie Hosking Cinderella’s Father: Mark Oates Mysterious Man: Nicholas Lester Snow White: Millicent Brake Jack: Joey Haenen Sleeping Beauty: Gianna Guttilla Jack’s Mother: Catherine Campbell Steward: Rod Schultz Rapunzel/Cinderella’s Mother: Jessica Mills Narrator: Savannah Gunn Stepmother/Granny/Giant: Cherie Boogaart **Categories:** News --- ### [Christmas To Go Wrong In Sydney & The Gold Coast](https://thescoop.au/christmas-to-go-wrong-in-sydney-the-gold-coast/) **Published:** July 28, 2026 **Author:** Newsroom **Content:** ![The Scoop Christmas Carol Goes Wrong](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-28-at-114325-am-842x628.png "Christmas Carol Goes Wrong • The Scoop")The Australian premiere of the festive fiasco ***Christmas Carol Goes Wrong*** will fill HOTA on the Gold Coast with joy and laughter from **4 – 12 December,** followed by the Sydney Opera House Concert Hall from **17 – 29 December 2026.** The Cornley Amateur Drama Society return tackle the Charles Dickens classic, *A Christmas Carol,* with the best of intentions, but a growing feud over who will play Ebenezer Scrooge, plus mishaps with the set and props, lead to Christmas chaos for the merry company. A hilarious take on the much-loved seasonal story, this brilliantly chaotic farce promises a generous helping of frivolity and fun – the perfect festive indulgence for audiences this Christmas. From Mischief, the Tony and Olivier award-winning team behind *The Play That Goes Wrong* – the longest running comedy on the West End, which celebrated its 10th anniversary with a sold-out season at the Opera House in 2025 – *Christmas Carol Goes Wrong* premiered at London’s Apollo Theatre last Christmas playing an 8-week sold out West End season. Written by original Mischief company members Henry Lewis, Jonathan Sayer and Henry Shields, and directed by Matt DiCarlo, a local cast of comedic talent from Australia and New Zealand will be announced for this special presentation. Director **Matt DiCarlo** said: *“Christmas is a genuinely funny time of year – making memories with your loved ones is full of mess and madness, and plans often go out the window.* Christmas Carol Goes Wrong *is a celebration of that chaos, so we invite everyone to join us for a new kind of Christmas that takes traditions and turns them on their head.”* Beginning with a strictly limited season on the Gold Coast at HOTA (Home of the Arts) the production will be simultaneously presented in Sydney, London and Los Angeles, while also embarking on its second UK tour. ***Christmas Carol Goes Wrong* runs 4 – 12 December at HOTA on the Gold Coast. It then runs 17 – 29 December at the Sydney Opera House Concert Hall.** Tickets for Sydney go on sale Friday 31 July at 9am. Waitlist for tickets [here](https://christmascarolgoeswrong.com.au/#waitlist). Website: <https://christmascarolgoeswrong.com.au/> Socials: <https://www.instagram.com/christmascarolgoeswrongau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Original UK cast 2025/2026 by Matt Crockett and Mark Senior GMG Productions and Stoddart Entertainment Group presented in agreement with Mischief Worldwide Ltd present *Christmas Carol Goes Wrong*. **Categories:** News --- ### [Announcing Stage Adaptation Of Beloved Film 'The Castle'](https://thescoop.au/announcing-stage-adaptation-of-beloved-film-the-castle/) **Published:** July 28, 2026 **Author:** Newsroom **Content:** ![The Scoop The Castle stage adaptation](https://thescoop.au/wp-content/uploads/2026/07/1920x1080-1116x628.jpg "The Castle stage adaptation • The Scoop")**Michael Cassel** **Group** and **Working Dog** have today announced Australia’s most beloved film, **THE CASTLE**, will be reimagined for the stage in a major new theatrical play set to premiere in Melbourne at Her Majesty’s Theatre from **March 2027**, marking 30 years since the film’s original release. Regarded as one of Australia’s most celebrated and beloved films, **THE CASTLE** has captivated Australian audiences for three decades and left an undeniable mark on Australian culture, with its humour, heart, and iconic one liners firmly embedded within the national vernacular. Audiences will once again join the Kerrigan family on their heartfelt and hilarious Darryl versus Goliath fight to save their cherished home, in a story that continues to resonate across generations and perfectly captures the Aussie battler spirit of courage, resilience, and the power of community in the ultimate pursuit of… serenity. This new adaptation has been written by the film’s original creators, **Rob Sitch**, **Tom Gleisner**, **Santo Cilauro** and **Jane Kennedy**, who also join the production as co-producers, ensuring the story of the Kerrigan family and their unmistakable Australian voice will be brought to life on stage by the team who know it best. Featuring all your favourite scenes and characters from the iconic film, this joyous production introduces new laughs and contemporary references ensuring **THE CASTLE** will delight new and old fans alike. The production will be directed by **Paige Rattray**, one of Australia’s leading directors across both stage and screen, best known for her work on Season 2 and 3 of the Netflix hit *Heartbreak High* and the world premiere of the acclaimed musical *Fangirls* which toured nationally, winning the Sydney Theatre Award for Best Mainstage Musical and the Matilda Award for Best Musical or Cabaret. Set and costume design by **Jonathon Oxlade**, the AACTA Award-winning designer whose credits span theatre, film and television, including *Girl Asleep*, *Into the Woods*, and *Bluey’s Big Play*. Together, they are the first of a celebrated Australian creative team that will transform **THE CASTLE** into a stunning live theatrical experience celebrating the richness, humour, and heart of Australian storytelling. ![The Scoop The Castle 1997 shot 2](https://thescoop.au/wp-content/uploads/2025/02/Screen-Shot-2025-02-05-at-103315-am-1113x628.png "The Castle 1997 shot 2 • The Scoop")2027 will mark 30 years since the release of The Castle feature film Image supplied**Michael Cassel**, Producer, said: *“When the team at Working Dog first approached me about bringing The Castle to the stage, I knew we had to do this. The film miraculously captures the specificities of Australian life and yet feels so universally true; family love, the challenges change presents, and the warmth and humour and dignity of ordinary people standing up for what matters. It makes you laugh, and then, before you know it, it makes you cry.”* *That is exactly what live theatre does at its best and why The Castle was always destined for the stage. To sit together in a theatre and feel the laughter, tears and pride in real time will be incredibly special. I cannot wait to share this story with Australian audiences in a completely new way with our extraordinary creative team.”* Creators of The Castle, **Rob Sitch**, **Tom Gleisner**, **Santo Cilauro** and **Jane Kennedy** said: *“Over the best part of 25 years we have never lost our desire to turn ‘THE CASTLE’ into a live stage show. Not just a retelling of the story but a quarter of a century of funny updates! A celebration of all we love about the Kerrigan family.* *We wrote this new, fully updated show in the same way that we wrote the film screenplay all those years ago – the four of us in a room trying to make each other laugh. Our goal was to capture the warmth and humour (dare we say, “the vibe”?) of the original story in a way that will hopefully resonate with new and long-term fans alike.”* Victorian Minister for Sport and Major Events, **Steve Dimopoulos** said: “*Melbourne has long been Australia’s home of world-class theatre. It’s especially fitting that audiences will be the first in the country to experience this stage adaptation here, where the film was set, written and produced.* *Theatre productions like this encourage people to visit, support local business and jobs, and reinforce the important role the arts play in Victoria.”* See **THE CASTLE** first in Melbourne with tickets on sale now at the website link below. Casting for the production will be announced in the coming months. **THE CASTLE premieres in Melbourne at Her Majesty’s Theatre from March 2027.** **219 Exhibition Street Melbourne Vic 3000.** Tickets: <https://thecastleonstage.com.au/tickets/melbourne/> Website: <https://thecastleonstage.com.au/> Socials: <https://www.instagram.com/thecastleonstage/> [Read our Film Review of The Castle](https://thescoop.au/review-the-castle-1997/) Images supplied. **Categories:** News --- ### [Meet Jake Speer: Your New Mrs. Doubtfire](https://thescoop.au/meet-jake-speer-your-new-mrs-doubtfire/) **Published:** July 27, 2026 **Author:** Sebastien Skubala **Content:** ![The Scoop Mrs. Doubtfire Musical Melbourne Australia Jake Speer](https://thescoop.au/wp-content/uploads/2026/07/Mrs-Doubtfire_photoJohnTsiavis_0608-837x628.jpg "Mrs. Doubtfire Musical Melbourne Australia Jake Speer • The Scoop")This morning it was announced that **Jake Speer** will play the title role in the Australian premiere tour of ***Mrs. Doubtfire***, the hit musical based on the beloved Robin Williams film. Jake is known for his role as Oscar Macguire in *Home and Away*, and has appeared in recent plays and musicals such as *Sweet Charity* with Prospero Arts and *A Mirror* with Belvoir St Theatre. The Scoop had the chance to chat with Jake shortly after the announcement. Jake talks all things *Doubtfire*, including preparing for the role, the enduring legacy of Robin Williams, and why this will be a year to remember. Read the full interview below. Firstly, congrats on the role! What does it mean to be the first Australian actor to play the role of Mrs. Doubtfire? Yeah, man. I mean, it’s been an absolute whirlwind of a year. I’m just incredibly excited. You really had to pick me up off the floor when I got the call. I’m a pretty proud millennial, so Doubtfire and Robin Williams are a part of my cultural canon. They’re my Mount Rushmore of comedy family movies. So as soon as I heard that this was coming to Australia, I’m not going to lie, I was pretty keen to throw my hat in the ring. And it was the most gruelling process that I’d ever been through in terms of auditions. Three full days working with the team here on scenes and songs and voices and impressions and dancing. I’m just incredibly grateful that it ended up going my way. Now the real work starts. I’ve been rehearsing for this role since 1994, it seems, so I get a chance to finally flex my Mrs. Doubtfire impression. ![The Scoop Mrs. Doubtfire Musical Melbourne Australia Jake Speer](https://thescoop.au/wp-content/uploads/2026/07/MDF060_NATIONAL_Landscape_Doubtfire_Daniel_Set_Photo-John-Tsiavis-1014x628.jpg "Mrs. Doubtfire Musical Melbourne Australia Jake Speer • The Scoop")Jake Speer as Mrs Doubtfire and Daniel Hillard Photo by John TsiavisHow did you go about preparing for an audition like that? It was a good excuse to rewatch the film, that’s for sure. But the team were amazing. I was fortunate enough to put down a self-tape early on in the year. And then being in the room for three full days involved going through a lot of the scenes from the production, some of which were quite familiar to me, and learning these new fantastic original songs that appear in the show. And it meant putting the tap shoes back on, because I mean, in the world of musical theatre, it’s not a good musical unless there’s a big tap number in the middle of it. So it was a fair workout with no stone left unturned. Do you think your acting training at NIDA has given you a different perspective into musical comedy than performers who came through a more traditional musical theatre pathway? I’m not too familiar with the training of the MT courses, so I can really only speak to my own experience. I think the training that I had at NIDA set me up for almost anything. One of the great things about those courses is that they throw absolutely everything at you. With a show like *Doubtfire*, not only do you have the most extreme version of comedy, this amazing broad farce and the spirit of Robin Williams and his fast-paced energy and humour, but you also have the deeply human, deeply personal story of a father who’s incredibly in love with his children and will do absolutely everything to be with them as well. So there’s real heart as well as comedy aspects too. ![The Scoop Mrs. Doubtfire Musical Australia](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-26-at-93215-pm-1200x628.png "Mrs. Doubtfire Musical Australia • The Scoop")You’re about to play leading roles in two musicals in the same year, with *How To Succeed* *In Business Without Really Trying* at the Hayes being announced last week. What does this moment represent for you in your career? It’s definitely a year to remember, I think for a number of reasons. It’s been a big week for sure. Amongst these two shows, I’ve also become a dad for the first time. Oh wow! Life and career. Look, be careful what you wish for, I guess. When it rains, it pours. It really feels like it’s a climactic moment where a lot of years of hard work and training and preparation and working with some amazing people and mentors has really prepared me for this particular moment. And with a show like *Doubtfire*, it’s really a kind of Herculean role. It’s like you’re going into an Olympic event with comedy, singing, voices, performance, emotions and energy eight times a week. It’s been years in the making. You’ve worked with Cameron Mitchell on several projects now. How influential has he been in your musical theatre journey? I would credit Cameron with a great deal of my success, to be honest. He is someone who has taken a risk on me, has really been a huge advocate for me, and a great mentor and dear friend. *How to Succeed* will be be our third production together. It’s been a beautiful working relationship. I think his sense of comedy, his sense of energy, his craftsmanship has not just influenced me for the productions that we’ve worked on together but has certainly prepared me for a production at the scale of *Mrs. Doubtfire* as well. ![The Scoop Mrs Doubtfire Musical](https://thescoop.au/wp-content/uploads/2026/02/Gabriel-Vick-in-West-End-production-of-MRS-DOUBTFIRE-copy-837x628.jpg "Mrs. Doubtfire Musical Melbourne Australia • The Scoop")Gabriel Vick in West End cast of Mrs Doubtfire Photo by Johan PerssonHow do you think fatherhood will influence your approach to the role? I think it gives me a whole new perspective. I’ve got a whole other level of empathy and understanding for what Daniel is going through. I’m falling in love with my own child at the same time as Daniel is really fighting for his. There’s no doubt there’s another layer to the preparation as I’m getting to know my own daughter, which is just an incredible gift. And look, Mrs. Doubtfire raised me as a kid. I spent enough time rewatching that film, so she’s passing on a lot of her parenting tips to me, which has been very useful. When acting work slows down, you’ve been proactive about creating your own opportunities, whether that’s writing and producing films or staging theatre. Has that entrepreneurial side of your career changed the way you approach a role like *Mrs Doubtfire*? I think one of the main things that comes to mind when you step into a producing role or that entrepreneurial role is that you have a broader understanding of the wider industry, the wider mechanisms and people at play. Whereas as an actor, you have the privilege to just zero in and be hyper focused on one particular element. But having some experience and exposure to the world of producing gives me a whole other level of appreciation and understanding of all of the other people that are involved in a production and what’s at stake and what’s important to focus on, and what’s important for audiences as well. So it certainly informs how I prepare for a role and how I work as a collaborator across not just the cast but all of the production teams and the back-of-house staff and the crew as well. ![The Scoop Mrs. Doubtfire Musical Melbourne Australia](https://thescoop.au/wp-content/uploads/2026/02/Gabriel-Vick-and-cast-in-West-End-production-of-MRS-DOUBTFIRE-copy-942x628.jpg "Mrs. Doubtfire Musical Melbourne Australia • The Scoop")Gabriel Vick in West End cast of Mrs Doubtfire Photo by Johan PerssonWhat do you hope audiences who know the film inside out will discover in the stage musical? The biggest reassuring thing for me, getting to know the production, is how loyal it is to the film and the spirit of *Mrs. Doubtfire*. I think true fans of the piece will be really satisfied. You get to enjoy all of those favourite moments, scenes, and favourite quotes that we all fell in love with. But the musical is an enhanced version because we get all of these incredible new songs, we get amazing dance numbers, and it’s brought into the world of 2026. We get to fall in love with it all over again. So we get all of our favourite bits plus these amazing new elements. It’s a top tier show. It was crafted so beautifully by Jerry Zaks, the Tony Award-winning director. Wayne and Karey Kirkpatrick are behind the songs and book. It’s a top-level international show, and it’s one for the family, but it’s one for musical lovers of all ages as well. ![The Scoop Mrs. Doubtfire Musical Australia Jake Speer](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-26-at-93530-pm-494x628.png "Mrs. Doubtfire Musical Australia Jake Speer • The Scoop")Jake SpeerFinally, I’ve got a fun question. If Robin Williams could give you one piece of advice before opening night, what would you hope it would be? Oh my God, to put words in the mouth of one of my heroes! How dare you, Seb! Look, what would be reassuring to me, if I was to get a knock on my dressing room door and open it, and it was Robin Williams standing there, to have him turn around and say, *“You’ve got this kid.”* That would give me the fuel I need. I think I’d be on cloud nine. Nothing would stop me. I think having his blessing or approval would mean the world. And unfortunately, he’s no longer with us. But I think his spirit carries on through not just this character, but all the characters he’s portrayed, and his influence is all over my work. I’m incredibly grateful for his contribution to the world. So much of his work has made it into that final script too. His spirit really does live on in the show. I think everyone will feel it in the auditorium. **Jake Speer will star in** ***Mrs. Doubtfire*, opening in Melbourne at the Princess Theatre from 25 November. It then runs in Sydney at the Capitol Theatre from March 2027.** Tickets for Melbourne are available [here](https://mrsdoubtfiremusical.com.au/tickets/melbourne/). Tickets for Sydney are available via the waitlist [here](https://mrsdoubtfiremusical.com.au/tickets/sydney/). Website: <https://mrsdoubtfiremusical.com.au/> Socials: <https://www.instagram.com/mrsdoubtfiremusicalau/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: John Tsiavis **Categories:** Features --- ### [Review: Perth Symphony Honours Fiona Stanley In WA Stories Chapter III](https://thescoop.au/review-perth-symphony-honours-fiona-stanley-in-wa-stories-chapter-iii/) **Published:** July 26, 2026 **Author:** Rebecca Gisborne **Content:** ★★★★☆ ![The Scoop WA Stories Chapter III Fiona Stanley Perth Symphony](https://thescoop.au/wp-content/uploads/2026/07/PSO_WASTORIES_FIONASTAN_HACKETHALL-5149-942x628.jpg "WA Stories Chapter III Fiona Stanley Perth Symphony • The Scoop")Fiona Stanley is a highly respected and lauded medical epidemiologist, even winning the title of Australian of the Year in 2003. She has cemented herself as an invaluable Western Australian treasure but doesn’t seem a natural choice as the subject of a performance by the Perth Symphony Orchestra. Can scientific prowess and medical advancement provide the perfect backdrop to orchestral symphonies? I attended *WA Stories Chapter III* to find out exactly that! Beginning with Fiona’s childhood, *WA Stories Chapter III* combines photos, quotes, videos, narration and, obviously, the music to create a multi-sensorial and beautifully layered story. The narrator, Desiree Silva, has a wonderful voice that provides the perfect accompaniment to scores by the likes of Beethoven, Bach and Mendelssohn. With the visual and narrative elements, I was able to learn so much about Fiona’s life, and was staggered by how much she had achieved, and how many lives she had impacted. ![The Scoop WA Stories Chapter III Fiona Stanley Perth Symphony](https://thescoop.au/wp-content/uploads/2026/07/PSO_WASTORIES_FIONASTAN_HACKETHALL-4939-942x628.jpg "WA Stories Chapter III Fiona Stanley Perth Symphony • The Scoop")The whole production came together to form a moving tribute Photo by NushadeIndeed, Fiona Stanley was responsible for recognising the importance of folate in reducing defects like spina bifida in pregnancy, and for the addition of folate to bread! While the music played by the orchestra was very beautiful and they are to be commended, there was also wonderful singing by the Perth Modern School Chorale as well as soprano Bonnie de la Hunty and mezzo-soprano Amber Lister. The variety of performers made the content more engaging, and Fiona, who was herself in attendance, would no doubt have been proud. My favourite piece was *The Skye Boat Song*, arranged by Adrian Soares, which has always been a song I’ve loved. Brought to life on the screen during Fiona’s stint in Scotland, the score was a transfixing moment. Now at 79 years old, and with millions of lives impacted by her kindness, her expertise and her grit, it does seem natural, in retrospect, that Fiona would be celebrated in musical form. A passionate advocate for mothers and children, indigenous people and the Western Australian community, there’s so much to dive into and glean from this extraordinary woman. ![The Scoop WA Stories Chapter III Fiona Stanley Perth Symphony](https://thescoop.au/wp-content/uploads/2026/07/Perth-Modern-Choir-942x628.jpg "WA Stories Chapter III Fiona Stanley Perth Symphony • The Scoop")Perth Modern School Choir Photo by NushadeFrom the opening *Moonlight Sonata* to the closing *Nimrod*, arranged by Adrian Soares again, the whole production comes together to form a moving tribute. Unbeknownst to me, Fiona’s father was not only a brilliant mind himself, but also a pianist, and so Fiona has an enduring love for music, making this performance even more fitting. While charting the highs and lows of Western Australian icons through music wasn’t an obvious choice at first for me, I’ll confess I saw how effective and interesting it was when watching and listening to Fiona’s instalment. Other subjects still to come are [Ben Elton](https://megatix.com.au/events/ben-elton-wam?ct=t%28EDM_240918_WA+Stories+Prima_COPY_02%29&mc_cid=d7f90c888e&mc_eid=517121bc5e) in September and [Dennis Lillee](https://megatix.com.au/events/dennis-lillee-wam?ct=t%28EDM_240918_WA+Stories+Prima_COPY_02%29&mc_cid=d7f90c888e&mc_eid=517121bc5e) in November. Being a firm believer in how wonderful Western Australia is and what we have to offer, the concept did grow on me. Make sure you catch the final performance, because it has an extremely short run of only three shows. A performance by the Perth Symphony Orchestra, especially one in the surrounds of the WA Museum, under the hulking skeleton of Otto the Blue Whale, is always a treat. ***WA Stories Chapter III: Fiona Stanley* is presented by Perth Symphony Orchestra and the final performance runs on 30 July. Joy Shepherd Performing Arts Centre, St Hilda’s Anglican School for Girls**. **26 Bay View Terrace Mosman Park WA 6012.** Venue details and parking map can be found [here](https://www.sthildas.wa.edu.au/our-community/venue-hire/joy-shepherd-performing-arts-centre/). Tickets are available [here](https://megatix.com.au/events/fiona-stanley-joy-shepherd?ct=t%28EDM_240918_WA+Stories+Prima_COPY_02%29&mc_cid=d7f90c888e&mc_eid=517121bc5e). Website: <https://perthsymphony.com/concerts-and-tickets/wa-stories> Socials: <https://www.instagram.com/perthsymphony/> [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Photo credits: Nushade **Categories:** Concerts, Perth --- ### [Victorian State Schools Spectacular Returns In 2026 With New Show: This Is Me](https://thescoop.au/victorian-state-schools-spectacular-returns-in-2026-with-new-show-this-is-me/) **Published:** July 27, 2026 **Author:** Newsroom **Content:** ![The Scoop](https://thescoop.au/wp-content/uploads/2026/07/VSSS26-StageDoorScreen-On-Sale-Now-V2-1116x628.jpg "Victorian State Schools Spectacular • The Scoop")**The Victorian State Schools Spectacular** returns to Melbourne’s **John Cain Arena** on **Saturday 29 August 2026** with its inspiring new production, *This Is Me*, celebrating the creativity, confidence and extraordinary talent of Victorian government school students. Presented across two performances at 1.00pm and 6.30pm, the annual event will bring together more than 2,500 students from across the state, in Melbourne Park’s largest annual live production. Tickets are on sale now at [www.ticketek.com.au/spectacular](https://premier.ticketek.com.au/shows/show.aspx?sh=STATESCH26&utm_source=ticketek.com.au&utm_medium=friendlylink&utm_campaign=STATESCH26) Featuring more than 40 musical numbers, *This Is Me* takes audiences on an uplifting journey through iconic songs spanning generations and genres, with music by Lady Gaga, Led Zeppelin, *The Greatest Showman*, Tina Turner, Simon & Garfunkel, Jamiroquai and Creedence Clearwater Revival. A beloved event on Victoria’s cultural calendar for more than 30 years, the Victorian State Schools Spectacular continues to showcase the talent, dedication and achievements of students from schools across the state. ![The Scoop Performer in a bright red coat plays a saxophone amid neon light swirls and smoky haze, with 'THIS IS ME' illuminated above.](https://thescoop.au/wp-content/uploads/2026/07/VSSS26-FB-Cover-Mobile-e1785116926164.jpg "Victorian State Schools Spectacular • The Scoop")The production brings together an 80-piece student orchestra, 30 featured vocalists and dancers, a mass dance cast representing 82 schools and a 1,000-voice choir from 55 schools. Combined with dynamic staging, striking costumes, immersive visual effects and thrilling aerial and circus acts including trapeze, aerial silks and rings, *This Is Me* delivers a captivating live entertainment experience. Among this year’s highlights is a powerful First Nations ensemble led by Na Djinang Circus alongside the award-winning Pese Mai Choir, performing songs in multiple Indigenous languages. The production also includes a signing choir from the Victorian College for the Deaf, and guest artists from the Victorian College of the Arts Secondary School and from the Rowville Institute of the Arts. More than a live production, *This Is Me* reflects every student’s creative journey. Throughout months of rehearsals, young performers work alongside leading industry professionals, building artistic excellence, confidence and resilience. Students also train in important behind-the-scenes roles including stage management, audio, lighting, vision, costumes and production. Since 1995, the Victorian State Schools Spectacular has become a valued rite of passage for many of Victoria’s top emerging performers, providing thousands of students with an extraordinary learning experience. Presented by the Department of Education, the 2026 Victorian State Schools Spectacular celebrates excellence in public education, creativity and collaboration, delivering an inspiring experience for audiences of all ages. **The Victorian State Schools Spectacular *This Is Me* runs for two shows only at the John Cain Arena on** **Saturday 29 August 2026**. **Olympic Boulevard, Melbourne Vic 3001.** Tickets are available [here](https://premier.ticketek.com.au/shows/show.aspx?sh=STATESCH26&utm_source=ticketek.com.au&utm_medium=friendlylink&utm_campaign=STATESCH26). Website: <https://www.vic.gov.au/victorian-state-schools-spectacular> Socials: <https://www.instagram.com/vicschoolsspec/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: I Hate People Or Timon Of Athens By Sport For Jove](https://thescoop.au/review-i-hate-people-or-timon-of-athens-by-sport-for-jove/) **Published:** June 15, 2025 **Author:** Ronson Blake **Content:** ![The Scoop Timon of Athens Sport For Jove Seymour Centre Damien Ryan 2025](https://thescoop.au/wp-content/uploads/2025/06/Timon-4-785x628.jpg "Timon of Athens Sport For Jove Seymour Centre Damien Ryan 2025 • The Scoop")Adapted (and retitled) by director Margaret Thanos and Damien Ryan, Sport For Jove’s production of *I Hate People; or Timon of Athens* returns for a very short season, this time on the York Theatre’s thrust stage. Written by William Shakespeare in collaboration with Thomas Middleton, it is a play rarely performed. Ostensibly a (problematic) five-act structure, it is best rendered, as Thanos does, in two acts – before the fall, and after the fall of Timon. The play asks the big questions. Who are our true friends, who flatters to deceive, and how can we discern the difference? Are we just playthings of the gods? What does it mean, and what does it take, to be human? Opening on a moodily lit stage of scaffolding and broken Ionic columns, a poet and a painter spar over the merits of their particular art, and their desire for wealthy patronage. For a play about the venality and hypocrisy of society, what better place to start than for Shakespeare to foreground the complicity of his own art? Transitioning into a wildly choreographed bacchanalia, Timon (Damien Ryan) entertains his friends with a generosity bordering on.. well, insanity. For, with classic dramatic irony, it’s clear to the audience that almost every ‘friend’ is false. Also obvious is a corollary with the sycophantic echo chambers of modern social media. Resident philosopher, Apemantus (Mike Booth), though, is no flatterer nor false friend. He tries to warn Timon but is dismissed as a sour cynic. ![The Scoop Timon of Athens Sport For Jove Seymour Centre Damien Ryan 2025](https://thescoop.au/wp-content/uploads/2025/06/Timon-2-785x628.jpg "Timon of Athens Sport For Jove Seymour Centre Damien Ryan 2025 • The Scoop")The ensemble work beautifully together showing genuine rapport Photo by Robert CattoWhen Timon discovers he is in debt and none of his so-called friends will help, he is bitterly aggrieved and resolves to quit Athens. But not before hosting one last supper. Timon is in no mood for turning the other cheek and he serves up a *literal* shitshow, renouncing his belief in humanity. Rending his clothes from his body, Timon retreats to a cave (here, a tent), materially and physically casting himself outside civilisation to live on whatever he can forage with his spade. Of course, to his horror, he finds gold. What will he do with it? Will he forsake his newly minted armour of misanthrope? Not a chance, because at the heart of this play, there is a nihilism that is dark and uncompromising. If it reads on the page as somewhat of an intellectual exercise, one of the great wonders of this adaption by Thanos and Ryan is that the play pulsates with life. From the partying of the first act to the ironic humour and violent rage of the second, this production carries emotional heft. A fantastic soundscape from composer AJ Evans swells and ebbs like a beating heart. The very clever multifunctional set by Rose Montgomery reflects both the halcyon days of Athenian civilisation already facing the abyss and today’s broken-down, financially-stricken State. Clever costuming by Aloma Barnes Siraswar accentuates this connection. Flowing white robes of Senators mingle with sharp suits and military dress. Our traditional view of white and black colours is subverted. Rather than a villain, black encodes the outsider, the questioner, the truth-sayer. It’s another way this production is so skilfully conceived and executed. In the second act, Thanos leans into the play’s absurdist elements. Trying to erase any trace of himself, Timon is contrarily besieged by one visitor after another, while enduring a love/hate relationship with his tent. The humour is really pushed, most noticeably in Timon’s verbal jousts with Apemantus that are alternately tender and spiteful. ![The Scoop Timon of Athens Sport For Jove Seymour Centre Damien Ryan 2025](https://thescoop.au/wp-content/uploads/2025/06/Timon-3-785x628.jpg "Timon of Athens Sport For Jove Seymour Centre Damien Ryan 2025 • The Scoop")Costuming is clever and subverts our traditional view of white and black Photo by Robert CattoGodot-like, Ryan and Booth play this scene beautifully, like an old married couple, but any tenderness is undercut by Timon’s unyielding focus on the end game. The ensemble works beautifully together. There is a genuine rapport, and not just in the choreographed dance movements. The four leads are exceptional. Jake Speer as Alcibiades projects a steely forthright honesty. Deborah Galanos’ perfectly pitched sincerity as Timon’s steward Flavia provides the play’s emotional core. In the difficult role of Apemantus, Booth is outstanding. And Timon, in the hands of Ryan is a raging, uncompromising, fully-human being. Childlike in his early naiveté, and Lear-like in his rage, Ryan gives us a Timon to be reckoned with the great Shakespearian roles. This is one truly exceptional performance. If only the acoustics of the York Theatre were better because they punish those with higher-pitched voices or theatrical inexperience. Theatre shouldn’t require body mics, so perhaps Sydney University could spend a little of its singular surplus on a benefit for the many. Timon would perhaps approve. Make no mistake, this production of *Timon of Athens* is not for the faint-hearted. With drugs, sex, suicide, and nudity, (kudos to intimacy coordinator Cristabel Sved) it is a wild visceral ride. Though this redux season is over almost before it begins, Thanos’ production highlights why Sport For Jove is one of the most exciting companies around. And in Damien Ryan, perhaps our best Shakespearean actor. ***I Hate People; Or Timon of Athens* is presented by Sport For Jove and runs for five performances only from 12-15 June at The York Theatre. Seymour Centre Cnr City Road and Cleveland Street Chippendale NSW 2008.** Tickets: <https://www.seymourcentre.com/event/i-hate-people-or-timon-of-athens/> Website: <https://www.sportforjove.com.au/timon-of-athens-2025> Socials: <https://www.instagram.com/sportforjove/> [Read more of our Theatre Reviews](https://thescoop.au/theatre/) Photo credits: Robert Catto **Categories:** Sydney, Theatre --- ### [Announcing Jake Speer As Mrs. Doubtfire In Australian Premiere Musical](https://thescoop.au/announcing-jake-speer-as-mrs-doubtfire-in-australian-premiere-musical/) **Published:** July 27, 2026 **Author:** Newsroom **Content:** ![The Scoop Mrs. Doubtfire Musical Melbourne Australia Jake Speer](https://thescoop.au/wp-content/uploads/2026/07/MDF060_NATIONAL_Landscape_Doubtfire_Daniel_Set_Photo-John-Tsiavis-1014x628.jpg "Mrs. Doubtfire Musical Melbourne Australia Jake Speer • The Scoop")Rising star **Jake Speer** has landed the coveted role of the iconic Mrs. Doubtfire in the Australian tour of **MRS. DOUBTFIRE,** the feelgood comedy musical based on the beloved film starring Robin Williams. Jake Speer will play the dual role of the world’s favourite nanny Mrs. Doubtfire / Daniel Hillard and is best-known to audiences for his role as Oscar MacGuire in *Home & Away* (Seven Network) for three years. Other credits include *[A Mirror](https://thescoop.au/review-a-mirror-turns-the-audience-into-the-accused/)* (Belvoir St Theatre); *[Sweet Charity](https://thescoop.au/review-sweet-charity-is-stylish-simple-bursting-with-soul/)* (Prospero Arts); *A Midsummer Night’s Dream, [Timon of Athens](http://thescoop.au/review-i-hate-people-or-timon-of-athens-by-sport-for-jove/)* (Sport For Jove); *Photograph 51, Marjorie Prime* and *Barefoot In The Park* (Ensemble Theatre); *Catch Me If You Can, [How To Succeed In Business Without Really Trying](https://thescoop.au/announcing-how-to-succeed-musical-cast-for-hayes-theatre-co/)* (The Hayes Theatre); *Kinky Boots The Musical* (Michael Cassel Group) and *Henry V* (Kensington House Entertainment). **Jake Speer** said: *“Finding out I have been cast as iconically hilarious Euphegenia Doubtfire was honestly a dream come true. It’s a story that makes people laugh but at its heart it’s about love, family and going to extraordinary lengths for the people you care about. It will be such an incredible privilege to bring one of the most beloved characters ever created to the stage.”* *As a musical theatre performer, you hope for a role that lets you sing, dance, make people laugh and have more costumes changes than anyone else. Mrs. Doubtfire ticks every box and I can’t wait to step into that comfy cardigan!”* Based on the 1993 hit film *Mrs Doubtfire* starring the much-loved Robin Williams, the musical played to sell-out crowds in the West End for almost two years as well as a Broadway season and tours across the US, Germany, South Korea and Brazil. A UK tour has recently been announced to begin in August this year. Featuring all the iconic moments you know and love, plus fabulous new songs and show-stopping dance numbers, **MRS. DOUBTFIRE** is directed by four-time Tony Award winning Jerry Zaks**.** ![The Scoop Mrs. Doubtfire Musical Melbourne Australia Jake Speer](https://thescoop.au/wp-content/uploads/2026/07/Mrs-Doubtfire_photoJohnTsiavis_0608-837x628.jpg "Mrs. Doubtfire Musical Melbourne Australia Jake Speer • The Scoop")Jake Speer Photo by John Tsiavis**Suzanne Jones**, Producer and CEO, JONES Theatrical Group, said: *“Jake had us from “Helloooo”. He was hilarious, effortlessly charming and brought so much heart to the room – a rare combination of talent. We knew straight away that we had found Australia’s new favourite nanny.”* Out-of-work actor Daniel Hillard will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate bid to stay in their lives. But as his character takes on a life of its own, Daniel discovers more than he bargained for about family, love and what it really means to be a father. Director Jerry Zaks most recently directed his 26th Broadway production, *The Music Man* starring Hugh Jackman and Sutton Foster. Other recent productions include the Tony Award-winning production of *Hello, Dolly!*, Steve Martin’s *Meteor Shower* and *A Bronx Tale*. He has received four Tony Awards and eight Tony Award nominations; four Drama Desk Awards; two Outer Critics Circle Awards and an Obie. He also directed the award-winning film *Marvin’s Room*, starring Meryl Streep and Diane Keaton, and *Who Do You Love?* Further casting details will be announced in coming months. **MRS. DOUBTFIRE runs in Melbourne at the Princess Theatre from 25 November. It then runs in Sydney at the Capitol Theatre from March 2027.** Tickets for Melbourne are available [here](https://mrsdoubtfiremusical.com.au/tickets/melbourne/). Tickets for Sydney are available via the waitlist [here](https://mrsdoubtfiremusical.com.au/tickets/sydney/). Website: <https://mrsdoubtfiremusical.com.au/> Socials: <https://www.instagram.com/mrsdoubtfiremusicalau/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: John Tsiavis Presented by JONES Theatrical Group in association with Kevin McCollum & Jamie Wilson Productions. **Categories:** News --- ### [Win Tickets To Ice Cream Man In Cinemas 6 August](https://thescoop.au/win-tickets-to-ice-cream-man-in-cinemas-6-august/) **Published:** July 27, 2026 **Author:** Newsroom **Content:** ![The Scoop Ice Cream Man film Eli Roth](https://thescoop.au/wp-content/uploads/2026/07/ICMAN-1080x-608.jpg "Ice Cream Man film Eli Roth • The Scoop")We scream. You scream. We all scream… for ICE CREAM MAN. Written and directed by Eli Roth, ICE CREAM MAN tells the story of an idyllic summer town descending into madness when an ice cream man serves kids sweet delights with horrifying results. As the frozen treats unleash an insatiable hunger in the children who eat them. With each sweet scoop, once-innocent kids transform into gruesome butchers with their sights set on adults. The Scoop is **giving away ten, in-season double passes** **to the film**, thanks to STUDIOCANAL! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The tickets are valid at select cinemas screening ICE CREAM MAN. (Terms and conditions can be found on the tickets). **ICE CREAM MAN opens on Thursday 6 August in participating cinemas nationally.** Website: <https://www.icecreammanmovie.com.au/> Socials: <https://www.instagram.com/studiocanalaus/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: Ice Cream Man Director: Eli Roth Cast: Eli Roth, Ari Millen, Benjamin Byron Davis, Karen Cliche, Dylan Hawco, Sarah Abbott, Shiloh O’Reilly Country of Origin: USA Duration: 86 mins Rating: TBC Censorship Advice: TBA **Categories:** competition, News --- ### [Review: Uncle Vanya Is Beautifully Performed & Elegantly Staged](https://thescoop.au/review-uncle-vanya-is-beautifully-performed-elegantly-staged/) **Published:** July 26, 2026 **Author:** Liz Baldwin **Content:** ★★★★☆ ![The Scoop Uncle Vanya Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Catherine-Van-Davies-Daniel-Hensall_Photo-by-Pia-Johnson-942x628.jpg "Uncle Vanya Melbourne Theatre Company • The Scoop")Since it was first performed in 1899, the endless adaptations of Chekhov’s *Uncle Vanya* speak to its eternal themes. What does it mean to live a good life? Is there a path out of despair? How can we coexist when those we’re closest to also feel like our captors? They’re the questions we most consistently turn to art for – seeking answers, assurance, at the very least recognition that we’re not alone in asking them. Melbourne Theatre Company’s new production of the Anton Chekhov classic, adapted by Joanna Murray-Smith and directed by Anne-Louise Sarks, grapples with these big ideas, but doesn’t quite find a firm grip. The play centres on an assortment of distant family living at a dilapidated estate. A young woman, Sonya (Philippa Northeast), owns and runs the estate, supporting her narcissistic professor father Serebryakov (Shaun Micallef) and his much younger wife Yelena (Catherine Văn-Davies). She’s aided at the estate by her uncle Vanya (Daniel Henshall), grandmother (Carolyn Bock), and elderly servants (Evelyn Krape and Don Bridges). The local doctor (Fayssal Bazzi) is a frequent visitor to the estate – almost their only contact with the outside world. ![The Scoop Uncle Vanya Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Daniel-Henshall_Photo-By-Pia-Johnson-942x628.jpg "Uncle Vanya Melbourne Theatre Company • The Scoop")The despair and desperation drip off Henshall in every scene Photo by Pia JohnsonMurray-Smith and Sarks’ adaptation elevates the centrality of Sonya, the glue between the characters, and one of the only balms of hope in this otherwise bleak and bitter play. Northeast is charming as a gritty young woman who is determined to keep up her duty in the face of disappointment from all those around her. Yet at times she’s asked to stretch this character to caricature; in her histrionic crush on the doctor, and a tendency to revert to a gratingly Pollyanna-ish attitude. To paraphrase Tolstoy, every character is unhappy in their own way. Vanya’s despair is loudest. He resents the work he’s put into the estate to the benefit of Serebryakov and detests growing old, feeling that he has achieved nothing. Yelena languishes in her own kind of nihilism. Committed to a marriage with a much older man, she gives way to an extreme passivity and lack of purpose. Even the doctor, who espouses a vision of conservation and hopes to leave the world a better place, falls prey to moments of gloom. There’s so much gold to be mined in these subtle differences of experience; the tipping points between despair and rigid determination, hope and giving up. But the characters talk past each other; there’s little dialogue between their points of view. ![The Scoop Uncle Vanya Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Carolyn-Bock-Fayssal-Bazzi-Daniel-Henshall-Catherine-Van-Daves-Philippa-Northeast_Photo-by-Pia-Johnson-942x628.jpg "Uncle Vanya Melbourne Theatre Company • The Scoop")The cast deliver strong performances that bring out both the comedic and the tragic dimensions of the play Photo by Pia JohnsonStill, the cast deliver strong performances that bring out both the comedic and the tragic dimensions of Chekhov’s play. Micallef plays the role of the self-involved professor for comic relief, bringing a pathetic naïveté to the character. Henshall’s despair and desperation drip off him in every scene. Yet others are sadly underutilised: Bock, Krape and Bridges, excellent in the roles, aren’t asked to engage deeply on the core themes of the play. The set, by Dann Barber, is impressive. Dominated in the first act by bare-trunked, autumnal trees, it’s a reminder of the passing of the times of bounty. Paul Jackson’s divine lighting design at times calls to mind a flash of golden sun on leaves after a dark storm. And Barber’s thoughtful costumes do a lot of the work of establishing the pecking order and priorities of the characters. For all its strong performances and elegant design, this is an adaptation that gathers the right ingredients but never quite brings Chekhov’s ache, humour and contradictions into a fully satisfying whole. ***Uncle Vanya* is presented by Melbourne Theatre Company and runs to 22 August at the Playhouse, Arts Centre Melbourne.** **100 St Kilda Rd, Southbank Vic 3004.** Tickets: <https://tickets.mtc.com.au/production/19786> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/uncle-vanya> Socials: <https://www.instagram.com/melbtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Pia Johnson **Categories:** Melbourne, Theatre --- ### [Review: Steel Magnolias Returns To Melbourne In Full Bloom](https://thescoop.au/review-steel-magnolias-returns-to-melbourne-in-full-bloom/) **Published:** July 25, 2026 **Author:** Jesse Oey **Content:** ★★★★½ ![The Scoop Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/07/Debra-Lawrance-Mandy-Bishop-Lotte-Beckett-SteelMagnolias_Production_PhotoBrettBoardman_001315-copy-942x628.jpg "Steel Magnolias Australian Tour 2026 • The Scoop")Picture this: Six women, one small-town beauty parlour, a series of life-changing moments unfolding over coffee and clouds of hairspray. *Steel Magnolias* returns to Melbourne in full bloom, with an astounding production and tremendous cast delivering a jubilant finale against the stunning backdrop of the Athenaeum Theatre’s old-world charm. Set in the fictional parish of Chinquapin, Louisiana, Truvy’s luminous hair salon springs to life as a sanctuary where a tight‑knit group of women navigate love, loss, and life’s highs and lows together, with humour as their armour, anchored on their faithful, unbreakable bonds. Robert Harling’s original 1987 play was a tender love letter to the women who helped shape his formative years. The 1989 film adaptation firmly cemented the timeless tale in pop‑culture memory. This 2026 Australian revival, under the steady hand of Director Lee Lewis, affectionately honours all the best elements of both incarnations. It is evergreen and lived-in, with a refreshing contemporary wit. Iconic Australian actress and Gold Logie winner Lisa McCune leads the extraordinary ensemble cast as stoic matriarch M’Lynn. McCune’s beautifully restrained performance stands tall as the story’s emotional centrepiece. ![The Scoop Two women in striped capes sit in pink retro salon chairs, smiling; beauty carts with tools surround them in a colorful hair salon setting.](https://thescoop.au/wp-content/uploads/2026/05/Jessica-Redmayne-Lisa-McCune-_SteelMagnolias_Publicity_PhotoBrettBoardman_000450-862x628.jpg "Jessica Redmayne Steel Magnolias Australian Tour 2026 • The Scoop")Truvys luminous hair salon springs to life as a sanctuary Photo by Brett BoardmanShe cautiously conveys M’Lynn’s unwavering desire and obligation to nurture and protect her loved ones with extraordinary clarity, gently carrying the weight of her character’s grief until it becomes impossible to contain. Opposite her, Mandy Bishop (*Blue Heelers, Wharf Revue*) is nothing short of brilliant as confident shop-owner Truvy – a kind, dependable hostess, and the community’s central beating heart. Bishop’s scene-stealing sparkle is evident from the get-go, with razor-sharp comedic timing and a buoyant spring in her step as she radiantly shimmies across the stage. With her irresistible warmth and reliable listening ear, Truvy makes her every guest feel right at home and embraces their every quirk unconditionally. As innocent, delicate Shelby, Jessica Redmayne (*Home & Away, 800 Words*) glows with bright-eyed ingenuity. Redmayne portrays Shelby’s bittersweet fate with remarkable finesse, enabling us to become emotionally invested in her story She delicately captures the young woman’s determination to live her life fully and turn her dreams into reality, accepting that the cards are stacked against her and choosing to charge ahead anyway. Rounding out the spectacular cast are Belinda Giblin (*Home & Away, A Country Practice*) as moody, boisterous dog-lover Ouiser, Tracy Mann (*Reckless, Five Bedrooms*) as sassy-widow turned radio-station-patron Clairee, and Lotte Beckett (*Julia, The Election Monologues*) as innocent wallflower and newcomer Annelle. ![The Scoop Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/05/Jessica-Redmayne-Belinda-Giblin-Lisa-McCune-Mandy-Bishop-Lotte-Beckett-Debra-Lawrance-SteelMagnolias_Production_PhotoBrettBoardman_007566-copy-991x628.jpg "Steel Magnolias Australian Tour 2026 • The Scoop")Overall this production is bursting at the seams with excellence Photo by Brett BoardmanMann’s take on Clairee, in particular, is a breath of fresh air, effortlessly floating through the chaos with elegance, delivering sly one‑liners with the precision of someone who’s spent a lifetime mastering the art of genteel shade. Overall, this production is bursting at the seams with excellence. The mischievous script, featuring the originals’ hilarious one-liners, “*Laughter through tears is my favourite emotion!*” are delivered with impressive pace. The maximalist set, costume and lighting design – with kudos to Simone Romaniuk and Paul Jackson – join forces seamlessly in making Truvy’s larger-than-life beauty parlour truly shine. By focusing on the universality of human connection and the value of lifelong friendships, *Steel Magnolias* closes on a note of irreverent timelessness that feels as relevant now as ever. In the end, all of life’s eventual wins and inevitable tragedies are better shared, mourned, or celebrated with those we love most around us. As Truvy wisely says, “*life marches on – and eventually you realise it is marchin’ across your face.*” Make the time to pay Truvy’s a visit, and be sure to dress up and accessorise before it leaves town for good. *Steel Magnolias* is a show that deserves a full house! ***Steel Magnolias* is presented by Woodward Productions and Neil Gooding Productions and runs to 16 August at the Athenaeum Theatre as the final stop on the national tour. 188 Collins Street Melbourne Vic 3000.** Tickets are available [here](https://www.ticketmaster.com.au/artist/909545?month=2026-07). Website: <http://www.steelmagnoliasplay.com.au/> Socials: <https://www.instagram.com/steelmagnoliasau/> [Read our Interview with Jessica Redmayne](https://thescoop.au/jessica-redmayne-blossoms-as-shelby-in-steel-magnolias/) Photo credits: Brett Boardman **Categories:** Melbourne, Theatre --- ### [Review: Steel Magnolias Blossoms In Perth](https://thescoop.au/review-steel-magnolias-blossoms-in-perth/) **Published:** July 8, 2026 **Author:** Rebecca Gisborne **Content:** ★★★★★ ![The Scoop Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/07/Debra-Lawrance-Jessica-Redmayne-Lisa-McCune-SteelMagnolias_Production_PhotoBrettBoardman_007044-copy-941x628.jpg "Steel Magnolias Australian Tour 2026 • The Scoop")*Steel Magnolias* was first brought to life as a play by Robert Harling in 1987 in the US, inspired by the death of his sister from Type 1 diabetes. It was then turned into a movie in 1989 starring huge names like Dolly Parton and Julia Roberts, and now lives on in 2026 in a national tour thanks to Neil Gooding Productions and Woodward Productions. The production boasts a quality lineup, with Lisa McCune (M’Lynn), Belinda Giblin (Ouiser), Tracy Mann (Clairee), Mandy Bishop (Truvy), Jessica Redmayne (Shelby) and Lotte Beckett (Annelle) all starring. As a result of this well-respected cast, I was excited to see it, despite not having seen the movie nor the play. So what did I think when I attended the opening night of this internationally toured play? You’ll have to read on to find out! At first glance, I was impressed with the ease with which the performers were able to convincingly portray six women in a small-town Louisiana community. The acting is top-notch, convincing and heartfelt, and I quickly became invested in their bond. Acted out using a single set at Truvy’s salon, it was incredible to witness the depth of emotions and resilience the performers conveyed. The audience was delighted with the cast too, laughing merrily at the slew of comical moments, but also brought to tears when the storyline became more sombre. ![The Scoop Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/07/Debra-Lawrance-Belinda-Giblin-Lisa-McCune-_SteelMagnolias_Publicity_PhotoBrettBoardman_001083-941x628.jpg "Steel Magnolias Australian Tour 2026 • The Scoop")The six women rapidly fire comedic lines and witticisms with aplomb Photo by Brett BoardmanAlthough all the performances are amazing, I was particularly enamoured with Lisa McCune and Jessica Redmayne. As Shelby’s mother, McCune delivers a performance that is incredibly moving. Redmayne shines and is truly effervescent as the bubbly, beloved Shelby. The acting definitely doesn’t disappoint, and the six women rapidly fire comedic lines and witticisms with aplomb. As well as the stellar acting, there is much to recommend the play, and, in fact, no strong criticisms I could find. The stage design by Simone Romaniuk (also responsible for costuming) is really good, especially since there is only one set used, with changes made to signal the passing of time. While I’m usually entranced by costumes, being a fashion lover, I was so immersed in the storyline that I didn’t notice them as much. However, Bishop’s character Truvy, in particular, has some great outfits, befitting her bubbly character. The other costumes are also in line with the 1980s Southern setting, and do a great job of representing the characters’ diverse personalities. ![The Scoop Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/07/Mandy-Bishop-Lotte-Beckett-Jessica-Redmayne-SteelMagnolias_Production_PhotoBrettBoardman_006465-copy-941x628.jpg "Steel Magnolias Australian Tour 2026 • The Scoop")The strength of women and female companionship feels as relevant today as it did then Photo by Brett BoardmanIs the play true to the original play or the movie? As I said, I haven’t seen them, but I’m pleased that the all-female, one-set format has been retained from the original Off-Broadway production. It’s wonderful to see a story about women, showing the connection, love and friendship that’s shared during good times and bad. Also, Nicole Kidman made her professional stage debut when it first played in Australia as Shelby, so the message not only appears to be enduring, but also littered with well-respected names. Would I recommend *Steel Magnolias*? Yes, I would. I love the concept that the characters are “as delicate as magnolias but as tough as steel,” but I also love this specific production. While there have been 39 years between Robert Harling penning it and now, the strength of women and female companionship feels as relevant in Western Australia in 2026 as it did then. Make sure you support Australian theatre and buy tickets to this excellent production. As they say in *Steel Magnolias*, laughter through tears is my favourite emotion. ***Steel Magnolias* is presented by Woodward Productions and Neil Gooding Productions and runs to 18 July at His Majesty’s Theatre. 827-905 Hay Street Perth WA 6000.** Tickets are available [here](https://www.artsculturetrust.wa.gov.au/venues/his-majestys-theatre/whats-on/steel-magnolias/). Website: <http://www.steelmagnoliasplay.com.au/> Socials: <https://www.instagram.com/steelmagnoliasau/> [Read our Interview with Jessica Redmayne!](https://thescoop.au/jessica-redmayne-blossoms-as-shelby-in-steel-magnolias/) Photo credits: Brett Boardman 2026 Remaining Australian Tour Dates: Perth 7 – 18 July, His Majesty’s Theatre Melbourne 23 July – 16 August Athenaeum Theatre **Categories:** Perth, Theatre --- ### [Jessica Redmayne Blossoms As Shelby In Steel Magnolias](https://thescoop.au/jessica-redmayne-blossoms-as-shelby-in-steel-magnolias/) **Published:** May 15, 2026 **Author:** Sebastien Skubala **Content:** ![The Scoop Jessica Redmayne Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/05/Jessica-Redmayne-Lisa-McCune-_SteelMagnolias_Publicity_PhotoBrettBoardman_000450-862x628.jpg "Jessica Redmayne Steel Magnolias Australian Tour 2026 • The Scoop")The dazzling new Australian tour of ***Steel Magnolias*** is well underway, following a successful [Brisbane season](https://thescoop.au/review-steel-magnolias-is-a-heartwarming-star-studded-triumph/) and now playing in Sydney. **Jessica Redmayne** stars as Shelby, the iconic role that marked Nicole Kidman’s professional stage debut and later earned Julia Roberts her first Academy Award nomination in the film adaptation. The Scoop sat down with Jessica ahead of opening night of the tour. Jessica talks all things *Steel Magnolias* including working alongside such an incredible cast and what audiences can expect. Read the full interview below. Can you tell us a bit about Steel Magnolias for people who may not know about the story or Shelby’s role in it? Okay, well, it’s a cult classic film from the 80s, but it started as a play. Robert Harling wrote it, and it’s a true story about his sister, which is even more…it’s beautiful, without giving too much away. It’s an extraordinary story about women and female friendship, which is the reason it’s such a cult classic, because it’s so relatable to so many people. There are so many different characters that are relatable. And it’s just a glorious piece of writing. ![The Scoop Steel Magnolias Australian tour 2026](https://thescoop.au/wp-content/uploads/2026/05/Lotte-Beckett-Debra-Lawrance-Amanda-Bishop-Jessica-Redmayne-Lisa-McCune-in-SteelMagnolias_Publicity_PhotoBrettBoardman_001008-941x628.jpg "Steel Magnolias Australian tour 2026 • The Scoop")Jessica Redmayne with the cast of Steel Magnolias Photo by Brett BoardmanIs the production providing tissues, or do audience members need to bring their own? (Laughs) That’s actually a really good question. Do you know what? Maybe we should think about at the bar, when you buy a drink or some popcorn, you’ll get some tissues as well, because people in general are really going to need them. Take us into the rehearsal room. What have been some of the highlights of making this production a reality? We had a lot of fun. We laughed a lot. We have to be careful on stage that we don’t laugh too much at each other, because it is genuinely so much fun with these women. But in the rehearsal space, Lee Lewis, our extraordinary director, gave us so much freedom to play, and that’s such a luxury as an actor, because you really just get to test things and take risks and see what works and what doesn’t. And that’s really just given us such a comfortable foundation to create this show and put it on stage. ![The Scoop Steel Magnolias Australian Tour 2026 Neil Gooding Alex Woodward Productions](https://thescoop.au/wp-content/uploads/2026/02/image002-1-1150x628.jpg "Steel Magnolias Australian Tour 2026 Neil Gooding Alex Woodward Productions • The Scoop")And what’s it been like working with people like Lisa McCune? From the minute that I met Lisa, she was just so warm and incredible. I genuinely knew that I would have such an extraordinary time doing this show for this period of time. And Debra, Belinda, Lotte and Mandy, we get along so well, we have so much fun. And I think that resonates on stage as well, the friendships that we’ve actually, genuinely created. It will resonate to our audience. What’s your favourite line in the show? That’s so hard, because there are so many really good ones. I would have to say…I really don’t want to choose one, but I’m going to say: *I’m not crazy. I’ve just been in a bad mood for 40 years.* Ouiser says that, and I just love it so much! But there are so many great lines in this show, and a lot of them are just so funny. And I think the best part about it is that it is a true story. And Robert heard these things said by these women. A lot of them are real quotes from real women, and that’s what makes it so great. ![The Scoop Steel Magnolias Australian tour 2026 Jessica Redmayne](https://thescoop.au/wp-content/uploads/2026/05/RubySamPhotography-419x628.jpg "Steel Magnolias Australian tour 2026 Jessica Redmayne • The Scoop")Jessica RedmayneWhat do you want audiences to walk out of the theatre talking about? What conversations do you want to start? Well, first and foremost, that they run home and they tell everyone, their friends, their family, to come and see this show, because I think they will genuinely walk out of the theatre feeling…full is not the right word. But I think people will genuinely leave the auditorium feeling an immense sense of joy. And finally, is there anything that you haven’t been asked yet? I’ll open the floor to you about this production. What do you want audiences to know? I want audiences to know that at a time like this in 2026, this show gives so much optimism and hope and love. And Shelby in particular is such an optimistic, beautiful character. I think that we could all be a little bit more like Shelby. **Jessica Redmayne appears in *Steel Magnolias*, presented by Woodward Productions and Neil Gooding Productions. It runs in Sydney until 31 May at the Theatre Royal as part of its national tour.** Tickets: <https://www.steelmagnoliasplay.com/tickets> Website: <http://www.steelmagnoliasplay.com.au/> Socials: <https://www.instagram.com/steelmagnoliasau/> and <https://www.instagram.com/jedmayne/> [Read our review of Steel Magnolias!](https://thescoop.au/review-steel-magnolias-is-a-heartwarming-star-studded-triumph/) Photo credits: Brett Boardman 2026 Australian Tour Dates Brisbane 30 April – 10 May, Playhouse QPAC Sydney 13 – 31 May, Theatre Royal Wollongong 3 – 11 June, Illawarra Performing Arts Centre Canberra 17 – 21 June, Canberra Theatre Centre Perth 7 – 18 July, His Majesty’s Theatre Melbourne 23 July – 16 August Athenaeum Theatre **Categories:** Features --- ### [Review: Bell Shakespeare's Mackenzie Is Something Really Special](https://thescoop.au/review-bell-shakespeares-mackenzie-is-something-really-special/) **Published:** July 25, 2026 **Author:** Liz Baldwin **Content:** ★★★★★ ![The Scoop Mackenzie Bell Shakespeare Kimberley Hodgson](https://thescoop.au/wp-content/uploads/2026/07/BELLShakespeare_MACKENZIE_PhotoBrettBoardman_010913-941x628.jpg "Mackenzie Bell Shakespeare Kimberley Hodgson • The Scoop")Bell Shakespeare’s new production has ruthless egos, shifting rivalries, existential dread – but no, we’re not in the wilds of Scotland, on the way to Inverness. This is Hollywood, circa 2006, where the hair may be blonder, but the contest for the throne is as fierce as ever. *Mackenzie* is the brainchild of Yve Blake, brought to life by director Virginia Gay. This new production utterly reimagines *Macbeth* as a child star, ‘Mackenzie,’ with Lady Macbeth her ruthless stage mum. The result is a hilarious, joyful, yet still thoughtful two hours of theatre. Yve Blake is the genius behind *Fangirls*, that brilliant Australian musical about boyband fandom taken to the extreme. She’s back with another teen satire, this time turning her shrewd eye on our cultural obsession with child stars. As Mackenzie herself observes, we demand they metamorphose before our very eyes, simultaneously growing up and staying ‘true’ to themselves. An impossible ask, so no wonder we’re obsessed with the stories of the has-beens. ![The Scoop Performer behind a large pink heart frame on stage, with surprised facial expression.](https://thescoop.au/wp-content/uploads/2026/06/BELLShakespeare_MACKENZIE_PhotoBrettBoardman_002765-941x628.jpg "Mackenzie Bell Shakespeare Kimberley Hodgson • The Scoop")This new production utterly reimagines Macbeth as a child star Photo by Brett BoardmanBlake’s script is snortingly funny, with so many one-liners whizzing past you’d need a second (or third?) viewing to catch them all. An exchange about Mackenzie’s sister had me crying, as did one about tampons, but I won’t spoil the punchlines. The structure is tight and fast-paced, with the *Macbeth* source material providing the map to which the plot always eventually returns. Just when you think the show has reeled so far away from the familiar plot of the Scottish Play, it comes romping back. This is an exceptional production all round. Director Virginia Gay and an incredibly talented cast bring this script to life. Kimberley Hodgson is compelling as Mackenzie – her caffeine-fuelled hysteria on the pink carpet was genuinely astonishing to watch and captures Macbeth’s loosening grip on reality. She’s supported by an exceptionally strong Nikki Britton as Lady Macbeth. Her early scenes, shamelessly manipulating the thirteen-year-old Mackenzie’s stunted desire for superstardom, are just as awe-inspiring as they are terrifying. ![The Scoop Group of actors on a dimly lit stage reaching upward around a central woman in a vintage brown outfit under purple-blue lights](https://thescoop.au/wp-content/uploads/2026/06/BELLShakespeare_MACKENZIE_PhotoBrettBoardman_002692-941x628.jpg "Mackenzie Bell Shakespeare Kimberley Hodgson • The Scoop")Director Virginia Gay and an incredibly talented cast bring this script to life Photo by Brett BoardmanThe rest of the cast – Ryan González, Billie Palin, Anusha Thomas, and Jane Watt – play a dizzying range of roles with ease. Hats off to the crew behind the stage who make the three-second costume changes possible! Their particular strength is their physical comedy. González’s strutting and fretting are scene-stealing, and Watt’s antics on the stairwell had the audience in stitches. The creative team bring their A game too. From the hits *of High School Musical* and *Hannah Montana* playing as the audience takes their seats, every detail is carefully considered. The costumes are pitch-perfect, like designer Keerthi Subramanyam took a time machine back to the Disney Channel Original wardrobe and picked up a few things for the road. And Ellie Evangelista’s choreography is deliciously OTT. *Mackenzie* is something really special – a hilarious, thoughtful take on one of the most adapted plays in the English language. Kudos to Yve Blake and to Bell Shakespeare for such a fruitful collaboration. ***Mackenzie* is presented by Bell Shakespeare and runs to 9 August** **2026 at Fairfax Studio, Arts Centre Melbourne.** **100 St Kilda Rd, Southbank Vic 3004.** Tickets are available [here](https://www.artscentremelbourne.com.au/whats-on/2026/seasons/bell-shakespeare/mackenzie). Website: <https://www.bellshakespeare.com.au/mackenzie> Socials: <https://www.instagram.com/bellshakespeare/> [Read our review of the World Premiere Sydney Season](https://thescoop.au/review-mackenzie-brings-pop-energy-to-the-scottish-play/) Photo credits: Brett Boardman Check out the Quick Guide to Mackenzie [here](https://www.bellshakespeare.com.au/blog/your-5-minute-guide-to-mackenzie?utm_source=wordfly&utm_medium=email&utm_campaign=2026MACZONMelbConfirmation(ASK)&utm_content=version_A&promo=). **Categories:** Melbourne, Theatre --- ### [Announcing Landmark Partnership: The Second Cities Producing Consortium](https://thescoop.au/announcing-landmark-partnership-the-second-cities-producing-consortium/) **Published:** July 24, 2026 **Author:** Newsroom **Content:** ![The Scoop The Second Cities Producing Consortium HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-23-at-110208-pm-947x628.png "The Second Cities Producing Consortium HOTA Gold Coast • The Scoop")Creative Australia has announced the next wave of Creative Futures Fund investments, including a grant for The Second Cities Producing Consortium to deliver the first two years of a proposed four-year pilot, with a $280,000 investment in year one. Four Australian ‘second city’ performing arts organisations have formed a landmark partnership to co-invest in seeding, developing and staging new large-scale Australian theatre productions. Together, the Consortium will create a new national pathway for ambitious Australian theatre works to be developed with audiences in mind from the outset, connecting artists, producing partners and major regional venues across multiple states and territories. The Second Cities Producing Consortium members, each the cultural heart of their region, have a collective audience of 1.2 million annually: **Canberra Theatre Centre** (ACT), the performing arts centre of the national capital **Geelong Arts Centre** (VIC); Australia’s largest dedicated regional performing arts complex Wollongong’s **Merrigong Theatre Company** (NSW), Australia’s largest and most prolific regional theatre company **HOTA, Home of the Arts** (QLD), the Gold Coast’s landmark cultural precinct ![The Scoop Geelong Arts Centre Season 2026](https://thescoop.au/wp-content/uploads/2025/11/Geelong-Arts-Centre-942x628.jpg "Geelong Arts Centre Season 2026 • The Scoop")Geelong Arts Centre Image suppliedWorking with a range of producing partners and other key venues across the country, the Consortium will shape the major works made for Australia from development through to presentation. Audiences will sit at the centre of the model, building a sustainable pathway for ambitious work to reach communities right across the nation. The Consortium will deliver a new model of formalised collaboration across state borders, bringing regional arts organisations together to respond to shared challenges, pool insights and resources, and build the resilience of the sector. By working collectively, the partners will create greater opportunities for artists and touring production companies, expand audience access to ambitious Australian work, and build stronger national advocacy and influence for Australia’s second cities. The Second Cities Producing Consortium Pilot Project is funded through strategic investment from Creative Australia. Individually, its members are backed by funding from the Victorian Government through Creative Victoria, the NSW Government through Create NSW, City of Wollongong, City of Gold Coast, the QLD Government through Arts Queensland; and the ACT Government. Canberra Theatre Centre Executive Director, **Georgia Hendy**, said: *“Canberra is where Australia comes together to reflect on our national identity, and our stages should be a place where Australian stories can be told with ambition, scale and impact.* *The Second Cities Producing Consortium creates an ambitious new pathway for Australian stories to be developed, produced and shared beyond the traditional capital-city circuit, recognising the importance of Australia’s vibrant regional cities and the audiences they serve.* *Canberra Theatre Centre is proud to be part of this landmark collaboration, reinforcing our role as a leading arts hub for the nation’s capital and surrounding region. Together, we can strengthen cultural and economic connections between our cities and help ensure more people can experience world-class Australian theatre closer to home.”* ![The Scoop The Second Cities Producing Consortium](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-24-at-21514-pm-982x628.png "The Second Cities Producing Consortium HOTA Gold Coast • The Scoop")Canberra Theatre Centre Image suppliedGeelong Arts Centre CEO and Creative Director **Rhys Holden** said: *“This Consortium brings together the strength, ambition and creative energy of Australia’s second cities. Too often the conversation is dominated by our capital cities, but some of the country’s most exciting artistic work, fastest-growing communities and boldest ideas are coming from regional centres like Geelong and our partner cities across the nation.* *For Geelong Arts Centre, this is about more than presenting great work. We want to create it. By working together, we can invest in new Australian stories, support artists to make ambitious new work, and build pathways for that work to reach audiences right across the country.* *We’re excited by what we can achieve collectively and the role this Consortium can play in shaping the future of Australian arts and culture.”* Australia’s ‘Second Cities’ – large regional centres within a couple of hours’ drive of capital cities – already play a key role in the national performing arts ecology – hubs that service and develop the more regional and remote audiences in their respective surrounding areas. Think Wollongong in relation to Sydney, Geelong to Melbourne, Gold Coast to Brisbane, and Canberra as a centre for the ACT and Southern NSW region. The performing arts venues in these second cities have sizeable audiences, infrastructure and artistic ambition. Their business and audience development models depend on a regular supply of large-scale productions that are artistically compelling and capable of attracting significant audiences. In many international markets, such as the UK, pathways between capital city markets and second-tier markets are well established and built into the planning and business models for major works from the beginning. In Australia, however, this pathway has often been an afterthought, with costly remounts, redesigns and transfer costs making the supply of large-scale work unreliable and poorly supported by existing producing, touring and funding structures. ![The Scoop The Second Cities Producing Consortium HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-24-at-22832-pm-953x628.jpeg "The Second Cities Producing Consortium HOTA Gold Coast • The Scoop")Illawarra Performing Arts Centre Merrigong Theatre Company Image suppliedMerrigong Theatre Company Artistic Director / CEO **Simon Hinton** said: “*As Australia’s largest and most prolific regional theatre company, Merrigong is excited to be part of this powerful new arts industry partnership. The Second Cities Producing Consortium pilot comes after years of discussion in the sector about developing new and better models for creating Australian theatre works that connect with and build audiences across the nation, and most especially in the burgeoning regional population centres we now refer to as Australia’s ‘second cities’.* *This strategy sits perfectly within Merrigong’s vision for our region as a place where artistic ambition is nurtured, and where artists and audiences are connected and strengthened. Merrigong has, in the last two decades, pursued this vision through our sector-leading new work and artist development programs. To now place alongside these, a new audience-led producing and presenting model with this Consortium of like-minded organisations is an exciting next step in our journey.”* About the Pilot (2027-2030): After many years of informally collaborating around programming and touring of works of scale, the four key second cities are now forming this Consortium in order to better guarantee the supply of such works, and ensure the continued growth of audiences in our respective markets. This pilot has the potential to significantly impact wider sector sustainability, grow regional and remote audiences (beyond immediate audience catchments), and generally improve industry practices around the making and touring of larger scale work around Australia. The Second Cities Producing Consortium addresses this opportunity by establishing a coordinated, audience-led producing and presentation model. With a combined catchment of 2.6 million people and more than 1.2 million annual attendances, these venues already demonstrate strong demand, particularly from regional and remote audiences, for high-quality work typically only available in capital cities. Due to rising costs and fragmented touring models, Creative Australia’s investment is critical to support this audience-focused sector sustainability strategy. **John Kotzas AM**, Head of Arts and Culture, Experience Gold Coast – HOTA Home of the Arts said: **“***HOTA – Home of the Arts is proud to have been announced as Queensland’s representative for the Second Cities Consortium. This significant milestone reflects the strength of our artistic community, the ambition of our programming, and our commitment to championing exceptional Australian theatre.* *We look forward to bringing these newly commissioned productions to our growing audiences on the Gold Coast, while helping showcase the extraordinary creativity and talent that defines our state. As one of Australia’s fastest-growing cities, we have an exciting opportunity to connect our community with bold new stories and play an important role in shaping the future of Australian theatre.”* **Second Cities Producing Consortium pilot initiatives will be announced in the coming year.** Website: <https://creative.gov.au/> Socials: <https://www.instagram.com/canberratheatrecentre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: HOTA Home of the Gold Coast, supplied. **Categories:** News --- ### [Announcing Into The Woods Cast & Creative Team](https://thescoop.au/announcing-into-the-woods-cast-creative-team/) **Published:** July 23, 2026 **Author:** Newsroom **Content:** ![The Scoop Poster-style image: a woman in a red hooded cloak with fur trim in a misty forest beside the'Into The Woods' title on the right.](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-23-at-51341-pm-1200x551.png "Into the Woods Opera Queensland • The Scoop")**Opera Queensland** and **Queensland Theatre Company** and have unveiled the full cast and creative team for their highly anticipated production of *Into the Woods*, opening at the Glasshouse Theatre, **QPAC** in **November 2026**. Four decades after its Broadway premiere, Stephen Sondheim and James Lapine’s Tony Award-winning masterpiece remains one of the world’s most beloved musicals. Featuring iconic fairy tale characters including Cinderella, Little Red Riding Hood, Jack and Rapunzel, *Into the Woods* explores what happens when wishes are granted and everyone lives ‘happily ever after’… *Into the Woods* marks the first time **Opera Queensland**, **Queensland Theatre Company** and **Queensland Symphony Orchestra** will share the stage. Directed by Opera Queensland Artistic Director **Patrick Nolan**, this production brings together some of Australia’s most celebrated musical theatre and opera performers. ![The Scoop Into the Woods Opera Queensland](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-23-at-51424-pm-872x628.png "Into the Woods Opera Queensland • The Scoop")Helpmann Award-winning performer **Amy Lehpamer** stars as the Baker’s Wife, with acclaimed tenor **Kanen Breen** as the Narrator and the Mysterious Man, and singer and cabaret performer **Ali McGregor** as the formidable Witch. Joining them is soprano **Nina Korbe** as Cinderella, following standout performances as leading lady Molly Johnson in *The Drover’s Wife*, Mimì in Opera Queensland’s 2025 production of *La bohème*. Australian stage and screen actor **Justin Smith** reprises his role of the Baker, after his performance in Belvoir St Theatre’s 2023 production. The cast also stars **Verity Hunt-Ballard** as Jack’s Mother, best known for her title performance in the original Australian production of *Mary Poppins.* Artist, Founder and Artistic Director of Wynnum Fringe Festival **Tom Oliver** as her son Jack, with **Carla Beard** as Little Red Riding Hood and **Darcy Brown** as the Wolf and Cinderella’s Prince. Well-known to Opera Queensland audiences, **Hayley Sugars** features as Cinderella’s Stepmother, **Marcus Corowa** as Rapunzel’s Prince and soprano **Irena Lysiuk** as Rapunzel. ![The Scoop Into the Woods Opera Queensland](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-23-at-51433-pm-897x628.png "Into the Woods Opera Queensland • The Scoop")Performer **Kate Yaxley** also joins the cast as Florinda, who recently appeared in the Australian production of *Wicked*. Rounding out this exceptional cast is **Gabrielle Diaz** as Lucinda and **Angus Grant** as Steward. Director **Patrick Nolan** is joined by Conductor and Musical Director **James Dobinson**, who will lead the Queensland Symphony Orchestra. The production’s visuals have been created by co-set and costume designers **Elizabeth Gadsby** (*Così fan tutte*) and **Charles Davis** (*Rusalka*), with choreography by **Dan Venz**, lighting design by **Alexander Berlage** and video design by **Craig Wilkinson**. The creative team is completed by Associate Director **Benjamin Knapton**, Assistant Director **Emma Nightingale** and Intimacy Director **Michelle Miall**. With a strictly limited Brisbane season, *Into the Woods* is a rare opportunity to experience **Stephen Sondheim’s** beloved musical brought to life by two formidable state art organisations. ***Into the Woods* is presented by Opera Queensland and Queensland Theatre Company and runs in Brisbane 11 – 21 November at the Glasshouse Theatre, QPAC.** The production then travels to Toowoomba for two performances on 3 and 4 December 2026 at the Empire Theatre. Tickets: <https://qpac.com.au/whats-on/2026/opera-queensland-into-the-woods> Website: <https://www.oq.com.au/whats-on/into-the-woods/> Socials: <https://www.instagram.com/operaqueensland/> and <https://www.instagram.com/qldtheatreco/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. **Categories:** News --- ### [Review: Off Broadway Is A Vibrant Celebration Of Musical Theatre](https://thescoop.au/review-off-broadway-is-a-vibrant-celebration-of-musical-theatre/) **Published:** July 20, 2026 **Author:** Wendy Samantha **Content:** ![The Scoop Off Broadway Base Entertainment](https://thescoop.au/wp-content/uploads/2026/07/Off-Broadway-1-942x628.jpeg "Off Broadway Base Entertainment • The Scoop")It’s the world’s greatest musical numbers celebrated in an exciting spectacle of entertainment! With a brilliant cast of stars lighting up the stage, *Off Broadway* brings glitz and glamour, sparkles and sequins, inspiring electric energy and a flurry of feathers. Featuring favourite moments from musical theatre, *Off Broadway* is presented by Base Entertainment and is now touring the country. Bringing together iconic songs, dazzling performances and spectacular staging, it takes audiences on a joyous journey through the magic of the musical stage. Audiences will become a superstar, then tumble into a cell block tango, brave the phantom and get their name in lights. They will delight in knowing any dream will do, feel hopelessly devoted, sing in the rain and delight in a visit to a castle with a beast! After they have driven with the Priscilla, they can time warp with the wicked lady in green, rock and roll with the band and wonder why, why did I ever let you go? ![The Scoop Off Broadway Base Entertainment](https://thescoop.au/wp-content/uploads/2026/07/Off-Broadway-3-942x628.jpeg "Off Broadway Base Entertainment • The Scoop")The show takes audiences on a joyous journey through the magic of the musical stage Image suppliedA true feast for all senses, audiences will be smiling until the final curtain as they are taken through a photo album ride via the bright lights of Broadway. They will lean out of their chair and listen to what song comes next, brimming with a smile from ear to ear as they recognise each tune. *Off Broadway* had my group of guests clapping along, dancing and having so much fun, delighting in a joyous evening. Covering 24 musicals, the revue takes audiences on a whistle-stop tour through musical theatre history, from the Golden Age and the jazz-fuelled world of Cabaret to Disney favourites, the Swiss Alps and beyond. Musical scores featured include Rodgers and Hammerstein, Fosse and Robbins, Andrew Lloyd Webber, and the contemporary characters that fly off the pages written by Stephen Schwartz. ![The Scoop Off Broadway Base Entertainment](https://thescoop.au/wp-content/uploads/2026/07/Off-Broadway-2-942x628.jpeg "Off Broadway Base Entertainment • The Scoop")The show captures the magic of Broadway while showcasing the extraordinary talent of its Australian cast Image suppliedChoreographer and performer Rachael Peters has assisted in putting together some incredible dance numbers. Stand-out moments came from Connor Micallef and the powerhouse vocals of Perri Espinoza. The amazingly talented cast also includes Josephine Lopes, Bailey-Nathan Park, Imogen Doody, Alexander Thorpe, and Bridie Erwin-Keirl. The troupe brings a gift of happiness, as they open a box of musical memories. At its heart, *Off Broadway* is a vibrant celebration of musical theatre, capturing the magic of Broadway while showcasing the extraordinary talent of its Australian cast. Described as a love letter to the world’s greatest musicals, *Off Broadway* is a brilliant revue that reminds us of the art and beauty in telling stories through live performance. It is an evening of musical nostalgia at its best. What would life be without a song or a dance? ***Off Broadway* is presented by Base Entertainment and ran on 19 July at Hamer Hall, Arts Centre Melbourne as part of a national tour.** For full tour dates and tickets, visit the [website](https://www.offbroadway.com.au/australia#bookaus). Website: <https://www.offbroadway.com.au/> Socials: <https://www.instagram.com/offbroadwayshow/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied. **Categories:** Melbourne, Musical Theatre --- ### [Review: Jesus Christ Superstar Rises To The Challenge](https://thescoop.au/review-jesus-christ-superstar-rises-to-the-challenge/) **Published:** July 24, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop Jesus Christ Superstar Therry Theatre Adelaide](https://thescoop.au/wp-content/uploads/2026/07/20260722-IMGL3634-879x628.jpg "Jesus Christ Superstar Therry Theatre Adelaide • The Scoop")A guitarist stands in silhouette against a blood-red backdrop. Mark Lanigan-O’Keefe attacks Andrew Lloyd Webber’s opening riff, his shadow thrown across the stage as though Jimmy Page has wandered into Golgotha. The image captures the challenge facing Therry Theatre. *Jesus Christ Superstar* belongs to musical theatre, but it was born from rock. A production needs singers who can reach its punishing heights, actors who can carry its tragedy and musicians willing to let the guitars draw blood. Adelaide has been waiting for the full experience. The city missed the recent national revival while the Festival Theatre was closed for redevelopment. June’s one-night-only *What’s The Buzz?* gave us an extraordinary consolation prize. Michael Paynter and Mahalia Barnes blew the roof off during the Adelaide Cabaret Festival, but that behind-the-scenes concert had neither full staging nor a large ensemble. Therry has stepped into the breach. Its entire season sold out before opening. Tim Rice and Lloyd Webber first released *Jesus Christ Superstar* as a concept album in 1970, with Deep Purple singer Ian Gillan as Jesus. Its success carried the work to Broadway in 1971. The score was designed for the ear before directors added sets, choreography and character movement. Gillan was a metal singer tackling theatre. Every subsequent Jesus has faced the opposite question: can a theatre performer summon the necessary rock voice? ![The Scoop Theater stage with a crowd of performers in bright costumes, facing left; two tall figures in red robes stand on the right directing the group under blue-purple lighting.](https://thescoop.au/wp-content/uploads/2026/07/20260722-IMGL3556.jpg "Jesus Christ Superstar Therry Theatre Adelaide • The Scoop")Adelaide has been waiting for the full Jesus Christ Superstar experience Photo by Richard ParkhillDirector Ben Todd stages the final days of Jesus within a ruin. Aged brick walls sit on either side of the stage. Small staircases lead to raised platforms, allowing performers to watch, preach or plot from above. The open floor between them gives choreographer Rebekah Stonelaitken’s large ensemble room to surge around Jesus. The production begins with that ensemble scrawling graffiti across the walls. Curtains and signs descend for key moments, while a rear screen offers occasional projected environments, including a garden during *Gethsemane*. The set is most effective when bodies activate it. Followers perch on the stairs, priests occupy the upper levels and dancers flood the central space. Todd introduces one decisive contemporary image. Riot police in helmets and body armour drive through the protesters behind large Perspex shields. It gives the occupation an immediate language of state violence. Yet most of the costuming and character imagery remains traditional, particularly among the priests. The production consequently hovers between eras. Those riot shields promise a sharper present-day political reading that the remaining staging rarely pursues. Todd could have modernised the world more aggressively or trusted its established biblical iconography throughout. Either choice carries risk. The Bible is scripture, but after 55 years, *Jesus Christ Superstar* has acquired its own scripture too. Lighting supplies some of the production’s most striking images. A heavenly shaft pours down upon Nicholas Munday during *Gethsemane*. Smoke trails behind Judas as he collapses to his knees before his suicide. At the crucifixion, a red glow burns beneath the cross while Jesus struggles for air above it. Nicholas Munday brings the necessary gravitas to Jesus. An environmental lawyer by day and a classically trained singer who studied at the Elder Conservatorium, he understands both the authority and isolation of the role. His acting during *Gethsemane* is superb. The argument with God travels through his entire body. ![The Scoop Jesus Christ Superstar Therry Theatre Adelaide](https://thescoop.au/wp-content/uploads/2026/07/20260722-IMGL3619.jpg "Jesus Christ Superstar Therry Theatre Adelaide • The Scoop")Nicholas Munday brings the necessary gravitas to Jesus Photo credit Richard ParkhillThat dramatic commitment deepens during the Passion. Munday absorbs each strike of the whip, bears the crown of thorns and reduces his breathing to shallow, agonised gasps upon the cross. His cry of abandonment has genuine spiritual terror. Vocally, Munday’s classical training is unmistakable. His rounded vowels and resonant operatic colour sit at some distance from Gillan or Paynter’s metallic rock attack. Rock singers can use brightness and twang to drive through the score’s high Fs. Munday carries a fuller sound upwards, requiring careful vowel modification and some manoeuvring through the peaks. It is a technically impressive achievement that changes the musical flavour of the role. A lifetime of classical training cannot simply be switched off for one production. Munday navigates the score successfully, although listeners waiting for an unrestrained metal howl will hear the difference. Daniel Hamilton faces the same brutal vocal inheritance as Judas. The award-winning musical theatre performer, previously seen as Curly in *Oklahoma!* and the title characters in *Jekyll & Hyde*, can apply a rougher edge to his voice. It still sounds closer to musical theatre than native rock singing. His dramatic arc compensates. With darkened eyes, a permanent scowl and a restless gait, Hamilton stalks the stage like a man already being consumed by his decision. He gives Judas’s betrayal emotional logic, then returns dressed in white for *Superstar*, liberated into joyous movement after death. The transformation provides one of the evening’s great releases. Rebecca Pynor is the principal whose vocal instrument sits most naturally within the score. Her Mary has a velvety, rich and sultry tone. The love beneath *I Don’t Know How to Love Him* is already visible when she takes Jesus’s face between her hands. That physical tenderness keeps Mary from disappearing behind her two famous songs. Deon Martino-Williams brings ringing energy to Simon, while Liam Phillips gives Peter a clear, sympathetic presence. Parisya Mosel is particularly impressive as Annas. His voice cuts cleanly through the rock guitars without sacrificing character. ![The Scoop Jesus Christ Superstar Therry Theatre Adelaide](https://thescoop.au/wp-content/uploads/2026/07/20260722-IMGL3757.jpg "Jesus Christ Superstar Therry Theatre Adelaide • The Scoop")Rebecca Pynor is the principal whose vocal instrument sits most naturally within the score Photo credit Richard ParkhillThen Toby Strudwicke arrives as Herod and steals the show. Making his Adelaide city theatre debut after performing on streets around the world and on regional stages in Balaklava, Strudwicke is carried on while reclining upon his throne. He presides over a flamboyantly dressed company and a tap-dancing production number with shameless delight. The sequence embraces anachronism more confidently than anything around it. Strudwicke knows Herod has only minutes to make an impression and wastes none of them. Stonelaitken’s choreography gives the production its pulse. The ensemble can resemble a crowd, congregation, protest movement or pack turning upon its former idol. Ava Cannard, who has spent around three-quarters of her 20 years dancing, repeatedly draws the eye without breaking the collective picture. Musical director Matthew Rumley leads a ten-piece band that gives the score appropriate scale. Lanigan-O’Keefe and fellow guitarist Dylan Rufus are allowed moments to riff from the darkness rather than behaving like obedient pit musicians. The result meshes rock, classical singing and conventional musical theatre instead of pursuing two hours of balls-to-the-wall noise. Purists may need to loosen their grip on the original recordings. They are landmarks, not gospel. The sold-out season confirms the score of *Jesus Christ Superstar* has no need of resurrection. Therry gives Adelaide the bodies, movement and dramatic scale missing from June’s concert. Its strongest memory is quieter: Munday hanging above a low red glow, his breath shortening while the theatre waits with him. ***Jesus Christ Superstar* is presented by Therry Theatre and runs to 1 August at the Arts Theatre. 53 Angas Street Adelaide SA 5000.** The season is [sold out](https://www.trybooking.com/events/landing/1499855). Website: <https://therry.org.au/> Socials: <https://www.instagram.com/therrytheatre/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Richard Parkhill **Categories:** Adelaide, Musical Theatre --- ### [Announcing 2026 ST. ALi Italian Film Festival First Highlights](https://thescoop.au/announcing-2026-st-ali-italian-film-festival-first-highlights/) **Published:** July 23, 2026 **Author:** Newsroom **Content:** ![The Scoop ST ALi. Italian Film Festival The Greater Good](https://thescoop.au/wp-content/uploads/2026/07/The-Greater-Good_1-944x628.jpg "ST ALi. Italian Film Festival The Greater Good • The Scoop")Returning to cinema screens this September is the largest celebration of Italian culture and film outside Italy, the **2026 ST. ALi Italian Film Festival** presented by Palace. Featuring unmissable gems from some of Italy’s finest filmic talents, the festival screens in **Sydney, Melbourne, Ballarat, Brisbane, Perth, Adelaide, Canberra, Byron Bay** and **Ballina** from **16 September**. Palace is delighted to announce the following highlights, with the full line up to be revealed in late August. The 2026 Festival Special Presentation is bittersweet romantic drama **THREE GOODBYES** (*Tre ciotole),* based on the bestselling novel by Michela Murgia. When a couple (played by acclaimed actors Alba Rohrwacher and Elio Germano) split up after what seems like a trivial argument, their lives dramatically change in this emotional, ultimately life-affirming tale from director Isabel Coixet. ![The Scoop A circus ring at night with a tall performer in a black feathered cape facing a young girl in a light blue dress under warm stage lights.](https://thescoop.au/wp-content/uploads/2026/07/Incanto_1-1-942x628.jpg "ST ALi. Italian Film Festival Incanto • The Scoop")Still from Incanto Image supplied**INCANTO** is a fantasy family adventure about the importance of imagination and kindness, as a young girl escapes her controlling guardian and discovers a magical circus, where she begins to find her voice. **THE EYES OF OTHERS** *(Gli occhi degli altri)* starring Jasmine Trinca and Filippo Timi, takes its inspiration from sensational real events amongst the elite in 1960s Italy. Set on the scenic Pontine Islands archipelago in the Tyrrhenian Sea, this provocative thriller is an intense tale of passion and crime amidst the wild beauty of an island owned by an immensely wealthy marquis. The comedy **TWIN STARS** (*Stella gemella)* portrays a couple facing a relationship crisis who suddenly learn they are expecting twins. But not a regular set of twins, an extremely rare case in which each twin has a different father! Featuring stellar supporting performances from Margherita Buy and Laura Morante, this delightful new comedy from Luca Lucini is a story of family, modern love and self-discovery. ![The Scoop ST ALi. Italian Film Festival Classmates](https://thescoop.au/wp-content/uploads/2026/07/Classmates_1-942x628.jpg "ST ALi. Italian Film Festival Classmates • The Scoop")Still from Classmates Image suppliedIntergenerational dramatic comedy **CLASSMATES** *(Domani interrogo),* based on Gaja Cenciarelli’s novel, stars Anna Ferzetti as a devoted English teacher assigned to the toughest class in a Rome high school. The film highlights the power of education, and the essential nature of respect and community in today’s classrooms. Directed by and starring Rocco Papaleo, **THE GREATER GOOD** *(Il bene comune)* is both a story of resilience and a heartfelt love letter to the southern Italian region of Basilicata. The story follows a hiking group whose search for an ancient pine tree in Pollino National Park becomes a transformative journey for each of them. The full programme will be announced and **tickets go on sale late August**. Register for updates via the festival website to be the first to know when tickets are released. **The 2026 ST. ALi Italian Film Festival is presented** **by Palace and screens from 16 September in the locations below**. Website: <https://italianfilmfestival.com.au/> Socials: <https://www.instagram.com/italianfilmfest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Still from The Greater Good 2026 Festival Dates and Venues by City: **Canberra** 16 September – 14 October, Palace Electric Cinema **Adelaide** 16 September – 13 October, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney** 17 September – 14 October, Palace Moore Park, Palace Norton St, Palace Central **Byron Bay and Ballina** 17 September – 14 October, Palace Byron Bay, Ballina Fair Cinemas **Melbourne** 18 September – 15 October, The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Penny Lane, Palace Westgarth, The Kino, Pentridge Cinema, Cinema Nova **Ballarat** 18 September – 15 October, Palace Regent Cinemas **Brisbane** 24 September – 18 October, Palace Barracks, Palace James Street **Perth** 24 September – 18 October, Palace Raine Square, Luna Leederville, Luna on SX, Windsor Cinema **Categories:** News --- ### [Win Tickets To See Holy Days In Cinemas From 6 August](https://thescoop.au/win-tickets-to-see-holy-days-in-cinemas-from-6-august/) **Published:** July 19, 2026 **Author:** Newsroom **Content:** ![The Scoop Holy Days film](https://thescoop.au/wp-content/uploads/2026/07/HD-1080x608-1.jpg "Holy Days film • The Scoop")HOLY DAYS is a joyful and uplifting feel-good comedy about an unexpected adventure starring Miriam Margolyes, Judy Davis and Jacki Weaver. In 1970s New Zealand, young Brian is devastated by the loss of his mother and determined to stop his dad from marrying the woman he sees as her replacement. Convinced he can reach his mother through prayer and penance, Brian finds refuge at a run-down convent with three delightfully eccentric elderly nuns. But when he overhears plans to shut the convent down and split the sisters apart, sending the most vulnerable to a terrifying institution, Brian sparks an unlikely mission: escape to the Southern Alps to find a former nun-turned-lawyer who might just save them all. For Brian, it’s more than a legal battle, he believes this is the miracle he’s been praying for, a chance to reunite with his mother atop the sacred mountain, Aoraki. What follows is a wild, hilarious, and heartwarming road trip as a boy and three nuns face down their fears, outwit crooked officials, lose a sister to fishmongers, and even cash a bet shop win, all while racing against time to save their beloved convent. ![The Scoop Holy Days film](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-19-at-75624-pm-1052x628.png "Holy Days film • The Scoop")HOLY DAYS opens nationally on 6 AugustWith its soul firmly planted in faith, family, and fierce loyalty, HOLY DAYS is a joyful comedy packed with heart, humour, and high-speed hijinks. It’s a story about letting go, holding on, and finding home in the most unexpected places. The Scoop is **giving away five, in-season double pass** **e-tickets** **to the film**, thanks to **Kismet Movies**! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply like the post, give us a follow and comment ‘Scoop’ under the post. The tickets are valid at any cinemas across Australia screening HOLY DAYS (terms and conditions can be found on the tickets). Filled with warmth, humour and plenty of heart, HOLY DAYS is a moving celebration of community, resilience and hope. **HOLY DAYS opens nationally on Thursday 6 August at participating cinemas.** Search for a cinema near you [here](https://holydays.com.au/%C2%A0). Website: <https://www.kismetmovies.com/releases/holy-days> Official website: <https://holydays.com.au/> Socials: <https://www.instagram.com/kismetmovies/> and <https://www.instagram.com/holydaysthemovie/> Read our Film Reviews Watch the trailer here: **Film details:** Title: Holy Days Director: Nat Boltt Cast: Miriam Margolyes, Judy Davis, Jacki Weaver Country of Origin: New Zealand Duration: 101 mins Rating: PG **Categories:** competition, News --- ### [Win Tickets To A Tribute To Sam Neill At Dendy Cinemas](https://thescoop.au/win-tickets-to-a-tribute-to-sam-neill-at-dendy-cinemas/) **Published:** July 23, 2026 **Author:** Newsroom **Content:** ![The Scoop A Tribute To Sam Neill Dendy Cinemas](https://thescoop.au/wp-content/uploads/2026/07/Sam-Niell-Cover-Coo1-1116x628.jpeg "A Tribute To Sam Neill Dendy Cinemas • The Scoop")Dendy Cinemas announce their August special screenings, ***[A TRIBUTE TO SAM NEILL](https://dendy.com.au/sam-neill-celebration)***, in remembrance of one of the most enduring, versatile, and beloved icons of modern cinema. From his captivating early work in landmark Australian and New Zealand films to his unforgettable presence in massive global blockbusters, Sam Neill has brought unparalleled warmth, gravity, and charm to the screen for decades. Rediscover the magic and terror of his definitive roles with special screenings of the timeless classic ***[JURASSIC PARK](https://www.youtube.com/watch?v=QWBKEmWWL38)*** (1993) at Dendy Coorparoo and Dendy Portside, and the astonishing, visceral brilliance of ***[POSSESSION](https://www.youtube.com/watch?v=uDpFpzbwfiw)*** (1981) at Dendy Coorparoo. The films will be screening **Saturday 8 August** and **Wednesday** **12 August**. The Scoop is **giving away a double e-pass** to one of the Sam Neill films, thanks to Dendy Cinemas! Ticket giveaway offer: One double pass to **Dendy Coorparoo** to see either **Possession** or **Jurassic Park** on 8 August or 12 August or One double pass to **Dendy Portside** to see **Jurassic Park** on either 8 August or 12 August Head to our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop Coorparoo’ or ‘Scoop Portside’ and the name of the film you’d like to see under the post. Note – Possession is not screening at Dendy Portside. ***A TRIBUTE TO SAM NEILL* runs 8 August and 12 August at select Dendy Cinemas in Brisbane.** Tickets for Coorparoo: <https://coorparoo.dendy.com.au/sam-neill-celebration/> Tickets for Portside: <https://portside.dendy.com.au/sam-neill-celebration/> Website: <https://www.dendy.com.au/sam-neill-celebration/> Socials: <https://www.instagram.com/dendy.au/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer for Possession here: **Categories:** competition, News --- ### [The Lion King Becomes Highest Selling Musical Presale At QPAC](https://thescoop.au/the-lion-king-becomes-highest-selling-musical-presale-at-qpac/) **Published:** July 23, 2026 **Author:** Newsroom **Content:** ![The Scoop The Lion King Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Lionesses-The-Lion-King-c-Disney-Photo-by-Daniel-Boud-copy-scaled-e1776999098562-943x628.jpg "The Lion King Musical Sydney • The Scoop")Disney’s **THE LION KING** has set a new record, becoming the highest selling musical presale in **Queensland Performing Arts Centre** (**QPAC**) history, surpassing the record set by its own 2014 Brisbane season presale. The outstanding sales landed even before tickets are more widely available to the general public, proving the enduring connection Queensland audiences have to this production. General public ticket sales went live this morning at 9am via the [website](https://www.qpac.com.au/whats-on/2026/the-lion-king). THE LION KING’s 2014 Brisbane season sold out its entire 19-week run and off the back of the obvious audience demand, Disney and QPAC has released the full 16-week Brisbane season today. Performances are scheduled through to **Sunday 7 March 2027** and no further extensions are possible. THE LION KING, the world’s #1 musical, will bring with it the spectacle, artistry and unforgettable music that has redefined musical theatre on a global scale. QPAC Chief Executive, **Rachel Healy**, said: *“We are delighted to share this record-breaking presale result which demonstrates the strength of Queensland audiences’ love of musical theatre.* *The scale of this beloved production is unsurpassed, with the Lyric Theatre auditorium readying itself to be reconfigured to create the immersive world of THE LION KING and we can’t wait to welcome our first audiences in November.”* With **general public tickets on sale from 9am today**, audiences are encouraged to book early to secure their preferred dates and seating locations at the QPAC website. **Disney’s THE LION KING runs Sunday 15 November 2026 – Sunday 7 March 2027 at the Lyric Theatre, QPAC in Brisbane.** It is on now in Sydney and runs at the Capitol Theatre until Sunday 4 October 2026. Tickets: <https://www.qpac.com.au/whats-on/2026/the-lion-king> Website: <https://thelionkingmusical.com.au/> Socials: <https://www.instagram.com/thelionkingau/> Read our 2026 Musical Theatre Show Guide Photo credits: Daniel Boud **Categories:** News --- ### [Review: At What Cost? A Must See Triumph For Perth](https://thescoop.au/review-at-what-cost-a-must-see-triumph-for-perth/) **Published:** July 22, 2026 **Author:** Tiffany Barton **Content:** ★★★★★ ![The Scoop At What Cost? Yirra Yarkin Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/At-What-Cost-production-9228-Actors-Jessie-Ward-and-Calen-Tassone-Photo-by-Daniel-J-Grant--942x628.jpeg "At What Cost? Yirra Yarkin Theatre Company • The Scoop")When it comes to Aboriginality, who gets to decide your identity? Does it come down to the colour of your skin or the mob who raised you? Or is it just ‘a feeling’? In Australian colonial history, Tasmania came as close as possible to genocide. From an estimated population of 4,000–10,000 before colonisation, by 1847 the Palawa population had shrunk to around 50 people relocated to Flinders Island. Massacres, disease, dispossession and forced removals all contributed to this devastating decline. Yet many survived, most notably through the descendants of Aboriginal women and white sealers on the Bass Strait Islands. Today, thousands identify as Palawa, with considerable effort devoted to reviving language and culture. The repatriation of ancestral remains has also become an important part of healing and reconciliation. Nathan Maynard’s brilliant play *At What Cost?* explores these complex questions of identity and belonging through one family preparing for a significant cultural ceremony. Boyd Mansell (Calen Tassone), a respected Palawa leader, lives with his pregnant wife Nala (Jessie Ward) on the sacred ancestral lands of Putalina (Oyster Cove). As preparations begin for the cremation of the repatriated remains of King Billy, Boyd’s cousin Daniel (Jarrad Inman) returns home. Boyd has little patience for what he calls ‘tick-a-box’ Tasmanians who claim Palawa heritage simply by ticking a box on a form, rather than through community recognition. Fiercely protective of his culture, he fears these claims will dilute Palawa identity and divert resources from those who have maintained cultural connection. Daniel is more open-minded, and when he begins a relationship with Gracie Hanson (Aimee Honor), a white PhD student researching King Billy and the colonial surgeon Dr Crowther, tensions begin to simmer. When Gracie reveals she has recently discovered a genetic connection to King Billy, sparks fly and family divisions deepen. ![The Scoop At What Cost? Yirra Yarkin Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/At-What-Cost-production-9063-Actors-Calen-Tassone-and-Jarrad-Inman-Photo-by-Daniel-J-Grant-942x628.jpeg "At What Cost? Yirra Yarkin Theatre Company • The Scoop")The production never loses sight of the emotional stakes beneath the political arguments Photo by Daniel J GrantYirra Yaakin Theatre Company delivers a powerful production of Maynard’s excellent script. Director Maitland Schnaars draws authentic, finely calibrated performances from the cast, allowing both the humour and heartbreak to emerge naturally. The production never loses sight of the emotional stakes beneath the political arguments, making the central conflict feel deeply personal rather than purely ideological. With the exception of a slightly clunky opening monologue by Boyd, delivered to his unborn child while Nala sits silently beside him, the play moves at a cracking pace, remaining utterly compelling and frequently hilarious. Calen Tassone as Boyd has tremendous charisma and passion. He inhabits his character with a bold physicality and skilfully delivers the humour, intelligence and anger the role demands. His final monologue is utterly riveting and inspired the audience to spring to their feet in a thundering standing ovation at the end. His chemistry with Jessie Ward as wife Nala is sexy, intelligent and fun, both of them riffing magnetically with the insanely well-written dialogue, which contains all the codas and in-jokes of a genuine relationship. Their comic timing is excellent, and there is a sense of ease between the actors that translates as a genuine affection, warmth and respect. As Nala, Ward is wonderfully strong and grounded. Nala holds her own with Boyd – she challenges him and supports him in equal measure, and displays her own impressive leadership when the shit hits the proverbial fan. Barefoot and dressed beautifully in an earthy, flowing brown dress which complements the curve of her pregnant belly (costumes by Matt McVeigh), she weaves a traditional basket to house King Billy’s remains and exudes an earthy archetypal feminine energy that beautifully complements the fire and vision of her husband. Jarrad Inman performs Boyd’s cousin Daniel Mansell with a sly humour and cheeky sensibility. He’s a great foil to Boyd’s seriousness – more interested in sex and romance than culture. His character is a well-drawn representation of young Aboriginal men who are not yet as politically engaged as their more mature counterparts. He’s a lot of fun, and his seduction of student Gracie is full of humour and sexiness. ![The Scoop At What Cost? Yirra Yarkin Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/At-What-Cost-production-9210Actor-Aimee-Honor-and-Jessie-Ward-Photo-by-Daniel-J-Grant-jpeg-942x628.jpeg "At What Cost? Yirra Yarkin Theatre Company • The Scoop")The play is delivered with skill courage and full throttled commitment to truth telling Photo by Daniel J GrantAimee Honor, as Gracie, traverses the complexity of her character with skill and nuance. This is the most morally ambiguous character who initially presents as a well-meaning, likeable hippy who then uses new age language (‘I don’t feel culturally safe’) to simultaneously attempt to claim an indigenous identity and weaponise her vulnerability. The ambiguity of the character keeps the audience guessing at the validity of her claims. We sit uneasily on the fence, understanding Boyd’s outrage at her presence on his land but also wanting to give her the benefit of the doubt and consider her claim as Nala and Daniel do. Special mention must go to the set by Matt McVeigh. It glows with warmth and beauty – the sandy floor offset by a line of trees that stand as totems to the ceremony about to take place, and a humble kitchen evokes a family home that is embedded in connection to country. Warm ochre lighting by Matthew Erren completes the picture. The overall effect is of a sacred beauty, imbued with cultural significance. This is further enhanced by sound design by hip hop artist Dazastah, who introduces mesmeric indigenous chants at the start of the play, then drops some killer beats that raise the mysticism to a whole new level. *At What Cost?* signals an impressive ascendancy by Yirra Yaakin Theatre Company with Maitland Schnaars at the helm. It’s a bold, uncompromising play, delivered with skill, courage and full-throttled commitment to truth-telling and to bringing important First Nations stories to Perth audiences. With excellent performances, writing, direction and production design, this is a play that deserves to sell out and win awards. Congratulations must go to the cast and crew for delivering such vital and important work. ***At What Cost?* is presented by Yirra Yaakin Theatre Company and runs to 1 August at Subiaco Arts Centre. Main Auditorium, 180 Hamersley Road Subiaco WA** **6008.** Tickets: <https://www.artsculturetrust.wa.gov.au/venues/subiaco-arts-centre/whats-on/at-what-cost/> Website: <https://yirrayaakin.com.au/production/at-what-cost/> Socials: [https://www.instagram.com/yirra\_yaakin/](https://www.instagram.com/yirra_yaakin/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Daniel J Grant **Content warning:** Genocide, Aboriginal trauma, names of deceased Indigenous people, adult themes, suicide, and strong provocative language. **Categories:** Perth, Theatre --- ### [A Night At The Musicals Returns To Brisbane This October](https://thescoop.au/a-night-at-the-musicals-returns-to-brisbane-this-october/) **Published:** July 22, 2026 **Author:** Newsroom **Content:** ![The Scoop A Night At The Musicals Brisbane](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-22-at-74602-pm-e1784714191777-971x628.png "A Night At The Musicals Brisbane • The Scoop")**A Night At The Musicals** returns to **Brisbane Powerhouse** this October with a brand-new cast, a live band and an exciting mix of new hits and Broadway favourites. Following a successful *Side By Side With Sondheim* season in March, ****A Night At The Musicals**** returns to the Brisbane Powerhouse’s Underground Theatre from the **15 to 17 of October** for four performances only. The company’s signature variety concert brings together some of Australia’s leading musical theatre performers for an evening celebrating the best of Broadway and the West End, from iconic showstoppers to songs from the newest productions lighting up stages overseas. This year’s concert features music from *The Great Gatsby, Death Becomes Her, The Lost Boys, Paddington*, giving Brisbane audiences the chance to hear these songs before the productions even reach Australian stages. ![The Scoop A Night At The Musicals Brisbane](https://thescoop.au/wp-content/uploads/2026/07/ANATM-471x628.jpeg "A Night At The Musicals Brisbane • The Scoop")Producer **Sophora Cliff** said: *“I am thrilled to be staging a full length concert at such an iconic Brisbane venue, The Brisbane Powerhouse. We are combining incredible vocals from some of Australia’s top professional theatre performers with acting, movement, and storytelling. Expect big full-company numbers, solos and duets and more all inspired by some of the biggest shows currently running overseas.* *After a recent trip to Broadway this year, I was fortunate to see some brand new musicals that we won’t be getting in Australia for a while, and I just had to try and bring a slice of that for the audience back home!”* The cast features **Angelique Cassimatis** (*Beetlejuice, Chicago*), **Euan Fistrovic Doidge** (*Kinky Boots, Priscilla Queen of the Desert*), **Sarah Morrison** (*MJ The Musical,* *Come From Away, Mamma Mia!*), **Billy Bourchier** (*The Book of Mormon, Miss Saigon*), **Emily Monsma** (*Wicked, Hairspray*), **Jo-Anne Jackson** (*Titanique, Beautiful: The Carole King Musical*), **Liam J. O’Byrne** (*Disney In Concert*), **Erika Naddei** (*The Last Ship, Bananaland*), **Caelan McCarthy** (*The Narrow Road to the Deep North*), **Morgan Heynes** (*Cruel Intentions*), **Cody Arthur** (*Disney In Concert*) and **Sophora Cliff** (Producer, *Disney In Concert*). Backed by a live band under the musical direction of **Michael Keen**, the production will be directed and choreographed by **Maryanne Nucifora**, bringing together fresh staging, high energy and the excellent vocals audiences have come to love from the company. With only four performances, tickets are expected to sell quickly. **A Night At The Musicals runs 15 – 17 October at The Underground Theatre, Brisbane Powerhouse. 119 Lamington Street New Farm Qld 4005.** Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=MUSICALS26> Website: <https://brisbanepowerhouse.org/events/a-night-at-the-musicals/> Socials: <https://www.instagram.com/anatmbris/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. About A Night At The Musicals Inc: A Night At The Musicals Inc. is an independent professional theatre company specialising in staged-concert musical theatre productions. Founded in 2021 by Sophora Cliff, the company produces a diverse annual programm spanning large-scale concerts, themed cabaret, monthly industry events (The Broadway Mixer) and touring productions across South East Queensland. With a strong commitment to supporting local artists, the company reinvests into its performers and continues to build its reputation as a leader in high-quality musical theatre presentation. **Categories:** News --- ### [Review: Don Giovanni Sees Opera Australia At Its Most Inventive](https://thescoop.au/review-don-giovanni-sees-opera-australia-at-its-most-inventive/) **Published:** July 18, 2026 **Author:** James Murphy **Content:** ★★★★½ ![The Scoop Don Giovanni Opera Australia](https://thescoop.au/wp-content/uploads/2026/07/55398651218_133ccaac05_k-942x628.jpg "Don Giovanni Opera Australia • The Scoop")A red petrol pump stands at stage left. It looks like scenery, a piece of period detail. Then you remember Chekhov: do not place a gun on stage unless somebody is going to use it. Opera Australia’s touring *Don Giovanni* does use the pump. By the end, it has become this production’s answer to hell. That is the ingenuity of a national tour. How do you stage a stone Commendatore rising from a graveyard? How do you send Don Giovanni into eternal fire when the entire production must fit inside a truck? You stop trying to imitate a metropolitan spectacle. You find another image. Mozart and Lorenzo Da Ponte’s opera premiered in Prague in 1787. This Michael Gow production was first performed in Dandenong in 2012. It now returns for Opera Australia’s 30th modern national tour. Across those three decades, the tour has presented more than 720 performances to over 330,000 people in 139 locations. South Australia does not have the same chain of large regional cities found across Victoria or New South Wales. That makes the Barossa Valley, the home of Maggie Beer and Grant Burge, a clever destination. The Barossa Arts Centre is only about an hour north of Adelaide. City audiences can turn the opera into a day trip through one of the world’s great food and wine regions. People travelling from further north also gain access to a national company without having to continue into the city. The venue is not a consolation prize; it is an excellent home for this production. Opera Australia’s arrival feels like an operatic circus rolling into town. The set comes out of one semitrailer; local technicians join the company. A familiar theatre becomes a cracked Mediterranean square. For one night, the travelling world becomes local. Robert Kemp’s set and costumes turn touring limitations into dramatic language. His program note calls necessity the mother of invention. That is exactly what happens here. One exterior serves the whole opera. The walls around a small hotel have a damaged veneer. Bricks show through the cracks. The sign flickers on and off. Tables, doors and steps become places for plotting, seduction and surveillance. ![The Scoop Don Giovanni Opera Australia](https://thescoop.au/wp-content/uploads/2026/07/55398651283_bd683c4ed0_k-942x628.jpg "Don Giovanni Opera Australia • The Scoop")The arrival of Opera Australia in the Barossa Valley feels like an operatic circus rolling into town Photo by Claudio RaschellaMatthew Scott’s lighting does much of the scene changing. Warm oranges make the square feel dusty and exposed. Deep blues transform the same walls into a place of secrecy and danger. Michael Gow describes a small Spanish town. Kemp openly draws from Italian cinema and the excitability of Fellini’s characters. On stage, the distinction matters less than the shared Mediterranean claustrophobia. Everybody knows everybody. Everybody watches, everybody judges. That gives the ending its power. The traditional cemetery statue is replaced by posters commemorating the murdered Commendatore. The dead man haunts the town through images and memory. When judgment arrives, it is not divine. The townspeople come for Giovanni. They pour petrol over him and drag him into the wings. A brutal blaze of light erupts beyond the set. We never see his body burn. What we do not see is more disturbing. Gow turns divine punishment into vigilante justice. It resembles an honour killing carried out by a community defending its social order. The town has endured Giovanni’s aggression, but its solution is another act of collective violence. Eddie Muliaumaseali’i gives the Commendatore the stature and vocal presence to unleash the gates of hell. The staging first appeared before #MeToo and before Jeffrey Epstein became the defining symbol of elite male impunity. It carries a different charge now. Christian Haotian Qi’s Giovanni is not a cartoon villain. He moves through the town with the smarmy confidence of someone who has rarely heard the word no. Is he sexually liberated? Compulsively promiscuous? Addicted to conquest? Or simply a predator who disguises entitlement as freedom? The opera refuses an easy answer. ![The Scoop Don Giovanni Opera Australia](https://thescoop.au/wp-content/uploads/2026/07/55398529206_084d080e43_k-942x628.jpg "Don Giovanni Opera Australia • The Scoop")The set and costumes turn touring limitations into dramatic language Photo by Claudio RaschellaThe Don Juan fantasy remains alive in the manosphere, where accumulating women is sold as proof of masculine value. Dating apps have also gamified desire. Every new match promises another small burst of dopamine. Leporello’s catalogue can now sound less like rakish legend than an addiction spreadsheet. Yet the social order opposing Giovanni is hardly ideal. Marriage was treated as sacred when the opera was written, but it was often an economic and patriarchal contract. In “Batti, batti, o bel Masetto”, Zerlina offers herself to her jealous husband’s punishment to regain his affection. The alternative to Giovanni’s appetite is not necessarily freedom. Cathy-Di Zhang and Benjamin Del Borrello make Zerlina and Masetto the production’s most convincing couple. Their chemistry is volatile, funny and physical. Zhang has a warm, expansive soprano. She maintains remarkable vocal control even while reclining across Masetto’s arms. Her singing carries both sensuality and emotional intelligence. Del Borrello gives Masetto the crazed fire of a thwarted lover. His delivery of “Signor, sì” is spat out with enough venom to briefly strip Giovanni of his social authority. Christian Haotian Qi brings an elegant lyric baritone and refined stage presence to the title role. “Deh, vieni alla finestra” is a highlight. Its softness becomes part of Giovanni’s danger. He does not need to force every seduction; he can make desire sound reasonable. Kiran Rajasingam is an excellent comic counterweight as Leporello. His voice is rich, but he also has the timing and physical ease to keep the long evening moving. A scene in which he imitates Giovanni from one knee beneath a window is especially funny. He completes the transformation by sticking on a pair of aviator sunglasses. It is a tiny gag, but it tells us everything about the master-servant relationship. ![The Scoop Don Giovanni Opera Australia](https://thescoop.au/wp-content/uploads/2026/07/55398528931_e59e150ac3_k-1029x628.jpg "Don Giovanni Opera Australia • The Scoop")The community has a stake in a touring opera and that may be its most important achievement Photo by Claudio RaschellaChelsea Burns is a vision in Donna Elvira’s enormous red dress, black hat and gloves. Her acting in the opening scenes establishes the mayhem to come. Elvira is wounded, furious and still disastrously hopeful. Celeste Lazarenko brings impressive agility to Donna Anna. The control of her trills ensures her grief remains vocally disciplined without becoming emotionally remote. Tomas Dalton gives Don Ottavio a commanding presence. His instrument leans towards a more dramatic tenor sound than the prettiest Mozart tradition. That is not a problem when the music expands. He delivers the long lines and larger notes of “Dalla sua pace” with assurance. Simon Bruckard’s orchestral reduction is central to the whole touring enterprise. The forces cannot reproduce the scale of a long Festival Theatre season. They do not need to. The reduced orchestra keeps Mozart mobile. It leaves the voices exposed and the comedy alert. A comparison with a fully resourced State Opera South Australia production would miss the point. This show was built to move. The same scenery must fit stages with different widths, depths and machinery. It must be erected and packed away in a day. The costumes must also survive travel, cleaning and rotating casts. Each is duplicated and individually fitted. Kemp uses those limits as character shorthand. Giovanni and Elvira receive the greatest glamour. He wears his scarlet jacket like a declaration. She enters in enough magenta fabric to consume the town square. Leporello’s leather jacket and flat cap mark him as a worker. Ottavio’s yellow vest and spectacles make him look decent but slightly stranded. Zerlina’s lace wedding dress glows under the changing light. Few costume changes are needed; a great deal is achieved with very little. ![The Scoop Don Giovanni Opera Australia](https://thescoop.au/wp-content/uploads/2026/07/55398525256_978f730f0d_k-942x628.jpg "Don Giovanni Opera Australia • The Scoop")The opera Don Giovanni is a seduction into another world Photo by Claudio RaschellaThe same is true of the Regional Children’s Chorus. Fifteen young Barossa singers, led by Mel Craford, perform beside Opera Australia’s artists. The program has involved more than 3,500 children over 13 years. Some will remember the applause for the rest of their lives. The benefit extends beyond the children. Parents, teachers, relatives and local musicians become connected to the production. A visiting opera is no longer something dropped into a town and removed the following morning. The community has a stake in it. That may be the national tour’s most important achievement. Driving up from Adelaide, it is possible to notice what is missing. No monumental graveyard, no elaborate descent into a mechanical underworld. Imagine the same truck arriving in a town hundreds of kilometres from a capital city. Imagine the hotel rising inside the local theatre. The lights warm. Mozart begins. Local children walk onto the stage beside national artists. Then the limitations look very different: they look like invention. Opera Australia’s *Don Giovanni* is a seduction into another world. It arrives with a cracked wall, a few beautiful dresses, a pair of aviators and one ominous petrol pump. That is more than enough to start a fire. ***Don Giovanni* is presented by Opera Australia and is touring throughout South Australia, Victoria, Tasmania and New South Wales in July and August 2026.** See full dates and book tickets at the website link [here](https://opera.org.au/events/national-tour/don-giovanni/#dates). Website: <https://www.stateopera.com.au/productions/2026/don-giovanni> Socials: <https://www.instagram.com/operaaustralia/> and <https://www.instagram.com/stateoperasouthaustralia/> [Read more of our Latest Reviews](https://thescoop.au/latest/) Photo credits: Claudio Raschella **Categories:** Adelaide, Musical Theatre, Theatre --- ### [Announcing John Waters For Fiddler On The Roof](https://thescoop.au/announcing-john-waters-for-fiddler-on-the-roof/) **Published:** July 21, 2026 **Author:** Newsroom **Content:** ![The Scoop Fiddler on the Roof 2026 Australia](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-21-at-11048-pm-1104x628.png "Fiddler on the Roof 2026 Australia • The Scoop")Producers of the multi award winning critically acclaimed **Fiddler on the Roof** have today announced legend of Australian screen and stage **John Waters** will be joining the cast as Lazar Wolf. The show marks a reunion with Sigrid Thornton, with whom he starred in the beloved 1983 historical miniseries *All the Rivers Run*. An acclaimed actor of stage and screen, his stage credits include *The Sound of Music, Oliver!, Jesus Christ Superstar, The Rocky Horror Show*,*The Addams Family* and most recently, as Joe in the Australian premiere of *[Waitress](https://thescoop.au/review-waitress-warms-the-heart-in-a-sweet-australian-premiere/)*. A household name in Australia, his film and television credits include *Offspring, All Saints, Anzac Girls, Rush, Boulevard of Broken Dreams, Breaker Morant*, and *Play School*. Following record-breaking, sold-out seasons in London and across the UK, the multi award winning critically acclaimed **Fiddler on the Roof** is currently rehearsing with its Australian star cast, for its Australian premiere later this month. It will play in Sydney, Brisbane, and Melbourne, with details of its Perth season announced today. The production will play **His Majesty’s Theatre Perth** from **January 2027**. The production, which opened at Regent’s Park Open Air theatre, continued its 5-star reviews and standing ovations every night when it transferred to London’s Barbican Theatre, where it broke the record for the **best-selling musical of all time**. It then went onto tour the UK and Ireland again breaking box office records and to major critical acclaim. It won the best musical award twice for Best Revival at the prestigious Olivier Awards, and Best Musical at the Critics’ Circle Theatre Awards. ![The Scoop Fiddler on the Roof 2026 Australia](https://thescoop.au/wp-content/uploads/2026/07/FiddlerOnTheRoof_Credit-Pierre-Toussaint-837x628.jpg "Fiddler on the Roof 2026 Australia • The Scoop")Troy Sussman Sigrid Thornton and Alexis Fishman Photo by Pierre ToussaintLeading the high-octane cast as Tevye is the [previously announced](https://thescoop.au/announcing-fiddler-on-the-roof-australian-cast-sigrid-thornton-returns/) Australian and West end star **Troy Sussman**, whose illustrious career has spanned over 40 years with shows including *Back to the Future, Sunset Boulevard, Les Misérables* and *Disney’s Aladdin*. Beloved and decorated Australian icon **Sigrid Thornton** will star into the role of Yente, treating audiences to her first starring role in a musical in over a decade. Fresh off an award-winning new production tour of *Anne Being Frank*, **Alexis Fishman** is Golde. Introducing rising stars **Freya Boltman** (*Yiddish Divas*) as Tzeitel, **Ellen Ebbs** (*Head Over Heels*) as Hodel and **Caity Plummer** (*Sunset Boulevard*) as Chava. Internationally acclaimed violinist **Ben Adler** is The Fiddler. The extraordinary cast is completed by **Maxwell Simon**, **Felix Star**, **Jacob Steen**, **Ritchie Singer**, **Danielle Barnes**, **Nina Carmen**, **Romy Juliette Glass**, **Ksenia Teliatnikova**, **Andrew Dunn**e, **Damien Bermingham**, **Mark Doggett**, **Rubin Matters**, **Anthony Sheppard**, **Patrick Whitbread**, **Alex Mulcahy**, **Nick Brown**, **Samantha Stewart**, **Hanlon Innocent**, and **Christopher Tendai**. After a sold-out run at Regent’s Park Open Air Theatre in 2024, the production transferred to the Barbican Theatre where it became **the best-selling musical of all time**. This “sublime” (*The Guardian*) and “exuberant” (*The Standard*) revival has captivated audiences and critics alike, earning spontaneous standing ovations everywhere and five-star reviews. This brand new production is the most nominated musical revival in the history of the Olivier awards, earning 3 Olivier Awards, including Best Musical Revival. ![The Scoop Fiddler on the Roof Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Photography-by_-Marc-Brenner-5-942x628.jpg "Fiddler on the Roof Australia 2026 • The Scoop")Fiddler on the Roof UK production Photos by Marc BrennerThis fresh new production offers a contemporary lens on a great classic musical. Internationally hailed as one of the greatest musicals of all time with one of the finest scores ever written featuring: *If I Were A Rich Man*, *Tradition*, *Matchmaker* and *Sunrise, Sunset*, **Fiddler on the Roof** is a classic musical of joy and community and an exuberant celebration of love and life. It’s 1905 in the tiny village of Anatevka, where Tevye, a milkman, lives his life by their proud traditions. For his five daughters, that means a visit from the matchmaker. As each daughter challenges his beliefs, against the backdrop of a changing world, can Tevye hold on to his roots, or must he bend to the will of his children and learn to embrace the unfamiliar? This acclaimed production has been powerfully brought to life by visionary and award-winning Director **Jordan Fein**. His bold contemporary interpretation has been critically acclaimed for its emotional depth, inventive staging and striking theatrical detail. Under Fein’s direction, the production has become one of the most talked-about musical theatre events of the year on London’s West End. The production reunites designer **Tom Scutt** and choreographer **Julia Cheng**, who previously collaborated on the long running and widely acclaimed *Cabaret* at the Kit Kat Club on the West End and Broadway. ***Fiddler on the Roof* premieres from 31 July – 6 September at the Theatre Royal Sydney. It then runs in Brisbane, Melbourne and Perth. See tour dates below.** Tickets for Sydney are [here](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/92?tix-tr=FOTRWEB&_gl=1%2Acbyciz%2A_ga%2AMjYyNjAzNzk4LjE3ODQ2MDQ2MDk.%2A_ga_8FKGJK34L0%2AczE3ODQ2MDQ2MDkkbzEkZzAkdDE3ODQ2MDQ2MDkkajYwJGwwJGgxMjMzMzMxNzkx). Website: <https://fiddlerontherooftour.com/> Socials: <https://www.instagram.com/fiddlerontherooftour/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. 2026 Australian Tour Dates: Sydney from 31 July, Theatre Royal [Tickets](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/92?tix-tr=FOTRWEB&_gl=1%2Acbyciz%2A_ga%2AMjYyNjAzNzk4LjE3ODQ2MDQ2MDk.%2A_ga_8FKGJK34L0%2AczE3ODQ2MDQ2MDkkbzEkZzAkdDE3ODQ2MDQ2MDkkajYwJGwwJGgxMjMzMzMxNzkx) Brisbane from 9 October, Glasshouse Theatre, QPAC [Tickets](https://www.qpac.com.au/whats-on/2026/fiddler-on-the-roof) Melbourne from 31 October, Her Majesty’s Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=FIDDLER26) Perth from January 2027, His Majesty’s Theatre [Tickets](https://www.artsculturetrust.wa.gov.au/venues/his-majestys-theatre/whats-on/fiddler-on-the-roof/) **Categories:** News --- ### [Announcing American Psycho Musical For Melbourne & Brisbane](https://thescoop.au/announcing-american-psycho-musical-for-melbourne-brisbane/) **Published:** July 21, 2026 **Author:** Newsroom **Content:** ![The Scoop American Psycho A Musical Thriller See You Sunday Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/07/SYSAmericanPsychoProductionShots-00806-copy-942x628.jpg "American Psycho A Musical Thriller See You Sunday Chapel Off Chapel Melbourne • The Scoop")Australia’s theatre scene will get a shot of adrenaline with the musical revival of [AMERICAN PSYCHO – THE MUSICAL](https://www.americanpsycho.com.au/) soon to tour Melbourne and Brisbane, following a sell-out season in Melbourne last year. Playing at **Chapel Off Chapel** in **Melbourne** from **29 October 2026** and the **Brisbane Powerhouse** from **5 February 2027**, **AMERICAN PSYCHO – THE MUSICAL** pulls no punches in its critique of capitalism, consumerism and excess. The show dives into the mind of Patrick Bateman: a young, wealthy investment banker with a taste for designer suits by day, and something far more sinister by night. Set in the money-obsessed Manhattan of the late 1980s, **AMERICAN PSYCHO – THE MUSICAL** is a blood-soaked thrill ride through greed, privilege and moral decay, soundtracked by a slick score and iconic hits from Phil Collins, Tears for Fears, New Order and Huey Lewis and the News. **AMERICAN PSYCHO – THE MUSICAL** will see the return of **Conor Beaumont** (*Heathers the Musical)* to the lead role of Patrick Bateman, following his [critically acclaimed performance in 2025](https://thescoop.au/review-american-psycho-has-killer-tunes-and-bloody-good-fun/). He’ll be accompanied by a powerhouse cast of local talent including **Mia Dabkowski-Chandler** (*Cats, Tina – The Tina Turner Musical*) as Evelyn Williams, and **Alexandra Cashmere** (*Waitress, Back To The Future*) as Evelyn Williams Alternate. **Montana Sharp** (*Parade*) as Jean, **Harley Dasey** (*Evil Dead – The Musical, Mamma Mia*) as Paul Owen, **Jake Ameduri** (*Evil Dead – The Musical, Mamma Mia*) as Tim Price and Patrick Bateman Cover. **Meg Williams** (*Grey Gardens*) as Courtney Lawrence, **Jordan Twigg** (*Footloose*) as Mrs Bateman, **Aaron Robuck** (*Parade, Woman On The Verge Of A Nervous Breakdown*) as Luis Carruthers, **Dan Ham** (*Songs For A New World*) as Craig McDermott and Associate Choreographer. Rounding out the cast is **Elaina Bianchi** (*Evil Dead – The Musical, High School Musical*) as Vanden and Dance Captain and **Lauchlan Mant** (*Mamma Mia*) as David Van Patten, with **Nelana Ferguson** (*Spark*) and **Bash Nelson** (*Once On This Island*) as Swings. ![The Scoop American Psycho A Musical Thriller See You Sunday Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2025/09/SYSAmericanPsychoProductionShots-01005-942x628.jpg "American Psycho A Musical Thriller See You Sunday Chapel Off Chapel Melbourne • The Scoop")American Psycho A Musical returns to Melbourne in October and Brisbane in February 2027 Photo by Matthew ChenThis production will be directed by **Mark Taylor** (*Next to Normal*, *Bright Star*), with music and lyrics by Grammy and Tony Award winner **Duncan Sheik** (*Spring Awakening*), and a book by *Riverdale*’s **Roberto Aguirre-Sacasa**. Director **Mark Taylor** said: “*We can’t wait to bring* American Psycho *back to Australia this year. Our 2025 premiere defied all our expectations, with people coming from all corners of the country to witness the production. We’re so excited to again be staging this spectacle of a show, and sharing it with Queensland audiences as well.* *“With the world events currently playing out around us, the American Psycho story – where Donald Trump is Patrick Bateman’s idol – feels more eerily relevant than ever. Applying a 2026 lens to the show, we’re holding up a mirror to our audience and the warped idea of what status, success and masculinity should look like, and can’t wait for Australian audiences to come along for the ride.”* See You Sunday is an Australian theatre company which exists to support and promote high-quality, thought-provoking theatre for Australian audiences. Founded in 2024 by Mark Taylor and Aaron Robuck, See You Sunday prides itself on creating meaningful opportunities for artists and creative practitioners. Tickets for **AMERICAN PSYCHO – THE MUSICAL** will be available from the following dates: BRISBANE – My Ticketek Pre-Sale – Wednesday 22 July MELBOURNE – Chapel Off Chapel Pre-Sale – Thursday 23 July BOTH CITIES – See You Sunday Pre-Sale – Friday 24 July BOTH CITIES – General On-Sale – Tuesday 28 July **AMERICAN PSYCHO – THE MUSICAL runs from 29 October at Chapel Off Chapel. 12 Little Chapel Street Prahran Vic 3181.** **It then runs in Brisbane from 5 February 2027 at Brisbane Powerhouse, 119 Lamington Street New Farm Qld 4005.** Waitlist for tickets [here](https://www.americanpsycho.com.au/waitlist). Website: <https://www.americanpsycho.com.au/> Socials: <https://www.instagram.com/americanpsychomusicalau/> and <https://www.instagram.com/seeyousundayinc/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Matthew Chen **Note:** **AMERICAN PSYCHO** contains adult themes, stylised violence, sexual content and strong language. Recommended for audiences 16+. **Categories:** News --- ### [Review: Grey Gardens Is An Eerie, Elegant Tale Of Love & Entrapment](https://thescoop.au/review-grey-gardens-is-an-eerie-elegant-tale-of-love-entrapment/) **Published:** July 20, 2026 **Author:** Liz Baldwin **Content:** ![The Scoop Grey Gardens Clovelly Fox fortyfivedownstairs](https://thescoop.au/wp-content/uploads/2026/07/4-David-Hobson-and-cast-941x628.jpg "Grey Gardens Clovelly Fox fortyfivedownstairs • The Scoop")Interest in the Kennedy family is perennial. Every few years, another television series, film or book promises to reveal the “true” story behind America’s most scrutinised dynasty. This year, it was *Love Story: John F. Kennedy Jr. & Carolyn Bessette* that renewed the fascination. But on such well-tilled ground, it is rare for a production to tell a genuinely novel story, or to penetrate much deeper than polished appearances. That is what makes *Grey Gardens*, a musical about Jacqueline Kennedy Onassis’s reclusive aunt and cousin, so intriguing. It is based on the iconic and controversial 1975 documentary of the same name, which trained its camera on Big Edie and Little Edie Beale: two former socialites living amid cats, clutter and decay in their once-grand East Hampton mansion. The film caused a sensation, exposing both their squalid circumstances and their intensely interdependent relationship. The musical premiered Off-Broadway in 2006 before transferring later that year to Broadway, going on to win three Tony Awards. Its first act is set in 1941. Twenty-four-year-old Little Edie sees marriage as her chance to escape her controlling, larger-than-life mother. But Big Edie, herself a frustrated, would-be performer corseted by the strictures of social norms, finds it hard to let her forge her own path. Act II moves forward to 1973, when the consequences of those fateful decisions play out. Mother and daughter now live in disharmony in the ruins of their once beloved aristocratic home, Grey Gardens. Can they ever escape these well-worn grooves of despair and blame? ![The Scoop Grey Gardens Clovelly Fox fortyfivedownstairs](https://thescoop.au/wp-content/uploads/2026/07/6-Helen-Dallimore-and-Meg-Williams-942x628.jpg "Grey Gardens Clovelly Fox fortyfivedownstairs • The Scoop")This is the first Melbourne production of Grey Gardens since 2011 Photo by Ben FonClovelly Fox and fortyfivedownstairs have brought this singular story to the intimate fortyfivedownstairs theatre, in the first Melbourne production of the musical since 2011. Helen Dallimore leads the cast, playing Big Edie in Act I and Little Edie in Act II. She is excellent in both roles, but especially as the older Little Edie, moving from vulnerable to unapologetic from one moment to the next. As Big Edie, her soaring operatic vocals, as she plans to upstage her daughter’s engagement party, are among the evening’s most consistent crowd-pleasers. Deidre Rubenstein takes over as Big Edie in Act II. She is compelling as the once-dominating matriarch, now dependent and impoverished, yet still looming large in her daughter’s mind. And Meg Williams plays 24-year-old Edie as a doe-eyed and desperate ingenue. David Hobson is a standout as Little Edie’s grandfather, Major Bouvier, in Act I. His assured stage presence steadies the production, aided by the panache with which he commits to the comic material. His first number gives the act its first real surge of momentum after an opening stretch of slightly skippable establishing songs and scenes. ![The Scoop Grey Gardens Clovelly Fox fortyfivedownstairs](https://thescoop.au/wp-content/uploads/2026/07/5-Deidre-Rubestein-942x628.jpg "Grey Gardens Clovelly Fox fortyfivedownstairs • The Scoop")Do not miss this rare chance to see a unique psychologically unsettling musical Photo by Ben FonAt this early stage of the run, some technical elements could still be refined. The intimate theatre is occasionally overwhelmed by the sound mix, particularly during confrontations. In those moments, sheer volume substitutes for emotional force, tipping scenes that should be painful towards camp. Claudia Mirabello’s design for the decaying Grey Gardens is richly evocative. The comparatively sparse depiction of the house in its prime, however, asks the audience to imagine much of the luxury whose eventual loss is meant to carry such weight. Even with those rough edges, I wouldn’t miss this rare chance to see a unique, psychologically unsettling musical. *Grey Gardens* is ultimately a story about the inescapability of family legacies – Kennedy or otherwise. ***Grey Gardens* is presented by** **Clovelly Fox Productions and fortyfivedownstairs and runs to 2 August. 45 Finders Lane Melbourne Vic 3000.** Tickets: <https://fortyfivedownstairs.com/event/grey-gardens/> Website: <https://clovellyfox.com/> Socials: <https://www.instagram.com/clovellyfox/> and <https://www.instagram.com/fortyfivedownstairs/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Ben Fon **Categories:** Melbourne, Musical Theatre --- ### [Announcing How To Succeed Musical Cast For Hayes Theatre Co](https://thescoop.au/announcing-how-to-succeed-musical-cast-for-hayes-theatre-co/) **Published:** July 20, 2026 **Author:** Newsroom **Content:** ![The Scoop How to Succeed In Business Without Really Trying Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/01/How-to-Succeed-e1767926565486-1000x628.png "How to Succeed In Business Without Really Trying Hayes Theatre Co • The Scoop")The multiple award-winning producer behind *RENT* and *Catch Me If You Can*, LPD Productions is delighted to announce the cast for its upcoming production of ***How to Succeed in Business Without Really Trying***. Winner of seven Tony Awards, this razor-sharp musical comedy proves that climbing the corporate ladder can be every bit as entertaining as it is unpredictable. The production opens at the Hayes Theatre on 28 August. Tickets are on sale now at [hayestheatre.com.au](http://hayestheatre.com.au/). Award-winning director **Cameron Mitchell** (*Tootsie*, *Putting It Together*) reunites the leading men from his acclaimed production of *Catch Me If You Can* for ***How to Succeed in Business Without Really Trying***. Leading the company is *Home and Away* alumnus **Jake Speer** (*Catch Me If You Can*) as the ambitious and resourceful J. Pierrepont Finch, opposite acclaimed stage and screen performer, **Simon Burke** (*WICKED, Moulin Rouge*) as the formidable company president, J.B. Biggley. They are joined by **Georgia Laga’aia** (*Dear Evan Hansen*) as the devoted Rosemary Pilkington and **Lucy Lalor** (*The Prom*) as the glamorous Hedy LaRue. The executive team is brought to life by an outstanding supporting cast, with **Wayne Scott Kermond** *(Hot Shoe Shuffle)* taking on the dual roles of Mr. Twimble and Mr. Womper, **Max Macdonald** (*Tootsie*) as Budd Frump, **Stacey Thomsett** (*RENT*) as Smitty, **Noni McCallum** (*Beetlejuice*) as Miss Jones and *Play School* alumnus **Kaeng Chan** (*Miss Saigon*) as Mr. Bratt. **Madeline Pratt** (*Annie*) plays Miss Krumholtz, **Taye Grant** (*Back to the Future*) appears as Mr. Overington, and **Zachary Webster** (*CHICAGO*) returns to the Hayes as Mr. Gatch while also serving as Assistant Choreographer. Completing the company are ensemble members **Katie Green** (*Tootsie*), **Kye Hall** (*Tootsie*), and **Kristina McNamara**, who returns to the Hayes following her recent acclaimed performance in *Dirty Rotten Scoundrels*, performing in the ensemble while also taking on the role of Assistant Director. ![The Scoop How to Succeed in Business Without Really Trying Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/07/HTS-Cast-Tiles-copy-492x628.jpg "How to Succeed in Business Without Really Trying Hayes Theatre Co • The Scoop")Director **Cameron Mitchell** said: *“I am absolutely thrilled with the cast we have assembled. We have a real mix of well-established and brand-new talent. I can’t wait to get into the rehearsal room and create something unique with them all.”* A satire of big business and all it holds sacred, ***How to Succeed in Business without Really Trying*** follows the rise of J. Pierrepont Finch, who uses a quirky instructional guide to climb the corporate ladder from lowly window washer to high-powered executive, tackling such familiar but potent dangers as the aggressively compliant “company man,” the office party, backstabbing coworkers, caffeine addiction and, of course, true love. Featuring classic songs including *I Believe in You*, *Brotherhood of Man* and *The Company Way*, this comic gem of a musical features a score by **Frank Loesser** and book by **Abe Burrows**, **Jack Weinstock,** and **Willie Gilbert.** First staged on Broadway in 1961, ***How to Succeed in Business without Really Trying*** won the Tony Award for Best Musical and a Pulitzer Prize. Subsequently it has been revived on Broadway, most recently starring Daniel Radcliffe and Tony Award Winner John Laroquette. ***How to Succeed in Business Without Really Trying*** is a rollicking comic delight of satire and song. It is a joyful, knowing wink to the ambitious window washer lurking inside us all. ***How to Succeed in Business Without Really Trying*** **is presented by LPD Productions in association with Hayes Theatre Co. It runs from 28 August – 27 September at Hayes Theatre Co. 19 Greenknowe Avenue Potts Point NSW 2011.** Tickets: <https://hayestheatre.com.au/event/how-to-succeed-in-business-without-really-trying/> Website: <https://hayestheatre.com.au/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: Pride and Prejudice* (*sort of) Delivers Riotous Regency Chaos In Sydney](https://thescoop.au/review-pride-and-prejudice-sort-of-delivers-riotous-regency-chaos-in-sydney/) **Published:** July 19, 2026 **Author:** Leo Manson **Content:** ★★★★☆ ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/07/Kaori-Maeda-Judge-Teo-Vergara-Ruby-Shannon-Zoe-Ioannou-PRIDEANDPREJUDICESORTOF_PRODSHOTS_-Credit-Matthew-Chen-9-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")The award-winning play, *Pride and Prejudice\* (\*sort of)* by Isobel McArthur*,* has made its Sydney debut as the second stop on its national tour. This adaptation of Jane Austen’s classic novel is told as it should be: through gossip. Directed by Simon Harvey, it follows the plot of *Pride and Prejudice*, reimagined from the perspective of the Bennet family’s servants. The cast of five plays not only the servants and sisters but also many other roles from the novel. This also includes its love interests, leading to an utterly hilarious experience. The times when the show takes itself seriously are few and far between, resulting in a night of raucous laughter. Perhaps the most special part of the play’s Australian run is its stellar cast. It’s clear to the audience that the actors are having a wonderful time on stage. This energy beams through Ruby Shannon’s performance, in which she plays servant Anne, both Lydia and Mary Bennet, and also the dry Mr Collins. She brings an irreverent charm to the younger sisters that is quite captivating. The final song, by one of Shannon’s characters, really brings the show together. ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/07/Teo-Vergara-Kaori-Maeda-Judge-Zoe-Ioannou-Ruby-Shannon-PRIDEANDPREJUDICESORTOF_PRODSHOTS_-Credit-Matthew-Chen-3-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")The show has a fun stage design that benefits its silly nature Photo by Matthew ChenTeo Vegara and Kaori Maeda-Judge are excellent choices for the eldest Bennet sisters. Maeda-Judge brings a softness to her performance as Jane that contrasts well with Vegara’s witty and often abrasive performance as Elizabeth. Mrs Bennet is played by Zoe Ioannou, and her comedic timing, tone and expressions are perfect. She also plays Mr Darcy, taking his awkwardness from the book to an extreme with great comedic effect. The most impressive of the five is Amy Lehpamer, whose standout role is as the luxurious Miss Bingley. She also takes the role of Mr Bingley and the repressed Charlotte Lucas. Lehpamer captures her characters so well it’s easy to forget there are not three of her running around the stage. The use of pop songs is sparing and gives the show momentum throughout its long runtime. Each actor is incredibly vocally talented, so each piece is a delight. ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/07/Amy-Lehpamer-PRIDEANDPREJUDICESORTOF_PRODSHOTS_-Credit-Matthew-Chen-4-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")Each actor is incredibly vocally talented and each piece is a delight Photo by Matthew ChenThe show has a fun stage design that befits its silly nature. There’s choreography and scenes on the stairs that are highly entertaining. This works particularly well for a show where the entire play is told by the servants performing stories and sharing rumours. Set and costume design is by Ana Inés Jabares-Pita, and for a show with many quick changes, it’s truly amazing just how intricate and well thought out the costumes are. It’s amusing to see each Bennet sister given a more intricate dress depending on how worried Mrs Bennet is about them. In saying this, Mary’s dress is the most gorgeous. *Pride and Prejudice\* (\*sort of)* will definitely appeal to those familiar with either the original novel or its adaptations, as a majority of the humour draws from wondering how they’ll portray elements of the original next. It is fast-paced and humorous production that sees the actors taking on multiple roles with ease and breaking the fourth wall with confidence. The result is a production that will leave audiences wanting more. ***Pride and Prejudice\* (\*sort of)* runs in Sydney to 30 August at the Drama Theatre, Sydney Opera House as part of a national tour.** See full dates below. Tickets: <https://www.prideandprejudicesortof.com.au/#book> Website: <https://www.prideandprejudicesortof.com.au/> Socials: <https://www.instagram.com/prideandprejudicesortofau/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Matthew Chen 2026 Australian Tour Dates: Melbourne 18 June – 12 July, Athenaeum Theatre Sydney 16 July – 30 August, Drama Theatre, Sydney Opera House Wollongong 2 – 13 September, IMB Theatre, IPAC Canberra 16 – 27 September, Canberra Theatre Centre Brisbane 30 September – 18 October, Playhouse Theatre, QPAC **Categories:** Sydney, Theatre --- ### [Review: NAPA Ensemble Strikes Gold With Jagged Little Pill](https://thescoop.au/review-napa-ensemble-strikes-gold-with-jagged-little-pill/) **Published:** July 19, 2026 **Author:** Jackson Kellaway **Content:** ![The Scoop Jagged Little Pill NAPA Ensemble](https://thescoop.au/wp-content/uploads/2026/07/JLP-6-942x628.jpg "Jagged Little Pill NAPA Ensemble • The Scoop")Jukebox musicals are a divisive genre. People seem to either love them or hate them. I enjoy them as productions, but their soundtracks have never been on repeat in my playlist. *Jagged Little Pill*, however, has changed all that for me. Inspired by Alanis Morissette’s iconic 1995 album of the same name, featuring bangers such as *Ironic*, *You Oughta Know* and *You Learn*, the musical navigates heavy themes including drug addiction, overdose and sexual assault. It was a show I knew very little about but was pleasantly surprised by just how much I enjoyed it. The National Academy of Performing Arts (NAPA) Ensemble’s production of *Jagged Little Pill* is a powerful showcase of talent. It is fitting that the company is called an “ensemble,” because that is exactly what I witnessed on stage. This cast works together like a well-oiled machine in every aspect of the production. The story follows Mary Jane, aka MJ (Caroline Taylor), who, after a car accident, battles a growing addiction to prescription medication. Desperate to portray her family as perfect, she slowly discovers that everyone has their own struggles. It is only once these flaws are acknowledged that healing and growth can begin. Taylor is an absolute powerhouse in the role. Her portrayal of a mother desperately trying to maintain the façade of perfection never falters. Her depiction of addiction is both realistic and heartbreaking. Vocally, Taylor knows exactly when to unleash her power and when to pull things back, bringing a beautiful tenderness to the show’s quieter moments. Playing opposite Taylor as Steve is Jonathan Whitlow. For much of the production, Steve is written as a character who seems to just exist within the family unit. This means Whitlow’s biggest opportunities don’t arrive until Act Two. ![The Scoop Jagged Little Pill NAPA Ensemble](https://thescoop.au/wp-content/uploads/2026/07/Jagged-Little-Pill-942x628.jpg "Jagged Little Pill NAPA Ensemble • The Scoop")This National Academy of Performing Arts Ensemble production is a powerful showcase of talent Photo by David ReynoldsHaving previously seen him as Terk in *Tarzan*, I knew the talent he possessed, and his rendition of *Mary Jane* beautifully showcases it. The performance reveals the emotional depth audiences had been waiting to see, adding another layer to Steve’s journey. As Frankie, Samantha Price authentically captures a teenager navigating identity, relationships and the pressure of expectations. Price shines in the show’s emotional moments, bringing a vulnerability that makes the character’s journey feel genuine. Greyson Vaughn delivers a thoughtful performance as Nick, bringing emotional depth to the character’s journey. As Nick’s carefully constructed world begins to unravel, Vaughn’s portrayal evolves with genuine sincerity, making the character’s growth feel earned by the show’s conclusion. Angelique Giuffre delivers a deeply affecting performance as Bella, navigating one of the show’s most confronting storylines with sensitivity and honesty. Her rendition of *Predator* is particularly powerful, conveying both vulnerability and resilience while honouring the weight of Bella’s story. It is a performance that left a lasting impression. Absolutely stealing the show is Shilo Kwocksun as Jo. She beautifully captures the complexity of a character who masks heartbreak with humour, delivering both sharp comedic timing and emotional honesty. When it came time for *You Oughta Know*, Kwocksun unleashes a powerhouse performance that is as technically impressive as it is emotionally raw. Two performers my eyes were constantly drawn to were Elysium Hipwood and Tasman Grew-Jones. Both take to the stage with an unapologetic presence, attacking every moment with confidence and energy. Their dancing is exceptional, demanding attention whenever they are on stage. ![The Scoop Jagged Little Pill NAPA Ensemble](https://thescoop.au/wp-content/uploads/2026/07/JLP-5-1029x628.jpg "Jagged Little Pill NAPA Ensemble • The Scoop")The director strikes the perfect balance between intimate storytelling and rock concert spectacle Photo by David ReynoldsThe set design is deceptively simple yet incredibly effective. A series of tall white divider panels on wheels transforms the stage from scene to scene with remarkable fluidity. More than just moving scenery, the transitions become choreography in their own right, with the cast weaving the panels effortlessly around one another without a single collision. The panels are also cleverly used to reveal characters at pivotal moments, creating striking visual images that complement the storytelling. Director Hunter Wall has struck the perfect balance between intimate storytelling and rock concert spectacle, creating a production that has audiences throwing their hands in the air one moment and reaching for tissues the next. Choreographer Cooper Swain deserves enormous praise. While it certainly helps to have a cast filled with exceptional dancers, the choreography is delivered with emotional precision and ensures every ensemble moment feels purposeful rather than simply filling the stage. Vocally, this cast is nothing short of outstanding. From the opening notes, the wall of sound makes it immediately clear this is not your typical independent theatre production. Under the musical direction of Laila Chequer De Souza and vocal direction of Jonathan Whitlow, the harmonies are rich, balanced and genuinely goosebump-inducing. It was unfortunate that my performance last night was briefly interrupted due to an audience medical emergency. After a short pause, the cast returned to the stage and seamlessly picked up where they had left off, a testament to their professionalism. I left *Jagged Little Pill* wondering if there is something in the water down on the Gold Coast that keeps producing this incredible calibre of talent. NAPA Ensemble has certainly earned a place on my list of companies whose productions I don’t want to miss. ***Jagged Little Pill* is presented by the NAPA Ensemble and runs to 19 July at NAPA Studios. 3 Stevenson Court Burleigh Heads Qld 4220.** The season has now ended. Website: <https://napa.com.au/napa-ensemble-2> Socials: [https://www.instagram.com/napa\_ensemble/](https://www.instagram.com/napa_ensemble/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: David Reynolds **Categories:** Gold Coast, Musical Theatre --- ### [Film Review: Obsession Is A Love Story Gone Horribly Wrong](https://thescoop.au/film-review-obsession-is-a-love-story-gone-horribly-wrong/) **Published:** July 19, 2026 **Author:** Jacqui Moore **Content:** ★★★★½ ![The Scoop Obsession Film Curry Barker](https://thescoop.au/wp-content/uploads/2026/07/OBS_FP_00111_rgb-941x628.jpg "Obsession Film Curry Barker • The Scoop")*Obsession*, the newest offering by Curry Barker, leans into the age‑old warning to *be careful what you wish for*, delivering an unexpected fusion of romance/horror that challenges the viewer’s assumptions about the nature of fixation. The film follows Bear (Michael Johnston), a music store employee who stumbles upon a supernatural toy and uses it to wish for the unwavering affection of his longtime crush, Nikki (Inde Navarette). What Bear fails to anticipate are the brutal realities of genuine obsession, and the escalating horrors that follow. Barker crafts a loving homage to 1990s horror tropes, meticulously recreating the era through shooting locations, costume design, lighting, lens choices, props, and casting. For much of the film, these elements convincingly transport the viewer straight into the mid ‘90s. Only the occasional glimpse of modern technology betrays its contemporary setting. ![The Scoop Obsession Film Curry Barker](https://thescoop.au/wp-content/uploads/2026/07/OBS_FP_00073_R-942x628.jpg "Obsession Film Curry Barker • The Scoop")Credit Courtesy of Focus Features © 2026 FOCUS FEATURES LLCHe proves himself an expert in safety beats, seamlessly shifting into brighter lighting and consonant sound design to lull his audience into a familiar false sense of security before unleashing the next major scare. The casting in *Obsession* is nothing short of exceptional. Michael Johnston (*Slash, Teen Wolf*) delivers a pitch‑perfect performance as Bear, capturing the character’s awkward, jittery, highly strung nature with remarkable nuance. Inde Navarette (*13 Reasons Why, Superman & Lois*) is an undeniable standout. Her ability to contort and transform her facial expressions, physicality, and vocal tone is genuinely haunting, making her possession feel disturbingly real. Cooper Tomlinson and Megan Lawless, as Ian and Sarah, embody the roles of concerned friends with effortless authenticity, their grounded performances amplifying the intensity and brilliance of the lead cast. While the horror genre isn’t typically associated with overt political or social commentary, Barker weaves a surprisingly thoughtful thread throughout the film, exploring themes of consent and co‑dependency with unsettling precision. ![The Scoop Obsession Film Curry Barker](https://thescoop.au/wp-content/uploads/2026/07/OBS_FP_00031_R-940x628.jpg "Obsession Film Curry Barker • The Scoop")Credit Courtesy of Focus Features © 2026 FOCUS FEATURES LLCIn the current social climate, this underlying commentary feels timely and refreshing, offering an unexpected lens through which to view these pressing social issues. Barker’s choice to embed such ideas within a romance/horror framework adds an intriguing complexity to the film, elevating it beyond genre convention. Ultimately, *Obsession* stands as a striking reminder of how inventive the horror genre can be when guided by a filmmaker willing to take risks. Barker blends nostalgia, craftsmanship, and thematic weight with impressive confidence, delivering a film that is as unsettling as it is unexpectedly thoughtful. Anchored by standout performances and a meticulous aesthetic, *Obsession* offers both genre fans and newcomers something genuinely fresh. It’s a film that impresses visually, emotionally, and intellectually. ***Obsession* is available now to rent on major streaming platforms including Apple TV, Prime Video, Foxtel Store, YouTube, Google TV, Fetch and Sky NZ.** Website: <https://rialtodistribution.com/film/obsession/> Socials: <https://www.instagram.com/obsessionthemovie/> and <https://www.instagram.com/rialtodistributionau/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Obsession Director: Curry Barker Cast: Michael Johnston, Inde Navarrette, Cooper Tomlinson Country of Origin: USA Duration: 108 mins Rating: MA 15+ **Categories:** Film --- ### [Review: Art Arrives In Adelaide With Bite & Brilliance](https://thescoop.au/review-art-arrives-in-adelaide-with-bite-brilliance/) **Published:** May 21, 2026 **Author:** James Murphy **Content:** ★★★★½ ![The Scoop Three men perform on a stage: one seated in white shirt and beige pants, another in black shirt raises a finger, the third in a gray hoodie watches nearby.](https://thescoop.au/wp-content/uploads/2026/05/Damon-Herriman-Richard-Roxburgh-Toby-Schmitz-942x628.jpg "Art the play Adelaide Damon Herriman Richard Roxburgh Toby Schmitz • The Scoop")Friendship can survive distance. It can survive new jobs, new partners, fluctuating bank balances and the slow indignities of middle age. Whether it can survive a white painting is another question. Yasmina Reza’s *ART*, first staged in Paris in 1994, has now been translated into 30 languages and has lived long enough to become a modern classic. Its Australian history stretches back to a 1999 premiere starring Tom Conti, Geoff Morrell and David Wenham. This new national production, directed by Lee Lewis, arrives in Adelaide with a world-renowned trio of screen and stage stars at its centre: Richard Roxburgh, Damon Herriman and Toby Schmitz. Serge, played by Herriman, has bought an expensive painting. It is white. Mostly white, anyway. Like Winston Fisk in *Daredevil*, he sees something in the snowstorm. Marc, played by Roxburgh, is appalled. Yvan, played by Schmitz, tries to keep the peace while his own life collapses under wedding logistics, family pressure and the emotional violence of invitations and in-laws. That is the plot. Reza needs little more. *ART* is almost all talk. No murders, no affairs. No one bursts through a door with a secret will. The pace comes from language, accusation and the humiliating speed with which old friends can turn forensic. It may be harder to imagine a group of Australian blokes ending a friendship over opinions on a work of art. Footy maybe? Perhaps it depends on the social circles one moves in. On campus at theatre school? Certainly. In higher social strata? Quite possibly. At the pub after indoor cricket? Maybe less so. Yet the play has gained a new relevance since 1994. Friends have always drifted apart because they fall in love, change careers, earn more money, lose status or begin wanting different lives. Reza’s men are in their forties. This is the age when choices start to calcify. You can no longer pretend every road remains open. ![The Scoop Art the play Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Toby-Schmitz-Richard-Roxburgh-Damon-Herriman-942x628.jpg "Art the play Melbourne • The Scoop")Art the play has gained a new relevance since its 1994 premiere Photo by Brett BoardmanNow there is another force at work. Our algorithms diverge. Our newsfeeds diverge. We can grow up together, agree on most things, then wake up years later, inhabiting different versions of reality. *ART* predates that shock but speaks to it. Marc does not merely dislike Serge’s painting. He cannot grasp how a person he knows so well could sincerely value it. From there, the friendship begins to wobble. Reza trained at Jacques Lecoq, and that physical theatre background hums beneath the language. Lewis makes generous use of it. Herriman’s black swivel chair spins with faintly absurd menace. Roxburgh twerks at the offending painting, as if ridicule might force it to confess. Jackets are pulled on and off through Yvan’s sprawling monologue about why he is late, a domestic nightmare that Schmitz milks for every laugh. Herriman’s Serge is refined; the polar opposite of Dewey from *Justified*. Maybe just as obsessed with artistic status as Charlie Manson, who he has played on screen twice, including for Tarantino (who definitely loses friends when debating taste in art). Charles Davis dresses him in pale cream shades and immaculate tailoring. He appears soft at first glance, then increasingly brittle. Serge’s home, revealed with a ding of sound and a flick of light, carries the same modernist cool. Roxburgh’s Marc enters from another aesthetic planet. His charcoal denim and black leather give him a gruff, self-declared maverick quality. Marc’s taste runs to the traditional. His painting is a rustic landscape. Yvan’s prized artwork is a picture of a collie painted by his father. Davis’s set and costume design turns the three homes into competing philosophies. Serge favours what is modern, rare and expensive. Marc prefers something legible, something with roots. Yvan treasures sentiment. Which matters more? Tradition? Affection? The thrill of the new? The market value attached to taste? ![The Scoop Art the play Adelaide Damon Herriman Richard Roxburgh Toby Schmitz](https://thescoop.au/wp-content/uploads/2026/05/Damon-Herriman-3-942x628.jpg "Art the play Adelaide Damon Herriman Richard Roxburgh Toby Schmitz • The Scoop")The play seems to know that every position in the room can be both absurd and sincere Photo by Brett BoardmanAdelaide has these arguments in public every time a council commissions fresh street art. Bronze pigs in Rundle Mall. Shiny pigeons. A mural someone calls vibrant, and someone else calls a waste of rates. Reza simply brings the same argument indoors, pours it a drink and lets it ruin a friendship. The set is deceptively simple. A mottled floor. Grey walls. A chic metallic circular table. As the first half unfolds, walls extend, and paintings are revealed, accompanied by precise sound cues from David Letch for System Sound and lighting shifts by Paul Jackson. Davis avoids the sterile white-box look associated with many productions of *ART*. The room is spare, but not empty. It holds enough style to make us notice how style itself becomes a weapon. The three actors are friends in real life, and that rapport shows. Their timing is elastic. Their interruptions land with the confidence of people who understand one another’s rhythms. These are stars of stage and screen, but the production never rests on celebrity. It rests on trust. The trust to wound. The trust to make long passages of argument feel alive. At times, *ART* resembles a philosophical dialogue in designer loafers. Seneca is mentioned. Positions are advanced, sharpened and rebutted. Yet Reza is more interested in taboo than abstraction. What parts of a friend’s life are open to critique? A painting? A financial decision? A romantic partner? Marc mocks Serge’s art purchase. Serge retaliates by attacking Marc’s love life. Marc’s partner believes in homeopathy, a detail that lands with extra sting after the pandemic. Roxburgh later chugs down homeopathic remedies like a pelican swallowing a fish. The image is ridiculous. The argument underneath it is not. Which choices should be submitted to reason? Which belong to emotion? What is the better metric? Evidence? Loyalty? The refusal to humiliate someone you love? ![The Scoop Art the play Damon Herriman Toby Schmitz Richard Roxburgh](https://thescoop.au/wp-content/uploads/2026/02/Damon-Herriman-Toby-Schmitz-Richard-Roxburgh-942x628.jpg "Art the play Damon Herriman Toby Schmitz Richard Roxburgh • The Scoop")The three actors are friends in real life and that rapport shows Photo by Brett BoardmanFriendships often survive because people practise small acts of concealment. Do not say you hate the restaurant suggestion every time. Do not litigate each dubious wellness habit. Do not turn taste into a tribunal. The play keeps asking when honesty becomes narcissism. The characters occasionally break the fourth wall beneath spotlights, confessing what they cannot say to one another. That device helps expose their inner evasions, though it can also make the play tell where it might otherwise show. Marc announces that he is going to Yvan’s house. Characters explain feelings in asides rather than always allowing them to seep through behaviour. Yet that very artificiality serves the play to a degree. These men are not showing each other everything. Friendship contains performance. Civility is often a small collaborative fiction. As a critic, it is amusingly dangerous to sit in judgment of a play about the validity of judgment. *ART* seems to know that every position in the room can be both absurd and sincere. Marc may be cruel. Serge may be pretentious. Yvan may be weak. They may also each be partly right. The audience at Her Majesty’s laughed broadly and often. Some viewers will side with Marc. Some with Serge. Some will want to take Yvan out for a strong drink and a quiet nap. After three decades, Reza’s play still holds because it recognises how easily taste becomes identity, and how quickly identity becomes war. Lewis’s production gives it polish, bite and terrific comic pulse. It is smart without becoming bloodless. Funny without losing its sadness. In the end, getting along with one another may matter more than proving that your painting, your worldview or your dinner order is superior. ***Art* runs in Adelaide to 24 May at Her Majesty’s Theatre for 8 shows only as the final stop on the national tour. 58 Grote Street Adelaide SA 5000.** *Art* is presented by Rodney Rigby, Marriner Group, Paul Wheelton AM and State Theatre Company South Australia. Tickets: <https://arttheplay.com.au/tickets/adelaide/> Website: <https://www.arttheplay.com.au/> Socials: <https://www.instagram.com/arttheplayau/> [Read our Review of the Melbourne Season](https://thescoop.au/review-art-the-play-is-everything-great-theatre-should-be/) Photo credit: Brett Boardman **Categories:** Adelaide, Theatre --- ### [Film Review: The Last Viking 2026 Nordic Film Festival](https://thescoop.au/film-review-the-last-viking-2026-nordic-film-festival/) **Published:** July 19, 2026 **Author:** Alyssa Moller **Content:** ★★★★☆ ![The Scoop The Last Viking Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/07/The-Last-Viking_1-1047x628.jpg "The Last Viking Nordic Film Festival • The Scoop")A hilarious yet surprisingly tender family drama, *The Last Viking* is an absurd journey of acceptance and the development of unconditional love. It’s also about a gaggle of folks with dissociative personality disorder who believe themselves to be the members of The Beatles. They attempt to form a band, despite having never previously played any instruments. Not to mention, one of the crew has to relate everything back to IKEA in some way or another. Directed by Andres Thomas Jensen, the Danish romp opens on a beautifully animated, twisted Viking fairytale about two brothers and their father. It’s a confusing set-up, one I’m still trying to make sense of, especially given the film’s conclusion. There’s a metaphor in here, and perhaps it was lost in translation, or perhaps it simply serves a different narrative purpose. Regardless, it sets a peculiar scene that doesn’t reveal its relevance until the film’s midpoint. ![The Scoop The Last Viking Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-19-at-114701-am-1043x628.png "The Last Viking Nordic Film Festival • The Scoop")The film takes the bleakness of the classic Scandi crime drama and totally flips it Image suppliedMads Mikkelsen is unrecognisable as Manfred/John. He fully transforms into the timid outcast of the film, effortlessly endearing and weirdly sweet; a total contrast to any other role I’ve seen him in. He’s hilarious and has excellent comedic timing, which works perfectly for the offbeat tone of the film. His physical comedy in particular is a standout, through his constant, sudden attempts at killing himself. It sounds bleak, but *The Last Viking* takes the bleakness of the classic Scandi crime drama and totally flips it into something that keeps you guessing, consistently shifting tones throughout the film. At times, it feels almost like a parody of the genre, especially with Nikolaj Lie Kaas as Anker and Nicolas Bro as Flemming, who provide an undercurrent of extreme violence, somehow managing to add to the dark comedy of the film. ![The Scoop The Last Viking Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-19-at-114629-am-1089x628.png "The Last Viking Nordic Film Festival • The Scoop")The film is wickedly charming and so ridiculous the laughs keep piling on Image suppliedIt even goes so far as delaying Anker’s character growth until the final beat of the film. It’s something that feels very true of the typical Nordic crime drama, whereby the brooding hero stays cold, unfeeling and borderline unsympathetic the whole way through. Though what is, I’m sure, a drastic oversimplification of these mental health conditions, the film is wickedly charming and so ridiculous the laughs keep piling on, until you suddenly realise your heart is starting to warm to this band of misfits. Silly, sweet and set with a backdrop of a beautiful Danish forest, *The Last Viking* is a fun twist on the typical cozy watch and is sure to get you through the Winter. ***The Last Viking* runs at the 2026 Hurtigruten Nordic Film Festival from 9 July, with dates varying in each city.** See full city dates and venues below. Tickets: <https://nordicfilmfestival.com.au/films/nor26-the-last-viking> Website: <https://nordicfilmfestival.com.au/> Socials: <https://www.instagram.com/nordicfilmfest/> [Win Tickets to the Nordic Film Festival!](https://thescoop.au/win-tickets-to-the-2026-hurtigruten-nordic-film-festival/) Watch the trailer here: **Film details:** Title: The Last Viking Director: Anders Thomas Jensen Cast: Mads Mikkelsen, Nikolaj Lie Kaas, Nicolas Bro, Lars Brygmann, Bodil Jørgensen, Sofie Gråbøl Country of Origin: Denmark, Sweden Duration: 116 mins Rating: CTC 2026 Festival Dates and Venues by City: **Canberra:** 9 July – 2 August, Palace Electric **Melbourne:** 10 July – 2 August, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino, Pentridge Cinema and The Astor Theatre **Ballarat:** 10 July – 2 August, Palace Regent Cinema **Brisbane:** 22 July – 16 August, Palace James St**,** Palace Barracks **Adelaide:** 22 July – 16 August, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney:** 23 July – 16 August, Palace Norton St, Palace Moore Park and Palace Central **Perth:** 23 July – 16 August, Luna Leederville, Luna on SX and Palace Raine Square **Byron Bay and Ballina:** 23 July – 16 August, Palace Byron Bay, Ballina Fair Cinemas **Categories:** Film --- ### [Review: The Diary of Anne Frank Balances Heartbreak With Hope](https://thescoop.au/review-the-diary-of-anne-frank-balances-heartbreak-with-hope/) **Published:** July 18, 2026 **Author:** Tiffany Barton **Content:** ★★★★½ ![The Scoop The Diary of Anne Frank Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/07/TDOAF25-1K7A9063-Enhanced-NR-Hi-942x628.jpg "The Diary of Anne Frank Drew Anthony Creative • The Scoop")*The Diary of Anne Frank* premiered on Broadway in 1955 and won several Tony Awards, including Best Play and Best Actress. In 1956, it won the Pulitzer Prize for Drama. The original script was written by Frances Goodrich and Albert Hackett, in close collaboration with Anne’s father, Otto Frank – the only survivor. It was updated in 1997 by Wendy Kesselman, who chose to restore more of Anne’s original voice, Judaism, and history of the Holocaust. She also created a darker ending. Producer Drew Anthony chose to use the original script for this production, currently performing at the Heath Ledger Theatre, primarily because of the close association with Otto Frank. He says you can hear Otto’s voice in the script, and this is certainly a very moving component. The device of Otto returning to the now abandoned annexe after the war and discovering Anne’s diary, deftly frames and contextualises the narrative. After viewing a recent Perth production that was high on innovation and design but failed to successfully deliver the narrative, it was refreshing and satisfying to view an old-school, well-made play with a focus on authenticity and narrative strength. This is a moving production with consistently strong performances from all cast members. It is a compelling drama that draws the audience in and creates an immersive experience of the Holocaust. The set, designed by Drew Anthony, captures the character and claustrophobia of the annexe in which Anne’s family and the Van Daans hide for two years. Striated light dapples the set at the start of the play. Similarly, streaky artwork by Jessie Kraserer on the walls evokes a sense of a hastily constructed, secret place, with numerous beds littering the stage and a single window linking the inhabitants to the outside. Chloë-Jean Vincent as Anne Frank bursts onto the stage with all the passion, optimism and youthful exuberance of the spirited Anne. Vincent lights up the stage. The scenes in which she writes in her diary are particularly compelling. ![The Scoop The Diary of Anne Frank Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/07/TDOAF25-1K7A1638-Enhanced-NR-Hi-942x628.jpg "The Diary of Anne Frank Drew Anthony Creative • The Scoop")The ensemble works together as a well oiled machine Photo by Amanda HumphreysThe writing is intelligent, poetic and a beautifully insightful depiction of the day-to-day life of ordinary humans trying to survive an extraordinary situation. Lovely pinprick lighting creates a sense of intimacy and privacy. What stands out about this production is the kindness and humanity of the characters, which provide a stark counterpoint to the horror and brutality of the holocaust. The horror is cleverly depicted through the sounds that bring terror – bovver boots marching, fighter planes, harsh angry German voices, and footsteps all convey the danger that lurks just outside. But mostly, the play is about the ordinary everyday existence of the characters, trying to get on with each other in their cramped quarters. The ensemble works together as a well-oiled machine to depict the discipline and restraint the two families must exhibit in order to coexist and survive. Kingsley Judd portrays their host with depth and compassion. Phil Bedworth captures Otto Frank’s intelligence, depth and kindness as well as his deep grief. Holly Easterbrook plays Anne’s mother Edith with dignity and grace – and also powerfully portrays her anger at Mr Van Daan’s selfishness. Emma Smith as Anne’s sister Margot cements the kindness and dignity of the Frank family culture with her good nature and love for her dear sister and family. Lisa Adam and Matt Dyktynski both bring some great comedic moments to their roles as the flirty Mrs Van Daan and the irritable sook, Mr Van Daan. As well as having finely honed comic chops, Dyktynski also brings a great emotional moment to the role late in the play when Mr Van Daan is wracked with shame. Nathan Hampson as their son Peter successfully captures the evolution of his character from a shy, nerdy, immature boy to the one and only young man who will capture Anne’s heart. The intimacy of their connection is beautifully moving and poetic in its simplicity, innocence and tenderness. Jamie Jewell as the latecomer Mr Dussell does a good job of conveying the awkwardness and claustrophobia of the outsider. There is a powerful moment when he genuflects and prays over and over. The look of desperation and terror on his face is a meta moment in which we see a reflection of every Jew in Europe at that time. ![The Scoop The Diary of Anne Frank Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/07/TDOAF25-1K7A0596-Enhanced-NR-Hi-942x628.jpg "The Diary of Anne Frank Drew Anthony Creative • The Scoop")What stands out about this production is the kindness and humanity of the characters Photo by Amanda HumphreysThe costumes by Annette Stivaletta also bring a lovely authenticity to the production. In particular, the classic red dress and heels Anne wears on her first ‘date’ with Peter beautifully evoke a sense of a girl on the cusp of womanhood and also provide a stark counterpoint to the tragedy of the ending. This is the only scene in which Anne expresses her potential as an adult, in all her beauty, charisma and coquettishness. Drew Anthony’s direction uses a lot of silence to convey the oppressive sense of fear and acute ‘listening’ of the characters. The scenes are well choreographed, and the use of mime to evoke a multitude of props cleverly keeps the action crisp and clean. It would be interesting to view the 1997 iteration of the script, which is said to be a more realistic depiction of the antisemitism and horror the families face. However, there is something to be said for the charm, kindness and authenticity of the original script. Perhaps the youthful optimism and hope infused in Anne’s final words are what audiences need to cling to at this particular moment in history: *“In spite of everything, I still believe that people are really good at heart.”* ***The Diary of Anne Frank* is presented by Drew Anthony Creative. It runs to 26 July at the Heath Ledger Theatre. State Theatre Centre of WA, 174/176 William Street Perth WA 6000.** Tickets are available [here](https://www.artsculturetrust.wa.gov.au/venues/state-theatre-centre-of-wa/whats-on/the-diary-of-anne-frank/). Website: <https://www.drewanthonycreative.com.au/the-diary-of-anne-frank> Socials: <https://www.instagram.com/drewanthonycreative/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Amanda Humphreys **Categories:** Sydney, Theatre --- ### [Review: Pretty Woman Musical Makes Glamorous Finish In Melbourne](https://thescoop.au/review-pretty-woman-musical-makes-glamorous-finish-in-melbourne/) **Published:** July 18, 2026 **Author:** Jesse Oey **Content:** ★★★★☆ ![The Scoop Pretty Woman The Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/07/7-Pretty-Woman-The-Musical-use-for-Melbourne-942x628.jpg "Pretty Woman The Musical Melbourne • The Scoop")Following a smash-hit national run covering five major Australian cities, *Pretty Woman: The Musical* struts into Melbourne’s iconic Regent Theatre for a glamorous finish. This glossy Jones Theatrical Group production retains much of the beloved 1990 rom-com’s storyline, with the sheen of a big-budget crowd-pleaser and generous sprinkles of nostalgia throughout. If you grew up witnessing the endearing original’s omnipresence, missing this faithful stage adaptation will be a big mistake. Big. HUGE! Gritty, neon-lit Hollywood Boulevard comes to life through minimalist stage design and dynamic shading, as the energetic, colour-clad ensemble cast gallivants across the stage with understated wonder. Homegrown star Samantha Jade is starry-eyed and buoyant as street-smart heroine Vivian Ward. Jade delivers a precise, pitch-perfect performance that, whilst enabling her to be fully in control, hesitates to allow access to Vivian’s more vulnerable moments. Her immaculate, crystalline voice soars with longing in *Anywhere But Here* and belts *I Can’t Go Back* with conviction, yet at times struggles to convey the raw emotional depth her role demands. ![The Scoop Pretty Woman The Musical](https://thescoop.au/wp-content/uploads/2025/10/8-Pretty-Woman-The-Musical-Australia-Photography-by-Daniel-Boud-copy-942x628.jpg "Pretty Woman The Musical • The Scoop")If you grew up witnessing the endearing original missing this faithful stage adaptation will be a big mistake HUGE Photo by Daniel BoudBen Hall’s aloof, gentle Edward Lewis provides a stark contrast alongside Vivian’s curious optimism. Hall’s subdued performance skilfully channels Edward’s quiet loneliness, as he slowly lets his guard down (*Something About Her)* and explores his newfound confidence (*Freedom).* The chemistry he shares with Jade often feels more pleasant than passionate; thankfully their melodious vocal blend becomes a saving grace during penultimate number *Long Way Home*. Michelle Brasier is fierce and feisty as firecracker Kit de Luca. Brasier’s Kit is solid, self-assured, and commands attention. Her ferocious, unflinching rendition of *Rodeo Drive* attracted a rousing extended applause, and was definitely one of the more memorable moments from the evening. Rounding out the supporting cast, vivacious Tim Omaji is a consummate chameleon, shapeshifting between mischievous Happy Man (*Welcome to Hollywood, Never Give Up on a Dream*) and uptight Mr Thompson (*On a Night Like Tonight*) seamlessly. Douglas Hansell smirks and pouts as Philip Stuckey, fully disappearing into his role as Edward’s insufferable sidekick and misbehaving lawyer (*Welcome to Our World / More Champagne*). ![The Scoop Pretty Woman The Musical](https://thescoop.au/wp-content/uploads/2025/10/2-Pretty-Woman-The-Musical-Australia-Photography-by-Daniel-Boud-copy-941x628.jpg "Pretty Woman The Musical • The Scoop")The films iconic legacy hovers warmly over the production Photo by Daniel BoudThe true scene-stealing performance of the night, though, belongs to the impossibly magnetic Jordan Tomljenovic as cheeky, hilarious bellhop Giulio. Tomljenovic’s emotive facial expressions and flawless comedic timing are endlessly entertaining, and Giulio’s many awkward antics truly enrich the story with much-needed camp and comic relief. Tomljenovic’s star power is brimming with promise, and is destined for much bigger, brighter stages. The film’s iconic legacy hovers warmly over the production, with obvious fan-service flashbacks; Vivian’s fabulous shopping trip, Edward tenderly playing the piano, and of course \*that\* unforgettable red dress with \*that\* cute jewellery-box moment – thrown in for good measure. At its core, however, *Pretty Woman: The Musical* never quite reaches the same emotional or storytelling potential as its original. What unfolds on stage is a polished, charming throwback, with predictable dialogue and adequately satisfactory songs, that ultimately stops shy of being truly memorable. Still, it makes for a fun evening for long-time fans and theatre enthusiasts eager to relive the familiar, long-enduring modern fairytale story. After all, as Vivian famously says once, “It’s a business doing pleasure with you” – indeed. ***Pretty Woman: the Musical* runs to 13 September in Melbourne at the Regent Theatre** **as its final leg of the national tour.** Tickets: <https://prettywomanthemusical.com.au/tickets/melbourne/> Website: <https://prettywomanthemusical.com.au/> Socials: <https://www.instagram.com/prettywomanmusicalau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Daniel Boud **Categories:** Melbourne, Musical Theatre --- ### [Review: The Jungle and The Sea Brings A Forgotten War Into Sharp Focus](https://thescoop.au/review-the-jungle-and-the-sea-brings-a-forgotten-war-into-sharp-focus/) **Published:** July 17, 2026 **Author:** Nick Dale **Content:** ★★★½ ![The Scoop The Jungle And The Sea Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/07/BELVOIR_TheJungleAndTheSea_Production_PhotoBrettBoardman_009021_Kalieaswari-Srinivasan-Nadie-Kammallaweera-Anandavalli-941x628.jpg "The Jungle And The Sea Belvoir St Theatre • The Scoop")There are moments in *The Jungle and the Sea* that crack right through you, that shake you out of the comfort of your theatre seat and into something devastatingly real. S. Shakthidharan and Eamon Flack’s epic companion piece to *Counting and Cracking*, now returning to Belvoir St Theatre, is drawn from real-life testimonies and woven with threads of the Mahabharata and Antigone. It follows a Tamil mother, Gowrie (Anandavalli), as civil war tears her family apart over twenty-five years. The Sri Lankan civil war is not an area of history I know much about, and I suspect I’m not alone. This play’s determination to tell that story is admirable and important. It opens with a stark, arresting image. Anandavalli stands proud against a rough wall scarred with pale bullet holes. She’s blindfolded and begins moving with graceful mudra-like hand gestures. It’s a quiet, captivating moment, the calm before the storm. A man comes on stage. “They have found the bodies.” And we move from elegant simplicity to chaos and desperation. The family dynamics are colourful, endearing and highly relatable. Belvoir’s well-used revolving stage gives a sense of movement through time and space. Together with Dale Ferguson’s simple yet powerfully evocative set design, there’s a sense of shifting between chaos and haunting, devastating moments that stop you cold. But the chaotic ensemble scenes often lack narrative cohesion and tip into tedium. ![The Scoop The Jungle And The Sea Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/07/BELVOIR_TheJungleAndTheSea_Production_PhotoBrettBoardman_001211_Anandavalli-Nadie-Kammallaweera-Kalieaswari-Srinivasan-941x628.jpg "The Jungle And The Sea Belvoir St Theatre • The Scoop")The family dynamics are colourful endearing and highly relatable Photo by Brett BoardmanThere are sequences heightened by movement as the family treks through the jungle, suitcases over their heads, carrying a chicken in a cage, trying to keep spirits lifted as they pass sights no one should ever have to see. These images bring the reality of war into sharp focus, but the production doesn’t always give them room to breathe. The pace is relentless, and many of the more real, emotional beats are skimmed over at breakneck speed. The true highlight is the scenes between Siva (Prakash Belawadi) and Lakshmi (Emma Harvie) as father and daughter. These two bring a grounded, humorous realism that is a much-welcome respite from the disorder around them. Belawadi is endearing and immediately riveting as the blind father, expertly balancing dry humour with the relatable angst of a loving Sri Lankan parent. Harvie is equally engaging, bringing texture, with a running undercurrent of fear and desperation. Their dinner scene at the Opera House moves beautifully and effortlessly between comedy and real emotion. These are the most engaging scenes, and I was hoping for more of them. At close to three hours, the story attempts to cram a lot of history into the narrative. I’m not usually a fan of mic’ing actors in live theatre, but in a large ensemble piece with heavy accents it’s warranted. Here though, the mics created a strange disconnection – a kind of disembodiment that pulled me out of moments that needed intimacy. ![The Scoop The Jungle And The Sea Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/07/BELVOIR_TheJungleAndTheSea_Production_PhotoBrettBoardman_011494_Kalieaswari-Srinivasan-Rajan-Velu-Prakash-Belawadi-941x628.jpg "The Jungle And The Sea Belvoir St Theatre • The Scoop")The play reminds us how easy it is to be removed from the devastating impacts of war Photo by Brett BoardmanAnd yet, when the production finds stillness, it lands with real impact. Arjunan Puveendran and Steve Francis create a soundscape that builds tension as it closes in on the family. Drums stand in for bombs and gunfire, and actors simply step away as each is shot. The choreography is disarmingly simple, but it hits hard. These are the scenes that stay with you, and they make the case for a leaner production. An hour less and a sharper focus on these quieter, more devastating beats might have given the play the rhythm it needs. The third act, which falls into extended ideological argument, loses its dramatic grip. *The Jungle and the Sea* is a vibrant, heartbreaking, ambitious creation. It’s a story that demands, needs to be told. In its most profound moments, it reminds us how easy it is to slip back into the comforts of our daily lives, apparently removed from the devastating impacts of war. Yet these stories are woven into the fabric of Australian life. These are our neighbours’ stories, and really, we are not so removed at all. ***The Jungle and The Sea* is presented by Belvoir St Theatre and runs to 2 August. Upstairs Theatre, 25 Belvoir Street Surry Hills NSW 2010.** Tickets: <https://my.belvoir.com.au/overview/14652> Website: <https://belvoir.com.au/productions/the-jungle-and-the-sea-2026/> Socials: <https://www.instagram.com/belvoirst/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Film Review: The Wizard Of The Kremlin Is A Fascinating Portrait Of Modern Russia](https://thescoop.au/film-review-the-wizard-of-the-kremlin-is-a-fascinating-portrait-of-modern-russia/) **Published:** July 17, 2026 **Author:** Alex Thompson **Content:** ★★★★☆ ![The Scoop The Wizard of the Kremlin film](https://thescoop.au/wp-content/uploads/2026/07/LeMageDuKremlin_O-ASSAYAS-Photo-16-c-Carole-Bethuel-copy-1117x628.jpg "The Wizard of the Kremlin film • The Scoop")There are certain places in the world that fascinate me despite never having visited them, and Russia is one of them. Its snow-covered forests, imposing cities, complex history and political intrigue have always drawn me in. I had just finished reading *Red Notice* by Bill Browder, an extraordinary account of the rise of the oligarchs, Boris Yeltsin’s turbulent presidency and Vladimir Putin’s consolidation of power, when *The Wizard of the Kremlin* landed on my desk. The timing couldn’t have been better. Directed by Olivier Assayas (*Personal Shopper*, *Carlos*), and adapted with Emmanuel Carrère from Giuliano da Empoli’s bestselling novel, *The Wizard of the Kremlin* is historical fiction rooted firmly in real events. While its central character, Vadim Baranov (Paul Dano), is fictional, he is heavily inspired by Vladislav Surkov, the political strategist widely regarded as one of the architects of modern Russia. Around him are real historical figures, including Boris Yeltsin, oligarch Boris Berezovsky and, of course, Vladimir Putin. The film charts Baranov’s remarkable journey from avant-garde artist to television producer, before becoming the unofficial adviser and image-maker to the little-known former KGB officer who would soon become President of Russia. What unfolds isn’t simply the story of Putin’s rise, but an exploration of how narratives are created, power is manufactured, and history is quietly shaped behind closed doors. Interestingly, Assayas has admitted he initially believed the novel was impossible to adapt for the screen. The book is driven by ideas, dialogue and political philosophy, and he questioned whether those qualities could make for compelling cinema. In many ways, those challenges remain visible in the finished film. *The Wizard of the Kremlin* packs more than two decades of Russian history into its running time and moves at a relentless pace. ![The Scoop The Wizard of the Kremlin film](https://thescoop.au/wp-content/uploads/2026/07/LeMageDuKremlin_O-ASSAYAS-Photo-17-c-Carole-Bethuel-1116x628.jpg "The Wizard of the Kremlin film • The Scoop")For those fascinated by modern Russia and the machinery behind political storytelling the film is absolutely engrossing Photo by Carol Bethuel If you’re familiar with the collapse of the Soviet Union, the oligarch era and Putin’s ascent, the experience is gripping. If you’re not, you may occasionally find yourself scrambling to keep up. Personally, I found that confidence refreshing. The film refuses to simplify history or spoon-feed its audience, trusting viewers to connect the dots themselves. Paul Dano delivers another quietly brilliant performance as Vadim Baranov. He plays the political strategist with remarkable restraint, rarely raising his voice or losing his composure, even as the moral cost of his work steadily increases. His calm exterior masks a man constantly calculating several moves ahead, making Baranov compelling and enigmatic. Dano perfectly captures the detached intellectual who slowly realises that, in shaping history, he has also become trapped by it. Jude Law’s portrayal of Vladimir Putin is equally impressive. Rather than turning him into a caricature or outright villain, Law presents Putin as an observant, quietly calculating figure whose confidence grows almost imperceptibly as power accumulates around him. Having clearly studied Putin’s posture, speech patterns and mannerisms, Law delivers an eerily authentic performance, never feeling like imitation for its own sake. The film hints at Putin’s ruthlessness without reducing him to a one-dimensional monster, making the character all the more unsettling. Alicia Vikander plays Ksenia, Baranov’s long-time companion and, in many ways, his conscience. Initially, I questioned whether the character was necessary, but as the story unfolded, I came to appreciate her role. In a world dominated by ambition, manipulation and political gamesmanship, Ksenia provides a rare emotional anchor, reminding Baranov and the audience of the humanity gradually slipping away. One creative decision I particularly appreciated was Assayas’ choice not to force his cast into exaggerated Russian accents. The actors largely retain their natural voices, allowing the performances to remain authentic rather than distracting audiences with inconsistent dialect work. ![The Scoop Two people sit on a sofa in a dim lounge; woman in cream embroidered blouse gazes at the man beside her, thoughtful expression.](https://thescoop.au/wp-content/uploads/2026/07/LeMageDuKremlin_O-ASSAYAS-Photo-10-c-Carole-Bethuel-copy-1116x628.jpg "The Wizard of the Kremlin film • The Scoop")The film refuses to simplify history and trusts viewers to connect the dots themselves Photo by Carol BethuelIt may seem unusual initially, but I quickly stopped noticing. In fact, it helped distinguish the various characters and social classes far more naturally than a collection of uneven accents would have. Visually, the film is beautifully realised. François-Renaud Labarthe’s production design, Jürgen Doering’s costumes and the hair and makeup all convincingly recreate post-Soviet Russia, from smoke-filled political offices to bleak apartment blocks and snow-covered streets. Yorick Le Saux’s cinematography captures Russia’s icy beauty with understated elegance. Marion Monnier’s editing cleverly blends archival news footage with fictional scenes, constantly blurring the line between documented history and dramatic interpretation. What surprised me most, however, is that despite its title, *The Wizard of the Kremlin* isn’t really about Vladimir Putin. It’s about complicity. It’s about the advisers, strategists, media architects and political operators who quietly build systems of power while convincing themselves they’re simply doing their jobs. The film asks uncomfortable questions about where responsibility truly lies and whether history is shaped by leaders or by the people standing just behind them. That said, this isn’t a film for everyone. Audiences looking for a conventional political thriller may find its dialogue-heavy approach demanding, and viewers with little interest in Russian history could struggle with the sheer volume of political context packed into its two-and-a-quarter-hour runtime. But for those fascinated by modern Russia, the psychology of power and the machinery behind political storytelling, it’s absolutely engrossing. *The Wizard of the Kremlin* is an intelligent, ambitious and thought-provoking political drama elevated by superb performances from Paul Dano and Jude Law. It asks a lot of its audience, but if you’re willing to meet it on its own terms, the rewards are substantial. **THE WIZARD OF THE KREMLIN opens on Thursday 23 July in participating cinemas nationally.** Website: <https://rialtodistribution.com/film/the-wizard-of-the-kremlin/> Socials: <https://www.instagram.com/rialtodistributionau/> [Win Tickets To The Film!](https://thescoop.au/win-tickets-to-the-wizard-of-the-kremlin-in-cinemas-23-july/) Photo credits: Carol Bethuel. Watch the trailer below: **Film details:** Title: The Wizard of the Kremlin Director: Olivier Assayas Cast: Jude Law, Paul Dano, Alicia Vikander, Tom Sturridge Country of Origin: France Duration: 114 mins Rating: MA 15+ **Categories:** Film --- ### [Film Review: Tenor My Name Is Pati Finds The Heart Behind The Voice](https://thescoop.au/film-review-tenor-my-name-is-pati-finds-the-heart-behind-the-voice/) **Published:** July 17, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Tenor My Name is Pati film](https://thescoop.au/wp-content/uploads/2026/07/Tenor_009-1116x628.jpg "Tenor My Name is Pati film • The Scoop")The first time we see Pene Pati, he is not standing beneath a chandelier in one of Europe’s grand opera houses. He is wearing shorts and a singlet, pulling a lawnmower from a shed. With the physique of a rugby forward or UFC heavyweight, he does not immediately resemble the conventional image of an internationally celebrated lyric tenor. Then Rebecca Tansley cuts to Pati singing *Faust* on some of Europe’s most prestigious stages. *Tenor: My Name Is Pati* is a film about a magnificent voice, and the improbable distance between a crowded childhood bedroom and the great opera houses of the world. It is also about how, even after travelling that distance, home can still exert the strongest gravitational pull. Directed, written and produced by Rebecca Tansley, the documentary follows Pati alongside his younger brother, fellow tenor Amitai Pati, tracing their journey from Samoan family and church singing to international careers. Pati is introduced as one of the finest tenors of his generation. The inevitable Pavarotti comparisons arrive too. Yet Tansley is more interested in the person carrying the voice. That voice is extraordinary. Pati is an emotional singer rather than a remote or overly pristine one. His sound seems connected to some deeper reservoir of feeling. The film explains the particular peril of being a tenor. The higher the voice climbs, the greater the risk of cracking. But the reward is correspondingly immense. Pati lives in that space between danger and release. His career has taken him from San Francisco to Paris, London and the great opera houses of Europe. Yet his parents have only seen him perform in two operas. The distance is simply too great. He talks about missing family deaths because he was away competing or performing. The glamour of an international career can obscure its brutal arithmetic. Every opportunity somewhere is an absence somewhere else. ![The Scoop Tenor My Name is Pati film](https://thescoop.au/wp-content/uploads/2026/07/Tenor_019-1116x628.jpg "Tenor My Name is Pati film • The Scoop")The film explains the particular peril of being a tenor but the reward is correspondingly immense Image suppliedFor Pati, success cannot be measured only in money, applause or prestigious bookings. It carries the weight of family pride. He describes himself almost as a voyager taking on the world, but he never quite travels alone. His family, his culture and the sacrifices of those who came before him travel with him. Backstage in a German opera house, he watches rugby on his phone. There he is, surrounded by the machinery of European high culture, still emotionally tethered to the game and the world that helped form him. The film returns repeatedly to Samoa and to family. Pene and Amitai shared a bedroom with five people. They sang together in church, dressed in white, from childhood into early adulthood. Pene sang there from the age of three until 21. Church gave them voices, but it also gave them an audience. Samoan culture, we are told, does not leave much room for shyness. Nobody wants a timid performance. The brothers grew up competing for parental approval, though the film resists forcing their relationship into a cheap sibling-rivalry narrative. Why must brothers with similar gifts always be compared? They are competitive, certainly. Mostly at video games. The warmth between them is one of the film’s great pleasures. So too is its attention to service. Even after becoming an international opera star, Pati makes tea for elders and works in the garden. Service is embedded in Samoan culture. Fame does not exempt him from responsibility. This makes his early career choices easier to understand. Pati did not simply charge towards individual success. At one crucial point, he put the future of his singing group ahead of his own advancement. He helped raise money so the group could study in Cardiff. He resisted being signed too early because he wanted them all to develop first. Eventually, he was told something almost culturally alien to him. He needed to put himself first, or else. When support was withdrawn because of his refusal, he worked security and found his own way forward. ![The Scoop Tenor My Name is Pati film](https://thescoop.au/wp-content/uploads/2026/07/Tenor_006-1116x628.jpg "Tenor My Name is Pati film • The Scoop")There can be no tenor movie of course without *Nessun dorma* Image suppliedThe story of vocal trio SOL3 MIO becomes almost another film inside this one. The group moved astonishingly quickly from modest beginnings to Auckland Town Hall, television exposure and one of New Zealand’s biggest-selling albums. Yet the film understands that success creates its own pressures. Touring schedules, managers and commercial expectations can turn a dream into another form of labour. Pati’s path into opera was hardly preordained. He studied science at university. He joined a choir. Then he saw *La bohème*. The music entered his soul, and he decided: he would sing that. His parents were not immediately convinced. They wanted him to get a real job. Then came Pavarotti. Pati became obsessed with the great tenor’s technique. He struggled with the passaggio, that treacherous transition through the vocal register, but remained convinced he could master it. He won his first competition. Doors began to open. The rise becomes almost absurdly rapid. The New Zealand Opera School. Cardiff. San Francisco Opera. The Duke of Mantua in *Rigoletto*, a major lead that young singers are not normally handed so early. Suddenly, people are talking about a “Pavarotti rebirth”. It is an enormous compliment. It is also an almost impossible burden. The film is at its best when it allows both things to exist at once. Pati’s physical presence also matters because opera has historically carried narrow ideas about who gets to embody a romantic hero. He jokes about his weight and recalls his own self-consciousness. His wife, soprano Amina Edris, saw past concerns he had projected onto himself. Their relationship brings another layer to the film. Both come from families without great wealth. Both understand the desire to succeed not merely for themselves, but to help others. They also understand the cost of touring careers. Love must survive airports, rehearsal rooms and different countries. Tansley does not separate Pati’s artistic discipline from his cultural and physical life. Even the traditional Samoan tattoo becomes part of this portrait. The process demands extraordinary mental grit and physical endurance. That toughness has many forms. ![The Scoop Tenor: My Name is Pati](https://thescoop.au/wp-content/uploads/2026/07/Tenor_017-1116x628.jpg "Tenor: My Name is Pati • The Scoop")The film refuses the easy fantasy that arrival erases everything below Image suppliedThe film also enters more difficult territory when discussing discipline within Samoan families and the fine line between culturally normalised punishment and domestic violence. It does not reduce Pati’s upbringing to either trauma or nostalgia. Love, expectation, discipline and pain can occupy the same family history. The broader story of Pacific migration to New Zealand also sits beneath the brothers’ success. The film recalls immigration crackdowns, overstayers and the scapegoating of Pacific communities. Against that history, Pati’s ascent carries another meaning. Success becomes acceptance. Not assimilation. Not the abandonment of Samoa in exchange for European approval. Acceptance. A Samoan man can enter one of Europe’s most tradition-bound art forms without leaving himself at the stage door. There can be no tenor movie, of course, without *Nessun dorma*. Pati reaches the famous high note and reacts afterwards with a kind of childlike joy and mischief. For all the discipline, sacrifice and pressure, there is still a boy inside him delighted that his voice can do this extraordinary thing. Yet *Nessun dorma* is not the emotional climax of *Tenor: My Name Is Pati*. I will not spoil that. Suffice to say that Tansley has saved a genuine tear-jerker for later. Pene Pati has lived something close to an operatic life. He rises from struggle towards the mountaintop, but the film refuses the easy fantasy that arrival erases everything below. Home remains. Family remains. Sacrifice remains. So does service. *Tenor: My Name Is Pati* is a film about high art, but never only high art. It is about migration, prejudice, discipline, love, honour and the difficult business of becoming exceptional without losing the people who made you when coming from a culture that values the group above the individual. Pati may now sing to thousands in the world’s grandest houses. But, eventually, there is still a garden to tend. **TENOR: MY NAME IS PATI opens on Thursday 23 July in participating cinemas nationally.** Website: <https://rialtodistribution.com/film/tenor-my-name-is-pati/> Socials: <https://www.instagram.com/rialtodistributionau/> [Win Tickets To See The Film!](https://thescoop.au/win-tickets-to-tenor-my-name-is-pati-in-cinemas-from-23-july/) Watch the trailer below: **Film details:** Title: Tenor My Name is Pati Director: Rebecca Tansley Cast: Pene Pati, Amitai Pati Country of Origin: New Zealand Duration: 104 mins Rating: PG **Categories:** Film --- ### [Review: THREE By Australasian Dance Collective Is A Theatrical Feast](https://thescoop.au/review-three-by-australasian-dance-collective-is-a-theatrical-feast/) **Published:** July 16, 2026 **Author:** Sarah Skubala **Content:** ★★★★☆ ![The Scoop THREE Australasian Dance Collective](https://thescoop.au/wp-content/uploads/2026/07/ADC_THREE_Maarung_Joel-Bray_Photography-by-David-Kelly_3-834x628.jpg "THREE Australasian Dance Collective • The Scoop")Now in its fourth iteration, Australasian Dance Collective’s triple bill *THREE* returns to the Brisbane Powerhouse, showcasing two brand new works and a Queensland premiere. *THREE* serves as a fertile ground for artistic risk, and this year’s program is no exception. Featuring *MAARUNG* by Joel Bray, *CUDDLE* by Harrison Ritchie-Jones and *BROG* by Amber McCartney, the evening unfolds like a thoughtfully curated meal, with each work offering a distinct flavour and emotional texture. Opening the evening is *MAARUNG* by Joel Bray. Meaning “circle” in Bray’s Wiradjuri language, the work reflects on the cyclical nature of life, contemplating ageing, change and the passage of time. Performed by Company Artists Jack Lister, Sam Hall, Lilly King, Taiga Kita-Leong, Lily Potger and Te Atawhai Kaa, the piece is distinguished by its commitment to storytelling. Rather than simply showcasing technical prowess, the dancers remain deeply connected to one another, imbuing every movement with emotional intention and narrative purpose. Bray’s choreography has a remarkable sense of flow. Movements ripple seamlessly from one performer to the next, creating the feeling of an unbroken cycle that mirrors the work’s central themes. Louis Frere-Harvey’s original score provides a rich emotional foundation, subtly supporting the shifting moods without ever overwhelming the choreography. Bethany Cordwell’s costumes celebrate individuality, with each dancer wearing a unique design unified by delicate blue accents. Together they create cohesion while allowing each performer to retain their own identity. One of the work’s most striking images sees the six dancers continually reshaping sculptural tableaux while rotating together as a single organism. The effect is hypnotic, serving as a poetic reminder that the world never stands still. Life moves in cycles, people change, and we continue to grow alongside one another. ![The Scoop THREE Australasian Dance Collective](https://thescoop.au/wp-content/uploads/2026/07/ADC_THREE_CUDDLE_Harrison-Ritchie-Jones_Photography-by-David-Kelly_1-942x628.jpg "THREE Australasian Dance Collective • The Scoop")CUDDLE by Harrison Ritchie Jones Photo by David KellyFor the night’s main course, *CUDDLE*, by Harrison Ritchie-Jones, is unlike anything I’ve seen before, or am likely to see again. It gives new meaning to the often-overused word *unforgettable*. Presented as a duet, *CUDDLE* is framed as a heist. A short pre-recorded video introduces two balaclava-clad performers (Ritchie-Jones and Michaela Tancheff) before the entangled pair tumble into a space configured like a wrestling ring. The audience surrounds the performance area, some seated and others standing, creating an immersive atmosphere. It also provides the unusual opportunity to watch fellow audience members react as the work unfolds. Humour, still surprisingly rare in contemporary dance, sits at the heart of the piece, alongside absurdity and astonishing physical skill. Tancheff and Ritchie-Jones execute an extraordinary range of partner work, drawing on martial arts, figure skating, rodeo-inspired movement and more abstract physical vocabularies to create something entirely original. Live cinematography by Babi Bertoldi is projected onto a giant upstage screen, with two additional monitors flanking the space. At times, overhead camera angles reveal intricate movement patterns that would otherwise go unnoticed, adding another fascinating layer to the choreography. As the work progresses, the balaclavas remain firmly in place while layers of clothing gradually disappear, prompting the partial nudity warning. This may unsettle some audience members, but it never feels gratuitous or overtly sexual. Instead, it becomes another tool in the work’s exploration of vulnerability, absurdity and physicality. At interval, we contemplated the theatricality of televised sport and professional wrestling, where elaborate narratives often underpin the physical spectacle. *CUDDLE* impresses because it defies an easy categorisation. Traditional contemporary dance audiences may find themselves reaching for a wine afterwards to unpack what they’ve just witnessed, while my Gen Z guest declared it the undisputed highlight of the evening. ![The Scoop THREE Australasian Dance Collective](https://thescoop.au/wp-content/uploads/2026/07/ADC_THREE_Amber-McCartney_BROG_Photography-by-David-Kelly_2-942x628.jpg "THREE Australasian Dance Collective • The Scoop")BROG by Amber McCartney Photo by David Kelly The evening concludes with my personal highlight, *BROG* by Amber McCartney. The six ADC Company Artists return to the stage, once again costumed by Bethany Cordwell, this time in matching neon-yellow unitards with strategically placed padding that transforms their silhouettes into something distinctly insect-like. McCartney describes the work as a small ecosystem of bodies evolving under observation, and the choreography beautifully realises that vision. The dancers constantly reorganise themselves, shifting from a tightly connected collective into trios, pairs and ever-changing formations that feel organic, instinctive and mesmerising to witness. Alisdair Macindoe’s pulsating score builds relentlessly towards a fever pitch, driving the ensemble into an exhilarating high energy sequence which is over far too soon. It is a thrilling conclusion to the evening and a reminder of what Australasian Dance Collective does so exceptionally well: creating contemporary dance that is intellectually engaging and viscerally exciting. As a three-course theatrical feast, *THREE* is remarkably well balanced, offering moments of contemplation, surprise and exhilaration. Australasian Dance Collective once again demonstrates why it continues to be one of Australia’s most adventurous and exciting dance companies. ***THREE* is presented by Australasian Dance Collective and runs to 18 July at Brisbane Powerhouse, 119 Lamington Street New Farm Qld 4005.** Tickets: <https://brisbanepowerhouse.org/events/australasian-dance-collective/> Website: <https://australasiandancecollective.com/performances/2026/three-2026> Socials: <https://www.instagram.com/australasiandancecollective/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Hero image: *MAARUNG* by Joel Bray. Photo by David Kelly **Categories:** Brisbane, Dance --- ### [Review: Afterglow Leaves Audiences On A High](https://thescoop.au/review-afterglow-leaves-audiences-on-a-high/) **Published:** July 16, 2026 **Author:** Olivia Calverley-Haack **Content:** ★★★★☆ ![The Scoop Afterglow musical Purple Tape Productions Belvoir Griffin](https://thescoop.au/wp-content/uploads/2026/07/Afterglow_001©Lucy-Parakhina-941x628.jpg "Afterglow musical Purple Tape Productions Belvoir Griffin • The Scoop")The traditions of barbershop include well fitted pinstripe vests, little bow ties, camaraderie, four strong male voices that unite in harmony to create something beautiful. Hey, that sounds kinda camp… Purple Tape Productions in association with Belvoir St Theatre presents the unique production *Afterglow* as part of Griffin Theatre Company’s Lookout offerings, a program for Sydney’s most exciting next-generation theatre makers. Utilising the traditions of barbershop, *Afterglow* tells a layered story about transness, romance, misogyny, and the world of barbershop. At its heart, it’s a story that places gender expression and self-discovery centre stage, examining what happens when those ideas collide with a community built on rigid traditions and expectations. Co-Directors Cassie Hamilton and Lily Hayman, working alongside dramaturg Jean Tong, have created a fast paced, emotionally raw, nuanced, and extremely entertaining production. With great intention, they have crafted an emotional journey that results in a deeply impactful performance. The opening scene, featuring a tight knit, impeccably groomed barbershop quartet, immediately draws the audience in with their rich harmonies. Fresh from competing at the 2011 Barbershop Convention, we see the team head to the *afterglow*, the informal post-performance gathering where singers drink, celebrate, and, of course, keep singing. It is here we meet Tom (Nic Prior), an ever-evolving character who gradually challenges everything the quartet stands for, particularly for Michael (Cassie Hamilton). The chemistry between Tom and Michael is undeniable, but the two cannot be together; not as they are. ![The Scoop Afterglow musical Purple Tape Productions Belvoir Griffin](https://thescoop.au/wp-content/uploads/2026/07/Afterglow_003©Lucy-Parakhina-940x628.jpg "Afterglow musical Purple Tape Productions Belvoir Griffin • The Scoop")Cassie Hamilton leads with commitment and confidence and is a joy to watch Photo by Lucy ParakhinaReturning to the afterglow year after year, the story reveals how some characters embrace change while others remain firmly rooted in the traditions and social expectations. The ending arrives as a genuine surprise, recontextualising everything that came before. It is a deeply satisfying conclusion that ties the story together beautifully. Many audience members (myself included) were left teary-eyed before erupting into a well-deserved standing ovation. Cassie Hamilton’s performance as Micheal/Michelle is completely unmatched, having a theatrical presence which carries the show and captures the camp aesthetic. Her vocal and acting abilities are incredibly impressive. She leads with such commitment and confidence, it is a joy to watch. As Tom/T, Nic Prior provides a level of depth and reality, contrasting to Hamilton, which grounds the performance and re-centres the importance of the themes being presented. Prior’s approach to the character is believable and simply endearing. Lincoln Elliott and Nat Jobe complete the quartet with their incredible senses of humour and beautiful harmonies. Together, they establish strong characters who are shaped by misogyny. One of the production’s most beautiful elements is its use of music. Under the musical direction of Dr Lillian M. Hearne, the quartet perform rich, live a cappella harmonies that underscore the story’s emotional beats. This ambitious approach to an almost entirely a cappella musical pays off and works particularly well in the Downstairs Theatre’s intimate setting. ![The Scoop Afterglow musical Purple Tape Productions Belvoir Griffin](https://thescoop.au/wp-content/uploads/2026/07/Afterglow_002©Lucy-Parakhina-940x628.jpg "Afterglow musical Purple Tape Productions Belvoir Griffin • The Scoop")Queer stories deserve to be filled with joy as much as struggle Photo by Lucy ParakhinaGeita Goarin’s production design effectively establishes the world of barbershop. From the crisp costumes and styling to the simple, functional set, it serves the story well. Similarly, Tyler Fitzpatrick’s lighting design is understated but effective. It seamlessly supports the fast-paced action and keeps the audience immersed in the world of the story. The second half of the show’s sentiment is extremely piercing, and as a queer person, it I would define it as pure queer joy. It was exciting and refreshing to see two queer and trans people at the centre of a story, watch them develop, be challenged, and find love. Credit goes to the masterminds and writers Sheanna Parker Russon and Dr Lillian M. Hearne for their honest and transcendent representation. They have crafted a story that feels deeply personal and profoundly universal. By the final moments of the play, I found myself reflecting not on what these characters had endured, but on what they had gained: love, authenticity, and the freedom to become themselves. It was a moving reminder that queer stories deserve to be filled with joy as much as struggle, and that is what makes *Afterglow* important and special. We are left with hope. Whether you’re drawn in by the music, the romance or its celebration of queer identity, this is one afterglow you don’t want to miss. ***Afterglow* is presented by Purple Tape Productions in association with Belvoir St Theatre. It runs to 25 July at Belvoir Downstairs Theatre, 25 Belvoir Street Surry Hills NSW 2010.** Tickets: <https://welcome.griffintheatre.com.au/overview/4954> Website: <https://griffintheatre.com.au/whats-on/afterglow/> Socials: [https://www.instagram.com/afterglow\_musical/](https://www.instagram.com/afterglow_musical/) and <https://www.instagram.com/purpletapeproductions/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Lucy Parakhina **Categories:** Musical Theatre, Sydney --- ### [Review: The Addams Family Is A Creepy, Kooky Triumph](https://thescoop.au/review-the-addams-family-is-a-creepy-kooky-triumph/) **Published:** July 16, 2026 **Author:** Sophie Cornett **Content:** ★★★★★ ![The Scoop The Addams Family JRP Australia Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/07/4-The-Addams-Family-Ancestors-c-James-Reiser-copy-928x628.jpg "The Addams Family JRP Australia Hayes Theatre Co • The Scoop")Wonderfully eccentric, *The Addams Family*, as first created by cartoonist Charles Addams, has been the inspiration for countless pieces of media since their introduction in 1938. In 2010, the first stage adaptation in the form of *The Addams Family* musical hit the Broadway stage. Now, Joshua Robson Productions has brought a glorious adaptation of this ghoulish tale to the stage, in association with Hayes Theatre Co. The musical introduces us to the alive, dead and undecided members of the Addams family on the eve of a very important dinner. Wednesday, the eldest daughter of the family, is bringing over a “friend,” the decidedly normal Lucas Beineke and his family. But not all is as it seems. Conflicting loyalties lead to a chaotic evening filled with confessions, repercussions and decisions that will shape the future of both families. From the second one enters the theatre, they are immersed in the delightfully macabre world of the Addams family, thanks to the incredible production design from Dann Barber. The highly stylised, hand-sketched quality to the set design is visually striking. The clever use of minimal set pieces provides the perfect playground for the actors on stage. The costume design for every character is immaculate. I would particularly like to compliment the creativity in the designs for Lurch (embodying the Addams family home), Wednesday’s ‘yellow’ dress and the ancestors. ![The Scoop The Addams Family JRP Australia Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/07/5-Erika-Heynatz-and-Marcus-Rivera-The-Addams-Family-c-James-Reiser-copy-942x628.jpg "The Addams Family JRP Australia Hayes Theatre Co • The Scoop")Costume design is immaculate and the hand sketched quality to the set design is visually striking Photo by James ReiserDirector Julia Robertson has crafted an impeccable production with performances that truly showcase the humanity and heart within this dark and morbidly comedic story. The fun the performers are having on stage is palpable. It is a testament to both their extraordinary talent and the world Robertson has crafted. The music is outstanding. Under the masterful supervision of Zara Stanton and direction of Zander Gaal, the score and vocals fill the theatre and immediately transform the space. Shannon Burns absolutely nails the choreography, with a stunning blend of styles and eccentricity that perfectly reflects the characters and their stories. Marcus Rivera and Erika Heynatz are a match made in heaven (or maybe hell) as Gomez and Morticia Addams. Bringing so much life and energy to the stage, it is just so fun to watch how their individual loyalty to their family and their marriage contributes to the unfolding chaos. Jenny Guigayoma is phenomenal as Wednesday Addams. An absolute powerhouse performer, she perfectly balances the dark humour of the role with moments of genuine heart in her interactions with her family and Lucas. The physically imposing character of Lurch, performed by Elliot Aitken, immediately captures hearts with his gentle nature. Elliot’s comedic timing and physicality are a true delight. ![The Scoop The Addams Family JRP Australia Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/07/1-Full-Company-of-The-Addams-Family-c-James-Reiser-copy-941x628.jpg "The Addams Family JRP Australia Hayes Theatre Co • The Scoop")The ancestor ensemble add so much depth and visual excitement to every scene Photo by James ReiserEvan Lever is the perfect Uncle Fester. As the semi-narrator of the tale, he imbues the narrative with so much love and heart. There is something bizarrely heartwarming in the pairing of his creepy demeanour with genuine openness. Georgia Oom is wonderful as Pugsley, embodying the role with youthful and chaotic energy. The role of Grandmama is played by Deborah Galanos, who seems to perfectly match this energy in every scene. Alexander Tye is charming as Lucas Beineke. He is so earnest in his devotion to Wednesday, and it is wonderful to see how they both grow together throughout the story. Lucas’ parents, Alice and Mal, are portrayed by Teagan Wouters and Rory O’Keeffe, respectively, who beautifully contrast their relationship to that of Gomez and Morticia. It is so satisfying to see how they are changed by their interactions with the Addams family. The ensemble rounds out the cast as the Addams family ancestors and are absolutely incredible. They add so much depth and visual excitement to every scene. *The Addams Family* is a fantastic addition to Hayes Theatre Co’s 2026 season. The stunning visuals, soaring vocals and phenomenally talented cast combine perfectly to tell the story of this fiendishly famous family. If you are after a night of high emotions, laughter and just a little terror, this is your show. ***The Addams Family* is presented by Joshua Robson Productions in association with Hayes Theatre Co. It runs to 9 August at Hayes Theatre Co. 19 Greenknowe Avenue Potts Point NSW 2011.** Tickets: <https://hayestheatre.com.au/event/the-addams-family/> Website: <https://hayestheatre.com.au/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) and <https://www.instagram.com/jrpaustralia/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: James Reiser **Categories:** Musical Theatre, Sydney --- ### [Review: Pride & Prejudice Is Love At First Sight](https://thescoop.au/review-pride-prejudice-is-love-at-first-sight/) **Published:** July 16, 2026 **Author:** Isabella Visser **Content:** ★★★★★ ![The Scoop Pride & Prejudice Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Chenoa-Deemal-Maddison-Burridge-Gael-Ballantyne-Perry-Mooney-and-Daphne-Chen-in-Pride-Prejudice-Photo-by-Morgan-Roberts-942x628.jpg "Pride & Prejudice Queensland Theatre Company • The Scoop")It is a truth universally acknowledged that a Jane Austen fan in possession of a ticket to Queensland Theatre Company’s *Pride & Prejudice* will have a greatly enjoyable time. Following a sell-out season last year that unfortunately ended early because of Cyclone Alfred, Queensland Theatre Company once again ignites the hearts of Brisbane Austen-lovers with the return of their Matilda Award-winning production. The world-class show sees (almost all of) the same talented cast and crew performing back at the Playhouse Theatre at QPAC. *Pride & Prejudice* is a story of sisterhood, unbelievable adoration and poking fun at rigid social expectations, especially for women. This production demonstrates how the themes are just as timely now as they were when Jane Austen wrote about them. With their father’s estate entailed away to a male heir, Elizabeth Bennet (Maddison Burridge) and her four sisters have no other option than marriage to secure their future. Luckily, the neighbouring estate Netherfield Park has just been occupied by an eligible young man of large fortune, Mr Bingley (William Carseldine), who Mrs Bennet (Gael Ballantyne) is determined to have one of her daughters marry. Upon his arrival, Bingley is accompanied by his two sisters and mysterious best friend Mr Darcy (Andrew Hearle). While it’s very much not love at first sight, Elizabeth and Darcy are continuously drawn together in chance meetings that, despite their best efforts, untangle into a true and heartfelt love. ![The Scoop Pride & Prejudice Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/02-12-25-Pride-and-Prejudice-Tech-Morgan-Roberts-900-942x628.jpg "Pride & Prejudice Queensland Theatre Company • The Scoop")The play beautifully captures the spirit of Austens original text and amplifies the storys ironic and sharp humour Photo by Morgan RobertsCo-adaptors Wendy Mocke and Lewis Treston create a play that beautifully captures the spirit of Austen’s original text and amplifies the story’s ironic and sharp humour. Their combined ingenuity brings a fresh perspective to a 200-year-old tale, while keeping the iconic lines that readers love. Behind the scenes of spirited country balls and lovers’ quarrels are the brilliant directors Bridget Boyle and Daniel Evans. Their production is bright, beautiful and engrossing, a feat they should both be exceedingly proud of. Designer Christina Smith transports audiences across space and time into the early 19th-century English countryside. Her set design is a masterpiece of illusion that sees the humble Playhouse stage transform into large estates and wild rumbling hills. Maddison Burridge brilliantly brings to life one of the most beloved characters in English literature, Elizabeth Bennet. Her portrayal is joyful, quick-witted, and an absolute delight to watch. She lights up the stage with her incredible facial expressions, well-timed delivery and exaggerated movements. She’s simply stunning and a natural star. Andrew Hearle’s Mr Darcy is a man of few words, yet his presence is impossible to look away from anytime he graces the stage. He stands tall and stoic with a quiet confidence that’s irresistible. Mrs Bennet is even more frenzied than usual in Gael Ballantyne’s interpretation. She rushes into scenes, speaks in shrill, high-pitched tones, and even though she never complains, Ballantyne perfectly embodies poor Mrs Bennet’s nerves. In contrast, Bryan Probets’ portrayal of Mr Bennet is cool and collected. Barely looking up from the book he is reading, he delivers hilarious and frank observations. Probets expertly captures the subtlety and dryness of British humour. ![The Scoop Pride & Prejudice Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Bryan-Probets-William-Carseldine-Andrew-Hearle-and-Jeremiah-Wray-in-Pride-Prejudice-Photo-by-Morgan-Roberts-942x628.jpg "Pride & Prejudice Queensland Theatre Company • The Scoop")This production is not just for Austen fans but for anyone who dearly loves a laugh Photo by Morgan RobertsChenoa Demaal’s Mary Bennet is filled with surprises. Gone is the philosophically obsessed reader; instead, Demaal’s character is sarcastic and outrageously funny. The incredible Amy Ingram distinguishes herself in the dual roles of Charlotte Lucas and Miss Bingley, two strong and driven female characters. As Charlotte, her presence on stage is giddy and warm while she gossips with the two eldest Bennet sisters, like the ideal best friend. As soon as she switches to Miss Bingley, her demeanour is all snob and snark. Cameron Hurry is entertaining and comical in his portrayal of the quirky and dull Mr Collins. He has the audience in stitches with his over-pronunciations and encroaching behaviour that sees him gripping onto Charlotte’s and his cousins’ pinkie fingers. Choreographer and movement director Nerida Matthaei brings a modern spark to the Regency ballroom. The traditional partner line dances are made more interesting and livelier with her specific style of hip-popping moves that would typically be better suited to the club than the Regency era. But combined with the sublime creativity of composer Guy Webster and lighting designer Jason Glenwright, the scenes come together in a beautifully vivid collage that pays homage to the timelessness of the story. *Pride & Prejudice* is a classic tale of unexpected romance and social intrigue to ardently admire and swoon over. Queensland Theatre Company’s production is not just for Austen fans, but for anyone who dearly loves a laugh. Watch as your favourite rom-com jumps off the page and onto this glorious stage. ***Pride & Prejudice* is presented by Queensland Theatre Company and runs to 26 July at the Playhouse, QPAC.** Tickets: <https://www.qpac.com.au/whats-on/2026/queensland-theatre-company-pride-and-prejudice> Website: <https://queenslandtheatre.com.au/plays/pride-and-prejudice-2026> Socials: [https://www.instagram.com/qld\_theatre/](https://www.instagram.com/qld_theatre/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Morgan Roberts **Categories:** Brisbane, Theatre --- ### [Win Tickets to Tenor: My Name Is Pati In Cinemas From 23 July](https://thescoop.au/win-tickets-to-tenor-my-name-is-pati-in-cinemas-from-23-july/) **Published:** July 12, 2026 **Author:** Newsroom **Content:** ![The Scoop Tenor: My Name is Pati](https://thescoop.au/wp-content/uploads/2026/07/TENOR_Social-banner_1920x1080_July23-1116x628.jpg "Tenor: My Name is Pati • The Scoop")Following sell-out sessions at the recent Sydney Film Festival, **TENOR: MY NAME IS PATI**, an inspiring, music-rich documentary is heading to over 90 Australian cinemas from **23 July 2026**. **TENOR: MY NAME IS PATI** tells the extraordinary story of charismatic Samoan tenor **Pene Pati**, whose against-the-odds journey from the South Pacific to the world’s greatest opera stages has seen him hailed as the next Pavarotti. Alongside his brother Amitai, now also making his mark as a leading tenor, Pene is redefining what it means to succeed in this traditionally European art form. With privileged access, the film weaves together intimate family archive footage, behind-the-scenes moments, cinematic visuals and breathtaking performances to reveal a powerful story of talent, determination, family and cultural pride. ![The Scoop Tenor: My Name is Pati](https://thescoop.au/wp-content/uploads/2026/07/Tenor_017-1116x628.jpg "Tenor: My Name is Pati • The Scoop")The Scoop is **giving away ten, in-season double passes** **to the film**, thanks to Rialto Distribution! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The tickets are valid at select cinemas screening TENOR: MY NAME IS PATI. (Terms and conditions can be found on the tickets). Packed with humour, heart and soaring music, **TENOR: MY NAME IS PATI** celebrates the resilience born of adversity and the rewards that come from pursuing an unlikely dream. **TENOR: MY NAME IS PATI opens on Thursday 23 July in participating cinemas nationally.** Website: <https://rialtodistribution.com/film/tenor-my-name-is-pati/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: Tenor My Name is Pati Director: Rebecca Tansley Cast: Pene Pati, Amitai Pati Country of Origin: New Zealand Duration: 104 mins Rating: PG **Categories:** competition, News --- ### [Win Tickets To The Wizard Of The Kremlin In Cinemas 23 July](https://thescoop.au/win-tickets-to-the-wizard-of-the-kremlin-in-cinemas-23-july/) **Published:** July 15, 2026 **Author:** Newsroom **Content:** ![The Scoop The Wizard of the Kremlin](https://thescoop.au/wp-content/uploads/2026/07/WotK_Social_Banner_1920x1080_Jul23-1116x628.jpg "The Wizard of the Kremlin • The Scoop")Pull back the Iron Curtain in THE WIZARD OF THE KREMLIN, an engrossing political drama that sees a young Russian filmmaker (Paul Dano) become an unlikely advisor to Vladimir Putin (Jude Law) as he rises to power in post-Soviet Russia. Russia, early 1990s. The USSR has collapsed. Amid the chaos of a country rebuilding itself, a fiercely intelligent young man, Vadim Baranov, is charting his path. First, an avant-garde artist, then a reality TV show producer, he becomes the unofficial advisor to a former KGB agent destined to seize absolute power, the man who will soon be known as “The Tsar”, Vladimir Putin. Immersed in the heart of the system, Baranov becomes the spin doctor of the new Russia, shaping speeches, fantasies, and perceptions. Yet one figure remains beyond his control: Ksenia, a free-spirited and elusive woman who embodies the possibility of escape — far from political influence and domination. Fifteen years later, after retreating into silence, Baranov agrees to talk. What he reveals blurs the boundaries between truth and fiction, belief and strategy. ![The Scoop The Wizard of the Kremlin](https://thescoop.au/wp-content/uploads/2026/07/25_11_24_1763976484_13_LeMageDuKremlin_O-ASSAYAS-Photo-1-c-Carole-Bethuel-1-1116x628.jpg "The Wizard of the Kremlin • The Scoop")The Wizard of the Kremlin is in cinemas 23 JulyThe Scoop is **giving away five, in-season double passes** **to the film**, thanks to Rialto Distribution! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The tickets are valid at select cinemas screening THE WIZARD OF THE KREMLIN. (Terms and conditions can be found on the tickets). THE WIZARD OF THE KREMLIN is a descent into the dark corridors of power, a film where every word serves a scheme. **THE WIZARD OF THE KREMLIN opens on Thursday 23 July in participating cinemas nationally.** Website: <https://rialtodistribution.com/film/the-wizard-of-the-kremlin/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: The Wizard of the Kremlin Director: Olivier Assayas Cast: Jude Law, Paul Dano, Alicia Vikander, Tom Sturridge Country of Origin: France Duration: 114 mins Rating: MA 15+ **Categories:** competition, News --- ### [Film Review: ÁRRU 2026 Nordic Film Festival](https://thescoop.au/film-review-arru-2026-nordic-film-festival/) **Published:** July 14, 2026 **Author:** Jessica Fanwong **Content:** ★★★½ ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/06/Arru_1-942x628.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")There’s something viscerally beautiful about a film so grounded in time and space. In our current cinematic landscape dominated by elevated horror, big blockbusters and financially safe remakes, seeing an understated film laced with raw honesty is a refreshing change. Set in the pristine, frosty white lands of Sápmi, northern Scandinavia, *ÁRRU*, by Elle Sofe Sara in their directorial debut, is rich in emotional depth and tells a powerful story of resilience and the fight to protect cultural identity. Evoking the essence of Sámi culture, **ÁRRU** is less film and more cinematic folk song. A *joik* that portrays the deep ancestral connection the Sámi reindeer herders have to the land. And more importantly, the harrowing tragedy they face: the imminent loss of their land to a looming mining project. The story follows single mum Maia (Sara Marielle Gaup Beaska), reluctantly turning towards a long-absent activist lawyer uncle, Lemme (Mikkel Gaup), to help fight for land rights against commercial colonialist enterprises. Lemme’s return, however, soon unearths traumatic family history and forces Maia into the difficult position of choosing between saving her people or fracturing her family. ![The Scoop Arru Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/07/Arru_2-1200x503.jpg "Arru Nordic Film Festival • The Scoop")Maia is forced into choosing between saving her people or fracturing her family Image suppliedThe use of music is a highlight of the film. The swelling, soul-stirring Gairu folk music serves as the emotional pulse of the narrative. In an otherwise disjointed series of scenes within the film, the recurrent, rousing ode to Gairu and vibrant folk choreography firmly anchors the story within the world of the Sámi and reindeer. There is a highly surrealist dance scene where Maia runs through the fjords, physically enmeshed in a nest of naked bodies against a soundscape of deep breaths. There is another scene during the protest camp that feels like a surprise musical. After Lemme’s passionate but slightly generic speech, Áilin leads the protestors into a resplendent communal dance that exudes Sámi joy and pride. Performances are praiseworthy across the board, especially within a film that stylistically gives so little space for actors to shine as performers. Baeska, as Maia, delivers a grounded, down-to-earth portrayal of a single mother, caught between family and connection to land. In many ways, Maia symbolises the land itself. Cool, nonchalant, non-smiling (as her daughter remarks), even her arctic blue outfit merges her with the snowy fjords. This starkly contrasts with Gaup’s charismatic and energetic Lemme, who, at face value, is a champion for indigenous land rights across the world, mobilising the press and stirring protests. But in reality, Lemme is as exploitative and self-serving as the land mining corporations. ![The Scoop Arru Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-14-at-81201-pm-1145x628.png "Arru Nordic Film Festival • The Scoop")Aesthetically the film is bare and unadorned with flourishes Photo by Dánil RøkkeMaia’s daughter Áilin (Ayla Nutti), the bubbly rebellious teenager, delivers the one moment in the film that came close to a cathartic climax. Nutti gives a very public, fiery (and satisfying) dressing-down to her middle-aged great-uncle’s hypocrisy, in one of the most engaging scenes, triggering many laughs from the audience. Despite the inherent conflict within the film, the narrative is virtually non-existent. Aesthetically, the film is bare and unadorned with flourishes. Nor does the editing serve as a driver to heighten tensions. This is a film that unabashedly relishes in just existing. We are offered a window to peer through and feel the presence of a people and way of life. What we see is a snippet of life with no resounding justice or well-packaged solution to the conflict. Sometimes in life, we are faced with obstacles out of our control. Despite our best efforts, the only thing we can do is express our quiet dissent. It is also the grim reality many Indigenous communities around the world are faced with, when their voices are relegated into spaces of silence and fights against dispossession are largely ignored by national discourse. This is powerfully conveyed by the noticeable absence of non-Sámi Scandinavians throughout the film. This is the reality that *ÁRRU* (Northern Sámi for ‘obstacle’) presents to its audience. While the lack of strong narrative payoff, simple editing and cinematic techniques means *ÁRRU* as a film can come across as unsatisfying, its depiction of events is very true to life. And like life, the story just goes on. ****ÁRRU**** **runs at the 2026 Hurtigruten Nordic Film Festival from 9 July, with dates varying in each city.** See full city dates and venues below. Tickets: <https://nordicfilmfestival.com.au/films/nor26-arru> Website: <https://nordicfilmfestival.com.au/> Socials: <https://www.instagram.com/nordicfilmfest/> Win Tickets to the Nordic Film Festival! Hero image supplied. Watch the Festival trailer below: **Film details:** Title: ÁRRU Director: Elle Sofe Sara Cast: Sara Marielle Gaup Beaska, Simon Issát Marainen, Ayla Gáren Nutti, Mikkel Gaup Country of Origin: Norway, Sweden, Finland Duration: 95 mins Rating: CTC 2026 Festival Dates and Venues by City: **Canberra:** 9 July – 2 August, Palace Electric **Melbourne:** 10 July – 2 August, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino, Pentridge Cinema and The Astor Theatre **Ballarat:** 10 July – 2 August, Palace Regent Cinema **Brisbane:** 22 July – 16 August, Palace James St**,** Palace Barracks **Adelaide:** 22 July – 16 August, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney:** 23 July – 16 August, Palace Norton St, Palace Moore Park and Palace Central **Perth:** 23 July – 16 August, Luna Leederville, Luna on SX and Palace Raine Square **Byron Bay and Ballina:** 23 July – 16 August, Palace Byron Bay, Ballina Fair Cinemas **Categories:** Film --- ### [Australia’s Live Performance Industry in Crisis: MEAA Members Call For Action](https://thescoop.au/australias-live-performance-industry-in-crisis-meaa-members-call-for-action/) **Published:** July 14, 2026 **Author:** Newsroom **Content:** ![The Scoop MEAA Live Performance Action Plan](https://thescoop.au/wp-content/uploads/2026/07/WAITRESS_photo-Jeff-Busby_1243_1-copy-942x628.jpg "MEAA Live Performance Action Plan • The Scoop")Over 200 creative workers from across Australia including performers, musicians, crew and technicians joined an Emergency Live Performance Town Hall meeting yesterday to discuss a **Live Performance Action Plan** calling for urgent action from state and federal governments to address the crisis facing the live performance industry across the country. Following the cancellation of major productions including *Back to the Future*, *Dear Evan Hansen*, *Annie*, *Waitress* and *Beetlejuice*, hundreds of arts workers are facing uncertainty and potential unemployment. Led by Michael Balk, Federal President of the Media, Entertainment & Arts Alliance (MEAA), members came together to discuss an action plan that includes: Lobbying for an immediate response to the crisis Public-focused campaigning to outline the direct impact on workers and audiences Cross-industry consultations to plan a long-term response to keep live performance viable, and Further actions showing that creative workers are united. **Outcomes and actions from the Town Hall meeting include**: Calling on MEAA members to sign an [open letter](https://meaa.good.do/savelivetheatre/openletter/) to Australia’s State and Federal Arts Ministers with five specific asks of governments Shareable link is here: <https://meaa.good.do/savelivetheatre/> Encouraging MEAA members to [sign a petition](https://meaa.good.do/petitiontoLPA/LPA-petition/) to Live Performance Australia (LPA) for a live performance production tax rebate. Shareable link is here: <https://meaa.good.do/petitiontoLPA/> Non-MEAA members are also able to sign. ![The Scoop Eddie Perfect Beetlejuice Andy Karl](https://thescoop.au/wp-content/uploads/2026/05/2-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-copy-944x628.jpg "Beetlejuice The Musical Australian Production - Photo by Eugene Hyland copy • The Scoop")Beetlejuice the musical Photo by Eugene HylandFederal President of MEAA, **Michael Balk**, said: *“Australia’s live performance industry is at breaking point. The cancellation of major productions is leaving performers, musicians, crew, technicians and venue staff without work, often with little warning.* *This crisis also reaches far beyond the people employed on stage and behind the scenes. When theatres go dark, audiences lose access to culture, communities lose connection, and Australia risks losing the skilled creative workforce that underpins a vibrant arts sector.”* Through their National Cultural Policy submission, MEAA is calling for urgent and coordinated action from state and federal governments to protect jobs, support productions and secure the future of live performance in Australia. Recommendations include the creation of a cultural taskforce to deliver meaningful outcomes, the introduction of a tax rebate to reduce production costs, and the introduction of a cultural pass or voucher to improve access for audiences. **For further information or queries please contact <mediainquiries@meaa.org> or call 0421 554 562.** Read the full media release at the MEAA [website](https://www.meaa.org/Public/Contents/NEWS_EVENT/Releases_Statements/australia's_live_performance_industry_in_crisis_meaa_members_call_for_action.aspx). Website: <https://www.meaa.org/> Socials: <https://www.instagram.com/withmeaa/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image photo credit: *Waitress* Australian premiere musical. Photo by Jeff Busby **Categories:** News --- ### [Announcing The Shawshank Redemption Tour For Australia](https://thescoop.au/announcing-the-shawshank-redemption-tour-for-australia/) **Published:** July 14, 2026 **Author:** Newsroom **Content:** ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/07/The-Shawshank-Redemption_3-c-Jack-Merriman-942x628.jpg "The Shawshank Redemption 2027 Australian Tour • The Scoop")The celebrated stage adaptation of one of the most popular and enduring films of all time, ***The Shawshank Redemption***, is coming to Australia in 2027. Direct from its acclaimed UK tour, *The Shawshank Redemption* will play in **Sydney**, **Melbourne**, **Perth** and **Adelaide** from **January**, with other cities to be revealed. Waitlist now at [ShawshankLive.com.au](http://shawshanklive.com.au/) to be first in line to purchase tickets and receive the latest news including casting announcements, exclusive behind-the-scenes content and tour updates. *The Shawshank Redemption* is a powerful stage production that places you just metres from the action. Raw, intimate and deeply moving, this is theatre at its most compelling – where every moment unfolds live before your eyes. Based on Stephen King’s celebrated novella, this gripping adaptation tells an unforgettable story of hope, friendship and the resilience of the human spirit. Wrongly convicted of the brutal murders of his wife and her lover, Andy Dufresne is sentenced to life imprisonment in the notorious Shawshank prison. As he navigates the harsh realities of incarceration, he forms an unlikely friendship with fellow inmate Red, discovering that even in the darkest of places, hope can endure. But when the corrupt Warden seeks to exploit Andy’s talents for his own gain, a quiet and daring plan begins to emerge, one that will challenge the very walls of Shawshank itself. “*Electrifying – it truly is a must see show*” – The Observer “*This production has nailed it … Gripping live theatre*” – Broadway World ![The Scoop The Shawshank Redemption 2027 Australian Tour](https://thescoop.au/wp-content/uploads/2026/07/The-Shawshank-Redemption_10-c-Jack-Merriman-942x628.jpg "The Shawshank Redemption 2027 Australian Tour • The Scoop")The Shawshank Redemption Photo by Jack MerrimanProducer **Craig Donnell** said: “*The Shawshank Redemption has captivated audiences around the world because it speaks to something universal, the enduring power of hope. We’re honoured to bring this extraordinary story to Australian stages and share an unforgettable theatrical experience with audiences across the country*. *Great theatre doesn’t just entertain; it stays with you long after you’ve left the auditorium. The Shawshank Redemption is one of those rare stories that continues to resonate across generations, a story of hope, courage and perseverance, and I can’t think of a more important story to share with audiences today*.” Adapted for the stage by Owen O’Neill and Dave Johns, and directed by David Esbjornson who directed Angela Lansbury and James Earl Jones in the Australian tour of *Driving Miss Daisy*, this acclaimed production captures the emotional power and humanity that have made *The Shawshank Redemption* one of the world’s most enduring stories. The 1994 film adaptation, nominated for seven Academy Awards, has become one of cinema’s most beloved classics. Now, experience a story of hope, friendship and redemption brought vividly to life in an unforgettable live theatrical event. ***The Shawshank Redemption* opens 2 January at the Theatre Royal Sydney before embarking on a national tour. See full dates below.** Waitlist for all cities now at the website link below. Website: <https://www.shawshanklive.com.au/> Socials: <https://www.instagram.com/shawshanklive/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Jack Merriman Adapted for the stage by Owen O’Neill and Dave Johns, based on the novella *Rita Hayworth and Shawshank Redemption* by Stephen King. Directed by David Esbjornson. Produced by Impresario Productions, by arrangement with Bill Kenwright Limited. By arrangement with Knight Hall Agency Ltd in association with Paradigm Talent Agency 2027 Australian Tour: Sydney from 2 January, Theatre Royal Melbourne from 4 February, Playhouse, Arts Centre Melbourne Perth from 12 March, Regal Theatre Adelaide from 1 April, Her Majesty’s Theatre Other venues still to be announced. **Categories:** News --- ### [Film Review: Disney's Moana Makes Waves In Live Action Remake](https://thescoop.au/film-review-disneys-moana-makes-waves-in-live-action-remake/) **Published:** July 9, 2026 **Author:** Sebastien Skubala **Content:** ★★★½ ![The Scoop Disney's Moana](https://thescoop.au/wp-content/uploads/2026/07/MNA-TP2-0086909-1200x503.jpg "Disney's Moana • The Scoop")The sea is calling… or more accurately, Disney is calling audiences back to cinemas with its live-action remake of *Moana*. Since its release in 2016, *Moana* has become Disney’s most-streamed film on Disney+. Between 2020 and 2025 alone, audiences streamed 37 billion minutes of the beloved adventure, cementing its place as one of the defining animated films of a generation. Now, Disney is hoping to turn that cash cow into its next billion-dollar blockbuster. The challenge is that live-action Disney remakes aren’t the guaranteed money printer they used to be (cough cough *Snow White*). Timing also works against *Moana*. Disney released *The Mandalorian* feature film in May, *Toy Story 5*, and now *Moana* in the last three weeks. For the average family of four, a trip to the movies can easily cost $100 on tickets alone, and that’s before factoring in popcorn, drinks, parking or fuel. Seeing all four major releases on the big screen could feel tough to justify during a cost-of-living crisis. With the 2016 *Moana* available to stream, Disney faces a simple but significant question: what makes this version worth leaving the house for? *Moana* follows a young wayfinder who joins forces with the demigod Maui to restore the heart of Te Fiti and save her island. At the centre of it all is Australia’s own Catherine Laga’aia. No stranger to the screen, her father, Jay Laga’aia, is a celebrated performer in his own right. Known for playing Captain Typho in the *Star Wars* prequel films (among many other roles), it’s clear that performing runs in the family. ![The Scoop Disney's Moana](https://thescoop.au/wp-content/uploads/2026/07/MNA-TP2-0087943-1200x503.jpg "Disney's Moana • The Scoop")Dwayne Johnson shares an east chemistry with Catherine Lagaaia as Moana Images courtesy Disney AU NZA Newtown Performing Arts High School and NIDA Diploma graduate, Catherine Laga’aia fits the universe well and gives a confident and cheeky performance. Building on his voice performance from the original film, Dwayne ‘The Rock’ Johnson slips effortlessly back into the role of Maui, sharing an easy chemistry with Laga’aia. Maui and Moana’s relationship drives much of the story of the piece. Rena Owen steals hearts as Gramma Tala, while Tamatoa the crab’s appearance is over way too soon, featuring the original voice of *Flight of the Conchords* alum Jemaine Clement. Director Thomas Kail is an interesting choice to head this project. Previously working with Lin-Manuel Miranda on the 2020 *Hamilton Live*, *Moana* represents his first major live-action feature and a significant leap in both scale and budget. Outside of *Hamilton*, his most notable screen credit is the Emmy-winning miniseries *Fosse/Verdon*, starring Sam Rockwell and Michelle Williams. While his resume may seem unconventional for a Disney tentpole, his experience capturing music-driven narratives makes him a surprisingly natural fit for bringing *Moana* to life. *Moana* encounters a few issues making the leap from animation to live action. The absence of a formidable villain leaves the adventure feeling lighter on tension than it perhaps should. The overall pacing may not keep very young audience members completely engaged for the whole two hours. ![The Scoop Disney's Moana](https://thescoop.au/wp-content/uploads/2026/07/MNA-T1_0028-1200x503.jpg "Disney's Moana • The Scoop")Audiences have shown theyre willing to embrace digital filmmaking provided the characters and spectacle deliver Images courtesy Disney AU NZAlso, curiously, not everything has been translated into the real world. Heihei, for example, isn’t portrayed as a realistic chicken but as an almost one-to-one CGI recreation of his animated counterpart. The same approach extends to several other creatures, raising an interesting question: how “live action” is this adaptation when so much of what appears on screen has been digitally created? Then again, perhaps that distinction no longer matters. With films such as James Cameron’s *Avatar* franchise relying heavily on CGI to create entire worlds, audiences have shown they’re willing to embrace digital filmmaking, provided the story, characters and spectacle deliver. For all its visual grandeur, *Moana* never quite recaptures the magic that made the original so special. Yet Catherine Laga’aia proves herself in her feature debut, Dwayne Johnson remains entertaining, and the film’s sweeping tropical island landscapes are undeniably beautiful on the big screen. It may not surpass the film that inspired it, but it reminds us why Moana’s story continues to resonate nearly a decade later. ***Disney’s Moana* sails into cinemas in Australia from 8 July 2026.** Website: <https://www.disney.com.au/movies/moana-2026> Socials: <https://www.instagram.com/disneyaunz/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Moana Director: Thomas Kail Cast: Catherine Laga’aia, Dwayne Johnson, John Tui, Frankie Adams, Rena Owen Country of Origin: USA Duration: 115 mins Rating: PG **Categories:** Film --- ### [Film Review: The Kidnapping Of A President 2026 Nordic Film Festival](https://thescoop.au/film-review-the-kidnapping-of-a-president-2026-nordic-film-festival/) **Published:** July 13, 2026 **Author:** Alyssa Moller **Content:** ★★★½ ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/05/The-Kidnapping-of-a-President_1-942x628.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")Set in Helsinki in 1930, *The Kidnapping of a President*, funnily enough, tells the story of exactly that: the kidnapping of President Stahlberg. What ensues is a series of incompetent events. An alcoholic Lieutenant Colonel, Eoro, drunkenly issues the call for a revolution early, enlisting a team of ragamuffins to kidnap the president, forgets through his drunken stupor and then has to piece together his actions that lead to the promotion he’s been desperately seeking. Meanwhile, the band of kidnappers struggle to put up with the president and his chatterbox, expert negotiator wife, all the while crumbling under the moral pressure of the assignment. The film is set in a deadly serious way, with drab, militant production design, setting the scene for the lonely world of Eoro, our protagonist. Jussi Vatanen, who plays Eoro, is a prince of dry humour. I loved him in his previous film *Fallen Leaves*, but he takes that dry tone and amps it up to a new volume for this narrative. ![The Scoop The Kidnapping of a President Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-13-at-41342-pm-1046x628.png "The Kidnapping of a President Nordic Film Festival • The Scoop")The drab militant production design sets the scene for our protagonist Image courtesy Nordisk FilmVatanen is the glue that keeps the silliness of the narrative together. He’s just enough of a complete loser that you almost feel bad for him, a hilarious take on the typical ‘straight man’ protagonist for a comedy film. Aku Sipola is a total scene stealer. As General Kurt Matti Wallenius, he is extravagant and eccentric, going balls to the wall in a way that still feels believable for a delusional military official obsessed with power and attention. I’m always interested to see how comedy translates across continents, when every country has their own specific sense of humour, especially something like political satire without knowing much going in. However, because the world of the film is incredibly straight-faced, the ridiculousness of the narrative, matched with the witty and droll script, keeps the laughs coming. The serious backdrop of military politics and attempts at political treason become the comedy, and the ineptitude of each player adds to the joke. Under Samuli Valkama’s direction, the film feels reminiscent of a Coen Brothers or Armando Iannucci film, almost like if *The Death of Stalin* and *Fargo* had a baby. ![The Scoop The Kidnapping of a President Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-13-at-41423-pm-1057x628.png "The Kidnapping of a President Nordic Film Festival • The Scoop")The film is snappy with crisp editing that keeps the pace moving Image courtesy Nordisk FilmThe film is snappy, just under 90 minutes, with crisp editing that wastes no time and keeps the pace moving seamlessly with the comedic beats. This is paired with a great period-inspired score with jazzy snares and a brilliant use of horns to keep things goofy but maintain the intensity for the characters. *The Kidnapping of a President* is an offbeat, blackly comic take on historical fiction. Beneath its absurd premise lies a sharp satire on the fragility of the male ego and the desperate need to prove oneself to those who refuse to be impressed. By skilfully weaving together its multiple storylines, the film allows each character’s blind ambition to collide, building to a finale that is as ironic as it is entertaining. ***The Kidnapping of a President* runs at the 2026 Hurtigruten Nordic Film Festival from 9 July, with dates varying in each city.** See full city dates and venues below. Tickets: <https://nordicfilmfestival.com.au/films/nor26-the-kidnapping-of-a-president> Website: <https://nordicfilmfestival.com.au/> Socials: <https://www.instagram.com/nordicfilmfest/> [Win Tickets to the 2026 Nordic Film Festival!](https://thescoop.au/win-tickets-to-the-2026-hurtigruten-nordic-film-festival/) Hero image supplied. Watch the trailer below: **Film details:** Title: The Kidnapping of a President Director: Samuli Valkama Cast: Jussi Vatanen, Aku Sipola, Pertti Sveholm, Riitta Havukainen Country of Origin: Finland, Czech Republic, Netherlands, Estonia Duration: 87 mins Rating: CTC 2026 Festival Dates and Venues by City: **Canberra:** 9 July – 2 August, Palace Electric **Melbourne:** 10 July – 2 August, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino, Pentridge Cinema and The Astor Theatre **Ballarat:** 10 July – 2 August, Palace Regent Cinema **Brisbane:** 22 July – 16 August, Palace James St**,** Palace Barracks **Adelaide:** 22 July – 16 August, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney:** 23 July – 16 August, Palace Norton St, Palace Moore Park and Palace Central **Perth:** 23 July – 16 August, Luna Leederville, Luna on SX and Palace Raine Square **Byron Bay and Ballina:** 23 July – 16 August, Palace Byron Bay, Ballina Fair Cinemas **Categories:** Film --- ### [Announcing The Lion King Musical For Brisbane](https://thescoop.au/announcing-the-lion-king-musical-for-brisbane/) **Published:** July 13, 2026 **Author:** Newsroom **Content:** ![The Scoop The Lion King Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Daniel-Frederiksen-as-Scar-Nick-Afoa-as-Mufasa-The-Lion-King-c-Disney-Photo-by-Daniel-Boud-1200x606.jpg "The Lion King Musical Sydney • The Scoop")Disney’s **THE LION KING**, the world’s #1 musical, is coming to **Brisbane**, bringing with it the spectacle, artistry and unforgettable music that has redefined musical theatre on a global scale. More than ten years after the six-time Tony Award winning production was last on stage at Queensland Performing Arts Centre (QPAC), a new generation of theatregoers will join long-time fans in experiencing this epic theatrical masterpiece with performances from **Sunday 15 November 2026**. Tickets for the Brisbane Season of THE LION KING go on sale from 9am on **Thursday 23 July 2026** via <https://thelionkingmusical.com.au/> The 2014 season of THE LION KING at QPAC received a remarkable reception in Brisbane, breaking records by selling more tickets in a single day than any show before it and going on to completely sell out its 19-week season. This production marks the second run of THE LION KING in Brisbane and the third time the show has been staged in Australia. Internationally THE LION KING has been seen by more than 124 million people worldwide, a testament to the lasting power of the show’s storytelling. THE LION KING is the second highest selling show in QPAC history, behind only *The Phantom of the Opera* (1996). Now the production returns, giving Queensland audiences the chance to make their way back to Pride Rock. THE LION KING will arrive in Brisbane directly following a season in [Sydney](https://thescoop.au/review-the-lion-king-sees-the-circle-of-life-perfectly-staged/), where the production is currently playing to sold-out houses, and has been celebrated by audiences and critics alike: *“There’s a reason The Lion King has stood the test of time. It is epic and heartfelt, with costumes and puppetry that continue to astonish. The music remains iconic, and the staging captures imaginations from the very first moment.”* – [The Scoop](https://thescoop.au/review-the-lion-king-sees-the-circle-of-life-perfectly-staged/) ![The Scoop The Lion King Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Lionesses-The-Lion-King-c-Disney-Photo-by-Daniel-Boud-copy-scaled-e1776999098562-943x628.jpg "The Lion King Musical Sydney • The Scoop")Disneys THE LION KING opens in Brisbane on 15 November Photo by Daniel BoudAs THE LION KING heads to Brisbane, Disney Theatrical Group is proud to continue offering accessible performances, allowing everyone the chance to experience the magic of live theatre. Accessible performances are tailored to support attendance for a diverse range of audience preferences and create a space where all audience members are encouraged to be themselves. Further details about accessible performances in Brisbane will be announced at a later date. THE LION KING brings together exceptional talent from Australia, New Zealand and around the world, who give life to the beloved characters of this epic theatrical masterpiece. Buyi Zama leads the cast as Rafiki. She plays this iconic role for a third time here, having also held the role in the 2003 and 2013 tours. Zama is joined on stage by Nick Afoa as Mufasa, another alumni member of THE LION KING global family after making his theatre debut twelve years ago as Simba. Completing the principal cast is Daniel Frederiksen as Scar, Benn Welford as Zazu, Aphiwe Nyezi as Simba, Emily Nkomo as Nala, Jamie McGregor as Timon, Rutene Spooner as Pumbaa, Ezra Williams as Shenzi, Winston Hillyer as Banzai and Mat Verevis as Ed. A group of talented and diverse performers make up the ensemble, including: Shugri Abdi, Mario Acosta-Cevallos, Claire Abaijah-Griffin, Tara Bajan, Evangeline Batucan, Sophie Dadge, Ed Deganos, Leorate Dibatana, Junior Dilape, Matt Domingo, Joe Gaudion, Mukelisiwe Goba, Chaska Halliday, Jayme-Lee Hanekom, Annie-Lenore Hanman, Hamish Johnston, Khaya Mniki, Iteboge Modipane, Kearabetswe Mogotsi, Steven Mokone, Lwazi Mzimase, Buhle Nkomo, Rania Potaka-Osborne, Jack Rowan, Jacob Rozario, Laila Salloum, Asmara Soekotjo, Chemon Theys, Clifford Tlomatsana, Dean Vince, Tarisai Vushe, Brendan Xavier, Asemahle Xenti and Angel Zum. ![The Scoop The Lion King Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Aphiwe-Nyezi-as-Simba-The-Lion-King-c-Disney-Photo-by-Daniel-Boud-copy-985x628.jpg "The Lion King Musical Sydney • The Scoop")Aphiwe Nyezi as Simba Photo by Daniel BoudTHE LION KING is the ninth Disney Theatrical Group production to tour the country over the past three decades, following acclaimed national tours of *Beauty and the Beast, Aladdin, Mary Poppins* and *Frozen*. Now in its fourth decade as a theatrical producer, Disney Theatrical is headed by Managing Director Andrew Flatt and Executive Producer Anne Quart. CommBank Yello gets you in first! Eligible CommBank Yello customers have **exclusive early access to presale tickets** starting from **Thursday 16 July** at 9am AEST until Wednesday 22 July 2022 at 11.59pm AEST. Visit [commbank.com.au/disneypresale](https://www.commbank.com.au/commbank-yello/latest/disney-presale.html) to find out more. **Disney’s THE LION KING opens on Sunday 15 November at the Lyric Theatre, QPAC in Brisbane.** It is on now in Sydney and runs at the Capitol Theatre until Sunday 4 October 2026. Tickets for Brisbane go on sale Thursday 23 July 2026 via the website. Website: <https://thelionkingmusical.com.au/> Socials: <https://www.instagram.com/thelionkingau/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image: Aphiwe Nyezi as Simba in *The Lion King*. Photo by Daniel Boud Hero image: Daniel Frederiksen as Scar Nick Afoa as Mufasa. Photo by Daniel Boud About The Lion King: Approaching 30 landmark years on Broadway, ***The Lion King*** continues ascendant as one of the most popular stage musicals of all time. Since its premiere on November 13, 1997, 30 global productions have been seen by over 127 million people. Produced by Disney Theatrical Group, under the direction of **Andrew Flatt** and **Anne Quart**, ***The Lion King*** has made theatrical history with two productions worldwide running 20 or more years and three others running 25 or more years. Performed over its lifetime in nine different languages (English, Japanese, German, Korean, French, Dutch, Spanish, Mandarin and Portuguese), there are currently eight productions of ***The Lion King*** around the world: Broadway, London, Paris, Hamburg, Madrid, Tokyo, Mexico City and on tour across North America. ***The Lion King*** has played over 100 cities in 24 countries on every continent except Antarctica; its worldwide gross exceeds that of any film, Broadway show or other entertainment title in box office history. ***The Lion King*** won six 1998 Tony Awards®: Best Musical, Best Scenic Design (**Richard Hudson**), Best Costume Design (**Julie Taymor**), Best Lighting Design (**Donald Holder**), Best Choreography (**Garth Fagan**) and Best Direction of a Musical (**Julie Taymor**). ***The Lion King*** has also earned more than 70 major arts awards including the 1998 NY Drama Critics Circle Award for Best Musical, the 1999 Grammy® for Best Musical Show Album, the 1999 Evening Standard Award for Theatrical Event of the Year and the 1999 Laurence Olivier Awards for Best Choreography and Best Costume Design. **Julie Taymor**, who conceived and directed the production and is its costume designer and mask co-designer, was the first woman to win a Tony Award for Best Direction of a Musical. She remains actively involved in the show, launching new productions and maintaining the flagship Broadway production. The Broadway score features **Elton John** and **Tim Rice**’s songs from *The Lion King* animated film along with three new songs by John and Rice; additional musical material by South African **Lebo M**, **Mark Mancina**, **Jay Rifkin**, **Julie Taymor** and **Hans Zimmer**; and music from “Rhythm of the Pride Lands,” an album inspired by the original music in the film, written by Lebo M, Mark Mancina and Hans Zimmer. The resulting sound of ***The Lion King*** is a fusion of Western popular music and the distinctive sounds and rhythms of Africa, ranging from the Academy Award®-winning song “Can You Feel the Love Tonight” to Lebo M’s rich choral numbers. Elton John, Lebo M and Hans Zimmer all collaborated on the 2019 version of the film, executive produced by Julie Taymor and Thomas Schumacher, which has gone onto extraordinary worldwide success. The book has been adapted by **Roger Allers**, who co-directed the animated *The Lion King* feature, and **Irene Mecchi**, who co-wrote the film’s screenplay. The stage production was originally produced by **Peter Schneider** and **Thomas Schumacher**. Other members of the creative team include: **Michael Curry**, who designed the masks and puppets with Taymor, **Steve Canyon Kennedy** (sound design), **Michael Ward** (hair and makeup design), **David Kreppel** and **Sean Mayes** (music supervisors), **Anthony Lyn** (associate director), **Marey Griffith** (associate choreographer), **Lisa Dawn Cave** (production supervisor), **Thomas Schlenk** (general manager), **Robert Elhai** (associate music producer), **Michael Keller** (music coordinator), **Robert Elhai** and **David Metzger** (orchestrators), **Rick Sordelet** (fight director) and **ARC/Mark Brandon, CSA** (casting). For more information worldwide, visit [LionKing.com](https://lionking.com/). **Categories:** News --- ### [Review: Bring It On Gives Us Something To Cheer About](https://thescoop.au/review-bring-it-on-gives-us-something-to-cheer-about/) **Published:** July 12, 2026 **Author:** Jessica Flynn **Content:** ★★★½ ![The Scoop Bring it on The Musical Theatrical Inc](https://thescoop.au/wp-content/uploads/2026/07/002A0779-942x628.jpg "Bring it on The Musical Theatrical Inc • The Scoop")Bursting onto the stage at The National Theatre, Theatrical Inc.’s latest production, *Bring It On: The Musical*, is an explosion of athleticism, infectious energy and enough school spirit to power an entire pep rally. Based on the beloved noughties film franchise, *Bring It On* tells a new story that honours the original’s themes of rivalry, friendship and self-discovery while giving them a fresh, modern twist. It’s a musical that feels both comfortingly familiar and entirely its own. The moment the first pom-pom peeks out, it’s clear this cast has come to play. The ensemble scenes are absolutely electrifying, with choreography that rarely gives performers a chance to catch their breath. Louise Panagiotidis’ choreography is razor-sharp, seamlessly blending cheerleading, dance and musical theatre into routines that are as technically impressive as they are entertaining. In fact, this production has real-life competitive cheerleaders as part of the cast! Every lift, tumble and formation lands with precision, creating a constant sense of momentum that never lets the audience’s attention drift. Leading the charge is Emily McDougall as Campbell, delivering a fierce and likeable performance as the cheer captain whose carefully mapped-out future is turned upside down. Having seen McDougall make her debut as Elle Woods in *[Legally Blonde](https://thescoop.au/review-legally-blonde-is-guilty-of-being-fabulous/)*, it’s exciting to watch her continue to grow as a performer. She brings warmth, determination and vulnerability to Campbell, effortlessly anchoring the show’s emotional journey. But dare I say it – she may shine even brighter as the hilariously committed Leprechaun mascot during one of the musical’s funniest sequences. ![The Scoop Bring it on The Musical Theatrical Inc](https://thescoop.au/wp-content/uploads/2026/07/002A0322-942x628.jpg "Bring it on The Musical Theatrical Inc • The Scoop")The moment the first pom pom peeks out its clear this cast has come to play Photo by Natalie EdgeThe undeniable standout of the evening, however, is Alyssa Jandayan as Danielle. Quite simply, she is a star. It’s rare to find a performer who can act, sing and dance at such a consistently high level, but Jandayan proves herself to be the very definition of a triple threat. Every number she leads crackles with confidence, and it’s impossible to take your eyes off her. The supporting cast is equally strong, with each performer making their mark. Taylor-Anne Bright is deliciously wicked as Eva, sweetly deceiving us with her cutting rendition of *Killer Instinct*. Jenna Mole is endlessly charming as the sweet and empathetic Bridget, earning some of the biggest laughs of the evening with her impeccable comedic timing. Flynn Hunter impresses as Randall, delivering strong vocals that soar, particularly in *Enjoy the Trip*. Cara Mia Honan and Elle Fenelon are perfectly cast as high school queen bees Skylar and Kylar. Honan, in particular, proves to be a comedy favourite, milking every cutting remark for maximum effect. Fergus Rann is wonderfully committed as Steven, remaining completely invested in the character even when the spotlight shifts elsewhere. Yes, Fergus, I saw those hilariously pained eyes during the crushing finale. Ari Rego and Yurina Kutsukake are effortlessly fabulous as La Cienega and Nautica, bringing style, attitude and plenty of scene-stealing moments. Zade Nabole is impossibly cool as Twig, delivering his rapid-fire rap with confidence and ease. ![The Scoop Bring it on The Musical Theatrical Inc](https://thescoop.au/wp-content/uploads/2026/07/002A0702-942x628.jpg "Bring it on The Musical Theatrical Inc • The Scoop")The costumes embrace the bold colourful world of competitive cheerleading Photo by Natalie EdgeMusically, *Bring It On* is an absolute treat. The score, featuring music by Lin-Manuel Miranda and Tom Kitt, is packed with unmistakable Miranda signatures. The syncopated rhythms, rapid-fire lyrical phrasing and infectious hooks will feel instantly familiar to fans of *Hamilton* and *In the Heights*, while still carving out its own identity. It’s a soundtrack that perfectly matches the relentless pace of the production, balancing heartfelt ballads with energetic ensemble numbers that keep the adrenaline pumping. Visually, the production is just as much fun. The costumes embrace the bold, colourful world of competitive cheerleading with just the right amount of camp. One particular dream sequence introduces costumes that shimmer spectacularly under the lights, and I couldn’t help wishing those dazzling designs made one final appearance during the finale. They were simply too good to leave behind. Above all else, *Bring It On: The Musical* is unapologetically fun. Beneath the high-flying stunts, dazzling choreography and glittering uniforms is a story about finding where you belong, embracing authenticity and discovering that the strongest teams are built on trust rather than trophies. Theatrical Inc. has assembled an extraordinarily talented cast who throw themselves into every moment with infectious enthusiasm, delivering a production that’s impossible not to cheer for. ***Bring It On: The Musical* is presented by Theatrical Inc. and runs to 26 July June at the National Theatre St Kilda. 20 Carlisle Street St Kilda Vic 3182.** Tickets are available [here](https://ticketing.nationaltheatre.org.au/shop/tickets/series/BringItOn?_gl=1%2As1gvlu%2A_gcl_au%2AMjE0NDkwMjY5NS4xNzgzODU5MTMx). Website: <https://booktickets.com.au/bringiton/> Socials: <https://www.instagram.com/theatricalinc/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Natalie Edge Photography **Categories:** Melbourne, Musical Theatre --- ### [Review: Uncle Vanya, Rebooted For The Doom Scrolling Age](https://thescoop.au/review-uncle-vanya-rebooted-for-the-doom-scrolling-age/) **Published:** July 12, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner](https://thescoop.au/wp-content/uploads/2026/07/UNCLE_VANYA_STILLS_by_MATT_BYRNE-04385-1038x628.jpg "Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner • The Scoop")“Sit anywhere you like. Just don’t step on the dirt.” It is the first instruction audiences receive on entering the AC Arts Main Theatre. Three islands of red earth spread across the floor before the stage. Two more sit closer to the action. Behind them, trees sway across a wide projection screen. The forest looks almost breathable. On the couch, Vanya sleeps. For a moment, Paper Mouth Theatre’s *Uncle Vanya – But There’s ASMR Soap-Cutting Videos Playing in the Bottom Right Corner* appears ready to begin exactly where Anton Chekhov left it. That illusion does not last. Written in the late 1890s and first staged by the Moscow Art Theatre in 1899, *Uncle Vanya* remains one of Chekhov’s defining works. Its characters live on a rural estate sustained by unseen labour. They regret wasted years, desire the wrong people and wait for life to begin. It never does. Mary Angley’s production begins by showing how well this ensemble can play Chekhov straight. Arran Beattie enters as the doctor Astrov, speaking in his own Scottish accent among Australian voices. Ellen Graham’s Sonia makes tea. Poppy Mee’s Marina peels potatoes. The rhythms are patient and domestic. Cups move. People wait. Thoughts take time to emerge. Then Yoz’s Vanya enters with his phone out. It is a small gesture, but instantly recognisable. Every social gathering has that moment. Who will be the first person to leave the room without physically leaving it? The phone camera is linked to the enormous screen behind the actors. Suddenly, Marina’s potato peeling appears in close-up. We watch the live scene and its digital copy at once. Attention divides. The production follows it. ![The Scoop Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner](https://thescoop.au/wp-content/uploads/2026/07/UNCLE_VANYA_STILLS_by_MATT_BYRNE-02792-942x628.jpg "Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner • The Scoop")The production begins by showing how well this ensemble can play Chekhov straight Photo by Matt ByrnePaper Mouth Theatre describes this work as neither an adaptation nor a parody. The company has not pasted online culture over Chekhov for easy laughs. It places the original drama inside the conditions through which contemporary audiences now receive almost everything. Dialogue competes with projections. Actors begin monologues while other images and sounds tug at the eye. Whispering, slicing and soap-cutting ASMR enter the space. At times, the performance feels less like watching a play than inhabiting a browser with too many tabs open. Six brave audience members sit on wooden chairs beside the front of the stage. At times they are offered large yellow button marked with a cross. When a monologue threatens to continue too long, they may press it and skip ahead. The button is funny. It is also uncomfortable. What do we lose when we remove the parts that ask the most patience from us? What do we gain? Before an answer can settle, Angley bursts onto the stage and informs us that the production will skip Act Two. It is mostly character development anyway. Russian landowners talk about agrarian and industrial concerns. Everyone suffers. Everyone drinks. We understand. Angley then condenses the act into a rapid PowerPoint presentation. Those who saw her Fringe work explaining how Sandy dies at the beginning of *Grease* will recognise the form. Here, the slides move through Chekhov’s plot while quietly indicting the modern urge to make everything faster and easier. We no longer toil on the land: we tap on phones and keyboards. We do not boil the samovar: we order Uber Eats. The routine is very funny because the critique includes both performer and audience. Nobody leaves untouched. ![The Scoop Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner](https://thescoop.au/wp-content/uploads/2026/07/UNCLE_VANYA_STILLS_by_MATT_BYRNE-03148-942x628.jpg "Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner • The Scoop")Dialogue competes with projections and actors begin monologues while other images and sounds tug at the eye Photo by Matt ByrneAfter more than a century of watching capital crush workers, wealth accumulate, and financial systems collapse, Angley suggests we may not need another long evening reminding us oppression exists. We know. The problem is what we do with that knowledge. We doomscroll, we binge cartoons, we take online quizzes, we watch TikTok dances. We give ourselves small treats. The audience receives stickers. There is a quiz, there is wrestling, there are dance breaks. Distraction becomes both the subject of the production and the method by which it proceeds. This is not a smug attack on reduced attention spans. Paper Mouth understands the comfort of dissociation too well for that. The pleasure is real. So is the need beneath it. Felicity Boyd’s choreography turns despair into rhythm. References to suicide arrive through hip-hop cadences while bodies keep moving. Two dance sequences erupt during the performance. They are joyful, ridiculous and slightly desperate. The pro-wrestling sequence performs a similar function. Stylised aggression offers a safe container for real aggression. Bodies can slam together. The audience can laugh; the violence ends on cue. The quiz between Acts Three and Four doubles as cover for a scene change. It also tests whether we have followed anything amid the noise. We have. That may be the most unnerving discovery of the night. Our attention is not absent. It has become diffuse. We can follow Chekhov, watch a secondary video, listen to whispering and anticipate a role switch almost simultaneously. ![The Scoop Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner](https://thescoop.au/wp-content/uploads/2026/07/UNCLE_VANYA_STILLS_by_MATT_BYRNE-03163-942x628.jpg "Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner • The Scoop")The company moves between realism live art dance comedy and deconstruction with remarkable assurance Photo by Matt ByrneAbout those role switches: just because a performer begins the evening as one character does not guarantee they will remain there. Some changes happen for gloriously absurd reasons. Others carry more weight. Revealing them would spoil both the comedy and several of the production’s sharpest ideas. The switches ask how much of a character belongs to the text, the actor or the authority assigning the role. They also ask who is permitted to dominate a room and who must absorb the consequences. Angley plays the Professor. She is also, in another sense, our theatre professor. Vanya accuses Chekhov’s Professor of spending his career writing about art without understanding it. Angley understands it so deeply that she is willing to pull it apart in public. She identifies the parts that still breathe, the parts that have calcified and the parts that now cause harm. This becomes clearest in the scene between Astrov and Yelena. In the original work, the doctor forces himself upon the Professor’s wife. The moment is often softened by tradition, framed as passion or brushed aside as an artefact of its time. This production refuses both evasion and blind fidelity. It acknowledges the harm of playing the scene exactly as written. It also acknowledges the danger of rewriting history so cleanly that the violence appears never to have existed. The intervention is brief. Its effect is enormous. ![The Scoop Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner](https://thescoop.au/wp-content/uploads/2026/07/UNCLE_VANYA_STILLS_by_MATT_BYRNE-04349-1031x628.jpg "Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner • The Scoop")Felicity Boyds choreography turns despair into rhythm Photo by Matt ByrneIn a few minutes, the production transforms how we understand the scene, the doctor and Chekhov himself. It achieves what pages of academic commentary often cannot. The body on stage makes the argument unavoidable. During Astrov’s speech about forest destruction, the lush trees behind the stage disappear. The landscape becomes barren. Then it begins to resemble Mount Doom. Chekhov’s ecological anxiety stretches forward into climate catastrophe. It is the apocalypse as encountered through a phone screen. Terrifying, familiar and always competing with something else. Yoz’s Vanya carries both the production’s sadness and its mischief. A cast on his arm initially seems like an unavoidable practical detail. This is theatre, however. If there is a cast on stage, it must eventually be used. The same principle applies to the gun. Chekhov’s weapon appears because it must. Paper Mouth’s version understands the rule and enjoys making us wait for how it will be fulfilled. Graham’s Sonia has the difficult task of carrying the original play’s emotional conclusion. She performs the early naturalism with stillness and care. That makes the later argument with Chekhov’s ending feel earned. Dan Thorpe plays Telegin, or Waffles, while also working as sound designer and live pianist. Between scenes, he lightly touches the keys. The piano briefly pulls the scattered room back into focus. The whole company moves between realism, live art, dance, comedy and deconstruction with remarkable assurance. These performers could deliver a fine, faithful *Uncle Vanya*. The opening proves it. They also prove why doing only that would be a mistake. ![The Scoop Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner](https://thescoop.au/wp-content/uploads/2026/07/UNCLE_VANYA_STILLS_by_MATT_BYRNE-02840-1049x628.jpg "Uncle Vanya But There's ASMR Soap Cutting Videos in the Bottom Right Corner • The Scoop")Every performer on this stage belongs on South Australias main stages Photo by Matt ByrneChekhov leaves Vanya and Sonia at their desks. They will continue working inside the system that has diminished them. They will endure. Perhaps, after death, they will finally rest. That promise no longer offers much comfort. Work harder. Accept less. Keep the estate running for people who benefit from your labour. Hope another world rewards you. After more than a century of escalating inequality and collapsing systems, endurance begins to sound less like courage than obedience. Angley offers another possibility. Change the role. Stop the scene. Skip the act. Examine what the system asks of people. Keep what remains alive. Rebuild the rest.. State Theatre Company South Australia Artistic Director Petra Kalive deserves praise for creating the SPARK program and giving this work room to grow. The initiative supports independent South Australian artists through mentoring, rehearsal and performance space, along with access to mainstage production resources. This is exactly what such a program should do. It does not ask independent artists to make safer work. It gives them the means to become more dangerous. Every performer on this stage belongs on South Australia’s main stages. You may think you know *Uncle Vanya*, you may think you know Chekhov. Paper Mouth Theatre presses the yellow button, changes the cast and asks you to look again. **Paper Mouth Theatre presents** ***Uncle Vanya – But There’s ASMR Soap Cutting Videos Playing in the Bottom Right Corner.* It runs to 18 July as part of the State Theatre Company South Australia 2026 season. Main Theatre, Adelaide College of the Arts, Adelaide SA 5000.** Tickets are available [here](https://my.statetheatrecompany.com.au/overview/uncle-vanya). Website: <https://statetheatrecompany.com.au/shows/uncle-vanya/> Socials: <https://www.instagram.com/statetheatresa/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Matt Byrne **Categories:** Adelaide, Theatre --- ### [Review: Middle Raged A Musical Meltdown Is A Love Letter To Women](https://thescoop.au/review-middle-raged-a-musical-meltdown-is-a-love-letter-to-women/) **Published:** July 12, 2026 **Author:** Grace Cassidy **Content:** ★★★★★ ![The Scoop Middle Raged - A Musical Meltdown](https://thescoop.au/wp-content/uploads/2026/07/Queenie-van-de-Zandt-and-MIDDLE-RAGED-cast-photo-credit-Philip-Erbacher-copy-942x628.jpg "Middle Raged - A Musical Meltdown • The Scoop")We open with a juxtaposition – a stage drawn in shades of pink, a live band that trots out a jazzy tune, an arch that’s ringed by light bulbs like a mirror in an actress’s dressing room. It feels like stepping onto the soundstage of a 1950s television show. Yet, above the arch is a QR code. It invites the audience to submit photos of themselves with loved ones. We stand at a crossroads, caught in a moment between the old and the new. *Middle Raged – A Musical Meltdown* is a stunning new musical that exploded onto Canberra’s stage in the second stop of its first tour. Created by Queenie van de Zandt and Tiffany Noack, it’s a show that found its beginning over drinks among friends. In a tight 90-minute performance, featuring songs by Missy Higgins, Gillian Cosgriff, Tim Minchin, Sia and P!nk, this marvellous show posits that menopause and womanhood are things to be experienced together. ![The Scoop Middle Raged - A Musical Meltdown](https://thescoop.au/wp-content/uploads/2026/07/QUEENI1-copy-942x628.jpg "Middle Raged - A Musical Meltdown • The Scoop")We follow the journey of four women as they stumble through the growing pains of mid life Photo by Phil ErbacherIn the spirit of that, we begin as all good things do: with a karaoke singalong. *Middle Raged* is not your typical musical. At every turn, it invites audiences to be a part of the story, and it deftly incorporates multimedia storytelling in a way that is seamless, surprising, and fun. Audiences are treated to a history lesson with projections and old-timey narration, interjections of sports journalists commentating on menopause like it’s a race, and a hilarious conversation that imagines the experience of losing your train of thought as a literal thought bubble that pops before you can get the words out. It’s delightful. At the same time, we follow the journey of four women as they stumble through the growing pains of mid-life. Zuleika Khan delivers a powerhouse performance as a woman grappling with perimenopause and a marriage that’s fraying at the seams. Valerie Bader is the calm in the storm – a member of the friend group who’s on the other side of menopause. She’s a fount of knowledge, warmth and dry humour. ![The Scoop Middle Raged - A Musical Meltdown](https://thescoop.au/wp-content/uploads/2026/07/Queenie-van-de-Zandt-Carita-Farrer-Spencer-in-the-Cafe-Scene-in-MIDDLE-RAGED-photo-credit-Philip-Erbacher-933x628.jpg "Middle Raged - A Musical Meltdown • The Scoop")This marvellous show posits that menopause and womanhood are things to be experienced together Photo by Phil ErbacherQueenie Van De Zandt is the glue that holds the musical together. Her solo, which is interjected with monologues cataloguing the mental load of women and exhausting societal expectations, is devastating. Finally, Carita Farrer Spencer is hilarious in her role as a witty, scatterbrained academic. She brings down the house when she transforms into an overwhelmed mum in a hospital waiting room, drowning in a mountain of family emergencies, bereft, overwhelmed, and missing her kid. The performance is a stunning tribute to mums everywhere. *Middle Raged – A Musical Meltdown* begins and ends with wine glasses in hand, singing along to an iconic pop song. As a member of the audience, it at once transported me to a party singing with my friends. But also to sitting on the living room floor of my childhood, listening to my mum and her friends scream ABBA lyrics at the top of their lungs. I found myself thinking I had never experienced a performance that made me feel so held, so grateful for my mother, and so aware that I stand on the shoulders of giants. ***Middle Raged – A Musical Meltdown* ran at the Canberra Theatre Centre from 8-11 July as part of an Australian tour.** See full dates below. Tickets are available at the [website](https://middleraged.com.au/#tickets). Website: <https://middleraged.com.au/> Socials: <https://www.instagram.com/middleragedau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Philip Erbacher Produced by Women with Pockets and Andrew Kay & Associates. 2026 Australian Tour Dates: Penrith 3 -4 July, The Joan Canberra 8 – 11 July, Canberra Theatre Centre Wagga Wagga 14 – 15 July, Civic Theatre Wyong 18 July – 19 July The Art House **Categories:** Musical Theatre, Sydney --- ### [Review: Next To Normal Finds Hope In The Darkness](https://thescoop.au/review-next-to-normal-finds-hope-in-the-darkness/) **Published:** July 11, 2026 **Author:** Bailee Guyer **Content:** ![The Scoop Next to Normal Sydney Musical Theatre](https://thescoop.au/wp-content/uploads/2026/07/DSC07094-1116x628.jpg "Next to Normal Sydney Musical Theatre • The Scoop")Sydney Musical Theatre delivers a poignant and emotionally compelling production of the Pulitzer Prize-winning musical *Next to Normal* in a moving opening night performance. This is a story about grief, mental illness, and the lasting effects of trauma as families attempt to hold themselves together through periods of turmoil and distress. Opening on Broadway in 2009, *Next to Normal* attracted attention from audiences worldwide for its vulnerable and unflinching portrayal of mental illness and familial grief. With Tom Kitt’s Tony Award-winning rock score and Brian Yorkey’s emotionally rich book, the musical continues to challenge audiences to sit with discomfort and reflect on the realities of loss, trauma, and healing. As settled into their seats and the lights rose on the Goodman household, I was entirely unaware of the emotional journey that was about to unfold. At the centre of the story is Diana Goodman, a mother living with bipolar disorder who is learning to navigate different treatments while her unresolved grief spills across her family. In the opening number, *Just Another Day*, we are introduced to a seemingly familiar family comprised of a caring mother, a loyal but increasingly desperate husband, a charming and magnetic teenage son, and an overachieving daughter. As the narrative progresses, the story slowly unfolds into a layered depiction of grief, trauma, and the invisible ways Diana’s struggles with mental illness creep into every member of the family. Izzy Tilden anchors this production with a nuanced portrayal of Diana Goodman. They embody the character with remarkable authenticity, capturing Diana’s vulnerability, struggles with grief, and emotional complexity. Their performance feels genuine from beginning to end. Tilden’s commanding stage presence and exceptional vocals ensure Diana remains the emotional heart of the production. ![The Scoop Next to Normal Sydney Musical Theatre](https://thescoop.au/wp-content/uploads/2026/07/DSC03551-1066x628.jpg "Next to Normal Sydney Musical Theatre • The Scoop")The story unfolds into a layered depiction of grief trauma and the invisible ways mental illness creeps into the family Image suppliedRaven Swinkels delivers an impeccable performance as the driven yet overlooked Natalie Goodman. Swinkels captures the complexity of Natalie’s character, portraying a growing teenager who is desperate to maintain control while feeling invisible within her own family. Their performance beautifully encapsulates Natalie’s frustration, isolation, and fear as she struggles to find her place beyond the shadow of her mother’s grief. Swinkels’ incredible vocals elevate Natalie’s musical numbers, with the affecting *Superboy and the Invisible Girl* being a highlight of the night. Swinkels’ chemistry with Nye Morrison’s charming and loyal Henry provides some of the production’s most tender moments, offering Natalie a sense of acceptance and support that furthers her journey of self-discovery. As Dan Goodman, Simon Donovan gives a heartfelt performance as a husband desperately trying to keep his family together. His portrayal is grounded and sympathetic, capturing both Dan’s loyalty and the emotional exhaustion that slowly builds beneath the surface. Hugh Arthur is exceptional as Gabe, delivering a warm and haunting performance. Arthur’s impressive vocals and captivating stage presence truly shine in the audience favourite *I’m Alive*. He makes Gabe impossible to ignore, and his presence lingers throughout the production in a way that feels unsettling yet beautifully effective. Brayden Macfarlane-Walker brings a grounded realism to the roles of Dr Fine and Dr Madden. His calm, measured performance provides a sharp contrast to the emotional chaos surrounding Diana, reinforcing the difficult and often clinical reality of her treatment journey. ![The Scoop Next to Normal Sydney Musical Theatre](https://thescoop.au/wp-content/uploads/2026/07/DSC07330-1092x628.jpg "Next to Normal Sydney Musical Theatre • The Scoop")The technical elements and direction also play a significant role in shaping the atmosphere of this production Image suppliedFor me, the moments that truly bring the production together are the ensemble numbers. Hearing the family sing together, even as their relationships continue to fracture, gives the story an added emotional weight. These moments make it feel as though every character’s grief is connected, and that sense of shared pain is one of the most moving parts of the production. This is especially poignant in the final number, *Light*, which leaves the audience with a sense of hope and the possibility of healing, without offering any definitive resolution. The technical elements and direction (by resident director Sarah Shanahan) also play a significant role in shaping the atmosphere of this production. One of the most striking moments is during *There’s a World* when Diana is being pulled towards Gabe, bathed in deep red lighting, signalling a shift in her mental illness journey, and the overwhelming, irresistible pull of grief and memory. The set design by Tell A Vision is another standout element. It is incredibly effective in creating the sense of a real family kitchen that feels familiar and lived in. This ordinary domestic space grounds the story in reality, while also allowing room for projections, electricity, and other visual effects that represent the gradual crumbling of the home’s familiarity. While *Next to Normal* is undeniably confronting, Sydney Musical Theatre approaches the material with remarkable sensitivity and emotional honesty, with outstanding performances, thoughtful staging, and a score that carries the story with real force. Although some depictions of medical intervention reflect perspectives that feel dated by today’s standards, the core message of the musical continues to resonate. Ultimately, this production is a moving reminder of theatre’s ability to explore the most difficult parts of the human experience, delivering a powerful and unforgettable evening. ***Next to Normal* is presented by Sydney Musical Theatre and runs to 26 July at Greenhalgh Theatre. 100 Eton Road Lindfield NSW 2070.** Tickets: <https://sydmt.sales.ticketsearch.com/sales/salesevent/165024> Website: <https://www.sydneymusicaltheatre.com.au/> Socials: <https://www.instagram.com/sydneymusicaltheatre/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied. **Categories:** Musical Theatre, Sydney --- ### [Sold Out Comedy A Kingdom Of Fools Returns To Sydney](https://thescoop.au/sold-out-comedy-a-kingdom-of-fools-returns-to-sydney/) **Published:** July 10, 2026 **Author:** Newsroom **Content:** ![The Scoop A Kingdom of Fools Eternity Playhouse Sydney](https://thescoop.au/wp-content/uploads/2026/07/A-Kingdom-of-Fools-3-1116x628.jpg "A Kingdom of Fools Eternity Playhouse Sydney • The Scoop")England, 1206. The Crown wants their tavern. The villagers revolt. Nothing goes to plan… and that’s exactly the plan! Following a sell-out Sydney Fringe debut at the National Institute of Dramatic Art (NIDA) in 2025 and a successful season at the Adelaide Fringe Festival 2026, *A Kingdom of Fools* returns to Sydney. The laugh-out-loud medieval farce comes to the **Eternity Playhouse** for a strictly limited season from **16 – 26 July**, where a humble village tavern becomes the battleground in a hilarious clash of knights, nobles, and peasants. *“I thought it was brilliant… everyone was amazing… it was funny, clever… it was just great.”* -Amanda Keller, Australian TV & radio personality. *A Kingdom of Fools* follows Sir William Drakeford, an ambitious nobleman in the service of King John, and his well-intentioned but accident-prone knight, Sir Guy Ashcombe, as they set out to bring the village of Gotham under royal control. Unfortunately for the Crown, the locals have other ideas, and the mission quickly unravels into glorious chaos. Created by Sydney playwright and performer Ryan Atkins, *A Kingdom of Fools* is for anyone who loves larger-than-life characters, clever wordplay, and unapologetic theatrical chaos. ![The Scoop A Kingdom of Fools Eternity Playhouse Sydney](https://thescoop.au/wp-content/uploads/2026/07/A-Kingdom-of-Fools-9-1116x628.jpg "A Kingdom of Fools Eternity Playhouse Sydney • The Scoop")Raise a tankard and join the fools and be prepared to laugh yourself senseless Image suppliedFeaturing a full-scale medieval tavern, period-accurate costumes, and a stage filled with authentic medieval props, the production brings thirteenth-century England vividly to life while delivering laugh after laugh. At its heart, *A Kingdom of Fools* is about the struggle between those who have power and those who must live with its consequences, a story that feels just as relevant today as it did in medieval England. The result is a cathartic farce that revels in the downfall of the powerful, delighting audiences as privilege is mocked, authority is stripped bare, and the mighty are brought low. *“A love letter to the comic styling of British farce… a fun and uproarious piece of period comedy”* – See Do Eat Review This is an evening of comedy not to be missed! Raise a tankard, join the fools, and prepare to laugh yourself senseless. ***A Kingdom of Fools* runs 16 – 26 July at the Eternity Playhouse. 39 Burton Street Darlinghurst NSW 2010.** Tickets: <https://events.humanitix.com/a-kingdom-of-fools> Socials: <https://www.instagram.com/akingdomoffools/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. ![The Scoop A Kingdom of Fools Eternity Playhouse Sydney](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-02-at-72526-pm-1200x598.png "A Kingdom of Fools Eternity Playhouse Sydney • The Scoop")**Creatives** Director **Ryan Atkins** Production Assistant **Alessia Giglio** Set Constructor **Nic You Lee** Cast: Yarno Rohling as **Sir William Drakeford** Brendan Atkins as **Sir Guy Ashcombe** Meredith Welch as **Mildreth** Lachlan Atkins as **Gerd** Nala Davies as **Ethelfleda** Ryan Atkins as **Alfric** Alex Hutchinson-Smith as **Thomas** Arnold Walsh as **Father Godric** Running time: Approximately 90 minutes, no intermission. Content warnings: This production is rated M. The show contains mild coarse language and sexual references. Please note: *A Kingdom of Fools* features a small amount of simulated blood effects. Created in partnership with the team behind *A Kingdom of Fools*. For more information about our partnerships, visit [here](https://thescoop.au/partner-with-the-scoop/). **Categories:** News --- ### [Review: Snow White Ballet Returns In Enchanting Style](https://thescoop.au/review-snow-white-ballet-returns-in-enchanting-style/) **Published:** July 10, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Snow White Ballet Theatre Queensland](https://thescoop.au/wp-content/uploads/2026/07/BalletTheatreQueensland_SnowWhite26-27-942x628.jpg "Snow White Ballet Theatre Queensland • The Scoop")Ballet Theatre Queensland returns to QPAC these school holidays with its highly acclaimed production of *Snow White*. Premiering in January 2025 as a brand-new full-length ballet, it marked a significant milestone for the company, featuring original choreography by Clare Morehen and a newly commissioned score by Lucas D. Lynch. Following a successful Gold Coast tour, the company’s first in recent history, BTQ brings this enchanting fairytale back to local Brisbane audiences. Under his own baton, Lynch’s original score, brought to life by the Cadenza Chamber Players, entrances from the opening bars, sending chills through the audience. The cinematic score is emotional and unapologetically romantic, particularly Snow White’s recurring melodic motif. The score has even been pressed onto vinyl and is for sale, alongside copies on CD, in the foyer. A loving adaptation of the Grimms’ classic fairy tale, Ballet Theatre Queensland’s *Snow White* uses the expressive power of music and dance to bring one of the world’s most beloved stories to life on stage. The Prologue introduces King Frederic (Guest Artist Jayden Grogen) and Queen Lillian (Imogen Shirreff) as they welcome their newborn daughter. A swift passage of time brings us to a carefree young Snow White (Harli Grieve), who spends her days reading books and playing with her friend William (Bryan Lindsay) in a happy and prosperous kingdom. ![The Scoop Snow White Ballet Theatre Queensland](https://thescoop.au/wp-content/uploads/2026/07/BalletTheatreQueensland_SnowWhite26-26-942x628.jpg "Snow White Ballet Theatre Queensland • The Scoop")The expressive power of music and dance brings one of the worlds most beloved stories to life on stage Photo by Quince and MulberryTheir idyllic world is shattered when Queen Lillian falls gravely ill and dies. Before long, the King remarries, and the arrival of his new Queen marks the beginning of a darker chapter for both Snow White and the kingdom. The story soon settles into its timeless battle between good and evil. Sophia Gougoulas commands the stage as the vain and menacing Evil Queen. She is supported by Matilda Kimlin as the Crone (Queen Transformed) and Katie Holman as The Queen’s Reflection. Chloe Hough is the embodiment of Snow White’s warmth, innocence and compassion. Seeking sanctuary in the forest, she finds an unlikely family in the adorable Seven Pixies. Each ensemble brings another layer of magic to the ballet. The Seven Pixies steal every scene, their whimsical costumes and distinct personalities proving irresistible. The Fireflies are delightful, fluttering across the stage in neon wings and glowing antennae. The Dark Forest ensemble is particularly enchanting. Draped in flowing black veils, their ghostly silhouettes evoke something ancient and otherworldly. The Queen’s Ghouls heighten the sense of menace, their skull masks and wild hair lending a chilling supernatural edge. Choreographically, the People of the Realm (Military) provide one of the ballet’s strongest visual moments. Their sharp arm movements and perfectly symmetrical formations around black stools create a powerful display. Meanwhile, the young choristers from Hillcrest Christian College and St Rita’s College bring touching emotional depth with their onstage vigil for the sleeping Snow White. ![The Scoop Snow White Ballet Theatre Queensland](https://thescoop.au/wp-content/uploads/2026/07/BalletTheatreQueensland_SnowWhite26-21-942x628.jpg "Snow White Ballet Theatre Queensland • The Scoop")Each ensemble brings another layer of magic to the ballet Photo by Quince and MulberryThe sets and costumes remain among the production’s greatest triumphs. Bill Haycock’s original set design transitions effortlessly between the fractured, foreboding world of the Evil Queen and the lush, organic realm of the Pixies. His ingenious use of the magic mirror becomes an integral storytelling device, weaving seamlessly into the narrative. Sound and lighting by Wil and Glenn Hughes are equally impressive. Eerie dripping effects conjure the Queen’s cold, oppressive castle, while vibrant washes of colour heighten the ballet’s most dramatic moments. Even the smoking, bubbling cauldron becomes a theatrical delight. Rebekah Ellis and her costume team deserve enormous praise for creating 150 exquisite costumes comprising more than 400 individual pieces. Keep an eye out for a wondrous costume reveal during the Liberation scene in Act Two. *Snow White* is a triumph for Ballet Theatre Queensland and a testament to what youth ballet can achieve. Rich in imagination, musicality and theatrical magic, it is a wonderful introduction to ballet for young audiences while showcasing the dedication and artistry of Queensland’s emerging dancers. Return seasons are a rare privilege, offering audiences the chance to rediscover exceptional work, and *Snow White* more than rewards a second visit. It is a beautifully crafted Australian ballet that deserves to enjoy a long life on our stages. ***Snow White* is presented by Ballet Theatre Queensland and runs to 12 July at the Concert Hall, QPAC.** Tickets: <https://www.qpac.com.au/whats-on/2026/btq-snow-white> Website: <https://btq.com.au/> Socials: <https://www.instagram.com/ballettheatreqld/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Photo credits: Quince and Mulberry **Categories:** Brisbane, Dance --- ### [Review: The Man Who Came To Dinner Is Christmas In July With Claws](https://thescoop.au/review-the-man-who-came-to-dinner-is-christmas-in-july-with-claws/) **Published:** July 10, 2026 **Author:** James Murphy **Content:** ★★★★½ ![The Scoop Four actors on a theater stage beside a tall bookshelf: an elderly man in a wheelchair wearing a red satin robe and plaid blanket, flanked by a suited man, a woman in a tan business suit holding books, and a nurse in a white uniform with a cap.](https://thescoop.au/wp-content/uploads/2026/07/20260707-IMGL3371-1-879x628.jpg "The Man Who Came To Dinner Adelaide Repertory Theatre • The Scoop")Peter Goers may be one of the few Adelaide performers who could walk on stage as Sheridan Whiteside and make the audience feel the casting joke before the first barb has fully landed. Following his successful return to the stage last year in *Harvey*, Goers now plays the acerbic theatre critic and radio star in Adelaide Repertory Theatre’s *The Man Who Came To Dinner*. It is ideal casting. Goers, the former 891 ABC radio host and longtime critic, brings his own public mythology into the room. He knows how to weaponise a pause. He knows how to enjoy a line before he says it. Most importantly, he knows that a good insult should feel like it has been sharpened for years. Written by Moss Hart and George S. Kaufman, *The Man Who Came To Dinner* premiered in 1939. Hart and Kaufman were among Broadway’s great comic architects, also collaborating on *You Can’t Take It With You*, which won the Pulitzer Prize. Kaufman was also a critic and newspaperman at *The New York Times*. Much of this play’s pleasure comes from the sound of a critic letting fly. The play begins with famous radio personality Sheridan Whiteside slipping on ice outside the Stanley family home in small-town Ohio. Confined to their house, he turns their lives into a circus. He commandeers the telephone; he insults the doctor. He belittles the nurse; he banishes the family upstairs. Then the celebrities, convicts, penguins and chaos begin to arrive. Director Sue Wylie’s production understands that this is not only a farce. It is also a study of fame and flattery. Whiteside is repulsive when he demeans the “ordinary” people around him. The cooks, the nurse, his hosts and the local doctor are all treated as furniture until they become useful. Yet when actors, playwrights and society figures enter the Stanley household, his cruelty suddenly seems less monstrous. It becomes social currency. He is no longer a bully; he is one of the crowd. That is the play’s cruellest joke. Wit can be celebrated if you are good enough at it. Cruelty can be excused if it happens in the right room. Whiteside’s name-dropping of Walt Disney, the Khedive of Egypt and every other glittering contact can feel absurdly pretentious. But almost everyone who enters the house is also chasing proximity to him. They want to drop his name too. Fame may be the ultimate form of flattery. Goers is at his best when Whiteside turns charm on and off like a tap. One moment, he makes someone feel destined for greatness. The next, he tears away their hopes because they have become inconvenient. There is a genuine question beneath the comedy. Does fame require that kind of self-centredness? Or do we simply reward it so often that it starts to look necessary? ![The Scoop The Man Who Came To Dinner Adelaide Repertory Theatre](https://thescoop.au/wp-content/uploads/2026/07/20260707-IMGL3449-988x628.jpg "The Man Who Came To Dinner Adelaide Repertory Theatre • The Scoop")Peter Goers is in the role he was surely destined to play and Michael Griffiths drops in like a champagne bubble with teeth Photo by Richard ParkhillJess Corrie is terrific as Maggie Cutler. Fresh from her award-winning turn as Honey in *Who’s Afraid of Virginia Woolf?*, she goes toe-to-toe with Goers and lands plenty of punches. Maggie is the one person in the room who can see through Whiteside’s theatre and still love him enough to fight him. Corrie gives her warmth, intelligence and a firm spine. Michael Griffiths makes a delicious entrance as Beverly Carlton, the Noel Coward-inspired society figure. Griffiths has form with this period, having won acclaim for his cabaret work on Cole Porter. Here, he is all high camp ease. He flicks the fringe, tinkles the keys, swans about the room and exits while making the simple act of putting on a coat feel like choreography. It is a coup for The Rep to have him in the cast. Helen Geoffreys arrives like a storm front as Lorraine Sheldon. She pops her lips, sways her hips and angles every syllable as though the room has been built to admire her. Robert Cusenza is equally memorable as Banjo, the Harpo Marx-inspired agent of anarchy. He flips across the chaise lounge, tips himself upside down in the wheelchair and waltzes into the wings with dangerous abandon. At times, you worry for his hips. Julie Quick is a hoot as Harriet Stanley, the strange sister with a shady past. You have met her type somewhere near Burnside Village, though hopefully not near an axe. Brenton Whittle and Rebecca Kemp make a strong team as the exasperated Ernest and Mrs Stanley. Their house has been invaded by celebrity, and they wear the polite terror beautifully. The stage is packed with a battalion of supporting players, including Christopher Cordeaux, Penni Hamilton-Smith, Tianna Cooper, Linda Lawson, Greg Janzow, Matt Chapman and others. You wonder how many dressing rooms are backstage. You also wonder where they store the props. The production seems to contain crates of penguins, a cockroach hotel, antique vases, a staircase, a library, a dining room, a wheelchair, and an enormous gold sarcophagus. There is even a grand piano for one song. ![The Scoop The Man Who Came To Dinner Adelaide Repertory Theatre](https://thescoop.au/wp-content/uploads/2026/07/20260707-IMGL3372-1200x544.jpg "The Man Who Came To Dinner Adelaide Repertory Theatre • The Scoop")The stage is packed with a battalion of supporting players Photo by Richard ParkhillThe set gives the Stanley home the right sense of respectable life under siege. Double doors open to further rooms. The staircase leads to the upstairs exile where the Stanleys have been banished. Every object seems to be waiting for either a punchline or a disaster. You don’t put a gun on stage unless someone’s going to use it. You don’t put penguins on stage unless they are going to bite. Some of the satire does depend on period references. Harpo Marx, Noel Coward, Alexander Woollcott and the social world of the Algonquin Round Table may land more sharply for some generations than others. The program helps, offering a useful glossary and background material. But the names are not always the point. The point is that the names are being dropped. They are used for status, leverage and shine. At three acts, with a curtain drop between scenes in Act One, the evening asks the audience to settle into an older theatrical rhythm. It is not built with modern speed in mind. But once the machinery starts to accelerate, the pleasures are substantial. Adelaide Repertory Theatre is South Australia’s oldest surviving amateur theatre company, and this production shows the scale of what a committed ensemble can attempt. With Goers in the role he was surely destined to play, Griffiths dropping in like a champagne bubble with teeth, and a huge cast filling The Arts Theatre stage, this feels like a once-in-a-lifetime local alignment. *The Man Who Came To Dinner* is a comedy of chaos, celebrity and ego. In The Rep’s hands, it is also a reminder that the sharpest tongues are often surrounded by people begging to be cut. It is Christmas in July, with claws. ***The Man Who Came To Dinner* is presented by The Adelaide Repertory Theatre and runs to 18 July 2026 at The Arts Theatre. 53 Angas Street Adelaide SA 5000.** Tickets: <https://artstheatresa.sales.ticketsearch.com/sales/salesevent/159415> Website: <https://adelaiderep.com/> Instagram: <https://www.instagram.com/theadelaiderep/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Richard Parkhill **Categories:** Adelaide, Theatre --- ### [SIX The Musical Rehearsals Underway: Photos of The Queens](https://thescoop.au/six-the-musical-rehearsals-underway-photos-of-the-queens/) **Published:** July 9, 2026 **Author:** Newsroom **Content:** ![The Scoop SIX AUSTRALIA Rehearsals 2026](https://thescoop.au/wp-content/uploads/2026/07/SIX-AUSTRALIA-Rehearsals-2026-Cara-Bessey-Angela-Brischetto-Lorinda-May-Merrypor-Mia-Paris-Scalise-Kadesa-Honeyhill-Sarah-Murr-PIC-CREDIT-David-Hooley-942x628.jpg "SIX AUSTRALIA Rehearsals 2026 • The Scoop")Rehearsals are officially underway and the countdown is on, with just two weeks until the Australian return of the international smash-hit phenomenon **SIX the Musical**. The award-winning global sensation will open at **Melbourne’s Comedy Theatre** on 24 July before continuing its royal reign at **Theatre Royal Sydney** from October and **QPAC’s Playhouse Theatre** in Brisbane from January 2027. Tickets are on sale now at <https://sixthemusical.com.au/> From Tudor Queens to Pop Icons, the six wives of Henry VIII **Catherine of Aragon**, **Anne Boleyn**, **Jane Seymour**, **Anna of Cleves**, **Katherine Howard** and **Catherine Parr** will turn up the mics remixing five hundred years of history into an 80-minute electrifying pop-concert musical that has become a global cultural phenomenon. The new **SIX** Queens will be played by an exceptional cast of Australian musical theatre talent. Taking on the role of **Catherine of Aragon** is Queensland Conservatorium graduate **Sarah Murr,** whose acclaimed stage credits include *Les Misérables*, *Hadestown* and *& Juliet*. ![The Scoop SIX AUSTRALIA Rehearsals 2026](https://thescoop.au/wp-content/uploads/2026/07/SIX-AUSTRALIA-Rehearsals-2026-03-PIC-CREDIT-David-Hooley-941x628.jpg "SIX AUSTRALIA Rehearsals 2026 • The Scoop")SIX Queens in rehearsal Photo by David HooleyMaking her professional musical theatre debut as **Anne Boleyn** is Victorian College of the Arts graduate **Mia Paris Scalise**, an emerging performer with experience across film and modelling. NIDA graduate **Cara Bessey** steps into the role of **Jane Seymour** following appearances in *Mary Poppins* and the Australian tour of *Sister Act*. Playing the bold **Anna of Cleves** is **Kadesa Honeyhill**, whose credits include *MAMMA MIA!* and *TINA: The Tina Turner Musical*. **Katherine Howard** will be portrayed by **Angela Brischetto**, who made her professional debut in Disney’s *Beauty and the Beast*. Completing the line-up as **Catherine Parr** is Green Room Award nominee **Lorinda May Merrypor**, best known for starring as *Juliet* in the Australian production of *& Juliet*. Joining the **SIX** Australian Queens are the extremely talented swings made up of **Lauren Goetz, Geena Hutton,** and returning cast members **Thalia Smith** Dance Captain/Swing and Associate Choreographer/ Assistant to the Director/ Alternate Swing **Cristina D’Agostino.** Also supported by the **SIX** on stage band including Music Director / Keys **Claire Healy**, Assistant Music Director / Keys **Heidi Maguire**, **Kathryn Stammers** on Drums, **Danielle Colligan** on Guitar and **Matilda Yang** on Bass. ![The Scoop SIX AUSTRALIA Rehearsals 2026](https://thescoop.au/wp-content/uploads/2026/07/SIX-AUSTRALIA-Rehearsals-2026-02-PIC-CREDIT-David-Hooley-941x628.jpg "SIX AUSTRALIA Rehearsals 2026 • The Scoop")The SIX Queens in rehearsal Photo by David HooleyThis new and exciting company will work under the helm of Australian Associate Director **Sharon Millerchip** leading the team once again. Australian Associate Director, **Sharon Millerchip**, said: *“Watching this extraordinary company come together in the rehearsal room has been a joy. Their chemistry was instant; we knew right away we had something special. Each performer brings something uniquely brilliant to SIX – incredible talent, fierce individuality, and a genuine commitment to honouring these Queens with heart, humour, and undeniable power.* *They’ve thrown themselves into the process with boundless energy, smarts, and an infectious sense of fun and I am incredibly proud of the show evolving in this room. We cannot wait for audiences across the country to watch these magnificent performers take to the stage and make SIX their own.”* **SIX** tells the extraordinary story of the six wives of King Henry VIII who step out of the shadow of their infamous husband and reclaim their own narratives. Written by **Toby Marlow** and **Lucy Moss**, this modern pop-inspired musical brings these historical figures to life, portraying them as fierce and influential pop stars in their own right. With its innovative and empowering take on history, and redefining of the modern musical, **SIX** has amassed a huge global community of all ages experiencing this fresh, clever, uplifting and intoxicating show. **SIX** is the winner of 38 international awards, including two Tony Awards® and a Platinum certified soundtrack that’s been listened to over **5.5 billion** times. The production attracts more than **3.5 million** fans annually, and the show has now played in over 15 countries, proving the Queens’ reign is far from over. ![The Scoop SIX AUSTRALIA Rehearsals 2026](https://thescoop.au/wp-content/uploads/2026/07/SIX-AUSTRALIA-Rehearsals-2026-Cara-Bessey-Angela-Brischetto-Lorinda-May-Merrypor-Mia-Paris-Scalise-Kadesa-Honeyhill-Sarah-Murr-PIC-CREDIT-David-Hooley-1-942x628.jpg "SIX AUSTRALIA Rehearsals 2026 • The Scoop")Cara Bessey Angela Brischetto Lorinda May Merrypor Mia Paris Scalise Kadesa Honeyhill and Sarah Murr Photo by David HooleySince its debut at the Edinburgh Festival Fringe in 2017, **SIX** has received widespread critical acclaim, leaving audiences enthralled by its infectious energy, catchy tunes, and empowering message. It swiftly moved to the West End and Broadway and continued to garner international recognition with productions in Australia, Canada, the United States, Europe and South Korea, Singapore, the Philippines, Japan and China. What sets **SIX** apart is its ability to resonate with diverse audiences and breathe new life into historical storytelling. With its cleverly crafted lyrics and contemporary sound, the musical effortlessly bridges the gap between the past and the present, appealing to both theatre enthusiasts and those new to the genre. It has become a cultural touchstone, inspiring fans to embrace their own strength and celebrate the triumphs and struggles of these remarkable women. Moreover, **SIX** has made a significant impact in the digital realm, creating a vibrant online community of devoted fans, lovingly referred to as the ‘Queendom’. Its infectious songs and empowering themes have sparked viral trends on platforms like TikTok and YouTube, with fans passionately sharing their love for the show through fan art, cover performances, and heartfelt and passionate discussions. Created by a brilliant original creative team **– SIX the Musical** has book, lyrics and music by **Toby Marlow** and **Lucy Moss**. It is directed by **Lucy Moss** and **Jamie Armitage** and choregraphed by **Carrie-Anne Ingrouille.** Set Design is by **Emma Bailey,** Costume Design is by **Gabriella Slade,** Lighting Design is by **Tim Deiling** and Sound Design is by **Paul Gatehouse.** The Orchestrator is **Tom Curran** and Musical Supervisor is **Joe Beighton.** ***SIX the Musical* runs 24 July – 23 August at the Comedy Theatre, Melbourne before heading to Sydney and Brisbane.** See full dates below. Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=SIXMUS26> Website: <https://sixthemusical.com.au/> Socials: [https://www.instagram.com/sixthemusicalau](https://www.instagram.com/sixthemusicalau/) [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: David Hooley Originally Produced by **Kenny Wax**, **Wendy** & **Andy** **Barnes**, and **George Stiles.** Produced in Australia by **Louise Withers**, **Michael Coppel** and **Linda Bewick.** 2026 / 2027 Australian Tour Dates: Melbourne 24 July – 23 August, Comedy Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=SIXMUS26) Sydney 9 October – 8 November, Theatre Royal [Tickets](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/120/) Brisbane from 2 January 2027, Playhouse Theatre, QPAC [Tickets](https://sixthemusical.com.au/tickets/brisbane/) **Categories:** News --- ### [Announcing Verbena Rooftop Latin Festival At Spiegel Haus Melbourne](https://thescoop.au/announcing-verbena-rooftop-latin-festival-at-spiegel-haus-melbourne/) **Published:** July 9, 2026 **Author:** Newsroom **Content:** ![The Scoop Verbena Rooftop Latin Winter Festival Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2026/07/NAMCHOPS260208_Verbena_120-942x628.jpg "Verbena Rooftop Latin Winter Festival Spiegel Haus Melbourne • The Scoop")Melbourne’s winter is set to get a Latin American takeover with **Verbena Rooftop**, a free festival transforming Spiegel Haus Melbourne into a vibrant celebration of music, dance, food and culture on **Saturday 18 July.** Timed to coincide with Colombian Independence Day weekend, **Verbena Rooftop** brings together live Latin bands, DJs, cultural performances, authentic Latin American cuisine and family-friendly activities in the heart of Melbourne’s CBD. From daytime cultural experiences to an energetic evening program, the festival invites audiences to experience the richness and diversity of Latin American culture in one unforgettable day. Presented in partnership with **Latin Stories Australia,** the festival shines a spotlight on Melbourne’s Latin American culture while supporting storytelling, connection and multicultural inclusion. ![The Scoop Verbena Rooftop Latin Winter Festival Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2026/07/image001-881x628.png "Verbena Rooftop Latin Winter Festival Spiegel Haus Melbourne • The Scoop")Guests will also have the opportunity to make a donation to support Venezuela earthquake relief through **Latin Stories Australia**. Entry to the event is free. All ages are welcome and all donations will support earthquake relief efforts in Venezuela. **Verbena Rooftop: Latin Winter Festival** **runs Saturday 18 July from 2pm – 7pm at the Spiegel Haus, 217 Lonsdale Street Melbourne Vic 3000.** Reserve your free entry at: <https://www.spiegelhausmelb.com/verbenarooftop> Website: <https://www.spiegelhausmelb.com/> Socials: <https://www.instagram.com/spiegelhausmelb/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Announcing Matt Edgerton As New AD For Black Swan Perth](https://thescoop.au/announcing-matt-edgerton-as-new-ad-for-black-swan-perth/) **Published:** July 9, 2026 **Author:** Newsroom **Content:** ![The Scoop Matt Edgerton Black Swan State Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/10-e1783568657378-1009x628.png "Matt Edgerton Black Swan State Theatre Company • The Scoop")**Black Swan State Theatre Company** is delighted to announce the appointment of acclaimed Australian theatre maker **Matt Edgerton** as its new Artistic Director. An award-winning director, dramaturg, writer and actor, Edgerton will lead Western Australia’s flagship theatre company into its next artistic chapter, succeeding outgoing Artistic Director Kate Champion. A WAAPA graduate with more than 25 years’ experience across Australia’s theatre sector, Edgerton brings an exceptional record of artistic leadership, new work development and audience engagement. His career has spanned senior creative roles including Head of New Work at Melbourne Theatre Company, Artistic Director of Barking Gecko Theatre Company, Resident Artist at Bell Shakespeare and Senior Lecturer in Acting at WAAPA. Edgerton is widely recognised for creating bold, inventive theatre that connects deeply with audiences. His directing credits include productions for Melbourne Theatre Company, Bell Shakespeare, Barking Gecko, The Last Great Hunt, Monkey Baa, Sport For Jove and numerous other leading Australian companies. He has also enjoyed a longstanding relationship with Black Swan, directing *The Seed*, *The Shepherd’s Hut* and *Fully Sikh*, while appearing on stage in *Plainsong* and *Speaking in Tongues*. Black Swan Chair **Francois Witbooi** said Edgerton’s appointment marks an exciting new era for the company:P *“Matt is one of Australia’s most respected theatre artists and leaders. His remarkable ability to champion new voices while reimagining classic works makes him an exceptional choice to lead Black Swan into its next chapter. He deeply understands this company, its audiences and the unique role Black Swan plays in telling Western Australian stories.”* Witbooi said Edgerton’s vision aligns strongly with the company’s commitment to artistic excellence and community connection: *“Matt brings an extraordinary combination of artistic ambition, generosity and strategic leadership. His passion for developing artists, building audiences and creating theatre that is inspiring, courageous and entertaining will ensure Black Swan continues to thrive as one of Australia’s leading theatre companies.”* ![The Scoop Matt Edgerton Black Swan State Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Matt-Edgerton-next-to-a-wall-lower-res-419x628.jpg "Matt Edgerton Black Swan State Theatre Company • The Scoop")Matt Edgerton**Matt Edgerton** said he is honoured to lead Black Swan: *“Black Swan gave me my first professional break in the epic Plainsong, directed by its Founding Artistic Director Andrew Ross. Nearly thirty years later, it is the greatest honour of my career to be appointed as the company’s fifth Artistic Director,” he said.* *I can’t wait to begin work with the amazing Black Swan team and our community of exceptional artists to create the next wave of great Western Australian theatre for audiences here and across the country – work that is bold, eclectic and unmistakably our own.”* Edgerton will commence full time as Artistic Director at the beginning of 2027, working closely with the company to build upon the strong artistic legacy established under Kate Champion’s leadership while shaping an exciting future for Black Swan State Theatre Company. Champion will continue to finalise the 2027 programme, and will conclude her term at the end of this year. About Black Swan State Theatre Company: Black Swan is Western Australia’s flagship theatre company, committed to presenting bold, engaging, and culturally rich storytelling. Through innovative programming, community engagement, and a commitment to accessibility, Black Swan continues to push the boundaries of contemporary theatre in Australia. **For more information, visit Black Swan State Theatre Company’s website.** Website: <https://blackswantheatre.com.au/> Socials: <https://www.instagram.com/blackswanstc/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [NIDA Fellowship Applications Now Open](https://thescoop.au/nida-fellowship-applications-now-open/) **Published:** July 8, 2026 **Author:** Newsroom **Content:** ![The Scoop NIDA Fellowships 2026](https://thescoop.au/wp-content/uploads/2026/07/DMT-Cabaret-Robert-Miniter-NIDA-1077x628.png "NIDA Fellowships 2026 • The Scoop")**The National Institute of Dramatic Art (NIDA)** is proud to announce that applications are now open for the Glorias, Freddie J. Gibson and Loudon Sainthill Fellowships. Designed to champion emerging storytellers and creative practitioners, these highly sought-after awards provide vital funding for international professional development, empowering recipients to expand their craft, build global networks and take the next bold step in their creative careers. NIDA CEO, **Liz Hughes**, said: *“Creative careers thrive on opportunity, collaboration and new perspectives. These Fellowships provide the recipients a chance to broaden their horizons, connect with international leaders in their field and bring valuable knowledge back to Australia. We are incredibly grateful to the benefactors whose generosity continues to create these life-changing opportunities.”* Details of the Fellowships are as follows: **The Glorias Fellowships: 3 Fellowships at $22,000 each** The annual Glorias Fellowships offers all professional Actors and Directors across theatre, film and television the chance to explore and develop their skills through international travel and study. Upon return to Australia, Fellowship recipients must share their new-found skills and knowledge with the broader arts community, providing an ongoing benefit. The Glorias represents both the Gloria Payten Foundation and the Gloria Dawn Foundations. Gloria Payten (1925–2004) was a pioneering theatrical agent and producer who established the International Casting Service in 1960. Actress Gloria Dawn (1929–1978), was known for her versatility in musical theatre, vaudeville, and drama. At the request of the Trustees, the Fellowships are administered by NIDA. **Freddie J Gibson Fellowship: $30,000** The Freddie J Gibson Fellowship is open to NIDA alumni who have completed a Bachelor of Fine Arts or a Master of Fine Arts degree and have at least three years of professional experience in the performing arts. Applicants may propose a wide range of international activities – including formal study, creative attachments, mentorships, festival participation, or practice-based research, provided the opportunity offers access to work, training, or ideas not readily available in Australia. The Freddie J Gibson (1934–2013) Fellowship honours the late Australian theatre producer and manager who worked on landmark productions such as Hair, Jesus Christ Superstar and The Rocky Horror Show. Freddie also managed the Theatre Royal for 16 years. **Loudon Sainthill Fellowship: $4,500** This Fellowship aims to foster the next generation of Australian Performance Designers by supporting opportunities for creative growth abroad. Open to early-career Designers working in theatre, ballet or opera to undertake international travel that advances their professional practice and expands their design skills. Applicants must be Australian residents with at least two years of consistent professional experience as a Designer in theatre, ballet, or opera. The Fellowship honours the legacy of Loudon Sainthill (1918-1969), one of Australia’s most distinctive theatrical designers, known for his bold, imaginative work on stages across London and Australia and was established through a bequest from Sainthills’ partner, Arts advocate Harry Tatlock. **Applications can be made through the NIDA website and are now open.** **Applications close Friday August 30 2026.** To apply, click [here](https://www.nida.edu.au/alumni-and-industry/resources/grants-and-fellowships/). Website: <https://www.nida.edu.au/> Socials: <https://www.instagram.com/nidacommunity/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image credit: DMT Cabaret, photo by Robert Miniter **Categories:** News --- ### [Review: Doubt A Parable Asks The Big Questions](https://thescoop.au/review-doubt-a-parable-asks-the-big-questions/) **Published:** July 7, 2026 **Author:** Ronson Blake **Content:** ★★★★½ ![The Scoop Doubt A Parable Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Doubt_STC_ImageCredit_PrudenceUpton_483-942x628.jpg "Doubt A Parable Sydney Theatre Company • The Scoop")What do we do when confronted with something that threatens our worldview? Do we double down on our convictions based on a refusal to entertain uncertainty or a fear of change? What if our suspicions are aroused, but for which we have no real proof? Do we proceed with certainty hoping to expose moral corruption, or do we embrace doubt? These are the big questions John Patrick Shanley asks in his 2004 Pulitzer Prize-winning play, *Doubt: A Parable,* presented by Sydney Theatre Company. Set in the Bronx in 1964, a time of cultural flux, *Doubt: A Parable*, as foreshadowed in Father Brendan Flynn’s (Sam Reid) opening sermon, is indeed a parable. Flynn has come to St Nicolas bringing a progressive outlook to a staid, rules-driven order maintained under the omniscient eye of Sister Aloysius Beauvier (Pamela Rabe.) But Sister Aloysius’ eye is also on Flynn, because she is convinced he is a danger to a new pupil, the only black child at the school. When Sister James (Shannen Alyce Quan) informs her that Flynn has had a private meeting with the boy, after which the boy appears inebriated, Sister Aloysius determines to be rid of the troublesome (perhaps troubled) priest. But what is fact, and what is conviction? Who do we believe? ![The Scoop Doubt A Parable Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Doubt_STC_ImageCredit_PrudenceUpton_135-942x628.jpg "Doubt A Parable Sydney Theatre Company • The Scoop")Director Marion Potts has some terrific actors at her behest Photo by Prudence UptonThe play dances on the edge of tipping one way or the other. It’s a highwire act critical to the ideas contained within. Lean too far one way and the whole thing comes undone. But to director Marion Potts’ immense credit, it doesn’t. Potts’ tight control, ear for the rhythms of language, and considered blocking that plays with symbolism are exemplary. So too the subtle interrogation of gender roles and power imbalance. Potts ratchets the tension by upping the dialogue tempo, though a consequence is audience overload. We almost need a breather to contemplate proceedings. Potts has some terrific actors at her behest. Rabe has a mighty presence; she owns this stage. In her clipped Bronx accent, she delivers some very funny putdowns with impeccable timing. Rabe wears her nun’s habit like armour as rigid as her views. On the smaller-framed Quan, it tends to diminish, intentionally so. Sister James is the blank slate on which the two protagonists compete for ascendancy. Quan handles this difficult role admirably, particularly in the latter scenes. ![The Scoop Doubt A Parable Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Doubt_STC_ImageCredit_PrudenceUpton_288-942x628.jpg "Doubt A Parable Sydney Theatre Company • The Scoop")The play canvasses some big questions that are just as relevant today Photo by Prudence UptonReid’s performance is a real eye-opener. He traces Flynn’s smooth assurance to defensive emotional turmoil with complete credibility. He sings beautifully and handles the Bronx accent quite well too (congrats to voice director Charmian Gradwell). Zindzi Okenyo plays Mrs Muller, mother of the boy, with restrained indignation. In a small but critical role, she gives a pitch-perfect performance that confounds Sister Aloysius’ worldview. The set is…wow! Backdropped by photographs of the Bronx, it is a mighty revolving edifice functioning as office, classroom, and church altar. At every turn it looms above the cast, its scale filling the large stage and reminding us of exactly where our human significance lies. Bob Cousins, take a bow. It’s beautifully lit too by Damien Cooper; certainty’s stark light softening into contemplative tones. Scene transitions are accompanied by compositions from Jessica Dunn that mirror the play’s emotional beats, evolving from beautifully sung choral pieces (cast and Lanneke Jones) to school bells chiming to a jangly, unnerving rhythm. ![The Scoop Doubt A Parable Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/07/Doubt_STC_ImageCredit_PrudenceUpton_560-942x628.jpg "Doubt A Parable Sydney Theatre Company • The Scoop")The set is a mighty revolving edifice functioning as office classroom and church altar Photo by Prudence Upton*Doubt: A Parable* is a play that canvasses some big questions, just as relevant today as when it was written, and when it was set. The shouting matches and contrived outrage of social media emanate from the same well of refusal to doubt. We crave certainty more than ever; it’s our default mode. Though this broader contemporary relevance is hard to ignore, the strength of this play and indeed this production is that it eschews any larger political message. Its laser focus is on the grey shadows of the human condition. Shouldn’t we be courageous enough to embrace uncertainty? Then again, would the extent of the Church’s crimes ever have been exposed without the conviction of the accusers? I have doubts. ***Doubt: A Parable* is presented by Sydney Theatre Company and runs to 2 August at the Roslyn Packer Theatre. 22 Hickson Road Walsh Bay NSW 2000.** Tickets are available [here](https://www.sydneytheatre.com.au/whats-on/2026/productions/doubt-a-parable). Website: <https://www.sydneytheatre.com.au/whats-on/2026/productions/doubt-a-parable> Socials: <https://www.instagram.com/sydneytheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Prudence Upton **Categories:** Sydney, Theatre --- ### [Review: Silence By Subverse Theatre Turns History Into Warning](https://thescoop.au/review-silence-by-subverse-theatre-turns-history-into-warning/) **Published:** July 6, 2026 **Author:** Jessica Fanwong **Content:** ★★★★☆ ![The Scoop Silence Subverse Theatre](https://thescoop.au/wp-content/uploads/2026/07/83A0C0AC-755A-4759-9102-82B8EDA9002B-1047x628.jpeg "Silence Subverse Theatre • The Scoop") In times of political crisis and economic downturn, it is common for the arts to turn towards a nostalgia for the ‘glorious’ past. Subverse Theatre’s *Silence*, however, is anything but a lament for bygone eras. It is a very contemporary look at political turmoil through the lens of a pre-Medieval Britain. Written by Susan Smith Blackburn Prize winner Moira Buffini and directed by Freya Patience, *Silence* is an end-of-the-millennium hallucination of apocalyptic dreams, identity crises, cross-dressing and religious clash. Balancing melodramatic comedy and visceral storytelling, it interrogates religion, gender, warfare and power-play in a country on the brink of collapse. The play follows a motley crew forced together on a desperate road-trip to escape the wrath of a sadistically paranoid King Ethelred (Declan Magee). Driven by Buffini’s fast-paced storyline and Patience’s sharp direction, the journey is brought to life by the collective brilliance of the cast, whose electrifying dynamic creates a magnetic force field that both anchors and propels the production. Magee creates a humorous depiction of the bed-bound, prophetic, unhinged King Ethelred, whose blasé menace bears a strong resemblance to King Joffrey (*Game of Thrones*) and King George (*Hamilton*). The story is propelled by his quickly regretted decision to marry off the disgraced Princess Ymma of Normandy (Morgan Godfrey) to the 14-year-old Viking-worshipping Lord Silence of Cumbria (Lily Thomson), before becoming obsessed with marrying Ymma himself. ![The Scoop Silence Subverse Theatre](https://thescoop.au/wp-content/uploads/2026/07/1P4A0283-1047x628.jpeg "Silence Subverse Theatre • The Scoop")While starting off light hearted a hilarious series of comedy of errors quickly takes the story down a darker turn Isabella AndoGodfrey’s Ymma brings out a nuanced portrayal of female rage of a young maiden trapped within a restrictive patriarchal society and caught in a tug-of-war between the unhinged King and his turncoat bodyguard Eadric (Sebastian Langkamer). The trauma and abuse she experienced have embittered her outlook on life. However, she still holds onto a powerful resilience for love, life and determination that was compellingly brought out by Godfrey. Her relationship with the young but valiant Silence, especially, is beautifully touching. Devout, sexually repressed and obsessed-with-his-own-name, Lachlan Hughes brings well-timed comedic energy to Roger, the flailing spiritual guide attempting to convert Silence to Christianity. Hughes and Chelsea Rabl’s Agnés (Ymma’s frazzled maid) act as the comedic foil to Ymma and Silence. Both gave an invigorating performance that sparked many laughs from the audience. While starting off light-hearted, a hilarious series of comedy of errors quickly takes the story down a darker turn. The further into the story the performance moves, the deeper audiences are dipped into the harrowing quagmire of the brutal power-play of first-century Britain. ![The Scoop Silence Subverse Theatre](https://thescoop.au/wp-content/uploads/2026/07/1P4A0120-942x628.jpeg "Silence Subverse Theatre • The Scoop")The journey is brought to life by the collective brilliance of the cast Photo by Isabella AndoThe descent into harsh interrogations of imperialist violence and patriarchal ruthlessness is amplified by an intuitive, atmospheric soundscape by John Sharp, sparsely but precisely used to drive the emotional pulse of the show. Harsh hypnotic lighting in Ethelred’s scenes contrast with the warm glow of the travellers in an astute and immaculately crafted series of lighting designs by Sam Martin. This is not a show that romanticises the past. Nor even a Middle Age story (despite beautiful costumes by Freya and Sharron Patience). The versatile minimalist set by Adelaide Jones merges beds, carts and caves the way the show collapses time and space. On the surface, *Silence* may appear as an entertaining comedy aesthetically grounded in medieval Britain. In reality, the story holds a mirror to prevailing conflicts within the turbulent 21st-century world. ***Silence* is presented by Subverse Theatre and runs to 18 July at the Brunswick Mechanics Institute.** **270 Sydney Road Brunswick Vic 3056.** Tickets: <https://events.humanitix.com/silence-a-play> Website: <https://www.subversetheatre.net/> Socials: <https://www.instagram.com/silence.the.play/> and [https://www.instagram.com/subverse\_theatre/](https://www.instagram.com/subverse_theatre/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Isabella Ando Content warnings: Not recommended for children under 12. This production contains strong language, drug use, sexual content, violence, references to sexual assault, torture, and war. **Categories:** Melbourne, Theatre --- ### [Sunny Coast First Stop For Room On The Broom Queensland Tour](https://thescoop.au/sunny-coast-first-stop-for-room-on-the-broom-queensland-tour/) **Published:** July 6, 2026 **Author:** Newsroom **Content:** ![The Scoop Room on the Broom Events Centre Caloundra](https://thescoop.au/wp-content/uploads/2026/07/Room-Broom.jpg "Room on the Broom Events Centre Caloundra • The Scoop")The magic begins on the Sunshine Coast this July when **The Events Centre, Caloundra** becomes the first stop on the Queensland regional tour of the internationally acclaimed stage production ***Room on the Broom***. Following its Sunshine Coast season, the production will continue to **Mackay, Proserpine, Gladstone and Toowoomba**, bringing the much-loved story to families across regional Queensland. Presented by CDP KIDS, *Room on the Broom* is packed with songs, laughter and enchanting storytelling, the production follows a friendly witch and her cat as they soar through the sky on their broomstick. When a gust of wind blows away the witch’s hat, bow and wand, a dog, bird and frog come along for a ride. But as more passengers climb aboard, disaster strikes when the broom snaps in two. With a hungry dragon looming, the adventure becomes a race to save the day. ![The Scoop Room on the Broom Events Centre Caloundra](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-06-at-122640-pm-942x628.png "Room on the Broom Events Centre Caloundra • The Scoop")The production comes from the team behind the smash-hit stage adaptations of *The Gruffalo* and *The Gruffalo’s Child* and has delighted audiences across Australia with its combination of puppetry, music and theatrical magic. Families attending *Room on the Broom* can arrive early and enjoy a range of pre-show craft activities, adding an extra layer of fun to their outing to the theatre. *Room on the Broom* is adapted from the award-winning picture book by celebrated children’s author Julia Donaldson and illustrator Axel Scheffler, published by Macmillan Children’s Books. **CDP presents Tall Stories’ production of** ***Room on the Broom* for 3 shows on Friday 31 July. The Events Centre, Caloundra, 20 Minchinton Sttreet Caloundra Qld 4551**. It then tours Queensland, see full tour dates [here](https://cdp.com.au/roomonthebroom.html). Tickets are available [here](https://tickets.theeventscentre.com.au/WEBPAGES/EntaWebShow/ShowDatesCombo.aspx). Website: <https://theeventscentre.com.au/event/room-on-the-broom/> Socials: [https://www.instagram.com/the\_events\_centre/](https://www.instagram.com/the_events_centre/) [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Heidrun Lohr Running time: 55 minutes Recommended for ages 3 and up. **Creatives** Original Director **Olivia Jacobs** Creative Producer **Toby Mitchell** Tall Stories Associate Director Australia/NZ **Sam Conway** CDP Associate Director Australia/NZ **Liesel Badorrek** Designer **Morgan Large** Lighting Designer **James Whiteside** Puppets **Yvonne Stone** Music and Lyrics **Jon Fiber, Andy Shaw** and **Robin Price** Music Production **Jon Fiber** and **Andy Shaw** for **Shock Productions** Cast: Petronella Van Tienen – Witch Triona Calimbayan-Giles – Cat Tom Gustard – Dog/Frog Edwin Beats – Bird/Dragon **Categories:** News --- ### [Review: In Pour Taste 2026 Wynnum Fringe](https://thescoop.au/review-in-pour-taste-2026-wynnum-fringe/) **Published:** July 6, 2026 **Author:** Regan Baker **Content:** ★★★★★ ![The Scoop In Pour Taste Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/07/Hero-1200X900-837x628.jpg "In Pour Taste Wynnum Fringe • The Scoop")Wine tasting is already a fairly optimistic activity. You sit down, someone pours you a splash of something expensive-looking. Suddenly everyone in the room starts pretending they know what “mouthfeel” means. We swirl, we sniff, we nod thoughtfully. We say things like “stone fruit” and “minerality” despite mostly thinking, “Yes, I would happily have more of that.” Throw a couple of comedians into that equation and things get very loosey-goosey very quickly. Hosted by Sweeney Preston and Ethan Cavanagh, with a genuine wine aficionado from Innocent Bystander bravely trying to keep the wheels somewhere near the road, *In Pour Taste* takes the humble wine tasting and gives it a very necessary shake. Over the afternoon, we worked our way through a Prosecco, Pinot Gris, Rosé, Pinot Noir and a Watermelon Spritz. Which is a nice way of saying the audience got more confident with every pour. What makes the show land so well is that it never treats wine like some sacred art form guarded by people in linen shirts who use the word “terroir” unprompted. Don’t know what a tannin is? Perfect, you’ll be fine. Preston and Cavanagh strip the whole thing of its usual awkwardness and turn it into something genuinely inviting. You can learn a little, laugh a lot, and leave knowing that your most sophisticated tasting note might be, “I’d have another one of those.” ![The Scoop Wynnum Fringe 2026](https://thescoop.au/wp-content/uploads/2026/05/240125-1925-TK5_4126-837x628.jpg "Wynnum Fringe 2026 • The Scoop")By far this was one of the most outrageously fun afternoons Ive had in a long time Image suppliedThe Wynnum Fringe crowd, it must be said, was well and truly up to the task. The Augathella Spiegeltent was filled with an audience more than ready to settle in for an afternoon of finely blended sophistication and absolute nonsense. In fact, the audience participation was next level. This is not a show where the crowd occasionally gets asked a polite question before the performers return safely to the script. The crowd is very much part of the machinery, sometimes dangerously so. What unfolded felt genuinely impossible to plan. What are the chances that Preston would single out a former wine distributor who had worked with luxury brands like Bollinger? Or that almost every female audience member brought into the chaos would either be wearing leopard print or have a name beginning with “L”? You couldn’t script it, and thankfully, they didn’t need to. Preston and Cavanagh are quick enough, relaxed enough and cheeky enough to know exactly when to chase a moment and when to let the room do the work for them. Preston has the kind of stage presence that makes mischief feel inevitable. There’s a looseness to him that keeps the room beautifully on edge. It’s as if at any moment he might discover an entirely new joke hiding under someone’s seat. ![The Scoop Wynnum Fringe 2026](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-16-at-11743-pm-1200x415.png "Wynnum Fringe 2026 • The Scoop")The Wynnum Fringe runs from 25 June to 12 July 2026Cavanagh, meanwhile, balances the energy with a wonderfully dry, sharp charm. Together, they have that lovely double-act rhythm where neither performer seems to be fighting for control. Even when the whole room appears to be gently sliding off the rails. The Innocent Bystander partnership is also smartly handled. The wines are not just decorative props for the comedy. They give the show structure, pace and, let’s be real, a fairly persuasive reason for the audience to become more vocal as the hour goes on. That, and to stick around and support the Fringe afterwards. By the time the Watermelon Spritz arrived, the room had moved away from “formal tasting,” leaning more towards “family Christmas after someone found the good esky.” Which I mean as the highest compliment. By far, this was one of the most outrageously fun afternoons I’ve had in a long time. Who knew wine and comedy worked just as well, if not better, than wine and cheese? There’s something delightfully disarming about laughing while learning just enough to sound impressive later, but not so much that you accidentally become unbearable at dinner parties. The show may be called *In Pour Taste*. But I left the Augathella Spiegeltent with a crisp taste on the back of my palate and a very real soft spot for Sweeney and Ethan. It’s silly, smart, brilliantly social and dangerously easy to enjoy. Like any good bottle shared among friends, it goes down far too easily and leaves you wishing there was just a little bit more. ***In Pour Taste*** **ran on 3 and 4 July as part of Wynnum Fringe**. **Augathella Spiegeltent, 166 Bay Terrace, Wynnum QLD 4178.** The season has now ended. Website: <https://wynnumfringe.com/in-pour-taste/> Socials: <https://www.instagram.com/wynnumfringe/> and <https://www.instagram.com/inpourtaste.show/> [Read more of our Wynnum Fringe Reviews](https://thescoop.au/?s=wynnum+fringe) Images supplied. Watch the trailer here: **Categories:** Brisbane, Comedy --- ### [Review: Gutenberg! The Musical! Brings Infectious Energy To PIP Theatre](https://thescoop.au/review-gutenberg-the-musical-brings-infectious-energy-to-pip-theatre/) **Published:** July 5, 2026 **Author:** Isabella Visser **Content:** ★★★★☆ ![The Scoop Gutenberg! The Musical! Second Beat Productions PIP Theatre](https://thescoop.au/wp-content/uploads/2026/07/MVI_0001_16-1116x628.jpg "Gutenberg! The Musical! Second Beat Productions PIP Theatre • The Scoop")Prepare to laugh out loud, kick your feet and howl with joy at Second Beat’s newest production, *Gutenberg! The Musical!* Playing for a limited time at Brisbane’s charming PIP Theatre, *Gutenberg!* *The Musical!* is a hilariously outlandish celebration of musical theatre and cheering on the underdogs. The story follows wannabe composers Bud Davenport (Liam J.K) and Doug Simon (Daniel Kirkby) as they pitch their brand-new musical idea at a backer’s audition. Slightly inspired by the life of printing press inventor Johann Gutenberg, their story is an impressive dramatisation filled more with hilarious enthusiasm than with facts. The musical’s writing and composing team, Scott Brown and Anthony King, were inspired to write *Gutenberg! The Musical!* based on the terrible experimental musicals they saw pitched while interning. After a failed attempt at trying to create a musical about the printing press as a prank pitch for their boss, the pair grew an unexpected appreciation for how hard it is to make a musical, even a bad one. Brown and King fleshed out the idea years later to include the eager and naïve creator characters, Bud and Doug, who bring an infectious joy to what could have been a very different and boring musical. ![The Scoop Gutenberg! The Musical! Second Beat Productions PIP Theatre](https://thescoop.au/wp-content/uploads/2026/07/MVI_0001_7-1116x628.jpg "Gutenberg! The Musical! Second Beat Productions PIP Theatre • The Scoop")Co directors and stars Liam JK and Daniel Kirkby must juggle many hats to put this production together Image suppliedOf course, Scott Brown and Anthony King are now very well known for writing the book for *Beetlejuice: The Musical*, which premiered on Broadway in 2019 and is finishing its Brisbane season today. Second Beat Productions is a proudly Brisbane-based independent company that is entirely dedicated to making their audiences smile and crack a laugh. They celebrate Brisbane’s diverse culture in their previous productions, *Drag Queen Musical Story Hour* and *Thank God You’re Queer*. Second Beat’s production of *Gutenberg! The Musical!* is a show that’s impossible to walk away from without bursting into a fit of giggles. Music direction by Rae Rose is undeniably impressive. Located in the back corner of the stage, Rose’s piano playing amidst the chaos around them is so accomplished it almost borders on the unbelievable. Only the look of deep focus and quick flips of the page reveal the remarkable amount of effort that comes from performing such a wide variety of styles. Co-designers Liam J.K and Brigitte Bennet have brilliantly devised a production that lets imagination take the lead. The stage design and props are simple but immensely effective in embracing the wild and frenzied atmosphere of the show. ![The Scoop Gutenberg! The Musical! Second Beat Productions PIP Theatre](https://thescoop.au/wp-content/uploads/2026/07/MVI_0001_9-1116x628.jpg "Gutenberg! The Musical! Second Beat Productions PIP Theatre • The Scoop")The show is guaranteed to be a night of uncontrollable laughter and heart swelling enthusiasm Image suppliedJust like their characters, co-directors and stars Liam J.K and Daniel Kirkby must juggle many hats to put this production together. Each aspect of the show is well thought out, with every detail timed precisely to pull off the best reaction. Liam J.K’s portrayal of Bud is sweet and sincere. They have an amazing singing voice and can skilfully hold a note to the best effect. The other half of this iconic duo, Daniel Kirkby brings a confident and goofy performance in their role as Doug. He also rocks some very groovy moves with great leg work. While on stage, the pair expertly switch roles at lightning speed, from the famed Gutenberg and evil monk to the unknowingly beautiful Helvetica and the angry antisemitic flower girl. All the transitions happen with a change in hats and talented acting. The musical’s full cast numbers are especially entertaining, as J.K and Kirkby balance a stack of baseball caps on their head while singing and dancing. Not to mention the hilarity of the chorus line of hats swinging by a piece of string. Second Beat’s *Gutenberg! The Musical!* is a show jam-packed with inspiring stories, dedicated performances, and an abundance of hope. It’s guaranteed to be a night of uncontrollable laughter and heart-swelling enthusiasm. ***Gutenberg! The Musical!* is presented by Second Beat Productions and runs to 11 July at PIP Theatre. 20 Park Road Milton Qld 4064.** Tickets: <https://piptheatre.sales.ticketsearch.com/sales/salesevent> Website: <https://piptheatre.org/gutenberg-the-musical/> Socials: <https://www.instagram.com/secondbeatproductions/> and <https://www.instagram.com/piptheatreau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied by Second Beat Productions **Categories:** Brisbane, Musical Theatre --- ### [Review: The Dapto Chaser Is Richly Funny & Quietly Devastating](https://thescoop.au/review-the-dapto-chaser-is-richly-funny-quietly-devastating/) **Published:** July 3, 2026 **Author:** Ronson Blake **Content:** ★★★★☆ ![The Scoop Theatrical scene: a man in a beige suit peers through binoculars while a man in a blue tracksuit holds a vintage recorder on stage.](https://thescoop.au/wp-content/uploads/2026/07/Marco_Chiappi_Justin_Rosniak_Ensemble_TheDaptochaser_Production_ImageCredit_PrudenceUpton_104-942x628.jpg "The Dapto Chaser Ensemble Theatre • The Scoop")Mary Rachel Brown’s 2010 play *The Dapto Chaser* makes its Ensemble Theatre debut at a time when the greyhound industry is shrinking under the weight of past indiscretions (to put it mildly) and a vanishing working class. It’s a play that examines the damage gambling wreaks on families, and the strength it takes to survive when faith in everything you know proves misguided. It’s a play that loves its characters, flaws and all. And it’s bloody funny. The Sinclair family are battlers, weighed down, *kept* down, by years of poor decisions, chasing dreams that are never realised, gambling everything on the hope of a big payday that will lift them out of a cycle of “poorness”. The lure of the next race, the way up and out, is an illusion. They will never get there because greyhound racing is a mug’s game. Still, they have one thing in their favour. It’s called Boy Named Sue, a potential champion dog. On to a stage rich in dusty memorabilia – old trophies and medals, half-eaten toasties and empty beers – shuffles the emaciated frame of Errol Sinclair (Peter Carroll). He sinks into the centre-stage recliner rocker from where he holds court over his youngest son Jimmy (André de Vanny). Errol is dying from lung cancer even as he stubbornly smokes and drinks. He has spent his life gambling on the dogs and has nothing to show for it, to Jimmy’s immense frustration and despair. ![The Scoop The Dapto Chaser Ensemble Theatre](https://thescoop.au/wp-content/uploads/2026/07/Peter_Carrol_Ensemble_TheDaptochaser_Production_ImageCredit_PrudenceUpton_280b-942x628.jpg "The Dapto Chaser Ensemble Theatre • The Scoop")Peter Carroll is mesmerising as the irascible Errol Photo by Prudence UptonCarroll, in another superbly shaded performance, is mesmerising as the irascible Errol, alternately indignant (feigned or not), bullying, selfishly deluded and sentimental. It is a memorable turn. Jimmy stoically tolerates his father’s behaviour. As the younger son, he’s become inured to it, but it’s to de Vanny’s credit that Jimmy presents as no milksop. De Vanny shows a steeliness behind Jimmy’s forbearance, so that it’s no surprise when ultimately Jimmy has the courage to make a decisive call. While Jimmy doesn’t really belong in the game, his brother Cess (Justin Rosniak) has greyhound racing in his blood. He has the ‘gift’ and in Boy Named Sue a potential answer to their intergenerational poverty. He also has dreams of becoming a player, but standing in his way is Errol’s old nemesis, Arnold Denny (Marco Chiappi). Denny is an oily operator and, in Chiappi’s hands, hilariously untroubled by self-awareness. However, Chiappi never lets us forget the ruthlessness behind the vanity. Denny has the money and “it’s a buyer’s market.” Poor Cess is literally in another class. At heart he’s not a creative cheat like his father, nor a genuine player like Denny. And we know from the moment he settles comfortably in Errol’s armchair how this will end. Two different brothers favoured unequally by their father is an old trope, but Anna Houston’s cracking direction really lifts this production. Both Houston and Brown have a clear understanding of the absurd quixotic attachment to lost causes of some male interactions. Brown, especially, is attuned to the rich language of the dog-racing milieu. Performed on the tight Ensemble stage, the brothers’ battle for survival in a world changing fast is combustible. Rosniak again displays his terrific comedic timing and physicality, and in de Vanny he has the perfect foil. They really work well together. ![The Scoop The Dapto Chaser Ensemble Theatre](https://thescoop.au/wp-content/uploads/2026/07/Justin_Rosniak_Justin_Rosniak_Ensemble_TheDaptochaser_Production_ImageCredit_PrudenceUpton150-942x628.jpg "The Dapto Chaser Ensemble Theatre • The Scoop")Scripted as a series of one on ones the assured performances from all four actors utterly zing Photo by Prudence UptonScripted as a series of one-on-ones, the assured performances from all four actors utterly zing. Simone Romaniuk’s set design evokes a sense of a time rapidly passing even as the Sullivan’s home appears fixed in aspic. Emphasising this motif, Matt Cox lights it in a nostalgic warm glow. You can almost smell the crust of privation emanating from Romaniuk’s costuming. Complementing the refrain of an era passing is video designer Aron Murray’s projection of grainy TV racing footage. Indeed, the sounds of the racetrack are never far away in Madeleine Picard’s almost subliminal sound design. Boy Named Sue is a phantom never seen by the audience but interacted with by the characters, its visibility as insubstantial as the unrealistic hopes and desperate dreams projected onto it. A faint audio snuffling is the only clue to its presence. While the comedy is well worth the price of admission, there is, I feel, a level of darkness and despair that remains unexplored. The reckoning between the brothers is bruisingly cathartic, but a more acute feeling of desperation leading to this point would elevate this production even further. Nevertheless, *The Dapto Chaser* is an uproariously funny, sad, and poignant tale of a cultural tradition fading into history; wonderfully acted and directed. ***The Dapto Chaser* is presented by Ensemble Theatre and runs to 25 July.** **78 McDougall Street Kirribilli NSW 2061.** Tickets are available [here](https://boxoffice.ensemble.com.au/WebPages/EntaWebShow/ShowPerformance.aspx). Website: <https://www.ensemble.com.au/shows/the-dapto-chaser/> Socials: <https://www.instagram.com/ensembletheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Prudence Upton Watch the trailer for *The Dapto Chaser* here: **Categories:** Sydney, Theatre --- ### [Win Tickets To The 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/win-tickets-to-the-2026-hurtigruten-nordic-film-festival/) **Published:** July 3, 2026 **Author:** Newsroom **Content:** ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/06/NORDIC26_Landscape_1260x656-1200x625.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")The 2026 **Hurtigruten Nordic Film Festival** is screening nationally through the wintry months of July and August at Palace, Palace Nova and Luna Palace Cinemas. Featuring the best new cinema from Denmark, Finland, Iceland, Norway and Sweden, this year’s formidable line-up showcases cinematic legends, breathtaking landscapes and the unique storytelling and profound cultural insights that has earned Nordic cinema a distinct place in the film world. Opening the festival is the powerful Icelandic drama **ÁRRU** from debut director Elle Sofe Sara. Weaving together grounded drama with bursts of exquisite traditional song (joik) and movement, the film draws on cultural expression to explore a breathtakingly genuine connection to the environment. In a festival exclusive, the highly anticipated **FJORD**, direct from winning the Palme d’Or at the 2026 Cannes Film Festival, screens as the Festival Centrepiece. Screened in a Special Presentation, **BUTTERFLY** is an intriguing drama about a pair of estranged sisters who reunite after their mother’s sudden passing. ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/07/The-Last-Resort_1-1116x628.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")Still from The Last ResortWinner of the Dragon Award for Best Nordic Film at the 2026 Göteborg Film Festival, **THE LAST RESORT** *(Paradis),* is an absorbing drama that follows a Danish family on holiday at an all-inclusive resort. Closing the festival is the 60th anniversary screening of Ingmar Bergman’s masterpiece **PERSONA**. Liv Ullmann, in the first of many iconic collaborations with the director, plays a screen actress who has fallen into an unexplained silence. These films and many more will screen nationally from 9 July. Check full Festival dates below. The Scoop is **giving away five, in-season double passes** **to the Nordic Film Festival**, thanks to Palace Cinemas! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ and ‘your city name‘ under the post. The tickets are valid for all Nordic Film Festival sessions, pending availability, except special event screenings. **The 2026 Hurtigruten Nordic Film Festival runs from 9 July, with dates varying in each city.** See full city dates and venues below. Website: <https://nordicfilmfestival.com.au/> Socials: <https://www.instagram.com/nordicfilmfest/> [Read the Full Program Announcement](https://thescoop.au/announcing-2026-hurtigruten-nordic-film-festival-full-program/) Hero image: Still from *Árru*. 2026 Festival Dates and Venues by City: **Canberra:** 9 July – 2 August, Palace Electric **Melbourne:** 10 July – 2 August, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino, Pentridge Cinema and The Astor Theatre **Ballarat:** 10 July – 2 August, Palace Regent Cinema **Brisbane:** 22 July – 16 August, Palace James St**,** Palace Barracks **Adelaide:** 22 July – 16 August, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney:** 23 July – 16 August, Palace Norton St, Palace Moore Park and Palace Central **Perth:** 23 July – 16 August, Luna Leederville, Luna on SX and Palace Raine Square **Byron Bay and Ballina:** 23 July – 16 August, Palace Byron Bay, Ballina Fair Cinemas **Categories:** competition, News --- ### [Review: The Day Of The Triffids Is Still Surprisingly Relevant](https://thescoop.au/review-the-day-of-the-triffids-is-still-surprisingly-relevant/) **Published:** July 3, 2026 **Author:** Leo Manson **Content:** ★★★★☆ ![The Scoop The Day of the Triffids New Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/07/1-942x628.jpg "The Day of the Triffids New Theatre Sydney • The Scoop")*The Day of the Triffids* was originally written as a novel by John Wyndham in 1951. Today, adapted by award-winning director J. James-Moody, it takes the form of a play at New Theatre in Sydney. The post-apocalyptic tale is set in London after a meteor shower leaves its population blinded. Leading the audience through the city is Bill, a biologist and one of the very few left with sight. This is complicated further when Triffids, a carnivorous plant species, use the people’s absence as a chance to take over. The mayhem of this apocalyptic setting is evoked masterfully in the play’s opening scenes. In particular, the green downlighting to represent the meteor in an otherwise dark room evokes an otherworldly dread. The lighting, by Holly Nesbitt, remains impressive throughout the play. The other side of the opening scenes’ perfection is the brilliant acting from all involved. The screams are heart-wrenching and set the tone for what’s to come. James-Moody also serves as director and production designer. His extensive experience is evident in how well composed these scenes of chaos are. ![The Scoop The Day of the Triffids New Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/07/2026-NEW-The-Day-of-the-Triffids-5745-942x628.jpg "The Day of the Triffids New Theatre Sydney • The Scoop")James Collins and Umai Shantharajah are compelling leads Photo by Chris Lundie James Collins as Bill and Umai Shantharajah as Josella are compelling leads. Max Ryan as Torrence is an intriguing and wildly entertaining antagonist. Natasha Todd as Coker also gives a strong performance. Coker is quite a compelling character, no doubt due to Todd’s dynamic work. Given that most characters are blind, the show features a stripped-back set. Resultantly, it requires lighting and sound design to do a lot of the heavy lifting. In this regard, it certainly delivers. When Triffids are present, it is conveyed through audio. It would have been easy to make the Triffids sound more monstrous, but instead they make a purring-clicking sound. This grounds the play and fits well with the 1950s setting. The play also features period-accurate music that helps convey the setting. This is most notable in the first act, as it helps keep the show fast-paced. It also draws emotion from the audience as it creates a sense of naivety from the townspeople watching the meteor. ![The Scoop The Day of the Triffids New Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/07/2026-NEW-The-Day-of-the-Triffids-6474-942x628.jpg "The Day of the Triffids New Theatre Sydney • The Scoop")The production does an impressive job capturing the core themes and mood of the original text Photo by Chris LundieAt one point, Triffids are represented using umbrellas with green lights beneath. This is a crafty and effective decision that would have been nice to see used again. The play also features some very creative elements in the use of a projector to convey TV news reports. This is supported through the excellent voice work by Tony Llewellyn-Jones and Nathan Farrow. Their animated voices and strong accents are captivating. Running this multimedia mayhem is stage manager Matilda Holton, who deserves much applause for keeping these elements running smoothly. Adapting a novel is no easy task. The pacing of certain scenes in the latter half of the show left more to be desired. Regardless, James-Moody does an impressive job capturing the core themes and mood of the original text. *The Day of the Triffids* is a highly intriguing viewing experience, and its 1950s post-war themes are surprisingly relevant today. ***The Day of the Triffids* runs to 25 July at New Theatre. 542 King Street Newtown NSW 2042.** Tickets: <https://aunewtheatre.sales.ticketsearch.com/sales/salesevent/156913> Website: <https://newtheatre.org.au/the-day-of-the-triffids/> Socials: <https://www.instagram.com/newtheatresydney/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Chris Lundie **Categories:** Sydney, Theatre --- ### [Will Swenson On Neil Diamond & The Power Of A Beautiful Noise](https://thescoop.au/will-swenson-on-neil-diamond-the-power-of-a-beautiful-noise/) **Published:** July 2, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Will Swenson A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/07/A44I8802-Edit-943x628.jpg "Will Swenson A Beautiful Noise The Neil Diamond Musical • The Scoop")The smash-hit Broadway show ***A Beautiful Noise: The Neil Diamond Musical*** will make its Australian premiere in Melbourne next month before heading to Sydney in November. Acclaimed Broadway star **Will Swenson**, who originated the role of Neil Diamond on Broadway, will lead the cast. Rehearsals are well underway, and Will took time out to chat to The Scoop ahead of the premiere season. Will talks all things Neil Diamond, including the shy man behind the superstar, the emotional question at the heart of *A Beautiful Noise*, and why Australians remain some of Diamond’s most passionate fans. Read the full interview below: **Neil Diamond was closely involved in the development of *A Beautiful Noise*. What surprised you most about him once you got to know him?** I would say that in person, he is quite an introvert. You see Neil Diamond on stage with his flamboyant costumes and his huge persona and his amazing voice, and he’s just the ultimate showman. And then in real life, he’s very quiet. You come to learn that his music is the way that he expresses himself. In real life, he’s really shy and soft-spoken. That was a big surprise to me. **You originated the role of Neil Diamond (then) in this musical. How has your understanding of him, and your performance, changed over that time? Are you still discovering new moments, or has the role become second nature?** I mean, hopefully, as an actor, you try to find new things every night. One thing that I try to do is continue my research. The nice thing about playing Neil Diamond is that there’s endless hours of footage of him either performing or being interviewed. So I find it quite fun to try to unearth and dig up old interviews, or old biographies and read everything that I can about his life and history. Those things tend to give me a little bit of insight about what he might have been thinking back then. That’s been a fun thing to try to alter my take on it, and not just do the same robot show every night. ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/02/A-BEAUTIFUL-NOISE-BROADWAY-CAST-2-942x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")Will Swenson and the Broadway cast of A Beautiful Noise Image supplied**The songs may be familiar, but the emotional journey often takes audiences by surprise. Why do you think Neil Diamond’s story, particularly its themes of identity, loneliness and finding purpose, continues to strike such a chord today?** You know, I think everyone wants to feel validated. That’s the thing that I’ve learned with this show. And the main central question this show asks is: Am I enough? If that one thing that makes me feel whole and makes me feel important gets taken away, am I still enough? It’s a deep question that I think to some extent everyone goes through. Who am I? There are questions about what our contribution is to this world. Neil’s gone through challenges, in particular, he’s been diagnosed with Parkinson’s Disease, and he can no longer perform. The show asks those questions through the storytelling lens that we’ve devised, and I think it’s something that everybody can relate to. On top of that, a lot of his lyrics deal with those same questions, and I think it’s just a great synergy of depth of emotion. Then his songs are interwoven with that, and it just ends up being a really fulfilling night, as well as a great time with some great songs. **Everyone seems to have *their* Neil Diamond song. They’re not just hearing you perform. They’re reliving weddings, road trips, first loves and family memories. Does carrying those memories with you each night add a different kind of responsibility?** Oh, it does on a personal level. And for Neil, as I’ve come to learn what these songs mean to him, it’s been a different thing to have that duty or weight on my shoulders. My dad’s favourite singer of all time was Neil Diamond. It’s half the reason that I had those songs in my bones before this was even a musical. They mean a lot to me. There are certain lyrics that I’ve shared with my mom or my dad over the years. When I sing them in the course of the show each night, I just have a moment of them being with me. And it makes it very, very personal and beautiful for me. ![The Scoop Will Swenson A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/07/A-Beautiful-Noise-Opening_Emilio-Madrid_8434-863x628.jpg "Will Swenson A Beautiful Noise The Neil Diamond Musical • The Scoop")A Beautiful Noise opening night on Broadway with Neil Diamond pictured centre and Will far right Photo by Emilio Madrid**What are you most looking forward to about performing for Australian theatre audiences?** Well, I’ll tell you what. I’ve stayed friends with Neil and his wife, Katie, and when I let them know that I was going to do the Australian production, they said, “Oh, that’s fantastic. Australia is the most amazing fan base. They are so full of energy, and we’ve always loved every second we’ve spent down there.” So, just knowing that the Australian folks down here are ready and hungry for all things Neil Diamond is very, very exciting to me. **Your wife and daughter are joining you in Australia. Does having your family with you change what could otherwise feel like a long tour?** Yes, 100%. I probably wouldn’t have been able to take this tour had we not decided to do it as a family. My wife is in the business as well, and we try to tag team so that someone is actually home to raise our daughter. Someone is there to put her to bed. But a long-term commitment out of the country, away from home, would just be too hard on our family dynamic. So we all decided to come down for a family adventure and enjoy this incredible country and do this fun show at the same time. ![The Scoop Will Swenson A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2025/10/A-BEAUTIFUL-NOISE-BROADWAY-CAST-1-942x628.jpg "Will Swenson A Beautiful Noise The Neil Diamond Musical • The Scoop")Will Swenson and the Broadway cast of A Beautiful Noise Image supplied**Australia’s musical theatre industry has been having some important conversations about how large-scale productions can remain financially sustainable. Having worked internationally, have you noticed different approaches to supporting commercial theatre? Are there any lessons the industries can learn from each other?** I wish I were more well-versed in how the structures and history of theatre in Australia have functioned previously. Speaking from my experience on Broadway, which is likely a different scenario, all Broadway productions are just commercial ventures without help from the government. I think to a certain extent, all shows are chosen based on their commercial viability, and not necessarily just what artistic merit they may have. I do feel like there’s been an evolution in the casting and the show choices on Broadway. There’s a certain sense that we have to have a star in this role, or it won’t sell. Or the title has to be recognisable, or it won’t sell. I think people are a lot more reticent to buy a ticket to something that they’re not as familiar with, and I imagine that’s part of the equation here as well. Perhaps folks aren’t as willing to take a risk on something that they’re not feeling is a guaranteed good night at the theatre, because they just don’t know it as well. So, in that sense, I think we’re lucky with the Neil Diamond show that he’s a known entity that people already love. If it’s the case that a show that people don’t know is not going to sell as well, that’s heartbreaking. One of my favourite things in the world is to discover something unknown to me and see a beautiful piece of theatre or art that is waiting to be discovered, but perhaps isn’t well known. Art can be risky, and the artists take a risk to put it up. Hopefully, people will be brave enough to risk a little bit and support theatre, even though it’s not as recognisable as they may be used to. ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/02/A-BEAUTIFUL-NOISE-BROADWAY-CAST-4-942x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")Will Swenson and the Broadway cast of A Beautiful Noise Image supplied**Despite the challenges facing live theatre around the world, audiences continue to turn out for stories that connect with them. What gives you confidence about the future of musical theatre?** Oh, selfishly, I just think it’s the greatest art form. It’s the most collaborative art form. There’s something about a musical where we suspend our disbelief that someone launches into song because the drama, the emotion can no longer be contained in words, and it has to transform itself into something grander. I think that idea is so universal. And that’s why people have latched onto musicals and why we listen to the soundtracks over and over again. Because our emotions are so intrinsically tied to these songs that heighten the emotion on stage. The stories, when they’re good ones, just inspire us to be better people. They ask questions about our existence and how we fit in this world. I just love the theatre. I love musical theatre. There’s nothing better than when a musical is done well. I sure hope it continues to find its footing and have a successful life in all our theatre cultures. **Do you have any advice for anyone who is studying and hoping to pursue a career in this industry?** Sure. If I could tell myself anything when I was a student from the future, it would be to trust that you’re enough. I know that sounds cliché. But I think coming out of school, I was so hungry to meet everyone else’s expectations of what I thought they wanted. So I was trying to be an Anthony Warlow, a Tom Hanks, a Tom Cruise. I was pretending to be pieces of other people, and not trusting that the uniqueness of who I am was enough. I just tell every kid that ever asks me: your weirdness is your superpower. Don’t be afraid of that. Lean into that, because when you’re unique, that’s when we lean forward. Trust that you’re enough and be loud and proud. ![The Scoop Will Swenson A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/07/Will-Swenson-plays-Neil-Diamond-in-A-BEAUTIFUL-NOISE-5-785x628.jpg "Will Swenson A Beautiful Noise The Neil Diamond Musical • The Scoop")Will Swenson**The final question that we love to ask everyone is:** **are there any roles or shows left on your bucket list?** If you had asked me a year ago, I would have said *Sweeney Todd*. I’ve always wanted to play Sweeney Todd, but I finally played it last year. I always said I want to play Javert and Sweeney Todd, and now I’ve done them both. It was thrilling. But if I had to answer it now, and this is cheesy, but it would honestly be something that hasn’t been written yet. My favourite, favourite, favourite thing to do is to work up a new show, because it just feels like real creation. There’s no preconceived ideas of what it has to be. Someone hasn’t done it before, so there’s no comparison going on. I just love creating something from scratch. That’s just my absolute favourite. **Will Swenson performs in *A Beautiful Noise: The Neil Diamond Musical* from 5 August at The Princess Theatre.** **It then runs in Sydney from 14 November at the Lyric Theatre.** Tickets are available [here](https://premier.ticketek.com.au/shows/show.aspx?sh=ABEAUTN26). Website: <https://theneildiamondmusical.com.au/> Socials: <https://www.instagram.com/theneildiamondmusicalau/> [Read more about the Cast of A Beautiful Noise](https://thescoop.au/announcing-stellar-cast-for-neil-diamond-musical/) Hero image: Will Swenson, supplied. **Categories:** Features --- ### [Review: You're A Good Man, Charlie Brown Is About Nothing, & Everything](https://thescoop.au/review-youre-a-good-man-charlie-brown-is-about-nothing-everything/) **Published:** July 2, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop You're A Good Man, Charlie Brown G & S Society of South Australia](https://thescoop.au/wp-content/uploads/2026/07/Charlie-Brown_Production-Photo_Credit-Pro-Shots-1116x628.jpg "You're A Good Man, Charlie Brown G & S Society of South Australia • The Scoop")There is something almost radical about how little happens in *You’re A Good Man, Charlie Brown*. Before Seinfeld, this was the musical about nothing. Nobody saves the world, nobody gets the girl. Nobody has a glitter-cannon self-realisation. Charlie Brown cannot fly a kite. He cannot kick a football. He cannot quite make himself speak to the Little Red-Haired Girl. And yet, for more than half a century, Charles M. Schulz’s *Peanuts* gang has kept people company. The comic strip began in 1950 and ran until Schulz’s death in 2000. By then, it had been published in thousands of newspapers around the world. Long before *The Simpsons* or *Family Guy*, Charlie Brown was a cartoon figure for adults as much as children. Schulz’s simple line drawings held depression, loneliness, rejection, ambition, anxiety and the daily business of trying not to be crushed by life. Clark Gesner’s 1967 musical, later revised by Andrew Lippa, understands this perfectly. *You’re A Good Man, Charlie Brown* does not force a plot onto the characters. It is more like the comic-book-musical equivalent of *Cats*; not Garfield. It is a sequence of vignettes, songs and tiny disasters. There is a flow, though. We begin with schoolyard play, teachers, book reports and familiar childhood tensions. By the end, Snoopy has had supper and the gang is edging toward bed. It feels like a day in the life. A very funny one. A surprisingly tender one too. Ryan Ricci’s production gets the visual language of the comic strip right from the first image. The cast appear onstage and settle onto small boxes painted in the colours of their characters’ clothes. Behind them, a screen reproduces the square-panel world of *Peanuts*. Iconic pieces emerge when needed: the green chair from Lucy and Linus’ home, Snoopy’s kennel, Schroeder’s piano. Ricci’s set design and Vincent Alexander’s costume work lean into recognisable silhouettes without making the cast look trapped inside a theme park. Matt Ralph’s vision and lighting design keeps the world clean, bright and cartoonish. In the Red Baron sequence, searchlights sweep over Snoopy’s head as though his doghouse has become a wartime airfield. ![The Scoop You're A Good Man, Charlie Brown G & S Society of South Australia](https://thescoop.au/wp-content/uploads/2026/07/Charlie-Brown_Cast_Credit-Pro-Shots-942x628.jpg "You're A Good Man, Charlie Brown G & S Society of South Australia • The Scoop")The musical itself is driven by character and that suits this cast Photo by Pro ShotsThe musical itself is driven less by big showstoppers than character. That suits this cast. Lindsay Prodea’s Charlie Brown is a sensitive centre. Prodea is clearly working against his usual public persona here. Anyone who has seen him hosting cabaret knows how easily he can fill a room with a grin. Suppressing that buoyancy for two hours is part of the achievement. He gives Charlie Brown a tentative, careful sadness. The character’s repeated failures never become miserable because Prodea lets small flashes of hope keep breaking through. Claire McEvoy has some of the biggest laughs as Lucy Van Pelt. Her physical comedy is wonderfully unembarrassed. When she sprawls across Schroeder’s piano, or visibly fights the urge to tell Sally a secret Charlie Brown has shared, she goes all-in. Her face does the work of several paragraphs. There is something almost Mr Bean-like in the precision of it. Brady Lloyd’s Snoopy is a physical gift to the production. Tall and lanky beside the rest of the ensemble, Lloyd makes the dog’s sense of self-importance even funnier. He rides the kennel into battle with the Red Baron. He tap-dances through “Suppertime” alongside performers dressed as pizza and bacon. Later, he gets tangled in Linus’ blanket for one of the show’s best pieces of comic movement. Liliana Carletti brings a terrific comic sharpness to Sally Brown. Her raspberries are practically an instrument in their own right. Sally’s stubborn refusal to absorb criticism becomes its own little philosophy. Carletti understands that the character is not simply bratty. She is creatively evasive. Nicholas Centofanti gives Linus a thoughtful, grounded presence. His literal blanket is funny. His attachment to it is also strangely moving. Linus has philosophy, analysis and knowledge. They are his ways of surviving the world. Michael Butler’s Schroeder is similarly calm amid the chaos. He pursues Beethoven and artistic achievement with a seriousness that makes Lucy’s romantic assault even more ridiculous. Like Winnie-the-Pooh, *Peanuts* has often invited people to see its characters as emotional types. Charlie Brown carries a depressive weight. Lucy seeks control. Linus clings to security. Sally dodges judgement. Schroeder turns to art. Snoopy mostly survives through fantasy, appetite and animal pleasure. ![The Scoop You're A Good Man, Charlie Brown G & S Society of South Australia](https://thescoop.au/wp-content/uploads/2026/07/Screenshot-2026-07-02-at-112006-am-958x628.png "You're A Good Man, Charlie Brown G & S Society of South Australia • The Scoop")Claire McEvoy has some of the biggest laughs as Lucy Van Pelt Image suppliedCharlie Brown’s sadness comes from the fact that none of these strategies seem to work for him. His kite goes up and comes down, his baseball team loses. His courage fails him at the exact wrong moment. In another show, this might become bleak. Here, it becomes an examination of the ordinary tools people use to survive disappointment. The songs are not designed as vocal Olympics. Few are likely to follow you home as melodies. But the score is not the main event. Its job is to carry humour, character and nostalgia. Danielle Greaves’ musical direction keeps the small orchestra crisp and supportive, while Lucy Newman’s choreography does crucial storytelling work between the vignettes. The blanket dance is a highlight. So is *Suppertime*, which becomes a miniature comic feast. The only minor visual quibble is that Prodea’s Charlie Brown has hair while Butler’s Schroeder does not. Physically, they might have been more naturally cast in each other’s roles. It is a fleeting thought, though. Both actors make their assigned characters work. This is an impressively polished production for an amateur company. Ricci’s direction has a clear comic rhythm. The production team has created a confident replica of the comic-strip world without losing its emotional intelligence. People who grew up with *Peanuts* will find a lot to love in the recognition. Those born after the decline of daily newspaper comics may miss some of the built-in nostalgia. But the emotional material remains universal. You do not need to know every strip to recognise the pain of trying, failing, trying again, and being told you are still a good man anyway. That is a message worth singing about. ***You’re A Good Man, Charlie Brown* is presented by The G & S Society of South Australia and runs to 4 July at The Arts Theatre. 53 Angas Street Adelaide SA 5000.** Tickets: <https://www.trybooking.com/events/landing/1501032> Website: <https://www.gandssa.com.au/youre-a-good-man-charlie-brown> Socials: <https://www.instagram.com/gandssa/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Hero image: Pro Shots **Categories:** Adelaide, Musical Theatre --- ### [Announcing Cast For We Are The Tigers Musical](https://thescoop.au/announcing-cast-for-we-are-the-tigers-musical/) **Published:** July 2, 2026 **Author:** Newsroom **Content:** ![The Scoop We Are The Tigers Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/We-are-the-tigers-829x628.png "We Are The Tigers Hayes Theatre Co Sydney • The Scoop")**Cheers Productions** is thrilled to announce the powerhouse cast that will bring the cult-hit musical ***We Are The Tigers*** to life, unleashing an exhilarating blend of pop anthems, fierce choreography and deadly secrets to **Hayes Theatre from 9 October 2026**. Tickets are on sale now from [hayestheatre.com.au](http://hayestheatre.com.au/). Set at the annual sleepover of the Giles Corey High School cheerleading squad, ***We Are The Tigers*** follows the team as their biggest problems in life pivot from a viral fail to a dead teammate. As rivalries intensify and loyalties are tested, the remaining cheerleaders must uncover the truth before they become the next victim. Leading the squad is **Brianna Bishop** (*Grease, Hairspray*, *[The Deb](https://thescoop.au/film-review-the-deb-swings-big-in-bold-new-musical/)*) as determined team captain Riley, alongside **Olivia Vásquez** (*Moulin Rouge! The Musical, [In the Heights](https://thescoop.au/review-in-the-heights-pulses-with-joy-rhythm-and-heart/)*) as the effortlessly popular Cairo. [Newcomer](https://thescoop.au/review-35mm-a-musical-exhibition-makes-art-from-lifes-snapshots/) **AJ Betts** and **Chelsea Dawson** (*[SIX](https://thescoop.au/review-six-the-musical-brings-queen-energy-in-spades/), Zombie! The Musical*) play Kate and Chess, lifelong friends navigating the growing pains of ambition and change. **Anabel Jamieson** (*[Tivoli Lovely](https://thescoop.au/review-tivoli-lovely-sees-waapa-shine-in-new-eddie-perfect-musical/)*) stars as the devoted Annleigh, determined to keep both her faith and her cheer squad intact. **Artemis Alfonzetti** (*[Pretty Woman](https://thescoop.au/review-pretty-woman-finds-magic-in-adelaide/), Titanique*) brings attitude and edge to her rebellious stepsister Farrah. Rounding out the squad are **Jenny Guigayoma** *([The Addams Family](https://thescoop.au/announcing-cast-for-the-addams-family-at-hayes-theatre/))* as eager freshman Mattie, and newcomers **Caitlin McCallig** and **Millie Seeto** who play loyal team mascot, Reese, and Eva, a scholarship star simply trying to make it to graduation. Recent [WAAPA graduate](https://thescoop.au/review-waapa-brings-austen-to-life-with-wit-and-warmth/) **Pippin Carroll** plays Clarke, the patient and devoted boyfriend caught in the chaos. Supporting the company are **Carla Venezia** (*Women on the Verge of a Nervous Breakdown, [Dirty Rotten Scoundrels](https://thescoop.au/suspiciously-talented-cast-announced-for-dirty-rotten-scoundrels/)*) as Swing and Dance Captain and **Jake Tyler** (*Cats, [The Deb](https://thescoop.au/film-review-the-deb-swings-big-in-bold-new-musical/)*) as Cover. ![The Scoop We Are The Tigers Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/07/WATT26_CastAnnouncement-502x628.jpg "We Are The Tigers Hayes Theatre Co • The Scoop")Making her directorial debut, **Chiara Assetta** has assembled an exceptional company of some of Australia’s most exciting emerging performers alongside established musical theatre favourites. She is joined by **Kim Gilbert** *(How to Succeed in Business Without Really Trying)* as Music Director and **Zoe Ioannou** *(The Dismissal)* as Assistant Director and Choreographer, leading a dynamic female-driven creative team behind this thrilling new production. **Chiara Assetta** said: *“This cast has extraordinary chemistry, incredible vocal power and the athleticism needed to tackle one of the most demanding contemporary musicals around. They’re fearless performers who capture both the humour and heart of these characters while embracing the show’s thrilling twists. Audiences are in for a wild ride.”* Featuring an infectious pop-rock score by Preston Max Allen, ***We Are The Tigers*** has become an international cult favourite for its sharp wit, unapologetic energy and suspense-filled storytelling. Equal parts cheer competition and whodunnit, it’s a musical where every routine raises the stakes and every character has something to hide. This October, Sydney audiences are invited to join the squad—but keep your eyes open. At Giles Corey High, they have killer school spirit. ***We Are The Tigers* is presented by Cheers Productions in association with Hayes Theatre Co. It runs 9 October – 8 November at Hayes Theatre, 19 Greenknowe Avenue Potts Point NSW 2011.** Tickets are available [here](https://boxoffice.hayestheatre.com.au/WEBPAGES/EntaWebShow/ShowPerformance.aspx). Website: <https://hayestheatre.com.au/event/we-are-the-tigers/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) and <https://www.instagram.com/cheersproductionsau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Creatives** Producer **Cheers Productions** Director and Choreographer **Chiara Assetta** Assistant Director and Choreographer **Zoe Ioannou** Music Director **Kim Gilbert** Set Designer **Alice Vance** Costume Designer **Lily Mateljan** Lighting Designer **Topaz Marlay-Cole** Sound Designer **Courtney Weaver** **Categories:** News --- ### [Announcing Hugh Bonneville & Lisa McCune For Private Lives Play](https://thescoop.au/announcing-hugh-bonneville-lisa-mccune-for-private-lives-play/) **Published:** July 1, 2026 **Author:** Newsroom **Content:** ![The Scoop Private Lives play Hugh Bonneville Lisa McCune](https://thescoop.au/wp-content/uploads/2026/07/PrivateLives-SYD_From6Feb_16-9_02-1116x628.jpg "Private Lives play Hugh Bonneville Lisa McCune • The Scoop")It was announced today that internationally acclaimed British actor **Hugh Bonneville** (*Downton Abbey, Paddington*) and four-time Gold Logie Award-winning Australian star of stage and screen **Lisa McCune** (*The King and I*, *South Pacific*, *Girl from the North Country*) are to star together in the classic Noël Coward comedy ***Private Lives***. This new production will premiere at **Theatre Royal Sydney** from **6 February 2027** for a strictly limited season. Tickets are on sale to the general public from **16 July** at <https://privatelivesplay.com.au/>. Joining them in the cast will be celebrated Australian actors **Leon Ford** (*The Pacific*, *Elvis*), Silver Logie Award-winner **Claire van der Boom** (*Rush*, *Sisters of War*) and multi-Helpmann Award-winner **Julie Forsyth** (*Cloudstreet*, *Endgame*). Acclaimed British actor **Hugh Bonneville** said: “*I’m thrilled to be making my Australian stage debut in Private Lives. Noël Coward’s writing remains as sharp, funny and insightful today as ever, and Elyot is a character I’ve always relished the idea of playing.* *To have the chance to bring this classic comedy to Australian audiences, and to work with such a talented cast is a genuine pleasure. I can’t wait to get to Sydney – my first visit to Australia! – and begin rehearsals for this brilliantly funny play.”* Joint CEO and Creative Director Trafalgar Entertainment, **Sir Howard Panter** said: *“We are delighted to present the world premiere of this new Australian production of one of the greatest comedies of all time, Noël Cowards Private Lives, at our own beautiful Theatre Royal Sydney. Starring the incomparable international actor Hugh Bonneville and Australia’s national treasure the magnificent Lisa McCune. For an exclusive 5-week season. A delight for all.”* ![The Scoop Private Lives play Hugh Bonneville Lisa McCune](https://thescoop.au/wp-content/uploads/2026/07/HUGH_BONNEVILLE-Photo-Credit-GAVIN-BOND-502x628.jpg "Private Lives play Hugh Bonneville Lisa McCune • The Scoop")Hugh Bonneville Photo by Gavin BondElyot (**Hugh Bonneville**) and Amanda (**Lisa McCune**) thought they had put their disastrous marriage behind them. Divorced for five years and honeymooning with their new spouses, their lives are turned upside down when they discover they are staying right next door to each other. What follows is a deliciously funny clash of egos as old sparks fly, tempers flare and common sense goes out the window. Packed with razor-sharp one-liners, outrageous behaviour and enough romantic chaos to keep everyone on their toes, ***Private Lives*** is one of the funniest plays ever written. Since its sensational 1930 premiere, audiences have fallen in love with Coward’s wicked wit and unforgettable characters, while theatre legends including Richard Burton, Elizabeth Taylor, Maggie Smith and Alan Rickman have all taken on its iconic leading roles. Featuring Noël Coward’s beloved song *Someday I’ll Find You*, an enduring classic which has been recorded by some of the greats including Mario Lanza, Doris Day, Perry Como and Julie Andrews. This new production is helmed by internationally acclaimed British director **Christopher Luscombe**, an Associate Artist of the Royal Shakespeare Company, whose work has graced some of the world’s most prestigious stages. With a career spanning the RSC, Shakespeare’s Globe, the National Theatre, the Old Vic and the West End, his acclaimed productions include *Nell Gwynn*, *Much Ado About Nothing*, *Love’s Labour’s Lost* and *The Comedy of Errors*. Luscombe is also the creative force behind the internationally successful production of *The Rocky Horror Show*, which has enjoyed over two decades of worldwide success. He now brings his trademark wit, elegance and comic precision to Noël Coward’s most beloved play. **Hugh Bonneville’s** film credits include *Notting Hill*, *Iris*, *The Monuments Men* and *I Came By*, as well as the three *Downton Abbey* and *Paddington* movies. His television work includes the global hit *Downton Abbey*, for which he received nominations for a Golden Globe and two Emmys, the cast winning three SAG Awards for Outstanding Ensemble. Recent appearances include *Douglas Is Cancelled*, *The Agency*, *The Gold* and *The Gentlemen*, as well as a return to his role of Ian Fletcher in *Twenty Twenty Six* (BBC), successor to the BAFTA-winning *Twenty Twelve* and *W1A.* ![The Scoop Private Lives play Hugh Bonneville Lisa McCune](https://thescoop.au/wp-content/uploads/2026/07/Lisa-McCune-1-628x628.jpg "Private Lives play Hugh Bonneville Lisa McCune • The Scoop")Lisa McCune Image supplied**Hugh’s** stage career spans four decades and includes seasons with the National Theatre and the Royal Shakespeare Company. His most recent roles include *Uncle Vanya* for the Shakespeare Theatre Company in Berkeley, California, and in Washington DC, and C.S. Lewis in *Shadowlands* at the Aldwych Theatre, London. **Lisa McCune** is one of Australia’s most acclaimed and beloved actors, with a distinguished career spanning television, theatre and film. A multiple award-winning performer, she remains one of the most recognised faces in Australian entertainment, having received an extraordinary four Gold Logie Awards for Most Popular Personality on Australian television. Recently, **Lisa** has captivated audiences on stage in the Australian tour of *Alfred Hitchcock’s The 39 Steps*, the Sydney Theatre Company production of Lynn Nottage’s Pulitzer Prize-winning *Sweat*, and the Australian production of *Steel Magnolias.* On screen, she appeared in the latest season of Network 10’s *Taskmaster*, narrated the Nine Network’s acclaimed documentary series *Big Miracles*, and in 2024 was crowned champion of *Dancing with the Stars Australia* alongside professional partner Ian Waite. Joining Director **Christopher Luscombe** in the outstanding British and Australian creative team, is Set Designer **David Fleischer**, Costume Designer **Jennifer Irwin**, Dialect Coach **Charmian Gradwell**, Sound Designer **Jeremy Dunn**, Fight Choreographer **Scott Witt**, Resident Director **Andrew Bevis**, Choreographer **Nathan Mark Wright** and Composer **Nigel Hess**. Together, they bring a wealth of international theatre experience to this brand-new production, creating the perfect setting for Noël Coward’s razor-sharp comedy. Smart, stylish and irresistibly funny, ***Private Lives*** arrives at one of the finest theatres in Australia, Theatre Royal Sydney, this summer. ***Private Lives* runs from 6 February 2027 at the Theatre Royal**. **108 King Street Sydney NSW 2000.** Join the priority waitlist for tickets [here](https://privatelivesplay.com.au/#waitlist). Website: <https://privatelivesplay.com.au/> Socials: <https://www.instagram.com/privatelivesplayau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: 360 Allstars Celebrates The Joy Of Mastering A Skill](https://thescoop.au/review-360-allstars-celebrates-the-joy-of-mastering-a-skill/) **Published:** June 30, 2026 **Author:** Sarah Skubala **Content:** ★★★★☆ ![The Scoop 360 Allstars QPAC](https://thescoop.au/wp-content/uploads/2026/06/360_Allstars_0014a-Darren-Thomas-942x628.jpg "360 Allstars QPAC • The Scoop")BMX, basketball, breakdancing, acrobatics and drumming come together in 360 ALLSTARS, a high-energy urban circus that celebrates the artistry of street culture through an impressive display of athleticism and skill. Directed by Gene Peterson and presented by Onyx Productions, 360 ALLSTARS features an international cast of world champions and world record holders. Together, they are transforming extreme sports and street performance into fast-paced family entertainment. Since premiering in 2013, 360 ALLSTARS has toured extensively, having delivered more than 3,000 performances to over two million people across the world in places like Broadway and the Edinburgh Festival Fringe. Three casts of ALLSTARS are now touring the world simultaneously. Returning to its home city of Brisbane to launch the school holiday season, this talented troupe delivers an action-packed hour of gravity-defying tricks, infectious energy and crowd-pleasing entertainment. Director and champion drummer Gene Peterson also takes to the stage, providing the show’s live percussion while serving as its charismatic MC. He is joined by American vocalist Mirrah, whose powerful voice and live keyboard looping create a spirited musical backdrop. Together, the pair introduce the five featured performers and keep the audience engaged between acts. Their original live score, infused with rap and rhythmic energy, elevates the production beyond a succession of impressive tricks. ![The Scoop 360 Allstars QPAC](https://thescoop.au/wp-content/uploads/2026/06/360_ALLSTARS_Cam_Campbell_17-942x628.jpg "360 Allstars QPAC • The Scoop")Sette and Leerok impress in a playful dance battle Photo by Cam CampbellFirst to take centre stage is Gonzalo Bellanti, a six-time Australian Flatland BMX champion from Argentina, whose extraordinary bike control sees him execute a dazzling series of spins, balances and gravity-defying manoeuvres. Australian champion B-Boy Sette and New Zealand world champion B-Boy Leerok face off next in a playful dance battle. Their athleticism and effortless style is a joy to watch. Their set culminates in both performers executing the iconic head spin. Next, Japanese basketball freestyle sensation Pafo takes centre stage with a cheeky, charismatic routine. Working at first with one ball, his set builds and sees him effortlessly controlling up to five basketballs at once. His infectious grin, engaging stage presence and remarkable ball-handling skills make his act a standout. Making her debut with the team, Australian world record holder Sophie Bohlsen brings a fresh dynamic with her Cyr wheel. Spinning, balancing and gliding within the giant steel hoop, she combines strength and grace in a routine that is mesmerising and exciting to watch. Later, Peterson straps a camera to his head, giving the audience a bird’s-eye view of an entertaining drum solo projected onto the large screen at the rear of the stage. It’s a simple but effective touch that adds another layer of fun. The show’s biggest payoff comes in the second half, when the individual acts come together as a true ensemble. The performers step into one another’s worlds, with Leerok trying his hand at a miniature ‘Cyr wheel,’ while others join the basketball freestyle, and the entire cast takes on dance and group acrobatics. ![The Scoop 360 ALLSTARS QPAC](https://thescoop.au/wp-content/uploads/2026/05/1-360-ALLSTARS-Hero-Image-credit-Matt-Loncar-942x628.jpg "360 ALLSTARS QPAC • The Scoop")Audience participation is encouraged throughout so dont be afraid to be enthusiastic Photo by Matt LoncarThese crossover moments add variety and reveal the genuine camaraderie that has clearly developed within the touring company. Their enjoyment of performing together is infectious. Audience participation is encouraged throughout. Cheers, clapping, waving and foot-stomping help to fuel the show’s high-octane atmosphere. A group photo at the end of the show reinforces the sense that this is a shared experience rather than a traditional, sit-quietly theatrical performance. Don’t be afraid to bring your enthusiasm! The performers also make time for post-show meet-and-greets, happily signing merchandise and chatting with audience members in the foyer. Beyond simply showcasing extraordinary talent, 360 ALLSTARS celebrates dedication, creativity and the joy of mastering a skill. It’s the kind of production that is likely to inspire young audience members to pick up a basketball, jump on a BMX or give breakdancing a try. Somewhere in the crowd may well be the next generation of performers taking their first spark of inspiration from the stage. While it may not strive for the theatrical depth of some contemporary circus productions, 360 ALLSTARS delivers exactly what it sets out to do. It is energetic, skilfully performed and a thoroughly enjoyable family experience. **360 ALLSTARS is presented by Onyx Productions and runs to 5 July at the Playhouse, QPAC.** Tickets: <https://www.qpac.com.au/whats-on/2026/360-allstars> Website: <https://onyx-productions.com/360allstars/> Socials: <https://www.instagram.com/360allstars/> [Read more of our Latest Reviews!](https://thescoop.au/circus-reviews/) Hero image: Darren Thomas **Categories:** Brisbane, Circus, Theatre --- ### [Announcing Full Cast For Death Of A Salesman](https://thescoop.au/announcing-full-cast-for-death-of-a-salesman/) **Published:** June 30, 2026 **Author:** Newsroom **Content:** ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia](https://thescoop.au/wp-content/uploads/2026/06/Death-of-a-Salesman_Loman-Family_017_credit_Daniel-Boud2-copy-942x628.jpeg "DEATH OF A SALESMAN Anthony LaPaglia • The Scoop")An outstanding cast comprising some of Australia’s finest actors is set to take the stage in GWB Entertainment and Andrew Henry Presents’ widely acclaimed production of Arthur Miller’s timeless Pulitzer Prize-winning classic *Death of a Salesman* for strictly limited seasons in **Melbourne** from **11 August** and **Brisbane** from **28 August** 2026. Already announced is the return of Emmy®, Golden Globe®, and Tony Award® winner **Anthony LaPaglia**, reprising his role as Willy Loman. He is joined by one of Australia’s finest actors **Alison Whyte**, re-creating her critically acclaimed performance as Linda Loman. **Josh Helman** returns in his Green Room Award-nominated performance as Willy’s tortured son Biff Loman. **Ben O’Toole** also reprising his celebrated performance as Biff’s feckless brother Happy. Other returning cast members announced today include **Anthony Phelan** (Queensland Theatre Company’s *Boy Swallows Universe*, Belvoir St Theatre’s *The Wild Duck)* as Uncle Ben, Willy’s enigmatic and successful older brother. **Marco Chiappi** (Belvoir St Theatre’s *Drive Your Plow Over the Bones of the Dead*, Bell Shakespeare’s *Coriolanus*) will return as Charley, Willy’s loyal friend. **Paula Arundell** (*Harry Potter and the Cursed Child*, Sydney Theatre Company’s *Dracula* and Malthouse Theatre’s *The Birds*) will play The Woman. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-26-at-81059-pm-891x628.png "DEATH OF A SALESMAN Anthony LaPaglia Alison Whyte • The Scoop")Anthony LaPaglia and Alison Whyte in the previous season Photo by Brett Boardman**Simon Maiden** (Melbourne Theatre Company’s *West Gate*, Sydney Theatre Company’s *True West*) will play Howard. **Elizabeth Blackmore** (Malthouse Theatre’s *Troy*, Ensemble Theatre’s *The Queen’s Nanny)* will play Miss Forsythe. **Aisha Aidara** (*Harry Potter and the Cursed Child, A Christmas Carol*) will play both Jenny and Letta. Newly joining this acclaimed ensemble is **Darcy Brown** (Shake & Stir’s *Frankenstein*, Opera Queensland’s *Into the Woods*) as Bernard and Stanley. *Death of a Salesman* features set design by **Dale Ferguson**. Costume design by **Dale Ferguson** and **Sophie Woodward**. Lighting design by **Niklas Pajanti**. Music by **Alan John**. Sound design by **David Greasley** and **David Tonion**. Directed by legendary stage and screen director **Neil Armfield** (*Cloudstreet, The Diary of a Madman, The Secret River*), this celebrated production offers theatregoers an unparalleled opportunity to witness the power of live theatre in a transformative experience. ***Death of a Salesman* is presented by GWB Entertainment and Andrew Henry Presents. It runs 11 – 22 August at Her Majesty’s Theatre Melbourne, and then runs 28 August – 6 September at the Lyric Theatre, QPAC.** Tickets are on sale now for Melbourne are [here](https://premier.ticketek.com.au/shows/Show.aspx?sh=DOAS26) and Brisbane are [here](https://www.qpac.com.au/whats-on/2026/death-of-a-salesman). Website: [http://salesmanaustralia.com.au](http://salesmanaustralia.com.au/) Socials: <https://www.instagram.com/salesmanaustralia/> [Read our Interview with Alison Whyte!](https://thescoop.au/alison-whyte-we-need-human-stories-now-more-than-ever/) Image supplied. **Categories:** News --- ### [Review: Bradley McCaw The Music Of Billy Joel 2026 Wynnum Fringe](https://thescoop.au/review-bradley-mccaw-the-music-of-billy-joel-2026-wynnum-fringe/) **Published:** June 29, 2026 **Author:** Regan Baker **Content:** ★★★★½ ![The Scoop Bradley McCaw The Music of Billy Joel Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/06/20260627-MusicOfBillyJoel-somefx-1029-942x628.jpg "Bradley McCaw The Music of Billy Joel Wynnum Fringe • The Scoop")The music of Billy Joel has a funny way of making you feel like you’ve lived several lives you absolutely haven’t. Suddenly you’re heartbroken in New York, drunk in an Italian restaurant, yelling about history, or convinced you could play piano in a smoky bar despite having the musical ability of a confused possum. That’s the magic of the catalogue. It’s familiar, theatrical, a little chaotic, and absolutely built for a performer who knows how to grab it by the collar. Thankfully, Bradley McCaw is exactly that performer. Performed inside the Augathella Spiegeltent as part of the Wynnum Fringe Festival, McCaw’s show took audiences through the music of Billy Joel in two parts. The first half covered everything up until 1979, while the second half picked up the rest of the catalogue from there. It’s a simple structure, but a smart one, especially when dealing with an artist whose career has more hits than most musicians could dream of. Now, I should probably admit something. At 34 years old, I’m far too young to have seen Billy Joel live in his prime. I haven’t had that *Piano Man* pilgrimage moment. I haven’t stood in an arena while the real deal worked his way through the songbook. But I grew up with Billy Joel’s music, and I’m still fairly certain my brother, Joel, was at least partially named after him. So while I might not know the live stage presence, I know the music. And as far as I’m concerned, Bradley McCaw does it better. ![The Scoop Bradley McCaw The Music of Billy Joel Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/06/20260627-MusicOfBillyJoel-somefx-1209-942x628.jpg "Bradley McCaw The Music of Billy Joel Wynnum Fringe • The Scoop")His voice is unmatched in this space and his showmanship is next level Photo by SomefxThat might sound like sacrilege to some, but honestly, McCaw is electric. He doesn’t just sing Billy Joel songs; he attacks them, charms them, wrestles them into submission, then grins at the audience like he’s having the time of his life. His voice is unmatched in this space, his showmanship is next level, and he was bouncing around the stage like that caffeinated squirrel from *Over The Hedge*. Add to that the fact he’s also a ridiculous piano player, and you’re left with one of the most dynamic performers I’ve seen in a very long time. Part one opened with *Prelude / Angry Young Man*, which is a fairly bold way to start if your fingers aren’t up to the task. Thankfully, McCaw’s absolutely were. That rapid-fire piano introduction is the kind of thing that looks like it should require a medical waiver, but he flew through it with ease. From there, the early catalogue came alive. *New York State of Mind* was smooth and rich, *Stiletto* had bite, and *Scenes from an Italian Restaurant* was one of the clear highlights of the afternoon. By the time he rolled into *Only the Good Die Young*, *Piano Man* and *Big Shot* as the part one closer and encore, the tent had well and truly been converted. We were no longer in Wynnum. We were somewhere between Madison Square Garden and a very sweaty bayside fever dream. Part two moved into an era that is probably less my personal Billy Joel wheelhouse, but it didn’t matter. Such a showman is McCaw that even when I wasn’t singing every lyric in my head, I was completely hooked. ![The Scoop Bradley McCaw The Music of Billy Joel Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/06/20260627-MusicOfBillyJoel-somefx-1506-941x628.jpg "Bradley McCaw The Music of Billy Joel Wynnum Fringe • The Scoop")Billy Joel may have written the songs but Bradley McCaw absolutely owns them Photo by Somefx *Allentown, Vienna, An Innocent Man* *and River of Dreams* all had their moment, but of course the big punches came with *We Didn’t Start the Fire, Uptown Girl* and *You May Be Right*. The latter, in particular, felt like McCaw’s natural habitat. Big energy, big personality and just the right amount of madness. And let’s be clear, it wasn’t exactly easy work. On a 15 degree, overcast, lightly raining day, the Augathella Spiegeltent somehow turned into a sauna with a soundtrack. Poor McCaw was constantly battling sweat dripping into his eyes, but not once did he let it slow him down. He just kept playing, kept singing, kept smiling and kept having a bloody good time. If anything, it only added to the whole thing. You can’t fake that kind of commitment, charisma and energy. Credit also needs to go to his band of Jack Loa, Jeremy Stafford, Steve Francis, Pat Farrell, Ben Byrne and Dave Cox, who were superb throughout and so much more than just a backing band. They helped build the atmosphere, drive the energy and give the show its full, rocking heartbeat. Bradley McCaw is a true showman. His *Music of Billy Joel* season at Wynnum Fringe may have finished, but this is not a performer you should let drift past you like a river of dreams. Follow him. See him. Support him. He’s charming, wildly talented, a little unhinged in the best possible way, and truly one of the best performers I’ve ever seen. Billy Joel may have written the songs, but Bradley McCaw absolutely owns them. ***Bradley McCaw: The Music of Billy Joel Parts 1 & 2*** **ran on 27 and 28 June as part of Wynnum Fringe**. **Augathella Spiegeltent, 166 Bay Terrace, Wynnum QLD 4178.** The season has now ended. Website: <https://wynnumfringe.com/bradley-mccaw-1/> and <https://www.bradleymccawofficial.com/> Socials: <https://www.instagram.com/wynnumfringe/> and <https://www.instagram.com/bradleymccawofficial/> [Read more of our Wynnum Fringe Reviews!](https://thescoop.au/?s=wynnum+fringe) Photo credits: Somefx **Categories:** Brisbane, Concerts --- ### [Win Tickets To See The Invite At Dendy Cinemas](https://thescoop.au/win-tickets-to-see-the-invite-at-dendy-cinemas/) **Published:** June 29, 2026 **Author:** Newsroom **Content:** ![The Scoop The Invite film Olivia Wilde Dendy Cinemas](https://thescoop.au/wp-content/uploads/2026/06/The-Invite-Cover-1116x628.jpeg "The Invite film Olivia Wilde Dendy Cinemas • The Scoop")Your presence is formally requested at our special [RSVPreview](https://dendy.com.au/the-invite--rsvpreview) screening of **THE INVITE**. Join the fun at Dendy Cinemas Coorparoo or Dendy Cinemas Portside on Saturday, 4 July at 6:30pm for a dramedy filled with sharp wit and unexpected twists that turn a simple dinner party into beautiful chaos. Joe and Angela’s marriage is on thin ice. When they invite their enigmatic upstairs neighbours for a dinner party, the night spirals into unexpected places. Have they reignited the spark or lit the match that burns it all down? Directed by and starring Olivia Wilde *(Booksmart)* alongside Seth Rogen, Edward Norton, and Penélope Cruz, consider this your official RSVP to the table everyone wants to be at. To celebrate the release of **THE INVITE** at **Dendy Cinemas**, you could WIN a double pass! The Scoop is **giving away one, double e-pass** **to the film**, thanks to Dendy Cinemas. Ticket giveaway offer: One double pass to [The Invite](https://www.dendy.com.au/the-invite--rsvpreview/) **preview** on **Saturday 4 July 6:30pm** at either Dendy Coorparoo or Dendy Portside Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop Coorparoo’ or ‘Scoop Portside’ under the post. **THE INVITE previews on Saturday 4 July at Dendy Cinemas. It opens nationally on Thursday 9 July.** Website: [https://www.dendy.com.au/the-invite–rsvpreview/](https://www.dendy.com.au/the-invite--rsvpreview/) Socials: <https://www.instagram.com/dendy.au/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Invite Director: Olivia Wilde Cast: Olivia Wilde, Seth Rogen, Penélope Cruz, Edward Norton Country of Origin: USA Duration: 107 mins Rating: MA 15+ **Categories:** competition, News --- ### [Review: First, Do No Harm Puts Ethics Under The Microscope](https://thescoop.au/review-first-do-no-harm-puts-ethics-under-the-microscope/) **Published:** June 28, 2026 **Author:** Leo Manson **Content:** ★★★☆☆ ![The Scoop Stage scene with a man in a beige shirt in the foreground, hand on his head; a patient lies on a table draped in blue, while two people in blue scrubs stand nearby under dramatic stage lights.](https://thescoop.au/wp-content/uploads/2026/06/kxt-9-942x628.jpg "First Do No Harm NIDA KXT Bakehouse Theatre • The Scoop")*First, Do No Harm* is an original play by AACTA-nominated and award-winning playwright Grace Malouf. It is one of three plays produced by NIDA in association with bAKEHOUSE Theatre (and Talia M-K presents) as part of the NIDA KXT New Writers, New Works Festival. The show surrounds a couple’s struggles to reconcile with their son, a competitive swimmer harbouring a rare identity-affiliated disorder. It begins compellingly. Audiences can see nothing but a dark stage and the silhouette of a character slicing aimlessly at some ham. It’s the sound design by Ellie Wilson that drives this scene. The sound of meat tearing draws an undeniable intrigue before eventually settling into a more traditional dynamic. The character is revealed to be troubled teenager Alexei. He is played by Josh Merten whose use of body language perfectly captures an uncomfortableness within the character. The casting is strong across all roles. Kate Bookallil is an excellent choice to play Melissa, Alexei’s mother. Bookalil replicates the wit, charm and serious edge of a knowledgeable doctor with ease. ![The Scoop First, Do No Harm NIDA KXT Bakehouse Grace Malouf](https://thescoop.au/wp-content/uploads/2026/06/kxt-38-1-942x628.jpg "First, Do No Harm NIDA KXT Bakehouse Grace Malouf • The Scoop")The show centres on the struggles of a couple to reconcile with their son who is harbouring a rare identity affiliated disorder Photo by Laura ElaineMelissa’s partner, a former Olympic swimmer named Robert, is played by Richard Hilliar. His role leans towards antagonistic, and Hilliar’s use of tone allows the character to be ignorant yet funny. The direction, by Malouf and Charley Allanah, is grounded. Robert and Melissa are written as a real couple, and the acting remains grounded in reality through the entire play. The relationship between Melissa and Robert is very interesting. They play different roles in Alexei’s life, and they both seemingly want the best for their son. However, the play shows that intention does not always equal impact. Every character takes turns at being the bad guy. They struggle to come to terms with what’s really ethical in the case of Alexei’s condition. Malouf is dedicated to medical accuracy, and this shines through her often witty dialogue. Ian, played by Shan-Ree Tan, alongside Melissa, make constant references using medical jargon. The characters feel as if they were pulled out of the hospital and onto the stage. Production design by Holden Jane Cohle supports this. The costuming does an excellent job of characterisation, and this is especially strong in the characters Melissa and Alexei. ![The Scoop First, Do No Harm NIDA KXT Bakehouse Grace Malouf](https://thescoop.au/wp-content/uploads/2026/06/kxt-28-1-942x628.jpg "First, Do No Harm NIDA KXT Bakehouse Grace Malouf • The Scoop")Malouf is dedicated to medical accuracy and this shines through her often witty dialogue Photo by Laura ElaineThe marble motif in the set creates a cold medical atmosphere. This, in combination with the wooden furniture, establishes that Alexei is from an upper-middle-class family. Lighting design by Theodore Carroll is phenomenal, and there are many moments where the lighting is what draws emotion. In the second act, there’s a scene where Alexei sits under pale blue lighting. This, combined with Mertens’ subtle acting, creates a sense of impending doom and serenity all at once. Despite the play’s many strong points, the decision to make Alexei’s condition a plot twist in the first act is questionable. This is because the first act makes continuous allusions to Alexei’s struggles being potentially due to being transgender. Though this comparison is dialled back in the second act, Alexei is consistently shown to be a violent and angry character, which can unfortunately add to harmful stereotypes about transfeminine individuals. Though the references to transness are questionable, the research into Alexei’s disorder is clearly extensive and well-intentioned. Regardless, *First, Do No Harm* is an incredibly unique and compelling play that is prepared to tackle the taboo. It will be exciting to see where Malouf takes her creativity next. ***First, Do No Harm* is presented by NIDA in association with bAKEHOUSE Theatre and Talia M-K presents. It runs to 4 July** **at KXT on Broadway. 181 Broadway Ultimo NSW 2007.** *First Do No Harm* is a part of the NIDA KXT New Writers, New Works Festival. Tickets: <https://events.humanitix.com/first-do-no-harm> Website: <https://www.kingsxtheatre.com/first-do-no-harm> Socials: [https://www.instagram.com/kxt\_bakehouse/](https://www.instagram.com/kxt_bakehouse/) and <https://www.instagram.com/firstdonoharmtheplay/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: [Laura Elaine](https://www.instagram.com/pixloading/) **Categories:** Sydney, Theatre --- ### [Review: Losing Face Is Theatre Worth Your Time](https://thescoop.au/review-losing-face-is-theatre-worth-your-time/) **Published:** June 27, 2026 **Author:** Jacqui Moore **Content:** ★★★★★ ![The Scoop Losing Face Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/06/Madeleine-Sami-Michala-Banas-and-Christie-Whelan-Browne-Photo-by-Pia-Johnson-1-942x628.jpg "Losing Face Melbourne Theatre Company • The Scoop")It is unusually easy to write about new Australian work, *Losing Face*. Melbourne Theatre Company has produced a comedy so expertly tuned and consistently funny that the review feels almost incidental beside the experience itself. The only responsible response is not to over-explain it, but to insist upon it: this is theatre worth your time. It is a show that pays you back in laughter you don’t see coming. Written by Australian Writers’ Guild Award winner Marieke Hardy and directed by acclaimed Leticia Cáceres, this new work is pitched as an unhinged, perimenopausal *Weekend at Bernie’s*. It delivers on that promise while finding something sharper beneath the chaos. *Losing Face* explores the complexities of adult female friendship and the relentless, often absurd pressure of impossible beauty standards, particularly as women move through midlife. Set in the striking Sumner Theatre at Melbourne’s Southbank Centre, the experience begins before the action itself, as the audience enters to a curated, conspiratorial soundtrack. Tracks appear to have been chosen with affectionate attention to detail, especially for those who came of age in the late 1990s and early 2000s. ![The Scoop Losing Face Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/06/Genevieve-Morris-Christie-Whelan-Browne-Michala-Banas-Madeleine-Sami-and-Wil-King-Photo-by-Pia-Johnson-942x628.jpg "Losing Face Melbourne Theatre Company • The Scoop")Across the ensemble the commitment to physical comedy is fearless yet expertly controlled Photo by Pia JohnsonSongs like *Barbie Girl*, *My Humps* and *Baby Got Back* land with nostalgic force, reframing pop culture through its contradictions and the beauty ideals it embedded. Sound designer Kelly Ryall deftly threads these cues throughout the production with evident joy and rigour, creating a playful and pointed atmosphere. As the curtain rises, Jo Briscoe’s striking set is revealed: The Royal You wellness resort rendered as aesthetic perfection; slick, serene, and slightly too immaculate to be entirely trustworthy. And then there is the cast, whose collective brilliance anchors the entire production in effortless precision and play. Michala Banas as Jo, Madeleine Sami as Simone and Christie Whelan Browne as Lauren form a friendship trio of remarkable nuance and comic intelligence. It is so finely balanced the audience feels like an honorary fourth in their orbit. ![The Scoop Losing Face Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/06/Madeleine-Sami-and-Genevieve-Morris-Photo-by-Pia-Johnson-1-942x628.jpg "Losing Face Melbourne Theatre Company • The Scoop")Melbourne Theatre Company has delivered something genuinely special here Photo by Pia JohnsonAs the resort staff, Wil King and Genevieve Morris are gut-punchingly funny. Their appearances signal chaos before a word is spoken. Across the ensemble, the commitment to physical comedy is fearless yet expertly controlled. The pace rarely pauses, building an almost relentless rhythm of laughter, each beat tumbling into the next with exhilarating momentum. Melbourne Theatre Company has delivered something genuinely special here, and it is impossible to truly capture the experience in words. Beneath its precision and relentless pace lies warmth, intelligence, and a finely observed understanding of its world. *Losing Face* is a work that balances control with chaos, craft with abandon, and comedy with something more quietly human. It is a triumph of ensemble comedy and contemporary Australian writing. ***Losing Face*** **is presented by Melbourne Theatre Company and runs to 25 July. Southbank Theatre, The Sumner, 140 Southbank Boulevard Southbank Vic 3006.** Tickets: <https://tickets.mtc.com.au/production/19785> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/losing-face> Socials: <https://www.instagram.com/melbtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Pia Johnson **Categories:** Melbourne, Theatre --- ### [Announcing Stephen Curry As King Arthur For Spamalot](https://thescoop.au/announcing-stephen-curry-as-king-arthur-for-spamalot/) **Published:** June 27, 2026 **Author:** Newsroom **Content:** ![The Scoop Monty Python's Spamalot Drew Anthony Creative Stephen Curry](https://thescoop.au/wp-content/uploads/2026/06/King-Arthur_Stephen-Curry-942x628.jpg "Monty Python's Spamalot Drew Anthony Creative Stephen Curry • The Scoop")**Drew Anthony Creative** is thrilled to reveal the sensational new cast for the upcoming east coast season of ***MONTY PYTHON’S SPAMALOT***. Legendary Australian actor and comedian **Stephen Curry** will make his musical theatre debut, stepping into the regal shoes of ***King Arthur***. Sharing the spotlight with Stephen will be powerhouse vocalist and theatre performer **Jaz Flowers**, who will star as the enchanting ***Lady of the Lake*** for the Melbourne season. The celebrated musical theatre star **Marney McQueen** assumes the mystical role for the Sydney performances. The production will also feature the sharp comedic wit of rising stand-up comedian and TikTok sensation **Nick White**, tackling the formidable role of ***Man of Many Characters***. Tickets are **on sale now for Melbourne** and go on sale for **Sydney** on **Monday 29 June** via the [Ticketmaster](https://www.ticketmaster.com.au/) website. **Stephen Curry** is a household name in Australian entertainment, etched into the national psyche since his breakout role as Dale Kerrigan in the cinematic classic *The Castle*. A versatile and celebrated character actor, his recent screen triumphs include standout roles in *Population 11, Bay of Fires,* and *Ten Pound Poms*, as well as an appearance in the blockbuster *Thor: Love and Thunder*. His distinguished career across the small screen spans beloved titles such as *Fisk, Rake, Cloudstreet,* and *The Secret Life of Us*. Stephen’s masterful portrayal in *The King* earned him the trifecta of an AFI Award, a Silver Logie, and an ASTRA Award for Best Actor. Further accolades include a Film Critics Circle Award for his work in *Hounds of Love* and a prestigious 2024 Silver Logie nod for *Bay of Fires*. ![The Scoop Monty Python's Spamalot Drew Anthony Creative Stephen Curry](https://thescoop.au/wp-content/uploads/2026/06/King-Arthur1-942x628.jpg "Monty Python's Spamalot Drew Anthony Creative Stephen Curry • The Scoop")Stephen Curry makes his musical theatre debut as King Arthur in Monty Pythons Spamalot Photo by Rob LeesonAward winning performer, **Jaz Flowers** will take on the role of the mystical diva, **The Lady of The Lake** at the Athenaeum Theatre **Melbourne** from **16 September until 4 October**. Jaz is best known for her Sydney Theatre Award-winning and Helpmann-nominated portrayal of Tracy Turnblad in *Hairspray*. Her stage career includes acclaimed roles as Veronica Sawyer in *Heathers The Musical*, Oz in *We Will Rock You*, and April in *Hot Shoe Shuffle*. Jaz’s other credits include a Helpmann-nominated performance in *Fame The Musical*, as well as roles in *Shane Warne the Musical* and *Cabaret*. She was also a featured artist on *The Voice* on Keith Urban’s team. Charismatic Australian performer **Marney McQueen** will bring her comedic and vocal prowess to the role of **The Lady of The Lake** for the Sydney seasons. These run at the Sydney Event Centre at the Star **Sydney** from **15 – 18 October**, and the Coliseum Theatre in Western **Sydney** from **22 – 25 October**, Marney recently delivered a stellar performance as Celine Dion in the hit show *Titanique* is widely regarded as one of Australia’s most versatile performers. Her extensive career has seen her tour the world in both musical theatre and comedy. Her theatrical credits include her debut in the Australian premiere of *Priscilla Queen of the Desert – The Musical*, starring as Velma Von Tussle in *Hairspray*, and appearing as Nina in *Dreamlover* alongside David Campbell. ​​One of the fastest-rising figures in Australian comedy, **Nick White** has built a massive following with his unique blend of sketch comedy, characters, and impressions making him an ideal choice for the demanding role of **Man of Many Characters.** After originally training as an architect, Nick transitioned to comedy full-time in 2022. He has since amassed an enormous following on social media and performed at some of the world’s most iconic stand-up comedy venues. This role will also be Nick’s musical theatre debut. ![The Scoop Promotional poster for Monty Python's Spamalot with a golden chalice and knights against a blue background.](https://thescoop.au/wp-content/uploads/2026/06/3-venues-horizontal-1116x628.png "Monty Python's Spamalot Drew Anthony Creative • The Scoop")Producer / director **Drew Anthony** said: *“I am absolutely thrilled to unveil such an exceptionally gifted company of performers. This production is both hilarious and inspiring, and this cast is perfectly poised to breathe life into these wonderful characters.* *Following our stellar run in Perth, the initial reaction to this show on the east coast has been astounding. People are clearly looking for the brighter side of life right now! I encourage everyone to secure their seats soon as possible!”* Further cast announcements will be made in the coming weeks. ***MONTY PYTHON’S SPAMALOT*** features Eric Idle’s book and lyrics alongside a score by Idle and John Du Prez. The show is a hilarious and irreverent parody of musical theatre filled with show-stopping vocals and tap-dancing knights. A contemporary landmark, ***SPAMALOT*** won three Tony Awards after its 2005 Broadway debut. ***MONTY PYTHON’S SPAMALOT*** **runs at the Athenaeum Theatre from 16 September – 4 October 2026.** It then runs at the Sydney Event Centre at the Star Sydney from 15 – 18 October, before transferring to the Coliseum Theatre from 22 – 25 October 2026. Melbourne tickets are available [here](https://www.ticketmaster.com.au/artist/927819). Sydney Event Centre pre-sale is available [here](https://www.ticketmaster.com.au/venue/158311?attractionId=927819&did=producer), and Coliseum Theatre pre-sale is available [here](https://premier.ticketek.com.au/shows/show.aspx?sh=SPAMCOLI26&eg=PROMOTER&ep=PROMOTER). Website: <https://www.drewanthonycreative.com.au/spamalot-melbournesydney-2026> Socials: <https://www.instagram.com/drewanthonycreative/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Rob Leeson **Categories:** News --- ### [Review: Adults Only Magic Show 2026 Wynnum Fringe](https://thescoop.au/review-adults-only-magic-show-2026-wynnum-fringe/) **Published:** June 26, 2026 **Author:** Regan Baker **Content:** ★★★½ ![The Scoop Adults Only Magic Show Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-26-at-20047-pm-1138x628.png "Adults Only Magic Show Wynnum Fringe • The Scoop")About fifteen minutes into the opening night of the *Adults Only Magic Show*, a man named David was holding a sex doll like a wounded lover, shortly followed by Justin Williams staring lovingly into his soul with the intensity of a man trying to reverse-mortgage his dignity. Somewhere nearby, Sam Hume was keeping the whole thing moving with the confidence of someone who knows this is exactly the sort of nonsense people paid to see. That, really, is the joy of this show. It does not ease you in; it grabs the most unsuspecting person in the front row, hands him a plastic companion, and says, “Good luck, mate.” Returning to South-East Queensland for the first time in nearly four years, Hume and Williams bring the *Adults Only Magic Show* to the Augathella Spiegeltent after last appearing in the region at The Tivoli, a show I also attended. And while last night’s performance was almost identical in structure, albeit cut down into a tight 70-minute Fringe version, it never felt like a lazy repeat. That is the joy of this particular brand of chaos. The tricks may be familiar, but the room is not. The audience changes everything, and on opening night, Wynnum very much came to play. ![The Scoop Adults Only Magic Show Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/06/AOMS-471x628.jpg "Adults Only Magic Show Wynnum Fringe • The Scoop")Wynnum very much came to play on opening night Image suppliedThe show is hosted by its two original creators, with assistance from their own little naughty Easter Bunny, Richard Sullivan, who pops in and out of the madness like someone who took a wrong turn at Wonderland and ended up at a Magic Mike show. Together, they lean into exactly what this show promises: magic for grown-ups who are happy to leave their sense and sensibility at the door. For anyone expecting polished Vegas glamour, this isn’t that. This is magic with its shirt half-unbuttoned, making inappropriate eye contact from across the room. Cards are pulled from skin-tight leopard print G-strings, audience members are dragged into deeply questionable situations, and every reveal comes wrapped in innuendo, mischief and the occasional full-body cringe. But underneath the smut, the magic itself is properly good. Hume and Williams know how to work a crowd, build suspense and land a reveal. You’re laughing one second, then genuinely wondering how the hell they pulled something off the next. Of course, every performance needs a victim, and last night that honour went to poor David in the front row. Although, to be fair, I’m fairly sure he was loving every second of it. ![The Scoop Adults Only Magic Show Wynnum Fringe](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-26-at-20227-pm-944x628.png "Adults Only Magic Show Wynnum Fringe • The Scoop")The show is rude slick chaotic and a little bit wrong in all the right ways Image suppliedDavid spent half the night cuddling a sex doll, having uncomfortably intimate staring competitions with Justin and copping the rude end of a lot of comedy gold. It takes a very specific kind of audience member to become part of the show without derailing it, and David, whether willingly or through sheer survival instinct, became one of the night’s accidental stars. Justin Williams remains a master of making discomfort funny. His ability to lock eyes with someone for just a little too long, stretch a pause past the point of social acceptability and somehow make the whole tent lose it is a skill. Sam Hume balances him beautifully, bringing charm, pace and just enough control to keep the show from spiralling completely off the rails, even when it very clearly wants to. Not every joke is subtle, but let’s be real – subtlety is not why anyone buys a ticket to the *Adults Only Magic Show*. Some gags are clever, some are proudly juvenile, and a few are so stupid you almost resent yourself for laughing. But laugh I did, often and loudly. *Adults Only Magic Show* is rude, slick, chaotic and a little bit wrong in all the right ways. Even having seen much of the routine before, I still found myself completely entertained. It is proof that good magic is only half the trick. The real fun comes from the people in the room, the poor soul in the front row, and two performers who know exactly how far to push things before pulling the rabbit, or in this case, something much less family-friendly, out of the hat. ***Adults Only Magic Show*** **runs to 11 July as part of Wynnum Fringe**. **Augathella Spiegeltent, 166 Bay Terrace, Wynnum QLD 4178.** Tickets are available [here](https://splash.wynnumfringe.com/sessions/adults-only-magic-show?utm_source=wynnumfringe&utm_medium=website&utm_campaign=adults-only-magic-show&sk.pid=sk.1.1778587283267.2143748635&sk.sid=20260625.234532.5865216469&sk.fbp=fb.1.1778587283268.5670640540&sk.gacl=177775610.1778587283&sk.gases=1782431130&_gl=1%2At4obvw%2A_ga%2AMTc3Nzc1NjEwLjE3Nzg1ODcyODM.%2A_ga_ZXF19F2HDG%2AczE3ODI0MzExMzAkbzckZzEkdDE3ODI0MzExNDMkajQ3JGwwJGgw%2A_ga_TC2B7HQFH0%2AczE3ODI0MzExMzAkbzckZzEkdDE3ODI0MzExNDMkajQ3JGwwJGgw%2A_ga_seeka_ga%2AMTc3Nzc1NjEwLjE3Nzg1ODcyODM.%2A_ga_seeka_ga_7VGHMX8ESG%2AczE3ODI0MzExMzAkbzckZzEkdDE3ODI0MzExNDMkajQ3JGwwJGgw%2A_ga_seeka_ga_1RS8GJD9JY%2AczE3ODI0MzExMzAkbzckZzEkdDE3ODI0MzExNDMkajQ3JGwwJGgw)! Website: <https://wynnumfringe.com/adults-only-magic-show/> Socials: <https://www.instagram.com/wynnumfringe/> [Read more about Wynnum Fringe!](https://thescoop.au/?s=wynnum) Images supplied. **Categories:** Brisbane, Circus, Comedy --- ### [Review: Lose To Win Finds Strength In Survival](https://thescoop.au/review-lose-to-win-finds-strength-in-survival/) **Published:** June 26, 2026 **Author:** Charmaine Idris **Content:** ★★★★★ ![The Scoop Lose To Win QPAC Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/06/BELVOIR_LoseToWin_PhotoBrettBoardman_005226-941x628.jpg "Lose To Win QPAC Belvoir St Theatre • The Scoop")*“In this country, you think it’s your right to have three meals a day. Me, where I came from? I think it’s a miracle.”* – Mandela Mathia, Performer / Writer A curved backdrop overlooks several forlorn-looking suitcases of various sizes. Dotted alongside these are crates filled with items. A lone hand percussionist makes his way to this sparse stage setting – an apt introduction to the highly anticipated first staging of *Lose to Win* here on Jagera and Turrbal land. Enter Mandela Mathia. Without having to utter a word, his energy is visceral. With honesty and wit, Mathia self-assuredly takes the audience on a deep dive into his background, beginning in South Sudan via Sudan via Egypt and finally to what he refers to as ‘the promised land,’ aka Australia. A slightly raised platform takes centre stage as a prop from which this gifted solo performer relates with candour the most significant milestones in his life. Starting with Mathia’s auspicious birth year when Nelson Mandela (his namesake) became the first black president of South Africa after the dismantling of the divisive apartheid regime. Mathia visibly reverts to an innocent little boy as he relates his boisterous early years in his village. A dashiki and straw hat, which is deftly removed from one of the crates, is lovingly displayed on the curved backdrop as an ode to the memory of his absent father. ![The Scoop Man in an orange shirt and red hoodie poses in front of a bright yellow grid backdrop, looking expressive with hands gesturing.](https://thescoop.au/wp-content/uploads/2026/06/BELVOIR_LoseToWin_PhotoBrettBoardman_004688-941x628.jpg "Lose To Win QPAC Belvoir St Theatre • The Scoop")Mandela Mathia tells his unflinching life story with incredible detail and empathy Photo by Brett BoardmanHis mood shifts when he remembers the incessant, gnawing hunger he experienced during his childhood. With unabashed glee, Mathia introduces us to his family members and his adopted mother, Joska Acii Lela, whom he joins in Sudan. He reminisces with fondness about how he became an entrepreneur, aka a shoe polisher, who was able to proudly provide for his family through his hard work while still pursuing his education. When the war begins to have unbearable repercussions on his family, Egypt beckons, where Mathia unwittingly becomes involved in gang violence. This is the turning point for this multi-talented performer. With the help of a relative, they apply to migrate to the promised land of their choice, Australia. Blacktown in Sydney is his first home. As this new chapter of his life unfolds, Mathia is not prepared for the unwanted racism inflicted on the Sudanese community despite embracing the Australian lifestyle. Mathia is a generous storyteller who, despite the weighty demands of a solo performance, commands the audience’s attention with his extraordinary stage presence. His is a life story that brims with warmth, humour and pain. Mathia is generous in sharing these via a tightly formatted dialogue, arresting spoken word, engaging song and dance. Hip-hop, as well as traditional dance, are his preferred genres, which he executes smoothly. ![The Scoop Lose To Win QPAC Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/06/BELVOIR_LoseToWin_PhotoBrettBoardman_001738-941x628.jpg "Lose To Win QPAC Belvoir St Theatre • The Scoop")His is a life story that brims with warmth humour and pain Photo by Brett BoardmanMathia is accompanied by Malin Sylla, an excellent musician whose rhythmic hand percussion completes the dynamic duo’s performance. Under the direction of Jessica Arthur, Mathia’s unflinching life story is told with incredible detail and empathy. Kate Baldwin’s clever lighting design catapults the audience into a peaceful village, a ravaging war, and a bustling city, accompanied by composer Brendan Boney’s atmospheric soundscape. Keerthi Subramanyam’s costume designs effectively reflect modern attire (Mathia) juxtaposed against its traditional counterpart (Sylla). While Subramanyam’s set design is sparse, each item plays an integral role in telling Mathia’s story. For example, the suitcases double up as apartment buildings, storage for stage props and even a map of the region! Australia is a melting pot of diverse ethnicities who have enriched our society with their extraordinary life experiences and rich culture. To choose to leave your country in search of the ‘promised land,’ wherever that might be, in the hope of attaining your dreams is indeed a very brave decision. So, here’s to all those brave souls who have made that decision willingly, myself included. Based on the standing ovation, several curtain calls and resounding applause for *Lose to Win*, for the most part, you have Australia’s respect and admiration. Did I hear someone say monoculture? ***Lose to Win* is presented by Belvoir St Theatre and runs to 27 June at the Cremorne Theatre, QPAC. Grey Street South Brisbane Qld 4101.** Tickets are available [here](https://qpac.n.qtix.com.au/shop/tickets/series/leplosetowin26). Website: <https://www.qpac.com.au/whats-on/2026/lep-lose-to-win> Socials: <https://www.instagram.com/atqpac/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman **Categories:** Brisbane, Theatre --- ### [Announcing Jersey Forever Tour In 2026](https://thescoop.au/announcing-jersey-forever-tour-in-2026/) **Published:** January 22, 2026 **Author:** Newsroom **Content:** ![The Scoop Jersey Forever](https://thescoop.au/wp-content/uploads/2026/01/Boys-Smaller-942x628.jpg "Jersey Forever • The Scoop")The boys are back! ***Jersey Forever*** reunites the original four stars of the record-breaking, mega hit musical *Jersey Boys* in a fresh tour in 2026. They boys will be performing for one night only at **Twin Towns, Tweed Heads** on **Friday 13 February**, following previously announced tour dates in Wyong, New South Wales, Burnie, Tasmania and Melbourne (see full tour dates below). It’s been over 15 years since the groundbreaking premiere in Melbourne of the Jersey Boys musical and now the boys join forces again to bring you the very best of Frankie Valli and the Four Seasons. This live concert experience is like no other. Get ready to relive the magic of the iconic sound and moves of your Jersey Boys – **Bobby Fox, Stephen Mahy, Scott Johnson** and **Glaston Toft** as the boys come together to perform all the greats including *Sherry, Big Girls Don’t Cry, Walk Like a Man* and *Oh What A Night*. ![The Scoop Jersey Forever](https://thescoop.au/wp-content/uploads/2026/01/DSC_3065-Edit-942x628.jpg "Jersey Forever • The Scoop")Jersey Forever reunites the original four stars of the record breaking mega hit musical**Bobby Fox**, who played Frankie Valli in the original Australian tour, said: *“I am so excited to be singing this iconic music again and reliving the memories and mateship that made the show so special.”* Don’t miss this spectacular show! Be sure to follow the boys on the socials to see where *Jersey Forever* will be performing next. ***Jersey Forever* runs in Tweed Heads for one night only on Friday 13 February at 8pm as part of a 2026 tour. Twin Towns Showroom, 2 Wharf Street Tweed Heads NSW 2485.** See below for all announced 2026 tour dates so far. Tickets: <https://twintowns.com.au/events/jersey-forever/> Website: <https://jerseyforever.com.au/> Socials: <https://www.instagram.com/jerseyforeverau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. 2026 Australian Tour Dates: Wyong 30 January, The Art House Burnie 6 February, Burnie Town Hall Tweed Heads 13 February, Twin Towns Showroom Melbourne 6 March, Karralyka Theatre, Ringwood Melbourne 7 August, Palais Theatre Sydney 12 September, Coliseum Theatre **Categories:** News --- ### [Review: Pride and Prejudice* (*sort of) Brings New Twist To Old Classic](https://thescoop.au/review-pride-and-prejudice-sort-of-brings-new-twist-to-old-classic/) **Published:** June 24, 2026 **Author:** Jessica Flynn **Content:** ★★★★☆ ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/06/Ruby-Shannon-Kaori-Maeda-Judge-Amy-Lehpamer-Zoe-Ioannou-Teo-Vergara-PRIDEANDPREJUDICESORTOF_PRODSHOTS_-Credit-Matthew-Chen-10-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")How do you reinvent one of the most beloved novels ever written? If you’re Isobel McArthur, the answer is simple: hand the microphone to the servants and let chaos reign. Direct from its Olivier Award-winning West End run, *Pride and Prejudice\* (\*sort of)* arrives at Athenaeum Theatre Melbourne with all the romance, scandal and social climbing of Jane Austen’s original, but viewed through the eyes of the women usually left hovering in the background. The result is a delightfully raucous, wildly inventive and funny celebration of Austen’s enduring classic. Rather than centring the wealthy families at the heart of Austen’s novel, she shifts the focus to the servants who are usually left hovering at the edges of the story, quietly observing the romantic entanglements and social manoeuvring of their employers. As they clean, gossip and pour drinks, they retell the entire tale themselves, playing every character and offering their own cheeky commentary and power ballads along the way. If the idea of weaving pop songs into *Pride and Prejudice* gives you pause, any concerns will disappear the moment Elizabeth Bennet launches into a powerhouse rendition of *You’re So Vain* aimed squarely at Mr Darcy. The contemporary soundtrack injects fresh energy into familiar scenes while reinforcing the emotional stakes beneath the comedy. What makes this production truly remarkable is the extraordinary work of its five-person cast, who collectively portray more than twenty characters. ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/06/Zoe-Ioannou-Amy-Lehpamer-Teo-Vergara-PRIDEANDPREJUDICESORTOF_PRODSHOTS_-Credit-Matthew-Chen-8-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")The five person cast collectively portray more than twenty characters Photo by Matthew ChenTrying to comprehend the sheer number of quick changes makes my head spin, and I cannot even begin to imagine how Ana Inés Jabares-Pita designed the costumes to pull it off. These aren’t even simple costume swaps but elaborate transformations involving richly coloured gowns, wigs and accessories that seem to appear in seconds. No one demonstrates this feat better than Amy Lehpamer. Her first-act performance is a masterclass in versatility. Watching her move seamlessly from the affable larrikin charm of Mr Bingley to the pining plain Charlotte Lucas and then straight into a delightfully Trude and Prue from Kath & Kim-esque Miss Bingley is genuinely astounding. Every character feels fully realised despite often appearing for only moments at a time. Lehpamer’s ability to switch gears so effortlessly is captivating. Teo Vergara shines as Elizabeth Bennet, delivering rich and controlled vocals throughout the evening. Vergara brings a sharp wit and playful sass to Lizzie while never losing sight of the character’s vulnerability. Their speaking voice also bears an uncanny resemblance to Emma Watson, which somehow feels perfectly fitting. Zoe Ioannou excels across multiple roles but truly comes into her own as Mr Darcy. Her physical comedy is impeccable, with every raised eyebrow, pout and lingering stare landing precisely where it should. The lighting design seems to know exactly when to catch one of Darcy’s trademark expressions, amplifying every comedic beat. ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/06/Kaori-Maeda-Judge-and-the-cast-of-PRIDEANDPREJUDICESORTOF_PRODSHOTS_-Credit-Matthew-Chen-2-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")The contemporary soundtrack injects fresh energy into familiar scenes while reinforcing the emotional stakes Photo by Matthew ChenKaori Maeda-Judge deserves special recognition as the company’s resident quick-change magician. Whether appearing as the sweet and gentle Jane Bennet or the gloriously over-the-top Lady Catherine de Bourgh, her transformations are astonishing. Each character is distinct not only in costume but in voice, movement and energy. Ruby Shannon brings a wonderful quality to her collection of eccentric characters. Her kazoo-playing servant proves one of the evening’s most unexpectedly hilarious highlights. Shannon approaches even the kookiest moments with a stoicism and grace that belie her newcomer status. Every member of the cast deserves praise for creating such vividly distinct characters. The vocal and physical transformations go far beyond costume changes, and the work of Jennifer White as the dialect coach and Simone Sault as the choreographer is evident throughout. I also love the Australian flourishes woven into the production. The total anachronism of seeing a wagon wheel and a Viennetta served at a regency-era ball just lit up the child in me. Thank you to Australian tour director Simon Harvey for bringing a little Aussie twist to this production. Faithful to Austen while gleefully tearing apart convention, *Pride and Prejudice\** *(\*sort of)* is an inventive, joyful and brilliantly performed theatrical experience. It honours the original while creating something entirely its own. Jane Austen would probably be horrified. Everyone else will have an absolute ball. ***Pride and Prejudice\* (\*sort of)* runs in Melbourne to 12 July at the Athenaeum Theatre as part of a national tour.** See full details below. Tickets: <https://www.prideandprejudicesortof.com.au/#book> Website: <https://www.prideandprejudicesortof.com.au/> Socials: <https://www.instagram.com/prideandprejudicesortofau/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Matthew Chen 2026 Australian Tour Dates: Melbourne 18 June – 12 July, Athenaeum Theatre Sydney 16 July – 30 August, Drama Theatre, Sydney Opera House Wollongong 2 – 13 September, IMB Theatre, IPAC Canberra 16 – 27 September, Canberra Theatre Centre Brisbane 30 September – 18 October, Playhouse Theatre, QPAC **Categories:** Melbourne, Theatre --- ### [Review: The Roommate Is Funny, Chaotic & Unexpectedly Heartfelt](https://thescoop.au/review-the-roommate-is-funny-chaotic-unexpectedly-heartfelt/) **Published:** June 24, 2026 **Author:** Olivia Calverley-Haack **Content:** ★★★★ ![The Scoop The Roommate Ensemble Theatre Lucy Bell Belinda Bromilow](https://thescoop.au/wp-content/uploads/2026/06/Belinda-Bromilow-and-Lucy-Bell_TheRoomMate_PhotoBrettBoardman_000953-942x628.jpg "The Roommate Ensemble Theatre Lucy Bell Belinda Bromilow • The Scoop")What does one do when they are in their fifties and possibly (most definitely) going through an identity crisis? Find a roommate who is also in their fifties and possibly (most definitely) going through an identity crisis. The Australian premiere of Jen Silverman’s *The Roommate* has just kicked off hot at Ensemble Theatre in Kirribilli, starting its run with a standing ovation and audiences bent over in laughter. Sharon (Lucy Bell), blissfully unaware of the way her life is about to change, opens her door to Robyn (Belinda Bromilow), welcoming self-discovery, chaos, possibly medicinal marijuana and a few more scandals. The refreshing dark comedy, directed by Lee Lewis, sweeps audiences into a thrilling, adrenaline-fuelled ride. With its fast-paced storyline, *The Roommate* will either have you laughing, gripping onto the edge of your seats in suspense, or in complete shock. I took my roommate along to watch, and they audibly gasped multiple times. Set in modern-day Iowa, cultured with hot yoga, cafes and book clubs, the world of the play is constructed by a very talented design team. Set and costume designer Simone Romaniuk utilises the small and intimate space to invite us into the neutral world of Sharon, gradually filling it up with more colour, more objects, more mess and more life. ![The Scoop The Roommate Ensemble Theatre Lucy Bell Belinda Bromilow](https://thescoop.au/wp-content/uploads/2026/06/Lucy-Bell-and-Belinda-Bromilow_TheRoomMate_PhotoBrettBoardman_006124-941x628.jpg "The Roommate Ensemble Theatre Lucy Bell Belinda Bromilow • The Scoop")When Sharon meets Robyn she completely transforms and becomes an unstoppable force Photo by Brett BoardmanThis two-hander presents a refreshing portrayal of middle-aged women with a fun, playful, and unexpected twist. The exceptionally talented Lucy Bell plays the lonely, divorced, empty nester Sharon, who works at the local gift shop every Thursday and is a part of a reading group (not a book club) from Illinois. Bell plays this character with such heart and commitment. You can’t help but feel bad for this uncultured and lost soul who is simply looking for a sense of purpose. When Sharon meets Robyn, she completely transforms and becomes an unstoppable force of life and hope. Bell’s ability to tell this story with such promise means that the audience doesn’t have to work hard to understand it; we are able to relax and enjoy the hilarious performance. Robyn, the roommate, played by the very exciting Belinda Bromilow, enters the story with a large amount of ambiguity and secrecy. What we do know is that she’s from the Bronx (I think), she’s a lesbian (most likely), and is a vegan (no signs indicating this isn’t true). Bromilow’s performance captures the nuances and complexities of her character as well as her erratic and wacky nature. Her sporadic delivery is a constant source of laughter, resulting in a very enjoyable performance that complements Bell’s beautifully. ![The Scoop The Roommate Ensemble Theatre Lucy Bell Belinda Bromilow](https://thescoop.au/wp-content/uploads/2026/06/Lucy-Bell-and-Belinda-Bromilow_TheRoomMate_PhotoBrettBoardman_002126-942x628.jpg "The Roommate Ensemble Theatre Lucy Bell Belinda Bromilow • The Scoop")The production celebrates the thrill of taking risks and rewriting the rules at any age Photo by Brett BoardmanThe dynamic of these two characters, and the performers themselves who bring them to life, provide audiences with the refreshing reminder that being middle-aged does not mean you have to stop and settle. As Sharon says at the end of the play, “there’s a great liberty in being bad,” capturing *The Roommate’s* celebration of reinvention, freedom, and living. Lighting design by Matt Cox is extremely impressive. Serving as an important storytelling tool, it creates beautiful visual moments, such as the morning sun peering through the window. Sound design by Madeleine Picard does very well at heightening the moments of suspense, comedy, and intimacy, shaping the play’s emotional rhythm. At times, the sound took me out of the world, specifically a poorly recorded door sound effect that felt jarring, leaving me cringing each time it was used. Despite this minor distraction, the creative team has built a vibrant and ever-evolving world that invites audiences to lose themselves in the chaos unfolding on stage. *The Roommate* is funny, chaotic, and unexpectedly heartfelt. Driven by two magnetic performances, the production celebrates the thrill of taking risks and rewriting the rules at any age. And at ninety-five uninterrupted minutes, it all makes for an immensely entertaining night at the theatre. The lease runs out 25th of July, so be sure to see this delightful dark comedy before these roommates pack up their boxes and move on. ***The Roommate*** **runs to 25 July at Ensemble Theatre.** **78 McDougall Street Kirribilli NSW 2061.** Tickets are available [here](https://boxoffice.ensemble.com.au/WebPages/EntaWebShow/ShowPerformance.aspx). Website: <https://www.ensemble.com.au/shows/the-roommate/> Socials: <https://www.instagram.com/ensembletheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Review: The Almighty Sometimes Sees Art, Illness & Identity Collide](https://thescoop.au/review-the-almighty-sometimes-sees-art-illness-identity-collide/) **Published:** June 24, 2026 **Author:** Tiffany Barton **Content:** ★★★★☆ ![The Scoop The Almighty Sometimes Black Swan Perth](https://thescoop.au/wp-content/uploads/2026/06/The-Almighty-Sometimes-1079-942x628.jpg "The Almighty Sometimes Black Swan Perth • The Scoop")When it comes to mental illness, does creativity belong to the illness, the medication, or the person themselves? Black Swan State Theatre Company’s production of *The Almighty Sometimes* tackles this question head-on in a gripping and emotionally charged drama. Eighteen-year-old Anna is an aspiring writer who has been on psychiatric medication for seven years. With the support of a loving mother and a dedicated psychiatrist, she is stable and about to embark on her life as an adult. After finding a collection of her childhood notebooks full of wildly imaginative, dark, twisted stories written before she began taking medication, she questions whether her meds have blunted her creativity and decides to go off them. *The Almighty Sometimes*, written by Kendall Feaver, is a clever, insightful script that explores the tension between Anna’s desire for agency and self-expression versus her mother’s desperate need to keep her daughter safe. As the story unfolds, audience sympathies swing from Anna, who questions her diagnosis (the play suggests her father died before her first episodes; could grief and trauma have been a factor?), to her mother Renée, who, like any mother in the same situation, just wants to protect her daughter from herself and maintain equilibrium. ‘Ana Ika gives a strong performance as Anna, beautifully portraying her youthful optimism and confidence, which provides a heartbreaking counterpoint to her descent into illness. ![The Scoop The Almighty Sometimes Black Swan Perth](https://thescoop.au/wp-content/uploads/2026/06/The-Almighty-Sometimes-1278-942x628.jpg "The Almighty Sometimes Black Swan Perth • The Scoop")As the story unfolds audience sympathies swing from Anna to her mother Photo by Daniel J GrantShe sparks well off Alison van Reeken, as her mother Renée, who deftly captures all the nuance and complexity of a mother’s fear, from anger and frustration at Anna’s risky choices, to deep love and anguish at her daughter’s deterioration. Harry Gilchrist plays Anna’s first boyfriend, Oliver, who has some difficult family issues of his own to contend with. He performs with heartbreaking vulnerability as he witnesses Anna’s descent. His character speaks to the complexity of a community response to mental illness. Oliver is torn between his love for Anna, his need for self-protection, and his shock and anger at Anna’s behaviour and the actions Renée must take to save her daughter. Amy Mathews is also strong as Vivienne, Anna’s psychiatrist, a skilled professional who nevertheless demonstrates her own moral ambiguity. We learn that she has published a book of case studies, which includes Anna’s creative writing and accounts of her illness, without having asked for her permission. There is a potent scene where she argues with Renée about the fact that Anna is now an adult and entitled to autonomy in her decision-making. The two actresses skilfully navigate the competing demands of their characters’ viewpoints while the audience walks a knife-edge as we grapple with our own response to an impossibly difficult situation. ![The Scoop The Almighty Sometimes Black Swan Perth](https://thescoop.au/wp-content/uploads/2026/06/The-Almighty-Sometimes-1139-942x628.jpg "The Almighty Sometimes Black Swan Perth • The Scoop")The play asks difficult questions without offering easy answers Photo by Daniel J GrantEmily McLean’s direction is sensitive and assured, allowing the play’s shifting perspectives to land without ever forcing judgment. She keeps the production finely balanced between naturalism and imagination, so that Anna’s inner world and the clinical realities around her sit in constant, uneasy proximity. She draws nuanced, grounded performances from the ensemble that hold the production’s moral complexity in steady tension. Respect must go to set designer Fiona Bruce, whose blue, ordered set provides a striking counterpoint to the wild, layered video design by Mia Holton, projected onto a side wall. The projection suggests the beautiful chaos of Anna’s imagination and creativity, while also hinting at the darker undertones of her illness, whereas the physical set remains aligned with Renée’s need for order and sanctuary. Feaver says she began writing *The Almighty Sometimes* when she was only a few years older than Anna. This is her debut script, which has won multiple awards and is a remarkable achievement. She skilfully weaves a complex story, giving all characters weight and validity as they attempt to navigate an impossibly difficult dilemma. The best kind of theatre explores the vulnerable grey areas of human experience: moral ambiguity, uncertainty, and not knowing. *The Almighty Sometimes* is one of those plays. It asks difficult questions without offering easy answers, and in doing so, becomes a powerful story that handles a complex issue with sensitivity and nuance. With youth mental health diagnoses reaching alarming levels in Australia, it feels particularly relevant to the age we live in, and lingers precisely because it refuses to resolve what cannot be easily resolved. ***The Almighty Sometimes* is presented by Black Swan State Theatre Company and runs to 5 July at Subiaco Arts Centre.** Tickets are available [here](https://blackswantheatre.com.au/season-2026/the-almighty-sometimes). Website: <https://blackswantheatre.com.au/season-2026/the-almighty-sometimes> Socials: <https://www.instagram.com/blackswanstc/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Daniel J Grant **Categories:** Perth, Theatre --- ### [Announcing Cast For Strong Is The New Pretty](https://thescoop.au/announcing-cast-for-strong-is-the-new-pretty/) **Published:** June 23, 2026 **Author:** Newsroom **Content:** ![The Scoop Strong is the New Pretty Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/06/Tara-Morice-Amy-Hack-Nyasha-Ogden-Amber-McMahon-and-Lucy-Bell-in-Sydney-Theatre-Companys-Strong-Is-The-New-Pretty-2026-Photo_-Holly-Ward1920x1080-1116x628.jpg "Strong is the New Pretty Brisbane Festival • The Scoop")**Brisbane Festival**, **Sydney Theatre Company** and **Trish Wadley Productions** today announced the full cast for the world premiere of ***Strong is the New Pretty***, a landmark new play written by celebrated Australian playwright **Suzie Miller** (*Prima Facie; RBG: Of Many, One*) and directed by **Sarah Giles** (Opera Queensland’s *Rusalka;* Sydney Theatre Company’s *No Pay? No Way!*) Charting the trailblazing formation of the AFLW, the production will open at **Brisbane Festival** in September before touring to **Canberra**, **Geelong**,and **Sydney.** Bringing to life the story of how the league transformed from a pipe dream into a major sensation are **Lucy Bell** (Ensemble Theatre’s *The Roommate*), who will play Australia’s first female AFL Commissioner, Sam Mostyn (current Governor-General of Australia), among other characters. Bell joins the cast alongside **Amy Hack** (Kadimah Yiddish Theatre’s *Yentl*), **Amy Ingram** (Netflix’s *Boy Swallows Universe,* Queensland Theatre’s *[Pride & Prejudice](https://thescoop.au/review-queensland-theatres-pride-and-prejudice-proves-love-still-prevails/))*, **Alex King** (Bell Shakespeare’s *King Lear*), **Amber McMahon** (Belvoir’s *[Orlando](https://thescoop.au/review-orlando-dances-through-time-in-a-bold-adaptation/)*), **Tara Morice** (Baz Luhrmann’s *Strictly Ballroom*, *[Menopause the Musical](https://thescoop.au/review-menopause-the-musical-delivers-laughs-in-full-flush/)*), **Contessa Treffone** (Sydney Theatre Company’s *[Picnic at Hanging Rock](https://thescoop.au/review-picnic-at-hanging-rock-a-powerful-descent-into-the-abyss/)*), and newcomer **Nyasha Ogden**. Miller, whose work has garnered numerous global accolades including the Olivier Award for Best New Play for *[Prima Facie](https://thescoop.au/review-prima-facie-leaves-its-audience-in-silence/)*, infuses this monumental story with her signature whip-smart, rapid-fire style. The result is a gripping night at the theatre that’s not just for sport lovers, but anyone looking to be uplifted by an inspiring tale of determination, legacy, and pride. Playwright **Suzie Miller** said: *“I’m so excited to bring Strong is the New Pretty to the nation. It speaks to Australia and celebrates the unique, collaborative way this group of women dreamed something into existence and reclaimed the Aussie mantra ‘fair go’ in a manner that speaks to a new century and a strive for equality in all things.”* *The play traces the life-affirming, heartbreaking and passionate story of the organisers and players of the inaugural AFLW season, showing a different way women make things happen in Australia. One that we can all celebrate and a template for all of us to learn from. It’s funny, and emotional, distinctly about ‘us’, and unites lovers of footy and the arts in a theatrical showing for all.”* ![The Scoop Strong is the New Pretty Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/06/QT_Strong-is-the-New-Pretty-HR-rgb-1047x628.jpeg "Strong is the New Pretty Brisbane Festival • The Scoop")Strong is the New Pretty makes its world premiere at Brisbane Festival before touring Image suppliedBrisbane Festival Artistic Director **Ebony Bott** said: *“The women at the heart of Strong is the New Pretty are formidable, resilient and determined, and this production honours their legacy with a cast of equal strength. Bringing together some of Australia’s most accomplished performers, the play captures the courage, persistence and collective spirit that built the AFLW from the ground up. We are thrilled to share its world premiere with Brisbane Festival audiences.”* Sydney Theatre Company Artistic Director **Mitchell Butel** said: *“This is an epic collaboration between a community of big dreamers, about an epic collaboration of big dreamers. Sydney Theatre Company is thrilled to be partnering with Brisbane Festival and Trish Wadley Productions to bring to life the iconic Suzie Miller’s ingenious, dynamic and heart-stopping exploration of the birth of AFLW.”* Taking Miller’s vision from page to stage is a stellar creative team including **Christina Smith** (Designer), **Paul Jackson** (Lighting Designer), **Clemence Williams** (Composer), **Brady Watkins** (Sound Designer), **Craig Wilkinson** (Video Designer), and Kelley Abbey (Choreographer). ***Strong is the New Pretty* runs at the Playhouse, QPAC from 1 – 19 September 2026 as part of Brisbane Festival.** It then tours to Canberra, Geelong and Sydney. Tickets are on sale now via the website. Website: <https://strongisthenewprettyplay.com.au/> Socials: [https://www.instagram.com/sitnp\_play/](https://www.instagram.com/sitnp_play/) and <https://www.instagram.com/brisbanefestival/> [Read more about the Brisbane Festival](https://thescoop.au/announcing-brisbane-festival-2026-program-switch-on-light-up-come-alive/) Photo credits: Holly Ward *Strong is the New Pretty* is a Brisbane Festival, Sydney Theatre Company and Trish Wadley Productions co-production, originally commissioned by Trish Wadley Productions. This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body. 2026 Australian Tour: Brisbane 1 – 19 September, Playhouse, QPAC Canberra 24 September – 3 October, Canberra Theatre Centre Geelong 8 – 11 October, Geelong Arts Centre Sydney 22 October – 5 December, Drama Theatre, Sydney Opera House **Categories:** News --- ### [Win A Double Pass To Dendy Cinemas Brisbane](https://thescoop.au/win-a-double-pass-to-dendy-cinemas-brisbane/) **Published:** June 22, 2026 **Author:** Newsroom **Content:** ![The Scoop The Odyssey Dendy Cinemas](https://thescoop.au/wp-content/uploads/2026/06/The-Odyssey-TE-1200x600.jpg "The Odyssey Dendy Cinemas • The Scoop")Set sail for an adventure of mythic proportions because tickets for Christopher Nolan’s epic, [**THE ODYSSEY**](https://www.youtube.com/watch?v=0YfyIFQih8U) are now on sale at Dendy Cinemas Coorparoo and Dendy Cinemas Portside. See Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson and Lupita Nyong’o, with Zendaya and Charlize Theron on the big screen from **16 July**, including Premium Lounge sessions. Homer’s foundational saga – THE ODYSSEY, is a mythic action epic shot across the world using brand new IMAX® film technology. Sessions now on sale[ HERE!](https://dendy.com.au/movie/the-odyssey/) ![The Scoop The Odyssey Dendy Cinemas](https://thescoop.au/wp-content/uploads/2026/06/TRhe-Odyssey-Cover-835x628.jpg "The Odyssey Dendy Cinemas • The Scoop")To celebrate the release of Christopher Nolan’s epic THE ODYSSEY screening at Dendy Cinemas from 16 July, The Scoop is giving away a Dendy Cinemas double pass to see a film of your choice at **Dendy Cinemas Coorparoo** or **Dendy Cinemas Portside**. Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop Coorparoo’ or ‘Scoop Portside’ under the post. **THE ODYSSEY opens on Thursday 16 July at Dendy Cinemas.** Website: <https://www.dendy.com.au/movie/the-odyssey/> Socials: <https://www.instagram.com/dendy.au/> and <https://www.instagram.com/theodysseymovie/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Odyssey Director: Christopher Nolan Cast: Matt Damon, Tom Holland, Zendaya, Anne Hathaway, Lupita Nyong’o Country of Origin: USA Duration: 172 mins Rating: CTC **Categories:** competition, News --- ### [Review: Postmodern Jukebox 2026 Adelaide Cabaret Festival](https://thescoop.au/review-postmodern-jukebox-2026-adelaide-cabaret-festival/) **Published:** June 22, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Postmodern Jukebox Adelaide Cabaret Festival Demi Remick](https://thescoop.au/wp-content/uploads/2026/06/PMJ-BAND-PHOTO-2024-copy-1200x542.jpg "Postmodern Jukebox Adelaide Cabaret Festival Demi Remick • The Scoop")Before Postmodern Jukebox’s Adelaide Cabaret Festival set, a voice from the crowd yelled out: “Willie!” It was not a random heckle. It was a greeting. Willie Jay Moore Jr had not yet been handed his big solo moment. He was behind the kit, holding down the show with the casual authority of someone who could probably make a malfunctioning washing machine swing. Yet the shout revealed what makes Scott Bradlee’s Postmodern Jukebox more than a slick covers act. For more than a decade, audiences have watched these performers appear in weekly YouTube videos. They have seen singers arrive, disappear, return in new guises, and turn familiar pop songs into old-world curiosities. The relationship is strangely intimate. You may not know Willie personally. But you feel like you have been dropping by his living room for years. Postmodern Jukebox began in 2011, when New York pianist and arranger Scott Bradlee started filming vintage-styled reworks of contemporary songs with friends in Queens. Before that, Bradlee had spent years struggling as a jazz musician. An ’80s ragtime medley went viral after author Neil Gaiman shared it on Twitter. The snowball started rolling. The project’s first major viral hit came soon after. Its 1920s-flavoured version of Macklemore and Ryan Lewis’ *Thrift Shop* turned the collective into a global internet phenomenon. Since then, PMJ has built a vast rotating family of singers, a PMJ family of players and specialist performers, with billions of YouTube views and a touring empire that can travel several continents at once. That history sat underneath the Adelaide show like a bassline. MC Rogello Douglas Jr opened with *Hotel California*, making The Eagles cool again through sheer force of charm. He then took the room on a rapid-fire, Hot Dub Time Machine-style history of music. The gramophone era arrived via *La donna è mobile*. Tap dancer Demi Remi burst into a Charleston. Tatum Langley emerged in a white-and-red cheerleader costume to evoke the polished optimism of the ’50s and ’60s. The decades kept coming. Demi Remi returned in an ’80s hoodie, beatboxing and breakdancing. Langley reappeared in a Christina Aguilera-inspired noughties look, complete with an iPod to mark the streaming age. Then Douglas took the audience forward to a bleak imagined 2084, where AI creates all the music. ![The Scoop Postmodern Jukebox Adelaide Cabaret Festival Demi Remick](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-08-at-64949-pm-1200x559.png "Postmodern Jukebox Adelaide Cabaret Festival Demi Remick • The Scoop")The music industry is currently staring down a flood of machine-made songs, fake streams and an increasingly murky relationship between artists, platforms and audiences. Streaming killed the old certainty of record sales. It also created pathways that did not previously exist. Bradlee is proof of that. A pianist with no obvious mainstream route found a global audience because a strange mash-up, a good tweet and the right moment collided. Luck helped. Timing helped. But Postmodern Jukebox’s real secret is that every person on that stage can do something absurdly well. Willie Jay Moore Jr got his moment with Soundgarden’s *Black Hole Sun*. He sang it like Stevie Wonder had wandered into a Seattle grunge rehearsal, all while still playing drums. The band’s *Star Wars* interludes drew some of the night’s biggest cheers, especially the Cantina sequence. Demi Remi folded Super Mario, sci-fi and tap into a series of mini set-pieces. Coins chimed from the piano as she jumped for them. Shots were downed. Costumes came and went at a pace that suggested her backstage cardio load may have rivalled the actual choreography. She must have changed outfits more than a dozen times. That restless motion was part of the show’s charm. Two hours passed without an interval. Every arrangement felt engineered to produce a moment that could later become a clip, a reel, a fan video or a new algorithmic rabbit hole. It was like falling into a scrolling feed and forgetting you needed to eat, drink or find a toilet. Yet the human element kept breaking through. Tatum Langley showed remarkable range. Early on, she channelled a peroxide-blonde vintage glamour, complete with narrow fringe, for *Copacabana*. Demi Remi played Lola for the gags, flirting with the brass section and turning the number into a tiny nightclub farce. Later, Langley appeared in a dazzling blue gown for a sweeping James Bond-styled treatment of The Weeknd’s *Die For You*. She climbed and climbed, then ended in a whisper. ![The Scoop Postmodern Jukebox Adelaide Cabaret Festival Demi Remick](https://thescoop.au/wp-content/uploads/2026/06/0S5A2129-942x628.jpg "Postmodern Jukebox Adelaide Cabaret Festival Demi Remick • The Scoop")Demi Remi folded Super Mario sci fi and tap into a series of mini set pieces Image sppliedFresh from Las Vegas and Cirque du Soleil’s *Mad Apple*, Jackie Mac delivered The Police’s *Every Breath You Take* with a level of control that was almost unnerving. She altered the colour and character of her voice within single phrases. Her statuesque presence made the number feel like a private séance. Then there was Katerina Lomis. At 24, the Miami artist has already built a substantial independent online following after moving from cancer research into music full-time. Her voice has a theatrical elasticity that makes sense of that unusual journey. She arrived with curls suggesting early-’90s Mariah Carey and a stage presence that smacked the audience straight across the face. Her version of ABBA’s *Thank You For The Music* was bright, silly and full of scat-singing joy. Her *Red Right Hand* was another animal entirely. Smoky, sly and full of bite, it carried enough attitude to make Nick Cave blush. Lomis felt like an early glimpse of a future headliner. Douglas, meanwhile, held the evening together. He sang, MC’d and beatboxed through Imagine Dragons’ *Radioactive*, then later confessed that the seated, well-behaved Adelaide audience was giving him social anxiety. He got everyone on their feet for U2’s *I Still Haven’t Found What I’m Looking For*, turning the Festival Theatre into a church with brass. The finale, naturally, was the song that helped define the PMJ phenomenon: Meghan Trainor’s *All About That Bass*, reborn in the group’s now-famous retro style. No computer can replicate a night like this. Algorithms may have helped bring Postmodern Jukebox into people’s bedrooms, phones and YouTube recommendations. They may have made a weekly upload feel like a standing appointment with a global cast of musical overachievers. But the screen cannot replace the room. It cannot reproduce the shout of “Willie!” from the stalls. It cannot replicate the heat of a tap break, the split-second silence before a singer drops into a whisper, or the strange collective thrill of hearing a song you have known for years suddenly reveal a different century inside it. Postmodern Jukebox has always been built on technology. At Adelaide Cabaret Festival, it reminded us why the technology only matters if it eventually gets us back together. ***Scott Bradlee’s Postmodern Jukebox: The Future is Vintage* ran for one show only on 21 June at the Festival Theatre as part of the 2026 Adelaide Cabaret Festival.** *The Future Is Vintage* is part of a major Australia and New Zealand tour. See their [website](https://postmodernjukebox.com/) for future tour dates. Website: <https://cabaret.adelaidefestivalcentre.com.au/whats-on/scott-bradlees-postmodern-jukebox> Socials: <https://www.instagram.com/adelaidecabaret/> and <https://www.instagram.com/pmjofficial/> [Read more of our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=adelaide+cabaret) Images supplied. **Categories:** Adelaide, Circus, Theatre --- ### [Review: Mackenzie Brings Pop Energy To The Scottish Play](https://thescoop.au/review-mackenzie-brings-pop-energy-to-the-scottish-play/) **Published:** June 22, 2026 **Author:** Leo Manson **Content:** ★★★★★ ![The Scoop Performer behind a large pink heart frame on stage, with surprised facial expression.](https://thescoop.au/wp-content/uploads/2026/06/BELLShakespeare_MACKENZIE_PhotoBrettBoardman_002765-941x628.jpg "Mackenzie Bell Shakespeare Kimberley Hodgson • The Scoop")Bell Shakespeare’s *Mackenzie* is an exemplar of not only adaptation, but also theatre. The new play, created by Yve Blake, brings *Macbeth* to the early 2000s. This sees the titular role reimagined as a Hannah Montana-inspired child star. Logie award-winning actress, Virginia Gay, steps into the director’s seat for this play. Her direction keeps the show quick and snappy. Mackenzie is played by Kimberly Hodgson, whose recent roles include Gigi in *Miss Saigon* and Brianna from Blake’s 2019 musical *FANGIRLS*. Hodgson’s flamboyant, exaggerated acting is exactly what a play like *Mackenzie* commands. Of course, there can’t be an early 2000s TV show protagonist without her sidekick. In this production*,* it is Beau, played by Ryan Gonzalez. The relationship that Beau and Mackenzie build pulls at the heartstrings. This is because Gonzalez brings such an endearing awkwardness to their character. ![The Scoop Two women on a stage, one holding a microphone with a pink'LIVE FROM' label, smiling and singing amid colorful lights.](https://thescoop.au/wp-content/uploads/2026/06/BELLShakespeare_MACKENZIE_PhotoBrettBoardman_007418-941x628.jpg "Mackenzie Bell Shakespeare Kimberley Hodgson • The Scoop")Kimberly Hodgsons flamboyant exaggerated acting is exactly what a play like this commands Photo by Brett BoardmanThe songs in the play are a delight. *City Girl*, in particular, is darkly funny. The contrast with *Mackenzie’s World* is a clear parody of the common pathway of child stars. It also cleverly shows how far Mackenzie has come from her dorky beginnings. Lady Macbeth’s role is filled by Mackenzie’s mother, Ruth, played by Nikki Britton. She brings an almost bogan nature to her character. Ruth is clearly not a good mother to Mackenzie, but Britton’s penchant for humour keeps it light enough for laughs. This is an incredibly unique dynamic to see on stage. Blake keeps surprisingly close to the original plot despite the campy dialogue and glamorous outfits. Many moments draw very directly from *Macbeth* but twist it in new, humorous ways. This adds to the show’s resounding metatheatricality. This is mostly in its first half to give room for more serious moments later. Making up for almost every other role are Billie Pallin, Anusha Thomas and Jane Watt. These three do an excellent job filling in any other role the show needs. Quick changes are pulled off exquisitely, and suspension of disbelief is never broken. Pallin turns from chef to director at a moment’s notice. ![The Scoop Group of actors on a dimly lit stage reaching upward around a central woman in a vintage brown outfit under purple-blue lights](https://thescoop.au/wp-content/uploads/2026/06/BELLShakespeare_MACKENZIE_PhotoBrettBoardman_002692-941x628.jpg "Mackenzie Bell Shakespeare Kimberley Hodgson • The Scoop")Mackenzie is a unique example of what a bit of creativity can do Photo by Brett BoardmanWatt takes the brunt of this, playing the producer, the stylist and a handful of other roles. As the witch/stylist, Watt shows off some impressive but creepy physical acting. This is very brief and played for laughs, but it really shows her talent. A standout is Keerthi Subramanyam’s absolutely gorgeous costume design. Each costume creates such clear characterisation, all while staying strictly 2000s. The pinks and leopard prints give the show a clear motif. Perhaps the only thing that isn’t coated in a layer of glamour is the simple stage design. This allows the stage to follow the many locations Mackenzie travels to, from trailers to TV, to the red carpet. It also allows the colourful costumes of the main cast to pop against the dark flooring. *Mackenzie* is a unique example of what a bit of creativity can do. It revels in being the opposite of *Macbeth*‘s dreary setting but maintains the wit and drama of Shakespeare’s original work. ***Mackenzie* is presented by Bell Shakespeare and runs to 18 July 2026 at The Nielsen Nutshell. Pier 2/3 Sydney NSW 2000.** It then runs at Arts Centre Melbourne from 23 July – 9 August. Tickets for Sydney are [here](https://shop.bellshakespeare.com.au/overview/271533). Tickets for Melbourne are [here](https://www.artscentremelbourne.com.au/whats-on/2026/seasons/bell-shakespeare/mackenzie). Website: <https://www.bellshakespeare.com.au/mackenzie> Socials: <https://www.instagram.com/bellshakespeare/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman **Categories:** Musical Theatre, Sydney, Theatre --- ### [Film Review: Brian Cox's Glenrothan Is Beautiful Yet Elusive](https://thescoop.au/film-review-brian-coxs-glenrothan-is-beautiful-yet-elusive/) **Published:** June 21, 2026 **Author:** Alex Thompson **Content:** ★★★☆☆ ![The Scoop Glenrothan Brian Cox Alan Cumming](https://thescoop.au/wp-content/uploads/2026/06/Glenrothan_cs3_280824_gh_1943-967x628.jpg "Glenrothan Brian Cox Alan Cumming • The Scoop") There is something undeniably appealing about *Glenrothan*. Set against the breathtaking landscapes of Scotland, it centres around family, regret, forgiveness, and identity. Directed by Brian Cox in his feature directorial debut and starring Cox alongside Alan Cumming and Shirley Henderson, the film has all the ingredients for an emotional crowd-pleaser. The story follows Donal (Alan Cumming), who left Scotland forty years earlier after the death of his mother and a strained relationship with his father. Building a life for himself in Chicago, he established a blues club called Donal’s Dive and seemingly left his old life behind. Back in Scotland, his brother Sandy (Brian Cox) remained, sacrificing his own dreams to look after the family whisky distillery and, ultimately, their father. When Donal’s club burns down, he returns to Scotland with his daughter (Alexandra Shipp) and granddaughter (Joanne Thomson), reopening old wounds and forcing both brothers to confront a lifetime of unresolved feelings. *Glenrothan* is a story about family and the roads not taken. Sandy wanted to leave but felt duty-bound to stay. Donal escaped but spent decades carrying the emotional baggage of that decision. It is a strong foundation for a drama, and the film spends considerable time exploring the contrast between the two brothers and the lives they chose. One of the film’s most memorable recurring elements is the song *One Meatball*, performed by Donal and his daughter. I found myself wondering whether the song acts as a metaphor for Donal’s life, a man who achieved some of what he wanted but never quite found fulfilment. As the lyrics suggest, he got the meatball, but perhaps missed out on everything that should have come with it. Brian Cox delivers a heartfelt performance as Sandy. There is a vulnerability beneath the character’s quiet strength that makes him immediately sympathetic. Sandy feels trapped by circumstance, yet never bitter. Even as illness begins to take its toll, he remains compassionate and generous, making him arguably the film’s emotional centre. ![The Scoop Glenrothan Film Brian Cox Alan Cumming](https://thescoop.au/wp-content/uploads/2026/06/Glenrothan_cs2_270824_gh_0513-942x628.jpg "Glenrothan Film Brian Cox Alan Cumming • The Scoop")Alan Cumming is a compelling screen presence while Brian Cox delivers a heartfelt performanceAlan Cumming is, as always, a compelling screen presence. Whether acting or singing, he brings charisma and confidence to every scene he appears in. His musical performances are a pleasant surprise and add another layer to the film’s celebration of Scottish culture and community. The standout performance comes from Shirley Henderson as Jess, who has clearly spent decades carrying unresolved feelings for Donal after he left without so much as a goodbye. Henderson brings genuine heart, humour, and fire to the role. There is an honesty to her performance that makes every scene she appears in more engaging. Viewers may initially be distracted by Henderson’s instantly recognisable voice. Many will remember her as Moaning Myrtle from the *Harry Potter* films, but it doesn’t take long before the performance takes over. By the end, Jess emerges as one of the most memorable characters in the film. Visually, *Glenrothan* is stunning. The real star of the film is Scotland itself. Cinematographer Jaime Ackroyd captures the country in all its glory, from misty lochs and rolling valleys to dramatic mountains and endless green landscapes. Every frame feels carefully composed to showcase the beauty of the Highlands, and the result is breathtaking. It is impossible to watch the film without understanding why Brian Cox is so passionate about his homeland. There are moments when the scenery communicates more emotion than the dialogue itself. Where *Glenrothan* struggles is in delivering the emotional payoff its story seems to be building towards. Films about estranged families often lead audiences towards a moment of revelation or reconciliation. Not necessarily a happy ending, but some deeper understanding between the characters. Here, that resolution feels surprisingly elusive. The film repeatedly hints at larger emotional questions. Did Donal misunderstand his mother’s wishes when she told him to leave? Did his father love him more than he realised? Was Sandy secretly resentful of the sacrifices he made? ![The Scoop Glenrothan Film Brian Cox Alan Cumming](https://thescoop.au/wp-content/uploads/2026/06/Glenrothan_cs13_110924_gh_8516-936x628.jpg "Glenrothan Film Brian Cox Alan Cumming • The Scoop")There are moments when the scenery communicates more emotion than the dialogue itselfWhile some of these questions are addressed, the answers feel understated to the point of being unsatisfying. There is a brief acknowledgement that their father loved Donal, but it never develops into the emotional breakthrough the story appears to be building towards. As a result, the central conflict remains somewhat unresolved. Despite being the protagonist, Donal often comes across as surprisingly self-centred. The film asks us to sympathise with his pain and regrets but doesn’t always provide enough insight into his emotional growth. Product placement involving two new Renault vehicles is hard to miss, and some background performers occasionally draw attention for the wrong reasons. One sequence involving a band arriving for the distillery’s 200th anniversary celebration stood out, with some extras appearing noticeably self-conscious on camera. Given that this is Brian Cox’s first outing as a feature film director, these are understandable growing pains rather than major flaws. His strengths clearly lie in guiding strong performances and capturing a sense of place, and both are evident throughout the film. *Glenrothan* is a film I admired more than I loved. It is beautifully shot, wonderfully acted, and deeply affectionate towards Scotland and its people. The performances from Cox, Cumming, and especially Henderson provide more than enough reason to spend time with these characters. Yet the screenplay never quite unlocks the full emotional potential of its story. There is a powerful film lurking within *Glenrothan*, one that reaches for profound truths about family, forgiveness, and belonging. What appears on screen is still worthwhile, but it falls just short of delivering the emotional catharsis it promises. For those who appreciate character-driven dramas, stunning scenery, and strong performances, there is much to enjoy. I just wish the final destination had been as memorable as the journey getting there. **GLENROTHAN opens on Thursday 25 June at participating cinemas.** Website: <https://rialtodistribution.com/film/glenrothan/> Socials: <https://www.instagram.com/rialtodistributionau/> [Win Ticket to See The Film!](https://thescoop.au/win-tickets-to-glenrothan-in-cinemas-from-25-june/) Watch the trailer below: **Film details:** Title: Glenrothan Director: Brian Cox Cast: Brian Cox, Alan Cumming, Shirley Henderson, Alexandra Shipp Country of Origin: UK Duration: 97 mins Rating: M **Categories:** Film --- ### [Hello! Catching Up With The Stars Of The Book Of Mormon](https://thescoop.au/hello-catching-up-with-the-stars-of-the-book-of-mormon/) **Published:** June 21, 2026 **Author:** Sebastien Skubala **Content:** ![The Scoop The Book of Mormon Melbourne Brisbane 2026](https://thescoop.au/wp-content/uploads/2025/10/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_212-942x628.jpg "The Book of Mormon Melbourne Brisbane 2026 • The Scoop")The Mormons are coming! After a highly successful 2025 season in Sydney, ***The Book of Mormon*** is touring the country this year, with a current season in Melbourne and upcoming seasons in Brisbane, Perth and Adelaide. Leading the cast is **Sean Johnston** as Elder Price and **Nick Cox** as Elder Cunningham, the two contrasting missionaries sent to convert villagers in rural Uganda. The Scoop had the chance to sit down with the pair (and with Nick one-one-one for a few questions while Sean juggled interviews) ahead of the Brisbane season, which opens end of July. Sean and Nick talk all things *Mormon*, including the power of the audience and the importance of timing in comedy. Read the full interview below. For someone who only knows *The Book of Mormon* by reputation, what would you tell them about the show? **Nick:** Great question. Where to begin? Overall, it’s about two Mormon missionaries who are mismatched from the get-go and are sent on their two-year mission to a place as far away from Salt Lake City as they can possibly be. Chaos and hilarity ensue. **Sean:** It’s written by the guys who wrote *South Park*, so if you knew nothing else about the show, but you know the vibe of *South Park*, you’d know it’s going to push the boundaries. It’s going to be edgy, it’s going to be fun. The music is by Robert Lopez, who’s a genius writer. He’s done *Avenue Q*, *Frozen*, *Coco*. He’s one of only a couple of people who are two-time EGOT winners, so he’s got Emmys, Grammys, Oscars, and Tonys. The show has incredible music, an incredible story and incredible lyrics, so it’s really fun. ![The Scoop The Book of Mormon Melbourne Brisbane 2026](https://thescoop.au/wp-content/uploads/2025/10/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_417-942x628.jpg "The Book of Mormon Melbourne Brisbane 2026 • The Scoop")Sean and Nick in The Book of Mormon Photo by Daniel BoudComedy can be harder than drama. What have you learned about timing in this show? **Nick:** Firstly, well said. Timing is everything, especially in a comedy. With an audience, when they’re reacting with you, you kind of have to do the math on how the beat can land, especially if they’re responding bigger than some other houses have responded. So, it’s a bit of a dance, but it is crucial, the timing and the setup. Our director, Jen, said the formula for the show is very simple: one person sets it up, the other delivers, the other sets it up, the other delivers. So, once you rehearse it enough, it feels second nature, but it’s very important to get the timing of it down. **Sean:** It’s a humble show in the sense that you can’t have an ego as a performer, because you have to be willing to go with what someone else is doing that might be resonating with the audience. You don’t want to try to fight against that. You need to continue the rhythm and find what’s working on any particular night. I think that’s what’s really cool about the show, and working alongside Nick is great for that, because we get to bounce off each other every night. And is there one joke that lands every time? **Sean:** Yeah, there’s a great joke, which is always the perfect point in the show where we figure out what type of audience we have. It’s a particularly edgy joke, it kind of comes out of nowhere. And you can feel the audience either erupt and laugh and be like, *This is crazy*. Or they’ll be like, *Ooh*. *Okay, all right*. And then we see where it goes from there. **Nick:** And from that point, the fun part becomes not that we lost them, we never lose them, but are we going to win them over? And that’s the fun part, as a performer, listening to the audience. You never know what you’re going to get. ![The Scoop The Book of Mormon Sydney 2025](https://thescoop.au/wp-content/uploads/2025/07/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_430-942x628.jpg "The Book of Mormon Sydney 2025 • The Scoop")Sean and Nick with the cast of The Book or Mormon Photo by Daniel BoudYou guys have been performing this show now for almost a year. How do you keep it fresh after such a long time? **Nick:** It’s like a roller coaster. Sometimes you’re up, and you feel creative, and you can bring that personality on stage. But on the days when I’m feeling more tired than normal, I just think of myself watching shows, being in the audience, and dreaming of nothing more of than to be up here doing it, as cheesy as that sounds. That always gets me back, because people would kill to be up here, and people have spent hard-earned money to come see us. But I also like to challenge myself. How fresh can I make this? How can I make it look like this is the first time I’m hearing this? What’s a new intention I can bring to it? Another great thing is our resident director will still give us notes and make sure we tighten the bolts to keep it fresh, keep it fun. Do you find you get that energy from the audience as well? **Nick:** Massively. Especially at the end of *Hello*. You always get, at least with me, and definitely Sean, you always get our best of what we have on that day. But if the audience is laughing and clapping and cheering and with us, and we really feel that they’re with us, there’s a connection that happens. It’s like plugging in a battery to the phone; you just get charged as you go along, and it’s just going to lift that little bit more. It’s really one of the remarkable things about performing. That synergy between audience and stage. It’s cheesy, and people talk about it all the time, but it is the truth. Like, when the audience is with you, you’re going get the best show that you can possibly get. So, I always try to encourage people – don’t heckle us – but I always try to encourage people to be vocal and cheer, and let us know when you’re having fun, because it’s a fun show. If you’re having fun, you’re gonna get that, and then some, from us. ![The Scoop The Book of Mormon Sydney 2025](https://thescoop.au/wp-content/uploads/2025/07/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_492-942x628.jpg "The Book of Mormon Sydney 2025 • The Scoop")Nick Cox with Paris Leveque in TheBook of Mormon Photo by Daniel BoudHave there been any moments where you’ve struggled to keep a straight face on stage? **Nick:** Yes, there have! There was one two weeks ago. No spoilers, but there’s a difference in costume, and I’m standing elevated on, like, a platform, let’s just say, and it’s quiet. It was a Friday night, so people were drinking, and someone did a wolf whistle. And the audience started laughing, and I was trying to say my line, trying not to laugh and keep it together. That was funny and unexpected. And of course, there are all the stage mishaps that happen from time to time. What has this role taught you as a performer that you’ll carry into future projects? **Nick:** Oh man, it’s taught me a lot. Vocally, it’s been the biggest challenge I’ve ever had, so I’ve learned a lot about my voice. I’ve learned there are seven or eight different ways I can sing one note, and it’s really important to find what it is on the night. It’s going to be different from a matinee when you’re more tired, or when you’re more hydrated or caffeinated. But also from the acting side of things, these types of roles are such a trap, because it’s very easy to go into this character as loud and larger than life, so you can slip into hokey just because you think they’re supposed to be funny. But you’ve still got to tell the truth, and you’ve got to find what makes them unique, what their viewpoint is. Then all that other embellishment will still come from a place of truth, whether it’s a huge performance, or it’s subtle. So, trust in the process, do the work, and don’t push, even on those days when you feel like you need to. Biggest thing I’ve learned. You have both studied musical theatre at the University level. Do you have any advice for students who might be undergoing their musical theatre studies right now? **Sean:** This is always a bit of a tricker question. Mainly due to the fact that I’m always learning new things that help influence the next decision. I guess my advice would be, control what you can control. So much of this industry is left to the hands of someone else, it’s easy to fixate on all the things you miss out on. Always look to learn and grow from anything you’re doing. Each experience you have in life and in work is something you can lean on at some point in the future. **Nick:** Fall in love with the training and the practice. Your training doesn’t stop when you graduate. Learn to love the practice, and all your little goals, whether you hit a new high note that you haven’t hit before, that’s incredible. Keep going, keep practising, and remember to bring yourself to the audition and the story. Each person is unique. We’re all individual, no one’s the same. We’re like snowflakes, but in a good way. So find what makes you unique, keep falling in love with the practice, and keep putting yourself out there. Rejection is not a personal thing. ![The Scoop The Book of Mormon Brisbane Sean Johnston Nick Cox](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-18-at-65633-pm-1200x602.png "The Book of Mormon Brisbane Sean Johnston Nick Cox • The Scoop")Sean Johnston and Nick CoxI love that. And finally, what dream roles or shows are on your bucket list? **Sean:** I feel very fortunate to have already had the opportunity to play some incredible roles. I grew up watching Disney so a dream has always been to play a Disney Prince! There are also so many new and exciting roles being made, so being able to originate and create a character would also be a dream. **Nick:** When COVID hit, I was just grateful to do anything. We were in Melbourne, so we were locked down for two years. I’d love to do *Little Shop*. I think Seymour would be a really fun character. *The Outsiders* looks amazing. Tony from *West Side Story*, that’s a dream. There’s probably a billion more. I’d also love to do some plays, or film and TV, that’s really something I want to get into. I’d love to do *Les Mis* again. I played Marius, *Les Mis* was my professional debut. I’d love to sing in a more legit style again, that’s what I’ve been trained in. Just to play something that’s the total antithesis of Cunningham, because acting in a versatile manner is the dream. **Sean Johnston and Nick Cox appear in *The Book of Mormon* in Brisbane from 31 July at the Glasshouse Theatre, QPAC.** It then tours to Perth and Adelaide, see full dates below. Tickets: <https://thebookofmormonmusical.com.au/tickets/brisbane/> Website: <https://thebookofmormonmusical.com.au/> Socials: <https://www.instagram.com/bookofmormonaunz/> [Read our Review of the Sydney Season!](https://thescoop.au/review-the-book-of-mormon-spreads-the-good-word/) Photo credits: Daniel Boud 2026 Australian Tour: Melbourne on now until 19 July, Princess Theatre Brisbane from 31 July, Glasshouse Theatre, QPAC Perth from 20 October, Crown Theatre Adelaide opens December, Festival Theatre **Categories:** Features --- ### [Review: Sweet Charity Shimmies With Renewed Buoyancy](https://thescoop.au/review-sweet-charity-shimmies-with-renewed-buoyancy/) **Published:** June 20, 2026 **Author:** Jesse Oey **Content:** ★★★½ ![The Scoop Sweet Charity Heirlume Productions Chapel Off Chapel](https://thescoop.au/wp-content/uploads/2026/06/WEB-ONLY-Fandango-1-942x628.jpg "Sweet Charity Heirlume Productions Chapel Off Chapel • The Scoop")As we stand centre stage in the theatre of life, facing its fickle finger of fate – could hope be our boldest, most courageous performance, and love the seductive encore we keep returning to, no matter how turbulent the reviews? *Sweet Charity* brilliantly shimmies into Melbourne’s Chapel Off Chapel with this proverbial dilemma at its core. Heirlume Productions and Forest Collective skilfully revive Bob Fosse’s iconic classic with renewed buoyancy, with Artistic Directors Manda-Rozen-Flannery *(she/her)* and Evan J Lawson *(he/him)* at the helm. Erica Wild *(they/she)* leads the cast as Charity Hope Valentine. Wild’s version of Charity is a force of nature: vivacious, candid, and heartbreakingly earnest – with a resonant, authoritative voice to match. In the face of countless misadventures and repeated disappointments, Charity remains unwavering in her resolve to fall in love. She sings and dances her way through the shadowy confines of Fandango Ballroom with wide-eyed wonder alongside longtime pals, headstrong Nickie (Madeline Pratt), sultry Helene (Hannah Gutierrez Canon), and the ballroom’s dance troupe. Pratt *(she/they)* and Gutierrez Canon *(she/her)* form a magnetic dynamic duo. Their take on Nickie and Helene’s friendship carries a subtle queer undertone. A soft glance here, lingering touch there, it suggests a deeper truth they both yearn can’t yet speak aloud. This is most evident through their tender rendition of *Baby, Dream Your Dream*. ![The Scoop Sweet Charity Heirlume Productions Chapel Off Chapel](https://thescoop.au/wp-content/uploads/2026/06/Erica-2-1-942x628.jpg "Sweet Charity Heirlume Productions Chapel Off Chapel • The Scoop")Erica Wilds Charity is a force of nature Image suppliedTriple-threat Clancy Enchelmaier *(he/they)* is a gifted chameleon on stage, seamlessly transforming between deceitful Charlie, charismatic Vittorio and bashful Oscar with well-timed perfection. Enchelmaier fully embraces every opportunity to showcase his broad spectrum of talents, assertively belting Vittorio’s operatic baritone *in Too Many Tomorrows* or playing up Oscar’s awkward comedic timing in *Sweet Charity*. His unbridled joy on stage is incredibly infectious, and the easy chemistry he shares with Wild makes *I’m The Bravest Individual* utterly hilarious. The commanding, enigmatic ensemble cast comes to life during *Big Spender*, a smouldering number and a definite highlight in Act 1. They perform Jesse Matthews’ choreography with full conviction, weaving through the industrial textures and spectral lighting of Ruben Laine’s set design, clad in Zachary Dixon’s compelling costumes. Musically, the show is an absolute delight. Led by co-Musical Directors Evan J Lawson (*he/him*) and Max Kielly (*he/him*), the talented orchestra brings to life Cy Coleman and Dorothy Fields’ much-loved score as a harmonious unit, most evident during high-intensity numbers like *Rich Man’s Frug* and *I Love to Cry at Weddings*. ![The Scoop Sweet Charity Heirlume Productions Chapel Off Chapel](https://thescoop.au/wp-content/uploads/2026/06/IMG_1105-942x628.jpg "Sweet Charity Heirlume Productions Chapel Off Chapel • The Scoop")*Sweet Charity* is a jubilant showing with a radiant cast overflowing with optimism Image suppliedDirector Madison Lee (*she/they*) delicately reframes *Sweet Charity*’s timeless sparkle against a backdrop of fear, repression, and early rumblings of chaos, suspended between the Lavender Scare and the Stonewall Riots. Reimagining *The Rhythm of Love* as a reference point for queer resistance was a particularly inspired choice, along with playfully gender-swapping key characters, like ballroom boss Herman, throughout the story. This contemporary *Sweet Charity* exists in a propitious universe that’s gritty, but never cruel. Chapel Off Chapel’s intimate space brings the story in close, letting the audience sit almost inside the dimly lit walls of the Fandango Ballroom as the evening unfolds. Ever the eternal optimist, Charity’s enduring innocence can be seen as a form of quiet defiance, always choosing love and compassion in a tumultuous world still learning how to accept people for who they are. That steadfast resilience becomes the show’s quiet, beating truth, as Charity’s story culminates in an unfortunate conclusion – one in which she decides to pick herself up, and becomes her own saviour. *Sweet Charity* is a jubilant showing with a radiant cast, overflowing with optimism. What a marvellous way to celebrate Pride Month! ***Sweet Charity* is presented by Heirlume Productions and Forest Collective and runs to 28 June 2026 at Chapel Off Chapel, 12 Little Chapel Street Prahran Vic 3181.** Tickets: <https://chapeloffchapel.com.au/show/sweet-charity/> Website: <https://www.heirlumeproductions.com/> Socials: <https://www.instagram.com/heirlume.productions/> and <https://www.instagram.com/forestcollective/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied. **Categories:** Melbourne, Musical Theatre --- ### [Win Tickets To The Great Australian Circus On The Gold Coast](https://thescoop.au/win-tickets-to-the-great-australian-circus-on-the-gold-coast/) **Published:** June 16, 2026 **Author:** Newsroom **Content:** ![The Scoop The Great Australian Circus](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-16-at-30709-pm-1200x575.png "The Great Australian Circus • The Scoop")Step right up and experience the magic of **The Great Australian Circus**! Presented by Ashton Entertainment, it’s coming to the **Gold Coast** from **Friday** **26 June** with a brand new, thrilling show. The Great Australian Circus is Gold Coast’s #1 circus experience you cant miss this school holidays. Prepare to be amazed by mind bending contortions, spellbinding aerial acts, fiery dance, and side-splitting comedy. Watch in awe as talented acrobats conquer the skies and the daring Amaral Globe Riders from Brazil take your breath away! All ages are welcome at The Great Australian Circus. This extraordinary production is a celebration of Australia’s rich cultural heritage and the age-old tradition of circus arts. ![The Scoop The Great Australian Circus](https://thescoop.au/wp-content/uploads/2026/06/2FCEF68F-593A-46C0-B5F2-99F7794D9896-Copy-628x628.png "The Great Australian Circus • The Scoop")The Scoop is **giving away one double pass** to the opening night show on **Friday 26 June** at 7pm thanks to Ashton Entertainment! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The Great Australian Circus promises an unforgettable experience that captures the essence of Australia’s entertainment. Don’t miss your chance to be part of this extraordinary journey under the big top. **The Great Australian Circus is presented by Ashton Entertainment and runs on the Gold Coast from Friday 26 June – Sunday 12 July 2026. Broadwater Parklands, Marine Parade, Southport Qld 4215.** Tickets are available [here](https://ashtonentertainment.com.au/book-tickets/?venue=Gold%20Coast%20Broadwater%20Parklands&state=QLD). Website: <https://ashtonentertainment.com.au/productions/the-great-australian-circus/> Socials: [https://www.instagram.com/ashton\_entertainment/](https://www.instagram.com/ashton_entertainment/) [Read our Circus Reviews](https://thescoop.au/circus-reviews/) Images supplied. **Categories:** competition, News --- ### [Review: Hamlet By Queensland Ballet Is Shakespeare At Its Most Beautiful](https://thescoop.au/review-hamlet-by-queensland-ballet-is-shakespeare-at-its-most-beautiful/) **Published:** June 20, 2026 **Author:** Cassandra Houghton **Content:** ★★★★☆ ![The Scoop Hamlet Leo Mujic Queensland Ballet](https://thescoop.au/wp-content/uploads/2026/06/QLD-BAllet-Hamlet-Edison-Manuel-as-Hamlet-Photo-David-Kelly013A6247-942x628.jpg "Hamlet Leo Mujic Queensland Ballet • The Scoop")There’s Netflix, and then there’s live Shakespeare. Choose any feeling: love, madness, vengeance, and you’ll experience it in Queensland Ballet’s stunning reimagined *Hamlet*, currently at the Thomas Dixon Centre. Brisbane’s mild winter evening was a stark contrast to the beautifully gothic Denmark audiences witnessed within the Company’s home theatre in West End. From lavish velvet costumes and music by Pyotr Ilyich Tchaikovsky and Camille Saint-Saëns, to the dancers’ emotive performances, this is an unmissable retelling of *Hamlet.* Brisbane is fortunate to have the premiere. Shakespeare wrote *Hamlet* more than 400 years ago, and there have been countless adaptations across opera, ballet, theatre, and film. But this is the first time that choreographer Leo Mujić’s bold retelling has been performed in Australia. It’s a special one. Renowned for ballets based on literature, Mujić first staged *Hamlet* for the Croatian National Theatre in Zagreb in 2014, weaving contemporary movement through classical ballet in his production. He says the themes of political upheaval and uncertainty about the future are still relevant today. As Hamlet says, ‘Time is out of joint’, and in the world right now, he says, in many ways, we are out of joint and at war with ourselves. The story could not be more topical. ![The Scoop Hamlet Leo Mujic Queensland Ballet](https://thescoop.au/wp-content/uploads/2026/06/QLD-BAllet-Hamlet-Edison-Manuel-as-Hamlet-Georgia-Swan-as-Gertrude-Photo-David-Kelly-013A8504-942x628.jpg "Hamlet Leo Mujic Queensland Ballet • The Scoop")It is fascinating to watch a grand ballet of this scale and calibre in the intimate Talbot Theatre Photo by David KellyThe ballet follows the traditional story of the young prince returning home to Denmark after completing his studies to find his father, the king, has died, and his uncle has taken the throne and married his mother. As he seeks answers and justice, Hamlet grapples with both internal and external demons. Meanwhile, from sword fights and poison to love, insanity, betrayal, and corruption, the constant drama unfolding across the two acts keeps the audience utterly immersed. Edison Manuel performed Hamlet on opening night. His portrayal of Hamlet’s psychological struggles is hauntingly evocative. Libby-Rose Niederer’s Ophelia is luminous, while Georgia Swan’s Gertrude conveys emotional complexity. Joshua Ostermann is ethereal as the Ghost. The masked dancers moving in meticulous ensemble work represent Hamlet’s dark and tumultuous inner dialogue. The entire cast is mesmerising, especially in group scenes where the stage is alive with characters and movement. Costumes by Manuela Paladin Šabanović are a true highlight. The rich fabrics, cuts, and royal colour palettes transport the audience from Brisbane to medieval Northern Europe. Set design by Stefano Katunar and lighting by Aleksandar Čavlek, revived by Ben Hughes, enhance the gothic atmosphere. ![The Scoop Hamlet Leo Mujic Queensland Ballet](https://thescoop.au/wp-content/uploads/2026/06/QLD-BAllet-Hamlet-Edison-Manuel-as-Hamlet-Joseph-Moss-as-Claudius-Photo-David-Kelly-013A8525-942x628.jpg "Hamlet Leo Mujic Queensland Ballet • The Scoop")There may be countless ways to experience Shakespeare in 2026 but few are as transporting as this Photo by David KellyIt is fascinating to watch a grand ballet of this scale and calibre in the intimate Talbot Theatre. While the impressive stage is the size of QPAC’s Lyric Theatre, the theatre itself sits just over 250 people. The only limitation of the space is its lack of room for a full orchestra. However, being so close to the dancers, seeing their expressions, hearing the movement of fabric and the pointe shoes fluttering across the floor, and feeling the smoky haze move through the air is an exceptional experience. There are moments during the story where the dancers move off the stage and through the theatre. Rather than centuries and thousands of kilometres, the magic of Shakespeare is only metres away. There may be countless ways to experience Shakespeare in 2026, but few are as transporting as this. Queensland Ballet’s *Hamlet* combines world-class dancing, striking design and timeless storytelling to create an experience that no streaming service can replicate. This is Shakespeare at his most haunting, most beautiful and most alive. ***Hamlet* is presented by Queensland Ballet and runs to 18 July at the Thomas Dixon Centre. 406 Montague Road West End Qld 4101.** Tickets are available [here](https://purchase.queenslandballet.com.au/overview/3411?_gl=1%2A9maefn%2A_gcl_au%2ANTYzNTU5MDYyLjE3Nzc2MTUzMTQ.%2A_ga%2AMTIwMzc4MTAxMy4xNzc3NjE1MzE0%2A_ga_LT0V5545Y5%2AczE3ODEwNTQyOTckbzgkZzEkdDE3ODEwNTQzMTAkajQ3JGwwJGg1MTEzNjQ4MDk.). Website: <https://www.queenslandballet.com.au/performances/2026/hamlet> Socials: <https://www.instagram.com/qldballet/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Photo credits: David Kelly **Categories:** Brisbane, Dance --- ### [Review: Toy Symphony Returns To The Scene Of The Crime](https://thescoop.au/review-toy-symphony-returns-to-the-scene-of-the-crime/) **Published:** June 20, 2026 **Author:** Ronson Blake **Content:** ★★★½ ![The Scoop Toy Symphony The Pavilion](https://thescoop.au/wp-content/uploads/2026/06/Toy-Symphony-Photo-Dress-68-copy-942x628.jpg "Toy Symphony The Pavilion • The Scoop")Originally performed on the Belvoir stage with a stellar cast, Michael Gow’s *Toy Symphony* won multiple Sydney Theatre awards. Twenty years later, it returns to the locale that inspired it, the Sutherland Shire, headlining celebrations for the 50th anniversary of the former Sutherland Entertainment Centre – rebuilt as the Sutherland Pavilion. It’s a homecoming, or perhaps a return to the scene of the crime. For this is a play about writer’s block and a traumatic incident that triggers it; about the stifling of creative thought via coercive attempts to control what is considered outside a perception of ‘normal’. Above all, though, I think it is a love letter to a teacher. To this end, Gow mines his almost bucolic childhood in Como and a much more fraught experience at Jannali Boys High School, which then had a rugged sporting reputation, and was a difficult place for ‘sensitive’ kids. Roland (Sam O’Sullivan) has a problem. He knows it but won’t name it. Writer’s Block. He’s seeing a therapist, Nina (Kaitlyn Thor), who suspects the cause is buried childhood trauma, for which Roland is using drugs to cope. His story shuttles back and forth between present day, more recent events, and memories of growing up in The Shire. As Nina points out, he’s full of articulate words, but they’re just a cover. His sessions with Nina culminate in a furious vow never to see Nina or to write again. Roland begins teaching writing at drama school while attempting to reconcile his demons and reclaim his creative life. He is ultimately redeemed by an act of grace many years in the making. Gow’s writing is a tour de force of eloquent imagination. From the vivid, very funny two-page metaphor that describes the torture of being a writer, to the giddy childlike thrill in Roland’s ability to conjure up historical figures – for real – it’s quite something. ![The Scoop Toy Symphony The Pavilion](https://thescoop.au/wp-content/uploads/2026/06/Toy-Symphony-Photo-Dress-101-copy-942x628.jpg "Toy Symphony The Pavilion • The Scoop")Gows writing is a tour de force of eloquent imagination Image suppliedThe play shapeshifts its way through magic realism to brutal reality until, like Roland, it finds a way through. Magic realism can be tricky, but here Gow pulls it off magnificently. We believe because Roland believes, and we want him to believe. As brilliant a writer as Gow is, I’m not as sure about all his directing decisions. The stage at the Pavilion is an enormous beast, the wings in full view, and for an examination of Roland’s internal life, it needs reining in. The play opens with Roland and Nina all the way upstage, but the stage is so deep that we’re distanced when we should be engaged. They’re un-mic’d, and Thor, with a softer voice, struggles a little. O’Sullivan projects well and makes a compelling Roland, whose anguish and frustration are all too clear. He is an insightful actor deserving of such meaty roles. The biggest problem with the unconfined stage is its capacity to lose energy. Trying to fill the space means that on occasion, two actors are speaking from static positions ten metres apart, which diminishes intensity. Conversely, there are times when the stage works well. I enjoyed watching Roland and Daniel (Kane Herbert) spar on an empty stage lit like a wrestling mat, circling each other in a bout of verbal thrust and parry. And the symphony sequence, as Roland’s creations come to life, has some inspired choices, perhaps born of a tight budget, that relish the space. The set from Kate Beere is essentially a large white drop sheet at the rear for projected images, and a few props – desk, chairs, and overhead projector (for those who remember them). Various space-altering panels and props are also lowered from the ceiling. ![The Scoop Toy Symphony The Pavilion](https://thescoop.au/wp-content/uploads/2026/06/Toy-Symphony-Photo-Dress-58-942x628.jpg "Toy Symphony The Pavilion • The Scoop")Its wonderful to see productions of this calibre outside the inner city Image suppliedScene changes are handled slickly. Aron Murray shows imagination with lighting, and sound from Johnny Yang is a scene-setting highlight. Alex Baum, clearly having fun, plays a number of roles and has a pugnacious presence in all of them with very good comic timing. His weirdo psychiatrist and bullying school principal are highlights. Georgina Symes is quietly believable and generous as a sympathetic and insightful primary school teacher, Mrs Walkham. She perfectly embodies the nostalgic love many ten-year-old kids had for one teacher. And, as befits a local production of an iconic Australian play, it’s terrific to see local talent fostered in the form of Thor, Baum and Herbert, who acquit themselves well. *Toy Symphony* is one of the great Australian plays. A play that transports us all to our childhoods and the unlimited possibilities ahead, and one that treasures the non-conformity of the creative process. It’s wonderful to see productions of this calibre outside the inner city. More strength to the vision of The Sutherland Pavilion. ***Toy Symphony* is presented by Pavilion and runs 18 – 20 June 2026 at The Sutherland Pavilion. 30 Eton Street Sutherland NSW 2232.** Tickets are [on sale now](https://tickets.thepavilionarts.au/EventAvailability?WebEventId=ToySymphony)! Website: <https://thepavilionarts.au/> Socials: <https://www.instagram.com/sutherlandpavilion/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Images supplied. **Categories:** Sydney, Theatre --- ### [Review: Casey Donovan This Is Me 2026 Adelaide Cabaret Festival](https://thescoop.au/review-casey-donovan-this-is-me-2026-adelaide-cabaret-festival/) **Published:** June 20, 2026 **Author:** Bethany Eloise **Content:** ★★★★★ ![The Scoop Casey Donovan This is Me 2026 Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Casey-Donovan-at-Tina-Lets-Loose-photographer-credit-Claudio-Raschella-942x628.jpg "Casey Donovan This is Me 2026 Adelaide Cabaret Festival • The Scoop")Casey Donovan became a household name when she won Australian Idol in 2004 as its youngest-ever champion. Now, twenty-two years later, she arrives for one night only to a packed Festival Theatre for the Adelaide Cabaret Festival. Despite its title, *This Is Me – The Amy Winehouse Special* is not about Winehouse. The connection is loose, apart from lyrics etched in ink across Casey’s back and a slightly longer wing on her eyeliner. Donovan, instead, honours how Winehouse threw everything into her music and promises to do the same. The inclusion of Winehouse classics are performed exclusively for Adelaide audiences within her Australian tour. Opening strong with *Rehab* and *Tears Dry On Their Own,* Donovan immediately demonstrates that she can handle the force of Winehouse’s artistry. The evening blends Winehouse with Donovan’s own hits and musical theatre highlights, creating an unforgettable setlist. A proud Gumbaynggirr and Dunghutti First Nations artist, she begins by acknowledging Country. Her storytelling feels conversational and unscripted yet poised, delivered with a warmth that is entirely genuine. Her frank honesty is both charming and relatable, delivered with a light-hearted wit and impeccable comic timing. Australia’s powerhouse vocalist belts, growls and swaggers her way through the evening with effortless confidence. Her eyes are constantly speaking to us. Humour appears in the arch of her brow or the slight downturn of her lips. She embodies the music, flooding the stage with unrestrained humour, vulnerability and sex appeal. The material is made uniquely her own. Yet it is in the ballads that Donovan is most remarkable. Amid the memories of chart success and television appearances, we are reminded that she is also a gifted singer-songwriter. Most intimately, she stands alone with a guitar to perform *Lonely*. ![The Scoop Casey Donovan This is Me 2026 Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Casey-Donovan-photographer-credit-Claudio-Raschella-1-942x628.jpg "Casey Donovan This is Me 2026 Adelaide Cabaret Festival • The Scoop")Casey Donovan is unquestionably a performer of world class calibre and a true treasure of Australian talent Photo by Claudio RaschellaHer heartbreak resonates deeply throughout the theatre, with her song born from the painful aftermath of a six-year catfishing relationship. Bathed in streaks of white light, she sings with heartfelt intensity from the depths of her soul. The control of her voice and the precision of her phrasing showcase her exceptional musicianship. Having appeared on not one but three reality television shows, Donovan reflects on the unexpected opportunities that followed, including her *Eurovision* journey after *I’m A Celebrity… Get Me Out Of Here!* While swiping with her Tinder-trained finger, she recounts the goosebumps and tears she felt the first moment she heard, *Proud*. Leading into the interval, she shares her hopes for the audience. “I hope that you can stand a little bit taller… To be unapologetically yourself. You are worthy, you are enough. You deserve greatness.” Donovan must be commended for the sincerity with which she uses her platform to uplift others. Nothing about these sentiments feels performative. They emerge naturally from the experiences she shares throughout the evening. We return to a costume change. Gone are the pinstriped top and lace trousers, replaced by a little black dress. She proudly displays her tattooed artwork and sheepishly sports her comfy shoes. “You can put her in a dress, but you can’t take the Bankstown out of the girl,” she recalled a manager once joking. *Back to Black* and *Me & Mr Jones* ease us into what she affectionately calls “the musical theatre part of the show.” Her Mama Morton from *Chicago* is perfection, followed by performances from *Flower Children* and *Sister Act* that remind us of her impressive stage career. Donovan speaks candidly about the pressures of becoming the leading lady of Deloris in *Sister Act*, performing twenty-two of twenty-eight songs, eight times a week. She reflects on the guilt of calling in sick and the weight of personal sacrifices that must be made. With time, she learned to let go of giving 111 per cent and discovered that 80 per cent could be enough. ![The Scoop Casey Donovan This is Me 2026 Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Casey-Donovan-photographer-credit-Claudio-Raschella-2-942x628.jpg "Casey Donovan This is Me 2026 Adelaide Cabaret Festival • The Scoop") Winehouse classics were performed exclusively for Adelaide within her Australian tour Photo by Claudio RaschellaOne of the evening’s greatest highlights appears as Donovan confesses that a planned Winehouse number has been cut in favour of a cover. Waiting with bated breath, the audience is rewarded with a breathtaking performance of Joni Mitchell’s *Both Sides Now*. Her emotion and raw vocal power confirm that the pre-song tissue warning was entirely warranted. As the evening draws towards its conclusion, we come full circle to 21 November 2004. Clenching the hand of her good friend, Anthony Callea, she did not expect to win *Australian Idol*. So shocked was she by the announcement that she had to discreetly ask him for the opening lyrics of *Listen With Your Heart* before beginning her winner’s performance. Fans are gifted a heartfelt rendition that feels as meaningful today as it did more than two decades ago. *Valerie* arrives with unmistakable humour sung in a strong Aussie accent. As the crowd claps along, Donovan pauses to highlight the musicians who have supported her throughout the evening. Her Music Director on guitar, alongside bass, keys, drums and two backing vocalists, creates a grooving and joyful sound. The music visibly pulses through their bodies, and their shared sense of fun is infectious. There is no manufactured encore here. Donovan jokes about the “trauma” of a previous performance where the house lights came up too early, robbing audiences of the intended finale. She launches into *Perfect* by P!nk from her role as Angélique in the juke-box musical *& Juliet*, before closing with *This is Me,* a fitting conclusion that cleverly echoes the show’s title. Casey Donovan is unquestionably a performer of world-class calibre and a true treasure of Australian talent. We left the theatre awestruck by her artistry, inspired by her resilience, and perhaps standing a little bit taller than before. Thank you, Casey, for sharing your life, your love and your voice so generously with us. ***Casey Donovan: This Is Me* ran for one show only on 19 June at the Festival Theatre as part of the 2026 Adelaide Cabaret Festival.** Check Casey Donavan’s [socials](https://www.instagram.com/caseydonovan88/) for further concert dates for *This is Me*, touring nationally in 2026. Tickets are on sale for remaining Cabaret Festival shows at the [website](https://cabaret.adelaidefestivalcentre.com.au/whats-on/em-rusciano-addicted-to-love?dateId=06-06-2026&performanceId=EDUN2026766). Website: <https://cabaret.adelaidefestivalcentre.com.au/> Socials: <https://www.instagram.com/adelaidecabaret/> and <https://www.instagram.com/caseydonovan88/> [Read more of our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=adelaide+cabaret+festival) Photo credits: Claudio Raschella **Categories:** Adelaide, Circus, Musical Theatre --- ### [Review: Meet Me At Intermission, A New Bar By Strut & Fret](https://thescoop.au/review-meet-me-at-intermission-a-new-bar-by-strut-fret/) **Published:** June 20, 2026 **Author:** Regan Baker **Content:** ![The Scoop Intermission Bar Strut & Fret](https://thescoop.au/wp-content/uploads/2026/06/Copy-of-A_SF1718-942x628.jpg "Intermission Bar Strut & Fret • The Scoop")Intermission is exactly the kind of bar Brisbane’s theatre scene has been waiting for. Sitting right out the front of The West End Electric in Brisbane’s ever-colourful West End, the brand-new venue from Strut & Fret doesn’t just feel like a handy spot for a pre-show drink. It feels like it belongs there. Like it’s always been part of the experience, just waiting for someone to finally open the door and pour the first round. Intermission is intimate, glamorous and quietly indulgent, with all the polish you’d expect from the company behind some of Australia’s, and the world’s, best cabaret shows. But what makes it work is that it doesn’t feel cold or over-designed; there’s warmth to it. Personality and a little bit of mischief. It’s theatrical, of course, but never tries to shove the theme down your throat. The design, by James Browne, is where Intermission really starts to show off. The hand-thrown gold flake floor is impossible to ignore, and nor should it be. It glows under the lights and gives the whole room that little flash of theatre before you’ve even made it to the bar. But it’s not just one big statement piece doing all the work. The more you sit with the room, the more you notice. Gold accents, dark timber, the hanging flower planters, the vintage furniture, the full-size double bass tucked into the space like it wandered in from a smoky jazz club. It all feels considered, but not stiff. Stylish, but still lived-in enough that you actually want to settle in. ![The Scoop Intermission Bar Strut & Fret](https://thescoop.au/wp-content/uploads/2026/06/Copy-of-B_SF0049-Edit-942x628.jpg "Intermission Bar Strut & Fret • The Scoop")The venue design by James Browne is where Intermission really starts to show off Image suppliedAnd despite all of that it somehow still feels relaxed. That was the real surprise for me. There are several seating areas inside and out, and the flow between them works beautifully. The interior has that moody, old-world wine bar charm, while the outdoor areas make the most of Brisbane’s warm evenings. It’s very easy to imagine popping in for one drink and accidentally losing a few hours, which is probably the clearest sign of a very good bar. Then there are the drinks, which are absolutely the headline act. The Choc Top Martini is the obvious crowd-pleaser, arriving with the head of a mini Cornetto sitting proudly on top. It’s playful without being silly, nostalgic without feeling like a gimmick, and dangerously easy to drink. The Werther or Not is another favourite, giving every grandparent’s favourite hard lolly a very grown-up second life. It’s sweet, smooth and beautifully balanced, the kind of cocktail that could get you into trouble very quickly. The Candy Shop, with pink gin, raspberry and rose water, is also a standout. Light, floral and just indulgent enough. ![The Scoop Three stylish cocktails on a round table: a white coupe, a red drink with fruit skewers, and a clear coupe on a metal tray, beside a gold chain and a pink Intermission notebook](https://thescoop.au/wp-content/uploads/2026/06/Copy-of-DSC01366-502x628.jpg "Intermission Bar Strut & Fret • The Scoop")The drinks are absolutely the headline act Image suppliedThe food menu leans into Spanish and French influences, with the sort of elevated but relaxed bites that make sense in a space like this. It gives you exactly what you want alongside a good drink and never feels like it’s trying to upstage the bar itself. It’s generous, stylish and very easy to share, either before a show, after one, or during that dangerous little window where “just one more” starts sounding like a perfectly sensible idea. Unsurprisingly, opening night was a hit. Strut & Fret knows how to make an entrance, and the evening had all the right ingredients: live musical moments from some of their incredibly talented artists, a room full of energy, and a Moët & Chandon champagne tower poured by Sydney-based performer Emma Mylott. The night was glamorous, lively and very much in keeping with the world Strut & Fret has built around The West End Electric. The secret door connecting Intermission to the theatre is a lovely touch too. It gives the venue a genuine connection to the performance world next door, rather than making it feel like a bar that simply happens to share the same address. You can have a drink, bump into artists, pull apart the latest show with friends, or decide on a whim to see whatever is playing through the wall. Intermission is more than a supporting act for The West End Electric. It’s its own destination. Brisbane has no shortage of places to drink, but very few balance glamour, warmth and personality this well. Consider the curtain well and truly raised. **Intermission, a new bar and kitchen by Strut & Fret is open now. 125 Boundary Street West End Qld 4101.** Website: <https://seeyouatintermission.com/> Socials: <https://www.instagram.com/seeyouatintermission/> Read our Latest Reviews Images supplied. Opening hours: Tuesday 4-10pm Wednesday – Thursday 4pm til midnight Friday – Saturday 2pm til 1am Sunday 12pm til midnight Walk-ins welcome **Categories:** Brisbane, Theatre --- ### [Review: Echo by Australasian Dance Collective Takes Joyful Flight](https://thescoop.au/review-echo-by-australasian-dance-collective-takes-joyful-flight/) **Published:** June 19, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Group of performers in colorful outfits forming a circle around a guitarist on a dark stage, hands joined at center in a teamwork moment.](https://thescoop.au/wp-content/uploads/2026/06/Notes-for-Radical-Living-ADC-Echo26Prod-byJadeEllis-01-942x628.jpg "Australasian Dance Collective Notes for Radical Living Echo • The Scoop")Dance is often described as a universal language, and in *Echo*, that language is spoken with remarkable energy, curiosity and conviction. Now in its eighth year, Australasian Dance Collective’s Youth Ensemble celebrates movement as a conversation between artists, generations and communities. Featuring performers aged 14 to 19, the Ensemble brings together young dancers at a pivotal stage in their artistic development. Guided by Courtney Scheu, they are joined this year by The Movement Lab GC for a four-part journey that highlights both emerging talent and the power of collaboration. The evening opens with *Notes for Radical Living*, conceived, directed and choreographed by ADC Company Artist Lilly King. Performed by the Youth Ensemble and inspired by the poem of the same name by Tilda Swinton, the piece explores freedom, presence and the desire to hold onto fleeting moments. King combines movement with breath, vocalisation and spoken word to create a compelling expression of youthful curiosity and individuality. Her vibrant costume designs ensure each dancer maintains a distinct identity while contributing to the collective energy of the ensemble. The driving rock soundtrack, notably Locked Shut’s *Me vs A Brick Wall*, injects the work with urgency and momentum. A shift in tone arrives when the dancers gather to recite Swinton’s poem, each taking a turn with the microphone while Gabrielle Jackson delivers a captivating guitar solo. Jackson proves a magnetic presence throughout the evening, repeatedly drawing the audience’s focus. ![The Scoop Before Thought Arrives Echo Australasian Dance Collective](https://thescoop.au/wp-content/uploads/2026/06/Before-Thought-Arrives-ADC-Echo26Prod-byJadeEllis-01-942x628.jpg "Before Thought Arrives Echo Australasian Dance Collective • The Scoop")Before Thought Arrives features Charlotte White from The Movement Lab GC Photo by Jade EillisSwinton’s words linger. “Respect the young,” “treasure learning” and “dance daily” are among the affirmations that resonate. They encourage reflection while celebrating the possibilities of a life lived with openness and intention. A change of scale follows with *Before Thought Arrives*. A haunting solo, performed by Charlotte White, is conceived, directed and choreographed by Riannon McLean of The Movement Lab GC. White commands the stage with quiet intensity, her movements unfolding with a sense of fragility and reflection. Bryce Delany’s lighting design proves particularly effective. An upstage spotlight carves striking images that both frame and amplify the emotional weight of the choreography. Set to *Earnestly Yours* featuring Ren Ford by Keaton, the piece is steeped in melancholy. The music and movement work in tandem to evoke the persistence of memory. They suggest how moments from the past continue to reside within the body long after they have passed. White’s measured and expressive performance captures this tension beautifully. The result is intimate and affecting. ![The Scoop Echo Australasian Dance Collective Relic](https://thescoop.au/wp-content/uploads/2026/06/Relic-ADC-Echo26Prod-byJadeEllis-01-942x628.jpg "Echo Australasian Dance Collective Relic • The Scoop")Relic is a reimagined excerpt first presented as part of ADCs 2025 season Photo by Jade EllisPerhaps the standout piece of the evening is *Relic*, a reimagined excerpt from Jack Lister’s work first presented as part of ADC’s [2025 season](https://thescoop.au/review-relic-races-towards-new-ground-for-australasian-dance-collective/). Drawing on the fearless culture of motocross, *Relic* examines mortality, fragility, youth and the enduring human spirit through athletic and expressive movement. Driven by Louis Frere-Harvey’s pulsing score, the piece crackles with energy and urgency. The Youth Ensemble dancers attack the choreography with commitment and fearlessness, creating exhilarating moments. Bryce Delany’s lighting design is particularly striking, with washes of red heightening the work’s intensity and lending it an almost mythic quality. Daring and dramatic, *Relic* leaves a lasting impression, and, at just a glimpse of the larger work, is over far too soon. After a short intermission comes the evening’s most ambitious collaboration, *Joyful Flight*. Co-directed and choreographed by Courtney Scheu and Riannon McLean, it is performed by dancers from ADC’s Youth Ensemble and The Movement Lab GC. Spanning six pieces of music and bringing together 27 young performers, the work inhabits the space between memory and lived experience. Themes of nostalgia, remembrance and release weave through the choreography as moments are revisited, softened and ultimately allowed to drift away. ![The Scoop Joyful Flight Echo Australasian Dance Collective](https://thescoop.au/wp-content/uploads/2026/06/Joyful-Flight-ADC-Echo26Prod-byJadeEllis-01-942x628.jpg "Joyful Flight Echo Australasian Dance Collective • The Scoop")The evening culminates with Joyful Flight Photo by Jade EllisScheu and McLean’s costume design is particularly effective. Bright red socks paired with navy balloon skirts and a mix of pale blue and white shirts create a striking visual palette. From a distance, the socks appear almost illuminated, blurring the line between costume and lighting design and adding an extra layer of visual intrigue. Most impressive, however, is the sense of unity achieved across such a large ensemble. The collaboration between the two organisations feels genuine rather than symbolic. The dancers move as a cohesive whole while still allowing individual personalities to emerge. It serves as a fitting culmination to an evening dedicated to artistic exchange, shared creativity and the next generation of dance artists. At its heart, *Echo* is a celebration of growth, connection and creative possibility. Through four distinct works, the program showcases emerging artists who are already demonstrating impressive technical skill and artistic maturity. Australasian Dance Collective’s commitment to nurturing young talent continues to bear fruit, resulting in an evening that is both engaging in the present and promising for the future. ***Echo* is presented by Australasian Dance Collective’s Youth Ensemble and The Movement Lab GC. The season runs from 19 – 20 June 2026 at Judith Wright Centre for Contemporary Arts. 420 Brunswick Street Fortitude Valley Qld 4006.** Tickets: <https://australasiandancecollective.com/performances/2026/echo-2026> Website: <https://australasiandancecollective.com/> Socials: <https://www.instagram.com/australasiandancecollective/> and <https://www.instagram.com/themovementlabgc/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Photo credits: Jade Ellis **Categories:** Brisbane, Dance --- ### [Review: HOUSE OF ROT Grey Gardens 2026 Adelaide Cabaret Festival](https://thescoop.au/review-house-of-rot-grey-gardens-2026-adelaide-cabaret-festival/) **Published:** June 14, 2026 **Author:** Genevieve Hudson **Content:** ★★★★½ ![The Scoop HOUSE OF ROT Grey Gardens Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/House-of-Rot-photographer-credit-Claudio-Raschella-2-942x628.jpg "HOUSE OF ROT Grey Gardens Adelaide Cabaret Festival • The Scoop")Anticipated by packed tables within the Space Theatre, another fabulous show, *HOUSE OF ROT: Grey Gardens,* joins Reuben Kaye’s ‘Delicious Revolution’ for the Adelaide Cabaret Festival. A minimally lit stage, swathed in smoke, reveals a piano and five chairs. To each of the sides of the stage, wooden chairs are suspended at different levels, perhaps representing the space that is being held for this collapsing state. Co-created by Dino Dimitriadis (director) and Victoria Falconer (musical director), Green Door Theatre Company’s production combines existing and original songs in a musical homage to the true story of Big and Little Edie’s crumbling home. Exploring themes of legacy, survival, grief, and fury, this loosely inspired performance invites the audience inside the space of two recluses and how they live through internal and external collapse. Costumed by Nicol & Ford in black layered dresses and heels, it appears as if the two characters are in mourning for the way things used to be. ![The Scoop HOUSE OF ROT Grey Gardens Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/House-of-Rot-photographer-credit-Claudio-Raschella-3-942x628.jpg "HOUSE OF ROT Grey Gardens Adelaide Cabaret Festival • The Scoop")The performers are an incredible duo Photo by Claudio RaschellaThey reference the immediacy of the internet and social media. They reminisce that ‘real boredom’ involves staring out a window for a length of time without reaching for your phone. There are references to moments of waiting for more, from either people or something else, that just never came about. Waiting for life to be different. The performers embodying these characters are an incredible duo, bouncing off each other in such a way that demonstrates how comfortable they are with each other. Paul Capsis as Big Edie is magnetic in stage presence and straddles that fine line of serious and cheeky with dry humour between songs. Capsis brilliantly channels the matter-of-fact and almost weary manner that mothers tend to use when sharing their personal experiences and stories. The way in which Capsis sits and eats a handful of cold chicken is simultaneously funny yet sobering, considering what this is associated with. In contrast, Adam Noviello’s youthful energy as Little Edie is sensual and strong. With a phenomenal vocal range and wanting nothing more than to be seen, Noviello’s character sings of external validation before realising that it was there all along from Big Edie. ![The Scoop HOUSE OF ROT Grey Gardens Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/House-of-Rot-photographer-credit-Claudio-Raschella-942x628.jpg "HOUSE OF ROT Grey Gardens Adelaide Cabaret Festival • The Scoop")It is an absolutely beautiful show with gorgeous performances by all Photo by Claudio RaschellaFrom seamlessly stepping up to the piano to accompany themself singing, to belting Sia’s *Alive*, Noviello’s musical talent is stunning to witness. Both Capis and Noviello’s harmonising in Lana Del Ray’s *Young and Beautiful* is even more tender when it is sung to each other. It also starkly contrasts the more argumentative patter and vibe between them at the beginning of the show. Lighting by Brockman is effective in its minimalism as it allows the sound and the performers to literally take centre stage. The sound is well balanced, and the song choices are fantastic. Each is sung with a balanced combination of strength and vulnerability. *HOUSE OF ROT: Grey Gardens* is an absolutely beautiful show with gorgeous performances by all; this includes music director Falconer’s solo moments. With so much to choose from this Cabaret Festival, I would highly recommend this show. ***HOUSE OF ROT: Grey Gardens* runs to 14 June at the Space Theatre as part of the 2026 Adelaide Cabaret Festival.** It also runs in Melbourne from 18 – 20 June at the Malthouse Theatre and Sydney 23 – 28 June at Hayes Theatre Co as part of their [Winter Cabaret Series](https://hayestheatre.com.au/event/house-of-rot/). Website: <https://www.adelaidefestivalcentre.com.au/whats-on/paul-capsis-and-adam-noviello-house-of-rot-grey-gardens> Socials: <https://www.instagram.com/greendoortheatreco/> and <https://www.instagram.com/adelaidecabaret/> [Read more of our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=adelaide+cabaret) Photo credits: Claudio Raschella **Categories:** Adelaide, Circus, Musical Theatre --- ### [Announcing 2026 Hurtigruten Nordic Film Festival Full Program](https://thescoop.au/announcing-2026-hurtigruten-nordic-film-festival-full-program/) **Published:** June 19, 2026 **Author:** Newsroom **Content:** ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/06/Arru_1-942x628.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")Palace Cinemas is delighted to announce the full programme of the 2026 **Hurtigruten Nordic Film Festival,** screening nationally through the wintry months of July and August at Palace, Palace Nova and Luna Palace Cinemas. Featuring the best new cinema from Denmark, Finland, Iceland, Norway and Sweden, this year’s formidable line-up showcases cinematic legends, breathtaking landscapes and the unique storytelling and profound cultural insights that has earned Nordic cinema a distinct place in the film world. Naming rights partner for the second year, Hurtigruten, are long associated with the Nordic region. **Damian Perry**, Managing Director APAC, Hurtigruten said: *“As the original and undisputed travel expert in the region and along Norway’s stunning coastline for over 130 years, Hurtigruten has always been about genuine and authentic experiences with a deep connection to the Nordic people. We’re proud to partner with Palace to celebrate the richness of Nordic storytelling. which is a natural extension of who we are.”* Opening the festival is the powerful Icelandic drama **ÁRRU** from debut director Elle Sofe Sara, that follows a family of Sàmi reindeer herders whose community and way of life is threatened by a proposed mining project. Weaving together grounded drama with bursts of exquisite traditional song (joik) and movement, the film draws on cultural expression to explore a breathtakingly genuine connection to the environment. ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/06/Fjord_1-940x628.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")Still from Fjord winner of the 2026 Palme dOr at CannesIn a festival exclusive, the highly anticipated **FJORD**, direct from winning the Palme d’Or at the 2026 Cannes Film Festival, screens as the Festival Centrepiece. Shot on the picturesque western coast of Norway, the film stars Renate Reinsve and Sebastian Stan as a Romanian-Norwegian conservative couple facing scrutiny after moving to the wife’s progressive remote Norwegian hometown. Icelandic comedy/drama **THE LOVE THAT REMAINS** (*Ástin sem eftir er)* from director Hlynur Pálmason (*A White, White Day, Godland*) is this year’s Special Presentation. This brilliant and bittersweet film tenderly captures a year in the life of a family of five, as the parents navigate their separation, exploring love, family and shared memories. It also features a ‘Palme d’Og’ winning performance from Pálmason’s own dog Panda, an Icelandic sheep dog. Renate Reinsve (*Sentimental Value, Fjord*) delivers another standout performance in Special Presentation **BUTTERFLY**, an intriguing drama about a pair of estranged sisters who reunite after their mother’s sudden passing. The sisters travel to the Canary Islands, where they grew up at a resort, after their mother’s mysterious death at an esoteric retreat in the mountains. ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/06/NORDIC26_Landscape_1260x656-1200x625.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")Closing the festival is the 60th anniversary screening of Ingmar Bergman’s masterpiece **PERSONA**. Liv Ullmann, in the first of many iconic collaborations with the director, plays a screen actress who has fallen into an unexplained silence, while Bibi Andersson is captivating as the talkative young nurse assigned to her care in a secluded island retreat. The two women mysteriously experience a slow merging of the inner lives in an isolated, dreamlike meditation on the human psyche. In the fascinating documentary **BEING BO WIDERBERG** *(I huvudet på Bo)* the acclaimed and eccentric Swedish director Bo Widerberg’s journey is chronicled. In the shadow of Ingmar Bergman, Widerberg became Sweden’s most influential filmmaker. From the progressive early 1960s in Malmö, where he worked as a writer and film critic, to his successes as a director in Stockholm and adventures in Cannes and New York, the film showcases Widerberg’s incredible artistic legacy. In conjunction with the documentary, there are selected screenings of Bo Widerberg’s films including **ÅDALEN 31,** a gripping blend of political history and adolescent awakening; **RAVEN’S END** (*Kvarteret Korpen)* his unflinching 1936 Malmö portrait that follows young dreamer Anders, as he pursues his writing ambitions while slowly suffocating beneath poverty and dysfunction; and arguably Widerberg’s masterpiece, **ELVIRA MADIGAN,** which follows two lovers who abandon everything for each other. ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/06/The-Guest_1-1116x628.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")Still from The GuestIn sharply observed drama **THE GUEST** (*Gæsten),* Trine Dyrholm stars as an estranged mother determined to prove herself. Hoping to rejoin the family, Vibeke (Dyrholm) appears unannounced at her grandson’s naming ceremony. Winner of the Dragon Award for Best Nordic Film at the 2026 Göteborg Film Festival, **THE LAST RESORT** *(Paradis),* is an absorbing drama that follows a Danish family on holiday at an all-inclusive resort. Anticipating a well-deserved and restful break, reality hits hard when they witness boat loads of refugees hitting the shores and they are forced to question how much they should risk to help a person in need. Also from Denmark is the dark comedy **THE LAST VIKING** (*Den sidste viking),* reuniting writer/director Anders Thomas Jensen (*Riders of Justice*) with Mads Mikkelsen (*Another Round*) and Nikolaj Lie Kaas (*Department Q*) in their sixth project together. The pair star as brothers on a crime adventure filled with unpredictable twists and turns as they attempt to unlock Mandfred’s (Mikkelsen) memory to recover stolen loot. ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/06/Offroad_1.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")Still from OffroadIn **OFFROAD**, an entertaining Danish comedy from Rasmus Heide, a woman’s stable life begins to unravel during a girls’ trip, leading her and her friends into an impulsive and chaotic journey; and winner of the New Director’s Award at the San Sebastián Film Festival is Emilie Thalund’s **WEIGHTLESS** (*Vægtløs).* A bold and intimate exploration of adolescent desire and identity, this coming-of-age drama follows the transformative summer of a fifteen-year-old girl at a Danish summer health camp. **THE KIDNAPPING OF A PRESIDENT** *(Presidentin Kyyditys)* is a blackly comic drama based on a bizarre true story about the chaos that ensues when a group of far-right Finnish officers drunkenly decide to start a revolution in 1930. Lieutenant Colonel Eero Kuussaari (Jussi Vatanen, *Fallen Leaves*) impulsively orders the kidnapping of retired former president Kaarlo Juho Ståhlberg (Pertti Sveholm, *100 Litres of Gold*), but then doesn’t recall his orders the following day, having left the escapade to a group of young, eager and inexperienced soldiers. In the heartfelt and delightful drama **A LIGHT THAT NEVER GOES OUT** *(Jossain on valo joka ei sammu),* a successful flautist who returns to his hometown in need of recuperation is drawn into the world of experimental music when he reconnects with an old school friend; and in 1890s Finland, **TELL EVERYONE** *(Kerro kaikille)* portrays a free spirited young woman who fights to hold on to hope, friendship and forbidden love while confined on an isolated sanatorium island. ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Doctor-Glas_1-1119x628.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")Still from Doctor GlasSweden’s stylish psychological thriller **DOCTOR GLAS** *(Doktor Glas)* brings a bold and fresh new perspective to Hjalmar Söderberg’s acclaimed 1905 novel. Desire, guilt and obsession are portrayed through the eyes of Gabriel Glas (played by Isac Calmroth, also one of the co-writers), a reclusive young doctor whose fascination with fashion icon Helga Gregorius spirals into madness. Also from Sweden is **THE QUIET BEEKEEPER** (*Biodlaren), w*inner of the Audience Award at the 2026 Göteborg Film Festival. This meditative drama set in the small, rustic town of Åmotfors in the Swedish region of Värmland, close to the Norwegian border, is an exploration of love, nature, and the cycles of life, seen through the eyes of a father and daughter longing for connection. When 39-year-old Anni has to move back in with her mother after a scandalous incident on live television, her life goes off the rails in **HOME** *(Heim)*, a darkly funny, brutally honest, and unexpectedly tender romantic dramedy from Norway; in **THE PENSION HEIST** *(Pensjonskuppet)* three women set out to steal from the world’s largest sovereign wealth fund after one discovers her husband is having an affair in this feel-good crowd-pleasing heist comedy featuring some of Norway’s most beloved actors. Norwegian box office hit drama **THE BATTLE OF OSLO** *(Blücher)* is a gripping true story of courage under fire recounting the decisive actions of Colonel Birger Eriksen during World War II, whose fateful choice in 1940 shaped his nation’s destiny. Recently winning six Icelandic Film Awards, the thriller **THE FIRES** *(Eldarnir),* based on the best-selling novel, tells the story of an accomplished volcanologist’s life which is upended by both a romantic affair and a volcanic eruption that threatens Reykjavík. **The 2026 Hurtigruten Nordic Film Festival runs from 9 July, with dates varying in each city.** See full city dates and venues below. Website: <https://nordicfilmfestival.com.au/> Socials: <https://www.instagram.com/nordicfilmfest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Still from *Arru*. 2026 Festival Dates and Venues by City: **Canberra:** 9 July – 2 August, Palace Electric **Melbourne:** 10 July – 2 August, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino, Pentridge Cinema and The Astor Theatre **Ballarat:** 10 July – 2 August, Palace Regent Cinema **Brisbane:** 22 July – 16 August, Palace James St**,** Palace Barracks **Adelaide:** 22 July – 16 August, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney:** 23 July – 16 August, Palace Norton St, Palace Moore Park and Palace Central **Perth:** 23 July – 16 August, Luna Leederville, Luna on SX and Palace Raine Square **Byron Bay and Ballina:** 23 July – 16 August, Palace Byron Bay, Ballina Fair Cinemas **Categories:** News --- ### [Review: Stella Sheds New Light On A Classic Australian Figure](https://thescoop.au/review-stella-sheds-new-light-on-a-classic-australian-figure/) **Published:** June 19, 2026 **Author:** Alyssa Moller **Content:** ★★★½ ![The Scoop Stella A New Australian Musical](https://thescoop.au/wp-content/uploads/2026/06/Kaya-Byrne-Johanna-Allen-Geraldine-Hakewill-Joe-Kosky-Shubshri-Kandiah-photo-credit-Ben-Fon-942x628.jpg "Stella A New Australian Musical • The Scoop")Tucked away in the expansive Monash Clayton Campus is a portal to late 1800s Australia: *Stella*, performed in the Alexander Theatre. *Stella* is a new Australian musical with book, music and lyrics by Monique diMattina, showing us Australia’s future by digging into its past. Directed by Julia Robertson with musical direction by Vicky Jacobs, we are introduced to the story of Stella, more commonly known as Miles Franklin, author of *My Brilliant Career*. The story starts in Stella’s childhood, walking us through her upbringing and how it informed her famous novel. By the end of the first act, she realises maybe she was too honest with her storytelling and confronts the real-world implications on her relationships, family and small-town community. The second act flashes forward approximately thirty years and shows us how determined she has been to keep working despite the guilt her first story bore her. The first act is a wonderful establishment of this world; however, it bears a striking resemblance to the recent musical *My Brilliant Career*, given the biographical nature of Stella’s first novel. ![The Scoop Stella A New Australian Musical](https://thescoop.au/wp-content/uploads/2026/06/Geraldine-Hakewill-Kaya-Byrne-Johanna-Allen-Joe-Kosky-photo-credit-Ben-Bon--942x628.jpg "Stella A New Australian Musical • The Scoop")Stella is an exciting new addition to Australias musical theatre storytelling Photo by Ben FonThe second act is really where the show sings. The internal and external conflict for Stella, her world crumbling down in a plethora of ways, paired with the push to keep making in any way she can, is truly compelling. From here, the story takes us down a path far less travelled, depicting Stella’s later life, her struggle to amend her past and overcome the sexism of the publishing industry. Nick Fry’s set design is beautiful and immersive. The tiered stage creates a sense of grandeur, and the natural grasses and floral embellishments ground us in the outback. I loved the sparse use of period-accurate furniture and the ways these elements travelled across the stage for each scene. The biggest wow of the night is the lighting. Sidney Younger’s lighting design is epic and tender, building out the world in a spectacular way. It has a cinematic quality; hopeful and warm, with a beautiful golden orange hue for each Australian sunrise. It perfectly matches the song, *Sun Climbs to Greet You*. Geraldine Hakewill is stunning as Stella and doesn’t shy away from the wounds and selfishness of the character, giving a greater depth to her character’s triumphs. ![The Scoop Theater stage with a woman in a red and blue dress standing on a raised platform center stage, surrounded by musicians and actors, with desert mountains in the backdrop and tall grasses in the foreground.](https://thescoop.au/wp-content/uploads/2026/06/Stella-Company-1117x628.jpg "Stella A New Australian Musical • The Scoop")The set design by Nick Fry is beautiful and immersive Photo by Ben FonJohanna Allen, who plays Mother, Mary Gilmore and others, is truly magnetic. With a powerful voice that cut through ensemble numbers, each of her characterisations is unique and equally engrossing. Johanna carries much of the emotional weight of the second act and does so with grace and sensitivity. Mary Gilmore, in particular, was my favourite character of the show; a comedic relief in stark contrast to the blunt and brutal portrayal of Mother, who then surprises Stella with her heart by the end of the show. The presence of the band on stage is a gorgeous element, and each beat of the score left me entranced. For a show dedicated to the Australiana of it all, I do wish there had been more of a focus on an outback Australian sound, evoking the feeling of an Australian bush dance or something in that musical tradition. Even so, *Stella* is an exciting new addition to Australia’s musical storytelling. Conveying a deeply feminist story about connection to country, *Stella* sheds light on a classic Australian figure in the years we may have forgotten. ***STELLA: A New Australian Musical*** **runs to 20 June 2026 at Alexander Theatre. The Ian Potter Centre of Performing Arts, Monash University, Clayton Vic 3168.** Tickets: <https://mpac.monash.edu/event/stella> Website: <https://stellathemusical.com/> Socials: <https://www.instagram.com/stellathemusical/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Ben Fon **Categories:** Melbourne, Musical Theatre --- ### [Acclaimed Hit FOUR PLAY To Make Australian Premiere In Melbourne](https://thescoop.au/acclaimed-hit-four-play-to-make-australian-premiere-in-melbourne/) **Published:** May 25, 2026 **Author:** Newsroom **Content:** ![The Scoop Four Play Taylor Made Productions](https://thescoop.au/wp-content/uploads/2026/05/Four-Play-Group-on-Bed-2-879x628.jpeg "Four Play Taylor Made Productions • The Scoop")Following a celebrated 2025 London revival, **Taylor Made Productions** is proud to announce the Australian premiere of Jake Brunger’s biting contemporary comedy, ***Four Play***. Directed by Cal Robinson-Taylor, this provocative exploration of modern queer intimacy opens on **Wednesday 24 June** at **Chapel Off Chapel** for a strictly limited five-performance engagement. *Four Play* is a hilarious, sexy queer comedy about relationships, rules, and the moments when a “good idea” starts to wobble. Rafe and Pete are seven years into a very solid relationship. Like, really solid. Theyʼre happy. Theyʼre in sync. Thereʼs just one thing… neither of them has ever slept with anyone else. Ever. So they do what any sensible couple would do: they talk it through, set some boundaries, and come up with a plan that feels safe, grown-up, and completely reasonable. Enter Michael— confident, charming, and in an open relationship with his partner Andy. Easy. Sorted. Right? Well. Maybe not. Moving beyond traditional “coming out” narratives, *Four Play* is a state-of-the-nation look at the “post-marriage equality” generation. What follows is funny, awkward, unexpectedly tender, and just a bit too real—a sharp, playful look at what happens when desire doesn’t quite stick to the script. ![The Scoop Four Play Taylor Made Productions](https://thescoop.au/wp-content/uploads/2026/05/Four-Play-Hero-2-943x628.jpeg "Four Play Taylor Made Productions • The Scoop")The Australian premiere cast of Four Play Photo by Phoebe Anne TaylorDirector **Cal Robinson-Taylor** notes that the play pulls back the curtain on the pressures modern queer couples face to present a flawless life: *“Four Play is a mirror to the modern relationship. Itʼs about the messy collision of sex, passion, and love. More importantly, it reveals the modern perceptions of the ‘perfect relationship’ and the deep-seated insecurities we all face within the queer community. Itʼs a play that invites audiences to laugh, wince, and recognise their own human messiness on stage.ˮ* About Taylor Made Productions: Taylor Made Productions is a Melbourne-based theatre company committed to bold, actor-driven, queer storytelling. Following the success of a sold-out season of *Holding the Man* and Harvey Fierstein’s *Torch Song*, the company continues to champion contemporary narratives that find the universal heart of human connection. ***Four Play* is presented by Taylor Made Productions and runs 24 – 27 June 2026 at The Loft, Chapel Off Chapel. 12 Little Chapel Street Prahran Vic 3181.** Tickets: <https://chapel.sales.ticketsearch.com/sales/salesevent/163787> Website: <https://chapeloffchapel.com.au/show/four-play/> Socials: <https://www.instagram.com/taylormadeprodz/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Phoebe Anne Taylor **Creatives** Director **Cal Robinson-Taylor (he/him)** Associate Director **Cameron Steens (they/them)** Intimacy Coordinator **Rebecca Fortuna (she/her)** Stage Manager **Takarah Williams (she/her)** LX Designer **Sidney Younger (he/him)** Sound Designer **Anthony Jacobsen (he/him)** Costume Designer **Melina Wylie (she/her)** **Cast** Rafe **Anthony Jacobsen (he/him)** Pete **Reuby Chip (they/them)** Michael **Sasha Simic (he/him)** Andy **J Ridler (they/them)** Created in partnership with Taylor Made Productions. For more information about our partnerships, visit [here](https://thescoop.au/partner-with-the-scoop/). **Categories:** News --- ### [The Mormons Are Back! Announcing Melbourne & Brisbane Seasons For 2026](https://thescoop.au/the-mormons-are-back-announcing-melbourne-brisbane-seasons-for-2026/) **Published:** October 4, 2025 **Author:** Newsroom **Content:** ![The Scoop The Book of Mormon Melbourne Brisbane 2026](https://thescoop.au/wp-content/uploads/2025/10/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_417-942x628.jpg "The Book of Mormon Melbourne Brisbane 2026 • The Scoop")The Mormons are back! The Tony®, Olivier®, and Grammy® award-winning production **THE BOOK OF MORMON** will return to The Princess Theatre, **Melbourne from February 2026** and QPAC, **Brisbane from July 2026**. Visit [www.thebookofmormonmusical.com.au](http://www.thebookofmormonmusical.com.au/) to sign up to the ticket waitlist for priority access to tickets. This follows its successful Sydney season which opened July and runs to the end of the year at the Capitol Theatre Sydney. Read what our reviewer had to say about the show: *“The Book of Mormon is funniest, filthiest and most gloriously fearless musical ever to hit the Australian stage.”* [The Scoop](https://thescoop.au/review-the-book-of-mormon-spreads-the-good-word/) The Australian premiere season in Melbourne in 2015 broke the record for the highest selling on-sale period of any production in Melbourne’s Princess Theatre’s 159-year history. It also won the Helpmann Award for Best Musical. The cast includes **Sean Johnston** *(Hairspray)* as Elder Price, **Nick Cox** (*Beauty and the Beast*) as Elder Cunningham, **Paris Leveque** who is making her professional debut as Nabulungi, **Tom Struik** (*Sister Act the Musical*) as Elder McKinley, **Simbarashe Matshe** (*Filthy Business*) as Mafala Hatimbi, **Augie Tchantcho** who is reprising his role as The General and **Matthew Hamilton** *(Tina – The Tina Turner Musical)* as Mission President. Winner of nine **Tony Awards**® including **Best Musical** and the **Grammy**® for **Best Musical Theatre album, THE BOOK OF MORMON** follows a pair of mismatched Mormon boys sent on a mission to a place that’s about as far from Salt Lake City as you can get. **THE BOOK OF MORMON** made its world premiere in March 2011 at Broadway’s Eugene O’Neil Theatre. The London production opened in February 2013 at the Prince of Wales Theatre, winning four Olivier Awards®, including Best New Musical. The show has set house records at 27 theatres across the US and broke theatre sales records at New York’s Eugene O’Neill Theater more than 50 times. The London production broke box office records for the highest single day of sales in West End history. ![The Scoop The Book of Mormon Melbourne Brisbane 2026](https://thescoop.au/wp-content/uploads/2025/10/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_212-942x628.jpg "The Book of Mormon Melbourne Brisbane 2026 • The Scoop")The Book of Mormon will return to Melbourne and Brisbane in 2026 Photo by Daniel Boud**THE BOOK OF MORMON** features book, music and lyrics by **Trey Parker, Robert Lopez,** and **Matt Stone.** The production is co-directed by Casey Nicholaw and Trey Parker and choreographed by Casey Nicholaw. Trey Parker and Matt Stone are the creators of the Emmy and Peabody Award-winning television show, *South Park*, now in its 27th season, and the feature films *South Park: Bigger, Longer & Uncut* and *Team America: World Police*. Robert Lopez co-created the Broadway musical *Avenue Q* and co-wrote the songs for Disney’s *Frozen* and *Coco*. He is the first person ever to achieve a double EGOT, winning at least two each of the four major entertainment awards: Emmy, Grammy, Oscar and Tony Awards. **THE BOOK OF MORMON** is co-directed and choreographed by the Tony, Olivier, Drama Desk and Outer Critics Circle Award-winning Casey Nicholaw. His Broadway and West End credits include Disney’s *Aladdin*, *Dreamgirls*, *Mean Girls*, Monty Python’s *Spamalot*, *The Prom* and *The Drowsy Chaperone*. Set design for **THE BOOK OF MORMON** is by three-time Tony Award winner **Scott Pask**. Costume design is by two-time Tony Award winner **Ann Roth**. Lighting design is by five-time Tony Award winner **Brian MacDevitt**. Sound design is by two-time Tony Award winner **Brian Ronan**. Orchestrations are by Tony Award winner **Larry Hochman** and two-time Tony Award winner **Stephen Oremus**. Music direction and vocal arrangements are by Oremus. **THE BOOK OF MORMON runs in Melbourne from February 2026 at the Princess Theatre and runs in Brisbane from July 2026 at QPAC.** Sign up at the website to waitlist for early access to tickets. Website: <https://thebookofmormonmusical.com.au/> Socials: <https://www.instagram.com/bookofmormonaunz/> [Read our Review of The Book of Mormon Sydney!](https://thescoop.au/review-the-book-of-mormon-spreads-the-good-word/) Photo credits: Daniel Boud **Categories:** News --- ### [Announcing Monty Python's Spamalot For Melbourne & Sydney](https://thescoop.au/announcing-monty-pythons-spamalot-for-melbourne-sydney/) **Published:** June 18, 2026 **Author:** Newsroom **Content:** ![The Scoop Person in blue cloak standing on stage, facing a large lit trophy mural amid cloudy backdrop.](https://thescoop.au/wp-content/uploads/2026/06/16x9-Spamalot-Cup-Still-1116x628.jpg "Monty Python's Spamalot Drew Anthony Creative • The Scoop")The legendary search for the Holy Grail is officially headed for Australia! After a spectacular season at Perth’s *Planet Royale* in May, **Drew Anthony Creative** has announced that the Tony Award®–winning Best Musical, ***MONTY PYTHON’S SPAMALOT***, will gallop into **Melbourne** and **Sydney**. The show will run for a limited engagement during **September** and **October** this year. This riotous retelling of the adventures of King Arthur and his loyal Knights features a book and lyrics by Monty Python’s very own Eric Idle. The celebrated score is by Idle and John Du Prez. The hilarious and clever production ruthlessly, and affectionately, parodies the staples of musical theatre, showcasing a truly unique blend of powerful Broadway-style vocals and tap-dancing knights. There’s even the occasional flying cow! Since its 2005 Broadway debut, where it garnered 14 Tony Award nominations and secured three wins including Best Musical, ***MONTY PYTHON’S SPAMALOT*** has established itself as a landmark of contemporary musical theatre. Renowned for its anarchic comedic style and sharp absurdity, the production features a legendary score. Infectious classics include *Find Your Grail, The Song That Goes Like This,* and the iconic *Always Look on the Bright Side of Life*. This highly anticipated run will commence at Melbourne’s **Athenaeum Theatre** before travelling to Sydney for performances at the **Sydney Event Centre** and the **Sydney Coliseum Theatre.** ![The Scoop Monty Python's Spamalot Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/06/3-venues-horizontal-1116x628.png "Monty Python's Spamalot Drew Anthony Creative • The Scoop")Producer **Drew Anthony** said: *“After celebrating 20 years since the original production last year, it is a great honour to restore MONTY PYTHON’S SPAMALOT’s place on Australian shores. Fans have longed for its return and new audiences can meet the Knights of the Round Table for the first time. I’m thrilled to bring this hilarious show to audiences at a time when we all need to look on the bright side of life!”* “Lovingly ripped off” from the 1975 cinematic masterpiece *Monty Python and the Holy Grail*, the award winning musical offers everything a theatregoer could desire. There are French taunters, killer rabbits, fish slapping, and the magnificent Lady of the Lake. The arrival of this beloved classic promises an unforgettable theatrical experience for east coast audiences. Casting and further creative details are to be shared at a later date. Tickets will go on sale to the general public for **Melbourne on Friday 19 June** and for **Sydney on Monday 29 June** via the Ticketmaster [website](https://www.ticketmaster.com.au/). ***MONTY PYTHON’S SPAMALOT* runs 16 September – 11 October at the Athenaeum Theatre, 188 Collins Street Melbourne Vic 3000.** It then runs at the Sydney Event Centre from 15 – 18 October, before transferring to Coliseum Theatre, Rooty Hill from 22 – 25 Oct 2026. Audiences can sign up for the **waitlist** for both Melbourne and Sydney [here](https://www.drewanthonycreative.com.au/spamalot-melbournesydney-2026). Tickets for Melbourne will be available [here](https://www.ticketmaster.com.au/monty-pythons-spamalot-tickets/artist/927819). Website: <https://www.drewanthonycreative.com.au/spamalot-melbournesydney-2026> Socials: <https://www.instagram.com/drewanthonycreative/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. This production is recommended for audiences 12 years +. **Categories:** News --- ### [Film Review: Toy Story 5 Makes Heartfelt & Timely Comeback](https://thescoop.au/film-review-toy-story-5-makes-heartfelt-timely-comeback/) **Published:** June 17, 2026 **Author:** Sebastien Skubala **Content:** ★★★★★ ![The Scoop Toy Story 5 Disney Pixar Film](https://thescoop.au/wp-content/uploads/2026/06/TOYSTORY5-ONLINE-USE_t610_210fpub16460-1168x628.jpg "Toy Story 5 Disney Pixar Film • The Scoop")Reach for the sky…or a screen. In *Toy Story 5*, the rise of technology can only mean one thing…extinction for toys and relegation to a dreaded place: long-term storage. Writer-directors Andrew Stanton and McKenna Harris, alongside the team at Pixar Animation Studios for Walt Disney Pictures, have put together an exceedingly timely tale about the invasion of screens to the sacred art of play. In its simplest form, it’s toys versus tech. It’s a familiar battle for parents all around the globe. The infinite struggle of the real versus the fantastical, mind-numbing allure of the screen. We can all relate to the dystopian image of kids sitting around in the dark, faces illuminated by screens, together, but alone. Australia has at least tried to combat the darker side of devices, blocking social media for kids under 16. Yet young people are quick to outmanoeuvre adults and find clever ways around the blocks. The *Toy Story* world has been a beloved franchise since its inception in 1995, over three decades ago. Much of the original cast remains, with fan favourite Tom Hanks still voicing the toy cowboy Woody. The last film in the universe, *Toy Story 4,* earned an Academy Award for Best Animated Feature upon its release in 2019. Interestingly, Quentin Tarantino went on record saying the third instalment was the “perfect ending” to the trilogy and refused to watch any of the subsequent films. But unlike Tarantino, global audiences still have a hunger for the franchise. ![The Scoop Toy Story 5 Disney Pixar Film](https://thescoop.au/wp-content/uploads/2026/06/TOYSTORY5-ONLINE-USE-t950--1168x628.jpg "Toy Story 5 Disney Pixar Film • The Scoop")The story kicks off when a new device enters Bonnies home disrupting the delicate balance of play for her toys Image courtesy PixarThe story kicks off when a new device enters eight-year-old Bonnie’s home, disrupting the delicate balance of play for her toys. Without ever becoming too scary or dropping pace, the film finds room to explore the challenges of growing up in a digital age. Bonnie and the toys navigate making new friends, being brave and cyberbullying in unregulated group chats. Pixar Animation Studios has again raised the bar with extraordinary animation that pushes the studio’s already formidable standards even further. Lighting is used to remarkable effect throughout, creating atmosphere and emotional depth, while the carefully considered colour palette enhances the storytelling and subtly reinforces the themes of each scene. Performance-wise, the cast is exceptional. Joan Cusack shines as Jessie, who serves as both the emotional core and driving force of the film. Alongside her loyal companion Bullseye, Jessie propels much of the action while carrying the story’s emotional weight. Tim Allen as Buzz Lightyear keeps the story grounded and explores some of the more G-rated romantic themes in the piece, serving as a nice contrast to Jessie. As Woody, Tom Hanks delivers a more featured ensemble role this time, evoking nostalgia for long-time fans. Nonetheless, he is still both lovable and memorable. ![The Scoop Toy Story 5 Disney Pixar Film](https://thescoop.au/wp-content/uploads/2026/06/TOYSTORY5-ONLINE-USE_t110-1167x628.jpg "Toy Story 5 Disney Pixar Film • The Scoop")Jessie serves as both the emotional core and driving force of the film Image courtesy PixarGreta Lee is delightful as newcomer villain, Lilypad. Avoiding the trap of turning the character into a one-note villain, Lee imbues her with warmth, conviction and just enough menace. Lilypad genuinely believes she’s helping Bonnie, and it’s that unwavering certainty that makes her such an effective antagonist. Conan O’Brien nearly walks away with the entire film as Smarty Pants. Consistently hilarious, O’Brien delivers a stream of laugh-out-loud moments and proves a perfect fit for the *Toy Story* universe. Every appearance is a welcome one. *Toy Story 5* serves as a poignant reminder to everyone to put down their screens and enjoy those in-person moments of joy and connection. Ironically, Disney-Pixar has stepped up its merch output in conjunction with the film, releasing special edition Lilypad iPad cases for purchase. The film will also eventually be made available to stream on Disney+, encouraging more kids to stay glued to their screens. While the toys versus tech argument is a noble message, it’s somewhat negated by its digital delivery. Hopefully, parents accompanying their kids will opt out of the pro-screen promotional materials. *Toy Story 5* is at its best when it champions the timeless magic of make-believe over the latest shiny distraction. And stick around for the end credits; there’s a cute segment featuring the beloved characters and a brand-new original song, *I Knew It, I Knew You* by Taylor Swift, which was written especially for the film and is inspired by the Jessie character. **TOY STORY 5 releases** **exclusively in Australian cinemas** **on Thursday 18 June.** Find tickets [here](https://www.disney.com.au/movies/toy-story-5?aref=n4gQEH7ViT). Website: <https://www.pixar.com/toy-story-5> Socials: <https://www.instagram.com/disneyaunz/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Toy Story 5 Director: Andrew Stanton, McKenna Harris Cast: Tom Hanks, Tim Allen, Joan Cusack, Tony Hale, Conan O’Brien, Greta Lee Country of Origin: USA Duration: 102 mins Rating: G Consumer Advice: Very mild bullying themes and violence **Categories:** Film --- ### [Love, Laughter & Chaos: Sarah McNally Returns To The Comedy Of Errors](https://thescoop.au/love-laughter-chaos-sarah-mcnally-returns-to-the-comedy-of-errors/) **Published:** June 17, 2026 **Author:** Sebastien Skubala **Content:** ![The Scoop The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-17-at-120545-pm-1102x628.png "The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally • The Scoop")For more than four centuries, ***The Comedy of Errors*** has delighted audiences with its whirlwind of mistaken identities, romantic misunderstandings and escalating chaos. Next month, **Shepherd’s Purse Theatre Company** breathes fresh life into Shakespeare’s enduring comedy with an immersive dinner theatre production staged throughout the enchanting surrounds of Flutterbies Cottage Café in Tyalgum, just twenty minutes out of Murwillumbah in the Tweed Valley, on the far north coast of New South Wales. Renowned for its inventive approach to classical theatre, the multi-award-winning company has built a loyal following through productions that blur the line between audience and performer. This latest staging promises plenty of laughter, mistaken identities and Shakespearean chaos, brought to life by a talented cast of professional and local actors and theatre makers. Among them is **Sarah McNally**, who takes on the role of Adriana, one of Shakespeare’s most spirited and complex comic heroines. Ahead of opening night, The Scoop caught up with McNally to chat about the production, her character, and what audiences can expect when they pull up a chair for this unique theatrical feast. ![The Scoop The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally](https://thescoop.au/wp-content/uploads/2026/06/Comedy-Errors-2-837x628.jpg "The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally • The Scoop")Tell us a bit about *The Comedy of Errors* for those less familiar with the story. *The Comedy of Errors* is basically a massive accumulation of a bunch of errors. There’s mistaken identity, high emotions, there are people getting beheaded or potentially getting beheaded. Basically, whenever something could go wrong, it does go wrong. I understand that this is not the first time you’ve played the character of Adriana? This will be my third time playing Adriana. The first was at Griffith University at the Queensland Conservatorium. That production was directed by Dan Evans, and upon graduation I reproduced that same play with permission from Dan, and we put it on in 2021 as part of the Anywhere Festival. And now, this will be my third time in the role with Shepherd’s Purse Theatre Company. ![The Scoop The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally](https://thescoop.au/wp-content/uploads/2026/06/Sarah--471x628.jpg "The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally • The Scoop")Sarah McNally and Nathaniel Savy in rehearsalLet’s talk a bit about Shepherd’s Purse, and their immersive, dinner theatre style productions. What will that look like for this production? *The Comedy of Errors* is set in a marketplace so they are setting up the entirety of Flutterbies Cottage Cafe as a marketplace, and some surrounding locations in the village. The audience will get to walk through all these spaces while experiencing the play, and then it will end at the main stage. They also get a two-course dinner, which includes dessert and a goblet of mulled wine. Sounds like it’s going to be a fantastic night. I’d love to throw out some rapid-fire questions. If you had to sum up *The Comedy of Errors* in three words, what would they be? Heightened. Slapstick. Ridiculous. What’s the biggest laugh you’ve had in rehearsal so far? One of the actors, Trent Taylor-Brain, who’s playing Dromio of Ephesus, he gets possessed, and last night, it was pretty funny, all the physicality that he was doing in rehearsals. ![The Scoop The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally](https://thescoop.au/wp-content/uploads/2026/06/Trent-837x628.jpg "The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally • The Scoop")Bowen Grant and Trent Taylor Brain in rehearsals for The Comedy of ErrorsWhich character would you swap roles with for a day? I would definitely take up one of the Dromios, either Dromio of Syracuse or Dromio of Ephesus. Which cast member makes you break character just from laughing? Definitely Trent. His physical comedy is hilarious, and he just goes for it every single time. What’s one thing you have in common with Adriana? She’s really quick to anger. I think it’s because she’s so passionate, and I feel like I’m a bit like that too. Who is your favourite Shakespeare character, besides Adriana? From this play, I would have to say one of the Dromios, but in general, Lady Macbeth. You mentioned you trained at the Queensland Conservatorium as part of their inaugural Bachelor of Acting course. What advice would you give to drama school students about surviving a course like that? It’s all about exploration. You have the time at Uni to try out a bunch of different things. I think it’s really about getting out of your comfort zone and seeing what works for you. Uni is really the place to take risks, and it’s okay if you fail sometimes. ![The Scoop The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally](https://thescoop.au/wp-content/uploads/2026/06/Sarah-headshot-419x628.jpg "The Comedy of Errors Shepherds Purse Theatre Company Sarah McNally • The Scoop")Sarah McNallyAnd finally, what’s something you would like readers to know about the play? If you come to see *The Comedy of Errors*, you need to throw your perceptions of Shakespeare out the window. It’s ridiculous, it’s really silly. We normally think of Shakespeare as this refined theatre style, but it’s not. Come and have some laughs, and you’ll figure out what’s going on, even if you are not familiar with the language. **Sarah McNally appears in *The Comedy of Errors*, presented by Shepherd’s Purse Theatre Company from 9 – 18 July. Flutterbies Cottage Cafe, 23 Coolman Street Tyalgum NSW 2484**. The season is completely sold out. Join the waitlist by calling 0488 713 241. Tickets: <https://www.trybooking.com/events/landing/1541585> Website: <https://www.heartsaflameproductions.com.au/shepherds-purse-theatre-co> Socials: <https://www.instagram.com/shepherdspursetheatre/> and <https://www.instagram.com/sarahmcnally97/> [Read more of our Features](https://thescoop.au/feature-articles/) Images supplied. **Categories:** Features --- ### [Win Tickets To Glenrothan In Cinemas From 25 June](https://thescoop.au/win-tickets-to-glenrothan-in-cinemas-from-25-june/) **Published:** June 15, 2026 **Author:** Newsroom **Content:** ![The Scoop Glenrothan Brian Cox Alan Cumming](https://thescoop.au/wp-content/uploads/2026/06/image002-1112x628.jpg "Glenrothan Brian Cox Alan Cumming • The Scoop")The legendary **Brian Cox** makes his directorial debut with **GLENROTHAN**. A compelling family drama set against the breathtaking backdrop of the Scottish Highlands, it co-stars **Alan Cumming**, **Shirley Henderson** and **Alexandra Shipp.** When his beloved Chicago blues club burns down, Donal (Cumming) reluctantly returns to the Scottish Highlands for the first time in nearly 40 years. Estranged from his family since a violent confrontation with his brother Sandy (Cox) and their father on the day of their mother’s funeral, Donal comes home carrying the weight of old wounds and long-buried secrets. Sandy, now struggling to secure the future of the family’s Glen Nairn whisky distillery, hopes his younger brother will help preserve the business and the family legacy. Accompanied by his daughter Amy (Alexandra Shipp), Donal appears ready to make amends. But he has another, deeply personal reason for returning to the land he left behind, one he keeps hidden from his brother. As Donal confronts painful memories and the trauma that drove him away, his actions in the present threaten the fragile reconciliation Sandy has long hoped for. With the fate of the distillery hanging in the balance and decades of resentment simmering beneath the surface, the brothers must decide whether forgiveness and understanding can finally overcome the past. ![The Scoop Glenrothan Brian Cox Alan Cumming](https://thescoop.au/wp-content/uploads/2026/06/Glenrothan_cs3_280824_gh_1943-967x628.jpg "Glenrothan Brian Cox Alan Cumming • The Scoop")Glenrothan opens in Australia on 25 JuneThe Scoop is **giving away five, in-season double passes** **to the film**, thanks to Rialto Distribution! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The tickets are valid at select cinemas screening GLENROTHAN. (Terms and conditions can be found on the tickets). Written by David Ashton *(The Last King of Scotland)* and acclaimed television writer Jeff Murphy *(Hinterland)*. **GLENROTHAN** is a moving exploration of family, legacy and redemption, steeped in the proud traditions of Scottish whisky-making. **GLENROTHAN opens on Thursday 25 June at participating cinemas.** Website: <https://rialtodistribution.com/film/glenrothan/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Glenrothan Director: Brian Cox Cast: Brian Cox, Alan Cumming, Shirley Henderson, Alexandra Shipp Country of Origin: UK Duration: 97 mins Rating: M **Categories:** competition, News --- ### [Review: Tara Tiba OMID 2026 Adelaide Cabaret Festival](https://thescoop.au/review-tara-tiba-omid-2026-adelaide-cabaret-festival/) **Published:** June 15, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop Tara Tiba OMID 2026 Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Tara-Tiba-photographer-credit-Claudio-Raschella-1-942x628.jpg "Tara Tiba OMID 2026 Adelaide Cabaret Festival • The Scoop")After seven years away from the stage, the Iranian-born, Perth-based singer Tara Tiba stood in the Banquet Room last night and offered the audience something that felt fragile, defiant and alive. OMID means hope, and for Tiba, hope is not a slogan; it is a survival tool. Tiba is an ARIA-nominated artist whose music draws from Persian classical tradition, jazz, Latin and contemporary forms. Born in Tehran, she grew up in a country where women have been prohibited from singing publicly since the 1979 revolution. She later moved to Perth, studied jazz at WAAPA, and built a career around a voice that carries both technical mastery and exile. Her instrument is extraordinary. But OMID was most powerful when the voice came with the cost of using it. Early in the show, after singing a joyous Arabic folk song translated into Persian, Tiba sat down. Her heart was racing. She told us she had been housebound with chronic fatigue syndrome after a case of mono. Her partner at the time and her housemate caught it too. They recovered, she did not. Before the show, she said, even climbing the stairs backstage had left her needing to lie down on towels. Suddenly every note felt like labour and gift. Not in a sentimental way, but in a physical one. The audience could hear what it meant for her to be there. Tiba praised the Adelaide Cabaret Festival staff for their care. She said the heart of the people at the Festival is what makes it what it is. In a cabaret season often built around polish, provocation and glitter, this felt like a different kind of glamour. The glamour of being helped back to the stage. She joked that during COVID, when everyone else was housebound, she did not feel like she was missing out. Then the world opened again and she was still inside. That led into Winter Is Over, though she wryly corrected the thought. Her winter is over-ish.. Tiba’s storytelling was loose, funny and emotionally direct. At one point, she spilt water on stage. Pianist Josiah Padmanabham cleaned it up with a towel. Then Artistic Director Reuben Kaye appeared with a fresh bottle of water, whispered to her, and prompted her to tell the audience what the lyrics meant. Tiba laughed. She preferred to tell her intense stories. Good. Because the stories mattered. ![The Scoop Tara Tiba OMID 2026 Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Tara-Tiba-photographer-credit-Claudio-Raschella-4-942x628.jpg "Tara Tiba OMID 2026 Adelaide Cabaret Festival • The Scoop")Tibas storytelling was loose funny and emotionally direct Photo by Claudio RaschellaShe spoke of being hospitalised with anxiety. At her lowest point, she realised she could no longer feel love for her mother or her dog. It was like death, she said. What is life without emotion? Tiba’s singing answered it. Her voice gave emotion back to the room in great waves. It was not simply beautiful, it was restoring something. There was a healthy Persian contingent in the audience, and you could feel the extra charge of recognition. This was not cultural display from a distance. It was shared memory, shared grief, shared release. Tiba also spoke of war. For her, it has been war since the revolution. She reminded us that a crowd like ours, listening to music, mixing genders and drinking alcohol, would be treated as criminal in Iran. She paid tribute to protesters who, as she put it, died because they wanted a life like this. A cabaret room can feel frivolous. This one did not. Or rather, its freedoms suddenly felt precious. Tiba explained she was sharing her anxiety and chronic fatigue because she had learned about her own condition while watching a program on SBS. If speaking could help someone else recognise themselves, then silence would be the greater risk. Musically, the night moved between Persian tradition, Latin warmth and jazz flexibility. Padmanabham was superb at the piano, putting his shoulders into the instrument and giving the songs both lift and ache. Saxophones added smoke and curve. Latin-tinged acoustic guitar gave the arrangements a warmer body. One of the night’s strongest moments came with an Iranian version of José Feliciano’s *Homeland*. Tiba sang it with a force that seemed to reach beyond nostalgia. This was homeland as wound, memory and impossible pull. ![The Scoop Tara Tiba OMID 2026 Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Tara-Tiba-photographer-credit-Claudio-Raschella-942x628.jpg "Tara Tiba OMID 2026 Adelaide Cabaret Festival • The Scoop")OMID was most powerful when the voice came with the cost of using it Photo by Claudio RaschellaShe finished with Iran’s most famous love song. By then, the room had earned it. Yet the most goosebump-inducing passage may have been unplanned. Tiba explained that she is a classical Persian singer, and that much of what she was doing on stage would be considered unhinged by those standards. Then, in tribute to her teacher, she sang a traditional song a cappella. No band, no ornament from outside the body. Just the voice. The room stilled. Here was a singer returning to the root of the thing, honouring the master-student tradition that shaped her, while standing in a cabaret festival on the other side of the world. As a long-awaited return, OMID did not always have the polish of a show that has been toured into shape. Some transitions were untidy. The balance between songs, translations and personal stories sometimes felt improvised in real time. But that also made the night feel precious. This was not a frictionless cabaret package; it was a re-entry. A body negotiating its limits, a voice testing its old force. A woman from a country that forbade her public singing, standing before us and doing the forbidden thing anyway. The result was moving because it was not invincible. Tiba did not perform hope as triumph. She performed it as something smaller and harder. Getting dressed. Climbing stairs. Sitting when the heart races. Singing anyway. Telling the truth in case someone else needs it. OMID means hope. On this night, hope sounded like a voice returning after seven years of silence, still carrying winter in the lungs, but singing as though spring might be persuaded to stay. ***Tara Tiba: OMID*** **ran for one night only in the Banquet Room on 14 June as part of the 2026 Adelaide Cabaret Festival.** Tickets are on sale for all Cabaret Festival shows now at the [website](https://cabaret.adelaidefestivalcentre.com.au/whats-on/em-rusciano-addicted-to-love?dateId=06-06-2026&performanceId=EDUN2026766). Website: <https://cabaret.adelaidefestivalcentre.com.au/whats-on/tara-tiba-omid> Socials: <https://www.instagram.com/adelaidecabaret/> and <https://www.instagram.com/taratibamusic/> [Read more of our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=adelaide+cabaret) Photo credits: Claudio Raschella **Categories:** Adelaide, Circus --- ### [Review: Lincoln Elliott Artefact 2026 Adelaide Cabaret Festival](https://thescoop.au/review-lincoln-elliott-artefact-2026-adelaide-cabaret-festival/) **Published:** June 13, 2026 **Author:** James Murphy **Content:** ![The Scoop Artefact or Repatriation the Musicald](https://thescoop.au/wp-content/uploads/2026/06/Artefact-cast-Photo-by-Rebecca-Elliott-942x628.jpg "Artefact or Repatriation the Musicald • The Scoop")“Steal shit back” is a thesis statement and also the title-song battle cry of *Artefact (or, Repatriation: The Musical)*, Lincoln Elliott’s ambitious emo-rock heist musical about colonial theft, cultural identity, self-determination and the punishing business of making new Australian work. Presented as a work-in-progress showing at Adelaide Cabaret Festival, *Artefact* arrives as a show within a show within a show. In the Banquet Room, with scripts and stands still visible, it had the charged feeling of something too big for its current container. It is part PhD presentation, part museum break-in, part workshop-room argument, and part kazoo-fuelled middle finger to the British Empire. A group of young people from British-colonised backgrounds come together to “repatriate” cultural artefacts from the British Museum. Translation: they are going to steal them back. The crew includes Aboriginal Australian, Indian Australian, African Australian and Polynesian characters. Their target is not only the museum. It’s what the museum represents. It is every system that told them to ask nicely. Elliott, a Wiradjuri performer, writer, composer, instrumentalist and researcher, has developed *Artefact* as part of his PhD into identity and self-determinism in contemporary Australian musical theatre. This is academic research with guitars, rage, recorder solos and meta gags. Three timelines run at once. In the thesis timeline, a student presents the work. In the workshop timeline, creatives try to shape and sell the show. In the heist timeline, the gang goes to London to reclaim what was taken. ![The Scoop Artefact or Repatriation the Musicald](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-13-at-85914-pm.png "Artefact or Repatriation the Musicald • The Scoop")That structure could easily collapse under its own cleverness, but it doesn’t. The concert format makes the three timelines harder to separate than they would be in a fully staged, costumed version. There is no choreography, which becomes one of the recurring jokes. Yet the piece remains clear enough to follow. Lighting helps. Red and yellow lights mark the heist sequences. White light signals the workshop scenes. The thesis frame bookends the night. Lincoln’s thesis wrestles with a relatable dilemma in this time of poly-crisis: where do you start? How do you respond to a world so full of stolen things? So much injustice. So much extraction. So many reparations still owed. Revenge, a gunpowder (or chlorine and brake fluid) plot, is not quite right. Creation, not decimation, is the solution. Balance can only be restored one new artefact at a time. One story at a time. One cultural work at a time. Continuing to exist is resistance. Telling your own story, in your own way, is self-determination. Refusing to assimilate. *Artefact* is furious, but it is not blunt. It understands how anger gets policed. Oppressed people are often told they may protest, but only peacefully. Only politely. Only in ways that do not inconvenience the oppressive system. The choice of emo and rap is not just a method for chasing a younger demographic. These are genres often dismissed as too angry, too loud or too much. *Artefact* proudly dons the eye makeup and black skinny jeans and sits down in Emo Park. The emotive rock and rap merge like Linkin Park. Joe Kalou delivers the night’s biggest late-show explosion. His rap lands like both a mic drop and a bomb drop. His earlier rap work with Elliott and Manali Datar is another highlight. Rachel Crossan, as Nelly, brings an impish grin and gleeful chaos to the room. Elliott has described the character as a “horny chaos goblin,” and Crossan honours that brief with relish. Her *Night at the Museum* number is one of the show’s most immediate crowd-pleasers. Natalie Abbott brings warmth and emotional focus as Vinny. Her *No Turning Back* is a vocal masterclass. Ava Madon brings sharp intelligence to Matty, the activist turned lawyer. Adam Spain-Mostina has a field day with Vicky, the show’s high-camp Queen Victoria. This is not a polite royal ghost. It is part Emperor Palpatine, part Herod from *Jesus Christ Superstar*, part panto villain with imperial rot in the bloodstream. Victoria Falconer sits stage left as narrator, giving the sprawling world a steady outside eye. Director Manali Datar and musical director Andy Freeborn help hold the chaos together. Elliott has assembled performers who understand both the joke and the wound underneath it. ![The Scoop Artefact or Repatriation the Musical](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-13-at-85903-pm.png "Artefact or Repatriation the Musicald • The Scoop")The show is full of caper references. *Ocean’s Eleven* hangs over the heist dynamics. MacGuffins get a nod. There is Benny Hill-style British silliness. *Rule, Britannia!* appears via kazoos. A recorder solo somehow becomes part of the anti-colonial arsenal. *Artefact* can have you mulling over constitutional law dictums, then giggling at choruses of kazoos. This blending of high and low culture speaks to the show’s larger argument about culture itself. Cultures blend, borrow, evolve and remix. The problem is not exchange, the problem is theft, power and who gets to profit from what was taken. *Artefact* ends with a call to action for the development of new Australian musicals. This is a show about repatriation, but it is also an example of the thing it argues for: new stories, made here, by artists with something urgent to say. As a concert work-in-progress, *Artefact* is not yet in its final form. The fully staged version will likely make the timelines clearer. Costumes, choreography and physical comedy should sharpen the heist world. Some transitions will also benefit from the extra definition that staging can provide. But the bones are strong. Captain Cook’s femur strong. A full staging will only sharpen Elliott’s wit, deepen the chaos and give this strange, furious, funny new Australian musical the body it deserves. ***Artefact (or, Repatriation: The Musical)*** **ran for one night only in the Banquet Room on 11 June as part of the 2026 Adelaide Cabaret Festival.** Tickets are on sale for all Cabaret Festival shows now at the [website](https://cabaret.adelaidefestivalcentre.com.au/whats-on/em-rusciano-addicted-to-love?dateId=06-06-2026&performanceId=EDUN2026766). Website: <https://www.adelaidefestivalcentre.com.au/whats-on/lincoln-elliott-artefact-or-repatriation-the-musical> Socials: <https://www.instagram.com/artefact.musical/> and <https://www.instagram.com/adelaidecabaret/> [Read more of our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=adelaide+cabaret) Hero image: Rebecca Elliott **Categories:** Adelaide, Musical Theatre --- ### [Announcing Reuben Kaye as 2027 Adelaide Cabaret Festival Artistic Director](https://thescoop.au/announcing-reuben-kaye-as-2027-adelaide-cabaret-festival-artistic-director/) **Published:** June 14, 2026 **Author:** Newsroom **Content:** ![The Scoop Adelaide Cabaret Festival 2026](https://thescoop.au/wp-content/uploads/2026/06/Reuben-Kaye-photographer-credit-Claudio-Raschella-1-942x628.jpg "Adelaide Cabaret Festival 2026 • The Scoop")**Reuben Kaye** will return to the role of Adelaide Cabaret Festival Artistic Director in 2027 following an electrifying debut program this year, which has already seen sold-out shows, five-star reviews and standing ovations across its first two weeks. Adelaide Cabaret Festival 2026 continues at Adelaide Festival Centre until **21 June**. The Adelaide Cabaret Festival Artistic Director **Reuben Kaye** said: *“Adelaide Cabaret Festival truly encapsulates all that cabaret can be: loud, brash, political, engaged, sexy, emotional, intimate and grandiose. I am so thrilled to be returning in 2027 to once again pack Adelaide Festival Centre full of the most chaotic, talented, devious, diverse, wild and brilliant performers I can pull from every corner of the globe.”* The final week will not disappoint with world-class musicians, burlesque artists and comedians to come. In Festival Theatre, powerhouse vocalist [Casey Donovan](https://cabaret.adelaidefestivalcentre.com.au/whats-on/casey-donovan-this-is-me-amy-winehouse-special) pays tribute to **Amy Winehouse** in a one night only Adelaide exclusive. **Scott Bradlee**’s [*Postmodern Jukebox*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/scott-bradlees-postmodern-jukebox) performs iconic pop tracks as you’ve never heard them for *The Future is Vintage* tour*.* In Dunstan Playhouse, national treasure [Vince Jones](https://cabaret.adelaidefestivalcentre.com.au/whats-on/vince-jones-a-mavericks-tale) celebrates 50 years of music, and Monsieur Camembert reimagine the great works of **Leonard Cohen** in [*Cohen Noir*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/monsieur-camembert-cohen-noir)*.* Space Theatre comes alive with renowned Cuban trumpet player [*Lazaro Numa & Sabor a Cuba*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/lazaro-numa-and-sabor-a-cuba), Miss Burlesque Australia [*Bettie Bombshell*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/bettie-bombshell-a-night-of-burlesque), and [*Homecoming*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/homecoming-class-of-cabaret-graduates)*,* a reunion of Class of Cabaret alumni featuring MC **Alex De Porteous**. In Banquet Room, audiences can look forward to rock icon [Sarah McLeod](https://cabaret.adelaidefestivalcentre.com.au/whats-on/sarah-mcleod), the cockiest woman in comedy [Jordan Gray](https://cabaret.adelaidefestivalcentre.com.au/whats-on/jordan-gray-is-that-a-cock-in-your-pocket-or-are-you-just-here-to-kill-me) and celebrate the cabaret stars of the future with [*Class of Cabaret*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/class-of-cabaret-2026). ![The Scoop Adelaide Cabaret Festival 2026](https://thescoop.au/wp-content/uploads/2026/06/Reuben-Kaye-Ursula-Yovich-Em-Rusciano-Tara-Tiba-Mahalia-Barnes-Dylan-Adler-and-Vidya-Makan-photographer-credit-Claudio-Raschella-942x628.jpg "Adelaide Cabaret Festival 2026 • The Scoop")Reuben Kaye Ursula Yovich Em Rusciano Tara Tiba Mahalia Barnes Dylan Adler and Vidya Makan Photo by Claudio RaschellaAdelaide Festival Centre CEO **Kate Gould** said: *“In his debut program Reuben Kaye has brought us a delicious revolution showcasing the full breadth of cabaret. We look forward to celebrating this spectacular debut in the final week of the 2026 Adelaide Cabaret Festival and cannot wait to see what he has in store for us next year.”* Free offerings for week three include [*Show Tunes Trevia*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/dr-trevor-jones-show-tunes-trevia)*,* [*Piano Man*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/dr-trevor-jones-piano-man-2026)*,* [*LGBTIQ+ Elders Dance Club*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/all-the-queens-men-lgbtiq-elders-dance-club-2026) and [*Designing for Divas*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/festival-talks-2026). [*Festival Late Nights*](https://cabaret.adelaidefestivalcentre.com.au/whats-on/festival-late-nights-2026) continue with Reuben Kaye and **Tina Del Twist**. **The 2026** **Adelaide Cabaret Festival runs at Adelaide Festival Centre from 4 – 21 June.** Tickets are on sale now at the website. Website: <https://cabaret.adelaidefestivalcentre.com.au/> Socials: <https://www.instagram.com/adelaidecabaret/> [Read all our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=cabaret+festival) Hero image: Claudio Raschella **Categories:** News --- ### [Review: Romeo and Juliet Sees Fresh Fire At WAAPA](https://thescoop.au/review-romeo-and-juliet-sees-fresh-fire-at-waapa/) **Published:** June 13, 2026 **Author:** Tiffany Barton **Content:** ![The Scoop WAAPA Acting Romeo and Juliet](https://thescoop.au/wp-content/uploads/2026/06/waapa-260611-romeo-juliet-656-WEB-ONLY-1116x628.jpg "WAAPA Acting Romeo and Juliet • The Scoop")After stunning performances in *[The Lieutenant of Inishmore](https://thescoop.au/review-waapa-brings-terror-irish-wit-to-the-lieutenant-of-inishmore/)* and *[Dance Nation](https://thescoop.au/review-waapa-brings-high-kicks-big-feelings-to-dance-nation/)*, the WAAPA third-year acting students are back with a stellar production of *Romeo and Juliet*. This is a cohort that oozes talent and professionalism, and it has been a joy to witness their work as their time at WAAPA draws to a close. This iteration of *Romeo and Juliet* is boldly contemporary, visceral and dynamic, with a throbbing soundtrack, gritty set design, exciting fight scenes and blistering performances. Slickly directed by Tom Healey, who successfully drags this 400-year-old play into the 21st century with humour, charisma and insight, the production bursts onto the stage with a stunning opening fight scene and continues at a cracking pace until its tragic final moments. The set by Daisy Churchman is a gritty urban landscape of scaffolding, chain-link fence and barbed wire, evoking mean streets and gang warfare. Combined with the throbbing fury of heavy metal music (sound system design by Jessie Nalder and sound technical direction by Connor Futter), the opening fight scene is visceral in its physicality, rage and intensity. Tyrone Earl LRaé Robinson’s fight choreography is particularly impressive, delivering moments of genuine danger while remaining tightly controlled. Tom Kelly is a standout performer as Mercutio. He oozes charisma, humour and all the wildness and volatility of untamed youth. He spars beautifully with Daniel Halmarick, who is also strong as the loyal Benvolio. Griffin McLaughlin plays an earnest and heartfelt Romeo, full of youthful idealism and longing for love. ![The Scoop WAAPA Acting Romeo and Juliet](https://thescoop.au/wp-content/uploads/2026/06/waapa-260611-romeo-juliet-31-WEB-ONLY-1116x628.jpg "WAAPA Acting Romeo and Juliet • The Scoop")This iteration of is boldly contemporary visceral and dynamic Photo by Stephen HeathSarah Hindle shines as Juliet’s Nurse, complete with hilarious ocker accent, charisma, swagger, bawdy humour and a deep and abiding love for Juliet. Sofia Watts also puts in a bravura performance as Lady Capulet, swinging convincingly from genuine love for her daughter to vehement, vengeful rage when Juliet refuses to marry Paris. Watts is a strong performer who never hits a false note. Zack Rock is equally impressive as Capulet. His anguish at Juliet’s apparent death is palpable, authentic and moving. However, it was disappointing to see the furious speech in which he castigates Juliet cut from the production. This would have given the actor greater emotional range to play with and expanded on the theme of conservative control that feels particularly relevant in the Trumpian world we live in. Michael Kavanagh plays a dishy Friar Lawrence who has more than a hint of Italian mafia about him in his slick black clothes, dubious potion-making and hilarious turn bursting onto the stage as a charismatic preacher on the morning of Juliet’s wedding to Paris, when we all know perfectly well that he has assisted her in her ruse to appear deceased. Nicholas Rose brings great strength and physicality to Tybalt, inhabiting the character with menace, volatility and violence. The big star of the show is Holly Samaniago as Juliet. Her performance is passionate, nuanced and fearless. She does not hold back one iota, taking the audience on a powerful emotional journey from innocence to first love, desire, grief, betrayal and courage. Samaniago dives headfirst into the full range of Juliet’s emotional experience and embodies this archetypal heroine with total commitment. It is particularly refreshing to witness a sassy, feisty Juliet who feels firmly planted in the 21st century. The love scenes between Romeo and Juliet are strong, physical and infused with passion, romance and tenderness. Healey adds a hilarious comedic touch to the marriage scene in which the young lovers are so overwhelmed with desire they end up entwined and writhing on the floor while the Friar struggles to separate them. ![The Scoop WAAPA Acting Romeo and Juliet](https://thescoop.au/wp-content/uploads/2026/06/waapa-260611-romeo-juliet-60-WEB-ONLY-1116x628.jpg "WAAPA Acting Romeo and Juliet • The Scoop")This is a cohort that oozes talent and professionalism Photo by Stephen HeathThe only aspect of the production that disappoints is the costume design, which lacks the cohesion and bold vision evident elsewhere. Some costumes work brilliantly, notably Mercutio’s pink glow-mesh crop top and matching fishnet gloves. The traditional uniforms of the Nurse and Friar, and the hilarious “nurse in training,” are also spot on. However, much of the remaining costuming feels generic. Juliet does not stand out in the dress she wears when she first meets Romeo, while Romeo himself is dressed plainly in shirt and jeans. The partygoers look less like guests at a swanky Capulet bash and more like they’ve rocked up to a suburban party in Rockingham. At one point Juliet appears in white tracky daks and a brown hoodie. While Capulet’s white linen suit works beautifully, Lady Capulet’s thrift-store coat evokes a student party more than a woman of means and jars against Capulet’s classic style. Given the bold grittiness of the production, it would have been satisfying to see costumes that better reflected the stylistic differences between the Capulets and Montagues. A special mention must go to the two pieces of dance choreography in the party scene, which are a lot of fun, beautifully performed and help elevate the atmosphere from suburban Rockingham to funky Fremantle. Although, if we’re dreaming, a touch of drag choreography at a warehouse party in Melbourne might have pushed the contemporary vibe even further. This aside, *Romeo and Juliet* is a bold production that grips the audience from its incredible opening fight scene and holds us in thrall until its tragic ending. It is hilarious, entertaining, exciting, moving and utterly compelling. With tight direction, killer sound design, a gritty set and bold performances, WAAPA has vaulted Shakespeare’s classic into the 21st century. With its themes of violence, conservative control and the destruction of innocence, it could not more relevant. Cast and crew deserve enormous credit for delivering a production of such vitality, confidence and emotional force. ***Romeo and Juliet* is presented by the WAAPA 3rd year Acting students and runs to 17 June at Heath Ledger Theatre, State Theatre Centre of WA. 174 – 176 William Street Perth WA 6000.** Tickets: <https://boxoffice.waapa.ecu.edu.au/Events> Website: <https://www.artsculturetrust.wa.gov.au/venues/state-theatre-centre-of-wa/whats-on/romeo-and-juliet/> Socials: <https://www.instagram.com/waapa.ecu/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Stephen Heath Photography **Categories:** Perth, Theatre --- ### [Review: Hair The Musical Bring Peace & Love To Sydney](https://thescoop.au/review-hair-the-musical-bring-peace-love-to-sydney/) **Published:** June 13, 2026 **Author:** Bailee Guyer **Content:** ★★★★☆ ![The Scoop HAIR The Musical Theatre Royal Sydney](https://thescoop.au/wp-content/uploads/2026/06/HAIR_Theatre-Royal-Sydney_credit_Daniel-Boud_237-The-Company-of-Hair-copy-942x628.jpg "HAIR The Musical Theatre Royal Sydney • The Scoop")*HAIR* is no stranger to controversy. From its 1968 Broadway debut to its Australian premiere in 1969, the revolutionary rock musical attracted both conservative criticism and devoted admiration. Recognised for pushing the boundaries of traditional theatre, *HAIR* is a vibrant celebration of freedom, peace, and human connection, set against the rise of the anti-war movement during the Vietnam War and the dawning of the Age of Aquarius. Famed for its frank depictions of nudity, drug culture, and political unrest, the musical transforms the stage into a colourful hippie dreamscape overflowing with heart, hope, and rebellion. For a limited season, the Australian Shakespeare Company is bringing this psychedelic world of radical self-expression to the Theatre Royal Sydney. More than fifty years after its debut, *HAIR* remains remarkably relevant, with its themes of collective resistance, personal freedom, and social change continuing to resonate today. Act I unfolds through a series of fragmented, dream-like musical sequences. These numbers introduce the members of the tribe and establish the show’s free-spirited atmosphere. The structure feels intentional, reflecting the psychedelic haze associated with drug use. However, it can make it difficult to connect with the musical’s deeper themes, a connection that is developed more effectively in Act II. Among the first characters introduced is the wild and rebellious Berger, played by Maxwell Simon. Simon commands the stage from the outset, captivating the audience with their magnetic charisma and restless energy while showcasing powerful vocals in a standout rendition of *Donna*. Contrasting Berger’s impulsive energy, Alex Cooper as Claude is thoughtful, hopeful, and idealistic, taking the stage with such sincerity and heart. Cooper skilfully captures the tension between Claude’s restless desire for freedom and the mounting pressure of societal expectations. ![The Scoop HAIR The Musical Theatre Royal Sydney](https://thescoop.au/wp-content/uploads/2026/06/HAIR_Theatre-Royal-Sydney_credit-Daniel-Boud_152-Larissa-Teale-and-Luke-London-941x628.jpg "HAIR The Musical Theatre Royal Sydney • The Scoop")The unwavering energy and commitment of the ensemble elevates every musical number Photo by Daniel BoudA particular highlight is Claude’s heartbreaking breakdown at the end of the hallucination sequence in Act II. Cooper’s acting is a powerful display of vulnerability that deepens the audience’s emotional connection to Claude, heightening the impact of the production’s tragic conclusion. Elizabeth Brennan brings warmth and sincerity to Sheila, grounding the character with a quiet emotional strength. In contrast, Rosie Meader’s Jeanie is eccentric, lovable, and effortlessly funny. As Woof, Jackson McGovern is equal parts hilarious and endearing, embodying the quintessential hippie archetype with effortless charm and impeccable comedic timing. Credit must also be given to the ensemble, whose unwavering energy and commitment elevates every musical number. This is emphasised through Sue-Ellen Shook’s choreography, which strikes a balance between free-spirited looseness and technical precision, and Osibi Akerejola’s vocal arrangements, which ensure consistently rich and impressive harmonies throughout. A personal standout is Apache, played by Linden Trescott, who steals the stage with his infectious energy and remarkable acrobatic skills. Likewise, Maverick Newman was an audience favourite, winning over the opening night crowd with his exceptional comedic timing and an impressive range of character voices. Tane Williams-Accra plays Hud with charm and ease, delivering hilarious one-liners and beautiful vocals in *Coloured Spade*. Together, the cast creates a tribe of distinct and authentic characters, each navigating their own struggles, ideals, and yearning for freedom. ![The Scoop HAIR The Musical Theatre Royal Sydney](https://thescoop.au/wp-content/uploads/2026/06/HAIR_Theatre-Royal-Sydney_credit_Daniel-Boud_183-Tane-Williams-Accra-and-the-Company-of-HAIR-942x628.jpg "HAIR The Musical Theatre Royal Sydney • The Scoop")This production encourages audiences to reflect on both the progress and stagnation of society Photo by Daniel BoudGlenn Elston’s direction successfully preserves the spirit of flower-power resistance while refusing to soften the musical’s more confronting themes of racism, political violence, and government control. This production does not shy away from the outdated stereotypes and confronting language that formed part of the original work. Instead, it embraces the complexity of its legacy, encouraging audiences to reflect on both the progress and stagnation of society. In doing so, it unites audiences through a shared reflection on struggle, resistance, and hope, making the experience feel deeply personal and moving. Adding to this world, Harrison Cope’s lighting design is particularly effective. The vibrant, colourful haze of the Act II LSD hallucination sequence creates a visually stunning dreamscape, while the soft sunlight filtering through the finale provides a striking sense of stillness and reflection. The costume design by Karla Erenbots similarly captures the spirit of the era, with each character maintaining a distinct identity while contributing to a cohesive aesthetic that feels nostalgic, authentic, and deliberately opposed to mainstream fashion. As expected, the Act II finale, *The Flesh Failures (Let the Sunshine In)*, proved to be the highlight of the evening. It served as a bittersweet celebration of life amidst the heaviness of war and grief, reminding the audience in times of darkness to let the glimpses of sunlight in. To feel every fleeting moment of happiness that we get. *HAIR* continues to remind us of the power of theatre as a mechanism for self-expression and to drive change. It challenges audiences and initiates conversations while uniting us through a shared sense of hope and human connection. This musical was a glimmer of sunshine for me, and I recommend everyone soak it in while they can. ***HAIR:The Tribal Love-Rock Musical* is presented by the Australian Shakespeare Company. It runs to 12 July at the Theatre Royal Sydney. 108 King St, Sydney NSW 2000**. Tickets are on sale [here](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/110/?tix-tr=HAIRWEB). Website: <https://www.hairthemusical.com.au/> Socials: <https://www.instagram.com/hairmusicalau/> [Read our Interview with Phoenix Jackson Mendoza](https://thescoop.au/hair-runs-in-the-family-for-phoenix-jackson-mendoza/) Photo credits: Daniel Boud **Categories:** Musical Theatre, Sydney --- ### [Review: Beetlejuice The Musical Possesses Brisbane With Wicked Delight](https://thescoop.au/review-beetlejuice-the-musical-possesses-brisbane-with-wicked-delight/) **Published:** June 13, 2026 **Author:** Regan Baker **Content:** ★★★★★ ![The Scoop Group of performers in striped prison uniforms posing theatrically on a blue-lit stage.](https://thescoop.au/wp-content/uploads/2026/06/1-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-copy-942x628.jpg "Beetlejuice The Musical Australia Andy Karl Photo by Eugene Hyland • The Scoop")*Beetlejuice the Musical* has officially possessed QPAC’s Lyric Theatre, and Brisbane seems more than happy to hand over the keys to the afterlife. I love an opening night. There is something about the energy in the room that makes everything feel tenfold. The audience is either dressed to the nines, dressed as their favourite character, or, in the case of *Beetlejuice*, dressed as if they have just come from a very stylish funeral and are absolutely thrilled about it. From the red carpet to the first roar of applause, Brisbane gave this strange and unusual visitor the welcome he deserved. After making its Australian exclusive debut in Melbourne last year, *Beetlejuice* then ventured halfway across the world for a ten-show season in Abu Dhabi before announcing an Australian tour, with Brisbane getting the first bite of the apple. Or perhaps, given the show, the first bite of the recently deceased. Either way, it has arrived at QPAC with a bang, a scream, a sandworm, and more theatrical chaos than any sensible person should be able to fit into two and a half hours. For those, like me, who have never seen the Tim Burton classic, *Beetlejuice*, at its core, is about grief and loneliness. Sounds kind of wholesome, until you realise it also contains giant puppets, more dirty jokes than a Jim Jeffries stand-up routine and a demon in a striped suit yelling at the audience. But that’s also kind of why it works. It shifts effortlessly between being bright, loud and ridiculous and gently poking at loneliness, loss and what it means to be seen. It’s nonsensical until suddenly it’s not. Then, just as you think the show is about to have a sincere little cry, it throws a severed head at you and runs off laughing. A huge part of that comes down to the music and lyrics by Australia’s own Eddie Perfect. His lyrics feel like Lin-Manuel Miranda and Tim Minchin had a baby who grew up and had a near-death experience, took a couple of shots of tequila, then decided to write a musical while being chased through the underworld. ![The Scoop Beetlejuice The Musical Perth](https://thescoop.au/wp-content/uploads/2026/02/5-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-copy-942x628.jpg "Beetlejuice The Musical Perth • The Scoop")Visually the production is a feast for the eyes Photo by Eugene HylandThe lyrics are smart, weird, and completely unafraid of being too much at times. In fairness, though, that is kind of the point. It is by far one of the most chaotic musicals ever written, and I do mean that in the best possible way. It doesn’t so much as walk the line between madness and genius as dance along it with tap shoes and ghouls in striped suits. Visually, the production is a feast for the eyes, assuming the feast has been catered by the recently dead. David Korins’ scenic design is extraordinary, constantly shifting, twisting and surprising the audience with every new reveal. The house itself feels alive, or at least undead, and the stage becomes a playground for the bizarre. Kenneth Posner’s lighting design adds another layer of madness, with bold colours dancing across the stage like ghoulish characters in their own right. The whole thing is restless, alive and ready to pounce. Then there are William Ivey Long’s costumes, which are nothing short of superb. Beetlejuice’s iconic black-and-white suit is already one of musical theatre’s most recognisable looks, but this production amplifies it brilliantly, particularly during *That Beautiful Sound*, where the visual gag is pushed to absolute breaking point. Lydia’s gothic styling is also perfect, never feeling like a costume-party version of sadness, but rather an extension of who she is. Across the board, the costumes are theatrical, detailed and completely delicious. If this is what the afterlife looks like, bury me well-dressed. When I saw the Melbourne production last year, Eddie Perfect lived up to his last name as the titular character. I genuinely did not think anyone could top him, and though it feels slightly brutal to say this, especially given he was sitting three rows back from us, Andy Karl summoned another twenty per cent out of thin air. His Beetlejuice is chaotic, over-the-top, razor sharp and completely insurmountable. Alex Brightman may have originated the role, and Eddie Perfect-ed it, but Andy Karl is easily the ghost with the most. ![The Scoop Beetlejuice The Musical Australia Andy Karl Photo by Eugene Hyland](https://thescoop.au/wp-content/uploads/2026/06/4-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-copy-942x628.jpg "Beetlejuice The Musical Australia Andy Karl Photo by Eugene Hyland • The Scoop")Karis Oka possesses a voice that could fill the underworld and make Satan cry a little Photo by Eugene HylandAnd then of course, there is Karis Oka, who just entirely knocks the role of Lydia Deetz out of the cemetery. She gives the kind of performance that makes you entirely forget about who originated the role and who has played it since. Lydia Deetz is hers and hers alone. She finds so much inside the role. She’s funny, warm, and wonderfully weird, all the while possessing a voice that could fill the underworld and make Satan himself cry a little. Her *Dead Mom* is obviously a big moment, and yes, she absolutely tears through it, but it never feels like she is just standing there waiting to belt. There is grief in it, anger too. A bit of teenage stubbornness. All the messy stuff that makes Lydia actually feel like a person rather than just a girl in black with a great song. She alone is a big part of why we need an Australian cast recording, but also, move over Milkshake Man and Deltra Goodram because my bid for Eurovision 2027 is Karis Oka as Lydia Deetz singing an Eddie Perfect original! I also want to give a special mention to Rebecca Ordiz, who stepped into the role of Lydia during a preview performance just 48 hours earlier, which my girlfriend and I were lucky enough to see. Rest assured, the show is in very safe hands with its understudies. Ordiz was a standout in her own right, bringing the power, humour and emotional punch the role demands. Jenni Little and Rob Johnson are a perfectly awkward delight as the Maitlands. Their characters could easily become background spirits in a show this loud, but both bring so much warmth and charm to the afterlife. They are sweet, strange, vocally brilliant and beautifully matched. Their wholesome panic gives the show a lovely centre, even when everything around them is going completely off the rails. ![The Scoop Beetlejuice The Musical Australia Andy Karl Photo by Eugene Hyland](https://thescoop.au/wp-content/uploads/2026/06/7-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-copy-739x628.jpg "Beetlejuice The Musical Australia Andy Karl Photo by Eugene Hyland • The Scoop")Andy Karl is easily the ghost with the most Photo by Eugene HylandErin Clare, meanwhile, seems born to play Delia. Her crystal-loving life coach energy is so alarmingly natural that I am not entirely convinced she is acting. She finds every ridiculous beat and somehow makes Delia both absurd and oddly lovable. Tom Wren also kills it as Charles Deetz, the awkward widowed girl-dad trying to keep his family together while absolutely no one, living or dead, makes that easy for him. By the final bow, *Beetlejuice the Musical* had well and truly raised the roof, and possibly a few bodies with it. It’s rare to see a show this technically massive, comedically sharp and emotionally sincere all working at the same time, but this production somehow manages it. It’s messy in the same way that life is messy. Loud in the way grief can be loud. And funny in the way we sometimes need things to be funny when the alternative is falling apart. I have seen more than 50 different musicals across three continents, and I can say without hesitation that *Beetlejuice* is one of the best shows, with one of the best casts, I have ever seen. It’s strange, unusual, hilarious, heartfelt and completely alive, which is ironic, considering almost everyone in it is dead. Brisbane, say his name. Then say it again. Then say it a third time, because this one is worth summoning. ***Beetlejuice The Musical* is presented by Michael Cassel Group and runs to 2 August at the Lyric Theatre, QPAC as part of a national tour.** See dates below. Tickets: <https://beetlejuicethemusical.com.au/tickets/brisbane/> Website: <https://beetlejuicethemusical.com.au/> Socials: <https://www.instagram.com/beetlejuiceaus/> [Read our In Conversation with Eddie Perfect](https://thescoop.au/in-conversation-with-eddie-perfect-beetlejuice-the-musical/) Hero image: Eugene Hyland 2026 Australian Tour: Perth from 16 August, Crown Theatre Adelaide from 10 October, Festival Theatre Sydney from 21 November, Capitol Theatre **Categories:** Brisbane, Musical Theatre --- ### [Review: The Only Thing Worse You Could Have Told Me](https://thescoop.au/review-the-only-thing-worse-you-could-have-told-me/) **Published:** June 12, 2026 **Author:** Sebastien Skubala **Content:** ★★★★☆ ![The Scoop The Only Thing Worse You Could Have Told Me CJ de Mooi](https://thescoop.au/wp-content/uploads/2026/04/image1-e1776834297121-1011x628.jpeg "The Only Thing Worse You Could Have Told Me CJ de Mooi • The Scoop")14,000 words. Fifteen vignettes. Thirteen characters. Three decades. One man. Like a whirlwind romance, CJ de Mooi takes audiences on a dizzying journey through love, loss and identity in *The Only Thing Worse You Could Have Told Me*, now playing at BackDock Arts. Written by Dan Butler in 1994, the play has remained largely unseen for more than thirty years. This Brisbane production marks its international premiere this century. Single-handedly, CJ de Mooi brings thirteen distinct characters to life across fifteen interconnected monologue vignettes. Moving from AIDS rallies to smoky dive bars, the work offers a raw and deeply personal exploration of what it means to be gay in a changing world. Industry veteran CJ de Mooi is no stranger to a one-man show. His previous production, *Banana Crabtree Simon*, earned him the 2024 Matilda Award for Best Performance in an Independent Production. With a career spanning British film and television, as well as London’s West End, de Mooi brings considerable experience and emotional depth to this ambitious work. Brisbane is lucky to have him. Presented in the intimate venue at BackDock Arts, the production arrives during International Pride Month. Extending the show’s themes beyond the stage, de Mooi has pledged to donate all profits from the production to local LGBTQIA+ charities. Set in the 1990s USA, each monologue vignette interrogates homosexuality from a different perspective. De Mooi dances between reverie, character and audience interaction in a transformative performance. ![The Scoop The Only Thing Worse You Could Have Told Me CJ de Mooi](https://thescoop.au/wp-content/uploads/2026/04/Poster-v3-444x628.png "The Only Thing Worse You Could Have Told Me CJ de Mooi • The Scoop")Particular highlights include the vignettes Critic (1, 2 and 3) and The Dancer. The Critic tackles explorations and critiques of the symbols of gay pride, including the Quilt and the Rainbow. De Mooi handles the material with care. In The Dancer, De Mooi evokes a striking image through a simple gesture: one man feeling another man’s bicep in a show of affection. In another actor’s hands, the mime work could have felt artificial; here, it feels raw and tender. Director Timothy Weston and costume designer Andrew Cox immerse the audience from the outset. To mask scene and costume changes, Weston employs period-accurate music, offering audiences a brief glimpse into the themes of each interconnected vignette. It’s a clever choice that keeps the production moving while reinforcing its setting and tone. Cox’s costumes clearly distinguish each character. They are particularly striking during the Act Up AIDS rally scene, where costume and performance combine to evoke a pivotal moment in queer history. *The Only Thing Worse You Could Have Told Me* is a rare production. It is funny, confronting and deeply human. Through fifteen interconnected vignettes, de Mooi gives voice to a generation shaped by love, loss and resilience. In doing so, he reminds audiences that queer history is not as distant as it may seem. The only worse thing you could have told me…is that you’re not coming to see this show. ***The Only Thing Worse You Could Have Told Me* runs to 27 June 2026 at Backdock Arts. 103 Brunswick Street Fortitude Valley Qld 4006.** Tickets: <https://www.tickettailor.com/events/backdockarts/2013975> Website: <https://www.backdockarts.com/> Socials: <https://www.instagram.com/backdockarts/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Images supplied. **Categories:** Brisbane, Theatre --- ### [Review: Baylie Carson Is Handsome(ish) 2026 Adelaide Cabaret Festival](https://thescoop.au/review-baylie-carson-is-handsomeish-2026-adelaide-cabaret-festival/) **Published:** June 12, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop Baylie Carson is Handsome(ish) Adekaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Baylie-Carson-Photo-by-YELLOWBELLY-2-942x628.jpeg "Baylie Carson is Handsome(ish) Adekaide Cabaret Festival • The Scoop")Baylie Carson greets the audience before the show has even begun. They move through the Space Theatre in a blue cropped, sleeveless vest with red trim and black cargo pants. There is a bowl in hand. Inside are small slips of paper, like fortune cookies, waiting for permission. “You can’t read it until I tell you to,” Carson says. Carson has the rare quality of seeming like they already know you, and somehow, you know them too. Handsome(ish), presented as part of Adelaide Cabaret Festival’s Frank Ford Commission, is a world premiere work about labels, bodies, queerness, neurodivergence, family, hunger, language and survival. That sounds heavy. At times, it is. But Carson is too alive a performer to let the night become a lecture. They keep kicking the door open. The show begins in a spotlight at the back of the stage. Carson sings about diversity being welcome here, then moves past their sister Grace and into the room. The first story is simple and brutal. At 12, Carson was called “handsome.” Not beautiful. Not pretty. Handsome. The word stuck. From there, Carson pulls the word apart. They track it through literature, history and etymology. Jane Austen used it. Eleanor Roosevelt was diminished by it. Queen Victoria could receive it as praise. Carson turns “handsome” into a little archaeological site. A word becomes a wound. Then a clue. Then a trapdoor. They sing a Play School-style song about words being just collections of letters. Language is a system. Systems pretend to make the world clearer. They also decide who gets shoved outside the frame. That idea gives Handsome(ish) its spine. Across the hour, Carson threads in video clips of their father, Steven. Not with a “ph”, they joke, but with a PhD. Like Carson, Steven is dyslexic and neurodivergent. It took him 30 years to complete his PhD. His reflections widen the work beyond autobiography. ![The Scoop Baylie Carson Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Baylie-Carson-photographer-credit-Claudio-Raschella-942x628.jpg "Baylie Carson Adelaide Cabaret Festival • The Scoop")Carson turns handsome into a little archaeological site Photo by Claudio RaschellaHe talks about study itself. The difficulty of knowing anything, when what we study is shaped by who is studying it. He talks about our need to categorise. Legal systems. Economic systems. Social class. Gender binaries. Boxes built to make sense of reality. Then Carson shows us what happens when the box does not fit. The show’s most tender passages are with family. Carson sings for Grace, who is non-verbal and a wheelchair user. But that is not where the description ends. Grace is introduced as an eye-gaze painter. Her work is projected onto the screen. It gives the show one of its clearest acts of love. Recognition. Carson also jokes about giving people in their life different names. Family members become interchangeable in the language game. Henry becomes Paul. Labels slide around. Names matter. Names also fail. The darkest section comes when Carson speaks about bulimia. They describe the harm of chasing a body that has been categorised as perfect. They say they almost died. They also reveal this was the first time they had shared the story publicly in performance. Their parents were seated at tables in the front rows. That fact changes the room. The usual cabaret armour drops. Carson becomes emotional. The audience holds still. It is not a polished confession. It is fresher than that. Riskier too. No “body” is worth dying for. There is also desire. Carson sings Nina Simone’s *I Put A Spell On You* while recounting a one-night stand at Revolver Upstairs in Melbourne. The number is a standout; it has smoke in it. It has bite. It lets Carson’s voice stretch from mischief into command. They also describe discovering their sexuality while watching a Pride March during lockdown, and corresponding with the oldest living member of Dykes on Bikes. Carson arrives at a beautifully unfixed conclusion. They are attracted to people’s souls. ![The Scoop Baylie Carson Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Baylie-Carson-photographer-credit-Claudio-Raschella-1-942x628.jpg "Baylie Carson Adelaide Cabaret Festival • The Scoop")Carson is asking us to stop obsessing over who we are long enough to ask why we are Photo by Claudio RaschellaTheir musical theatre credentials sit underneath the show without needing to be paraded. Carson trained at WAAPA. Their credits include Anne Boleyn in *SIX the Musical* on the West End, Ensemble/Cover Janis in *Mean Girls The Musical*, and roles in *Jagged Little Pill*, *Bring It On*, *Lazarus*, *The Boy From Oz*, *Dusty* and more. They have also been part of the development of *Fangirls* and *Atlantis*. Handsome(ish) is partly about the cost of visibility. Carson speaks about being cast as Anne Boleyn in *SIX*, and how sections of the press and online world seemed unable to process a body and identity that did not fit the expected box. Instagram trolls and critics pounce. Their talent is not in question. The band gives the show muscle and shine. Flick Freeman on bass and Andreanna Massacci on drums are slick throughout. Musical director and composer Shanon D Whitelock helps build a sound world that can move from children’s television pastiche to cabaret confession, rock heat and musical theatre release. The closing song is the night’s emotional summit. Carson sings of being a “12-year-old school boy in a dress.” Liminal. Divergent. Here, always here. It is the show’s best thesis. Carson is asking us to stop obsessing over who we are long enough to ask why we are. Who made these categories? What limits have they placed on us? Which ones were never real? As a first performance, Handsome(ish) still has some settling to do. With so many moving parts, some transitions between songs, stories and video segments are not yet seamless. A few lyrics and narrative shifts feel like they are still finding their final groove. But that is the right kind of problem for a new cabaret work. The bones are strong, the voice is undeniable. The point of view is alive. At the end, the audience is invited to read their slips of paper. They contain stories of queer joy. After an hour of systems, shame, bodies, labels and survival, Carson leaves us with something small enough to hold. Everyone gets to take something home. But the bigger souvenir is the memory of Baylie Carson standing on stage, proudly and imperfectly themselves, refusing to be reduced to anyone else’s vocabulary. ***Baylie Carson is Handsome(ish)* runs to 12 June at the Space Theatre as part of the 2026 Adelaide Cabaret Festival.** Tickets are on sale now at the [website](https://cabaret.adelaidefestivalcentre.com.au/). Website: <https://www.adelaidefestivalcentre.com.au/whats-on/baylie-carson-is-handsome-ish> Socials: <https://www.instagram.com/adelaidecabaret/> and <https://www.instagram.com/baylie.carson/> [Read more of our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=adelaide+cabaret) Photo credits: Claudio Raschella (Hero image Yellowbelly) **Categories:** Adelaide, Circus, Musical Theatre --- ### [Review: MJ The Musical Has Perth On Its Feet](https://thescoop.au/review-mj-the-musical-has-perth-on-its-feet/) **Published:** June 12, 2026 **Author:** Nanci Nott **Content:** ★★★★★ ![The Scoop Dancers perform on a neon-lit stage as a male dancer in a hat leaps onto a large equipment case, surrounded by others.",](https://thescoop.au/wp-content/uploads/2026/06/MJ-The-Musical_credit_Daniel-Boud_859-copy-942x628.jpg "MJ The Musical Perth • The Scoop")Over seven million people have attended *MJ The Musical* since it opened on Broadway in 2022, and for good reason. This is not a tribute show with a token plot baked into it. This is an entrancing musical mirage that explores the complex psyche of a musical revolutionary. Functioning as a mixtape of Michael Jackson’s life experiences, this Tony Award-winning musical (Best Choreography, Best Actor in a Musical, Best Lighting Design of a Musical, and Best Sound Design of a Musical) is told with empathy, infused with humour, and finally playing in Perth! Set in 1992, the story takes place beforeallegations against the artist surfaced, sidestepping controversy by restricting the scope of the narrative. The story steers clear of these issues by keeping the focus on Jackson’s music and his bittersweet journey to stardom. The premise of the musical is simple. An MTV film crew is shadowing Michael Jackson (Ilario Grant) in the lead-up to his *Dangerous* world tour. Rachel (Sarah Morrison) hopes to uncover something explosive and is willing to do whatever it takes to get the job done. Jackson reluctantly tolerates Rachel and her cameraman, Alejandro (Yashith Fernando), but his focus is fixed firmly on his own goals. The first of which is to execute the most successful tour of all time. The second is to heal the world by donating all the tour’s profits to charity. With idealistic aims and high stakes, Jackson’s quest for perfection is all-encompassing. The forces that inspire, propel, and torment can be traced back to his childhood and are contextualised through chronological flashbacks. Throughout the show, Jackson’s past unfolds as a series of memories, drawing parallels between his past and present. Depicting a real-life figure as a glorified idol – whilst actively humanising their character – may seem like an impossible task, but this creative team strikes a balance between man and myth. Most audiences won’t have lived experience of global stardom, but many will understand the burdens of inner conflict, compulsive ambition, or childhood trauma. This is where the emotional resonance of *MJ The Musical* lives, informed by the empathic nuance of Lynn Nottage’s book. ![The Scoop Group of dancers performing on a stage, some kneeling or bending, arms raised, with a large grid-window backdrop behind them.](https://thescoop.au/wp-content/uploads/2026/06/MJ-The-Musical_credit_Daniel-Boud_875-copy-882x628.jpg "MJ The Musical Perth • The Scoop")You dont need to be a fan to appreciate the aesthetic excellence of this show Photo by Daniel BoudJackson is characterised as a well-meaning perfectionist who is haunted by the long-term repercussions of his past. He is compassionate but detached from reality. Attention is drawn to the fact that – without the luxury of normalcy – Jackson’s perspective is uniquely expansive. His ambitions seem delusional to those limited by normalcy (literally everyone aside from himself), creating both internal frustration and interpersonal conflict. You don’t need to be a fan of Michael Jackson’s music to appreciate the aesthetic excellence of this show. But if you are a fan, it will be the highlight of your year. Within the first minute, you’ll feel like Ilario Grant – who plays the titular role – is the King of Pop himself. Breaking out iconic moves with style and precision, Grant channels Jackson at his peak. His vocal flair and dramatic physicality enable him to convincingly embody his challenging character without missing a beat, figuratively or literally. Blaiyze Barksdale is delightful as Little Michael. Much like his non-fictional counterpart, Barksdale’s stage presence is evident even when surrounded by other talented performers. J. Daughtry plays both Jackson’s overbearing father and his tour manager, switching fluidly between the two with apparent ease. In addition to mirroring the overlapping nature of past and present within the narrative, this casting choice reinforces Jackson’s tendency to project past trauma onto present situations. A strong ensemble carries its fair share of weight, and whilst there are too many excellent performers to mention them all by name, there isn’t a weak link among them. A live band is on stage for most of the show, bringing Jackson’s hits (arranged by Jason Michael Webb) to life. Featuring more than 25 back-to-back bangers (including *Bad, Beat it, Black or White, Smooth Criminal*, and *Thriller*), there’s no shortage of fan-favourites here. The show’s treatment of *Thriller* masterfully encapsulates the twisted circus of Jackson’s world as it eats him alive. A tri-tiered backdrop materialises from the darkness. Haze interacts with perfectly timed projections. Otherworldly choreography and uncanny costumes convey the cumulative fracturing of Jackson’s psyche. ![The Scoop Diverse group of performers dancing on a neon-lit stage with a large pink 5 sign and colorful LED frames.](https://thescoop.au/wp-content/uploads/2026/06/MJ-The-Musical_Sydney-Lyric_credit_Daniel-Boud_564-Si-copy-1008x628.jpg "MJ The Musical Perth • The Scoop")The only obligation of the audience is to be entertained Photo by Daniel BoudDwarfed by his own shadow and haunted by his own mind, this scene hints at the monstrous isolation of a man who is constantly surrounded, but always alone. The audience isn’t obligated to deconstruct subtext to enjoy the show; their only obligation is to be entertained. However, there are enough underlying themes present within the narrative and visual design to satisfy analytically inclined theatre-goers. Stunning sets, evocative lighting, iconic costumes, killer choreography, and outstanding performances combine to create creatively integrated moments of aesthetic power, infused with emotion and driven by music. Derek McLane’s multifaceted set design transports the audience through time and across place, incorporating artfully implemented projections by Peter Nigrini. Seamless transitions augment the overall aesthetic impact, utilising light and sound to great effect. In a literal flash, an empty stage can become a neon-lit city street, an old-fashioned motel room, or a press conference capturing the darker side of fame. Natasha Katz’s lighting design heightens the impact of the music, facilitates mindblowing transitions, and adds intensified atmosphere to costumes, choreography, and scenery. Conscious nods to the double-edged burn of the spotlight (and other thematically-aligned creative choices) exemplify the multi-disciplinary awareness of Katz’s approach. The lighting shines brightest when it comes to conveying emotion, establishing era, and reinforcing the sense of spectacle inherent to every other element. Paul Tazewell’s costumes encapsulate specific eras within both Jackson’s career and the wider world, leveraging the weight of music history to recreate emblematic imagery. ![The Scoop MJ The Musical Ilario Grant Brisbane](https://thescoop.au/wp-content/uploads/2026/04/MJ-The-Musical_credit_Daniel-Boud_853-copy-941x628.jpg "MJ The Musical Ilario Grant Brisbane • The Scoop")The costumes conceptually concretise the characters and their context Photo by Daniel BoudWhen Jackson first appears in a white collared shirt, that fedora, and those shoes, the instant recognisability of his form induces sensations adjacent to cultural nostalgia, and it only builds from there. The costumes conceptually concretise the characters and their context, especially in conjunction with lighting, choreography, and an incredibly skilled cast. Christopher Wheeldon’s choreography draws from Jackson’s distinctive dance style, extending beyond the moonwalk to include an imaginative array of slides, shuffles, spins, kicks, and crotch grabs. Demanding strength, flexibility, and impeccable timing, every act of execution adds to the overall result. From intricate footwork to freeze frame tableaus, there is as much emphasis on visual totality as there is on the detail of each moving part. In one scene, Fred Astaire, Bob Fosse, and the Nicholas Brothers materialise onstage, revealing Jackson’s influences whilst exemplifying his unique translation of their movements. This seemingly lighthearted scene uses the language of dance to communicate an important truth. It reminds audiences that – despite being shaped by the legacy of his past – Jackson’s innate originality persists, leading him to innovate rather than replicate. This creative authenticity beats the heart of Jackson’s artistry. In the musical, Jackson’s creative vision is met with relentless resistance, especially in relation to his idealistic aims for the tour. In reality, the *Dangerous* World Tour was one of the most successful of its time, raising over one hundred million dollars for charity. Which begs the question: without dreamers, what kind of world would we live in? If you’re in Perth, you live in a world in which tickets might still be available, but probably not for long. On Wednesday night, a unanimous standing ovation broke out before the first bows were over, and the audience remained standing throughout the show’s final songs. Some clapped along with the music, others danced in the aisle, and most appeared to forget that they weren’t at an actual concert. The excitement was palpable, with audience enthrallment adding to an already charged atmosphere. Such is the power of a world-class production with a talented cast, brilliant choreography, and a hit-filled soundtrack *MJ The Musical* respectfully resurrects the King of Pop in an entertaining exploration of music *HIStory*. This story about the *Price of Fame* is a real *Thriller*; you just can’t *Beat It*. Apologies for the *Bad* puns – *I Can’t Help It.* And yes, all those songs feature in the show. ***MJ the Musical* is presented by Michael Cassel Group and runs to 19 July at Crown Theatre Perth. Great Eastern Hwy Burswood WA 6100.** Tickets: <https://mjthemusical.com.au/tickets/perth/> Website: <https://mjthemusical.com.au/> Socials: <https://www.instagram.com/mjthemusicalau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Daniel Boud **Categories:** Musical Theatre, Perth --- ### [Review: Ambition Goes Viral In New Macbeth](https://thescoop.au/review-ambition-goes-viral-in-new-macbeth/) **Published:** June 12, 2026 **Author:** Isabella Visser **Content:** ★★★★★ ![The Scoop Macbeth Shake & Stir Theatre Co QPAC](https://thescoop.au/wp-content/uploads/2026/06/SS_Macbeth26_-117-942x628.jpg "Macbeth Shake & Stir Theatre Co QPAC • The Scoop")A classic tale of excessive ambition and greed is reimagined in *Macbeth*, presented by Shake & Stir Theatre Co and Queensland Performing Arts Centre. For a limited time, the Playhouse is home to a thrilling battleground of humanity’s greatest flaws. In this production, Shakespeare’s classic text has been transported into a modern context. Gone are the old-fashioned Scottish battlefields; instead, Dunsinane Castle is the picture of contemporary glamour. It’s the same thrilling story of betrayal and fear, but the stakes have gotten far worse. Macbeth (Jeremiah Wray) and Lady Macbeth (Nelle Lee) meddle their way into a fame they cannot handle. Their every move is broadcast on the media. Their paranoid breakdowns are seen by everyone. Marking their 20-year anniversary as a theatre company, the incredibly talented cast and crew prove that a story written over 400 years ago is just as relevant today as it ever was. As an award-winning theatre company, Shake & Stir finds innovative ways to tell old, beloved stories and make them new again. Established in 2006 by three friends who love performing Shakespeare, the company beautifully ignites that passion in their audiences. They’re now well-known with their younger spectators for their entertaining in-school performances and bringing to life the books read in English class. ![The Scoop Macbeth Shake & Stir Theatre Co QPAC](https://thescoop.au/wp-content/uploads/2026/06/SS_Macbeth26_-136-942x628.jpg "Macbeth Shake & Stir Theatre Co QPAC • The Scoop")Director and Co Artistic Director Nick Skubij presents a play that provokes every sense and emotion Photo by By Brit CreativeThis electrifying adaptation of *Macbeth* is the first of Shakespeare’s works that Shake & Stir have brought to the mainstage. Its stimulating designs and raw performances cement their truly epic reputation. Director and Co-Artistic Director Nick Skubij, presents a play that provokes every sense and emotion. There’s no doubting the meticulous planning of each detail in this eerily beautiful masterpiece. The set design by Josh McIntosh is complex and constantly evolving. At times it takes up the entire stage, the pieces looming high above the actors, and elsewhere it’s minimal, but always tying in perfectly with the story. The immersive technology behind the many screens and close-up camera angles is ingenious in making the audience feel almost complicit in the Macbeths’ crimes. Video designers Jeremy Gordon and Nevin Howell create a powerful display across the stage’s varying screens. Every element is well-timed for the best effect. The lighting is absolutely stunning and puts every terrible deed in full view. A series of overhead lights drops from the stage’s ceiling in a blindingly vivid arrangement. They leap up and down, as well as intimately follow the actors in their soliloquies. Lighting Designer Jason Glenwright proves that stage lighting is an intricate art form that can hold its own. Every aspect of the stage’s design is flawless and only sharpens the play’s intensity. ![The Scoop Macbeth Shake & Stir Theatre Co QPAC](https://thescoop.au/wp-content/uploads/2026/06/SS_Macbeth26_-102-942x628.jpg "Macbeth Shake & Stir Theatre Co QPAC • The Scoop")Heavy is the head that wears the crown but this cast and crew bear it extraordinarily Photo by By Brit CreativeJeremiah Wray brilliantly captures Shakespeare’s monster in his portrayal of Macbeth. For the most part, he’s cold and stony like a determined zombie on a mission, with only his military and family responsibilities alighting any sort of spark in his character. Yet when he snaps, Wray gets into a frenzied manic state that is truly frightening to watch, but impossible to look away from. Shake & Stir’s Co-Artistic Director, Nelle Lee, perfectly executes the complicated emotional depth of Lady Macbeth. She balances her portrayal of a grieving mother and cunning usurper with an unexpectedly suave and caring disposition. The scene where Lee’s Lady Macbeth succumbs to her guilt in a sleepwalking daze is deeply unsettling and will surely shock audiences. The Weird Sisters, played by Will Carseldine, Jodie Le Vesconte and Rachel Nutchey, are bewitching for their magical synchronicity. The way that they speak their lines in unison while moving into strange and difficult physical positions is hypnotic. A spectacularly spellcasting trio that could’ve stepped straight out of the pages of the Bard’s writing. Heavy is the head that wears the crown, but this cast and crew bear it extraordinarily. Like a spectre, *Macbeth* is totally unbelievable and will haunt the minds of theatregoers for quite some time. A wicked treat and a nightmarish dream, this adaptation is well worth any possible troubles to come see. ***Macbeth* is presented by QPAC and Shake & Stir Theatre Co and runs to 21 June in the Playhouse, Queensland Performing Arts Centre.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/shakestirmacbeth26> Website: <https://www.qpac.com.au/whats-on/2026/shakestir-macbeth> Socials: <https://www.instagram.com/atqpac/> and <https://www.instagram.com/shakeandstir/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: By B’rit Creative **Categories:** Brisbane, Theatre --- ### [Review: Milked Gains Big Laughs From Small Town Despair](https://thescoop.au/review-milked-gains-big-laughs-from-small-town-despair/) **Published:** June 11, 2026 **Author:** Joseph Lyons **Content:** ★★★★☆ ![The Scoop Milked Dollhouse Collective Old Fitz Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/06/Milked_Selects_DollhouseCollective_RobertMiniter-7-944x628.jpg "Milked Dollhouse Collective Old Fitz Theatre Sydney • The Scoop")Having recently swapped England for Sydney myself, I found an unexpected taste of home in Dollhouse Collective’s production of Simon Longman’s *Milked*. On now at the Old Fitz Theatre, rural Herefordshire is brought to life in this powerful and darkly funny two-hander. Directed by Simon Porro, this dark comedy arrives in Sydney more than a decade after its 2015 UK premiere and two years after its Melbourne season. Time has done little to diminish its impact. Paul (Aaron Wilson) and Snowy (James Provis) are in their early twenties and already confronting the uncomfortable possibility that life has not unfolded as expected. Paul spends his days applying for jobs that never materialise, armed with a history degree that doesn’t impress anyone in recruitment. Snowy is less certain about what he wants, but equally aware that remaining in the same place forever may not be enough. ![The Scoop Milked Dollhouse Collective Old Fitz Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/06/Milked_Selects_DollhouseCollective_RobertMiniter-38-944x628.jpg "Milked Dollhouse Collective Old Fitz Theatre Sydney • The Scoop")The comedy lands cleanly while the quieter moments are given room to breathe Photo by Robert MiniterTheir friendship provides the emotional core of the play. Snowy invites Paul to slow down, go for walks and appreciate the rhythms of country life. Paul, meanwhile, is desperate to escape. The tension between staying and leaving simmers beneath almost every interaction. Then there is Sandy. An injured cow discovered in a nearby field sets the pair on a misguided mission of mercy that spirals into increasingly chaotic territory. Chainsaws, train tracks and terrible decision-making all feature prominently. Longman mines considerable humour from the absurdity of the situation, but never loses sight of the deeper sadness underpinning the story. Porro handles these tonal shifts with confidence. The comedy lands cleanly, while the quieter moments are given room to breathe. *Milked* asks its audience to move between laughter and discomfort, and this production trusts its script and performers enough to allow those transitions to happen naturally. ![The Scoop Milked Dollhouse Collective Old Fitz Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/06/Milked_Selects_DollhouseCollective_RobertMiniter-39-942x628.jpg "Milked Dollhouse Collective Old Fitz Theatre Sydney • The Scoop")Beneath the jokes sits a thoughtful examination of class geography and opportunity Photo by Robert MiniterWilson captures Paul’s mounting frustration with conviction, bringing a restless energy to the role that reflects a young man trapped by circumstance and increasingly exhausted by trying to change it. In the intimate setting of the Old Fitz, there are moments when a lighter touch might have allowed Paul’s quieter vulnerabilities to resonate even more strongly. Opposite him, Provis delivers a more understated portrayal and flourishes with the comedic elements of his role. Snowy’s warmth and humour are evident, but so too are his fears about being abandoned and left behind. Together, they create a believable friendship built on affection, dependence and shared uncertainty. Longman’s writing remains the production’s greatest strength. The dialogue is sharp and often very funny, yet beneath the jokes sits a thoughtful examination of class, geography and opportunity. *Milked* recognises that adulthood rarely arrives with clarity or confidence. Instead, it emerges through mistakes, compromises and difficult choices. While the story occasionally ventures into unexpected territory, its emotional core never wavers. Through the situation involving Sandy, Paul and Snowy are compelled to confront fears and uncertainties they would otherwise rather ignore. Running on dark humour and genuine compassion, *Milked* is an affecting exploration of friendship in a world that offers few guarantees. Funny, poignant and sharply observed, it confirms that Longman’s play has lost none of its relevance. This Sydney production ensures its message continues to resonate. ***Milked* is presented by Dollhouse Collective and runs to 19 June at the Old Fitz Theatre. 129 Dowling Street Woolloomooloo NSW 2011.** Tickets: <https://tickets.iwannaticket.com.au/event/late-night-milked-g1hdtf> Website: <https://www.oldfitztheatre.com.au/milked> Socials: <https://www.instagram.com/dollhouse.collective/> and <https://www.instagram.com/oldfitztheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Robert Miniter **Categories:** Sydney, Theatre --- ### [Review: Here & Queer, A Series Of Short Plays About Living Out Loud](https://thescoop.au/review-here-queer-a-series-of-short-plays-about-living-out-loud/) **Published:** June 11, 2026 **Author:** Leo Manson **Content:** ★★★☆☆ ![The Scoop Here & Queer Flight Path Theatre](https://thescoop.au/wp-content/uploads/2026/06/Here-Queer-4-942x628.jpg "Here & Queer Flight Path Theatre • The Scoop")Created by Jye Bryant, *Here & Queer* is a collection of six plays, running for a limited season at Flight Path Theatre, that jab at issues plaguing the queer community. The short plays were written by Bryant with the intent of reintroducing himself to writing, with workshops beginning in November 2025. Since then, the plays have had readings across the United States, the United Kingdom, and, of course, Australia. *Revoked*, *Straight out of the Closet*, and *Class Act* draw on the identity policing that goes on within the LGBT+ community. It’s a unique issue rife with comedic potential that Bryant harnesses well. *Class Act,* in particular, is a highlight. It draws its humour from the hypocritical ‘rich gays’ of Sydney. It’s such an original idea with much potential. It’d be delightful to see it expanded into its own show. ![The Scoop Two men stand and talk on a stage while a woman on a rainbow sofa covers her face with her hand, distressed-looking scene behind them onstage](https://thescoop.au/wp-content/uploads/2026/06/Here-Queer-2-942x628.jpg "Here & Queer Flight Path Theatre • The Scoop")Here and Queer features a collection of six original plays Photo by Glenn WatsonDamien Noyce’s comedic penchant for melodrama contrasts greatly with the more subdued performances of Tim Martin and Ben Palumbo. The entire cast does a delightful job of depicting a variety of archetypes of the queer community. Gail Waizer shines as the death doula in *Dead Wrong*. Her hippie crystal jargon feels fresh out of Byron Bay. The segment ends on a surprisingly poignant note, though it feels slightly tonally inconsistent given the silly nature of the other five plays. Placing *Dead Wrong* before the intermission was a clever decision. It leaves space for audience reflection, but allows the plays that follow to lighten the mood. Audio skits keep the audience entertained as the stage is reset. These are all incredibly witty and hilarious. Some of the best laughs cme from these segments. ![The Scoop Man in a sparkly black outfit gesturing with open hands on a stage, with two people standing behind him against a dark curtain.](https://thescoop.au/wp-content/uploads/2026/06/Here-Queer-3-942x628.jpg "Here & Queer Flight Path Theatre • The Scoop")Here and Queer is a wonderfully charming show with a lot of heart Photo by Glenn WatsonAfter the intermission is *The Third Toothbrush,* which captures yet another contemporary issue uncommon on stage. This segment uses wit to criticise couples who introduce a third and dehumanise them. It’s empathetic to all parties. The show is full of light comedic moments. *The Gay Agenda,* which is the final play, is another strong example. Martin as Agent 1 (or Gaygent 1) is silly; his voice gets funnier in every line. Waizer, as double agent Karen, also does an excellent job. Her costume supports this; if you saw her out and about, you’d think she could be a real Karen. The lighting by John Tweed and sound by Alex Trexona is simple and effective. So too is the stage design. The stage in the majority of the plays is just a couch, which adds to the homely, yet camp setting. *Here & Queer* is a wonderfully charming show with a lot of heart. Though it falters in some of its messaging, it’s well worth checking out this Pride Month. ***Here & Queer* runs to 13 June at Flight Path Theatre. 9b/142 Addison Rd, Marrickville NSW 2204.** Tickets are available [here](https://www.flightpaththeatre.org/whats-on/here-and-queer). Website: <https://www.flightpaththeatre.org/whats-on/here-and-queer> Socials: <https://www.instagram.com/flightpaththeatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Glenn Watson **Categories:** Sydney, Theatre --- ### [Hair Runs In The Family For Phoenix Jackson Mendoza](https://thescoop.au/hair-runs-in-the-family-for-phoenix-jackson-mendoza/) **Published:** June 3, 2026 **Author:** Sebastien Skubala **Content:** ![The Scoop HAIR Theatre Royal Sydney Phoenix Jackson Mendoza](https://thescoop.au/wp-content/uploads/2026/06/HAIR_Theatre-Royal-Sydney_credit-Daniel-Boud_101-Phoenix-Jackson-Mendoza-copy-941x628.jpg "HAIR Theatre Royal Sydney Phoenix Jackson Mendoza • The Scoop")First performed in Australia in 1969, ***Hair*** the tribal love-rock musical opens in Sydney this weekend after a successful Melbourne 2025 season. Stepping into the role of Tina is **Phoenix Jackson Mendoza**. The Scoop sat down with Phoenix ahead of opening night. Phoenix talks all things *Hair*, including the full circle significance of joining the cast, the rehearsal room vibes and what audiences can expect. Read the full interview below. For those who may not be familiar with the world of *Hair*, can you tell us a bit about the musical and how your character, Tina, fits into the story? *Hair* has been referred to as the original rock musical, but it’s so much more than that. It’s a story about a tribe of young people navigating identity, freedom, love, community and what it means to stand up for what they believe in during a time of enormous social change. Even though it’s set in the late 1960s, its themes unfortunately still feel incredibly relevant today. I play Tina, who is one of the Tribe members. What’s beautiful about *Hair* is that the Tribe almost functions as one collective heartbeat throughout the show. Everyone brings their own personality and perspective. But together they create this incredible sense of belonging and community. I also have the privilege of singing *Aquarius*, which I believe is arguably one of the most iconic songs in musical theatre history, with its ability to push through to the mainstream. The phrase “Age of Aquarius” became a symbol of hope, peace and a new way of thinking during the counterculture movement, and the writers brilliantly used that idea to open the show. It sets the tone for everything that follows. Every night, I get to help invite the audience into that world from the very first note, which is pretty special. ![The Scoop HAIR The Musical Theatre Royal Sydney](https://thescoop.au/wp-content/uploads/2026/06/HAIR_Theatre-Royal-Sydney_credit_Daniel-Boud_237-The-Company-of-Hair-copy-942x628.jpg "HAIR The Musical Theatre Royal Sydney • The Scoop")Phoenix with the 2026 cast of HAIR Photo by Daniel BoudHow did it feel getting the news that you had been cast? What was your first reaction? I found out while I was on holiday in Brussels, which is a pretty fantastic backdrop for receiving such great news! For so many reasons, I was absolutely thrilled, but also quite emotional because this show has a very personal connection for my family. My mum, Rebecca Jackson Mendoza, my uncle Aaron Mendoza, my auntie-in-law Karinda Mutabazi and my godfather Kurt Kansley all performed in the 2002 Australian production of *Hair*. I’d heard stories about the show for years and knew how much it meant to them, so there was something incredibly full circle about getting the chance to join the Tribe myself. It genuinely felt like a family legacy being passed on. What do you think audiences might be surprised to discover about the story, beyond those iconic songs? I think people are often surprised by how emotional it is. Most people know the songs before they know the story. *Aquarius*, *Good Morning Starshine*, and *Let the Sunshine In* have become part of popular culture. But beneath those joyful, celebratory moments is a story with enormous heart. The show explores friendship, identity, protest, love and the cost of standing by your beliefs. It asks some really big questions while still being funny, vibrant and full of life. I think audiences come expecting a great soundtrack and leave having been genuinely moved. ![The Scoop Hair the Musical Sydney Phoenix Jackson Mendoza](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-03-at-85655-pm-1200x587.png "Hair the Musical Sydney Phoenix Jackson Mendoza • The Scoop")What’s the vibe been like in the rehearsal room? Honestly, it’s been one of the warmest rehearsal rooms I’ve ever walked into. Because I’ve been based in London for the past year, I joined the process quite late and only had about a week in the rehearsal room before heading into tech, which could have been quite daunting. Instead, everyone has been unbelievably generous. From day one, people were checking in, asking if I needed anything, helping me catch up on material and making sure I felt included. That spirit of community feels very fitting for *Hair* because the show itself is all about connection and belonging. It’s been such a supportive environment. I’m incredibly grateful for that. This is a show that has touched multiple generations of performers and audiences. How does being part of that continuing legacy feel special to you? It feels incredibly special. My earliest memories of *Hair* were watching my family performing in it, so there’s something quite surreal about finding myself in the same musical years later. It’s rare to get to step into a show that already has such a personal history attached to it. Beyond my own family connection, *Hair* remains such an important piece of theatre because it encourages us to think about empathy, community, freedom and the courage to challenge the status quo. Those ideas are just as important today as they were when the show first premiered. To be part of a production that has resonated with audiences for decades and continues to find new meaning with each generation is a real privilege. ![The Scoop Hair the Musical Sydney Phoenix Jackson Mendoza](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-03-at-101039-pm-625x628.png "Hair the Musical Sydney Phoenix Jackson Mendoza • The Scoop")Phoenix Jackson Mendoza in SIX the MusicalYou’ve played some iconic roles on stage, *SIX* being one of them. Are there any roles or musicals on your bucket list? Absolutely. Playing Catherine of Aragon was already a huge bucket list tick! Another role that’s always on my list is Mimi in *Rent*. She’s such a beautifully complex character, and that score is one of my all-time favourites. At the same time, some of the projects that excite me most are actually new works. I love the idea of being involved in the creation of a musical from the very beginning and helping build a character from scratch. There’s something incredibly exciting about discovering a role alongside the writers and creative team and helping shape who that character becomes. As much as I love the iconic roles, the idea of originating a role and helping tell a brand-new story is something I’d love to do in the future. **Phoenix Jackson Mendoza appears in** ***HAIR:The Tribal Love-Rock Musical*. It is presented by the Australian Shakespeare Company and runs from 6 June 2026. Theatre Royal Sydney, 108 King St, Sydney NSW 2000**. Tickets are on sale [here](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/110/?tix-tr=HAIRWEB). Website: <https://www.hairthemusical.com.au/> Socials: <https://www.instagram.com/hairmusicalau/> and <https://www.instagram.com/phoenixjackson/> [Read more of our Feature Interviews](https://thescoop.au/feature-articles/) Hero image: Phoenix Jackson Mendoza with the 2026 cast of HAIR. Photo by Daniel Boud **Categories:** Features --- ### [Film Review: Another League 2026 Spanish & Latin American Film Festival](https://thescoop.au/film-review-another-league-2026-spanish-latin-american-film-festival/) **Published:** June 10, 2026 **Author:** Jo Stubbings **Content:** ★★★½ ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Another-League_2-942x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")There’s a scene in Marta Díaz de Lope Díaz’s *Another League* which would be hilarious were it not so cringeworthy. A class of teenage girls receives a visit from a well-coiffed speaker, looking a lot like Margaret Thatcher. She represents the bizarrely named “Women’s Section” of the Spanish government. “What’s the best way a woman can serve her country?” she asks her audience. “Being a wife and mother,” she replies (to silence). A documentary about a day in the life of the Perfect Woman of Europe 1970 – who cooks, cleans, shops, and cooks again, smiling radiantly – rams home the message. It’s the perfect opener to a story where overcoming sexism is the greatest hurdle. Beginning in 1970, this fact-based film traces the history of Spain’s first women’s soccer team, moving from the muddy paddocks of suburban Madrid to an actual arena in coastal Murcia. It’s no small thing. It’s their first international match – and the springboard for the enormously successful Spanish team today. Fans of *Ted Lasso* will appreciate that nothing comes easily in the world of team sports. However, the story of how sports promoter Javier Poga (Daniel Ibáñez), with a little help from his friends, formed, marketed and launched the women’s team, takes adversity to a whole new level. *Mamá María*, this is one hard slog. Through the backdrop of the final years of the fascist Franco regime, Díaz strives to convey how deeply conservative – and sexist – much of society was. Not just the older generation, but the young, not just men but women. In the first half of the film, almost every scene throws up examples of the gender divide in daily life. When girls from the team go to a sports store to ask for some footy boots, the salesman assumes they’re asking on their brothers’ behalf. Blokes in the bar discussing a men’s game are gobsmacked when a woman perfectly analyses the match. And so it goes on. ![The Scoop Another League Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/06/Another-League_1-2-942x628.jpg "Another League Spanish & Latin American Film Festival • The Scoop")Beginning in 1970 Another League traces the history of Spains first womens soccer teamIt’s a disturbing indictment, but there’s a danger here of flogging the sexism theme. Okay, we’ve got the picture. It’s a man’s world. More impactful are government attitudes. When Poga approaches Mr Medina (José Troncoso), the head of the football federation, to grant the women’s team professional status, Medina’s attitude is laughably arcane. Try and keep women’s soccer as “just a bit of fun”, he advises. “No papers, no contracts, no official matches, dammit.” The head of the “Women’s Section” is horrified about girls playing soccer for different seasons. It’s been proven, she advises, that playing soccer can stop women from having babies. Truly eye-opening are the mixed reactions of the mainly male spectators to the game. Sexist taunts from the crowd – “Look at the goalie’s arse!” – serve only to fire up the players whose prowess is highlighted by flashy moves where legs or heads dominate the frame. At the end of one match, one player’s father sends her home in disgrace; another asks the coach how he can sign up his daughter. Change is afoot. Personalising sports stories is *de rigueur* to truly involve the audience, and the focus is on Nati (Sofía de Iznájar), the girl who lives with a struggling single mum, dead against these soccer shenanigans. Nati likes nothing better than kicking a ball around with the boys in her street. She also happens to be a star in the making. It’s going to be a rags-to-riches story that will satisfy but not dominate proceedings. This is a busy film. There’s a lot of information to cover, and that includes presenting team dynamics, played convincingly by this ensemble cast – the petty jealousies, the bullying, the singsongs, the joy and the overwhelming determination. ![The Scoop Another League 2026 HSBC Spanish and Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/06/Another-League_1.jpg "Another League 2026 HSBC Spanish and Latin American Film Festival • The Scoop")This is a punchy feel good movie that rarely misses a beatDíaz even squeezes in a lesbian romance, though this doesn’t quite ring true. Is she ticking off all the issues of a single-sex team, or did this really happen? Either way, it comes across as slightly tokenistic. What *is* entertaining are the gentle comedic turns. Javier Poga and his assistant really are *Ted Lasso* types, initially bumbling, unprepared and out of their depth. When Poga realises he’s failed to think through kits for the players or even where they should change, the girls take over the practicalities. Daniel Ibáñez sustains the role of Poga beautifully with his comedic facial expressions and controlled timing. The pace of the film is constant, with a good mix of swiftly moving scenes. The gaudy pink hair salon with its old-fashioned dryers – and clients – serves as a neat contrast to the muddy fields and streets that dominate the setting. As a space for gossip and outrageous ideas, Díaz can swing toward the absurd here and give us a laugh amid the drama. As obstacles mount in putting together Spain’s first international women’s team – venues cancel at the last minute, players quit and return, managers fight, authorities change their minds – we know that it’s all going to work out fine. A glimpse of the Spanish women’s team today, at the beginning of the film, is a proud reminder. The final scenes of the film are treated in an original way – not every sports movie is based on scores – and signal just how far women’s soccer has come in its first fifty years. *Another League* is a punchy, feel-good movie that rarely misses a beat. In the words of famous soccer commentator, Andrés Cantor, I’d say, “Goooooalll!” ***Another League* screens at the 2026 HSBC Spanish & Latin American Film Festival, taking place nationally from 10 June to 12 July (dates vary) in Melbourne, Ballarat, Adelaide, Perth, Canberra, Brisbane, Sydney, Byron Bay and Ballina.** Tickets are now on sale at the website. Downloadable program is [here](https://storage.googleapis.com/production-cms-storage-bucket/SFF26_Programme_DL_Web.pdf). Website: <https://spanishfilmfestival.com/> Socials: <https://www.instagram.com/spanishfilmfest/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer for *Another League* here: **Film details:** Title: Another League Director: Marta Díaz de Lope Díaz Cast: Jordi Sánchez, Elena Irureta, Daniel Ibañez, Aixa Villagrán, José Troncoso, Carmen Ruiz Country of Origin: Spain Duration: 106 mins Rating: CTC Listing details: **Canberra 10 June – 5 July:** Palace Electric Cinema **Adelaide 10 June – 5 July:** Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas **Brisbane 11 June – 5 July:** Palace James Street and Palace Barracks **Perth 11 June – 1 July:** Palace Raine Square, Luna Leederville and Luna on SX **Melbourne 12 June – 5 July:** The Astor Theatre, Palace Cinema Como, Palace Brighton Bay, Palace Church St, Palace Penny Lane, Palace Westgarth, The Kino, Palace Balwyn and Pentridge Cinema **Ballarat 12 June – 5 July:** Palace Regent Cinema **Sydney 18 June – 12 July:** Palace Norton Street, Palace Moore Park and Palace Central **Byron Bay/Ballina 18 June – 12 July:** Palace Byron Bay, Ballina Fair Cinemas **Categories:** Film --- ### [Queensland Ballet To Premiere Bold New Take On Hamlet](https://thescoop.au/queensland-ballet-to-premiere-bold-new-take-on-hamlet/) **Published:** June 10, 2026 **Author:** Newsroom **Content:** ![The Scoop Group of dancers on a dark stage performing a synchronized lift, with a lead dancer in a maroon dress at center.](https://thescoop.au/wp-content/uploads/2026/06/Hamlet-by-Leo-Mujic-scaled-e1781055423203-976x628.jpg "Hamlet Leo Mujic Queensland Ballet • The Scoop")**Queensland Ballet** is excited to present the Australian premiere of ***Hamlet***, a bold and contemporary reimagining of Shakespeare’s epic drama by choreographer, **Leo Mujić** of the Croation National Theatre. Featuring music by Pyotr Ilyich Tchaikovsky and Camille Saint-Saëns, the two-act masterpiece will be performed at the Thomas Dixon Centre, **19 June – 18 July 2026**. Through the haunting sounds of Saint-Saëns and Tchaikovsky, Mujic harnesses the language of movement to convey both the external drama and Hamlet’s turbulent inner thoughts. With costumes by Manuela Paladin Šabanović and electrifying staging by Stefano Katuna, *Hamlet* is an evocative reimagining of Shakespeare’s dark and sweeping tale. *Hamlet* tells the story of the young prince returning home to Denmark after completing his studies to find his father, the king, has died and his uncle has taken the throne and married his mother. Fighting to regain his rightful place as King, Hamlet must grapple with demons both internal and external. The Artistic Director **Ivan Gil-Ortega** said this production of *Hamlet*, will offer audiences a gripping new perspective of Shakespeare’s masterpiece: *“Though Shakespeare can be hard to follow, dance makes the story immediate and visceral. The virtuosic dance-drama propels the audience into a world of betrayal and trickery, one where ghosts and humans collide.* *“I have known Leo Mujić for many years and watched him become a master storyteller. His cinematic style captivates audiences and draws them into the drama creating a deep and immersive experience.”* ![The Scoop Hamlet Leo Mujic Queensland Ballet](https://thescoop.au/wp-content/uploads/2026/06/Hamlet-by-Leo-MujicArtists-of-Croatian-National-Ballet-Zagreb-Photo-DarjaStravsTisu_7812-1-942x628.jpg "Hamlet Leo Mujic Queensland Ballet • The Scoop")Hamlet by Leo Mujic Artists of Croatian National Ballet Zagreb Photo Darja StravsTisuChoreographer **Leo Mujić** said Shakespeare’s *Hamlet* describes a time of political upheaval, uncertainty about the future and untrustworthy leadership: *“Though it was written over 400 years ago, this story could not be more topical. As Hamlet says, ‘Time is out of joint’, and in the world right now, we could all agree that we are, in many ways, out of joint and at war with ourselves.* *Hamlet has become a symbol of humanity and all the qualities that characterise us – love, doubt, despair, humour, courage and the fight for truth. In the choreographic process, I am most interested in transforming the spoken word into gestures, choreographed sequences, emotional duets and dynamic group scenes. This allows me to bring a new depth and empathy to the characters.* *Through my choreography, I aim to capture both Hamlet’s psychological states – his sense of betrayal, his grief and quest for revenge, and Ophelia’s lack of power and agency. The steps become a reflection of their inner turmoil, revealing what words cannot express.”* Gil-Ortega added that Shakespeare’s works lend themselves beautifully to new interpretations, and this ballet will be an unforgettable experience in their home at the Thomas Dixon Centre. ![The Scoop Hamlet Leo Mujic Queensland Ballet](https://thescoop.au/wp-content/uploads/2026/06/Costume-Designer-Sketches-1-Manuela-Paladin-Sabanovic_Page_16_Image_0001-444x628.jpg "Hamlet Leo Mujic Queensland Ballet • The Scoop")Costume Designer Sketches by Manuela Paladin ŠabanovićHamlet Fast Facts: Since the 18th century, choreographers have been creating ballets based on Shakespeare. There have been over 19 productions of *Hamlet* alone, including Australian dancer and choreographer, Robert Helpmann’s 1942 production for Sadlers Wells Ballet, Jonathon Taylor’s 1992 production for Australian Dance Theatre and Barry Moreland’s 1993 production for West Australian Ballet. *Hamlet* is arguably the most understandable of Shakespeare’s works, and his longest. Shakespeare’s most famous play has been adapted for the screen more than fifty times, in many languages. Only Dracula and Sherlock Holmes have appeared in more movies than Hamlet. Disney’s animated feature, *The Lion King*, is based on *Hamlet*. The traditional Shakespearean play features some of the most quotable lines of Shakespeare and ends with one of the most epic finales in the history of the stage and written word, everyone in the Danish Royal Household is dead. One of the subplots of *Hamlet* is the ongoing dispute between Denmark and Norway since King Hamlet killed the Norwegian monarch, King Fortinbras. At the end of the play, Denmark is now in the hands of a foreign invader, Norway. ***Hamlet* is presented by Queensland Ballet and runs from 19 June – 18 July at the Thomas Dixon Centre. 406 Montague Road West End Qld 4101.** Tickets are available [here](https://purchase.queenslandballet.com.au/overview/3411?_gl=1%2A9maefn%2A_gcl_au%2ANTYzNTU5MDYyLjE3Nzc2MTUzMTQ.%2A_ga%2AMTIwMzc4MTAxMy4xNzc3NjE1MzE0%2A_ga_LT0V5545Y5%2AczE3ODEwNTQyOTckbzgkZzEkdDE3ODEwNTQzMTAkajQ3JGwwJGg1MTEzNjQ4MDk.). Website: <https://www.queenslandballet.com.au/performances/2026/hamlet> Socials: <https://www.instagram.com/qldballet/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: *Hamlet* by Leo Mujic. Photo by Novkovic. **Categories:** News --- ### [Announcing Cast For Uncle Vanya By Melbourne Theatre Company](https://thescoop.au/announcing-cast-for-uncle-vanya-by-melbourne-theatre-company/) **Published:** June 9, 2026 **Author:** Newsroom **Content:** ![The Scoop Uncle Vanya Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-09-at-23427-pm-907x628.png "Uncle Vanya Melbourne Theatre Company • The Scoop")Melbourne Theatre Company has announced an all-star cast of stage and screen performers for the centrepiece production of its 2026 season, ***Uncle Vanya***, directed by **Anne-Louise Sarks**. Previously announced cast members **Daniel Henshall** (*Snowtown, The Babadook, How to Make Gravy*) and **Catherine Văn-Davies** (*Hungry Ghosts, The Twelve*) will be joined by **Fayssal Bazzi** (*Stateless, Mr Inbetween, Much Ado About Nothing*), **Carolyn Bock** (*POTUS, Dalliance*), **Don Bridges** (*Nautilus, The Twelve, Judy & Punch*), **Evelyn Krape** (*Bloom, Yentl*), **Philippa Northeast** (*The Newsreader, Home and Away, My Brilliant Career*) and **Shaun Micallef** (*Mad as Hell, Talkin’ ’Bout Your Generation*). **Daniel Henshall** is returning to the stage for the first time since 2013, with **Shaun Micallef** also making a theatrical return after his last stage appearance in 2016. **Joanna Murray-Smith’s** adaptation of Chekhov’s timeless masterpiece will take over Arts Centre Melbourne’s Playhouse from **21 July – 22 August**. Realised on an ambitious scale for its Melbourne premiere, the production features a lush, richly detailed set and costume design by **Dann Barber** (*Bloom, Yentl, RENT*). Melbourne Theatre Company Artistic Director & CEO **Anne-Louise Sarks** said: *“Bringing together a cast of this calibre is special*. *This extraordinary ensemble will bring the wit, the wrestle and the heartbreak that makes Anton Chekhov’s world so enduring. I’m drawn to classic works that can speak to the present moment, and Uncle Vanya does exactly that.* *Beneath its humour, it asks urgent questions about our relationship with the environment, the tensions within families and across* *generations, and what happens when we wake up one day and realise we’re completely stuck.* *More than a century after it was written, those questions remain as resonant as ever, and I’m so ready to bring this major new production to Melbourne audiences.”* ![The Scoop Uncle Vanya Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/06/Uncle-Vanya-471x628.jpg "Uncle Vanya Melbourne Theatre Company • The Scoop")Fresh from her 2025 adaptation of *The Talented Mr Ripley,* **Joanna Murray-Smith** (*Julia, Switzerland*)brings sharp psychological insight to Chekhov’s 1897 classic. Her adaptation keeps “the spirit of Chekhov gloriously intact” (*Sydney Morning Herald*) while unlocking the play’s darkly comic meditation on wasted lives and the courage it takes to keep going. Playwright **Joanna Murray-Smith** said: *“Chekhov is the saddest and the funniest of writers – each in perfect balance and together the most realistic response to life itself. I’m thrilled to be bringing my adaptation of Uncle Vanya to the company that has steered my career and the audiences who have supported me play after play. I hope it is as volatile, exhilarating and forensic about the human experience as it was in Chekhov’s day*.*“* The creative team of *Uncle Vanya* includes **Anne-Louise Sarks** (Director), **Dann Barber** (Set & Costume Designer), **Paul Jackson** (Lighting Designer), **Grace Ferguson** and **Joe Paradise Lui** (Co-Composers & Sound Designers), **Amy Hume** (Voice & Text Coach), **Liv Satchell** (Associate Director), **Silvia Shao** (Associate Set & Costume Designer) and **John Augustine Sharp** (Associate Composer & Sound Designer). The cast will take on the following roles: **Fayssal Bazzi** (Astrov), **Carolyn Bock** (Maryia), **Don Bridges** (Telyeghin), **Daniel Henshall** (Uncle Vanya), **Evelyn Krape** (Nanny), **Philippa Northeast** (Sonya), **Shaun Micallef** (Serebryakov) and **Catherine Văn-Davies** (Yelena). ***Uncle Vanya* is presented by Melbourne Theatre Company and runs from 21 July – 22 August at the Playhouse, Arts Centre Melbourne.** Tickets: <https://tickets.mtc.com.au/production/19786> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/uncle-vanya> Socials: <https://www.instagram.com/melbtheatreco/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Jo Duck **Categories:** News --- ### [Film Review: La Salsa Vive 2026 Spanish & Latin American Film Festival](https://thescoop.au/film-review-la-salsa-vive-2026-spanish-latin-american-film-festival/) **Published:** June 8, 2026 **Author:** Charmaine Idris **Content:** ★★★★½ ![The Scoop La Salsa Vive Spanish Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/06/La-Salsa-Vive_2-940x628.png "La Salsa Vive Spanish Latin American Film Festival • The Scoop")Directed by Juan Carvajal, *La Salsa Vive* is a pulsating and insightful documentary that tells the story of two cities that share a common bond – the rhythm of salsa – from its roots in New York City to its current location in Cali, Colombia. Through more than five decades of stories, anecdotes, interviews and profound transformations, *La Salsa Vive* portrays how this music and dance genre, despite declining in its city of origin, has found a new life in Cali, where it continues to vibrate in dance schools, nightclubs, orchestras and popular neighbourhoods. Loosely translated, *La Salsa Vive* means “Salsa Lives,” and the film proves that claim from its opening moments. This vibrant genre in music and dance had its origins in Spanish Harlem, New York City, during the 1970s. Through a series of insightful interviews and real footage, the film introduces viewers to the lively street parties and packed nightclubs in New York City where renowned salsa maestros and their orchestras performed. Singers Rubén Blades and Henry Fiol, percussionists Samuel Formell and Johnny “Dandy” Rodríguez, and orchestra conductor Willie Rosario, pioneers of salsa music, reminisce fondly about their humble beginnings in New York City and how the popularity of salsa grew from a deep cultural connection shared by the local Latino population. ![The Scoop La Salsa Vive Spanish and Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-08-at-103744-pm-1101x628.png "La Salsa Vive Spanish and Latin American Film Festival • The Scoop")Vinyl records were the alternate option to live musicBold fashion statements were the norm while vinyl records were the alternative option to live music. These records were often played at a faster speed (45rpm or more) to encourage dancers to accelerate their rhythm while simultaneously accelerating their intricate footwork. This innovative approach resulted in unique choreography and the emergence of a new dance style, the Boogaloo. Carvajal effectively contrasts the vibrant energy of 1970s New York with the emergence of salsa culture in Cali. Archival footage from New York’s golden era is skilfully juxtaposed with grainy black-and-white images of Cali as the genre began taking root there. Percussionist and musical director of *Los Van Van*, Samuel Formell, recounts his experience visiting Cali in the 1980s and the strong support salsa received from the locals. In spite of the gang violence of the 1980s and 1990s, Cali soon became recognised for its steady influx of renowned maestros and orchestras and eventually emerged as the new epicentre for salsa. An interview with Carlos Molina, photographer and director of the *Salsa Museum* in Cali, revealed that the people believe that music isn’t just fun, it’s more like food for the spirit. Molina attributes this spirit to salsa’s popularity in Cali. At the peak of the drug trafficking years in Colombia, coupled with the slowdown of the economy, salsa in Cali started to suffer and decline. ![The Scoop Smiling couple dancing close together at a crowded party; man wears a newspaper-print shirt and cap, colorful lights in the background.](https://thescoop.au/wp-content/uploads/2026/06/La-Salsa-Vive_1-915x628.jpg "La Salsa Vive Spanish and Latin American Film Festival • The Scoop")La Salsa Vive pulsates with boundless energy irrepressible joy and undeniable passionDespite that unsettling period, music continued to flourish with the emergence of Jairo Varela’s *Grupo Niche* and all-female orchestra *D’Cache* founded by Francia Elena Barrera (director and singer). Dance schools, nightclubs, salsa festivals, and even the Melomanitos Collective, targeted at educating the youth about salsa, have all survived and continue to thrive in Cali. Salsa now takes pride of place, where street parties are dedicated to its irrepressible rhythm and groove, and age is not a limit to dancing the night away. Vinyl records have re-emerged, resulting in a deeper connection of music between the younger generation and the founding members of salsa. New York City also now boasts an *Old Timers Festival*, dedicated to the salsa musicians and the deceased, fifty-five years on! *La Salsa Vive* pulsates with boundless energy, irrepressible joy and undeniable passion. Juan Carvajal has unequivocally captured the true essence of this exuberant genre that continues to put community front and centre of its creation. The result is an immortal ode to dance and music in all its authenticity and rawness. **The 2026 HSBC Spanish & Latin American Film Festival takes place nationally from 10 June to 12 July (dates vary) in Melbourne, Ballarat, Adelaide, Perth, Canberra, Brisbane, Sydney, Byron Bay and Ballina.** Tickets are now on sale at the website. Downloadable program is [here](https://storage.googleapis.com/production-cms-storage-bucket/SFF26_Programme_DL_Web.pdf). Website: <https://spanishfilmfestival.com/> Socials: <https://www.instagram.com/spanishfilmfest/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: La Salsa Vive Director: Juan Carvajal Cast: Rubén Blades, Jairo Varela, Larry Harlow, Henry Fiol, Willie Rosario Country of Origin: Colombia, USA Duration: 101 mins Rating: CTC Listing details: **Canberra 10 June – 5 July:** Palace Electric Cinema **Adelaide 10 June – 5 July:** Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas **Brisbane 11 June – 5 July:** Palace James Street and Palace Barracks **Perth 11 June – 1 July:** Palace Raine Square, Luna Leederville and Luna on SX **Melbourne 12 June – 5 July:** The Astor Theatre, Palace Cinema Como, Palace Brighton Bay, Palace Church St, Palace Penny Lane, Palace Westgarth, The Kino, Palace Balwyn and Pentridge Cinema **Ballarat 12 June – 5 July:** Palace Regent Cinema **Sydney 18 June – 12 July:** Palace Norton Street, Palace Moore Park and Palace Central **Byron Bay/Ballina 18 June – 12 July:** Palace Byron Bay, Ballina Fair Cinemas **Categories:** Film --- ### [The Future Is Vintage: Postmodern Jukebox Comes To Adelaide Cabaret Festival](https://thescoop.au/the-future-is-vintage-postmodern-jukebox-comes-to-adelaide-cabaret-festival/) **Published:** June 8, 2026 **Author:** James Murphy **Content:** ![The Scoop Postmodern Jukebox Adelaide Cabaret Festival Demi Remick](https://thescoop.au/wp-content/uploads/2026/06/0S5A2129-942x628.jpg "Postmodern Jukebox Adelaide Cabaret Festival Demi Remick • The Scoop")**Scott Bradlee’s Postmodern Jukebox** is on tour with their brand-new show, The Future is Vintage, taking them to cities across the world, including the Adelaide Cabaret Festival in a one-night-only performance. Joining the highly acclaimed troupe of singers, dancers and instrumentalists putting their signature time-twisting spin on retro hits is **Demi Remick**. A NYC-based tap dancer, choreographer, and burlesque artist, Demi has travelled the world as the tap soloist with Postmodern Jukebox. The Scoop sat down with Demi ahead of the Adelaide Cabaret Festival season to talk all things tap, retro and Postmodern Jukebox. Read the full interview below. You’ve toured with Postmodern Jukebox for nearly eight years as its tap dance soloist, performing in more than a thousand shows. What keeps the material alive for you night after night? This is actually my 9th year with the band, crazy right?! What’s really special about Postmodern Jukebox is Scott allows us to incorporate a lot of individual expression and creativity in the videos and onstage. We continue to collaborate on new tap dance medley arrangements, which helps keep the live show feeling fresh for the performers and the audiences. However, a fun fact about the Postmodern Jukebox tap dancers is we all tend to improvise a lot of our solos onstage. Meaning we make it up on the spot! I like to create a structure for my solos and improvise the rest so it’s challenging, exciting, and new for myself and the band every night. ![The Scoop Postmodern Jukebox Adelaide Cabaret Festival Demi Remick](https://thescoop.au/wp-content/uploads/2026/06/PMJ-BAND-PHOTO-2024-copy-1200x542.jpg "Postmodern Jukebox Adelaide Cabaret Festival Demi Remick • The Scoop")Demi Remick and the cast of Postmodern JukeboxPostmodern Jukebox is built on reimagining modern pop through vintage forms like swing and jazz. As a tap dancer, how do you find your place inside that musical time machine? In the heyday of jazz music, nearly every big band had a tap dancer! Tap dancers have been everywhere alongside jazz music. The Nicholas Brothers starred in Hollywood movie musicals, The Miller Brothers & Lois were vaudeville stars, and hoofers like Bunny Briggs tap danced alongside Duke Ellington and his Orchestra! Tap dance has always been a sibling right alongside jazz music. I feel so at home improvising with a jazz trio all the way to a big band. Tap dance arrangements help feature the tap dance so the audience has an easier time hearing all the details through musical breaks. Tap is both dance and percussion. When you’re performing with a band like Postmodern Jukebox, do you think of yourself more as a dancer or a musician? Tap dance is music and movement. Both are equally important. As a tap dancer, I am responsible to join the band as an instrument and entertain the audience with my personal style. My sound is in all of our musicians’ in-ears and I want to complement their playing even when I’m being featured in my solos! Postmodern Jukebox stages range in size from intimate to massive, so it is important to physically perform for the back row. I want my energy to be felt in the back of every auditorium. All tap dancers are different, but style and musicality are equally important to me in properly representing myself and the form of tap dance. ![The Scoop Postmodern Jukebox Adelaide Cabaret Festival Demi Remick](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-08-at-64949-pm-1200x559.png "Postmodern Jukebox Adelaide Cabaret Festival Demi Remick • The Scoop")You’ve performed everywhere from the Sydney Opera House and Royal Albert Hall to Radio City Music Hall. What does a great cabaret audience give back to you that changes the performance in the moment? Performing all around the world allows me to fine tune the ability to read an audience quickly. Sometimes an audience gives a lot of energy and sometimes an audience requires a little bit more of a welcoming stage presence to feel comfortable to contribute! It’s exciting to navigate different types of cultures and people and how they enjoy our show. Sometimes, after the first number in our show, we say backstage, “Wow! This is an amazing crowd tonight!” Which generally means, the audience is really focused, receptive, and loud!! The more energy the audience gives us the more we give back!! ![The Scoop Postmodern Jukebox Adelaide Cabaret Festival Demi Remick](https://thescoop.au/wp-content/uploads/2026/06/0S5A2163-419x628.jpg "Postmodern Jukebox Adelaide Cabaret Festival Demi Remick • The Scoop")Demi Remick on stage with Postmodern JukeboxYour work moves between tap, choreography, burlesque, jazz, nostalgia and old Hollywood glamour. How do you balance technical virtuosity with showgirl charisma and theatrical storytelling? At the core of being a tap dancer is the technique and history of those who came before us. Often audience members at our shows say this is the first time they’ve ever seen tap dance live before. If that is the case, I want them to see the best version of the form! I want them to see clean technique, historical references, my individual style, and an Olympic energy! Tap dance is naturally nostalgic but I like to give it my own modern twist. Postmodern Jukebox often makes contemporary songs feel as though they’ve been pulled from another era. Are there songs where the tap vocabulary immediately reveals something new about the music? A lot of the ragtime up-tempo Postmodern Jukebox songs are the best to tap dance to. Some of my favourites over the years include, *Thriller, Bad Romance, Call Me Maybe, Umbrella,* and *Material Girl.* Often in these up-tempo swinging tunes, my vocabulary is time step based! Time steps are the perfect way to tap dance alongside a singer without overtaking or distracting from the vocals. Then when the “tap breaks” happen, often called “stop time” I can really dive into 16th notes and 16th note triplet-based rhythms that are faster and showcase me a bit more. ![The Scoop Postmodern Jukebox Adelaide Cabaret Festival Demi Remick](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-08-at-71714-pm-470x628.png "Postmodern Jukebox Adelaide Cabaret Festival Demi Remick • The Scoop")Demi RemickAdelaide Cabaret Festival has a reputation for artists who can bring skill, wit, intimacy and surprise into the same room. What are you hoping Adelaide audiences feel when they see you perform? Our show is exactly that! Every performer, musician, and sound engineer is extremely talented in their own right. You also never know with Postmodern Jukebox which line up of performers you’ll get. Every Postmodern Jukebox show you go to will be different. I can tell how excited our audience gets when our host announces each performer. There are plenty of surprises in our production from new arrangements to new performers. The show is also filled with plenty of comedic easter eggs for Postmodern Jukebox fans and vintage lovers! **Demi Remick appears in** **Scott Bradlee’s Postmodern Jukebox on 21 June at the 2026 Adelaide Cabaret Festival as part of a major Australia and New Zealand tour.** Book tickets to the show [here](https://cabaret.adelaidefestivalcentre.com.au/whats-on/scott-bradlees-postmodern-jukebox#tickets). Website: <https://cabaret.adelaidefestivalcentre.com.au/whats-on/scott-bradlees-postmodern-jukebox> Socials: <https://www.instagram.com/adelaidecabaret/> and <https://www.instagram.com/pmjofficial/> Socials: [https://www.instagram.com/demi\_remi/](https://www.instagram.com/demi_remi/) [Read our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=adelaide+cabaret) Images supplied. **Categories:** Features --- ### [Announcing Brisbane Festival 2026 Program: Switch On, Light Up, Come Alive](https://thescoop.au/announcing-brisbane-festival-2026-program-switch-on-light-up-come-alive/) **Published:** June 9, 2026 **Author:** Newsroom **Content:** ![The Scoop Brisbane Festival - Festival Village South Bank](https://thescoop.au/wp-content/uploads/2026/06/Brisbane-Festival-Festival-Village-South-Bank-1-Credit-Sean-Dowling-and-Atmosphere-Photography-976x628.jpg "Brisbane Festival - Festival Village South Bank • The Scoop")**Brisbane Festival** has today unveiled its **2026 program**, the inaugural vision of **new Artistic Director Ebony Bott**, and a bold, expansive celebration of art, community, and the city itself. For decades now, Brisbane Festival has long been the civic heart of the city – essential to its cultural identity and intrinsic to its sense of place. Under the banner of *Switch On, Light Up, Come Alive*, Bott’s debut program does exactly what it promises, igniting Brisbane’s streets, rivers, and stages with work that brings the world to this city, and this city to the world, from **4 – 26 September 2026.** From the expansive **Festival** **Village, South Bank** to a dedicated early morning program that rises with one of the earliest waking cities on earth, this is a festival that moves to the rhythm of its people. Operating at first light to after dark, it is the only major arts festival in the country with a program that stretches across the full breadth of the day, from sunrise ceremonies and morning yoga to late-night performances and riverside drinks beneath the stars. Bott’s first program at the helm commissions ambitious new Australian work, hosts acclaimed international productions, many exclusive to Brisbane, and throws open its doors to audiences of all ages through expansive free and low-cost programming, reasserting Brisbane as one of the great cultural destinations in the Asia-Pacific. ![The Scoop Brisbane Festival 2026 Program](https://thescoop.au/wp-content/uploads/2026/06/Brisbane-Festival-ESCAPE-Credit-George-Simian-718x628.jpg "Brisbane Festival - ESCAPE - Credit George Simian • The Scoop")ESCAPE is by LA company DIAVOLO Photo by George SimianHighlights include the world premiere of **Suzie Miller**‘s *Strong is the New Pretty*, sharing the untold story of how the AFLW was born. **DIAVOLO**‘s visceral, adrenaline-fuelled *ESCAPE*; and **Luke Murphy**‘s critically acclaimed *Scorched Earth*, fresh from New York’s St. Ann’s Warehouse. They sit alongside a program that spans puppetry, circus, immersive theatre, live music, fireworks spectacle and so much more. The festival’s opening weekend announces itself in spectacular fashion with the return of *Riverfire by Australian Retirement Trust* on **Saturday 5 September.** One of Australia’s most breathtaking annual events, ***Riverfire by Australian Retirement Trust*** lights up the Brisbane night sky and unites the city with a shimmering fireworks display launched from bridges, barges and rooftops around town, preceded by a thrilling RAAF flyover. In introducing the 2026 program, **Brisbane Festival Artistic Director Ebony Bott,** said: *“This year, Brisbane Festival is tuned to the frequency of this city – from first light through to after dark. It is a Festival shaped by Brisbane’s energy, outdoor life and sense of momentum and possibility, bringing extraordinary artists from Queensland, across Australia and around the world into theatres, parks, riverbanks and the Festival Village, South Bank.”* ![The Scoop Strong is the New Pretty Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/06/QT_Strong-is-the-New-Pretty-HR-rgb-1047x628.jpeg "Strong is the New Pretty Brisbane Festival • The Scoop")The world premiere of Strong Is The New Pretty by Suzie Miller comes to Queensland Theatre Company this Festival**Minister for Education and the Arts, John-Paul Langbroek** said Brisbane Festival 2026 will spotlight Queensland’s vibrant arts and cultural scene for three weeks during September: *“Brisbane Festival 2026 will see the city come alive with an exciting program that showcases the extraordinary talent of Queensland artists alongside national and international creatives, with the program featuring 700 performances and over 2,000 artists and arts workers.* *With free and ticketed events across the city, including the much-anticipated return of the Magic Mirrors Spiegeltent, Brisbane Festival is a cultural highlight for locals and visitors alike.* *The Crisafulli Government is proud to support Brisbane Festival, which delivers on our 10-year strategy, Queensland’s Time to Shine, delivering transformational arts and cultural experiences that will shape our state’s creative legacy as we prepare for Brisbane 2032 and beyond.”* **Minister for the Environment and Tourism, Andrew Powell MP** said Brisbane Festival cemented Queensland’s status as Australia’s premier events destination and a national leader in world-class experiences: *“Brisbane Festival showcases the very best of our state while delivering more than $27 million into the economy, backing local businesses and proving Queensland leads the nation when it comes to major events.”* **Lord Mayor of Brisbane Adrian Schrinner** added: *“Brisbane Festival is back again, ready to light up our river and turn every corner of our city into a stage. From spectacular performances in iconic city spaces to hidden gems in neighbourhood venues, this year’s festival is packed with unforgettable experiences across Brisbane.* *Brisbane continues to attract world-class events and bold artistic talent from around the globe while proudly backing local performers, businesses and communities that continue to help shape our reputation as Australia’s lifestyle capital.”* *We’re proud to support Brisbane Festival and the incredible opportunities it creates for our local artists and local economy. So grab your friends, plan your calendar and dive head first into this year’s program. There’s truly something for everyone.”* ![The Scoop Brisbane Festival 2026 Choir of Man](https://thescoop.au/wp-content/uploads/2026/04/Choir-of-Man-Opening-0831-1-944x628.jpg "Brisbane Festival 2026 Choir of Man • The Scoop")The Choir of Man comes to the Magic Mirrors Spiegeltent at Festival Village South Bank**FESTIVAL VILLAGE, SOUTH BANK** At the centre of this year’s program, literally and figuratively, stands the **Festival** **Village, South Bank**: a sweeping riverside takeover of the South Bank Cultural Forecourt. A direct nod to the Athlete’s Village and a statement of intent as Brisbane surges toward 2032, it is the beating heart of Brisbane Festival 2026, pulsing with free and ticketed activity all festival long. The **Magic** **Mirrors** **Spiegeltent** makes its long-anticipated return as the jewel in the Village’s crown. Each evening it will be transformed into a working bar as the home of West End smash *The Choir of Man*, a raucous, roof-raising celebration of music and community that has taken audiences around the world by storm. Amongst many other live gigs and performances, the Spiegeltent will also host **The Listies**‘ anarchic family show *This Show is a Joke*, and a unique collision of country music and opera in *Are You Lonesome Tonight* with arias and songs by Puccini, Verdi, Slim Dusty, Troy Cassar-Daly and Dolly Parton. The outdoor **Village Green** buzzes across the festival’s three weeks, including an action-packed school holiday period, with Indigenous-led contemporary circus *Living Sculptures: How the Birds Got Their Colours*, dance workshops with the ABC’s ***Dance with Tom*** and **Queensland** **Ballet**, morning mantras with **Camerata**, sock puppet and circus workshops, weekday wellness sessions, a packed talks program and a rolling lineup of DJ sets and live music. A field of microphones, a community-curated song list, and a subtle sound system that weaves individual voices into something unexpectedly beautiful: *Giant Sing Along* is an interactive installation by Montreal-based studio **Daily tous les jours** that invites festival-goers of all ages to add their voice to a live mass choir. Simple in concept and quietly transcendent in execution, it is the kind of spontaneous, feel-good moment that Brisbane Festival does best. ![The Scoop Brisbane Festival 2026 Daybreaker](https://thescoop.au/wp-content/uploads/2026/06/Brisbane-Festival-DAYBREAKER-Credit-AJR-Photos-942x628.jpg "Brisbane Festival DAYBREAKER AJR Photos • The Scoop")DAYBREAKER is an invitation to dance and be present at daybreak Credit AJR PhotosGlobal alcohol-free morning dance and wellness phenomenon *DAYBREAKER* comes to the **Festival Village, South Bank** this September, combining high-energy DJ sets, yoga, movement, and unexpected moments of play for a community experience that starts the day fully alive. Coffee over cocktails, connection over convention: whether you arrive with your crew or step in solo, ***DAYBREAKER*** is an invitation to dance, sweat and be present at daybreak. As evening falls, the **Festival** **Village, South Bank** becomes the perfect vantage point for *Bright Nights by ANZ*, the festival’s nightly spectacular that transforms the Brisbane River into a choreographed canvas of floating fountains, waterscreens, lasers and water jets soaring up to 80 metres high, set to an original soundtrack by **The** **Veronicas**. Commencing each evening with a Welcome to Country and a placemaking story by Traditional Owner Yuggera and Turrbal man Shannon Ruska, it is a nightly celebration of Brisbane and its landmark river – free, and running three times nightly throughout the festival. **HIGHLIGHTS** At the Queensland Performing Arts Centre, *Strong is the New Pretty* arrives as one of the most anticipated world premieres of the festival. A co-production between Brisbane Festival, Sydney Theatre Company, and Trish Wadley Productions, the new work sees celebrated Australian playwright **Suzie** **Miller** – the force behind international phenomenon *Prima Facie* and sell-out smash *RBG: Of Many, One* – turn her extraordinary talents to the untold story of how the AFLW was born. From a 2010 report recommending a national women’s league to the seven grit-fuelled years it took to make it a reality, Miller brings to the stage the remarkable characters who took the league from a pipe dream to a sensation. ![The Scoop Brisbane Festival Bright Nights by ANZ Sean Dowling and Atmosphere Photography](https://thescoop.au/wp-content/uploads/2026/06/Brisbane-Festival-Bright-Nights-by-ANZ-Image-Credit-Sean-Dowling-and-Atmosphere-Photography-1047x628.jpeg "Brisbane Festival Bright Nights by ANZ Sean Dowling and Atmosphere Photography • The Scoop")Brisbane Festival Bright Nights by ANZ Photo by Sean Dowling and Atmosphere PhotographyVisceral, high-octane, and genuinely breathtaking, *ESCAPE* is the latest production from Los Angeles company **DIAVOLO \| Architecture in Motion**. Moving architectural structures become the stage for elite athletic performance across dance, acrobatics, stunt work and circus arts, all brought to life through a pounding soundtrack spanning pop, EDM and rock. This is contemporary performance at its most physically and emotionally spectacular. Fresh from a critically acclaimed US premiere at New York’s St. Ann’s Warehouse, *Scorched Earth* is the bold new work from **Luke** **Murphy**’s **Attic Projects**, creator of the multi-award-winning *Volcano*, a hit at Brisbane Festival 2024. Set in a stark interrogation room where the reopening of a twelve-year-old unsolved murder dredges up one of the darkest questions of the Irish psyche: what right do we have to the land beneath our feet, and what are we willing to do to keep it? New York puppetry company **Wakka** **Wakka** presents *Dead as Dodo*, a mesmerising musical odyssey set deep in the underworld, where two skeleton friends, a Dodo and a boy, are thrown into chaos when the Dodo miraculously sprouts feathers and begins to transform. Infused with puppetry, humour, music and stunning visual effects, it is a wildly inventive tale of survival, transformation, and the power of friendship – and if *The New York Times* calling Wakka Wakka “possible geniuses” is anything to go by, not to be missed. *No One Gets Out of Here Alive* from Gold Coast company **The Farm** transforms mortality into a visceral, darkly funny, and unexpectedly cathartic communal experience. Drawing on opera, ballet, dance, voice and music the work confronts not just the big D, but all the quiet everyday endings that shape a life. This is a work for all those who will die. It doesn’t need to be a funeral. ![The Scoop Brisbane Festival Fijian Flying Circus Photo courtesy of VOU](https://thescoop.au/wp-content/uploads/2026/06/Brisbane-Festival-Fijian-Flying-Circus-Courtesy-of-VOU-593x628.jpg "Brisbane Festival Fijian Flying Circus Photo courtesy of VOU • The Scoop")Making its Australian premiere under the big top at South Bank’s Piazza, *Fijian Flying Circus* is a dazzling, high-energy celebration of spirit, culture, and joy from internationally renowned Fijian dance tribe **VOU** (‘new’ in the iTaukei language). Follow curious young Loma and her hilarious sidekick Tui as they tumble into a mystical world of cheeky forest spirits, towering giants and elemental forces on a thrilling quest to reclaim her stolen enchanted shoe. Fusing unbelievable aerial acrobatics, gravity-defying stunts and laugh-out-loud storytelling, it is a magical, whole-of-family adventure packed with wonder, mischief and heart. Exclusively at Queensland’s Gallery of Modern Art, *Make, Believe, Magic: The Worlds of The Jim Henson Company* is an unmissable journey through the creative magic behind some of the most beloved characters in screen history, from Kermit the Frog and Miss Piggy to the fantastical worlds of *The Dark Crystal* and *Labyrinth*, and the irrepressible Fraggles of *Fraggle Rock*. ![The Scoop Five colorful furry puppets with wide eyes peering through a rocky opening, smiling at the camera in a cave-like setting.](https://thescoop.au/wp-content/uploads/2026/06/Brisbane-Festival-Make-Believe-Magic-Production-still-from-Fraggle-Rock-Back-to-the-Rock-2022present-Apple-All-Rights-Reserved-Image-courtesy-Apple-The-Jim-Henson-Company-1116x628.jpg "Brisbane Festival Make Believe Magic Still from Fraggle Rock Back to the Rock Image courtesy Apple The Jim Henson Company • The Scoop")Make Believe Magic will be exclusive to GOMA Image by Apple The Jim Henson Company**NEW ZEALAND CONNECTIONS** With the Brisbane-Gold Coast urban corridor home to the largest proportion of Pasifika peoples in Australia, Brisbane Festival has long held a deep and meaningful connection to Aotearoa. This year, the 2026 program honours that relationship with the staging of four uniquely New Zealand works. *Tiri: Te Araroa Woman Far Walking* is a sweeping new adaptation of Witi Ihimaera’s epic tale, directed by **Katie** **Wolfe**. Spanning 185 years of Aotearoa’s history and led by award-winning actors **Miriama** **McDowell** and **Nī** **Dekkers-Reihana**, it is a play for the whole whānau, a national treasure that celebrates wāhine Māori and continues to resonate across time and place. Acclaimed choreographer **Tupua** **Tigafua** brings his delightfully mischievous dance work *Shel We* to town. Having entranced audiences across New Zealand and Sweden, this playful homage to Shel Silverstein (best known for the children’s book *The Giving Tree* as well as the Johnny Cash classic *A Boy Named Sue*) is a deeply felt tribute to family and the ties that bind. ![The Scoop Brisbane Festival Betsy Balloon and the Very Great Terrible Flood. Photo by Rebecca McMillan](https://thescoop.au/wp-content/uploads/2026/06/Brisbane-Festival-Betsy-Balloon-and-the-Very-Great-Terrible-Flood-Image-Credit-Rebecca-McMillan-Photography-776x628.jpg "Brisbane Festival Betsy Balloon and the Very Great Terrible Flood. Photo by Rebecca McMillan • The Scoop")Betsy Balloon and the Very Great Terrible Flood Photo by Rebecca McMillan Based on a story by Bill Manhire, *Betsy Balloon and the Very Great Terrible Flood* is a rambunctious modern fable about a girl from a balloon-factory island whose world quite literally pops, sending her to a rain-soaked city that is slowly, inexorably sinking. Presented as a staged reading with original music and illustration, it is the kind of story that is as funny as it is quietly devastating. Rounding out the quartet is **Binge Culture**’s *Werewolf*, a gripping, darkly funny immersive immersive horror-comedy theatre show inspired by the classic game of social deduction. When a lycanthropy outbreak triggers a seven-day lockdown, a makeshift community must learn to trust each other, even as the atmosphere inside begins to turn. When night falls, who do you trust? **THEATRE & MUSIC** Taking theatre off stage and into the roller rink is *Mama Does Derby*, a boisterous, big-hearted story of a single mum and her teenage daughter starting over in a regional town where neither quite fits. Staged inside the Brisbane Powerhouse, this rollicking new work is told through theatre, live punk band and the sweaty, radical world of roller derby. From 2024 Scotsman First Fringe Award winner **Virginia** **Gay** (*Calamity Jane*) and director **Clare** **Watson**, it is an irresistible Aussie theatre about falling down and getting back up. Also at Brisbane Powerhouse, *Bleachers* is a visually striking new disability-led dance-theatre work by **Sprung** **Dance Theatre** – a collective of ten d/Deaf and disabled artists from Bundjalung Country – built around a custom bleacher set that becomes a living, shifting space where stories of loneliness, belonging and the human need to be part of something unfold. ![The Scoop La Boite Theatre 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/KOREABOO_landscape-1-1116x628.jpg "La Boite Theatre 2026 Season • The Scoop")Koreaboo sees Michelle Lim Davidson make her writing debut*Koreaboo* sees actor and performer **Michelle Lim Davidson** (*The Newsreader*) make her playwriting debut in a heartfelt, funny story drawn from her own life, following a Korean-Australian woman whose reunion with her birth mother in Seoul proves far more complicated than anticipated. *LEGENDS (of the Golden Arches)*, described by *The Guardian* as “a giddy, witty journey into a phantasmagoric hell,” plunges two best friends into the Chinese afterlife for a rip-roaring examination of friendship and cultural inheritance. Roma Street Parkland becomes the city’s ultimate seasonal stage as Night at the Parkland returns, bringing local and international artists together beneath the stars for a series of unforgettable outdoor concerts. This year’s line-up features soul legend **Aloe** **Blacc**, beloved ARIA Hall of Famers **Human** **Nature**, rock icons **Icehouse**, the **Temper** **Trap**, the **Cruel** **Sea** and **Magic** **Dirt** sharing a landmark double bill, Aussie darling **Missy** **Higgins**, electronic powerhouses **PNAU**, and the extraordinary **Katie** **Noonan** performing Jeff Buckley’s *Grace* in its entirety. *RocKwiz* comes to Brisbane with a tailor-made celebration of the city’s extraordinary musical legacy – from the Bee Gees and The Saints to Savage Garden, The Veronicas, The Grates and the striped sunlight sound of The Go-Betweens. Hosted by **Julia** **Zemiro** and **Brian** **Nankervis** with the Orkestra, special guests, and punter contestants from the crowd, it is a live mixtape of trivia, breakout musical interludes and some fun and friendly competition. ![The Scoop Night at the Parkland Brisbane Festival](https://thescoop.au/wp-content/uploads/2026/06/Night-at-the-Parkland-837x628.jpg "Night at the Parkland Brisbane Festival • The Scoop")Night at the Parkland returns to Roma Street Parkland **FOR AND BY THE COMMUNITY** *Brisbane Serenades* is back, presenting a vibrant series of free outdoor concerts in parks, gardens and neighbourhoods across the city. This year’s program takes in *Manly Serenades* at George Clayton Park and *St Lucia Serenades* at the University of Queensland, with each event a distinct reflection of the community that calls it home. And the *Moorooka Block Party* chalks up five years with a 5-star lineup of live music, dance, workshops, family friendly activities and performance at Peggs Park. The annual Quandamooka Festival returns as one of the highlights of the community calendar – a celebration of the living culture, art, and stories of the Quandamooka people of Minjerribah (North Stradbroke Island), and one of the most significant First Nations cultural gatherings in Queensland. The *Common People Dance Eisteddfod* – Brisbane’s most beloved dance battle of the ‘burbs – returns with seven southeast Queensland teams jazz-sliding, body-rolling, and high-kicking their way to glory. *Community Choir: The Musical*, now in its second season, is a heartwarming and hilarious tale performed almost entirely by locals; and the *Alexander Ball*, curated by the legendary **Ella** **Ganza**, reignites Brisbane’s Ballroom scene with a spectacular gathering of diverse walkers from across Australia and overseas. **Brisbane Festival runs 4 – 26 September 2026. Tickets to are on sale from 7am today.** See the full program, subscribe for updates and purchase tickets at the website. Website: <https://www.brisbanefestival.com.au/> Socials: <https://www.instagram.com/brisbanefestival/> [Read more about Brisbane Festival](https://thescoop.au/brisbane-festival-2026-first-look-the-choir-of-man-magic-mirrors-spiegeltent-returns/) Hero image: Brisbane Festival, Festival Village South Bank. Photo by Sean Dowling and Atmosphere Photography Brisbane Festival is an initiative of the Queensland Government and Brisbane City Council. The Queensland Government is proud to support Brisbane Festival through Arts Queensland and Tourism and Events Queensland. **Categories:** News --- ### [Review: Alfie Boe With Amy Manford 2026 Adelaide Cabaret Festival](https://thescoop.au/review-alfie-boe-with-amy-manford-2026-adelaide-cabaret-festival/) **Published:** June 8, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Alfie Boe and Amy Manford Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Alfie-Boe-Photo-by-Claudio-Raschella-3-942x628.jpg "Alfie Boe and Amy Manford Adelaide Cabaret Festival • The Scoop")The stage for Alfie Boe’s Adelaide Cabaret Festival concert is dressed like a loading dock after soundcheck. Music cases are piled high, the wings are exposed, and the crew drifts in and out of view. It is a deliberate stripping back of theatre’s usual mystique. Not quite backstage, not quite front-of-house, but somewhere in between. That is the point. Boe is not here as the tux-and-tails tenor, the West End monument, or the Jean Valjean whose *Bring Him Home* has become almost a sacred text for *Les Misérables* devotees. He wants to show the man behind the roles. He arrives in a pale blue baggy shirt, navy skinny pants and white undershirt, dressed like he has wandered in from a Sunday afternoon at the pub in Lancashire. Then he opens his mouth and reminds everyone this apparently casual bloke can fill a theatre like a cathedral. The early part of the show is built around family memory. Boe begins with the songs his father, a father of nine, would play during Sunday dinners, leaning into Italian classics including *Mambo Italiano* and *Volare*. He encourages the crowd to sing along, then immediately exposes the great truth of audience participation. Everyone knows the chorus, almost nobody knows the verses. Boe teases them for it, but never cruelly. His rapport is laddish, warm and cheeky. He is a performer comfortable enough with his own gift not to hide behind solemnity. That looseness becomes one of the night’s pleasures. He spotlights latecomers, steals phones from diehard fans in the front row who have travelled from China, takes photos of the band onstage, and hands a tambourine to an audience member as if the Festival Theatre has briefly become a family knees-up. The show’s design does not always sit naturally inside the Festival Theatre’s formality. This is a room where audiences have been trained to sit still, keep their phones away and clap at the correct moments. But Boe spends the night trying to deprogram them. As the show progresses, Boe leans further into the songs his father would apparently play after a few drinks: Lonnie Donegan skiffle, country standards, and *King of the Road*. It’s the sort of material that conjures a man dancing on furniture and serenading his wife. Boe keeps the house lights up for much of the show, urging the audience to drink, dance and loosen their shoulders. ![The Scoop Alfie Boe and Amy Manford Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Alfie-Boe-Amy-Manford-Photo-by-Claudio-Raschella-942x628.jpg "Alfie Boe and Amy Manford Adelaide Cabaret Festival • The Scoop")Alfie Boe with Amy Manford at their Adelaide Cabaret Festival concert last night Photo by Claudio RaschellaOf course, Boe cannot fully escape *Les Misérables*, nor should he. The audience is dotted with *Les Mis* shirts, and when he jokes that he will not be doing much musical theatre, one audience member heckles that she wants her money back. He gives them *Bring Him Home*, and the phones come out. The air tightens. For all the jokes and pub-session warmth, this is the moment that proves why Boe remains one of the great crossover voices. The lyric asks for tenderness; Boe gives it scale without crushing it. Special guest Amy Manford brings a different kind of theatrical polish. Her *I Dreamed A Dream* is beautifully sung, though it does not quite build to the blazing emotional finale the song demands. Manford’s long gold locks and evening gown frame her more as Christine from *Phantom of the Opera* than Fantine from *Les Misérables*, and that is where she truly lands. *All I Ask of You* is far more persuasive, drawing on the romantic sweep that made her such an apt fit for *Phantom*’s [40th anniversary staging on Sydney Harbour](https://thescoop.au/review-the-phantom-of-the-opera-lights-up-sydney-harbour/). Boe’s own musical theatre detours are playful rather than reverent. *You’ll Be Back* from *Hamilton* comes with a terrific anecdote about playing darts with Lin-Manuel Miranda backstage on Broadway. Picture Jean Valjean and Alexander Hamilton in costume, throwing darts and drinking coffee. Hamilton, Boe admits, won at darts, but Valjean builds better barricades. He also takes the chance to rib long-time collaborator Michael Ball, mocking Ball’s stage shimmy and flamboyance. The joke works because it contains affection, and because Boe knows the implicit punchline: Ball may have the moves, but Boe has the voice. Few performers can move this easily between Pavarotti, Queen, Broadway, country and pub sing-alongs without seeming like a cruise-ship sampler platter. Boe makes range feel like identity. That versatility becomes the show’s real argument. Musical theatre purists may have wanted a full night of standards. But anyone who has followed Boe’s recording career knows his tastes have always been broader than Valjean’s barricade. He gives the crowd *Bring Him Home*. Radiohead do not owe every audience *Creep*. ![The Scoop Alfie Boe and Amy Manford Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Alfie-Boe-Photo-by-Claudio-Raschella-4-942x628.jpg "Alfie Boe and Amy Manford Adelaide Cabaret Festival • The Scoop")Alfie Boe in concert is a one man Live Aid Photo by Claudio RaschellaInstead, Boe strums a guitar through country numbers and turns Snow Patrol’s *Run* into stadium rock. The guitar solo howls; some greyer-haired audience members visibly clutch their ears. Yet the lyric, *even if you cannot hear my voice,* lands almost comically in a Boe concert. Hearing Alfie Boe’s voice is never the problem. If anything, he is a one-man Live Aid: part opera house, part arena, part working men’s club. The closing stretch goes full spectacle. A disco ball spins. Queen arrives in medley form: *Radio Ga Ga*, *We Will Rock You*, *We Are the Champions*, and the theatre finally gives in. Elsewhere, tributes to Elvis and Frankie Valli honour the artists who played the same casino circuits Boe has travelled through, folding his own career into a lineage of big voices, big rooms and songs engineered to survive decades. The show includes one original track from his album *Face Myself*, but its deeper originality lies in its self-portrait. This is not a cabaret built around confession, trauma or collapse. Boe’s story, at least as told here, is simpler and perhaps rarer. A working-class boy made good. A singer whose talent moved him across class boundaries without sanding off where he came from. The message is unfashionably direct but still powerful: if you have the voice, you should get the chance, no matter where you were born. The production’s backstage conceit does not always perfectly match the Festival Theatre’s scale and etiquette, but that friction also gives the night its charm. Boe is trying to smuggle a stadium show, a pub session and a family photo album into a theatre. Somehow, by force of humour, warmth and ridiculous vocal horsepower, he pulls it off. ***Alfie Boe with Special Guest Amy Manford*** **ran for one night only at the Festival Theatre on 7 June as part of the 2026 Adelaide Cabaret Festival.** His multi-city Australian tour concludes in Brisbane on 9 June at [QPAC](https://www.qpac.com.au/whats-on/2026/alfie-boe). Tickets are on sale for all Cabaret Festival shows now at the [website](https://cabaret.adelaidefestivalcentre.com.au/whats-on/em-rusciano-addicted-to-love?dateId=06-06-2026&performanceId=EDUN2026766). Website: <https://cabaret.adelaidefestivalcentre.com.au/> Socials: <https://www.instagram.com/adelaidecabaret/> Read more of our Adelaide Cabaret Festival Reviews Photo credits: Claudio Raschella **Categories:** Adelaide, Circus, Musical Theatre --- ### [Review: Tootsie The Musical Is A Love Letter To Musical Theatre](https://thescoop.au/review-tootsie-the-musical-is-a-love-letter-to-musical-theatre/) **Published:** June 3, 2026 **Author:** Jackson Kellaway **Content:** ![The Scoop Tootsie the Musical Beenleigh Theatre Group](https://thescoop.au/wp-content/uploads/2026/06/TootsieBanner2-1200x585.jpg "Tootsie the Musical Beenleigh Theatre Group • The Scoop")There is something quite enjoyable about Beenleigh Theatre Group’s production of *Tootsie the Musical*. We went along knowing absolutely nothing about the show, which actually made it more fun. Taking the plot from the 1982 movie and injecting it with plenty of humour, *Tootsie the Musical* is a show that doesn’t take itself too seriously. The story follows Michael Dorsey, an actor who is struggling to find work (very relatable as a Brisbane-based performer!). Taking inspiration from his ex-girlfriend, he decides to audition as Dorothy Michaels, a woman from the South. What ensues is a wild ride of self-discovery, compassion, and lots of clever ridiculousness. The weight of this musical sits squarely on the shoulders of Adam Goodall, who plays Michael/Dorothy. Switching between the characters, he is clear and believable. Goodall’s vocal range fits the role, and his accent transitions are commendable. This, along with the costume changes, helps distinguish between the two personas. One small detail that could help define Dorothy even more visually is red lipstick, as seen in the promotional materials. This touch would create additional comedic opportunities during the frantic costume changes. Joining Goodall is a strong cast of supporting characters. A personal standout is Michael’s best friend, Jeff Slater, played by David McLaughlin. His dry wit lands consistently, and his comedic timing is excellent. ![The Scoop Tootsie the Musical Beenleigh Theatre Group](https://thescoop.au/wp-content/uploads/2026/06/BTG_Tootsie_184-942x628.jpeg "Tootsie the Musical Beenleigh Theatre Group • The Scoop")The musical is a wild ride of self discovery compassion and lots of clever ridiculousness Image suppliedThis cynical character serves as the voice of reason amidst the chaos, and every appearance brought laughs from the audience. It was a joy to watch his blatant Act Two opener, *Jeff Sums It Up,* where he recaps the colossal mess Michael has gotten himself into. As Sandy Lester, Amy Petty delivers one of the show’s standout musical moments with *What’s Gonna Happen*. Her performance is packed with energy and personality in what is a very wordy song. The character’s frustrations, anxieties and determination are all clear in this number, making it both entertaining and painfully relatable to anyone who has found themselves spiralling. Heloise Ruinard brings plenty of warmth and charisma to the production as Julie Nichols, particularly during *I’m Alive*. The number is fun and showcases the excitement of performers chasing their dreams. It then transitions into a dance rehearsal sequence that cleverly mirrors a Broadway-style workshop. I only wish dance terminology more commonly included moves such as *the fidget spinner*, *bunny ears* and *lap dance*. If you’ve seen the number, you’ll know exactly what I mean. ![The Scoop Tootsie Beenleigh Theatre Group](https://thescoop.au/wp-content/uploads/2026/06/BTG_Tootsie_327-419x628.jpeg "Tootsie Beenleigh Theatre Group • The Scoop")The weight of the musical sits on the shoulders of Adam Goodall who plays Michael DorothyPatrick Lockyer is committed to the insufferable character of Max Van Horn, delivering the chaotic energy the role demands. Wild, unpredictable and delightfully over-the-top, his performance had the audience questioning whether some moments were scripted or improvised. Either way, the result was plenty of genuine laugh-out-loud moments and we were never quite sure what the character was going to do next. Like any live theatre production in tech week, not everything went perfectly at the media preview performance. Technical issues and on-stage mishaps aside, it was an absolutely entertaining show. The audience laughed at the right moments. The performers looked like they were having fun. The energy on stage was infectious. With the opening weekend still ahead and larger audiences yet to come, I suspect the energy and laughter in the room will only continue to grow. Ultimately, these are the reasons community theatre exists. To entertain, to create, and to play. To bring people together for a few hours of shared laughter and enjoyment. And on that front, Beenleigh Theatre Group’s production of *Tootsie the Musical* delivered exactly what it set out to do. ***Tootsie the Musical* is presented by Beenleigh Theatre Group and runs from 5 – 20 June. Crete Street Theatre, Crete Street, Beenleigh QLD 4207.** Tickets: <https://www.trybooking.com/events/landing/1561203> Website: <https://beenleightheatregroup.com/productions/tootsie/> Socials: <https://www.instagram.com/beenleightheatre/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied. **Categories:** Brisbane, Musical Theatre --- ### [Review: Bangarra's Sheltering Is Held By Country, Carried By Dance](https://thescoop.au/review-bangarras-sheltering-is-held-by-country-carried-by-dance/) **Published:** June 7, 2026 **Author:** Jasmine Joyan **Content:** ![The Scoop Sheltering Bangarra Dance Theatre](https://thescoop.au/wp-content/uploads/2026/06/Sheltering_Keeping-Grounded_Bangarra_credit-Daniel-Boud_21-942x628.jpg "Sheltering Bangarra Dance Theatre • The Scoop")There is a line in our Acknowledgement of Country: to recognise Indigenous Elders past, present and emerging. This interweaving of time, with the lived, reciprocal relationship with Country it implies, finds a visual manifestation in Bangarra Dance Theatre’s *Sheltering*. The triple bill moves through identity, ancestral land and belonging with a force that is at once historical and urgently contemporary. *Keeping Grounded*, created in 2023 and here reimagined by choreographer Glory Tuohy-Daniell, opens with a country-dirt coloured netting that trembles with life. The cast emerges in one of the few moments of strict synchronisation by enacting a collective belonging that precedes the individual: rooted in Country before the performance began and bound to return to it long after. The performance’s message is strong, and the emotional weight lingers throughout; however, the work’s pacing occasionally stalls. The repetition in choreography and compositional pacing occasionally plateaus, dulling the emotional accumulation the work is otherwise capable of sustaining. ![The Scoop Sheltering Bangarra Dance Theatre](https://thescoop.au/wp-content/uploads/2026/06/Sheltering_Sheoak_Bangarra_credit-Daniel-Boud_43-942x628.jpg "Sheltering Bangarra Dance Theatre • The Scoop")Still from Sheoak by Frances Rings Photo by Daniel BoudCass Mortimer Eipper and Daniel Mateo’s short film and composition, *Brown Boys*, is grounded in great lyrical strength and eloquence. Daniel Mateo’s performance is impactful, but the purpose of the choice of a visual composition in a short film remains unclear. It was difficult to discern the purpose of this spoken-word performance or why it was done in the format of a film. Greater impact and flow between dance performances would have been enhanced if the audience had received a live performance of Mateo’s act as a more seamless bridge between *Keeping Grounded* and *Sheoak*. The final performance is David Page’s *Sheoak* under the artistic direction of Frances Rings. This performance is the strongest work of the evening. Where *Keeping Grounded* lagged at times, *Sheoak* moves with fluency. Each narrative and idea seamlessly moves into the next through the cast’s excellent choreographic confidence. ![The Scoop Sheltering Bangarra Dance Theatre](https://thescoop.au/wp-content/uploads/2026/06/Sheltering_Sheoak_Bangarra_credit-Daniel-Boud_58-942x628.jpg "Sheltering Bangarra Dance Theatre • The Scoop")Still from Sheoak by Frances Rings Photo by Daniel BoudPage’s composition does much of the connective work in a score that holds traditional and contemporary musical languages in genuine dialogue, pulling the audience further into the work’s emotional current without ever announcing the effort. A special mention must be given to Jacob Nash’s set design, which achieves that rarest of scenic effects: presence without imposition. Nash’s minimal elements ensure the design never competes with the choreography but instead works quietly in service of it. Each choice from the branches to the glowing blanket amplifies the emotional and narrative weight of the work rather than adorning it. *Sheltering* is an imperfect but moving evening. In *Sheoak*, it reaches something genuinely authentic: grief, resilience and belonging held in the same breath. Bangarra has always understood that to dance Country is to keep it alive, and that conviction never wavers. For lovers of dance, culture and legacy, this performance will leave you feeling the weight of what it means to belong to a place and to carry it with you. ***Sheltering* is presented by Bangarra Dance Theatre and runs to 13 June at the Joan Sutherland Theatre, Sydney Opera House before going on tour. Full dates below.** Tickets: <https://my.bangarra.com.au/events> Website: <https://www.bangarra.com.au/productions/sheltering/> Socials: <https://www.instagram.com/bangarradancetheatre/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Hero image: *Keeping Grounded*, photo by Daniel Boud Sydney Gadigal Country 4 – 14 June, Sydney Opera House Melbourne Wurundjeri Country 18 – 27 June, Arts Centre Melbourne Brisbane Meanjin 9 – 18 July, Queensland Performing Arts Centre **Categories:** Dance, Sydney --- ### [Review: WAAPA's Company Is The Real Thing](https://thescoop.au/review-waapas-company-is-the-real-thing/) **Published:** June 7, 2026 **Author:** Greta Rule **Content:** ![The Scoop Company WAAPA Music Theatre](https://thescoop.au/wp-content/uploads/2026/06/waapa-260604-company-829-WEB-ONLY-1116x628.jpg "Company WAAPA Music Theatre • The Scoop")Last night, WAAPA 3rd year Musical Theatre students opened their sold-out season of Stephen Sondheim’s award-winning musical *Company*, directed by visiting artist Sonya Suares. Studio Underground at Perth’s State Theatre came alive with 1970s charm, high energy and eccentricity. WAAPA students never fail to deliver work that feels fully professional. *Company*, which premiered in 1970, is an unconventional musical that features a series of non-linear, comedic vignettes. The story follows single Manhattanite Bobby, on the cusp of turning 35, who faces increasing pressure from his coupled friends to get married. Unsure of what, or who, he wants, Bobby observes the dynamics of the couples around him, reflecting on marriage, commitment and the meaning and purpose of company. WAAPA’s production, under Suares’ direction, teases out the musical’s nuanced and witty exploration of connection and loneliness. Suares’ production emphasises the ambiguity and paradoxes of relationships and marriage. Inspired by the prevalence of loneliness in contemporary, tech-driven society, her direction is intelligent and grounded. She identified why *Company* remains topical more than fifty years after its debut and elevates these themes with intention and wit. In her Director’s Note, Suares describes perceiving the show existing in a ‘psychological space’ rather than strictly 1970s New York, a concept well-reflected in her direction. Suares blends musical conventions to support the non-linear storytelling, granting the students the opportunity to showcase their range. ![The Scoop Company WAAPA Music Theatre](https://thescoop.au/wp-content/uploads/2026/06/waapa-260604-company-907-WEB-ONLY-1116x628.jpg "Company WAAPA Music Theatre • The Scoop")The couples are well cast with authentic and believable chemistry Photo by Stephen HeathThe set and costume design, directed by Beck Bogñalbal and designed and created by WAAPA’s Production and Design students, is both fitting and beautiful. The set evokes a 1970s New York penthouse, complete with neon lights, a sunken couch, a retro drinks cart and an abundance of swirling patterns. The costumes feature classic silhouettes of the era, including bootleg pants, bell sleeves, men in heeled boots, florals and bold colours and patterns. Paired with delicate lighting design, spotlights and cool hues, the scenography is immersive and well-developed. The band, positioned off to the side, seemed to be a highlight for many audience members. Directed by WAAPA’s Craig Dalton and performed by Music students, the musicians are precise and expressive. The choreography, directed by visiting artist Bernie Bernard, is diverse, playful and technically challenging. The cast confidently executes dance routines across a range of styles including Tap, Contemporary and Broadway Jazz. Particularly memorable is the comedic stage-combat sequence between Sarah (Jess Suares) and Harry (Oliver Miskovich), whose bold karate scene enticed laughs from the audience. The 3rd year Musical Theatre cohort deserves special praise for their talent and professionalism. The production features a range of American accents, dance styles and musical genres, and each cast member is poised, well-rehearsed and consistent in their delivery. ![The Scoop Company WAAPA Music Theatre](https://thescoop.au/wp-content/uploads/2026/06/waapa-260604-company-198-WEB-ONLY-1116x628.jpg "Company WAAPA Music Theatre • The Scoop")The cohort deserves special praise for their talent and professionalism Photo by Stephen HeathThe couples are well-cast, with authentic and believable chemistry. Cooper Williams, as Bobby, anchors the show with vulnerability. *Company* is a long musical, and Williams remains composed and emotionally present throughout. His performance of *Being Alive* is warm and heartfelt. Interestingly, this production felt like a showcase for the female characters, who seem to be given more depth and complexity. The students rose to the challenge. Abby Dickson, as Jenny, delivers a stand-out performance. Her vocal technique and control in the stylised choral sections of *Getting Married Today* is excellent, and her portrayal of stoned Jenny showcases terrific comedic timing. Kushinka Jayewardene (Amy) demonstrates remarkable vocal control in the notoriously difficult, fast-paced sections of the same number, never faltering. WAAPA continues to uphold an incredibly high standard. The cast and crew capture the essence of *Company* and bring it into 2026. It is no surprise that audiences continue to resonate with this musical, and last night’s crowd clearly did. The careful direction made it evident that the themes were well-understood and interpreted. There were moments where the musical’s 1970s origin were unmistakable as certain lines didn’t translate seamlessly into today. I’d be curious to see a fully modern adaptation; what aspects would change and what would remain. Congratulations to WAAPA’s Musical Theatre students for a sold-out season of *Company*. Your hard work has not gone unnoticed! ***Company* is presented by the WAAPA 3rd year Musical Theatre students and runs to 11 June at Studio Underground, State Theatre Centre of WA. 174 – 176 William Street Perth WA 6000.** Tickets: <https://boxoffice.waapa.ecu.edu.au/Events> Website: <https://www.artsculturetrust.wa.gov.au/venues/state-theatre-centre-of-wa/whats-on/company/> Socials: <https://www.instagram.com/waapa.ecu/> [Read more of our WAAPA Reviews](https://thescoop.au/?s=waapa) Photo credits: Stephen Heath Photography **Categories:** Musical Theatre, Perth --- ### [Review: What's The Buzz? 2026 Adelaide Cabaret Festival](https://thescoop.au/review-whats-the-buzz-2026-adelaide-cabaret-festival/) **Published:** June 7, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Whats The Buzz? Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Whats-The-Buzz_-photographer-credit-Claudio-Raschella-2-942x628.jpg "Whats The Buzz? Adelaide Cabaret Festival • The Scoop")Adelaide did not get the full arena-sized production of *Jesus Christ Superstar*. Instead, it got something rarer. *What’s The Buzz?* was billed as an access-all-areas concert and conversation with the Australian cast of *Jesus Christ Superstar*, stripping back the spectacle to share songs, road stories and backstage secrets for one night only at Festival Theatre. The line-up included Michael Paynter as Jesus, Mahalia Barnes as Mary, Javon King as Judas, Reuben Kaye as Herod, Graeme Isaako as Simon Zealotes, Elliot Baker as Caiaphas, John O’Hara as Annas and Peter Murphy as Pilate. What emerged was not a cabaret spin-off but a communion. The cast sat in chairs or around a Last Supper-style table adorned with real fruit, wine and candles. There was no giant set, no arena machinery, no huge chorus filling the stage. Just the people who had lived inside this musical, sitting together, watching each other sing, laughing at each other’s disasters, and occasionally revealing more than they intended. Reuben Kaye, who played Herod in the Australian production, hosted the night with the wicked glee of someone who knows exactly how far he is allowed to go, and has already prepared reasons to go further. At the end of the show, he took Mary’s lines from *What’s the Buzz?* about cooling down Jesus’ face, singing them directly to Paynter. Tim Rice and Andrew Lloyd Webber’s rock opera has always lived between devotion and provocation. Its anachronisms are part of the design. But Kaye, naturally, found ways to push even those limits. He recounted performing at the matinee after the tequila-soaked opening night and slipping in an R-rated late-night sex joke. Another time, he sang Herod with a lisp, reasoning that he had heard Herod was inbred. With only a three-and-a-half-minute song in a 90-minute show, Kaye apparently found many ways to make mischief backstage. One involved dancing in the wings in a T-Rex outfit. The best stories had the thrill of mythmaking. Peter Murphy shared that he had once played Jesus in a Scandinavian production when his “knees were better.” He now blames Kaye for the bad knees. Murphy’s *Pilate’s Dream* carried a lovely ache. As performers age, do they move from hero to villain? From Jesus to Pilate? ![The Scoop Whats The Buzz? Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Whats-The-Buzz_-photographer-credit-Claudio-Raschella-942x628.jpg "Whats The Buzz? Adelaide Cabaret Festival • The Scoop")The cast sat around a Last Supper style table adorned with real fruit wine and candles Photo by Claudio RaschellaJohn O’Hara delivered another backstage gem. Usually, he was given his cue to enter. Once, the cue never came. So he raced on from backstage, already singing, trying to catch up with his own scene. Javon King recalled getting his microphone stand stuck horizontally in front of him like a limbo pole as he tried to race off stage. The cast laughed like people who had survived the same shipwreck. Then came the surprise arrival. Elliot Baker ran onto the stage to sing his Caiaphas parts after finishing a matinee of *Anastasia* in Sydney only hours earlier. Some cast members had only found out backstage; Kaye was in the dark. An extra chair was added. The joy was palpable: it is hard to fake that kind of delight. It belongs to people who have shared dressing rooms, airports, injuries, jokes and the peculiar madness of eight-show weeks. The night also gave space to the understudies and alternates. They were able to sing some of the roles they did not always get the chance to play. There was even a duet of Judases. Neither betrayed the other. Theologically, that may be dubious. Theatrically, it was bliss. Kaye also offered a sincere reflection on his own casting. After controversy surrounding comments he had made about Jesus on *The Project*, he found himself in a production alongside devout Christians, including Paynter, Isaako and Baker. Kaye explained that, after railing against organised religion for much of his career, the show helped him place human faces on Christians. They were not as different from him as he had imagined. Paynter, meanwhile, offered his own grace note. He said that while he was a minority in the company as a straight white man, the Jesus he believes in would love everyone in the cast, regardless of sexuality or religion. In a time when almost everything seems designed to separate people into camps, *What’s The Buzz?* became an argument for singing together. Not agreeing. Not pretending difference does not exist. Singing. The body knows this before ideology catches up. Group singing releases oxytocin. It bonds people. We need more rooms where people who disagree can breathe in the same rhythm. ![The Scoop Whats The Buzz? Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Whats-The-Buzz_-photographer-credit-Claudio-Raschella-7-942x628.jpg "Whats The Buzz? Adelaide Cabaret Festival • The Scoop")Michael Paynter appears to channel his faith through angelic vocal cords Photo by Claudio RaschellaThen Paynter sang *Gethsemane*, and the room changed. Jesus was a carpenter, but it is unlikely he had Michael Paynter’s biceps. Paynter appears to channel his faith through angelic vocal cords. He does not have to fake spiritual stakes. As the song climbed, Paynter crouched down, head to the floor. A standing ovation erupted before he had finished. Then he rose, completed the number, and received another. It had the force of an operatic *Nessun Dorma* moment. The kind where applause is not etiquette, it is release. It was a miracle of a performance. *Jesus Christ Superstar* has made many stars, including Marcia Hines. Paynter’s career may now be measured in two eras: before *Superstar* and after it. He can roar up and down the range. He does not need to retreat into falsetto for the high notes: he meets them head-on. Mahalia Barnes was another vocal force. Like Paynter, she did not come from a conventional musical theatre background. But she has a soulful rock instrument that could only come from the Barnes bloodline. She joked about choreography and her reluctance to take direction. That made her presence even more endearing. At times, Barnes’ powerhouse delivery can feel almost too full throttle. But that is a minor reservation. In a score this muscular, excess is not always a flaw; sometimes it is the point. Paynter, King and Barnes all have voices that need to be heard to be believed. The real question is how any of them sustained this material eight times a week. But the night’s secret lay not in any one performer but in the ensemble memory. The evening felt like a cast album with bruises. A reunion before the show had even become history. A backstage hallway opened to the public. You could feel the road under it. That is why Adelaide was lucky. The city may not have received the full production, but it received something one-of-a-kind. A show made of songs, gossip, faith, mischief, vocal thunder and the strange family that forms when artists survive a phenomenon together. What’s the buzz? *This* was. ***What’s The Buzz?*** **ran for one night only in an Adelaide exclusive premiere on 6 June as part of the 2026 Adelaide Cabaret Festival.** Tickets are on sale for all Cabaret Festival shows now at the [website](https://cabaret.adelaidefestivalcentre.com.au/whats-on/em-rusciano-addicted-to-love?dateId=06-06-2026&performanceId=EDUN2026766). Website: <https://cabaret.adelaidefestivalcentre.com.au/> Socials: <https://www.instagram.com/adelaidecabaret/> [Read more of our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=cabaret+festival) Photo credits: Claudio Raschella **Categories:** Adelaide, Circus, Musical Theatre --- ### [Review: Dylan Adler Haus Of Dy-lan 2026 Adelaide Cabaret Festival](https://thescoop.au/review-dylan-adler-haus-of-dy-lan-2026-adelaide-cabaret-festival/) **Published:** June 7, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop Dylan Adler Haus of Dy-Lan Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Dylan-Adler-photographer-credit-Claudio-Raschella-2-942x628.jpg "Dylan Adler Haus of Dy-Lan Adelaide Cabaret Festival • The Scoop")Dylan Adler arrives at the grand piano in a purple and white kimono. As a classically trained pianist, Adler has spent much of his life at the keyboard. But in *Haus of Dy-lan*, the piano isn’t just an instrument: it is confession box, launch pad, battle station, trauma archive and occasional springboard. Adler is an American comedian, writer, musician and performer who has written for *The Late Late Show with James Corden*. He is also a classically trained pianist known for blending songs, storytelling and physical comedy. Before arriving at Adelaide Cabaret Festival, his solo show *Haus of Dy-lan* played Netflix Is A Joke Festival in 2024 and Edinburgh Festival Fringe in 2025. That blend is the show’s great pleasure. Adler is not a triple threat, he is a pile-up of threats. Comedy. Singing. Dance. Classical piano. Acrobatics. Musical theatre. He even throws in a casual backflip, almost as if remembering halfway through that he can. The show begins with a childhood wound dressed as a showbiz origin story. Adler recalls dressing as Disney’s Mulan in fifth grade, playing piano, getting laughs and not knowing whether the other children were laughing with him or at him. He did not yet know what gay meant. But he knew the boys were using it against him. He also knew he wanted to be a star. *Haus of Dy-lan* is a glittery, restless comedy about being made visible before you understand the terms of the gaze. Adler is half Japanese and half Jewish. He uses that dual inheritance to explore what it means to never quite belong to one world entirely. The show moves through racial prejudice, sexuality, family expectation and the specific loneliness of being a child who becomes a punchline before becoming himself. The central thread is bullying. Not as a moral lesson or solemn trauma mining. More as a mark left under the skin. ![The Scoop Dylan Adler Haus of Dy-Lan Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Dylan-Adler-photographer-credit-Claudio-Raschella-1-942x628.jpg "Dylan Adler Haus of Dy-Lan Adelaide Cabaret Festival • The Scoop")The show begins with a childhood wound dressed as a showbiz origin story Photo by Claudio RaschellaBullies often grow out of their behaviour. The bullied have to grow around it. Adler knows this. He also knows how quickly pain curdles into a joke, and how jokes can become survival tactics. Some of the sharpest material sits right on that edge. He jokes that suicide is part of his culture, invoking *Shōgun*, kamikaze pilots and the revelation that his grandfather signed up as a kamikaze pilot at fourteen. Adler thought he was a teenage emo. His grandfather, he suggests, had him beaten. It is dark, but it is also very Adler: historically specific, emotionally risky and delivered before the audience can decide whether to flinch. His musical range is equally slippery. He strikes a pose for the *Haus of Dy-lan* theme with a touch of Madonna’s *Vogue*. He delivers a country-and-western piano ballad about touring the Deep South to try to open hearts before the US election. Adler plays mournful classical piano in minor keys. He drops into emo Twenty One Pilots territory. He sings from a musical he has written about soccer, then sheepishly realises he has assumed Australians call it football after recently touring Edinburgh. The joke is small, the pattern is revealing. His show is so densely packed with cultural codes that some land more cleanly than others. There are American references that do not fully translate. Queer in-jokes and Grindr gags delight half the room while leaving others a beat behind. There are culturally niche punchlines that feel written for New York, Los Angeles or Edinburgh rather than Adelaide. ![The Scoop Dylan Adler Haus of Dy-Lan Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Dylan-Adler-photographer-credit-Claudio-Raschella-942x628.jpg "Dylan Adler Haus of Dy-Lan Adelaide Cabaret Festival • The Scoop")One of the funniest running jokes comes from the title itself Photo by Claudio RaschellaBut this is also part of the show’s identity. *Haus of Dy-lan* is not trying to flatten Adler into a universal cabaret product. It is intensely specific. Sometimes that specificity sparkles. Sometimes it narrows the room. One of the funniest running jokes comes from the title itself. Adler explains that someone once assumed Dylan was not pronounced the usual way because he is Asian. The gag has shades of Key & Peele’s substitute teacher sketch, where ordinary names are violently misread through someone else’s cultural confidence. Here, it becomes a neat symbol of Adler’s whole argument. People keep mispronouncing him before they meet him. Adler’s mother becomes another recurring character. Her attitude to having twin gay sons runs through the show, with the lights flicking green when Adler impersonates her. Red lighting reveals flashes of Adler’s inner angst. But these are flickers. Most of the time, the pain is masked by speed, wit and musical excess. That speed is thrilling. Adler is constantly moving. He darts from piano to pose to story to song to aside. He shifts character, he interrupts himself. And he loops back to earlier gags with pleasing precision. For a debut solo show, the structure is stronger than it first appears. Early references return. Throwaway details become callbacks. By the final song, Adler draws together the show’s Disney, family, bullying, identity and showbiz threads with impressive craft. That also explains why the show may be hard to adapt for every audience. Its references are load-bearing; they are not decorative. Change too many of them and the architecture could wobble. The show could perhaps use a touch more air. Some sequences rush past before they have fully landed. A few jokes need either more local framing or less reliance on assumed cultural knowledge. But the force of Adler’s talent is undeniable. The bullies may have grown up. But Dylan Adler got the stage. ***Dylan Adler: Haus of Dy-lan* runs to 7 June at the Space Theatre as part of the Adelaide Cabaret Festival**. It then runs in Melbourne on 9 June before touring internationally. Tickets are on sale now at the [website](https://cabaret.adelaidefestivalcentre.com.au/whats-on/dylan-adler-haus-of-dy-lan?dateId=07-06-2026&performanceId=ESCE2026767). Website: <https://cabaret.adelaidefestivalcentre.com.au/whats-on/dylan-adler-haus-of-dy-lan> Socials: <https://www.instagram.com/adelaidecabaret/> and [https://www.instagram.com/dylanadler\_/](https://www.instagram.com/dylanadler_/) [Read more of our Cabaret Festival Reviews](https://thescoop.au/?s=cabaret+festival) Photo credits: Claudio Raschella **Categories:** Adelaide, Circus, Theatre --- ### [Review: St Kilda Film Festival Opens With a Bang](https://thescoop.au/review-st-kilda-film-festival-opens-with-a-bang/) **Published:** June 7, 2026 **Author:** Jack Bengough **Content:** ★★★★★ ![The Scoop St Kilda Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/06/Palais_Exterior-942x628.jpg "St Kilda Film Festival 2026 • The Scoop")Thursday night saw the opening ceremony of the 42nd St Kilda Film Festival at the Palais Theatre. Following words from host Myf Warhurst and representatives of the festival, the audience was treated to ten short films from emerging filmmakers. The films spanned a broad spectrum from comedies and horror to dramas and documentaries. The offerings consistently brimmed with unique ideas and impressive filmmaking skills, promising a festival jam-packed with excellent short films. Comedy dominated the opening night, with the genre represented by six of the night’s ten shorts. The evening kicked off with *Writers in Love* from director Sarah Giles and writer Grace Malouf. The film has already taken the festival circuit by storm throughout 2025. A very witty short with some great twists and beautiful design, it seamlessly transported viewers into the minds of the writers. *Hindsight,* directed by Mikey Hamer, tells the story of a socially awkward teen trying to buy a video game. This film felt like the only miss of the night, as its comedy never quite landed and its narrative never really went anywhere. ![The Scoop Writers in Love St Kilda Film Festival](https://thescoop.au/wp-content/uploads/2026/06/writers-in-love.jpg "Writers in Love St Kilda Film Festival • The Scoop")Writers in LoveThe audience was treated to two animated shorts that also fell into the comedy basket: *The Fling,* directed by Jemma Cotter, and *The Fix-It-Man and the Fix-It-Wooman,* directed by Cornelius Ebatarinja and Nelson Armstrong. While *The Fling* certainly wears its love for John Carpenter’s 1982 cult classic *The Thing* on its sleeve, Cotter and the team managed to escape from that film’s shadow with an inventive blend of live-action filmmaking and stop-motion Claymation. *The Fix-It-Man and the Fix-It-Wooman* was one of the most surprising features of the night. A charming and sincere comedy, it was fully CG animated using 3D renderings of soft sculptures by indigenous arts collective Yarrenyty Arltere Artists. Breaking up the laughs were a couple of tender dramas, a fascinating documentary, and a spine-tingling horror. *A Stable for Horses,* directed by Davie Paterson, had a unique narrative perspective. The story played out like a montage, as a man told a boy about his father’s life, with quite a devastating ending. ![The Scoop Woman at a dining table, screaming with mouth open toward a tall red object she’s holding near her face, wearing a white scarf and dark sweater.](https://thescoop.au/wp-content/uploads/2026/06/The-Fling-945x628.png "The Fling St Kilda Film Festival • The Scoop")The FlingDespite its short run time, *Ayana,* directed by Saskia Faniis, was one of the night’s hardest-hitting films, delivering an unflinching reflection on loss and grief. *PAPER ANGELS,* directed by Sebastian Hill-Esbrand, explored the life of skateboarder-turned-fashion designer Mikey Mendoza. Occasionally, the film felt more like an advertisement than a documentary. But by the end, striking visual choices and an interesting glance into Mikey’s upbringing brought it back around. *Parasomnia,* directed by Chalton Lansley, was the major outlier, taking the audience into a discomforting found footage style horror. The film clearly draws from a pool of inspirations, including the original *Backrooms* short and video games like *P.T.* It delivered a true thrill ride and was one of the most memorable showings of the night. ![The Scoop Three adults stand in a tense room; the woman in front grips a white wand-like device and glares ahead, flanked by a worried blonde woman and an angry bearded man behind her.](https://thescoop.au/wp-content/uploads/2026/06/Baby-Shower-943x628.png "Baby Shower St Kilda Film Festival • The Scoop")The Baby ShowerThe horror in *Parasomnia* comes from the whole thing operating on nightmare logic. Whenever the POV character thinks they’re safe, they are suddenly thrust back into danger, leading to many moments where the audience’s collective stomachs sank with dread. Two comedies, *Baby Shower* from director Matt Day, and *Intervention* from director Jessica Sofarnos, closed out the night. *Baby Shower* delivered laughs, a few fun twists, and an expectedly stellar performance from Hugo Weaving. *Intervention* felt like a perfect fit for a sketch comedy show, with a grounded premise taken into absurd territory that had the audience rolling with laughter. If these ten shorts are any indication, this year’s festival promises many fantastic offerings. All these short films and many more will be playing at events hosted by the St Kilda Film Festival for the next week. **St Kilda Film Festival (SKFF) runs to 14 June 2026 at various locations around Melbourne.** **For full program details and bookings, visit the website.** Website: <https://www.stkildafilmfestival.com.au/> Socials: <https://www.instagram.com/stkildafilmfest/> [Read more about the Festival](https://thescoop.au/announcing-st-kilda-film-festival-2026-line-up/) Images supplied. Venues: **Palais Theatre** – *Opening Night* presented by Mandala Wines (Thursday 4 June) **Astor Theatre** – *PBS Stone Love Broadcast* and *St Kilda Rocks Screening* (Friday 5 June) **JMC Academy** – *The Big Picture* (Saturday 6 June) – Free Filmmaker Development Program **Victorian Pride Centre** – *Pride Without Prejudice: LGBTIQ+ Showcase* (Saturday 13 June) **St Kilda Town Hall** – All other screenings/events, including *Opening Night After Party* and *Closing Night Awards Ceremony* (4 – 14 June) **Categories:** Film, Melbourne --- ### [Review: Em Rusciano Addicted To Love 2026 Adelaide Cabaret Festival](https://thescoop.au/review-em-rusciano-addicted-to-love-2026-adelaide-cabaret-festival/) **Published:** June 6, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Em Rusciano Addicted to Love Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Em-Rusciano-photographer-credit-Claudio-Raschella-1-942x628.jpg "Em Rusciano Addicted to Love Adelaide Cabaret Festival • The Scoop")At the centre of Em Rusciano’s *Addicted To Love* sits a giant heart made of roses. Roses climb the microphone stands like ivy. Rusciano herself prowls the stage with a handheld rose microphone that droops, swings and flops with unmistakable phallic mischief. This is romance as shrine, battlefield, crime scene and revenge garden. Rusciano enters in red. A glittering cabaret two-piece catches the stage light: sequinned bust, high-cut briefs, bare limbs, big hair and the confidence of someone who has worked very hard to become dangerous again. She calls it her forty-seven-year-old revenge body. She says she could crack walnuts on her arse. Rusciano has emerged from a twenty-five-year marriage and has spent the past eighteen months dating. *Addicted To Love* is her field report from the wreckage. It is also a spectacular act of reclamation. She opens with Pat Benatar’s *Love Is A Battlefield*, and the whole show keeps proving the point. Dating apps. Men holding fish. Perimenopausal mishaps. Older men who cannot get it up and cannot quite get up the motivation to find out whether it is medical. Young, shredded men who seem softer and kinder, until “I might want kids” becomes a conveniently sensitive exit strategy. Rusciano does not merely tell stories. She detonates them. Most cabaret shows are songs with a bit of talking. Rusciano reverses the ratio. She is a singing comedian. There may only be five or six full musical numbers across ninety minutes, but the space between them is filled with something wilder: AuDHD stream-of-consciousness, political rant, confession, audience work, sexual overshare, feminist lecture and stand-up meltdown. Sometimes an idea seems to exit her mouth before even she has approved it. She doubles over laughing, drops to the floor. She needs a moment to recover from her own brain. Then she gets up and somehow finds the next punchline. The humour aches in the gut because it keeps landing in the body before the mind catches up. Behind her, the band wear red T-shirts carrying the show’s core instruction: CHOOSE ME. It is a riff on *Choose Life*, but it is also the thesis: choose me before the man. Choose me before the family system. Choose me before the old story where women disappear into care work, housework, emotional logistics and the endlessly polite maintenance of male comfort. ![The Scoop Em Rusciano Addicted to Love Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Em-Rusciano-photographer-credit-Claudio-Raschella-2-942x628.jpg "Em Rusciano Addicted to Love Adelaide Cabaret Festival • The Scoop")Addicted To Love sees romance as shrine battlefield crime scene and revenge garden Photo by Claudio RaschellaThe band includes her father, which becomes one of the night’s richest running jokes. Whenever Rusciano veers into especially explicit territory, she refers to him, refuses to look at him, then somehow makes the discomfort even funnier. Early in the show, she hunts for straight men in the audience and finds Alejandro. From then on, he becomes witness, foil, hostage and representative sample. Rusciano speaks to him throughout the show. Not cruelly. Not really. But directly. That is part of what makes *Addicted To Love* feel bigger than post-divorce comedy. It becomes a conversation with men. Or perhaps an argument with them. A glittering, filthy, beautifully sung argument about why so many women are exhausted. Women, she argues, have had to market themselves forever. They are Madison Avenue executives in pinstripes. Men, suddenly forced to compete now that women are no longer economically dependent on them, are in stained grey tracky dacks, clutching a roast chicken in a bag, begging for spare change. She takes aim at the “Let Them” theory too. The idea might sound liberating in a podcast clip. But Rusciano asks the obvious question. If women keep “letting them,” when exactly do men learn responsibility? This is the social question sitting under all the glitter. In an age of polarisation, the divide between men and women keeps widening. Politically, economically, romantically. The manosphere sells grievance back to boys and men as identity. Rusciano offers a counterforce: rage as clarity, comedy as survival, self-love as infrastructure. The manosphere is no competition for the Emosphere. Musically, she is still a powerhouse. Rusciano’s mash-up of Alanis Morissette’s *You Outta Know* and Chris Isaak’s *Wicked Game* is one of the night’s sharpest moments. There may be endless debate about who Morissette wrote her song about. There is no doubt who Rusciano has written this show about. Her ex, Scott, hovers over the material like the unnamed antagonist in a pop revenge anthem. ![The Scoop Em Rusciano Addicted to Love Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Em-Rusciano-photographer-credit-Claudio-Raschella-419x628.jpg "Em Rusciano Addicted to Love Adelaide Cabaret Festival • The Scoop")The messiness of the night is part of its joy Photo by Claudio RaschellaLike Alanis, Rusciano is interested in power. Age. Desire. The stories women are sold, the stories women survive. The performance is a takedown, yes. But it is also an autopsy of a system where women are asked to hold the emotional load of families, while men describe caring for their own children as “babysitting.” The messiness of the night is part of its joy. Rusciano drinks from a wine glass onstage, despite saying “the lesbians who run this centre” told her not to. Then she breaks the glass. The lesbian crew arrives. Naturally, they become part of the show. There is also an iPad onstage for lyrics. Rusciano explains it through the combination of perimenopausal brain and ADHD. She does not need to apologise. It is a reasonable workplace adjustment. More importantly, the brain that needs a prompt to remember lyrics is the same brain delivering ninety minutes of comic genius. That is not a weakness; that is the show’s engine. *Addicted To Love* is not tidy; it is too alive for that. It sweats, swears, flirts, spirals, sings and occasionally lies down on the floor to collect itself. By the end, the rose heart no longer feels decorative; it feels like a warning. Love is not soft here: it has thorns. It has memory. It has receipts. Rusciano gives us a show powered by anger, revenge and the late discovery that being seen naked again can be motivational. But she also gives us something more generous: a furious invitation to stop making men the air in theirlungs. Because when they leave, they still have to breathe. And, in Rusciano’s case, sing. ***Em Rusciano: Addicted To Love* runs to 7 June at the Dunstan Playhouse as part of the 2026 Adelaide Cabaret Festival.** The show then embarks on a national tour. For additional city dates, check Em’s website. Tickets are on sale now at the [website](https://cabaret.adelaidefestivalcentre.com.au/whats-on/em-rusciano-addicted-to-love?dateId=06-06-2026&performanceId=EDUN2026766). Website: <https://emrusciano.com/addicted-to-love/> Socials: <https://www.instagram.com/adelaidecabaret/> and <https://www.instagram.com/emrusciano/> [Read more of our Adelaide Cabaret Festival Reviews](https://thescoop.au/?s=cabaret+festival) Photo credits: Claudio Raschella **Categories:** Adelaide, Circus, Comedy, Theatre --- ### [Review: Natalie Gamsu A Voice Like Shrapnel 2026 Adelaide Cabaret Festival](https://thescoop.au/review-natalie-gamsu-a-voice-like-shrapnel-2026-adelaide-cabaret-festival/) **Published:** June 6, 2026 **Author:** Bethany Eloise **Content:** ★★★★★ ![The Scoop Natalie Gamsu A Voice Like Shrapnel Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-06-at-124840-pm-893x628.png "Natalie Gamsu A Voice Like Shrapnel Adelaide Cabaret Festival • The Scoop")Natalie Gamsu’s cabaret, *A Voice Like Shrapnel,* is a masterclass in storytelling. Offering a raw reflection on her life and hard-won journey towards self-acceptance, Gamsu delves deep into her past with grit and startling honesty. Co-written by Ash Flanders and director Stephen Niccolazzo – Green Room Award winner for Best Direction – the result is an unapologetic and powerful work that leaves our hearts pounding. Originally produced in 2024 by Kaddimah Yiddish Theatre and fortyfivedownstairs, it makes its Adelaide Cabaret Festival debut during opening weekend. Against a backdrop of red and pink roses, Gamsu stands in her black tasselled top and rose-patterned pants. A giant floral embellishment is blooming from her chest. Tatiana Hotere’s set and costume design captures the duality of Gamsu herself. Bold strength softened by vulnerability. Red, the colour of fiery passion, pain and resilience. Could she have been a flamenco dancer in another life? She begins in Barcelona, playfully repeating the city name, savouring the soft “th” of Spanish pronunciation. Gamsu delights in language, tossing playful asides to words that make her smile. Her natural humour lightens the heavier material. We learn the meaning of “tsores,” the Yiddish word for pain. The very pain she bears to the audience, only to laugh in its face alongside us. She is brash and unashamed to swear and speak openly of weed and acid in her wilder years. ![The Scoop Natalie Gamsu A Voice Like Shrapnel Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Natalie-Gamsu-photographer-credit-Claudio-Raschella-942x628.jpg "Natalie Gamsu A Voice Like Shrapnel Adelaide Cabaret Festival • The Scoop")Throughout the show Gamsu traces her daring life Photo by Claudio RaschellaHer relationship with her Jewish mother, alongside struggles with body image, lies at the emotional heart of the narrative. Unable to grow into her authentic, larger-than-life personality, Gamsu grew outward instead. Through painful memories and sharply comic impersonations of her mother’s high-pitched voice, she exposes the lingering scars of expectation and shame. Her contemplation and quiet simmering anger towards the absurdity of US clothing size zero land with biting clarity. From apartheid-era South Africa to Manhattan and Australia, Gamsu traces her daring life. She recounts unruly nightclub performances in Johannesburg, dressed in military uniforms with dildos as weapons. We are transported into each memory with striking sensory detail, pausing with closed eyes to remember. The smell. The sounds. Standing on a mountain, stoned, naked and utterly free. Vocally magnetic, her brassy voice is rich with years. Her gestures are precise and poised, beckoning us closer with every outstretched hand. There is an intensity to her storytelling that lingers long after each line. ![The Scoop Natalie Gamsu A Voice Like Shrapnel Adelaide Cabaret Festival](https://thescoop.au/wp-content/uploads/2026/06/Natalie-Gamsu-photographer-credit-Claudio-Raschella-1-942x628.jpg "Natalie Gamsu A Voice Like Shrapnel Adelaide Cabaret Festival • The Scoop")Gamsu moves effortlessly between musical styles Photo by Claudio RaschellaAt the piano, musical director Nigel Ubrihien provides a steady and nurturing presence. Gamsu revels in evocative ballads, demonstrating an impressive command of multiple languages that speak to her artistry and lived experience. She moves effortlessly between musical styles, including a delightful patter song that flexes her comic instincts. Most affecting is a tender song in her mother’s native tongue, delivered in stillness through haunting a cappella vocals. Her mother, now living with dementia, is remembered on the far side of a video call. In Gamsu’s eyes dwell both grief and love. Her life emerges as a collage from which she seeks our final meaning. She reflects on releasing the need to be special, instead embracing “sitzfleisch” – to sit on your butt flesh, to endure, to simply be. In doing so, Gamsu grants the audience permission to embrace themselves with equal abandon. My face wet with tears, I joined the thoroughly deserved standing ovation. ***Natalie Gamsu: A Voice Like Shrapnel* runs to 6 June at the Space Theatre as part of the 2026 Adelaide Cabaret Festival**. Tickets are on sale now at the [website](https://cabaret.adelaidefestivalcentre.com.au/whats-on/natalie-gamsu-a-voice-like-shrapnel?dateId=06-06-2026&performanceId=ESCE2026766AV). Website: <https://cabaret.adelaidefestivalcentre.com.au/whats-on/natalie-gamsu-a-voice-like-shrapnel> Socials: <https://www.instagram.com/adelaidecabaret/> and <https://www.instagram.com/nataliegamsu/> [Read more of our Cabaret Festival Reviews](https://thescoop.au/?s=cabaret+festival) Photo credits: Claudio Raschella **Categories:** Adelaide, Circus, Theatre --- ### [Announcing Cast For The Shark Is Broken](https://thescoop.au/announcing-cast-for-the-shark-is-broken/) **Published:** June 6, 2026 **Author:** Newsroom **Content:** ![The Scoop The Shark Is Broken play Sydney Melbourne](https://thescoop.au/wp-content/uploads/2026/06/1920x1080-1116x628.jpg "The Shark Is Broken play Sydney Melbourne • The Scoop")Producers have announced casting for the Australian debut of the Olivier Award nominated **THE SHARK IS BROKEN**, which will make its Sydney and Melbourne premieres from August 2026. The cast includes **Robin Goldsworthy** as Richard Dreyfuss, **Anthony Gooley** as Robert Shaw and **Tom Stokes** as Roy Scheider. This fictional piece centred around the making of JAWS is described as “hilariously brilliant and pure genius” (*Sunday Express*) and has been co-written by Ian Shaw, the son of JAWS actor Robert Shaw. **THE SHARK IS BROKEN** is a razor-sharp, laugh-out-loud play about fame, failure, and friendship under pressure – an edgy, once is a lifetime theatrical treat that proves the biggest drama was never in the water. FADE IN: The open ocean, 1974. Filming is delayed…again. The lead actors, theatre veteran Robert Shaw and young Hollywood hotshots Richard Dreyfuss and Roy Scheider, are crammed into a too-small boat, entirely at the mercy of foul weather and a faulty mechanical co-star. Alcohol flows, egos collide, and tempers flare on a chaotic voyage that just might lead to cinematic magic…if it doesn’t sink them all. **Robin Goldsworthy**’s extensive acting credits include television series *Sunny Nights; Home and Away; Bump; Wolf Like Me; Wellmania; Colin From Accounts; The Other Guy; The Letdown; Paper Giants: The Birth of Cleo* and many more. Highlighted theatre credits include *Cyrano* (Melbourne Theatre Company); *Hamlet* (Bell Shakespeare); *Loot* and *Our Town* (Sydney Theatre Company) and *The Web* (Black Swan State Theatre Company). **Tom Stokes** has enjoyed an extensive international and local career in film, TV and on stage, which includes working for every state theatre company in Australia. He most recently completed a national tour of Agatha Christie’s *And Then There Were None* directed by Robyn Nevin (Crossroads Live). Other selected theatre credits including the *Death of a Salesman* national tour alongside Anthony Lapaglia (GWB Productions/Andrew Henry Presents); *Pygmalion* (Sydney Theatre Company); *Sunday* (Melbourne Theatre Company); *In the Next Room – The Vibrator Play (*Black Swan State Theatre Company) and *Romeo & Juliet* (Bell Shakespeare). **Anthony Gooley**’s many theatre credits include *Calamity Jane; Drizzle Boy; Bernhardt Hamlet* and *Boy Swallows Universe* (all for Queensland Theatre Company); *The Caretaker; A View from the Bridge* and *Death Of A Salesman* (for Ensemble Theatre); *Calamity Jane* (Belvoir/The Comedy Theatre/Arts Centre Melbourne*);* *The Glass Menagerie* (State Theatre Company of South Australia); *Assassins* (Sydney Opera House/Hayes Theatre Co.); *Replay* (Griffin Theatre Company) and *The Lost Echo* (Sydney Theatre Company). Anthony will next appear in *Apples Never Fall* for Peacock with other television credits including *Young Rock* (NBC); *Joe Vs Carole* (Peacock); *Sheilas*; *Australia: The Story of Us*; *Underbelly*; *Packed to the Rafters*; *Tough Nuts*; *Satisfaction* and *Home and Away*. **THE SHARK IS BROKEN is presented by StoreyBoard Entertainment &** **Stoddart Entertainment Group**. **It runs 28 August – 11 October at the Foundry Theatre at the Sydney Lyric Theatre.** It then runs 15 October – 8 November at the Athenaeum Theatre Melbourne. Tickets for Sydney are available [here](https://sharkisbroken.com.au/tickets/sydney/) and Melbourne are [here](https://sharkisbroken.com.au/tickets/melbourne/). Website: <https://sharkisbroken.com.au/> Socials: <https://www.instagram.com/sharkisbrokenau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Creatives** Director **Luke Joslin** Set and Costume Design **James Browne** Lighting Design **Jasmine Rizk** Original Music **Sean Peter** Production Manager **Alex Duffy** **Categories:** News --- ### [Review: W By Madelaine Nunn Scores A Powerful Victory](https://thescoop.au/review-w-by-madelaine-nunn-scores-a-powerful-victory/) **Published:** June 5, 2026 **Author:** Olivia Calverley-Haack **Content:** ★★★★★ ![The Scoop W New Ghosts Theatre Company Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/06/A2A6229-942x628.jpg "W New Ghosts Theatre Company Old Fitz Theatre • The Scoop")*“Darling, I’m furious, that’s why I’m here.”* I left the theatre with this line running in loops in my mind. Thinking of the hurdles, the obstacles, and the pressure women face in male-dominated industries, and yet, we still succeed. W, the new and provocative play by New Ghosts Theatre Company at the heart of independent theatre in Sydney, the Old Fitz Theatre, is one you do not want to miss. The story follows an elite women’s AFL team and their push towards the grand finals. The play navigates the coach and the players’ struggles as a female sporting team, as well as providing moments of celebration of the strength and progress these women make. Talented writer Madelaine Nunn gives each character a depth of detail and nuance with relatable stories and traits. Credit to Nunn for crafting a story with an extremely clear premise. W is relatable and will resonate beyond the sporting industry. Director Rachel Chant excels in delivering a poignant and visually exciting production. There is an openly welcome atmosphere that can be felt as soon as one enters the intimate locker room space. We feel the joy of the girls, experience their hardships, and celebrate the exciting moments of the game. Impressive movement choreographed by Poppy Lynch adds a very entertaining and visually striking element. As a theatre girl and non-sports player, I think this is the closest I will get to understanding what it feels like to be in the team locker room. If there’s one thing I’ve taken away…I think I hate the smell of Deep Heat! ![The Scoop W Madelaine Nunn New Ghosts New Theatre Company](https://thescoop.au/wp-content/uploads/2026/06/A2A6262-942x628.jpg "W Madelaine Nunn New Ghosts New Theatre Company • The Scoop")At the heart of this play is the incredible performances by the talented cast Photo by Phil ErbacherSet and Props designer Meg Anderson and Sound Designer Clare Hennessy entirely transform the basement theatre into a completely realistic locker room. Whilst walking to my seat, my nostrils burned from the overwhelming smell. Our adrenaline gets pumping with the familiar sounds of crowds cheering and chanting, underscored by popular 2010 hits. And our eyes get to wander and take in the lockers that hint of the characters we are soon to meet. The costumes, designed by Aloma Barnes Siraswar, are reminiscent of the real Sydney’s women’s AFL team, making this story feel even more true and moving. The design is extremely intentional and executed at a very high quality. At the heart of this play is the incredible performances by the talented cast of six. Each gives strong, convincing, and vulnerable performances. At the core of the team is Rosie (Cuddles), played by Shannon Ryan, who gives an incredibly emotionally charged performance as the team captain facing professional and personal life challenges. Rosie’s partner and team mate Alex (Muscles) is played by Grace Smibert, the person who has to share Rosie’s emotional load as well as her own. Simbert approaches the role with such authenticity, leaving a lasting impression. The youngest and newest member of the team, Casey (Mouth), played by Celeste Cortes-Davis, provides the audience with a lot of laughter as her naive character begins her sporting journey. ![The Scoop Women basketball players in orange-and-white uniforms chat and laugh in a locker room with red lockers and blue benches.](https://thescoop.au/wp-content/uploads/2026/06/A2A4346-942x628.jpg "W Madelaine Nunn New Ghosts New Theatre Company • The Scoop")The set is entirely transformed into a completely realistic locker room Photo by Phil ErbacherAlso carrying a lightness through the show is Brigid (Chompers), played by Ally Morgan. A young mother who is also a star AFL player, she is constantly undermined, and constantly proving herself. Morgan’s performance was instrumental in bringing energy and excitement to the production, helping to keep the audience fully engaged. The last member of the team is Bee (Legs), played by Edyll Ismail, whose character is constantly compared to her brother, also a successful AFL star. Ismail approaches this character with a lot of strength and vulnerability. The standout is the coach Sue, played by Danielle Cormack. Extremely hilarious and crude, she had the audience bent over in laughter. She also had them on the verge of tears as they are confronted with the nuances of her tough facade as a female sporting coach in an extremely male-dominated industry. W is a powerful exploration of women’s experiences through a strong feminist lens. This memorable play is exciting, emotional, and thought-provoking, featuring immersive design elements and raw, nuanced performances. With queer story lines tangled through the narrative, seeing this piece of theatre would also be a great way to celebrate pride this June! After spending ninety minutes in the locker room with these incredibly talented women, you’ll understand exactly why they’re furious, and why they’re here. **W is presented by New Ghosts Theatre Company and Old Fitz Theatre. It runs to 14 June at the Old Fitz. 129 Dowling Street Woolloomooloo NSW 2011.** Tickets: <https://tickets.iwannaticket.com.au/event/w-ih8pkd> Website: <https://www.oldfitztheatre.com.au/w-the-play> Socials: <https://www.instagram.com/newghoststheatrecompany/> and <https://www.instagram.com/oldfitztheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Phil Erbacher **Categories:** Sydney, Theatre --- ### [Review: Alfred Kouris & Harry Stacey Bake A Cake](https://thescoop.au/review-alfred-kouris-harry-stacey-bake-a-cake/) **Published:** June 5, 2026 **Author:** Caitlin Green **Content:** ★★★★★ ![The Scoop Alfred Kouris & harry Stacey Bake A Cake Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/06/Cake-32-942x628.jpg "Alfred Kouris & harry Stacey Bake A Cake Old Fitz Theatre • The Scoop")*Alfred Kouris and Harry Stacey Bake A Cake* does exactly what it says on the tin. Alfred and Harry WILL bake a cake, you WILL get to eat some and you WILL have one of the funniest nights, maybe ever. At least that was my experience. I caught opening night at Old Fitz Theatre and still haven’t been able to digest (wink) exactly what went down. Trying to explain what this show is feels impossible. It’s somewhere between sketch comedy, stand-up, improv and theatre. I don’t want to say too much, though, because half the fun is sitting there wondering what the hell is going to happen next. What I will say is I have no idea how they got this made. And I mean that in the best possible way. This is the kind of work that we almost never get to see here in Sydney. The realities of our industry often squash this kind of creativity. Taking big swings is rare when up against so much red tape and tight budgets. Massive props to Lucy and Emma, along with the whole Fitz team, who consistently choose to back young artists and their wildest ideas. ![The Scoop Two chefs in white uniforms and tall hats work in a kitchen as one pours a thick batter or sauce from a bowl into a pot while another chef watches nearby.](https://thescoop.au/wp-content/uploads/2026/06/Cake-202-942x628.jpg "Alfred Kouris & Harry Stacey Bake A Cake Old Fitz Theatre • The Scoop")Alfred and Harry WILL bake a cake and you WILL get to eat some Photo by Braiden TokoNow, to the power couple behind the madness. Alfred Kouris returns to the Fitz stage following a 5-star run of *[Three Sisters](https://thescoop.au/review-three-sisters-reminds-us-how-alive-indie-theatre-is/)*. He couldn’t have picked a more different project, yet he’s just as fantastic. He had the audience in the palm of his hand all night. Alongside Kouris is Harry Stacey of *All Boys* (KXT) fame. Comedic timing comes to him with such ease that it’s a joy every time I get to watch Stacey perform. The thing that makes this show sing is the chemistry between the two. The only people having more fun than the audience are Alfred and Harry. They’re constantly testing each other and working the room. This show feels like a living, breathing thing that evolves every night. Speaking of things that changes every night, a special shout-out to Jasmine Power, who stage-managed this beast of a show and got a cameo moment. Calling this show would genuinely send me into an early grave. Jasmine, you are a hero. ![The Scoop Two chefs in white uniforms and hats stand on a dimly lit kitchen set, each posing with hands raised near their faces under blue stage lighting.](https://thescoop.au/wp-content/uploads/2026/06/Cake-235_AK-942x628.jpg "Alfred Kouris & Harry Stacey Bake A Cake Old Fitz Theatre • The Scoop")This team achieves so much with so little Photo by Braiden TokoLighting designer Thomas Shepherd also deserves his flowers. He somehow transforms a very intimate theatre space into a full stadium-sized spectacle. This is the through line creatively for me. This team achieves so much with so little. Taking on a late-night slot is no joke. You’re working around another production’s set and rig, yet I was totally immersed in their world. *Alfred Kouris and Harry Stacey Bake A Cake* is what independent theatre is all about. Pushing boundaries, trying something different and making work that probably shouldn’t exist but does – and we are all the better for it! And if none of this has sold you, just know that you get to eat the cake at the end. A show and a sweet treat. What more could you want? ***Alfred Kouris and Harry Stacey Bake A Cake* is presented by Irregular Programming and runs to 7 June at Old Fitz Theatre. 129 Dowling Street Woolloomooloo NSW 2011.** Tickets are available [here](https://tickets.iwannaticket.com.au/event/late-night-alfred-kouris-and-harry-stacey-bake-a-uwhyz9). Website: <https://www.oldfitztheatre.com.au/alfred-kouris-and-harry-stacey-bake-a-cake> Socials: <https://www.instagram.com/oldfitztheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Braiden Toko **Categories:** Sydney, Theatre --- ### [Film Review: The Tigers 2026 Spanish & Latin American Film Festival](https://thescoop.au/film-review-the-tigers-2026-spanish-latin-american-film-festival/) **Published:** June 5, 2026 **Author:** Jo Stubbings **Content:** ★★★★☆ ![The Scoop Two people sit on a small boat near the water, with a large ship in the background and a blue sky above.](https://thescoop.au/wp-content/uploads/2026/05/The-Tigers_2-941x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")There was a cinematic trend in the eighties and nineties where it was near impossible to kill off the villain. In *Cape Fear, Sleeping with the Enemy* and *Fatal Attraction*, the enemy simply refused to die easily – or sometimes appeared to die twice. Echoes of the syndrome appear in *The Tigers (Los Tigres)*, as director Alberto Rodríguez creates a hero with more lives than the domestic cockroach. Certainly, they grow ‘em tough in the port of Huelva, Spain. This is a man’s world where ships come and go, and maritime workers curse, joke, and labour hard for little pay. Nefarious activities constantly bubble beneath the surface. Schooled by their father as children, Antonio (Antonio de la Torre) and sister Estrella (Bárbara Lennie) are crack divers inspired by The Tigers of Mompracem, rebel soldiers from a Salgari novel. Their mantra is “Never give up.” The opening flashback shows the father toss his watch into the sea. Who will be the first to dive in and claim it? Turns out this is key to the family dynamics. Brother and sister work for Fat Boy (Joaquín Núñez), the owner of a maintenance barge and the best line in the movie, *“I may be fat, but I’m not an idiot*.*”* Antonio earns his Tiger moniker as the supreme underwater troubleshooter. He fixes leaks in the hulls of oil tankers, saves lives and retrieves the drowned. Estrella assists onboard, no longer able to plunge to great depths due to a diving accident that has left her deaf. When Antonio’s ex-wife forbids him to see their children and threatens to take him to court for unpaid maintenance, Antonio is ready to break bad. To make a quick buck, and with Estrella as reluctant accomplice, he dips his toes into the murky waters of drug trafficking. Three parcels of cocaine have been spied in the hull of a tanker he regularly works on. But someone else wants in on the deal. You could say they’re up to their necks in it, but enough with the watery metaphors. In short, they’ve put themselves in mortal danger. ![The Scoop The Tigers Spanish and Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-05-at-13318-pm-970x628.png "The Tigers Spanish and Latin American Film Festival • The Scoop")Two story lines run parallel in The TigersTwo story lines run parallel in the film. The thriller – will Antonio succeed in his stealing and dealing venture? And the subplot – what of the complicated relationship he has with his sister? When the subplot proves more intriguing than the main plot, you know this thriller needs help. Antonio and Estrella live in a co-dependent household. Just as she cared for their dying father, Estrella sacrifices her career as a marine biologist to keep Antonio on the straight and narrow. She takes on a kind of mother role, helping him into his diving gear, patching his wounds, holding onto the diving cable – literally called an umbilical cord – when he’s working underwater. She is the brains of the family. In fact, the cleverest character in the movie. Ironically, Antonio, “the tiger,” proves a pussycat in her presence. Despite his spontaneous, gung-ho exterior, he appears weak and witless on the home front, constantly relying on Estrella to solve his problems. Like a child, he boasts about his successes, all the while taking his sister for granted. *“I’m the one who’s deaf, but you’re the one who never listens,”* she chides him late in the film. Rodríguez hints at something more unusual in their relationship but never takes it further. The siblings are a little too close. Antonio is as jealous as a boyfriend when Estrella interacts with fellow crew member, Nico (the only character who appreciates her). Antonio reads her diaries and goes through her things in the style of a stalker. Estrella, in turn, is touchy-feely and, in one breathtaking moment, joins her brother on his bed for a cuddle. Is this okay? ![The Scoop Two people leaning on a railing at dusk: woman on the left looks away, man on the right rests his head on folded arms, blue evening sky behind them with a car and headlights in the background.](https://thescoop.au/wp-content/uploads/2026/06/The-Tigers_1-942x628.jpg "2026 HSBC Spanish and Latin American Film Festival • The Scoop")The underwater scenes are a highlight as were plunged into a quiet alien worldBut back to the sea. The underwater scenes are a highlight as we’re plunged into a quiet, alien world. The only sounds come from the divers’ breath and the movement of the water. One of the most beautiful yet macabre images is of a dead diver being hoisted to the surface by a lift bag. The shot is taken from below so that the body-suited figure forms a stark silhouette as it rises towards the light. Antonio’s efforts to steal the drugs from the ship’s hull are hold-your-breath moments. Rodríguez throws every element of tension at the scene – time is limited, the currents are strong, breathing is laboured, a parcel is dropped. Cleverly, the water remains realistically murky so that we’re not always sure what we’re seeing. This only adds to the suspense. What the hell’s going on? Where the thriller comes unstuck is the ‘boy cries wolf’ pattern. In a bid to create tension, ironically, there are just too many false alarms. This relates specifically to the well-being of Antonio, who, seeming to have met his maker on at least four occasions, keeps bobbing up for more. Most ludicrous is the scene where, half dead, he flops back into the boat only to discover that he has the bends. Back he must go into the water to surface more slowly this time. Despite these slips, *The Tigers* is most compelling when it leaves the cocaine underwater and explores the more treacherous territory of a family that can’t let go. **The 2026 HSBC Spanish & Latin American Film Festival takes place nationally from 10 June to 12 July (dates vary) in Melbourne, Ballarat, Adelaide, Perth, Canberra, Brisbane, Sydney, Byron Bay and Ballina.** Tickets are now on sale at the website. Downloadable program is [here](https://storage.googleapis.com/production-cms-storage-bucket/SFF26_Programme_DL_Web.pdf). Website: <https://spanishfilmfestival.com/> Socials: <https://www.instagram.com/spanishfilmfest/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: The Tigers (*Los Tigres* ) Director: Alberto Rodríguez Cast: Antonio de la Torre, Bárbara Lennie, Joaquín Núñez, Jesús del Moral, César Vicente Country of Origin: Spain, France Duration: 109 mins Rating: CTC Listing details: **Canberra 10 June – 5 July:** Palace Electric Cinema **Adelaide 10 June – 5 July:** Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas **Brisbane 11 June – 5 July:** Palace James Street and Palace Barracks **Perth 11 June – 1 July:** Palace Raine Square, Luna Leederville and Luna on SX **Melbourne 12 June – 5 July:** The Astor Theatre, Palace Cinema Como, Palace Brighton Bay, Palace Church St, Palace Penny Lane, Palace Westgarth, The Kino, Palace Balwyn and Pentridge Cinema **Ballarat 12 June – 5 July:** Palace Regent Cinema **Sydney 18 June – 12 July:** Palace Norton Street, Palace Moore Park and Palace Central **Byron Bay/Ballina 18 June – 12 July:** Palace Byron Bay, Ballina Fair Cinemas **Categories:** Film --- ### [Adelaide Cabaret Festival Opens: Icon Award Goes To Ursula Yovich](https://thescoop.au/adelaide-cabaret-festival-opens-icon-award-goes-to-ursula-yovich/) **Published:** June 5, 2026 **Author:** Newsroom **Content:** ![The Scoop Female singer in a silver dress performs on stage with a microphone, guitarist in the background under blue lights.](https://thescoop.au/wp-content/uploads/2026/06/Ursula-Yovich-Photo-by-Claudio-Raschella-942x628.jpg "Ursula Yovich Adelaide Cabaret Festival Variety Gala • The Scoop")**Ursula Yovich** was presented with the **2026 Adelaide Cabaret Festival Icon Award** at last night’s sold-out **Variety Gala**, ahead of her highly anticipated solo performance honouring **Nina Simone**. The 2026 Adelaide Cabaret Festival continues at Adelaide Festival Centre until **21 June**. Opening weekend audiences can look forward to a musical theatre spectacular at Festival Theatre, with *What’s the Buzz?* in concert and conversation with the cast of *Jesus Christ Superstar*. Also the world-renowned tenor direct from the UK, **Alfie Boe** (*Les Miserables*) with special guest soprano **Amy Manford** (*Phantom of the Opera*). There are limited tickets remaining. At Dunstan Playhouse and Space Theatre, comedy takes centre stage this weekend with musical comedy superstar **Em Rusciano**’s *Addicted to Love*, outrageous femme queer clowns **PO PO MO CO**’s *Best Bits,* and classically trained pianist turned unhinged gay musical comic **Dylan Adler** (USA) in *Haus of Dy-Lan*. Other highlights for opening weekend include **Natalie Gamsu**’s reflection on growing up in Apartheid-Era Africa in *A Voice Like Shrapnel*, **Lou Blackwell** & The French Set performing a tribute to the Great French Songbook in *A French Romance.* And from the remote North East Arnhem Land community of Yirrkala, gifted singer-songwriter ***Yirrmal***. ![The Scoop Adelaide Cabaret Festival 2026](https://thescoop.au/wp-content/uploads/2026/06/Reuben-Kaye-photographer-credit-Claudio-Raschella-1-942x628.jpg "Adelaide Cabaret Festival 2026 • The Scoop")Adelaide Cabaret Festival Reuben Kaye at the 2026 Variety Gala Photo by Claudio RaschellaAdelaide Cabaret Festival 2026 Artistic Director **Reuben Kaye** said: *“It’s here! The biggest cabaret festival on the planet is in Adelaide once again. This glorious city wraps itself in its finest glam, grabs a glass (or in some cases a bottle) and floods the Festival Centre to see the best of Australia’s and the world’s wildest talent. I hope you enjoy every bit of it as much as I’ve enjoyed making it for you.”* Next week’s highlights include indie-pop stars **Lime Cordiale** at Festival Theatre, in a one-night only collaboration with **Adelaide Symphony Orchestra**. In the Dunstan Playhouse, **Mahalia Barnes** performs **Bette Midler**’s *The Rose*, and **Jonny Hawkins** & **Jo Dyer** team up for sketch show *I’d Like to Say A Few Words*, with a spectacular line up of special guests. These include **Robyn Archer**, **Frida Las Vegas** and more. Don’t miss the world premieres of Frank Ford Commission ***Baylie Carson*** *is Handsome-ish*, vertically challenged pocket rockets **Libby O’Donovan** & **Michaela Burger** in *Short*, and cabaret royalty **Paul Capsis** alongside showstopper **Adam Noviello** in *HOUSE OF ROT: Grey Gardens*. At the Banquet Room, catch cabaret iconoclast **David Mills**, direct from the comedy clubs of New York, and trailblazing expatriate **Tara Tiba** performing *OMID* – ARIA-nominated for Best World Album. Audiences can indulge late into the night with *Festival Late Nights*, featuring a different show each week hosted by a rotating line‑up of artists including **Gillian Cosgriff**, **Frankie McNair** & **Isaac Haigh**, **Tina Del Twist** and Reuben Kaye. ![The Scoop Adelaide Cabaret Festival What's The Buzz](https://thescoop.au/wp-content/uploads/2026/06/R5_8237-942x628.jpg "Adelaide Cabaret Festival What's The Buzz • The Scoop")John OHara Elliott Baker Reuben Kaye and Peter Murphy who are appearing in Whats The Buzz Image suppliedAdelaide Cabaret Festival Executive Producer **Isobel Marmion** said: *“As well as celebrating the world’s best cabaret performers, Adelaide Cabaret Festival nurtures the cabaret stars of the future. This year, celebrate 17 years of Class of Cabaret, showcasing South Australia’s next generation of performers, with Homecoming, a reunion of Class of Cabaret Festival alumni.* *“Our Work in Progress showings feature emo-rock heist musical Artefact (or, Repatriation: The Musical), gothic fever dream JAVON, a celebration of the South Asian diaspora in Vidya Makan’s Light and a work in progress from Class of Cabaret Alumni Maybelline Celles Spinley San Juan.”* **Dr Trevor Jones** will delight at the Quartet Bar by Corryton Burge with *Piano Man* from Thursday to Sunday each weekend, and *Show Tunes Trevia* on June 7 and 18. Plus the much loved and always fabulous *LGBTIQ+ Elders Dance Club* returns to Space Theatre on Sunday 21 June. Dig deeper into the world of cabaret with Festival Theatre Foyer exhibition, *Rags to Riches*, featuring iconic costumes from **Rhonda Burchmore**, **Kitty Bang Bang** and more. And *Festival Talks*, a series of candid, intimate conversations hosted by Reuben Kaye unpacking the art, history, and style of cabaret. ![The Scoop Adelaide Cabaret Festival 2026](https://thescoop.au/wp-content/uploads/2026/06/Reuben-Kaye-Ursula-Yovich-Em-Rusciano-Tara-Tiba-Mahalia-Barnes-Dylan-Adler-and-Vidya-Makan-photographer-credit-Claudio-Raschella-942x628.jpg "Adelaide Cabaret Festival 2026 • The Scoop")Reuben Kaye Ursula Yovich Em Rusciano Tara Tiba Mahalia Barnes Dylan Adler and Vidya Makan Photo by Claudio RaschellaAdelaide Festival Centre CEO **Kate Gould** said: *“Welcome to Adelaide Cabaret Festival, a delicious revolution of comedy, music and theatre. Our first Cabaret Festival since our extensive venue refurbishments, I look forward to welcoming back our beloved Cabaret audiences in style, with upgraded foyers, seating and food and beverage offerings – including our new restaurant Angry Penguin, and QR code ordering system for interval drinks and snacks.”* The festival goes out with a bang in its final week with world-class musicians, burlesque artists and comedians. In the Festival Theatre, **Casey Donovan** *This Is Me* and **Scott Bradlee**’s *Postmodern Jukebox* headline the festival’s closing weekend. In the Dunstan Playhouse, national treasure **Vince Jones** celebrates 50 years of music. And Monsieur Camembert reimagine the great works of **Leonard Cohen** in Cohen Noir. Banquet Room and Space Theatre come alive with renowned Cuban trumpet player **Lazaro Numa** & Sabor a Cuba, rock icon **Sarah McLeod,** the cockiest woman in comedy **Jordan Gray** and Miss Burlesque Australia **Bettie Bombshell**. **Adelaide Cabaret Festival 2026 runs at Adelaide Festival Centre from 4 – 21 June.** Tickets are on sale now at the website. Website: <https://cabaret.adelaidefestivalcentre.com.au/> Socials: <https://www.instagram.com/adelaidecabaret/> [Read more about the Festival Program](https://thescoop.au/announcing-adelaide-cabaret-festival-2026-program/) Hero image: Ursula Yovich, photo by Claudio Raschella **Categories:** News --- ### [Review: Pretty Woman Finds Magic In Adelaide](https://thescoop.au/review-pretty-woman-finds-magic-in-adelaide/) **Published:** June 4, 2026 **Author:** Genevieve Hudson **Content:** ★★★★½ ![The Scoop Pretty Woman The Musical Adelaide](https://thescoop.au/wp-content/uploads/2026/04/9-Pretty-Woman-The-Musical-Australia-Photography-by-Daniel-Boud-copy-942x628.jpg "Pretty Woman The Musical Adelaide • The Scoop")Bold, bright, and bubbly are words that come to mind describing the entirety of director and choreographer Jerry Mitchell’s *Pretty Woman: The Musical*, on now in Adelaide as part of its national tour. Retaining much of the original film’s 80s charm, this adaptation, presented in Australia by Jones Theatrical Group, simply builds upon the characters emotional depth and contrasts between the worlds of the stiff upper class and those working the vibrant streets of Hollywood. While there are many hurdles to be faced to be able to bridge these worlds, there is the overarching and heartwarming affirmation that all we really need to survive is to believe in a dream. With hope, there is possibility and purpose for living, and Will Van Dyke’s musical arrangements certainly aid that. From the beginning, this musical burst into life and song with colourful characters introducing the audience to the night-time culture of Hollywood Boulevard. Each performer is as strong as each other, always providing something different to take-in. Samantha Jade’s portrayal of the iconic Vivian Ward is playfully soulful as she struggles to find where she truly fits in and tries to recall what she really wants. Her emotional range and vocal abilities combine impressively to share her journey as she eventually takes control of her own destiny. ![The Scoop Pretty Woman The Musical Adelaide](https://thescoop.au/wp-content/uploads/2026/06/3-Pretty-Woman-The-Musical-Australia-Photography-by-Daniel-Boud-copy-942x628.jpg "Pretty Woman The Musical Adelaide • The Scoop")Samantha Jades portrayal of the iconic Vivian Ward is playfully soulful Photo by Daniel BoudSimilarly, Ben Hall’s Edward Lewis has a quiet strength that slowly becomes more outward as he grows in confidence and realisation. The consistency of his vocals and development in character is just beautiful to watch. Michelle Brasier’s Kit de Luca is just delightfully fun as Vivian’s scattered roommate, with a powerhouse voice and humorous one-liners. Tim Omaji’s comic timing as Happy Man and Mr Thompson is charmingly entertaining as he switches personas from outwardly encouraging to stoically supportive, seeming to often pop up in the most surprising of places. Special mentions must go to Jordan Tomljenovic’s Giulio, whose brief moments are often adorably wholesome, and Callum Warrender and Rebecca Gulinello’s incredible operatic performance as Alfredo and Violetta respectively. While of course unseen, David Skelton’s conducting of the band is joyfully precise and the big sound certainly adds to the reminiscent vibe of the 80s. ![The Scoop Pretty Woman The Musical Adelaide](https://thescoop.au/wp-content/uploads/2026/06/4-Pretty-Woman-The-Musical-Australia-Photography-by-Daniel-Boud-copy-942x628.jpg "Pretty Woman The Musical Adelaide • The Scoop")Special mentions include the operatic performance by Rebecca Gulinello and Callum Warrender Photo by Daniel BoudThe frequent repetition of key set pieces is integral in establishing the diversity of locations and moods. While the hotel room remains clean, precise, and pale in colour, the Hollywood Boulevard is its complete opposite in multicoloured neon lights, patterns, and crowded atmosphere. As the two worlds begin to merge, there is a combination of these elements as if they sought for the same balance the characters did. And while the theme song of *Pretty Woman* is not featured within the musical itself, it is certainly a highly-anticipated curtain call sing-along – by the cast and audience. While it’s not an exact recreation of J. F. Lawton’s film, *Pretty Woman: The Musical* remains faithful to the characters and the overarching messages, with plenty of recognisable moments to enjoy. Whether you are familiar with the source material or not, this experience will stay with you as a fantastic night out at the theatre. Perhaps it may even inspire you to watch or re-watch the original… ***Pretty Woman: the Musical* runs to 28 June at Her Majesty’s Theatre. 58 Grote Street Adelaide SA 5000.** Tickets: <https://prettywomanthemusical.com.au/tickets/adelaide/> Website: <https://prettywomanthemusical.com.au/> Socials: <https://www.instagram.com/prettywomanmusicalau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Daniel Boud 2026 Australian Tour Dates: Adelaide On now until 28 June, Her Majesty’s Theatre Melbourne 14 July – 9 August, Regent Theatre **Categories:** Adelaide, Musical Theatre --- ### [Registrations Open For Pemulwuy! National Male Voice Festival](https://thescoop.au/registrations-open-for-pemulwuy-national-male-voice-festival/) **Published:** June 3, 2026 **Author:** Newsroom **Content:** ![The Scoop Pemulwuy! National Male Voice Festival](https://thescoop.au/wp-content/uploads/2026/06/302158049_521181589812509_3650091739911210505_n-scaled-e1780474482957-1139x628.jpg "Pemulwuy! National Male Voice Festival • The Scoop")Brisbane is set to welcome hundreds of male singers from across Australia this July as the triennial **Pemulwuy! National Male Voice Festival** returns, bringing together boys and men aged 10 to 80+ for an unforgettable celebration of music, community and connection. Hosted by Pemulwuy! National Male Voice Festival and Brisbane’s acclaimed **Birralee Blokes** and **Birralee Boys**, the festival will take place on **3 – 4 July**, culminating in a spectacular massed choir event on the prestigious Concert Hall stage of **QPAC** on **Sunday 5 July**. The festival brings together singers in three age-based strands: Treble (younger singers), Youth, and Adult. Over two inspiring days, participants rehearse and perform with outstanding conductors, learn new repertoire, build friendships and experience the joy of singing alongside others who share a passion for music. Choirs and ensembles from across Australia, including participants from regional Queensland, New South Wales, Victoria and Western Australia, will join local singers for this unique national gathering. Festival organisers are particularly encouraging adult men to take part. The Adult Strand is led by celebrated Brisbane musician, performer and conductor **Emma Dean**. Festival Director **Paul Holley** said: *“Pemulwuy! is much more than a music festival. It creates a welcoming, uplifting and inclusive environment where boys and men can connect through shared artistic experiences, build confidence, form lasting friendships and experience the extraordinary power of singing together.”* Participants receive music and learning recordings ahead of the festival, enabling them to prepare the repertoire before arriving for rehearsals. With growing awareness of the importance of social connection, wellbeing and positive community engagement for men and boys, organisers believe the festival offers a powerful opportunity to come together in a supportive and enriching environment. **Registrations are now open** for individual singers wishing to participate in what is widely regarded as one of Australia’s most unique and rewarding male singing experiences. **Pemulwuy! National Male Voice Festival runs 3 – 4 July. The massed choir event runs 5 July 2026** **at the Concert Hall, QPAC**. Registrations for participants can be made at the website. Website: <https://www.pemulwuy.org.au/> Socials: <https://www.instagram.com/pemulwuyfestival/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. **Event Details**: **What:** Pemulwuy! National Male Voice Festival 2026 **When:** Rehearsals and showcase concerts featuring choirs from Interstate and Brisbane, **3–4 July** with the final concert on **Sunday 5 July** **Where:** Rehearsals at Brisbane Girls Grammar School & Brisbane Grammar School & Final concert at QPAC **Who:** Boys and men aged 10 to 80+ across Treble, Youth and Adult strands **Registrations:** [www.pemulwuy.org.au](https://www.pemulwuy.org.au/?utm_source=chatgpt.com) from $195 **Categories:** News --- ### [Film Review: Primavera Reimagines The World Of Vivaldi](https://thescoop.au/film-review-primavera-reimagines-the-world-of-vivaldi/) **Published:** June 2, 2026 **Author:** Joseph Lyons **Content:** ★★★★☆ ![The Scoop PRIMAVERA Film Vivaldi](https://thescoop.au/wp-content/uploads/2026/06/7_Primavera-Michele-Riondino-e-Hildegard-Di-Stefano_DSC8745_foto-di-Kimberley-Ross-942x628.jpg "PRIMAVERA Film Vivaldi • The Scoop")Loosely based on Tiziano Scarpa’s novel Stabat Mater, *Primavera* offers a compelling portrait of music as both refuge and liberation. Through the developing bond between an orphaned violinist and Antonio Vivaldi, the film explores how artistic expression can flourish even within the constraints of eighteenth-century Venetian society. An Official Selection at Toronto International Film Festival in 2025, *Primavera* is set in Venice, 1716, at the orphanage Ospedale della Pietà. The focus of the story falls on reserved Cecilia, (a powerful Tecla Insolia), who wishes desperately to be free from the refinement of her life as an orphan. For the girls of the orphanage, music offers a rare escape from their rigid lives. They play for the city’s noblemen and women, tucked away from view, every Sunday. It isn’t until the orphanage appoints a new composer, Antonio Vivaldi (Michele Riondino), that we see the young girls become animated. ![The Scoop Primavera film Vivaldi](https://thescoop.au/wp-content/uploads/2026/06/18_Primavera_Michele-Riondino-e-Tecla-Insolia_DSC5208_foto-di-Kimberley-Ross-942x628.jpg "Primavera film Vivaldi • The Scoop")Vivaldi recognises Cecilias talents Image by Kimberley RossVivaldi recognises Cecilia’s talents, confronting her to take more responsibility. Disaster looms for Cecilia, as when the war ends, she is to be married to a nobleman, which would end her days playing the violin. Cecilia’s determination to play the compositions of Vivaldi leads to a satisfying crescendo in the final act. Insolia’s striking performance as Cecilia is immediately evident when she conveys her character’s torment through a clever use of early voice-over, reading letters to her unknown mother and questioning why she’s been abandoned. Outwardly, though, Cecilia is quiet and intentional, careful to conceal her inner turmoil. Riondino captivates with his performance as Vivaldi, portraying a man desperate to see his talent recognised while battling a debilitating disease. First-time feature director Damiano Michieletto has directed operas for 20 years, which is telling because the score perfectly complements the pictures throughout. It is clear he cares deeply for the music and understands how music, in the right hands, can enrich life. ![The Scoop Primavera film Vivaldi](https://thescoop.au/wp-content/uploads/2026/06/3_Primavera_Miko-Jarry-Michele-Riondino-Tecla-Insolia-e-Andrea-Pennacchi_DSC3153_foto-di-Andrea-Pirrello-941x628.jpg "Primavera film Vivaldi • The Scoop")The score perfectly complements the pictures throughout Image by Kimberley RossThe script, co-written by Michieletto and Ludovica Rampoldi, is well structured and gives space for the actors to show their range instead of overloading them with exposition. What’s left unsaid is more important. Another interesting thread through the film is the relationship between money and art, and the way it both prevents and enables Cecilia and Vivaldi to perform. At just under two hours, the film rarely lingers longer than necessary, moving confidently between Cecilia’s personal struggles and her artistic ambitions. The costumes and makeup feel accurate, while setting the story in antiquated Venice is a perfect place for a period piece, as nothing’s changed. Vivaldi’s *The Four Seasons* is teased throughout the film, but it isn’t until the last scene that we hear it fleshed out. *Primavera* succeeds as a moving reflection on the transformative power of music and the courage required to pursue artistic freedom. **PRIMAVERA opens on Thursday 11 June at participating cinemas.** Website: <https://rialtodistribution.com/film/primavera/> Socials: <https://www.instagram.com/rialtodistributionau/> [Win Tickets to See The Film!](https://thescoop.au/win-tickets-to-primavera-in-cinemas-from-11-june/) Images by Kimberley Ross. Watch the trailer below: **Film details:** Title: Primavera Director: Damiano Michieletto Cast: Michele Riondino, Tecla Insolia, Fabrizia Sacchi, Andrea Pennacchi Country of Origin: Italy Duration: 110 mins Rating: M **Categories:** Film --- ### [Win Tickets To See Toy Story 5 At Dendy Cinemas](https://thescoop.au/win-tickets-to-see-toy-story-5-at-dendy-cinemas/) **Published:** June 2, 2026 **Author:** Newsroom **Content:** ![The Scoop Toy Story 5 Dendy Cinemas Big Kids Screenings](https://thescoop.au/wp-content/uploads/2026/06/Toy-Story-BKS-Cover-Coo-1116x628.jpeg "Toy Story 5 Dendy Cinemas Big Kids Screenings • The Scoop")Dust off your toys and leave the little ones at home. Woody, Buzz, Jessie, and the rest of the gang are returning to the big screen, but this time, they’re facing their biggest rival yet: technology. Round up your favourite deputies for a nostalgic night out at the [Big Kids Screenings](https://dendy.com.au/toy-story-5--big-kids-screenings/) of [TOY STORY 5](https://www.youtube.com/watch?v=-Srf4mGJOvk) from **18 – 21 June** at Dendy Cinemas Coorparoo including Premium Lounge sessions and **19 – 20 June** at Dendy Cinemas Portside. Whether you grew up with Woody and Buzz or just want to experience the latest chapter without the little ones, you’ve got a friend in us for these sessions. **TOY STORY 5** opens at Dendy Cinemas Thursday 18 June – opening week sessions now on sale [**HERE**](https://dendy.com.au/movie/toy-story-5)**!** ![The Scoop Toy Story 5 Dendy Cinemas Big Kids Screenings](https://thescoop.au/wp-content/uploads/2026/06/Screenshot-2026-06-02-at-43332-pm-946x628.png "Toy Story 5 Dendy Cinemas Big Kids Screenings • The Scoop")TOY STORY 5 arrives in cinemas on 18 JuneThe Scoop is **giving away a double e-pass** to one of the Big Kids Sessions (excluding Premium Lounge) thanks to Dendy Cinemas! Ticket giveaway offer: One double pass to the Big Kids Session between **18 – 21 June** at Dendy Coorparoo or One double pass to the Big Kids Sessions between **19 – 20 June** at Dendy Portside Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop Coorparoo’ or ‘Scoop Portside’ under the post. **TOY STORY 5 opens** **on Thursday 18 June at Dendy Cinemas.** Website: <https://www.dendy.com.au/movie/toy-story-5/> Socials: <https://www.instagram.com/dendy.au/> [Back to the Newsroom](https://thescoop.au/newsroom/) Watch the trailer here: **Film details:** Title: Toy Story 5 Director: Andrew Stanton, McKenna Harris Cast: Tom Hanks, Tim Allen, Joan Cusack, Tony Hale, Conan O’Brien, Greta Lee Country of Origin: USA Duration: 102 mins Rating: CTC **Categories:** competition, News --- ### [Review: Dirty Rotten Scoundrels Is Too Charming Not To Love](https://thescoop.au/review-dirty-rotten-scoundrels-is-too-charming-not-to-love/) **Published:** May 29, 2026 **Author:** Sophie Cornett **Content:** ★★★★★ ![The Scoop Dirty Rotten Scoundrels Redfern Lane Productions Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/Rowan-Witt-Kristina-McNamara-Blake-Erickson-in-Dirty-Rotten-Scoundrels-c-John-McCrae-copy-942x628.jpg "Dirty Rotten Scoundrels Redfern Lane Productions Hayes Theatre Co • The Scoop")Some villains are simply too charming not to love. But what kind of chaos unfolds when you put a few of them in the same small town? We find out in *Dirty Rotten Scoundrels*, a dazzling musical presented by Redfern Lane Productions in association with Hayes Theatre Co. Based on the 1988 film of the same name, *Dirty Rotten Scoundrels* follows the suave con-artist Lawrence Jamieson as he mentors, and later falls into competition with, the amateur conman Freddy Benson. Their dynamic, both with each other and the victims of their schemes, leads to a chaotic, riotously funny series of events with the perfect payoff. Director Rebecca McNamee has crafted an absolutely dazzling production. The stage crackles with energy from the very start, with the cast absolutely landing every emotional and comedic beat throughout. Dylan Pollard, as musical director, leads the phenomenal cast and crew through the score. The music is incredible, with a blend of high energy dance numbers and soaring ballads, all masterfully executed. The choreography by Cameron Boxall is some of the best I have ever seen. He has so perfectly aligned the movement to the tone and era of the story with the creation of razor-sharp transitions and high energy, stylised motion. ![The Scoop Dirty Rotten Scoundrels Redfern Lane Productions Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/Rowan-Witt-Blake-Erickson-in-Dirty-Rotten-Scoundrels-c-John-McCrae-copy-942x628.jpg "Dirty Rotten Scoundrels Redfern Lane Productions Hayes Theatre Co • The Scoop")The way these two performers play off each other is so much fun to watch Photo by John McRaeSoham Apte’s set design uses the space to tremendous effect, capturing all the glitz and glamour of the French Riviera. Angelina Daniel’s stunning costuming completes the transformation, with each character perfectly reflected in their visual style. A powerhouse cast of performers bring this story to life. Blake Erickson captures all the debonair daring of seasoned con-artist Lawrence Jamieson. He perfectly blends powerful emotional vocal moments with immaculate comedic timing. Rowan Witt is delightful as Freddy Benson. He pairs the amazing delivery of often blunt and crude humour with masterful physical comedy, creating a character that truly lights up every scene. How these two performers play off each other is so much fun to watch, as they share a true love of the game, but with vastly different approaches. Jordan Shea as Andre Thibault masterfully assumes the role of competent partner-in-crime to Jamieson’s character. Shea’s performance is so well developed and rounded. It is an absolute thrill to see him in scenes where his role gets the starring moment. ![The Scoop Dirty Rotten Scoundrels Redfern Lane Productions Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/Aurelie-Roque-Jordan-Shea-in-Dirty-Rotten-Scoundrels-c-John-McCrae-copy-942x628.jpg "Dirty Rotten Scoundrels Redfern Lane Productions Hayes Theatre Co • The Scoop")A powerhouse cast of performers bring this story to life Photo by John McRaeAurélie Roque plays the charming Muriel Eubanks, initially taken in by Jamieson’s schemes but building up a strength of character over the course of the narrative that allows her to assume control of her own life. Her vocal performance is stunning, particularly in *What Was A Woman To Do*. Kristina McNamara plays the delightfully optimistic yet enigmatic Christine Colgate. She truly embodies the zest for life, innocence and compassion of the role. It is a delight to see how her character interacts with Jamieson and Benson as the narrative develops. Scarlet Lindsay is immaculate in the role of Jolene Oakes, her crudeness playing off amazingly against Jamieson’s composure and sending the audience into peals of laughter with every scene. Finally, the ensemble is absolutely incredible. Their energy is infectious, bringing such light and joy to every moment of the show with highly polished choreography, beautiful vocals and hilarious reactions to the unfolding events. *Dirty Rotten Scoundrels* gives people exactly what they want: a night of razor-sharp comedy, fabulous music and gorgeous production visuals. Don’t miss this incredible show. ***Dirty Rotten Scoundrels* is presented by Redfern Lane Productions in association with Hayes Theatre Co. It runs to 21 June at Hayes Theatre Co. 19 Greenknowe Avenue Potts Point NSW 2011.** It then runs 25 – 28 June at Riverside Theatre, corner Church and Market Street Parramatta NSW 2150. Tickets for Hayes are available [here](https://boxoffice.hayestheatre.com.au/WEBPAGES/EntaWebShow/ShowPerformance.aspx). Tickets for Riverside are available [here](https://riversideparramatta.com.au/whats-on/dirty-rotten-scoundrels/). Website: <https://hayestheatre.com.au/event/dirty-rotten-scoundrels/> Socials: <https://www.instagram.com/redfernlane/> and [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: John McRae **Categories:** Musical Theatre, Sydney --- ### [Pride Fest 2026: Biggest Line Up Starts Today](https://thescoop.au/pride-fest-2026-biggest-line-up-starts-today/) **Published:** June 1, 2026 **Author:** Newsroom **Content:** ![The Scoop Qtopia Sydney Pride Fest](https://thescoop.au/wp-content/uploads/2026/06/Pride_Fest-9-942x628.jpg "Qtopia Sydney Pride Fest • The Scoop")**Qtopia Sydney** is thrilled to announce the line-up of **Pride Fest 2026**, Sydney’s Queer Arts and Culture Festival. 2026 will showcase the festival’s biggest program yet, featuring over 300 events to celebrate International Pride Month from **1 – 30 June 2026,** in a big, bold and beautiful celebration of community, culture and conversation. With something for absolutely everyone, the 2026 program will feature the very best of queer theatre, drag, comedy, cabaret, book launches, panel discussions, workshops, fitness classes, dance, film, parties, restaurant activations, and more. And for the first time ever, this year’s festival will expand outside the walls of Qtopia Sydney, to take over the entire Oxford Street precinct in one epic display of pride. With events staggered across the Oxford Street Precinct including Qtopia Sydney’s The Loading Dock Theatre, The BWYASSS Substation, The Eternity Playhouse, Ginger’s at the Oxford, Universal Upstairs and Downstairs, and more, the precinct is sure to be painted purple throughout the entire month of June. Kicking off the festival in style is the inaugural **Pride Fest Gala** on **2 June**, promising a stellar night of performances to showcase the very best of the jam-packed festival that has something for everyone. The festival will feature two incredible headliners; including the award-winning cabaret sensation **Skank Sinatra** in ***The Name on Everybody’s Lips***, a BRAND-NEW glittering cabaret from **10 – 14 June**, and **Kala Gare** and **Victoria Falconer’s: *Juicy Riot***, with the award-winning theatre babes, prolific music makers & notorious bisexuals throwing a high-femme-fronted, queer variety extravaganza on **29 June.** Festival highlights will also include dazzling performances like: ***Homogrown,* Dykes on Bikes: *An Origin Story*, Jess Fuchs: *Feral, Still Proud: Honouring the 78ers*, *Saddle Club Line Dancing*, *Nails The Musical: In Concert*, *Haus of Dy-lan*** and manymore**.** Adding to the colossal list of incredible acts, this year’s inaugural offerings include Pride Fest: *Intersections***, a vibrant celebration of cultural diversity through an intersectional Queer lens, **Pride Fest:** ***New Voices,*** an opportunity to showcase works in development and ***Fit N**’ Proud*** *(sponsored by Bupa)*, a dynamic program of sport, fitness and dance events activating venues around the Oxford Street precinct. Festival Director **Carly Fisher** said: *“Pride Fest is a powerful reminder of what happens when community comes together with purpose. This year’s growth has been driven by the community and we couldn’t be more proud to welcome new partners on board to help us grow this into an annual signature event on Oxford Street.* *Pride Fest is really about the artists who share their stories, the communities who show up and the allies who stand up, and we couldn’t be more proud.”* **Pride Fest is presented by Qtopia Sydney and runs from 1 – 30 June 2026.** The full program can be found [here](https://heyzine.com/flip-book/adf3e24b01.html). Website: <https://qtopiasydney.com.au/pride-fest> Socials: [https://www.instagram.com/qtopia\_sydney/](https://www.instagram.com/qtopia_sydney/) Back to the Newsroom Image supplied. **Categories:** News --- ### [New Exhibition ENCORE! Shines A Spotlight On Australia’s Stage History](https://thescoop.au/new-exhibition-encore-shines-a-spotlight-on-australias-stage-history/) **Published:** June 1, 2026 **Author:** Newsroom **Content:** ![The Scoop ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne](https://thescoop.au/wp-content/uploads/2026/06/02_Hugh-Jackman-The-Boy-From-Oz_Credit_Jeff-Busby-956x628.jpg "ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne • The Scoop")Treasures from across Australia’s performing arts history will make a spectacular return to the spotlight once again in [*ENCORE! 50 Objects. 50 Years. One Collection.*](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFx2XAhikA0_ueglPPKI3ee95J5zNQYUOe-1Xykk_fz) The new exhibition will be exclusively on display from **16 September 2026 – 9 May 2027** at the **Australian Museum of Performing Arts (AMPA)**. Featured pieces include the legendary gold hot pants worn by **Kylie Minogue** in the *Spinning Around* music video, the original neon-red L’Amour sign **Baz Luhrmann** and **Catherine Martin** created for Opera Australia’s *La Bohème*, **Midnight Oil** drummer **Rob Hirst’s** beloved drum kit and stage costumes worn by the likes of **Olivia Newton-John**, **Hugh Jackman** and more. Fifty iconic objects and costumes have been meticulously chosen for the exhibition, in celebration of the 50th anniversary of the [Australian Performing Arts Collection](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFx2XAhikA0_ueglPPKI3ee95J5zNQYUOe-1Xykk_f0), Australia’s largest specialist collection of circus, dance, music, opera and theatre which preserves more than 850,000 objects at **Arts Centre Melbourne**. Arts Centre Melbourne’s CEO **Karen Quinlan AM** said *ENCORE!* is an invitation for visitors to relive those history-making moments that are keenly remembered, as well as a chance to discover remarkable Australian stories that until now were lost to time: *“Exploring the breadth of performing arts genres and spanning 170 years, ENCORE! is an exclusive backstage pass to 50 incredible moments from Australia’s history. It feels only fitting that our nation’s vibrant stage contributions will be on display at the centre of Australia’s cultural capital, at AMPA in Melbourne*.*“* ![The Scoop About Arts Centre Melbourne Australia’s largest and busiest performing arts centre, Arts Centre Melbourne is comprised of three iconic Melbourne performance venues – Hamer Hall, Sidney Myer Music Bowl and the Theatres Building with its rooftop Spire – a landmark of the city’s skyline. As the premier performing arts centre in the state of Victoria, Arts Centre Melbourne is home to four Resident Companies: The Australian Ballet, Melbourne Symphony Orchestra, Melbourne Theatre Company and Opera Australia. Arts Centre Melbourne is also the proud custodian of the Australian Performing Arts Collection, the nation’s largest repository celebrating the performing arts, containing more than 850,000 objects relating to the history of circus, dance, music, opera and theatre. The newest venue, Australian Museum of Performing Arts (AMPA) is located in Hamer Hall on the banks of the Birrarung (Yarra River), Bringing stories of the stage to life, AMPA celebrates the breadth of Australia’s extraordinary performance history through captivating exhibitions, while also featuring the best from international institutions. In December 2025 the museum opened with the groundbreaking exhibition DIVA, touring from London’s Victoria and Albert Museum (V&A). Treasures from the Collection are also accessible to the community via the Australian Music Vault in the Theatres Building, foyer displays, a searchable online catalogue, a dedicated Research Centre, loans to other cultural institutions and through the behind-the-scenes Collection Store Tours. AMPA has been funded by significant support from Melbourne’s generous philanthropic community in addition to seed funding from the Victorian Government through Creative Victoria.](https://thescoop.au/wp-content/uploads/2026/06/ENCORE-Photo-credit-Nicole-Cleary-12-942x628.jpg "ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne • The Scoop")Costume worn by Kylie Minogue in Spinning Around video 2000 Photo by Nicole ClearyArts Centre Melbourne’s Dance and Opera Curator **Ian Jackson** said while *ENCORE!* features familiar performers and institutions, it is also a chance for visitors to learn something they might not know about Australia’s history: *“Countless performers have contributed to making Australia’s cultural landscape what it is today. This exhibition aims to celebrate them. Some featured objects have never been on display to the public before. This is the first chance people will have to witness those extraordinary pieces of our history.”* The exhibition features costumes, instruments and props as well as other original material ranging from puppets and scripts to personal keepsakes from many of Australia’s greatest stage performers and productions. These include: Maracas used by renowned entertainer, singer and songwriter **Peter Allen** in 1977 to perform *I Go To Rio*. the Grammy Award won by **Helen Reddy** for her Billboard No. 1 anthem *I am Woman*. And Aussie TV legend, puppet **Ossie Ostrich**. The exhibition also includes a personal visual journal compiled by **Nick Cave** in 1987. Signed pointe shoes worn by **Ella Havelka**, The Australian Ballet’s first dancer of First Nations heritage. And a dress worn by **Judith Durham** of **The Seekers** at the historic 1967 Sidney Myer Music Bowl concert – the largest in Melbourne’s history. ![The Scoop ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne](https://thescoop.au/wp-content/uploads/2026/06/ENCORE-Photo-credit-Nicole-Cleary-23-942x628.jpg "ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne • The Scoop")Arts Centre Melbourne Curator Ian Jackson with Australian treasures featured in ENCORE exhibition Photo by Nicole ClearyA custom-made vest worn by legendary Gunditjmara and Bundjalung singer-songwriter **Archie Roach** in a landmark performance in Melbourne will also be featured. ***Rites*** (1997), the first collaboration between Australia’s leading indigenous-led performing arts company **Bangarra Dance Theatre** and **The Australian Ballet**, will be recognised with the inclusion of the costume worn by one of Australia’s most celebrated dancers, the late **Russell Page**. Other objects include the original 1874 handwritten script of ***Struck Oil***, the breakthrough production from the entrepreneurial theatre impresario **James Cassius Williamson** who established Australia’s dominant theatre management company. A set model of a Carlton terrace house from **Melbourne Theatre Company’s** 1995 production of **Ray Lawler’s** ***Summer of the Seventeenth Doll*** represents one of Australia’s most ground-breaking plays. Extravagant costumes worn and designed by many of Australia’s and the world’s most celebrated creatives will also be displayed. They include a silk jewel encrusted cloak created by famed Parisian couturier Jean-Philippe Worth and worn by **Dame Nellie Melba** in St Petersburg in 1891. And black velvet and tulle gown worn by **Dame Joan Sutherland** in *La Traviata* (1965), where she performed alongside the then little-known Italian tenor, Luciano Pavarotti. Also featured will be designs by Tony Award-winning set designer **Brian Thomson**, a costume from **Sydney Dance Company’s** *Grand* (2005) created by fashion designer **Akira Isogawa,** and a mask from the 1979 production of the Ancient Greek tragedy *Medea*, created by prolific and celebrated visual artist **Mirka Mora**. ![The Scoop ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne](https://thescoop.au/wp-content/uploads/2026/06/15_Summer-of-the-Seventeenth-Doll-set-model-854x628.jpg "ENCORE! 50 Objects. 50 Years. One Collection. Arts Centre Melbourne • The Scoop")Set model designed by Tony Tripp for Summer of the Seventeenth Doll Melbourne Theatre Company 1995Australia’s distinct, cheeky and occasionally larrikin sense of humour will be on display with costumes worn on stage by legends in career defining performances. These include a top hat worn by **Roy Rene** – one of Australia’s most successful comedians of the early 20th century – as Mo McCackie. A costume worn by **Reg Livermore** as Betty Blokk Buster in a 1975 show that revolutionised Australian cabaret. An over-the-top New York-themed dress worn by **Dame Edna Everage** on Broadway in 2004. And the nude suit worn by beloved comedian **Denise Scott**. Australia’s vast circus contributions – a sometimes-overlooked chapter of Australia’s performing arts history – will also be showcased through objects including a clown bike from the **Holden Bros Circus** and a vintage poster depicting the ‘Wizard of the Wire’ **Con Colleano**, a First Nations tightwire walker who was the most celebrated and highly paid circus performer of his time. A metal escape trunk from 1935 used by **The Great Levante** – who was one of the world’s most popular magicians is also included. The exhibition shares a crown jewel of the Australian Performing Arts Collection, the **Wirth’s Circus scrapbook.** With over 500 pages, the album is so heavy that it requires two people to lift it. The scrapbook is a remarkable visual archive filled with thousands of photographs from Australia’s leading circus of the first half of the 20th century. For a full list of the 50 costumes and objects featured in *ENCORE!* [click here](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFx2XAhikA0_ueglPPKI3ee95J5zNQYUOe-1Xykk_f1). ***ENCORE! 50 Objects. 50 Years. One Collection* is presented by** **Arts Centre Melbourne** **and runs 16 September 2026 – 9 May 2027. Australian Museum of Performing Arts (AMPA), Hamer Hall, Arts Centre Melbourne**. Wednesday to Sunday, 10am–7pm. Open Mondays and Tuesdays during school holidays and public holidays. Tickets are available [here](https://acml-tnew-prod.tnhs.cloud/events?k=ENCORE&startDate=2026-09-01&promoapplied=true). Website: <https://www.artscentremelbourne.com.au/ampa/exhibitions/encore> Socials: <https://www.instagram.com/artscentremelbourne/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Hugh Jackman in *The Boy From Oz*. Photo by Jeff Busby About Arts Centre Melbourne Australia’s largest and busiest performing arts centre, [Arts Centre Melbourne](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFx2XAhikA0_ueglPPKI3ee95J5zNQYUOe-1Xykk_f2) is comprised of three iconic Melbourne performance venues: Hamer Hall, Sidney Myer Music Bowl and the Theatres Building with its rooftop Spire, a landmark of the city’s skyline. As the premier performing arts centre in the state of Victoria, Arts Centre Melbourne is home to four Resident Companies: The Australian Ballet, Melbourne Symphony Orchestra, Melbourne Theatre Company and Opera Australia. Arts Centre Melbourne is also the proud custodian of the [Australian Performing Arts Collection](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFx2XAhikA0_ueglPPKI3ee95J5zNQYUOe-1Xykk_f0), the nation’s largest repository celebrating the performing arts, containing more than 850,000 objects relating to the history of circus, dance, music, opera and theatre. The newest venue, [Australian Museum of Performing Arts (AMPA)](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFx2XAhikA0_ueglPPKI3ee95J5zNQYUOe-1XykkN9v) is located in Hamer Hall on the banks of the Birrarung (Yarra River). Bringing stories of the stage to life, AMPA celebrates the breadth of Australia’s extraordinary performance history through captivating exhibitions, while also featuring the best from international institutions. In December 2025 the museum opened with the groundbreaking exhibition *DIVA*, touring from London’s Victoria and Albert Museum (V&A). Treasures from the Collection are also accessible to the community via the [Australian Music Vault](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFx2XAhikA0_ueglPPKI3ee95J5zNQYUOe-1Xykk_f3) in the Theatres Building, foyer displays, a searchable online catalogue, a dedicated Research Centre, loans to other cultural institutions and through the behind-the-scenes Collection Store Tours. AMPA has been funded by significant support from Melbourne’s generous philanthropic community in addition to seed funding from the Victorian Government through Creative Victoria. **Categories:** News --- ### [Announcing Mrs. Doubtfire Musical For Australia](https://thescoop.au/announcing-mrs-doubtfire-musical-for-australia/) **Published:** February 22, 2026 **Author:** Newsroom **Content:** ![The Scoop Mrs Doubtfire Musical](https://thescoop.au/wp-content/uploads/2026/02/Gabriel-Vick-in-West-End-production-of-MRS-DOUBTFIRE-copy-837x628.jpg "Mrs. Doubtfire Musical Melbourne Australia • The Scoop")**MRS. DOUBTFIRE,** the feel good comedy musical based on the beloved film will make its Australian premiere at the Princess Theatre **Melbourne** from **November 2026**. Featuring all the iconic moments you know and love, plus fabulous new songs and show-stopping dance numbers, **MRS. DOUBTFIRE** is directed by four-time Tony Award winning Jerry Zaks**.** Producers **Kevin McCollum** & **Jamie Wilson** said: *“Producing **MRS. DOUBTFIRE** has been an incredible and joyful experience. This show is heartwarming, hilarious and fun for the whole family and we’re delighted that audiences in Melbourne will now get to embrace everybody’s favourite nanny for themselves.”* Producer **Suzanne Jones** of JONES Theatrical Group said: *“We cannot wait to premiere this new musical in Melbourne at the beautiful Princess Theatre. Melbourne is the home of comedy and **MRS. DOUBTFIRE** isa hilarious and heartfelt musical that proves we’re better together.”* ![The Scoop Mrs. Doubtfire Musical Melbourne Australia](https://thescoop.au/wp-content/uploads/2026/02/Gabriel-Vick-and-cast-in-West-End-production-of-MRS-DOUBTFIRE-copy-942x628.jpg "Mrs. Doubtfire Musical Melbourne Australia • The Scoop")Mrs Doubtfire will premiere in Australia in Melbourne Photo by Johan PerssonOut-of-work actor Daniel Hillard will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate bid to stay in their lives. But as his character takes on a life of its own, Daniel discovers more than he bargained for about family, love and what it really means to be a father. Based on the 1993 hit film *Mrs Doubtfire* starring the much-loved Robin Williams, the musical played to sell-out crowds in the West End for almost two years as well as a Broadway season and tours across the US, Germany, South Korea and Brazil. A UK tour has recently been announced to begin in August this year. Director Jerry Zaks most recently directed his 26th Broadway production, *The Music Man* starring Hugh Jackman and Sutton Foster. Other recent productions include the Tony Award-winning production of *Hello, Dolly!*, Steve Martin’s *Meteor Shower* and *A Bronx Tale*. He has received four Tony Awards and eight Tony Award nominations; four Drama Desk Awards; two Outer Critics Circle Awards and an Obie. He also directed the award-winning film *Marvin’s Room*, starring Meryl Streep and Diane Keaton, and *Who Do You Love?* Further casting details will be announced in coming months. **For audition information, visit** [www.mrsdoubtfiremusical.com.au/auditions](http://www.mrsdoubtfiremusical.com.au/auditions) **MRS.DOUBTFIRE premieres at the Princess Theatre Melbourne from November 2026.** Join the waitlist now, deary! Tickets: <https://mrsdoubtfiremusical.com.au/#waitlist> Website: <https://mrsdoubtfiremusical.com.au/> Socials: <https://www.instagram.com/mrsdoubtfiremusicalau/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Gabriel Vick in West End production of MRS. DOUBTFIRE, photo by Johan Persson. Presented by JONES Theatrical Group in association with Kevin McCollum & Jamie Wilson Productions. **Categories:** News --- ### [Announcing Mrs. Doubtfire For Sydney In 2027](https://thescoop.au/announcing-mrs-doubtfire-for-sydney-in-2027/) **Published:** June 1, 2026 **Author:** Newsroom **Content:** ![The Scoop Mrs. Doubtfire Musical Melbourne Australia](https://thescoop.au/wp-content/uploads/2026/02/Gabriel-Vick-and-cast-in-West-End-production-of-MRS-DOUBTFIRE-copy-942x628.jpg "Mrs. Doubtfire Musical Melbourne Australia • The Scoop")**MRS. DOUBTFIRE,** the feel good comedy musical based on the beloved film, will make its **Sydney** debut at the **Capitol Theatre** from **March 2027**. Out-of-work actor Daniel Hillard will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate bid to stay in their lives. But as his character takes on a life of its own, Daniel discovers more than he bargained for about family, love and what it really means to be a father. Based on the 1993 hit film *Mrs Doubtfire* starring the much-loved Robin Williams, the musical played to sell-out crowds in the West End for almost two years as well as a Broadway season and tours across the US, Germany, South Korea and Brazil. A UK tour has recently been announced to begin in August this year. Tickets are on sale for the **Melbourne season** at 10am **Friday 5 June** via <https://mrsdoubtfiremusical.com.au/> Featuring all the iconic moments you know and love, plus fabulous new songs and show-stopping dance numbers, **MRS. DOUBTFIRE** is directed by four-time Tony Award winning Jerry Zaks**.** Director Jerry Zaks most recently directed his 26th Broadway production, *The Music Man* starring Hugh Jackman and Sutton Foster. Other recent productions include the Tony Award-winning production of *Hello, Dolly!*, Steve Martin’s *Meteor Shower* and *A Bronx Tale*. He has received four Tony Awards and eight Tony Award nominations; four Drama Desk Awards; two Outer Critics Circle Awards and an Obie. He also directed the award-winning film *Marvin’s Room*, starring Meryl Streep and Diane Keaton, and *Who Do You Love?* ![The Scoop Mrs. Doubtfire Musical Sydney Australia](https://thescoop.au/wp-content/uploads/2026/06/Gabriel-Vick-in-West-End-cast-of-MRS-DOUBTFIRE-942x628.jpg "Mrs. Doubtfire Musical Sydney Australia • The Scoop")Gabriel Vick in West End cast of MRS DOUBTFIRE Photo by Johan Persson**Jerry Zaks** said: *“I’m genuinely delighted to bring MRS. DOUBTFIRE to Australia. It’s a joyous, laugh-filled musical about family that will delight audiences of all ages. Come see MRS. DOUBTFIRE live on stage, poppets.* Producers **Kevin McCollum** and **Jamie Wilson** said: *“We are thrilled to be working with Suzanne Jones and the extended teams in bringing this wonderful production to Australia.* *MRS. DOUBTFIRE continues to spread joy across the world, and we are so excited for Melbourne and Sydney to share the love for the globe’s favourite Scottish nanny. In a world of uncertainty, everyone needs a little dose of Mrs. Doubtfire. Fear not poppets….help is on the way, dear!”* Producer **Suzanne Jones** of Jones Theatrical Group added: *“I first saw MRS. DOUBTFIRE on London’s West End and I didn’t stop laughing the entire time. It is an absolutely hilarious and heartfelt musical that fans of the movie will adore. MRS. DOUBTFIRE is the perfect match for Sydney – big energy and big laughs, all wrapped up in a comfy cardigan.”* Casting announcements for the musical, which will debut in Melbourne, will be made in the coming months. **MRS. DOUBTFIRE runs in Sydney at the Capitol The**a**tre from March 2027.** **It premieres at the Princess Theatre Melbourne from November 2026.** Join the waitlist now, deary! Tickets: <https://mrsdoubtfiremusical.com.au/#waitlist> Website: <https://mrsdoubtfiremusical.com.au/> Socials: <https://www.instagram.com/mrsdoubtfiremusicalau/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Gabriel Vick in West End production of MRS. DOUBTFIRE, photo by Johan Persson. Presented by JONES Theatrical Group in association with Kevin McCollum & Jamie Wilson Productions. **Categories:** News --- ### [Bleach Festival Blooms: Returning In 2026 With Spring Energy](https://thescoop.au/bleach-festival-blooms-returning-in-2026-with-spring-energy/) **Published:** May 31, 2026 **Author:** Newsroom **Content:** ![The Scoop Bleach Festival HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/05/TheFarm_0426_Farm-Theatre-Co-046-941x628.jpg "Bleach Festival HOTA Gold Coast • The Scoop")The **Gold Coast**’s leading contemporary arts celebration, **BLEACH Festiva**l, is back in 2026 with a bold new chapter and seasonal shift, moving to October for a vibrant spring awakening for the city. BLEACH Festival will feature 11 days and nights of transformative experiences from **1-11 October**, with a sneak peak of the program now unveiled. The first release includes **five signature events**, including a **free opening concert**, **monumental outdoor performance** and **installation works**, a major new Gold Coast **dance-theatre production**, and the return of Kiwi mega-act **SIX60** to the Gold Coast. Minister for the Environment and Tourism **Andrew Powell** said BLEACH Festival continued to strengthen Queensland’s reputation as the events capital of Australia: *“BLEACH Festival is a standout on Queensland’s events calendar, bringing together world-class music, performances and large-scale public art in one of Australia’s most iconic holiday destinations.* *With 11 days of incredible performances and experiences, BLEACH festival supports local jobs and businesses while giving locals and visitors alike the chance to experience the Gold Coast in a completely unique way.”* ![The Scoop Group of men posing on a rocky beach with the ocean and blue sky behind them.](https://thescoop.au/wp-content/uploads/2026/05/IMG_SUBTRIBE_3-805x628.jpeg "IMG_SUBTRIBE_3 • The Scoop")Sub Tribe will perform on the outdoor stage with Six60 Image suppliedIn a landmark moment for the festival’s 15-year history, **HOTA, Home of the Arts,** will come alive with a full precinct takeover, bringing art to life both indoors and out. Known for transforming spaces through ambitious, site-responsive work, BLEACH will once again deliver a dynamic program of music, performance and large-scale public art. The Gold Coast will come alive as a vibrant centre for contemporary culture, offering new ways of seeing, making and celebrating art and place. State Member for Surfers Paradise **John-Paul Langbroek** said the event was a highlight of the Gold Coast events calendar: *“BLEACH Festival is part of our community’s DNA, transforming our beaches, parklands and streets into places where people come together to celebrate creativity in a truly Gold Coast way.* *The festival brings more to see and do on the Gold Coast, while supporting local jobs and businesses and giving residents another reason to feel proud of where we live.”* Monumental outdoor performance work *THAW*, by **Legs on the Wall**, opens the festival at dawn on Thursday 1 October on the Surfers Paradise Foreshore, with a second presentation on Saturday 3 October over the HOTA Lake. ![The Scoop Bleach Festival HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/05/23-THAW-by-Legs-On-The-Wall-GreenwichDocklands-International-Festival-London-2024-Anna-McCulla-image-by-David-Levene-941x628.jpg "Bleach Festival HOTA Gold Coast • The Scoop")THAW will open the Festival at dawn on 1 October Photo by David LeveneA giant block of ice suspended by crane becomes the stage for an eight-hour durational performance work. As daylight intensifies, *THAW* unfolds in a powerful reflection on climate as both spectacle and metaphor. Gold Coast Mayor **Tom Tate** said: *“Everyone loves a sneak peek and this year, it’s time to celebrate the further evolution of our famous Bleach Festival. Incorporating HOTA will put the spotlight on our arts and cultural precinct which last year had 700,000 visitors. Make a date with BLEACH this October and be prepared to be amazed by the raw talent on show over 11 magical days.’’* HOTA’s dynamic Outdoor Stage will host two major live music events for the opening weekend of the festival. In a not to be missed free double-bill performance for the whole community, internationally acclaimed US soul vocalist **Lady Blackbird,** on her Australian debut tour, will be joined by Australia’s award-winning electronic duo **Electric Fields**. The Friday 2 October performance will deliver ecstatic pop sounds of epic proportions and deep connections to country. On Saturday 3 October, New Zealand chart-toppers **Six60** bring their hot mix of roots, soul and dubstep to the Outdoor Stage alongside powerhouse 7-piece dub-fusion outfit **Sub-Tribe**. Known for their high-energy performances and global appeal, Six60’s return to the Gold Coast promises a celebration of music and culture under the stars. For the duration of the festival a large-scale immersive installation work *BEACON* will transform the HOTA parklands, dreamed up by global design sensation **Morag Myerscough** in collaboration with Gold Coast community arts organisation **Everybody Now!** ![The Scoop Bleach Festival HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/05/Lady-Blackbird-Studio1538_Final-copy-907x628.jpg "Bleach Festival HOTA Gold Coast • The Scoop")Lady Blackbird will appear alongside Electric Fields Image suppliedMyerscough is renowned for her vibrant and immersive public art installations across the globe in institutions and festivals, notably Coachella and the Paris Olympics. BEACON has been inspired by the contributions of 500+ community participants who, through a series of workshops in 2025, shared what place and belonging meant to them as Gold Coasters. It will be accessible day and night, transforming as the sun sets into a glowing icon against the skyline. Across the festival, as dusk falls *BEACON* will send out a siren of song with local community choir singers performing a special musical arrangement of bestselling author Holly Ringland’s poem, before neon light transforms the artwork into a glowing nighttime festival hub. Iconic Gold Coast dance company **The Farm** returns to BLEACH with their latest large-scale production *No One Gets Out Of Here Alive*. Weaving dance, voice, and music with humour and pathos, this visceral, cathartic performance work is an invitation to explore the endings that shape us, and the surprising lightness of letting go. The new work will take to HOTA’s theatre stage for the final weekend of the festival. ![The Scoop Bleach Festival HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/05/2Morag-Myerscough_-Image-Ian-Georgeson-942x628.jpg "Bleach Festival HOTA Gold Coast • The Scoop")Morag Myerscough is behind BEACON which will transform the HOTA Parklands Photo by Ian GeorgesonArtistic Director, **Felix Preval** said the move to October marks a new chapter for the festival: *“Bringing BLEACH Festival into spring opens new creative possibilities for the festival and for audiences. It’s a time of energy and renewal on the Gold Coast, and this year’s program reflects that — from major live music moments to powerful, large-scale works like THAW and BEACON.”* BLEACH Festival will present a program of standout performances, installations and events, inviting audiences across the region to experience art across all forms and include a number of projects brought to life by the support of the $1.5 million EGC Arts Fund including *BEACON*. The Fund provides vital support to artists and creative practitioners to develop new work and strength cultural projects for the Gold Coast. The full BLEACH Festival program will be revealed in coming months. **BLEACH Festival runs from 1 to 11 October at Home of the Arts (HOTA)** **on the Gold Coast, Queensland.** Tickets for the announced headline shows are available at the website. Website: [http://hota.com.au/bleach](https://hota.com.au/whats-on/live/festivals-and-series/bleach-2026) Socials: <https://www.instagram.com/hotagc/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: The Farm, supplied. **Categories:** News --- ### [Review: Tootsie Makes A Triumphant Premiere In Sydney](https://thescoop.au/review-tootsie-makes-a-triumphant-premiere-in-sydney/) **Published:** May 31, 2026 **Author:** Sophie Cornett **Content:** ★★★★★ ![The Scoop Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/05/Andrew-Bevis-and-the-ensemble-in-Tootsie-c-Robert-Miniter-12-944x628.jpg "Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney • The Scoop")How far are you willing to go in pursuit of a dream? *Tootsie*, the stage adaptation of the 1982 film, combines comedy and heart in its exploration of this question, set against the stunning backdrop of the New York City theatre scene. The Australian premiere of this phenomenal show, presented by Teatro At The Italian Forum, in association with On Your Feet Australia, is an absolute triumph and delight. *Tootsie* follows the arrogant aspiring actor Michael Dorsey, who, on his fortieth birthday, is disillusioned with the world of Broadway, as they seem intent on not giving him a chance. In a desperate ploy, he creates the female persona of Dorothy Michaels, who quickly sweeps the cast and crew off their feet. But as his relationships with his friends and colleagues change, the lies quickly unravel, forcing him to confront the consequences of his decisions. Director and choreographer Cameron Mitchell has crafted an immaculate production, highly polished and full of energy. It is an absolute delight to see the depth of every single character, how they interact and the masterful use of movement in creating each scene. The music is fantastic, and Nicholas Till, as musical director, has done a marvellous job imbuing every song with depth and so much character across every cast and orchestra member. Dan Potra’s fantastic set design uses the space to easily transport audiences from the bright lights of the theatre to the bachelor pad apartment and beyond with a few simple pieces. ![The Scoop Tootsie Australian Premiere Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/05/Chris-Huntley-Turner-Andrew-Bevis-Tootsie-c-Robert-Miniter-16-942x628.jpg "Tootsie Australian Premiere Teatro at the Italian Forum Sydney • The Scoop")As Michael Dorsey and Dorothy Michaels Andrew Bevis is absolutely phenomenal Photo by Robert MiniterThe transitions are dynamic, using the multiple entrances and exit sites on either side of the stage to make the location changes seamless and engaging. Costume designer Angela White has done an exceptional job, with every piece immediately telling us who the character is and their role within the scene. Andrew Bevis takes on the role of Michael Dorsey/Dorothy Michaels, and he is absolutely phenomenal. He captures both the intense desperation of Michael and the confidence of Dorothy, seamlessly transitioning between the two sides of the character with his vocal and physical performance. Elenoa Rokobaro is an absolute powerhouse of a performer as Julia Nichols, the lead of *Juliet’s Curse*, the play Dorothy is cast in. It is a joy to watch her on stage. Every song and scene perfectly reflects her love of performing and the sacrifices she makes to pursue this dream. The role of Jeff Slater, Michael’s roommate and best friend, is played by Tyran Stig, who is perfect in the role. His comedic timing is flawless, and his reactions to the truly ridiculous situations he finds himself in are delightful. Alana Tranter plays Michael’s former partner and now friend, Sandy Lester, perfectly capturing her anxious nature. Her vocal performance is absolutely incredible. Her rendition of *What’s Gonna Happen* is particularly wonderful. ![The Scoop Tootsie Australian Premiere Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/05/Cast-of-Tootsie-c-Robert-Miniter-2-987x628.jpg "Tootsie Australian Premiere Teatro at the Italian Forum Sydney • The Scoop")Tootsie is a riotous show that reflects the consequences of pursuing a dream at any cost Photo by Robert MiniterLachlan O’Brien plays the role of the sleazy director Ron Carlisle. He impressively portrays just how extraordinarily unlikable his character is. This perfectly contrasts with producer Rita Marshall, played by Donna Lee. She is so heartwarmingly supportive of the changes that Dorothy brings to the show. Brendan Irving is amazing as the self-obsessed actor Max Van Horn. He is deeply committed to the bit and perfectly capturing the extraordinary confidence his lack of wit confers. Stan Fields, Michael’s agent, is brilliantly played by Chris Huntly-Turner, conveying his true resentment for the game he is forced to play in every scene. The ensemble is truly extraordinary, lending such depth to the world and dazzling on stage with their characterisation, stylish movement and vocal talent. *Tootsie* is a riotously funny show, reflecting the consequences of pursuing a dream at any cost. There is an extraordinary exploration of the challenging lived experiences of women in the entertainment industry that will also leave you reflecting. A perfect blend of comedy, reflection, extraordinary talent and visual delight, *Tootsie* is an absolute must-see show! ***Tootsie* the musical runs to 21 June at Teatro at the Italian Forum. 23 Norton Street Leichhardt NSW 2040.** Tickets are on sale [here](https://www.ticketmaster.com.au/artist/2728443?did=venue)! Website: <https://teatroitalianforum.com.au/date/tootsie/> Socials: <https://www.instagram.com/teatroitalianforum/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Robert Miniter **Categories:** Musical Theatre, Sydney --- ### [Film Review: The Audience National Theatre Live](https://thescoop.au/film-review-the-audience-national-theatre-live/) **Published:** May 31, 2026 **Author:** Sebastien Skubala **Content:** ★★★★½ ![The Scoop The Audience film Helen Mirren National Theatre Live](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-28-at-15224-pm-1004x628.png "The Audience film Helen Mirren National Theatre Live • The Scoop")Prime Minister…The Queen is waiting. Since 2009, National Theatre Live has screened world-class filmed productions across the globe. Australian audiences can experience Dame Helen Mirren at the height of her powers when the celebrated 2013 production of *The Audience* makes its return to the screen. Each week at approximately 6:30pm on a Tuesday evening, Queen Elizabeth II had a private meeting with her Prime Minister. These meetings were known as The Audience. In 2013, at the age of 87, the Queen had reigned for six decades. From Churchill to Thatcher to Cameron, Her Majesty witnessed the tenure of twelve Prime Ministers: her own “dirty dozen.” *The Audience* by Peter Morgan imagines key vignettes from these private weekly meetings. Jumping back and forth through time, we witness some of the defining moments of Queen Elizabeth’s reign. It is a gripping watch. Together with director Stephen Daldry, Morgan unlocks a work that is almost symphonic. The play rises and falls with a musicality, its momentum building steadily as the cast showcases an extraordinary depth of control over their craft and instrument. ![The Scoop The Audience film Helen Mirren National Theatre Live](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-28-at-15212-pm-995x628.png "The Audience film Helen Mirren National Theatre Live • The Scoop")The Audience imagines key vignettes from her private weekly meetings with the Prime Minister Photo Johan Persson At the beginning of each major scene, the Equerry, Geoffrey Beevers, breaks the fourth wall to describe the furniture and provide key historical context. He lends an almost reverential quality to each chair and object, encouraging the audience to view the set and props as artefacts imbued with history and meaning. Helen Mirren is no stranger to the Crown. A celebrated actor, she is among the select few recipients of the Triple Crown of Acting, having won an Oscar, Tony, and Emmy. Her performance in *The Audience* earned her both Tony and Olivier Awards, while her portrayal of Queen Elizabeth II in Peter Morgan’s 2006 film *The Queen* secured her a Best Actress Academy Award. Mirren is electrifying, shedding decades like people shed tears. Audible claps can be heard as her wig transforms from grey to brown, with the majority of costume changes happening on stage before our eyes. To anyone worried that the camera could lose the intimacy of the theatrical setting, fear not. Sometimes it feels as if we are onstage with the performers. A tense jaw, a sigh, and a subtle gesture are all captured in picture-perfect quality by Robin Lough’s direction for the screen. ![The Scoop The Audience film Helen Mirren National Theatre Live](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-28-at-15238-pm-1007x628.png "The Audience film Helen Mirren National Theatre Live • The Scoop")Every Prime Minister has a scene with some holding court more than once Photo by Johan PerssonEvery Prime Minister has a scene, with some holding court more than once. A particularly noteworthy omission is that of Tony Blair, who is mentioned but never seen. In the Broadway version of the production, a new scene with Blair was added due to public demand. Standout performances come from Richard McCabe, whose Harold Wilson exudes warmth and charisma, and Nell Williams, who brings a touching vulnerability to a young Elizabeth. While some familiarity with British politics may help uncover the play’s subtler nuances, a quick Google search is more than enough to identify each Prime Minister for those less familiar. Before the hit series *The Crown*, there was *The Audience*. Here, we are treated to two queens: the Queen of England and the Queen of acting, Helen Mirren. Theatre is often like a fleeting breeze, and this filmed production offers a rare opportunity to catch lightning in a bottle. If it is screening near you, seize the opportunity. Productions this good rarely come around twice. ***The Audience* runs in select cinemas nationally from Thursday 4 June 2026.** Tickets and cinemas info: <https://sharmillfilms.com.au/ta/e/> Socials: <https://www.instagram.com/sharmillfilms/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Images by Johan Persson. Watch the trailer below: **Film details:** Title: The Audience Director: Stephen Daldry Cast: Helen Mirren, Richard McCabe, Paul Ritter, Haydn Gwynne, Nell Williams Country of Origin: UK Duration: 148 mins Rating: M **Categories:** Film --- ### [Announcing 2026 Hurtigruten Nordic Film Festival First Highlights](https://thescoop.au/announcing-2026-hurtigruten-nordic-film-festival-first-highlights/) **Published:** May 31, 2026 **Author:** Newsroom **Content:** ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Doctor-Glas_1-1119x628.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")The 2026 **Hurtigruten Nordic Film Festival,** presented by Palace, offers a cosy refuge from the depths of winter this July to August at Palace, Palace Nova and Luna Palace Cinemas. Featuring the best new cinema from the Nordic region – Denmark, Finland, Iceland, Norway and Sweden – this year’s sensational line up features a host of award-winners, box office hits and new gems from beloved actors and filmmakers, and brilliant newcomers. Palace is delighted to announce five of the first highlights ahead of the full programme being unveiled in mid June. The first Special Presentation is Icelandic comedy/drama **THE LOVE THAT REMAINS** (*Ástin sem eftir er)* from director Hlynur Pálmason (*A White, White Day, Godland*). This brilliant and bittersweet film tenderly captures a year in the life of a family of five, as the parents navigate their separation, exploring love, family and shared memories. It also features a ‘Palm Dog’ winning performance from Pálmason’s own dog Panda, an Icelandic sheep dog. ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/05/The-Love-That-Remains_1-1200x503.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")The Love That Remains is the first Special Presentation filmRenate Reinsve (*Sentimental Value, Fjord*) stars in festival Special Presentation **BUTTERFLY**, an intriguing drama about a pair of estranged sisters who must reunite after their mother’s sudden passing. The sisters travel to Gran Canaria, where they grew up at a resort, following their mother’s mysterious death at an esoteric retreat in the mountains, plunging them headfirst into a journey of revelations about their childhood and the hidden heart of the tourist island. Winner of the Dragon Award for Best Nordic Film at the 2026 Göteborg Film Festival, **THE LAST RESORT** *(Paradis),* is an absorbing drama that follows a Danish family on holiday at an all-inclusive resort. Anticipating a well-deserved and restful break, reality hits hard when they witness boat loads of refugees hitting the shores. Testing their moral compass, the family members are forced to question how much they should risk to help a person in need. ![The Scoop 2026 Hurtigruten Nordic Film Festival](https://thescoop.au/wp-content/uploads/2026/05/The-Kidnapping-of-a-President_1-942x628.jpg "2026 Hurtigruten Nordic Film Festival • The Scoop")The Kidnapping of a President is a blackly comic drama**THE KIDNAPPING OF A PRESIDENT** *(Presidentin Kyyditys)* is a blackly comic drama based on a bizarre true story that follows the chaos that ensues when a Finnish group of far-right officers drunkenly decide to start a revolution in 1930. Lieutenant Colonel Eero Kuussaari (Jussi Vatanen, *Fallen Leaves*) impulsively orders the kidnapping of retired former president Kaarlo Juho Ståhlberg (Pertti Sveholm, *100 Litres of Gold*), but then doesn’t recall his orders the following day, having left the escapade to a group of young, eager and inexperienced soldiers. Sweden’s stylish psychological thriller **DOCTOR GLAS** *(Doktor Glas)* brings a bold and fresh new perspective to Hjalmar Söderberg’s acclaimed 1905 novel. Desire, guilt and obsession are portrayed through the eyes of Gabriel Glas (played by Isac Calmroth, also one of the co-writers), a reclusive young doctor whose fascination with fashion icon Helga Gregorius spirals into madness. **The 2026 Hurtigruten Nordic Film Festival runs from 9 July, with dates varying in each city. The full programme will be announced and tickets will be on sale later in June.** See full city dates and venues below. Website: <https://nordicfilmfestival.com.au/> Socials: <https://www.instagram.com/nordicfilmfest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: still from *Doctor Glas* 2026 Festival Dates and Venues by City: **Canberra:** 9 July – 2 August, Palace Electric **Melbourne:** 10 July – 2 August, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino, Pentridge Cinema and The Astor Theatre **Ballarat:** 10 July – 2 August, Palace Regent Cinema **Brisbane:** 22 July – 16 August, Palace James St**,** Palace Barracks **Adelaide:** 22 July – 16 August, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Sydney:** 23 July – 16 August, Palace Norton St, Palace Moore Park and Palace Central **Perth:** 23 July – 16 August, Luna Leederville, Luna on SX and Palace Raine Square **Byron Bay and Ballina:** 23 July – 16 August, Palace Byron Bay, Ballina Fair Cinemas **Categories:** News --- ### [Review: Eurydice Sees Love Echo Beyond Death](https://thescoop.au/review-eurydice-sees-love-echo-beyond-death/) **Published:** May 31, 2026 **Author:** Jack Bengough **Content:** ★★★★☆ ![The Scoop Eurydice Melbourne Shakespeare Company fortyfivedownstairs](https://thescoop.au/wp-content/uploads/2026/05/IMG_2393-941x628.jpeg "Eurydice Melbourne Shakespeare Company fortyfivedownstairs • The Scoop")The Melbourne Shakespeare Company continues its 2026 season with a production of *Eurydice* by Sarah Ruhl. Directed by Gary Abrahams, *Eurydice* is a compelling reinterpretation of the Greek myth thanks to its beautiful production design, impressive use of live music and stellar performances. In the original myth, Eurydice, as a character, exists as little more than an object of Orpheus’ desire. In this contemporary retelling, however, she is thrust into the central role. Sarah Ruhl’s reinterpretation of the tale is a fantastic meditation on death and grief. It adds additional layers to the myth without abandoning the original foundations. In the titular role, Aisha Aidara treats the audience to a performance that complements these layers. Her Eurydice is both naive and curious, confident and uncertain, joyous and sorrowful. Joining her in the role of Orpheus is Tomàš Kantor, who brings their musical skills into the mix to make a big impact on stage. No small feat, given their journey into the underworld is more of a side plot. The leading duo are backed by a strong supporting cast. John Voce’s performance as Eurydice’s father is steeped in grief and tragedy. His relationship with Eurydice becomes the true emotional core of the show. ![The Scoop Eurydice Melbourne Shakespeare Company fortyfivedownstairs](https://thescoop.au/wp-content/uploads/2026/05/IMG_2390-941x628.jpeg "Eurydice Melbourne Shakespeare Company fortyfivedownstairs • The Scoop")Eurydice is thrust into the central role in this contemporary retelling Photo by Nick Mick PicsDevon Braithwaite stuns as the King of the Underworld, with a performance that manages to walk the very delicate tightrope of being frightening and funny. Rounding out the cast are Joshua Gordon, Fran Sweeney-Nash and Miles Paras as Big Stone, Little Stone and Loud Stone, respectively. This trio becomes an essential part of the production’s depiction of the dark and depressing underworld, bringing a lot of levity. The musical elements add much to the production without drawing away from the central narrative. Kantor’s skills behind the piano are on full display, bringing delightful melodies. They receive additional support from the Stone trio, who throw their own instrumental skills into the mix. Even more impressive are the moments where these talented performers make their characters perform badly. Orpheus does this in both grief-stricken and drunken moments. So too do the Stones when they never quite manage to speak in synch. The performers are uplifted by excellent work from the team of production designers behind the scenes. The set, designed by Nathan Burmeister, is incredibly versatile. A small apartment bedroom takes centre stage, flanked by spaces forming street-level alleyways and the dank and dirty underworld. During the show, large plastic sheets are introduced to the space, which primarily exist as a screen separating Eurydice and Orpheus, with one in the land of the living and the other in the land of the dead. It is a very effective and memorable visual effect. ![The Scoop Eurydice Melbourne Shakespeare Company fortyfivedownstairs](https://thescoop.au/wp-content/uploads/2026/05/IMG_2382-942x628.jpeg "Eurydice Melbourne Shakespeare Company fortyfivedownstairs • The Scoop")The set design is incredibly versatile Photo by Nick Mick PicsDue to the nature of this space, there are a few sightline issues that became apparent. Audience members towards stage left would not have been able to see any of the brilliant shadow play occurring on the apartment’s wardrobe doors. Pillars native to the fortyfivedownstairs space also regularly blocked actors’ faces, regardless of where an audience member was seated. Most of the production’s design elements are clearly handmade by passionate artists, so it became more apparent when something not so handmade appeared. In a pivotal scene, the television in the corner of the room lights up, showing Eurydice running down a staircase before she trips and begins to fall. The background of the shot indicates this was filmed in the foyer of the venue. It’s strange, then, that when the camera sharply pans down to follow Eurydice’s fall, the continuing stairwell spirals down multiple levels into darkness. This footage then loops repeatedly. The uncanny appearance of the descending staircase indicates that this footage may have been achieved using some sort of generative AI tool. As more information comes out about the impact on both the environment and the livelihoods of artists, such practices are becoming increasingly controversial. Putting those pain points to the side, *Eurydice* remains a compelling reimagining of the classic Greek myth. With beautifully integrated live music, imaginative set design and compelling performances, Melbourne Shakespeare Company has crafted an impressive and captivating production. It is impossible not to recommend it. ***Eurydice* is presented by Melbourne Shakespeare Company and runs to 14 June at fortyfivedownstairs. 45 Flinders Lane Melbourne Vic 3000.** Tickets: <https://fortyfivedownstairs.com/event/eurydice/> Website: <https://www.melbourneshakespeare.com/eurydice> Socials: <https://www.instagram.com/melbourneshakespeare/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Nick Mick Pics **Categories:** Melbourne, Theatre --- ### [Review: Funny Girl Shines With The Star Quality Of Fanny Brice](https://thescoop.au/review-funny-girl-shines-with-the-star-quality-of-fanny-brice/) **Published:** May 30, 2026 **Author:** Bethany Eloise **Content:** ★★★★★ ![The Scoop Funny Girl G & S Society of South Australia](https://thescoop.au/wp-content/uploads/2026/05/Funny-Girl_Reviewer-Image-1_Credit-Daniel-Salmond-941x628.jpg "Funny Girl G & S Society of South Australia • The Scoop")I will start simply. You must see this production. It is truly exceptional in every way. In the words of Fanny Brice, she is “the greatest star,” and this production shines with that star quality. *Funny Girl* is forever linked to the icon that is Barbra Streisand. Featuring some of musical theatre’s most beloved songs, *Don’t Rain On My Parade* and *People*. It is no small feat to stage, yet the G & S Society of South Australia have once again delivered. The main attraction revolves around the bold artistic decision to cast three women in the lead role. Questions naturally arise. We are curious. But this is not the first production to do so. Director Amanda Rowe shares that she was inspired by a production by Mitchell Butel, which featured 12 performers sharing the role of Fanny. We are reminded that art is an exploration of humanity. What better way to experience our protagonist than through multiple lenses? From the moment the curtain rises, we see the symmetry of Rowe’s masterful direction. The bond between the actresses is palpable, as are the intricacies they have developed to unify their individual performances. Each nurtures a sensitivity for their chapter of Fanny Brice’s story. While maintaining their unique vocal tone, accent and energy, there is an electricity when their voices blend in unison. They appear mysteriously as the inner thoughts and memories of Brice throughout her life. An audible gasp of joy rippled through the audience as we gazed upon the beautiful set design by David Lampard. The band, passionately conducted by Dylan Rufus, sits on stage in full big-band glory, framed by a wall of draped satin curtain. ![The Scoop Funny Girl G & S Society of South Australia](https://thescoop.au/wp-content/uploads/2026/05/Funny-Girl_Reviewer-Image-2_Credit-Daniel-Salmond-941x628.jpg "Funny Girl G & S Society of South Australia • The Scoop")The main attraction revolves around the bold artistic decision to cast three women in the lead Photo by Daniel Salmond A visual highlight is the marquee border of lights framing the vaudeville stage within the stage. Michael Bentley’s lighting design creates the atmosphere through the gentle smoke machine mist. I enjoyed the simplicity of flooding the curtains with coloured washes. Set pieces are seamlessly moved throughout with choreography and acting flair from the strong ensemble cast. These transitions are executed with creativity and polish. The female ensemble has many opportunities to display their dance skills under the expert choreography of Kerry-Lynne Hauber. The tap number in matching satin green army suits is a standout moment. Costumes managed and made by Helen Snoswell and Rosie Ferguson capture the elegance and fun of the early 1900s. Fur lapels, bloomers and feathered follies headdresses are among the delightful features. Olivia Sutton begins our journey as a bright-eyed, optimistic Fanny, bursting with youthful energy. Her comic timing and strong belt soar in *I’m The Greatest Star*. Her stage presence is undeniable. My only disappointment was how soon she was whisked away mid-number. The audience felt cheated that we didn’t have her for longer. Sarah Hamilton then dances into Fanny’s shoes as the talented up-and-coming starlet. She seems born to play this role, balancing comedy, sincerity and powerhouse vocals through her showstopping numbers. No one performs the chicken dance quite like Sarah Hamilton! On a more solemn note, *People* is performed with nuanced perfection. Her romantic counterpart, Daniel Hamilton, matches her strength, allowing audiences to bask in their authentic chemistry. He convincingly takes on the role of charming, affluent businessman and troubled gambler, Nick Arnstein. We admire his attractive, confident air and jump as his temper turns. ![The Scoop Man in a black tuxedo speaks with a woman in a turquoise gown on a theater stage, blue draped backdrop behind them.](https://thescoop.au/wp-content/uploads/2026/05/Funny-Girl-942x628.jpg "Funny Girl G & S Society of South Australia • The Scoop")The G S Society of South Australia has achieved an impressive standard of excellence Photo by Daniel SalmondFinally, Sophie Stokes brings our story to a close. She commands the stage with confidence as the maturing Mrs Arnstein. Her continuation of the established role is effortless as she maintains the humour while carrying the weight of life experience. The culmination of the love story was a deeply moving exchange between Stokes and Hamilton. Her rendition of *The Music That Makes Me Dance* in her final moments is breathtaking. Thomas Sheldon as Eddie Ryan offers a loveable sidekick to Fanny Brice. He’s a triple threat, delivering acting, singing and dance in equal measure. His tap solo during a scene change is particularly enjoyable. As Fanny grows, we see her loyal friend journey alongside her. He does not age in the same way, which left me with the quiet sense that she still sees him as the “kid” she once knew. From the moment she opens her mouth, Carolyn Adams demonstrates that she possesses the power to steal the show as Mrs Brice. The role exudes heart and personality in bucket loads, allowing for hilarious musical moments with Sheldon and Rayner. Wendy Rayner and David Kilsby provide strong supporting performances, consistently landing each comedic moment with precision. Notably, Danii Zappia shares stunning classical vocals as the Ziegfeld tenor. The G & S Society of South Australia has achieved an impressive standard of excellence with *Funny Girl*. The Arts Theatre stage overflowed with love and talent. I left with a full heart, in awe of the brilliance that I had experienced. It was so good, I think I will see it again. ***Funny Girl* is presented by The G & S Society of South Australia and runs to 6 June. Arts Theatre, 53 Angas Street Adelaide SA 5000.** Tickets: <https://www.trybooking.com/events/landing/1500638> Website: <https://www.gandssa.com.au/funny-girl> Socials: <https://www.instagram.com/gandssa/> [Read More of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Hero image photo credit: Daniel Salmond **Categories:** Adelaide, Musical Theatre --- ### [Review: How To Succeed In Business Pulteney Grammar](https://thescoop.au/review-how-to-succeed-in-business-pulteney-grammar/) **Published:** May 30, 2026 **Author:** Genevieve Hudson **Content:** ![The Scoop How to Succeed in Business Without Really Trying](https://thescoop.au/wp-content/uploads/2026/05/19-942x628.jpg "How to Succeed in Business Without Really Trying • The Scoop")Pulteney Grammar School’s production of *How to Succeed in Business Without Really Trying* opened at the Future Events Centre in Paradise with a spectacle before the curtain had even risen. The foyer was filled with branded snack cups, a videographer, and a balloon-festooned photo backdrop complete with props, setting the tone for a production determined to make an event of the evening. That same sense of scale carries into the auditorium, where towering multimedia screens glow with bright 1960s-inspired colours, and the stage bursts to life with coiffed hairstyles and boldly patterned costumes. Taking on directing, musical staging, costume design and set design, Jo Casson has assembled a visually ambitious production powered by a massive cast and crew. Written in 1961 by Frank Loesser and based on the 1952 self-help book by Shepherd Mead, *How to Succeed in Business Without Really Trying* follows ambitious window washer J. Pierrepont Finch as he uses a series of dubious lessons from a career guide to climb the corporate ladder. As Finch navigates office politics, workplace rivalries and romance, the musical pokes fun at the culture of big business and the pursuit of success at any cost. The variation of the large set, such as elevators, and smaller pieces, such as desk chairs, allows for an interesting flow of movement and, for the most part, the audience’s eye was always drawn away from surprise entrances. The projected nature of some of the background, however, had an oddly artificial quality that clashed with the otherwise cohesive design. ![The Scoop How To Succeed In Business Without Really Trying](https://thescoop.au/wp-content/uploads/2026/05/18-1200x624.jpg "How To Succeed In Business Without Really Trying • The Scoop")The ensemble incorporates sharp choreography and clever musical direction Photo by Vini PaivaWhile it is certainly an ensemble cast, there are some standout performances. Patrick Longden as J. Pierrepont Finch displays consistency in clear vocals, facial expressions, and athletic energy that enable the audience to remain engaged with the story. Keira Wubbolts as Hedy La Rue is a fun and chaotic contrast to many of the more serious characters, and cheekily takes command of the stage. Billy Rowan is a stable presence as long-suffering Bratt, who always appears the most rational amongst those supposedly succeeding in business. They are supported by several ensemble groups and characters that incorporate the sharp choreography from Rosanna Dobre and clever musical direction from Jonathon Rice. The band underneath the stage is joyful to listen to, with each of the instruments having its moment to be showcased in various songs and interludes. ![The Scoop How To Succeed In Business Without Really Trying](https://thescoop.au/wp-content/uploads/2026/05/8-1070x628.jpg "How To Succeed In Business Without Really Trying • The Scoop")The commitment and enthusiasm from the team is undeniable Photo by Vini Paiva*How to Succeed in Business Without Really Trying* remains a classic of the ‘golden age’ musical canon, though this production highlights some of the challenges contemporary performers face when engaging with material written for a different era. The self-help book chapters provide some genuinely humorous moments, but they are often overshadowed by the two-dimensional and unlikeable characters who populate the musical. Much of the satire no longer lands as sharply for a contemporary audience. Particularly with a large female chorus, some of the musical’s outdated attitudes towards women feel more difficult to reconcile, and the satirical framing does not always fully bridge that gap. Nevertheless, the commitment and enthusiasm of the student cast, crew, and creative team remain undeniable. Whatever reservations may arise about the material, there is no questioning the immense effort, talent, and energy poured into bringing this large-scale production to life. Pulteney Grammar School has assembled a confident and ambitious showcase for its young performers, and the audience’s warm response throughout the evening reflected just how much passion was shared on stage. ***How To Succeed In Business Without Really Trying* is presented by Pulteney Grammar School. It runs to 30 May at Futures Theatre, 57 Darley Road Paradise SA 5076.** Tickets: <https://events.humanitix.com/how-to-succeed> Socials: <https://www.instagram.com/pulteneymusical/> Read more of our Musical Theatre Reviews! Photo credits: Vini Paiva **Categories:** Adelaide, Musical Theatre --- ### [Win Tickets To Primavera In Cinemas From 11 June](https://thescoop.au/win-tickets-to-primavera-in-cinemas-from-11-june/) **Published:** May 30, 2026 **Author:** Newsroom **Content:** ![The Scoop PRIMAVERA Film Vivaldi](https://thescoop.au/wp-content/uploads/2026/05/PRIMAVERA_Banner_1556x882_June11-1108x628.jpg "PRIMAVERA Film Vivaldi • The Scoop")Rialto Distribution is excited to announce that the lush, historical drama **PRIMAVERA** is coming to select cinemas from **11 June** **2026**. Set against the breathtaking beauty of 18th century Venice, PRIMAVERA is inspired by the life and music of Antonio Vivaldi. At the famed Ospedale della Pietà orphanage, gifted young women are trained to perform for Venetian high society while living under the strict confines of the era. When brilliant young violinist Cecilia forms a powerful artistic connection with the charismatic composer Antonio Vivaldi, their collaboration awakens in her a longing for freedom, self-determination and a life beyond the orphanage walls. Directed by acclaimed opera and theatre director Damiano Michieletto in his feature film debut, PRIMAVERA is a visually sumptuous and emotionally stirring story about artistic passion, female empowerment and the transformative power of music. ![The Scoop PRIMAVERA film Rialto Distribution](https://thescoop.au/wp-content/uploads/2026/05/PRIMAVERA-1-942x628.jpg "PRIMAVERA film Rialto Distribution • The Scoop")PRIMAVERA opens in select cinemas from 11 JuneThe Scoop is **giving away five, in-season double passes** **to the film**, thanks to Rialto Distribution! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ and ‘your city name‘ under the post. The tickets are valid at select cinemas screening PRIMAVERA (terms and conditions can be found on the tickets). **PRIMAVERA opens on Thursday 11 June at participating cinemas.** Website: <https://rialtodistribution.com/film/primavera/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: Primavera Director: Damiano Michieletto Cast: Michele Riondino, Tecla Insolia, Fabrizia Sacchi, Andrea Pennacchi Country of Origin: Italy Duration: 110 mins Rating: M **Categories:** competition, News --- ### [Review: The Almighty Sometimes Is A Brilliant Study Of Love & Despair](https://thescoop.au/review-the-almighty-sometimes-is-a-brilliant-study-of-love-despair/) **Published:** May 30, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop The Almighty Sometimes Independent Theatre](https://thescoop.au/wp-content/uploads/2026/05/TheAlmightySometimes-47-942x628.jpeg "The Almighty Sometimes Independent Theatre • The Scoop")In Eels’ *Climbing To The Moon*, Mark Oliver Everett sings of the self becoming blurred: where one person ends, and what others are making of them begins. It could almost be an unofficial epigraph for *The Almighty Sometimes,* presented by Independent Theatre. Kendall Feaver’s play lives inside that same terrifying uncertainty. Psychiatric medication can be life-saving. It can also be identity-altering. If chemicals change the self, where does the “real” person live? That question could become abstract very quickly. Feaver does not let it. Her award-winning debut play was first performed at Manchester’s Royal Exchange Theatre in 2018 after receiving a 2015 Bruntwood Prize Judges’ Award. It later won Best New Play at the 2018 UK Theatre Awards and both the NSW and Victorian Premier’s Literary Awards in 2019. Anna has been medicated since childhood. Now legally an adult, she wants to know who she is without the regime that has kept her stable, safe, diminished, protected, contained, alive. The play shows us four versions of reality. There is Anna’s lived reality: frightening, brilliant, wounded and alive with existential fury. There is Renee’s reality as mother and carer, built from vigilance, guilt and love. There is Vivienne’s reality as psychiatrist, shaped by training, risk management and the best available knowledge. Then there is Oliver’s reality, arriving as romance before discovering that love can become witness, labour and helplessness. Feaver’s great achievement is that she does not turn any of them into an argument with legs. Everyone is right. Everyone is wrong. Everyone is afraid. ![The Scoop The Almighty Sometimes Independent Theatre](https://thescoop.au/wp-content/uploads/2026/05/Almighty-2-942x628.jpg "The Almighty Sometimes Independent Theatre • The Scoop")Mia Livingston Pearce is extraordinary as Anna Photo by Nik LongThat is why the play feels so postmodern without ever becoming chilly. What is truth? Is Anna mentally ill? Is she experiencing withdrawal? Is she having an understandable response to grief, mortality and the human condition? Is society ill? Is medicine overreaching? Is family love sometimes indistinguishable from control? The play makes you hold all these questions without giving you a place to rest. Rob Croser directs with unusual authority. His program notes reveal his background in child protection. This production understands intervention as a moral wound. Sometimes it is necessary. Sometimes it saves a life. Sometimes it becomes another form of harm. The line between care and coercion is thin enough to cut everyone. The set, designed by Croser and David Roach, is simple but eloquent. Green walls enclose a domestic and clinical world. On the right sits the home kitchen. On the left, the psychiatric office: two chairs, no hiding place. The middle space becomes hospital ward, hallway or Oliver’s porch. Green is Anna’s favourite colour. The house seems arranged around her need, her identity, her fragility. It is loving. It is suffocating. It is also Renee’s sacrifice made visible. Luke Bartholomew’s lighting catches Anna’s shifts without turning them into spectacle. Sometimes she is washed in blue. Sometimes the stage is cut by stark white light. Between scenes, music builds pressure. The frenetic piano of Radiohead’s *Bloom* feels especially apt: nervous system as weather pattern, thought as swarm. ![The Scoop The Almighty Sometimes Independent Theatre](https://thescoop.au/wp-content/uploads/2026/05/TheAlmightySometimes-10-942x628.jpeg "The Almighty Sometimes Independent Theatre • The Scoop")Lyn Wilson brings tremendous depth to Renee Photo by Nik LongMia Livingston-Pearce is extraordinary as Anna. She makes her brilliant, fascinating and terrifying, sometimes within the same breath. Anna’s words wound and entrance. Livingston-Pearce understands that intelligence can be both gift and weapon. She lets us see the mind racing ahead of the body, then doubling back to attack whatever love is closest. Lyn Wilson brings tremendous depth to Renee. Wilson has been part of Independent Theatre for much of its history, and that experience shows. Her Renee is not a martyr. She is funnier, sharper and more exhausted than that. She has loved her daughter through years of dread. That love has cost her, but she cannot imagine not paying. Naomi Voortman gives Vivienne the cool clinical voice of reason. For some viewers, she may be infuriating. That is useful. Vivienne represents a mental health system trying to act responsibly with incomplete tools. Neuroscience has made astonishing gains, including the 2024 mapping of the adult fruit fly brain, with around 139,000 neurons and more than 50 million connections. The human brain remains vastly harder to understand. That gap haunts every confident diagnosis. Johnathon Montgomery is deeply affecting as Oliver. His face flushes pink with feeling. He seems almost unable to keep emotion outside his skin. Oliver begins as possibility: romance, sex, youth, ordinary joy. Then he discovers the gravitational field around Anna. Montgomery lets us watch enchantment turn into fear without losing tenderness. The play also brushes against the social model of disability without naming it. To what extent is Anna ill? To what extent has the world failed to make space for grief, difference, brilliance and distress? ![The Scoop The Almighty Sometimes Independent Theatre](https://thescoop.au/wp-content/uploads/2026/05/Almighty-4-942x628.jpg "The Almighty Sometimes Independent Theatre • The Scoop")The play makes you hold questions without giving you a place to rest Photo by Nik LongOnce, communities had rituals for death. Faith offered an afterlife. Rites of passage gave young people symbolic thresholds to cross. Now, a child loses a parent and is expected to become functional again. If she cannot, there is a form, a diagnosis, a prescription. That is not an anti-medication argument. The play is too humane for that. It is a plea for humility. Jon Jureidini’s program essay, “Let Children Cry”, argues that young people need support to survive strong feelings, not always immediate attempts to erase them. There is dignity of risk in growing up. Children must cry, fail, rage, grieve and sometimes fall apart. Yet the terrifying question remains: when does non-intervention become abandonment? When does intervention become chemical restraint? The production also understands the old fear around genius and madness. Anna’s writing may be brilliant because of her sensitivity, her illness, her imagination, or all three. The line between visionary thought and psychosis is not always neat. Imagining worlds that do not yet exist is how humans crawled from the jungle to the metropolis. It is also how a mind can become unbearable to itself. The mental health crisis may be one of the severe challenges of our time. Or perhaps existential and philosophical despair has always been humanity’s central wound. *The Almighty Sometimes* does not presume to solve either. Its message is smaller and harder. Keep loving each other inside the despair. That may not be enough. It may be all we have. ***The Almighty Sometimes* is presented by Independent Theatre and runs to 6 June at Star Theatres. 145 Sir Donald Bradman Drive Hilton SA 5033.** Tickets: <https://www.trybooking.com/events/landing/1567428> Website: <https://www.independenttheatre.org.au/2026-season/2026/4/7/the-almighty-sometimes> Socials: <https://www.instagram.com/independenttheatreinc/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Nik Long **Categories:** Adelaide, Theatre --- ### [Review: Continuity Finds Comedy At The End Of The World](https://thescoop.au/review-continuity-finds-comedy-at-the-end-of-the-world/) **Published:** May 29, 2026 **Author:** Ronson Blake **Content:** ★★★☆☆ ![The Scoop Continuity New Theatre](https://thescoop.au/wp-content/uploads/2026/05/NEW_Continuity_0T8A5057RS-941x628.jpg "Continuity New Theatre • The Scoop")On an unseasonably warm, wet, almost-winter’s night, we are appropriately at New Theatre’s production of writer Bess Wohl’s much-performed play *Continuity*. Directed with verve by Sahn Millington, it’s light and frothy and funny but with a sober message. Unlike the artificial world of a movie set, where continuity is a form of control, of fixing things in place, in the real world, continuity is survival requiring continual adaptation. It’s a message that unfortunately tends to get a little lost in Wohl’s minestrone soup of ideas, some of which cohere and others…not so much. But we’re here for the chaos, we’re here for the fun, and this production delivers that. We’re on a film set watching another take of a pivotal life-or-death encounter in an Arctic eco-disaster movie. Where better to produce this film about the end of the world than… Melbourne? Not quite. It’s New Mexico because…tax breaks. Blisteringly hot. The film has been rewritten 17 times so that it no longer resembles what it once was. The only thing melting faster than the fake ice is the sanity of cast and crew as they struggle to complete the day’s shoot before they lose the light. Not quite the end of the world, but *Geostorm* adjacent. Everyone on set is caught up in their own problems, epitomised by prima-donna Nicole (Jessica Joseph-McDermott). Fresh out of rehab but maintaining a lingering love of, er, snow, she insists on rewrites and special treatment. ![The Scoop Continuity New Theatre](https://thescoop.au/wp-content/uploads/2026/05/NEW_Continuity_091A1128RS-942x628.jpg "Continuity New Theatre • The Scoop")Director Sahn Millington has an excellent handle on proceedings Photo by Bob SearyHer co-star Jake (Andrew McLaughlin) is beginning to believe his eco-terrorist character George might actually be on to something – killing millions for the (*Hot Fuzz* vibes) “greater good” of making climate change actionably real to people. Director Maria (Michelle Robin Anderson) won Sundance, and this is her chance with a big budget, though she is increasingly anxious as each take is worse than the previous. Sahn Millington has an excellent handle on proceedings, keeping the pace going and skilfully blocking a sizeable onstage cast. There are a lot of moving parts, and opening night nerves had everything feeling a little rushed and shouty. Similarly, the acting was a little uneven. However, with a few more performances, it will settle, and as everyone relaxes into their roles, the comedic elements will be sharper. The more established actors found their rhythm and consistency quickly. Nick Curnow is excellent as David – flawless accent and impeccable timing. He has good chemistry with Anderson, whose frustration as Maria is nicely judged. Rarely has ‘sciencey’ exposition sounded funnier than in the hands of Susan Jordan, which it has to, because her character Laurie is absurd. Joseph-McDermott provides stereotypical Nicole with needed depth and nuance. As PA, Julie Quinn reveals good visual comedy skills, as does Sarah Nader dying (and dying again) as Dr Anna Gerber. McLaughlin, wobbly accent notwithstanding, has a dynamic presence as a deep-thinking, but also slightly dim, Gen Z-er. ![The Scoop Continuity New Theatre](https://thescoop.au/wp-content/uploads/2026/05/NEW_Continuity_0T8A4018RS-942x628.jpg "Continuity New Theatre • The Scoop")Continuity argues that good science doesnt usually make for good art Photo by Bob SearyThe simple ‘set within a set’ by David Marshall-Martin comprises a sheer curtain suspended from a semi-circular rail, some rock props and a ‘snow-blower’. A Styrofoam rock’s fragility becomes (surprisingly) a funny recurring joke. The curtain enhances some cool lighting effects from Julian Dunne, and Chloe Callow’s sound design effectively conveys the feel of a film set. Leaving aside its light satire of Hollywood filmmaking, I do question whether this play is preaching to the converted. Because, unless you’ve been living under a rock, and to be fair, a sizable proportion of the Australian political class still does, we know the science, we know the potential outcomes. Logical inconsistencies in the script don’t help. In particular, the contrary behaviour of the main characters who simultaneously have a deep interest in climate change and are seemingly gobsmacked by the possibility that humanity is already doomed, because of climate change. Don’t they read? *Continuity* argues that good science doesn’t usually make for good art. Good science is an accretion of facts leading to a sober conclusion, not a melodrama. Of course, this makes it difficult for writers to dramatise human civilisation ‘losing the light,’ as it were. The final act also shows us how much easier it is to empathise with an individual confronting a personal end-of-days than a creeping catastrophe that threatens entire societies. We simply have to remember that societies are merely collections of people just like ourselves. Coming in at a tight 80 minutes, *Continuity* is a solid inclusion in New Theatre’s 2026 season. Funny and well performed, it’s worth a trip down King Street, raining or not. ***Continuity* runs to 20 June** **at New Theatre,** **542 King Street Newtown NSW 2081.** Tickets: <https://aunewtheatre.sales.ticketsearch.com/sales/salesevent/156911> Website: <https://newtheatre.org.au/continuity/> Socials: <https://www.instagram.com/newtheatresydney/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Bob Seary **Categories:** Sydney, Theatre --- ### [Review: Edward Albee's At Home At The Zoo](https://thescoop.au/review-edward-albees-at-home-at-the-zoo/) **Published:** May 29, 2026 **Author:** Marie Thouvenel **Content:** ![The Scoop Edward Albee's At Home At The Zoo Flight Path Theatre](https://thescoop.au/wp-content/uploads/2026/05/3-Anna-and-Peter-act-1--942x628.jpg "Edward Albee's At Home At The Zoo Flight Path Theatre • The Scoop")A second act, 45 years later. Edward Albee’s first play, *The Zoo Story*, featured two strangers, Peter and Jerry, in a one-act story set in 1959. In 2004, the American playwright came back with *At Home At The Zoo*, which takes place right before the first one. Presented by Joe Theatre, it’s a time travel experience that can be enjoyed even if you’ve never seen *The Zoo Story*. Really contemporary in its dialogue, it features endearing characters, vintage costumes, and a real sense of proximity. But in this zoo, do not expect exotic gorillas. The animals are human. Directed by James Litchfield, the play takes place in a blacked-out setting, featuring a classic couple’s living room. Thomas Rolls’ production design features a ‘cage’ containing a couch, a table, and bottles of spirits. It’s minimalism at its finest, but it feels just enough. The audience is eager to contemplate what this weird species is talking about. ![The Scoop Edward Albee's At Home At The Zoo Flight Path Theatre](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-28-at-84517-pm-919x628.png "Edward Albee's At Home At The Zoo Flight Path Theatre • The Scoop")The best part of the play is that it feels familiar Images suppliedSpeaking of couples, the whole story revolves around two characters. Two married people who have two daughters, two birds, two microwaves. And two different needs. The play stars Helana Sawires as Ann, Will Johnston as Peter, with the explosive appearance of Evan Lever as Jerry in Act Two. “We should talk.” Three words, but not the ones you usually want to hear in a relationship. And yet, this is how the play starts. Immersed in his book, Peter doesn’t even answer his wife’s urge to speak. How relatable. This is the best part of the play: it feels familiar. Sometimes almost predictable, because we’ve all been there: talking about our relationship needs and what could be improved. ![The Scoop Edward Albee's At Home At The Zoo Flight Path Theatre](https://thescoop.au/wp-content/uploads/2026/05/4-Ann-solo-Act-1--942x628.jpeg "Edward Albee's At Home At The Zoo Flight Path Theatre • The Scoop")The set is minimalism at its finest Image suppliedWatching the play feels like listening to a real couple’s argument. You forget it’s even a play. All the clichés are there: the husband who doesn’t listen. The wife who’s a bit of a drama queen. The fear of never finding what you really need. As you enter this rollercoaster, it reminds us of our past (or present) relationship. The audience laughs. The actors talk about sex, dreams, and fears. It’s a whole whirlwind of emotions. Just like John Gray’s book *Men Are from Mars, Women Are from Venus*, Ann and Peter do not understand each other. *At Home At The Zoo* portrays classic couple fights and doubts, as Ann is struggling with not feeling desired enough by her man. As the story progresses, you can clearly see Ann and Peter want different things. Marriage doesn’t always mean perfection. You have to make it work through communication. But in the end, aren’t we all just unsatisfied animals? A good play doesn’t feel like it’s a play at all. *Edward Albee’s At Home At The Zoo* achieves this mission, as the room just went with it. ***Edward Albee’s At Home At The Zoo* is presented by Joe Theatre and runs to 30 May at Flight Path Theatre.** **9b/142 Addison Rd, Marrickville NSW 2204.** Tickets: <https://events.humanitix.com/at-home-at-the-zoo> Website: <https://www.flightpaththeatre.org/whats-on/at-home-at-the-zoo> Socials: <https://www.instagram.com/joe.theatre/> and <https://www.instagram.com/p/DYbFGdjJHGz/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Images supplied. **Categories:** Sydney, Theatre --- ### [Review: Come Alive! The Greatest Showman Is A Spectacular Circus](https://thescoop.au/review-come-alive-the-greatest-showman-is-a-spectacular-circus/) **Published:** May 29, 2026 **Author:** Caitlin Green **Content:** ★★★★★ ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2026/05/Come-Alive-5th-October-2024-by-Luke-Dyson-LD1_0996-Enhanced-NR-942x628.jpg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")*Come Alive! The Greatest Showman Circus Spectacular* is the best night out in Sydney right now. This is a five-star show for me because it does everything I want art to do. It woke up my inner child, and for an hour and a half, every person inside that tent was overcome with joy. And that feels pretty rare at the moment. From the minute you step inside the enormous tent erected at Sydney’s Entertainment Quarter, you feel transported into the world of *The Greatest Showman*. There are immersive photo opportunities, ushers fully in character, and popcorn stands. It’s got all the trimmings of an old-school circus spectacle. Making its Australian debut thanks to Showpath Entertainment, under the creative direction of Simon Hammerstein, the production reimagines the music and world of the film *The Greatest Showman*. The story follows Max (Ruby Clark), who arrives to watch her boyfriend perform his first trapeze solo before becoming swept up in a travelling circus made up of four circus families. The plot is secondary to the sensory experience of the show, but it still deserves its flowers. Reimagining a world as beloved as *The Greatest Showman* is no easy feat, and the team does a beautiful job of capturing its essence. ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2026/05/Come-Alive-5th-October-2024-by-Luke-Dyson-LD1_0330-Enhanced-NR-942x628.jpg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")Every song you want from the original is accounted for, led by a group of four UNBELIEVABLE singers. This is ensemble work at its finest and probably highest stakes. Every single performer is firing on all cylinders at all times. The acrobats get in on the dance numbers. The dancers help move set pieces. Every person onstage is completely invested in creating the magic of the world. Visually, the production is epic. Every detail of the costumes by Susan Kulkarni is so carefully considered, allowing performers to execute demanding physical feats and look unbelievable while doing it. And this tech team. Damn. I don’t know how they do it. Queuing this show would give me a hernia. It’s genuinely staggering how many elements have to go right to make this show happen. Every single moment is a miracle. Then there are the performers themselves, who are total pros. ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2026/05/image-1116x628.jpeg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")A standout for me is Alexey Glavatskyi, the tightrope walker. His act is just impossible. He defies gravity and brings so much charisma to the performance. Another memorable act is the hair suspension performed by Laura Wells. It is ethereal; my scalp burned just watching. That is just to name a few, but know that every single person involved is extraordinary. People are yearning for escape. For something magical. And *Come Alive! The Greatest Showman Circus Spectacular* somehow captures that lightning-in-a-bottle feeling. The show is dynamic, emotional and nostalgic. Seeing it on opening night was a particularly special little treat. My plus one and I had the night of our lives. Bring your kids, bring your grandma, bring your housemates and go see this show. ***COME ALIVE! The Greatest Showman Circus Spectacular* runs to 8 August 2026 at the Entertainment Quarter, Sydney ahead of a national tour. See dates below.** Tickets: <https://comealiveshow.com.au/tickets/sydney> Website: <https://comealiveshow.com.au/> Socials: <https://www.instagram.com/comealiveaus/> [Read more of our Latest Reviews](https://thescoop.au/latest/) Photo credits: Luke Dyson 2026 Australian Tour Dates: Sydney From 19 May 2026, Entertainment Quarter Perth From 28 August 2026, Ozone Reserve Adelaide From 29 October 2026, Morphettville Racecourse Brisbane From 24 Dec 2026, Royal Queensland Golf Course Melbourne From 25 Feb 2027, Caulfield Racecourse **Categories:** Circus, Musical Theatre, Sydney --- ### [Announcing The Songs of John Farnham, A Celebration Concert](https://thescoop.au/announcing-the-songs-of-john-farnham-a-celebration-concert/) **Published:** May 29, 2026 **Author:** Newsroom **Content:** ![The Scoop The Songs of John Farnham: The living Legend A Celebration Concert](https://thescoop.au/wp-content/uploads/2026/05/JFONJ2-507-942x628.jpg "The Songs of John Farnham: The living Legend A Celebration Concert • The Scoop")Minister for Sport and Major Events Steve Dimopoulos, together with producers Tony Cochrane AM and Thea Jeanes-Cochrane of **Cochrane Entertainment Collective** and Paul Dainty AO of **TEG Dainty,** today announced a once-in-a-generation Melbourne only concert event. **THE SONGS OF JOHN FARNHAM: A LIVING LEGEND THE CELEBRATION CONCERT** will take centre stage at Rod Laver Arena in **Melbourne** on **Sunday 20 September 2026.** Global and Australian stars will lead an extraordinary lineup of 120 artists and musicians on stage for a powerful night of John Farnham’s music celebrating the extraordinary legacy of the icon — while helping to raise vital funds for Head and Neck Cancer Australia. Tickets go on sale at 10am on Tuesday 2 June from [TICKETEK](https://premier.ticketek.com.au/shows/show.aspx?sh=JFARHON26). In a venue that has become synonymous with **Farnham’s remarkable career**, having set the record performing there an astonishing **94 times** to **more than 1 million people**, this one-night-only celebration concert will unite on stage an unparalleled lineup of talent, all personally invited by Farnham, to perform his extensive catalogue of songs. A host of the world’s most celebrated performers will come together on stage at Rod Laver Arena, including: **Tina Arena, Jimmy Barnes, Mahalia Barnes, Kate Ceberano, Diesel, Hans, Human Nature, Jack Jones, Richard Marx, Jessica Mauboy, Ruby Rodgers, Jon Stevens, Mitch Tambo, Keith Urban, Mark Vincent** and **Ross Wilson.** Legends **Celine Dion** and **Hugh Jackman** will perform via satellite for a spectacular celebration of one of the nation’s most beloved voices. It is a rare coming together of artists whose own careers have helped shape the soundtrack of generations. More artists will be announced soon! ![The Scoop Whispering Jack The John Farnham Musical 2026](https://thescoop.au/wp-content/uploads/2025/09/Screenshot-2025-09-15-at-85119-pm-941x628.png "Whispering Jack The John Farnham Musical 2026 • The Scoop")THE SONGS OF JOHN FARNHAM A LIVING LEGEND THE CELEBRATION CONCERT will be held in SeptemberAdding to the scale and significance of the night, Farnham’s longtime musical director **Chong Lim** will lead the **John Farnham Band**, alongside a **38-piece orchestra and choir,** delivering a rich, powerful sound befitting the catalogue that has defined generations. More than just a concert, the event will serve a greater purpose, shining a spotlight on head and neck cancer and helping to raise funds for Head and Neck Cancer Australia. **Nadia Rosin**, CEO of Head and Neck Cancer Australia, said: *“John Farnham’s impact on the Head and Neck Cancer community has been profound, by sharing his experience, he has helped raise the voices of thousands of Australians facing a similar battle and helped the broader public better understand what is at stake.* *Each year, more than 5,500 Aussies are diagnosed with a type of Head and Neck Cancer, and too many still face delays in diagnosis, with these cancers able to have a profound impact on a person’s ability to breathe, speak, eat and smile after treatment.* *We are honoured that John, and his family chose Head and Neck Cancer Australia as the charity beneficiary of this event.”* ![The Scoop THE SONGS OF JOHN FARNHAM: A LIVING LEGEND THE CELEBRATION CONCERT](https://thescoop.au/wp-content/uploads/2026/05/JohnFarnham_1920x1005_final-1200x628.jpg "THE SONGS OF JOHN FARNHAM: A LIVING LEGEND THE CELEBRATION CONCERT • The Scoop")**John Farnham** said: *“I’ve been incredibly lucky to spend my life doing what I love, and even luckier to have Australians embrace my music the way they have. This night isn’t about me. It’s about giving something back and supporting a cause that means a great deal to me.* *The fact that so many extraordinary artists from around the world have so generously agreed to be part of this night is incredibly humbling. It says far more about the spirit behind this event than it does about me.* *I hope everyone has a great night. Just enjoy the music and have a laugh too!”* John Farnham’s music has formed the soundtrack to generations of Australians. From the defiant anthem *You’re the Voice*, the emotional power of *Burn for You*, to *Age of Reason*, and *A Touch of Paradise*. Alongside classics like *Two Strong Hearts*, *Pressure Down*, and *Chain Reaction*, his songs have filled stadiums, united crowds, and become part of the fabric of Australian life. They have marked celebrations, milestones and deeply personal moments alike. These songs will be reinterpreted for one extraordinary night, a live musical anthology of a body of work that continues to unite, inspire and resonate across the world. **Celine Dion** said: *“John Farnham is truly one of the great voices of the world. I have such beautiful memories of the time we shared on stage together. His generosity, his humour, and that incredible voice that fills your heart the moment you hear it.* *It’s such an honour and a privilege for me to be included to celebrate the extraordinary legacy John has given to music. He’s an iconic artist, and he’s also a deeply special human being. I know his songs will continue to live in people’s hearts for generations to come.”* ![The Scoop THE SONGS OF JOHN FARNHAM: A LIVING LEGEND THE CELEBRATION CONCERT](https://thescoop.au/wp-content/uploads/2026/05/CelineDion-483x628.jpg "THE SONGS OF JOHN FARNHAM: A LIVING LEGEND THE CELEBRATION CONCERT • The Scoop")Celine Dion is set to perform via satelliteThis special event reflects not only his musical legacy, but also his personal journey, and his desire to give back. Each artist appearing on the night has been personally invited by Farnham, a testament to the deep respect and admiration he commands across the global music community. This is a single, unrepeatable moment in time, a one-night-only gathering of extraordinary talent to celebrate a living legend and create a piece of Australian music history, all celebrating the power of music to unite, uplift and inspire. The national significance of the event has been recognised by General the Honourable Sir Peter Cosgrove AK AC (Mil) CVO MC (Retd), former Governor-General of Australia, whose support speaks to the profound place John Farnham holds in the Australian story. **General the Honourable Sir Peter Cosgrove AK AC (Mil) CVO MC (Retd)**, former Governor-General of Australia, said: *“In modern Australia there are so many people we would refer to as iconic. No performing artist in modern times has been more iconic that John Farnham.* *The fellow that we sit up for when he’s on the television, we listen closely when his music is played. He represents the exuberant sentimental Australian as well as anybody in my lifetime. God bless John Farnham.”* Funds raised will support [Head and Neck Cancer Australia](https://www.headandneckcancer.org.au/) to provide free information and specialist support for the more than 5,300 Australians diagnosed with a type of Head and Neck Cancer each year, while raising awareness to increase early diagnosis, encourage prevention and drive national advocacy to improve patient outcomes. The fundraising appeal runs from 2 June 2026 – 20 September 2026. **THE SONGS OF JOHN FARNHAM: A LIVING LEGEND THE CELEBRATION CONCERT** **runs Sunday 20 September 2026 at Rod Laver Arena, Melbourne.** Tickets are on sale at 10am on Tuesday 2 June from [Ticketek](https://premier.ticketek.com.au/shows/show.aspx?sh=JFARHON26). Website: <https://rodlaverarena.com.au/event/the-songs-of-john-farnham-the-celebration-concert-melbourne-2026/> Socials: <https://www.instagram.com/rodlaverarena/> and <https://www.instagram.com/tegdainty/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. This show is a tribute to John Farnham, he will not be performing. **Categories:** News --- ### [Announcing Cast For Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/announcing-cast-for-come-alive-the-greatest-showman-circus-spectacular/) **Published:** April 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2026/04/Come-Alive-5th-October-2024-by-Luke-Dyson-LD1_1319-942x628.jpg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")The Australian cast of ***‘COME ALIVE!’ The Greatest Showman Circus Spectacular*** has today been announced for the first tour outside of its ongoing sellout run in London. *‘COME ALIVE!’ The Greatest Showman Circus Spectacular* kicks off a national tour on **19 May** in **Sydney** under the purpose-built Hippodrome at the Entertainment Quarter, Moore Park. The production will then travel across the country with stops in **Perth, Adelaide, Brisbane,** and **Melbourne**. With beloved songs by Benj Pasek and Justin Paul from the 20th Century Fox Motion Picture, including *This Is Me*, *Rewrite the Stars*, *A Million Dreams* (and more!), the show reimagines the soundtrack as you’ve never experienced it before: live, loud, and breathtakingly up close. Leading the all-Australian cast of actors, singers, dancers and acrobats is theatre rising stars **Des Flanagan** (*CATS, Moulin Rouge!*) and **Ruby Clark** (*The Lord of the Rings*). They will be joined by local and international circus sensations to bring this internationally acclaimed production to life. Des Flanagan is popular among theatre crowds with roles in several recent musicals. Notably he played Christian in *Moulin Rouge! The Musical* Australia (Global Creatures), for which he was nominated for Best Performance in a Musical by TimeOut Melbourne. He also played Rum Tum Tugger in the recent Australian Tour of *CATS* (CrossroadsLive). He also performed the role of Leo in JRP’s production of *The Producers* at Hayes Theatre. Other highlights include Handa Opera’s *West Side Story* on Sydney Harbour, Thomas in *The Beautiful Game*, and Nathan in *One Day in September* with Perryman Theatre Company. Screen credits include T-Bone in *Neighbours*, and the acclaimed short film *Rabbits*, directed by Riley Sugars, which earned him a Best Lead Actor nomination at the Black Bird International Film Festival in New York. ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2025/11/Come-Alive-5th-October-2024-by-Luke-Dyson-LD3_0906-Enhanced-NR-942x628.jpg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")Des Flanagan and Ruby Clark will lead an Australian cast of actors singers dancers and acrobats Photo by Luke DysonRuby Clark’s star is fast on the rise with a career spanning stage and screen. Theatre credits include Rosie / US Galadriel, Arwen and Pippin in *Lord of the Rings* (GWB), Reza in *Once* (Darlinghurst Theatre Company), *Do We Need Another Hero* (Opera Queensland), *Gentlemen Prefer Blondes* (Hayes Theatre Co), Rizzo in *Grease* (Royal Caribbean), Maureen Johnson in *Rent* (QPAC), and Sarah in *Songs for Sarah Connor* (Melbourne International Comedy Festival), among others. An accomplished violinist, Ruby has performed professionally in bands, cabarets and musicals including *Lesbian Love Stories* (The Local Lesbians), *Bright Star* (Pursued by Bear) and *Spring Awakening* (Metro Arts). She is also an accredited stunt performer, working on feature films across Australia. Joining Des and Ruby an ensemble cast including: **Olivia Carniato, Jade Delmiguez, Harrison Riley, Charly Williams, Sienna Walsgott, Maisie Axton, Ally Bircher, Steve Costi, Diego Garcia Rendon, Samantha Goldie, Owen Jones, Liam Papanicolau** and **Malena Searles.** Inspired by the world of *The Greatest Showman*, *‘COME ALIVE!’* is a heart-pounding new live experience featuring jaw-dropping acrobatic artistry, gravity-defying aerial acts and the soaring anthem hits audiences know and love. **Des Flanagan** said: *“I’m so excited to be part of bringing a brand new show to Australia. These songs we are all so familiar with and love, so it will be very special experiencing them live and in such a bold and immersive way.”* **Ruby Clark** said: *“Put simply, I am beyond thrilled to be a part of this production. You’re going to be blown away by the depth and breadth of talent!”* **David Hutchinson,** CEO of The Path Entertainment Group said: *“Launching this production for the first time outside of London is incredibly exciting. The calibre of local talent we have seen during the casting process has demonstrated why the industry in Australia is thriving. We can’t wait for Australian audiences to experience ‘COME ALIVE!’ with this sensational Aussie cast!”* ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2025/11/Come-Alive-5th-October-2024-by-Luke-Dyson-LD3_0730-Enhanced-NR-942x628.jpg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")COME ALIVE The Greatest Showman Circus Spectacular opens in May in Sydney before a national tour Photo by Luke DysonAt the helm of the production is Drama Desk award-winning Creative Director **Simon Hammerstein** (*Masquerade*, a bold new immersive production of Andrew Lloyd Webber’s *The Phantom of the Opera;* Usher’s sold-out *‘My Way’ Las Vegas Residency;* and *Queen of the Night*). The creative team behind the production and its expansion consists of Music Producer and Olivier Award-nominated **Matthew Brind** (*Paddington 2, Just For One Day, Legally Blonde – West End*). Choreographers **Jerry Reeve** (*Taylor Swift, The Queen’s Jubilee Platinum Party At The Palace*) and **Lukas McFarlane** (*Strictly Come Dancing, So You Think You Can Dance?,* *The X Factor*). Emmy Award-nominated Lighting Designer **Adam Bassett** for Woodroffe Basset Design (*The Rolling Stones – ‘SIXTY’ Tour 2022, London 2012 Olympics Opening Ceremony, Adele – Live*). Set Designer **Ruby Law** (*Billie Eilish, Jorja Smith, the Royal Albert Hall, Sadler’s Wells Theatre*). Costume Designer **Susan Kulkarni** (*The Peripheral, Silence, Dirty Dancing – Secret Cinema*). Co-Musical Supervisor **Greg Arrowsmith** and Technical Consultancy by **Gary Beestone Associates**. *‘COME ALIVE!’ The Greatest Showman Circus Spectacular* is inspired by the 20th Century Fox Motion Picture *The Greatest Showman*. Story by Jenny Bicks and songs by Benj Pasek and Justin Paul. *‘COME ALIVE!’ The Greatest Showman Circus Spectacular* in Australia is produced by Showpath Entertainment Ltd by special arrangement with Outside The Box Amusements and TSG Entertainment. ***COME ALIVE! The Greatest Showman Circus Spectacular* runs from 19 May 2026 at the Entertainment Quarter, Sydney ahead of a national tour. See dates below.** Sign up for ticket release news [here](https://comealiveshow.com.au/#sign-up). Website: <https://comealiveshow.com.au/> Socials: <https://www.instagram.com/comealiveaus/> [Read our Review of the Australian Premiere!](https://thescoop.au/review-come-alive-the-greatest-showman-is-a-spectacular-circus/) Photo credits: Luke Dyson 2026 Australian Tour Sydney From 19 May 2026, Entertainment Quarter Perth From 28 August 2026, Ozone Reserve Adelaide From 29 October 2026, Morphettville Racecourse Brisbane From 24 Dec 2026, Royal Queensland Golf Course Melbourne From 25 Feb 2027, Caulfield Racecourse **Categories:** News --- ### [Announcing Cast For Bring It On The Musical Melbourne](https://thescoop.au/announcing-cast-for-bring-it-on-the-musical-melbourne/) **Published:** May 28, 2026 **Author:** Newsroom **Content:** ![The Scoop Bring it on The Musical Theatrical Inc](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-28-at-50228-pm-1070x628.png "Bring it on The Musical Theatrical Inc • The Scoop")Melbourne’s renowned independent theatre group **Theatrical Inc** has today announced the cast for its upcoming staging of the smash hit, **Bring It On The Musical*.*** The production is an electrifying, high flying adaption of the beloved cult film, scheduled for a strictly limited run at the **National Theatre** in **Melbourne** this July. The stage musical, which builds on the famous movie franchise, dives into the intense environment of high-stakes all star competitive cheerleading while examining the intricacies of teenage identity, prejudice and female competition. The story follows champion teen cheerleader Campbell, who finds herself at a crossroads when she is redistricted to the rival high school, Jackson High. In a bid for victory, she joins forces with their fearless dance crew to compete against her old squad at the Cheerleading Nationals. Boasting a prestigious creative lineage of Broadway’s finest, the show features a high-energy score collaboration between Lin-Manuel Miranda (*Hamilton*) and Pulitzer Prize-winning composer Tom Kitt (*American Idiot*, *Jagged Little Pill*) and a witty book by Tony Award winner Jeff Whitty (*Avenue Q*). This powerhouse creative team led the original Broadway production to earn 2013 Tony Award nominations for both *Best Musical* and *Best Choreography*. Following an extensive search that saw over 200 performers audition, producer Andrew Gyopar has confirmed a stellar Australian cast of thirty performers. The cast features a powerful mix of *quadruple-threat* actor-singer-dancers and world champion cheerleaders, ready to bring this Broadway hit to life. The production features acclaimed emerging performer **Emily McDougall** in the challenging lead role of Campbell, Truman High School’s cheer captain. McDougall joins the cast following her celebrated portrayal of Elle Woods in the critically acclaimed Theatrical Inc. 2025 production of *Legally Blonde*. Playing opposite her is rising talent **Alyssa Jandayan** as Danielle*,* the tenacious leader of the Jackson High dance crew. Currently pursuing full-time musical theatre studies at Transit Dance, Jandayan previously delivered a standout performance in Theatrical’s 2025 staging of *School of Rock*. Executive Producer **Andrew Gyopar** said: *“Bring It On The Musical is another opportunity for Theatrical Inc to champion local talent and create pathways for performers to grow, collaborate and challenge themselves. I love productions that bring different creative communities together, and Bring It On The Musical does exactly that.* *One of the most exciting parts of this production is showcasing some extraordinary competitive cheer athletes from Melbourne, many of whom are stepping onto a musical theatre stage for the very first time. Their athleticism, discipline and performance energy bring something genuinely unique and thrilling to the show.”* Other cast members performing principal roles include **Zade Nabole** as Twig, **Sho Tochigi** as Cameron, **Jenna Mole** as Bridget, **Fergus Rann** as Steven, **Taylor-Anne Bright** as Eva, **Flynn Hunter** as Randall, **Elle Fenelon** as Kylar, **Cara Mia Honan** as Skylar, **Yurina Kutsukake** as Nautica and **Ari Rego** in the hilarious role of La Cienega, one of Broadway’s earliest teenage transgender characters. The ensemble cast includes **Gemma Rushton, Emma Pervan, Sahana Paine, Melissa Pritsis, Hayley Fields, Hugo Barbey, Lucy Kitching, Victoria Pickard, Alyson Kin, Taliyah Radio, Imogene White, Trinity Kelly, Erin Davis, Georgia Kemp, Maria Ospina, Abbey Duckworth, Shari Pieris** and **Vini Ramesh**. **Bring It On The Musical** is bold, explosive and unapologetically fun, a full throttle celebration of ambition, identity and finding your crew. Get ready to feel the beat, raise the stakes and bring it. **Bring It On The Musical is presented by Theatrical Inc. and runs for 6 nights only from 11 – 19 July 2026. The National Theatre, 20 Carlisle Street St Kilda Vic 3182.** Tickets: <https://booktickets.com.au/bringiton/> Website: <https://theatrical.com.au/bringiton/> Socials: <https://www.instagram.com/theatricalinc/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Creatives** Executive Producer **Andrew Gyopar** Director **Tahra Cannon** Music Director **Claire Gurran** Choreographer **Louise Panagiotidis** **Categories:** News --- ### [Review: Phar Lap The Electro-Swing Musical Is One For The History Books](https://thescoop.au/review-phar-lap-the-electro-swing-musical-is-one-for-the-history-books/) **Published:** November 1, 2025 **Author:** Sophie Cornett **Content:** ![The Scoop Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2025/10/Lincoln-Elliot-Joel-Granger-in-Phar-Lap-c-John-McCrae-941x628.jpg "Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney • The Scoop")The race that stops the nation has taken over the Hayes Theatre Co stage in *Phar Lap: The Electro-Swing Musical*. From the first line to the final note, the phenomenal visuals, soaring soundtrack and roaring energy take us on the breathtaking rags-to-riches tale of Phar Lap, Australia’s equine star. As the lights dim, audiences are immediately immersed in the high-stakes world of horse racing. Following yet another disappointing race result, owner and trainer Harry Telford, played by Justin Smith, takes a gamble on an unfamiliar contestant, destined to become a household name, Phar Lap, portrayed by Joel Granger. The show follows his infamous career, the story direct from the horses’ mouth (literally) and backlit by the shifting financial circumstances that shaped trackside and stable politics. Writer Steven Kramer’s first major work is truly iconic. *Phar Lap* is a stunning celebration of our history, driven by quintessentially Australian irreverent humour and big heart. Director Sheridan Harbridge has perfectly captured the high energy and neon glamour of both the musical era and the equestrian racing world. The soundtrack for this musical is exciting, heartfelt and a true delight to listen to. Musical director David Gardos has done an amazing job guiding the cast through the precision and storytelling nuances of the music. ![The Scoop Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2025/10/Cast-of-Phar-Lap-c-John-McCrae-941x628.png "Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney • The Scoop")The soundtrack is exciting heartfelt and a true delight to listen to Photo by John McCraeThe physicality of this show, including the spectacular choreography by Ellen Simpson, is stunning. I absolutely fell in love with the flawless way the performers moved around the stage. The use of tap to honour the recognisable sounds of the racetrack adds a beautiful splash of pizzazz to the racing and training montages. The sets, designed by Hailley Hunt, and costumes, designed by Mason Browne, are gorgeous. They transport us beautifully to the era, imbued with a delightful neon twist and flamboyance that sets the tone of the musical from the very beginning. The space is used very cleverly, and you feel part of the action all the way through. I also particularly loved how the horses are represented, with amazingly detailed ear hats and Converse for horseshoes. I must take some time to gush about the cast. They are a suite of powerhouse performers who flawlessly deliver the quick wit and emotional highs of the story. Their vocals soar through the theatre, and they hit every step of the choreography with confidence. Each member of the cast plays multiple roles, and it is stunning to see how quickly they transition between the unique physicality and personalities of each character. Manon Gunderson-Briggs opens the show as the Announcer, and she narrates the tale with phenomenal physicality and manic energy. Her perfect comedic timing and charismatic delivery are a delightful recurring feature. Joel Granger is the perfect Phar Lap, representing the Australian icon with youthful enthusiasm and charm. He carries the heart of the story with him in every scene. Justin Smith performs beautifully alongside him as Harry Telford. He clings desperately to his dream and moral compass through the highs and lows of the era. ![The Scoop Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2025/10/Nat-Jobe-Manon-Gunderson-Briggs-Amy-Hack-Justin-Smith-Phar-Lap-c-John-McCrae-942x628.jpg "Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney • The Scoop")The powerhouse performer cast flawlessly deliver the quick wit and emotional highs of the story Photo by John McCraeNat Jobe portrays the savvy businessman David Davis with a slimy desperation that is palpable in every interaction with the other characters. In particular, the interactions with Madame X, portrayed by Amy Hack, are phenomenal to witness as we see the two trade barbs and information. Amy is perfectly devious as Madame X, ruling her showground with flair. I also absolutely adored her manic horse girl portrayal. Shay Debney plays Jim Pike with a magnetism and potent sexual energy that I truly wasn’t expecting, but found a hilariously delightful contribution to the story. Finally, Lincoln Elliot imbues the perfect blend of sibling energy into his portrayal of Phar Lap’s half-brother, Nightmarch. He also perfectly captures the trademarks of another famous Australian icon as a recurring guest appearance. (I can’t quite remember his name, it was something like, Ronald Gladman?) *Phar Lap: The Electro-Swing Musical* is a delightful homage to this icon of Australian history. This tale is told in the only way we can truthfully represent it, through irreverent humour, witty one-liners and an energy that reflects the true heart and soul of Australian culture. *Phar Lap: The Electro-Swing Musical* is absolutely one for the history books. I can highly recommend heading over to Hayes Theatre Co to catch this show before the race is over. ***Phar Lap: The Electro-Swing Musical* runs to 22 November at Hayes Theatre Co.** **19 Greenknowe Avenue Potts Point NSW 2011.** Tickets are available [here](https://boxoffice.hayestheatre.com.au/WEBPAGES/EntaWebShow/ShowPerformance.aspx). Website: <https://hayestheatre.com.au/event/phar-lap-musical/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: John McRae **Categories:** Musical Theatre, Sydney --- ### [Announcing Cast For Hair The Musical Sydney](https://thescoop.au/announcing-cast-for-hair-the-musical-sydney/) **Published:** May 4, 2026 **Author:** Newsroom **Content:** ![The Scoop Hair the Musical Melbourne](https://thescoop.au/wp-content/uploads/2025/10/5-2025-cast-for-the-Australalian-production-of-HAIR-Photo-credit-Ben-Fon--941x628.jpg "Hair the Musical Melbourne • The Scoop")Producers today announced the Sydney cast for the new Australian production of **HAIR**, the revolutionary tribal love-rock musical phenomenon that changed the face of theatre forever. First performed in Sydney in 1969, the Grammy and Tony Award-winning production of **HAIR** will open at **Theatre Royal Sydney** from **6 June 2026** for a strictly limited season. It brings together a dynamic ensemble to revive its message of freedom, rebellion and hope for a new generation. Leading the HAIR tribe will be **Maxwell Simon** (*Moulin Rouge, The Grinning Man*) as Berger. **Alex Cooper** (*Much Ado About Nothing*) as Claude. **Elizabeth Brennan** (*Pride and Prejudice*) as Sheila. **Tane Williams-Accra** (*Family Next Door, Six Degrees of Separation*) as Hud. **Rosie Meader** (*Everybody Loves A Wedding*) as Jeannie. **Jackson McGovern** (*Macbeth, Animal Farm*) as Woof. **Niylesh Palani** (*Hello Dolly*) as Walter, **Phoenix Jackson Mendoza** (*SIX!*) as Tina and **Mariah Lewy** as Chrissy. They are joined by **Maverick Newman** (*Murder for Two, Footloose, Boys in the Band*) as Leonard. **Nicole Nabout** (*Return to Paradise*) as Susan. **Grant Young** (*Is God Is*) as Leroy. **Linden Trescott** (*Kingdom of the Planet of the Apes*) as Apache. **Larissa Teale** (*A Midsummer Night’s Dream*) as Angela, **Bronte Horswood** (*Tinkerbell and the Dream Fairies*) as Linda, **John Marc Desengano** (*Looking For Alibrandi*) as Chuck. **Bailey Hayward** (*The PM’s Daughter*) as Natalie. **Kelly Lim Harris** (NZ Opera, *The Drowsy Chaperone*) as Alma. **Madeleine Somers** (*A Midsummer Night’s Dream*) as Astrid. **Cameron Shook** (*Tinkerbell and the Dream Fairies*) as Cammy. **Ashleigh Hermann** (*Alice in Wonderland*) as Louise and **Luke London** (*The Pirates of Penzance*) as Johnny. ![The Scoop Hair the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/05/HAIR-ALLCAST-SQ1-628x628.jpg "Hair the Musical Sydney • The Scoop")Meet the HAIR the Musical Sydney castWhen HAIR first exploded onto the Australian stage, it shocked and thrilled audiences capturing the nation’s attention and sparking debate on politics and censorship. It quickly becoming one of the most talked about productions of its era. Amid that turmoil, the production also helped launch the careers of some of the country’s most beloved performers. HAIR created legendary stars such as Marcia Hines, Reg Livermore, John Waters, Lyndsay Field and Sylvie Paladino all appeared in early productions, cementing their places in Australian music and theatre history. Created by Gerome Ragni and James Rado (book and lyrics) and featuring an electrifying score by Galt MacDermot, it became an anthem for a generation. It included unforgettable hits such as *Aquarius, Good Morning Starshine, Let the Sunshine In, I Got Life* and the title track *Hair* – songs that broke records, topped charts, and helped define the sound of the era. Set against the backdrop of a decade defined by social change and cultural revolution, the groundbreaking musical captures the 1960s counterculture spirit and its quest for peace, truth and freedom, telling the story of free-spirited young hippies who advocate a lifestyle of pacifism and free love in a society riddled with intolerance and brutality. As they explore sexual identity, challenge racism, experiment with drugs and burn draft cards, the “tribe” not only create an irresistible message of hope and change, but also address timeless themes of alienation, civil disobedience, and youthful defiance that continue to resonate with audiences almost 60 years later. ![The Scoop Hair the Musical Melbourne](https://thescoop.au/wp-content/uploads/2025/10/4-2025-cast-for-the-Australalian-production-of-HAIR-Photo-credit-Ben-Fon--941x628.jpg "Hair the Musical Melbourne • The Scoop")HAIR runs in Sydney at the Theatre Royal for a limited season Photo credit Ben FonDirector **Glenn Elston** said: *“We are thrilled to announce this strong Australian cast, bringing together a great mix of performers with a stunning variety of talents. They’ve each got something distinct to bring to HAIR, and I’m looking forward to seeing it all come together on stage.”* HAIR premiered off-Broadway in 1967 before transferring to Broadway the following year. It quickly became a global phenomenon – both for its soundtrack and for the way it challenged the boundaries of traditional musical theatre. **HAIR: The Tribal Love-Rock Musical is presented by the Australian Shakespeare Company. It runs from 6 June 2026 for a limited season at the Theatre Royal Sydney. 108 King St, Sydney NSW 2000**. Tickets are on sale [here](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/110/?tix-tr=HAIRWEB). Website: <https://www.hairthemusical.com.au/> Socials: <https://www.instagram.com/hairmusicalau/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Ben Fon Book and Lyrics by **Gerome Ragni and James Rado**. Music by **Galt MacDermot**. Directed by **Glenn Elston OAM**. Choreography by **Sue-Ellen Shook**. **Categories:** News --- ### [Sydney Theatre Co Announces 26th Patrick White Playwrights Award & Fellowship](https://thescoop.au/sydney-theatre-co-announces-26th-patrick-white-playwrights-award-fellowship/) **Published:** May 27, 2026 **Author:** Newsroom **Content:** ![The Scoop Michelle Law Disapol Savetsila Sydney Theatre Company Patrick White Award](https://thescoop.au/wp-content/uploads/2026/05/Michelle-Law-Disapol-Savetsila__STC_credit-Daniel-Boud_81-942x628.jpg "Michelle Law Disapol Savetsila Sydney Theatre Company Patrick White Award • The Scoop")Multi-award-winning and critically acclaimed playwright **Michelle Law** has been named Sydney Theatre Company’s next Patrick White Fellow, and **Disapol Savetsila** is the 26th recipient of the Patrick White Playwrights Award for his play *Ama and Nana.* The Patrick White Fellowship is a year-long appointment that will see Michelle develop a new work for Sydney Theatre Company while mentoring participants in the Company’s *Watershed: Writers* program **Michelle Law** said: “*It’s an enormous honour to be named a Patrick White Fellow alongside some of my industry heroes: playwrights whose words I’ve studied, been inspired by, and been moved by. Truly, it’s one of the biggest pinch-me moments of my career.”* *As a young adult, my family used to make special trips from regional Queensland to see shows at Sydney Theatre Company. Afterwards, I’d pore over the show programs, carefully flicking through each page, hoping that I might be able to capture some of that theatre magic.* *I think younger Michelle would be in complete disbelief that I have the opportunity to work at the Wharf alongside the wonderful STC team and Watershed Writers. What an immense privilege and gift it is to now play a part in bringing that theatre magic to life for others.”* ![The Scoop Michelle Law Disapol Savetsila Sydney Theatre Company Patrick White Award](https://thescoop.au/wp-content/uploads/2026/05/Play-reading-Ama-and-Nana_STC_credit-Daniel-Boud_1-942x628.jpg "Michelle Law Disapol Savetsila Sydney Theatre Company Patrick White Award • The Scoop")Play reading Ama and Nana Photo by Daniel BoudDisapol Savetsila’s play, *Ama and Nana*, was presented as a rehearsed reading at Sydney Theatre Company’s Wharf 2 Theatre last week. **Disapol Savetsila** said: *“I’m so proud to accept the Patrick Playwrights Award. Still pretty shocked to tell the truth. But proud beyond words*. Ama and Nana *is proudly a regional story, and I am proudly a regional writer. I can only hope that winning this Award shows what is possible when regional artists are given the support they need.”* *Ama and Nana* is a compelling contemporary play that brings two vivid, complex women into sharp focus. With humour, emotional honesty and a strikingly filmic sensibility, Savetsila explores migration, motherhood and political inheritance. Savetsila explains: “*The story of these two women – sidelined from society by age, by race, and by economic status – finding common ground together and then being tested by political forces too large to comprehend, felt like a vital story to tell right now.”* STC Artistic Director and co-CEO **Mitchell Butel** said: *“Recognising Disapol Savetsila with one of the nation’s most significant honours for new writing is a well-deserved celebration of* Ama and Nana. *For more than 25 years, the Patrick White Playwrights Award has championed the future of Australian storytelling, honouring Patrick White’s extraordinary legacy by recognising artists who challenge, provoke and move audiences in equal measure.* *Michelle Law’s body of work has already had a profound impact across Australian theatre, television and literature, and I am beyond thrilled to recognise Michelle will be joining us here at the Wharf as our Patrick White Fellow.* *They are remarkable artists whose work speaks powerfully to contemporary Australia, and I cannot wait to see how they continue shaping our theatrical landscape in the years ahead.”* ![The Scoop Michelle Law Disapol Savetsila Sydney Theatre Company Patrick White AwardMichelle Law Disapol Savetsila Sydney Theatre Company Patrick White Award](https://thescoop.au/wp-content/uploads/2026/05/Michelle-Law__STC_credit-Daniel-Boud_120-942x628.jpg "Michelle Law Disapol Savetsila Sydney Theatre Company Patrick White Award • The Scoop")Michelle Law Photo by Daniel Boud**THE PATRICK WHITE PLAYWRIGHTS FELLOWSHIP** **Michelle Law** is a multi-award-winning playwright, screenwriter and author. Her smash-hit play *Single Asian Female* earned sold-out seasons across Australia and New Zealand. This was followed by *Top Coat* for Sydney Theatre Company (2022) and *Miss Peony* for Belvoir (2023). Beyond the stage, Law co-created, co-wrote and co-starred in the SBS series *Homecoming Queens*, which received widespread industry recognition. It won an Australian Writers’ Guild Award, an Equity Ensemble Award and a Melbourne WebFest Award, alongside an AACTA Award nomination. The year-long Fellowship, now in its 16th year, annually awards $25,000 to an established playwright in recognition of their outstanding body of work, while commissioning the creation of a new play. As part of the Fellowship, there are opportunities for recipients to mentor emerging artists and share their expertise with the next generation of theatre-makers, including participants in STC’s *Watershed: Writers* program. Previous STC Patrick White Fellows include Sheridan Harbridge, Joanna Murray-Smith, Wesley Enoch, Angus Cerini, Andrew Bovell, Anchuli Felicia King, Tommy Murphy, Kate Mulvany, Sue Smith, Angela Betzien, Hilary Bell, Patricia Cornelius and Raimondo Cortese. ![The Scoop Michelle Law Disapol Savetsila Sydney Theatre Company Patrick White Award](https://thescoop.au/wp-content/uploads/2026/05/Disapol-Savetsila__STC_credit-Daniel-Boud_110-942x628.jpg "Michelle Law Disapol Savetsila Sydney Theatre Company Patrick White Award • The Scoop")Disapol Savestsila Photo by Daniel Boud**THE PATRICK WHITE PLAYWRIGHTS AWARDS** After graduating from the University of Wollongong, theatre-maker and writer **Disapol Savetsila** had his first full-length play, *Australian Graffiti*, developed and staged by Sydney Theatre Company as part of its 2017 season. Since then, Savetsila has co-written several acclaimed works for Theatre versus Everything, including *PressOne4Love* (2015), *The Late Act with Mason Phoumirath* (2018), and *A Campfire Story* (2022 & 2025). Passionate about fostering regional arts practice, he is also a dedicated advocate for theatre in and around Bathurst, New South Wales. The Patrick White Playwrights Award has been an annual initiative of Sydney Theatre Company since 2000. It is awarded in honour of Patrick White’s contribution to Australian theatre and to foster the development of Australian playwrights. The Patrick White Playwrights Award offers a cash prize of $7,500 for a full-length unproduced play of any genre written by an Australian playwright over 18 years of age. The readers and judges assessing the scripts seek a work that is original, artistically ambitious and have an individual voice that could speak to an audience. Over its 25-year history, past recipients of the Award include: Karolina Ristevski, Wendy Mocke, Aran Thangaratnam, Kamarra Bell-Wykes, Ra Chapman, Keziah Warner, Mark Rogers, Kim Ho, Lewis Treston, Anna Barnes, Melissa Bubnic and Angus Cerini. In 2026, the other shortlisted plays for the Patrick White Playwrights Award were: **Gareth Davies**, *Don Quixote, or, the Ingenious Gentleman of Don Quixote of North Ryde* **Jordyn Fulcher**, *Inspiration Piece* **Kim Pham**, *I Lychee You* **Olivia Satchell**, *The Joy Factory* **To read more about the Patrick White Playwrights Award and Fellowship and *Watershed: Writers*, visit the link below.** Website: <https://www.sydneytheatre.com.au/discover/artistic-programs/> Socials: <https://www.instagram.com/sydneytheatreco/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Daniel Boud **Categories:** News --- ### [Film Review: Buffalo Kids Brims With Heart & Adventure](https://thescoop.au/film-review-buffalo-kids-brims-with-heart-adventure/) **Published:** May 26, 2026 **Author:** Nanci Nott **Content:** ★★★★☆ ![The Scoop Buffalo Kids Animated Feature Film Rialto Distribution](https://thescoop.au/wp-content/uploads/2026/05/Buffalo-Kids-s510_departure_c070comp_1140-1200x503.jpg "Buffalo Kids Animated Feature Film Rialto Distribution • The Scoop")Inspired by a true sibling relationship, *Buffalo Kids* is a wholesome animated adventure film that contains just the right amount of slapstick humour to delight young audiences. It begins with a slip-sliding action sequence as a ship docks in New York. Among those on board are two young orphans, Tom (Conor MacNeill) and Mary (Alisha Wier), who have travelled unaccompanied from Ireland. When their Uncle Niall (Stephen Graham) doesn’t show up to collect them, they adopt a random dog – because why not? – and sneak aboard a westbound train in search of family. Luckily, their carriage is filled almost exclusively with fellow orphans, who are also in search of family. This might seem like an unreasonably convenient plot coincidence, but it’s probably a nod to New York’s historical [orphan trains](https://orphantraindepot.org/history/), which transported a quarter of a million destitute children across the country between 1854 and 1929. *Buffalo Kids* contains a few subtle nods to history that could catalyse educational conversations after viewing the film. For example, Tom and Mary arrive in New York just in time for the unveiling of the Statue of Liberty, suggesting (to an observant child) that the film might be set in 1886. But I digress… These particular orphans are on their way to their new homes, under the protection of Miss Eleanor (Gemma Arterton), who takes Tom and Mary under her gentle wing. Eleanor is kind to all the children, especially Nick, who is non-verbal and confined to a wheelchair. ![The Scoop Buffalo Kids Animated Feature Film Rialto Distribution](https://thescoop.au/wp-content/uploads/2026/05/Buffalo-Kids-s050_dockLeave_c080comp_1103-1200x503.jpg "Buffalo Kids Animated Feature Film Rialto Distribution • The Scoop")When their uncle doesnt show up to collect them they adopt a random dogMary, who is the more outgoing of the siblings, befriends Nick almost immediately. He might not be able to speak, but he communicates with heart. The bond between Nick and Mary is beautifully portrayed and endearing to watch. Drawn by the lure of a buffalo herd, Tom, Mary, and Nick impulsively disembark the train during a fuel stop. The train leaves without them, leaving the children stranded in the wilderness. Adventure ensues. From horse riding with the Cheyenne to being captured by gold-mining villains, this charming trio overcomes every obstacle they encounter through ingenuity and teamwork. But that doesn’t mean it’s all flowers and rainbows. There are very real threats to overcome, portrayed palatably enough for young audiences to appreciate. For example, Tom saves Mary from coyotes, Mary gets creative with diarrhea berries, and Nick’s heroism proves that agency and strength have nothing to do with physical capability. The film’s treatment of disability is sensitive without being patronising, with a significant emphasis on the importance of acceptance. ![The Scoop Buffalo Kids Animated Feature Film Rialto Distribution](https://thescoop.au/wp-content/uploads/2026/05/Buffalo-Kids-s300_buffalos_c110comp_1148-copy-1200x503.jpg "Buffalo Kids Animated Feature Film Rialto Distribution • The Scoop")The charming trio overcomes every obstacle they encounter through ingenuity and teamworkThe pistol-toting villains are as tropey as their distinctive moustaches, but polarity works in the context of this film, which avoids moral ambiguity in preference for a clear distinction between good and evil. The protagonists are, on the whole, charming and likable, especially Mary and Nick, whose dynamic is the glue that holds the narrative together. *Buffalo Kids* does have a happy ending. Perhaps it resolves a little too perfectly, but the neatness of it all strikes the right emotional tone. The animation incorporates an interesting combination of aesthetic elements, acknowledging the historical setting without feeling old-timey, perfectly complemented by Fernando Velázquez’s uplifting score. Steam trains and mine carts populate vivid wild landscapes, bringing a fresh feel to the wild west of the late 1800s. The pacing is fast enough to hold young children’s attention and, at only 82 minutes long, they can probably even watch it all in one sitting! *Buffalo Kids* is perfect for family movie night and will be especially enjoyed by siblings with a fondness for adventure. Infused with themes of inclusivity, *Buffalo Kids* is brimful of positive messaging, historical easter eggs, and heartwarming humour. **BUFFALO KIDS opens nationally on Thursday 28 May at participating cinemas.** Website: <https://rialtodistribution.com/film/buffalo-kids/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Buffalo Kids Director: Juan Jesús García, Galocha & Pedro Solís García Cast: Alisha Weir, Gemma Arterton, Sean Bean & Stephen Graham Country of Origin: Spain Duration: 82 mins Rating: PG **Categories:** Film --- ### [Announcing The Lord Of The Rings: Fellowship Of The Ring In Concert](https://thescoop.au/announcing-the-lord-of-the-rings-fellowship-of-the-ring-in-concert/) **Published:** May 25, 2026 **Author:** Newsroom **Content:** ![The Scoop Lord of the Rings The Fellowship of the Ring - In Concert](https://thescoop.au/wp-content/uploads/2026/05/unnamed-1-1-944x628.jpg "Lord of the Rings The Fellowship of the Ring - In Concert • The Scoop")Celebrating the 25th anniversary of the Academy Award®-winning film, ***The Lord of the Rings: The Fellowship of the Ring*** returns to the big screen in a spectacular live concert experience, coming to **Melbourne** and **Sydney** in **September/October 2026**. The concert will feature the officially-licensed production of Howard Shore’s original score performed live by symphony orchestra, chorus & soloists, with combined forces of over 200 musicians and choristers taking the stage. Howard Shore’s Academy Award®-winning score brings J.R.R. Tolkien’s world vividly to life, transforming Peter Jackson’s film into a powerful symphonic experience. Performed live to the picture, the music takes centre stage, creating a thrilling and immersive way to experience the story. Composer **Howard Shore** said: *“My first score for The Lord of the Rings trilogy, The Fellowship of the Ring, was the beginning of my journey into the world of Tolkien and I will always hold a special fondness for the music and the experience.”* ![The Scoop Lord of the Rings The Fellowship of the Ring - In Concert](https://thescoop.au/wp-content/uploads/2026/05/unnamed-2-1200x600.jpg "Lord of the Rings The Fellowship of the Ring - In Concert • The Scoop") The music of *The Lord of the Rings* is counted among film music’s most complex and comprehensive works. This unique performance sets the score to the film, allowing the music to bear the narrative weight, creating a wholly new and dramatic live concert experience. This unique ‘In Concert’ experience will once again transport audiences to the world of Middle-earth, joining Frodo, Samwise, Merry and Pippin on one of the greatest fantasy adventures ever told. A spectacular fusion of film and live music, this is an event not to be missed. Tickets on pre-sale from today, and general on sale from **11am Wednesday 27 May**. ***The Lord of the Rings: The Fellowship of the Ring* *– In Concert* runs in Melbourne 30 September and 1 October and in Sydney 7 and 8 October 2026.** See details below. Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=LOTRIC26> Website: <https://www.lordoftheringsinconcert.com/> Socials: <https://www.instagram.com/lotrconcerts/> and <https://www.instagram.com/faneaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied by CAMI. 2026 Australian Tour: Melbourne 30 September & 1 October, John Cain Arena Sydney 7 & 8 October, TikTok Entertainment Centre A Flying Music & Fane Presentation officially licensed by CAMI Music. **Categories:** News --- ### [Review: Strings A Triple Bill By Queensland Ballet](https://thescoop.au/review-strings-a-triple-bill-by-queensland-ballet/) **Published:** May 24, 2026 **Author:** Cassandra Houghton **Content:** ![The Scoop Queensland Ballet Triple Bill](https://thescoop.au/wp-content/uploads/2026/05/QLD-Ballet-Triple-Bill-Chamber-Minds-Alisa-Pukkinen-Taron-Geyl-013A9484-887x628.jpg "Queensland Ballet Triple Bill • The Scoop")A mesmerised audience filled the QPAC Playhouse theatre on Friday night, as Queensland Ballet premiered its new triple bill, *Strings.* The blend of hypnotic movement and music, performed with precision across three distinct ballets, cast a spell over an appreciative crowd of dance and music lovers alike. Most Queensland Ballet seasons feature a triple bill, often showcasing daring or thought-provoking works combining classical with a contemporary edge. The Company also often collaborates with the always-impressive Camerata – Queensland’s Chamber Orchestra. *Strings* continues this tradition. What is exceptional (and fun!) about this production is the interplay between the string musicians and dancers onstage. While it is woven throughout the choreography, the artists also react to each other’s energy. This is what makes this performance particularly special. Created by three European choreographers, the works in this triple bill share common threads of human connection, rhythm, and synchronicity. The dancers’ attention to detail as they work with partners and in patterns across each piece is stunning to witness. ![The Scoop Queensland Ballet Triple Bill Strings](https://thescoop.au/wp-content/uploads/2026/05/Qld-Ballet-Triple-Bill-2026-THE-SEVENTH-BLUE-by-CHRISTIAN-SPUCKJ-Ivan-Suradeev13A0045-942x628.jpg "Queensland Ballet Triple Bill Strings • The Scoop")Still from The Seventh Blue by Christian Spuck Photo by David KellyEdward Clug’s *Chamber Minds* opens and sets the tone for the evening. There is a playfulness to the minimalist movement and intricate partner-work, while elements of mischief and humour drew laughter and delight from the audience. Its wit shines through in small moments: a shift of weight, a striking shape, or configuration. A beautiful, stark set design by Marko Japeli invites interplay as the performance evolves. Costumes, designed by Leo Kulaš, allow the dancers’ lines to remain the focus. The duo of musicians, centred in front of the stage, are a joy to watch. Equally compelling is Christian Spuck’s *The Seventh Blue.* The haunting work draws its storytelling from Franz Schubert’s *Death and the Maiden*. This is interwoven with music by György Kurtág as well as rich, atmospheric sound textures that whisper evocatively, like spirits around the theatre. This piece feels transportive, restless, and mesmeric. Dancers move with speed and agility, often in unified patterns. The musicians performing onstage are as much a part of the performance as the dancers themselves. Remarkable lighting design by Martin Gebhardt adds texture and shadow, heightening the work’s otherworldly atmosphere. As one of the German choreographer’s earlier works, Brisbane audiences are fortunate to experience it within this bill. ![The Scoop Line of dancers in black costumes raising arms in a synchronized pose on a dark stage.](https://thescoop.au/wp-content/uploads/2026/05/QLD-Ballet-Chacona-Photo-David-Kelly-942x628.jpg "Queensland Ballet Strings Triple Bill 2026 • The Scoop")Still from Chacona by Goyo Montero Photo by David KellyWith intervals between each work, anticipation was high for the final piece. It delivered beautifully. Goyo Montero’s *Chacona* was this reviewer’s personal standout. Layered renditions of Bach’s *Chaconne* are performed onstage by a violinist, guitarist, and pianist. The interaction between dancers and musicians was a highlight. Blending classical and contemporary technique, the piece unfolds like a marathon. Dancers respond physically and emotionally to the music with poetic, collective movements that exude energy and urgency. Costume design by Verena Hemmerlein and Goyo Montero is sleek and understated. The work is staged by Queensland Ballet’s Artistic Director Ivan Gil-Ortega. The dancers on opening night ranged from principal artists to soloists and company artists, performing and partnering together. Many have risen through the Company’s Academy, highlighting the strength of its programs. Camerata’s playing, accompanied by Queensland Ballet artists Roger Cui and Muyu Liu on piano and harpsichord, is magnetic. Gil-Ortega says in his welcome note that these three choreographers are reshaping what ballet can be today. Stripped back, unexpected, and sophisticated, *Strings* is a captivating production showcasing this evolution. And by the end of the performance, it felt as though the spell had been cast over dancers, musicians, and audience alike. ***Strings A Triple Bill*** **is presented by** **Queensland Ballet and runs to 30 May at the Playhouse, QPAC in Brisbane.** Tickets: <https://www.qpac.com.au/whats-on/2026/queensland-ballet-strings-a-triple-bill> Website: <https://www.queenslandballet.com.au/performances/2026/strings> Socials: <https://www.instagram.com/qldballet/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Hero image: Still from *Chamber Minds* by Edward Clug featuring Alisa Pukkinen and Taron Geyl. Photos by David Kelly **Categories:** Brisbane, Dance --- ### [Announcing Nathaniel Parker As Henry Higgins In My Fair Lady](https://thescoop.au/announcing-nathaniel-parker-as-henry-higgins-in-my-fair-lady/) **Published:** May 25, 2026 **Author:** Newsroom **Content:** ![The Scoop Nathaniel Parker My Fair Lady](https://thescoop.au/wp-content/uploads/2026/05/36338_MattCrockett-LR-942x628.jpeg "Nathaniel Parker My Fair Lady • The Scoop")Producers Opera Australia and John Frost for Crossroads Live today announced that Olivier Award winner **Nathaniel Parker** will star as Professor Henry Higgins in the upcoming 70th Anniversary season of the much-loved musical ***My Fair Lady.*** Best known to Australian audiences for his roles in the BBC crime drama series *The Inspector Lynley Mysteries* and Agravaine de Bois in *Merlin*, Nathaniel won an Olivier Award and was nominated for a Tony for his performance as Henry VIII in *Wolf Hall* and *Bring Up The Bodies* and was again Olivier nominated for *The Mirror and the Light.* Nathaniel’s appointment completes the casting for the highly-anticipated musical. **Nathaniel Parker** said: *“My Fair Lady is an iconic film that seems to become more relevant by the year. I feel like a kid in a candy store. It’s just a dream come true. I remember when I got the part of Bassanio in The Merchant of Venice opposite Dustin Hoffman back in the mists of time, thinking that I was the luckiest 29 year old actor around – and this job makes me the luckiest “coughsplutter year old” around!”* Nathaniel trained at L.A.M.D.A. and the National Youth Theatre. His extensive theatre credits include productions for the RSC including *A Midsummer Night’s Dream, Every Man in his Humour, Richard II, The Rover, The Storm* and *The Winter’s Tale.* Other theatre credits include *Romeo & Juliet* (Young Vic), *The Merchant of Venice; 50 Revolutions; Speed-The-Plow; The Audience; This House, An Ideal Husband; Operation Epsilon; Rock ‘N’ Roll; Separate Tables; The Browning Version* and *Ragdoll.* On screen he appeared in *The Last Duel* as Sir Robert de Thibouville, directed by Ridley Scott as well as *Haunted Mansion; Stardust; Flawless; Into Thin Air; Beverly Hills Ninja; The Bodyguard; Othello and War Requiem.* ![The Scoop Nathaniel Parker My Fair Lady](https://thescoop.au/wp-content/uploads/2026/05/35961_MattCrockett-884x628.jpg "Nathaniel Parker My Fair Lady • The Scoop")Nathaniel Parker will play Henry Higgins in My Fair Lady Photo by Matt CrockettBased on Julie Andrews’ 2016 production, *My Fair Lady* will feature renowned Australian soprano **Claire Lyon** as Eliza Doolittle and will premiere at the Sydney Opera House in September before a season at Arts Centre Melbourne opening in November. Nathaniel and Claire will join previously announced cast members who include a mix of some of Australia’s best new emerging performers and established musical theatre favourites, as well as Australian theatre icons making their return to this beloved musical. Leading cast members returning to their highly acclaimed roles include **Reg Livermore** as Alfred P. Doolittle. **Robyn Nevin** as Mrs Higgins and **Tony Llewellyn-Jones** as Colonel Hugh Pickering. Much-loved performer **Anne Wood** will play the role of Mrs Pearce. **Freddy Hellier** will make his mainstage musical theatre debut as Freddy Eynsford-Hill. The Ensemble cast includes **Anton Berezin, Eleanor Blythman, Devon Braithwaite, Rachel Cole, Natasha Dumlao, Blake Erickson, Peter Ho, Anthony Garcia, Matt Heyward, Tisha R. Kelemen, Genevieve Kingsford, Naomi Livingston, Madeleine Mackenzie, Kassie Martin, Mary McCorry, Julia McRae, Oscar Mulcahy, Tom New, Lachlan O’Brien, Morgan Palmer, Matthew Predny, Suzanne Steele, Natasha Veselinovic** and **Sam Ward.** Swings include **Andrew Broadbent, Deborah Caddy, Ellie Nunan** and **David Sirianni.** ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/03/my-fair-lady_54697592822_o-copy-1150x628.jpg "My Fair Lady Opera Australia • The Scoop")My Fair Lady previous tour cast Photo by Jeff BusbyA heartwarming story of identity and change, ***My Fair Lady*** brims with razor sharp wit, unforgettable characters, and a stunning score. Beloved songs include *Wouldn’t It Be Loverly?*, *I Could Have Danced All Night* and *Get Me to the Church on Time*. When Alan Jay Lerner and Frederick Loewe premiered their brilliant adaptation of George Bernard Shaw’s *Pygmalion* in 1956, it became an instant classic. It was hailed as “the perfect musical” winning six Tony Awards. This production broke box office records when it premiered at the Sydney Opera House for its 60th anniversary in 2016. A 20-year-old Julie Andrews was catapulted to superstardom when she originated the role of Eliza Doolittle, going on to win a New York Drama Critics Award and a Tony Award nomination for her performance. Ms Andrews has been a beloved and much-honoured star of stage, screen and television for more than half a century. This production, originally directed by Julie Andrews, broke box office records when it premiered at the Sydney Opera House for its 60th anniversary in 2016. ***My Fair Lady* runs 12 September – 30 October at the Sydney Opera House. It then runs at the Ian Potter State Theatre at Arts Centre Melbourne from 14 November 2026.** Tickets for Sydney are available [here](https://myfairladythemusical.com.au/tickets/sydney/) and for Melbourne [here](https://myfairladythemusical.com.au/tickets/melbourne/). Website: <https://myfairladythemusical.com.au/> Socials: <https://www.instagram.com/myfairladyaus/> [Read our 2026 Guide to Musical Theatre](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image photo credit: Matt Crockett Book & Lyrics by Alan Jay Lerner. Music by Frederick Loewe. Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture *Pygmalion*. Based on the 2016 production by Julie Andrews. Directed by Karen Johnson Mortimer. **Categories:** News --- ### [Review: Savior Swipes Right In Sharp New Comedy](https://thescoop.au/review-savior-swipes-right-in-sharp-new-comedy/) **Published:** May 24, 2026 **Author:** Nick Dale **Content:** ★★★★★ ![The Scoop Savior Griffin Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Savior-1-941x628.jpg "Savior Griffin Theatre Company • The Scoop")Happy Feraren’s *Savior*, now in its world premiere at Griffin Theatre, presented in association with Belvoir St Theatre, is a deliciously sharp, fiercely intelligent comedy. Intoxicating, fast-moving, the show is full of unique, clever theatrical devices that keep you leaning in. Drawing on her own time working for NGOs in the Philippines, Feraren’s play follows Michelle (Chrissy Mae Valentine), a local project officer who gets the gig of a lifetime at SAVIOR International after a typhoon devastates Tacloban. All she has to do is impress her clueless American boss Joe (Michael Whalley), whose official title is J.E.S.U.S. (Joint Emergency Systems and Uplift Strategist) and try not to fall for him on Tinder. Swiping Tinder and looking for a hook-up in the middle of a natural disaster? It’s comic brilliance. The bizarre relatability is immediately palpable, and the audience is tuned in from the get-go. And it’s not invented. When Typhoon Yolanda hit in 2013, Feraren saw firsthand a flood of white aid workers appearing on Tinder. Some in military attire, others captioned “just here to help.” They came with relief goods but intended to quench their own thirst. The opening is a little muddy, but it clears quickly. Deceptively starting like a surface-level satire, *Savior* proves otherwise as it gets smarter. The scene between Michelle and Janna (Valentine and Chaye Mogg) sets the comedy stage. The technical device is brilliant: a responsive phone with sharp, interactive sound design. There’s lots of swiping, and the matches show up at the back of the stage as live profiles, speaking their bios in a variety of accents. Michael Whalley plays a myriad of hilarious characters here and is clearly a charismatic, versatile talent who claims the stage. ![The Scoop Savior Griffin Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-24-at-21112-pm-941x628.png "Savior Griffin Theatre Company • The Scoop")The cast are all on point with each distinct in character mannerisms and quirks Photo by Brett BoardmanFeraren takes us into a disaster zone. Something very real that most of us watch on our phones from the comfort of our cosy couches. But she uses sharp, fast comedy to get us there, and then hits us with the reality seemingly out of nowhere, making it all the more impactful. The shift between witty humour and weighted drama isn’t easy to get right, but here it’s seamless. Feraren has a background in improvisation, and this comes through in her playful, cheeky comic writing. The work is grounded, surprising, and the timing feels authentic in a way that only comes from someone who knows how to read a room. If you’re a word nerd like me, you’ll love the wordplay here. “Every aid pack is donated, but nobody gives a pack. What the pack!?” Feraren’s social commentary is totally tuned in. The consumption culture, the quick fix, the idea of humans as a product. I was recently asked for pics on a dating app before the conversation had even started. Um, hello? Nope. Just, show me the goods! We’ve become a commodity to each other, a product like on eBay. Feraren gets this. Janna swipes through a parade of aid workers, on the ground and on the prowl, before setting Michelle up on the app. The cast are all equally on point, each distinct in character, mannerisms and quirks. The scenes between Valentine and Whalley are a highlight. Their back-and-forth quips, the flirting but not flirting, is thrilling comedy. Whalley is superb as the well-meaning but oblivious Joe. He plays the savior complex with breezy self-assurance and meticulous detail. The way he interacts with the space, particularly when the floor opens up as a pool, is a joy to watch. ![The Scoop Savior Griffin Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-24-at-21051-pm-1053x628.png "Savior Griffin Theatre Company • The Scoop")The staging is ingenious with pieces easily moved by the actors Photo by Brett BoardmanChaye Mogg as Janna is electric: quick, charismatic, with hilarious physicality and firecracker timing. But it’s Mark Paguio who knocked me over. Magnetic, entertaining and highly talented, he flicks like a switch between moods and characters, sliding effortlessly between comedy and drama. When he describes the destruction in the aftermath of the typhoon in Filipino, we don’t need to understand it. It’s all over his face, and the imagery is clear. He quietens the audience after all the laughter, and the imagery of destruction is all the more powerful because of it. Kenneth Moraleda directs with astute precision, moving fluidly between tone and emotion so that when the serious moments arrive, they carry real weight. Hailley Hunt’s staging is ingenious: like a puzzle with pieces easily moved by the actors, creating a lot with a very simple set. The brilliance of using the floor space, opening up one sliver to act as the pool, and later, disassembling the flooring to show the devastation of the typhoon. To watch a disaster play out on our safe little screens is one thing. But going through it, losing your home, your loved ones, is a whole other story. One we think we’ll never have to deal with. Until we do. *Savior* is a story that has real impact, and this is comedy doing what it does best. **Happy** **Feraren’s** ***Savior* is presented by Griffin Theatre Company in association with Belvoir St Theatre. It runs to 14 June 2026** **at** **Belvoir St’s Downstairs Theatre**. **Belvoir Street, Surry Hills NSW 2010.** Tickets: <https://welcome.griffintheatre.com.au/overview/4760> Website: <https://griffintheatre.com.au/whats-on/savior/> Socials: <https://www.instagram.com/griffintheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Review: Lazarus Is A Powerful Story Of Survival & Strength](https://thescoop.au/review-lazarus-is-a-powerful-story-of-survival-strength/) **Published:** May 24, 2026 **Author:** Jack Bengough **Content:** ![The Scoop Lazarus Theatre Works](https://thescoop.au/wp-content/uploads/2026/05/Lazarus_smwimage-59-944x628.jpg "Lazarus Theatre Works • The Scoop")Theatre Works St Kilda continues its packed 2026 season with *Lazarus*, written by John Harding and directed by Kamarra Bell-Wykes. A powerful and inspiring retelling of the life of Taungurung elder Larry Walsh, *Lazarus* remains an impressive production despite a few opening-night glitches. At the start of the night, the audience was fortunate to hear from Larry Walsh, the primary subject of the production, and a Welcome to Country from Glenn Loughrey. This introduction invited the audience to bring their own stories into the space. The primer for the full house certainly proved necessary, as *Lazarus* drops its audience into the very real story of Larry Walsh. Throughout the show, the audience is confronted with the realities many Indigenous families have experienced, including in recent history. ![The Scoop Five actors on a dimly lit stage mid-performance; a large red bird is projected on the backdrop behind them.](https://thescoop.au/wp-content/uploads/2026/05/Lazarus_smwimage-29-944x628.jpg "Lazarus Theatre Works St Kilda Melbourne • The Scoop")The story also includes the lighter side of Larry Walshs childhood Photo by SMW ImageFrom mothers being separated from children to those same children being failed time and again by a system that was supposedly designed to help them. The story also includes the lighter side of Larry Walsh’s childhood, from cheeky youthful mischief to the positive influences on his life and the love and joy he received from family and friends. Performers Sermsah Bin Saad, Nathan Wright, and Riley Warner all play Walsh, sharing a third of the performance each. They switched playing the role as Larry entered different phases of his life. When not in their main role, the other two performers, along with Teresa Moore, play the various people who intersected with Larry Walsh’s extraordinary life. All of the performers turn in impressive work, particularly Moore, who gives a powerful performance as Walsh’s mother. The entire performance is highly presentational in nature, as the performer in the role of Walsh serves as a narrator speaking directly to the audience for most of the show. ![The Scoop Three performers on a dimly lit stage: a woman in a red headscarf and sunglasses smokes a cigarette while a bearded man supports her, with another man watching on the right and a colorful collage projection in the background.](https://thescoop.au/wp-content/uploads/2026/05/Lazarus_smwimage-111-944x628.jpg "Lazarus Theatre Works St Kilda Melbourne • The Scoop")All of the performers turn in impressive work Photo by SMW ImageThis device doesn’t ever disengage the audience from the story being told, as there is constant dynamism from the supporting cast and strong prose underpinning the entire show. Unfortunately, the production struggled to maintain its momentum through the final third on opening night. While the excellent prose at the show’s centre remained compelling, the surrounding performance began to falter as lines were dropped and some scenes lost their rhythm. As a result, the dynamism established earlier by the supporting cast faded, causing the closing moments to lose some of their impact. With time to settle into the season, these issues will hopefully smooth out in future performances. Despite these late stumbles, there is still much to love about *Lazarus*. Larry Walsh’s story carries enormous power and heart, and this production has the foundations to do it justice. ***Lazarus* runs to 6 June at Theatre Works, 14 Acland Street St Kilda Vic 3182.** Tickets: <https://www.eventbrite.com.au/e/lazarus-tickets-1976070504072> Website: <https://www.theatreworks.org.au/2026/lazarus> Socials: <https://www.instagram.com/theatreworksstkilda/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: SMW Image **Categories:** Melbourne, Theatre --- ### [Win Tickets To Cirque Nouvelle In Brisbane & The Gold Coast!](https://thescoop.au/win-tickets-to-cirque-nouvelle-in-brisbane-the-gold-coast/) **Published:** May 24, 2026 **Author:** Newsroom **Content:** ![The Scoop Cirque Nouvelle Queensland Tour 2026](https://thescoop.au/wp-content/uploads/2026/05/20250417-DSC08074-942x628.jpg "Cirque Nouvelle Queensland Tour 2026 • The Scoop")Get ready for an unforgettable school holiday experience as **Cirque Nouvelle** returns to Queensland for a strictly limited season, bringing its visually spectacular and high-energy contemporary circus to **Brisbane** on Friday **26 June** and the **Gold Coast** on Saturday **27 June 2026**. Following sell-out performances across Australia, this internationally acclaimed production features an elite ensemble of acrobats, aerialists, jugglers and balancing artists, delivering a thrilling fusion of physical artistry, theatrical storytelling and modern stagecraft. At the heart of the show is a charismatic and quirky ringmaster confronting a universal theme: change. Blending humour, heart and breathtaking skill, Cirque Nouvelle explores the evolution of circus—from the nostalgic wonder of the traditional Big Top to the bold, technology-driven spectacles of today. ![The Scoop Cirque Nouvelle Queensland Tour 2026](https://thescoop.au/wp-content/uploads/2026/05/20250417-MEB_2503-941x628.jpg "Cirque Nouvelle Queensland Tour 2026 • The Scoop")Cirque Nouvelle returns to Queensland these school holidays The Scoop is **giving away 4 x double passes** **to the show**! Ticket giveaway offer: A double pass to the Brisbane show on **Friday 26 June at 6pm**, Fortitude Music Hall. or A double pass to the Gold Coast show on **Saturday 27 June at 6pm**, The Star Theatre. Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop Brisbane’ or ‘Scoop Gold Coast’ under the post. Audiences are taken on a visually rich and emotionally engaging journey that honours circus traditions while reimagining what the future of the art form can be. Perfect for families these school holidays, Cirque Nouvelle promises to captivate audiences of all ages with its blend of daring feats, storytelling and theatrical magic. A new evolution of circus has arrived. Book now! *“Elevated by on-point storytelling, Cirque Nouvelle is a celebration of everything circus, highlighting its humble beginnings and showcasing what the future may hold as a sleek, theatrical spectacle for all.”* [The Scoop](https://thescoop.au/review-cirque-nouvelle-spins-a-joyful-circus-for-all/) ***Cirque Nouvelle* runs in Brisbane on Friday 26 June at the Fortitude Music Hall and the Gold Coast on Saturday 27 June 2026 at the Star Theatre.** The Star Theatre is located on the Casino Level of The Star Gold Coast on Casino Drive, Broadbeach Qld 4218. Tickets for Brisbane are [here](https://www.thefortitude.com.au/all-events/cirque-nouvelle-tickets-ae1663121). Tickets for Gold Coast are [here](https://www.star.com.au/goldcoast/whats-on/live-concerts/cirque-nouvelle). Website: <https://www.cameorascale.com/cirquenouvelle> Socials: <https://www.instagram.com/cirquenouvelle/> [Read our Review of the Show!](https://thescoop.au/review-cirque-nouvelle-spins-a-joyful-circus-for-all/) Watch the sizzle reel below: **Categories:** competition, Gold Coast, News --- ### [Review: An Evening With Fran Lebowitz](https://thescoop.au/review-an-evening-with-fran-lebowitz/) **Published:** May 23, 2026 **Author:** Greta Rule **Content:** ![The Scoop Fran Lebowitz](https://thescoop.au/wp-content/uploads/2026/05/SOH-All-About-Women-2018-310-942x628.jpg "Fran Lebowitz 2026 Australian Tour • The Scoop")On Thursday night, FANE hosted the iconic American author and commentator Fran Lebowitz for an *In Conversation* at The Regal Theatre in Perth. In attendance was a sold-out audience of people eager for a night of witty one-liners and sharp observations of contemporary society. Fran’s Australian and New Zealand tour follows her role in the highly acclaimed Martin Scorsese Netflix documentary series *Pretend It’s a City.* She returns to the stage to share her quintessential biting, unapologetic takes on New York culture, American politics and her disdain for the modern, tech-driven world. The show was structured in two parts. The first featured a moderated interview touching on topics including her relationship with Toni Morrison, the cancellation of *The Late Show with Stephen Colbert* and her projections of the trajectory of American politics during and after Trump’s presidency. The second half opened to audience questions, many existential and advice-seeking in nature. The audience’s curiosity was piqued. Fran answered audience questions with crass, dry humour and impeccable comedic timing. A terrific storyteller, her magnetic personality allows her to hold an entire audience’s attention to whatever topic she fancies speaking about. Fran was simultaneously self-deprecating and self-aggrandising in a way that was undeniably entertaining. She proudly admits she has no interest in money whilst also being incredibly materialistic, creating a dangerous cycle that has meant she has continued to do global tours well into her seventies. She insists she is always right and jokes that the world would be a better place if she were president of the US. These contradictions and other witty observations, whilst charming, also revealed the limits to her commentary. I should admit that I arrived with only a surface-level understanding of Fran Lebowitz. I knew she is a lesbian, a long-time smoker and her uniform includes a boxy blazer, cowboy boots and tortoise shell glasses. Those who came to hear her share personal anecdotes with her iconic New York edge likely left satisfied. ![The Scoop Fran Lebowitz 2026 Australian Tour](https://thescoop.au/wp-content/uploads/2026/05/Fran-Lebowitz-02-879x628.jpg "Fran Lebowitz 2026 Australian Tour • The Scoop")Fran in conversation with Matt Holzman LA Image suppliedBut anyone hoping for deeper political insight and advice about living an unconventional life (judging by the audience questions, there were many) may have left wanting more. She is a well-revered writer and speaker, so I was surprised to have critiques of the show. Fran’s political analysis fell short. On several occasions, she avoided directly answering questions, instead offering a play-by-play of contextual events rather than her perspective on them. When asked about the cancellation of Colbert’s show, for instance, her response was informative but failed to address the interviewer’s question about the cancellation’s impact on the confidence of public figures to speak out against Trump. Whilst I always welcome a brutal roasting of Republican politicians, her takes were crude and lacked the sharpness she is so well-known for. At times, it felt she spoke about politics because it was expected of her, not because she had any new insights to offer. Still, it is refreshing to see an older woman (a demographic so often sidelined in contemporary media) engage an audience with such striking judgements and unabashed confidence. Fran seemed to embody a kind of second-wave feminist persona: a woman who, in wanting to be successful, was told to act like a man to be taken seriously. She embodied the authority historically afforded too easily to men. This raises the question: would she be granted the same cultural reverence if her uniform was less androgynous and included a skirt? Her persona on stage resembled what Gen Z might call a ‘pick-me girl’: a woman who emphatically rejects any interest in things that society deems feminine and/or unserious. Even so, there is something liberating about watching someone so assertive and unconventional be given an unrestricted invitation to command a stage and say whatever she likes. Even when I disagreed with her takes, I respected her audacity and self-assurance. A strong theme of the night, and well-known characteristic of her identity, is her disdain for the internet. Though her criticism was fair, her perspective lacked nuance. Her refusal to engage with the internet in any way, other than to critique it, limits her understanding of such a prominent cultural phenomenon that is social media. ![The Scoop Fran Lebowitz 2026 Australian Tour](https://thescoop.au/wp-content/uploads/2026/05/Fran-Lebowitz-Astor-Theatre-1_photo-credit-Linda-Dunjay-837x628.jpg "Fran Lebowitz 2026 Australian Tour • The Scoop")Fran Lebowitz at the Astor Theatre Photo by Linda DunjayThis created an obvious generational gap. She seemed to remain stuck in the 1970s and 80s, and unable to understand how younger generations think, communicate and engage with information. Not that she cares (or was the purpose of her tour), which she repeatedly reminded us. Her critiques of New York Mayor, Zohran Mamdani as naïve and overly optimistic, felt underdeveloped. She was quick to confidently predict the future of American politics in a manner that felt outdated. It seemed her strengths lied in anecdotal storytelling rather than analytical political and social commentary. It is no doubt, however, that Fran Lebowitz *gets* people, has had a rich life and many wonderful stories to share. Her witty responses to existential questions were hilarious, and her confidence makes growing older feel exciting. She’s a great writer and speaker and is observant, intelligent, funny, and self-aware. True to her style, she blessed us with some clever one-liners too. One that stood out to me was a friend’s remark to her: ‘You don’t understand the world because you don’t watch reality tv’ in relation to understanding human nature and politics – a striking and not entirely incorrect exclamation. When asked about ‘sliding door moments’ in her life, she rejected the premise and responded with the observation that life can go one of many ways, with endless possibilities, and no superior options. That life will be. This modest simplicity captures her worldview well. Fran’s love of books remains endearing. Her hatred of long-haul flights relatable. But she also said she couldn’t recall a recently published book she had read that was worth reading, a disappointing remark and telling of her dogmatic perspective. Perhaps that is exactly what audiences came for: the original, unfiltered Lebowitz persona that refuses to evolve. At the end of the day, she certainly wouldn’t care what I have to say. There’s something magnetic and empowering about that. It’s no surprise she is so popular. **An Evening With Fran Lebowitz tours Australia and New Zealand in May 2026. See dates below.** Tickets are available [here](https://fane.com.au/whats-on/an-evening-with-fran-lebowitz/#tickets). Website: <https://fane.com.au/whats-on/an-evening-with-fran-lebowitz/> Socials: <https://www.instagram.com/faneaustralia/> [Read more of our Reviews](https://thescoop.au/theatre-reviews-perth/) Hero image: Cybele Malinowski 2026 Australian Tour Dates: Sydney 19 May, Sydney Opera House Presented in partnership with the Sydney Opera House Perth 21 May, Regal Theatre Adelaide 23 May, Festival Theatre Brisbane 24 May, QPAC Concert Hall Melbourne 25 May, Hamer Hall Auckland 28 May, Kiri Te Kanawa Presented in partnership with the Auckland Writers Festival **Categories:** Perth, Theatre --- ### [Review: Brace Brace Explores Survival After Disaster](https://thescoop.au/review-brace-brace-explores-survival-after-disaster/) **Published:** May 24, 2026 **Author:** Isabella Visser **Content:** ★★★★★ ![The Scoop Brace Brace PIP Theatre](https://thescoop.au/wp-content/uploads/2026/05/Brace-1-880x628.jpeg "Brace Brace PIP Theatre • The Scoop")PIP Theatre presents *Brace Brace* by Oli Forsyth, a heart-pumping and deeply emotional play about surviving a life-altering event. Prepare to embark on a bumpy ride, as *Brace Brace* tackles terror and gratitude in the same breath. Newlyweds Ray (Henry Solomon) and Sylvia (Amelia Slatter) are heading to their dream honeymoon on a distant beach. But before their holiday even begins, their lives are flipped upside down. While on the plane, The Man (Matthew Filkins) steals control from the pilot and sends everyone plummeting towards the ground. For a brief few minutes, the hundreds of passengers see their lives flash before their eyes and experience what they believe will be their last moments alive. It asks the question: when the world is crashing down around you, do you fight or take flight? For Sylvia and Ray, it’s instinctual. Flashbacks show them jumping into action, fighting off the hijacker and helping to recover the plane. But the turmoil haunts them. Ray and Sylvia now must navigate a new path in their marriage and grapple with how their perspectives have changed in the aftermath. Are they lucky to have survived, or unlucky to have been in that situation at all? ![The Scoop Brace Brace PIP Theatre](https://thescoop.au/wp-content/uploads/2026/05/Brace-2-880x628.jpeg "Brace Brace PIP Theatre • The Scoop")When the world is crashing down around you do you fight or take flight Images by AndersonWriter Oli Forsyth went through a similar ordeal as a child while on a family trip. A hijacker forcefully took control of their plane and sent the almost 400 passengers hurtling toward the ground at 30,000ft a minute. They were saved with just four seconds to spare. Forsyth beautifully weaves the raw clarity of near-death trauma into the play, especially through the characters. Their complicated reactions, inherent fear and frustration, and constant need for something to give them peace is fascinating to behold. Director Deidre Grace, also the owner of the remarkable PIP Theatre, expertly pilots *Brace Brace* into a state of heightened emotions, then leaves onlookers holding on for impact. She creates a story to be immersed in, rather than just watch. The characters retell their experience in pieces to the audience, talking over one another and battling to be heard. Grace beautifully orchestrates scene after scene of well-timed, layered conversations. It’s like being a bystander to an argument between a married couple who keep trying to make you pick a side. The impressive set design by Bill Haycock is reminiscent of an aeroplane’s aisle, its narrowness making the scenes more intimate. It is especially captivating to watch Jason McKell’s meticulously choreographed fight scenes take over the small stage, as the actors push and shove to stay on top. ![The Scoop Brace Brace PIP Theatre](https://thescoop.au/wp-content/uploads/2026/05/Brace-3-880x628.jpeg "Brace Brace PIP Theatre • The Scoop")Watching the play is like being a bystander to an argument Images by AndersonBalancing strength and vulnerability simultaneously without minimising either trait is a difficult feat, but Amelia Slatter pulls it off. She plays the confident Sylvia with a fierce, fiery disposition. Her anger turns explosive, her happiness is bright, and her sadness is like an unlit candle, without purpose. Henry Solomon plays the other half of the honeymoon pair as hopeful and more willing to move on from the almost-disaster. Ray is an unsuccessful comedian who makes up for his ill-timed jokes with an abundance of enthusiasm. Solomon makes the character his own by channelling charisma and compassion into his performance. In his role as The Man, Mathew Filkins embodies cruelty and instils a sense of dread and terror. With just a change in stance and a mad stare, Filkins sends chills through the theatre. He also has the unique ability to reel in audiences by shrugging off cruel characters in seconds and switching to a concerned father, conceited TV host, or paranoid pilot. *Brace Brace* is a journey into the harsh reality of surviving an event with a lot of media scrutiny and morbid curiosity. It’s dramatic, bloody, and emotionally all over the place, but PIP Theatre’s production will have audiences free-falling in love with it. ***Brace Brace* is presented by PIP Theatre and runs to 30 May at PIP Theatre. 20 Park Road Milton Qld 4064.** Tickets: <https://piptheatre.sales.ticketsearch.com/sales/salesevent/157504> Website: <https://piptheatre.org/brace-brace/> Socials: <https://www.instagram.com/piptheatreau/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Images by Anderson **Categories:** Brisbane, Theatre --- ### [Review: Prima Facie Leaves Its Audience In Silence](https://thescoop.au/review-prima-facie-leaves-its-audience-in-silence/) **Published:** May 23, 2026 **Author:** Jessica Flynn **Content:** ★★★★★ ![The Scoop Prima Facie Sheridan Harbridge Griffin Theatre Company Andrew Henry Presents](https://thescoop.au/wp-content/uploads/2026/05/1.-Sheridan-Harbridge-in-Prima-Facie-at-Griffin-Theatre.-Photo-by-Brett-Boardman.jpg-942x628.jpg "Prima Facie Sheridan Harbridge Griffin Theatre Company Andrew Henry Presents • The Scoop")There are some shows that are pure entertainment, and there are shows that imprint themselves on you. *Prima Facie*, at the Comedy Theatre Melbourne, is firmly the latter. It is haunting, devastating and thoughtful theatre that forces you to dismantle your own belief system and question the social norms that formed it. Written by Australian playwright Suzie Miller and directed by Lee Lewis, *Prima Facie* follows criminal defence barrister Tessa as her staunch belief in the legal system begins to fracture. Miller’s writing is sharp, but what makes it extraordinary is how rounded and real it feels. The dialogue never sounds theatrical for the sake of it. It is clearly rooted in Miller’s experience as a human rights and criminal defence lawyer. Conversations about courtroom strategy with popping onomatopoeia to creating hyper-visuals make you forget there is only a woman and an ergonomic chair on stage. ![The Scoop Prima Facie 2026 Tour](https://thescoop.au/wp-content/uploads/2026/02/3-Sheridan-Harbridge-in-Prima-Facie-at-Griffin-Theatre-Photo-by-Brett-Boardmanjpg-942x628.jpg "Prima Facie 2026 Tour • The Scoop")Sheridan Harbridges physicality throughout the show is extraordinary Photo by Brett BoardmanThe script feels unmistakably Australian, celebrating quirks in our culture that make an Australian audience feel ‘in’ on the joke. I do wonder if international audiences would quite understand what shortening Damian to Damo (heavy emphasis on the drawl) means to us. The opening scene hooks you immediately. Tessa barrels onto the stage with confidence, swagger and biting humour, and the audience is instantly swept along with her. The play moves backwards and forwards through time seamlessly, stitching together scenes and memories in a way that feels fluid rather than fragmented. Miller trusts the audience to keep up, and the result is incredibly rewarding. At the centre of it all is Sheridan Harbridge, whose performance is nothing short of astonishing. The effort of carrying a one-woman show for ninety emotionally gruelling minutes cannot be overstated, yet Harbridge makes it look effortless. ![The Scoop Sheridan Harbridge Prima Facie Griffin Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/2.-Sheridan-Harbridge-in-Prima-Facie-at-Griffin-Theatre.-Photo-by-Brett-Boardman-419x628.jpg "Sheridan Harbridge Prima Facie Griffin Theatre Company • The Scoop")It is not an easy watch nor should it be Photo by Brett BoardmanHer personification of the many characters surrounding Tessa keeps the production dynamic and funny in its lighter moments. A shift in posture, a tilt of the head or a change in rhythm is enough to transform her completely. One of the most memorable and comedic sequences is a dance scene where Harbridge invites you to lose yourself in the fun with her, before the tone gradually shifts beneath it. Harbridge’s physicality throughout the show is extraordinary. At the beginning, Tessa stands assertively, taking up space with absolute certainty. As the story unfolds, that confidence physically shrinks. She curls inward, becoming smaller and more fragile on the stage. Yet by the end, she regains her stance from an entirely different emotional place. It is subtle, deeply intelligent work. ![The Scoop Prima Facie 2026 Tour](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-17-at-11619-pm-1198x628.png "Prima Facie 2026 Tour • The Scoop")The visuals are equally striking. Small details become painfully significant, reflecting the lived experience of victims and the way trauma latches onto seemingly insignificant moments. A clutched straw bag. Desecrated posters on the wall. These fragments imprint themselves on the audience just as they do on Tessa. *Prima Facie* premiered in a 110-seat theatre in Kings Cross in 2018 and has since become an internationally acclaimed show on Broadway and the West End. The show’s producer, Andrew Henry, has called this latest season at the Comedy Theatre “the legacy season” as a celebration of everything this show has accomplished as a mighty Australian show. I couldn’t agree more. *Prima Facie* is not an easy watch, nor should it be. But it is exceptional theatre. It is the kind of production that leaves an audience silent as they leave the auditorium, each person carrying the weight of it differently. Australian theatre does not get much more powerful than this. ***Prima Facie* is presented by Griffin Theatre Company and Andrew Henry Presents. It runs for 2 weeks in Melbourne from 20 May and 3 weeks in Sydney from 3 June 2026.** Tickets for Melbourne: <https://primafacieplay.com.au/tickets/melbourne/> Tickets for Sydney are [here](https://primafacieplay.com.au/tickets/sydney/). Website: <https://primafacieplay.com.au/> Socials: <https://www.instagram.com/primafacieaustralia/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman 2026 Australian Tour Dates: Melbourne from 20 May, Comedy Theatre Sydney from 3 June, Roslyn Packer Theatre Running time: 90 minutes. No interval. Age guidance: Recommended for Audiences 14+ CONTENT WARNING: This production contains coarse language and strong themes of sexual assault. **Categories:** Melbourne, Theatre --- ### [Review: Sainting Joan Brings Punk Energy To Joan Of Arc](https://thescoop.au/review-sainting-joan-brings-punk-energy-to-joan-of-arc/) **Published:** May 23, 2026 **Author:** Jacqui Moore **Content:** ![The Scoop Sainting Joan Theatre Works St Kilda Melbourne](https://thescoop.au/wp-content/uploads/2026/05/ITZ05719_HR-942x628.jpg "Sainting Joan Theatre Works St Kilda Melbourne • The Scoop")Independent theatre in Melbourne has always provided a safe space for bold risks, strange ideas, and the kind of creative bravery that rarely survives in bigger, more traditional institutions. *Sainting Joan* is a perfect example of why that ecosystem matters. Staged in Theatre Works’ Explosives Factory, tucked deep in the graffiti‑splashed backstreets of St Kilda, this brand-new, punk-inspired work revisits the story of Joan of Arc through the bickering ghosts who knew her, each debating whether she deserves sainthood. *Sainting Joan* is the brainchild of Australian actor, writer, composer, and theatre‑maker Abigail Banister-Jones, who also steps into the title role. From the outset, it’s clear that Banister-Jones has a genuine passion for the work. She infuses the production with a raw, unvarnished grit that reflects the spirit of Melbourne’s indie scene and the courage it takes to launch an original show. Independently sourced costumes, simple sets, simple lighting and a stripped‑back band reinforce that DIY aesthetic, underscoring the production’s commitment to grassroots creativity. ![The Scoop Sainting Joan Theatre Works St Kilda Melbourne](https://thescoop.au/wp-content/uploads/2026/05/ITZ05752_HR-scaled-e1779510733684-1026x628.jpg "Sainting Joan Theatre Works St Kilda Melbourne • The Scoop")Abigail Banister Jones brings a genuine passion to the work Photo by Iz ZettlThe element of the show that most clearly embodies its indie spirit is the young, but undeniably enthusiastic cast. From the first note, it’s obvious how deeply they care about the project and about supporting Banister-Jones’ vision. There’s always something genuinely refreshing and optimistic about watching emerging performers find their footing in the world of theatre. The cast barely stops for breath across the entire production. They’re almost constantly onstage, shifting between multiple characters and throwing themselves into each moment with admirable energy and playfulness. The musical highlight of the night goes to the trio of Cassie Ogle, Gemma Caruana, and Brittany Ng. Their portrayal of three comical, nosy English onlookers attempting to decipher the verdict in the case against Joan of Arc is hilarious. The trio pull off their slapstick characterisation with sharp timing and infectious energy, earning genuine laugh‑out‑loud reactions. The band, confidently led by Lachlan Obst on keys, features Timothy Chivers on guitar, Lou Hogue on bass, and Victoria Mertonidis on digital drum kit. Obst was a standout of the evening. He handled the new and varied score with total command and brought real energy to the production. ![The Scoop Sainting Joan Theatre Works St Kilda Melbourne](https://thescoop.au/wp-content/uploads/2026/05/ITZ05127_HR-942x628.jpg "Sainting Joan Theatre Works St Kilda Melbourne • The Scoop")Theres always something genuinely refreshing and optimistic about watching emerging performers Photo by Iz ZettlAs the show continues to grow, I’m hopeful the digital drum kit may eventually evolve into an acoustic or full percussive setup, allowing the intended punk edge of the score to land with greater impact. The sound production on opening night left a fair bit to be desired, not unusual for a first performance, but still unfortunate. It meant some of the early setup numbers were difficult for the audience to catch. With a bit of tightening, this is the kind of issue that can easily be smoothed out as the season progresses, and hopefully, the team will get the balance right in the coming performances. As with many new works, some of the structural choices still feel like they’re finding their shape. I wasn’t entirely convinced by the closing number, which reduces Joan of Arc’s legacy to a haircut, but there’s real potential in the material. With further development, I’m hopeful that Banister-Jones will continue to workshop *Sainting Joan*, allowing it to grow, refine itself, and evolve into its next iteration. ***Sainting Joan* runs at the Explosives Factory, Theatre Works until 30 May. Rear laneway, 67 Inkerman Street St Kilda Vic 3181.** Tickets are available [here](https://www.eventbrite.com.au/e/sainting-joan-tickets-1976078740708?aff=oddtdtcreator). Website: <https://www.theatreworks.org.au/2026/sainting-joan> Socials: <https://www.instagram.com/theatreworksstkilda/> [Read more of our Musical Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Iz Zettl **Categories:** Melbourne, Musical Theatre --- ### [Review: Retrograde Is Funny, Cruel & Important](https://thescoop.au/review-retrograde-is-funny-cruel-important/) **Published:** May 22, 2026 **Author:** Alyssa Moller **Content:** ★★★★★ ![The Scoop Office scene with a man in a brown suit standing as papers fly around; another man sits at a desk looking surprised.](https://thescoop.au/wp-content/uploads/2026/05/Donne-Ngabo-and-Alan-Dale-Photo-by-Sarah-Walker-3-942x628.jpg "Retrograde Melbourne Theatre Company • The Scoop")“*Whose truth? Yours, or mine?”* Melbourne Theatre Company’s *Retrograde* is an interrogation room; a stifling, claustrophobic attack on art and morality. Brought into question are Sidney, a young, Black actor on the rise and Bobby, an eager screenwriter, both under the scrutiny of Mr Parks, who rules with an iron fist. *Retrograde* takes place over one meeting on a hot New York City day in 1950s America. Bobby is under the impression he’s about to get his friend Sidney the lead role in his new feature for NBC. Sidney arrives, excited to undertake a role that isn’t ‘servant’, ‘slave’ or an empty shell moulded into what white directors expect a Black character to be. Mr Parks is the barrier to all of this. The play is about race, power, politics, control and where art sits amongst it all. Artfully directed by Bert LaBonté, with an exceptional script by Ryan Calais Cameron, *Retrograde* is built on tension, sold by incredible performances and delivered to the audience in a way that forces you to reflect. I first learnt about McCarthyism in high school history whilst studying Civil Rights and the Cold War, but this was further expanded upon when I got to film school. Studying the Red Scare through the lens of film and TV put this all into context with me; McCarthyism was the threat of censorship. Understanding the power of blacklisting, the Hayes Code and the chokehold Hollywood had in attempting to control the narrative was terrifying to me. ![The Scoop Three businessmen in a vintage office; one stands smoking while the others sit and discuss at a desk.](https://thescoop.au/wp-content/uploads/2026/05/Donne-Ngabo-Josh-McConville-and-Alan-Dale-Photo-by-Sarah-Walker-942x628.jpg "Retrograde Melbourne Theatre Company • The Scoop")*Retrograde* takes place over one meeting on a hot New York City day in 1950s America Photo by Sarah WalkerA play like *Retrograde* is the perfect vessel to digest these ideas further. Boiling large political concepts down to three men: the enforcer, the swing vote and the target. What’s powerful about this play is that the target, being Sidney, turns out to be a disruptor or challenger, the voice they can’t stifle. The performances in this show are magnetic. Donné Ngabo is utterly captivating. His performance as Sidney is as devastating as it is empowering. His monologue confronting the ‘angry Black man’ stereotype gave me goosebumps, his pain palpable and deeply moving. He steals the show, which is perfect because it’s his story to tell. His moral conflict in tearing down one man to elevate himself is heartbreaking and he wears his heart on his sleeve throughout his whole performance, despite the character trying his best to hide it at times. Josh McConville as Bobby balances the character’s selfishness and ambition with his ideological confliction with ease. For a character whose murky and fluid morality should be annoying, McConville plays him with such charm that you, as the audience, are still rooting for him and believe him to make the right decision in the end. Alan Dale plays a perfect villain as Mr Parks. With quick wit crammed full of one-liners, he’s the lawyer with an answer for everything. His experience within the industry is unquestionable, with his unflinching, narrowed eyes and blunt disposition. ![The Scoop Retrograde Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Donne-Ngabo-Photo-by-Sarah-Walker-3-942x628.jpg "Retrograde Melbourne Theatre Company • The Scoop")Donné Ngabo steals the show which is perfect because its his story to tell Photo by Sarah WalkerZoe Rouse’s set and costume design is exquisite. A beautiful, warm-paletted, midcentury office pairs neatly with the greys and beige hues of Bobby and Mr Parks costumes and serves to make Sidney’s deep maroon suit and yellow jacket stand out visually. It’s an indication that this space was not built with him in mind. Rachel Lee’s lighting design, with Jethro Woodard’s sound and score, crafts a beautiful world. One of my favourite moments in the show is when Sidney turns on the charm for Mr Parks like he’s running through a stand-up set. Sidney takes centre stage with a spotlight, a neon red sign for ‘APPLAUSE’ lighting up intermittently, paired with a snappy jazz soundscape, spinning his difficult acting journey into entertainment for the white men waiting to be charmed by him. *Retrograde* is a powerful, extraordinarily relevant show brimming with talent. It questions the motives of those in charge of the stories we tell and shines a light on the power of holding onto your truth and values. Fuelled by a scintillating script and impeccable performances, *Retrograde* is funny, cruel and important. ***Retrograde* is presented by Melbourne Theatre Company and runs to 27 June. Fairfax Studio, Arts Centre Melbourne, 100 St Kilda Rd, Southbank Vic 3004.** Tickets: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/retrograde> Website: <https://www.mtc.com.au/> Socials: <https://www.instagram.com/melbtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Sarah Walker **Categories:** Melbourne, Theatre --- ### [Review: The Birds Are Closing In & There's No Escape](https://thescoop.au/review-the-birds-are-closing-in-theres-no-escape/) **Published:** May 22, 2026 **Author:** Nick Dale **Content:** ★★★★★ ![The Scoop The Birds Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/05/BELVOIR_TheBirds_Production_PhotoBrettBoardman_004852_Paula-Arundell-941x628.jpg "The Birds Belvoir St Theatre • The Scoop")Louise Fox’s adaptation of Daphne du Maurier’s *The Birds*, now playing at Belvoir St Theatre, is a thrillingly vivid experience that whacks awake the senses. From the moment the lights go down, the theatre feels under attack. Ominous and eerie from the start, *The Birds* locks you in and holds you there, relentlessly. Based on du Maurier’s 1952 gothic horror short story, which inspired the immortal Hitchcock film, Fox’s adaptation, under Matthew Lutton’s direction, brings the classic to the stage for a new age, with new anxieties. Paula Arundell plays Tessa, a mother in a small coastal town where the weather has turned, and the birds have turned with it. She also plays the other characters, including Tessa’s husband Nat, the children, and the neighbours, with nothing but a bare stage to work with. The birds are closing in, no one is coming to help, and there’s really no escape. Birds are fascinating creatures, aren’t they? Just yesterday, I was having an innocent coffee at a cafe, only to be accosted by a very confident and slightly aggressive pigeon thwacking at my table. It was a little alarming, but quite invigorating at the same time. I felt smacked awake, and Belvoir St Theatre’s production does just this, creating an unease that is far more terrifying. ![The Scoop The Birds Paula Arundell Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/05/BELVOIR_TheBirds_Production_PhotoBrettBoardman_001937_Paula-Arundell-941x628.jpg "The Birds Paula Arundell Belvoir St Theatre • The Scoop")Paula Arundell plays all the characters with nothing but a bare stage to work with Photo by Brett BoardmanThe stage is set to create a sense of apprehension. Darkness, a cigarette lit up mid-stage as the only light source. Then I notice the birdhouses – 140 of them, apparently, hanging above the audience, a little creepy and doing their work to spark our imaginations. Lutton’s direction works with simplicity and the hidden, letting the fear of the things we can’t see do the work. Similar to *Jaws*, he understands that the unseen threat, the tension of birds that can show up out of nowhere, right in your face, is far more powerful than any prop. No bird or bird-like props are used. The monster is emphasised through visual imagery created in our minds. Fox’s script is storytelling in the best sense. Her words take us into a world that’s rich in vivid detail, sharp and alive in description. Together with Kat Chan’s staging, there’s an intimacy created, but also a feeling of aliveness that feels precarious. Fox’s words, brilliantly awakened by the riveting Arundell, take hold of you, pulling you in, and shaking you about with intelligent, electric and bold imagery. The language asks the audience to participate through imagination, and our mind movies build and build until we’re overcome and there’s no escape, just like the masses of birds that swarm the town. Paula Arundell gives a breathtaking, captivating performance. She plays the characters with an effortless energy that feels contained, but explosive at both ends. She lets the story unfold and unfurl from within her. Her voice work is brilliant. She slips between Tessa and Nat and the children with an ever-so slight turn of the head, but a clear distinction in voices. Nat, her husband, feels like a totally distinct character — despite coming entirely from Arundell without costume changes or props or any crutches to lean on. We see him and sense him clearly. ![The Scoop The Birds Paula Arundell Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/05/BELVOIR_TheBirds_Production_PhotoBrettBoardman_002129_Paula-Arundell-941x628.jpg "The Birds Paula Arundell Belvoir St Theatre • The Scoop")The birds are closing in no one is coming to help and theres really no escape Photo by Brett BoardmanI was fascinated by Arundell’s physicality, how she moves easily, defining place, areas of the home and relationships to character, with nothing but a bare stage and minimal props to work with. The sound design by J. David Franzke is a real star. There is not a moment for distraction, as sharp, sudden sounds, like gunfire, jar you, snapping you into the moment. Sound, light and staging are seamlessly coordinated with Arundell’s movements. We’re kept in a constant state of apprehension. The family, created so clearly through the language and Arundell’s characterisations, is where the stakes are pushed to an intense, relatable effect. This part of the story taps into our collective fears, heightened since COVID, and the world of uncertainty we now live in. “The birds hate us, and I hate us too,” says Tessa. It gets us thinking about our impact on the planet, and what this might mean going forward. Our mindless hubris is our undoing, yet we keep charging on, scrolling and hiding, consuming and complaining — til we’re brought to our knees by something as seemingly innocuous as a bird. I want to go back. To be confronted, to huddle and fight and protect, along with Tessa again. ***The Birds* is produced Malthouse Theatre and runs at Belvoir St Theatre to 7 June. Upstairs Theatre, Belvoir Street, Surry Hills NSW 2010.** Tickets: <https://my.belvoir.com.au/overview/14650> Website: <https://belvoir.com.au/productions/the-birds/> Socials: <https://www.instagram.com/belvoirst/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Win Tickets To See Tuner At Dendy Cinemas](https://thescoop.au/win-tickets-to-see-tuner-at-dendy-cinemas/) **Published:** May 21, 2026 **Author:** Newsroom **Content:** ![The Scoop Tuner film Leo Woodall Dustin Hoffman](https://thescoop.au/wp-content/uploads/2026/05/Tuner-Cover-1116x628.jpeg "Tuner film Leo Woodall Dustin Hoffman • The Scoop")Be the first to see an early screening of **TUNER**, the ‘pitch perfect heist film with a unique and thrilling twist’! Starring Leo Woodall and Dustin Hoffman, a gifted piano tuner’s meticulous skills for tuning pianos lead him to discover an unexpected aptitude for cracking safes, turning his life upside down. To celebrate the release of **TUNER** at **Dendy Cinemas**, you could WIN a double pass! The Scoop is **giving away one, double e-pass** **to the film**, thanks to Dendy Cinemas. ![The Scoop Tuner film Leo Woodall Dustin Hoffman](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-21-at-102056-pm-988x628.png "Tuner film Leo Woodall Dustin Hoffman • The Scoop")Ticket giveaway offer: One double pass to the **preview** on **Thursday 28 May 6:30pm** at either Dendy Coorparoo or Dendy Portside or One in-season double pass to the film from **11 June** at either Dendy Coorpaoo or Dendy Portside (You do not have to be a Club Dendy member to win and attend the preview screening). Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop Coorparoo’ or ‘Scoop Portside’ under the post. **TUNER previews on 28 May at Dendy Cinemas. It opens nationally on Thursday 11 June.** Website: <https://www.dendy.com.au/movie/tuner/> Socials: <https://www.instagram.com/dendy.au/> and <https://www.instagram.com/tunerfilm/> [Back to the Newsroom](https://thescoop.au/newsroom/) Watch the trailer here: **Film details:** Title: Tuner Director: Daniel Roher Cast: Leo Woodall, Dustin Hoffman, Havana Rose Liu, Lior Raz, Jean Reno, Tovah Feldshuh, Nissan Sakira, C.S. Lee Country of Origin: USA, Canada Duration: 108 mins Rating: CTC **Categories:** competition, News --- ### [Review: The Agent Brings Laughs To The Anywhere Festival](https://thescoop.au/review-the-agent-brings-laughs-to-the-anywhere-festival/) **Published:** May 21, 2026 **Author:** Sarah Skubala **Content:** ★★★★☆ ![The Scoop The Agent Anywhere Festival Meryn Cooper](https://thescoop.au/wp-content/uploads/2026/05/Skyfall-Properties-1200x621.jpg "The Agent Anywhere Festival Meryn Cooper • The Scoop")She’s licensed to sell… Between impossible house prices and never-ending interest rate hikes, reality is exhausting enough. Thankfully, *The Agent*, a new comedy play by Meryn Cooper, is here to let audiences laugh their way out of it for a while. A world premiere for the Anywhere Festival in Brisbane, this wacky spy spoof, directed by Mel Poole and presented by Zebra Mez Creative, unfolds in a heightened version of present-day reality. The story follows Michelle Schrödinger and her team at Schrödinger Reality as they battle to secure the coveted title of Real Estate Agent of the Year. Standing in Michelle’s way is her ruthless rival Jane Bond, whose shady tactics make every sale a mission of espionage and sabotage. Toilet mishaps, playful gadgets and impromptu dance breaks are just some of the delights packed into this unapologetically over-the-top production. ![The Scoop The Agent Anywhere Festival Meryn Cooper](https://thescoop.au/wp-content/uploads/2026/05/Life-at-Schrodinger-Realty-21-879x628.jpg "The Agent Anywhere Festival Meryn Cooper • The Scoop")This wacky spy spoof unfolds in a heightened version of present day reality Photo by Stephen L ArcherAs Michelle, Meryn Cooper is Brisbane’s answer to Jane Turner from *Kath & Kim*. Complete with mispronunciations and foxy-moron energy, she wears the pants in this show, and left the opening night audience in stitches. Jamie Delmonte plays the instantly likeable sidekick assistant, Brad Hardbns. His character is joyously camp, and his non-stop energy is the glue that binds the show together. Sarah McNally grounds the story with no-nonsense sass. As Joan McGroan, tech support of the agency, her physical comedy is smartly executed. She is also funny in her cameo as the gloriously ridiculous prospective home buyer. As nemesis Jane Bond, Phoebe Maher is delightfully evil and criminally underused. Her opening scene will feel all too familiar to any modern homebuyer who’s ever attended a Saturday morning auction. ![The Scoop The Agent Anywhere Festival Meryn Cooper](https://thescoop.au/wp-content/uploads/2026/05/Damien-Postie-918x628.jpg "The Agent Anywhere Festival Meryn Cooper • The Scoop")In Brisbanes property market perhaps comedy really is the only affordable escape left Photo by Stephen L ArcherSam Herbertson, as the dulcet-toned Jock Lovegrove, reminds us that the person behind the voice we hear on the radio is not always who we might expect. As the Swiss Army Knife of the cast, Damian Smith plays various memorable characters. One highlight is Dick Smarm, who gives a fantastically funny awards night intro speech. Making a promising debut as Joanna Bambini is Vivien Rose, whose character reminds us to never underestimate the young! When it is not playing host to independent theatre, Warehouse 25 in Milton is a bar, restaurant and gin distillery. It is open two hours before each performance, making it the perfect venue for dinner and a show. *The Agent* is a wonderfully chaotic night at the (non-traditional) theatre, and marks an exciting debut play for Zebra Mez Creative. After all, in Brisbane’s property market, perhaps comedy really is the only affordable escape left. ***The Agent* runs to 30 May at Warehouse 25 as part of the 2026 Brisbane Anywhere Festival. 25 Finchley Street Milton Qld 4064.** Tickets: <https://anywhere.is/event/the-agent/> Socials: <https://www.instagram.com/anywherefestbrisbane/> Socials: [https://www.instagram.com/zebramez\_creative/](https://www.instagram.com/zebramez_creative/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Stephen L Archer Photography **Categories:** Brisbane, Theatre --- ### [Culture, Creativity & Family Fun Lead Clancestry At QPAC in 2026](https://thescoop.au/culture-creativity-family-fun-lead-clancestry-at-qpac-in-2026/) **Published:** May 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Clancestry QPAC 2026](https://thescoop.au/wp-content/uploads/2026/05/Barragga-Yangga-photo-by-David-Rogers-Photography-942x628.jpg "Clancestry QPAC 2026 • The Scoop")**Queensland Performing Arts Centre** (**QPAC**) has announced the free program of events for its iconic ***Clancestry*** festival, celebrating First Nations art and culture across the Centre from **30 July to 8 August 2026**. A much-loved event on QPAC’s calendar since 2013, *Clancestry* celebrates identity, connection and cultural continuity, providing a platform for both established and emerging First Nations artists to share their stories and talents. This year’s program brings together powerful music experiences, bold contemporary performance, family-friendly works, and deeply personal storytelling in a landmark festival experience. The previously announced mainstage program for 2026 includes: ***Camp Culture*** by **Dale Woodbridge-Brown** and **The First Creatives**’ ***Ya’Djin Spirit Women*** from **30 July to 1 August**. ***Jessica Mauboy – The Story of Me*** on **1 August**, **ILBIJERRI Theatre Company**’s ***Gunawarra Re-Creation*** from **5 to 8 August**. **Troy Cassar-Daley** on **6 August**, ***Barragga Yangga*** on **7 August**, and **Yothu Yindi** on **8 August**. *Clancestry*’s **Festival Ground** returns to the South Bank Cultural Forecourt along the banks of the Brisbane River in celebration and acknowledgement of this program of events on the QPAC calendar. The forecourt will be transformed specially for the festival, providing space for entertainment and food services in a relaxed environment. ![The Scoop Clancestry QPAC 2026](https://thescoop.au/wp-content/uploads/2026/05/Jessica-Mauboy-903x628.jpg "Jessica Mauboy • The Scoop")Jessica Mauboy performs in The Story of Me on 1 August for Clancestry Image supplied***First Gathering*** officially kicks of the *Clancestry* program on **31 July** to honour the ancestral history of the land, pay tribute to its spirits, and commemorate its enduring legacy. Community groups will come together on the Festival Grounds to celebrate traditions and welcome young ones to continue the legacy, handed down from elders. Hosted by TV presenter and writer **Tony Armstrong**, this event will celebrate the rich history of this country in the picturesque South Bank setting. ***Clancestry for Kids*** will take over the Festival Grounds on **1 and 2 August** for two days of unforgettable art, stories, and community. Over both days, big and little kids alike will be treated to performances of **Merindi Schrieber**’s joyful ***Birmba***, the story of three cheeky cockatoos encountering a one-in-a-century event, plus sessions of **Flipside Circus’ The Big Little Circus Workshop**, **Face Painting** with **Kaylah Coghill**, **TribalLink’s Cultural Discovery Van**, **Find our Friends** fauna hide and seek activities, **Queensland Museum’s Dilly Bag Lab** and **Deadly Kids Arts and Crafts**. ![The Scoop Camp Culture by Dale Woodbridge Brown. Photo by Joel Devereux](https://thescoop.au/wp-content/uploads/2026/05/Camp-Culture-by-Dale-Woodbridge-Brown-photo-by-Joel-Devereux-942x628.jpg "Clancestry 2026 QPAC • The Scoop")Camp Culture by Dale Woodbridge Brown Photo by Joel Devereux**GATHAA First Nations Markets** on **1 and 2 August** will bring together a mix of Aboriginal and Torres Strait Islander artists, makers, and creatives. Showcasing art, design, bushfoods and hands-on experiences, GATHAA creates a welcoming space for community to connect, share and celebrate culture. Each market is thoughtfully curated to reflect creativity and connection to Country, inviting visitors to engage, learn and experience culture in a genuine and meaningful way. As part of the GATHAA First Nations Markets, audiences will also be invited to join a selection of free workshops and demonstrations including **Native Floral Workshops** with **Blak Botanics**, **Bushfood Cooking on Coals** with **Aunty Dale Chapman** and **Chris Jordan**, plus weaving with **Carly Wallace** and **Brian Whap**. The much-loved ***Mob Music*** stage returns in 2026 with an epic line-up of First Nations musicians and artists. This signature free live music event will energise the Festival Ground on **31 July and 2 August** from dusk each day. Friday evening’s stacked program will see performances from **LanGwij**, a band of Barkindji, Samoan, and Māori brothers and cousins, the magnetic **ZIPPORAH**, one of Australia’s most exciting voices in soul and RnB, and **Say True God?**, bringing an electrifying live show blending raw hip-hop and storytelling. Sunday evening’s program will see two high-energy performances. The distinctive sound from rapper and producer **Dan Rankine** PKA as **trials**, followed by supergroup **Three Fires** – **Jungaji**, **Radical Son** and **Candice Lorrae** – in a one-night-only music experience showcasing works spanning more than two decades. ![The Scoop Clancestry QPAC 2026](https://thescoop.au/wp-content/uploads/2026/05/1200x600-Clancestry-1200x600.jpg "Clancestry QPAC 2026 • The Scoop")Minister for the Arts **John-Paul Langbroek** said *Clancestry*’s continued delivery of high-quality events helps grow new audiences for Aboriginal and Torres Strait Islander artists, companies and stories: *“Sharing Aboriginal and Torres Strait Islander arts and cultures with Queenslanders and visitors to the state is a key focus of the of the Crisafulli Government’s 10-year arts and culture strategy, Queensland’s Time to Shine.* *Alongside ticketed events, Clancestry’s free program will allow Queenslanders and visitors to the state to experience new and exciting work by celebrated Aboriginal and Torres Strait Islander artists.* *We are proud to support QPAC and its presentation of this long-running festival, which reinforces Queensland’s reputation as a cultural powerhouse in the lead up to Brisbane 2032.”* QPAC Chief Executive **Rachel Healy** said *Clancestry* has always been more than just an arts festival: *“Clancestry is an assertion of continuity, cultural authority, and community. The thrilling 2026 program is reason enough to come together, bringing some of the country’s most celebrated First Nations artists to Brisbane stages, including Tony Armstrong, Jessica Mauboy, Troy Cassar‑Daley and Yothu Yindi.* *But beyond the headline names, what makes Clancestry truly special is the way it consistently creates space for audiences and artists to gather, connect and share in something meaningful.”* Ticketed events are now on sale now via [qpac.com.au](https://email.streem.com.au/c/eJwszUuO6yAQheHVwAyL4mkPGGSSbUQFFDG6xkkMN-nefcutnn7SOX8OBpeSOQXwfpFOSjB8DWoG68h76cmR1xQxx2yl19bOypfEa3Ao0WQoC5jibgB5oVlpPxtmZK-Z_tWXaFg3OrqIyS4uehNF2r_GfTqdb2Ed49mZvjB1Zer6-Xym1xPTlB5twv-nrDi6eOxMXdOGe6I-jm_eKFcUB22EnUTN4Rduf8D0xcBsJT_CWKnhqDtRwzftzMj7GT7_eR8HUTvXiWzUBaXQkEEYABIxLUkkB1oWa1Uplr-D-gkAAP__7jJddA) or 136 246. ***Clancestry* runs from 30 July – 8 August at Queensland Performing Arts Centre (QPAC), South Brisbane Qld 4000.** Website: <https://qpac.com.au/whats-on/clancestry> Socials: <https://www.instagram.com/atqpac/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Barragga Yangga, photo by David Rogers Photography **Energex**, part of Energy Queensland, is the Supporting Partner of *Clancestry* 2026. **Categories:** News --- ### [Announcing New Initiatives For The Rob Guest Endowment](https://thescoop.au/announcing-new-initiatives-for-the-rob-guest-endowment/) **Published:** May 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Rob Guest Endowment 2025 Workshop Participants](https://thescoop.au/wp-content/uploads/2026/05/RGE-2025-Workshop-Participants-scaled-e1779253345284-926x628.jpg "Rob Guest Endowment 2025 Workshop Participants • The Scoop")Following the success of the **Industry Audition Insights Workshops** held in Sydney and Melbourne in 2025, the **Rob Guest Endowment** is convening new Industry Insights Workshops in both cities this year, with expanded new offerings. Led by Australia’s leading industry creatives, the Industry Audition Insights Workshops aim to open the door to the workings of the audition room, and the skills required to participate in Australia’s professional music theatre industry as a performer. Applications for the 2026 Industry Insights Workshops are now open. For more details and how to apply, go to [www.robguestendowment.com.au](https://robguestendowment.com.au/) A major new addition for 2026 is the **Artist Development Initiative**, which is designed to support performers beyond the workshop and into the next stages of their trajectory. At the conclusion of the workshop participants will be invited to apply for targeted financial support (from $500 to $1,500) to further develop specific skills identified during the program. This funding is designed to provide practical, career-focused training that helps artists take their next step. The Artists Development Initiative reflects the Rob Guest Endowment’s commitment not only to identifying emerging talent, but to actively investing in its growth. One of the 2025 Workshop participants commented: “*The Rob Guest Endowment Audition Workshop came along at just the right time. Prior to this experience, my career felt as though it was hitting closed door after closed door. My workshop experience has helped me realise that perhaps I’m a little closer to some wins than I had thought.* *It’s reignited my drive to keep working at my craft, given me tangible, individualised feedback with which to do so, and reminded me why I’m working for it; the love of the story.”* ![The Scoop The Rob Guest Endowment](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-20-at-30607-pm-1000x628.png "The Rob Guest Endowment • The Scoop")For more information about the Rob Guest Endowments new initiatives please visit the websiteIn 2026, the Rob Guest Endowment is proud to introduce the **Kellie Dickerson Emerging Musical Director Program**, honouring Kellie’s extraordinary contribution to the Australian music theatre industry. Kellie was a deeply respected musical director, mentor and collaborator whose influence continues to be felt. This program has been created in her honour to support the next generation of musicians stepping into music theatre, and to reflect her passion for nurturing emerging talent. The Kellie Dickerson Emerging Musical Director Program is designed to identify and develop emerging pianists and aspiring musical directors, offering a meaningful pathway into professional music theatre work. Running alongside the Audition Insights Workshops, the program creates a collaborative environment that mirrors the real-world relationship between performers and music teams. This program is ideal for those looking to take the next step from study or early career experience into the professional music theatre industry. In 2026 the Rob Guest Endowment is again thrilled to be working with Stage A Change to help deliver these experiences with a renewed understanding of inclusivity and support. Since its inception in 2009, the Rob Guest Endowment has sought to foster excellence in the music theatre industry and continues to build on its legacy. **WORKSHOP DATES:** Sydney 17-18 August 2026 Melbourne 30-31 August 2026 **For more information about the Rob Guest Endowment’s new initiatives, please visit the website.** Website: <https://robguestendowment.com.au/> Socials: <https://www.instagram.com/robguestendowment/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Rob Guest Endowment 2025 Workshop Participants, supplied. **THE ROB GUEST ENDOWMENT** The Rob Guest Endowment was created following the sudden death of one of Australia’s finest musical theatre performers, Rob Guest OBE, in October 2008. In recognition of his achievements in the musical theatre industry, the Rob Guest Endowment was established in his honour to help emerging young performers in the musical theatre industry. The Rob Guest Endowment was created with the aim of building and maintaining a community for emerging musical theatre artists, one that welcomes and supports the younger generation and helps them achieve their dreams. **Categories:** News --- ### [Win Tickets To Buffalo Kids In Cinemas Next Week](https://thescoop.au/win-tickets-to-buffalo-kids-in-cinemas-next-week/) **Published:** May 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Buffalo Kids film](https://thescoop.au/wp-content/uploads/2026/05/BK_Backdrop_3840x2160-1116x628.jpg "Buffalo Kids film • The Scoop")Rialto Distribution is excited to announce that the new, animated feature film **BUFFALO KIDS** will hit cinemas nationwide from **28 May** **2026**! Set in the 19th century, BUFFALO KIDS follows orphaned Irish siblings Mary and Tom, who arrive in New York City by ocean liner in 1886 hoping to reunite with their uncle. When he fails to meet them, they are swept into a cross-country journey aboard a transcontinental “Orphan Train” carrying children west in search of new homes. Unable to afford tickets, they secretly stay aboard and meet a stray dog named Sparky, along with Nick, a gentle non-verbal boy who has been rejected by potential adoptive families because of his disability. Nick quickly becomes an extraordinary friend who changes their journey. When the children become separated from the train during a stop in the wilderness, they are left stranded in the American frontier. Forced to rely on each other for survival, they face wild animals, harsh conditions and dangerous outlaws as they try to find their way back. ![The Scoop Buffalo Kids film](https://thescoop.au/wp-content/uploads/2026/05/Buffalo-Kids-s462_musicalSequence_trot_c090comp_1143-1200x503.jpg "Buffalo Kids film • The Scoop")Buffalo Kids is in cinemas from 28 MayThe Scoop is **giving away five, in-season family e-passes** **to the film**, thanks to Rialto Distribution! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ and ‘your city name‘ under the post. The tickets are valid at any cinemas across Australia screening BUFFALO KIDS (terms and conditions can be found on the tickets). **BUFFALO KIDS opens nationally on Thursday 28 May at participating cinemas.** Website: <https://rialtodistribution.com/film/buffalo-kids/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: Buffalo Kids Director: Juan Jesús García, Galocha & Pedro Solís García Cast: Alisha Weir, Gemma Arterton, Sean Bean & Stephen Graham Country of Origin: Spain Duration: 82 mins Rating: PG **Categories:** competition, News --- ### [Film Review: The Mandalorian and Grogu Brings Star Wars Back To The Cinema](https://thescoop.au/film-review-the-mandalorian-and-grogu-brings-star-wars-back-to-the-cinema/) **Published:** May 19, 2026 **Author:** Sebastien Skubala **Content:** ★★★★☆ ![The Scoop Star Wars The Mandalorian and Grogu](https://thescoop.au/wp-content/uploads/2026/05/THND-FF-000190-1200x502.jpg "Star Wars The Mandalorian and Grogu • The Scoop")A short time ago in a cinema not very far away… Ladies and gentlemen, this is it. *Star Wars:* *The Mandalorian and Grogu*. The first live-action *Star Wars* film to hit cinemas since *The Rise of Skywalker* in 2019. In a surprising pivot away from Disney+, director and co-writer Jon Favreau takes what could have been *The Mandalorian* Season 4 and expands it into a two-hour cinematic event. Disney has spent years mining the galaxy for spin-offs and side quests. Outside of *Andor*, nothing has connected with audiences quite like *The Mandalorian*. Set around twelve years after the Battle of Yavin, the story follows Din Djarin and Grogu as they help the New Republic hunt down the scattered Imperial Remnants. Favreau is an old hand at *Star Wars*. He helped build *The Mandalorian* from the ground up, shaping both its tone and identity. Having him steer the ship gives this project immediate credibility. What made *The Mandalorian* such a phenomenon was its broad appeal. *Andor* leaned into political paranoia and rebellion. *The Mandalorian* tapped into adventure, warmth and mythmaking. Kids adored Grogu. Older fans embraced the stripped-back western energy. ![The Scoop Star Wars The Mandalorian and Grogu](https://thescoop.au/wp-content/uploads/2026/05/THND-FF-000182-1200x503.jpg "Star Wars The Mandalorian and Grogu • The Scoop")The Mandalorian and Grogu runs on pure adventure logic Image by LucasfilmDisney clearly understands that the generation raised on the prequels is aging into young adults, and now another generation is waiting for its own gateway into the galaxy. This is that gateway. *The Mandalorian and Grogu* runs on pure adventure logic. Someone gives you a mission, that mission leads to another problem, then another detour, and then another fight. It plays out almost like a great single-player game campaign, but the structure definitely works. And at just over two hours, the runtime flies by. The film splits neatly into two halves. The first is relentless. Battle after battle, chase after chase, built for adrenaline junkies and audiences raised on constant stimulation. The second half is steadier-paced but has more character and narrative payoff. It feels really nice to see a *Star Wars* film on a huge screen with surround sound. Some films are made for cinemas. This is one of them. ![The Scoop Star Wars The Mandalorian and Grogu](https://thescoop.au/wp-content/uploads/2026/05/THND-FF-000192-1200x502.jpg "Star Wars The Mandalorian and Grogu • The Scoop")It feels really nice to see a Star Wars film on a huge screen with surround sound Image by LucasfilmThe film does prioritise visual spectacle over plot, with a lot of dialogue telling you what’s going on rather than showing you. That being said, the battle scenes are epic and feature enough crunchy violence to feel satisfying without pulling any punches. Pedro Pascal remains the stoic centre of the story. Cool, controlled and untouchable, he carries himself as the ultimate action figure brought to life. Kids are going to walk out wanting Beskar armour immediately after they leave the cinema. Jeremy Allen White brings surprising warmth as the voice of Rotta the Hutt, giving the character genuine personality and emotional weight. Sigourney Weaver serves more as a narrative driver, pushing Mando from one mission to the next rather than delivering a major game-changing performance. ![The Scoop Star Wars The Mandalorian and Grogu](https://thescoop.au/wp-content/uploads/2026/05/THND-FF-000187-1200x502.jpg "Star Wars The Mandalorian and Grogu • The Scoop")Sigourney Weaver serves more as a narrative driver pushing Mando from one mission to the next Image by LucasfilmThe Grogu puppetry is phenomenal. Every movement lands, every reaction gets a response from the crowd. He remains the emotional core of the franchise, and the audience absolutely melts every time he’s on screen. Ludwig Göransson’s score does exactly what it needs to do. Big themes, pulsing action, western swagger. Musically, *Star Wars* is in safe hands. There are also plenty of fun touches for long-time fans. Modified B1 and B2 battle droids from *The Clone Wars* era got noticeable reactions from the audience, and Dave Filoni’s cameo appearance earned a solid cheer. *The Mandalorian and Grogu* doesn’t reinvent *Star Wars*. It doesn’t try to tear the formula apart or rebuild the mythology from scratch. Instead, it focuses on being entertaining. Fast-paced, crowd-pleasing and easy to love, it’s the kind of movie families will happily line up to see on a weekend or kids will flock to straight after school lets out. This is the way. ***Star Wars: The Mandalorian and Grogu* opens in cinemas around Australia on Thursday 21 May 2026.** Find tickets at the website below. Website: <https://www.disney.com.au/movies/the-mandalorian-and-grogu> Socials: <https://www.instagram.com/starwarsaunz/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Mandalorian and Grogu Director: Jon Favreau Cast: Pedro Pascal, Sigourney Weaver, Jeremy Allen White, Martin Scorsese Country of Origin: USA Rating: M Duration: 132 minutes **Categories:** Film --- ### [Till The Stars Come Down Launches Holden Street Theatres Season](https://thescoop.au/till-the-stars-come-down-launches-holden-street-theatres-season/) **Published:** May 19, 2026 **Author:** Newsroom **Content:** ![The Scoop Till The Stars Come Down Holden Street Theatres](https://thescoop.au/wp-content/uploads/2026/05/690961247_1576583721135591_1922731035964642678_n-1200x462.jpg "Till The Stars Come Down Holden Street Theatres • The Scoop")**Holden Street Theatres Inc**. (HST Inc.) is set to open its 2026 Season with the South Australian premiere of ***Till the Stars Come Down***, the 2024 Oliver nominated smash hit play by award-winning British playwright Beth Steel. Following its critically acclaimed premiere in London, *Till the Stars Come Down* makes its debut in Adelaide, after captivating UK audiences with its authentic and raw portrayal of family, class and belonging. Directed by HST Inc’s. Director in Residence **Nick Fagan**, the production will run for a limited season at **The Studio** from **26 May – 13 June 2026**. *Till the Stars Come Down* is a fiercely funny, deeply moving portrait of family, class, and the fragile ties that bind us together. Picture a family wedding – a day meant for joy and celebration…until the cracks begin to show. Beth Steel throws us straight into that world: sisters clashing, family meddling, emotions simmering beneath the bunting. At the heart of the production is a powerhouse ensemble of some of South Australia’s most celebrated and seasoned performers assembled by Fagan, including **Martha Lott, Michelle Nightingale, Krystal Cave, Jo St Clair, Brendan Cooney, Brant Eustice, Spencer Scholz, Steve Turner, Laura Lines** and **Millie Fagan**. ![The Scoop Till The Stars Come Down Holden Street Theatres](https://thescoop.au/wp-content/uploads/2026/05/IMG_7569-837x628.jpeg "Till The Stars Come Down Holden Street Theatres • The Scoop")Till The Stars Come Down in rehearsal Image suppliedFor **Nick Fagan**, *Till the Stars Come Down* is the perfect opener for HST Inc’s 2026 in-house season, following the success of *The Debate*, which he directed as part of Adelaide Fringe. *“Till the Stars Come Down is a deeply personal and human story that speaks to tenderness and the complexity of family relationships. This is a play for our times, which will connect with Adelaide audiences on every level.* *We have assembled an exceptional local cast for this truly ensemble piece, who will bring this brilliant play to life with its tension, drama and electricity.”* *Till the Stars Come Down* is a headline attraction in HST Inc’s 2026 Season marking an exciting new chapter for the much-loved South Australian theatre hub. HST Inc’s Chief Executive and Artistic Director **Martha Lott** said that *Till the Stars Come Down* is a major coup for the season. *“From London to Holden Street, we are thrilled to open our 2026 in-house season with Nick Fagan as Director in Residence. The production embodies everything that audiences love about Holden Street: bold storytelling, unflinching performances and theatre that moves you, and leaves a lasting impression.”* ***Till the Stars Come Down* runs 26 May – 13 June at The Studio, Holden Street Theatres.** **32-34 Holden Street Hindmarsh SA 5007.** Tickets: <https://holdenstreettheatres.online.red61.com.au/event/890:31/> Website: <https://www.holdenstreettheatres.com/> Socials: <https://www.instagram.com/holdenstreettheatres/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. *Till the Stars Come Down* is presented by HST Inc. by arrangement with ORiGiN™ Theatrical on behalf of Samuel French: A Concord Theatricals Company. **Categories:** News --- ### [Announcing Fiddler On The Roof Musical Tour For Australia](https://thescoop.au/announcing-fiddler-on-the-roof-musical-tour-for-australia/) **Published:** February 5, 2026 **Author:** Newsroom **Content:** ![The Scoop Fiddler on the Roof 2026 Australia](https://thescoop.au/wp-content/uploads/2026/02/Photography-by_-Marc-Brenner-12-1007x628.jpg "Fiddler on the Roof 2026 Australia • The Scoop")Following record-breaking, sold-out seasons in London and across the UK, the critically acclaimed **Fiddler on the Roof** is set to tour **Australia in 2026**, with its inaugural premiere season at **Theatre Royal Sydney from July 2026**, before touring nationally to **Brisbane, Melbourne** and **Perth**. Direct from a sold-out season at London’s famous Barbican Theatre, where it became **the best-selling musical of all time**, this “sublime” (*The Guardian*) and “exuberant” (*The Standard*) revival has captivated audiences and critics alike, earning standing ovations everywhere, five-star reviews and 3 **Olivier Awards**, including **Best Musical Revival**. Renowned as one of the greatest musicals of all time with one of the finest scores ever written featuring: *If I Were A Rich man*,*Tradition*, *Matchmaker* and *Sunrise, Sunset*, **Fiddler on the Roof** is a classic musical of joy and community and an exuberant celebration of love and life. It’s 1905 in the tiny village of Anatevka, where Tevye, a milkman, lives his life by their proud traditions. For his five daughters, that means a visit from the matchmaker. As each daughter challenges his beliefs, against the backdrop of a changing world, can Tevye hold on to his roots, or must he bend to the will of his children and learn to embrace the unfamiliar? This acclaimed production has been powerfully brought to life by visionary and award-winning Director Jordan Fein. His bold contemporary interpretation has been critically acclaimed for its emotional depth, inventive staging and striking theatrical detail. Under Fein’s direction, the production has become one of the most talked-about musical theatre events of the year on London’s West End. ![The Scoop Fiddler on the Roof Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Photography-by_-Marc-Brenner-8-942x628.jpg "Fiddler on the Roof Australia 2026 • The Scoop")Fiddler on the Roof UK production Photo by Marc BrennerAfter a triumphant, sold-out run at Regent’s Park Open Air Theatre in 2024, the production transferred to the Barbican Theatre for a strictly limited season, where it smashed box office records. The production then toured extensively across the UK and Ireland, breaking further box office records and playing to full houses nationwide. Producer **Howard Panter** said: *“This incredible production immediately blew me away. I’m delighted – with our partners – to bring this masterpiece to Australian audiences for what will be one of the major cultural highlights of the year*.” **James Pidgeon**, Executive Director, Regent’s Park Open Air Theatre, said: *“Following the recent success of the Australian tour of our production of Jesus Christ Superstar in 2024/25 starring Reuben Kaye, we could not be more delighted that audiences across Australia now have the opportunity to experience our Olivier Award-winning production of Fiddler on the Roof. We cannot wait to share this record-breaking revival with you.”* **Houri Tapiki**, General Manager at Theatre Royal Sydney, said: *“2026 is the perfect year to welcome Fiddler on the Roof as we celebrate our 50th anniversary and look ahead to the next 50 years with Trafalgar Entertainment continuing to operate the venue. We have already been home to a number of remarkable Trafalgar productions. No doubt this production will continue the streak of delighting audiences.”* Further details for Melbourne and Perth seasons and casting to be announced. **Fiddler on the Roof premieres from 31 July – 6 September at the Theatre Royal Sydney. It then runs in Brisbane at the Glasshouse Theatre, QPAC from 9 October 2026.** Tickets for Sydney [on sale](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/92?tix-tr=FOTRWEB) now! Brisbane [waitlist now at the website](https://fiddlerontherooftour.com/#sign-up). Website: <https://fiddlerontherooftour.com/> Socials: <https://www.instagram.com/fiddlerontherooftour/> [Read our 2026 Musical Theatre Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image: UK production, photo by Marc Brenner Running time: Approx 2 hours 40 minutes (inc. interval) Age guidance: 12+ Licensed exclusively by Music Theatre International (Australasia). 2026 Australian Tour Sydney from 31 July, Theatre Royal Brisbane from 9 October, Glasshouse Theatre QPAC Melbourne TBA Perth TBA **Categories:** News --- ### [Fiddler On The Roof Confirms Melbourne Dates: Tickets On Sale](https://thescoop.au/fiddler-on-the-roof-confirms-melbourne-dates-tickets-on-sale/) **Published:** April 17, 2026 **Author:** Newsroom **Content:** ![The Scoop Fiddler on the Roof Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Photography-by_-Marc-Brenner-5-942x628.jpg "Fiddler on the Roof Australia 2026 • The Scoop")Following record-breaking, sold-out seasons in London and across the UK, the critically acclaimed ***Fiddler on the Roof*** has announced it will play **Her Majesty’s Theatre** in **Melbourne** from **31 October 2026**. The Australian tour will commence at Theatre Royal Sydney from July, before touring to Brisbane, Melbourne and Perth. Direct from a sold-out season at London’s famous Barbican Theatre, where it became the best-selling musical of all time, this “sublime” (The Guardian) and “exuberant” (The Standard) revival has captivated audiences and critics alike. It has earned standing ovations everywhere, five-star reviews and three Olivier Awards, including Best Musical Revival. Renowned as one of the greatest musicals of all time with one of the finest scores ever written, hit songs include *If I Were A Rich Man, Tradition, Matchmaker* and *Sunrise, Sunset*. *Fiddler on the Roof* is a classic musical of joy and community and an exuberant celebration of love and life. It’s 1905 in the tiny village of Anatevka, where Tevye, a milkman, lives his life by their proud traditions. For his five daughters, that means a visit from the matchmaker. As each daughter challenges his beliefs, against the backdrop of a changing world, can Tevye hold on to his roots, or must he bend to the will of his children and learn to embrace the unfamiliar? This acclaimed production has been powerfully brought to life by visionary and award-winning Director Jordan Fein. His bold contemporary interpretation has been critically acclaimed for its emotional depth, inventive staging and striking theatrical detail. Under Fein’s direction, the production has become one of the most talked-about musical theatre events of the year on London’s West End. ![The Scoop Fiddler on the Roof 2026 Australia](https://thescoop.au/wp-content/uploads/2026/02/Photography-by_-Marc-Brenner-12-1007x628.jpg "Fiddler on the Roof 2026 Australia • The Scoop")Fiddler on the Roof UK production Photo by Marc BrennerAfter a triumphant, sold-out run at Regent’s Park Open Air Theatre in 2024, the production transferred to the Barbican Theatre for a strictly limited season, where it smashed box office records. The production then toured extensively across the UK and Ireland, breaking further box office records and playing to full houses nationwide. Producer **Howard Panter** said: *“This incredible production immediately blew me away. I’m delighted – with our partners – to bring this masterpiece to Australian audiences for what will be one of the major cultural highlights of the year.”* **James Pidgeon**, Executive Director, Regent’s Park Open Air Theatre, said: *“Following the recent success of the Australian tour of our production of Jesus Christ Superstar in starring Reuben Kaye, we could not be more delighted that audiences across Australia now have the opportunity to experience our Olivier Award-winning production of Fiddler on the Roof. We cannot wait to share this record-breaking revival with you.”* Further details for the Perth season and casting to be announced. ***Fiddler on the Roof* premieres from 31 July – 6 September at the Theatre Royal Sydney. It then runs in Brisbane, Melbourne and Perth. See tour dates below.** Tickets for Sydney, Brisbane and Melbourne are [on sale now](https://fiddlerontherooftour.com/)! Perth [waitlist now at the website](https://fiddlerontherooftour.com/#sign-up). Website: <https://fiddlerontherooftour.com/> Socials: <https://www.instagram.com/fiddlerontherooftour/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Hero image: UK production, photo by Marc Brenner 2026 Australian Tour Sydney from 31 July, Theatre Royal Brisbane from 9 October, Glasshouse Theatre QPAC Melbourne from 31 October, Her Majesty’s Theatre Perth TBA **Categories:** News --- ### [Announcing Fiddler On The Roof Australian Cast: Sigrid Thornton Returns](https://thescoop.au/announcing-fiddler-on-the-roof-australian-cast-sigrid-thornton-returns/) **Published:** May 19, 2026 **Author:** Newsroom **Content:** ![The Scoop Fiddler on the Roof 2026 Australia](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-19-at-100906-am-986x628.png "Fiddler on the Roof 2026 Australia • The Scoop")Following record-breaking, sold-out seasons in London and across the UK, the multi award winning critically acclaimed ***Fiddler on the Roof*** has today announced its fresh Australian star cast for its Australian premiere and performing in **Sydney, Brisbane, Melbourne** and **Perth**. Leading the high-octane cast as Tevye is Australian and West end star **Troy Sussman**, whose illustrious career has spanned over 40 years with shows including *Back to the Future, Sunset Boulevard, Les Misérables* and *Disney’s Aladdin*. Beloved and decorated Australian icon **Sigrid Thornton** will star into the role of Yente, treating audiences to her **first starring role in a musical in over a decade**. Fresh off an award-winning new production tour of *Anne Being Frank*, **Alexis Fishman** is Golde. Introducing rising stars **Freya Boltman** (*Yiddish Divas*) as Tzeitel, **Ellen Ebbs** (*Head Over Heels*) as Hodel and **Caity Plummer** (*Sunset Boulevard*) as Chava. Internationally acclaimed violinist **Ben Adler** is The Fiddler. The extraordinary cast is completed by **Maxwell Simon**, **Felix Star**, **Jacob Steen**, **Ritchie Singer**, **Danielle Barnes**, **Nina Carmen**, **Romy Juliette Glass**, **Ksenia Teliatnikova**, **Andrew Dunn**e, **Damien Bermingham**, **Mark Doggett**, **Rubin Matters**, **Anthony Sheppard**, **Patrick Whitbread**, **Alex Mulcahy**, **Nick Brown**, **Samantha Stewart**, **Hanlon Innocent**, and **Christopher Tendai**. Director of the award-winning, sold-out British production **Jordan Fein** said: *“The talent we saw in the Australian auditions was world-class. I am overjoyed to have assembled this brilliant company to continue the legacy of this beloved story.”* ![The Scoop Fiddler on the Roof Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Photography-by_-Marc-Brenner-5-942x628.jpg "Fiddler on the Roof Australia 2026 • The Scoop")UK production Photo by Marc BrennerAfter a sold-out run at Regent’s Park Open Air Theatre in 2024, the production transferred to the Barbican Theatre where it became **the best-selling musical of all time**. This “sublime” (*The Guardian*) and “exuberant” (*The Standard*) revival has captivated audiences and critics alike, earning spontaneous standing ovations everywhere and five-star reviews. This brand new production is the most nominated musical revival in the history of the Olivier awards, earning 3 Olivier Awards, including Best Musical Revival. This fresh new production offers a contemporary lens on a great classic musical. Internationally hailed as one of the greatest musicals of all time with one of the finest scores ever written featuring: *If I Were A Rich Man*, *Tradition*, *Matchmaker* and *Sunrise, Sunset*, *Fiddler on the Roof* is a classic musical of joy and community and an exuberant celebration of love and life. It’s 1905 in the tiny village of Anatevka, where Tevye, a milkman, lives his life by their proud traditions. For his five daughters, that means a visit from the matchmaker. As each daughter challenges his beliefs, against the backdrop of a changing world, can Tevye hold on to his roots, or must he bend to the will of his children and learn to embrace the unfamiliar? This acclaimed production has been powerfully brought to life by visionary and award-winning Director **Jordan Fein**. His bold contemporary interpretation has been critically acclaimed for its emotional depth, inventive staging and striking theatrical detail. Under Fein’s direction, the production has become one of the most talked-about musical theatre events of the year on London’s West End. The production reunites designer **Tom Scutt** and choreographer **Julia Cheng**, who previously collaborated on the long running and widely acclaimed *Cabaret* at the Kit Kat Club on the West End and Broadway. The production marks Regent’s Park Open Air Theatre’s return to Australia, following a triumphant tour of J*esus Christ Superstar* in 2024-2025. ***Fiddler on the Roof* premieres from 31 July – 6 September at the Theatre Royal Sydney. It then runs in Brisbane, Melbourne and Perth. See tour dates below.** Tickets for Sydney, Brisbane and Melbourne are [on sale now](https://fiddlerontherooftour.com/)! Perth [waitlist now at the website](https://fiddlerontherooftour.com/#sign-up). Website: <https://fiddlerontherooftour.com/> Socials: <https://www.instagram.com/fiddlerontherooftour/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: UK production, photos by Marc Brenner 2026 Australian Tour Dates: Sydney from 31 July, Theatre Royal Brisbane from 9 October, Glasshouse Theatre, QPAC Melbourne from 31 October, Her Majesty’s Theatre Perth TBA **Categories:** News --- ### [360 Allstars Returns To QPAC Brisbane For World Tour](https://thescoop.au/360-allstars-returns-to-qpac-brisbane-for-world-tour/) **Published:** May 18, 2026 **Author:** Newsroom **Content:** ![The Scoop 360 ALLSTARS QPAC](https://thescoop.au/wp-content/uploads/2026/05/1-360-ALLSTARS-Hero-Image-credit-Matt-Loncar-942x628.jpg "360 ALLSTARS QPAC • The Scoop")BMX, basketball, breakdancing, acrobatics, drumming and more. The international smash hit **360 ALLSTARS** returns to **QPAC** for a season in their home city, as part of their **2026 World Tour!** Sold out on Broadway. Sold out at the Sydney Opera House. Seen by over 2 million people worldwide. A phenomenal physical performance exploring all forms of rotation, 360 ALLSTARS connects the street with the elite to deliver a supercharged urban circus. Boasting a stellar cast of World Champion and World Record holding artists and athletes, 360 ALLSTARS is a spectacular fusion of the extraordinary artistry that emerges from street culture. Add to this a stunning live soundtrack delivered by award winning musicians, coupled with spectacular video projections, 360 ALLSTARS is as aurally exciting as it is visually astounding. A magnificent, colourful & astonishing expression of a generation that has reinvented the circus, 360 ALLSTARS is a revolutionary production that will leave you dizzy with excitement! The production, which continues to grow from strength to strength and which has delivered more than 3000 performances globally, now has 3 teams of ALLSTARS touring the world simultaneously. Don’t miss this chance to catch 360 ALLSTARS at QPAC on their 2026 World Tour! ![The Scoop 360 ALLSTARS QPAC](https://thescoop.au/wp-content/uploads/2026/05/photography-credit-Pete-Wallis-5-976x628.jpg "360 ALLSTARS QPAC • The Scoop")360 ALLSTARS returns to Brisbane from 30 June Photo credit Peter Wallis★★★★★ ***“Blindingly talented. The energy is infectious”*** – Broadway Baby ★★★★★ ***“An unmissable experience”*** – North West End UK ★★★★★ ***“A blistering explosion of raw human power”*** – Theatre Weekly ★★★★★ ***“Destined to be a sell-out”*** – TV Bomb ★★★★★ ***“An hour of captivating exhilaration”*** – UK Theatre Web ★★★★★ ***“This show does not miss a beat. It’s brilliant”*** – Auscast Network ★★★★★ ***“Breathtaking… a rare mixture of talents”*** – The Advertiser ★★★★★ ***“Electric energy”*** – The Stage ★★★★★ ***“The peak of perfection”*** – Play To See ★★★★★ ***“Freaking phenomenal performers”*** – Fritz Magazine **360 ALLSTARS runs 30 June – 5 July at the Playhouse QPAC as part of its 2026 World Tour.** Tickets: <https://www.qpac.com.au/whats-on/2026/360-allstars> Website: <https://onyx-productions.com/360allstars/> Socials: <https://www.instagram.com/360allstars/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image by Matt Loncar **Categories:** News --- ### [Film Review: The Richest Woman In The World](https://thescoop.au/film-review-the-richest-woman-in-the-world/) **Published:** May 18, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop THE RICHEST WOMAN IN THE WORLD Isabelle Huppert ©Manuel Moutier](https://thescoop.au/wp-content/uploads/2026/05/THE-RICHEST-WOMAN-IN-THE-WORLD-02-IsabelleHuppert-©ManuelMoutier-941x628.jpg "THE RICHEST WOMAN IN THE WORLD Isabelle Huppert ©Manuel Moutier • The Scoop")Premiering Out of Competition at Cannes in 2025, Thierry Klifa’s *The Richest Woman in the World* arrives with the glossy whiff of scandal and the even glossier whiff of perfume capital. The film is loosely inspired by the Bettencourt affair, but Klifa, co-writing with Cédric Anger and Jacques Fieschi, is not interested in making a courtroom explainer or a political dossier in designer heels. He wants melodrama. He wants farce. He wants the kind of old-money family rot that looks elegant from a distance and fungal up close. Marianne Farrère, played by Isabelle Huppert, is a cosmetics empress whose life is disturbed, then electrified, by the arrival of Pierre-Alain Fantin, a younger writer-photographer played with peacocking gusto by Laurent Lafitte. Marina Foïs plays Marianne’s daughter Frédérique, who watches the whole thing with the expression of a woman realising that money cannot buy satisfaction, only better lawyers. The smart move is that Klifa does not pretend the film is journalism. That choice gives the film its real flavour. This is not \*Succession\* in French drag. It is slower, more poisonous, and far less interested in deal flow than in the humiliations that money cannot prevent. If American screen satires of wealth often rely on noise, Klifa prefers clipped cruelty, muffled doors, and the dead-eyed politeness of people who have been rich for so long they no longer need to announce it. In other words: less private jet porn, more drawing-room venom. ![The Scoop THE RICHEST WOMAN IN THE WORLD Isabelle Huppert ©Manuel Moutier](https://thescoop.au/wp-content/uploads/2026/05/THE-RICHEST-WOMAN-IN-THE-WORLD-03-AndreMarcon_LaurentLafitte_RaphaelPersonnaz_IsabelleHuppert-1027x628.jpg "THE RICHEST WOMAN IN THE WORLD Isabelle Huppert ©Manuel Moutier • The Scoop")The film is less private jet porn and more drawing room venom Image ©Manuel MoutierHuppert is magnificent because she refuses the easy version of Marianne. She does not play her as a saintly victim, nor as a monstrous fool. She plays her as a woman whose money has made her both sovereign and stunted. Marianne is imperious, childish, cutting, needy, and intermittently thrilled by the possibility of being seen as something other than a vault with cheekbones. One moment, she is a blade. The next, she is almost girlish, or perhaps simply relieved to be desired in any form at all. Huppert’s genius has always involved making stillness feel active. Here, even her pauses seem upholstered. Lafitte, meanwhile, gives the film its bad manners. His Pierre-Alain is a beautifully tacky disruption agent: flamboyant, sly, vulgar, hungry, and just self-aware enough to weaponise camp against decorum. He blows into Marianne’s world like a hairdryer on maximum heat. The movie needs that energy because so much of its structure depends on collision. Huppert and Lafitte make an expertly mismatched duo, the sort of pairing that turns manipulation into choreography. Foïs is excellent as the daughter who has spent so long speaking the language of damage control that she can barely recognise love unless it arrives as a legal threat. Raphaël Personnaz, as the watchful butler, lends the film a hush of suppressed knowledge. Everyone seems to know too much. That is half the joke. The other half is that nobody knows what to do with any of it. ![The Scoop THE RICHEST WOMAN IN THE WORLD Isabelle Huppert ©Manuel Moutier](https://thescoop.au/wp-content/uploads/2026/05/THE-RICHEST-WOMAN-IN-THE-WORLD-09-AndreMarcon_RaphaelPersonnaz_IsabelleHuppert-942x628.jpg "THE RICHEST WOMAN IN THE WORLD Isabelle Huppert ©Manuel Moutier • The Scoop")The whole movie looks as though it has been dusted with expensive powder and ancestral guilt Image ©Manuel MoutierVisually, the film understands a crucial fact about old money: it is rarely loud, but it is always curated. Cinematographer Hichame Alaouié, working with art director Eve Martin and costume designers Jürgen Döring and Laure Villemer, gives Marianne’s universe a sealed, exquisite chill. Gold-glazed light. Plush interiors. Control-freak reds. Surfaces so polished they may as well be emotional hazard signs. The whole movie looks as though it has been dusted with expensive powder and ancestral guilt. What lifts the film above pure gossip is its socio-political undertow. The real Bettencourt affair broadened into questions about elder exploitation, political financing, and the proximity between private fortune and public power. Klifa narrows that field on purpose, but he keeps enough historical poison in the bloodstream to suggest that obscene wealth is never just personal; it is dynastic. It is inherited. It remembers things badly and strategically. So, is it perfect? No. Is it juicy? Absolutely. Huppert alone makes it worth the ticket. Klifa may not deliver the definitive political autopsy of the Bettencourt universe, but he does offer something bracingly weird: a French bourgeois tragicomedy in which money magnifies every appetite and solves none of the loneliness. Think *The White Lotus* after a strict Swiss finishing school. Think Chanel No. 5 with traces of arsenic. ***The Richest Woman in the World* opens in cinemas nationally on 21 May.** Check the website for session times. Website: <https://www.palacefilms.com.au/the-richest-woman-in-the-world> Socials: <https://www.instagram.com/palacecinemas/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Richest Woman in the World Director: Thierry Klifa Cast: Isabelle Huppert, Laurent Lafitte, Marina Foïs, Raphaël Personnaz, André Marcon Country of Origin: France Rating: M Duration: 122 mins Showing at cinemas around the country: **Sydney:** Palace Central, Palace Norton Street, Palace Moore Park, Hayden Orpheum Cremorne **Melbourne:** Palace Balwyn, Palace Brighton Bay, Cinema Como, Palace Westgarth, Palace Pentridge, Palace Penny Lane Cinema, Cinema Nova, The Kino, Palace Regent Cinema Ballarat **Adelaide:** Palace Nova Eastend & Prospect **Brisbane:** Palace Barracks & Palace James St Cinemas **Byron Bay:** Palace Byron Bay **Canberra:** Palace Electric **Perth:** Palace Raine Square, Luna Leederville, Luna On SX, Windsor **Hobart:** State Cinema **Categories:** Film --- ### [Announcing A Beautiful Noise: The Neil Diamond Musical For Sydney](https://thescoop.au/announcing-a-beautiful-noise-the-neil-diamond-musical-for-sydney/) **Published:** May 18, 2026 **Author:** Newsroom **Content:** ![The Scoop Will Swenson A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2025/10/A-BEAUTIFUL-NOISE-BROADWAY-CAST-1-942x628.jpg "Will Swenson A Beautiful Noise The Neil Diamond Musical • The Scoop")Producers **Paul Dainty** and **TEG Dainty, Ken Davenport** and **Bob Gaudio** are thrilled to announce following its highly anticipated Australian premiere in Melbourne in August 2026, the internationally acclaimed production ***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL*** will play **a** strictly limited season at **The Sydney Lyric from November 2026**. Tickets for ***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL*** in Sydney will be released first to waitlist members with an exclusive pre-sale commencing **Tuesday 9 June**, ahead of the general public on sale from **Monday 15 June**. Join the waitlist here [www.theneildiamondmusical.com.au](http://www.theneildiamondmusical.com.au/). Created in collaboration with **Neil Diamond** himself, ***A BEAUTIFUL NOISE*** is the uplifting true story of how a kid from Brooklyn became a chart busting, show-stopping American rock icon. With 140 million albums sold, a catalogue of classics like *Cracklin’ Rosie*, *Forever in Blue Jeans*, and *Sweet Caroline*, an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, **Neil Diamond**‘s story was made to shine on Broadway – and the world. Like *Jersey Boys* and *Beautiful: The Carole King Musical*, **A BEAUTIFUL NOISE** is a deeply personal and electrifying theatrical experience, charting **Neil Diamond**’s rise to superstardom through the songs that defined his life and career. **Neil Diamond**’s connection with Australia spans nearly half a century of music and memories. He has toured here seven times with promoter Paul Dainty AO, from the landmark *Thank You Australia* tour in 1976 through to 2015, with his music resonating deeply with audiences. His iconic 1972 live album *Hot August Night* spent 29 weeks at number one and 65 weeks on the chart, making it the third-longest-charting album of its era in Australian music history. ![The Scoop Will Swenson A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2025/10/A-BEAUTIFUL-NOISE-BROADWAY-CAST-3-942x628.jpg "Will Swenson A Beautiful Noise The Neil Diamond Musical • The Scoop")Will Swenson with A Beautiful Noise Broadway cast supplied**Neil Diamond** said: *“Some of my most thrilling nights have been while sharing my music with audiences around the world*. *A BEAUTIFUL NOISE has already had an incredible journey on Broadway and is currently touring across the U.S. It’s an incredible honour to see it heading to Melbourne and Sydney. I hope Australian audiences enjoy the show as much as I have.”* Producer **Paul Dainty AO** said: “*Sydney has always had a deep connection with Neil Diamond’s music. I’m delighted that audiences there will experience this extraordinary production following its Melbourne premiere. There has already been remarkable demand in Melbourne ahead of opening, which speaks to the enduring place Neil’s music holds in the hearts of Australians.* *This musical is a powerful celebration of his life and legacy, filled with the songs that have meant so much to generations. It’s an honour to bring this story to the Sydney stage.”* Producer **Ken Davenport** said: “*A BEAUTIFUL NOISE has connected with audiences around the world because it’s more than a musical. It’s a deeply human story told through one of the greatest songbooks of all time. We’ve been thrilled by the extraordinary response already building in Melbourne, and we’re excited to bring that same energy to Sydney audiences later this year.”* The Australian cast of ***A BEAUTIFUL NOISE*** is led by **Broadway star Will Swenson** in the titular role *Neil Diamond – Then*, bringing his acclaimed, award-winning performance to Australia for the very first time. ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/02/A-BEAUTIFUL-NOISE-BROADWAY-CAST-2-942x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")Will Swenson with A Beautiful Noise Broadway cast suppliedJoining Swenson is an exceptional company of Australian talent, featuring principal cast members **Terence Crawford** (*Neil Diamond – Now*), **Ashleigh Rubenach** (*Marcia Murphey*), **Monica Sayers** (*Doctor*), **Alana Tranter** (*Jaye Posner*), **Tim Wright** (*Fred Weintraub / Tommy O’Rourke),***Paul Hanlon** *(Bert Berns / Kieve Diamond*), **Hannah Fredericksen** (*Ellie Greenwich / Rose Diamond*), with **Rob Mallett** (*Standby Neil Diamond – Then*), and **Mark Owen Taylor** (*Standby Neil Diamond – Now, Fred Weintraub / Tommy O’Rourke, Bert Berns / Kieve Diamond*). Rounding out the company as “The Beautiful Noise” ensemble are **Katrina Bickerton, Cameron Davey, Paul Leandre Escorrido, Matt Hourigan, Alana Iannace**, **Jerome Javier** (Swing) **Joshua Kobeck, Etuate Lutui** *(Shilo soloist),* **Anna Mallows** *(Swing),* **Jordan Malone, James Maxfield** *(Swing),* **Isabella Roberts, Sophie Tzioumis, Emma Wilby** *(Swing),* and **Erica Wild** *(Swing)*. ***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL*** is directed by Tony Award® winner **Michael Mayer** (*Spring Awakening, Hedwig and the Angry Inch*), choreographed by Olivier Award winner **Steven Hoggett** (*Once, Harry Potter and the Cursed Child*), and written by four-time Academy Award nominee **Anthony McCarten** (*Bohemian Rhapsody, The Two Popes*). The design team for A BEAUTIFUL NOISE features Tony Award winner **David Rockwell** (Scenic Design) and Tony Award nominee **Emilio Sosa** (Costume Design). Four-time Tony Award winner **Kevin Adams** (Lighting Design) and Tony Award winner **Jessica Paz** (Sound Design). **Luc Verschueren** (Hair, Wig and Make Up Design). The production has Music Supervision and Arrangements by **Sonny Paladino**. Incidental Music and Dance Music Arrangements by **Brian Usifer**. Vocal Design by **AnnMarie Milazzo**, and Orchestrations by **Bob Gaudio, Sonny Paladino**, and **Brian Usifer**. ***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL* will make its Australian premiere exclusively in** **Melbourne**. **It runs at the Princess Theatre from 5 August to 11 October.** **It runs in Sydney at the Lyric Theatre from 14 November.** Melbourne Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=ABEAUTN26> Waitlist for Sydney: <https://theneildiamondmusical.com.au/#waitlist> Socials: <https://www.instagram.com/theneildiamondmusicalau/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images of *A Beautiful Noise* Broadway cast, supplied. ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/05/image001.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")A letter from Neil Diamond: The idea of a Broadway musical about my life has always been a daunting one. It wasn’t until the symptoms of Parkinson’s disease prematurely ended my touring career that I started to seriously consider the prospect. I say “prematurely” because my heart and soul would tour until the day I die if only my body would cooperate. My friend and longtime producer Bob Gaudio had some success with his little show, *Jersey Boys* (perhaps you’ve heard of it?), so I went to him for some guidance on where to begin. Bob brought in Ken Davenport and together they built the incredible creative team that became, *A Beautiful Noise*. When Anthony McCarten came on board, we spent hours talking. It was his idea to frame the show in the context of therapy sessions. I loved the idea and never shied away from talking about my years of psychoanalysis. There used to be a stigma around talking about mental health and thankfully through the years, it’s become an important and accepted topic of conversation. Sitting in the theatre and watching the show has itself been therapeutic: reliving some joyful and some of the painful parts of my life, wishing perhaps that if I could only make a few edits in the script, it would change some of the reality of what I was seeing. But in the end, coming to terms with my life and accepting it has somehow come full circle. I feel fortunate and full of gratitude for all the people in my life. It is each of them who have impacted and shaped me in their own way to get me to the place where I am now…a better man. A better father, a better husband, a better songwriter. I’d like to thank Marcia and Jaye, this story wouldn’t be possible without you. My children and grandchildren for your most important supporting roles in my life. My wife, Katie, who encouraged me to keep going through this process and finally, to Dr. Lu Katzman, my long-time therapist who inspired this story. May she rest in peace. **Categories:** News --- ### [Review: Ride The Cyclone Turns Mortality Into Musical Magic](https://thescoop.au/review-ride-the-cyclone-turns-mortality-into-musical-magic/) **Published:** May 18, 2026 **Author:** Jess Zlotnick **Content:** ![The Scoop Ride The Cyclone Company of Dramatic Arts CODA](https://thescoop.au/wp-content/uploads/2026/05/IMG_7433-942x628.jpg "Ride The Cyclone Company of Dramatic Arts CODA • The Scoop")*Ride the Cyclone* is a genre-bending comedy musical, with highs and lows much like the ride itself. Written in 2009 by Jacob Richmond and Brooke Maxwell, it’s the story of six members of a small-town choir who all die in a freak rollercoaster accident. Summoned in the afterlife by a fortune-telling machine, they are made to plead their case for resurrection in the form of song. Some attendees may recognise the musical from TikTok, where clips went viral in 2022 and gave rise to an international cult following. In their director’s note, Kris Sergi shares the spirit of camaraderie and collaboration that went into this production, presented by Company of Dramatic Arts (CODA). This is vivid on stage, with the design and performances exuding a great deal of passion. Kris also deserves much credit and celebration for their work as producer and choreographer! *Ride the Cyclone* is a musical full of earworms, with songs that really catch. This production is similarly full of talented artists, some just at the start of their careers, showing great promise. The production really shines in the musical numbers. Every cast member hits the mark for their character, with soaring and confident vocals from Kayla Ingle-Olson’s teeth-gnashingly peppy *What the World Needs*, to Brock Cramond’s precise and sensual *Noel’s Lament*. ![The Scoop Ride The Cyclone Company of Dramatic Arts CODA](https://thescoop.au/wp-content/uploads/2026/05/IMG_7103-942x628.jpg "Ride The Cyclone Company of Dramatic Arts CODA • The Scoop")The production really shines in its musical numbers Photo by Izzy SergiThe ensemble supports each other with clear and expressive dance and movement to create tasty capsules of creativity. Natalie Patterson’s performance as Jane Doe, particularly in *The Ballad of Jane Doe*, gave me whole-body chills. Beyond the excellent writing of the song itself, Patterson’s flawless vocals paired with inventive choreography made this an unforgettable moment. Dialogue moments between songs fall flat, with the script showing its weaknesses and cast not quite finding the same rhythm, energy, and humour here that they apply so consistently to the songs. Audio mixing near the start of the show impacted the clarity of the plot. In this show, there is quite a lot of context needed up the top if you’re not familiar with the mechanics of the story that you’re about to witness. There are a few too many storytelling devices at work. There’s a fortune-telling machine narrator, slide-deck introductions for each character, spoken-word preludes, and the songs themselves. The repetition becomes predictable, with a missed opportunity to properly break this structure in line with the wit and surprises of the plot. ![The Scoop Ride The Cyclone Company of Dramatic Arts CODA](https://thescoop.au/wp-content/uploads/2026/05/IMG_7090-942x628.jpg "Ride The Cyclone Company of Dramatic Arts CODA • The Scoop")This production is full of talented artists who show great promise Photo by Izzy SergiCostumes by Lexi Willis are tonally precise, with excellent embellished details emerging throughout the show to add to the world-building for each character’s song. Scenic design by Kathryn Smith is detailed and fun, though some elements in their composition could have been stripped back from the focal point of the stage to provide greater clarity to the AV design. The inclusion of real photos of the cast in the character introductions is a thoughtful touch from AV Designer Robbie Alexander. The use of a central revolve provided some moments of interest in staging, however by-and-large seemed an obstacle to organic and comfortable use of the stage by the performers. Lighting by Tim Hope transported us for each song, from the red-light district of Paris, to outer space, to the yellows, pinks, and blues of a rainbow Paddle Pop for *Sugar Cloud*. Carnival string lights across the audience, while charming, impacted the high contrast needed in climactic moments by providing too much light in the auditorium. Company of Dramatic Arts’ production of *Ride the Cyclone* is clearly a show made and performed with love, true to the moral of the story: life isn’t a game only one person can win, it’s a ride we’re all on together. ***Ride the Cyclone* is presented by Company of Dramatic Arts (CODA) and runs to 30 May at the Eternity Playhouse. 39 Burton Street Darlinghurst NSW 2010.** Tickets: <https://events.humanitix.com/coda-ride-the-cyclone> Website: <https://www.companyofdramaticarts.com/> Socials: <https://www.instagram.com/companyofdramaticarts/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Izzy Sergi **Categories:** Musical Theatre, Sydney --- ### [Review: The Middle Room Musical 2026 Anywhere Festival](https://thescoop.au/review-the-middle-room-musical-2026-anywhere-festival/) **Published:** May 17, 2026 **Author:** Jenny Mason **Content:** ★★★★☆ ![The Scoop The Middle Room musical Anywhere Festival](https://thescoop.au/wp-content/uploads/2026/05/IMG_1502-copy-1047x628.jpeg "The Middle Room musical Anywhere Festival • The Scoop")*The Middle Room* is a sweet and whimsical musical that covers all aspects of life, set in the middle room of a country family home. Written and directed by Grace Spinks, this original, acoustic contemporary musical covers issues from the mundane to the profound. Intimately exploring the dramas of everyday life, *The Middle Room* is being presented as part of this year’s Anywhere Festival. An open access arts festival, the Anywhere Festival presents theatre in unconventional spaces rather than traditional theatres. It has grown to host 500 performances annually since 2011 and has solidified its place as a fixture of the Brisbane performance calendar. *The Middle Room* chronicles the comings and goings of the people in a household throughout a generation. Featuring songs about the trivialities of youth and ageing, as well as the tragedies and misunderstandings that life entails, it is a moving production. The characters Rae, Liz, Louise, Andy, Jaime and Mum all take centre stage to give their unique perspectives on the many and varied stages of life. Together, they convey a sweet coming-of-age story filled with romance, loss, love and death. ![The Scoop The Middle Room musical Anywhere Festival](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-17-at-90838-pm-1038x628.png "The Middle Room musical Anywhere Festival • The Scoop")Through song, we meet the earnest daughter, Rae (Kate Hudson-James), who is still at school and eventually marries her childhood sweetheart. Rae’s standout number is *What’s So Scary About My Boyfriend?* where she explains that when she is at a party, nobody wants to talk to her once they find out she is attached. As her charming boyfriend, Andy, Jack Flanagan is equally musically talented and offers much comic relief throughout the production. As Jaime, Ethan Coleman plays their quiet brother, and is part of the smooth accompanying band alongside Matthew Teakle and Charlie Green. Liz, played by Chloe Flanagan, is the adventurous sister. She returns home after a break-up, only to take off overseas on a new adventure and novel romance. The feisty Louise, played by AJ Betts, is taken in by the family because of her troubled relationship with her mother. Louise and Rae’s continuing friendship is pure, and Louise’s loyalty and gratitude to her adopted family is endearing. ![The Scoop The Middle Room musical Anywhere Festival](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-17-at-90647-pm-1063x628.png "The Middle Room musical Anywhere Festival • The Scoop")Finally, we meet Mary, the wonderful mum. Brilliantly acted by Christina Keen, this character is genuinely convincing as the constant in all of their lives. Supporting and loving them all as they leave and return, Keen beautifully expresses the enormous role of motherhood through song and impressive acting. The voices of all of the cast are angelic and emotive, with duets and trios filled with exquisite harmonies. The singing is sincere, perfectly pitched with a hint of Missy Higgins-esque angst. The talented cast can dance, play instruments, act and sing – quite an impressive quadruple threat. Memorable lyrics include *Romeo, am I a Capulet again?* sung by Flanagan as Liz expressing her return home after another break-up. The musical asks poignant questions about life, love and family, gently exploring how the roles of carer and cared-for can shift over time. At its heart, *The Middle Room* is a deeply moving reflection on what “home” truly means. It is not simply a place, but the people who continue to love us through every stage of life. Warm, sentimental and filled with sincerity, this is a beautiful musical that deserves a life beyond the festival. ***The Middle Room* runs 16 – 17 May and 29 – 31 May as part of the Anywhere Festival. The remaining shows run at New Tricks Wine & Gin Distillery. 26 Collingwood Street Albion Qld 4010.** Tickets: <https://anywhere.is/event/the-middle-room/> Website: <https://www.gracespinks.com/> Socials: <https://www.instagram.com/themiddleroommusical/> [Read more of our Musical Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied. **Categories:** Brisbane, Musical Theatre --- ### [Announcing Full Cast For Sweet Charity At Chapel Off Chapel](https://thescoop.au/announcing-full-cast-for-sweet-charity-at-chapel-off-chapel/) **Published:** May 16, 2026 **Author:** Newsroom **Content:** ![The Scoop SWEET CHARITY Heirlume Productions](https://thescoop.au/wp-content/uploads/2026/05/SWEET-CHARITY-Ticketing-Platform.jpg "SWEET CHARITY Heirlume Productions • The Scoop")Following their sold-out inaugural season of *Elegies for Angels, Punks and Raging Queens*, **Heirlume Productions**, who is teaming up with **Forest Collective**, has announced the full cast for the iconic Fosse musical, *Sweet Charity* playing at **Chapel Off Chapel** this**June**. The previously announced **Erica Wild** (*A Beautiful Noise, The Rocky Horror Show, Rogers and Hammerstein’s Cinderella*) will play Charity Hope Valentine. They are joined by **Clancy Enchelmaier** (*The Producers, Waltzing the Wilarra*) as Vittorio/Oscar, **Madeline Pratt** (*Annie*) as Nickie, **Hannah Gutierrez Cañon** (*Saturday Night Fever*) as Helene, and **Sarah-Louise Younger** (*Midnight, A Funny Thing Happened on the Way to the Forum*) as Herman/Daddy. Rounding out the cast is **Lisa-Marie Coad** (*Neighbours*), **Bridie Erwin-Keirl** (PSA Graduate), **Eden Holmes** (*SIX*, Norwegian Cruise Lines), **Alessandra Negro** (*Mamma Mia*), and **Tyler-Rose Shattock** (*Legally Blonde*). **Erica Wild** said: *“I really admire Charity’s resilience and her relentless ability to see the best in the world despite what she’s been through. She always chooses hope. I think her positivity is something we should aspire to, and I’m excited to step into her shoes.”* ![The Scoop Sweet Charity Heirlume Productions Chapel Off Chapel](https://thescoop.au/wp-content/uploads/2026/05/FULL-CAST-POST-502x628.jpg "Sweet Charity Heirlume Productions Chapel Off Chapel • The Scoop")Director **Madison Lee** said: *“I’m really excited for audiences to experience a version of Sweet Charity that feels raw, gritty and a little more confronting than they might expect. We’re not leaning into a glossy, polished version of the world. We’re letting it feel lived-in, a bit rough around the edges, and emotionally honest. There’s humour and joy in it, but it sits alongside something sharper underneath.”* Celebrating 60 years this year, *Sweet Charity* follows the adventures of the ever-endearing Charity Hope Valentine, across 1960’s New York City… but not quite how you remember it. Capturing a world suspended between The Lavender Scare and the Stonewall Riots, this production reimagines this classic through a new lens; infusing its beloved characters and legendary score with a queer love story and a tale of self-discovery and acceptance. ***Sweet Charity* is presented by Heirlume Productions and Forest Collective and runs 18 – 28 June 2026 at Chapel Off Chapel, 12 Little Chapel Street Prahran Vic 3181.** Tickets: <https://chapeloffchapel.com.au/show/sweet-charity/> Website: <https://www.heirlumeproductions.com/> Socials: <https://www.instagram.com/heirlume.productions/> and <https://www.instagram.com/forestcollective/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Creatives** Producer **Manda Rozen-Flannery**. Director **Madison Lee**. Choreographer **Jesse Matthews**. Co-Musical Directors **Evan J Lawson** and **Max Kielly**. Stage Manager **Samara Louise.** Costume Designer **Zachary Dixon**. Set/Lighting/Projection Designer **Ruben Laine**. Sound Designer **Lukas Battey**. **Categories:** News --- ### [Review: Eat Slay Zombie Brings End Of The World Home](https://thescoop.au/review-eat-slay-zombie-brings-end-of-the-world-home/) **Published:** May 17, 2026 **Author:** Sarah Skubala **Content:** ★★★★½ ![The Scoop Eat Slay Zombie La Boite Theatre](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-17-at-41555-pm-945x628.jpeg "Eat Slay Zombie La Boite Theatre • The Scoop")“Eat Slay Zombie” sounds like something Gen Z would scream while live-streaming the apocalypse. Thankfully, this production understands exactly how ridiculous that sentence is and runs with it at full speed. Off the back of a successful 2024 season at QPAC, *Eat Slay Zombie* returns to Brisbane as La Boite Theatre’s second main stage offering of the year. Born through the Sparks program run by QPAC and PlayLab Theatre, La Boite has boldly upscaled the work into an ambitious mainstage production that never loses the scrappy chaos that makes it so charming. Under the co-direction of Githabul-Migunberri-Yugumbeh playwright Alinta McGrady, alongside Samoan-Australian Lisa Fa’alafi, the production balances punchy comedy with emotional weight. Set in a zombie apocalypse unfolding inside a bowling alley-turned-bunker, the production wastes no time throwing audiences into the action. From the opening moments, the pace is relentless and the energy infectious. The set, designed by Rozina Suliman, features three large backdrops that double as screens, displaying pre-recorded footage, live phone feeds, and social-media style content. ![The Scoop Eat Slay Zombie La Boite Theatre](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-17-at-42106-pm-858x628.jpeg "Eat Slay Zombie La Boite Theatre • The Scoop")The production wastes no time throwing audiences into the action Photo by Dean HansonThe multimedia design becomes one of the production’s strongest assets and is masterfully executed by AV designer Nevin Howell. The result feels cinematic without losing the intimacy of live theatre. The show is already halfway to a screen adaptation. At times reminiscent of *Zombieland: Double Tap*, the work understands that humour lands hardest when the stakes feel real. The writing is funny without ever feeling forced, allowing room for audiences to sit with the deeper ideas underneath the chaos. The play operates as a sharp political allegory, exploring the lived experiences of women of colour in Australia. TikTok culture, influencer personas, colonialism, and the complexities of Blak identity all collide in a world where surviving the undead somehow feels easier than surviving the internet. The costumes by co-designers Boneta-Marie Mabo and Lisa Fa’alafi are end-of-the-world perfect. No notes. One of the production’s greatest strengths is its notably young cast. Performers under 30 remain uncommon on Australian mainstages, making La Boite’s continued investment in younger artists refreshing and important. ![The Scoop Eat Slay Zombie La Boite Theatre](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-17-at-42207-pm-860x628.jpeg "Eat Slay Zombie La Boite Theatre • The Scoop")This work understands that humour lands hardest when the stakes feel real Photo by Dean HansonThat commitment pays off most clearly in Juliette Coates’ performance as Tash. Sweet, disarmingly sincere and quietly seductive, they give the show its warmth. Coates’ lip-synced dance break moments are joyous, adding texture and flashes of music-video absurdity to the production. Full of charm and confidence, Coates is a rising talent to watch. As Sheree, Shahnee Hunter is sharp-tongued, charismatic, and immediately disarming. Her near fourth-wall-breaking moments feel entirely within the universe of the show and leave the audience wanting more. Her scenes wielding the flamethrower “Doris” are among the production’s funniest. Jalen Sutcliffe shifts effortlessly between vulnerable survivor and volatile outcast, known only as ‘B.’ His explosive outburst left the opening night audience in stunned silence. The dichotomy between influencer persona and inexperienced survivor is believable and he grounds the production emotionally amidst all the mayhem. *Eat Slay Zombie* is a clever piece of theatre that fills a noticeable gap. Apocalyptic stories are so often framed through an American lens that it feels refreshing, and strangely believable, to see the end of the world unfold in our own backyard. Turns out the apocalypse looks pretty good under fluorescent bowling alley lighting. ***Eat Slay Zombie* is presented by La Boite Theatre and runs to 30 May at the Roundhouse Theatre, 6 Musk Avenue Kelvin Grove 4059.** Tickets: <https://laboite.com.au/shows/eat-slay-zombie> Website: <https://laboite.com.au/> Socials: <https://www.instagram.com/laboitetheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Dean Hanson Photography **Categories:** Brisbane, Theatre --- ### [Review: The Hunchback Of Notre Dame Is Larger Than Life](https://thescoop.au/review-the-hunchback-of-notre-dame-is-larger-than-life/) **Published:** May 17, 2026 **Author:** Jesse Oey **Content:** ★★★★½ ![The Scoop The Hunchback of Notre Dame CLOC Musical Theatre](https://thescoop.au/wp-content/uploads/2026/05/1439-941x628.jpg "The Hunchback of Notre Dame CLOC Musical Theatre • The Scoop")In a haunting, twisted world where boundaries between virtue, obsession and cruelty get indecipherably blurry, a timeworn riddle dares to ask, “*What makes a monster and what makes a man?”* 15th-century Paris rises in shadows and song as *The Hunchback of Notre Dame* returns to the stage, presented by CLOC Musical Theatre at Melbourne’s iconic National Theatre, St Kilda. Director Shaun Kingma reimagines this enduring tale with grandeur, impressive scale, and a striking sense of purpose. The production skilfully balances the weight of Victor Hugo’s original story with the emotional pulse of its beloved Disney adaptation. Seen through the eyes of an isolated outsider, *The* *Hunchback* *of Notre Dame* is a sombre meditation on morality and identity, as corruption tears apart a fragile society fragmented by prejudice. Innocent Quasimodo, hidden away in the high towers, yearns for human connection, with only inanimate statues for company. Firecracker Esmeralda fights for dignity and acceptance in a city determined to crush her community. Sinister, self-righteous Frollo confuses his despicable hatred with an unyielding sense of duty, against the imposing backdrop of the cathedral’s ancient tolling bells. ![The Scoop The Hunchback of Notre Dame CLOC Musical Theatre](https://thescoop.au/wp-content/uploads/2026/05/3224-942x628.jpg "The Hunchback of Notre Dame CLOC Musical Theatre • The Scoop")The Hunchback of Notre Dame is a sombre meditation on morality and identity Photo by Ben FonAt the centre of the story, Jackson Howe offers a compassionate portrait of Quasimodo, a solitary young man aching to explore a world he’s spent his life observing from afar. Howe brings to life Quasimodo’s hopefulness and innate ability to always see the best in people. He effortlessly commits to the visual contradictions required by the role’s physicality, at once embodying Quasimodo’s external fragility and inner strength when prowling cautiously across the stage. His formidable vocals soar as he belts out *Out There* with longing and *Made of Stone* in sheer desperation. Teresa Giansiracusa is absolutely mesmerising as Esmeralda, the story’s moral compass and symbol for defiance. Giansiracusa’s self-assured performance and captivating singing voice successfully deliver a terrific blend of tenderness and confidence. She vividly personifies Esmeralda’s passion for freedom (*God Help the Outcasts*) and her bold, undying refusal to be diminished by the brutality that surrounds her (*Someday*). ![The Scoop The Hunchback of Notre Dame CLOC Musical Theatre](https://thescoop.au/wp-content/uploads/2026/05/2589-942x628.jpg "The Hunchback of Notre Dame CLOC Musical Theatre • The Scoop")Gardiners resonant bass baritone commands full attention Photo by Ben FonMike Gardiner’s Archdeacon Claude Frollo is a menacing villain masquerading as a beacon of reverent devotion. With chilling precision, Gardiner’s resonant bass-baritone commands full attention, conveying Frollo’s delirious malevolence (*Hellfire*), as he continues to masterfully manipulate those close to him. He wreaks mayhem in the name of blind faith, unrepentant until the end. Rounding out the main cast, Evan Evans is effervescent as Clopin. He plays the King of the Gypsies with a mischievous storyteller’s instinct as he gallops across the stage and disappears in clouds of smoke. Thomas Bowman gives depth and contemplation as Captain Phoebus, slowly waking up to the evil injustice surrounding him, then deciding to do the right thing. *The Hunchback of Notre Dame* is well-known for its intricate, demanding musical score. The extraordinary Congregation and Choir step up to the challenge with astonishing unity. ![The Scoop The Hunchback of Notre Dame CLOC Musical Theatre](https://thescoop.au/wp-content/uploads/2026/05/1770-942x628.jpg "The Hunchback of Notre Dame CLOC Musical Theatre • The Scoop")This production is textured heartfelt and deeply poignant Photo by Ben FonTheir stunning harmonies vibrate through the walls of the theatre, sometimes a whisper of contempt, often a tidal wave of judgment, a living force shaping the world around the characters. Their earth-shattering rendition of *The Bells of Notre Dame*, alongside Musical Director David Clausen-Wisken’s orchestra, is a particular highlight. The steady hand of Kingma’s set design is complemented by Victoria Horne’s vibrant costume design. Sound and lighting by Marcello Lo Ricco and Jason Lord is completely immersive, with dynamic choreography by Melanie Ott. CLOC Musical Theatre’s victorious take on *The Hunchback of Notre Dame* is textured, heartfelt, and deeply poignant. Its arrival is also profoundly well-timed. In a world grappling with unrest, their story still feels painfully, urgently relevant. *The Hunchback of Notre Dame* asks us to carefully examine who we trust, who we condemn, and who we choose to protect, along with the treacherous path we often take in forming our judgment. It challenges us to stretch the boundaries of our horizons, as we all decide what truly makes a monster, and what really makes a man. An ambitious, larger-than-life showing – and a feast for the eyes! ***The Hunchback of Notre Dame* is presented by CLOC Musical Theatre. It runs to 30 May at the National Theatre Melbourne. 20 Carlisle Street St Kilda Vic 3182.** Tickets are available [here](https://boxoffice.cloc.org.au/WEBPAGES/EntaWebShow/ShowPerformance.aspx). Website: <https://www.cloc.org.au/> Socials: <https://www.instagram.com/clocmusicaltheatre> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Ben Fon **Categories:** Melbourne, Musical Theatre --- ### [Win Tickets To H Is For Hawk Starring Claire Foy](https://thescoop.au/win-tickets-to-h-is-for-hawk-starring-claire-foy/) **Published:** May 17, 2026 **Author:** Newsroom **Content:** ![The Scoop H is for Hawk Film Claire Foy](https://thescoop.au/wp-content/uploads/2026/05/HIFH_1080x608px.jpg "H is for Hawk Film Claire Foy • The Scoop")When grief takes flight, so does hope. Claire Foy and Brendan Gleeson deliver a powerful, heartfelt performance in **H IS FOR HAWK**, the visually stunning cinematic adaptation of Helen Macdonald’s internationally bestselling memoir. Follow Helen’s journey as she navigates loss, forms a bond with the wild goshawk Mabel, and rediscovers herself through nature, courage, and love. Experience this moving British drama on the big screen from 28 May. ★★★★ “Claire Foy is remarkable” — *The Independent* The Scoop is **giving away five, in-season double pass** **e-tickets** **to the film**, thanks to **Kismet Movies**! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop.’ The tickets are valid at any cinemas across Australia screening H IS FOR HAWK (terms and conditions can be found on the tickets). **H IS FOR HAWK opens nationally on 28 May at participating cinemas.** Search for a cinema near you at the website. Website: <https://www.kismetmovies.com/releases/h-is-for-hawk> Website: <https://hisforhawk.com.au/> Socials: <https://www.instagram.com/kismetmovies/> [Back to the Newsroom](https://thescoop.au/newsroom/) Watch the trailer here: **Film details:** Title: H is for Hawk Director: Philippa Lowthorpe Cast: Claire Foy, Brendan Gleeson Country of Origin: United Kingdom Duration: 115 mins Rating: M **Categories:** competition, News --- ### [Review: The Shepherd's Hut Brings New Theatrical Life To Winton's Work](https://thescoop.au/review-the-shepherds-hut-brings-new-theatrical-life-to-wintons-work/) **Published:** May 14, 2026 **Author:** Tiffany Barton **Content:** ★★★★☆ ![The Scoop The Shepherd's Hut Black Swan State Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/The-Shepperds-Hut_Q7A2009-942x628.jpg "The Shepherd's Hut Black Swan State Theatre Company • The Scoop")When Tim Winton’s book *The Shepherd’s Hut* was published in 2018, it received strong praise for the unique vernacular voice of its teenage protagonist Jaxie Clackton, its depiction of the harsh landscape of Western Australia’s desert, its spiritual and moral reckoning, and its brutal, high-impact ending. Black Swan State Theatre’s production, directed by Matt Edgerton and adapted for the stage by Tim McGarry, is an ambitious interpretation of the novel. With a stripped-back set, stylised movement and the introduction of a chorus performing Jaxie’s internal dialogue and the novel’s supporting characters, the production seeks to bring new theatrical life to Winton’s work. While visually inventive and theatrically disciplined, it ultimately struggles to capture the devastating emotion of the novel’s conclusion. Jaxie Clackton, played by Ryan Hodson, is a teenager on the run from a brutal father and a death he feels responsible for. He lands deep in desert country and discovers a hut where Irish priest Fintan MacGillis (played by George Shetsov) has been exiled by the Catholic Church for crimes and cover-ups he has witnessed. This arid interior becomes the perfect place for both men to hide. In isolation, each must confront the demons from the past that continue to torment them. The brilliant minimal set by Bruce McKinven is a raised bar of sand that evokes the nearby salt lake and the endless stretch of desert surrounding it. Thin chains hang from the ceiling, creating a veil between life and death, past and present. Projected onto them are powerful images of a dead tree, the night sky, Jaxie’s love Lee, and most significantly, the terrifying, rage-filled face of Jaxie’s father. He appears throughout the play as a malevolent presence, reminding us of the violence Jaxie is fleeing. (Video design by Roly Skender.) Matt Edgerton’s direction is tight and stylised, with choreographed precision and bold choices that largely succeed in communicating the action of the novel through abstraction and movement. ![The Scoop The Shepherd's Hut Black Swan State Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/The-Shepperds-Hut_N8A1042-942x628.jpg "The Shepherd's Hut Black Swan State Theatre Company • The Scoop")Great care has been taken to preserve the urgency immediacy and beauty of Wintons narrative voice Photo by Philip GostelowThe performances feel meticulously rehearsed and operate with impressive synchronicity. In his director’s notes, Edgerton references the embodiment of trauma. This is evident in the urgency, immediacy and desperation coursing through the production. This is a clever and succinct adaptation of the novel by Tim McGarry. The play begins when Jaxie meets Fintan, while the opening sections of the novel are conveyed through a series of flashbacks. The audience is treated to fragments of Winton’s superb prose via the chorus, who narrate sections of the action and give voice to Jaxie’s turmoil. Great care has clearly been taken to preserve the urgency, immediacy and beauty of Winton’s narrative voice. Performances by all actors are strong. As Fintan, George Shetsov’s long white hair and towering height give him the air of a ruined apostle — half holy man, half fugitive. He carries the mythic proportions suggested in Winton’s novel: ascetic, spectral and imposing. Ryan Hodson conveys Jaxie’s desperation and damage with visceral emotion and striking physical presence as he runs, haunted by the spectre of his demonic father and veering constantly between hope and despair. The trauma coursing through his body is palpable and heartbreaking. Ben Mortley and Ella Prince also perform strongly as Chorus. Prince’s androgynous appearance lends remarkable versatility to their performance. They shift from dramatic narrator to desperate interior monologue to the tenderness and vulnerability of Jaxie’s cousin and love interest Lee, and finally to the brutality of a murderer. Mortley similarly displays impressive movement quality and corporeal force as he navigates the production’s demanding scenes alongside Jacob Lehrer’s crisp choreography and Edgerton’s symbolic direction. The production does not fully match the intimacy and compassion of Winton’s prose. But what it lacks in vulnerability it compensates for with dramatic force and theatrical intensity. The chorus, in particular, navigates the density of Winton’s language with clarity and discipline. ![The Scoop The Shepherd's Hut Black Swan State Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/The-Shepperds-Hut_N8A1241-942x628.jpg "The Shepherd's Hut Black Swan State Theatre Company • The Scoop")Performances by all actors in this Black Swan production are strong Photo by Philip GostelowThe main thing that stands out about this production is its impressive and innovative form. Every theatre-maker contributes to a polished, well-oiled machine. This is professional theatre operating at the top of its game and seeking to bring new life to a well-loved text. Unfortunately, the ending lets the production down. The polished theatrical language, choreographed movement and visual control create a striking atmosphere, but in the final confrontation, that same stylisation blunts the horror. In Winton’s novel, Fintan’s suffering feels unbearable. His torment is visceral and horrific to witness, made all the more devastating because it is filtered through Jaxie’s perspective. In this theatrical interpretation, however, the depiction of torture is so minimal and stylised that the violence arrives more as narrative information than emotional devastation. Where the book leaves the reader shattered, the play ultimately fails to move. Black Swan Theatre Company’s adaptation of *The Shepherd’s Hut* is a visually bold and intellectually rigorous piece of theatre. It demonstrates enormous respect for Tim Winton’s novel while confidently reimagining it through movement, design and theatrical abstraction. The production’s precision, discipline and formal innovation are consistently impressive, and the performances carry tremendous emotional and physical commitment. Yet despite its many strengths, the adaptation never fully captures the raw intimacy and devastating emotional force that make Winton’s novel so unforgettable. What remains is a production of remarkable craft and ambition — that is so close to success, if only it could convey the climactic brutality of the source material. ***The Shepherd’s Hut* is presented by Black Swan State Theatre Company. It runs to 31 May at Heath Ledger Theatre, State Theatre Centre of WA. 174/176 William Street Perth WA 6000.** Tickets are available [here](https://www.artsculturetrust.wa.gov.au/venues/state-theatre-centre-of-wa/whats-on/the-shepherd-s-hut/). Website: <https://blackswantheatre.com.au/season-2026/the-shepherds-hut> Socials: <https://www.instagram.com/blackswanstc/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Philip Gostelow **Categories:** Perth, Theatre --- ### [Review: The Pirates Of Penzance Plunders Big Laughs](https://thescoop.au/review-the-pirates-of-penzance-plunders-big-laughs/) **Published:** May 17, 2026 **Author:** Leo Manson **Content:** ★★★★★ ![The Scoop The Pirates Of Penzance Hayes Theatre Co Foundry Theatre](https://thescoop.au/wp-content/uploads/2026/05/HiRes_PiratesOfPenzance_FoundryTheatre_May26_27A7073-edited-958x628.jpg "The Pirates Of Penzance Hayes Theatre Co Foundry Theatre • The Scoop")*The Pirates of Penzance* is one of those shows every musical theatre-lover is familiar with. Its songs have been performed thousands of times and reimagined in many ways, yet no one has done them quite like Hayes Theatre Co. After numerous sold-out performances in 2025, which prompted an extended season, this production returns to eagerly awaiting audiences. So what makes it so special? A wildly talented and charming cast of just five performers goes a very long way. For those less familiar, *The Pirates of Penzance* was written in 1879 by W. S. Gilbert and Arthur Sullivan and follows a former apprentice pirate named Frederic. The musical begins on his 21st birthday, where his pirate duties are relinquished, allowing him to pursue a romance with a General’s daughter. Richard Carroll’s adaptation and direction, paired with Victoria Falconer’s musical arrangements, is sharply attuned to contemporary culture. *The Pirates of Penzance* is packed with references to modern musical theatre favourites, including *Wicked*, while playfully poking fun at contemporary society along the way. The sheer talent in this show is undeniable. The cast’s history with this production has created a wonderful chemistry that breathes fresh life into its light-hearted satire. ![The Scoop The Pirates Of Penzance Hayes Theatre Co Foundry Theatre](https://thescoop.au/wp-content/uploads/2026/05/HiRes_PiratesOfPenzance_FoundryTheatre_May26_27A6316-edited-887x628.jpg "The Pirates Of Penzance Hayes Theatre Co Foundry Theatre • The Scoop") This adaptation is sharply attuned to contemporary culture Photo by John McCraeJay Laga’aia leads the cast as the tender-hearted Pirate King. A truly endearing character from start to end, Laga’aia is a joy to watch. No stranger to Australian audiences, his credits range from *Play School* to the *Star Wars* prequel films. In the first act, Brittanie Shipway steals the show with a phenomenal operatic performance. Shipway juggles singing, acting, comedy, and her multiple roles, including Mabel and Ruth, with ease. Shipway is complemented by the endless camp of Maxwell Simon’s performance as Frederic. His exaggerated dramatics are exactly what this adaptation demands. On the keys is Jonathon Holmes, who balances his musical prowess with his role as the Major General. The contemporary inclusions added to his character’s well-known song take things in a fresh direction. In particular, the slower tempo allows the audience to fully appreciate the lyrical wit. In the show’s second act, Sarah Murr gets a chance to fully flex her vocals, most notably through her hilarious solo as the police constable. Filling the gaps left by the reduced cast, Murr’s handling of the majority of the ensemble roles does not go unnoticed. ![The Scoop The Pirates Of Penzance Hayes Theatre Co Foundry Theatre](https://thescoop.au/wp-content/uploads/2026/05/HiRes_PiratesOfPenzance_FoundryTheatre_May26_60A9998-edited-819x628.jpg "The Pirates Of Penzance Hayes Theatre Co Foundry Theatre • The Scoop")The sheer talent in this show is undeniable Photo by John McCraeOne cannot discuss this show without giving credit to the wonderful backstage crew. Lily Mateljan’s costuming is simply delightful. The General’s daughters and Pirate King’s outfits in particular stand out for not only looking phenomenal but also allowing the numerous quick changes the production demands. Nick Fry and Adrien Stark’s clever set design incorporates on-stage seating alongside the traditional auditorium arrangement, drawing parts of the audience directly into the action. Selected patrons are invited onstage to play pirates, sergeants and other supporting roles as needed. This works particularly well during *When A Felon’s Not Engaged In His Employment*, where the audience participants help emphasise the police force’s comic ineptitude. It is a smart and highly entertaining way to enhance the production’s smaller cast. If you’re in need of a night filled with bawdy humour, raucous laughter and wonderfully clever theatrical chaos, Hayes Theatre Co’s *The Pirates of Penzance* is the perfect show to catch. ***The Pirates of Penzance*, presented by Hayes Theatre Co and runs to 7 June at Foundry Theatre, inside the Sydney Lyric, Pirrama Road Pyrmont** **NSW 2009.** Tickets: <https://www.foundrytheatre.com.au/the-pirates-of-penzance> Website: <https://hayestheatre.com.au/> Socials: <https://www.instagram.com/foundrytheatresydney/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Read our interview with Sarah Murr!](https://thescoop.au/sarah-murr-sets-sail-on-her-next-big-adventure/) Photo credits: John McCrae **Categories:** Musical Theatre, Sydney --- ### [Announcing 2026 HSBC Spanish & Latin American Film Festival Program](https://thescoop.au/announcing-2026-hsbc-spanish-latin-american-film-festival-program/) **Published:** May 14, 2026 **Author:** Newsroom **Content:** ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Ladies-Hunting-Party_1-1116x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")The heat will be turned up as the **2026 HSBC Spanish & Latin American Film Festival** arrives in Australia this winter with a carefully selected line up of over thirty films from Spain, Colombia, Argentina and more, showing at Palace Cinemas, Palace Nova and Luna Palace Cinemas around Australia this **June – July**. This year’s diverse program takes audiences on a season of cinematic escapes – from culinary adventures in Peru and São Paulo to gripping thrillers, passionate Spanish romances, documentaries tracing salsa’s New York origins, and even an uplifting true story about the pioneering girls who changed the course of women’s football in Spain. Speaking on this year’s festival, **Benjamin Zeccola**, CEO of Palace Cinemas, said: *“Opening a window into Spanish and Latin America cinema is to embark on a wonderful adventure, visiting exotic places, hearing the voices and accents shift across regions while navigating the challenges of love, life and freedom with a dose of salsa, a swing of the hips, a delicious dish and a glass of wine.* *We can’t wait to welcome the HSBC Spanish & Latin American Film Festival back for its 29th year across Australia. Audiences can look forward to a rich and eclectic lineup of the best contemporary Hispanic and Latin American cinema.”* Read on to learn about the full program, with tickets now on sale at [spanishfilmfestival.com](https://spanishfilmfestival.com/) ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Mistura_4-1116x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from Mistura which will open the Festival **FESTIVAL HIGHLIGHTS:** **Opening the Festival** is the Australian premiere of delicious Peruvian drama **MISTURA,** starring the sensational Bárbara Mori. The award-winning feature, revered for its vivid portrayal of Peru’s gastronomy and people, centres on a woman (Mori) whose life unravels after her husband leaves her, inspiring her to embark on a transformative culinary journey. Featuring beautiful cinematography and elegant settings, the 1950s set film will leave mouths watering. Watch the *MISTURA* trailer: The **Centrepiece of the Festival** is **SUNDAYS** (*Los domingos)* winner of the Golden Shell (Best Film) at the 2025 San Sebastián Film Festival. Writer/director Alauda Ruiz de Azúa’s quietly spellbinding drama deftly captures the rupture within a family after a young woman defies expectations with her chosen vocation. The coming-of-age drama has already drawn widespread critical acclaim on the festival circuit. Watch the *SUNDAYS* trailer [here](https://www.youtube.com/watch?v=wZheAzHOLcM). The **2026 Special Presentation** is **THE TIGERS** (*Los Tigres)*, starring Antonio de la Torre and Bárbara Lennie as professional divers and siblings. In this critically acclaimed maritime thriller from award-winning director Alberto Rodríguez, the pair discover the proceeds of a crime and are met with a huge dilemma about what to do next. Watch *THE TIGERS* trailer [here](https://www.youtube.com/watch?v=NTy8o7MbPx8). ![The Scoop Two people sit on a small boat near the water, with a large ship in the background and a blue sky above.](https://thescoop.au/wp-content/uploads/2026/05/The-Tigers_2-941x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from The TigersThe **second Festival Special Presentation** is epic historical adventure **THE CAPTIVE** (*El cautivo)* from award-winning director Alejandro Amenábar. Featuring an international ensemble, including Julio Peña (*Through My Window)* and Alessandro Borghi (*The Eight Mountains*), the thrilling drama follows a young Miguel de Cervantes, who went on to write *Don Quixote*, as he finds an unexpected refuge in the art of storytelling while imprisoned in 1575 Algiers. Watch*THE CAPTIVE* trailer [here](https://www.youtube.com/watch?v=2oNSIH8Is8o). Featuring the much-loved Mexican star Gael García Bernal, (*The Motorcycle Diaries, Y tu mamá también*) **NOTHING BETWEEN US** (*Nada entre los dos)* is an intimate and charming love story set against the backdrop of a corporate crisis. Bernal is joined by Natalia Oreiro as they explore desire, choice, and the fragile balance between personal freedom and social expectations. Watch the *NOTHING BETWEEN US* trailer [here](https://www.youtube.com/watch?v=PJ7UtaEqqL0). To close the Festival, and marking its 60th anniversary with a new restoration, is Carlos Saura’s award-winning classic **THE HUNT** (*La Caza).* Considered a landmark classic in Spanish cinema and a representative film of *Nuevo cine español*, the film delivered Saura his first international success, being awarded Silver Bear for Best Director at the 1966 Berlin International Film Festival. A thrilling psychological drama set over the course of a single scorching summer day, tensions rise between friends on a rabbit hunt, acting as a skillful allegory of the wounds of the Spanish Civil War and subsequent Franco dictatorship. Festival goers can also enjoy screenings of **LADIES’ HUNTING PARTY** *(Día de caza)***,** a contemporary adaptation of **THE HUNT**, featuring an all-female lineup of legendary actors, including Blanca Portillo*,* Carmen Machi and Rossy de Palma. It also explores the cycle of betrayal, corruption, and abuse of power in society. ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/The-Way_1-1122x628.png "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from The Way**PILGRIMAGES ON SCREEN:** In the eagerly awaited drama **ROMERÍA** (meaning pilgrimage), from acclaimed writer/director Carla Simón (*Alcarràs*), Llúcia Garcia delivers a luminous central performance as an eighteen-year-old girl who travels to the city of Vigo to meet her paternal family and is immediately confronted with a past shaped by absence and deep-seated emotions. In piecing together her parents’ complex history, she reveals long-buried family secrets hindering her ambition to reconstruct a coherent account of her father, her parents’ love story, and her place within it. Watch the *ROMERÍA* trailer [here](https://www.youtube.com/watch?v=tE1m4YbmyZE). The best-reviewed film of the 2025 Berlinale was Gabriel Mascaro’s breathtaking fable **THE BLUE TRAIL** (*O Último Azul),* following a remarkable Brazilian woman who, as her working life draws to an end, secretly sets out on a trip down the Amazon to fulfil a long-held dream. It still retains a score of 100% on Rotten Tomatoes. Watch*THE BLUE TRAIL* trailer [here](https://www.youtube.com/watch?v=8Nc4gdUd_8U). Continuing the theme of journeying is Emilio Estevez’s profoundly touching drama **THE WAY,** celebrating its 15th anniversary. Martin Sheen stars as a father heading overseas to recover his estranged son who died while traveling “El camino de Santiago,” and decides to take the pilgrimage himself. The film will also screen with an exclusive pre-recorded Q&A with Estevez and Sheen. Watch *THE WAY* trailer [here](https://www.youtube.com/watch?v=RBHR5iOqp9c). ![The Scoop If you were given a choice between waiting hopefully for something that could be, and giving everything to what’s already in front of you – which way would you go? This is the proverbial dilemma that sits at the core of Once – an honest, heartfelt musical, now showing at Melbourne’s iconic Chapel Off Chapel. It arrives with the kind of quiet emotional force that sneaks up and warmly invites us in. Picture this: A Dublin busker with a broken heart, on the brink of giving up, meets a buoyant, free-spirited Czech pianist who is blown away by his talent and refuses to let him quit. Over a handful of days, they write music, heal old wounds, let their worlds collide, and discover a gentle, bittersweet connection that profoundly changes them both. AG Productions (Mamma Mia!, Avenue Q), led by renowned Melbourne showrunner Andrew Gyopar, brings to live this multi‑award‑winning musical – featuring music and lyrics by Glen Hansard and Markéta Irglová that has won an Academy Award, Grammy Award, Olivier Award and Tony Award. Under the accomplished direction of Pip Mushin, this raw, ravenously relatable production shines within an intimate space that perfectly frames the narrative, with stripped‑back staging, actor‑musicianship front and centre, and a soft spotlight on emotional truth. As Guy, Mark Taylor delivers a focused, vulnerable performance. His voice carries the ache of someone who has loved deeply and lost painfully, yet Taylor never lets the character collapse completely into despair. Instead, Taylor’s version of Guy shows up with a subdued resilience, embodying an artist rediscovering his purpose one note at a time. With every earnest strum of his guitar, Taylor’s contemplative rendition of the show’s songs feels lived‑in, textured, and beautifully human. Sian Fuller, of The Voice Australia fame, is utterly captivating as Girl. She embodies the candidly honest, hopeful young woman with grounded conviction and flawless comedic timing. Her clear, crystalline voice soars with remarkable resonance when given the opportunity, yet overall feels a little underutilised within the narrow confines of the role. As a rising star, it is obvious that Fuller’s commanding stage presence and impressive vocal talents are meant for much bigger stages. The impressive, effervescent ensemble cast injects the production with joyful, rambunctious energy right from the get-go. Seamlessly slipping between character work and orchestral duties with remarkable ease, their dual‑hatted roles turn the stage into an organic soundscape: instruments passed hand to hand, strings melding symphonically, harmonies rising from unexpected corners. As Billy, Frazer Shepherdson finds the heart beneath the bluster, making him both the show’s comic relief and one of its emotional anchors. Rose Chambers sparkles as sultry Reza, turning up the heat with a playful confidence that makes her an absolute scene-stealer. Rounding out the cast, James Frampton gives ambitious Andrej a truly endearing quality that is easy to love, whilst John Yanko’s brash, quirky Svec is an absolute delight. Frampton and Yanko play to each other’s strengths with ease, conveying their characters’ admirable determination to carve out a better life for themselves in a foreign land that’s brimming with promise. This deep desire becomes tangible when, near to the story’s sombre conclusion, Andrej expectantly says, “A million times heartbroken and Dublin keeps on going. You've got to love Dublin for dreaming.” Chapel Off Chapel glows as the evening’s radiant backdrop, steeped in rich history. One of Melbourne’s most beloved independent arts venues, its walls have held witness to decades of emerging voices, bold experiments, and community‑driven storytelling. It’s the perfect home for a confident musical built on heart, hope, and the transformative power of music. Another glowing triumph for AG Productions, a prominent pillar of Melbourne’s vibrant theatre scene. The show’s message is simple: sometimes the right person enters your life at the right time, not to stay, but only to remind you of who you are, and what you can be. 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Balandrau-Where-the-Fierce-Wind-Blew_1-942x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from Balandrau Where the Fierce Wind Blew**THRILLING ESCAPADES:** This year’s festival features a fantastic selection of thrillers from Spain, Uruguay and Argentina. **LUGER** is action-packed, brilliant and darkly comic, paying homage to directors such as Guy Ritchie, Quentin Tarantino and Brian DePalma. The film follows a duo of small-time hustlers working for a lawyer of questionable morals who get caught up in a situation that quickly spirals out of control over one frenetic day. Watch the *LUGER* trailer [here](https://www.youtube.com/watch?v=-S4XhLP0PK4). In the engaging comedy thriller **A LOOSE END** *(Un cabo suelto),* an Argentinian policeman outruns his corrupt boss by crossing into Uruguay where the locals welcome him with open arms, as he navigates a new life, unexpected romance, adventure and danger. Watch *A LOOSE END* trailer [here](https://www.youtube.com/watch?v=hyzAh6LcnEc). Weaving political intrigue with an intimate emotional journey, **SOFIA’S SUSPICION** (*La sospecha de Sofía)* is a gripping espionage thriller set between Spain and Germany during the Cold War. Filled with tension, deception, survival and intrigue, a man becomes caught up in a KGB plot to establish operations in Spain. Watch *SOFIA’S SUSPICION* trailer [here](https://www.youtube.com/watch?v=ShClDwPjGC8). Based on true events, **BALANDRAU, WHERE THE FIERCE WIND BLEW** (*Balandrau, vent salvatge)* is a breathtaking survival thriller. In December 2000, a group of hikers trying to ascend the mountain Balandrau get caught in the worst storm ever to hit the Catalan Pyrenees, that seemed to come from nowhere. ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/The-Talent_1-942x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from The Talent**GRIPPING DRAMA:** From Paraguay comes **NARCISO,** inspired by notorious real-life events. The seductive new noir from Marcelo Martinessi unravels the mysterious death of a charismatic radio host in late-1950s Paraguay, an event seized on by the military regime, as the rebellious pulse of rock ’n’ roll crackling over the airwaves sparks fear, scandal and moral panic. Watch the *NARCISO* trailer [here](https://www.youtube.com/watch?v=97sWnwtO-9A). In the intoxicating drama **ISABEL**, fresh from its premiere at the recent Berlinale, a talented sommelier in São Paulo’s fine-dining scene dreams of opening her own wine bar, away from her controlling boss, but must navigate following her passion and the realities of opening a business. Watch the *ISABEL* trailer [here](https://www.youtube.com/watch?v=jzVy7vKsPL8). Starring internationally acclaimed actress Ester Expósito (Netflix series *Elite*) as a gifted young cellist, **THE TALENT** (*El talento)* is a captivating drama about an impossible choice. The young cellist, from a fallen aristocratic family, is forced to make a life changing decision when her best friend’s powerful father offers a solution at an exclusive high-society party. Based on a true story, epic historical drama **KARMELE** follows nurse Karmele Urresti and her family on a riveting emotional journey through 20th century Spain. Fleeing the Basque country for France in 1937, they survive the Civil War, dictatorship and exile, using art and music as a form of resistance. ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Band-Together_1-1116x628.jpeg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from Band Together**FEEL THE BEAT:** Set in a small town on the coast of Galicia, **BAND TOGETHER** (*Rondallas)* is a heartfelt gem with a stellar ensemble cast led by Javier Gutiérrez (*Champions*, SFF18). Two years after the tragic sinking of a fishing boat that devastated their tight-knit fishing community, the small coastal village decides to revive their traditional music ensemble, the rondalla, to compete against other neighbouring villages and heal themselves. Watch the *BAND TOGETHER* trailer [here](https://www.youtube.com/watch?v=VzlK015UUOk). Also in celebration of music and in the vein of *Buena Vista Social Club*, comes vivid documentary **LA SALSA VIVE.** The film tells the story of two cities bound by the rhythm of salsa: New York City, where the genre was born, and Cali, Colombia, where it thrives with unmatched passion. Watch the *LA SALSA VIVE* trailer [here](https://www.youtube.com/watch?v=CHaqGpDvN_k). ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/The-Devils-Backbone_1-1116x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from The Devils Backbone**UNCANNY ALLEGORY:** In the festival retrospective titled ‘Uncanny Allegory’, a selection of compelling films rarely seen on the big screen represent iconic works from three directors whose formative works fuse elements of the uncanny, surreal and gothic and went on to influence other filmmakers of the genre. **THE DEVIL’S BACKBONE** (*El espinazo del diablo),* Guillermo del Toro’s gothic ghost story set during the Spanish Civil War, blends political allegory with supernatural melancholy and celebrates its 25th anniversary, delivering a haunting meditation on memory and historical guilt. Watch *THE DEVIL’S BACKBONE* trailer [here](https://www.youtube.com/watch?v=-3tEMEViais). Luis Buñuel’s surreal satire of bourgeois fragility, **THE EXTERMINATING ANGEL** (*El ángel exterminador),* where guests inexplicably cannot leave a dinner party, incorporates repetition, decay, and claustrophobia to explore social collapse, and the hidden savagery beneath civility. Watch *THE EXTERMINATING ANGEL* trailer [here](https://www.youtube.com/watch?v=stwZpwHyvuY). And in Víctor Erice’s meditation on innocence and mortality, **THE SPIRIT OF THE BEEHIVE** (*El espíritu de la colmena),* haunting imagery and sparse dialogue explores childhood, imagination, and trauma in post–Civil War Spain. Watch *THE SPIRIT OF THE BEEHIVE* trailer [here](https://www.youtube.com/watch?v=aqvpMJNlqxE). ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Another-League_2-942x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from Another League**LAUGH OUT LOUD COMEDY:** This year’s lineup would not be complete without some beloved Spanish language comedy. From renowned writer-director David Trueba is tender romantic drama **ALWAYS WINTER** (*Siempre es invierno).* David Verdaguer plays an architect who travels to Belgium to take part in a competition and an unexpected encounter changes his life. **ANOTHER LEAGUE** *(Pioneras: solo querían jugar)* is a feel-good origins story inspired by true events in the 1970s. The inspirational story follows of a group of pioneering girls, and an ambitious promotor, who set out to change the story of women’s football in Spain. Set in a working-class neighborhood on the outskirts of Bilbao in 1989, **BREAKING WALLS** (*Los aitas)* is a comical road movie from Borja Cobeaga. An out-of-work group of fathers step up to chaperone their daughters at a rhythmic gymnastics tournament in Berlin with hilarious and heartwarming results. In the charming romantic comedy from beloved director Cesc Gay **MY FRIEND EVA** (*Mi amiga Eva),* a married woman with grown up children decides to upend her life and pursue love after a serendipitous trip to Rome. Watch the *MY FRIEND EVA* trailer [here](https://www.youtube.com/watch?v=83U2TJB2MnU). Starring the remarkable Guillermo Francella, Argentinian box office hit black comedy **HOMO SAPIENS?** (*Homo Argentum)* from Mariano Cohn and Gastón Duprat, is a series of vignettes about identity and human behaviour reflecting identifiable characters from modern times. Watch the *HOMO SAPIENS* trailer [here](https://www.youtube.com/watch?v=8HMQVNzKO-w). In the comedy **WELCOME TO LAPLAND** (*Lapönia)* a Spanish woman and her family travel to Lapland to spend Christmas with her sister’s family. Cultural and personal clashes erupt when one young cousin reveals the truth about Santa Claus, turning the ‘perfect’ family holiday on its head in this witty and incisive comedy. ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/05/My-Amazing-Grandma_2-942x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from My Amazing Grandma**FAMILY FAVOURITES:** For families and budding Spanish speakers there are two fantastic films. **MY AMAZING GRANDMA** *(Abuela Tremenda)* is an entertaining family comedy about three generations of women, pitting overprotective parents against the wild and carefree energy of a mischievous grandmother played by Elena Irureta Azanza. When *abuela* crashes the corporate retreat of her daughter and granddaughter at a rural farm, the hilarious disasters ensue. And in **BEAR CLAW CAMP** *(Campamento Garra de Oso)* fun is guaranteed when two nine-year-olds race against time to save their summer camp, combining live action and animation for a stellar adventure about the power of friendship and teamwork. Watch the *BEAR CLAW CAMP* trailer [here](https://www.youtube.com/watch?v=v1_2rQO0KBo). **The 2026 HSBC Spanish & Latin American Film Festival takes place nationally from 10 June to 12 July (dates vary) in Melbourne, Ballarat, Adelaide, Perth, Canberra, Brisbane, Sydney, Byron Bay and Ballina.** Tickets are now on sale at the website. Downloadable program is [here](https://storage.googleapis.com/production-cms-storage-bucket/SFF26_Programme_DL_Web.pdf). Website: <https://spanishfilmfestival.com/> Socials: <https://www.instagram.com/spanishfilmfest/> [Win Tickets to the Festival on our Socials!](https://www.instagram.com/p/DYY1YvNKKuO/) Hero image: Still from *Ladies Hunting Party* Listing details: **Canberra 10 June – 5 July:** Palace Electric Cinema **Adelaide 10 June – 5 July:** Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas **Brisbane 11 June – 5 July:** Palace James Street and Palace Barracks **Perth 11 June – 1 July:** Palace Raine Square, Luna Leederville and Luna on SX **Melbourne 12 June – 5 July:** The Astor Theatre, Palace Cinema Como, Palace Brighton Bay, Palace Church St, Palace Penny Lane, Palace Westgarth, The Kino, Palace Balwyn and Pentridge Cinema **Ballarat 12 June – 5 July:** Palace Regent Cinema **Sydney 18 June – 12 July:** Palace Norton Street, Palace Moore Park and Palace Central **Byron Bay/Ballina 18 June – 12 July:** Palace Byron Bay, Ballina Fair Cinemas **Categories:** News --- ### [Review: Dracula The Ballet Delivers Dark Theatrical Magic](https://thescoop.au/review-dracula-the-ballet-delivers-dark-theatrical-magic/) **Published:** May 16, 2026 **Author:** Nanci Nott **Content:** ★★★★★ ![The Scoop Dracula WA Ballet Perth](https://thescoop.au/wp-content/uploads/2026/05/Charles-Dashwwod-as-Young-Count-Dracula-in-Dracula-Photo-by-Jonathan-VDK-942x628.jpg "Dracula WA Ballet Perth • The Scoop")West Australian Ballet’s *Dracula* has returned to Perth with as much bite as ever, in co-production with Queensland Ballet. Drawing inspiration from both Bram Stoker’s 1897 novel and Francis Ford Coppola’s 1992 film, *Bram Stoker’s Dracula*, this atmospheric production is dramatic in all the right ways and is sure to enthral every audience. The entire opening night cast was fabulous, especially Nikki Blain as Mina and Mayume Noguromi as Lucy, whose dramatic acting added emotional weight to their already breathtaking performances. On opening night, Jurgen Rahimi and Ludovico Di Ubaldo were equally stunning as Young Dracula and Old Dracula, respectively. From the swirl of a cape to impressively choreographed transformations, their execution of uncannily erratic and unnaturally fluid movements perfectly evoked the gracefully grotesque. The vampires (Alexa Tuzil, Polly Hilton, Kassidy Thompson, Charles Dashwood, Adam Alzaim, and Benjamin Anderson on opening night) were nothing short of ethereal, and Oscar Valdes played a captivating Jonathan Harker. Other standout opening night cast included Juan Carlos Osma as Dr Jack Seward, Gakuro Matsui as Professor Van Helsing, and Heath Kolka as Arthur Holmwood. Like the film, this ballet positions Mina as the reincarnation of Count Dracula’s wife, Elizabeth, whose tragic suicide catalyses Dracula’s renunciation of the church and his subsequent transformation into a vampire. Transformation and doubling are driving forces in both the story and its execution. These are used to great effect through the utilisation of two Draculas (one youthful, one ancient), Dracula’s dual love for Elizabeth reincarnated as Mina, and technical aspects of the production, such as swapping Elizabeth’s dancer with a fake body for her suicidal leap, and the constant switching between Young Dracula and Old Dracula throughout the performance. ![The Scoop Dracula WA Ballet Perth](https://thescoop.au/wp-content/uploads/2026/05/Polly-Hilton-as-Mina-and-Charles-Dashwood-as-Young-Count-Dracula-in-Dracula-Photo-Jonathan-VDK-1-981x628.jpg "Dracula WA Ballet Perth • The Scoop")Stillness and darkness are as important to the production as movement and light Photo by Jonathan VDKThis production resurrects Kilar’s score from the 1992 film – arranged by Michael Brett and Joshua Davis with Powel Chynowski as libretto – under the skillful hand of principal conductor Jessica Gethin. Jon Buswell’s lighting and Wojciech Kilar’s composition complement Kilar’s music and Krysztof Pastor’s choreography, turning slow-motion swordfights into moments of ominous urgency with aural repetition and dramatic lighting. The use of slow motion combined with hypnotic music makes time feel like it really is moving differently, completely entrancing the audience. Pastor’s choreography is delectable, with movement and expression emphasising intimacy between the dancers in some moments and subverting it in others. The interplay between *Dracula’s* choreography and other elements (costumes, set design, props, music and lighting) is as integral to its charm as the attention paid to the gothic roots of the source material. For example, choreography for the insane asylum patients incorporates straitjackets, restraints, and crazed jerking. The vampires’ nocturnal visit to Jonathan’s bed is replete with dreamlike languor, mirror-like symmetry, and bare-limbed visual innuendo. Lucy (in vampiric form) moves with controlled abandon, in one dream-like moment appearing to float backwards on pointe under Dracula’s thrall. A darkness-enshrouded pas de deux communicates the passion, pain, and longing between Mina and Dracula with total aesthetic resonance. Stillness and darkness are as important as movement and light, adding to the innate dynamism of this production. Examples include a deathly silence that prolongs a moment of tension right before Lucy rises as a vampire; the moment Mina and Dracula first meet (when they lock eyes and stand perfectly still in the midst of a bustling dance); and Lucy and Arthur’s engagement, when the music turns ominous, and Lucy’s smile fades as time slows down to a freeze. Set and costume designers Phil R Daniels and Charles Cusick Smith create incredible contrast between the London and Transylvanian scenes, not just in terms of the physical sets and costumes, but also through an attentive awareness of how lighting and choreography combine to enhance their creative vision. ![The Scoop Dracula WA Ballet Perth](https://thescoop.au/wp-content/uploads/2026/05/Heath-Kolka-as-Arthur-Holmwood-and-Alexa-Tuzil-as-Lucy-Westerna-in-Dracula-Photo-by-Jonathan-VDK-982x628.jpg "Dracula WA Ballet Perth • The Scoop")The production is a beautifully uncanny and intensely emotional journey of significant aesthetic magnitude Photo by Jonathan VDKInside Dracula’s castle, flickering candelabras cast a golden glow as Dracula – more creature than man – contorts beneath massive crimson drapes. A tablecloth edged with gold adorns a long table, at which vampires are feeding when Jonathan Harker arrives. Jonathan is swept up in the sway of Dracula’s magnetism, especially after he cuts himself and Dracula finds him irresistible. There is tension in their dynamic; this is a dance of predator and prey, with Jonathan retreating and submitting simultaneously across a gothically fog-strewn stage. Lightweight wood, plastic moulds, and foam are used to create an impression of timeless solidity in the set design. Dracula’s castle gate – with heavy wooden doors set into ancient stone – is as much the epitome of Victorian Gothic aesthetic as the castle interior, the cemetery, or the insane asylum, all of which are outstandingly atmospheric in their own right. A spiral staircase adds a dizzying dimension, and the insane asylum features a wall that utilises perspective to convey a sense of encroaching enclosure. An array of props – which include a hypodermic needle, an instrument for a Victorian era blood transfusion – provides finer detail to complement the Victorian sensibility of the sets. Lucy’s ghostly white nightgown, and the midnight sparkle of Dracula’s black cape with its luxurious dark red accents are two of the most impactful costumes, but every one of the 150+ costumes are works of art unto themselves. *Dracula* expertly combines Victorian Gothic storytelling with neo-classical ballet, resulting in a beautifully uncanny and intensely emotional journey of significant aesthetic magnitude. It is appropriately vampiric, with lots of dramatic appearances in windows, enlarged shadows, and otherworldly movement. But *Dracula’s* real power comes from the amalgamation of two classic art forms – ballet and literature – under the collaborative vision of world-class creatives and exquisite dancers. ***Dracula* is presented by West Australian Ballet in co-production with Queensland Ballet. It runs to 30 May at His Majesty’s Theatre. 827 – 905 Hay Street Perth WA 6000.** Tickets: <https://tickets.waballet.com.au/events/dracula> Website: <https://waballet.com.au/dracula> Socials: <https://www.instagram.com/waballet/> [Read our review of the Adelaide Season](https://thescoop.au/review-dracula-returns-to-adelaide-makes-a-powerful-case-for-the-arts/) Photo credits: Jonathan VDK **Categories:** Dance, Perth --- ### [Wynnum Fringe 2026: Announcing Biggest Program Yet](https://thescoop.au/wynnum-fringe-2026-announcing-biggest-program-yet/) **Published:** May 16, 2026 **Author:** Newsroom **Content:** ![The Scoop Wynnum Fringe 2025](https://thescoop.au/wp-content/uploads/2025/06/Wynnum-Fringe-Launch-Party-942x628.jpeg "Wynnum Fringe Launch Party • The Scoop")From circus lights to rock ’n’ roll chaos by the water, **Wynnum Fringe** is back for its seventh year, returning from **25 June – 12 July 2026** with its biggest and boldest program yet. The award-winning arts festival returns to transform Brisbane’s bayside into a buzzing cultural playground. More than 200 performances of comedy, live music, circus, cabaret and family entertainment will take place at the iconic Augathella Spiegeltent. Now a firm favourite on Queensland’s cultural calendar, Wynnum Fringe continues to bring together blockbuster headline acts, cult comedy favourites, emerging artists and immersive live experiences all wrapped into a distinctly bayside festival atmosphere. Wynnum Fringe Founder and CEO / Artistic Director **Tom Oliver** said the seventh year feels like the festival hitting its stride; bigger, bolder, but still unmistakably Wynnum at heart: *“Every year Wynnum Fringe grows a little louder, a little brighter and a little more ambitious. But it’s always stayed true to what it is at its core – a place for people to come together and have an incredible time.* *This year’s program is packed with everything from major touring artists to emerging independent work and that mix is what keeps it so alive. You can see a headline show and then stumble across something completely unexpected along the way.”* ![The Scoop Wynnum Fringe 2026](https://thescoop.au/wp-content/uploads/2026/05/NMP_-159-941x628.jpg "Wynnum Fringe 2026 • The Scoop")The festival returns to transform Brisbanes bayside into a cultural playground with more than 200 performances Image suppliedThe 2026 program features a stacked line-up of top-tier comedy and music including **Arj Barker**, **Luke McGregor**, **Mel Buttle**, **Matt Okine**, **Bradley McCaw**‘s *The Music of Billy Joel* and the *Wynnum Fringe Comedy Gala*. A major highlight of this year’s program is *In Pour Taste*, a one-of-a-kind comedy and wine experience created in partnership with Innocent Bystander and award-winning comedians **Ethan Cavanagh** and **Sweeney Preston**, fresh from a residency in Las Vegas. Blending sharp comedy with curated wine tasting, the immersive show invites audiences to sip, laugh and be part of the experience in an intimate, high-energy setting. One of the festival’s most ambitious new productions, *Highway To Hell: The Rock ’N’ Roll Circus*, will premiere at Wynnum Fringe in a strictly limited run of five performances. Created for the festival, the show transforms the Augathella Spiegeltent into a 1980s Aussie pub, celebrating the golden era of Australian rock through a high-voltage mix of live music and circus. Starring ARIA chart-topping artist and *Australian Idol* winner **Wes Carr** alongside powerhouse performer **Mahalia Barnes**, the production is backed by an all-star band. It will feature **Matt Smith** (Thirsty Merc), **Ben Rodgers** (Jimmy Barnes Band), **Mick Skelton** (Thirsty Merc) and **Andrea Krakovska** (Pseudo Echo) and world-class circus artists **Katrina Louise** (*Vice The Show*) and **Melon The Human** (*Cirque du Soleil*). ![The Scoop Wynnum Fringe 2026](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-16-at-11743-pm-1200x415.png "Wynnum Fringe 2026 • The Scoop")**Mahalia Barnes** said Wynnum Fringe stands out for its personality, energy and unmistakably local feel: *“Wynnum Fringe is one of those festivals that I’ve heard so many people talk about, but I’ve never experienced it firsthand. The shows have lot of personality, it feels to me like a festival with real heart and a raw, cheeky energy.* *I love when a festival has that kind of spirit. It gives the audience and the artists a chance to share something really unique, special and unforgettable. I can’t wait to be a part of it.”* Queensland Minister for the Arts **John Paul Langbroek** said Wynnum Fringe’s annual program provides locals and visitors of all ages with unique and high quality arts experiences across a range of spaces and places: *“The Crisafulli Government proudly supports Wynnum Fringe to deliver on our Queensland’s Time to Shine strategy and its focus on locally led arts and cultural experiences in our communities.* *The festival champions creativity, provides employment opportunities for artists and arts workers and brings community together with an exciting line up of cultural events featuring new talent alongside national favourites.”* ![The Scoop Wynnum Fringe 2026](https://thescoop.au/wp-content/uploads/2026/05/240125-1925-TK5_4126-837x628.jpg "Wynnum Fringe 2026 • The Scoop")Audiences can expect a vibrant social festival hub along the waterfront Image suppliedFestival favourites and family-friendly shows return in full force, with *Dangerous Goods*, *Elixir Revived*, *Adults Only Magic Show*, *Party Animals*, *The Greatest Magic Show*, *Circus The Show*, *All Star Circus*, *A Night at the Musicals* and *The Rockin’ 70s Singalong* all part of a broad program designed to appeal to audiences of all ages. Also joining the festival this year is **The Lunchbox Theatre**, a new home for intimate, independent and delightfully offbeat works, including *Wynnum Watch*, a comedy show inspired by the wonderfully chaotic world of local community Facebook pages, where comedians **Emma Zammit** and **Kat Davidson** unpack everything from mysterious helicopters to missing dogs and neighbourhood drama. A major new addition to the 2026 program is the debut of the *Brisbane Clown Festival* at Wynnum Fringe, with **Andrew Cory** curating a three-day line-up of local and interstate artists across the final weekend, giving the new festival a platform to launch in Brisbane for the first time. Audiences can also expect school holiday workshops from *Art For Earthlings*, as well as a *Rooftop Container Bar*, food trucks, a pop-up wine experience all designed to create a vibrant, social festival hub along the waterfront. **Wynnum Fringe returns 25 June – 12 July 2026. For the full program and to purchase tickets, visit the website.** Tickets are available [here](https://splash.wynnumfringe.com/?utm_source=wynnumfringe&utm_medium=website&utm_campaign=homepage&sk.pid=sk.1.1778587283267.2143748635&sk.sid=20260516.031649.9703480916&sk.fbp=fb.1.1778587283268.5670640540&sk.gacl=177775610.1778587283&sk.gases=1778587284&_gl=1%2Aswnktb%2A_ga%2AMTc3Nzc1NjEwLjE3Nzg1ODcyODM.%2A_ga_ZXF19F2HDG%2AczE3Nzg5MDE0MDkkbzIkZzEkdDE3Nzg5MDE0MDkkajYwJGwwJGgw%2A_ga_TC2B7HQFH0%2AczE3Nzg5MDE0MDkkbzIkZzAkdDE3Nzg5MDE0MDkkajYwJGwwJGgw%2A_ga_seeka_ga%2AMTc3Nzc1NjEwLjE3Nzg1ODcyODM.%2A_ga_seeka_ga_7VGHMX8ESG%2AczE3Nzg5MDE0MTAkbzIkZzAkdDE3Nzg5MDE0MTAkajYwJGwwJGgw%2A_ga_seeka_ga_1RS8GJD9JY%2AczE3Nzg5MDE0MTAkbzIkZzAkdDE3Nzg5MDE0MTAkajYwJGwwJGgw)! Website: <https://wynnumfringe.com/> Socials: <https://www.instagram.com/wynnumfringe/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: Steel Magnolias Is A Heartwarming Star-Studded Triumph](https://thescoop.au/review-steel-magnolias-is-a-heartwarming-star-studded-triumph/) **Published:** May 2, 2026 **Author:** Cassandra Houghton **Content:** ★★★★☆ ![The Scoop Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/05/Jessica-Redmayne-Belinda-Giblin-Lisa-McCune-Mandy-Bishop-Lotte-Beckett-Debra-Lawrance-SteelMagnolias_Production_PhotoBrettBoardman_007566-copy-991x628.jpg "Steel Magnolias Australian Tour 2026 • The Scoop")It’s often said true stories make the best stories, and *Steel Magnolias* is evidently one of them. The 2026 Australian tour of the iconic 1980s play premiered in Brisbane last night to an enthusiastic audience that devoured every quip and conversation delivered by an all-star cast on QPAC’s Playhouse stage. But it didn’t feel like a stage or an Australian cast (apart from the sheer talent), and that was part of the production’s charm. While rain fell in sheets outside, we were settled into a 1980s Louisiana beauty salon with all the trims (pun intended), from hairspray to hair rollers to a hearty dose of neighbourly gossip. Written by Robert Harling about experiences in his own life, and directed by Lee Lewis, Australia’s new production of the beloved classic exuded small-town warmth and authenticity, and not a hint of an Aussie accent throughout. It features a stunning cast led by Lisa McCune, alongside Belinda Giblin, Debra Lawrance, Mandy Bishop, Jessica Redmayne and Lotte Beckett. Unsurprisingly for an ensemble of this calibre, the characters are brought vividly and emotively to life. It feels rare to watch a play that’s genuinely laugh-out-loud funny, interspersed with the story’s quieter moments that invite personal reflection and connection. A little history first. Robert Harling wrote the play in just ten days in 1987. Devastated by the death of his sister from complications related to diabetes, he wanted to honour her life and the close-knit group of women who loved and supported his family. His observation skills were incredibly keen. The dialogue is genuine, witty, and raw in all the right moments. ![The Scoop Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/05/Lisa-McCune-Lotte-Beckett-Jessica-Redmayne-Debra-Lawrance-Mandy-Bishop-in-Steel-Magnolias-_PhotoBrettBoardman_000837-copy-941x628.jpg "Steel Magnolias Australian Tour 2026 • The Scoop")Unsurprisingly for an ensemble of this calibre the characters are brought vividly to life Photo by Brett BoardmanThe title itself came from a phrase Harling had heard throughout his childhood in the American South. A ‘steel magnolia’ was something that appears delicate and graceful on the outside but possesses immense inner strength. Speaking to US magazine *Garden & Gun*, Harling said it felt like the perfect description for the women in his life who navigated life together. The weddings, babies, heartbreak, and loss, all with courage, humour, and resilience. The play premiered off-Broadway later that same year and quickly became a hit. Its popularity soon attracted Hollywood attention, leading to the beloved 1989 film adaptation starring Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis and a then relatively unknown Julia Roberts, whose performance earned her an Academy Award nomination. *Steel Magnolias* has appeared in theatres across the world since its premiere, including a 1988 run in Sydney starring a then-unknown Nicole Kidman in her professional stage debut. In this 2026 Australian production, leading Australian director Lee Lewis clearly knows how to get the best out of her cast. Lisa McCune plays M’Lynn with a beautiful balance of steely resilience and southern grace. Jessica Redmayne’s vibrant portrayal of Shelby exudes the innocence and stubbornness the character is loved for. Mandy Bishop’s sense of comedic timing as Truvy is impeccable, as is Belinda Giblin’s interpretation of Ouiser. Her one-liners inspired some of the loudest laughs of the show. ![The Scoop Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/05/Mandy-Bishop-Debra-Lawrance-Belinda-Giblin-Lisa-McCune-SteelMagnolias_Production_PhotoBrettBoardman_012478-copy-1035x628.jpg "Steel Magnolias Australian Tour 2026 • The Scoop")In a world where big production values compete for attention this play remains a standout Photo by Brett BoardmanDebra Lawrance plays Clairee with warmth and wry humour, while Lotte Beckett’s Annelle captures the character’s innocence and growth. The ensemble shares an easy chemistry that carries the production; nothing feels forced. The audience reactions and eruptions of laughter throughout felt genuine and earned. Filled with iconic lines and jokes, it was like hearing them for the first time. The set, by set and costume designer Simone Romaniuk, feels like a seventh character. Small details like shelves crowded with roller sets and hairspray, hooded hairdryers, and styling chairs transport the audience inside a 1980s home salon. Costumes are charmingly authentic to those who remember the era. Sound by composer and sound designer Brady Watkins subtly supports the action without distracting from the lively dialogue. Lighting by Paul Jackson further enhances the production. The warm glow of late afternoon light filtering through the glass-panelled door in certain scenes signals both changes in atmosphere as well as literal time. In a world where big production values, computer animation, and elaborate staging compete for attention, this original 1987 play remains a standout. Character-driven and with beautifully rich dialogue, the story of families and friends navigating life’s ups and downs in a small town connected intimately with the audience. Between Acts, the audience chatted animatedly. Words like ‘endearing’, ‘funny’, and ‘fantastic’ filtered through the chatter. And outside, after a resounding standing ovation, perhaps the biggest compliment of all came in the chatter of the departing audience — a memory of a small-town salon, Saturday mornings, and the warm sense of friendship and community. ***Steel Magnolias* is presented by Woodward Productions and Neil Gooding Productions and runs to 10 May at the Playhouse, QPAC.** It then tours nationally, see details below. Tickets: <https://www.steelmagnoliasplay.com/tickets> Website: <http://www.steelmagnoliasplay.com.au/> Socials: <https://www.instagram.com/steelmagnoliasau/> [Read our Interview with Jessica Redmayne!](https://thescoop.au/jessica-redmayne-blossoms-as-shelby-in-steel-magnolias/) Photo credits: Brett Boardman 2026 Australian Tour Dates Brisbane 30 April – 10 May, Playhouse QPAC Sydney 13 – 31 May, Theatre Royal Wollongong 3 – 11 June, Illawarra Performing Arts Centre Canberra 17 – 21 June, Canberra Theatre Centre Perth 7 – 18 July, His Majesty’s Theatre Melbourne 23 July – 9 August Athenaeum Theatre **Categories:** Brisbane, Theatre --- ### [Film Review: The Holy Grill 2026 German Film Festival](https://thescoop.au/film-review-the-holy-grill-2026-german-film-festival/) **Published:** May 15, 2026 **Author:** Ronson Blake **Content:** ★★★☆☆ ![The Scoop The Holy Grill German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-15-at-82312-pm-1115x628.png "The Holy Grill German Film Festival • The Scoop")We’re all familiar with democracy sausage. Each election, fortified by the local butcher’s bangers, we bond over the most elementary democratic activity. Well, here the sausage is collateral damage in a bin-fire argument that breaks out over a seemingly innocuous decision to upgrade a BBQ – the titular Holy Grill – and threatens to burn down the Lengenheide Tennis Club. Released in Germany as *Extrawurst*, (a more nuanced title), *The Holy Grill* is directed by Marcus H. Rosenmüller, and adapted by screenwriters Dietmar Jacobs and Moritz Netenjakob from their own play. They’ve done a pretty good job, too, of opening the play out, with external shots, newly created characters, and a clubhouse of Weimar Republic-style compliant (soon to be feral) members. President for 25 years, Heribert (Hape Kerkeling) presides over the tennis club like a chieftain, dispensing favours to mates, while ignoring pretty much anyone else. It’s a fairly benign despotism – autocracy dressed up as democracy – unchallenged because of adherence to the club motto (“unity wins in war and peace”) and a general air of laissez-faire. But it’s a surface equanimity as artificial as the tennis courts, which cracks when frustrated deputy president Matthias (Friedrich Mücke) proposes replacing their old existing BBQ with a larger model. ![The Scoop Older woman with short blonde hair, red lipstick, and patterned scarf looking toward the camera in a bright cafe setting, seated at a table.](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-15-at-82325-pm-1120x628.png "The Holy Grill German Film Festival • The Scoop")The cast gives it everything working very well as an ensembleMatthias has a convincing PowerPoint presentation worked up, too. Shouldn’t we, though, suggests Melanie (Anja Knauer), consider the needs of the club’s star player and sole (German-born) Turk, Erol (Fahri Yardim), and buy a secondary BBQ? Erol, who, as a Muslim, doesn’t eat pork, is Anja’s playing partner. His sporty masculinity threatens Torsten (Christoph Maria Herbst), Anja’s husband. Torsten is an outsider, a bit of a tosspot from Berlin, vegetarian, beanie-wearing, but wants to be accepted. Meanwhile, Matthias, who covets Heribet’s job, learns Erol has a larger BBQ at home. Instant BBQ envy sets in, triggering latent racism. As suppressed tensions are released, the club’s unity collapses. What follows is an exploration of cultural sensitivities, intolerance, homophobia, blokey exclusivity, progressive views, racism, and belonging. The tennis club is, in effect, German society in microcosm, albeit a light-hearted take. It’s interesting to compare this Turkish second-generation experience to that in the much darker *[Head On](https://thescoop.au/film-review-head-on-2026-german-film-festival/)*. Twenty years later, the same issues remain, though here done with significantly less consequence (or elan). It is a comedy, after all. Though perhaps German comedy is an acquired taste for an Australian. I tended to find the screenplay more thought-provoking than laugh-out-loud funny, though there are plenty of chuckles to be had. The desperate desire for consensus that contrarily sustains the arguments *is* interesting in a societal context. ![The Scoop The Holy Grill German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-15-at-82623-pm-1109x628.png "The Holy Grill German Film Festival • The Scoop")The tennis club is in effect German society in microcosm albeit a light hearted takeOnce the arguments escalate, however, there’s nowhere else to go, and while the dialogue is witty and delightfully catty at times, the interactions soon become predictable. That the characters are archetypes bordering on cliché only exacerbates this problem. The acting can’t be faulted. Kerkeling is particularly good, lending Heribert just the right amount of petty corruption and pathos. The cast gives it everything, working very well as an ensemble. They’re hampered, though, by unimaginative direction that exhibits an odd lack of timing. Maybe again it’s a cultural thing, but I found that the slapstick of a broken ball-machine ran out of legs early, limping on through reprises with diminishing comic return. The ending is Benny Hill bonkers, and events get wrapped up neatly as everyone magically comes to their senses. That’s not a spoiler – the film is a comedy! *The Holy Grill* a diverting 100 minutes. ***The Holy Grill* is screening now around Australia as part of the 2026 HSBC German Film Festival.** Tickets to *The Holy Grill* are available [here](https://germanfilmfestival.com.au/films/ger26-the-holy-grill). Website: <https://germanfilmfestival.com.au/> Socials: <https://www.instagram.com/germanfilmfestival/> Read more of our Film Reviews Watch the trailer here: **Film details:** Title: The Holy Grill (*Extrawurst*) Director: Marcus H. Rosenmüller Cast: Hape Kerkeling, Christoph Maria Herbst, Fahri Yardim, Anja Knauer, Friedrich Mücke Country of Origin: Germany Duration: 100 mins Rating: M 2026 German Film Festival Dates and Venues by City: **Sydney:** 6 – 27 May, Palace Norton Street, Palace Central, Palace Moore Park **Canberra:** 6 – 27 May, Palace Electric **Brisbane:** 6 – 27 May, Palace James St**,** Palace Barracks **Adelaide:** 6 – 27 May, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Perth:** 7 – 27 May, Luna Leederville, Luna on SX & Palace Raine Square **Byron Bay and Ballina:** 7 – 27 May, Palace Byron Bay, Ballina Fair Cinemas **Melbourne:** 8 – 27 May, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, The Kino, The Astor Theatre, Pentridge Cinema, Palace Penny Lane **Ballarat:** 8 – 27 May, Palace Regent Ballarat **Categories:** Film --- ### [Film Review: Power Ballad Makes Music Out Of Moral Messiness](https://thescoop.au/film-review-power-ballad-makes-music-out-of-moral-messiness/) **Published:** May 15, 2026 **Author:** Jo Stubbings **Content:** ★★★☆☆ ![The Scoop Two men share a quiet moment outdoors at night: one standing with a bottle, the other seated and playing an acoustic guitar, lit by subtle garden lights in the background.](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-15-at-44043-pm-939x628.png "Power Ballad film Paul Rudd Nick Jonas • The Scoop")*Power Ballad* sees intellectual property theft that will make your head explode and your belly jiggle. Cat burglaries and heists are always great fodder for the crime thriller. We cheered on Sean Connery when he had to straddle laser beams to reach treasure in *Entrapment*, and again with Michael Caine planning the heist in *The Italian Job*. As long as no one gets hurt, it’s good clean fun. The wealthy can afford one less bauble, surely. So what is it about the theft of intellectual property that makes our minds explode? This is the problem faced by Rick Power (Paul Rudd) in John Carney’s *Power Ballad*. One-time rocker, Rick, is the lead singer/guitarist in an okay wedding band in Dublin. The motley crew schlep around the country in a minivan called Bride & Groove, play ho-hum love songs in tawdry wedding venues to often ‘tired and emotional’ guests. Rick’s a bit of a dreamer – watch out for this – and in the opening scene fantasises that the crowd grows bigger and he’s playing Madison Square Garden, where he rightly belongs. If only he’d had one big song to launch his career. Enter wedding guest, Danny Wilson (Nick Jonas), looking for all the world like a young Buddy Franklin. Danny has his own music frustrations. He’s left a famous boy band but can’t crack the big time as a solo artist. If only he had one big song… ![The Scoop Power Ballad Paul Rudd Dendy Cinemas](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-14-at-23002-pm-1194x628.png "Power Ballad Paul Rudd Dendy Cinemas • The Scoop")The strength of the film is its light approach Photo courtesy Madman EntertainmentA late-night jamming session sees the two musos ‘throwing paprika’ on each other’s songs. (This is a good thing.) Rick breaks out a ballad he’d written long ago but never recorded. Danny likes it. A lot. Back in LA, he releases the song as his own, and it shoots up the charts. Now here’s a coincidence. Igor Plischke’s *[The Talented Mr F](https://thescoop.au/film-review-the-talented-mr-f-2026-german-film-festival/)*, part of the recent German Film Festival, is based on a similar premise – a young American steals a short film made by two German students and reaps the rewards. What *is* it with these naughty Americans? Rick and mate Sandy (Peter McDonald), like the German students, hightail it to LA to confront the thief and get him to confess. The difference is that Rick hasn’t a skerrick of proof that he was the original creator of his song. Ouch. While Carney keeps the story bouncing along, the theme of intellectual property theft gives pause. As Rick demonstrates, ‘the song’ – which almost becomes a character in its own right – is part of his identity and promises life-changing prospects for him and his family. We’re reminded that the beauty of the song – any song – is its infinite meanings for different people. For Rick’s daughter Aja (Beth Fallon), it’s music your mum would listen to. For Danny’s girlfriend (Havana Rose Liu), it’s the most romantic thing she’s ever heard. No wonder your head explodes when your ‘baby’ is stolen. ![The Scoop Lead singer in a black leather jacket sings into a microphone while a guitarist plays in the background.](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-15-at-44506-pm-1035x628.png "Power Ballad film Paul Rudd Nick Jonas • The Scoop")While Carney keeps the story bouncing along the theme of intellectual property theft gives pause Photo courtesy Madman Entertainment*Power Ballad* shines an interesting light on the music industry, though you get the impression that Carney just wants to scratch the surface. The reality is no doubt harsher, as we’ve seen in films like *Whiplash* and *Inside Llewyn Davis*. Perhaps more intriguing is the evolution of a song, best displayed when Rick and Danny test out tunes, pluck random chords, ponder over bridges and verses. Baby, it don’t come easy. Keeping the trajectories of the two protagonists side by side is a neat device and contrasts their attitudes to truth, authenticity, and success. These aren’t malicious characters. They’re just two blokes who sometimes make bad decisions. Note Danny’s change of costume – from glitzy silver jacket to ordinary dark top – when he seems on the point of confessing all to his adoring audience. The strength of the film is its light approach. For better or worse, the wedding scenes – why are traditional wedding celebrations so wonderfully toe-curling? – provide excellent relief from Rick and Danny’s private dramas. The same goes for the after-party in LA, the perfect setting for Sandy to dial up the laughs before the big reveal. Just when you think a status quo has been reached, there’s a twist at the end. It’s a beauty and confirms *Power Ballad* as a feel-good movie to remember. ***Power Ballad* opens in cinemas nationally from Thursday 28 May 2026.** Website: <https://www.madman.com.au/power-ballad/> Socials: <https://www.instagram.com/powerballadfilm/> [Win Tickets to see the Film at Dendy Cinemas Brisbane](https://thescoop.au/win-tickets-to-power-ballad-at-dendy-cinemas/) Photos courtesy Madman Entertainment. Watch the trailer here: **Film details:** Title: Power Ballad Director: John Carney Cast: Paul Rudd, Nick Jonas, Havana Rose Liu, Jack Reynor Country of Origin: USA, Ireland Duration: 98 mins Rating: CTC **Categories:** Film --- ### [Win Tickets To Power Ballad At Dendy Cinemas](https://thescoop.au/win-tickets-to-power-ballad-at-dendy-cinemas/) **Published:** May 14, 2026 **Author:** Newsroom **Content:** ![The Scoop Power Ballad Paul Rudd Dendy Cinemas](https://thescoop.au/wp-content/uploads/2026/05/image002-1116x628.jpg "Power Ballad Paul Rudd Dendy Cinemas • The Scoop")One song. Two egos. No quiet resolution. Be the first to see **[POWER BALLAD](https://www.youtube.com/watch?v=-faiHUsbP_U)**, starring Paul Rudd and Nick Jonas at the **[See It First Preview](https://dendy.com.au/power-ballad--see-it-first-preview)** on **Wednesday 27 May**. Power Ballad is a sharp, music‑driven comedy about ego, ambition and the complicated cost of getting noticed. After a chance meeting, wedding band front man Rick (Paul Rudd) drunkenly jams with former boy-band sensation Danny (Nick Jonas). Six months later, Rick is astounded to discover their impromptu song has skyrocketed to global fame, yet Danny receives all the glory. As Danny’s solo career takes flight, Rick fights for recognition at the risk losing a grip on his real fortune—his wife, daughter, and cherished friends back home. ![The Scoop Power Ballad Paul Rudd Dendy Cinemas](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-14-at-23002-pm-1194x628.png "Power Ballad Paul Rudd Dendy Cinemas • The Scoop")To celebrate the release of **POWER BALLAD** at **Dendy Cinemas** on 28 May, you could WIN a double pass! The Scoop is **giving away one, double e-pass** **to the film**, thanks to Dendy Cinemas. Ticket giveaway offer: One double pass to the **preview** on **27 May 6:30pm** at either Dendy Coorparoo or Dendy Portside or One in-season double pass to the film from **28 May** at either Dendy Coorpaoo or Dendy Portside Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop Coorparoo’ or ‘Scoop Portside’ under the post. **POWER BALLAD previews on 27 May at Dendy Cinemas. It opens nationally on Thursday 28 May.** Website: <https://www.dendy.com.au/movie/power-ballad/> Socials: <https://www.instagram.com/dendy.au/> [Read our Review of the Film!](https://thescoop.au/film-review-power-ballad-makes-music-out-of-moral-messiness/) Watch the trailer here: **Film details:** Title: Power Ballad Director: John Carney Cast: Paul Rudd, Nick Jonas, Havana Rose Liu, Jack Reynor Country of Origin: USA, Ireland Duration: 98 mins Rating: CTC **Categories:** competition, News --- ### [Review: Once The Musical Sings With Quiet Beauty](https://thescoop.au/review-once-the-musical-sings-with-quiet-beauty/) **Published:** May 14, 2026 **Author:** Jesse Oey **Content:** ★★★★☆ ![The Scoop A small stage in a cozy pub with five musicians playing folk instruments: two guitarists, a violinist, a guitarist seated center, and an accordion player, under colored lights behind a sign reading'THE BUSKER'S ARMS'.](https://thescoop.au/wp-content/uploads/2026/05/002A3897-942x628.jpg "Once the Musical AG Theatre • The Scoop")If you were given a choice between waiting hopefully for something that *could* be, and giving everything to what’s *already* in front of you – which way would you go? This is the proverbial dilemma that sits at the core of *Once*, an honest, heartfelt musical, now showing at Melbourne’s iconic Chapel Off Chapel. It arrives with the kind of quiet emotional force that sneaks up and warmly invites us in. Picture this: A Dublin busker with a broken heart, on the brink of giving up, meets a buoyant, free-spirited Czech pianist who is blown away by his talent and refuses to let him quit. Over a handful of days, they write music, heal old wounds, let their worlds collide, and discover a gentle, bittersweet connection that profoundly changes them both. AG Theatre, led by renowned Melbourne showrunner Andrew Gyopar, brings to life this multi‑award‑winning musical featuring music and lyrics by Glen Hansard and Markéta Irglová that has won an Academy Award, Grammy Award, Olivier Award and Tony Award. Under the accomplished direction of Pip Mushin, this raw, ravenously relatable production shines within an intimate space that perfectly frames the narrative, with stripped‑back staging, actor‑musicianship front and centre, and a soft spotlight on emotional truth. ![The Scoop Center stage with three performers: a seated woman in red, a man in a red shirt standing left, and a guitarist in the background under warm lights amid wooden crates.](https://thescoop.au/wp-content/uploads/2026/05/002A3401-942x628.jpg "Once the Musical AG Theatre • The Scoop")Sian Fuller is utterly captivating as Girl Photo by Natalie EdgeAs Guy, Mark Taylor delivers a focused, vulnerable performance. His voice carries the ache of someone who has loved deeply and lost painfully, yet Taylor never lets the character collapse completely into despair. Instead, Taylor’s version of Guy shows up with a subdued resilience, embodying an artist rediscovering his purpose one note at a time. With every earnest strum of his guitar, Taylor’s contemplative rendition of the show’s songs feels lived‑in, textured, and beautifully human. Sian Fuller, of *The Voice Australia* fame, is utterly captivating as Girl. She embodies the candidly honest, hopeful young woman with grounded conviction and flawless comedic timing. Her clear, crystalline voice soars with remarkable resonance when given the opportunity, yet overall feels a little underutilised within the narrow confines of the role. As a rising star, it is obvious that Fuller’s commanding stage presence and impressive vocal talents are meant for much bigger stages. The impressive, effervescent ensemble cast injects the production with joyful, rambunctious energy right from the get-go. Seamlessly slipping between character work and orchestral duties with remarkable ease, their dual‑hatted roles turn the stage into an organic soundscape. Instruments are passed hand to hand. Strings meld symphonically. Harmonies rise from unexpected corners. ![The Scoop Three men sit on a bar counter under blue stage lighting, legs dangling, looking upward at something off-screen.](https://thescoop.au/wp-content/uploads/2026/05/002A3844-942x628.jpg "Once the Musical AG Theatre • The Scoop")The impressive effervescent ensemble injects the production with joyful rambunctious energy Photo by Natalie EdgeAs Billy, Frazer Shepherdson finds the heart beneath the bluster, making him both the show’s comic relief and one of its emotional anchors. Rose Chambers sparkles as sultry Reza, turning up the heat with a playful confidence that makes her an absolute scene-stealer. Rounding out the cast, James Frampton gives ambitious Andrej a truly endearing quality that is easy to love, whilst John Yanko’s brash, quirky Svec is an absolute delight. Frampton and Yanko play to each other’s strengths with ease. They convey their characters’ admirable determination to carve out a better life for themselves in a foreign land that’s brimming with promise. This deep desire becomes tangible when, near to the story’s sombre conclusion, Andrej expectantly says, *“A million times heartbroken and Dublin keeps on going. You’ve got to love Dublin for dreaming.”* Chapel Off Chapel glows as the evening’s radiant backdrop, steeped in rich history. One of Melbourne’s most beloved independent arts venues, its walls have held witness to decades of emerging voices, bold experiments, and community‑driven storytelling. It’s the perfect home for a confident musical built on heart, hope, and the transformative power of music. Another glowing triumph for AG Productions, a prominent pillar of Melbourne’s vibrant theatre scene, the show’s message is simple. Sometimes the right person enters your life at the right time. Not to stay, but only to remind you of who you are, and what you can be. Immerse yourself in the quiet wonder of *Once*, and walk away feeling just a little lighter, having been reminded of the halcyon magic people can spark in each other through the healing power of music. ***Once the Musical* is presented by AG Theatre and runs to 6 June at Chapel Off Chapel. 12 Little Chapel Street Prahran Vic 3181.** Tickets: <https://booktickets.com.au/once/> Website: <https://agtheatre.com.au/once/> Socials: <https://www.instagram.com/agtheatreproductions/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Natalie Edge Photography **Categories:** Melbourne, Musical Theatre --- ### [Review: Duck Pond Takes Flight With Astonishing Grace](https://thescoop.au/review-duck-pond-takes-flight-with-astonishing-grace/) **Published:** May 14, 2026 **Author:** Jackson Kellaway **Content:** ★★★★½ ![The Scoop Duck Pond Circa QPAC Brisbane](https://thescoop.au/wp-content/uploads/2026/05/Duck-Pond_Sydney-Opera-House_credit_Daniel-Boud_016-941x628.jpg "Duck Pond Circa QPAC Brisbane • The Scoop")Quality. Audacity. Humanity. The core values of Circa. Something the world needs more of. Since establishing itself in Brisbane in 2004, Circa has become one of Australia’s most internationally celebrated arts companies, touring to more than 45 countries and performing for over two million people worldwide. It feels only fitting that *Duck Pond* ends its tour at the Queensland Performing Arts Centre. *Duck Pond* uses a clever mix of acrobatics, movement, clowning and comedy all to the theme of *Swan Lake*. It does everything it is supposed to: the audience gasp at the same time. Chuckle at the same time. And had me thinking, *I wonder if I could learn how to do that?* Spoiler: These knees would not hold up. From the beginning, the audience knows they are in for a treat as the ensemble of acrobats begins flying through the air and tumbling across the floor. The quartet of characters is clear with the ugly duckling in a Tudor-esque costume, while the rest of the ensemble wear stunning black velvet bodysuits (can I please get one in my size?). The prince is clearly represented by the crown. The black swan has striking, sharp red eye makeup. The fairy swan mother stands apart visually, with black-and-white wings and a black-and-grey bodysuit trimmed in red, though the design did evoke the USA Olympic swimsuit. ![The Scoop Duck Pond Circa QPAC Brisbane](https://thescoop.au/wp-content/uploads/2026/05/Duck-Pond_Sydney-Opera-House_credit_Daniel-Boud_029-942x628.jpg "Duck Pond Circa QPAC Brisbane • The Scoop")From the beginning the audience knows they are in for a treat Photo by Daniel BoudCostume aside, Asha Colless is phenomenal in the role. From carrying fellow performers to commanding the silks work high above the stage, Colless pushes the physical limits of the production in ways that genuinely make your stomach drop. Alicia Maccarone plays the Ugly Duckling and absolutely smashes it. Maccarone begins as a naive outcast who is playful and inexperienced. With a bit of whimsy, influence and hilarious antics by some of the ducks, she becomes a talented swan and realises what it is they truly want, or should I say who…no spoilers! Across just 70 minutes, *Duck Pond* crafts a more satisfying emotional arc than some full-length productions manage in twice the time. Much of that success belongs to Maccarone, but it also reflects the assured direction of Yaron Lifschitz, who keeps things grounded beneath its spectacle. A special mention also has to be given to Finn Neill, who spends the whole show with a smile on their face. Neill’s bright energy and personality radiate, making it hard to look anywhere else when they are onstage. Whether they were being catapulted across the stage or reaching heights on the silks, my eyes were drawn to them. ![The Scoop Acrobatic group in white lifts a performer above, inside a theater with dark vertical curtains](https://thescoop.au/wp-content/uploads/2026/05/Duck-Pond_Sydney-Opera-House_credit_Daniel-Boud_047-941x628.jpg "Duck Pond Circa QPAC Brisbane • The Scoop")The performers push the physical limits of the production in ways that genuinely make your stomach drop Photo by Daniel BoudThe company showcase their talents well, whether working with the diablo or a frightening number of hula hoops. I will be adding relearning how to hula hoop to my list after watching their performance. Just when things appear to end, *Duck Pond* pulls back the curtain, quite literally. The drapes surrounding the stage fall away to reveal the backstage mechanics of the production. Performers begin packing up mats, drinking water and peeling away costume pieces. What could have felt abrupt instead becomes part of the show itself, blending audience interaction with playful slapstick, including one delightfully absurd moment involving a performer tangled in tape and struggling to regain their footing. The sequence briefly leaves the audience unsure whether the performance is truly over. But that uncertainty becomes part of the fun. The production closes on a final image. The transformed swan rises high above the stage atop the shoulders of several performers, draped in cascading black fabric as white feathers scatter across the surface below. It is a simple but beautiful tableau, tying the production back to the imagery and romance of *Swan Lake* while giving the performance a theatrical and unexpectedly elegant finale. *Duck Pond* is sure to leave audiences amazed, not only by the physical talent but also by the joy embedded within it. ***Duck Pond* is presented by Circa and runs to 16 May at the Playhouse, QPAC in Brisbane.** Tickets: <https://www.qpac.com.au/whats-on/2026/circa-duck-pond> Website: <https://circa.org.au/show/duck-pond/> Socials: <https://www.instagram.com/circapresents/> and <https://www.instagram.com/circapresents/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Daniel Boud **Categories:** Brisbane, Circus, Theatre --- ### [Review: Dancing At Lughnasa Finds Moments Of Wild Beauty](https://thescoop.au/review-dancing-at-lughnasa-finds-moments-of-wild-beauty/) **Published:** May 9, 2026 **Author:** Nick Dale **Content:** ★★★½ ![The Scoop Dancing at Lughnasa New Theatre](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-07-at-100216-pm-993x628.png "Dancing at Lughnasa New Theatre • The Scoop")There’s true power in dance. Its abandonment, its liberation. It brings us down to our primal senses and reminds us of the brief candle that is life. Brian Friel’s *Dancing at Lughnasa*, directed by Isabella Milkovitsch at Sydney’s New Theatre, reaches for that power – and occasionally grabs it. Set in rural Ireland in the summer of 1936, the play is narrated by the adult Michael, looking back on his childhood with his unmarried mother, Chris, her four sisters, and their wayward brother Father Jack, a missionary priest returned from 25 years in Uganda with his memory fractured and his faith replaced by paganism. It’s a play about a family on the edge of disintegration, flickering between joy and hardship during the pagan festival of Lughnasa. It’s a challenging feat. A Tony and Olivier-winning play widely regarded as Friel’s masterpiece. It demands an ensemble of eight with thick Irish accents, long monologues and rich language that’s almost Chekhovian. This is serious pedigree – and New Theatre has taken a big swing at it. The cast do well to grapple with the language. Friel’s text is at the level of difficulty you find in the likes of Chekhov and Shakespeare. Text that demands actors live inside the words, not skim over them. The Irish accents are convincing and well-chewed-upon – courtesy of accent coach Benjamin Purser – and they ground the play, helping bring us into the world of rural Donegal. The set design is exceptional, as we’ve come to expect from New Theatre. Max Shaw has created a tattered backdrop with large torn-away holes and gaps – evoking frayed memories. A smart, evocative choice for a memory play. ![The Scoop Dancing at Lughnasa New Theatre](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-07-at-100332-pm-1003x628.png "Dancing at Lughnasa New Theatre • The Scoop")The strength of this production lies with the women Photo by Bob SearyParis Bell’s lighting is often effective and delicate, throwing shades of purple and orange, creating sunsets and shifting moods. The strength of this production lies with the women. The cast playing the five Mundy sisters bring the most life and energy to the stage. Audrey Blyde is a standout as Agnes in the most subtle and grounded way. Emotion falls across her face in exquisite detail, unforced. She does more with a glance and a tilt of the head than others do with all their chattering. There’s a scene where Rose goes missing – and the fear that flashes through Blyde is striking and palpable, while Tenielle Thompson plays Rose with unnerving vulnerability, another standout. Megan Bennetts as Maggie totally inhabits the time and place – joyous, cheeky, very watchable. Patrick Holman brings a quiet magnetism as Michael, the narrator, that anchors the play’s scattered energy. It’s a tricky part – burdened with literary, sensory language. He does well to keep on track and keep us informed. At the heart of the play is the dancing. The famous, oft-talked-about dance scene that has the sisters burst into ecstatic stomping and hissing is a highlight here, but still doesn’t fully ignite as much as it could. The women are truly captivating in this moment, with Bennetts particularly letting loose. They are primal, unabashed and wild for a moment, and the choreography by Avalon Ormiston starts to bring the play alive. It’s everything this production should be, but unfortunately, while this sequence sparks, it fails to keep that energy simmering as the story moves forward. ![The Scoop Dancing at Lughnasa New Theatre](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-07-at-100508-pm-982x628.png "Dancing at Lughnasa New Theatre • The Scoop")Dance brings us down to our primal senses and reminds us of the brief candle that is life Photo by Bob SearyIn a complicated narrative such as this, which is more so about memories and atmosphere than plot, the pacing is tricky to get right. In this production, it’s inconsistent and the other ritual moments that could build on this energy fall short. I was left craving more of that wild, ecstatic abandon. Memory plays are not easy to get right. They’re hard to keep grounded, and they risk losing an audience. This one opens with narration and a tableau of characters standing still, staring into space. Not immediately engaging. And while most of the cast work hard to ground the story, there’s a lack of cohesion that holds it back – actors seeming to play in their own worlds rather than listening and connecting. This is felt most in the scenes between Chris and her feckless lover Gerry. Despite Iris Simpson’s valid efforts, Sebastian Gray’s Gerry doesn’t quite find the nuance the role needs – coming across more as a man-child than the charming, gallant man who’s supposed to court Chris. He skips over moments rather than savouring them, and the much-required chemistry between them doesn’t land. Taking on Brian Friel’s much-loved masterpiece is quite the task, and most of the cast rise to the challenge. The sisters carry *Dancing At Lughnasa* with real spirit and resilience – which, fittingly, is exactly what the story is about. ***Dancing At Lughnasa* runs to 16 May** **at New Theatre,** **542 King Street Newtown NSW 2081.** Tickets: <https://aunewtheatre.sales.ticketsearch.com/sales/salesevent/156909> Website: <https://newtheatre.org.au/dancing-at-lughnasa/> Socials: <https://www.instagram.com/newtheatresydney/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Bob Seary **Categories:** Sydney, Theatre --- ### [Review: Shoelace Chaser Races Through Grief & Growth](https://thescoop.au/review-shoelace-chaser-races-through-grief-growth/) **Published:** May 14, 2026 **Author:** Jacqui Moore **Content:** ★★★★★ ![The Scoop Shoelacer Chaser Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Leigh-Lule_Elliot-Wood_Photo-by-Jacinta-Keefe-1-942x628.jpg "Shoelacer Chaser Melbourne Theatre Company • The Scoop")Melbourne Theatre Company’s *Shoelace Chaser* understands that responsibility can arrive long before adulthood does. Written by AWGIE Award winner Madelaine Nunn and directed by Liv Satchell, this stunning new work explores the demands of family responsibility, the pressure of growing up too quickly, and the life-altering impact of meeting the right person at exactly the right time. The story follows Thea, a young woman caught in the relentless demands of adolescence and adulthood all at once. The audience first meets her where she feels most free: on the running track. It’s there she meets Sid, her soon-to-be best friend and training partner. Their charmingly awkward meet-cute sparks the possibility of scholarships, university and maybe even the Olympics. But the fantasy quickly fractures as the realities of Thea’s home life emerge. She is carer to her mother, Fiona, while juggling casual work just to keep things afloat. The script moves effortlessly between these two worlds: one grounded in responsibility, the other driven by hope. ![The Scoop Shoelacer Chaser Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Leigh-Lule_Elliot-Wood_Photo-by-Jacinta-Keefe-941x628.jpg "Shoelacer Chaser Melbourne Theatre Company • The Scoop")The play understands that responsibility can arrive long before adulthood does Photo by Jacinta KeefeThe Lawler theatre feels as though it was built for this production. Bianca Pardo’s beautifully detailed set creates an immediate sense of intimacy, drawing the audience directly into Thea’s world. The family lounge room, framed by a running track, allows the action to shift easily between locations and emotional states. It’s a clever design that mirrors the play itself; constantly moving between survival and escape. Ugandan-Australian actor Leigh Lule is exceptional as Thea, anchoring the entire production with warmth, maturity and emotional clarity. Lule brings a quiet intelligence to the role, allowing Thea’s resilience to sit alongside her exhaustion. Making their Melbourne Theatre Company debut, Elliot Wood is endlessly charming as Sid. Wood’s comedic timing borders on genius, landing every line with an ease that feels completely unforced. They bring a natural rhythm to the production and create effortless chemistry with everyone on stage. As Fiona, Zoe Boesen delivers a performance full of eccentricity, honesty and wisdom. Obsessed with horoscopes, palm reading and floristry, Fiona could easily become caricature in lesser hands, but Boesen grounds her in genuine humanity. ![The Scoop Shoelacer Chaser Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Leigh-Lule_Eilliot-Wood_Photo-by-Jacinta-Keefe-942x628.jpg "Shoelacer Chaser Melbourne Theatre Company • The Scoop")The play will stay with you like the ache in your legs after a long run homeAs expected at Melbourne Theatre Company, lighting and sound design sit at the centre of the production’s artistic vision. Thomas Roach’s lighting design and Tom Backhaus’s composition and sound design elevate the work beautifully, helping to shape Thea’s distinct worlds. Roach’s lighting expertly distinguishes the harsh reality of Thea’s home life and the freedom and possibility of the running track, while Backhaus’s soundscape pulses beneath the action, grounding the emotional rhythm of the piece. Together, the design elements create a production that feels immersive without ever overwhelming the intimacy of the story. In many ways, *Shoelace Chaser* is a story about running; toward freedom, toward possibility, and sometimes simply toward survival. Yet beneath its humour and heart, the production asks a far more difficult question about who gets the luxury of dreaming big when responsibility arrives too early. Under Liv Satchell’s thoughtful direction, the result is a work that is emotionally honest from beginning to end. Tender, funny and deeply human, *Shoelace Chaser* will stay with you like the ache in your legs after a long run home. ***Shoelace Chaser* is presented by Melbourne Theatre Company and runs to 27 May at Southbank Theatre, The Lawler.** **140 Southbank Boulevard Southbank Vic 3006.** Tickets: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/shoelace-chaser> Website: <https://www.mtc.com.au/> Socials: <https://www.instagram.com/melbtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Jacinta Keefe **Categories:** Melbourne, Theatre --- ### [Strings: A Virtuosic Triple Bill By Queensland Ballet](https://thescoop.au/strings-a-virtuosic-triple-bill-by-queensland-ballet/) **Published:** May 13, 2026 **Author:** Newsroom **Content:** ![The Scoop Queensland Ballet Strings The Seventh Blue by Christian Spuck Photo Gregory Batardon](https://thescoop.au/wp-content/uploads/2026/05/Strings_The-Seventh-Blue-by-Christian-Spuck-Photo-Gregory-Batardon-942x628.jpg "Queensland Ballet Strings The Seventh Blue by Christian Spuck Photo Gregory Batardon • The Scoop")Following two wildly popular programs, the monumental *[Messa da Requiem](https://thescoop.au/review-messa-da-requiem-opens-on-a-grand-new-era/)* and the joyous *[Elastic Hearts](https://thescoop.au/review-elastic-hearts-brings-joy-through-dance-the-music-of-sia/)*, **Queensland Ballet** presents *Strings*, a striking triple bill by three leading choreographers, **Christian Spuck**, **Goyo Montero** and **Edward Clug**. Performed with live accompaniment by Queensland’s Chamber Orchestra, Camerata, *Strings* takes the stage at the **Playhouse, QPAC from 22 – 30 May 2026**. Distilling dance to its purest form, the evening opens with ***Chamber Minds*** by acclaimed Romanian choreographer, **Edward Clug**, whose playful yet deeply expressive work explores the contradictions of human emotion, the push and pull of love, tension and connection. Clug’s inventive use of the body sees limbs act as levers, propelling dancers into surprising, often humorous shapes that appear spontaneous yet demand extraordinary control. ![The Scoop Queensland Ballet Strings](https://thescoop.au/wp-content/uploads/2026/05/chamberminds4-942x628.jpg "Queensland Ballet Strings • The Scoop")Still from Chamber Minds by Edward Clug Photo by Gregory BatardonIn ***The Seventh Blue***, **Christian Spuck**, who kept audiences spellbound with his epic *Messa da Requiem,* responds to the relentless energy of Franz Schubert’s *Death and the Maiden*. The choreography mirrors the score’s urgency and is fast, furious and relentless. The technically demanding work demands both precision and musical clarity from the dancers. Completing the program is ***Chacona*** **by Goyo Montero** set to Johann Sebastian Bach’s well-known *Chaconne* from *Partita No. 2 in D minor.* Built on repeating musical patterns, the choreography reflects this structure through intricate sequences performed in canon, a ripple-like effect where movement passes seamlessly from one dancer to the next. The result is mesmerising, echoing the hypnotic beauty of Bach’s score played by Camerata musicians. Together, these three works form an electrifying evening where movement, music and technical mastery reveal dance in its purest form. ![The Scoop Strings Queensland Ballet Strings](https://thescoop.au/wp-content/uploads/2026/05/Chacona-Rehearsals-with-Ivan_17-04-26_Jakob-Perrett-10-942x628.jpg "Strings Queensland Ballet Strings • The Scoop")In rehearsals for Chacona with Ivan Gil Ortega Photo by Jakob PerrettArtistic Director **Ivan Gil-Ortega** said the three contrasting works demand extraordinary technical, musical and artistic range from the dancers. *“I have worked closely with Goyo, Christian and Edward throughout my career, so I have a very deep understanding of their unique choreographic voices and the precision they demand from artists.* *Each choreographer approaches movement in their own choreographic vocabulary. Christian’s work is relentless and deeply musical, Edward’s is playful and deceptively complex, while Goyo’s choreography demands precision, musicality and incredible stamina.* *What excites me most is bringing these celebrated works to Brisbane and being part of this process with the dancers in the studio, passing on the artistic detail, musicality and intention behind every movement.* *The audiences are not only witnessing works by some of today’s most influential choreographers but experiencing creations that are actively shaping the world of ballet today.”* Queensland Ballet’s mission is to contribute to Australia’s cultural landscape by being an integral part of the national and international ballet ecology – striving for artistic excellence, pathways for emerging artists, and impact through their community outreach, education, and dance health programs. They aim to enrich lives and contribute to wellness across society through the magic of ballet. ***Strings A Triple Bill*** **is presented by** **Queensland Ballet and runs 22 – 30 May at the Playhouse, QPAC in Brisbane.** Tickets: <https://www.qpac.com.au/whats-on/2026/queensland-ballet-strings-a-triple-bill> Website: <https://www.queenslandballet.com.au/performances/2026/strings> Socials: <https://www.instagram.com/qldballet/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: *The Seventh Blue* by Christian Spuck. Photo Gregory Batardon ![The Scoop Violinist at the stage edge watches over a group of dancers lying on illuminated square mats, performing in a dark theater.](https://thescoop.au/wp-content/uploads/2026/05/VAL_2857M4-942x628.jpg "Strings Queensland Ballet Strings • The Scoop")Still from Chacona by Goyo Montero Photo by Gregory BatardonFast Facts Edward Clug, choreograher of *Chamber Minds*: Romanian born, Edward Clug, decided to enrol in dance purely to escape the repressive communist regime under Romanian dictator, Nicolae Ceaușescu. Clug completed his ballet studies at the National ballet school in Cluj-Napoca and immediately was offered a contract as a soloist at the Slovene National Theatre in Maribor where he made his first choreography. Fast Facts Christian Spuck, choreographer of *The Seventh Blue*: Christian Spuck trained at the prestigious John Cranko School in Stuttgart. He was named resident choreographer of the Stuttgart Ballet Company in 2001 where he developed his signature style. Christian’s work on *Anna Karenina* premiered in 2014 and became one of his most celebrated ballets worldwide. Franz Schubert composed *Quartet No. 14* in 1822, and added, *Death and the Maiden*, into the second movement when he contracted syphilis, as he was in a very gloomy place. The famous second movement is based on *Der Tod und das Mädchen*, the two-part German poem by Matthias Claudius (1740-1815), in which Death comes for a young maiden and speaks to her with eerie calm. By this time, Schubert was gravely ill and living under the shadow of syphilis. The treatment – drinking mercury, was brutal and debilitating. He intimately understood that death was also coming for him, not just the maiden. He would die either from mercury poisoning or syphilis. Fast Facts Goyo Montero, choreographer of *Chacona:* Goyo Montero trained in Spain with the celebrated teacher, Carmen Roche, the same schools where Artistic Director, Ivan Gil-Ortega trained. Goyo’s father was also a reknowned choreographer, known for folk, flamenco as well as classical ballet, jazz and musicals. He also directed major Spanish companies and his passion for painting and art greatly influenced Goyo’s own love of art, architecture, light design and cinema. **Categories:** News --- ### [Review: The Importance Of Being Earnest Is Wilde & Unbuttoned](https://thescoop.au/review-the-importance-of-being-earnest-is-wilde-unbuttoned/) **Published:** May 13, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop The Importance of Being Earnest State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/05/THE_IMPORTANCE_OF_BEING_EARNEST_stills_by_MATT_BYRNE-01253-1097x628.jpg "The Importance of Being Earnest State Theatre Company South Australia • The Scoop")Oscar Wilde’s final play, *The Importance of Being Earnest*, opened on 14 February 1895. That same night, the Marquess of Queensberry, father of Wilde’s lover, Lord Alfred Douglas, attempted to storm the theatre and hurl a bouquet of rotten vegetables at the stage. He was turned away. Within months, Wilde was arrested. Within years, he was dead, broken by poverty after two years of hard labour. *The Importance of Being* *Earnest* has long been read as a razor-sharp satire of Victorian manners and the performance of propriety. Some scholars long suspected the name “Earnest” was also a wink: a coded celebration of queer love and the elaborate double lives it demanded. Director Petra Kalive doesn’t suspect. She knows. And her production, presented by State Theatre Company South Australia, makes the subtext impossible to ignore, while losing nothing of the wit that made the play a classic. The stage, designed by Kathryn Sproul, arrives like a dream. A towering teal-blue framework of arches and windowpanes stretches across the full width of the Dunstan Playhouse. Twisted branches threaded with pale pink blossoms snake overhead, evoking a glasshouse or winter garden; formal enough for Wilde’s aristocrats, playful enough to expose the absurdity beneath them. A swing hangs in the country scenes, where the palette shifts to yellow walls and pink blossoms. A checkerboard floor curves past cream lounges, polished tables and cascading florals. Under warm light, the whole stage glows like a romantic illustration pulled from the pages of a book. The costumes, also by Sproul, lean joyously into caricature. Algernon Moncrieff blazes in a vivid orange and gold velvet suit, orange sneakers on their feet. Ideal footwear, it turns out, for all the sneaking they do. Lady Bracknell towers in voluminous green, gold and cream stripes beneath a dramatic white ruff. She is a grandmother, headmistress and hanging judge rolled into one formidable silhouette. Jack Worthing wears cool, pale-striped tailoring: respectable, restrained, the look of a man trying very hard to keep control of a world that will not cooperate. ![The Scoop The Importance of Being Earnest State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/05/THE_IMPORTANCE_OF_BEING_EARNEST_stills_by_MATT_BYRNE-00507-988x628.jpg "The Importance of Being Earnest State Theatre Company South Australia • The Scoop")Every character except Lady Bracknell is played by an actor whose identity does not align with their characters Photo by Matt ByrneGwendolen Fairfax sails in blues with exaggerated romantic sleeves. Black Converse peek beneath their skirt. Cecily Cardew bursts in all pink gingham and blooming pantaloons, freer and more mischievous than anyone else on stage. Every character except Lady Bracknell is played by an actor whose identity does not align with their character’s. This is no stunt. It is the point. When the bodies who have historically been the punchline become the authors of the joke, something shifts. Suddenly, the play’s central questions, about who gets to be who, and who is permitted to be seen, gain a charge the Victorian drawing room was designed to muffle. Glenda Linscott’s Lady Bracknell patrols imperiously, leaning on her walking stick, her pronouncements delivered in ascending pitches of incredulity. She is the guardian of a moral order she did not invent and cannot explain. She is hilarious. Terrifying. She is, unmistakably, the personification of every social structure that has ever demanded a person be someone they are not. Her green and gold colour scheme could be the representation of an “Australian values” citizenship test. Connor Pullinger’s Gwendolen looks like a young Eddie Izzard at the height of their powers. They revel in drama. The earring removal alone is a fully committed theatrical event. Teddy Dunn’s Jack goes on the evening’s biggest journey. He enters as the sensible straight man and is steadily, gleefully dragged up to the farcical pitch of everyone around him. The scene where Jack and Algernon tear into muffins and tea cake with the intensity of a territorial dispute is the comedic peak of the night. The stars, though, are Anna Lindner and Pia Gillings. Lindner plays Algernon as pure rubber-limbed chaos. She bounds into scenes like Seinfeld’s Kramer, forever mid-lunge, forever stretching into some new configuration of enthusiasm. Gillings, in pink curls and gingham as Cecily, reveals her romantic imagination in sparring sessions with Gwendolen that escalate with joyous precision. Gillings has the kind of presence that fills a cinema screen; she was in the Australian horror smash *Talk to Me*, and here she fills the Dunstan just as completely. ![The Scoop The Importance of Being Earnest State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2026/05/THE_IMPORTANCE_OF_BEING_EARNEST_stills_by_MATT_BYRNE-09280-952x628.jpg "The Importance of Being Earnest State Theatre Company South Australia • The Scoop")Kalive has clearly given each performer the freedom to find and commit to their full sense of play Photo by Matt ByrneMuch of the cast is more familiar to viewers of the big and small screen, which is fitting, as the three-act work is condensed into a one-act, movie-length performance, tied together by Carla Lippis. She is the production’s secret weapon and its moral centre. Lippis plays Merriman and Lane: the servants. Between acts, she steps to the front in a Nick Cave pinstripe, signature bob and red lipstick immaculate, and performs original songs she co-composed with Geoffrey Crowther. “Everything’s dandy when daddy’s cheque book is handy,” she sings. And: the importance of being earnest when nobody knows what lies below the surface. The songs bookend each act. They do not interrupt Wilde’s text. They deepen it. In fact, as Lane and Merriman, Lippis is dour, contained, and downtrodden by class into subservience and the hiding of her true self. The contrast between servant and singer is the whole production’s argument, distilled. Kalive’s Director’s Note frames it plainly: Lane is the only character living honestly, and Lane’s constraint is economic, not moral. The music makes that visible. While the aristocrats play at being someone else, the working class is forced to remain someone they are not. By condensing the play’s three acts into a single act, the legs and shoulders of audience members may begin complaining, even in the comfy new Festival Centre seats, especially in the middle sections involving the Miss Prism (Nathan O’Keefe) and Cannon Chasable (Caroline Mignone) subplot. Crowther’s score and Andrew Howard’s sound design hold the evening together with precision, warmth and the occasional jolt of something rawer than Wilde’s cucumber sandwiches might suggest. In the rehearsal room, Kalive has clearly given each performer the freedom to find and commit to their full sense of play. The result is one of those productions where you sense an entire company has been truly seen. They are not performing diversity. They are demonstrating what a diverse collective can deliver when given the room to show up whole. Which brings us to the play’s last and most alive question. How does a group of eccentric individuals form a cohesive society? Wilde didn’t solve it. We haven’t either. But he understood, as this production understands, that any moral code worth having must include a commitment to tolerance, a celebration of difference and the radical flexibility to let people be who they actually are. Even if that means pretending to be someone else. ***The Importance of Being Earnest* is presented by State Theatre Company South Australia and runs to 30 May at the Dunstan Playhouse, Adelaide Festival Theatre.** Tickets: <https://my.statetheatrecompany.com.au/overview/the-importance-of-being-earnest> Website: <https://statetheatrecompany.com.au/shows/the-importance-of-being-earnest/> Socials: <https://www.instagram.com/statetheatresa/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Matt Byrne **Categories:** Adelaide, Theatre --- ### [In Conversation With Eddie Perfect: Beetlejuice The Musical](https://thescoop.au/in-conversation-with-eddie-perfect-beetlejuice-the-musical/) **Published:** May 12, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Eddie Perfect Beetlejuice the Musical](https://thescoop.au/wp-content/uploads/2026/05/Eddie_Event-copy-942x628.jpg "Eddie Perfect Beetlejuice the Musical • The Scoop")It is rare to be given a chance to sit down with the writer of a Broadway musical. But this is exactly what happened in Brisbane last week with **Eddie Perfect**, composer and lyricist of the Tony-nominated ***Beetlejuice* *The Musical*.** The Scoop joined key media, invited guests and local musical theatre students at a special event, hosted by Michael Cassel, producer of the Australian tour, ahead of the 2026 return season. *Beetlejuice* kicks off in **Brisbane from 7 June**, before embarking on a national tour following its highly successful Melbourne premiere season in 2025. The musical will then head to all the major Australian cities, including **Perth**, **Adelaide** and **Sydney**. In this extended chat, Eddie Perfect offered insights into his creative process writing the musical, his experience playing the title role for the Melbourne premiere season, how worldwide audiences have responded to the show and what it was like bringing the show home to Australia. Below is the interview, edited for clarity. **Michael Cassel:** We were lucky enough to have you originate the role of Beetlejuice in Melbourne, and now you’re passing the baton to Andy Karl. What was it like performing in your own show in Melbourne? **Eddie Perfect:** I knew some of the lyrics a bit better than maybe someone else, but apart from that, there was no advantage. It was like working as a waiter, and then all of a sudden you have to cook the meals. As a writer, you can become quite complacent about making a whole bunch of difficult things an actor’s problem. Having to do them as an actor is great karma. Alex Brightman originated the role of Beetlejuice on Broadway. We were very spoiled, because he can do anything. You throw anything at him, any comedy, any beat, shove him in any position. He’s a small guy; he fits in different places, and he was hidden all over the stage. And when I did it, I had to message him and go, *I am so sorry*. It’s a really frenetic role, especially the first 25 minutes of the show. It’s all Beetlejuice. It’s part stand-up, it’s also vaudeville, and you’re driving all of these scenes. It was like a physical fitness thing, really, to get through those first 25 minutes. It was a wild experience. ![The Scoop David Josefsberg, Kerry Butler, Elizabeth Teeter, Alex Brightman in Beetlejuice on Broadway. Photo by Matthew Murphy](https://thescoop.au/wp-content/uploads/2025/01/Beetlejuice-David-Josefsberg-Kerry-Butler-Elizabeth-Teeter-Alex-Brightman-942x628.jpg "Beetlejuice - David Josefsberg, Kerry Butler, Elizabeth Teeter, Alex Brightman • The Scoop")Alex Brightman as Beetlejuice on Broadway with David Josefsberg Kerry Butler and Elizabeth Teeter Photo by Matthew Murphy**Michael Cassel:** Did Alex give you any tips? **Eddie Perfect:** No. He just said, “Good luck.” I mean, you kind of have to make it your own, which is tricky, especially when someone as brilliant as Alex Brightman begins things. But there are no guardrails with a role like Beetlejuice. In fact, there were no guardrails writing the show either, because it’s a fantastical world with ghosts, demons, living people, dead people and netherworlds and real worlds intercolliding, so it’s just got to be surprising. And what was really fun about that from an acting perspective is that you get to rehearsals, and it’s got to come from *you*. It’s got to be all of your comedic ideas. And you’ve got to go, *what kind of Beetlejuice am I?* Turns out I’m very needy. And that’s what makes Beetlejuice an enduring character. He wants to be real and living in the world. He wants to experience the full range of human emotions. And when he finally gets to do that, he can’t really handle it. It’s a hard thing being alive. **Michael Cassel:** So take us back to the very beginning. How did Beetlejuice come into your life? **Eddie Perfect:** Well, this is the expurgated version. There’s no clear path to Broadway, but I had complained about the lack of opportunities to write a whole score here in Australia. And instead of doing anything about it, I just moped around the house and bitched to my wife. She got sick of it and was like, buy a ticket, go to New York, and start having meetings. There’s a superpower in life, if you haven’t worked it out already, where you keep reorganising things. But a lot of stuff happens when you just turn up. And New York is very much a turn-up kind of city. People don’t really know how to deal with a theoretical you, but they do once you’re physically there. I’m not a pushy person or a hustle-y person. But I am very passionate about writing for musicals, and I very much wanted to work in the great big sandpit of Broadway. So I would just sort of turn up and take meetings with whoever. I found an agent who believed in me, even though the only material I gave him was *Shane Warne: The Musical*. And the other was a song cycle about Mentone, the Melbourne suburb I grew up in. Two niche things, but he somehow liked the writing. I had heard that *Beetlejuice The Musical* was in development with Warner Brothers Theatricals, and that there were two script writers, Anthony King and Scott Brown, whom I had known because they wrote *Gutenberg the Musical.* And they had been working on adapting the book. ![The Scoop Eddie Perfect Beetlejuice Musical](https://thescoop.au/wp-content/uploads/2026/05/1-Beetlejuice-The-Musical-Australian-Production-Photo-by-Michelle-Grace-Hunder-copy-942x628.jpg "Eddie Perfect Beetlejuice Musical • The Scoop")Eddie Perfect as Beetlejuice in the Australian premiere in Melbourne 2025 Photo by Michelle Grace HunderI knew that Alex Timbers was directing it, and I had just seen two of his shows on Broadway. I knew that his sensibility was so extraordinary. I was very hungry to do something, so I asked my agent if I could pitch on this musical. So he asked the creative team, and they said no. They were about to pitch a whole bunch of very high-profile composer-lyricist teams. They didn’t want to expand the pitch anymore, because they didn’t want to pay another person to contribute demos as part of the pitch process. So I was like, well, if that’s the problem, I’ll just write two songs for free. And my agent was kind of surprised that I would do that. *You don’t want to know what I would do.* I thought the best thing I could do was get my writing under the nose of a proper Broadway director. I won’t get the gig, but at least there might be something else that I’m right for. I also thought the best thing I could do was prove to my New York agent that I could write to an American brief. And so I entered into the process, really swinging for the fences. I’ve gotten where I’ve gotten because of the risks that I’ve taken. And when the stakes are really high, there’s a tendency to become risk-averse. But I thought, I’ve got to keep going the way that I’ve started. One of the first songs I wrote was *The Whole Being Dead Thing*, which cycles through about 20 different genres of music. Because on the page, Beetlejuice is such a wild character, so varied and funny and surprising. If I just stick to one genre, it’s going to rob him of all the surprising comedy he has in his dialogue. So I just stitched together this kind of Frankenstein’s monster of different genres. It took a really long time, and when I finished, I was like, I don’t know what they’re going to make of this. There’s not a lot of this sort of stuff on Broadway. At the same time, I wrote a song for Lydia called *Dead Mom*, which is more the same genre all the way through. It’s a ‘90s sort of powerful punk rock, Green Day, Nirvana-esque type song that I thought an angry girl with a Fender guitar in her bed could crank out and sing. I wrote those two songs, and I got an idea for a bonus opening number that never made it into the show, a song called *Death’s Not Great*. And I just sent all three to the producers, whom I’d never met and who didn’t really want me to pitch and thought I was a weird Australian with a weird name, and I didn’t hear anything. Three months later, my agent called me and said, You booked the gig. And what followed was five years of really intense writing and getting to see how a Broadway show is made from the inside, all the good, the bad, the ugly, the huge pressure, the stress. But it is a magical experience. ![The Scoop Smiling man in a gray suit sits forward in an office chair against a dark green backdrop.](https://thescoop.au/wp-content/uploads/2026/05/Eddie-Perfect-Credit-Benny-Capp-copy-829x628.jpg "Eddie Perfect Beetlejuice the Musical • The Scoop")Eddie Perfect Photo by Benny Capp**Michael Cassel:** I was fortunate enough to see your show on opening night on Broadway. And like many people who may be familiar with the film but have yet to see the musical, you have an expectation of what Beetlejuice is. What struck me was that despite all of the hilarity and the comedy, it actually deals with quite deep emotional themes of loss and grief. How did you approach that in bringing those two worlds together and striking that balance of being a great piece of entertainment, but also having great heart and connection that ultimately engages with an audience? **Eddie Perfect:** I was lucky on a couple of levels in my writing, in that my wife, Lucy Cochran, is a really great sounding board for all of my work. She’s super smart, so I’m always bouncing ideas off her. And because she has a background in advertising and marketing, and now, as a clinical psychologist, she understands behaviour and how people think. But also, my wife went through the loss of her mother at the age of eight. Her mother died in a car accident, and so I was…fortunate is a weird word to use, but I really wanted to honour the real experience that my wife had, losing her mother, and how it’s something that isn’t a wound from which you just simply recover from, and then it goes in the rear view mirror. Grief is one of those things that pops up every time there’s a new experience that you wanted to share with that person. As you grow up and you change, and you have kids, the loss of a mother never leaves you. Be it as an 80-year-old, 90-year-old human being walking around and still very much missing your mother, father or whoever we lost. Grief isn’t really sexy, and it isn’t really funny, and we don’t really like to talk about it. And so we didn’t want to make this super depressing show. We wanted it to be life-affirming, but we also wanted it to be honest. So there were some times in early workshops where things happened in the netherworld. In one of the first drafts, Lydia actually did reunite with her mother. And I remember after that workshop showing, myself, Scott and Anthony were sitting in a bar afterwards, and we were like, *that didn’t feel right*. And the reason is because you never get to do that. That’s what grief is. It’s the unanswered questions. It’s the continual loss, it’s the lack of closure. We thought, we are selling people’s experience of grief down the river if we don’t present the netherworld as this never-ending, unchanging, unfeeling void of nothingness where you don’t get the answers you’re looking for. And so the decision for Lydia to go back and live in the real world, to make a home with the people that she has in her life, even if they are imperfect, is a decision she makes for herself. She decides to live messily in a way that her mother would have wanted. So it becomes a celebration of life. And then we just make sure that Beetlejuice gives everybody right up front, permission to laugh at the scary and the sad thing, and audiences really take us up on that. One of my favourite reactions is the creativity that comes out of people. We opened on Broadway, at the Winter Garden Theatre, which is a very large theatre, and we very quickly filled all the walls with extraordinary fan art. And then a similar thing happened in Australia. There’s just something about the world of *Beetlejuice*. The creativity of the visual style just empowers people to want to write and make stuff. ![The Scoop Eddie Perfect Beetlejuice the Musical](https://thescoop.au/wp-content/uploads/2026/05/Logo-895x628.png "Eddie Perfect Beetlejuice the Musical • The Scoop")**Michael Cassel:** When was that moment in time when you thought, Wow, we’ve got something special that I think is going to have a life beyond Broadway? **Eddie Perfect:** You never really know. One of my favourite TV shows is *Survivor*. It’s a microcosm of human collaboration, and you never know what’s around the corner. You have to stay optimistic, even when things are falling apart. But making a show is so weird because you’d think that after you’ve been making shows for a really long time, the process would get shorter because you know what you’re doing. But as you make a show, you’re learning what the show is. And sometimes it’s not until you see it, and you’re sitting in an audience watching it through their fresh eyes, that you start to understand what it is you’ve made. When we opened in Washington, DC, we knew we had something vibrant and funny and surprising and maybe different to what was out there. But we didn’t really know what people were picking up on and what messages they were taking away with them. And as we went to rewrite the show, this concept of home emerged that wasn’t there for the DC show. This concept that, when we lose somebody really close to us, we lose our sense of belonging and our sense of home. They’re the people who make us feel safe. Can we go on without that sense of belonging? Can we recreate that sense of home? What is home? That theme kind of emerged in the rewriting of it. We’d been working on this show for five years. Sometimes it feels like you’re in a video game. You’re on a level in a video game, and you’re like, I want to be on the next level, but you haven’t done one task. Making a show is similar to that. Sometimes the key idea for what the show is about doesn’t emerge until you’ve sat with the piece for years, and all of a sudden it turns up, and you’re like, Why didn’t I think of that on day one? Why didn’t I see that home was a central theme to the show? *The Banana Boat Song* literally says: *Daylight come and I want to go home*. That hadn’t occurred to me until five years in. And in DC, there was a final moment where Lydia sang *Shake Senora*, and she has this new family around her made up of real people and ghosts, and the song ended, and it was nice, but it didn’t really land with a punch. And because it was *Shake Senora,* one of two songs that I didn’t write, I thought, I can’t really touch that. I didn’t know if I was allowed, but in the end I wrote a new section. I wrote a reprise of *Dead Mom* and put it in there. It also had the theme of “mama, I’m home,” and it just felt like everything came together. That was a really cool moment. ![The Scoop Eddie Perfect Beetlejuice](https://thescoop.au/wp-content/uploads/2026/05/250407_Beetlejuice_AF_46-copy-1074x628.jpg "Eddie Perfect Beetlejuice • The Scoop")Eddie Perfect at the media preview for Beetlejuice in 2025 Photo by Aaron Francis Photography**Michael Cassel:** One of my favourite moments musically is towards the end of the second act, where all those themes come together. When you arrived at that point, did you make any changes to the songs you’d previously written to bring all that together? **Eddie Perfect:** Yeah, we were making changes all the time. One of the things that I got better at while I was working on Broadway was learning how to cut material. A lot of the time, our producers would come to us and say, twenty minutes out of Act One. And they don’t tell you which twenty minutes. So normally that means you’ve got to lose a scene and lose a song. And we would do this thing where everyone in every department would bring out their dead. We would just offer up cuts. With comedy, you want to be out of Act One in under 70 minutes. And in Act Two, if you can get that right on one hour, it’s really good. It’s pacy. People aren’t looking at their watches. I learned about not just cutting songs, but also internal cuts in songs. You can have a whole first verse and first chorus, but if you’re coming back to a second verse, you always want to be ahead of the audience. Those new words better be taking the story somewhere else, or an audience is like, okay, we’re ahead of you now, and you can feel it. I would stand in the back of the Winter Garden Theatre and watch the backs of everyone’s heads. And you’d just see, okay, they’re disengaged, or they’re leaning forward, they’re laughing. They want the person next to them to know that that was a noteworthy moment. You could read people. I learned a lot about timing and pacing, especially with Alex Timbers. ![The Scoop Beetlejuice Musical Melbourne Michael Cassel Group Karis Oka Eddie Perfect](https://thescoop.au/wp-content/uploads/2025/05/9-Beetlejuice-The-Musical-Australian-Production-Photo-by-Michelle-Grace-Hunder-copy-1082x628.jpg "Beetlejuice The Musical - Australian Production • The Scoop")Eddie Perfect as Beetlejuice Photo by Michelle Grace Hunder**Michael Cassel:** What’s your favourite song from the show? **Eddie Perfect:** I think my favourite song is *Dead Mom*. It was the first song I wrote. It’s the most true to my wife’s experience of grief and losing her mum. And because it was the song that got me the job. But I tell you what, if you write a good song for a project, well, it changed my world. I wrote that song in this little shed at the back of my house in Brunswick in Melbourne, and it got me and my family all the way to New York. Young people sing it. It’s in people’s audition books all over the place. People are singing it everywhere. It’s annoying to some people. It’s one of *those* songs, and that’s exciting. Because with writing, you’re not quite sure whether anyone’s ever going to notice anything that you do. And all of a sudden, you write this song. And it’s been out there for a while now. It’s been covered by so many people that when I hear a version of it, I actually don’t feel any ownership of that song. It’s really weird. **Michael Cassel:** Can you talk about the release of the demos, which I think was a testament to your writing and the connection that audiences had with your music? **Eddie Perfect:** I love making demos. As an Australian, I felt like I had to do everything, I had to make fully produced demos. For me, it was almost like saying, this is a simulation of what it might sound like on stage when there’s a Broadway band. Obviously, you end up working with orchestrators, and the orchestration changes. But working in Australia, you don’t necessarily have the comfort of being able to hand over a piano vocal demo and know that the person on the other end can hear the orchestra or the intention for it. And so I put a lot of time into my demos. The part I love most about art is that shit conversation you have with yourself. There’s a bit in *Say My Name* where Beetlejuice and Lydia play charades. And I would actually write one side of it, and then I would improvise the other side of it. Then I would remove that other side of it, and I would re-compose it. A lot of it, as a performer, is being written through performance and through improvisation. I just went crazy writing; I think we cut like 20 original songs. When we were in the pandemic, and the show had evaporated, and all theatre had evaporated, and my life had sort of evaporated, there was this whole fandom, and *Beetlejuice* was sitting there with nothing to do. And I was like, I’m just going to put out the demos. I thought, maybe it’ll be interesting to fans, and also for people who write musicals. Maybe they can see that these things don’t arrive fully formed, and that it’s just a process of experimentation and courage to just throw out ridiculous ideas. ![The Scoop Eddie Perfect Beetlejuice the Musical](https://thescoop.au/wp-content/uploads/2026/05/Eddie-Perfect-as-Beetlejuice-Credit-Benny-Capp-copy-467x628.jpg "Eddie Perfect Beetlejuice the Musical • The Scoop")Eddie Perfect as Beetlejuice Photo by Benny Capp**Michael Cassel:** What’s been your highlight opening the show all around the world? You’ve been able to get the show up on Broadway, the US tour, you’ve been in Japan, you’re about to open in the West End. What changes do you notice as these shows are reincarnated in each new market? **Eddie Perfect:** Well, comedy is one of those things where you have to tailor this jacket to yourself. You can put on someone else’s jacket, but you do have to make your own. Otherwise, it just never feels right. So it’s very exciting to see the show work with different actors and very different takes. But for me, the highlight of the whole thing, once the show was up on Broadway, before the pandemic, and when I was living on the Upper West Side, sometimes I would just be like, what do you reckon they’d be up to in Act Two? I reckon they’re probably getting to the netherworld. And if I were passing by, I would just go into the theatre. Because I’m the composer, I know the door people, I’d just go in Stage Door. I would hide behind a little curtain, and then when the applause happened, I would sneak into the Winter Garden Theatre. It was extraordinary to me when the show was really cranking before COVID. There was just this wild energy, and I was completely anonymous, which I really enjoyed. I’d walk up and watch it at the back. I stayed for a couple of songs, and then I’d go off. I just love that it was making people happy, that it was getting such a huge reaction, and that I was free to go and write the next thing. It just happened without me. And that happens in other theatres and other places in the world. *Beetlejuice* is happening all over the world in replica productions and non-replica productions in all different languages. It’s been in Swedish and Czech. There’s this very dark version in Poland. You get sent the translations, and you get a very good sense of a country’s sense of life and death very quickly. In the Polish one, everything is meaningless and bleak and grey, and life is just a teardrop on a stained window pane. ![The Scoop The full cast of Beetlejuice the Musical Michael Cassel Group](https://thescoop.au/wp-content/uploads/2025/02/241210_BJ_Group_1993_EDIT-scaled-1060x628.avif "Beetlejuice Musical Cast • The Scoop")Eddie Perfect with the Australian cast of Beetlejuice the Musical Image supplied by Michael Cassel Group**Michael Cassel:** One of the most unique experiences of producing the show here was being able to go through the audition process, where we were fortunate enough to have the composer and lyricist sitting in the audition room with us. What was that like for you, seeing a lot of your peers and colleagues come and be a part of the audition process for your show? **Eddie Perfect:** I found that really hard, actually. Being someone who’s on both sides of things, I understand how nerve-racking it is. I didn’t know how an auditionee might feel coming in for the musical, and the guy who wrote it is there. They didn’t know that I’m not precious. So I didn’t know whether I was helping or hurting. But being in there, it was really interesting to see the auditions and be reminded of the depth of talent that’s in Australia. I mean, we are really lucky. I know I’m biased because I’m Australian. But I think the Australian cast of *Beetlejuice* is the best cast that there’s been. It’s an ensemble show, and it requires the ensemble to be extraordinary dancers, highly acrobatic and skilled in their dancing. But they also sing full out while they’re dancing full out. They have to be really funny. And what I love about the Australian ensemble is that every single individual is an interesting and exciting performer. Andy Karl is an absolutely brilliant powerhouse. Karis Oka is easily one of the best Lydia’s we’ve ever had. She’s just mind-blowing with what she can do vocally, but with her acting as well. Elise McCann, Rob Johnson, Tom Wren, Erin Clare, who plays Delia, who is so funny, so surprisingly funny. So yeah, we’re really blessed. It’s a scary thing putting together a cast for a musical. The last time I sat on an audition panel was for my first musical, *Shane Warne: The Musical*, and no one wanted to be in it. Every day, twenty people would pull out of the audition spots. We struggled to find a cast. I was very new, and the idea of a musical about cricket was not massively appealing to anyone. And so people came in because things had gone badly at *Jersey Boys* or *Wicked*. And then to do *Beetlejuice,* where people wanted to be in the show, they were really excited to be in the show. I was like, yeah, that’s changed. So it was an interesting turnaround. ![The Scoop Eddie Perfect Beetlejuice Andy Karl](https://thescoop.au/wp-content/uploads/2026/05/2-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-copy-944x628.jpg "Beetlejuice The Musical Australian Production - Photo by Eugene Hyland copy • The Scoop")Andy Karl with the Australian cast of Beetlejuice the Musical Photo by Eugene Hyland**Michael Cassel:** Brisbane kicks off the next leg of the Australian tour. We get to make home here for a little while, re-rehearse the company and launch in June. What can Brisbane audiences look forward to when the show arrives here at the Lyric Theatre, QPAC? **Eddie Perfect:** I think Brisbane is going to really love this show. I’ve done quite a few musicals in Brisbane now. It has an accurate reputation Australia-wide as one of the greatest places for musicals, because people turn up. I know it’s going to be special. I’m looking forward to the alchemy of how *Beetlejuice* takes over the city. I met a lot of Brisbane people who came down to Melbourne to see the show. Families would come with little kids, and the weird things people would wear. You’d look in the audience, and there’d be a nine-year-old Beetlejuice, and in the dark, it just looks terrifying. It really does bring out the weirdness in people. It’s a great excuse to have a night of celebrating life and craziness and love and just cherishing the people around you. For a show that was pretty rough around the edges when we began in Washington, DC, it’s turned into this family show, which is really nice. ***Beetlejuice The Musical* runs at the Lyric Theatre, QPAC in Brisbane from 7 June 2026.** It then runs in Perth from 16 August, Adelaide from 10 October and Sydney from 21 November. Tickets are available at the website. Tickets: <https://beetlejuicethemusical.com.au/tickets/brisbane/> Website: <https://beetlejuicethemusical.com.au/> Socials: <https://www.instagram.com/beetlejuiceaus/> [Read our interview with Karis Oka](https://thescoop.au/strange-and-unusual-karis-oka-reflects-on-playing-lydia-in-beetlejuice/) Hero image photo credit: B’rit Mobbs **Categories:** Features --- ### [MTI Welcomes Bloom To Its Growing Australian Catalogue](https://thescoop.au/mti-welcomes-bloom-to-its-growing-australian-catalogue/) **Published:** May 12, 2026 **Author:** Newsroom **Content:** ![The Scoop Bloom Musical](https://thescoop.au/wp-content/uploads/2026/05/Bloom-MTC-2025-Cr-Pia-Johnson94-1047x628.jpeg "Bloom Musical • The Scoop")Music Theatre International (Australasia) is proud to announce the addition of the acclaimed new Australian musical **BLOOM** to its licensing catalogue, further strengthening its commitment to championing outstanding homegrown musical theatre works. With book and lyrics by Tom Gleisner (*The Castle, Thank God You’re Here, Have You Been Paying Attention*) and music by Katie Weston (*Die Bully Die, Falling Forward),* BLOOM has captured audiences and [critics](https://thescoop.au/review-bloom-a-bold-tribute-to-hope-in-hard-times/) alike following its successful seasons with Melbourne Theatre Company and Sydney Theatre Company. This earned the pair the 2024 Green Room Award for Best Writing for a New Australian Musical (Commercial). Set in Pine Grove aged-care home, the facility manager offers university students free board in exchange for volunteering as carers. The manager doesn’t expect the lazy and inexperienced Finn Bailey to apply for the position. Finn clashes with his overworked carer Ruby and soon sets off a raucous chain of events involving romance, rebellion and a residents’ choir. Originally produced by Working Dog, the 2025 MTC & STC seasons featured Australian stage and screen icons John Waters and Christie Whelan Browne, joined by Evelyn Krape, Vidya Makan, Maria Mercedes, Eddie Muliaumaseali’i, John O’May, Christina O’Neill, Jackie Rees and Slone Sudiro. ![The Scoop Bloom Sydney Theatre Company Musical Working Dog](https://thescoop.au/wp-content/uploads/2025/04/23_Bloom_Roslyn-Packer-Theatre_credit_Daniel-Boud_097-941x628.jpg "Bloom Sydney Theatre Company Musical Working Dog • The Scoop")Bloom Sydney Theatre Company 2025 Photo by Daniel BoudMTI Australasia’s Managing Director **Stuart Hendricks** said: *“We are incredibly excited to welcome BLOOM to the MTI catalogue. It is exactly the kind of bold, original Australian musical we are passionate about supporting. Expanding our Australian catalogue is a priority for us, and BLOOM is a wonderful addition that we know will connect strongly with performers and audiences across the region.”* Book and lyrics writer **Tom Gleisner** said: *“We are so excited to have our musical BLOOM added to the amazing list of MTI works. It is a show we are so proud of, and we can’t wait to celebrate the next stage of its production journey.”* Composer **Katie Weston** said: *“There’s something incredibly special about seeing an original Australian musical take on a life beyond the original production. BLOOM is a story of growth, shared across generations, and I’m so excited to see it now head out into the world through MTI—and for this Australian story and score to take on new life everywhere.”* Licensing information for BLOOM can be found at the MTI website. Website: <https://www.mtishows.com.au/bloom> Socials: <https://www.instagram.com/mtiaust/> [Read our review of BLOOM](https://thescoop.au/review-bloom-a-bold-tribute-to-hope-in-hard-times/) Photo credit: Pia Johnson **Categories:** News --- ### [Announcing Full Cast of Beetlejuice the Musical](https://thescoop.au/announcing-full-cast-of-beetlejuice-the-musical/) **Published:** February 17, 2025 **Author:** Newsroom **Content:** ![The Scoop The full cast of Beetlejuice the Musical Michael Cassel Group](https://thescoop.au/wp-content/uploads/2025/02/241210_BJ_Group_1993_EDIT-1060x628.avif "Beetlejuice Musical Cast • The Scoop")Melbourne, it’s time to dust off your Ouija boards and polish your gravestones! Michael Cassel Group, Warner Bros. Theatre Ventures, and Langley Park Productions have just summoned the full line-up for the Australian premiere of **BEETLEJUICE THE MUSICAL**, hitting Melbourne’s Regent Theatre this May. Joining **Eddie Perfect** as Beetlejuice and **Karis Oka** as Lydia Deetz, get ready for music theatre royalty **Elise McCann** (*Groundhog Day, Matilda*) as the adorably neurotic Barbara, alongside **Rob Johnson** (*Calamity Jane, The Torrents*) as the sweet but clueless Adam. Starlet **Erin Clare** (*9 to 5, Tell Me on a Sunday*) will channel the zen but zany Delia, while stage and screen sensation **Tom Wren** (*Harry Potter and the Cursed Child, Winners and Losers*) joins her as Charles — the Dad who desperately needs a holiday from ghosts. Joining the living (and the undead) party are **Noni McCallum** as Maxine/Juno, **Rebecca Ordiz** as the overly enthusiastic Girl Scout, and **Angelique Cassimatis** as the fabulously fiery Miss Argentina. Adding more spooky flair, **Andy Conaghan** dabbles in the paranormal as Otho, with **Adam Lyon** taking on the slick Maxie Dean. Rounding out this ghoulishly delightful cast are **Fiorella Bamba**, **Kelsi Boyden**, **Louis Fontaine**, **Kerrie Anne Greenland**, **Sara Haruta**, **James Haxby**, **Brady Kitchingham**, **Noah Missell**, **Daniel Raso**, **Callum Ryan**, **Taylor Scanlan**, **Rose Shannon-Duhigg** and, **William Tukia-Edwards**. Director **Alex Timbers** said: *“Australia has some of the finest musical theatre actors in the world, and this cast has the precise mix of wit, heart, and irreverent comedic gifts to bring BEETLEJUICE to life. We are so excited to begin performances soon and for Melbourne to experience these extraordinary performers in this wild and hilarious musical.”* It’s showtime, folks! **BEETLEJUICE** is more reckless, more irreverent and, frankly, more repellent than ever in this original musical based on **Tim Burton**’s wonderfully demented film. **BEETLEJUICE** tells the story of Lydia Deetz, a strange and unusual teenager obsessed with the whole “being dead thing.” Lucky for Lydia, her new house is haunted by a recently deceased couple and a degenerate demon with a thing for stripes. When Lydia calls on this ghost-with-the-most to scare away her insufferable parents, Beetlejuice comes up with the perfect plan, which involves exorcism, an adorable girl scout who gets scared out of her wits and a whole (nether)world of pandemonium. **Due to overwhelming demand (and a little haunting) new seats for BEETLEJUICE will be summoned from the Netherworld on 20 February for performances through to 3 August.** Tickets are available by visiting [beetlejuicethemusical.com.au.](https://welcome.michaelcassel.com/e/597081/2025-02-13/3mhrzj/1333369638/h/S5k79An4eEJ6bDb0rpO2NE3evDo-ipm5w3YfGCXW9Wo) Australian producer **Michael Cassel** said: *“I knew from the moment I saw BEETLEJUICE and witnessed the drop dead funny show that Alex, Eddie and the entire creative team had made that Melbourne was going to go wild for this brilliant production. We are absolutely spellbound by the incredible cast that has been assembled and we cannot wait for you to meet them.”* **BEETLEJUICE** is directed by two-time Tony Award-winner **Alex Timbers** (*Moulin Rouge!*, original Broadway production of *Peter and the Starcatcher*), with an original score by Tony Award-nominee **Eddie Perfect** (*King Kong*), a book by **Scott Brown** & Emmy Award nominee **Anthony King** (*Broad City*). Choreography is by **Connor Gallagher** (*The Robber Bridegroom*), and music supervision, orchestrations and incidental music is by **Kris Kukul** (*Joan of Arc: Into the Fire*). **BEETLEJUICE** features scenic design by two-time Tony Award nominee **David Korins** (*Hamilton*). Costume design is by six-time Tony Award winner **William Ivey Long** (*The Producers*). Lighting design is by Tony Award winner **Kenneth Posner** (*Kinky Boots*). Sound design by four-time Tony Award nominee **Peter Hylenski** (*Frozen*). Projection design is by Drama Desk Award winner **Peter Nigrini** (*Dear Evan Hansen*). Puppet design is by Drama Desk Award winner **Michael Curry** (*The Lion King*). Special effects design is by **Jeremy Chernick** (*Harry Potter and the Cursed Child*). Illusions are by **Michael Weber** (*Forrest Gump*). Hair and wig design is by **Charles G. LaPointe** (*Hamilton*), and make-up design by **Joe Dulude II** (*Wicked*). Dance arrangements are by **David Dabbon** and music producing is by **Matt Stine**. **BEETLEJUICE** is based on the 1988 Academy Award-winning Geffen Company motion picture with story by **Michael McDowell** and **Larry Wilson**. The smash-hit comedy was directed by **Tim Burton**. **BEETLEJUICE will play from 7 May 2025 at the Regent Theatre, 191 Collins Street Melbourne.** Tickets: via [Ticketek](https://premier.ticketek.com.au/shows/show.aspx?sh=BEETLEJ25) Website: <https://beetlejuicethemusical.com.au/> Socials: <https://www.instagram.com/beetlejuiceaus/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied by Michael Cassel Group. **About Michael Cassel Group:** Michael Cassel Group produces the world’s greatest theatrical productions and live entertainment on stages internationally. Current productions include the Australian premiere of ***Titanique***. Upcoming productions include ***MJ*** and ***Beetlejuice*.** Following an acclaimed run in London’s West End, Michael Cassel Group will produce **the Broadway premiere of *The Picture of Dorian Gray*** in March 2025 with Emmy and Golden Globe award-winner ***Sarah Snook*** reprising her Oliver Award-winning performance. Also on Broadway, Michael Cassel Group is a co-producer on the **new musical *Redwood*** starring and created by Tony and Emmy Award-winning performer **Idina Menzel** and is a co-producer of the smash hit musical ***MJ***. **Categories:** News **Tags:** Adam Lyon, Andy Conaghan, Angelique Cassimatis, Beetlejuice, Beetlejuice Musical, Beetlejuice the Musical, Eddie Perfect, Edmund Perfect, Elise McCann, Erin Clare, Karis Oka, Michael Cassel Group, Noni McCallum, Rebecca Ordiz, Rob Johnson, Tom Wren --- ### [Announcing Beetlejuice For Brisbane in 2026!](https://thescoop.au/announcing-beetlejuice-for-brisbane-in-2026/) **Published:** November 3, 2025 **Author:** Newsroom **Content:** ![The Scoop Beetlejuice The Musical Brisbane 2026 QPAC Andy Karl](https://thescoop.au/wp-content/uploads/2025/11/3-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-942x628.jpg "Beetlejuice The Musical Brisbane 2026 QPAC Andy Karl • The Scoop")Australian theatre fans have chanted “Beetlejuice” three times and the most mischievous ghost in the history of musicals has responded. Michael Cassel Group, Warner Bros. Theatre Ventures and Langley Park Productions announced today that the eight-time Tony Award-nominated hit musical **BEETLEJUICE THE MUSICAL** will return to **Australia** in June 2026, following an international tour. **BEETLEJUICE THE MUSICAL** will play the **Lyric Theatre,** **QPAC from 7 June 2026**. Fans are encouraged to sign up for the waitlist at [beetlejuicethemusical.com.au](https://dzzg-704.ap1.hubspotlinks.com/Ctc/JB+113/dZZg-704/VX9bhS77RsBMW7JyNrG4rDxVQW8kTzPf5Fpr9DN1m0FrR3qn9qW7Y8-PT6lZ3nPN7wDsD_rz0xGW58-7CW1LZgr8W1f67Dt3g4HWCW833T_x3w3fTdVrphb_1hzYmhW6B6K_m7LcKdGW5FRklJ88NR4yW8nrzgq7WNGZbW588w4q6pWS3dW8QMsTn2-0tchW4Q6ZSc5GrgWDW3xbDGZ9g250GW3wY-z62XsZFyVjXDdb46NfXPW5l-jJg85jZjwW12jyhr8jG3NNW32FyBz4_WQh2W3vG4gs6Dg5v-W6SBnm298f9YfW704nPQ6cz77CW4J0c007KvM5dVVZcKf3gkhgCW1Zmttn3y5JnbN2Qmrpr_9j5tN80K7DtFrR56W6qT8qw3LgMgrf3mnsGg04), to be the first to access tickets when **the show goes on sale later this year**. The Brisbane season will be led by Broadway star Andy Karl, best known for his work in *Groundhog Day, Rocky the Musical, Pretty Woman the Musical, Legally Blonde the Musical* and *Moulin Rouge!.* Karl will commence the international tour with **BEETLEJUICE THE MUSICAL** in Abu Dhabi later this month. **Andy Karl** said: *“I’m dead excited to drag my striped suit all the way Down Under! Taking over the role from my friend Eddie Perfect has both the excitement and terror of riding a sand worm into the Netherworld. The best part? I get to haunt the stage every night with my gorgeous fiancée Elise. Brisbane, lock your doors… Beetlejuice is moving in!”* Reprising their roles from the Melbourne season of **BEETLEJUICE THE MUSICAL** are [Karis Oka](https://thescoop.au/strange-and-unusual-karis-oka-reflects-on-playing-lydia-in-beetlejuice/) as the gothic teen Lydia Deetz, **Elise McCann** as the adorably neurotic Barbara Maitland, **Rob Johnson** as the sweet but clueless Adam Maitland, [Erin Clare](https://thescoop.au/erin-clare-dives-headfirst-into-the-afterlife-in-beetlejuice/) as the zen but zany Delia Deetz, and **Tom Wren** as Charles Deetz, the Dad who desperately needs a holiday from ghosts. Brisbane local **Angelique Cassimatis** will return as the beloved Miss Argentina. **Andy Conaghan** returns as Otho alongside **Adam Lyon** as Maxie Dean, **Noni McCallum** as Maxine/Juno, and **Rebecca Ordiz** as Girl Scout. Rounding out this ghoulishly delightful cast are **Fiorella Bamba, Kelsi Boyden, Louis Fontaine, Kerrie Anne Greenland, Sara Haruta, James Haxby, Brady Kitchingham, Noah Missell, Daniel Raso, Callum Ryan, Taylor Scanlan, Rose Shannon-Duhigg** and **William Tukia-Edwards**. ![The Scoop Karis Oka Beetlejuice The Musical](https://thescoop.au/wp-content/uploads/2025/07/7-Beetlejuice-The-Musical-Australian-Production-Photo-by-Michelle-Grace-Hunder-copy-943x628.jpg "Karis Oka Beetlejuice The Musical • The Scoop")Karis Oka will join Rob Johnson and Elise McCann in their roles in the musical Photo by Michelle Grace HunderSpeaking about the Brisbane season, Producer **Michael Cassel** said: “*I am ecstatic to announce we will be bringing* BEETLEJUICE THE MUSICAL *to Brisbane in 2026. I know that Queensland audiences are going to love this show which is full of humour, heart, and world-class performances. We have assembled some of Australia’s most extraordinary talent for the production, including the incredible Andy Karl as Beetlejuice.”* **BEETLEJUICE THE MUSICAL** features an original score by Australia’s own **Eddie Perfect** which earned him a Tony Award nomination. **BEETLEJUICE THE MUSICAL** tells the story of Lydia Deetz, a strange and unusual teenager obsessed with the whole “being dead thing.” Lucky for Lydia, her new house is haunted by a recently deceased couple and a degenerate demon with a thing for stripes. When Lydia calls on this ghost-with-the-most to scare away her insufferable parents, Beetlejuice comes up with the perfect plan. It involves exorcism, an adorable girl scout who gets scared out of her wits and a whole (nether)world of pandemonium. **BEETLEJUICE THE MUSICAL** is directed by two-time Tony Award-winner **Alex Timbers** (*Moulin Rouge!,* original Broadway production of *Peter and the Starcatcher*). The original score is by Tony Award-nominee **Eddie Perfect** (*King Kong*). The book is by **Scott Brown** & Emmy Award nominee **Anthony King** (*Broad City*). Choreography is by **Connor Gallagher** (*The Robber Bridegroom*). Music supervision, orchestrations and incidental music is by **Kris Kukul** (*Joan of Arc: Into the Fire*). **BEETLEJUICE THE MUSICAL** features scenic design by two-time Tony Award nominee **David Korins** (*Hamilton*), costume design by six-time Tony Award winner **William Ivey Long** (*The Producers*), lighting design by Tony Award winner **Kenneth Posner** (*Kinky Boots*), sound design by four-time Tony Award nominee **Peter Hylenski** (*Frozen*), and projection design by Drama Desk Award winner **Peter Nigrini** (*Dear Evan Hansen*). Puppet design is by Drama Desk Award winner **Michael Curry** (*The Lion King*), special effects design by **Jeremy Chernick** (*Harry Potter and the Cursed Child*), illusions by **Michael Weber** (*Forrest Gump*), hair and wig design by **Charles G. LaPointe** (*Hamilton*), make-up design by **Joe Dulude II** (*Wicked*), dance arrangements by **David Dabbon** and music producing by **Matt Stine**. **BEETLEJUICE THE MUSICAL** is based on the 1988 Academy Award-winning Geffen Company motion picture with story by **Michael McDowell** and **Larry Wilson**. The smash-hit comedy was directed by **Tim Burton**. **BEETLEJUICE THE MUSICAL will play the Lyric Theatre, QPAC in Brisbane from 7 June 2026.** Waitlist: <https://beetlejuicethemusical.com.au/#waitlist> Website: <https://beetlejuicethemusical.com.au/> Socials: <https://www.instagram.com/beetlejuiceaus/> [Read our interview with Karis Oka!](http://thescoop.au/strange-and-unusual-karis-oka-reflects-on-playing-lydia-in-beetlejuice/) Hero image photo credit: Eugene Hyland **Categories:** News --- ### [Review: An Iliad Sees Wenham In A Lyrical & Devastating Retelling](https://thescoop.au/review-an-iliad-sees-wenham-in-a-lyrical-devastating-retelling/) **Published:** April 21, 2026 **Author:** Ronson Blake **Content:** ★★★★★ ![The Scoop An Iliad Sydney Theatre Company David Wenham](https://thescoop.au/wp-content/uploads/2026/04/An-Iliad_STC_credit_Daniel-Boud_074-941x628.jpg "An Iliad Sydney Theatre Company David Wenham • The Scoop")Is it possible to reduce an epic poem of warring gods and men to 100 minutes yet still manifest a universe of soul-rendering destruction that, 3000 years later, is accessible and meaningful to us? This stunning Sydney Theatre Company production of *An Iliad,* directed by Damien Ryan, replies emphatically, yes. The Poet (David Wenham) shuffles onto a stage resembling an industrial warehouse. He is dragging a cart laden with worldly goods, which will become props for his tale. Speaking a few verses of the old language, the Poet struggles with his recollection of the ancient tale of Hector and Achilles. Emerging from the jumble of the cart, his Muse (the wonderfully talented Helen Svoboda) appears, supporting and guiding the Poet’s story with song and a double bass. Even as he prefers to forget, the Poet must remember, for – as history shows – we do not. He implores us, “Do you see?” Homer’s *Iliad* chronicles a few months in the last year of the Trojan War. When the leader of the Greek forces, Agamemnon, takes Achilles’ companion Briseis for himself, an enraged Achilles refuses any further part in the war. Things do not go well for the Greeks. But when Achilles’ dear friend Patroclus is killed by the Trojan hero, Hector, Achilles re-enters the fray, and his wrath is all-consuming. The play suggests that the same wasteful rage is echoed in every war since, yet remains an irreducible part of the human condition. ![The Scoop An Iliad Sydney Theatre Company David Wenham](https://thescoop.au/wp-content/uploads/2026/04/An-Iliad_STC_credit_Daniel-Boud_031-941x628.jpg "An Iliad Sydney Theatre Company David Wenham • The Scoop")As the Poets muse Helen Svobodas chemistry with Wenham works beautifully Photo by Daniel BoudThe ‘*An’* in the play’s title is important, for this play is not simply a retelling of Homer’s story. Poems are part of the oral tradition of story-telling, and in the Poet, writers Lisa Peterson & Denis O’Hare have created a character who harks back to the origins of theatre. He’s a traveller, a bard eking out an existence; perhaps a mythic “teller of tales,” tragically fated Sisyphus-like to keep telling his story until the end of all wars. We, the audience, are his audience. *An Iliad* glories in the art and importance of storytelling, of theatre – especially for stories like Homer’s. Be assured, this is not some stuffy history lesson. It heaves with anger and sorrow. And there’s also humour, wryly delivered by Wenham, that leavens the seriousness of the subject without detracting from it. Such is Wenham’s control that he can transform from naturalistic storyteller one minute to a versifying, raging Achilles the next. He becomes the very embodiment of human contradiction – rage and empathy. It is a performance that would comfortably command a world stage. *An Iliad* is not just a solo act. Helen Svoboda is superbly graceful as the Poet’s muse. As well as providing the musical composition, her keening to the mournful accompaniment of her double bass is heartbreaking. Her chemistry with Wenham works beautifully. ![The Scoop An Iliad Sydney Theatre Company David Wenham](https://thescoop.au/wp-content/uploads/2026/04/An-Iliad_STC_credit_Daniel-Boud_015-941x628.jpg "An Iliad Sydney Theatre Company David Wenham • The Scoop")David Wenham gives a performance that would comfortably command a world stage Photo by Daniel BoudThis is such a clever production. Alex Berlage’s lighting creates a dramatic visual narrative of its own (an enormous Achilles in shadowed form is later matched in scale by a shimmering golden shield). Design from Charles Davis is an exercise in the narrative economy of simple props – a scarf to denote character, or a dramatic flaming helmet. The clash of armies rendered by chains in a bucket. Sound design from Brady Watkins is alternately unsettling and deeply moving. Orchestrating all this is the confident hand of Damien Ryan, who surely must be a strong contender for our best theatre director. Towards the end of the play, the Poet offers up a list of wars. Pages and pages. A prodigious feat of memory on Wenham’s part, it is moreover a devastating indictment of our capacity for destruction, and the audience is stunned into silence. It’s spine-tingling. *An Iliad* is magnificent theatre, delivered with assurance and utter conviction. Don’t miss it. ***An Iliad* is presented by Sydney Theatre Company and runs to** **28 June at Wharf 1 Theatre. **Wharf 4/5 Walsh Bay Sydney** NSW 2000.** Tickets are available [here](https://www.sydneytheatre.com.au/whats-on/2026/productions/an-iliad). Website: <https://www.sydneytheatre.com.au/whats-on/2026/productions/an-iliad> Socials: <https://www.instagram.com/sydneytheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Daniel Boud **Categories:** Sydney, Theatre --- ### [Film Review: The Run Asks What We Owe Each Other In A Collapsing World](https://thescoop.au/film-review-the-run-asks-what-we-owe-each-other-in-a-collapsing-world/) **Published:** May 11, 2026 **Author:** James Murphy **Content:** ★★★½ ![The Scoop The Run Stephen de Villiers](https://thescoop.au/wp-content/uploads/2026/05/The-Run-25-copy-942x628.jpg "The Run Stephen de Villiers • The Scoop")In a cinematic landscape crowded with dystopian road films, *The Run* enters the conversation with familiar terrain under its wheels. Written and directed by Stephen de Villiers, this South Australian production, which premiered at the 2025 Adelaide Film Festival, follows an ageing smuggler navigating a fractured, post-pandemic world shaped by a global fertility crisis. It is a premise that immediately recalls the lineage of films like *Mad Max*, *Children of Men* and *The Road*. We don’t have a dystopian film shortage. Does this add to the oeuvre? Set against a near-future Australia marked by declining birth rates, masked interactions and scattered wind farms, *The Run* taps into contemporary anxieties. There is a quiet recognition of demographic shifts. An ageing population. A sense of societal contraction. Drones hover overhead. Shops still require masks. The world feels close enough to be plausible, yet distant enough to carry myth. At its centre is Mac, played by Callan Mulvey, a hardened operator shaped by loss. Mulvey brings a physical credibility to the role. His experience in action cinema is clear. He understands how to carry tension through stillness as much as movement. Yet *The Run* asks him to hold something more internal. A man negotiating the line between survival and responsibility. When to keep moving. When to stop and face what he has been running from. The story pairs him with a runaway teenager, played by Charlotte Maggi, and her baby. Their dynamic is where the film finds its strongest footing. Maggi brings a rawness to the role. ![The Scoop The Run Stephen de Villiers](https://thescoop.au/wp-content/uploads/2026/05/The-Run-2-942x628.jpg "The Run Stephen de Villiers • The Scoop")Callan Mulvey understands how to carry tension through stillness as much as movementFelix Cameron has already shown he has star power in *Boy Swallows Universe*, but here he feels a little underutilised. Small boy, big eyes, bigger guns. The presence is there, but the script doesn’t always give him space to fully realise it. Together, they anchor the emotional stakes. The final act tightens its grip. Car doors slam as the camera stays fixed on a closed front door. Who is walking up the gravel path? Is it Mac to the rescue or the harem overseeing villains looking to return her to captivity? De Villiers leans into genre conventions. There are echoes of *Mad Max* in the dust and velocity. Moments that feel reminiscent of *Reservoir Dogs* in their offbeat stylisation. Even flashes of *Lethal Weapon*-style improvisation and *Back to the Future Part III* tonal nods. At times, this familiarity provides comfort. At others, it makes the film feel caught in homage. The action sequences are solid. Functional. They do what they need to do. Its villains are marked visually rather than psychologically. Brightly coloured hair. Neck tattoos. Immediate signals of threat. Yet beyond that, there is limited backstory or personality to deepen their presence. Nicholas Hope as the seedy service station owner Jimmy is a standout. With his bed hair and stained singlet, he brings a grimy, unpredictable energy. The kind of colourful dystopian grifter that often populates films like this. You want a highway filled with personalities like this. It highlights what the film could have done more of. Where *The Run* distinguishes itself clearly is in its thematic undercurrent. There are shades of *The Handmaid’s Tale* in its treatment of fertility. Women positioned within systems that reduce them to function. The film touches on contemporary cultural tensions. Control. Fear. The pressure placed on bodies, particularly female bodies, in times of crisis. ![The Scoop The Run Stephen de Villiers](https://thescoop.au/wp-content/uploads/2026/05/The-Run-felix-and-charlotte-1116x628.jpg "The Run Stephen de Villiers • The Scoop")Where the film distinguishes itself clearly is in its thematic undercurrentVisually, the film benefits from its setting. Director of Photography Michael Tessari captures the South Australian landscape with scale and intent. Wide, green open coastal spaces. Harsh light. Frames that feel closer to a Hollywood blockbuster than a local production. The environment becomes part of the tension. That tension is reinforced by Justin Pounsett’s score. It builds effectively across the film, particularly in moments of threat. Low swells rise as the villains approach. The music signals danger before it arrives. It’s a subtle but important layer in sustaining the film’s momentum. Ultimately, *The Run* is a film that understands its genre. It ticks many of the expected boxes. It moves with purpose. It delivers tension when it needs to. The film gestures toward deeper questions. About responsibility. About running from trauma. About what we owe each other in a collapsing world. It does not always push those questions far enough to fully separate itself from its influences. *The Run* holds the road. It just doesn’t always change the direction. ***The Run* screens at Wallis Cinemas in Adelaide from 14 – 20 May, and at select Reading Cinemas from 15 – 17** **May** **in Sydney, Melbourne, Perth, the Gold Coast and Adelaide.** It is then released to rent or buy from 17 June on Amazon, Apple, YouTube, Google TV, Foxtel, Fetch TV and Sky NZ. Tickets to the Q & A screening on Sun 17 May at Wallis Noarlunga in Adelaide are [here](https://wallis.com.au/events/the-run/). Website: <https://rialtodistribution.com/film/the-run/> and <https://www.arterialfilms.com.au/our-films/the-run> Socials: [https://www.instagram.com/therun\_film/](https://www.instagram.com/therun_film/) [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Run Director: Stephen de Villiers Cast: Callan Mulvey, Charlotte Maggi, Felix Cameron Country of Origin: Australia Duration: 117 mins Rating: CTC **Categories:** Film --- ### [The Australian Musical Theatre Festival Returns This Month](https://thescoop.au/the-australian-musical-theatre-festival-returns-this-month/) **Published:** May 10, 2026 **Author:** Newsroom **Content:** ![The Scoop Australian Musical Theatre Festival Launceston](https://thescoop.au/wp-content/uploads/2026/05/image001-1200x573.png "Australian Musical Theatre Festival Launceston • The Scoop")The **Australian Musical Theatre Festival** returns to **Launceston, Tasmania** this month, featuring a bold program bringing together Australia’s most celebrated performers with outstanding local and emerging talent from **20 – 24 May 2026**. Opening the Festival will be ***Well Behaved Women***, directed by **Ylaria Rogers**, an acclaimed Australian song cycle that traces the stories of influential women through history. From **Eve** to **Julia Gillard**, it weaves a powerful and playful musical tapestry that celebrates courage, leadership, and legacy. In a major festival coup, international composer and lyricist **Carmel Dean** will travel from **Broadway** to **Launceston** to attend opening night. The performance will feature an exceptional cast including **Nadine Garner** (*Cabaret*), **Delia Hannah** (*Cats*), and **Lorinda May Merrypor** (*& Juliet*), alongside a strong Tasmanian ensemble. They include: **Nicole Farrow, Maria Lurighi, Samantha Hammersley, Alana Lane, Shanice Osita Chuku,** and **Brooke Target**. **Carmel Dean** said: *“I am thrilled that the Australian Musical Theatre Festival is presenting Well Behaved Women as their opening performance in 2026. I have watched the festival grow and thrive over the past six years, and I am so excited for this creative team to present this song cycle which honours so many bad-ass women — including several Aussies — throughout history. Book your ticket to Tassie now, support new Australian work, and be thoroughly entertained in the process.”* Tickets to *Well Behaved Women* are available [here](https://www.amtf.org.au/performances/well-behaved-women-wednesday). ![The Scoop Australian Musical Theatre Festival Launceston](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-10-at-82112-pm-1122x628.png "Australian Musical Theatre Festival Launceston • The Scoop")The centrepiece of the 2026 program is the **Tasmania premiere** of ***The Frogs***, by **Burt Shevelove**, **Nathan Lane**, and **Stephen Sondheim**. Featuring an all-star cast led by **John O’Hara** (*Jesus Christ Superstar*), **Abu Kebe** (*TINA*), **Rob Mallett** (*Elvis*), **Jack Lark** (*Working*), and local performer **Gerard Lane** stepping into the role of Dionysos, this riotous musical comedy will be staged as a **travelling performance across two venues**. *The Frogs* combines community players with industry-leading practitioners. Participants will rehearse over four days before presenting a one-night-only performance directed by **Tyran Parke** (*Chess*), with **Peter Rutherford** (*Matilda*) as Musical Director and **Dana Jolly** (*Curtains*) as Choreographer. Tickets to *The Frogs* are available [here](https://www.amtf.org.au/performances/the-frogs). Additionally, joining the festival line up is **Jarrod Draper** who has just wrapped *Phantom of the Opera* on Sydney Harbour. Jarrod will perform in ***Broadway Showstoppers*** with the Tasmanian Symphony Orchestra, alongside **Nadine Garner, Lorinda May Merrypor, Rob Mallett, Delia Hannah** and **Lisa Crosato.** He will also lead the Diversity and Inclusion panel and appear at The Diva Den. Tickets to *Broadway Showstoppers* are available [here](https://www.amtf.org.au/performances/broadway-showstoppers-2026). *Well Behaved Women, The Frogs* and *Broadway Showstoppers* anchor a sparkling five-day festival, featuring **more than 40 events**. Minister for Tourism, Hospitality and Events, **Jane Howlett,** said the festival will place two outstanding major works centre stage: *“These productions highlight the ambition and calibre of this year’s program. Launceston’s Australian Musical Theatre Festival celebrates everything that’s great about musical theatre, attracting visitors from across the state and country. It reinforces Launceston’s reputation as a thriving cultural hub, showcasing some of Australia’s most celebrated performers alongside our extraordinary homegrown talent.”* ![The Scoop Australian Musical Theatre Festival Launceston](https://thescoop.au/wp-content/uploads/2026/05/Nancye-Hayes-AMTF-25-942x628.jpg "Australian Musical Theatre Festival Launceston • The Scoop")Festival Patron Nancye Hayes AM in 2025 Image suppliedSince launching in 2019, the Australian Musical Theatre Festival has grown into a national hub for musical theatre and Artistic Director **Tyran Parke** has expanded the community engagement program for 2026, reinforcing the Festival’s role not only as a showcase for leading artists but as a place where new talent is discovered, nurtured and celebrated. The range of opportunities are designed to welcome performers of all ages and experience levels — from first-time singers to professionals — creating pathways to learn, perform and collaborate with some of the industry’s most respected creatives. **Tyran Parke** said: *“At its heart, this festival is about access. Here in Launceston, anyone can walk into the room, learn from the best and potentially find themselves sharing the stage with extraordinary artists.”* Participants will be taking part in masterclasses, industry panels, community singing events and performance opportunities. Highlights include **The Diva Den** with internationally acclaimed composer and musical director **Carmel Dean,** a gospel choir experience and workshops exploring the craft of musical theatre writing and performance. The festival has already proven to be a talent pipeline. Many young performers have been discovered through the festival and are now furthering their training at the Victorian College of the Arts (VCA) and other national institutions of prestige. Amongst the success stories, **Chelsea Dean**, was discovered through the Festival’s community programming and later cast as Nessarose in *Wicked* after being spotted by a casting director during a Festival performance. The full program can be accessed at the website. **The Australian Musical Theatre Festival runs in Launceston, Tasmania from 20 – 24 May 2026.** Tickets: <https://www.amtf.org.au/festival/performances> Website: <https://www.amtf.org.au/> Socials: <https://www.instagram.com/australianmusicaltheatrefest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. The Australian Musical Theatre Festival is supported by the Tasmanian Government through Events Tasmania, City of Launceston, Theatre North, and numerous local businesses. This unmissable week puts Launceston in the spotlight as a national hub for musical theatre talent and fans alike. **Categories:** News --- ### [Ensemble Theatre Ignites Next Generation With New Youth Studio](https://thescoop.au/ensemble-theatre-ignites-next-generation-with-new-youth-studio/) **Published:** May 10, 2026 **Author:** Newsroom **Content:** ![The Scoop Ensemble Youth](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-10-at-74534-pm-1000x628.png "Ensemble Theatre Youth • The Scoop")Ensemble Theatre is proud to launch **ENSEMBLE YOUTH STUDIO (EYS)**, a bold new initiative designed to inspire the next generation of storytellers, alongside its inaugural Winter School Holiday Drama Workshops. Inspired by Ensemble’s history as a training ground for actors, EYS reconnects with the company’s early education foundation, creating a vibrant, future-focused space for young people to explore theatre and performance. **A Creative Home for Young Storytellers** Ensemble Youth Studio is a playful, inclusive hub where young people are encouraged to be bold, take risks, and discover the magic of storytelling. Through workshops led by industry professionals, students are immersed in a creative environment that nurtures both artistic and personal growth. Artistic Director **Mark Kilmurry** said: *“Ensemble has always been a place where artists are nurtured, and Ensemble Youth Studio continues that legacy for a new generation. I’m delighted to see young people discover their creativity, confidence, and passion for storytelling through this program.”* Ensemble Theatre’s Education and Community Engagement Lead, **Sophie Kelly**, who developed the initiative, said: **“At its heart, EYS is about championing a passion for theatre and supporting the next* wave of theatre makers and theatre lovers. These workshops give young people the opportunity to learn from professional artists, build confidence, and experience the unique thrill of performing on the Ensemble stage in front of family and friends. It’s about creating a meaningful first connection to theatre that can stay with them for years to come.”* The inaugural Ensemble Youth Studio program **launches this July** with a series of dynamic, week-long workshops **at Loreto Kirribilli school (just a few minutes’ walk from Ensemble Theatre)** culminating in a **special end-of-week performance on the Ensemble stage.** ![The Scoop Ensemble Theatre Ensemble Youth Studio](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-10-at-74510-pm-1027x628.png "Ensemble Theatre Ensemble Youth Studio • The Scoop")Ensemble Youth Studio launches this July**WEEK ONE:** **Animal Antics** *Kinder – Grade 2 \| Monday 6 July – Friday 10 July* Get ready to stomp, stomp, squeak and fly! Young performers explore animals from classics like *The Lion King, Dumbo* and *The Just So Stories* in a fun-filled week of drama, play and craft – building imagination, teamwork and confidence. **Witches, Warlocks and Wizards! Oh My!** *Grades 3 – 4 \| Monday 6 July – Friday 10 July* A magical adventure filled with spells, potions, and enchanted storytelling. Students create characters, explore movement and performance, and collaborate on a whimsical final showcase. ![The Scoop Ensemble Theatre Ensemble Youth Studio](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-10-at-74453-pm-1032x628.png "Ensemble Theatre Ensemble Youth Studio • The Scoop")Ensemble Youth Studio is a playful inclusive hub that nurtures both artistic and personal growth **WEEK TWO:** **Friend or Foe?** *Years 5 – 6 \| Monday 13 July – Friday 17 July* Trust no one…or can you? Dive into spies and secrets and double-agents in this action-packed five-day workshop. Young performers create mysterious characters, build performance skills, then bring a thrilling spy story of their own to life. **Hollywood Heroes** *Years 7 – 9 \| Monday 13 July – Friday 17 July* Lights, camera, action! Explore heroes and villains from the Golden Age to today’s blockbusters Young performers build acting skills and create dynamic characters to discover what really makes a star shine! **The Ensemble Youth Studio program launches this July 2026 at Ensemble Theatre.** Bookings and further information can be found at the website. Website: [https://www.ensemble.com.au/youth\_studio/](https://www.ensemble.com.au/youth_studio/) Socials: <https://www.instagram.com/ensembletheatre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Announcing St Kilda Film Festival 2026 Line Up](https://thescoop.au/announcing-st-kilda-film-festival-2026-line-up/) **Published:** May 10, 2026 **Author:** Newsroom **Content:** ![The Scoop Palais Theatre at night, pink-lit exterior with crowds gathered outside and poster banners along the entrance.](https://thescoop.au/wp-content/uploads/2026/05/SKFF_Palais_Opening-Night_Credit-J-Forsyth-942x628.jpg "St Kilda Film Festival • The Scoop")The curtain is about to rise for the **St Kilda Film Festival (SKFF)**, revealing its most diverse and thought-provoking program yet, of almost 200 short films curated from record submissions. From **4 – 14 June** **2026**, film lovers will be awed and astonished by films celebrating the depth, diversity and originality of Australian cinema. Proudly presented by City of Port Phillip, the festival will transform St Kilda into a hub for audiences and filmmakers alike, with screenings, special presentations and industry events across iconic venues including the Palais Theatre, the Astor Theatre and St Kilda Town Hall. With 15 awards up for grabs, the festival’s prestigious *Top Shorts* competition showcases the very best Australian short films and is an Academy Awards® qualifying event. This year, the competition received a record-breaking 960 submissions, seven per cent more than the previous year. ![The Scoop St Kilda Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/05/SKFF_20240606_StKildaFilmFestival_OpeningNight_FullSelection-94-941x628.jpg "St Kilda Film Festival 2026 • The Scoop")St Kilda Film Festival returns from 4 to 14 June Image suppliedAcross the program, audiences can experience everything from local stories and the best of comedy to horror and experimental works. The line-up includes films starring and created by major Australian talent, including **Hugo Weaving**, **Kat Stewart**, **Colin Lane** and **Sophie Wilde**, alongside new work from filmmaker and performer **Ed Oxenbould** and animator **Michael Cusack** in his live-action debut. Special events include a red-carpet **opening gala** at the Palais Theatre on **4 June**, followed by a stand out night at the Astor Theatre on Friday 5 June, where PBS brings its cult radio show *Stone Love* to the stage for a live broadcast. This is followed by *St Kilda Rocks*, featuring two documentaries on seminal St Kilda venues, *Last Drinks* (1996) about the Prince of Wales Hotel which has only been screened publicly once before, and *Punkline* (1980), about the Crystal Ballroom. Other highlights include the *Live Cinema Experience*, where films are created in real time before an audience, along with filmmaker Q&As and one-off screenings. The festival’s youth competition, **Under the Radar**, continues to champion filmmakers aged 21 and under, with 135 submissions this year, highlighting the strength of Australia’s next generation of storytellers. ![The Scoop St Kilda Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/05/SKFF_20240606_StKildaFilmFestival_OpeningNight_FullSelection-62-942x628.jpg "St Kilda Film Festival 2026 • The Scoop")The festival will transform St Kilda into a film hub Image suppliedSession Highlights: ***First Peoples Showcase: Black As* (7 June)** Join acclaimed filmmaker David Batty for a special First Peoples screening and conversation event. *Black As* takes audiences off track and into the wilds of Arnhem Land, following a group of hunters navigating country, culture and connection in the face of unexpected challenges. SKFF First Peoples program is proudly presented by CitiPower. ***St Kilda Rocks* (5 June)** At the Astor Theatre, *St Kilda Rocks* brings together two documentaries on seminal St Kilda music venues in one special event. The session features *Punkline* (1980), capturing the legendary Crystal Ballroom, an iconic venue that helped shape Melbourne’s live music scene in the 70s and 80s, hosting artists such as Nick Cave, The Cure, New Order and the Dead Kennedys, alongside *Last Drinks* (1996), a rare screening marking its 30th anniversary and only its second public showing, chronicling the final days before the first renovation of the Prince of Wales Hotel. Together, these films offer a raw and unfiltered look at the people, places and culture that defined an era. The evening kicks off with a live PBS broadcast of *Stone Love* with Richie 1250 and special guests, and concludes with a Q&A featuring the filmmakers and producers. ***Australian Comedy Showcase* (5 June)** One of the festival’s fastest-selling sessions, the Australian Comedy Showcase delivers a laugh-out-loud start to the long weekend. This sharp and chaotic line-up dives into the absurdities of modern life, from relationship misfires and family dysfunction to social slip-ups and internet-age anxieties. Followed by a filmmaker Q&A. ***Tales of Mystery & Imagination: System Error* (6 June)** Exploring humanity’s relationship with technology, this genre-blending session dives into AI, digital worlds and the blurred boundaries between human and machine. Mixing sci-fi, comedy, horror, drama and fantasy. ![The Scoop St Kilda Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/05/SKFF_080624SKFF_BIGPICTURE_JF171-942x628.jpg "St Kilda Film Festival 2026 • The Scoop")The Big Picture is a free filmmaker development day presented by JMB Academy Image supplied***The Big Picture* (6 June)** The festival’s free filmmaker development day presented by JMC Academy. Featuring 42 panels, workshops and networking events, the initiative offers a full day of hands-on learning, industry insight and connection for creatives at all stages of their careers. ***Live Cinema Experience* (8 June)** A unique, real-time filmmaking event led by award-winning director Michael Beets. Watch as four teams create, edit and score short films live in front of an audience, offering a rare behind-the-scenes look at the filmmaking process as it unfolds. ***Pride Without Prejudice: LGBTIQ+ Showcase* (13 June)** This quick-to-sell-out showcase celebrates the sparkling diversity of Australia’s LGBTIQ+ creative community. Expect a mix of comedy, horror, animation and deeply personal storytelling, followed by drinks and networking at the Victorian Pride Centre. ***Shifting the Gaze presented by WIFT Vic* (13 June)** A standout program of films by women and gender-diverse filmmakers, highlighting some of the most exciting voices in Australian screen culture. The session concludes with a filmmaker Q&A and industry networking opportunities. ***Made in VIC Part 1 & 2* (14-15 June)** A celebration of Victoria’s thriving screen industry, these popular sessions showcase a dynamic mix of comedy, animation, drama and genre filmmaking. A fitting close to the festival, spotlighting the future of Australian cinema. ![The Scoop St Kilda Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/05/SKFF_20240606_StKildaFilmFestival_OpeningNight_FullSelection-137-942x628.jpg "St Kilda Film Festival 2026 • The Scoop")Film lovers will be awed and astonished by films celebrating the depth diversity and originality of Australian cinemaShort Film Highlights: ***Faceless*, directed by Fraser Pemberton and William Jaka** An award-winning First Peoples film, *Faceless* follows an Indigenous man navigating three parallel lives along the Birrarung-Ga in Naarm. Moving between life on the margins, the arts and the corporate world, the film offers a powerful exploration of identity, belonging and what it means to exist within contemporary Australia. ***Baby Shower*, directed by Matt Day** Starring Hugo Weaving alongside a stellar ensemble cast. Heidi’s baby shower descends into chaos when her estranged father crashes the party. You can escape your past, but you can never really escape your family. ***Stranger, Brother,* directed by Annelise Hickey** When Adam, a self-absorbed and lonely millennial, wakes to find his estranged half-brother on his doorstep one morning, he must face the family he’s been running away from. ***THE CEO*, directed by Michael Cusack** From acclaimed animator Michael Cusack (*Smiling Friends*, *YOLO*) comes his new live-action film. A successful CEO becomes a billionaire and uses this milestone effect to tell the girl who broke his heart decades ago that he finally succeeded in life… or has he? ***While We Still Have Time***, **directed by Ava Grimshaw-Hall** A woman embarks on a journey to connect with her sperm donor father, John, as he battles aggressive cancer. Together they explore their unique bond, seeking understanding and closure amid life’s uncertainties. ***The Shirt Off Your Back*, directed by David Robinson-Smith** Directed by previous *Best Director Award* winner David Robinson-Smith. Two brothers recount their perspectives on a real encounter with a stranger who stopped them to buy one of their shirts on Christmas Day. As their retellings unfold, the man’s identity shifts and morphs, filtered through childhood memory, fear, and the subconscious ways we process the unknowable. ***The Dysphoria*, directed by Kylie Aoibheann** A trans woman performs a Satanic ritual to get a vagina but unwittingly invites a demonic presence into her home that demands a terrible sacrifice. Working within the mould of classic demonic horror, the film explores the very real sacrifices trans people must make in order to be who they are. ***Calm the F\*\*k Down*, directed by Helen Gaynor** A powerful and confronting documentary, this session explores the psychology of family violence through a role-reversal experiment. Followed by a live discussion with director Helen Gaynor and the participants. ![The Scoop St Kilda Film Festival 2026](https://thescoop.au/wp-content/uploads/2026/05/SKFFOPENINGNIGHT_235-942x628.jpg "St Kilda Film Festival 2026 • The Scoop")For full program details and bookings visit the website Image suppliedCity of Port Phillip Mayor **Alex Makin** said: *“From 4–14 June 2026, our city comes alive once again as bold ideas, inventive storytelling and the very best of Australian short-form cinema take centre stage. As Australia’s longest-running short film festival, the St Kilda Film Festival reinforces the City of Port Phillip as a creative powerhouse, championing emerging talent while celebrating the achievements of Australia’s most accomplished filmmakers.”* SKFF Director **Richard Sowada** said: *“In spending so much time with this great selection, I have a feeling that 2026 marks a turning point for the short film format in Australia to my eye. We know that some filmmakers who have featured in the last couple of years of St Kilda Film Festival are now in preproduction with features or embarking on massive cinematic adventures, and that momentum has some serious presence in this year’s program. So much confidence. So much risk. So much ambition. It’s just great.”* VicScreen CEO **Caroline Pitcher** said: *“The 2026 St Kilda Film Festival program celebrates the talent, diversity, and cinematic excellence on display across Australia, while nurturing the next generation of screen storytellers. We’re proud to support St Kilda Film Festival as it continues to cultivate and champion local production and talent.”* SKFF is Australia’s longest-running short film festival, recognising the genre of short film, including music videos, gaming and immersive forms. **St Kilda Film Festival (SKFF) returns to the big screen across Thursday 4 June – Sunday 14 June 2026.** For full program details and bookings, visit the website. Website: <https://www.stkildafilmfestival.com.au/> Socials: <https://www.instagram.com/stkildafilmfest/> [ Back to the Newsroom](https://thescoop.au/newsroom/) Hero image credits: J Forsyth Venues: **Palais Theatre** – *Opening Night* presented by Mandala Wines (Thursday 4 June) **Astor Theatre** – *PBS Stone Love Broadcast* and *St Kilda Rocks Screening* (Friday 5 June) **JMC Academy** – *The Big Picture* (Saturday 6 June) – Free Filmmaker Development Program **Victorian Pride Centre** – *Pride Without Prejudice: LGBTIQ+ Showcase* (Saturday 13 June) **St Kilda Town Hall** – All other screenings/events, including *Opening Night After Party* and *Closing Night Awards Ceremony* (4 – 14 June) **Categories:** News --- ### [Announcing NIDA 2026 Student Production Season](https://thescoop.au/announcing-nida-2026-student-production-season/) **Published:** May 10, 2026 **Author:** Newsroom **Content:** ![The Scoop NIDA 2026 Production Season](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-10-at-51249-pm-948x628.png "NIDA 2026 Production Season • The Scoop")For its 2026 Production Season, **NIDA**, Australia’s national dramatic arts educator, has brought together two of the country’s most distinguished theatre makers: **Simon Phillips** and **Rachael Maza AM**. They are joined by directors **Zindzi Okenyo**, **Anthea Williams**, **Dino Dimitriadis**, **Margaret Thanos**, **Claudia Osborne**, **Miranda Middleton**, music director **Zara Stanton**, and playwright **Keziah Warner**, whose new work receives its world premiere. The eight productions are performed by **third year Acting students** and created by students across design, costume, props and effects, technical theatre, stage management, set construction and make-up. Phillips opens the Winter Season with ***A Midsummer Night’s Dream*** on the Parade Theatre stage. Maza AM closes the Spring Season with Michael Gow’s ***Away***, Australia’s most produced play in its 40th anniversary year, brought to the stage for the first time through a First Nations lens. The six remaining works include the first Australian production of a play described by *The Times* as “the play of the decade”, an operatic co-production with the Sydney Conservatorium of Music, a queer-inclusive musical, a revenge drama widely hailed as one of the most important Australian plays of the decade, the Australian premiere of a political thriller, and a brand new ghost story. **David Berthold**, Artistic Director in Residence, NIDA said: *“Eight productions, one question: what do we owe each other? It’s asked in a courtroom, a haunted house, a hospital, a beach at summer’s end, a revolution broadcast live, and a forest where lovers lose themselves in the dark.* *It’s asked with rage, with laughter, and with music. And it’s asked it in the company of some of the finest theatre makers in the country, working alongside the next generation of Australian storytellers.”* ![The Scoop NIDA 2026 Production Season](https://thescoop.au/wp-content/uploads/2026/05/unnamed-1-1077x628.jpg "NIDA 2026 Production Season • The Scoop")The NIDA 2026 Winter Season creatives by Phil Erbacher**Winter Season: 4 – 13 June 2026** Winter Season launches with *[A Midsummer Night’s Dream](https://www.nida.edu.au/news-and-events/student-productions/winter-season/a-midsummer-nights-dream/)*, directed by the acclaimed **Simon Phillips**, who brings his hallmark clarity and velocity to Shakespeare’s wildest comedy on the big Parade stage. Associate Artistic Director of Griffin Theatre Company, **Anthea Williams**, directs *[Possessions](https://www.nida.edu.au/news-and-events/student-productions/winter-season/possessions/)*, a newly commissioned play by the award-winning **Keziah Warner** in which grief, guilt and something beneath the floorboards refuse to stay buried. Green Room Award winner **Miranda Middleton** directs, and **Zara Stanton** leads the music for *[In Pieces](https://www.nida.edu.au/news-and-events/student-productions/winter-season/in-pieces/)*, **Joey Contreras’s** new, queer-inclusive musical exploring friendships, families and former lovers and the fragments of love that linger. **Dino Dimitriadis** brings their distinctive artistry to *[The Bleeding Tree](https://www.nida.edu.au/news-and-events/student-productions/winter-season/the-bleeding-tree/)*, **Angus Cerini’s** bracingly funny, fiercely lyrical revenge tale hailed as one of the most important Australian plays of the decade. **Spring Season: 3 – 13 November 2026** **Zindzi Okenyo** directs **Robert Icke’s** *[The Doctor](https://www.nida.edu.au/news-and-events/student-productions/spring-season/the-doctor/)*, the first Australian production of a play described by *The Times* as the play of the decade; a gripping moral thriller that exposes unconscious bias with razor-sharp wit. On-the-rise director **Margaret Thanos** steers the Australian premiere of **Elinor Cook’s** *[Image of an Unknown Young Woman](https://www.nida.edu.au/news-and-events/student-productions/spring-season/image-of-an-unknown-young-woman/)*, asking what we owe strangers in an age when a single image can ignite a revolution. In a co-production with performers and musicians from the Sydney Conservatorium of Music, **Claudia Osborne** directs Ravel and Colette’s spellbinding short opera *[L’Enfant et les Sortilèges](https://www.nida.edu.au/news-and-events/student-productions/spring-season/lenfant-et-les-sortileges/)*, a surreal fantasia in which a child’s tantrum sets the whole world against him. **Rachael Maza AM** directs **Michael Gow’s** *[Away](https://www.nida.edu.au/news-and-events/student-productions/spring-season/away/)* – Australia’s most produced play – in a 40th anniversary production that brings a First Nations lens to the play for the first time. **NIDA’s 2026 Winter Season tickets are on sale now. **National Institute of Dramatic Art, Sydney.**** Tickets for the Spring Season are on sale in September. View the full Season line-up [here](https://go.nida.edu.au/e/1035233/nd-events-student-productions-/3vpcb/725090250/h/uuleBArGfgB-WzXSDfJBGK1VYTdKRGHQQbuUhiOoDkY). Website: <https://www.nida.edu.au/> Socials: <https://www.instagram.com/nidacommunity/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credit: Phil Erbacher **Categories:** News --- ### [Film Review: Prosecution 2026 German Film Festival](https://thescoop.au/film-review-prosecution-2026-german-film-festival/) **Published:** May 10, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Prosecution German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Prosecution_1.jpg "Prosecution German Film Festival • The Scoop")Trust in institutions is at a tipping point. You feel it in the opinion polls. You see it in the weekly protests on the inner-city marble steps. *Prosecution* *(Staatsschutz)* is a contemporaneous reflection on our tearing social fabric. Directed by Faraz Shariat and winner of the Audience Award at the 2026 Berlinale, *Prosecution* is framed as a legal thriller. It moves like one, too. But underneath, it’s something more confronting. It’s a study of how systems that promise objectivity can quietly fracture. The premise is tight. A young prosecutor, Seyo Kim, takes on far-right violence in eastern Germany. Then she becomes a target herself. What follows is what happens when belief in the system starts to crack. For audiences used to adversarial courtroom dramas, the film’s exploration of Germany’s inquisitorial system is a shift. Judges, prosecutors and defence lawyers operate differently. The structure feels less combative, more procedural. Yet the same pressures creep in. Backlogs of files. Decisions about what gets prioritised. The subtle, and not-so-subtle, presence of bias. The myth of neutrality starts to erode. Characters proclaim their system is the most objective in the world. Is this reality, or nationalistic hubris? At the centre is Chen Emilie Yan as Seyo Kim. It’s a compelling performance. She begins almost contained. A prosecutor who believes in the rule of law. In honour of hard work. On individual responsibility being enough to survive or thrive in any system. ![The Scoop Prosecution Staatsschutz German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/202603082_1_ORG-1162x628.jpg "Prosecution Staatsschutz German Film Festival • The Scoop")The film is a study of how systems that promise objectivity can quietly fracture Image Lotta Kilian Jünglinge FilmAn attack changes all that. Beliefs get set alight. You can only ignore the dissonance for so long; eventually, you need to scream and break things. Her trajectory echoes works like Suzie Miller’s *Prima Facie*. A believer in the system becomes a victim of it. The real damage is both physical and moral. What happens when your workplace asks you to ignore what you know is wrong? Do you stay? Do you leave? Or do you push back and risk everything? Yan is supported by a strong ensemble of Julia Jentsch, Alexandra Tiedemann, Alev Irmak, Ayten Alican, Arnd Klawitter and Sebastian Urzendowsky. This is a work where the hero and villains shine, as they must, while the rest blend into the background of the courtroom sketch. The film doesn’t shy away from the broader context. Far-right ideology is not presented as fringe. It exists in chat groups. In nostalgia for past regimes. In coded language. Some of it is obvious. Skinheads and head tattoos. Some of it is not. It sits in offices, in paperwork. In decisions that never get questioned. That second layer is where the film is most unsettling. It’s a reminder that extremism rarely operates in isolation on the fringes. It embeds. ![The Scoop Prosecution Staatsschutz German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/202603082_2_ORG-1162x628.jpg "Prosecution Staatsschutz German Film Festival • The Scoop")What stands out is how current Prosecution feels Image Lotta Kilian Jünglinge FilmVisually, the film is precise. Cinematographer Lotta Kilian captures both the micro and the macro. The small moments matter. A look in a corridor. A pause in a meeting. The accumulation of microaggressions. Then the larger world intrudes. Surveillance. Violence. Institutional weight. Editor Friederike Hohmuth keeps the pace tight. There are no long courtroom delays here, the narrative moves with urgency. What stands out is how current it feels. Germany is still reflecting on how the past happened. At the same time, the seeds of something similar are visible again. The fear of being stopped. Asked for papers. Watched. For some, that fear has never gone away. The film doesn’t pretend this is new; it suggests it has always been close. There are moments where the genre edges feel familiar. Vigilante lawyers are having a moment. Fans of shows like *The Lincoln Lawyer* will recognise the rhythm. But *Prosecution* grounds that energy in something heavier. The stakes are not just winning a case. They are about whether the system can be trusted at all. Ultimately, *Prosecution* is not interested in an easy resolution. It asks harder questions. What do you do when the system you serve stops serving justice? How far are you willing to go? And what does it cost? It is a question, increasingly, we are having to answer in our daily lives, not just during our trips to the cinema. ***Prosecution* is screening now around Australia as part of the 2026 HSBC German Film Festival.** Tickets to *Prosecution* are available [here](https://germanfilmfestival.com.au/films/ger26-prosecution). Website: <https://germanfilmfestival.com.au/> Socials: <https://www.instagram.com/germanfilmfestival/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) No trailer is currently available. ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/German-1200x431.png "2026 HSBC German Film Festival • The Scoop")**Film details:** Title: Prosecution (*Staatsschutz* ) Director: Faraz Shariat Cast: Chen Emilie Yan, Julia Jentsch, Alev Irmak, Arnd Klawitter, Sebastian Urzendowsky Country of Origin: Germany Duration: 113 mins Rating: CTC 2026 German Film Festival Dates and Venues by City: **Sydney:** 6 – 27 May, Palace Norton Street, Palace Central, Palace Moore Park **Canberra:** 6 – 27 May, Palace Electric **Brisbane:** 6 – 27 May, Palace James St**,** Palace Barracks **Adelaide:** 6 – 27 May, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Perth:** 7 – 27 May, Luna Leederville, Luna on SX & Palace Raine Square **Byron Bay and Ballina:** 7 – 27 May, Palace Byron Bay, Ballina Fair Cinemas **Melbourne:** 8 – 27 May, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, The Kino, The Astor Theatre, Pentridge Cinema, Palace Penny Lane **Ballarat:** 8 – 27 May, Palace Regent Ballarat **Categories:** Film --- ### [Win Tickets To The Premiere of Tootsie!](https://thescoop.au/win-tickets-to-the-premiere-of-tootsie/) **Published:** May 10, 2026 **Author:** Newsroom **Content:** ![The Scoop Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/05/Cast-of-TOOTSIE-c-Robert-Miniter-837x628.jpeg "Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney • The Scoop")Rehearsals are well underway as the supremely talented cast of ***Tootsie***, the smash-hit Broadway musical, prepare for the Australian premiere at Teatro at the Italian Forum later this month. Wigs and sequins have been donned in preparation to bring this nostalgic classic to the stage at Sydney’s newest exciting venue. ***Tootsie*** opens on **26 May**, with tickets on sale now at [www.teatroitalianforum.com.au](http://www.teatroitalianforum.com.au/). The Scoop is **giving away one double pass** **to see the show!** Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply like the post, give us a follow and comment ‘Scoop’ under the post. Prize date: **Thursday 28 May 7pm**, Teatro at the Italian Forum Based on the beloved Oscar-winning hit film starring Dustin Hoffman, the Tony Award® winner for Best Book of a Musical promises’ laughs, heart, and a generous dose of nostalgia. Leading the cast in the dual role of Michael Dorsey and his alter ego Dorothy Michaels, made famous on screen by two-time Oscar winner Dustin Hoffman, is **Andrew Bevis** (*The Lord of the Rings, The Rocky Horror Show*). The role of Julie Nichols will be played by Sydney Theatre Award winner **Elenoa Rokobaro** *(Hadestown).* **Alana Tranter** (*Beauty and the Beast*) plays Sandy Lester. **Brendan Irving** (*The Rocky Horror Show*) plays Max Von Horn. **Tyran Stig** (*Titanique*) plays Jeff Slater. **Donna Lee** (*Hairspray*) is Rita Marshall. **Chris Huntley-Turner** (*Friends: The Parody Musical*) is Stan Fields. **Lachlan O’Brien** (*The Phantom of the Opera*) plays Ron Carlisle. ![The Scoop Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/05/Andrew-Bevis-TOOTSIE-c-Robert-Miniter-1-785x628.jpeg "Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney • The Scoop")Andrew Bevis as Dorothy in Tootsie Photo by Robert MiniterThe ensemble features **Sam Austin, Lisa Callingham, Katie Green, Arthur Lees** (swing), **Maximillian Macdonald, Jessica Parris, Jamie Reisin, Julian Seguna**, and **Nicole Vella.** Described by The New York Post as “*Broadway’s funniest new musical*” and praised by Rolling Stone as “*musical comedy heaven*”, ***Tootsie*** is the laugh-out-loud story of a talented but difficult actor who struggles to find work until one bold, show-stopping act of desperation lands him the role of a lifetime. ***Tootsie* r**eceived 11 Tony Award nominations for its Broadway production, including Best Musical and Best Original Score. With music and lyrics by Tony Award and Grammy Award winner David Yazbek (*The Band’s Visit*, *Dirty Rotten Scoundrels*) and a book by Tony Award winner Robert Horn (*13 The Musical*, *Shucked*), ***Tootsie*** has had audiences rolling in the aisles. This all-new production of ***Tootsie*** is directed and choreographed by award-winning director and choreographer **Cameron Mitchell** (*Putting It Together*, *Sweet Charity*). Co- musical direction by **Kevin Wang** and **Nicholas Till** *(Putting it Together)* and costume design by **Angela White.** Fast-paced and outrageously funny, ***Tootsie*** explores identity, ambition, and ego, all while keeping the laughs coming. ***Tootsie* the musical makes its Australian premiere in Sydney at Teatro at the Italian Forum from 26 May 2026. 23 Norton Street Leichhardt NSW 2040.** Tickets are on sale [here](https://www.ticketmaster.com.au/artist/2728443?did=venue)! Website: <https://teatroitalianforum.com.au/date/tootsie/> Socials: <https://www.instagram.com/teatroitalianforum/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Robert Miniter **Categories:** competition, News --- ### [GRIMM: Tales From The Brothers Grimm Heads To Melbourne](https://thescoop.au/grimm-tales-from-the-brothers-grimm-heads-to-melbourne/) **Published:** May 9, 2026 **Author:** Newsroom **Content:** ![The Scoop GRIMM Shake & Stir Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/GRIMM-A5-LANDSCAPE-891x628.jpg "GRIMM Shake & Stir Theatre Co • The Scoop")Happily ever after? Not a chance. The smash-hit, deliciously-twisted production **GRIMM** will cast its spell over **Melbourne** from **25 August to 12 September 2026.** Within shadowy corridors and haunting landscapes, Cinderella, Little Red Riding Hood and an array of familiar figures emerge to reveal the twisted, unsettling and often hilarious truths beneath the fairy tales we thought we knew. From the acclaimed company behind the theatrical triumphs *Frankenstein, 1984* and *Fantastic Mr Fox* **– GRIMM** reworks these iconic tales from the Brothers Grimm into an high-octane stage experience that delights, disturbs and surprises in equal measure. Shake & Stir Artistic Director **Nick Skubij** said the success of the production confirmed what the company had long suspected about the enduring power of the Grimm tales: *“These stories have fascinated us for years. Reworked and adapted time and time again, seeing audiences respond so strongly to the original versions’ darkness, humour and complexity has been highly rewarding.* *They’re stories people think they know, but here, audience will see something a bit different. Because of this, the morals, the brutality, and the humanity feel startlingly new – and relevant. **GRIMM** lets some hard truths rise to the surface.”* ![The Scoop GRIMM Shake & Stir Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/GRIMM-Show3-4913-942x628.jpg "GRIMM Shake & Stir Theatre Co • The Scoop")Expect a lavish loud and lucid night Photo by Joel DevereuxThe production is helmed by award‑winning writer and director **Daniel Evans**, who brings his signature blend of precision storytelling and theatrical surprise – delivering a production that is visually arresting, sharply paced and rich in atmosphere. Evans, currently the Artistic Director of Queensland Theatre Company, has a long list of credits including *The Great Gatsby* (co-Directed with Skubij)**,** *A Few Good Men* and *Vietgone*. Skubij added: *“Dan’s ability to balance theatrical grit with emotional clarity is extraordinary. His staging of **GRIMM** pushes expectations and keeps audiences leaning forward and salivating for more. It’s theatre that refuses to sit politely in the dark.”* Adding to the production’s bewitching visual identity is the work of celebrated Australian fashion designer and proud Marrithiyal man **Paul McCann**, whose costumes drew acclaim for their stunning elegance and theatrical flourishes. Renowned for his high-end, luxe designs worn by celebs on red carpets around the world and celebrated as one of Australia’s leading First Nations fashion voices, McCann’s costumes bring a fierce, contemporary edge to the Grimm world. Skubij continued: *“Paul’s designs don’t just dress the story – they elevate it. They’re fearless, glamorous and unforgettable. Seeing his work command the stage has been another great joy of this production.”* Expect a lavish, loud and lucid night. Tuck yourself in – bedtime stories will never be the same again. ***GRIMM – Tales from the Brothers Grimm* swoops into the Arts Centre Melbourne’s Fairfax Studio from 25 August – 12 September 2026 as part of a national tour.** See website for full tour dates, including a season at [QPAC](https://www.qpac.com.au/whats-on/2026/shakestir-grimm) Brisbane from 22 May – 13 June. Tickets: <https://www.artscentremelbourne.com.au/whats-on/2026/theatre/grimm> Website: <https://shakeandstir.com.au/mainstage/grimm#touring-dates> Socials: <https://www.instagram.com/shakeandstir/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Joel Devereux **GRIMM** is created and adapted by Shake & Stir Theatre Co. **Creatives** Adaptor **Nelle Lee** Director **Daniel Evans** Costume Designer **Paul McCann** Set Designer **Josh McIntosh** Lighting Designer **Trent Suidgeest** Sound Designer / Composer **Guy Webster** Creators **Ross Balbuziente, Nelle Lee, and Nick Skubij** **Featuring** Aljin Abella, Helen Cassidy, Nelle Lee and Henry Rollo. **Age recommendation:** 14 years and over **Warnings:** This production contains adult themes, simulated violence and gore, infrequent coarse language, depiction of alcohol consumption, smoke effects, strobe lighting, and loud sound effects/music. **Categories:** News --- ### [Review: Once Upon A Mattress Bursts With Chaos & Fairytale Energy](https://thescoop.au/review-once-upon-a-mattress-bursts-with-chaos-fairytale-energy/) **Published:** May 9, 2026 **Author:** Sophie Tsoulos **Content:** ★★★★☆ ![The Scoop Once Upon A Mattress Hills Musical Company](https://thescoop.au/wp-content/uploads/2026/05/212A6640-942x628.jpg "Once Upon A Mattress Hills Musical Company • The Scoop")There’s nothing a good fairytale musical comedy on a wintery evening can’t fix! Hills Musical Company are treating Adelaide to a spirited revival of *Once Upon a Mattress* this month. Here, the conventional *Princess and the Pea* fairy tale is gleefully tossed aside and reshaped into a playful parody that satirises traditional roles, whilst still keeping that sweet sense of fairy tale nostalgia. Community theatre is at its best when it embraces its own ridiculousness. When the show allows for exaggerated stupidity. When the performers can just fully let loose and enjoy themselves. As director and choreographer, Emily-Jo Davidson has clearly fostered this in the cast. The opening night audience’s laughter was near-constant, giving the production the energy of a live sitcom. The constant giggles, at even the slightest of mannerisms, were a sweet signal of crowd enjoyment throughout this ridiculous tale! *Once Upon a Mattress* is a comedic retelling of *The Princess and the Pea*, set in a kingdom where no one can marry until Prince Dauntless finds a suitable bride. With the overbearing Queen Aggravain rejecting every princess who arrives, the kingdom is left in romantic limbo. This show’s heroine is the unconventional Princess Winnifred, who becomes the one Prince Dauntless desires. But, it is not all smooth moat-swimming to get the Prince! Through a series of absurd tests, meddling schemes and misunderstandings, the quirky characters in this show descend the kingdom into royal chaos. The cast burst with individuality and soaring talents. This show has quite the cast of characters and a humorous (and slightly complex) web that ties them all together. Molly Noel, in only her second Hills show, gives a stellar performance as Princess Winnifred. This princess is designed to be cut from a different cloth in terms of the stereotypical fairy tale princess. She’s loud, gritty, confident and unapologetically herself. Noel gives all of these qualities to the audience. She is completely sure of the character she’s here to play. Vocally, she’s incredibly strong for a young performer, nailing her solo numbers *Shy* and *Happily Ever After.* Yet, it’s also her small mannerisms, facial expressions and actions that prove she has honed her craft for this show. ![The Scoop Once Upon A Mattress Hills Musical Company](https://thescoop.au/wp-content/uploads/2026/05/212A6533-942x628.jpg "Once Upon A Mattress Hills Musical Company • The Scoop")The opening night audience laughter was near constant giving the energy of a live sitcom Photo by Lily Rose MediaThreatened by this sudden match to her loudness is Queen Aggravain, played by Ella Heywood-Smith. They bring a commanding Queen-of-Hearts-esque approach to the role, likewise nailing the smallest of mannerisms, like their eyebrow raise or frown, to really strike with comedic humour (cue laugh track). Heywood-Smith’s sneaky ‘side-kick’ is the Wizard, performed by Maximillian Maher. Maher brings a sense of whimsical absurdity, landing his many one-liners with perfect comedic timing. They both get their cliché villain moment in their powerful duet, *Sensitivity.* Prince Dauntless is the loveable, clueless goof, brought to life by Matty Turner. All it takes for him to fall in love with this moat-swimming princess is her barbell press, and the audience is rooting for them both so much that they don’t question the silliness of this plot. This moment leads to Turner’s performance of *Song of Love,* which he executes with a cheesy confidence. Stealing the majority of the show’s laughs is Matthew Phillips as King Sextimus (yes, that is this character’s name, cue laugh). For a character who does not SPEAK until the final scene, Phillips masters this character’s humorous use of mime. Honestly, Phillips could give a solo clowning show about this silenced king, and audiences would lap it up! To top him off, Phillips performs the show despite being in a boot on a scooter that was cleverly transformed into a horse, which just amplified the comedy, really! Parallel to the plotline of Winnifred and Dauntless is Lady Larkin and Sir Harry, who, due to an unexpected secret, also have personal motives to get this prince married ASAP! Megan Davidson is Larken, who performs with a welcome sense of sincerity in between the chaos. The audience instantly empathises with her, as she effectively conveys her inner turmoil. What this show does is flip the power dynamics. Most male characters are clueless and silly, flipping the gender roles to place the females in the forefront as the deeper, more complex characters. ![The Scoop Once Upon A Mattress Hills Musical Company](https://thescoop.au/wp-content/uploads/2026/05/212A6503-419x628.jpg "Once Upon A Mattress Hills Musical Company • The Scoop")The production celebrates individuality and silliness Photo by Lily Rose MediaTherefore, her lover, Sir Harry, played by Thomas Sheldon, gives a comedic portrayal of yet another clueless male. Sheldon is wonderfully animated and boisterous, committing fully to his slapstick comedy. Together, this duo has honed a sweet onstage chemistry and banter, culminating in their heartfelt performance of *Yesterday I Loved You.* Bennett Blaine, as the Jester, is a character who gets to really shine in Act II with his solo *Very Soft Shoes*. Blaine is another talented vocalist in this cast, and this moment is quite touching. He also dances, accompanied by some purposeful, symbolic silhouette choreography happening in the background. This choreographic element of the shadow work behind the sheet is a clever motif used throughout. Katy Driver as Minstrel opens the show like a storybook narrator, confidently expressing the start of the tale. She has a cheeky dynamic with Blaine as the ‘meddling duo’ archetype, who sweetly end up becoming the unconventional heroes of the story. Everyone loves an underdog! The ensemble of Knights and Ladies in Waiting also shines as triple threats throughout and truly embraces their individual quirkiness. Displaying a true sense of camaraderie, *Opening for a Princess* and *The Swamps of Home* are super lively numbers which see the cast unite*.* Leading the cast musically is Matt Redmond. For a score brimming with whimsy and medieval nods, the live musical accompaniment adds an undeniable vitality to one’s community theatre experience. At times, the show’s pacing on opening night faltered slightly, with a handful of slower scenes or transitions softening the production’s otherwise energetic pace. I am certain this cast will continue to strengthen their already high standard, however, as the season progresses. *Once Upon A Mattress* is a show for all. Hills Musical Company’s production celebrates individuality and silliness, proving that these old fairy tales do have relevance to modern audiences when we give them a couple of slight, silly tweaks! ***Once Upon A Mattress* is presented by Hills Musical Company and runs to 23 May at Stirling Community Theatre. 9 Avenue Road, Stirling SA 5152.** Tickets: <http://trybooking.com/events/landing/1507606> Website: <https://hillsmusical.org.au/mattress/> Socials: <https://www.instagram.com/hillsmusicalcompany/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Lily Rose Media, taken at Thorngrove Manor **Categories:** Adelaide, Musical Theatre --- ### [Review: The Last Parma Night Serves Up Laughs & Heart](https://thescoop.au/review-the-last-parma-night-serves-up-laughs-heart/) **Published:** May 9, 2026 **Author:** Jack Bengough **Content:** ★★★½ ![The Scoop The Last Parma Night Clockwork Possum Productions](https://thescoop.au/wp-content/uploads/2026/05/171225_TLPN_Couch-Cheers-03_RAW-942x628.jpg "The Last Parma Night Clockwork Possum Productions • The Scoop")Clockwork Possum Productions makes a confident debut with The Last Parma Night, now playing at Chapel Off Chapel in Prahran. Written by Max Meaden and directed by Will Nash, the production balances pub humour with heartfelt reflection in an ambitious original work. *The Last Parma Night* is about a group of friends who, as a tradition, attend their local pub’s parma night together, but as time goes on, drift apart. This straightforward concept is upended by the inclusion of a *Christmas-Carol*-style plot, where the main character has to face up to the mistakes he’s made and how he’s treated his friends through a series of flashbacks to Parma Nights Past. The show’s flashback-driven structure adds an interesting theatrical wrinkle to the story, though it occasionally pulls focus from the emotional core of the narrative. When the story regains its footing and centres itself on the friendships at its heart, the production reveals its strengths. ![The Scoop The Last Parma Night Clockwork Possum Productions](https://thescoop.au/wp-content/uploads/2026/05/171225_TLPN_Couch-Menu-01_RAW-942x628.jpg "The Last Parma Night Clockwork Possum Productions • The Scoop")Performances are solid across the board Image suppliedThe comedy is indeed funny, often in a crude, boyish sort of way, but it is balanced by a surprising emotional sincerity that gives the show a welcome sense of depth. Performances are solid across the board. Max Meaden is strong in the lead role, showing a lot of range as the emotional core of the story. Sue Rosenwax is memorable as the show’s primary antagonist with a larger-than-life performance more akin to a 20th-century Disney villain (in the best way possible). Phil Lambert is the surprise of the night as the drunken Mr Punter. Later in the show, he briefly plays a father in the story’s most heartfelt scene. Supporting cast members Alex Stock, Ryan Toft, Sam McLoughlan, and Lilly Betts give solid performances. By the end of the show, though, their characters feel somewhat under explored, limiting their opportunity to fully showcase their range. ![The Scoop The Last Parma Night Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/04/TLPN_Poster_Horitzontal-1195x628.jpg "The Last Parma Night Chapel Off Chapel Melbourne • The Scoop")Clockwork Possum Productions makes a confident debut with The Last Parma Night From a production standpoint, the show is impressively put together. The set, also designed by Meaden, is a fitted-out pub, featuring taps, neon signs, a pool table and a slot machine, items which are used in dynamic ways throughout the show. Lighting design by Lauren Trealor effectively helps distinguish the show’s heightened sequences from its more grounded flashbacks, guiding the audience between the two tones. There were occasional moments where cast members missed their lighting marks, but this will no doubt be smoothed out in further runs. One recurring gag involves a character carrying around a pet rat, represented by a plush toy. The prop feels noticeably less polished than the otherwise impressive set design and production elements featured throughout the show. Though not every narrative swing lands cleanly, *The Last Parma Night* remains a funny, heartfelt and impressively staged production from a company clearly unafraid to take creative risks. Clockwork Possum Productions has laid a sturdy foundation, and it will be exciting to see where the team goes next. ***The Last Parma Night* is presented by Clockwork Possum Productions and runs to 10 May at Chapel Off Chapel. 12 Little Chapel Street Prahran Vic 3181.** Tickets are available [here](https://chapel.sales.ticketsearch.com/sales/salesevent/161225?_gl=1%2Ayypaag%2A_gcl_au%2AMTkyMTM5MDczOC4xNzY5NzU5NDky)! Website: <https://www.clockworkpossumproductions.com/> Socials: <https://www.instagram.com/thelastparmanight/> [Read our Interview with the Parma Night Crew](https://thescoop.au/inside-the-last-parma-night-mateship-memory-moving-on/) Images supplied. **Categories:** Melbourne, Theatre --- ### [Announcing Claire Lyon To Play Eliza Doolittle In My Fair Lady](https://thescoop.au/announcing-claire-lyon-to-play-eliza-doolittle-in-my-fair-lady/) **Published:** May 3, 2026 **Author:** Newsroom **Content:** ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-02-at-111202-pm-917x628.png "My Fair Lady Opera Australia • The Scoop")Producers Opera Australia and John Frost for Crossroads Live today announced that renowned Australian soprano **Claire Lyon** will star as Eliza Doolittle in the upcoming 70th Anniversary season of the much-loved musical ***My Fair Lady.*** Based on Julie Andrews’ 2016 production, *My Fair Lady* will premiere at the Sydney Opera House in September before a season at Arts Centre Melbourne opening in November. **Julie Andrews** said: *“I am delighted to welcome Claire to this production of My Fair Lady. I send warm wishes to her and know she will make a superb contribution to this beautiful musical. My thoughts are also with my friends in Australia many of whom were in the original production and are returning to the show.”* **Claire Lyon** said: *“Being cast as Eliza in Julie Andrews’ production of My Fair Lady is really beyond words. It is one of the biggest female roles ever written and to be stepping into Julie’s shoes, so to speak, is a huge honour. There is no bigger icon than Julie Andrews!* *On top of this, it feels quite serendipitous that it was this very musical where I made my professional debut in the ensemble, in Opera Australia’s 2008 production. I feel like I’m ‘coming home.’ I am so excited and can’t wait to step into the rehearsal room and onto the Sydney Opera House stage this September!”* ![The Scoop Claire Lyon My Fair Lady](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-02-at-105754-pm-496x628.png "Claire Lyon My Fair Lady • The Scoop")Claire Lyon will play Eliza DoolittleClaire is a celebrated Australian actress, singer and recording artist, best known for her portrayal of Christine Daaé in the world tour of *The Phantom of the Opera.* As a principal artist with Opera Australia, Claire has performed roles at the Sydney Opera House and Arts Centre Melbourne, including Hope Harcourt in *Anything Goes,* Barbarina in *The Marriage of Figaro* and Ida in *Die Fledermaus.* Other lead roles include Miss Dorothy Brown in *Thoroughly Modern Millie,* Mabel in *The Pirates of Penzance*, Claire in *Jerry’s Girls* (all with The Production Company) and Josephine in *H.M.S Pinafore* (Melbourne Opera Company). Under the direction of Cameron Menzies, Claire starred as Musetta in *La Bohème* for the City of Stonnington’s *Opera in the Park* (2019) and Cinderella in West Australian Opera’s production of *Into the Woods* (2023). Australian national tours include an ensemble role in the 2008 production of *My Fair Lady* (Opera Australia) and *Love Never Dies* (Really Useful Group). Claire toured with American superstar Josh Groban, as guest artist for his world tour *Stages,* and has been a soloist with Sydney Symphony and the Australian National Boys Choir. In the role of Eliza Doolittle, considered one of musical theatre’s most coveted roles, Claire will join previously announced cast members. They include a mix of some of Australia’s best new emerging performers and established musical theatre favourites. Australian theatre icons will also be making their return to this beloved musical. Leading cast members returning to their highly acclaimed roles include **Reg Livermore** as Alfred P. Doolittle. **Robyn Nevin** as Mrs Higgins and **Tony Llewellyn-Jones** as Colonel Hugh Pickering. Much-loved performer **Anne Wood** will play the role of Mrs Pearce. **Freddy Hellier** will make his mainstage musical theatre debut as Freddy Eynsford-Hill. ![The Scoop My Fair Lady Opera Australia Claire Lyon](https://thescoop.au/wp-content/uploads/2026/05/260423-My-Fair-Lady_S02_456-1047x628.jpeg "My Fair Lady Opera Australia Claire Lyon • The Scoop")Photo by Benny CappThe Ensemble cast includes **Anton Berezin, Eleanor Blythman, Devon Braithwaite, Rachel Cole, Natasha Dumlao, Blake Erickson, Peter Ho, Anthony Garcia, Matt Heyward, Tisha R. Kelemen, Genevieve Kingsford, Naomi Livingston, Madeleine Mackenzie, Kassie Martin, Mary McCorry, Julia McRae, Oscar Mulcahy, Tom New, Lachlan O’Brien, Morgan Palmer, Matthew Predny, Suzanne Steele, Natasha Veselinovic** and **Sam Ward.** Swings include **Andrew Broadbent, Deborah Caddy, Ellie Nunan** and **David Sirianni.** A casting announcement for the key role of Professor Henry Higgins will be made in the coming weeks. A heartwarming story of identity and change, ***My Fair Lady*** brims with razor sharp wit, unforgettable characters, and a stunning score. Beloved songs include *Wouldn’t It Be Loverly?*, *I Could Have Danced All Night* and *Get Me to the Church on Time*. When Alan Jay Lerner and Frederick Loewe premiered their brilliant adaptation of George Bernard Shaw’s *Pygmalion* in 1956, it became an instant classic. It was hailed as “the perfect musical” winning six Tony Awards. This production broke box office records when it premiered at the Sydney Opera House for its 60th anniversary in 2016. A 20-year-old Julie Andrews was catapulted to superstardom when she originated the role of Eliza Doolittle, going on to win a New York Drama Critics Award and a Tony Award nomination for her performance. Ms Andrews has been a beloved and much-honoured star of stage, screen and television for more than half a century. This production, originally directed by Julie Andrews, broke box office records when it premiered at the Sydney Opera House for its 60th anniversary in 2016. ***My Fair Lady* runs 12 September – 30 October at the Sydney Opera House. It then runs at the Ian Potter State Theatre at Arts Centre Melbourne from 14 November 2026.** Tickets for Sydney are available [here](https://myfairladythemusical.com.au/tickets/sydney/) and for Melbourne [here](https://myfairladythemusical.com.au/tickets/melbourne/). Website: <https://myfairladythemusical.com.au/> Socials: <https://www.instagram.com/myfairladyaus/> [Read our Interview with Claire Lyon!](https://thescoop.au/meet-claire-lyon-my-fair-ladys-new-eliza-doolittle/) Photo credits: Benny Capp Book & Lyrics by Alan Jay Lerner. Music by Frederick Loewe. Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture *Pygmalion*. Based on the 2016 production by Julie Andrews. Directed by Karen Johnson Mortimer. **Categories:** News --- ### [Meet Claire Lyon: My Fair Lady's New Eliza Doolittle](https://thescoop.au/meet-claire-lyon-my-fair-ladys-new-eliza-doolittle/) **Published:** May 8, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop My Fair Lady Opera Australia Claire Lyon](https://thescoop.au/wp-content/uploads/2026/05/260423-My-Fair-Lady_S02_456-1047x628.jpeg "My Fair Lady Opera Australia Claire Lyon • The Scoop")Last weekend, renowned Australian soprano **Claire Lyon** was unveiled as the next Eliza Doolittle for the upcoming 70th Anniversary season of the much-loved musical, ***My Fair Lady.*** Based on Julie Andrews’ 2016 production, *My Fair Lady* will premiere at the Sydney Opera House in September before a season at Arts Centre Melbourne in November. The Scoop had the pleasure of chatting to Claire after the news was announced. Claire talks all things *My Fair Lady*, including auditioning for the role, her previous experience with the musical and what audiences can expect from Julie Andrews’ production. Read the full interview below. Firstly, congratulations on the role! Can you talk about the significance of this casting and production? Oh, gosh, where do I begin? It’s honestly a role of a lifetime, something that I didn’t imagine that I would have the opportunity to audition for again. I was part of the 2008 version of the show, directed by Stuart Maunder and it was my first show out of university with Opera Australia. I had an absolute ball performing in that show. To play the actual role of Eliza now is a real pinch-me moment. It is one of the most coveted roles in musical theatre and something that has always been on my bucket list. But it’s all about timing when it comes to shows, and whether the right show comes up at the right time in your career. The stars have to align, and they certainly have for this one. ![The Scoop Claire Lyon My Fair Lady](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-02-at-105754-pm-496x628.png "Claire Lyon My Fair Lady • The Scoop")Claire LyonDo you have a behind-the-scenes audition story that you can share? I remember the show being announced last year and thinking: Oh my goodness. All I would love is the opportunity to audition. And of course, when the audition came through, I was away in Merimbula with my husband and two little kids. I had no clothes with me. I thought, I’m going to have to film this in my golf pants and cardigan. Because I literally just had jeans and t-shirts with me. But at the end of the day, I thought, they’re not going to care what I’m wearing. You just have to go with whatever you’re dealt at the time and see what happens. It’s always the least ideal conditions when an audition drops. Seriously. I had my phone resting on a box of Lego, and the lighting was awful, but I managed to put something together. And from there, I got an in-person audition, which was a working session with the director, Karen Johnson Mortimer. And then all that footage was sent to Julie Andrews. Amazing. Can you take us back to first watching Julie Andrews in *The Sound of Music* and *Mary Poppins* when you were a kid? How did those experiences shape you as a performer? She was – and is – the ultimate performer and soprano. I don’t really fan girl over anyone, but if I’m going to be fan girling over anyone, it’s Julie Andrews. She is just absolute perfection. She played Eliza when she was in her early 20s on Broadway, originating the role. It’s big shoes to fill. To be learning from her though is just absolutely priceless. Just knowing that I’ll be working with Mary Poppins and Maria is surreal. Totally surreal. Yes! My son was just remarking that the impossible happens every day. I think that applies here. It certainly does! ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/05/260423-My-Fair-Lady_S02_467-837x628.jpg "My Fair Lady Opera Australia • The Scoop")Claire Lyon Photo by Benny CappI don’t know much about the *My Fair Lady* world. For readers like me, can you take us through the story in a nutshell? So in a nutshell, there’s a young cockney flower girl called Eliza Doolittle, who essentially gets plucked from the gutters of London and is the object of a bet between two gentlemen, who are essentially language professors. They transform her into the most elegant and eloquent of ladies and try to pass her off as a Duchess at an Embassy Ball. All Eliza really wants is to speak more beautifully so she can get a job as a lady in a flower shop, so she doesn’t have to sell flowers at the corner of Tottenham Court Road. She wants to take herself off the street and better her chances in life. So she turns up to this gentleman’s house and asks for speech lessons. And one thing leads to another, and her life changes forever. *My Fair Lady* really is a show about transformation and language, and speech is her tool of transformation. Which part of Eliza’s story resonates most with you? I think just wearing your heart on your sleeve, and being vulnerable and taking a chance. They’re the things that I really love about her as a character. And in a way, it’s how I live my life. Just being open and honest, not being afraid to be vulnerable and not seeing that as a weakness. ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-09-at-91423-pm-1200x607.png "My Fair Lady Opera Australia • The Scoop")When you think back to 2008, making your professional debut, what would that younger version of yourself say about where you are now? Probably: How cool. I don’t think it would have even been on my radar back then that I would be in Julie Andrews’ production. That’s just crazy to think about. I wouldn’t have even thought it was a thing. I remember back in 2008 desperately wanting to understudy the role, but I was probably too shy to ask. In that production, different to nowadays where you have two understudies, there was only one, and from memory, Teresa Ball, who was the understudy, didn’t even get to go on. So it wasn’t even really a thing back then, but it was a fantastic production. If I were to go back and tell myself that I’d be playing this now, I’d be pretty chuffed. Absolutely. From an outsider’s perspective, how is the Julie Andrews 2016 version different from the 2008 version? Well, the 2008 production was directed by Stuart Maunder, and the costumes were by Roger Kirk. And this production is, of course, Julie Andrews’ production from 2016, which we’re recreating under the direction of Karen Johnson Mortimer. The sets and costumes are all different. The costumes are actually very closely modelled off the original costumes that Cecil Beaton designed for the 1956 production on Broadway. I will basically be wearing exactly what Julie Andrews wore in 1956, which is very cool. I had a costume fitting a couple of weeks ago, and afterwards, I was Googling Julie Andrews in all her costumes and fan-girling a little bit. The script in this and the score are the same, but the sets, costumes and direction will be different. ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/05/260423-My-Fair-Lady_S03_723-2-copy-446x628.jpg "My Fair Lady Opera Australia • The Scoop")Claire Lyon as Eliza Doolittle Photo by Benny CappSo exciting! I’d love to end our interview with some rapid-fire questions. We have a lot of musical theatre readers, and I’d love for them to get to know Claire Lyon a little bit better. All right, do I just say the first thing that comes to me? Yes! We’ll keep it nice and short. Go-to vocal warm up? Lip trills. Go-to audition song? ‘If I Loved You’ from *Carousel*. Cast album you have on repeat? Oh, *SIX.* Coffee before a show: yes or no? Not before a show. In the morning. Favourite post-show snack? I don’t really snack after a show. Dressing room must-have? A trundle bed to have a nap between shows. Guilty pleasure song? For me to sing or listen to? Up to you. Gosh. Maybe.. *I Could Have Danced All Night*. If not performing, what would you be doing? I’m going to say real estate. I’m obsessed with property. Dream city to perform in? Ohhh, Broadway. Of course. Dream role you haven’t played yet? Maybe Maria in *The Sound of Music*. One word to describe opening night? Whirlwind. Who is your biggest supporter? Two: my husband and my mother. If Eliza had Instagram, what would her bio say? Just a flower girl trying to make it big in London. And finally, if you could give some advice to somebody who was just starting out, what would you say? I would say try to add as many strings to your bow. The industry is so incredibly competitive, and there are so many talented people. If you can work on your craft and try to perfect as many things as you can, whether it’s your dancing, your singing, your acting, etc, having as many strings to your bow will give you the best chance. **Claire Lyon plays Eliza Doolittle in *My Fair Lady*, presented by Opera Australia and John Frost for Crossroads Live.** **It runs 12 September – 30 October at the Sydney Opera House and then runs at the Ian Potter State Theatre at Arts Centre Melbourne from 14 November.** Tickets for Sydney are available [here](https://myfairladythemusical.com.au/tickets/sydney/) and for Melbourne [here](https://myfairladythemusical.com.au/tickets/melbourne/). Website: <https://myfairladythemusical.com.au/> Socials: <https://www.instagram.com/myfairladyaus/> Socials: [https://www.instagram.com/claire\_lyon/](https://www.instagram.com/claire_lyon/) [Read more about My Fair Lady!](https://thescoop.au/announcing-cast-for-historic-my-fair-lady-sydney-melbourne-seasons/) Photo credits: Benny Capp **Categories:** Features --- ### [Review: Waitress Warms The Heart In A Sweet Australian Premiere](https://thescoop.au/review-waitress-warms-the-heart-in-a-sweet-australian-premiere/) **Published:** May 8, 2026 **Author:** Wendy Samantha **Content:** ★★★★★ ![The Scoop WAITRESS the Musical](https://thescoop.au/wp-content/uploads/2026/05/Gabriyel-Thomas-Natalie-Bassingthwaighte-and-Mackenzie-Dunn-in-WAITRESS-c-Jeff-Busby_3079_V2-942x628.jpg "WAITRESS the Musical • The Scoop")Melbourne, there’s a warm deliciousness that has drifted across our city and landed at Her Majesty’s Theatre, and it’s full of sugary delight and decadent lashings of whipped, creamy goodness. *Waitress the Musical* has hit the stage, with the Australian premiere filling the air in our hometown with a gorgeous appley-cinnamon toasting. This musical sensation, directed by Diane Paulus, is sugar, butter, flour and all heart. It has the makings of every good pie: crisp in all the right parts, a wholesome filling, and full of flavour built out of love. Based on the 2007 film, *Waitress* is set in a small southern town in the US and the story centres around Jenna (Natalie Bassingthwaighte) and her partners-in-pie Becky (Gabriyel Thomas) and Dawn (Mackenzie Dunn), who run the tables at Joe’s Pie Diner. Each of the girls has a story to tell, mostly because of the men in their lives. Jenna, who has a baby on the way, must choose a pathway for happiness. Mixed in with these ingredients are the unfortunate curdling mess of a volatile and controlling husband, Earl Hunterson (Keanu Gonzalez), a sudden mouth-watering romance with Doctor Pomatter (Rob Mills), and her comforting friendship with the deeply rich and wise owner of the diner, Joe (John Waters). There are also a few unexpected lumpy pockets that surface when cook Cal (John Xintavelonis) tries to smooth things over and keep the diner running as usual. A love interest for Dawn also rises in Ogie (Gareth Isaac), adding another burst of flavour! True to the human spirit, life’s battles and the daily grind to make ends meet, *Waitress* takes us on a journey of hope. Dusted with cheeky jokes and happy laughter, it focuses on the legacy of motherhood, choice and relationships, finding meaning in both action and consequence, and the wisdom that only time can teach us. ![The Scoop Waitress the Musical](https://thescoop.au/wp-content/uploads/2026/05/WAITRESS_3066-copy-942x628.jpg "Waitress the Musical • The Scoop")Natalie Bassingthwaighte is a key ingredient in what makes this musical such a success Photo by Jeff BusbyAn outstanding collection of creatives that have put together this winning production, and it is every bit deserving of a champion title in a bake-off. Playing Jenna, Natalie Bassingthwaighte is a key ingredient in what makes this musical such a success. She brings warmth and sweetness to Jenna’s kindness, while also delivering the spark and strength the role demands when courage takes centre stage. Bassingthwaighte’s vocals bloom through the theatre with a rich, golden warmth. Her portrayal of Jenna will draw heartfelt tears that remind you just how powerful human connection can be. Most of all, though, she leaves behind the lingering comfort of Mermaid Marshmallow Pie. Rob Mills brings an endearing awkwardness to Doctor Pomatter, making him impossible not to adore. He is the gentle, sugary dusting you can’t get enough of. All strawberries-and-chocolate sweetness, singing moments of magic, he embodies every bit of why we fall in love. As Joe, John Waters grounds the production like the base of the pie dish. His steady hand and whole heart are brilliantly uplifted with seasoned experience. His portrayal is clever, memorable, and a favourite of the audience. Gabriyel Thomas brings Becky to the stage with a bold, assured essence. She excels in this role in every way, with sublime energy and a tenderly glowing voice that completes the recipe beautifully. As Dawn, Mackenzie Dunn is all zest and tang; everything you want to savour. She leaves you hoping for seconds in all that she does, shining under the spotlights. ![The Scoop Waitress the Musical](https://thescoop.au/wp-content/uploads/2026/05/The-cast-of-WAITRESS-c-Jeff-Busby_1043-942x628.jpg "Waitress the Musical • The Scoop")This winning production is every bit deserving of a champion title in a bake off Photo by Jeff BusbyJohn Xintavelonis as Cal is all the good bits of a pie combined. A special delight, he adds to the fun, turning up the heat and providing the stir. Gareth Isaac as Ogie is the sprinkling of salt you didn’t know every pie needed. An indulgence you can’t resist, he excels in comedic timing, with intelligent articulation through every part of his performance. Elandrah Tavares as Nurse Norma is hilarious. She is the doctor’s assistant who serves up the wit and one-liners, plating this pie with seasoned perfection. By contrast, Keanu Gonzalez as Jenna’s husband Earl, is the butter knife that slices through all good pies. You will want to wash free of him because his performance comes with such strength, an emotionally abusive man who is constantly looking for selfish reassurance. The world of *Waitress* is also carefully built behind the scenes, with a strong technical team bringing its warmth and texture to life. Scott Pask’s scenic design captures the comforting, small-town diner setting with inviting detail. Suttirat Anne Larlarb’s costume design adds personality and charm to each character’s journey. Ken Billington’s lighting design gently shifts the emotional tone of the story, from soft intimacy to fuller, more expressive moments. Jonathan Deans’ sound design ensures every note, lyric and laugh lands with clarity and balance. Together, these elements quietly hold the production together like a perfectly baked crust. *Waitress The Musical* is a rich and heartfelt theatrical experience, layered with humour, warmth and beautifully human storytelling. With outstanding performances and emotional sincerity baked into every moment, this Australian premiere will leave the audience uplifted, comforted and smiling all the way home. Melbourne, you are in for a truly delicious treat! ***Waitress* *the Musical* runs to 8 July in Melbourne at Her Majesty’s Theatre. 219 Exhibition Street Melbourne Vic 3000.** It then runs in Sydney from 1 August 2026 at the Lyric Theatre. Get tickets for Melbourne [here](https://waitressthemusical.com.au/tickets/melbourne/) and tickets for Sydney [here](https://waitressthemusical.com.au/tickets/sydney/). Website: <https://waitressthemusical.com.au/> Socials: <https://www.instagram.com/waitressau/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Jeff Busby **Categories:** Melbourne, Musical Theatre --- ### [Opinion: Why Are We So Quick To Judge Who Gets To Be Jenna?](https://thescoop.au/opinion-why-are-we-so-quick-to-judge-who-gets-to-be-jenna/) **Published:** February 19, 2026 **Author:** Jacqui Moore **Content:** ![The Scoop Waitress the Musical](https://thescoop.au/wp-content/uploads/2026/05/WAITRESS_3066-copy-942x628.jpg "Waitress the Musical • The Scoop")Last week, the much-awaited lead cast of the Australian tour of *[Waitress](https://thescoop.au/announcing-principal-cast-for-waitress-the-musical/)* was announced. Across social media, disheartened fans have thrown shade on the decision to cast celeb Natalie Bassingthwaighte in the captivating lead role of Jenna. Concerns of Bassingthwaighte’s age, paired with accusations of her inability to do justice to the role vocally, appear to be the main cries. Many fans have been asking why younger theatre talent couldn’t be selected, as was celebrated online after the recent *[Heathers](https://thescoop.au/announcing-heathers-the-musical-cast-for-australian-tour/)* cast announcement. While casting decisions have always been highly subjective and polarising, is there a reason we, as theatregoers, tend to focus on the perceived negatives of casting choices over the positives? The masterpiece that is *Waitress*, based on the 2007 film of the same name, was released to Broadway audiences in 2016. The show made theatrical history as the first musical on Broadway in which the top four creatives – book writer (Jessie Neson), composer/lyricist (Sara Bareilles), director (Diane Paulus), and choreographer (Lorin Latarro) – were women. ![The Scoop Waitress Musical Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Waitress-banner-944x628.jpg "Waitress Musical Australia 2026 • The Scoop")Waitress the Musical opens in May in Melbourne before touring to Sydney in AugustThis celebration of powerful, creative, and artistic women didn’t stop there. Across its numerous seasons, *Waitress* has welcomed the nuanced and contrasting talents of Jessie Mueller, Desi Oakley, Katharine McPhee, and Lucie Jones in the title role. Sara Bareilles herself ended her stint in the role at age 41. Each casting choice has tended to bring new perspectives and previously unexplored emotional depths to the role. So why is it that we are so quick to discount another unique, powerhouse female talent from doing justice to the role of Jenna? Natalie Bassingthwaighte may, indeed, seem like a left-of-centre choice for Jenna. I, myself didn’t see it coming. But this *Neighbours*-bred, three-time-Logie-nominated songstress with [lead role experience](https://thescoop.au/review-shirley-valentine-a-remarkable-one-woman-show/) clearly knows what hard work and tenacity look like. From her work with the Rogue Traders, to co-authoring a book with her sister. From lead roles in *Jagged Little Pill*, *Chess*, and *Chicago*, to hosting *So You Think You Can Dance*. From judging and mentoring on *The X Factor*, to her role as mother, Nat Bass appears to have all of the ingredients to be an interesting, insightful, and innovative Jenna. ![The Scoop Waitress the Musical Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-11-at-72535-am-1007x628.png "Waitress the Musical Australia 2026 • The Scoop")Natalie Bassingthwaighte alongside co stars Gabriyel Thomas and Mackenzie Dunn Photo by Peter Brew BevanThroughout the worldwide runs of *Waitress*, creative teams have celebrated the fact that any and every woman could be Jenna and that this bittersweet story could be anybody’s story. Is it too difficult, then, to entertain that this could be the story of a 50-year-old woman? Perhaps instead of discounting Bassingthwaighte, we need to trust that she will bring her own fascinating perspectives and approaches to the role, adding individualised nuances and vocal techniques that perhaps haven’t appeared before. Her choices may not be to your taste – but isn’t that okay? Perhaps instead of expecting the worst, let’s set our sights on the fact that Bassingthwaighte might just bring a little bit of her own sugar, butter, and flour to this recipe. Perhaps we can have faith that Bassingthwaighte understands the gift of Jenna and that she will undoubtedly work to do justice to this stunning role. As fans, we’ve seen Jennas from different places and different walks of life. Why not Nat Bass, our Waitress from Wollongong? **WAITRESS premieres in Melbourne from 1 May 2026 at Her Majesty’s Theatre. 219 Exhibition Street Melbourne Vic 3000.** It runs in Sydney from 1 August 2026. Get tickets for Melbourne [here](https://waitressthemusical.com.au/tickets/melbourne/) and tickets for Sydney [here](https://waitressthemusical.com.au/tickets/sydney/). Website: <https://waitressthemusical.com.au/> Socials: <https://www.instagram.com/waitressau/> [Read our 2026 Guide to Musical Theatre](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image: Canadian production of WAITRESS. Photo by Marie-Andrée **Categories:** Features, News --- ### [Review: 84 Charing Cross Road Is A Love Letter To Books](https://thescoop.au/review-84-charing-cross-road-is-a-love-letter-to-books/) **Published:** May 7, 2026 **Author:** Jess Zlotnick **Content:** ★★★★★ ![The Scoop 84 Charing Cross Road Ensemble Theatre](https://thescoop.au/wp-content/uploads/2026/05/Erik-Thomson-and-Blazey-Best_ImageCredit_PrudenceUpton-3-942x628.jpg "84 Charing Cross Road Ensemble Theatre • The Scoop")*84 Charing Cross Road* charts the true story of the friendship between American writer, Helene Hanff, and the chief book buyer of British antique bookshop Marks & Co., Frank Doel. Presented by Ensemble Theatre, it’s a love letter to books, as charming and surprising as the real-life letters exchanged. Based on Hanff’s 1970 memoir, *84 Charing Cross Road* was first adapted for television in 1975. James Roose-Evans adapted the memoir for the Salisbury Playhouse UK in 1981. It has seen both a radio and film adaptation in the time since its publication. At the real 84 Charing Cross Road, London, there is now a memorial plaque acknowledging the site where Marks & Co. once was, though in a sad modern twist the premises are now home to a McDonalds. In *84 Charing Cross Road*, we’re transported to an era where messages moved slowly across oceans in airmail marked envelopes, and friendships could be forged through a mutual love of books and writing. Blazey Best sparkles with charisma and intelligence as Helene Hanff: her accent and mannerisms show remarkable skill, capturing the wit and grit of the author. Her delivery of Hanff’s love for words and writing crackles with natural comedy. Erik Thomson works patiently alongside Best, gently unfolding as a Frank Doel with real heart and vulnerability. His meticulous performance quietly surprises us, transforming from formality to warmth with every letter. ![The Scoop 84 Charing Cross Road Ensemble Theatre](https://thescoop.au/wp-content/uploads/2026/05/Blazey-Best-and-Angela-Mahlatjie_ImageCredit_PrudenceUpton_023-942x628.jpg "84 Charing Cross Road Ensemble Theatre • The Scoop")Mark Kilmurry has executed a masterclass in patient and confident storytelling Photo by Prudence UptonThe pair perfectly capture the nuances of the friendship between Hanff and Doel. Supporting performances from Katie Fitchett, Angela Mahlatjie, and Brian Meegan are memorable, without being distracting. Each brings a joy to their characters, with Mahlatjie displaying masterful command of comedy and emotion in key moments. Costuming by Nick Fry is practical and specific, conjuring the era with detail and grace. Character doubling is handled brilliantly with clear and memorable costume changes. Lighting by Matt Cox works in tactful conversation with set by also by Fry: the environmental lighting against frosted windows creates an evocative world inside the bookshop, while guiding us seamlessly through the passing years of the story. Fry’s set gently holds the world of Hanff’s New York apartment within the London bookshop of Marks & Co., while still loading up with texture and detail. The design captures the feeling of Hanff’s love for the bookshop, honouring how she might have imagined and described it over the years. ![The Scoop 84 Charing Cross Road Ensemble Theatre](https://thescoop.au/wp-content/uploads/2026/05/Katie-Fitchett-and-Brian-Meegan_ImageCredit_PrudenceUpton-942x628.jpg "84 Charing Cross Road Ensemble Theatre • The Scoop")The play honours the written words of the storys origin while forming genuine emotional bonds Photo by Prudence UptonCinematic score by Madeleine Picard punctuates moments of writing and reflection, without ever overplaying its hand. The music is delicate and tasteful, supporting moments of transition with the urgency and verve of typewriter and pen, while pulling back and showing real respect for silence in moments of emotional climax. The story beats grow slightly repetitive around the end of the first act but are delivered with earnestness in a sequence that highlights the impact of kindness to strangers. Even if it is a point repeated, it is a point worth making. Mark Kilmurry has executed a masterclass in patient and confident storytelling: on paper, a story told through letters could easily become an exercise in speaking without connecting. *84 Charing Cross Road* honours the written words of the story’s origin, while forming genuine emotional bonds for the audience to tap into, resulting in a genuinely moving climax and ending. It’s a true story worth seeing, performed with heart and humour, and a timely reminder that kindness has no borders of state or postage time. **84 Charing Cross Road runs to 13 June at Ensemble Theatre.** **78 McDougall Street Kirribilli NSW 2061.** Tickets: <https://www.ensemble.com.au/shows/84-charing-cross-road/> Website: <https://www.ensemble.com.au/> Socials: <https://www.instagram.com/ensembletheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Prudence Upton Watch the trailer here: **Categories:** Sydney, Theatre --- ### [Announcing Anthony LaPaglia To Return In Death Of A Salesman](https://thescoop.au/announcing-anthony-lapaglia-to-return-in-death-of-a-salesman/) **Published:** May 7, 2026 **Author:** Newsroom **Content:** ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia](https://thescoop.au/wp-content/uploads/2026/05/DEATH-OF-A-SALESMAN-photo-Jeff-Busby_2675-942x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia • The Scoop")Following triumphant seasons, five-star reviews and widespread acclaim in 2023-2024, GWB Entertainment and Andrew Henry Presents are proud to announce Arthur Miller’s timeless Pulitzer Prize-winning classic play ***Death of a Salesman*** will return to **Her Majesty’s Theatre, Melbourne** for a strictly limited two week season from **11 August**, before making its **Brisbane debut at QPAC** on **28 August**. Tickets are on sale now via [salesmanaustralia.com.au](http://salesmanaustralia.com.au/) Emmy®, Golden Globe® and Tony Award® winner **Anthony LaPaglia** will reprise his role as Willy Loman, for which he received a plethora of rave reviews for the Melbourne, Sydney and Perth seasons. LaPaglia’s portrayal of Willy Loman offers a once-in-a-lifetime opportunity to see this extraordinary actor at home in Australia in one of the most iconic plays of the 20th century. Anthony LaPaglia expressed his delight to be returning to the role of Willy Loman for an encore season at Her Majesty’s Theatre Melbourne where the production triumphed in 2023. **LaPaglia** said: “*Arthur Miller was the presiding genius of American theatre in the 20th century and Death of a Salesman arguably his finest achievement . I was lucky enough to meet and work with Arthur when I played Eddie Carbone in A View From the Bridge on Broadway in 1997 and feel a deep affinity for his work.* *The story of Willy Loman is simply one of the greatest roles ever written and remains timeless in its creation of the tragic unravelling of a man’s identity after years of neglecting his relationships and true self-fulfilment. You see the effect this has on his devoted wife and the shattered relationships with his sons.* *It also speaks profoundly to the American Dream. And, in many ways, foreshadows the dissolution of that dream in the 21st century. Even after 77-years this play, like all great classics, is as powerful and relevant as ever.”* *Death of a Salesman*, a gripping and emotional exploration of the American Dream and its consequences, has resonated with audiences for generations. With its profound themes and timeless relevance, Miller’s masterpiece continues to thrill audiences with its deep insights into the human psyche and its brilliant portrayal of our vulnerability, hope and despair. ![The Scoop DEATH OF A SALESMAN Anthony LaPaglia](https://thescoop.au/wp-content/uploads/2026/05/DEATH-OF-A-SALESMAN_2021_Anthony-LaPaglia-photo-Jeff-Busby-419x628.jpg "DEATH OF A SALESMAN Anthony LaPaglia • The Scoop")Anthony LaPaglia returns as Willy Loman Photo by Jeff BusbyDirected by legendary stage and screen director **Neil Armfield** (*Cloudstreet, The Diary of a Madman, The Secret River*), this celebrated production offers theatregoers an unparalleled opportunity to witness the power of live theatre in a transformative experience. **Armfield** said: *“When we developed this production of Arthur Miller’s great drama of the failure of the American Dream, Biden was in the White House. With the extraordinary Anthony LaPaglia at its heart, the success of our show gathered and extended. As the presidency changed, we were shocked at Miller’s prescience.* *And now, as the Trump administration seems on the verge of chaotic collapse, this great play is all the more alive and urgent. I’m thrilled to be joining this brilliant cast once again as we bring this dazzling work of human imagination to life*.*“* LaPaglia and Armfield will be joined by a stellar Australian cast, including Logie and Helpmann Award winner **Alison Whyte** reprising the role of Linda Loman, the complex and devoted wife of the failing salesman. **Josh Helman** (*Furiosa: A Mad Max Saga*) returns in his Green Room Award nominated performance as Willy’s tortured son Biff Loman, the golden boy who has descended into self-doubt and despair. **Ben O’Toole** also reprises his role as Biff’s feckless brother Happy. Producers Torben Brookman and Andrew Henry shared in the excitement of reviving the production after it was seen by over 90,000 people across Australia: *“This production of Death of a Salesman reaffirmed just how thrilling great theatre can be when it’s done at the highest level. Under Neil Armfield’s direction and led by towering performances from Anthony LaPaglia and Alison Whyte, audiences didn’t just respond, they were deeply moved. Bringing it back to Melbourne, and introducing it to Brisbane for the first time, feels less like a revival and more like continuing something truly special.”* ***Death of a Salesman* runs 11 – 22 August at Her Majesty’s Theatre Melbourne. It then runs 28 August – 6 September at the Lyric Theatre, QPAC.** Tickets for Melbourne are [here](https://premier.ticketek.com.au/shows/Show.aspx?sh=DOAS26) and Brisbane are [here](https://www.qpac.com.au/whats-on/2026/death-of-a-salesman). Website: <http://salesmanaustralia.com.au> Socials: <https://www.instagram.com/salesmanaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Jeff Busby **Categories:** News --- ### [Announcing Cast For The Addams Family At Hayes Theatre](https://thescoop.au/announcing-cast-for-the-addams-family-at-hayes-theatre/) **Published:** May 7, 2026 **Author:** Newsroom **Content:** ![The Scoop The Addams Family JRP Australia Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-07-at-110801-am-1141x628.png "The Addams Family JRP Australia Hayes Theatre Co • The Scoop")**Joshua Robson Productions** and their team behind the sell-out success of *The Producers* returns to conjure up another deliciously dark delight, bringing the Tony Award®-nominated global smash ***The Addams Family*** to Hayes Theatre Co from **11 July 2026**. Tickets are on sale now via [www.hayestheatre.com.au](http://www.hayestheatre.com.au/). At the heart of this gloriously gothic household stands Morticia Addams, embodied by double Helpmann Award–nominated triple threat **Erika Heynatz** (*Legally Blonde*, *Menopause the Musical*), whose elegance is as sharp as her wit. Opposite her, the ardently devoted Gomez Addams finds his match in acclaimed Filipino-Australian performer **Marcus Rivera** (*Miss Saigon*, *City of Angels*), promising a romance that burns as brightly as it does bizarrely. Emerging from the shadows, Wednesday Addams—the ultimate princess of darkness—will be brought chillingly to life by recent NIDA graduate **Jenny Guigayoma** (*Nine*, *Peter Pan*). Meanwhile, her delightfully devious younger brother Pugsley takes mischievous form in **Georgia Oom** (*Werkaholics*, *Footloose*), whose penchant for chaos keeps the household on edge. Hovering somewhere between the strange and the sublime, Uncle Fester will be ignited by the electrifying **Evan Lever** (*The Normal Heart*, *Muriel’s Wedding*), guiding the story with peculiar charm. Adding fuel to the family fire, **Deborah Galanos** (*The Boomkak Panto*, *Stop Girl*) unleashes her comic prowess as the unapologetically anarchic Grandmama. Towering—both in stature and presence—**Elliot Aitken** makes his professional debut as the ever-loyal, ever-lurking Lurch. In a delicious twist of fate, **Teagan Wouters** (*Bonnie & Clyde*, *The Wedding Singer*), who originated the role of Wednesday in the original Australian production, returns to the Addams universe as Alice Beineke—a woman on the brink of polite society collapse. Her tightly wound husband Mal Beineke will be played by **Rory O’Keeffe** (*HMS Pinafore*, *Playing Beatie Bow*). Their seemingly “normal” son Lucas—harbouring a secret of his own—comes to life through First Nations performer **Alexander Tye** (*Once on This Island*, *Footloose The Musical*). Completing this cryptic clan are the Addams ancestors, rising from beyond in the forms of **Mae Li Cowell, Nathan Fernandez, Jayden Prelc** and **Paloma Renouf**, with **Kayla Ingle-Olson** and **Joey Phyland** lurking in the wings as swings. ![The Scoop The Addams Family JRP Australia Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/Georgia-Oom-Evan-Lever-Marcus-Rivera-Jenny-Guigayoma-Erika-Heynatz-in-The-Addams-Family-c-James-Reiser-copy-419x628.jpg "The Addams Family JRP Australia Hayes Theatre Co • The Scoop")The Addams Family cast Photo by James ReiserWhen Wednesday Addams, the ultimate gothic outsider, falls for a perfectly “normal” boy, everything the Addams family holds dear is turned upside down. As the two families meet for one fateful evening, secrets are revealed, boundaries are tested, and chaos is delightfully unleashed. With an extraordinary original score and a story to die for, *The Addams Family* promises a wickedly entertaining night for audiences of all persuasions. Directed by Julia Robertson (*The Producers*, *Metropolis*), with musical supervision by Zara Stanton (*Dear Evan Hansen*, *In The Heights*) and choreography by Shannon Burns (*Gutenberg! The Musical*, *The Producers*), this bold new production will push boundaries and breathe new (after)life into a beloved classic. Director **Julia Robertson** said: *” Our version of The Addams Family will dive headfirst into why these characters have captivated us for decades, celebrating their boundless passion for life (and death), their wildly creative and expressive ways of communicating, and their fearless embrace of all things unique and darkly fascinating.* *We’re allowing the subconscious to take centre stage as emotion overrides logic and the ordinary transforms into something poetic, playful, and deeply human. The Addams don’t just live outside societal norms, they inhabit a reality entirely of their own making, shaped by ritual, instinct, and imagination.* *Inspired by the original artist, Charles Addams himself, our production will lean into striking composition; stylised, surprising, yet unmistakably Addams!* *I am so excited to unveil this extraordinary cast; an honest, dark, deliciously funny, and fiercely talented ensemble of storytellers ready to revel in the weird and wonderful world of The Addams Family.* *Each performer brings a thrilling breadth of experience and a bold individuality to these iconic roles, infusing them with fresh energy, unexpected nuance, and their own wickedly delightful flair. Audiences are in for something truly special!”* The unsettlingly enchanting musical comedy from Marshall Brickman and Rick Elice, writers of the multi award-winning hit musical Jersey Boys, with music and lyrics by Andrew Lippa, will haunt you in the most delightfully spooky way. ***The Addams Family* is presented by Joshua Robson Productions in association with Hayes Theatre Co. It runs from 11 July – 9 August at Hayes Theatre Co. 19 Greenknowe Avenue Potts Point NSW 2011.** Tickets: <https://hayestheatre.com.au/event/the-addams-family/> Website: <https://hayestheatre.com.au/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) and <https://www.instagram.com/jrpaustralia/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: James Reiser **Categories:** News --- ### [Review: Ordinary Days Celebrates The Enduring Power Of Connection](https://thescoop.au/review-ordinary-days-celebrates-the-enduring-power-of-connection/) **Published:** May 6, 2026 **Author:** Sophie Cornett **Content:** ★★★★★ ![The Scoop Ordinary Days Bold & Blunt Creative Flight Path Theatre](https://thescoop.au/wp-content/uploads/2026/05/DSC00400-2-942x628.jpg "Ordinary Days Bold & Blunt Creative Flight Path Theatre • The Scoop")As we go about our day, hundreds of people will pass us by, each with their own story. Most of the time, we will never learn it. But every so often, something happens that intertwines our story with theirs. Bold & Blunt Creative’s production of *Ordinary Days*, written by Adam Gwon, is a poignant exploration of how these moments of connection can change the course of our lives. The show follows the lives of four New Yorkers, Warren, Deb, Claire and Jason, on yet another ordinary day. As we follow them throughout this day, they reflect on the past they are coming from, the future they are working towards and the people that they share this journey with. Co-Directors Aidan O’Donnell and Jacob Macri have crafted a stunning production. The comedy and emotional depth throughout the story are beautifully balanced, and every moment has been thoughtfully planned and executed. The intimacy of the space and the way the performers engage with the audience ensure that every choice and connection is felt deeply. ![The Scoop Ordinary Days Bold & Blunt Creative Flight Path Theatre](https://thescoop.au/wp-content/uploads/2026/05/DSC00588-942x628.jpg "Ordinary Days Bold & Blunt Creative Flight Path Theatre • The Scoop")Every song carries the weight of the narrative Photo by Andrea MagpulongJoseph O’Reilly, as Musical Director, masterfully leads that cast through what is an incredible score. As a sung-through musical, every song carries the weight of the narrative, the character development and the emotional arcs of the story. This significance is beautifully captured throughout every moment of the show by the cast and O’Reilly on piano. Flight Path Theatre is the perfect setting for this story, and the set design by O’Donnell uses the space immaculately. The collages on the wall become part of the storytelling, changing with our characters, and the minimalist set truly spotlights their journey. Chuanie Luu’s lighting design perfectly accentuates this, changing seamlessly with the tone and perspective of each scene. Ethan Bourke and Chantal Elyse play the roles of Warren and Deb, who form an unlikely friendship despite their very different approaches to life. Bourke is absolutely phenomenal as Warren, embodying all the awkward charm of the character in his expression and physicality. He quickly becomes a focal point of the story, with his love of stories and connection becoming a catalyst for change in the lives of all the other players. ![The Scoop Ordinary Days Bold & Blunt Creative Flight Path Theatre](https://thescoop.au/wp-content/uploads/2026/05/DSC00194-942x628.jpg "Ordinary Days Bold & Blunt Creative Flight Path Theatre • The Scoop")The intimacy of the space ensures that every choice and connection is felt deeply Photo by Andrea MagpulongElyse perfectly captures the ambition of Deb’s character, and it is an absolute delight to witness her transformation throughout the story. The difference in her vocal and physical performance from the start to the end is the perfect embodiment of how she has been influenced by the unexpected connection with Warren. Jordan Berry and Lachlan Ceravolo perform as Claire and Jason, a couple embarking on the next stages of their relationship. It is made so clear throughout Ceravolo’s performance how much love and respect Jason holds for Claire. His performance is wonderful, showcasing an incredible commitment to his character, the journey he is on and his desire to share this with Claire Berry delivers a stunning performance as Claire. In every scene, you see not only her emotional reaction to the present, but the weight of her past and her struggle to embrace change. Her performance of *I’ll Be Here* is unbelievably beautiful. There wasn’t a single dry eye in the house by the end of the piece on opening night. *Ordinary Days* from Bold & Blunt Creative is a wonderful celebration and recognition of the subtle but enduring power of human connection. With a sold-out opening night AND second night, you only have a couple more chances to see this incredible show. Make sure you don’t miss it! ***Ordinary Days* is presented by Bold & Blunt Creative and runs to 9 May at Flight Path Theatre.** **9b/142 Addison Rd, Marrickville NSW 2204.** Tickets: <https://www.flightpaththeatre.org/whats-on/ordinary-days> Socials: <https://www.instagram.com/boldbluntcreative/> Socials: <https://www.instagram.com/flightpaththeatre/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Andrea Magpulong **Categories:** Musical Theatre, Sydney --- ### [Sarah Murr Sets Sail On Her Next Big Adventure](https://thescoop.au/sarah-murr-sets-sail-on-her-next-big-adventure/) **Published:** May 6, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Sarah Murr SIX the Musical](https://thescoop.au/wp-content/uploads/2026/05/SIX-AUSTRALIA-2026-27-Sarah-Murr-PIC-CREDIT-Cybele-Malinowski-copy-1047x628.jpeg "Sarah Murr SIX the Musical • The Scoop")After a sold-out extended season in 2025, Hayes Theatre Co will raise the Jolly Roger once again as they revive their acclaimed version of *[The Pirates of Penzance](https://thescoop.au/announcing-hayes-musical-the-pirates-of-penzance-for-foundry-theatre/),* opening next week at the Foundry Theatre*.* New recruit **Sarah Murr** joins the cast, and The Scoop sat down for a chat on Friday ahead of the season. Sarah gave an insight into what audiences can expect from this madcap production, and shares a bit about her musical theatre journey so far, including her incredible recent casting in *[SIX the Musical](https://thescoop.au/new-queens-casting-announced-six-the-musical-australia/)*. Read the full interview below. It has obviously been a very big week for you. Congratulations! Thank you so much. It’s been overwhelming, to be honest. It’s been nuts. I can imagine. We will touch on that in a little bit, but first, let’s talk about *Pirates*. Yes ma’am. It’s a production that has just five actors. Can you tell us about the show and where you sit within it? So basically, this version that Richard Carroll has made up, his adaptation is nuts. Think of it as the Iron Man Challenge for performers. Five performers taking on Gilbert and Sullivan like you’ve never seen it before. It is non-stop from the beginning to the end. I play multiple roles. I play Isabel, who’s one of the sisters. I play Barry, who’s become one of my favourites. He’s a pirate. And then many more. But we all play multiple roles, and it’s giving costume box on stage, like the audience is just in for a wild ride, I’m telling you now. It is chaotic in the best way. We just laugh every day. It’s been such a joy. ![The Scoop The Pirates of Penzance Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/HayesPirates-RehearsalRoom-52-942x628.jpg "The Pirates of Penzance Hayes Theatre Co • The Scoop")In rehearsal for The Pirates of Penzance Jessie Jay PhotographyIt is a really fun show, and perhaps one that some of the younger generation may not be familiar with, but has this one been given a bit of a modern overhaul? Yeah, Richard’s adaptation alongside Victoria Falconer’s musical arrangements are just so funny. When we did our first read-through the other week, I was laughing because the way that he has woven in things that are current, it just makes you laugh. It’s so good. *The Pirates of Penzance* is a classic in the musical theatre canon. But to have those little glittery drops of modernisation. It’s just so funny. This is not your first time working with the Hayes. Can you to tell us a bit about your history with the company? Yeah, so obviously, anyone in Sydney knows that the Hayes is just a little hub of brilliance. And I remember moving to Sydney and being like, I cannot wait to work there. The first time I worked with them, I was doing a production of *Lizzie*, which was a four-hander, and I was the offstage cover. And then I did *Bonnie and Clyde*, and also *Jekyll & Hyde* back-to-back. So I spent a lot of time in the Hayes. I love them very dearly. It’s nice to come back. But also, we’re doing it at the Foundry this time, which is so exciting. ![The Scoop The Pirates of Penzance Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/HayesPirates-RehearsalRoom-34-942x628.jpg "The Pirates of Penzance Hayes Theatre Co • The Scoop")The Pirates of Penzance in rehearsal Photo by Jessie Jay PhotographyTell us about the Foundry Theatre, because that’s a fairly new venue. Yes, if anyone has been to the Lyric Theatre, it’s basically the little nightclub sister theatre that’s just behind it. So you still come in through the main foyer of the Lyric, and then there’s this little hole in the wall. But I think it seats around 280, I believe, which is so exciting. We actually did our first walk-through of the space. And as you walk down the foyer into our theatre, it’s like those bars that are behind a telephone box or something. The minute you walk in, it’s an experience. I love that. You are a graduate of the Queensland Conservatorium, from 2015. My son recently graduated from their Acting course. We’re still here, based in Brisbane. I miss it so much. *Hadestown* didn’t go there, and I am desperate to come home. I do feel a bit of a soft spot for Con grads. I’d love to talk about the Con just for a sec. Was Lauren Jimmieson part of your cohort? She was in the year above me. Right. And was she in the first batch to graduate? The very first year was Kimmy Hodgson. And then the second year was Lauren Jimmieson and Georgina Hopson, and then the third year was me and Vidya Makan. ![The Scoop The Pirates of Penzance Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/05/HayesPirates-RehearsalRoom-159-942x628.jpeg "The Pirates of Penzance Hayes Theatre Co • The Scoop")Sarah Murr in rehearsals for The Pirates of Penzance Photo by Jessie Jay PhotographyAh, right. Is there anyone else from your cohort that our readers would know? Beautiful Emily Monsma. Tim Carroll. Jordan Malone was the year below that. There’s so many of us, we’ve just infiltrated everywhere. I’m also such a softie. I’m always like, Oh, you’re a Sabey baby? Great. I love it. I interviewed Lauren back in 2024 for *Elvis*, and she said something that stuck with me, which was: *What’s meant for you is easy*. I wondered if you wanted to speak to that? I just love that woman. I think sometimes, we have our hearts set on specific things, and it doesn’t work out for a reason. And as Lauren said, once you find it, it just makes sense. I felt that way when I went to the Con. When I was auditioning in 2012/2013, WAAPA and VCA and NIDA were the ones. The Con was still so new. When I got my acceptance there, I thought, you know what, I’m going to go. It’s in Queensland. My parents were happy about that, because I’m from Townsville originally. And the minute I got there, I was like, Oh, this is exactly where I’m supposed to be. And Paul Sabey, who is the head, I love that man dearly. I owe him so much for my training and how I operate as a performer in the industry now. But I think what Lauren said is perfect. Some doors shut, and that’s okay, because it means that that wasn’t for you. Something else is coming. ![The Scoop SIX AUSTRALIA 2026-27](https://thescoop.au/wp-content/uploads/2026/04/SIX-AUSTRALIA-2026-27-Cara-Bessey-Angela-Brischetto-Lorinda-May-Merrypor-Mia-Paris-Scalise-Kadesa-Honeyhill-Sarah-Murr-PIC-CREDIT-Cybele-Malinowski-copy-942x628.jpg "SIX AUSTRALIA 2026-27 • The Scoop")Sarah Murr with the 2026 SIX Queens Photo by Cybele MalinowskiYeah, exactly. That is a good segue into talking about *SIX*. Was that on your 2026 bingo card? (Laughs) I feel like in this industry, we never know what’s coming until that brief drops. But I had auditioned for it before. I’d gone for it three times. Oh, wow. So this was my third time, and it worked. But it’s interesting. The last times I went for it, I feel like I wasn’t as sure of myself. I’m 31 now. I know who I am. I know what I bring to a room. I just feel like it was the right timing for this to happen for me, and it just feels, I don’t know, very special. Yeah, absolutely. I noticed on your Instagram story, on the day that the news dropped, you wrote ‘from so many No’s to No Way.’ And I think it’s lovely to share that, because people just see the gloss. A hundred per cent. They don’t see the struggle. I wondered if you had anything to say about the grind, and about how for all the yeses, there are so many more no’s. Oh, a hundred per cent. I think, you know, it’s like the social media effect, where we see the highlights. I think there’s so much that we don’t see that goes into people’s every day. And not only is it getting no’s from shows, but sometimes we have to say no to things. It’s not aligning with who we are or where we want our trajectory to go. And that means, you know, I went and worked retail for eight months. Which is not where I want to be every day, but sometimes it’s just the hustle. So, I think, people forget that, all of us, every single person that steps into an audition room, we all have such different journeys. And sometimes it takes longer for others, and sometimes it’s quicker. And then sometimes you book a show like me. I booked *Les Mis* straight out of uni, like my graduating year, and then I didn’t get my next show for two and a half years. You just never know what your journey is going to be; it’s so different to everyone. You have to love it to stick around, because it’s not easy. ![The Scoop Sarah Murr](https://thescoop.au/wp-content/uploads/2026/05/Sarah-Murr-502x628.jpg "Sarah Murr • The Scoop")Sarah MurrThat is another excellent segue into my final question. You’ve just had this amazing casting. What would you say to someone who might feel like quitting or who isn’t sure about pursuing this dream? I would say, if you have that little creative beast in your stomach, something that you can’t explain, if it’s there, you owe it to yourself to follow it. Even if it feels hard. Because you can always come home. That’s what my mum always said to me. She said, Go and try it, and you can always come home. There’s no right or wrong, and it will be hard. That’s the thing. There are days when you cry, and there are days when you just don’t have any self-motivation. And self-motivation is the key to keep going. I think just pursue it. You just have to try. To try and to fail is to be human. So just go do it. I love that. Is there anything else that you wanted to share that we haven’t covered? Come see *Pirates*. I love musicals. I appreciate you calling. **Sarah can be seen in *The Pirates of Penzance*, presented by Hayes Theatre Co. It runs from 12 May – 7 June at Foundry Theatre, inside the Sydney Lyric, Pirrama Road Pyrmont** **NSW 2009.** Tickets: <https://www.foundrytheatre.com.au/the-pirates-of-penzance> Website: <https://hayestheatre.com.au/> Socials: <https://www.instagram.com/foundrytheatresydney/> and [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) Socials: <https://www.instagram.com/rrumharas/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image photo credit: Cybele Malinowski ![The Scoop The Pirates of Penzance Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/03/image001-1200x614.png "The Pirates of Penzance Hayes Theatre Co • The Scoop") **Categories:** Features --- ### [From Easy Street To Easy As Pie: Waitress Star Keanu Gonzalez On Playing Earl & Pushing His Craft](https://thescoop.au/from-easy-street-to-easy-as-pie-waitress-star-keanu-gonzalez-on-playing-earl-pushing-his-craft/) **Published:** May 4, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop WAITRESS Keanu Gonzalez](https://thescoop.au/wp-content/uploads/2026/05/WAITRESS_photo-Jeff-Busby_1318-942x628.webp "WAITRESS Keanu Gonzalez • The Scoop")The long awaited Australian premiere of ***Waitress*** is finally hitting the stage in Melbourne and it is already generating a lot of audience excitement. This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. Ahead of the official opening night this week, The Scoop sat down with **Keanu Gonzalez**, who plays Jenna’s husband, Earl. Keanu talks all things *Waitress*, including the joys and challenges of playing Earl, career highlights so far and what sort of pie he would be. Read the full interview below. Earl is a complex and confronting character. How have you approached finding the humanity in him without softening his impact? I think finding the humanity in Earl actually makes him more confronting, not less. Most people are not evil for the sake of it, so I try not to judge him. I focus on what he wants, what he fears, and how he justifies his behaviour. If I played him as a villain, it would feel one-dimensional. Letting his humanity come through makes his actions land in a much more unsettling and real way. ![The Scoop Keanu Gonzalez Waitress Musical](https://thescoop.au/wp-content/uploads/2026/05/PNC6142-236_LR-942x628.jpg "Keanu Gonzalez Waitress Musical • The Scoop")Keanu Gonzalez in rehearsal for Waitress the Musical Photo by Cameron GrantWhat has surprised you most about tackling *Waitress* as a show during rehearsals? I think what surprised me most is how prop-heavy it is for me. I assumed that because I am not in the dance numbers, I would not be juggling much, but it is the opposite. I am often handling multiple props at once, so it has been a real exercise in staying present and precise while still keeping the performance alive. You made your professional debut at just 16. Looking back, what stands out to you as turning points in your career so far? There have been a few real turning points for me. Playing Bernardo *in West Side Story* was my first lead role and a huge step in confidence. Then, going on as Alexander Hamilton in *Hamilton* was a massive moment, both in responsibility and scale. Being cast as Kenickie in *Grease* felt like another shift forward in my career. Singing the national anthem at the MCG for an AFL finals crowd of over 90,000 was also a standout, just in terms of the sheer scale and pressure. And now, playing Earl in *Waitress* feels like a different kind of turning point. It is pushing me into something more grounded and truthful as an actor, which has been really important for my growth. ![The Scoop Keanu Gonzalez Waitress Musical](https://thescoop.au/wp-content/uploads/2026/05/PNC6142-235_LR-941x628.jpg "_PNC6142-235_LR • The Scoop")Keanu Gonzalez in rehearsal for Waitress the Musical Photo by Cameron GrantIs there a role or style of work you’re still itching to tackle? Bucket list roles or shows perhaps? Playing Earl has really strengthened my passion for grounded and truthful work. I am drawn to characters that feel raw and human, where the stakes are real, and nothing is played on the surface. I would love to explore work like *The Outsiders*, and I am definitely keen to move further into television and film. That kind of storytelling really excites me because it demands a different level of intimacy and honesty as a performer. You and Mackenzie Dunn seem to keep finding yourselves in the same productions: *Grease*, *Annie* and now *Waitress*. Do you have a favourite memory from working together across those shows? And will we see another awesome crossover costume video on TikTok? There are honestly too many memories to pick just one. Across all those shows, we have had a lot of fun together and always found a way to make each other laugh, which has been really special. Sadly, no crossover costume video this time. We are not paired up in this show, and we do not even share a single line together, which is kind of wild considering our track record. But I would not rule it out in the future. ![The Scoop Keanu Gonzalez Waitress Musical](https://thescoop.au/wp-content/uploads/2026/05/Keanu-Gonzalez-419x628.jpeg "Keanu Gonzalez Waitress Musical • The Scoop")Keanu GonzalezWhat advice would you give to young performers coming out of training now and trying to find their footing? One of the biggest things I have learned is the importance of finding your people. This industry can feel uncertain at times, so having people around you who understand you, share your passions, and keep you grounded makes a huge difference. It is easy to feel like everything will fall into place once you book the next job, but it is the support of family, friends, and like-minded people that actually gives you the resilience to keep showing up. Surround yourself with people who inspire you and make you want to be better, because they are what will carry you through the long game. Finally, *Waitress* is all about pie. If you had to pick one pie that sums up your personality, what would it be and why? I’d be a salted honey and rosemary pie. Warm and sweet at first, but with a bit of an unexpected edge. I like exploring new things and pushing myself creatively, so there’s a slightly experimental side in there too, but it all comes back to connection and heart. **Keanu Gonzalez appears in** ***Waitress*, on now in Melbourne at Her Majesty’s Theatre. 219 Exhibition Street Melbourne Vic 3000.** It runs in Sydney from 1 August 2026 at the Lyric Theatre. Get tickets for Melbourne [here](https://waitressthemusical.com.au/tickets/melbourne/) and tickets for Sydney [here](https://waitressthemusical.com.au/tickets/sydney/). Website: <https://waitressthemusical.com.au/> Socials: <https://www.instagram.com/waitressau/> Socials: <https://www.instagram.com/keanugonzalez/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Cameron Grant ![The Scoop WAITRESS Musical 2026](https://thescoop.au/wp-content/uploads/2026/05/IMG_5591-633x628.jpg "WAITRESS Musical 2026 • The Scoop") **Categories:** Features --- ### [Review: Bernie Dieter’s Club Kabarett Makes Triumphant Return To Melbourne](https://thescoop.au/review-bernie-dieters-club-kabarett-makes-triumphant-return-to-melbourne/) **Published:** April 24, 2026 **Author:** Jessica Flynn **Content:** ★★★★★ ![The Scoop Bernie Dieter's Club Kabarett](https://thescoop.au/wp-content/uploads/2026/03/Bernie-Dieter-red-3-944x628.jpg "Bernie Dieter's Club Kabarett • The Scoop")From the moment you step into *Club Kabarett*’s sultry re-envisioning of Meat Market in North Melbourne, it’s clear this isn’t your typical night out at the theatre. Boys and girls, the sexy circus is in town! Prepare to be swept up, shaken about, and seduced into something a little more dangerous under the command of the self-proclaimed Mistress of Mayhem, Bernie Dieter. Bernie Dieter is a sultry force to be reckoned with as her powerhouse vocals guide the audience through a whirlwind of gravity-defying, intimate, and often jaw-dropping acts. Backed by a sensational live band, she becomes the thread to the story of *Club Kabarett*. There’s an effortless authority to her presence, equal parts chaotic and controlled, setting the tone that well and truly anything could happen. As you walk into the dimly lit room, the acts are already getting you warmed up. By the time the show starts, you’ve already laughed out loud, been a little worried you’re going to get called upon to participate and been absolutely gagged by the talent of this group. And things certainly heat up from here. Jacqueline Furey quite literally brings the fire, delivering a flame-filled spectacle that is as thrilling as it is genuinely nerve-wracking. Knife swallowing, fire breathing – it’s all undeniably HOT. ![The Scoop Bernie Dieter Club Kabarett](https://thescoop.au/wp-content/uploads/2026/04/Bernie-Dieter-Club-Kabarett-Soliana-944x628.jpg "Bernie Dieter Club Kabarett • The Scoop")For a couple of hours youre invited into a world that is bold bizarre seductive and unapologetic Image suppliedIt’s danger wrapped in glamour, and it’s impossible to look away. I also could not stop thinking about how one even discovers this talent…Furey is certainly braver and more bad a\*\* than I can even begin to imagine. The aerial and pole performances are nothing short of mesmerising. Jarred Dewey moves with a kind of strength and cool precision that makes the impossible look effortless. Melissa Lee delivers a suspension act that is, quite literally, hair-raising. I don’t think a single jaw in the audience was not dropped down on the floor. Then there’s Soliana Erse, whose act borders on the unbelievable. As someone who dabbles in yoga, I found myself briefly thinking, “Oh, I can kind of do that,” before she seamlessly folded into a position with her head between her thighs that made it very clear that no, I absolutely cannot. It’s awe-inspiring and a little unreal. A standout surprise comes from Caleb Cameron, who proves that tap dancing can, in fact, be deeply sensual. Carrying a certain *je ne sais quoi ,* smoking a cigarette while dancing is rhythmic, hypnotic, and unexpectedly sultry. A perfect example of how *Club Kabarett* delights in subverting expectations. Threaded throughout is the avant-garde presence of ‘tradie by day, drag queen by night’ Iva Rosebud, adding another layer of artistry and gorgeousness to an already stacked lineup. Rosebud’s costumes are absolutely dripping with luxuriousness (and of course, I mean the birthday suit). ![The Scoop Bernie Dieter's Club Kabarett](https://thescoop.au/wp-content/uploads/2026/03/Bernie-Dieter-live_130_DSC7281_250118_MatthewGedling83jpg-944x628.jpeg "Bernie Dieter's Club Kabarett • The Scoop")Prepare yourself to let go and be thrillingly entertained Photo by Matthew GedlingVisually, the show is just as impressive. The lighting creates a rich, atmospheric backdrop that shifts seamlessly with each act. As aforementioned, the live band is punk and electric as they perfectly timed themselves with each act, further adding complexity to the atmosphere. Together, sound and lighting enhance every moment without ever overshadowing the performers. Overall, *Club Kabarett* is more than a collection of acts; it’s an escape. For a couple of hours, you’re invited into a world that is bold, bizarre, seductive, and unapologetic. While the show has some overtly emotional political moments, it is also political simply in its existence. It revels in the freedom to embrace the wacky, the kooky and the beautifully diverse elements of being human; a reminder of how valuable that space is, and how important it is to protect it. Dieter urges us throughout the show to “take your skin off and dance,” and you realise that’s exactly what you’ve done. Prepare yourself to let go, lean in, and be thoroughly, thrillingly, titillatingly entertained by Bernie Dieter’s *Club Kabarett*. **Bernie Dieter’s Club Kabarett runs to 7 June 2026 at Meat Market. 3 Blackwood Street North Melbourne, Vic 3051.** Tickets: <https://clubkabarett.flicket.io/> Website: <https://meatmarket.org.au/event/club-kabarett/> Socials: <https://www.instagram.com/clubkabarett/> [Read our review of the Adelaide 2026 Fringe Season!](https://thescoop.au/review-bernie-dieters-club-kabarett-2026-adelaide-fringe/) Images supplied. **Categories:** Circus, Melbourne, Theatre --- ### [Film Review: The Talented Mr F 2026 German Film Festival](https://thescoop.au/film-review-the-talented-mr-f-2026-german-film-festival/) **Published:** May 5, 2026 **Author:** Alyssa Moller **Content:** ★★★☆☆ ![The Scoop The Talented Mr F German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/The-Talented-Mr-F_1-940x628.jpg "The Talented Mr F German Film Festival • The Scoop")*The Talented Mr* F is a German documentary that follows Berlin filmmakers, Julius Drost and Moritz Hennenberg, after their animated short film is stolen and submitted to festivals by an American, Samuel Felinton. Samuel receives critical acclaim from these festivals, multiple awards, and prize money, and gives interviews to local TV, while the films’ original creators watch online from across the globe. The title of this film is misleading. He’s not particularly talented, and the reference to *The Talented Mr Ripley* doesn’t quite apply to Mr F, or Samuel Felinton here. He’s not cunning, he’s not really charming. Spoiler alert: he’s an immature kid who had the full intention of getting away with stealing. The documentary tells the story of Julius and Moritz getting their film back, or at least it’s set up that way. The pair start by finding a lawyer who tells them how expensive and potentially futile going through the American legal system will be, so they pivot. The film takes an almost *Catfish*-style approach; all bravado and handheld camera, whilst they research Samuel and decide to confront him themselves. They set up the central premise: they will team up with an American filmmaker to pose as making a documentary about Samuel, through which they will see if he has any intention of admitting to his wrongdoing. ![The Scoop The Talented Mr F German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Talented-Mr-F-still-941x628.jpg "The Talented Mr F German Film Festival • The Scoop")The documentary tells the story of Julius and Moritz getting their film back or at least its set up that wayFor a film about confrontation, it takes a sympathetic approach, which contrasts strongly against the documentary style they’ve chosen. The handheld camera moments shot by Benedikt Hugendubel are the best; you get a real peek into the minds of the filmmakers to see how they’re feeling in real time. However, when they sit back down in the studio backdrop, that intimacy is taken away. It took me out of the world of the story, halting the action and pacing. It does divide the film partly. I think a voice-over only paired with the less structured video would have worked strongly in the story’s favour. The key subjects of the film, who are film school graduates, does help hide this, though. The somewhat rough-around-the-edges structure and pacing give the documentary a charm. With inherently endearing characters like our protagonists, and a story like this, it’s easy to want to root for them. Samuel is set up as the perfect villain. Yet the film pivots as it builds to its central ‘gotcha’ moment and softens. The filmmakers are incredibly empathetic towards Samuel and give him a lot of time to explain himself. They paint a portrait of what would bring someone to commit an act like this, allowing him space for redemption. ![The Scoop The Talented Mr F German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-05-at-31443-pm-1159x628.png "The Talented Mr F German Film Festival • The Scoop")A story like this opens a lot of discussions about ownership and creative originality in the digital ageI think this might frustrate a lot of viewers, but ultimately it’s a nicer side to this story. It shows that people do shitty things, especially when they’re young, but deserve the opportunity to grow. A story like this opens a lot of discussions about ownership and creative originality in the digital age, but at the same time, it focuses on forgiveness and keeping an open mind to someone’s circumstances. Ultimately, Julius and Moritz get the recognition they want, and Samuel takes accountability. *The Talented Mr F* is a sweet film, packaged as a revenge story and disguised as an exposé documentary. Although the structure wanders tonally from time to time, at the heart of *The Talented Mr F* is a captivating story full of charm. ***The Talented Mr F* screens from 6 May around Australia as part of the 2026 HSBC German Film Festival.** Tickets to *The Talented Mr F* are available [here](https://germanfilmfestival.com.au/films/ger26-the-talented-mr-f). Website: <https://germanfilmfestival.com.au/> Socials: <https://www.instagram.com/germanfilmfestival/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer at the link [here](https://mubi.com/it/films/the-talented-mr-f/trailer). ![The Scoop The Talented Mr F German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-05-at-31457-pm-1163x628.png "The Talented Mr F German Film Festival • The Scoop")**Film details:** Title: The Talented Mr F (*Der Talentierte Mr. F.* ) Director: Igor Plischke Cast: Moritz Henneberg, Julius Drost, Samuel Felinton Country of Origin: Germany Duration: 78 mins Rating: CTC 2026 German Film Festival Dates and Venues by City: **Sydney:** 6 – 27 May, Palace Norton Street, Palace Central, Palace Moore Park **Canberra:** 6 – 27 May, Palace Electric **Brisbane:** 6 – 27 May, Palace James St**,** Palace Barracks **Adelaide:** 6 – 27 May, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Perth:** 7 – 27 May, Luna Leederville, Luna on SX & Palace Raine Square **Byron Bay and Ballina:** 7 – 27 May, Palace Byron Bay, Ballina Fair Cinemas **Melbourne:** 8 – 27 May, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, The Kino, The Astor Theatre, Pentridge Cinema, Palace Penny Lane **Ballarat:** 8 – 27 May, Palace Regent Ballarat **Categories:** Film --- ### [Film Review: Head-On 2026 German Film Festival](https://thescoop.au/film-review-head-on-2026-german-film-festival/) **Published:** May 4, 2026 **Author:** Ronson Blake **Content:** ★★★★☆ ![The Scoop Head On German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Head-On_1.jpg "Head On German Film Festival • The Scoop")Written and directed by then 32-year-old Fatih Akin, *Head-On* (*Gegen die Wand*) was released in 2004 and is now showing at the HSBC German Film Festival as part of an Akin retrospective, [Spotlight on Akin](https://germanfilmfestival.com.au/films?categories=Spotlight+on+Fatih+Akin). It’s a story of the migrant experience, specifically the Turkish community in Hamburg, Germany. Akin, as a German citizen of Turkish immigrant parents, knows the territory well. *Head-On* is an uncompromising interrogation of the unmooring effects of parents’ self-selected exile on their German-born children. It’s also a love story. Cahit (Birol Ünel) is dishevelled, forty-ish and frequently drunk, caught in a violent spiral of despair and anger following the death of his wife. After deliberately crashing his car, Cahit’s life fatefully crosses with that of Sibel (Sibel Kekilli). Also suicidal, she’s trying to escape the overbearing and violent conservatism of her family and offers Cahit a marriage proposal. What she sees in Cahit that makes him a prospect for even a marriage of convenience is a mystery, but she is not looking for love. Sibel just wants an escape from the violent misogyny of a patriarchal society where ‘honour’ means a double standard that brutalises women. ![The Scoop Head-On German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-04-at-91833-pm-1034x628.png "Head-On German Film Festival • The Scoop")The fable here is rendered gritty and unsentimentally realTheir arrangement, though, becomes complicated. Cahit knows he is in love. Sibel is trying not to be, lest it deny her the freedom she desperately desires. She refuses to sleep with Cahit because it will cement their status as husband and wife, precluding extracurricular activities. It’s a combustible situation primed for ignition. It duly arrives with swift ferocity and changes the course of the narrative. *Head-On* spotlights the liminal space between cultures occupied by people like Cahit and Sibel, exposing how cultural constraints inform their behaviour as they search for emotional security. Cinematographer Rainer Klausmann’s hand-held camera infuses every scene with energy and surprising grace. Every character interaction is a step on a high wire. Of course, it helps that Kekilli and Ünel have a chemistry that simultaneously fizzes and pops and swoons with heartache. Kekilli is luminous, equal parts joy and desperation. Ünel is equally terrific as Cahit, his sad thousand-mile stare hinting at the turbulence whirling in his head. Akin has also woven a little autobiographical detail of his main actors into his screenplay that just enhances a film already oozing authenticity. ![The Scoop Head-On German Film Festival](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-04-at-91657-pm-967x628.png "Head-On German Film Festival • The Scoop")The hand held camera infuses every scene with energy and surprising graceThe film is mercifully not without humour. There’s a ‘meeting the family’ scene in which Cahit’s best friend Güven (Güven Kıraç) poses awkwardly as his uncle in order to convince Sibel’s family of Cahit’s worth as a prospective husband. In addition to being wryly funny, the scene cleverly exposes the generation and cultural gap. As does a later post-wedding scene where Cahit and Sibel forego food in enthusiastic favour of lines of coke. *Head-On* is also a fable of sorts. The siren call of the homeland is made flesh by a traditional six-piece-plus-singer Turkish ensemble who bookend the film with a lament for lost love. They also appear marking significant turns in the narrative, which may be a little overdone. Counterposing this traditionalism is a punk soundtrack that accompanies much of the action. Music proves to be both transportive and annihilating. The fable here is rendered gritty, and unsentimentally real. So, how does *Head-On* stack up after 20 or so years? Brilliantly. It remains an insightful and disturbing account of migrant experience, in turns brutal, tender and heartbreaking. The film doesn’t look for glossy resolutions; it’s violent but tantalisingly holding out hope. You’ll fall in love with the characters and with this film. ***Head-On* screens at select cinemas as part of the 2026 HSBC German Film Festival.** Tickets to *Head-On* are available [here](https://germanfilmfestival.com.au/session-times?movie=ger26-head-on). Website: <https://germanfilmfestival.com.au/> Socials: <https://www.instagram.com/germanfilmfestival/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Head On *(Gegen die Wand)* Director: Fatih Akin Cast: Birol Ünel, Sibel Kekilli, Catrin Striebeck, Meltem Cumbul, Ralph Misske, Güven Kıraç Country of Origin: Germany, Turkey Duration: 121 mins Rating: R 18+ 2026 German Film Festival Dates and Venues by City: **Sydney:** 6 – 27 May, Palace Norton Street, Palace Central, Palace Moore Park **Canberra:** 6 – 27 May, Palace Electric **Brisbane:** 6 – 27 May, Palace James St**,** Palace Barracks **Adelaide:** 6 – 27 May, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Perth:** 7 – 27 May, Luna Leederville, Luna on SX & Palace Raine Square **Byron Bay and Ballina:** 7 – 27 May, Palace Byron Bay, Ballina Fair Cinemas **Melbourne:** 8 – 27 May, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, The Kino, The Astor Theatre, Pentridge Cinema, Palace Penny Lane **Ballarat:** 8 – 27 May, Palace Regent Ballarat **Categories:** Film --- ### [Beetlejuice To Make Sydney Final Tour Stop In November](https://thescoop.au/beetlejuice-to-make-sydney-final-tour-stop-in-november/) **Published:** May 4, 2026 **Author:** Newsroom **Content:** ![The Scoop Beetlejuice Musical Melbourne Michael Cassel Group Karis Oka Eddie Perfect](https://thescoop.au/wp-content/uploads/2025/05/9-Beetlejuice-The-Musical-Australian-Production-Photo-by-Michelle-Grace-Hunder-copy-1082x628.jpg "Beetlejuice The Musical - Australian Production • The Scoop")Michael Cassel Group, Warner Bros. Theatre Ventures and Langley Park Productions announced today that the eight-time Tony Award-nominated hit musical **BEETLEJUICE THE MUSICAL** will conclude its national tour in Sydney. **BEETLEJUICE THE MUSICAL** will play the **Capitol Theatre, Sydney**, from **November 2026**, with tickets on sale this **Thursday 7 May**. **BEETLEJUICE THE MUSICAL** features music and lyrics by Australia’s own **Eddie Perfect** which earned him a Tony Award nomination. Speaking about the Sydney season, **Eddie** **Perfect** said: *“Sydney is a city that embraces big ideas and bold theatrical experiences. Beetlejuice is unapologetically outrageous, packed with heart, spectacle, and a healthy dose of anarchic comedy, and I know Sydney audiences will fall in love with this gloriously twisted world.”* Reprising his role as Beetlejuice, Broadway star **Andy Karl** said: “*Getting to step into the black-and-white striped suit is always a thrill, and I’m so excited to finally do it for Sydney audiences. Knowing this city will be the final stop on our Australian tour makes it even more special. This show will bring the laughter, the music and just the right amount of mayhem to one of the world’s great theatre cities.”* ![The Scoop Karis Oka Beetlejuice The Musical](https://thescoop.au/wp-content/uploads/2025/07/2-Beetlejuice-The-Musical-Australian-Production-Photo-by-Michelle-Grace-Hunder-copy-942x628.jpg "Karis Oka Beetlejuice The Musical • The Scoop")Karis Oka as Lydia Photo by Michelle Grace Hunder**BEETLEJUICE THE MUSICAL** tells the story of Lydia Deetz, a strange and unusual teenager obsessed with the whole “being dead thing.” Lucky for Lydia, her new house is haunted by a recently deceased couple and a degenerate demon with a thing for stripes. When Lydia calls on this ghost-with-the-most to scare away her insufferable parents, Beetlejuice comes up with the perfect plan, which involves exorcism, an adorable girl scout who gets scared out of her wits and a whole (nether)world of pandemonium. Producer **Michael Cassel** said: *“Wild, wicked and gloriously unexpected, Beetlejuice is coming to Sydney for what promises to be an unforgettable finale to our national tour. This is a bold, high‑octane production led by an extraordinary company. Audiences are in for one hell of a night at the theatre.”* **BEETLEJUICE THE MUSICAL** is directed by two-time Tony Award-winner **Alex Timbers** (*Moulin Rouge!,* original Broadway production of *Peter and the Starcatcher*). The original score is by Tony Award-nominee **Eddie Perfect** (*King Kong*). The book is by **Scott Brown** & Emmy Award nominee **Anthony King** (*Broad City*). Choreography is by **Connor Gallagher** (*The Robber Bridegroom*). Music supervision, orchestrations and incidental music is by **Kris Kukul** (*Joan of Arc: Into the Fire*). ![The Scoop Beetlejuice The Musical Perth](https://thescoop.au/wp-content/uploads/2026/02/5-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-copy-942x628.jpg "Beetlejuice The Musical Perth • The Scoop")Beetlejuice will make its final tour stop in Sydney Photo by Eugene Hyland**BEETLEJUICE THE MUSICAL** features scenic design by two-time Tony Award nominee **David Korins** (*Hamilton*), costume design by six-time Tony Award winner **William Ivey Long** (*The Producers*), lighting design by Tony Award winner **Kenneth Posner** (*Kinky Boots*), sound design by four-time Tony Award nominee **Peter Hylenski** (*Frozen*), and projection design by Drama Desk Award winner **Peter Nigrini** (*Dear Evan Hansen*). Puppet design is by Drama Desk Award winner **Michael Curry** (*The Lion King*), special effects design by **Jeremy Chernick** (*Harry Potter and the Cursed Child*), illusions by **Michael Weber** (*Forrest Gump*), hair and wig design by **Charles G. LaPointe** (*Hamilton*), make-up design by **Joe Dulude II** (*Wicked*), dance arrangements by **David Dabbon** and music producing by **Matt Stine**. **BEETLEJUICE THE MUSICAL** is based on the 1988 Academy Award-winning Geffen Company motion picture with story by **Michael McDowell** and **Larry Wilson**. The smash-hit comedy was directed by **Tim Burton**. **BEETLEJUICE THE MUSICAL will play in Sydney at the Capitol Theatre from November 2026.** Tickets on sale this Thursday. Tickets: <https://beetlejuicethemusical.com.au/tickets/sydney/> Website: <https://beetlejuicethemusical.com.au/> Socials: <https://www.instagram.com/beetlejuiceaus/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Eugene Hyalnd **Categories:** News --- ### [Film Review: You, Always Delivers Romance, Warmth & A Touch Of Home](https://thescoop.au/film-review-you-always-delivers-romance-warmth-a-touch-of-home/) **Published:** May 3, 2026 **Author:** Alex Thompson **Content:** ★★★★☆ ![The Scoop You, Always Feature Film Netflix Jaggi Entertainment](https://thescoop.au/wp-content/uploads/2026/05/YA-13-DF-1C5A7308-Enhanced-NR-copy-942x628.jpg "You, Always Feature Film Netflix Jaggi Entertainment • The Scoop")There’s something quietly charming about the film *You, Always*. In a landscape increasingly dominated by large-scale international productions, this is a heartfelt and proudly local Australian romantic comedy. Produced by Jaggi Entertainment, who continue to build a strong catalogue of accessible, audience-driven films, this release is another reminder that Australian productions still appeal when given the space to exist. Set against the stunning backdrop of Far North Queensland, *You, Always* follows Dr Jen Bell as she finds herself caught between two very different futures: a passionate, whirlwind romance with a visiting author and the steady, familiar love of her lifelong best friend. It’s a classic romantic premise which never leans too far into melodrama or manufactured conflict, instead focusing on emotional truth and recognisable human behaviour. Director Christine Luby brings a confident hand to the material. She understands the rhythm of the genre, when to let a moment breathe, when to inject humour, and when to hold back. The strength of *You, Always* lies in its ensemble. Jessica De Gouw anchors the film as Jen with a performance that is warm, open and vulnerable. She carries the emotional weight of the story without ever feeling overworked, making it easy for the audience to invest in her journey. You want her to be happy, and more importantly, you understand why she’s torn. Adrian Grenier’s Ethan offers a refreshing take on the best friend in love trope. There’s no forced masculinity or unnecessary bravado. Just a man quietly dealing with the aftermath of a failed marriage and struggling to recognise what’s been in front of him all along. His arc feels natural, and his chemistry with De Gouw is grounded in years of shared history rather than exaggerated romantic tension. ![The Scoop You, Always Feature Film Netflix Jaggi Entertainment](https://thescoop.au/wp-content/uploads/2026/05/YA-10-DF-1C5A3664-copy-941x628.jpg "You, Always Feature Film Netflix Jaggi Entertainment • The Scoop")You Always is a reminder that Australian productions still appeal when given the space to exist Photo by Jaggi EntertainmentDesmond Chiam’s Patrick is equally compelling, walking a fine line between charming and slightly too polished. Initially, he feels almost too perfect, perhaps missing an early signal to the audience that things might not be as ideal as they seem. But as the film progresses, he becomes more layered, and just as you begin to fully warm to him, the narrative shifts. It’s a clever piece of audience manipulation that reinforces the film’s central idea, that sometimes the right choice isn’t the most exciting one. Beyond the central trio, the supporting cast adds real texture. Adyn Kingi as Willy brings a likeable charm that doesn’t tip into caricature. Spencer McLaren’s Archer, Jen’s co-worker and close friend, adds charm and humour, bringing authenticity to the world and relationships. Aria Burton as Sophia delivers a performance that avoids the usual pitfalls of child roles; she is natural, sweet, and never overplayed. Yasmin Kassim as Matilda is fun-loving and plays an important role in Ethan’s journey. She helps him recognise what he has been missing. In the opening scene, Sebastien Skubala, playing Jaxtynn, sets the tone for the film’s humour. His broken banjo string moment is genuinely funny, and honestly, there’s enough there to justify a spin-off or at least more screen time in future projects. Visually, the film is a love letter to Far North Queensland. The ocean, the reef, and the rainforest are part of the story’s identity. The cinematography makes full use of the location, balancing intimate character moments with wide scenic shots that showcase the region’s natural beauty. ![The Scoop You, Always Feature Film Netflix Jaggi Entertainment](https://thescoop.au/wp-content/uploads/2026/05/YA-01-DF-1C5A5711-copy-942x628.jpg "You, Always Feature Film Netflix Jaggi Entertainment • The Scoop")The film succeeds by being sincere well crafted and proudly Australian Photo by Jaggi EntertainmentProduction design and costuming reinforce that sense of place. Everything feels lived in and authentic to the tropical lifestyle, from wardrobe choices to set details. Even small touches, like the choice of cars, including a Suzuki Jimny and an early 2000s Jeep TJ, add a layer of specificity that shows care and attention. The music, composed by Angela Little, complements the tone well, leaning into upbeat, tropical energy without overwhelming the story. It enhances the feeling of the film rather than trying to force emotion. The decision not to show certain dramatic beats, like the full breakdown of Jen and Patrick’s relationship, may divide some viewers, but it fits the film’s understated approach. Not everything needs to be spelled out. What stands out most, however, is what *You, Always* represents. This is a film that quietly argues for the importance of supporting Australian storytelling. Films like this show that local actors, writers, and crews are more than capable of delivering work that connects. One of the most memorable touches comes right at the end. During the closing credits, the cast and crew come together on screen, dancing and sharing a moment of joy. That sense of community carries through the film. Watching this on a quiet Queensland afternoon, it’s easy to feel like you’re exactly where you’re meant to be. It’s the kind of movie that doesn’t demand too much but gives plenty in return: a few laughs, a bit of emotion, and a genuine sense of comfort. Would I watch it again? Yes. And more importantly, I’d like to see more films like it being made. *You, Always* isn’t trying to reinvent the romantic comedy. It succeeds by being sincere, well-crafted, and proudly Australian. And right now, that feels more important than ever. ***You, Always* was released 1 May 2026 and is streaming now on Netflix.** Watch the film on [Netflix](https://www.netflix.com/au/title/81750000). Website: <https://www.jaggientertainment.com/you-always> Socials: [https://www.instagram.com/jaggi\_entertainment/](https://www.instagram.com/jaggi_entertainment/) [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: You, Always Director: Christine Luby Cast: Jessica De Gouw, Adrian Grenier, Desmond Chiam Country of Origin: Australia Duration: 93 mins Rating: M **Categories:** Film --- ### [Review: The Sapphires Sparkle In A Soulful Brisbane Premiere](https://thescoop.au/review-the-sapphires-sparkle-in-a-soulful-brisbane-premiere/) **Published:** May 2, 2026 **Author:** Sarah Skubala **Content:** ★★★★☆ ![The Scoop The Sapphires Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Ruby-Henaway-Aurora-Liddle-Christie-Taeg-Twist-and-Tehya-Makani-The-Sapphires-Queensland-Theatre-Company-Photo-by-David-Kelly-942x628.jpg "The Sapphires Queensland Theatre Company • The Scoop")There’s an immediate sparkle to *The Sapphires* that’s hard to resist! Directed by Wesley Enoch and presented by Queensland Theatre Company in a co-production with Canberra Theatre Centre, the Brisbane premiere production tells the story of four Yorta Yorta women who find their voice, and their fame, in the late 60s. Set against the backdrop of the Vietnam War and a changing Australia, the McCrae sisters have big voices and even bigger dreams. They’re spotted at St Kilda’s Tiki Club by smooth-talking talent scout Dave (Jack Bannister), who has an idea: take their sound to the troops in Vietnam. What follows is a dazzling and dangerous journey carrying real weight, with playwright Tony Briggs drawing on the true story of his mother. This production lands with extra heart, being dedicated to Dr Naomi Mayers OAM, an original Sapphire whose spirit still echoes through the story. The show opens with the classic Motown song *Heatwave*, sung by four young talents all making their Queensland Theatre debut: Taeg Twist, Ruby Henaway, Aurora Liddle-Christie, and Tehya Makani. The songs in *The Sapphires* are a mix of recognisable classics like *Respect*, and *Ain’t No Mountain High Enough*, and lesser-known hits like *Too Much For You,* and *People Can Make The World A Better Place*. This mix strikes the right balance, lending an air of both familiarity and freshness to the production. There’s a QR code on the inside back cover of the program that will lead to a full track listing – music nerds rejoice! There are some beautiful standout musical moments, including the traditional piece, *Ngarra Burra Ferra.* Sung in the Yorta Yorta language, it involves a telephone call and a first kiss. And James Brown’s anthems, *Get Up*, and *Say It Loud – I’m Black and I’m Proud* which had the entire opening night audience on their feet dancing. Props to the four-piece band, positioned on the stage-within-a-stage, led by musical director Nathaniel Andrew on Guitar. Featuring James Feagai on keys, Eli Badger on Bass, and Dimple Bani on Drums, they seamlessly dip in and out of the story as required. ![The Scoop The Sapphires Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Taeg-Twist-Aurora-Liddle-Christie-Ruby-Henaway-and-Tehya-Makani-The-Sapphires-Queensland-Theatre-Company-Photo-by-David-Kelly-942x628.jpg "The Sapphires Queensland Theatre Company • The Scoop")There are some beautiful standout musical moments including the traditional piece involving a telephone call Photo by David KellyThis is an empowering play, elevated by its songs and messages but *The Sapphires* is truly defined by the four formidable women it portrays. As Gail, Taeg Twist embodies the eldest sister and self-appointed leader with plenty of sass. She isn’t afraid of clashing with anyone who challenges her and delivers a powerhouse vocal performance to match. Aurora Liddle-Christie plays second-oldest sister Kay with warmth and charm. Her love story is endearing; her bond with the group feels genuine and her solo vocals are a standout. As the youngest, Julie, Tehya Makani deftly balances the humour of her character’s constant search for somewhere to vomit with the fear and fragility of a teenage pregnancy. A personal highlight is the confident, fun-loving Cynthia, played by Ruby Henaway. As the group’s free spirit, she delivers the comedy with effortless charm, completely winning over the audience. The four male cast members serve as both effective adversaries and seamless set-piece movers. Together, they keep the production’s pace brisk and energetic. Jack Bannister leans into the daggy charm of band manager Dave, complete with delightfully awkward dance moves. He more than holds his own opposite the feisty sisters, winning over Gail with a believable charisma. ![The Scoop The Sapphires Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Ruby-Henaway-Taeg-Twist-Tehya-Makani-and-Aurora-Liddle-Christie-2-The-Sapphires-Queensland-Theatre-Company-Photo-by-David-Kelly-942x628.jpg "The Sapphires Queensland Theatre Company • The Scoop")The McCrae sisters have big voices and even bigger dreams Photo by David KellyGarret Lyon draws big laughs as Jimmy, proving a perfect foil for Cynthia. He also doubles as a lively and engaging MC for the show’s opening and closing. As American soldier Robby, Cameron Leonard makes a strong impression, convincingly sweeping Kay off her feet. His upside-down scene is a particular highlight. Chris Nguyen is wholly convincing as Vietnamese teen Joe, blending cheeky humour with genuine pathos. His scenes even drew audible giggles from a young audience member, a testament to his charm. Richard Roberts’ simple and flexible set evokes the many locations in the story. It is enhanced by the clever props, including the trailer, which becomes a defining element. His costumes successfully evoke the era – I especially love the 60s casual sandals – with the crown jewel, of course, being the sparkling sapphire gowns. Ben Hughes’ lighting and Craig Wilkinson’s projected video designs add a clever touch of audiovisual mastery during key moments. There’s a joy to *The Sapphires* that stays with you, but so does its message. In today’s Australia, this story still matters. It speaks to culture, connection, and the power of being heard. Queensland Theatre Company’s production honours that beautifully, sending audiences home uplifted, reflective, and just a little bit nostalgic. ***The Sapphires* is presented by Queensland Theatre Company and Canberra Theatre Centre. It runs to 24 May at the Bille Brown Theatre. 78 Montague Road South Brisbane Qld 4101.** It then runs in [Canberra](https://canberratheatrecentre.com.au/show/the-sapphires-2026/) 30 May – 7 June. Tickets: <https://tickets.queenslandtheatre.com.au/events> Website: <https://queenslandtheatre.com.au/plays/the-sapphires> Socials: <https://www.instagram.com/qldtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: David Kelly **Categories:** Brisbane, Musical Theatre --- ### [Review: The Lion King Sees The Circle Of Life, Perfectly Staged](https://thescoop.au/review-the-lion-king-sees-the-circle-of-life-perfectly-staged/) **Published:** April 24, 2026 **Author:** Daniel Mercieca **Content:** ★★★★★ ![The Scoop The Lion King Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Aphiwe-Nyezi-as-Simba-The-Lion-King-c-Disney-Photo-by-Daniel-Boud-copy-985x628.jpg "The Lion King Musical Sydney • The Scoop")Ten years after it last played in Australia, *The Lion King* has returned to the Capitol Theatre, Sydney, bringing with it a new generation of theatregoers. A global phenomenon seen by more than 124 million people worldwide, the Disney musical continues to hold its place as one of the most beloved stage productions of all time. Opening night carried a sense of occasion. Families dotted the audience, many with children experiencing the show for the first time. There was a warm, celebratory energy that included a mix of anticipation, nostalgia and curiosity. Some of the guests leaned into the spirit of the night, dressed in leopard print or African-inspired attire, while others opted for classic opening night glamour. From our aisle seats in the stalls, my young son had a clear view of the stage. From the very first moments, that view became something much bigger. Julie Taymor’s staging immediately dissolves the boundary between audience and performance. As the opening notes of *Circle of Life* begin, performers flood the aisles, surrounding the audience and drawing us into the world of the show. It’s a clever and effective choice, one that transforms the experience into something immersive rather than observed. Led by Buyi Zama as Rafiki and a powerhouse ensemble, *Circle of Life* is nothing short of breathtaking. There’s a palpable shift in the room as the number builds. Anticipation gives way to awe as the stage fills with movement, colour and sound. For my son, it was a moment of pure wonder, and for me, it was a reminder of just how expertly this production knows how to announce itself. ![The Scoop The Lion King Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Lionesses-The-Lion-King-c-Disney-Photo-by-Daniel-Boud-copy-scaled-e1776999098562-943x628.jpg "The Lion King Musical Sydney • The Scoop")For younger audiences the visual storytelling is key Photo by Daniel BoudFrom there, the production rarely lets go. Conceived and directed by Julie Taymor, who also designed the costumes, masks and puppetry (with Michael Curry), the visual world of *The Lion King* remains extraordinary. The combination of Richard Hudson’s scenic design and Taymor’s now-iconic puppetry creates something that can best be described as a theatrical masterpiece. Animals emerge via a combination of intricate mechanisms and human movement. It’s a constant reminder of the craft yet still allows the Disney magic to take hold. For younger audiences, this visual storytelling is key. A detail in the costumes. A shift in the set. Or a piece of puppetry captures the imagination and keeps the experience engaging. That said, this is a show likely best enjoyed by kids aged 8 and up, as it is a full, two-act production that can push into late-night territory for very young ones. Musically, the show delivers exactly what audiences hope for. The score remains as powerful as ever, with numbers like *I Just Can’t Wait to Be King* lighting up the stage. On opening night, Dev Raval as Young Simba and Wilhemina Umeh-Nicholas as Young Nala brought a playful energy to their roles that stole the hearts of the audience. As the story deepens, so too does the emotional weight. Nick Afoa’s Mufasa brings strength and warmth, with *They Live In You* emerging as one of the production’s most heart-wrenching moments. Afoa’s bond with Raval as Young Simba was made all the more powerful to witness alongside my own young son. ![The Scoop The Lion King Musical Sydney](https://thescoop.au/wp-content/uploads/2026/04/Daniel-Frederiksen-as-Scar-Nick-Afoa-as-Mufasa-The-Lion-King-c-Disney-Photo-by-Daniel-Boud-1200x606.jpg "The Lion King Musical Sydney • The Scoop")The Lion King is epic and heartfelt with costumes and puppetry that continue to astonish Photo by Daniel BoudOf course, it wouldn’t be *The Lion King* without its humour. Jamie McGregor and Rutene Spooner as Timon and Pumbaa are faultless in their roles. They deliver show-stealing comic relief and a joyful, infectious *Hakuna Matata*. Their scenes provide a welcome shift in tone, balancing some of the darker elements of the story. As Scar, Daniel Frederiksen brings fantastic Disney villain charm to the stage. His *Be Prepared* is performed with a polished, controlled menace, leaning into sophistication rather than outright fear. That tonal balance is something the production, for the most part, gets right. While there are moments of genuine emotional intensity (the hyenas’ Act One scene actually made my son jump), they are offset with humour, spectacle and music in a way that keeps the experience accessible. It was especially thrilling to witness the audience’s audible reactions to key moments, particularly the transformation from Young Simba to Aphiwe Nyezi’s adult Simba. There’s a reason *The Lion King* has stood the test of time. It is epic and heartfelt, with costumes and puppetry that continue to astonish. The music remains iconic, and the staging captures imaginations from the very first moment. As the cast took their bows to a full standing ovation, the performance felt like the culmination of something shared: across the stage and across the generations watching. ***The Lion King* is presented by Disney Theatrical Group and** **runs to 4 October 2026 at the Capitol Theatre.** **13 Campbell St, Haymarket NSW 2000.** Tickets are [on sale now](https://thelionkingmusical.com.au/tickets/?city=sydney)! Website: <https://thelionkingmusical.com.au/> Socials: <https://www.instagram.com/thelionkingau/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Daniel Boud **Categories:** Musical Theatre, Sydney --- ### [Review: The Glass Menagerie Sees A Stunning Adaptation From MTC](https://thescoop.au/review-the-glass-menagerie-sees-a-stunning-adaptation-from-mtc/) **Published:** May 3, 2026 **Author:** Liz Baldwin **Content:** ★★★★★ ![The Scoop The Glass Menagerie Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Millie-Donaldson-Alison-Whyte-and-Tim-Draxl-Photo_-Pia-Johnson-copy-941x628.jpg "The Glass Menagerie Melbourne Theatre Company • The Scoop")What choices do we make when there are no good choices? Melbourne Theatre Company’s *The Glass Menagerie* is a moving exploration of three people bound and constrained on all sides – by family ties, by poverty’s strictures, and by society’s expectations. This production is a stunning contemporary adaptation of the play that catapulted Tennessee Williams to fame in 1944. The play, which draws heavily on Williams’ own life, centres on the tense dynamics of an indigent family in St Louis, Missouri, during the 1930s. Millie Donaldson plays Laura Wingfield, a quiet young woman with a disability. Browbeaten by life, her main interest is playing with her ‘glass menagerie’ – a collection of delicate glass animals. Without any gentleman callers and without success in secretarial college, her mother, Amanda Wingfield (Alison Whyte), fears Laura will face a precarious future. The family’s survival depends on Laura’s brother Tom’s (Tim Draxl) job at a shoe warehouse – pressure and tedium that he finds suffocating. The family is united by an undercurrent of desperation. But director Mark Wilson finds space to explore each character’s emotional terrain within the home’s tinderbox dynamics. ![The Scoop The Glass Menagerie Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Harry-McGee-Alison-Whyte-Tim-Draxl-and-Millie-Donaldson-Photo_-Pia-Johnson-copy-942x628.jpg "The Glass Menagerie Melbourne Theatre Company • The Scoop")This is a stunning contemporary adaptation of the play that catapulted Tennessee Williams to fame Photo by Pia JohnsonAlison Whyte walks the line between nostalgia and hysteria as a former Southern belle from a white plantation family. She reflects on the many paths – and suitors – not taken, while transmuting her anxiousness for the present into hectoring at her children. In each passing scene, we feel Amanda’s daily battle to overcome her distaste at the life she’s living and recommit to the practicalities of making it work. Millie Donaldson’s desperation as Laura is quieter in tone. Her almost-naive lack of vision for her own future seems to reflect a learned blindness, as life’s series of disappointments and discrimination has taught her to keep her eyes firmly earthward. That makes her fleeting glimmers of openness when Tom’s colleague Jim O’Connor comes to dinner even more poignant. Harry McGee plays O’Connor, the boy-next-door type who serves as a vessel for the family’s hopes. Tim Draxl is restless and ready to pounce as Tom Wingfield. His palpable disquiet helps to explain, even if not emotionally justify, his ultimate choice to carve his own life. And his brooding, watching presence as off-stage narrator speaks to the consequences of that choice, standing in for the haunted Tennessee Williams himself. ![The Scoop The Glass Menagerie Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/05/Milile-Donaldson-and-Alison-Whyte-Photo_-Pia-Johnson-copy-941x628.jpg "The Glass Menagerie Melbourne Theatre Company • The Scoop")Alison Whyte walks the line between nostalgia and hysteria as a former Southern belle Photo by Pia JohnsonWe, as the audience, are even complicit – applauding the fruits of Williams’ decision to pursue a creative life even as we feel deeply for the family he leaves behind. Wilson’s thoughtful interpretation is supported by a crack creative team. Geraldine Cook-Dafne’s work as voice and dialect coach is superb; the cast’s convincing drawls don’t slip throughout the entire two-hour run. Paul Lim’s lighting direction, particularly the use of candles, has the visual effect of a whispered secret. You lean in closer, wanting to catch every moment. And Kat Chan’s static three-room set helps build the sense of claustrophobia that ultimately repulses Tom from his home. The dirt that extends high up the white walls affronts the senses with a permanent reminder of the poverty from which there is no escape. *The Glass Menagerie* is a brilliant production from Melbourne Theatre Company that will satisfy Tennessee Williams fans and novices alike. ***The Glass Menagerie* is presented by Melbourne Theatre Company. It runs to 5 June at Southbank Theatre, The Sumner.** **140 Southbank Boulevard Southbank Vic 3006.** Tickets: <https://tickets.mtc.com.au/production/19783> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/the-glass-menagerie> Socials: <https://www.instagram.com/melbtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Pia Johnson **Categories:** Melbourne, Theatre --- ### [Review: 35MM A Musical Exhibition Makes Art From Life's Snapshots](https://thescoop.au/review-35mm-a-musical-exhibition-makes-art-from-lifes-snapshots/) **Published:** May 3, 2026 **Author:** Isabella Visser **Content:** ![The Scoop 35mm: A Musical Exhibition QAEMT Queensland Conservatorium](https://thescoop.au/wp-content/uploads/2026/05/QAEMT_35mm_453-web-942x628.jpg "35mm: A Musical Exhibition QAEMT Queensland Conservatorium • The Scoop")A celebration of memories and the cameras used to capture them, *35MM: A Musical Exhibition*, is a showcase of incredible talent. Brought to life by the third-year students at Griffith University’s Queensland Academy of Excellence in Musical Theatre (QAEMT), it’s an exciting collage of emotion. *35MM* is a multi-sensory musical anthology created by artistic duo Ryan Scott Oliver and Matthew Murphy. Each song is inspired by Murphy’s dynamic and vivid photographs, with the lyrics and music by Oliver being just as lively. A multimedia song cycle, *35MM: A Musical Exhibition,* doesn’t need a central plot to convey its key themes of love, death and finding identity. With each song, we see a small snippet into someone else’s life, their highs and lows, a partial piece of their story. Back in 2012, the original off-Broadway production had a mere five performers standing at fixed stand microphones on stage. This was a shocking discovery to this reviewer after seeing QAEMT’s intricate and energetic production featuring 20 cast members, advanced shadow work, complex choreography and many costume changes. Director Jason Klarwein and music director David Young have put together an enthralling production. Every song has been clearly well thought out; the success of their band and cast is a reflection of their genius. The mix of music genres comes together in a perfect collage that’ll keep audiences on their toes. You’ll never know if the next song will have you holding back tears or laughter. The live band plays on a podium in the centre of the stage with white fabric draped everywhere behind them. A moveable trolley projects images across the centre-stage entry with smaller podiums on each side for more intimate scenes. It’s a modest design that is integral to telling the story. ![The Scoop 35mm: A Musical Exhibition QAEMT Queensland Conservatorium](https://thescoop.au/wp-content/uploads/2026/05/QAEMT_35mm_401-web.jpg "35mm: A Musical Exhibition QAEMT Queensland Conservatorium • The Scoop")The production design is both beautiful and practical working in harmony with the mixed media projections and shadow work Photo by Kenn Wylchi Josh McIntosh’s production design is both beautiful and practical, working in harmony with the mixed media projections and shadow work from lighting designer Keith Clark. Dan Venz masterfully adds depth to each song with his choreography, showcasing the cast’s expertise. The combination of graceful solos, emotive duets and energetic group numbers is mesmerising. The cast of QAEMT students is exceptionally talented and an absolute joy to watch. This cohort amazed in their performance of *[Songs for a New World](https://thescoop.au/review-songs-for-a-new-world-queensland-academy-of-excellence-in-musical-theatre/)* last year, and have only grown better since. *On Monday* sees a fervent AJ Betts taking over the stage in this epic pop-rock melody. Giddily dancing like someone in love, Betts’s enthusiasm is infectious. A scene about a nanny looking after a nightmarish baby, *Caralee*, is an upbeat, humorous song that’ll make you feel guilty for laughing so hard. Harry Ince excels in this witty, fast-tempo performance. Priya Gill and Saul Kavenagh show seriously impressive vocal talent in *Make Me Happy*. They flawlessly utilise their voices to convey the shifting sentiments in the song. This leads into Caelan McCarthy and Sam Thomas’s heartening performance of *The Seraph*. A relatively simple song compared to the rest of the musical, they make the most of it with their profound sincerity. ![The Scoop 35mm: A Musical Exhibition QAEMT Queensland Conservatorium](https://thescoop.au/wp-content/uploads/2026/05/QAEMT_35mm_209-web-942x628.jpg "35mm: A Musical Exhibition QAEMT Queensland Conservatorium • The Scoop")*35MM A Musical Exhibition* is a reflection of life and art Photo by Kenn WylchiElla Wood leaves a lasting impression in her portrayal of Luanne, a domestic violence victim who’s fighting for freedom. She doesn’t even need to utter a word for everyone to feel the raw emotion in her acting and beautiful dancing. Singing the ballad, *Leave Luanne*, is the talented trio Sam Thomas, Saul Kavenagh and Ned Kelly who take on the roles of Southern underground figures. A full company rendition of *Mama Let Me In* is to follow, their stunning voices beautifully synchronising together. Lottie Smith and Ned Kelly perform the Twilight-esque, *Twisted Teeth*, in a whirlwind of hilarious unpredictability. It’s a theatrical retelling of a woman falling in love with a vampire, who’s much less loyal than Edward Cullen. *The Ballad of Sara Berry* is led by the majestic Alessia Charman with exuberant accompaniment from Addisyn Herndon and company. Charman brilliantly portrays the desperate ambitions of the wannabe prom queen. This song is also a highlight of the group choreography, with the full cast in perfect rhythm and matching each other’s high energy. A blend of music and imagery, *35MM: A Musical Exhibition* is a reflection of life and art. Experience the snapshots of other people’s memories in this musical that zooms in on the fun, sad and unexpected elements of everyday life. The Scoop doesn’t usually assign star ratings to student productions, but if it did, this one would receive 5 stars. The company at the Queensland Academy of Excellence in Musical Theatre are extraordinary and clearly have bright futures ahead of them. Don’t miss the chance to see them in *35MM: A Musical Exhibition* before it’s over in a flash. ***35mm: A Musical Exhibition* runs to 9 May 2026.** **Presented by the 3rd year Musical Theatre students at the Queensland Academy of Excellence in Musical Theatre (QAEMT), Griffith University. Cremorne Theatre, Queensland Performing Arts Centre (QPAC).** Tickets: <https://www.qpac.com.au/whats-on/2026/qcgu-35mm> Website: <https://www.griffith.edu.au/arts-education-law/queensland-academy-of-excellence-in-musical-theatre> Socials: [Socials: https://www.instagram.com/qaemt.griffithuni/](socials:%20https://www.instagram.com/qaemt.griffithuni/) [Read more of our Musical Theatre Reviews!](https://thescoop.au/musical-theatre-reviews/) Photo credits: Kenn Wylchi **Categories:** Brisbane, Musical Theatre --- ### [Announcing Beetlejuice The Musical For Adelaide](https://thescoop.au/announcing-beetlejuice-the-musical-for-adelaide/) **Published:** May 3, 2026 **Author:** Newsroom **Content:** ![The Scoop Beetlejuice The Musical Brisbane 2026 QPAC Andy Karl](https://thescoop.au/wp-content/uploads/2025/11/3-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-942x628.jpg "Beetlejuice The Musical Brisbane 2026 QPAC Andy Karl • The Scoop")Michael Cassel Group, Warner Bros. Theatre Ventures and Langley Park Productions announced today that the eight-time Tony Award-nominated hit musical **BEETLEJUICE THE MUSICAL** will play Adelaide in **October.** **BEETLEJUICE THE MUSICAL** will play the Festival Theatre, Adelaide Festival Centre from **10 October 2026**, with tickets on sale this **Thursday 7 May**. **BEETLEJUICE THE MUSICAL** features music and lyrics by Australia’s own **Eddie Perfect** which earned him a Tony Award nomination. Speaking about the Adelaide season, **Eddie** **Perfect** said: *“Beetlejuice is one of those shows that’s equal parts wild fun and unexpected heart, and I’m thrilled to bring it to Adelaide. I’ve always had a special connection to this city, it feels familiar and creatively fearless. Adelaide audiences have a deep appreciation for comedy, and a seasoned taste for quality musical theatre, so I can’t wait to share this wonderfully outrageous musical with you.”* Reprising his role as Beetlejuice, Broadway star **Andy Karl** said: *“Beetlejuice is one of the funniest, wildest shows I’ve ever had the joy of performing. I’ve heard so many great things about the incredible arts and festival scene in Adelaide, and now it’s time to stir up a little mischief together. I can’t wait to bring the chaos and comedy of Beetlejuice your way”* **BEETLEJUICE THE MUSICAL** tells the story of Lydia Deetz, a strange and unusual teenager obsessed with the whole “being dead thing.” Lucky for Lydia, her new house is haunted by a recently deceased couple and a degenerate demon with a thing for stripes. When Lydia calls on this ghost-with-the-most to scare away her insufferable parents, Beetlejuice comes up with the perfect plan, which involves exorcism, an adorable girl scout who gets scared out of her wits and a whole (nether)world of pandemonium. Producer **Michael Cassel** said: *“Adelaide audiences are going to fall hard for the chaos, humour and heart of Beetlejuice The Musical. It’s bold, unapologetic and gloriously entertaining — delivering the prestige of Broadway with a wickedly irreverent edge, powered by the brilliant music and lyrics of Eddie Perfect.”* ![The Scoop Beetlejuice Musical Melbourne Michael Cassel Group Karis Oka Eddie Perfect](https://thescoop.au/wp-content/uploads/2025/05/3-Beetlejuice-The-Musical-Australian-Production-Photo-by-Michelle-Grace-Hunder-copy-1087x628.jpg "Beetlejuice Musical Melbourne Michael Cassel Group Karis Oka Eddie Perfect • The Scoop")Beetlejuice the Musical is coming to Adelaide in October this year Photo by Eugene Hyland**BEETLEJUICE THE MUSICAL** is directed by two-time Tony Award-winner **Alex Timbers** (*Moulin Rouge!,* original Broadway production of *Peter and the Starcatcher*). The original score is by Tony Award-nominee **Eddie Perfect** (*King Kong*). The book is by **Scott Brown** & Emmy Award nominee **Anthony King** (*Broad City*). Choreography is by **Connor Gallagher** (*The Robber Bridegroom*). Music supervision, orchestrations and incidental music is by **Kris Kukul** (*Joan of Arc: Into the Fire*). **BEETLEJUICE THE MUSICAL** features scenic design by two-time Tony Award nominee **David Korins** (*Hamilton*), costume design by six-time Tony Award winner **William Ivey Long** (*The Producers*), lighting design by Tony Award winner **Kenneth Posner** (*Kinky Boots*), sound design by four-time Tony Award nominee **Peter Hylenski** (*Frozen*), and projection design by Drama Desk Award winner **Peter Nigrini** (*Dear Evan Hansen*). Puppet design is by Drama Desk Award winner **Michael Curry** (*The Lion King*), special effects design by **Jeremy Chernick** (*Harry Potter and the Cursed Child*), illusions by **Michael Weber** (*Forrest Gump*), hair and wig design by **Charles G. LaPointe** (*Hamilton*), make-up design by **Joe Dulude II** (*Wicked*), dance arrangements by **David Dabbon** and music producing by **Matt Stine**. **BEETLEJUICE THE MUSICAL** is based on the 1988 Academy Award-winning Geffen Company motion picture with story by **Michael McDowell** and **Larry Wilson**. The smash-hit comedy was directed by **Tim Burton**. **BEETLEJUICE THE MUSICAL will play at Adelaide Festival Theatre from 10 October 2026.** Tickets on sale this Thursday. Tickets: <https://beetlejuicethemusical.com.au/tickets/adelaide/> Website: <https://beetlejuicethemusical.com.au/> Socials: <https://www.instagram.com/beetlejuiceaus/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Eugene Hyland **Categories:** News --- ### [Review: Elastic Hearts Brings Joy Through Dance & The Music Of Sia](https://thescoop.au/review-elastic-hearts-brings-joy-through-dance-the-music-of-sia/) **Published:** May 1, 2026 **Author:** Sarah Skubala **Content:** ★★★★☆ ![The Scoop Queensland Ballet Elastic Hearts HOTA](https://thescoop.au/wp-content/uploads/2026/05/Queensland-Ballet-Elastic-Hearts-Photo-by-David-Kellly013A2063-946x628.jpg "Queensland Ballet Elastic Hearts HOTA • The Scoop")It is not uncommon in our country’s thriving theatre scene to have multiple shows opening over the same weekend. Such is the case in Brisbane right now, with at least five shows plus a festival hitting the stages over the next few days. One offering that should not be overlooked is *Elastic Hearts*, presented by Queensland Ballet (QB) and HOTA, Home of the Arts. In 2025, QB and HOTA announced a landmark three-year partnership and the creation of three music-led world premieres. The first collaboration, *Elastic Hearts,* premiered in November at HOTA on the Gold Coast. It now returns at QB’s home in Brisbane as part of its 2026 season. An announcement for the second production is not too far away. *Elastic Hearts* features the music and vocals of global pop icon Sia, reimagined with cinematic power by Elliott Wheeler in a recorded score by the Queensland Symphony Orchestra. Director and choreographer Garry Stewart has drawn on ballet and contemporary dance techniques to find original and fresh new dimensions in the QB company’s artistry. The result is an exhilarating production exploring nature, creativity and resilience. ![The Scoop Queensland Ballet - Elastic Hearts at HOTA](https://thescoop.au/wp-content/uploads/2026/05/Queensland-Ballet-Elastic-Hearts-Photo-by-David-Kellly013A1510-946x628.jpg "Queensland Ballet - Elastic Hearts at HOTA • The Scoop")Fusing the music of Sia and dance feels like a logical next step Photo by David KellyAny fan will understand that fusing Sia’s music with dance feels like a logical next step. Over the years, *Dance Moms* star Maddie Ziegler appeared in multiple music videos, most notably *Chandelier* and *Elastic Heart*. Emulating Sia’s hair with a platinum wig, Ziegler brought her frenetic and expressive dance moves to the videos and started a long-standing professional partnership with the singer. Here, a company of 17 dancers do something similar, all wearing the iconic blonde wig (including the male dancers), and matching silky, almost ninja-style outfits of red and fuchsia, all designed by Charles Davis. Overseeing the company is ‘Gaia,’ a commanding figure played by Georgia Swan who wears a goddess-like costume that feels like it has been pulled from another world. The work kicks off with a remix of *Cheap Thrills*, and the dancers use the multi-levelled, curving sloped stage as an actual slippery dip. It is a joyously special start. The cheeky dancers are beaming, and it is always great to see classically trained professionals cutting loose in a style other than traditional ballet. Stewart’s choreography is strong and visually engaging. Rarely is there a moment to take a breath in the one-hour work. Speaking of breath, one segment sees a group of dancers moving, in complete silence, with just their emphasised breaths to keep the rhythm. ![The Scoop Queensland Ballet - Elastic Hearts at HOTA](https://thescoop.au/wp-content/uploads/2026/05/Queensland-Ballet-Elastic-Hearts-Photo-by-David-Kellly013A1979-946x628.jpg "Queensland Ballet - Elastic Hearts at HOTA • The Scoop")Chandelier is an emotional highlight of the piece Photo by David KellyThe dancers’ athleticism is impressive; their formations are mesmerising, and each transition flows effortlessly into the next. It is incredibly hard to single out individual dancers when they are dressed exactly the same. At least one dancer was having the time of her life though – her joy was infectious to watch. The orchestral adaptations work exceptionally well. The decision to pepper Sia’s raw and powerful vocals in strategic moments throughout is most effective. There’s no track listing in the program, but music nerds will detect *Unstoppable*, *Titanium*, *The Greatest* and also one of her earlier breakout hits, *Breathe Me*. The title song, *Elastic Heart*, is naturally featured and recurs in motifs throughout the piece. But it is *Chandelier* that is the emotional highlight, which sees five dancers swinging from, well, you know. It is an overwhelmingly joyous moment. By the time *Elastic Hearts* comes to a close, we are not ready to say goodbye. But we are grateful for the journey. Queensland Ballet continues to deliver daring new work that looks beyond the conventions of the art form. Its partnership with HOTA promises a future to get excited about. ***Elastic Hearts is presented by*** **Queensland Ballet and HOTA, Home of the Arts. It runs to 9 May at the Talbot Theatre. Thomas Dixon Centre, 406 Montague Road West End Qld 4101.** Tickets: <https://purchase.queenslandballet.com.au/overview/3408> Website: <https://www.queenslandballet.com.au/performances/2026/elastic-hearts> Socials: [Socials: https://www.instagram.com/hotagc/](socials:%20https://www.instagram.com/hotagc/) and <https://www.instagram.com/qldballet/> [Read more about Elastic Hearts](https://thescoop.au/queensland-ballet-and-hota-forge-bold-new-partnership-with-exclusive-world-premiere-of-elastic-hearts/) Photo credits: David Kelly **Categories:** Brisbane, Dance --- ### [Film Review: The Devil Wears Prada 2 Sees Couture Meet A New Media Reality](https://thescoop.au/film-review-the-devil-wears-prada-2-sees-couture-meet-a-new-media-reality/) **Published:** May 1, 2026 **Author:** Isabella Visser **Content:** ★★★½ ![The Scoop The Devil Wears Prada 2](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-31-at-90407-pm-967x628.png "The Devil Wears Prada 2 • The Scoop")With movie sequels trending in Hollywood, there’s nothing more stylish than bringing back a fan favourite. *The Devil Wears Prada 2* does exactly this, decked out with stunning fashions, celebrity cameos, pop music, and talented actors. It’s unsurprising that it’s been so highly anticipated. According to *Forbes*, *The Devil Wears Prada 2* trailer, released last November, broke a 15-year-old record for the most viewed comedy trailer. It was so popular that within 24 hours of its release, it had been watched 181.5 million times. While there’s currently a mass production of film sequels and revivals that are clearly cheap cash grabs at replicating a perfect original, *The Devil Wears Prada 2* holds its own. The original film,*The Devil Wears Prada,* came out in 2006 to much critical acclaim and high public praise, and is generally considered a staple in the comedy-drama genre. Its leading actors have gone on to have iconic careers. The film was an adaptation of Lauren Weisberger’s book, which is widely rumoured to be inspired by her experience as Vogue editor Anna Wintour’s junior assistant. For the uninitiated, the story follows Andy Sachs (Anne Hathaway) as she works a highly demanding job as second assistant to *Runway* magazine editor Miranda Priestly (Meryl Streep). It’s only when Andy trades in her inexpensive clothes and embraces designer fashion that she becomes more confident in her new job. Yet when Andy replaces first assistant, Emily (Emily Blunt), on the Paris trip, she realises that she’s become the mean-spirited girl she once ridiculed. In the end, Andy gives up the competitive and cut-throat world of fashion to follow her dream as a journalist. Now, 20 years after the original, *The Devil Wears Prada 2* picks up in a declining media landscape, where social media reigns over magazines and newspapers. ![The Scoop The Devil Wears Prada 2](https://thescoop.au/wp-content/uploads/2026/05/TDWP2-Emily-scaled-e1777599479246-1138x628.jpg "The Devil Wears Prada 2 • The Scoop")The fashion is still on full display with all the characters dressed to the nines in iconic designer clothesMiranda Priestly is still editor of *Runway* but is facing serious public backlash, declining readership, and a fierce rivalry with her former assistant, Emily Charlton. Recently unemployed and facing unexpected popularity on social media, Andy Sachs accepts an offer from *Runway* to head up its features department and help improve its public perception. The movie steps back from the world of fashion and puts its laser focus on critiquing the changing media landscape. It poses the question: how do important journalistic pieces break through amongst the advertisements needed to fund them? The fashion is still on full display with all the characters dressed to the nines in iconic designer clothes. Miranda radiates glamour and prestige in her Balenciaga red silk taffeta ball gown when attending a Spring Florals-themed event at the Metropolitan Museum of Art. While costume designer Molly Rogers excels with the fabulous formal looks, the workwear is more of a mixed bag. Considering how quickly Andy was pressured out of tacky clothes in the first film, it was surprising to see some of *Runway*’s staff wearing casual clothes like jeans. Possibly just their take on modern office wear, it will be interesting to see if the fashion ages as well as the first film. The return of producer Wendy Finerman, director David Frankel and screenwriter Aline Brosh McKenna helps to make the sequel feel like the original. Their combined creative genius ensures that the film is not just a throwaway tribute act but has a real storyline that can stand on its own with a handful of nostalgia-filled references. Anne Hathaway steps back into the role of Andy like she never took off the stilettos. She plays the quirky millennial archetype that she always seems to fit into well with an abundance of enthusiasm. Her ability to play up Andy’s awkwardness is incredibly funny and a highlight of some scenes. ![The Scoop The Devil Wears Prada 2](https://thescoop.au/wp-content/uploads/2026/05/Screenshot-2026-05-01-at-114137-am-941x628.png "The Devil Wears Prada 2 • The Scoop")Its a thrill to see this all star cast reunite and strut back onto the big screen Photo 20th Century Fox AU NZEmily Blunt takes on a bigger role as the head of Dior and is thrilled to have power over Miranda. Showing more of a mean streak and fuelled by vengeance, Blunt still incorporates the character’s signature outlandish attitude to much laughter. Miranda, though, is a devil with a hell of a lot less bite. In the original, a cold glance or purse of the lips was enough to ruin someone’s entire self-esteem. Here, Meryl Streep plays her meanness more directly, with insults and arguments rather than subtle judgment. The sequel also shows a more vulnerable and kinder side to Miranda, which Streep’s ingenious emotional depth executes perfectly. While Miranda is no longer the devil we all loved to hate, she is an admirably ambitious role model. Stanley Tucci returns as the stylish but less camp Nigel, who’s lost some of his ambitious spark having stayed at *Runway* for so long. Tucci’s portrayal comes across as more resigned but happy, as he takes on a mentor-like role to Andy. There’s a host of new cast members, too, who have very little to do with the plot. The incredibly talented Simone Ashley is underutilised as Miranda’s stylish and confident first assistant. She amazes with the very few lines she’s given. It’s a thrill to see this all-star cast reunite and strut back onto the big screen. *The Devil Wears Prada 2* is a celebration of fierce fashions and complicated characters, and is a nostalgia-induced chick-flick to go head over heels about. **THE DEVIL WEARS PRADA 2 is on now in cinemas nationally. This reviewer attended the film at Dendy Cinemas Coorparoo in Brisbane.** Tickets and session times at Dendy are available at the link below: Website: <https://coorparoo.dendy.com.au/movie/the-devil-wears-prada-2/> Socials: <https://www.instagram.com/dendy.au/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Devil Wears Prada 2 Director: David Frankel Cast: Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci Country of Origin: USA Duration: 122 mins **Categories:** Film --- ### [Announcing Cast For Stella: A New Australian Musical](https://thescoop.au/announcing-cast-for-stella-a-new-australian-musical/) **Published:** April 30, 2026 **Author:** Newsroom **Content:** ![The Scoop Stella A New Australian Musical](https://thescoop.au/wp-content/uploads/2026/04/Kaya-Byrne-Johanna-Allen-Geraldine-Hakewill-Joe-Kosky-Shubshri-Kandiah-phtoto-credit-Benny-Capp-2-885x628.jpeg "Stella A New Australian Musical • The Scoop")The world premiere of ***STELLA*** has unveiled its cast, bringing together a powerhouse line-up of Australian stage and screen talent to tell the remarkable story of Miles Franklin. The production features **Geraldine Hakewill** (*Ms Fisher’s Modern Murder Mysteries, Wakefield, Wanted*), **Johanna Allen** (*Phantom of the Opera*, *The Sound of Music, Sweeney Todd*), **Shubshri Kandiah** (*Cinderella*, *Aladdin*, *Fangirls, Beauty and the Beast*), **Joe Kosky** (*Play That Goes Wrong, School of Rock, Kinky Boots*) and **Kaya Byrne** (*Come From Away*, *A Christmas Carol*, *Groundhog Day The Musical*). ***STELLA*** will debut at Monash University’s Alexander Theatre from **12 – 20 June** for a strictly limited season. Literary icon Miles Franklin’s life, marked by poverty, entrenched sexism, personal loss and the upheaval of two world wars, has until now been overshadowed by the attention on her debut novel *My Brilliant Career* and the literary awards that carry her name – the Miles Franklin Award and The Stella Prize. Seven years in the making, this new production draws on Franklin’s sharp, witty and distinctive voice, weaving her own words into the piece, balancing humour and heart. A genre-spanning score moves from Australian and Irish folk and bush ballads through to salsa, neo-classical, pop, punk rock and classic musical theatre, capturing the energy, resilience and adventurous spirit of one of Australia’s most iconic literary figures. ![The Scoop Stella A New Australian Musical](https://thescoop.au/wp-content/uploads/2026/04/Stella-pic.jpg "Stella A New Australian Musical • The Scoop")Stella A New Australian Musical will debut in Melbourne for a strictly limited seasonIn keeping with Stella Miles Franklin’s own creative ethos of making art with limited resources, a cast of five never leaves the stage, bringing Stella’s epic life journey to life through multiple character and costume changes. Seven live musicians will also accompany the action, their on-stage presence adding to the sense of the work unfolding in real time. Director Julia Robertson leads the creative team, alongside musical director **Vicky Jacobs** and book writer, composer and lyricist **Monique diMattina**. Set design by **Nick Fry**, costume by **Isla Shaw,** sound by **David Letch** and lighting by **Sidney Younger**. Together, they bring the extraordinary life of Stella Miles Franklin to the stage. **Monique diMattina** said: “*There is so much inspiration, pride and joy for us in Stella’s story, yet most people know nothing about Stella’s life. Stella Miles Franklin left us so much in her extraordinary body of work – novels, plays and thousands of personal letters and diary entries. Stella has been a juicy companion over the seven years I’ve spent creating this musical. She is witty, courageous, loveable and edgy.”* Director **Julia Robertson** said: *“We are so fortunate to be working with a cast of exceptional calibre. Together, this ensemble will embody the epic sweep of a forty-year journey, bringing scale, versatility and emotional truth to every note of diMattina’s sophisticated score.”* The world premiere of ***STELLA*** is included on the VCE Theatre Studies curriculum, making it a valuable opportunity for students to experience a new Australian work inspired by one of the country’s most influential literary voices. ***STELLA: A New Australian Musical*** **runs 12 – 20 June 2026 at Alexander Theatre. The Ian Potter Centre of Performing Arts, Monash University, Clayton Vic 3168.** Tickets: <https://mpac.monash.edu/event/stella> Website: <https://stellathemusical.com/> Socials: <https://www.instagram.com/stellathemusical/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Benny Capp **Categories:** News --- ### [Review: Which Way Home Yirra Yaakin Theatre Company](https://thescoop.au/review-which-way-home-yirra-yaakin-theatre-company/) **Published:** April 30, 2026 **Author:** Tiffany Barton **Content:** ★★★★☆ ![The Scoop Which Way Home Yirra Yaakin Theatre Company](https://thescoop.au/wp-content/uploads/2026/04/Which-Way-Home-133-Derek-and-Shaquita-Nannup-Photo-credit-Dana-Weeksjpg-944x628.jpg "Which Way Home Yirra Yaakin Theatre Company • The Scoop")*Which Way Home*, presented by Yirra Yaakin Theatre Company, is a beautiful play filled with warmth, humour, crackling dialogue, and a whole lot of heart and soul. Based on writer Katie Beckett’s own childhood – she lost her mother young and was raised by her Dad – it radiates authenticity and emotional truth. Beckett has crafted a work that resonates deeply with meaning and humanity. A father (Dad) and his daughter, Tash, embark on a road trip from the city to their ancestral lands. Along the way, they yarn about the past, portrayed through a rich series of vignettes. They revisit the loss of Tash’s mother at an early age, key memories from her childhood, Dad’s overprotectiveness, his health, their connection to Country, and his fear of Tash being taken from him. In the process, a vivid portrait emerges of a deep and abiding love between father and daughter. Derek Nannup and his real-life daughter, Shaquita Nannup, light up the stage as Dad and Tash. Their genuine bond translates effortlessly to the performance, enlivened by Beckett’s sharp and affectionate banter. ![The Scoop Which Way Home Yirra Yaakin Theatre Company](https://thescoop.au/wp-content/uploads/2026/04/Which-Way-Home-177-Derek-and-Shaquita-Nannup-Photo-credit-Dana-Weeks-944x628.jpg "Which Way Home Yirra Yaakin Theatre Company • The Scoop")Derek Nannup and his real life daughter Shaquita Nannup light up the stage as Dad and Tash Photo by Dana WeeksDerek’s comedic chops are off the Richter scale. (In his other life, he ran a clowning school for six years.) He delivers every line with relish and impeccable comic timing, infusing Dad with mischief, playfulness, and outrageously funny physicality. The scene where he shows off his legs in a pair of bright orange banana boxers had the audience in stitches. Shaquita Nannup is gorgeous and grounded as Tash. A relative newcomer to the stage – she graduated from WAAPA’s Aboriginal Theatre course in 2024 – she is natural, confident, and thoroughly engaging. Her chemistry with Derek crackles with charisma, wicked humour, and undeniable affection. Just as Beckett’s own love for her father underpins the story, the Nannups’ real-life connection gives the performance a rare authenticity that moves the audience deeply. Charlotte Meagher’s set initially looks fun, with a jumble of camping gear: cushions, a mattress, jerry cans, eskies, water bottles, a stripey bag, and a rusty old bike, suggesting a camping trip. ![The Scoop Which Way Home Yirra Yaakin Theatre Company](https://thescoop.au/wp-content/uploads/2026/04/Which-Way-Home-245-Derek-and-Shaquita-Nannup-Photo-credit-Dana-Weeks-944x628.jpg "Which Way Home Yirra Yaakin Theatre Company • The Scoop")The play radiates authenticity and emotional truth Photo by Dana WeeksHowever, since the story centres on a road journey, the lack of a steering wheel or visual cues of a car feels like a missed opportunity. Tash’s relaxed hands in her lap, rather than gripping an imaginary wheel as she trades verbal jabs with her dad, makes the scenes feel a little static. An old Aussie car might have more clearly signalled the play’s road-trip reality. Still, Meagher redeems this with her beautiful chalk drawings at the sides of the stage, which glow blue under Joelene Whibley’s lighting design to evoke the mystery of the bush at night as the pair near their ancestral homeland. The star-dotted backdrop is a gentle, poetic touch that complements the scene of father and daughter stargazing. *Which Way Home* is a heartfelt, funny, and powerfully human story that celebrates family, memory, and the unbreakable bond between a father and daughter. With Beckett’s tender writing and the Nannups’ luminous performances, it’s a road trip rich in laughter, love, and longing, one that stays with you long after the lights fade. ***Which Way Home* is presented by Yirra Yaakin Theatre Company and runs to 9 May at the Subiaco Arts Centre. 180 Hamersley Road Subiaco WA** **6008.** Tickets: <https://www.artsculturetrust.wa.gov.au/venues/subiaco-arts-centre/whats-on/which-way-home/> Website: <https://yirrayaakin.com.au/production/which-way-home/> Socials: [https://www.instagram.com/yirra\_yaakin/](https://www.instagram.com/yirra_yaakin/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Dana Weeks **Categories:** Perth, Theatre --- ### [Inaugural Creative Brisbane Awards Announces 2026 Winners](https://thescoop.au/inaugural-creative-brisbane-awards-announces-2026-winners/) **Published:** April 29, 2026 **Author:** Newsroom **Content:** ![The Scoop Creative Brisbane Awards 2026](https://thescoop.au/wp-content/uploads/2026/04/Backbone-Hub-Residency-941x628.png "Creative Brisbane Awards 2026 • The Scoop")Brisbane’s most impactful creative collaborations were recognised at the inaugural ***Creative Brisbane Awards***, celebrating the partnerships transforming the city’s cultural identity, strengthening communities and driving innovation across sectors. Winners across 10 categories were announced at a special ceremony at Brisbane City Hall on **Tuesday 28 April**, bringing together leaders from the city’s creative, corporate, philanthropic and cultural sectors. From life-saving digital innovation to large-scale public art and youth-led platforms, the winners reflect the depth and diversity of Brisbane’s creative economy and the power of collaboration to deliver measurable social, cultural and commercial impact. Presented by the **Creative Brisbane Collab;** the awards honour the partnerships that turn bold ideas into real-world outcomes, spanning First Nations storytelling, disability inclusions, urban transformation, workplace innovation and youth development. The awards are presented by **South Bank Corporation** and supported by **Brisbane City Council.** **The Creative Brisbane Awards 2026 Winners** **Best Philanthropic or Fundraising Collaboration** The Inter\[net\]vention – Digital Suicide Prevention Campaign *By BCM Group in collaboration with media agencies and LIVIN, a suicide prevention and mental health organisation.* An AI-driven digital campaign using targeted advertising to identify and reach people at risk of suicide in real time. Digital media tools are repurposed into a live intervention system that delivers support at the moment of need. It is now a permanent program. ![The Scoop Brisbane Festival 2025 Program Launch](https://thescoop.au/wp-content/uploads/2025/06/ANZs-Walk-this-Way_-BF25_credit_Image-artwork-by-Craig-Karl-3D-design-by-Dirty-Puppet-photography-by-Jared-Hinz-879x628.jpeg "Brisbane Festival 2025 Program Launch • The Scoop")ANZs Walk This Way by Craig Karl took home an award for Best Strategic Collaboration**Best Strategic Collaboration (Sponsored by Kiosk Film)** ANZ’s Walk This Way by Craig & Karl *By Brisbane Festival in collaboration with ANZ, Griffith University Art Museum, Tourism and Events Queensland, Brisbane City Council and artists Craig Redman and Karl Maier.* Large-scale public art transformed Brisbane’s pedestrian bridges into immersive cultural infrastructure during Brisbane Festival 2025. Delivered through complex cross-sector collaboration, the project embedded bold design into everyday city movement. **Best First Nations and Industry Collaboration (Sponsored by QPAC)** Charcoal Stories *By POPSART and Chrysalis Projects, in collaboration with artist Vernon Ah Kee, Milani Gallery, Iscariot Media, Avid Reader Bookshop, Tim Bennetton Architects, All City Walls, Drakos and Co, Resene Paints, Gadens Lawyers, (the late) Cameron Eaton, Bligh Tanner, Jonothan Oldham, Caroline Gardam and UAP \| Urban Art Projects.* A striking First Nations-led public artwork transformed a West End bookshop façade into a permanent celebration of Brisbane’s literary voices. Featuring 52 hand-painted panels with a strong focus on Aboriginal authors, the work was realised through a community-funded model. **Best Art in the Workplace Collaboration (Sponsored by Aruga)** Arup Brisbane Headquarters *By Arup, in collaboration with Hassell, Five Mile Radius, Blaklash and Keisha Leon.* This three-level CBD workplace integrated First Nations art, biophilic design and cultural storytelling. Delivered through a multidisciplinary collaboration, the space features over 1,900 plants, “winter garden” environments and a striking mirrored ceiling artwork referencing local waterways. Co-designed to strengthen connection to Country, sky and place within a high-rise setting, the project embeds art into the everyday workplace experience. **Best Innovation Collaboration (Sponsored by BCM Group)** Artwork Ingredient List *By UAP \| Urban Art Projects in collaboration with Griffith University and Future Normal.* A world-first sustainability tool measuring the carbon impact of artworks across their full lifecycle, mapping materials, labour, energy use and emissions. Developed in Brisbane for global application, it is now used internationally by leading galleries and institutions as a benchmark for environmentally responsible art production. ![The Scoop Creative Brisbane Awards 2026](https://thescoop.au/wp-content/uploads/2026/04/Lord-Mayors-Christmas-Carols-2024_1-1116x628.png "Creative Brisbane Awards 2026 • The Scoop")Lord Mayors Christmas Carols 2024 was one of the winners of the Creative Brisbane Awards**Best Collaboration with Creative Youth (Sponsored by m4m agency)** Backbone Hub Residency + Festival *By Backbone Youth Arts, in collaboration with Madeleine Leite, Tainika Potane, Kelsey Dell, Anabella Gregory, Nathaniel Crossingum and others.* A youth-led platform enabling emerging artists aged 18–25 to develop, produce and present original work with real industry support. Across the program, 35 artists delivered five productions over 17 performances, building audiences, generating income and expanding professional networks. **Best News and/or Social Media Collaboration (Sponsored by Griffith University)** Sold-out seasons and standing ovations – Queensland Theatre Company’s 2025 Season *By Aruga in collaboration with Queensland Theatre Company.* An integrated storytelling campaign replacing traditional marketing with a long-form, narrative-led approach across PR, social and digital. The strategy elevated artists and deepened audience connection, delivering major audience growth and box office uplift. **Best Industry Collaboration with People with Disability or Who are d/Deaf** Lord Mayor’s Christmas Carols 2024 *By The Little Red Company, in collaboration with Brisbane City Council, Nine Network and Madeleine Little.* The Lord Mayor’s Christmas Carols 2024 was Australia’s first fully Auslan-interpreted national broadcast and set a new benchmark for accessibility in large-scale live and televised events. Delivered through multi-year collaboration, the production embedded inclusive design across every touchpoint, from performance to broadcast. **Best Urban or Public Art Collaboration** The Big Hose *By UAP \| Urban Art Projects in collaboration with Queensland Art Gallery I Gallery of Modern Art and artists Tony Albert and Nell.* A 119-metre interactive riverfront artwork transformed Brisbane’s cultural precinct through play, storytelling and large-scale public engagement. The installation has already engaged more than 80,000 children and was delivered through a philanthropic funding model. **City of Brisbane award for Outstanding Creative Contribution** Yaron Lifschitz, Artistic Director and CEO of Circa Yaron Lifschitz is an internationally acclaimed artistic director who has transformed Circa into one of the world’s leading contemporary circus companies, touring globally and redefining the art form. His leadership has positioned Brisbane as a powerhouse of contemporary performance. **The 2026 Creative Brisbane Awards were held Tuesday 28 June at Brisbane City Hall.** For more information visit the Creative Brisbane website. Website: <https://www.creativebrisbane.com.au/> Socials: <https://www.instagram.com/creativebrisbane/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Backbone Hub Residency, supplied. **Categories:** News --- ### [Film Review: Jean Valjean Finds Grace In The Shadows](https://thescoop.au/film-review-jean-valjean-finds-grace-in-the-shadows/) **Published:** April 29, 2026 **Author:** Ronson Blake **Content:** ★★★½ ![The Scoop JEAN VALJEAN French Film Palace Cinemas](https://thescoop.au/wp-content/uploads/2026/04/JEAN-VALJEAN-03-GregoryGadebois-©David-Koskas--Radar-Films-Une-societe-Mediawan--France-3-Cinema-942x628.jpg "JEAN VALJEAN French Film Palace Cinemas • The Scoop")Victor Hugo’s *Les Misérables* is a mighty house brick (or three) of a novel and has been adapted many times in multiple forms. Here, director and screenwriter Éric Besnard has concentrated on the first 150 pages or so in giving us an origin story at the heart of French identity. *Jean Valjean* is a classic ‘hero’s journey’ from despair to redemption done with serious intent and respect for its source material. It’s brutal and raw, but not unforgiving. In encroaching darkness, the hefty figure of Jean Valjean (Grégory Gadebois), newly released from 19 years in prison, approaches the town of Digne in southern France. He is looking for lodgings and desperate for food. But the stigma of criminality is etched into every crease of his face, and every door is shut in his face. Except one. At the modest house of the Bishop, Monseigneur Bienvenu (Bernard Campan), Valjean is given food and a comfortable bed. Bienvenu lives with his consumptive sister, Baptistine (Isabelle Carré), and a devoted but distrustful maid, Mme Magloire (Alexandra Lamy). A powder keg of barely contained self-destructive rage, Valjean is disconcerted by the compassion shown to him by Bienvenu. Will the Bishop’s humanity be sufficient to save the brutalised Valjean from himself? I think we know the answer, but the journey’s the thing. ![The Scoop JEAN VALJEAN French Film Palace Cinemas](https://thescoop.au/wp-content/uploads/2026/04/JEAN-VALJEAN-01-GregoryGadebois-©David-Koskas--Radar-Films-Une-societe-Mediawan--France-3-Cinema-942x628.jpg "JEAN VALJEAN French film Palace Cinemas • The Scoop")©David Koskas Radar Films Une société Mediawan France 3 CinémaTackling foundational myths can be tricky, but with *Jean Valjean*, Besnard has made a pretty good fist of it. He’s tackling Big Themes here – inequality, justice, poverty of thought and action, forgiveness and redemption. The film takes its subject matter very seriously – there’s little humour to be had, and you can feel the weight of obligation in each scene. If anything, the film is probably too reverential to Hugo. The voice-over narration that seeks to add a lyricism by using Hugo’s words frequently overlays the visual narrative, rendering one or the other redundant. Flashbacks, though, are used well to illuminate backstories while also enabling Besnard to avoid lingering in a potentially claustrophobic setting. Filmed in Cinemascope, as befits the epic nature of its material, the external shots from DP Laurent Dailland capture a harsh beauty. Interiors, lit by flickering candles that lend an authenticity to the film’s 1815 setting, are almost suffocatingly dim. Yet the widescreen here, too, lends a certain grandeur and opens out the small space. These interior shots are conservatively framed and become a little repetitive. Many are clearly staged symbolically: Bienvenu and Valjean sit at opposite ends of a table with Baptistine in the middle. Magloire hovers, offering waspish intolerance born of fear. It’s good versus evil with the possibility of redemption framed as a choice Valjean has to make. ![The Scoop JEAN VALJEAN French Film Palace Cinemas](https://thescoop.au/wp-content/uploads/2026/04/JEAN-VALJEAN-08-BernardCampan_AlexandraLamy-©Radar-Films-Une-societe-Mediawan--France-3-Cinema-942x628.jpg "JEAN VALJEAN French Film Palace Cinemas • The Scoop")©Radar Films Une société Mediawan France 3 CinémaThe acting is very good and has to be because Besnard frequently employs close-ups. Gadebois gives us a taciturn, menacing Valjean, his inner turmoil suggested in small gestures and explosive anger. The Bishop, who has experienced his own transformation, is a *very* saintly character, and Campan negotiates a fine line of believability with confidence. Amid all the certainties of right and wrong, however, I was drawn to Carré’s performance. She conveys Baptistine’s unrelieved guilt and steadfastness with a fragile grace. Besnard has a tight control over pace and tone, and if at times subtlety is forsaken, the result is always interesting. Besnard has said that he sees the film as a western, and perhaps there’s just a hint of Clint Eastwood’s *Unforgiven*. Unlike that film’s ambiguous ending, however, *Jean Valjean* has an unequivocal redemptive narrative and ends with a grand, transparently biblical gesture. ***Jean Valjean* the Australian premiere season is on now in cinemas nationally.** Check the website for session times. Website: <https://www.palacefilms.com.au/jean-valjean> Socials: <https://www.instagram.com/palacecinemas/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Jean Valjean Director: Éric Besnard Cast: Grégory Gadebois, Isabelle Carré, Bernard Campan, Alexandra Lamy Country of Origin: France Rating: M Duration: 99 mins **Categories:** Film, News --- ### [Announcing Middle Raged: A Musical Meltdown For NSW Tour](https://thescoop.au/announcing-middle-raged-a-musical-meltdown-for-nsw-tour/) **Published:** April 29, 2026 **Author:** Newsroom **Content:** ![The Scoop Middle Raged - A Musical Meltdown](https://thescoop.au/wp-content/uploads/2026/04/Middle-Raged-A-Musical-Meltdown.png "Middle Raged - A Musical Meltdown • The Scoop")Real Stories. Big Laughs. Zero Filters: *Middle Raged* Ignites the Stage! A brand-new Australian show, ***Middle Raged – A Musical Meltdown***, will sweat its way into **Canberra** and theatres across **New South Wales** – delivering real stories, big laughs and fearless celebration of menopause, midlife and finding your fire. Be among the first to experience this bold new production in these exclusive early seasons – a special preview of bigger things to come. And don’t forget to bring your own fan, it’s gonna get hot in there! Featuring a powerhouse cast, starring **Queenie van de Zandt**, **Valerie Bader**, **Carita Farrer Spencer** and **Zuleika Khan**, and an all-female live band, the production brings together iconic songs made famous by artists including **Missy Higgins**, **Tim Minchin**, **Sia** and **P!nk**, alongside original material by **Gillian Cosgriff**, **Keir Nuttall** and **Kate Miller-Heidke**. Created by award-winning performer and writer Queenie van de Zandt and writer-producer **Tiffany Noack**, and directed by one of Australia’s hottest theatre directors, **Priscilla Jackman** (*RBG: Of Many, One*), *Middle Raged* blends comedy, music and real life stories into an electrifying night of laughter, recognition and sisterhood. A bold new Australian show about menopause, midlife and finding your fire. **Queenie van de Zandt** said the idea of the show came to her and Tiffany at the same time, while attending a mutual friend’s 50th birthday: *“All the middle-aged women started furiously sharing stories about menopause and feeling invisible, looking at each other as if to say, ‘What fresh hell is this? Why did no one warn us?’ I said, ‘We’re not middle aged…we’re middle RAGED.’ The room erupted, and we knew instantly it was more than a funny line – it was a show that needed to be made.”* Queenie and Tiffany then spent the next five years collecting real stories from women across Australia, transforming them into a theatre show that captures the humour, heartbreak and hard-won wisdom of midlife in a way rarely seen on stage. At an age where many women feel increasingly invisible, co-creator **Tiffany Noack** says *Middle Raged* puts their voices and experiences centre stage: *“Women in midlife are hungry for something that is both entertaining and empowering. It feels long overdue for us to have a fresh, modern show that puts our stories front and centre.* *We wanted to create a work that not only shines a spotlight on the riotous chaos of aging, raging and changing, but also celebrates what comes out of that – power, perspective, freedom and friendship.”* That spirit of connection extends beyond the stage. Recognising that many women at this time of life may find themselves attending events solo, *Middle Raged* has introduced the **Sister Seat**. Whether friendships have shifted, schedules are impossible to align, or independence is calling, solo ticket buyers can choose to be seated alongside other fabulous women doing the same. Flying solo? Book a Sister Seat – skip the group chat, turn up, take your seat and join the sisterhood. Bold, hilarious and deeply heartfelt, *Middle Raged* is a night in the theatre that celebrates the power and potential of a glorious midlife and beyond – a shared experience that invites women to honour their own voice with laughter, song and sisterhood. Because when you’re over the hill… the view is incredible! ***Middle Raged – A Musical Meltdown* runs in Canberra from 8-11 July and at various locations around New South Wales.** Tickets are on pre-sale from today at the website. Website: <https://canberratheatrecentre.com.au/show/middle-raged-2026/> Socials: <https://www.instagram.com/canberratheatrecentre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. Produced by Women with Pockets and Andrew Kay & Associates. 2026 Australian Tour Dates: Penrith 3 -4 July, The Joan Canberra 8 – 11 July, Canberra Theatre Centre Wagga Wagga 14 – 15 July, Civic Theatre Wyong 18 July – 19 July The Art House **Categories:** News --- ### [Brunswick Underground Film Festival Returns With Big New 2026 Program](https://thescoop.au/brunswick-underground-film-festival-returns-with-big-new-2026-program/) **Published:** April 28, 2026 **Author:** Newsroom **Content:** ![The Scoop Brunswick Underground Film Festival](https://thescoop.au/wp-content/uploads/2026/04/The-Evil-Dead-1116x628.jpg "Brunswick Underground Film Festival • The Scoop")After a **massively successful first year**, bringing over 2,500 punters to Brunswick West, **Brunswick Underground Film Festival (BUFF)** is back, with its second edition launching this May in **Melbourne**. From the minds behind cult cinema collective Static Vision, BUFF has become the city’s much-needed home for forward-thinking, transgressive and independent cinema. From **Thursday 14 May – Sunday 17 May**, BUFF returns to the heart of Brunswick with a program **twice the size** of its 2025 edition, with bold new cinema, and retrospective titles that celebrate the undeniable force of boundary-pushing filmmaking. Expanding to four days and six screens at Balam Balam Place and Brunswick Picture House, BUFF will present **69 feature films and 36 short films**. Feature premieres include Safdie-producer Oscar Boyson’s ***Our Hero, Balthazar***, Katarina Zhu’s cam-girl drama ***Bunnylovr*** (featuring Rachel Sennott), and *The Moment* breakout star Hailey Benton Gates’ Sundance-winning ***Atropia****.* ![The Scoop Brunswick Underground Film Festival](https://thescoop.au/wp-content/uploads/2026/04/Our-Hero-Balthazar-1116x628.jpg "Brunswick Underground Film Festival • The Scoop")Our Hero Balthazar is one of the feature premieres Anniversary screenings feature a rare run of Ken Russell’s 1971 shocker ***The Devils***, a full retrospective of revolutionary comic filmmaker **Elaine May**, and a 45th anniversary screening of Abel Ferrara’s infamous ***Ms .45***. The festival also showcases new works from emerging independent filmmakers, such as ***Everything Grows In Eden*** from Australian filmmaker Jack Johnston and Annapurna Sriram’s SXSW award-winning ***F\*\*\*toys*** (tickets to this BUFF session **sold out** in one day). To further BUFF’s mission to keep cinema accessible for all, the festival is taking the unprecedented step of freezing the price of festival passes ($135 for access to 20+ sessions across the extended weekend), and dropping the price of a single ticket from $17.50 to $15 general, $12.50 concession, with $10 tickets available for unwaged patrons. Additionally, BUFF is doubling the size and length of its program and will also feature a choose-your-own-adventure Friday night of triple features, numerous **free family-friendly outdoor screenings** (headlined by Stephen Chow’s **Shaolin Soccer**) and a **free industry symposium** aimed to upskill emerging critics, filmmakers and exhibitors. ![The Scoop Brunswick Underground Film Festival](https://thescoop.au/wp-content/uploads/2026/04/Shaolin-Soccer-1116x628.jpg "Brunswick Underground Film Festival • The Scoop")Shaolin Soccer headlines the family friendly outdoor screenings This year’s program has a no clash rule between session blocks, and with both venues a short stroll from each other, it’s easier than ever for audience members to make a day of it and get the most out of their multifilm passes. Festival Director **Felix Hubble** said: *“Art and entertainment should be accessible to everyone. We significantly exceeded all of our best-case-scenario attendance goals last year, and now we’re keen to pay it forward to our community.* *We’re bringing the spirit of underground cinema to even more people this year. BUFF 2026 is bigger, stronger, and more accessible than ever.”* **Festival Headliners** The second annual BUFF Opening Night will screen Ken Russell’s massively controversial ***The Devils*** (1971), to celebrate its 45th anniversary. Uncut and uncensored in its full (unholy) glory, this religious shocker gets to enjoy everlasting life as it’s shown on the big screen for fans and curious newcomers alike. Starring Vanessa Redgrave and Oliver Reed, this feverish fantasy, adapted from real historical events in 17th century France (and Aldous Huxley’s ensuing novel), pushes the boundaries of delirium with provocative religious imagery, setting the stage for a festival full of unfamiliar wonders. John Cameron Mitchell’s iconic, pulsating explosion of identity, gender and sexual expression, ***Shortbus*** (2006), will be screened in glorious 4K for Closing Night of this iteration of BUFF. Even after 20 years, the film still breaks new ground with its achingly raw focus on its characters’ emancipation of identity and paths to self discovery. A unique nexus of art, music, politics and sex, building up to a very satisfying climax. The latest chapter of a global trans phenomenon reaches local shores, as BUFF hosts the Australian Premiere of ***Castration Movie Anthology iii. Junior Ghosts – Premorphic Drift; a Fragmentary Passage*** (2026). The project has become a significant force in underground cinema’s trans new wave, a cinema verite series making history through its lengthy runtimes. ![The Scoop Brunswick Underground Film Festival](https://thescoop.au/wp-content/uploads/2026/04/100-Pure-Rage-1116x628.jpg "Brunswick Underground Film Festival • The Scoop")100 Pure Rage makes its Victorian premiere Action-packed Australian underground film ***100% Pure Rage*** (2025) will have its Victorian premiere, following a sold-out run at SXSW Sydney. Shot for just $3000 by a team of university students in Brisbane, the film is a heart-racing, non-stop cavalcade of violence with ingenious, low-budget practical and digital effects, pushing the limits of what can be achieved within meagre means. 100 years after its initial release, cerebral Japanese silent drama ***A Page of Madness*** (1926) will be screened from a new restoration. Initially lost for 45-years of its lifespan, the cryptic masterpiece — filled with stunning dreamy visuals — will grace the screen accompanied by a new live score from Australia’s queen of noise, Uboa. **Elaine May Retrospective** Brunswick Picture House plays host to all four films directed by the much-loved Elaine May: a quadruple feature of big laughs, abrasive anti-heroes and shaggy 70s style. The comedy legend pairs up with Walter Matthau in screwball ***A New Leaf*** (1971);a hilarious honeymoon nightmare follows with ***The Heartbreak Kid*** (1972); next up is mob masterpiece ***Mikey and Nicky*** (1974), starring John Cassavetes and Peter Falk; and, finally, her infamous flop ***Ishtar*** (1987), whose modern reclamation proves that May’s undersung comic genius is still being discovered by new fans today. ![The Scoop Brunswick Underground Film Festival](https://thescoop.au/wp-content/uploads/2026/04/The-Devils-1116x628.jpg "Brunswick Underground Film Festival • The Scoop")Massively controversial film The Devils will headline in celebration of its 45th anniversary**Live Scores** This year, BUFF will lay host to multiple live music events, accompanying films celebrating their 100th anniversaries. Highlights include acclaimed dark ambient/drone artist **Uboa**, who will be making a rare live appearance, performing an all-new live score for once-lost Japanese asylum-set psychological horror film ***A Page of Madness*** (1926), as well as an early morning performance from slowcore musician **Pat Johns**, accompanying ***The Passaic Textile Strike*** (1926), a film made to raise funds for an ongoing workers’ action. **Saturday Sex/Sexuality Sessions** Across a libido-testing twelve-film marathon, BUFF’s Static Vision screen is set to get steamy. Giddy nudist flick ***Nude on the Moon*** (1961) acts as foreplay, before Catherine Breillat’s brilliant ***A Real Young Girl*** (1976) and ***À Ma Souer!*** (2001) capture the bleak, aching underside in coming-of-age. Katharina Zhu’s daring debut ***Bunnylovr*** (2025) gives viewers an intimate peek into the life of a camgirl. ***The Lost Sex Films of King’s Cross: About Love*** (1973) shines a light on secret Sydney subcultures in the 1970s. Then, the party comes to an explosive end with three erotic works from 1971: ***Pink Narcissus****,* ***Boys in the Sand*** and ***Deadly Blows***. Ripe with desire, beauty, danger and freedom, it’s a day of unforgettable and little-seen big screen pleasures — adults only, in case you hadn’t guessed. ![The Scoop Brunswick Underground Film Festival](https://thescoop.au/wp-content/uploads/2026/04/Corey-Feldman-vs-the-World-1116x628.jpg "Brunswick Underground Film Festival • The Scoop")Corey Feldman vs the World will screen in an Australian premiere**Other Highlights** Straight from Sundance, where it won a Grand Jury Prize, former Vice reporter Hailey Benton Gates’ Luca Guadagnino-produced ***Atropia*** (2025) finds Alia Shawkat (*Arrested Development*) amongst a troupe of military role-players who help prepare soldiers for combat in Iraq: lust in the dust ensues. Ten years in the making, ***Corey Feldman vs. the World*** (2026) is an intimate and shocking behind the scenes documentary on the former child star’s ill-fated musical project, his crusade against Hollywood predators, and his ironic downfall when he is accused of abuse himself. BUFF mainstay/Canadian wunderkind Avalon Fast returns with her latest feature (co-directed by Jillian Frank), ***Drinking and Driving*** (2026), a gorgeous, moving mumblecore throwback charting the lives of aimless, dysfunctional twenty-somethings, premiering in Australia a mere month after its US debut at LA’s Festival of Movies. ![The Scoop Brunswick Underground Film Festival](https://thescoop.au/wp-content/uploads/2026/04/The-Craft-1116x628.jpg "Brunswick Underground Film Festival • The Scoop")90s supernatural cult hit The Craft will also screen at the Festival***With Hasan in Gaza*** (2026) follows acclaimed Palestinian documentary filmmaker Kamal Aljafari as he searches Gaza for an old cellmate who has almost certainly passed away. A follow-up to last year’s *Lost Sex Films of King’s Cross* session**, *About Love*** (1973) collects further artefacts from George and Charis Schwarz, two of Sydney’s most notorious socialites and some of Australia’s earliest sex film producers. Rounding out the program highlights are 45th anniversary screenings of two grindhouse favourites: ***Ms .45*** (1981), Abel Ferrara’s genre-defining but rarely-screened revenge thriller, and Sam Raimi’s iconic ***The Evil Dead*** (1981), screening in its original aspect ratio with original mono soundtrack. There’s so much to enjoy at the festival. **Brunswick Underground Film Festival runs 14 – 17 May at two venues. Balam Balam Place, 15 Phoenix Street Brunswick and Brunswick Picture House, 510-512 Sydney Road Brunswick Vic** **3056.** Tickets are on sale now and available at the [website](https://buff.film/film/). Website: <https://buff.film/> Socials: <https://www.instagram.com/brunswickunderground/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: still from The Evil Dead, screening at the Festival in its original aspect and mono soundtrack. **Categories:** News --- ### [HOTA Invites Theatre Audiences Up Close & Personal For Winter Season](https://thescoop.au/hota-invites-theatre-audiences-up-close-personal-for-winter-season/) **Published:** April 28, 2026 **Author:** Newsroom **Content:** ![The Scoop HOTA Home of the Arts 2026 Winter Season](https://thescoop.au/wp-content/uploads/2026/04/Truck-Driver-942x628.jpg "HOTA Home of the Arts 2026 Winter Season • The Scoop")This winter **HOTA, Home of the Arts** will transform its outdoor stage into an intimate, immersive performance space unveiling its newest offering, *Winter Season,* inviting audiences to step inside for something new. Over a seven week season the program will feature a curated program of theatre, comedy and music designed to bring audiences closer than ever to the action on stage. Positioned inside the black box of the outdoor stage, *Winter Season* offers a stripped-back and deeply connected live experience, where every moment lands and the relationship between artist and audience takes centre stage. Across eight standout works, the program invites Gold Coast audiences to experience a compelling mix of storytelling, sharp humour and powerful live performance, showcasing acclaimed and distinctive voices. ![The Scoop The Lark Noni Hazelhurst](https://thescoop.au/wp-content/uploads/2025/10/TheLarkACM65_Cameron-Grant-Parenthesy-942x628.jpg "The Lark Noni Hazelhurst • The Scoop")Noni Hazelhurst stars in The Lark as part of the HOTA Winter Season Photo by Cameron GrantHOTA’s Director of Creative Programming, **Felix Preval,** said the season offers a different kind of theatre experience for local audiences. *“The Winter Season is about bringing audiences closer to the work — physically and emotionally. In this space, every detail matters, and the connection between performer and audience becomes part of the experience itself.”* *Winter Season* will bring audiences up close to experience performances including ***The Lark***, with stage and screen icon Noni Hazlehurst in a new work by Daniel Keene. Bron Batten’s real time encounter ***Onstage Dating***, a live, unscripted interrogation of modern romance. Visually intricate works ***Night Night*** from theatre-makers Arielle Gray and Tim Watts, will blend puppetry and digital illusion. ![The Scoop HOTA Home of the Arts Winter Season](https://thescoop.au/wp-content/uploads/2026/04/Ensemble-Q-942x628.jpg "HOTA Home of the Arts Winter Season • The Scoop")Ensemble Q with Ed Le Brocq comes to HOTA as part of its Winter Season program Image suppliedre:group performance collective’s ***Auto-Tune*** reinvents gig-theatre in an explosive work exploring 90s nostalgia and self-reinvention. Multi-award winning musical comedian Gillian Cosgriff’s will bring an irreverent meditation on existence, time, and the search for meaning in ***Life, Oh Life.*** A chamber music collaboration with ABC Classic presenter Ed Le Brocq sees ***Ensemble Q with Ed Le Brocq,*** featuring a contemplative exploration of sound and story. Rounding out the final weeks of the program will be a raw, one-person theatrical road trip ***Truck Driver*** exploring a darkly comic portrait of a life on the road. And ***Heartbreak Hotel*** from New Zealand company EBKM, featuring an inventive performance combining pop music, science, and storytelling. Beyond the theatre, audiences can extend the experience across the precinct, with dining and drinks available at Palette Restaurant and Exhibitionist Bar. **HOTA, Home of the Arts, presents its *Winter Season* from 8 July – 22 August 2026 at Outdoor Stage and Indoor Black Box. Home of the Arts 135 Bundall Rd, Surfers Paradise Qld 4217.** Explore the full program and season pass discounts at the website. Website: <https://hota.com.au/whats-on/live/festivals-and-series/winter-season> Socials: <https://www.instagram.com/hotagc/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Truck Driver, supplied. **Categories:** News --- ### [New Queens Casting Announced: SIX The Musical Australia](https://thescoop.au/new-queens-casting-announced-six-the-musical-australia/) **Published:** April 28, 2026 **Author:** Newsroom **Content:** ![The Scoop SIX AUSTRALIA 2026-27](https://thescoop.au/wp-content/uploads/2026/04/SIX-AUSTRALIA-2026-27-Cara-Bessey-Angela-Brischetto-Lorinda-May-Merrypor-Mia-Paris-Scalise-Kadesa-Honeyhill-Sarah-Murr-PIC-CREDIT-Cybele-Malinowski-copy-942x628.jpg "SIX AUSTRALIA 2026-27 • The Scoop")***SIX the Musical*** has just confirmed its new Australian cast! While continuing to triumphantly reign on global stages, the international smash-hit phenomenon ***SIX the Musical*** makes its royal return to Australia. Seasons are confirmed at Melbourne’s **Comedy Theatre** from **July**, **Theatre Royal Sydney** from October and **Queensland Performing Arts Centre** (**QPAC**)’s Playhouse Theatre from **January 2027**. Brisbane pre-sales commence tomorrow **Wednesday 29 April** with tickets on sale to the general public on **Friday 1 May**. From Tudor Queens to Pop Icons, the six wives of Henry VIII **Catherine of Aragon**, **Anne Boleyn**, **Jane Seymour**, **Anna of Cleves**, **Katherine Howard** and **Catherine Parr** will turn up the mics remixing 500 years of history into an 80-minute electrifying pop-concert musical that has become a global cultural phenomenon. Taking on the role of the first wife, the sassy Catherine of Aragon, will be Sarah Murr. Originally from Townsville and a graduate of the Queensland Conservatorium, Sarah has built an impressive career across celebrated Australian productions, from ***Les Misérables*** to ***Hadestown*** and ***& Juliet***. Her recent standout performances include one of the Fates in *[Hadestown](https://thescoop.au/review-melbourne-welcomes-hadestown-with-a-thunderous-heartbeat/)* and a Green Room Award-nominated turn as Kala in *[Tarzan: The Musical](https://thescoop.au/review-tarzan-the-musical-brings-disney-magic-and-jungle-energy/)*. With a dynamic stage presence and powerhouse vocals, Sarah brings a wealth of experience and undeniable charisma to the role. Joining the cast as the bold and rebellious Anne Boleyn will be Mia Paris Scalise making her professional stage debut. A Melbourne-based graduate of the [Victorian College of the Arts](https://finearts-music.unimelb.edu.au/showcase/music-theatre-company-2025), her passion for acting has seen her feature across short films, feature films and modelling campaigns. Bursting with fresh energy and talent, she steps into the spotlight as one of Australia’s exciting new musical theatre voices. Cara Bessey takes on the role of the devoted third wife Jane Seymour. Originally from Canberra and a graduate of NIDA, Cara has built a strong foundation across both stage and screen, with theatre credits including ***Mary Poppins*** and the recent Australian tour of *[Sister Act](https://thescoop.au/review-sister-act-the-musical-is-fabulous-baby/)*. Her versatility has seen her perform as an onstage swing and cover multiple principal roles, whilst also appearing in various screen roles. Bringing warmth, depth and quiet strength to the role, Cara offers a compelling take on one of *SIX*’s most heartfelt queens. The bold and unapologetic Anna of Cleves will be played by Kadesa Honeyhill**.** Making her professional musical theatre debut in ***MAMMA MIA!*** before stepping into the cast of ***TINA: The Tina Turner Musical***, she has a deep-rooted passion for dance and music. Inspired by her parents, both professional dancers, she brings fierce energy and individuality to the stage, Kadesa is set to make Anna of Cleves entirely her own. The role of the playful fifth wife, Katherine Howard will be played by Angela Brischetto. Originally from Far North Queensland, she holds qualifications in both dance and musical theatre, underpinning her dynamic performance style. Her professional debut was made in Disney’s ***Beauty and the Beast***, alongside screen appearances in ***Good Cop/Bad Cop*** and ***Hourglass***. Bringing confidence, charisma and a contemporary edge, Angela steps into the role as an exciting rising talent. Lorinda May Merrypor joins the cast in the role of the final and empowering wife Catherine Parr. Best known for her starring turn as Juliet in ***& Juliet***, Lorinda has an extensive list of stage credits including ***Beautiful: The Carole King Musical***, ***American Idiot***, ***The Sapphires*** and STC’s recent production of *[Picnic at Hanging Rock](https://thescoop.au/review-picnic-at-hanging-rock-a-powerful-descent-into-the-abyss/)*. A Green Room Award nominee for Best Leading Artist in a Musical, she is a graduate of the Queensland Conservatorium and one of Australia’s most compelling musical theatre performers. Bringing strength, intelligence and emotional depth to the role, Lorinda is set to embody the resilience of Catherine Parr on stage. Joining the *SIX* Australian Queens are the extremely talented swings made up of Lauren Goetz, Geena Hutton, and returning cast members Thalia Smith as Dance Captain / Swing and Associate Choreographer / Assistant to the Director / Alternate Swing Cristina D’Agostino. (Read more about the swings team at the *SIX* [website](https://sixthemusical.com.au/cast/).) Also supported by the *SIX* on stage band including Music Director / Keys **Claire Healy**, Assistant Music Director / Keys **Heidi Maguire**, **Kathryn Stammers** on Drums, **Danielle Colligan** on Guitar and **Matilda Yang** on Bass. ![The Scoop SIX the Musical 2026](https://thescoop.au/wp-content/uploads/2026/04/SIX-AUSTRALIA-26-27-Christina-DAgostinoLauren-GoetzCara-BesseySarah-MurrGeena-HuttonAngela-BrischettoKadesa-HoneyhillThalia-SmithLorinda-May-MerryporMia-Paris-Scalise-PHOTO-Cybele-Malinowski-copy-942x628.jpg "SIX the Musical 2026 • The Scoop")Meet your Queens for SIX the Musical new Australian tour 2026 and into 2027 Photo by Cybele MalinowskiThis new and exciting company commence rehearsals in June under the helm of Australian Associate Director **Sharon Millerchip** leading the team once again. On behalf of the Producers **Louise Withers** said: *“We are thrilled to introduce this extraordinary new cast of Queens — each bringing their own unique talent, energy and individuality to these iconic roles.* *The passion and energy of the SIX audiences and fans are such a vital part of what makes this show special. We know they are going to absolutely love this dynamic new cast.* *As SIX returns to Australia, it offers a fresh opportunity for audiences to experience the show’s irresistible blend of history, humour and high-octane pop — whether for the first time or all over again while also discovering something entirely new with this incredible company.”* *SIX* tells the extraordinary story of the six wives of King Henry VIII who step out of the shadow of their infamous husband and reclaim their own narratives. Written by **Toby Marlow** and **Lucy Moss**, this modern pop-inspired musical brings these historical figures to life, portraying them as fierce and influential pop stars in their own right. With its innovative and empowering take on history, and redefining of the modern musical, *SIX* has amassed a huge global community of all ages experiencing this fresh, clever, uplifting and intoxicating show. ![The Scoop](https://thescoop.au/wp-content/uploads/2025/01/SIX-AUSTRALIA-2024-HOUSE-OF-HOLBEIN-PHOTO-JAMES-D-MORGAN-GETTY-IMAGES-942x628.jpg "SIX AUSTRALIA 2024 - HOUSE OF HOLBEIN - PHOTO JAMES D MORGAN-GETTY IMAGES • The Scoop")SIX the Musical 2025 cast Photo credit James D Morgan*SIX* is the winner of 38 major international awards. These include two Tony Awards® and a Grammy® nomination. The Platinum certified soundtrack has amassed over 5.5 billion streams. The production attracts more than 3.5 million fans annually. The show has now played in over 15 countries, proving the Queens’ reign is far from over. Since its debut at the Edinburgh Festival Fringe in 2017, *SIX* has received widespread critical acclaim, leaving audiences enthralled by its infectious energy, catchy tunes, and empowering message. It swiftly moved to the West End and Broadway and continued to garner international recognition. Productions have run in Australia, Canada, the United States, Europe and South Korea, Singapore, the Philippines, Japan and China. What sets *SIX* apart is its ability to resonate with diverse audiences and breathe new life into historical storytelling. With its cleverly crafted lyrics and contemporary sound, the musical effortlessly bridges the gap between the past and the present. It appeals to both theatre enthusiasts and those new to the genre. *SIX* has become a cultural touchstone, inspiring fans to embrace their own strength and celebrate the triumphs and struggles of these remarkable women. Moreover, *SIX* has made a significant impact in the digital realm. It has created a vibrant online community of devoted fans, lovingly referred to as the ‘Queendom’. Its infectious songs and empowering themes have sparked viral trends on platforms like TikTok and YouTube. Fans have passionately shared their love for the show through fan art, cover performances, and heartfelt discussions. Created by a brilliant original creative team – ***SIX the Musical*** has book, lyrics and music by **Toby Marlow** and **Lucy Moss**. It is directed by **Lucy Moss** and **Jamie Armitage** and choregraphed by **Carrie-Anne Ingrouille**. Set Design is by **Emma Bailey**. Costume Design is by **Gabriella Slade**. Lighting Design is by **Tim Deiling**. Sound Design is by **Paul Gatehouse**. The Orchestrator is **Tom Curran** and Musical Supervisor is **Joe Beighton**. Originally Produced by **Kenny Wax**, **Wendy & Andy Barnes**, and **George Stiles**. Produced in Australia by **Louise Withers**, **Michael Coppel** and **Linda Bewick**. Brisbane pre-sales commence tomorrow Wednesday 29 April with tickets on sale to the general public on Friday 1 May. ***SIX the Musical* runs 24 July – 23 August at the Comedy Theatre, Melbourne before heading to Sydney and Brisbane.** See full dates below. Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=SIXMUS26> Website: <https://sixthemusical.com.au/> Socials: [https://www.instagram.com/sixthemusicalau](https://www.instagram.com/sixthemusicalau/) Read our 2026 Musical Theatre Show Guide! Hero image photo credit: Cybele Malinowski 2026 / 2027 Australian Tour Dates: Melbourne 24 July – 23 August, Comedy Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=SIXMUS26) Sydney 9 October – 8 November, Theatre Royal [Tickets](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/120/) Brisbane from 2 January 2027, Playhouse Theatre, QPAC [Tickets](https://sixthemusical.com.au/tickets/brisbane/) **Categories:** News --- ### [Victorian Opera Presents The Magic Pudding: The Opera](https://thescoop.au/victorian-opera-presents-the-magic-pudding-the-opera/) **Published:** April 26, 2026 **Author:** Newsroom **Content:** ![The Scoop Victorian Opera The Magic Pudding](https://thescoop.au/wp-content/uploads/2026/04/Victorian-Opera-2018_The-Magic-Pudding-The-Opera-LR-©-Charlie-Kinross-32-942x628.jpg "Victorian Opera The Magic Pudding • The Scoop")**Victorian Opera** is bringing its adored adaptation of Norman Lindsay’s classic ***The Magic Pudding*** back to the stage for an unmissable return season. Running from **15 – 30 May**, performances will be presented across metropolitan **Melbourne** at The Round, Darebin Arts Centre and Bunjil Place as well as available to **livestream on-demand in late May**. Lindsay’s classic Australian children’s book has enchanted generations with its much-loved cast of characters: Albert the Pudding – a magical yet cantankerous pudding that can change flavours and never runs out, the adventurous koala Bunyip Bluegum, gruff sailor Bill Barnacle, steadfast emperor penguin Sam Sawnoff, and the mischievous pudding thieves Patrick the Possum and Watkin Wombat. Victorian Opera’s production adds a measure of musical magic, deliciously playful costumes and a hearty helping of theatrical charm to help bring Lindsay’s larrikinism to life on stage. ![The Scoop Victorian Opera The Magic Pudding](https://thescoop.au/wp-content/uploads/2026/04/Victorian-Opera-2018_The-Magic-Pudding-The-Opera-LR-©-Charlie-Kinross-65-942x628.jpg "Victorian Opera The Magic Pudding • The Scoop")The classic childrens book has enchanted generations with its much loved cast of characters Photo by Charlie KinrossComposed by Calvin Bowman and written by Anna Goldsworthy, *The Magic Pudding: The Opera* is a dinky-di delight. The opera originally premiered in 2013 and is now returns for a third season. Director **Elizabeth Hill-Cooper** lovingly realises the production which stars a cast of exciting operatic talent and students from **Melbourne Conservatorium of Music, University of Melbourne**. Victorian Opera’s Head of Music **Phoebe Briggs** conducts a live chamber orchestra of 11 players. Described by the Herald Sun as “an absolute joy,” the production runs for 60-minutes and is perfect for pudding-lovers of all ages. ***The Magic Pudding: The Opera* is presented by Victorian Opera and runs 15-30 May across Melbourne.** See tour dates below. Tickets are available via the Victorian Opera website. Website: <https://www.victorianopera.com.au/production/the-magic-pudding/> Socials: <https://www.instagram.com/victorianopera/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Charlie Kinross ![The Scoop The Magic Pudding The Opera Victorian Opera](https://thescoop.au/wp-content/uploads/2026/04/The-Magic-Pudding-The-Musical-1080-x-720-px-942x628.jpg "The Magic Pudding The Opera Victorian Opera • The Scoop")The Magic Pudding: The Opera Season Dates: **The Round (Nunawading)** Friday 15 May, 1:00pm (Relaxed Performance) Saturday 16 May, 2:00pm **Darebin Arts Centre** Friday 22 May, 6:30pm **Bunjil Place (Narre Warren)** Friday 29 May, 1:00pm (Relaxed Performance) Saturday 30 May, 2.00pm **Digital Access** Stream online from 29 May 2026, 1:00pm Tickets: $30.00 **Categories:** News --- ### [Announcing Illuminate Adelaide 2026 Program](https://thescoop.au/announcing-illuminate-adelaide-2026-program/) **Published:** April 27, 2026 **Author:** Newsroom **Content:** ![The Scoop Illuminate Adelaide 2026](https://thescoop.au/wp-content/uploads/2026/04/City-Lights_-Piano-Walk-Amigo-Amigo-944x628.jpg "Illuminate Adelaide 2026 • The Scoop")**Illuminate Adelaide** has today unveiled its **2026 program**, returning from **1 – 19 July** with a dynamic lineup, including 11 world premieres, 11 Adelaide exclusives and over 100 experiences and performances transforming South Australia’s capital into a vibrant winter playground of light, art, music, technology and culinary discovery. Led by the Australian debut of *Augmented Games*, a large-scale interactive gaming experience created by Moment Factory – the masterminds behind Illuminate Adelaide smash hits Light Cycles and Resonate – this year’s program signals a bold evolution for the major event. From musical world premieres in the coveted *Unsound Adelaide* lineup, to the wildly popular sensory odyssey return of *Night Visions*, to the spell bounding interactive journey through a magical underwater garden with *Digital Abyss*, to the well-loved, free and brand-new *City Lights* installations, to the playful prehistoric after dark experience at Adelaide Zoo with the final iteration of *Universal Kingdom: Ice Age* and more, **Illuminate Adelaide 2026** will offer a compelling mix of free and ticketed events designed to captivate audiences of all ages. **Illuminate Adelaide** Co-Founders and Creative Directors, **Lee Cumberlidge** and **Rachael Azzopardi** said: *“We are excited to deliver our sixth fully curated program. We are immensely proud to deliver both ticketed and free experiences that invite the public to explore, play and interact with the work of some of the world’s most exciting artists and creative studios, all pushing the boundaries of creativity and technology.”* ![The Scoop Illuminate Adelaide 2026](https://thescoop.au/wp-content/uploads/2026/04/Augmented-Games_Moment-Factory-1116x628.png "Illuminate Adelaide 2026 • The Scoop")Augmented Games will transform the Ridley Centre into a life size arcade Image supplied*Augmented Games* by global creative studio, **Moment Factory** from Canada**,** will transform the Ridley Centre at **Adelaide Showground** into a life-size arcade. Players become the controller, competing in a series of electrifying multiplayer games that merge physical fun with digital technology. Making its debut in Australia and exclusive to Adelaide, this interactive play zone boasts its largest iteration yet with eight play areas in the mix. Back by popular demand, *Night Visions* will once again take over **Adelaide Botanic Garden**, inviting audiences into a mesmerising night walk where light, technology, sound and nature collide in a reimagined parallel world. Audiences are invited to explore the experience at their own pace, with the option to elevate their evening by dining at **Botanic Lodge**, where a specially curated Illuminate set menu complements the *Night Visions* experience. Visitors will wander through six zones and will be blown away by cutting-edge light, lasers, projections, and immersive soundscapes. Across the city, wade into the depths of the ocean with *Digital Abyss*. A groundbreaking new work by internationally renowned French artist and **Illuminate Adelaide**’s 2026 luminary artist-in-residence, **Miguel Chevalier.** A true pioneer of the digital art movement, he has spent more than four decades pushing the boundaries of art and technology. Chevalier has established himself as a leading figure in generative, interactive and virtual art on the global stage. Presented at **Immersive Light and Art \| ILA**, this underwater-inspired experience brings AI-generated ecosystems to life, evolving and responding to human presence in a poetic fusion of nature, innovation and imagination. ![The Scoop Illuminate Adelaide 2026](https://thescoop.au/wp-content/uploads/2026/04/Digital-Abyss_Miguel-Chevalier-889x628.png "Illuminate Adelaide 2026 • The Scoop")Digital Abyss will be presented at ILA Immersive Light and Art Photo by Miguel Chevalier*Universal Kingdom: Ice Age* is the third and final in the Universal Kingdom series at the Adelaide Zoo. With **Illuminate Adelaide** and presenting partner **SA Power Networks,** the Zoo will transport visitors to a frozen prehistoric world. Featuring spectacular puppetry and magical light installations by acclaimed creative studios **Erth Visual & Physical Inc** and **illuminart**. Expect to see woolly mammoths, sabre-toothed tigers and towering dinosaurs, alongside immersive installations and family-friendly interactive zones. **Illuminate Adelaide’s** entirely free program *City Lights* returns with the biggest trail ever presented. It will feature more than 50 interactive artworks, roving performances, and dynamic projections descending on the city from around the world. Stretching further across the city than ever before, the trail now extends into **Rymill Park**, inviting audiences to explore more. Highlights span playful, interactive works including **Amigo & Amigo’s Piano Walk** and **Checkmate**, alongside striking large-scale projections and captivating roving performances. Among them, the otherworldly **Birdmen** by **Close-Act Theatre** of the Netherlands, towering up to six metres high and four metres wide – bringing an illuminated, surreal presence to the streets. ![The Scoop Illuminate Adelaide 2026](https://thescoop.au/wp-content/uploads/2026/04/Universal-Kingdom-Ice-Age-1116x628.jpg "Illuminate Adelaide 2026 • The Scoop")Universal Kingdom Ice Age is the final series in the Universal Kingdom series at the Adelaide Zoo Image suppliedMusic will remain a cornerstone of the program, with *Unsound Adelaide* delivering a boundary-pushing, experimental sound across multiple venues. *Supersonic* returns in a bold new format, taking over **Hindley Street Music Hall** for a one-night-only. The fully immersive club experience will be headlined by the internationally recognised DJ, **Skin On Skin.** Illuminate Adelaide continues to break down the barriers that technology creates within society with a musical performance of a different kind with *The Lost Art of Listening***.** Presented by **Vitalstatistix,** this performance brings people together with their phones to play in a shared sonic experience that explores listening and its place in human existence, framed by a stillness that is rare today. Featuring cult pianist **Erik Griswold**, this show for prepared piano and a choir of smartphones combines field recordings, vintage synths, and the sounds of the elements, creating vibrations that travel through your body and swirl through space. Beyond the lights, Illuminate Adelaide’s food and beverage offerings sport its most ambitious yet, and has been reimagined, expanded and embedded in the fabric of the city more than ever before. Building on a long-standing commitment to supporting Adelaide’s bricks-and-mortar hospitality scene, this year’s offering places local restaurants, bars and producers firmly at the centre of the experience, inviting audiences to eat, drink and explore their way through the city after dark. ![The Scoop Illuminate Adelaide 2026](https://thescoop.au/wp-content/uploads/2026/04/City-Lights-2025_SomniUs_Frankie-the-Creative3-copy-941x628.jpg "Illuminate Adelaide 2026 • The Scoop")City Lights SomniUs installation 2025 Photo by Frankie the CreativeFollowing overwhelming demand in its debut year, the **Illuminate Hosts Program** returns in 2026 with a broader and more curated line-up of over 30 hosts across the city, encouraging eventgoers to discover some of Adelaide’s most celebrated venues alongside exclusive menus, offers and experiences designed especially for the season. Complementing this, a network of **City Lights Pitstops** – including **LUMEN Bar, Art Gallery of South Australia, Lot Fourteen, Rymill Park** and the **State Library of South Australia** – will anchor the trail with vibrant hubs to refuel with snacks and drinks along the journey. At the heart of the 2026 food and beverage offering is a bold new suite of **immersive dining experiences** that push the boundaries of traditional hospitality. Highlights include **Illuminate After Dark**, an intimate cheese and caviar masterclass inside the iconic **Adelaide Central Market** where guests are guided through a luxurious tasting journey by **Valerie Henbest** of **Smelly Cheese**. Additionally, **Ocean To Plate: Immersive Dining Experience** will be presented in collaboration with **Adelaide Convention Centre**. It offers a multi-course celebration of South Australian seafood, set within a fully immersive environment of ocean-inspired projections and soundscapes. **Symphony of the Senses** at **Sofitel Adelaide** will bring together a live performance from the **Adelaide Symphony Orchestra** with refined French-inspired canapés and premium beverages, culminating in a breathtaking candlelit finale. ![The Scoop Illuminate Adelaide 2026](https://thescoop.au/wp-content/uploads/2026/04/City-Lights-2025_Rundle-St_credit-Frankie-the-Creative-942x628.jpg "Illuminate Adelaide 2026 • The Scoop")City Lights 2025 Rundle Street Photo by Frankie the CreativeSouth Australian Minister for Tourism, **Hon Emily Bourke MP** said: *“Illuminate Adelaide continues to shine in our non-stop events calendar and has launched into the ranks of Australia’s fastest-growing festivals. Last year we saw the winter staple triple its annual total attendance and deliver a record $74.7 million boost to our state, with hotel rooms packed across the city.* *“This year’s program is set to again draw huge crowds and I can’t wait for South Australians – and tens of thousands of interstate and overseas visitors – to come and experience world-class artists and support our local businesses.”* With a diverse program spanning blockbuster experiences, intimate works and free city-wide installations, Illuminate Adelaide 2026 invites audiences to explore, play and connect – transforming winter into a season of discovery. **Illuminate Adelaide runs from 1 – 19 July 2026 at various locations around Adelaide.** Tickets are on sale today at the website. Website: <https://www.illuminateadelaide.com/> Socials: <https://www.instagram.com/illuminateadelaide/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: City Lights, Amigo & Amigo’s Piano Walk, supplied. **Categories:** News --- ### [Announcing Sweet Charity For Chapel Off Chapel In June](https://thescoop.au/announcing-sweet-charity-for-chapel-off-chapel-in-june/) **Published:** February 14, 2026 **Author:** Newsroom **Content:** ![The Scoop Sweet Charity Heirlume Productions Chapel Off Chapel](https://thescoop.au/wp-content/uploads/2026/02/Sweet-Charity-wide-w-text.png "Sweet Charity Heirlume Productions Chapel Off Chapel • The Scoop")Following their sold-out inaugural season of *Elegies for Angels, Punks and Raging Queens*, Heirlume Productions is teaming up with Forest Collective to present the iconic Fosse musical *Sweet Charity* which runs **18 – 28 June 2026** at Chapel Off Chapel in **Melbourne**. Celebrating 60 years this year, Heirlume’s production of *Sweet Charity* follows the adventures of the ever-endearing Charity Hope Valentine, across 1960s New York City…but not quite how you remember it. Capturing a world suspended between The Lavender Scare and the Stonewall Riots, this *Sweet Charity* reimagines this classic through a new lens; infusing its beloved characters and legendary score with a queer love story and a tale of self-discovery and acceptance. Charity Hope Valentine will be played by **Erica Wild**. Erica is an incredibly in-demand Australian talent – they’re fresh from the International tour of *The Rocky Horror Show* and about to head straight to the Australian premiere of *[A Beautiful Noise: The Neil Diamond Musical](https://thescoop.au/announcing-stellar-cast-for-neil-diamond-musical/)*. The production team includes Producer/Dramaturg **Manda Rozen-Flannery** (she/her), Director/Choreographer **Lochlan Erard** (he/they) and Musical Director **Evan J Lawson** (he/they). Completing the creative team is Assistant Choreographer/Onstage Swing **Jesse Matthews** (he/him). Assistant Musical Director **Max Kielly** (he/him). Stage Manager **Samara Louise** (she/her). Lighting/Set Designer **Ruben Laine** (he/him) and Sound Designer **Lukas Battey** (he/him). Heirlume Productions is delighted to supported by Stonnington Council for this production. Tickets for go on sale Monday 16 February at 10am. ***Sweet Charity* runs 18 – 28 June 2026 at Chapel Off Chapel, 12 Little Chapel Street Prahran Vic 3181.** Tickets: <https://chapeloffchapel.com.au/show/sweet-charity/> Website: <https://www.heirlumeproductions.com/> Socials: <https://www.instagram.com/heirlume.productions/> and <https://www.instagram.com/forestcollective/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. *Sweet Charity* was written by **Neil Simon**. Music by **Cy Coleman**. Lyrics by **Dorothy Fields**. Produced for the Broadway stage by **Fryer, Carr and Harris**. Conceived, staged and choreographed by **Bob Fosse**. *Sweet Charity* is presented by permission of ORiGiN™ Theatrical on behalf of Tams-Witmark LLC, A Concord Theatricals Company. **Categories:** News --- ### [Review: Mara Puts A New Spin On A Classic Fairytale](https://thescoop.au/review-mara-puts-a-new-spin-on-a-classic-fairytale/) **Published:** April 25, 2026 **Author:** Alyssa Moller **Content:** ★★★½ ![The Scoop Mara Theatre Works Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Mara-Production-Image-1-959x628.jpg "Mara Theatre Works Melbourne • The Scoop")*Mara* is a modern cabaret style retelling of the familiar story of *Cinderella*, a prequel of sorts, chronicling the woman who will eventually become Cinderella’s stepmother. Written by Hanna Pyliotis, *Mara* steers away from many of *Cinderella*’s original themes of superficiality and the underdog, but digs its teeth further into class, motherhood and feminine madness. The title role and supplementary cast are all portrayed by the captivating Aurora Kurth, a one woman show with a stage-hand style supporting actor and beautiful on-stage keys played by Ania Reynolds. Reynolds has crafted a stunning score and soundscape, oftentimes providing a romantic twinkle that glimmers beneath Kurth’s performance. The show acts as a sort of villain origin story, crafting this character with depth and complexity, not necessarily justifying her actions, but explaining them. Her actions are softened here, the cruelty of her treatment of her own daughters and stepdaughter are strictly aligned with Mara’s view, despite her playing all characters. Kurth’s performance is empathetic, primarily as Mara, but shows incredible range. Her voice soars over Pyliotis’ and Reynolds’ original music. The songs are a slightly abstract diversion from the plot at times but offer interesting narrative solace. ![The Scoop Mara Theatre Works Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Mara-Production-Image-2-979x628.jpg "Mara Theatre Works Melbourne • The Scoop")The play digs its teeth into class motherhood and feminine madness Photo by Sarah ClarkeMy favourite song talked about the power of a name, with the lyrics *“the first word I learnt to spell, put a spell on me.”* This was a poignant moment, especially for a story about a character whose name is typically forgotten, or not rendered as relevant. It had some of the best lyrics of the night. There was a line about carving your name into the tree you had your first kiss by to claim it, which I thought was really special. The set realisation is dramaturgically functional for the story, providing a really lovely world for Kurth to play in. Costume plays an interesting role, creating characters for Kurth to disguise herself in and other times bounce off of, acting as the outline of her daughters. There’s a lovely double meaning here in the empty dresses, a physical emptiness, through Mara’s eyes, her lack of connection to her daughters all these years later, an inability to connect, a physical distance created between mother and children. ![The Scoop Mara Theatre Works Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Mara-Production-Image-5-1029x628.jpg "Mara Theatre Works Melbourne • The Scoop")The title role is portrayed by the captivating Aurora Kurth Photo by Sarah ClarkeDirector Megan Jones has a strong vision executed here. My favourite part of the set was the transparent curtain at the back of the stage, which allowed Jason Bouvaird’s clever lighting to bounce and create interesting levels. Jacques Cooney Adlard, the vision designer provides spellbinding projections. I love the depth this provided to the stage, also complimenting the story’s hallucinatory quality as Mara starts to unravel in the third act. There’s a few offbeat moments of humour, that I think take away from what is otherwise a deeply unhumourous central character. She’s playful at the start, but some of the intended comedic beats threw me out of Mara’s world, which I sometimes struggled to jump back into. Although a bit tonally confused at times, *Mara* is a new spin on a classic fairytale, a descent into insecurity, madness and cruelty. *Mara* is a modern, nuanced exploration of a character neglected of empathy, often clouded by sexist stereotypes of selfishness. ***Mara* is presented by Theatre Works and Machination Theatre Ensemble and runs to 2 May at** **Theatre Works. 14 Acland Street St Kilda** **Vic 3182.** Tickets: <https://www.eventbrite.com.au/e/mara-tickets-1976069316520> Website: <https://www.theatreworks.org.au/2026/mara> Socials: <https://www.instagram.com/theatreworksstkilda/> and <https://www.instagram.com/bytheatreworks/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Sarah Clarke **Categories:** Melbourne, Theatre --- ### [Review: Anthropology Is A Pensive AI Tech Thriller](https://thescoop.au/review-anthropology-is-a-pensive-ai-tech-thriller/) **Published:** April 24, 2026 **Author:** Chloe White **Content:** ★★★★☆ ![The Scoop Anthropology VOX Productions PIP Theatre](https://thescoop.au/wp-content/uploads/2026/04/182531-T2609_260421_A0584-941x628.jpg "Anthropology VOX Productions PIP Theatre • The Scoop")*Anthropology* is the comprehensive, scientific study of humanity. But what happens when AI turns that lens on us? VOX Productions and PIP Theatre have created a gut-wrenching, pensive AI tech thriller that will hook both tech lovers and sceptics alike. Written by Lauren Gunderson, the play’s inventive and original use of AI and tech is current and creepily familiar. However, the human elements of loss, grief, love, longing and sibling connection ring true throughout. It doesn’t get lost in the tech world; the emotion spills out on the stage and in the dialogue. The writing makes you laugh, leaves you uncomfortable, and keeps you truly engaged throughout the entire show Merrill is lost and overtaken by grief after losing her only sister. She does the unthinkable, setting off a trail of questions only ‘Angie’ can answer. Angie, the AI chatbot Merrill has built using every piece of data from her sister’s life, not only helps uncover what happened, but also rekindles relationships and unleashes family secrets. Director Nicky Whichelow oversees a tightly wound, intense and gripping production. The impeccably timed and clever scenes keep the audience in suspense, wondering: what could possibly happen next? Supported by dramaturg Helen Strube, the play’s modern take on tech and data seamlessly blends with a deep understanding of human imperfection, which was powerfully captured throughout the show. A claustrophobic and frantic stage provides an intentionally immersive experience. Freddy Komp’s video projection, set and stage design, with his setup of tech sprawled across the stage, creates a very inviting performance space that blends humanity and AI seamlessly. ![The Scoop Anthropology VOX Productions PIP Theatre](https://thescoop.au/wp-content/uploads/2026/04/182650-T2609_260421_A0595-941x628.jpg "Anthropology VOX Productions PIP Theatre • The Scoop")A claustrophobic and frantic stage provides an intentionally immersive experience Image suppliedThe stage felt lived in. The use of floor space for sitting and performing meant it felt real, as it showed that recognisable ‘hang out’ space of chilling around a coffee table, drinking wine, laughing, but with an unfamiliar digital friend looming in the background. Lighting by Geoff Squires underlines the eerie and creepy tone created by sound designer Zoe Power when the digital elements were the focus. It also elevated the beauty and simplicity of raw, true human emotion when people would take centre stage. That blend can be jarring, but the synergy supported the deeply engaging nature of the writing. Despite the smaller cast, the feelings, emotions, and force were bigger than words, taking up space and energy and swallowing the audience whole, totally consumed. A performance that blends AI, a complex tech setup, multiple calls, texts, data entry and screens demands precision and razor-sharp focus from the crew. Stage manager Hazel Evans (as Angie would have said) ate and left no crumbs. Caroline Sparrow as Merrill depicts a determined, shattered older sister needing answers. Her geeky older sister energy perfectly captures the ‘chaotic but organised, messy but always had a plan’ vibe most older sisters have. She shifts effortlessly through her three personalities. A quick tech-loving nerd, a visceral grieving sister and a vulnerable ex trying her best to fight the instinct to shut everyone out and suppress her heart. ![The Scoop Anthropology VOX Productions PIP Theatre](https://thescoop.au/wp-content/uploads/2026/04/185023-T2609_260421_B7217-941x628.jpg "Anthropology VOX Productions PIP Theatre • The Scoop")Caroline Sparrow as Merrill shifts effortlessly through her three personalities Image suppliedRose Traynor-Boyland’s depiction as Angie is jarring and uncanny. Her performance is a masterclass in contrast. The ‘chatbot’ Angie is creepy and stilted. But a raw, emotional and dramatic human side is revealed, as Rose depicts a younger, messed-up and mentally unstable sister with startling accuracy. Everyone knows a light, calming and beautiful ex that has a fantastically weird recipe and jumps straight into ‘breakup yoga.’ Vivien Whittle’s character Raquel is exactly that. She may have only been on stage in short bursts, but when the captivating and stunning Raquel left the scene, you wanted her to return quickly. Sherri Smith’s character Brin is relentlessly polarising, keeping the audience on an emotional seesaw. Do we hate her? Do we blame her, or her problems? Brin was designed to provoke. Sherri is fantastic at reeling us into sympathy toward a broken, love and drug addicted woman that is hauntingly familiar. She then throws us into being disgusted and angry at the actions and decisions that left both Merrill and Angie as collateral damage in a cycle of bad men and bad choices. *Anthropology* is funny, emotional and intense. It leaves questions lingering in your head about the past, our current state of AI and the future. It also brings you along a disturbing investigation and heartbreaking family mess. But the biggest twists and turns are waiting at the very end, just like the robot Angie will ‘always be.’ ***Anthropology* is presented by VOX Productions and runs to 2 May at PIP Theatre. 20 Park Road Milton Qld 4064.** Tickets: <https://piptheatre.sales.ticketsearch.com/sales/salesevent/157466> Website: <https://piptheatre.org/2026-anthropology/> Socials: <https://www.instagram.com/voxproductions.au/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Images supplied. **Categories:** Brisbane, Theatre --- ### [Review: Art The Play Is Everything Great Theatre Should Be](https://thescoop.au/review-art-the-play-is-everything-great-theatre-should-be/) **Published:** April 24, 2026 **Author:** Liz Baldwin **Content:** ★★★★★ ![The Scoop Art the play Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Toby-Schmitz-Richard-Roxburgh-Damon-Herriman-942x628.jpg "Art the play Melbourne • The Scoop")*Art* the play is funny, outrageous, compelling – everything great theatre should be. Its star-studded Australian run, by star director Lee Lewis (whose credits include the first production of *Prima Facie*), deserves to sell out every night. The play has a storied history. First performed in Paris in 1994, it’s been translated into 30 languages and performed around the world. The translation, by Christopher Hampton, received the 1996-97 Laurence Olivier Award in London and the Tony Award in 1998 in New York. The story is deceptively simple. Serge, a well-to-do dermatologist, buys an almost-entirely white (perhaps if you squint you can see an off-white diagonal line or two) painting for 160,000 euros. That decision divides his two close friends. Marc, a cynical aeronautical engineer, sees it as a sign that Serge has ‘lost his sense of humour,’ and starts to question the very basis of their friendship. Yvan, a drifting stationer who often finds himself playing peacemaker, finds himself caught between the two. For something written more than thirty years ago, the play feels remarkably fresh. Squabbles over modern art, diverging fortunes, and changing friendship dynamics are as relevant now as ever. ![The Scoop Art the play Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Richard-Roxburgh-Toby-Schmitz-942x628.jpg "Art the play Melbourne • The Scoop")All three actors deliver exceptional performances its hard to pick a single standout Photo by Brett BoardmanIndeed, a play focused entirely on men’s friendship is still an endangered species. It felt unusual to hear three straight, middle-aged men acknowledging and dissecting past hurts, jealousies, and group dynamics; all common fodder for art focused on women’s friendship. But this isn’t a morality play. Yasmina Reza’s script is zippy and irreverent, filled with laugh-out-loud moments. Occasional asides to the audience, rotating conversational duos, and always the sense of ridiculousness about the fight add to the levity. The script does become a little laboured about two-thirds of the way through, with shouty, circular arguments where characters seem to be talking past each other for a little too long. But in the last quarter, we regain a sense of momentum, tension building effectively before an appropriately satisfying payoff. All three actors deliver exceptional performances; it’s hard to pick a single standout. Richard Roxburgh’s physical performance is outstanding. His gestures as he attempts to control his ridicule make his discomfort palpable. But then Damon Herriman is wonderfully evocative as the suave Serge, cultivating a studied insouciance that suddenly, and deliciously, breaks. ![The Scoop Art the play Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Damon-Herriman-1-942x628.jpg "Art the play Melbourne • The Scoop")For something written more than thirty years ago the play feels remarkably fresh Photo by Brett BoardmanAnd Toby Schmitz shines in the single funniest scene in the play, delivering a minutes-long monologue cataloguing his woes that had me nearly crying with laughter. Charles Davis designed the set, a spare, nearly unchanging stage that effectively evokes the apartment of a man with slightly more money than sense. The white painting always looms large, aided by Paul Jackson’s unsparing lighting choices. And Davis’ costume design – a preppy white look for Serge, black smart casual for Marc, and grey trackies for Yvan – is a blunt visual reminder of these men’s diverging tastes. This excellent production of a laugh-out-loud play is not to be missed. ***Art* runs in Melbourne to 3 May at the Comedy Theatre for a limited season** **as part of its national tour.** **It then wraps up in Adelaide. See dates below.** *Art* is presented by Rodney Rigby, Marriner Group, Paul Wheelton AM and State Theatre Company South Australia. Tickets: <https://arttheplay.com.au/tickets/melbourne/> Website: <https://www.arttheplay.com.au/> Socials: <https://www.instagram.com/arttheplayau/> [Read our review of the Sydney Season](https://thescoop.au/review-art-sees-herriman-roxburgh-schmitz-top-of-their-game/) Photo credit: Brett Boardman 2026 Australian Tour Dates: Melbourne 22 April – 3 May, Comedy Theatre Adelaide 20 – 24 May, Her Majesty’s Theatre **Categories:** Melbourne, Theatre --- ### [Review: Gruesome Playground Injuries Finds Grace in Moments of Pain](https://thescoop.au/review-gruesome-playground-injuries-finds-grace-in-moments-of-pain/) **Published:** April 24, 2026 **Author:** Leo Manson **Content:** ★★★★☆ ![The Scoop Gruesome Playground Injuries Unorthodox Productions](https://thescoop.au/wp-content/uploads/2026/04/Gruesome-Playground-Injuries-9-942x628.jpg "Gruesome Playground Injuries Unorthodox Productions • The Scoop")Can two hurt people heal each other? It’s a question with no clear answer, but *Gruesome Playground Injuries*, presented by new Sydney indie theatre company Unorthodox Productions, doesn’t shy from these complexities. *Gruesome Playground Injuries* was written in 2012 by award-winning American playwright Rajiv Joseph. The play follows the relationship of Doug and Kayleen, played by Chris Stamoulos and Darya Miroshnikova, who also serve as co-producers. We see them when they first meet, in the sickbay of their school. Doug is covered in blood, and Kayleen admits to a stomach ache, which, in reality, is dubious. Immediately, this dichotomy of mental and physical health is established. This looms over the duration of the play as they weave themselves in and out of each other’s lives. What immediately stands out when watching this production is just how well the story fits in an Australian setting. Stamoulos’ performance as Doug drives this. He carries a zany energy that’s found across every Australian classroom. It’s this that makes Doug so endearing. You can tell he’s a character trying his best, even when he’s not always doing the right thing. Miroshnikova as Kayleen is a perfect complement. As Doug jumps from one big emotion to the next, Kayleen’s attitude forms in waves. For periods, she’s cool and defensive, but slowly she warms and opens herself up. Though Kayleen is standoffish, she is always endearing. Miroshnikova captures a fragile energy under a tough exterior excellently. ![The Scoop Gruesome Playground Injuries Unorthodox Productions](https://thescoop.au/wp-content/uploads/2026/04/Gruesome-Playground-Injuries-5-942x628.jpg "Gruesome Playground Injuries Unorthodox Productions • The Scoop")The actors portray their characters from child to teen to adult with easeBoth Stamoulos and Miroshnikova’s acting skills are strong and improve as the play goes on. They portray the two characters from child, to teen, to adult with ease. Director Brea Macey’s extensive theatre experience serves to portray this whirlwind of a show at its most raw. Doug invades Kayleen’s space while Kayleen maintains a constant distance. Most importantly, the two feel deeply real. They’re more than just characters; they offer glimpses into real lives and real experiences. This show demands that special effects makeup and its stage be changed for each scene. Interestingly, Macey uses music from indie rock bands to play during these transitions. This creates a cinematic element. Not to mention, there was clearly great thought put into the songs selected. The ones picked absolutely tug at the heartstrings. *Oh Ana*, by Canadian band Mother Mother, is a particularly moving choice that draws a lot of tension. ![The Scoop Gruesome Playground Injuries Unorthodox Productions](https://thescoop.au/wp-content/uploads/2026/04/Gruesome-Playground-Injuries-8-942x628.jpg "Gruesome Playground Injuries Unorthodox Productions • The Scoop")What stands out is just how well the story fits in an Australian setting Photo by Simon PearceThe stage design is quite clever. There’s no curtain at the Tap Art Gallery, and as a result, stage manager Alexandra Pelvin and Macey’s choice of furniture is clever. For example, the bed works across scenes in the sickbay, hospital and bedroom. Where the bed doesn’t fit, the characters craftily occupy an area away from the bed. This also helps to create a change in pace. The play is, for the most part, tonally consistent, though there are a few scenes that falter. Sometimes Kayleen’s insults leave it unclear if it’s meant to be a humorous or solemn moment. Additionally, the scene addressing Kayleen’s self-harm could benefit from a bit more clarity. As it stands, the dialogue and actions don’t fully convey that this is the central issue, which may lessen its emotional impact on the audience. Regardless, *Gruesome Playground Injuries* continues to be an incredibly timeless and moving story and serves as a strong start for Unorthodox Productions. ***Gruesome Playground Injuries*** **is presented by Unorthodox Productions and runs to 3 May at Tap Art Gallery.** **259 Riley Street, Surry Hills NSW 2010.** Tickets: <https://www.trybooking.com/events/landing/1538915> Website: <https://www.tapgallery.org.au/gruesome-playground-injururies-22-april-3rd-may/> Socials: [https://www.instagram.com/unorthodox\_productions\_sydney/](https://www.instagram.com/unorthodox_productions_sydney/) and <https://www.instagram.com/tapgallery/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Simon Pearce **Categories:** Sydney, Theatre --- ### [Review: 3 Billion Seconds Is A Hotbed Of Love, Panic & Ethics](https://thescoop.au/review-3-billion-seconds-is-a-hotbed-of-love-panic-ethics/) **Published:** April 23, 2026 **Author:** Benjamin Webb **Content:** ★★★½ ![The Scoop 3 Billion Seconds Blinking Light Theatre KXT](https://thescoop.au/wp-content/uploads/2026/04/3BS_VictorYZXuIzabellaLouk2_creditPhilErbacher-942x628.jpeg "3 Billion Seconds Blinking Light Theatre KXT • The Scoop")How long is a life? Roughly three billion seconds, give or take. Sitting inside the intimate traverse stage of KXT Kings Cross Theatre, *3 Billion Seconds* feels like a pressure cooker of love, panic and moral calculus. This play demands that you account for your existence. Fundamentally, it asks: what does it mean to bring life into a world you believe is already burning? Written by Maud Dromgoole and produced by Blinking Light Theatre, *3 Billion Seconds* taps into a growing wave of contemporary theatre grappling with climate anxiety and generational dread. We follow Daisy and Michael, two committed climate activists, who discover they are expecting a child. What follows is a spiralling attempt to reconcile their beliefs with the environmental cost of reproduction. Their solution? To offset their future child’s carbon footprint by any means necessary. At the centre are two electrifying performances. Izabella Louk’s Daisy is ferocious and razor-sharp, balancing manic conviction with flickers of vulnerability. Opposite her, Victor Y Z Xu delivers an earnest and conflicted Michael. Together, they create a dynamic that is as volatile as it is believable, capturing the messy, often contradictory nature of love under pressure. ![The Scoop 3 Billion Seconds Blinking Light Theatre KXT](https://thescoop.au/wp-content/uploads/2026/04/3BS_VictorYZXuIzabellaLouk4_creditPhilErbacher-942x628.jpeg "3 Billion Seconds Blinking Light Theatre KXT • The Scoop")Director Dominique Purdue leans into the plays chaos with confidence Photo by Phil ErbacherBoth actors have to play multiple characters throughout the show and do a brilliant job of distinguishing who is who – even in scenes where they have to act opposite themselves. There are two beautifully tender scenes in the middle of the play. A monologue delivered by Victor to his dying Dad with Alzheimer’s, and then a scene between Izabella as Daisy and Victor as his Dad. Both tug on the heartstrings in just the right way and act as a catalyst for the bonkers second half of the show. Director Dominique Purdue leans into the play’s chaos with confidence. There’s a sense of controlled anarchy in the staging, as though the production itself is teetering on the edge – mirroring the characters’ psychological descent. Mia MacCormick’s set and costume design uses the traverse stage to its advantage, giving the actors space to explore while grounding the world in a recognisable reality. Lighting by Caity Cowan is subtle but superb – the green spotlight to represent characters returning to the earth is an inspired choice. ![The Scoop 3 Billion Seconds Blinking Light Theatre KXT](https://thescoop.au/wp-content/uploads/2026/04/3BS_IzabellaLoukVictorYZXu_creditPhilErbacher-942x628.jpeg "3 Billion Seconds Blinking Light Theatre KXT • The Scoop")The play asks impossible questions and offers no neat resolutions Photo by Phil ErbacherCameron Smith’s sound design occasionally feels a little overemphasised. While the intention to underscore moments of tension and emotion is clear, it doesn’t always sit comfortably within the action. At times it feels unnecessary, and in others, slightly distracting. Also, while not a fault of the production itself, the story begins to lose cohesion after the midpoint, following the first death. Emotional investment gives way to a more absurdist tone, and the two don’t always sit comfortably alongside each other. At times, it feels caught between fully embracing its ridiculous premise and committing to the weight of its characters’ actions. What’s most striking about this show is how it embraces contradiction. It is messy, as promised, and proudly so. It asks impossible questions and offers no neat resolutions. Instead, it finds its centre in something unexpectedly tender: two people clinging to each other in the face of overwhelming uncertainty. In the end, *3 Billion Seconds* is a deeply stimulating portrait of love in the age of the climate crisis. It’s not always comfortable, and that’s precisely the point. This is theatre that provokes, unsettles, and lingers. ***3 Billions Seconds* is presented by Blinking Light Theatre and runs to 2 May at KXT on Broadway.** **181 Broadway, Ultimo NSW 2007.** Tickets: <https://events.humanitix.com/3-billions-seconds-kxt26> Website: <https://www.kingsxtheatre.com/3-billion-seconds> Socials: <https://www.instagram.com/blinkinglight.theatre/> and [https://www.instagram.com/kxt\_bakehouse/](https://www.instagram.com/kxt_bakehouse/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Phil Erbacher **Categories:** Sydney, Theatre --- ### [Review: Three Sisters Reminds Us How Alive Indie Theatre Is](https://thescoop.au/review-three-sisters-reminds-us-how-alive-indie-theatre-is/) **Published:** April 23, 2026 **Author:** Caitlin Green **Content:** ★★★★½ ![The Scoop Three Sisters Last Waltz Productions Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/Copy-of-ThreeSisters_Last-Waltz-Prod_RobertMiniter-29-copy-944x628.jpg "Three Sisters Last Waltz Productions Old Fitz Theatre • The Scoop")After a 5-star debut with *Dear Elena Sergeevna* last year, Last Waltz Productions returns to the Old Fitz with Chekhov’s masterpiece, *Three Sisters*. The play follows Olga, Masha, and Irina, all stuck in a provincial town and yearning to return to Moscow, which promises a life of meaning beyond their current circumstances. Across four acts, the play charts their hopes, romances, and disillusionment, but as time passes, the life they dream of slowly slips further out of reach. This iteration of *Three Sisters* is so singularly Last Waltz: they’ve absolutely left their mark on this classic. Its power lies in the spectacular performances and that signature sense of danger they bring to all their work. I found myself at the edge of my seat. Admission: I’m not a Chekhov girl myself. *I’m sorry*. My main gripe is that the through line of his work is deep discontent with life and absolutely no urge to practically change their circumstances. Girls who dream of Moscow for four acts and, spoiler alert, never f\*\*king go to Moscow. But this rendition may just have won me over. This is Chekhov directed and performed by people who love Chekhov. You can feel that devotion seeping out of every corner. I’m so glad to see a classic like this brought into the independent theatre scene because this kind of theatre *should* be accessible. Clara Voda’s direction shows deep reverence for the text while keeping it completely alive. I haven’t personally met Voda, but from all accounts, she is a force of nature. Voda has worked with many of the greats throughout her career, and breathing life back into the classics seems to be her lifelong devotion. This take brings sensitivity, leaning into realism. While some overlapping dialogue occasionally draws focus, overall, it injects spontaneity and play into a work that could easily slip into something stuffy. ![The Scoop Three Sisters Last Waltz Productions Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/Copy-of-ThreeSisters_Last-Waltz-Prod_RobertMiniter-11-copy-942x628.jpg "Three Sisters Last Waltz Productions Old Fitz Theatre • The Scoop")The lead trio have an undeniable chemistry and carry the emotional weight of the piece with ease Photo by Robert MiniterThis is a huge cast, all of whom are spectacular. I’m so excited to see such a large ensemble hit the stage. Sydney’s theatre scene is severely lacking in ensemble pieces, favouring more budget-friendly two-handers. I completely understand, funding is unfortunately few and far between. However this pivot was a joy. Now, there are genuinely a thousand actors on that stage, but each delivers such a delicious performance that I am determined to give every single one their flowers. This may take a sec. Full transparency: I know and have had the pleasure of working with a number of these actors during my time at NIDA. In 2023, they were the shining third years, untouchable forces, and absolutely nothing has changed. I sit in awe of them every time I watch them work. They are, without a doubt, the next frontier of Australian talent. Madeline Li as Masha is stunning, as she is in all the work I’ve seen her do. A searing portrayal of one of history’s best-known characters, she brings sensitivity and power in droves. Teodora Matović as Olga is commanding. This is an actress who understands the muscularity of live performance. Tessa Olsson is whimsical and bright, the perfect Irina. These three actresses carry the emotional weight of this piece with such ease. And their chemistry is undeniable, as it is across the entire cast. Toby Carey, who portrays Tusenbach, I hope, is in everything I ever see. In this role, he is charm, swagger and musicality. His two-hander with Olsson in the final act pulls hard at the heartstrings. Faisal Hamza as Kulygin is the comedic relief and beating heart of this show. Every time he entered a scene was like a breath of fresh air. He is so free on stage, his physical comedy is unmatched, and yet absolutely rigorous in his approach to the text. ![The Scoop Three Sisters Last Waltz Productions Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/Copy-of-ThreeSisters_Last-Waltz-Prod_RobertMiniter-18-1-942x628.jpg "Three Sisters Last Waltz Productions Old Fitz Theatre • The Scoop")The cast are without a doubt the next frontier of Australian talent Photo by Robert MiniterIt was also a joy to see Emma Wright as Natasha. I haven’t yet had the pleasure of seeing her perform, though many know her (alongside Lucy Clements) as a powerhouse behind the Old Fitz Theatre. She is an incredibly gifted performer, bringing Natasha to life in a way that lets you love her, then hate her with everything you’ve got. Similarly, Lap Nguyen as Solyony is someone we love to hate. He has such a distinct presence and brings colour to every scene he touches. Ren Watson as Chebutykin delivers the best drunk acting I’ve seen in a long time. Hilarious. Loved it. Alfred Kouris as Vershinin is every inch the leading man. The love that blooms between him and Masha is gut-wrenching and sexy. It’s everything you want from a doomed romance. Matthew Alexander, as Andrey, is transformative; his growth throughout the piece is a marvel. Now to my personal hero of the show: Cym as Anfisa/Nanny. Nanny, I love you. You’re spectacular. So glad you got your happy ending, girl. Never change. The level of commitment and improvisation here is no small task. This show is an absolute monster. A gruelling three-hour-long odyssey. Only when you are deeply in tune with and trusting of your fellow castmates can you pull off something this mammoth. They bounce off each other with ease; the energy in the room fizzes. The set design by Ella Wilkinson is stunning. I love to see the Fitz undergo such a total transformation. Texture, levels, ornate detail; it’s a feast for the eyes. I also need to take a moment for the lighting by Sam Wylie. This was so well executed, showing the progression and passage of time. The fire, specifically, was lit so beautifully. The lighting was a character of its own, guiding the audience through the passage of time and allowing us a peek into the emotional state of our characters, the temperature of the room, so to speak. Last Waltz Productions’ relationship with the Old Fitz has made a real mark, and I’m so excited to see what comes next. In a play about longing, *Three Sisters* pulses with urgency, reminding us just how wild and alive indie theatre is. ***Three Sisters* is presented by Last Waltz Productions runs to 9 May at the Old Fitz Theatre, 129 Dowling Street Woolloomooloo NSW 2011.** Tickets: <https://www.oldfitztheatre.com.au/three-sisters> Website: <https://www.lastwaltzproductions.com/three-sisters> Socials: <https://www.instagram.com/lastwaltzprod/> [Read our interview with Madeline Li & Clara Voda!](https://thescoop.au/three-sisters-one-vision-last-waltz-dances-with-chekhov/) Photo credits: Robert Miniter **Categories:** Sydney, Theatre --- ### [Announcing Stella: A New Australian Musical On The Life of Miles Franklin](https://thescoop.au/announcing-stella-a-new-australian-musical-on-the-life-of-miles-franklin/) **Published:** April 23, 2026 **Author:** Newsroom **Content:** ![The Scoop Stella A New Australian Musical](https://thescoop.au/wp-content/uploads/2026/04/Stella-pic.jpg "Stella A New Australian Musical • The Scoop")The world premiere of ***STELLA: A New Australian Musical*** celebrates Stella Miles Franklin’s own dramatic story when it debuts at Monash University’s Alexander Theatre for a strictly limited season from **12 – 20 June 2026**. Literary icon Miles Franklin’s life, marked by poverty, entrenched sexism, personal loss and the upheaval of two world wars, has until now been overshadowed by the attention on her debut novel *My Brilliant Career* and the literary awards that carry her name – the Miles Franklin Award and The Stella Prize. Seven years in the making, this new production draws on Franklin’s sharp, witty and distinctive voice, weaving her own words into the piece, balancing humour and heart. A genre-spanning score moves from Australian and Irish folk and bush ballads through to salsa, neo-classical, pop, punk rock and classic musical theatre, capturing the energy, resilience and adventurous spirit of one of Australia’s most iconic literary figures. In keeping with Stella Miles Franklin’s own creative ethos of making art with limited resources, a cast of five never leaves the stage, bringing Stella’s epic life journey to life through multiple character and costume changes. Seven live musicians will also accompany the action, their on-stage presence adding to the sense of the work unfolding in real time. Director **Julia Robertson** leads the creative team, alongside musical director **Vicky Jacobs** and book writer, composer and lyricist **Monique diMattina**, with set design by **Nick Fry**, costume by **Isla Shaw**, sound by **David Letch** and lighting by **Sidney Younger**. Together, they bring the extraordinary life of Stella Miles Franklin to the stage. **Monique diMattina** said: *“There is so much inspiration, pride and joy for us in Stella’s story, yet most people know nothing about Stella’s life. Stella Miles Franklin left us so much in her extraordinary body of work – novels, plays and thousands of personal letters and diary entries. Stella has been a juicy companion over the seven years I’ve spent creating this musical. She is witty, courageous, loveable and edgy.”* Director **Julia Robertson** said: *“It is both a privilege and a responsibility to help bring to life the lesser-known story of Miles Franklin; a woman whose voice shaped a nation, yet whose personal journey remains, in many ways, untold. My hope is that audiences will encounter Miles Franklin anew, not just as a name attached to a prestigious literary prize, but as a woman of profound complexity and courage.”* The world premiere of ***STELLA: A New Australian Musical*** is included on the VCE Theatre Studies curriculum, making it a valuable opportunity for students to experience a new Australian work inspired by one of the country’s most influential literary voices. The full cast for the season will be announced soon. ***STELLA: A New Australian Musical*** **runs 12 – 20 June 2026 at Alexander Theatre*,* The Ian Potter Centre of Performing Arts, Monash University, Clayton Vic 3168.** Tickets: <https://mpac.monash.edu/event/stella> Website: <https://stellathemusical.com/> Socials: <https://www.instagram.com/stellathemusical/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. **Categories:** News --- ### [Announcing First Taste 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/announcing-first-taste-2026-hsbc-spanish-latin-american-film-festival/) **Published:** April 19, 2026 **Author:** Newsroom **Content:** ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/04/My-Amazing-Grandma_1.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")From **10 June**, cinema screens at Palace Cinemas, Palace Nova Cinemas and Luna Palace Cinemas across Australia will heat up with a sensational selection of contemporary cinema from Spain and Latin America. The **2026 HSBC Spanish & Latin American Film Festival** has revealed a first tantalising taste of its 29th edition, including an award-winning drama, a rom-com starring one of the most well-known Latin American actors, a historical epic, salsa documentary, and more. Set against the backdrop of a corporate crisis, **NOTHING BETWEEN US** (*Nada entre los dos)* is an intimate and charming love story starring Gael García Bernal and Natalia Oreiro, from Argentina and Uruguay. In the first time the two popular actors have appeared on screen together, they star as colleagues on conference at a beach resort in Mexico faced with the fragile balance between personal freedom and social expectations. The Festival Centrepiece is the highly awarded Spanish box office hit **SUNDAYS** (*Los domingos),* from writer/director Alauda Ruiz de Azúa. The film won the Golden Shell (Best Film) at the 2025 San Sebastián Film Festival, in addition to five Goya Awards and five Feroz Awards. This quietly spellbinding drama explores a family in crisis after their 17-year-old daughter defies expectations and declares that she is choosing the life of a cloistered nun. ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/04/Sundays_1-941x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from Sundays the Festival centrepiece filmFrom award-winning director Alejandro Amenábar, comes the epic historical adventure **THE CAPTIVE** (*El cautivo),* the Festival Special Presentation. The ambitious and thrilling drama starring Julio Peña (*Through My Window)* and Alessandro Borghi (*The Eight Mountains*) follows a young Miguel de Cervantes, author of *Don Quixote*, who finds an unexpected refuge in the art of storytelling while imprisoned in 16th Century Algiers. **LA SALSA VIVE** is a vivid documentary, from Colombia and the USA via Havana. It tells the story of two cities bound by the rhythm of salsa. From New York City, where the genre was born in the 1970s, to Cali, Colombia, the self-proclaimed “world capital of salsa” where it thrives with unmatched passion. The evolution of the genre is an illuminating journey of cultural heritage, music and dance, much like the global 1990s hit *The Buena Vista Social Club*. Brazilian film **ISABEL**, direct from the 2026 Berlin International Film Festival, is an intoxicating drama imbued with wine. It follows talented sommelier Isabel (Marina Person, who also co-wrote the script) in São Paulo’s fine-dining scene who dreams of opening her own wine bar away from her controlling boss. However, she must balance following her passion with the realities of opening a business. ![The Scoop 2026 HSBC Spanish & Latin American Film Festival](https://thescoop.au/wp-content/uploads/2026/04/The-Captive_1-942x628.jpg "2026 HSBC Spanish & Latin American Film Festival • The Scoop")Still from The Captive which will screen in a special Festival prsentationIn a feel-good origins tale inspired by true events, **ANOTHER LEAGUE** (*Pioneras: solo querían jugar)* tells the story of a group of girls in the early 1970s who decide to play football in a country that does not see a place for them in the sport. Through the many challenges they face, they meet an ambitious promotor who is determined to change the story of women’s football in Spain. For families and schools, there is the charming family comedy and Spanish box office hit **MY AMAZING GRANDMA** (*Abuela Tremenda).* Contrasting overprotective parents with the wild and carefree energy of a mischievous grandmother, three generations of women experience hilarious disasters at a rural farm. And fun is guaranteed in **BEAR CLAW CAMP** (*Campamento Garra de Oso)* in which two nine-year-olds race against time to save their summer camp. The film combines live action and animation for an exciting adventure about the power of friendship and teamwork. **The 2026 HSBC Spanish & Latin American Film Festival takes place nationally from 10 June to 12 July (dates vary) in Melbourne, Ballarat, Adelaide, Perth, Canberra, Brisbane, Sydney, Byron Bay and Ballina.** The full programme will be announced, and tickets go on sale in mid-May at the website. Website: <https://spanishfilmfestival.com/> Socials: <https://www.instagram.com/spanishfilmfest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Still from My Amazing Grandma. Listing details: **Canberra 10 June – 5 July:** Palace Electric Cinema **Adelaide 10 June – 5 July:** Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas **Brisbane 11 June – 5 July:** Palace James Street and Palace Barracks **Perth 11 June – 1 July:** Palace Raine Square, Luna Leederville and Luna on SX **Melbourne 12 June – 5 July:** The Astor Theatre, Palace Cinema Como, Palace Brighton Bay, Palace Church St, Palace Penny Lane, Palace Westgarth, The Kino, Palace Balwyn and Pentridge Cinema **Ballarat 12 June – 5 July:** Palace Regent Cinema **Sydney 18 June – 12 July:** Palace Norton Street, Palace Moore Park and Palace Central **Byron Bay/Ballina 18 June – 12 July:** Palace Byron Bay, Ballina Fair Cinemas **Categories:** News --- ### [Review: Gutenberg! The Musical! Delivers Big On A Small Scale](https://thescoop.au/review-gutenberg-the-musical-delivers-big-on-a-small-scale/) **Published:** April 17, 2026 **Author:** Sophie Cornett **Content:** ★★★★★ ![The Scoop Gutenberg! The Musical! Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/04/1-Stephen-Anderson-in-Gutenberg-The-Musical-Photo-by-John-McRae-copy-942x628.jpg "Gutenberg! The Musical! Hayes Theatre Co • The Scoop")The ‘play within a play’ is a recurring concept throughout the history of theatre. How *Gutenberg! The Musical!* provides a delightfully fresh perspective on this mechanism is through the emphasis on the authors; their history, their dreams and the work that is required to achieve these. This latest production from Hayes Theatre Co is a bright and playful addition to their stunning 2026 season, perfectly encapsulating the raw creative power of human connection. *Gutenberg! The Musical!* follows budding musical theatre creatives Doug and Bud as they present their latest production, a musical based on the life of Johannes Gutenberg, inventor of the printing press. Armed with nothing but their dreams, frugal staging and a plethora of hats, Doug and Bud set out to convince the audience of Broadway producers to support their show. Director Richard Carroll has crafted a magnificent production. He perfectly captures the work-in-progress feeling with a delightfully humorous blend of simple staging and handmade props. ![The Scoop Gutenberg! The Musical! Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/04/7-Stephen-Anderson-and-Ryan-Gonzalez-in-Gutenberg-The-Musical-Photo-by-John-McRae-copy-942x628.jpg "Gutenberg! The Musical! Hayes Theatre Co • The Scoop")The deftness of transition between characters lends a pristinely polished edge to the performance Photo by John McRaeYet the deftness with which the performers and stage transition between characters and settings lends a pristinely polished edge to the performance. The music for the show is tremendous, and expertly led on stage by musical director Zara Stanton. She takes the audience on a whirlwind tour of every musical genre that could possibly be packed into a musical. Each is a delightful blend of humour and emotional nuance. As Charles, Bud and Doug’s rehearsal pianist, Stanton delivers some delightfully witty insights into the process. It is so much fun to see her be such an integral part of the workshop. The sound design by Liam Roche is also impeccable, with perfectly placed sound effects adding depth and often comedic value to the performance. Shannon Burns, as choreographer, has tapped into the diverse musical range, adding incredible high-energy and visually impactful movement to the show. Despite only two performers being on stage, the precision and synchronisation of the choreography make it feel like it is being performed by a full cast. ![The Scoop Gutenberg! The Musical! Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/04/2-Stephen-Anderson-and-Ryan-Gonzalez-in-Gutenberg-The-MusicalPhoto-by-John-McRae-copy-942x628.jpg "Gutenberg! The Musical! Hayes Theatre Co • The Scoop")Stephen Anderson and Ryan González are an almighty duo Photo by John McRaeStephen Anderson and Ryan González are an almighty duo, delivering an absolutely flawless performance as Doug and Bud, respectively. They transform so nimbly and completely between characters that you often forget you are only watching the two performers on stage. Their depth of vocal and physical talents is truly on display as they tackle this enormously complex show with gusto. There is so much to love, from their high-energy portrayal of the characters of their show to the quietly tender moments of reflection that portray the depth of Doug and Bud’s friendship. I cannot be more effusive in my praise of their talents. It is a masterful performance. What truly allows the story, connections and characters to stand out is the incredible staging, lighting and costumes. Lochie Odgers has designed a set that the actors can truly play in, with simple levels and curtains creating the perfect canvas for the audience’s imagination. Lily Mateljan has incorporated whimsical nods to musical theatre history into the costume design, and they were a delight to spot as the characters moved around the stage. Véronique Benett uses amazing lighting effects to guide the audience’s eye and attention around the action on stage. *Gutenberg! The Musical!* is such an incredible show, reflecting all the complexity of a high-end Broadway production on a comedically frugal scale. This truly allows the relationships between our characters to shine, acting as a gorgeous testament to the creative minds and connections that make live theatre possible. Make sure to see this latest triumph from the Hayes Theatre Co while it is gracing the stage. ***Gutenberg! The Musical!* runs to 17 May at Hayes Theatre Co.** **19 Greenknowe Avenue Potts Point NSW 2011.** Tickets are available [here](https://boxoffice.hayestheatre.com.au/WEBPAGES/EntaWebShow/ShowPerformance.aspx)! Website: <https://hayestheatre.com.au/event/gutenberg/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: John McRae **Categories:** Musical Theatre, Sydney --- ### [Brisbane Festival 2026 First Look: The Choir Of Man & Magic Mirrors Spiegeltent Returns](https://thescoop.au/brisbane-festival-2026-first-look-the-choir-of-man-magic-mirrors-spiegeltent-returns/) **Published:** April 23, 2026 **Author:** Newsroom **Content:** ![The Scoop Brisbane Festival 2026 Choir of Man](https://thescoop.au/wp-content/uploads/2026/04/Choir-of-Man-Opening-0831-1-944x628.jpg "Brisbane Festival 2026 Choir of Man • The Scoop")**Brisbane Festival** has today offered its first glimpse of what’s to come in 2026, announcing that the runaway West End hit and Olivier Award-nominee, ***The Choir of Man***, will bring its irresistible, roof-raising celebration of community and music to South Bank Cultural Forecourt from **3 – 13 September** for its Queensland premiere. This strictly limited season sees *The Choir of Man* play in the iconic **Magic Mirrors Spiegeltent**, which returns to Brisbane after a six-year hiatus. *The Choir of Man* UK touring company will transform the iconic pop-up venue into the world’s greatest pub, complete with a working on-stage bar and plenty of flowing beer. New **Brisbane Festival Artistic Director Ebony Bott** shared a sneak peek of her vision for this year’s festival, designed to take the city from first light to after dark: *“Brisbane Festival 2026 moves with the rhythm of the city – from first light to late night – creating space for people to gather, connect and revel. Bringing the Festival back to the Cultural Forecourt allows us to establish a true civic heart. With the Magic Mirrors Spiegeltent at its centre we are building a high-energy Festival Village that feels intimate, generous and alive.* *The Choir of Man leads the program because it captures that spirit so completely. It is exceptional, full of drive and vitality, and transforms the venue into something shared, like a neighbourhood local lifted to a world-class stage.”* ![The Scoop Brisbane Festival 2026 Choir of Man](https://thescoop.au/wp-content/uploads/2026/04/Choir-of-Man-Opening-0398-1-944x628.jpg "Brisbane Festival 2026 Choir of Man • The Scoop")The Choir of Man makes its Queensland premiere at 2026 Brisbane Festival Image suppliedCreated by **Andrew Kay** and **Nic Doodson**, *The Choir of Man* first premiered at Edinburgh Festival Fringe in 2017. It spent five years on London’s West End and later toured the globe, including sit down seasons in Chicago and three sold out seasons at Sydney Opera House. To date, over 3 million people worldwide have experienced the uplifting celebration of community and song. Since its Australian debut in 2019, *The Choir of Man* has played to packed out houses in Sydney, Melbourne, Perth and Adelaide. The hit show was originally set to open in Brisbane in April 2020 but was cancelled due to the COVID-19 pandemic just days before its first performance. Now, the global sensation will have its long-awaited Queensland premiere, with six extraordinarily talented singers, instrumentalists and wordsmiths delivering roof-raising interpretations of hits. These span Queen, Adele, Sia, Paul Simon, Luther Vandross, Guns N’ Roses, Avicii and Katy Perry. Moving effortlessly between hair-raising harmonies, foot-stomping singalongs and tender moments of connection, *The Choir of Man* has cemented itself as a bonafide crowd pleaser wherever it travels. ![The Scoop https://thescoop.au/brisbane-festival-2026-first-look-the-choir-of-man-magic-mirrors-spiegeltent-returns/](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-23-at-62015-am-788x628.png "https://thescoop.au/brisbane-festival-2026-first-look-the-choir-of-man-magic-mirrors-spiegeltent-returns/ • The Scoop")Brisbane Festival Artistic Director Ebony Bott**Minister for Education and the Arts John-Paul Langbroek** congratulated Artistic Director, Ebony Bott, on this exciting announcement which will form part of her first Brisbane Festival program: *“The Crisafulli Government proudly supports the Brisbane Festival in bringing the internationally acclaimed The Choir of Man to our state, marking its Queensland debut in the iconic Spiegeltent.* *Major events like this reinforce Queensland’s growing reputation as a vibrant arts destination, preparing us for the global spotlight of Brisbane 2032 and its important role in shaping our cultural legacy and creative economy.* *Brisbane Festival is a highlight on the state’s cultural calendar. It helps deliver on the priorities of our arts strategy, Queensland’s Time to Shine, by providing extraordinary arts experiences for Queenslanders, and visitors to the state.”* **Minister for the Environment and Tourism, Andrew Powell MP** said Brisbane Festival was a major driver of visitation and economic activity for Queensland: *“Events like Brisbane Festival are exactly what make Queensland an events capital, bringing thousands of visitors into our cities and supporting local jobs and businesses.* *With more than 23,000 visitors and nearly 120,000 visitor nights expected, the announcement of The Choir of Man gives travellers another reason to book a trip to Brisbane ahead of the full program reveal.* *The Crisafulli Government is backing major events that fill hotels, support hospitality, and deliver real returns for Queensland’s tourism industry.”* ![The Scoop Riverfire by Australian Retirement Trust Photo by Mellumae 2025 Brisbane Festival Program Launch](https://thescoop.au/wp-content/uploads/2025/06/Riverfire-by-Australian-Retirement-Trust-BF24-Image-by-Mellumae-3-942x628.jpg "Riverfire by Australian Retirement Trust Photo by Mellumae Brisbane Festival 2025 Program Launch • The Scoop")The full Brisbane Festival program will be announced in June Photo by Mellumae **Lord Mayor Adrian Schrinner** said the popular show would be the perfect way to kick off Brisbane Festival 2026: *“The Choir of Man taps right into the sense of community and togetherness that makes our city so special. With a hugely talented UK cast performing in the heart of South Bank, it’s a fantastic live experience and a great example of the kind of world-class acts flocking to Brisbane.* *Show-stopping performances like this bring more people into our precincts, supporting local businesses and keeping the city buzzing all month long. Events like this help cement Brisbane’s reputation as Australia’s lifestyle capital and a great place to get out and try something new.”* Magic Mirrors Spiegeltent will form the centerpiece of a reimagined South Bank Cultural Forecourt hub: Festival Village. Offering programming from first light to after dark throughout September. A must-visit gathering place for eating, drinking, discovering and lingering, the Festival Village will encompass multiple venues, indoor and outdoor performance spaces, hospitality options and many more areas to play, dance and dine. General tickets for *The Choir of Man* are on sale from 24 April via QTIX. **Brisbane Festival runs 4-26 September 2026. The full program will be announced on 10 June.** Website: <https://www.brisbanefestival.com.au/> Socials: <https://www.instagram.com/brisbanefestival/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [CabLive Returns: Adelaide Artists Wanted For Cabaret Showcase](https://thescoop.au/cablive-returns-adelaide-artists-wanted-for-cabaret-showcase/) **Published:** April 22, 2026 **Author:** Newsroom **Content:** ![The Scoop Cabaret Fringe CabLive Adelaide](https://thescoop.au/wp-content/uploads/2026/04/DSC_2337-scaled-e1776856860445-972x628.jpg "Cabaret Fringe CabLive Adelaide • The Scoop")After a strong debut night, **Cabaret Fringe Adelaide**’s new open-mic series **CabLive** is already building momentum, with organisers calling for a **fresh wave of performers** ahead of its second instalment. The first CabLive event, held last weekend, drew a lively crowd and showcased a mix of emerging and established cabaret talent. Audiences were treated to a blend of original material and classic repertoire, setting the tone for what the series aims to become: a low-barrier, high-energy platform for cabaret experimentation and connection. Now, with the next event just weeks away, Cabaret Fringe is inviting singers and performers to step up. ![The Scoop Cabaret Fringe CabLive Adelaide](https://thescoop.au/wp-content/uploads/2026/04/DSC_2294-944x628.jpg "Cabaret Fringe CabLive Adelaide • The Scoop")Organisers of CabLive are calling for a fresh wave of performers ahead of its second instalment Photo by Abdul Rauf UR FramedCabLive is designed as a supportive performance space, giving artists the chance to test new work or refine their craft in front of a receptive audience. Hosted by cabaret regular **David Gauci**, the night offers performers the option of live accompaniment by pianist **Carol Young** or the use of backing tracks. The second CabLive will take place on **Sunday 3 May** at **The Arch, Holden Street Theatres** in Hindmarsh. Artists can register to perform via the Cabaret Fringe [website](https://cabaretfringefestival.com/). **Free entry** is provided for those on the bill. Organisers are also encouraging audiences to attend, framing the night as a chance to support local artists and discover new voices within Adelaide’s cabaret scene. ![The Scoop Cabaret Fringe CabLive Adelaide](https://thescoop.au/wp-content/uploads/2026/04/DSC_2401-944x628.jpg "Cabaret Fringe CabLive Adelaide • The Scoop")CabLive aims to be a low barrier high energy platform for cabaret experimentation and connection Photo by Abdul Rauf UR FramedCabLive forms part of a three-event series, with a final showcase scheduled for Sunday 7 June. The initiative is supported by the City of Charles Sturt. Alongside the series, Cabaret Fringe Association Inc. is also calling for donations, as it looks ahead to a potential return of the Cabaret Fringe Festival in 2027. Contributions over $2 are tax-deductible and aimed at sustaining the organisation’s future programming. For now, CabLive is doing exactly what it set out to do: reignite cabaret at the grassroots level, one open mic at a time. **CabLive runs Sunday 3 May at The Arch, Holden Street Theatres in Hindmarsh. Presented by Cabaret Fringe, Adelaide.** Doors open at 6pm, show starts at 6.30pm. Register for CabLive [here](https://docs.google.com/forms/d/e/1FAIpQLSfZqcwm6KUSm6z8DRIPmbMc5gk6zUbDHkz6MBLcpZGb8C6LqA/viewform). Website: <https://cabaretfringefestival.com/> Socials: <https://www.instagram.com/cabfringe/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Abdul Rauf, UR Framed **Categories:** News --- ### [The Only Thing Worse You Could Have Told Me To Make International Premiere](https://thescoop.au/the-only-thing-worse-you-could-have-told-me-to-make-international-premiere/) **Published:** April 22, 2026 **Author:** Newsroom **Content:** ![The Scoop The Only Thing Worse You Could Have Told Me CJ de Mooi](https://thescoop.au/wp-content/uploads/2026/04/image1-e1776834297121-1011x628.jpeg "The Only Thing Worse You Could Have Told Me CJ de Mooi • The Scoop")It’s been 25 years since the show was staged, but in an international premiere, ***T******he Only Thing Worse You Could Have Told Me*** is coming to Back Dock Arts in **Brisbane** this **June**. Written by **Dan Butler**, known for his role as Bob “Bulldog” Briscoe on the hit TV series *Frasier*, *The Only Thing Worse You Could Have Told Me* is a 90-minute monologue exploring the challenges faced by the gay community in 1990s USA. It was first performed in the United States with Dan Butler in the role. Directed by **Timothy Weston** and starring Matilda Award-winner **CJ de Mooi**, the play features 13 different characters across a range of ages, social standings and locations. Through a series of thought-provoking vignettes, the characters question, contradict and especially challenge one another’s credo of what being gay really means. CJ de Mooi is an English actor whose last one-man play, *Banana Crabtree Simon*, won him a Matilda Award for Best Performance in a Leading Role. The play was also nominated for Best Independent Production. CJ de Mooi has appeared on the BBC and performed in London’s West End, winning several international awards for his screen work. He now calls Brisbane home. Timothy Weston is an actor and director who has worked with the world renowned Cambridge Shakespeare Festival, Sydney’s Shakespeare By The Sea and Shakespearience Australia. ![The Scoop The Only Thing Worse You Could Have Told Me CJ de Mooi](https://thescoop.au/wp-content/uploads/2026/04/Poster-v3.png "The Only Thing Worse You Could Have Told Me CJ de Mooi • The Scoop")All the profits from the show will be donated to local charities supporting LGBTQ youth. Praise for *Banana Crabtree Simon*: *“This is finely-tuned, compelling theatre.”* Edinburgh Fringe Review *“This is an actor well in control of his craft.”* Theatre Travels *“His characterisation is flawless.”* The Thespian Blog *The Only Thing Worse You Could Have Told Me* is an insightful, poignant and often funny play that is all the more relevant today. ***The Only Thing Worse You Could Have Told Me* runs 9 – 27 June 2026 at Backdock Arts. 103 Brunswick Street Fortitude Valley Qld 4006.** Tickets: <https://www.tickettailor.com/events/backdockarts/2013975> Website: <https://www.backdockarts.com/> Socials: <https://www.instagram.com/backdockarts/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. Important information: Doors will open half an hour before show starts. No late arrivals permitted as doors will be locked once the show has started. **Categories:** News --- ### [Film Review: Alphabet Lane Is A Haunting Story Of Love & Isolation](https://thescoop.au/film-review-alphabet-lane-is-a-haunting-story-of-love-isolation/) **Published:** April 21, 2026 **Author:** Alex Thompson **Content:** ![The Scoop Alphabet Lane Film Review](https://thescoop.au/wp-content/uploads/2026/04/14-Special-still-Nick-and-Tilda-poster-select-879x628.jpeg "Alphabet Lane Film Review • The Scoop")*Alphabet Lane* is a quietly unsettling Australian film that explores loneliness, identity, and the fragile ways people cope when connection disappears. Written and directed by James Litchfield and set against a beautifully shot rural backdrop, the film follows Anna (Tilda Cobham-Hervey) and Jack (Nicholas Denton), a couple who relocate from Sydney in search of a tree change. The film’s central device is simple but effective: Anna and Jack work opposite shifts, he in construction during the day, she as a doctor at night, and briefly intersect on a dirt road between their commutes. These roadside meetings become their only consistent point of connection, a small ritual that initially feels warm but gradually reveals the emotional distance growing between them. Their roadside conversations feel symbolic; they meet halfway physically, but never fully share their internal worlds. Despite being a couple, Anna and Jack struggle to truly connect. Out of boredom and loneliness, Jack invents a fictional acquaintance. What begins as a harmless joke evolves into something much deeper and more troubling. The tragedy lies in the fact that both are reaching out, but not to each other. ![The Scoop Alphabet Lane Feature Film James Litchfield](https://thescoop.au/wp-content/uploads/2026/04/13-Alphabet-Lane_friends-over--1116x628.jpg "Alphabet Lane Feature Film James Litchfield • The Scoop")One of the films strongest themes is adult loneliness particularly in modern society The absence of community, support networks, and familiar environments creates a vacuum that the characters are unequipped to handle. In that sense, the film can be read as a critique of the romanticised “escape to the country” narrative. Denton and Cobham-Hervey also serve as Executive Producers, and their investment in the material shows. Denton plays Jack with a subtle awkwardness that feels grounded and believable, particularly as the character loses control of the situation he created. Cobham-Hervey gives a more emotionally exposed performance, capturing Anna’s growing isolation in a way that feels both intimate and uncomfortable to watch. Together, they carry the film’s quiet tension, even in its slower moments. The cinematography, shot by Grégoire Lière in Litchfield’s hometown of Cooma, captures the serenity and isolation of the countryside with real elegance, wide open roads, soft natural light, and stillness. It quickly becomes clear that the calm setting masks something far more uneasy beneath the surface. ![The Scoop Alphabet Lane Feature Film James Litchfield](https://thescoop.au/wp-content/uploads/2026/04/14_Alphabet_Rd_GRADE_178_01_23_07_05-1116x628.jpg "Alphabet Lane Feature Film James Litchfield • The Scoop")The cinematography captures the serenity and isolation of the countryside with real eleganceThe score, composed by Mark Bradshaw, adds another layer to the film’s tone. Its use of soft, almost experimental elements, including vocal textures, gives the film a slightly off-kilter feeling that matches the characters’ psychological state without overwhelming the scenes. One of the film’s strongest themes is adult loneliness, particularly in modern society. It taps into the uncomfortable reality that forming new friendships later in life is surprisingly difficult. As Jerry Seinfeld once joked, by adulthood, most people’s friendship groups are full. The film takes this observation and pushes it into darker territory, asking what happens when that lack of connection becomes psychologically destabilising. I found myself having a strong reaction to the social awkwardness in the film. That discomfort feels intentional. The film leans into that second-hand embarrassment to highlight how fragile and unsustainable a constructed reality is. By the end, when both characters begin to blur the line between fiction and reality, the film shifts into something more abstract and unsettling. Their final encounter suggests a kind of shared psychological unravelling. *Alphabet Lane* offers a poignant and thoughtful look at how isolation can shape perception and behaviour. It’s a quietly affecting film that lingers, particularly in the distinctly Australian way it captures the human need for connection in an increasingly disconnected world. ***Alphabet Lane*** **opens in select cinemas nationally from 23 April 2026.** **For screening details, check the website below.** Website: [https://screeninc.com.au/screeninc-films/alphabet-lane/](https://screeninc.com.au/screeninc-films/alphabet-lane/?) Socials: <https://www.instagram.com/alphabetlanefilm/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Alphabet Lane Director: James Litchfield Cast: Tilda Cobham-Hervey, Nicholas Denton, Henry Nixon, Helana Sawires, Will Johnston, Bishanyia Vincent Country of Origin: Australia Duration: 80 mins Rating: M Special Screenings: Sunday 19 April, Cinema Nova, Melbourne Monday 20 April, Ritz Randwick, Sydney Tuesday 21 April, Deckchair Cinema, Darwin Thursday 23 April The Backlot Cinema, Perth Thursday 23 April Gold Coast Film Festival (Dendy Southport) Friday 24 April, Palace Nova, Adelaide **Categories:** Film --- ### [Review: Xanadu Rolls Big At The Elder Con Adelaide](https://thescoop.au/review-xanadu-rolls-big-at-the-elder-con-adelaide/) **Published:** April 20, 2026 **Author:** Sophie Tsoulos **Content:** ![The Scoop Xanadu Musical Elder Conservatorium Adelaide](https://thescoop.au/wp-content/uploads/2026/04/Xanadu_54-copy-1079x628.jpg "Xanadu Musical Elder Conservatorium Adelaide • The Scoop")*Xanadu* is a camp, chaotic and utterly joyful story of the courage it takes to take creative and personal risks. The 2026 Graduating Class at Adelaide University’s Elder Conservatorium Music Theatre have unapologetically delivered just that. Their production fully leans into *Xanadu’s* loveable absurdity, with this group of performers donning their skates and gliding headfirst into a glitter-soaked whirlwind of disco and pure theatrical fun! Working with the students on *Xanadu* is director and choreographer Michael Ralph, who boasts a long list of professional credits in the Australian musical theatre scene. The students have risen to his standard of creative direction, delivering this show at a truly professional standard. Leading them musically is Peter Johns and the live band comprising Ciara Fergerson, Mykaela Podgorski and Chris Neale. *Xanadu* is a delightfully crazy, 1980s roller-skating musical that follows struggling artist Sonny Malone, who is suddenly visited by Kira, a mysterious woman who is actually Clio (the Greek muse of history) in disguise. ![The Scoop Xanadu Musical Elder Conservatorium Adelaide](https://thescoop.au/wp-content/uploads/2026/04/Xanadu_48-942x628.jpg "Xanadu Musical Elder Conservatorium Adelaide • The Scoop")Garvey and Sargeant are a faultless pairing onstage Photo by Greg BalcombeOn Venice Beach, “artsy fartsy” Sonny is about to end it all, when Kira inspires him to pursue his dream of opening a roller disco called *Xanadu*. However, it is not all smooth skating. Clio’s jealous muse sisters scheme to sabotage her. There are love spells, betrayals and treks to Mt Olympus, culminating in quite a heartwarming story about self-discovery. The audience is instantly thrust into a disco-fuelled 1980s Venice Beach from the pre-show, with Simon Greer’s set design enveloping us in a hot pink, neon dreamscape. It’s an exuberant blend of retro kitsch with a clever nod to ancient Greek architecture. The cast is already on stage, playfully setting the scene of ‘80s Los Angeles. Seeing this, the audience awaits excitedly. As a collective, this cohort are mighty performers, all committing fully to *Xanadu*’s exaggerated humour and bold characters. Neve Sargeant gives a standout performance as Clio / Kira. She fully leans into the dual personalities of this character. As Clio, she is confident and poised, and as Kira, she expertly switches to this character’s flirtatious charm. Sergeant is joined by the muses for the first song, *I’m Alive,* and all are fully committed to their comical personas, humorously catching our eyes throughout. ![The Scoop Xanadu Musical Elder Conservatorium Adelaide](https://thescoop.au/wp-content/uploads/2026/04/Xanadu_6-942x628.jpg "Xanadu Musical Elder Conservatorium Adelaide • The Scoop")As a collective this cohort are mighty performers Photo by Greg BalcombeThe muses, Allycia Angeles (Erato), Laura Henderson (Euterpe), Samuel Cannizzaro (Terpsichore), and Lorenzo Ravida (Thalia) exude a palpable sense of unity throughout, effortlessly bouncing off one another with a playful energy. They particularly shine again during *Don’t Walk Away,* joined onstage by the ‘Gospel Choir.’ As the loveable goof Sonny Malone, Teagan Garvey nails the role. With his laid-back, West Coast American drawl, Garvey and Sargeant are a faultless pairing onstage. Once they sing *Magic,* the audience is fully rooting for them. Issy Coomber as Melpomene and Natalia Sóares as Calliope are the gloriously over-the-top antagonists. Their comedic timing is effortless throughout, and both gloriously performing the hit *Evil Woman.* As Danny Maguire, Michael Jones brings a natural, charismatic essence. His duet with Kira, *Whenever You’re Away From Me* is a meticulously crafted number, also featuring Allycia Angeles as young Danny. This trio expertly execute the clever spacing of this number, wowing with the dancing and vocals. I have to also mention the number *Dancin’* featuring the Tubes and Swing dancers. Ralph’s choreography here is highly energetic and visually exciting, with the cast showcasing their dancing and performance abilities. By the epic finale number *Xanadu,* the whole cohort laced up their skates, proving they are quadruple threats: singing, dancing, acting and roller-skating! It’s a triumphant conclusion that boasts the technical skills honed for this show, and the unwavering camaraderie of this cohort. Now that you are all pro-skaters, could we be due for *Starlight Express* next? ***Xanadu* ran from 16 – 19 April, presented by the 2026 Graduating Class of Elder Conservatorium Music Theatre. Scott Theatre, Adelaide University, Kintore Avenue, Adelaide SA 5000.** The season has now ended. Website: <https://adelaide.edu.au/about/school/elder-conservatorium-of-music-and-school-of-performing-arts/engage-with-us/elder-conservatorium-music-theatre/> Socials: <https://www.instagram.com/elderconmusictheatre/> [Read the Interview with Michael Ralph!](https://thescoop.au/michael-ralph-on-xanadu-creativity-bringing-the-magic-to-adelaide/) Photo credits: Greg Balcombe **Categories:** Adelaide, Musical Theatre --- ### [Announcing 2026 HSBC German Film Festival Full Program](https://thescoop.au/announcing-2026-hsbc-german-film-festival-full-program/) **Published:** April 5, 2026 **Author:** Newsroom **Content:** ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/04/The-Holy-Grill_1-879x628.jpeg "2026 HSBC German Film Festival • The Scoop")Palace and German Films are delighted to announce the full program for the **2026 HSBC German Film Festival**, an unmissable showcase of contemporary cinema from the region. Featuring gripping true stories, delightful family films, comedy and powerful new drama from Germany’s finest filmmakers and actors, including a selection direct from this year’s Berlinale, the Festival screens nationally from **6 May – 27 May** at **Palace Cinemas, Palace Nova** and **Luna Palace Cinemas**. Opening this year’s Festival is much loved director Wolfgang Becker’s (*Good Bye, Lenin!*) final film **BERLIN HERO** (*Der Held vom Bahnhof Friedrichstraße).* The captivating comedy about an unwitting GDR hero revealed 30 years after the fall of the Berlin Wall, is adapted from the 2022 novel by Maxim Leo. It features an all-star ensemble cast including Leonie Benesch, Christiane Paul, Peter Kurth and Daniel Brühl. Closing the Festival and celebrating its 45th anniversary is Wolfgang Petersen’s **DAS BOOT – DIRECTOR’S CUT,** screening in 4K nationally and 35mm exclusively at The Astor Theatre in Melbourne. The landmark anti-war epic plunges viewers into the claustrophobic ordeal of a U-boat crew, sustaining extraordinary tension with physical realism, moral gravity, and devastating force. ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/03/Amrum_1-copy-941x628.jpg "2026 HSBC German Film Festival • The Scoop")Still from the film Amrum showing at the German Film FestivalThree films arrive direct from the 2026 Berlinale, including a duo of powerful female led dramas. Winner of the 2026 Berlinale Audience Award, **PROSECUTION** (*Staatsschutz),* follows a self-assured young German-Korean state prosecutor who takes her own case to court, confronting the perpetrators and a justice system that turns a blind eye to far-right extremism. Set in provincial eastern Germany, **HOME STORIES** (*Etwas ganz Besonderes),* is a poignant exploration of inter-generational tensions. When sixteen-year-old Lea auditions for a TV talent show, an identity crisis rises to the surface, and she must decide who she is and what home story she can create from her family’s history. **FOUR MINUS THREE** *(Vier minus drei)* from Austria is a deeply moving drama featuring an outstanding lead performance from Valerie Pachner as Barbara, a professional entertainer forced to face an unspeakable loss. Based on the bestselling novel and incredible true story, **FOUR MINUS THREE** is tenderly directed by Adrian Goiginger (*The Fox*, GER23). From acclaimed director Ulrich Köhler, **GAVAGAI** is a meta cinematic drama about a film adaptation of *Medea* being shot in Senegal, starring Maren Eggert (*I’m Your Man, GER21)* and Jean-Christophe Folly (*Triangle of Sadness*). The lead actors seek solace in a romance amidst a strained environment on set, then reunite at the film’s premiere in Berlin only to find tensions resurfacing, in this fascinating exploration of identity, privilege and power dynamics. ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/04/Four-Minus-Three_1-889x628.jpg "2026 HSBC German Film Festival • The Scoop")Still from the film Four Minus Three showing at the German Film FestivalA standout in the New German Cinema selection is compelling courtroom drama **KARLA**, based on the powerful true story of the landmark case in Germany. Set in Munich in 1962, twelve-year-old Karla (played by Elise Krieps, daughter of Vicky Krieps, in her exceptional debut), runs away from her family to bring forward serious accusations against her own father. Taking the courageous step of pressing charges, Karla insists on telling her story in court in her own way and is offered quite support by compassionate Judge Lamy (Rainer Bock, *The White Ribbon).* The story of **KARLA** is told with great sensitivity and emotional precision by debut director **Christina Tournatzés**, who will be a special guest of the Festival and appearing at selected sessions. Details will be available on the Festival website. This year’s festival Centrepiece is **AMRUM**, the celebrated new feature from multi award-winning director Fatih Akin starring Laura Tonke, Diane Kruger and Matthias Schweighöfer. A deeply poignant drama about hardworking Nanning (brilliantly played by the young Jasper Billerbeck), a 12-year-old boy who lives on Amrum Island during the final days of WWII. Life on the beautiful, windswept island almost feels like paradise but in the shadows a deeper threat is revealed: the enemy is far closer than he imagined. ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/04/The-Edge-of-Heaven_1-1116x628.jpg "2026 HSBC German Film Festival • The Scoop")Still from the film The Edge of Heaven showing at the German Film FestivalIn celebration of the premiere of Fatih Akin’s latest work, a selection of three of the acclaimed auteur’s previous films will be screened: **HEAD-ON** (*Gegen die Wand)* which, amongst other awards, won the Golden Bear at the 2004 Berlinale, follows two troubled strangers drawn together through a marriage of convenience. **THE EDGE OF HEAVEN** *(Auf der anderen Seite)*, winner of the Best Screenplay prize at the 2007 Cannes Film Festival, is a quietly powerful drama in which intersecting lives are reshaped by loss, migration, and chance encounters. **GOODBYE BERLIN** *(Tschick)*, a warm, offbeat road film about two teenage outsiders whose impulsive summer journey becomes a funny, tender portrait of friendship. The 2026 Festival Special Presentation is Cannes Film Festival Jury Award winner **SOUND OF FALLING** (*In die Sonne schauen),* directed by Mascha Schilinski. The haunting drama follows four girls across four generations experiencing their youth on the same farm in northern Germany. A sensory and poetic epic, this beautifully crafted film has garnered much critical acclaim and was Germany’s entry into the 2026 Academy Awards©. Also featuring in the New German Cinema selection is **22 LAPS** (*22 Bahnen),* a tender coming of age drama about love and loss. Based on the bestselling novel by Caroline Wahl and from the producers of *September 5*, the film explores the unbreakable bond between two sisters growing up in a small town. Set in 1956, **HELLO BETTY** (*Hallo Betty*) follows Emmi Creola, a talented copywriter who defies a male dominated workplace by inventing “Betty Bossi”, a fictional housewife who becomes Switzerland’s culinary icon and in turn, a Swiss cultural phenomenon. As Betty’s popularity skyrockets, Emmi struggles to balance the expectations of her public persona with her role as a wife, mother and professional. ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/04/22-Laps_1-1116x628.jpg "2026 HSBC German Film Festival • The Scoop")Still from the film 22 Laps showing at the German Film FestivalAlso from Switzerland is **I’M NOT STILLER** (*Stiller*) a mystery thriller starring festival favourite Albrecht Schuch (*Peacock*, GER25). Based on the classic novel by Max Frisch, an American man is mistaken for a Swiss sculptor and arrested for his role in a dubious political affair in 1950s Switzerland. In **A FADING MAN** *(Der verlorene Mann)* Hanne’s orderly life with her partner Bernd is upended when her ex-husband Kurt reappears, completely unaware of their divorce. The couple takes Kurt in temporarily, and what begins as an uneasy coexistence gradually opens up unexpected possibilities for love and life. With sensitivity and quiet humour, first time director Welf Reinhart crafts a drama about getting older and staying young and the comical moments in between. Delightful documentary film **THE TALENTED MR. F.** *(Der Talentierte Mr. F.)* follows two Berlin film students who hoped their animated short film would be their big break. When they discover it has been stolen and submitted to international festivals under another name, they set off on a journey to the USA to confront the culprit. Adapted from the highly successful German stage play, **THE HOLY GRILL** *(Extrawurst)* is a hilarious and witty comedy directed by Marcus H. Rosenmüller. Starring a brilliant ensemble cast, a cultural clash ignites at a tennis club when the committee vote on buying a new barbecue. ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/04/A-Fading-Man_1-1116x628.jpg "2026 HSBC German Film Festival • The Scoop")Still from the film A Fading Man showing at the German Film FestivalAnd in tribute to the enigmatic German actor Udo Kier who passed away late last year, selected sessions of **BLOOD FOR DRACULA** will be screened. This delirious cult horror-comedy features a performance from Kier both grotesque and fragile, turning Dracula into a figure of aristocratic decay, doomed appetite, and perversely funny collapse. The ever popular ‘Kino for Kids’ sidebar, presented by the Goethe-Institut Australia, returns with a superb selection of films for younger cinemagoers and families. From Austria is **THE SECRET FLOOR** (*Das geheime Stockwerk),* a playful time-travel adventure shot in stunning Alpine locations. **SCHOOL OF MAGICAL ANIMALS 4** (*Die Schule der magischen Tiere 4)* is based on Margit Auer’s bestselling book series, and sees the magical phenomenon continue. **BARRY & ME** (*Mein Freund Barry),* is a breathtaking live-action adventure inspired by the legend of Switzerland’s most famous rescue dog, the St. Bernard. The legendary character Pumuckl features in **PUMUCKL’S BIG MIX-UP** (*Pumuckl und das große Missverständnis*) combining live action and animation. And the charming, observant coming-of-age film **TOMORROW I’LL BE BRAVE** (*Ab morgen bin ich mutig)* where tween angst and young love is explored with a touch of humour and tenderness. **The 2026 HSBC German Film Festival runs 6 – 27 May. See full city dates and venues below.** Download the program [here](https://storage.googleapis.com/production-cms-storage-bucket/GFF26_Programme_A5_Web.pdf). Tickets are on sale now at the website. Website: <https://germanfilmfestival.com.au/> Socials: <https://www.instagram.com/germanfilmfestival/> [Win Tickets to the Festival!](https://www.instagram.com/p/DXWTEcBiteB/) Hero image: Still from *The Holy Grill*. Watch the trailer: 2026 Festival Dates and Venues by City: **Sydney:** 6 – 27 May, Palace Norton Street, Palace Central, Palace Moore Park **Canberra:** 6 – 27 May, Palace Electric **Brisbane:** 6 – 27 May, Palace James St**,** Palace Barracks **Adelaide:** 6 – 27 May, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Perth:** 7 – 27 May, Luna Leederville, Luna on SX & Palace Raine Square **Byron Bay and Ballina:** 7 – 27 May, Palace Byron Bay, Ballina Fair Cinemas **Melbourne:** 8 – 27 May, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, The Kino, The Astor Theatre, Pentridge Cinema, Palace Penny Lane **Ballarat:** 8 – 27 May, Palace Regent Ballarat **Categories:** News --- ### [Review: Pretty Woman Charms Perth In A Feel-Good, Nostalgic Premiere](https://thescoop.au/review-pretty-woman-charms-perth-in-a-feel-good-nostalgic-premiere/) **Published:** April 20, 2026 **Author:** Greta Rule **Content:** ![The Scoop Pretty Woman The Musical Perth](https://thescoop.au/wp-content/uploads/2026/04/1-Pretty-Woman-The-Musical-Australia-Photography-by-Daniel-Boud-copy-942x628.jpg "Pretty Woman The Musical Perth • The Scoop")The Perth premiere of *Pretty Woman: The Musical* enchanted audiences last night at Crown Theatre. The Jones Theatrical Group production, led by some of Australia’s most talented performers, leans into the nostalgia of the cult classic film, tugging firmly at the heartstrings. Staying true to the original story while enhancing the themes and emotional depth, the musical teases out the intricacies of life-altering connections and big dreams. In a sold-out venue filled mostly with middle-aged theatregoers who grew up watching the original film, the anticipation and expectations were high. From my perspective, those expectations were met, even exceeded, as we were pulled into the vivid, contrasting worlds of Hollywood Boulevard and Beverly Hills. The excitement was palpable as we watched the characters’ inner lives and stories unfold on stage in what felt like an authentic yet theatrical retelling of the film. I’ll spare the details of the story, as I’m sure almost everyone has seen the original film and jump straight into praising the actors and creatives who bring these characters to life on stage. Australian icon, Samantha Jade, delivers a standout performance in her debut musical-theatre role as Vivian Ward. Jade gives it her all and captures the eccentricities and vulnerabilities of Vivian. Her vocal skills are unmatched, and her acting felt natural as she delivered some of the character’s most iconic lines. Ben Hall effectively embodies the tense and guarded characterisation of Edward Lewis. It is a delight to see this unravel and his walls come down as his connection with Vivian deepens. ![The Scoop Pretty Woman The Musical Perth](https://thescoop.au/wp-content/uploads/2026/04/5-Pretty-Woman-The-Musical-Australia-Photography-by-Daniel-Boud-copy-941x628.jpg "Pretty Woman The Musical Perth • The Scoop")Beneath the singing and choreography the story remains grounded Photo by Daniel BoudThe musical opens with a backdrop of the famous Hollywood sign, complete with sparkling palm trees and neon signs illuminating Hollywood Boulevard. Designed by David Rockwell, the sets are both imaginative and tasteful. The audience is transported into the worlds of Beverly Hills, Hollywood and Rodeo Drive, each with its own distinct visual identity. The transitions between sets are seamless, shifting from the art nouveau elegance of the Beverly Wilshire Hotel to the rustic grunge of the Hollywood streets. The grand piano is a beautiful addition to the set design, tying it all together. The costumes, designed by Tom Rogers, stay true to the film, much to the audience’s delight. From Vivian’s barely-there white-and-blue dress and thigh-high black boots to her glorious red gown and white gloves, the costumes emulate the movie in a nostalgic, celebratory way. And of course, we can’t forget the curly red wig, which you could say is a character of its own. Other standout designs are the retro green bell boy costumes and the many colourful, elegant ball gowns. The entire ensemble is incredibly talented and gave everything they had on stage last night, but a few audience favourites quickly emerged. Performers who were fully committed made us laugh and fall in love with their characters almost instantly. Michelle Brasier, who plays Vivian’s friend and roommate Kit De Luca, demonstrates exceptional characterisation and vocal ability. Her Chicago-inspired accent is skilfully delivered, and her sharp wit and strong character development make you instantly root for her. ![The Scoop Pretty Woman The Musical](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-20-at-71502-pm-944x628.png "Pretty Woman The Musical • The Scoop")Bobby Fox joins the Perth season as Happy Man and Mr Thompson Image suppliedBobby Fox, who plays Happy Man and Mr Thompson, and Jordan Tomljenovic as Giulio, are delightful additions to an already multidimensional cast. The characters propel the story forward with unique physicality and comedic relief. Their duet is a crowd favourite as they take centre stage in a dramatic and precise display of ballroom dancing with flair. Rebecca Gulinello impresses us with an impeccable opera solo during the famous opera scene. Gulinello effortlessly portrays the emotional depth and technical challenge of opera in just a small snippet, leaving you wanting more. The script itself is well-adapted for the stage, honouring the original ‘80s storyline while adding a theatrical lens that heightens its impact. More stylised and dramatic in places, the themes of *Pretty Woman* are expanded in a way only musical theatre can achieve. Beneath the singing and choreography, the story remains grounded, which only deepens your understanding of the characters’ inner worlds. The music and lyrics, by Bryan Adams and Jim Vallance, add a touch of cheesiness that Perth audiences seem to love. From songs about falling in love to chasing big dreams to self-discovery, the score ticks all the boxes of a beloved musical theatre production. As someone born after the film’s release in the 90s, I didn’t connect with the nostalgia quite as strongly as many of the audience members, some of whom dressed up in Vivian’s most iconic outfits. Still, it was clear how much the *Pretty Woman* story means to people, and the production team delivered a performance that transported them right back to their childhoods. It is satisfying to see Vivian’s story unpacked a little further. Vivian Ward reflects all our deepest vulnerabilities and desires: to be seen, to dream, and to claim autonomy and freedom. The show doesn’t overplay these themes or attempt to shock. Instead, it offers an honest reflection on courage, connection, and personal development tastefully amplified through a musical theatre lens. *Pretty Woman: The Musical* is funny, vulnerable, light-hearted and undeniably feel-good. Even though we all know the story, the contemporary retelling, honesty, and emotional depth of the production still manage to surprise and enlighten us. There’s no doubt that after seeing this new musical, you’ll leave feeling happy and hopeful and probably humming a song or two on the drive home. ***Pretty Woman: The Musical* runs to 24 May at Crown Theatre Perth.** **Great Eastern Highway in Burswood, WA 6100.** It then tours to Adelaide and Melbourne. See dates below. Tickets: <https://prettywomanthemusical.com.au/tickets/perth/> Website: <https://prettywomanthemusical.com.au/> Socials: <https://www.instagram.com/prettywomanmusicalau/> [Read our Interview with Samantha Jade and Ben Hall](https://thescoop.au/falling-in-love-samantha-jade-ben-hall-on-the-magic-of-pretty-woman/) Photo credits: Daniel Boud 2026 Australian Tour Dates: Perth on now until 24 May, Crown Theatre Adelaide 31 May – 28 June, Her Majesty’s Theatre Melbourne 14 July – 9 August, Regent Theatre **Categories:** Musical Theatre, Perth --- ### [Inside The Last Parma Night: Mateship, Memory, & Moving On](https://thescoop.au/inside-the-last-parma-night-mateship-memory-moving-on/) **Published:** April 19, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop The Last Parma Night Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/04/TLPN_Poster_No-graphics_V2.png "The Last Parma Night Chapel Off Chapel Melbourne • The Scoop")Next month, Clockwork Possum Productions premieres its debut work, ***The Last Parma Night***, at Chapel Off Chapel in Melbourne. Written and produced by Max Meaden, the new Australian play explores friendship, nostalgia and the uneasy transition into adulthood, all set against the familiar backdrop of a local pub’s parma night. A surreal dark comedy, the play follows Tommy Gibson as he returns to his favourite watering hole chasing the ghosts of his younger years. What starts as a cheeky trip down memory lane soon turns strange, as warped memories and mysterious forces begin to creep in, forcing him to confront fractured friendships and the question of when loyalty starts to wear thin. The Scoop sat down with **Max Meaden**, who also stars in the production, and co-producer and performer **Alex Stock** ahead of the season. They discuss the origins of the work, bringing an original story to the stage, and why stories about mateship still hit close to home. Read the full interview below. ![The Scoop The Last Parma Night Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/04/TLPN_TOMMY_21-837x628.jpeg "The Last Parma Night Chapel Off Chapel Melbourne • The Scoop")Alex and Max with Ryan Toft who is playing Ollie*The Last Parma Night* is the debut production for Clockwork Possum Productions, a company producing stories ‘they want to tell and that they want to see.’ Can you share a bit about what inspired you to tell this particular story? **Max:** Stories about friendship, growing up and finding our place in the world are everywhere and come in lots of different forms. But we wanted to explore these ideas through a unique lens that younger Australian audiences would relate to: through pubs, rock and poor decisions. You guys met while studying acting back at 16th Street. Did you ever think you’d find yourselves producing your own work together? **Max:** I’m sure any acting student can attest that when you first leave acting school you’re all adamant that you’ll catch up on the regular and film scenes, rehearse, etc… It’s rare this ever eventuates, but in our case it did! And I love that I’m telling a story about decades spanning friendships with genuine life-long friends. **Alex:** Ohhh, well I think that when you meet people at drama school, you’re all dreaming big and talking about the kind of work you want to do one day. I think there was always a part of me that hoped it would happen. To actually be here now, years later, bringing Max’s writing to life and producing something together, feels pretty special. There’s a lot of trust there because we’ve known each other for so long, and I think that makes the whole process even more meaningful. ![The Scoop The Last Parma Night Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/04/TLPN_TOMMY_19-471x628.png "The Last Parma Night Chapel Off Chapel Melbourne • The Scoop")Max Meaden is playing TommyIs the group of mates depicted in the play loosely or not so loosely based on your own friendship group? And do they realise it’s about them? **Max:** They definitely think it is! They love trying to guess which character is “them.” In truth, the characters aren’t inspired by any one person, but by young and naive friendship groups as a whole. That being said, there are plenty of small character moments and references scattered through the play certain people from my personal life will definitely remember first-hand! Interestingly, *The Last Parma Night* started as a short film script back in 2023. What inspired you to take the leap to the stage? **Max:** After I finished the short film script, it sat on a shelf for quite a while. I kept having separate ideas with these characters but they never quite fit into a cohesive story. Once I’d had the realisation that it could take place all in the one location, the thread that connected all these ideas revealed itself and it hit me, “this is a play!” Max, what has it been like in the rehearsal room as both the writer and performer? Are there moments where the script is evolving in real time? **Max:** It’s a blessing and a curse! On one hand, being an original work it’s so important (and necessary!) that we can evolve the script as we discover and learn more. On the other hand, knowing when to practice self-restraint is key. It’s been a conscious decision to leave the writing brain elsewhere when on the floor and to not see the solution to every problem be changing a line. ![The Scoop The Last Parma Night Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Harry_Image-1-471x628.png "The Last Parma Night Chapel Off Chapel Melbourne • The Scoop")Alex Stock is playing HarryWhat has that process been like for you, Alex? Is it a gift to have the writer on hand to offer insights? **Alex:** It really has been a gift. Having the writer in the room means you can go straight to the source, which is pretty rare, and Max has been so generous with that. Because we’ve known each other for such a long time, there’s already a lot of trust and openness in the room, so it feels very collaborative. We can ask questions, unpack things properly, and really get to the heart of each moment. And if he appears with another last-minute script tweak, at least I know exactly who to blame. What is your ideal parma meal? For example, what is the best topping? Do you put the chips underneath? What is the perfect drink to have with it? **Max:** I’m actually a sucker for a Hawaiian parma. It’s just the perfect combo And yes, I love Hawaiian pizza too… And while having a beer with it is ideal, a Pepsi Max will do the trick. **Alex:** Ooft, that is a tough one. I have had many many parmas in my life. My mum actually makes a ripper traditional parma, which the fam always devours. So i’d have to say that. I did once try a Canadian parma with waffles, chicken, bacon and maple syrup, now that was an interesting combo. Still absolutely divine. And for a drink – a beer or a coke pairs perfectly. Do you want give a shout out to your favourite parma haunt? **Max:** It’s gotta be The Temperance Hotel! They’re actually going to provide discounted parmas to anyone who has tickets to see *The Last Parma Night!* **Alex:** The Temperance! We were there a couple of weeks ago. Absolutely delicious parmas. Get the Mexican. You wont regret it. ![The Scoop The Last Parma Night Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2026/04/TLPN_Poster_Horitzontal-1195x628.jpg "The Last Parma Night Chapel Off Chapel Melbourne • The Scoop")What are you hoping audiences will come away with after seeing this play? **Max:** I hope they call up their mates who they haven’t spoken to in far too long. The ones they grew up with and said they’d buy a pub with, but time got in the way. I want people to realise how important it is not to take those relationships for granted because they don’t come along as often as we’d think. **Alex:** So many things. For me, it’s a real trip down memory lane. It captures that transition from high school into life beyond it – when you’d see your friends all the time, head out together, care a little less, and just enjoy being around each other. That feeling of being part of a pack is such a special one. At its core, I think the play is about relationships, and if audiences come away reconnecting with that feeling, or even with the people who gave them that, then that’s pretty wonderful. And finally, do you have any advice for someone thinking of writing and producing their own work? **Max:** Don’t overthink things or allow yourself to get disheartened when the project isn’t clicking. Because eventually it will! You just have to give yourself the time to do the work and the answers will reveal themselves when you least expect it. ***The Last Parma Night* is presented by Clockwork Possum Productions and runs from 6 – 10 May at Chapel Off Chapel. 12 Little Chapel Street Prahran Vic 3181.** Tickets are available [here](https://chapel.sales.ticketsearch.com/sales/salesevent/161225?_gl=1%2Ayypaag%2A_gcl_au%2AMTkyMTM5MDczOC4xNzY5NzU5NDky)! Website: <https://www.clockworkpossumproductions.com/> Socials: <https://www.instagram.com/thelastparmanight/> [Click Here to Win Tickets to the Show ](https://www.instagram.com/p/DWxykyWkeyN/) Images supplied. Created in partnership with Clockwork Possum Productions. For more information about our partnerships, visit [here](https://thescoop.au/partner-with-the-scoop/). **Categories:** Features --- ### [Announcing Come Alive! The Greatest Showman Circus Spectacular Tour 2026](https://thescoop.au/announcing-come-alive-the-greatest-showman-circus-spectacular-tour-2026/) **Published:** November 17, 2025 **Author:** Newsroom **Content:** ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2025/11/Come-Alive-2nd-October-2024-by-Luke-Dyson-LD1_1460-Enhanced-NR-942x628.jpg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")***COME ALIVE!** **The Greatest Showman Circus Spectacular*** will make its Australian debut in 2026, opening under the Big Top at the Entertainment Quarter in **Sydney** from **26 May 2026**, before touring nationally. Fresh off a wildly successful debut in the UK, where the production has been extended multiple times due to overwhelming demand, the blockbuster sensation that is wowing London is heading Down Under. Showpath Entertainment presents the must-see event which will bring its extraordinary fusion of world-class circus and show-stopping musical performance to **Sydney, Perth, Adelaide, Brisbane** and **Melbourne** next year. Inspired by the world of *The Greatest Showman*, *COME ALIVE!* is a heart-pounding new live experience. The show will include an **all-Australian cast**, jaw-dropping acrobatic artistry, gravity-defying aerial acts and the soaring anthem hits audiences know and love. With beloved songs by Benj Pasek and Justin Paul from the 20th Century Fox Motion Picture, including ***This Is Me*, *Rewrite the Stars*, *A Million Dreams*** (and more!), the show reimagines the soundtrack as you’ve never experienced it before: live, loud, and breathtakingly up close. The Australian season marks *COME ALIVE!* *The Greatest Showman Circus Spectacular*‘s continued expansion across global markets, following its successful run in London and forthcoming international productions. Conceived and directed by Drama Desk award-winning Creative Director **Simon Hammerstein** (co-founder of *The Box* and the mastermind behind Usher’s sold-out *‘My Way’ Las Vegas Residency* and producer of *Queen of the Night*). ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2025/11/Come-Alive-5th-October-2024-by-Luke-Dyson-LD3_0730-Enhanced-NR-942x628.jpg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")Come Alive The Greatest Showman Spectacular will tour to Sydney Perth Adelaide Brisbane and Melbourne**Simon Hammerstein**, Creative Director, said: *“With COME ALIVE! we aim to transport our audiences into a circus dream, and create a show for anyone who loves great music, thrilling action and spectacular entertainment.* *The uniqueness of our show allows us to blend multiple entertainment forms into one singular event, bursting with joy and reimagining this extraordinary music to tell a new, modern story of what it takes to follow your dreams.* *We are so excited to bring this incredible show to new audiences across Australia. Come one, come all and Come Alive!”* **David Hutchinson,** CEO of The Path Entertainment Group said: *“As a company, we’re thrilled to build on the success of the London premiere of COME ALIVE!, partnering with TSG and Disney to bring this immersive spectacular to Australia. Australia will be the first international market to experience the original London production, marking an exciting next step in Path’s global expansion.* *Australian audiences have an incredible appetite for bold, high-quality live entertainment. This show delivers on every front: spectacle, heart, and pure joy. We’re proud to introduce a world-class reimagining of a story that celebrates individuality and belonging. We can’t wait for Australia to step into the ring with us.”* ![The Scoop Come Alive! The Greatest Showman Circus Spectacular](https://thescoop.au/wp-content/uploads/2025/11/Come-Alive-5th-October-2024-by-Luke-Dyson-LD3_0906-Enhanced-NR-942x628.jpg "Come Alive! The Greatest Showman Circus Spectacular • The Scoop")Inspired by the film The Greatest Showman the production comes fresh from the UK and will have an all Australian castThe creative team behind the production and its expansion consists of Music Producer and Olivier Award-nominated **Matthew Brind** (*Paddington 2, Just For One Day, Legally Blonde – West End*). Choreographers **Jerry Reeve** (*Taylor Swift, The Queen’s Jubilee Platinum Party At The Palace*) and **Lukas McFarlane** (*Strictly Come Dancing, So You Think You Can Dance? The X Factor*). Emmy Award-nominated Lighting Designer **Adam Bassett** for Woodroffe Basset Design (*The Rolling Stones – ‘SIXTY’ Tour 2022, London 2012 Olympics Opening Ceremony, Adele – Live*). Set Designer **Ruby Law** (*Billie Eilish, Jorja Smith, the Royal Albert Hall, Sadler’s Wells Theatre*). Costume Designer **Susan Kulkarni** (*The Peripheral, Silence, Dirty Dancing – Secret Cinema*). Co-Musical supervisor **Greg Arrowsmith** and **Gary Beestone Associates**. *COME ALIVE!’The Greatest Showman Circus Spectacular* is inspired by the 20th Century Fox Motion Picture *The Greatest Showman* story by Jenny Bicks and songs by Benj Pasek and Justin Paul. *COME ALIVE! The Greatest Showman Circus Spectacular* is produced by Outside The Box Amusements and TSG Entertainment. Tickets go on sale to the general public on **Wednesday 10 December 2025**. ***COME ALIVE! The Greatest Showman Circus Spectacular* runs from 19 May 2026 at the Entertainment Quarter, Sydney ahead of a national tour. See dates below.** Sign up for ticket release news [here](https://comealiveshow.com.au/#sign-up). Website: <https://comealiveshow.com.au/> Socials: <https://www.instagram.com/comealiveaus/> [Read the Cast Announcement!](https://thescoop.au/announcing-cast-for-come-alive-the-greatest-showman-circus-spectacular/) Photo credits: Luke Dyson 2026 Australian Tour Sydney From 19 May 2026, **Entertainment Quarter** Perth From 27 August 2026, **Ozone Reserve** Adelaide From 29 October 2026, **Morphettville Racecourse** Brisbane From 29 Dec 2026, **Royal Queensland Golf Course** Melbourne 25 Feb 2027, **Caulfield Racecourse** **Categories:** News --- ### [Review: Jeff Green - Jeff Jokes! 2026 Melbourne International Comedy Festival](https://thescoop.au/review-jeff-green-jeff-jokes-2026-melbourne-international-comedy-festival/) **Published:** April 19, 2026 **Author:** Jacqui Moore **Content:** ★★★★☆ ![The Scoop Jeff Green Jeff Jokes! Melbourne Comedy Festival](https://thescoop.au/wp-content/uploads/2026/04/690d8984a0b43-1116x628.jpg "Jeff Green Jeff Jokes! Melbourne Comedy Festival • The Scoop")Jeff Green returns to the 2026 Melbourne International Comedy Festival with his newest crowd-pleaser, *Jeff Jokes!* After cutting his teeth on the UK comedy circuit in the late eighties, Green famously left a lucrative engineering career for stand-up. He went on to become a familiar face on British television, appearing on shows such as *Never Mind the Buzzcocks*, *Have I Got News for You*, and *Jo Brand’s Hot Potatoes*, alongside nationally broadcast stand-up specials. Since relocating to Melbourne in the mid-nineties for love and family, Green has become a steady fixture of the Australian comedy landscape. A regular at the Melbourne International Comedy Festival Gala, he has also appeared on local television staples including *Spicks and Specks*, *Good News Week*, and *The Glass House*. Set within the reliably boisterous Comic’s Lounge, *Jeff Jokes!* feels right at home in a room built for stand-up, where laughter seems almost acoustically inevitable. This is a show firmly pitched to Gen X sensibilities, and Green settles into that space with ease. His familiar terrain remains intact: family, travel, and the peculiar aftershocks of a life spent on stage. He revisits his now-grown children, still affectionately nicknamed Voldemort and Lucifer. Marital anecdotes land with a knowing bite, including a rogue kangaroo encounter punctuated by his wife’s perfectly timed I-told-you-so glance. ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")Jeff Green performs on 18 and 19 April at the 2026 Melbourne International Comedy FestivalHe also turns his attention to the less glamorous side of touring life, with recent cruise ship gigs offering tales of navigating both the ship’s corridors and its passengers, each with their own comedic challenges. A few reworked and familiar routines resurface, but rather than feeling stale, they land like well-worn stories polished by repetition and shared recognition. Throughout the hour, Green demonstrates a clear instinct for his audience. He paces each beat with the confidence of someone who can feel a laugh forming before it arrives. *Jeff Jokes!* is made for those who find comfort in the familiar. It carries a cosy, lived-in quality, like settling into a favourite armchair shaped over years of use. Rather than chasing novelty, Green leans into rhythm, assurance, and the long-earned ease of a performer who knows exactly how to hold a room. By the end, *Jeff Jokes!* feels more like a reunion than a reinvention. In a festival full of bold experiments, Green offers something steadier: comedy as companionship, built on rapport, recognition, and trust in the slow-burning pleasure of a well-told joke. ***Jeff Green: Jeff Jokes!* runs from 18-19 April at the The Comic’s Lounge as part of the 2026 Melbourne International Comedy Festival. 26 Errol Street North Melbourne Vic 3051.** Tickets: <https://www.comedyfestival.com.au/browse-shows/jeff-jokes/> Socials: <https://www.facebook.com/comedianjeffgreen/> Socials: <https://www.instagram.com/jeffjokes001/> [Read more of our Comedy Reviews](https://thescoop.au/comedy-reviews/) Images supplied. **Categories:** Comedy, Melbourne --- ### [Review: Dracula Returns To Adelaide & Makes A Powerful Case For The Arts](https://thescoop.au/review-dracula-returns-to-adelaide-makes-a-powerful-case-for-the-arts/) **Published:** April 18, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Dracula West Australian Ballet 2026](https://thescoop.au/wp-content/uploads/2026/04/Jack-Whiter-as-Old-Dracula-Alexa-Tuzil-as-Lucy-Julio-Blanes-Jurgen-Rahimi-as-Phantoms-in-Dracula-by-West-Australian-Ballet-2026-942x628.jpg "Dracula West Australian Ballet 2026 • The Scoop")You cannot stage *Dracula* as a ballet unless you go all in. It has to be lavish. It has to seduce. West Australian Ballet understands that from the first moment, and this production delivers scale, spectacle, and a dark, intoxicating beauty that, like Dracula’s love of Elizabeth, never lets go. There is always a layer of scepticism in ballet audiences. Anything that isn’t *Swan Lake* or *The Nutcracker* can feel like a risk. This is not a story short on baggage either. *Dracula* has been told countless times across literature, film, and theatre, including recently in *Nosferatu*. But never quite like this. That familiarity becomes the production’s greatest strength. The story is already in our blood. You don’t have to work to follow it. You are free to sit back and watch the athleticism. The shapes. The bodies. The sheer physical storytelling. Krzysztof Pastor’s production, which premiered in 2018 and has since toured internationally, leans into that advantage. The narrative is clear and fluid. It moves quickly. It trusts the audience. That allows the choreography to carry emotional weight rather than exposition. And beneath the horror, it is unmistakably a classic tale. Lost love. Redemption. Lust. Fear of death. Madness. It sits comfortably alongside *Faust* and even echoes *Swan Lake*. Strip away the fangs, and you’re left with something operatic. Something deeply human. The design work is where the production earns its right to exist. Phil R Daniels and Charles Cusick Smith’s costumes are extraordinary. Lace, translucence, and Victorian mourning textures create a world that feels decayed and elegant. The female vampires look like fragments of memory unravelling in real time. Their silhouettes dissolve at the edges. You never quite see the full figure. It is unsettling in the best way. The scale is staggering. Over 150 costumes. More than 70 props. Hundreds of kilograms of material transported. This is not a modest touring production. It is a logistical feat. And it lands in a country that consistently underfunds its legacy arts. ![The Scoop Dracula West Australian Ballet 2026](https://thescoop.au/wp-content/uploads/2026/04/Brent-Carson-as-Dr-Jack-Seward-Gakuro-Matsui-as-Prof-Van-Helsing-and-Ludovico-Di-Ubaldo-as-Renfield-in-Dracula-by-West-Australian-Ballet-2026-copy-942x628.jpg "Dracula West Australian Ballet 2026 • The Scoop")This production delivers scale spectacle and a dark intoxicating beauty that never lets go Photo by Jonathan VDKThat context matters. Especially in light of the controversy surrounding the use of a recorded score from the West Australian Symphony Orchestra. Yes, there is loss in not having a live orchestra. There is also reality. The WA orchestra was paid. They continue to be paid for reuse. More importantly, this production employs a large number of dancers, creatives, and local artists in each city it visits. West Australian Ballet has not been in Adelaide for a decade. Their return matters. The answer is not a war between ballet and symphony. It is a war between both of them and governments that refuse to fund them properly. South Australia remains the only state without a state funded ballet company. The traditional model has always been collaboration. Sets and costumes travel. Local artists perform. Costs are shared. That is how these art forms survive. There is genuine fear in the industry right now. Not just from funding cuts, but from the broader anxiety of replacement in an AI-driven world. That fear deserves acknowledgment. But so does the work on stage. And this is work worth defending. The lighting design by Jon Buswell is a standout. Vampires fear sunlight. Humans fear the dark. Buswell uses both with precision. Scenes flicker between exposure and concealment. The vampire lair sequence is a highlight. Dancers stand atop coffins under isolated spotlights. It feels almost like *Bohemian Rhapsody*. It also feels like a music video. The choreography here shifts into something more contemporary. It pulses. It breathes. Elsewhere, the tone returns to classical form. The scenes in Mrs Westenra’s home are grounded in traditional ballet language. Courtship becomes competition. Bodies circle. Tension builds through formality. The performances are consistently strong. Oscar Valdés as Young Dracula is magnetic. Ludovico Di Ubaldo’s Old Dracula is something else entirely. His physicality shifts between fragility and menace. The transformation from aged, broken figure to revitalised predator is executed with near cinematic precision. It feels like movie magic happening in real time. Jurgen Rahimi’s Jonathan Harker brings a muscular presence to the duets, particularly in the moments where blood awakens Dracula’s hunger. These pas de deux are intense. Physical. Almost combative. ![The Scoop Dracula West Australian Ballet 2026](https://thescoop.au/wp-content/uploads/2026/04/Charles-Dashwood-as-Young-Dracula-Polly-Hilton-as-Mina-in-Dracula-by-West-Australian-Ballet-2026-copy-942x628.jpg "Dracula West Australian Ballet 2026 • The Scoop")Chalamet may not agree but productions like this make the case that we dont need another film adaptation Photo by Jonathan VDKChihiro Nomura carries the emotional centre as Elizabeth/Mina. The choreography does not always give her extended solo space, but her presence anchors the narrative. Mayume Noguromi’s Lucy is a standout. Her sleepwalking sequence is haunting. Her transition into vampirism, dancing en pointe, adds an eerie, almost unnatural quality to her movement. Jesse Homes as Renfield delivers one of the most compelling character pieces of the night. The asylum scenes are unsettling. The flailing straitjacket straps become part of the choreography. Madness is rendered physical. Tangible. The choreography overall relies heavily on duets and ensemble work. There are fewer extended solos than traditional ballet audiences might expect. But it works. This is a story about connection. About influence. About bodies pulling each other toward darkness. The score, drawn from Wojciech Kilar’s composition for *Bram Stoker’s Dracula*, is a Hollywood soundtrack. It drives the narrative forward. It does not linger in the way Tchaikovsky does. You won’t leave humming it at work the next day. There is no *Dance of the Sugar Plum Fairy* moment here. But that’s not the point. It serves the story. It builds atmosphere. It sustains tension. And ultimately, that’s what this production does best. It builds a world. One that is coherent. One that is seductive. One that justifies its existence beyond novelty. Timothée Chalamet may not agree, but productions like this make the case that we don’t need another film adaptation. We need more of this. Ambitious Australian ballet that travels. That exports. That proves we can create work of international standard. This is not just a successful adaptation. It is a statement. Fund it. ***Dracula* is presented by West Australian Ballet in a co-production with Queensland Ballet and runs to 22 April at the Adelaide Festival Theatre. King William Street Adelaide SA 5000.** **It then heads to Perth from 15-30 May.** Tickets are available [here](https://www.adelaidefestivalcentre.com.au/whats-on/dracula?dateId=18-04-2026&performanceId=EAFT2026714M#tickets). Website: <https://waballet.com.au/dracula> Socials: <https://www.instagram.com/waballet/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Photo credits: Jonathan VDK **Categories:** Adelaide, Dance --- ### [Review: Drive Your Plow Over The Bones Of The Dead](https://thescoop.au/review-drive-your-plow-over-the-bones-of-the-dead/) **Published:** April 10, 2026 **Author:** Nick Dale **Content:** ★★★★½ ![The Scoop Drive Your Plow Over The Bones Of The Dead Belvoir St Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/04/BELVOIR_DriveYourPlowOverTheBonesOfTheDead_Production_PhotoBrettBoardman_009131_Pamela-Rabe-Bruce-Spence-Colin-Moody-Nadie-Kammallaweera-Gareth-Davies-Paula-Arundell--941x628.jpg "Drive Your Plow Over The Bones Of The Dead Belvoir St Theatre Sydney • The Scoop")The name alone has your head spinning with curiosity and perhaps slight trepidation of the journey you’re about to take. Now playing at Belvoir St Theatre, Sydney, *Drive Your Plow Over the Bones of the Dead* conjures a visceral sense of imagery, and Eamon Flack’s adaptation more than lives up to it. A wild blend of eerie mystery, whodunit, dark satire and existential thriller, this is a bold, triumphant theatrical undertaking. Alive with rich language and evocative imagery, this is thrilling theatre unlike anything I’ve seen on stage before. Based on Olga Tokarczuk’s acclaimed novel, the story takes us into the world of Janina Duszejko (Pamela Rabe). Now a seemingly mad recluse, she lives on the edge of a forest in Poland. She spends her days helping her friend Dizzy (Daniel R. Nixon) translate the poetry of William Blake into Polish. Mrs Duszejko is deeply unrested by the chaos and injustice of the world and obsessed with finding order through astrology. But when men in her village begin dying violently, one by one, Janina becomes convinced she knows exactly what – or who – is responsible. From the quiet opening when the cast of eleven stand before the audience, blank-faced, we’re thrown into darkness, with only eyes lit up on stage. As the set transforms into a mid-winter snowscape on the Polish-Czech border, actors lend their hands to conjure the world, using paper flakes blown by wind machines to create flurries of snow. Flack uses inventive staging and atmospheric effects to spark our imaginations and invite us into another world. It feels like a wondrous place straight out of a storybook, with elements of Eastern European fable. ![The Scoop Drive Your Plow Over The Bones Of The Dead Belvoir](https://thescoop.au/wp-content/uploads/2026/04/BELVOIR_DriveYourPlowOverTheBonesOfTheDead_Production_PhotoBrettBoardman_003007_Pamela-Rabe-Company-941x628.jpg "Drive Your Plow Over The Bones Of The Dead Belvoir • The Scoop")Luminous relaxed and utterly at ease on stage Rabe is impossible to look away from Photo by Brett BoardmanFlack’s adaptation is slick and effortless, staying faithful to the essence of Tokarczuk’s novel, with the poetry of Blake woven through. Having adapted and directed Ibsen’s *Ghosts* and Chekhov’s *The Cherry Orchard*, Flack understands the world of literary European theatre, and that understanding comes through. *“It’s about the human impact on the world,”* he says. He clearly wants us to feel this through the snowflakes, the cold, the summer breeze, and the brutal murder of animals. The work of movement director Charmene Yap is extraordinary to witness. An award-winning dancer and choreographer, Yap creates a space that moves from buzzing, fascinating activity to quiet, still moments that hold attention effortlessly. Together with Flack’s energetic direction, they balance long monologues that capture the imagination with frenetic movement that never detracts from the story. At the centre of it all is Pamela Rabe. As Janina Duszejko, she carries the story, dipping in and out as the eccentric narrator, commenting on the quirks of language, quoting Blake’s poetry and the idiosyncrasies she notices in those around her. She seems bewildered but totally engaged all at once. The true holy fool. Luminous, relaxed and utterly at ease on stage, Rabe is impossible to look away from. She moves the audience from wonder to bursts of laughter to care and concern, her timing delicately, perfectly on point from the very first moment. ![The Scoop Drive Your Plow Over The Bones Of The Dead Belvoir St Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/04/BELVOIR_DriveYourPlowOverTheBonesOfTheDead_Production_PhotoBrettBoardman_005744_Pamela-Rabe-Daniel-R-Nixon-941x628.jpg "Drive Your Plow Over The Bones Of The Dead Belvoir St Theatre Sydney • The Scoop")The play reminds us of the beauty of our existence Photo by Brett BoardmanThere’s a disarming wonder to her. She’s simultaneously childlike and sharply intellectual, finding delight in something as seemingly trivial as the linguistic peculiarity of a Polish name or the detail in a stranger’s eyes. As the injustice against animals and the world becomes impossible to contain, we watch her spiral, the grief and rage building. Her performance reminded me of Antony Sher as King Lear in his final role at the RSC. A different kind of unravelling, of course. But with that same quality of barely contained intensity and striking magnetism. Bruce Spence as Oddball, Janina’s closest companion, is quirky, endearing and thrilling to watch. He holds the room effortlessly with a pause and an offbeat glance. Audiences may recognise him from *Mad Max* and *The Matrix*. Daniel R. Nixon as Dizzy is joyous and jittery; brilliantly cerebral and playful in equal measure. At three and a half hours – generously broken by two intervals – the third act loses a little momentum. A minor note in something truly thrilling and captivating. The play asks big questions – existential questions that weigh on us now more than ever. It reminds us of the beauty of our existence. But at the same time, our interconnectedness, our responsibility to every living thing. And how neglecting this, in ways large and small, personal and global, has consequences none of us can escape. *Drive Your Plow Over The Bones of the Dead* is like something you want to capture and keep. See it once, and you’ll want to go back. ***Drive Your Plow Over The Bones Of The Dead* is presented by Belvoir St Theatre and runs to 10 May at the Upstairs Theatre, Belvoir St Theatre, Surry Hills NSW 2010.** Tickets: <https://my.belvoir.com.au/overview/14648> Website: <https://belvoir.com.au/productions/drive-your-plow-over-the-bones-of-the-dead/> Socials: <https://www.instagram.com/belvoirst/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Film Review: The Stranger Is A Bleak, Beautiful Meditation That Lingers](https://thescoop.au/film-review-the-stranger-is-a-bleak-beautiful-meditation-that-lingers/) **Published:** April 18, 2026 **Author:** Nick Dale **Content:** ★★★★☆ ![The Scoop The Stranger French film Palace Cinemas](https://thescoop.au/wp-content/uploads/2026/04/THE-STRANGER_07_BenjaminVoisin_RebeccaMarder_©-Carole-Bethuel-Foz-Gaumont-France-2-Cinema-1116x628.jpeg "The Stranger French film Palace Cinemas • The Scoop")François Ozon’s *The Stranger* feels like an uneasy trance, until it shakes you awake in the most alive, vigorous way. Adapted from Albert Camus’ 1942 novel *L’Étranger*, Ozon’s film poses existential questions in a political climate that feels uncomfortably relevant to today. Shot entirely in black and white, the story centres around Meursault (Benjamin Voisin), a young clerk in French colonial Algeria, summer 1938. He attends his mother’s funeral without emotion and begins a casual affair with Marie (Rebecca Marder). Life carries on as normal until he’s drawn into the violent orbit of his volatile neighbour Raymond (Pierre Lottin). One steaming hot day at the beach, Meursault shoots a young Arab man, Moussa (Abderrahmane Dehkani), dead on the sand. What’s gobsmacking is how he cannot, or will not, feel anything. The film is visually striking. The stark black and white and simple, long-held shots create intrigue mixed with discomfort. ![The Scoop The Stranger French film Palace Cinemas](https://thescoop.au/wp-content/uploads/2026/04/THE-STRANGER_05_PierreLottinn_©Carole-Bethuel-Foz-Gaumont-France-2-Cinema-1117x628.jpeg "The Stranger French film Palace Cinemas • The Scoop")Lottin who won the César for Best Supporting Actor is excellent as the volatile animalistic Raymond Photo ©Carole BethuelLet’s face it, we’re not used to monochrome anymore, and minimalistic filmmaking seems worlds away from this scrolling world full of quick cuts and shiny things. But Ozon forces us to sit with the moments, to wonder about this strange, detached character. The whites are pushed to almost glary — a deliberate choice to push the idea of being ‘dazzled by the light’. It’s a bold move that paid off, with director of photography Manu Dacosse winning Best Cinematography at Venice. In one exquisite scene, Meursault and Marie lie together on a pontoon, all salty, sweaty, sexy skin on skin; you can almost smell the salt and feel the sun. Benjamin Voisin, who also featured in Ozon’s *Summer of 85*, tackles the challenge of making nothing feel compelling. He barely speaks for the first hour, and his deadpan restraint is completely unnerving. It builds to a climax that’s explosive and alarming, cutting straight to the bone. Marder is buoyant, enraptured, and determined to look beyond a reality that threatens to spiral. She perfectly balances wilful blindness with an intelligence underneath. Lottin, who won the César for Best Supporting Actor, is excellent as the volatile, animalistic Raymond. ![The Scoop The Stranger French film Palace Cinemas](https://thescoop.au/wp-content/uploads/2026/04/THE-STRANGER_09_DenisLavant_©Carole-Bethuel-Foz-Gaumont-France-2-Cinema-1005x628.jpeg "The Stranger French film Palace Cinemas • The Scoop")The stark black and white and simple long held shots create intrigue mixed with discomfort Photo ©Carole BethuelThere are tedious moments — the courtroom drags — but the restless tension serves the eruption that follows. The prison cell scene with the priest is like a slap in the face. When Voisin finally breaks out, it feels primal and powerful, and Camus’ philosophical questions about the meaning of life hit hard. Ozon gives the story a contemporary lens, making the Arab experience more prominent. Where Camus left them nameless and invisible, Ozon gives them a presence. He names the murdered man, Moussa, and develops his sister Djemila (Hajar Bouzaouit) into a full character. The French indifference toward the Arabs in the film is stark. The dehumanisation it captures extends well beyond 1938, and feels sadly relevant today. *The Stranger* smacks you awake with some of the biggest life questions you’ll ever ponder. It’s rare for a film to leave you this alive with questions, but *The Stranger* does just that, in the most stunning way. ***The Stranger*** **opened on 16 April and screens nationally at Palace Cinemas.** **It opens in South Australia and Tasmania from 23 April, and the Sunshine Coast from 29 April.** Tickets are [on sale now](https://www.palacecinemas.com.au/movies/the-stranger). Website: <https://www.palacefilms.com.au/the-stranger> Socials: <https://www.instagram.com/palacecinemas/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Stranger Director: François Ozon Cast: Benjamin Voisin, Rebecca Marder, Pierre Lottin, Swann Arlaud, Denis Lavant Country of Origin: France Duration: 122 mins Rating: M Showing at cinemas around the country: **Sydney:** Palace Central, Palace Norton Street, Palace Moore Park, Hayden Orpheum Cremorne, Dendy Newtown **Byron Bay:** Palace Byron Bay **Wollongong:** Gala Wollongong **Melbourne:** Palace Balwyn, Palace Brighton Bay, Cinema Como South Yarra, Palace Westgarth Northcote, Pentridge Cinema Coburg, Palace Penny Lane Moonee Ponds, Cinema Nova Carlton, Kino Cinema **Ballarat:** Palace Regent Cinema **Adelaide:** Palace Nova Eastend & Prospect **Brisbane:** Palace Barracks & Palace James St Cinemas, Regal Cinema Graceville **Gold Coast:** HOTA Home of the Arts **Sunshine Coast:** Strand Cinema Caloundra, Nambour Cinema, BCC Cinema Noosa **Canberra:** Palace Electric **Perth:** Palace Raine Square, Luna Leederville, Luna On SX Fremantle, The Windsor Nedlands **Hobart:** State Cinema **Categories:** Film --- ### [Michael Ralph On Xanadu, Creativity & Bringing The Magic To Adelaide](https://thescoop.au/michael-ralph-on-xanadu-creativity-bringing-the-magic-to-adelaide/) **Published:** April 17, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Xanadu Elder Conservatorium Music Theatre Adelaide](https://thescoop.au/wp-content/uploads/2026/04/1U1A6631-942x628.jpeg "Xanadu Elder Conservatorium Music Theatre Adelaide • The Scoop")The Elder Conservatorium’s Bachelor of Music Theatre company is rolling into 2026 with ***Xanadu*** as its first major production of the year. Packed with roller skates, high-energy choreography and a whole lot of spirit, this cult favourite promises a joyful start to the season. Ahead of opening night last night, the students sat down with award-winning creative [Michael Ralph](https://www.michaelralph.com.au/), who returns to *Xanadu* as both director and choreographer. From his early inspirations growing up in New Zealand to the creative joy of developing original work, Michael shares insights into his career, his love for this “rare gem” of a show, and the excitement of guiding a new generation of performers. Read the full interview below. What has been your favourite musical experience and why? My favourite musical experience to work on would be SELF, which was an original piece of Dance Theatre that I conceived with composer Jack Earle and performer Rohan Browne. It was an absolute joy to direct and choreograph an idea that was about the journey and challenges of being an artist and not be constricted by a pre-existing script or concept. I loved every moment of the ten months I spent developing and creating it with such an incredible group of dancers and collaborators. ![The Scoop Xanadu Elder Conservatorium Music Theatre Adelaide](https://thescoop.au/wp-content/uploads/2026/04/1U1A6804-942x628.jpg "Xanadu Elder Conservatorium Music Theatre Adelaide • The Scoop")The Music Theatre students in rehearsal for Xanadu Image suppliedWhen was the moment you knew you wanted a career in musical theatre? I grew up in New Zealand. In my teenage years, was fortunate to travel up to Auckland occasionally to see the musicals that would come from Australia. I saw *Mamma Mia*, *Saturday Night Fever*, and *Dirty Dancing.* I was mesmerised by everything onstage and knew I wanted to be a part of it forever. What is the show you’ve seen/been involved in that shaped you most as an artist? I would say every show I’ve ever seen or been involved with has shaped me as an artist! Both the good shows and the not-so-good ones. I have learnt so much from every person and every project, so when I step into the next job, I have the lessons I learnt from the other projects to help guide me. ![The Scoop Xanadu Elder Conservatorium Music Theatre Adelaide](https://thescoop.au/wp-content/uploads/2026/04/1U1A6604-942x628.jpg "Xanadu Elder Conservatorium Music Theatre Adelaide • The Scoop")Xanadu runs to 19 April in Adelaide Image suppliedYou’ve done a production of *Xanadu* before. What is it about the show that brings you back? I have done a production of *Xanadu* before with another Musical Theatre tertiary course in Melbourne. The show is actually a rare gem of a well-written, successful screen-to-stage adaptation, with excellent songs, and a camp comedic style that is so entertaining to watch. I really enjoy staging it and look forward to doing it again in future. What has been your favourite part of the rehearsal process so far? My favourite part of the rehearsal process is actually seeing the progression of the cast’s skating abilities over time. The growth in confidence from day one in the studio to the theatre is really quite remarkable to witness. The cast are performing things they probably never expected they’d be able to do onstage. I enjoy the process of drawing that ability out of them. What is your most recent dream show that you would like to direct or choreograph? Recently, a dream show I’ve wanted to direct and choreograph is *Hot Shoe Shuffle*. I saw the original production in Auckland as a young kid and have always wanted to do a show with a lot of tap dance in it. So it would be a great full-circle moment for me to create my own vision of something that made such a memorable impression on me. ![The Scoop Xanadu Elder Conservatorium Music Theatre Adelaide](https://thescoop.au/wp-content/uploads/2026/04/Michael-419x628.jpg "Xanadu Elder Conservatorium Music Theatre Adelaide • The Scoop")Michael RalphWhat advice would you give to aspiring artists who long to join the music theatre/performing arts industry? The best advice I can give to aspiring young performers is that the Musical Theatre industry requires absolute discipline and passion. You have to love it enough to survive the immense highs and challenging lows. Also, versatility as an actor/singer/dancer, with a true understanding of style and the ability to work with others easily, will set you up for success in gaining regular employment. Written by the students of the Elder Conservatorium Bachelor of Music Theatre program. ***Xanadu* is on now and runs to 19 April, presented by the 2026 Graduating Class of Elder Conservatorium Music Theatre. Scott Theatre, Adelaide University, Kintore Avenue, Adelaide SA 5000.** Tickets: <https://events.humanitix.com/xanadu-ecmt> Socials: <https://www.instagram.com/elderconmusictheatre/> To learn more about the Music Theatre course, visit the Elder Conservatorium [website](https://adelaide.edu.au/about/school/elder-conservatorium-of-music-and-school-of-performing-arts/engage-with-us/elder-conservatorium-music-theatre/). [Read more of our Features](https://thescoop.au/feature-articles/) Images supplied. ![The Scoop The Music Theatre students in rehearsal for Xanadu. Image supplied](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-17-at-22222-pm-1097x628.png "The Music Theatre students in rehearsal for Xanadu. Image supplied • The Scoop") **Categories:** Features --- ### [Announcing La La Land In Concert Tour For Australia](https://thescoop.au/announcing-la-la-land-in-concert-tour-for-australia/) **Published:** April 16, 2026 **Author:** Newsroom **Content:** ![The Scoop La La Land In Concert 2026 Justin Hurwitz](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-16-at-84204-pm-1039x628.png "La La Land In Concert 2026 Justin Hurwitz • The Scoop")***La La Land*** returns to the big screen and is heading to Australia with a live orchestra to celebrate ten years since the film’s global success. The 2016 Academy Award®-winning Lionsgate film starring Ryan Gosling and Emma Stone, written and directed by Damien Chazelle, is now a live-to-film concert experience, and will play in **Sydney, Brisbane** and **Melbourne** from **30 May 2026**. Tickets are on sale today at <https://www.hurwitzconcerts.com/la-la-land-in-concert>. Winner of six Oscars®, including Best Original Score and Best Original Song, *La La Land* showcases the captivating story of a promising pianist and aspiring actress who cross paths and fall in love, while attempting to harmonise their career journeys in the city of stars. ***La La Land In Concert*** features a full orchestra and jazz ensemble accompanying a screening of the film. Experience the vivid musical moments central to the film; traditional jazz, upbeat orchestral numbers, and intimate, melodic piano themes – a nostalgic love letter to the Golden Age of Hollywood musicals. ![The Scoop La La Land In Concert 2026 Justin Hurwitz](https://thescoop.au/wp-content/uploads/2026/04/Concert-photo3-942x628.jpg "La La Land In Concert 2026 Justin Hurwitz • The Scoop")La La Land In Concert is coming to Australia Images supplied by Justin HurwitzThe film’s composer, **Justin Hurwitz**, whose accolades include two Grammys®, two Academy Awards®, and four Golden Globe Awards®, including Best Original Score and Best Original Song for *City of Stars*, will conduct the orchestra at the Sydney show. George Ellis will conduct Melbourne and Brisbane shows. Tickets are on sale now for an incredibly special night of film and music. ***La La Land In Concert* is presented by Hurwitz Concerts and runs in Sydney, Brisbane and Melbourne from 30 May to 8 June 2026. See full dates below.** Tickets: <https://premier.ticketek.com.au/shows/Show.aspx?sh=LALALAIC26> Website: <https://www.hurwitzconcerts.com/la-la-land-in-concert> Socials: <https://www.instagram.com/lalalandinconcert/> and <https://www.instagram.com/hurwitzconcerts> [Back to the Newsroom](https://thescoop.au/newsroom/) 2026 Australian Tour Dates: Sydney 30 – 31 May, ICC Darling Harbour Brisbane 3 June, Brisbane Convention & Exhibition Centre Melbourne 6 – 8 June, Hamer Hall, Arts Centre Melbourne Lionsgate Products and Experiences is a division within Lionsgate Studios Corp. (NYSE: LION), one of the world’s leading standalone, pure-play content companies. The group has developed multiple stage productions – including *La La Land* and *Dirty Dancing* heading to Broadway, and *The Hunger Games* and *Wonder* – integrations with marquee games (Call of Duty, Dead By Daylight, Roblox, and Fortnite), and collaborations with best-in-class consumer products licensees (LEGO, American Classics, Hot Toys, Funko, and more). **Categories:** News --- ### [Announcing Cast For Once The Musical Melbourne](https://thescoop.au/announcing-cast-for-once-the-musical-melbourne/) **Published:** April 15, 2026 **Author:** Newsroom **Content:** ![The Scoop Once the Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-15-at-90934-pm-854x628.png "Once the Musical AG Theatre Melbourne • The Scoop")An exceptional Australian cast will bring the eight-time Tony award-winning characters from ***Once*** to life this May in a cleverly reimagined production from Melbourne’s critically acclaimed independent company, **AG Theatre**. With rehearsals well underway, the cast is preparing to bring this global smash hit to the **Chapel off Chapel** stage in **Melbourne**, with preview performances starting **8 May**. Renowned director Pip Mushin is at the helm of this much loved production, having enjoyed a stellar run with **AG Theatre** over the last 18 months including their recent sell out productions of *[Avenue Q](https://thescoop.au/review-avenue-q-a-heartfelt-and-hilarious-look-at-adulting/)* and *[Mamma Mia](https://thescoop.au/review-mamma-mia-brings-dancing-queen-energy-to-melbourne/)*. Green Room Award-nominated creative **Mark Taylor**, who directed the recent production *[American Psycho](https://thescoop.au/review-american-psycho-has-killer-tunes-and-bloody-good-fun/)*, is stepping into the lead role of Guy. Playing alongside Mark is 2021 *The Voice* semi-finalist and seasoned musician, **Sian Fuller**, who is taking on the lead role of Girl. Both of these incredible performers are joined by a stellar community of talent. Highly respected performer, **Donald Bridges** plays Da*.* Bridges has just been announced as the recipient of *The MEAA Equity Foundation’s* 2026 Lifetime Achievement Award. The production also stars Western Australian actor and multi instrumentalist, **Frazer Shepherdson** who will play Billy. VCA student, vocalist and violinist, **Rose Chambers** will play Reza. Actor, singer, and multi-instrumentalist **James Frampton** will play Andrej. Star of ABC TV’s *The Piano* and up-and-coming theatre performer **John Yanko** will play Svec. Seasoned international performer of stage and screen, **Will Lopez** will play the Bank Manager. Talented recent graduate of Federation University, **Misha Gordon** takes on the role of Ex-Girlfriend. Seasoned Melbourne musician, actor and composer, **Bridget a’Beckett**, will play Baruska.Young performer and violinist, **Felix Star** will play Eamon. Young child stars **Lila Colombi**, **Imogen Young**, and **Emersyn Orchard** will share the role of Ivonka. ![The Scoop Once the Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-15-at-90957-pm-711x628.png "Once the Musical AG Theatre Melbourne • The Scoop")Mark Taylor and Sian Fuller will lead the cast of Once the Musical Image suppliedThe rest of the talented cast includes **Kaiyeesha Kim Tambakau** as Emcee, and **Jackson Cross** and **Belinda Jenkin** as Swings. Evolving from John Carney’s cinematic success in 2007 into a critically acclaimed stage production, *Once* has captivated theatregoers on Broadway and in London’s West End, thereby solidifying its distinguished position within the history of Western musical theatre. The production showcases the spell-binding score composed by Glen Hansard and Markéta Irglová, which notably features the Oscar-winning song, *Falling Slowly*. *Once* possesses the unique distinction of being the sole Broadway production whose musical composition has garnered the **Academy Award, Grammy Award, Olivier Award,** and **Tony Award**. *Once* is truly a production that combines the infectious rhythm of Irish céili, an incredibly talented cast of actor-musicians, an Academy Award-winning soundtrack and a heart-warming story. It follows a Dublin-born busker and vacuum-fixer as he meets a young Czech mother with a faulty vacuum cleaner who reinvigorates his passion for music. ***Once the Musical* is presented by AG Theatre and runs 8 – 23 May at Chapel Off Chapel. 12 Little Chapel Street Prahran Vic 3181.** Tickets: <https://booktickets.com.au/once/> Website: <https://agtheatre.com.au/once/> Socials: <https://www.instagram.com/agtheatreproductions/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Image supplied. **Creatives** Executive Producer **Andrew Gyopar** Director **Pip Mushin** Music Director **Timothy John Wilson** Choreographer **Jamie White** Production Manager **Alyssa Moller** Set Designer **Abbey Stanway** Costume Design **Karen Spencer** Licensed exclusively by Music Theatre International (Australasia). Music & Lyrics by Glen Hansard & Markéta Irglová. Book by Edna Walsh. ![The Scoop Once the Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/03/Once-1197x628.png "Once the Musical AG Theatre Melbourne • The Scoop") **Categories:** News --- ### [Three Sisters, One Vision: Last Waltz Dances With Chekhov](https://thescoop.au/three-sisters-one-vision-last-waltz-dances-with-chekhov/) **Published:** April 14, 2026 **Author:** Sebastien Skubala **Content:** ![The Scoop Three Sisters Last Waltz Productions Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/700c9c2911f814801b87de852cf1b845-930x628.jpeg "Three Sisters Last Waltz Productions Old Fitz Theatre • The Scoop")This week, **Last Waltz Productions** opens Chekhov’s *Three Sisters* at the Old Fitz Theatre, the second production since making their debut in 2025. The Scoop sat down with two of the company’s co-founders, **Madeline Li** and **Clara Voda** ahead of the season. Madeline, who also in the cast, and Clara, who is directing, share how the company came to be and reflect on the timeless beauty of Chekhov. Read the full interview below. I understand that you met at NIDA while you, Madeline, were studying Acting under Clara, who heads the Chekhov Project. What was the moment or realisation that made you think, ‘we should start a company together’? **Clara:** We started to speak about it when we worked together for the first time on *Three Sisters*, when Maddie was in 2nd year and she was playing Irina. We started to speak about how wonderful would be to have a company, but that was just a dream. **Madeline:** And then the following year after I graduated, I had done a show with the Old Fitz. Clara and I were having coffee, and I mentioned that I had this relationship with Lucy and Emma from the Old Fitz. I thought maybe we could have a coffee with them and start putting things into motion. And it just sort of went from there. **Clara:** But to be honest, Maddie was the leader of this thing. I came with ideas, but Maddie was the warrior for this company. ![The Scoop Three Sisters Last Waltz Productions Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/IMG_1232-930x628.jpg "Three Sisters Last Waltz Productions Old Fitz Theatre • The Scoop")Madeline Li in rehearsal for Three Sisters Photo by Jack PattenWhat drew you back to *Three Sisters* in particular as your second production for Last Waltz? **Clara:** I absolutely love Chekhov. *Three Sisters* is one of my favourite plays ever, and in this kind of theatre, the focus is on the actors and the story, and that is my favourite thing to do. **Madeline:** We do occasionally see a Chekhov staged in Australia, but very rarely do we get to see it in the hands of someone that understands the theatre practices that they would have originally been staged in. Clara’s had a really big career in theatre and film across Europe and has worked with some of the best Russian directors of the last 50 years to last century I would say. So it just seems like a shame to not try and apply that to a Chekhov. Especially since our last show, *Dear Elena* was much more niche, it was a bit of a hidden gem and much more contemporary. We thought it would be an exciting next step to go back to one of the classics and keep pushing from there. ![The Scoop Three Sisters](https://thescoop.au/wp-content/uploads/2026/04/IMG_4359-471x628.png "Three Sisters Last Waltz Productions Old Fitz Theatre • The Scoop")Madeline Li Teodora Matovic and Tessa Olsson as the three sisters Image suppliedClara, when working on both classical and modern material, do you find your approach shifts, or is there a consistent philosophy behind your directing? **Clara:** To be honest there is no big difference. My approach is very Stanislavskian. It is very based on the Eastern European school that is coming from discovering, first of all, the inner life of the actor. So the person is more important than anything. To sink into yourself and be fearless, to understand that everything is coming from your sensibility, experience, power, and vulnerability. Agnès Varda said, if you open people up, you’ll discover landscapes. I think this is my philosophy. I’ve been all my life an actor, and I love actors, I love working with them. To be part of this kind of process, you have to be brave, you have to go deep. As Chekhov said, there is nothing new in art except talent. **Madeline:** I think that was maybe the first hurdle that a lot of us in the cast had to jump over. Because oftentimes in Australia, when you’re cast in a period piece, you feel like you have to be very restricted in your movements and the way you’re expressing yourself through the character. Because of the cultural context of this piece, it behaves very differently than an English period text. We’re not trying to pretend that we’re Russians. But it really does stem from understanding your character and the world that they exist in. You’re building from the character’s circumstances. And from that, a sense of period will immediately emerge, as opposed to approaching it as a period piece. We get to free ourselves from archetypes of the genre. **Clara:** That’s why I think Chekhov is so important, because it’s universal and it’s timeless. We all have fear and hope. We are all looking for happiness. ![The Scoop Three Sisters Last Waltz Productions Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/Rehearsal-833x628.jpeg "Three Sisters Last Waltz Productions Old Fitz Theatre • The Scoop")Tessa Olsson and Toby Carey in rehearsal for Three Sisters Photo by Jack PattenClara, what is something that you wish more directors understood about actors and their process? **Clara:** I think directors have to love actors, and I think theatre is for actors. If you are not putting actors in the middle of the entire thing, then the show will be dry. That’s why, for example, in many Russian schools, they are actors first, working with actors in a class. And after that, only in the last years, they decide together with their teachers if they can be directors or not. And I think that’s a very healthy approach. Because you can have a vision, you can understand the text, but if you don’t know how to work with actors, and if you don’t know how to tell the story together, then the show can be good, but it doesn’t have a heart or a soul. I’m curious to know the story behind the company name, Last Waltz Productions. **Madeline:** One of my favourite films is the Martin Scorsese documentary about the American band called The Band, and it was about their final concert together, The Last Waltz. If you watch it, it’s such an amazing display of artistic collaboration and outreach. And it just was that universality of human emotion and how art can bring us together in that way. Their vigour as a group, and what they meant to so many people at the time they were active just spoke to me a lot. And so I proposed it as a group name, and it’s a nice, romantic name. We’ve actually managed to get a waltz in each show as sort of Easter Egg. ![The Scoop Three Sisters Last Waltz Productions Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-14-at-65536-pm-1079x628.png "Three Sisters Last Waltz Productions Old Fitz Theatre • The Scoop")Clara Voda and Madeline LiAs a company moving forward, what kinds of stories or works are you most excited to explore in the future? **Madeline:** In terms of theatre, we do have a very strong interest in Eastern European or European texts more broadly. We’re looking at doing a Scandinavian text next year. Just because you don’t necessarily get to see them in Australia very often. We also have a strong interest in going into original work. But that will probably come as we eventually delve into a bit of filmmaking. For our first show, we had some responses where people thought that we were going for shock value. But that was not the case. We were going for a story that we thought was honest. We wanted to present it plainly and simply and not rely on any bells and whistles to hide the core of the story. And I think that’s a principle we follow in all of our work. **Clara:** Yeah, and just to add on that, because of my being Romanian and coming from that world, we are not afraid of emotions, and we’re not afraid to be vulnerable. It’s not about shocking. It is about being human. **Madeline:** Aside from our shows, we also hold workshops at the Fitz and film screenings as well. So if any theatre makers are interested to come along to those, keep an eye out on our socials. ***Three Sisters* is presented by Last Waltz Productions runs 17 April – 9 May at the Old Fitz Theatre, 129 Dowling Street Woolloomooloo NSW 2011.** Tickets: <https://www.oldfitztheatre.com.au/three-sisters> Website: <https://www.lastwaltzproductions.com/three-sisters> Socials: <https://www.instagram.com/lastwaltzprod/> [Read more of our Features](https://thescoop.au/feature-articles/) Images supplied. **Categories:** Features --- ### [Announcing NIDA & Bakehouse At KXT Partnership For Emerging Playwrights](https://thescoop.au/announcing-nida-bakehouse-at-kxt-partnership-for-emerging-playwrights/) **Published:** April 14, 2026 **Author:** Newsroom **Content:** ![The Scoop NIDA KXT Bakehouse New Writers](https://thescoop.au/wp-content/uploads/2026/04/unnamed-1077x628.jpg "NIDA KXT Bakehouse New Writers • The Scoop")The National Institute of Dramatic Art (NIDA) and **bAKEHOUSE Theatre Company** have joined forces to create a new partnership designed to champion emerging Australian playwrights and bring bold new writing to the stage in the Festival of **New Writers, New Works**, at KXT on Broadway from **27 May 27 – 4 July 2026**. Through a collaboration with NIDA’s Master of Fine Arts Dramatic Writing program, emerging writers will have the opportunity to see their scripts realised in a professional setting, connecting with audiences and industry. The partnership will present a festival of new works at KXT on Broadway showcasing plays written and developed by recent NIDA graduates and alumni. The productions highlight the next generation of theatrical voices, exploring themes ranging from political power and bodily autonomy to identity, sexuality and institutional corruption. **Joe Hepworth**, NIDA Head of Dramatic Writing, said: *“So many of our writers get their first break at KXT, so it’s great to be able to formalise this partnership and strengthen the pathway between training and industry. There’s something transformative for emerging writers about seeing their work in front of audiences for the first time, and having heard early pitches for these works, I’m excited to finally see them on stage!”* **Suzanne Millar**, Creative Director KXT on Broadway, said: *“We’ve been honoured to be the home for many world premieres of work by NIDA graduates and alumni. This partnership opens the door into the industry for some of our most exciting emerging and early career artists. It is an opportunity to expand their community and network, with guidance from our team at KXT.* *It’s a joy to be able to bring the work of the next generation to the stage, and we’re looking forward to sharing their work with the KXT audiences.”* ![The Scoop NIDA KXT Bakehouse New Writers](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-14-at-111355-am-1200x600.png "NIDA KXT Bakehouse New Writers • The Scoop")Among the featured productions is ***First, Do No Harm***, written by Grace Malouf (MFA, Writing for Performance, 2023) and directed by Charley Allanah. The gripping new drama explores the volatile intersections of medicine, politics and family. At the height of her campaign for President of the Australian Medical Association, renowned surgeon Melissa Annous faces a devastating revelation from her Olympic-hopeful son that threatens both his future and her public standing. Shortlisted for the Silver Gull Award, the play confronts questions of bodily autonomy, disability politics and the limits of empathy. Also premiering is ***Everyone Knows I’m A Pervert**,* a darkly comic new work by Taylor Fernandez (MFA Dramatic Writing, 2025). The irreverent comedy follows neurotic erotica writer Chastity Onan, whose worst fear becomes reality when she accidentally sends her explicit writing to all 172 of her email contacts. As guilt, anxiety and absurdity collide, Chastity must confront the chaos of her own neuroses in a sharp, hilarious exploration of shame, sexuality and self-perception. Completing the program is ***Cadaver Synod*** by Ruby Blinkhorn (MFA Dramatic Writing, 2025) a bold and darkly comedic play inspired by a notorious episode of medieval history. Set in 897 AD Rome, the play follows newly elected Pope Stephen as he grapples with political pressure to put the corpse of his predecessor on trial. Teetering between satire and tragedy, the work explores institutional power, corruption and the fragility of moral authority. Together, the productions highlight the diversity, ambition and originality of emerging writers trained through NIDA’s renowned dramatic writing program. **The Festival of New Writers, New Works runs at KXT on Broadway from 27 May 27 – 4 July 2026. 181 Broadway Ultimo NSW 2007.** Tickets: <https://www.kingsxtheatre.com/kxt-nida-festival> Website: <https://www.nida.edu.au/> Socials: <https://www.instagram.com/nidacommunity/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: Impromptunes - The Completely Improvised Musical Melbourne](https://thescoop.au/review-impromptunes-the-completely-improvised-musical-melbourne/) **Published:** April 13, 2026 **Author:** Jacqui Moore **Content:** ★★★★☆ ![The Scoop Impromptunes Melbourne Comedy Festival](https://thescoop.au/wp-content/uploads/2026/04/691fda74e122e-1114x628.jpg "Impromptunes Melbourne Comedy Festival • The Scoop")*Impromptunes: The Completely Improvised Musical* returns to the Melbourne International Comedy Festival in 2026 with a brand-new burst of fully improvised musical theatre mayhem. Since first appearing in 2013, the troupe has become a familiar and welcome fixture on the comedy circuit, popping up everywhere from Melbourne to Edinburgh with their quick-witted, anything-can-happen style. Their specialty is hour-long musicals built entirely on the spot. Each one is sparked by a single audience suggestion and spun into something surprisingly and hilariously cohesive. Last night’s offering, *Monopoly Or Die*, was a title that promised chaos from the outset, rich with comedic possibility. In a blink, the ensemble landed on *Sunday Nights at Grandma’s House* as their setting. They grounded the madness in something warmly familiar and instantly nostalgic. ![The Scoop Impromptunes](https://thescoop.au/wp-content/uploads/2026/04/691fdb372ff50-1114x628.jpg "Impromptunes Melbourne Comedy Festival • The Scoop")Impromptunes The Completely Improvised Musical runs to 19 April as part of the 2026 Melbourne International Comedy FestivalThe audience tiptoed through a maze of possibilities alongside the cast as we were introduced to Samantha and Jarred. Devoted grandchildren, they were determined to protect their grandmother’s valuable board game collection from the scheming lawyer Mr Brown. The score leaned gleefully into musical theatre tradition, serving up Mr Brown’s full-throttle villain anthem *Family Trust*. There was an obligatory I-want number *Roll the Dice, Roll It Twice*. The raucous Act Two opener, *Yours Is Yours and Yours Is Mine*, saw the ensemble double as shamelessly opportunistic removalists, helping themselves to their clients’ belongings. The show built to a gleefully absurd showdown, with Jarred and Mr Brown facing off in a high-stakes *Twist Off* to decide who could rightfully claim Grandma’s prized board game collection. As with any improvised show, it’s not only the winning ideas that charm. It is the gloriously off-course ones that veer wildly astray and draw the loudest laughs. ![The Scoop Impromptunes Melbourne International Comedy Festival.](https://thescoop.au/wp-content/uploads/2026/04/691fdbfb3e322-1114x628.jpg "Impromptunes Melbourne International Comedy Festival. • The Scoop")The real magic is that the musical exists for one night only Image suppliedWhile the entire cast performed with enviable confidence, the night’s unofficial MVP honours belonged to the formidable musicians. Their instinct for tracking the story’s twists and turns and shaping a musical landscape to match in real time was nothing short of remarkable. The real magic of *Monopoly Or Die* lay in its vanishing act: a musical that exists for one night only, serving as both its opening and closing performance. Thankfully, this isn’t the final bow for this wonderfully whimsical troupe. There are plenty more performances still to come across the festival. So if you’ve ever wanted to see your own bizarre brainwave brought to life—whether it’s *The Hat That Knew Too Much*, *Space Barista*, or *Goblin Tax Audit*—head along to Impromptunes and throw it into the mix. You never quite know; it might just become a full-blown musical adventure before your eyes. ***Impromptunes: The Completely Improvised Musical* runs to 19 April as part of the 2026 Melbourne International Comedy Festival. Trades Hall – Solidarity Hall, corner Lygon and Victoria Streets Carlton Vic 3053.** Tickets: <https://www.comedyfestival.com.au/browse-shows/impromptunes-the-completely-improvised-musical/> Website: <https://www.impromptunes.com.au/> Socials: <https://www.instagram.com/impromptunes/> [Read more of our Comedy Reviews](https://thescoop.au/comedy-reviews/) Images supplied. **Categories:** Comedy, Melbourne, Musical Theatre --- ### [Review: Toy Story In Concert Goes To Infinity & Beyond](https://thescoop.au/review-toy-story-in-concert-goes-to-infinity-beyond/) **Published:** April 12, 2026 **Author:** Cassandra Houghton **Content:** ★★★★☆ ![The Scoop Toy Story in Concert Queensland Symphony Orchestra QPAC](https://thescoop.au/wp-content/uploads/2026/04/DIC_TS_2-1061x628.jpg "Toy Story in Concert Queensland Symphony Orchestra QPAC • The Scoop")Cast your mind back about 31 years to the mid-1990s, if you can, and you might recall a time of Nintendo 64s, The Spice Girls, Myspace – and a little film called *Toy Story.* It was this sense of warm nostalgia that sprinkled charm across a packed QPAC Concert Hall on Saturday night, as QPAC and Queensland Symphony Orchestra (QSO) presented *Disney and Pixar’s Toy Story in Concert.* The audience spanned music lovers of all ages keen to experience the musical brilliance QSO is renowned for. And what an enchanting escape it was. Led by charismatic conductor Nicholas Buc, QSO performed *Oscar®* and *Grammy®*-winning composer Randy Newman’s *Toy Story* film score with mischief and precision. ![The Scoop Toy Story in Concert Queensland Symphony Orchestra QPAC](https://thescoop.au/wp-content/uploads/2026/04/DIC_TS_3-1043x628.jpg "Toy Story in Concert Queensland Symphony Orchestra QPAC • The Scoop")As the first full length 3D computer animated movie *Toy Story* was ahead of its timeThe 1995 film screened in its entirety above the stage, offering a stunning juxtaposition of movie and musicians. The musicians’ delight at the interplay between Woody and Buzz Lightyear, on screen and in the underscore, was evident in their lively playing. Children and adults laughed, gasped, and cheered throughout. The atmosphere was celebratory. As the first full-length, 3D computer-animated movie, *Toy Story* was ahead of its time. A collaboration between Disney and Pixar, the filmmakers strived to create characters that were authentic, layered, and relatable. Woody has a fear of being replaced. Anxieties plague Rex the Tyrannosaurus. Buzz grapples with his identity. These quirks and personalities resonated with audiences around the world; children and adults alike across the last 30+ years have clicked with the characters. The secret hope that toys come to life is instantly recognisable. The soundtrack was just as progressive, too. Buc said in his introduction that, at the time, people expected a standard musical soundtrack to accompany the film. But composer Randy Newman had other ideas. He wanted a score woven through the movie that contributed to the storytelling. An ever-present force for the characters as they grow and squabble and ultimately succeed. ![The Scoop Toy Story in Concert Queensland Symphony Orchestra QPAC](https://thescoop.au/wp-content/uploads/2026/04/DIC_TS_5-632x628.jpg "Toy Story in Concert Queensland Symphony Orchestra QPAC • The Scoop")Toy Story in Concert was presented by QPAC and Queensland Symphony OrchestraThe result was a spritely underscore, alongside standout hit *You’ve Got a Friend in Me*, played with frenetic energy and playfulness by the talented QSO musicians. Across brass and woodwind, strings and percussion, the full orchestra played with technical precision. Having never been to a QSO performance before, it was enormous fun getting lost in watching the full orchestra – only to remember the film was playing, too. It added a humanness, a joy, to the experience that you don’t get from watching it on a TV screen. In 1996, the soundtrack was released (in a pre-streaming world) on cassette and CD. It was wonderful to see how it has endured through time and across generations. The voices of children singing along while the credits rolled (not a squirm in sight!) was heartwarming. As was the sight of a single child carrying toy figures of Woody and Buzz down the stairs and outside the theatre, back into the real world. ***Toy Story in Concert* ran for two performances only on Saturday 11 April. Presented by Queensland Symphony Orchestra and QPAC.** The season has now ended. Website: <https://qso.com.au/events/2026/for-movie-music-lovers/toy-story-in-concert> Socials: <https://www.instagram.com/qsorchestra/> and <https://www.instagram.com/atqpac/> [Read more about QPAC’s School Holiday Program](https://thescoop.au/dynamic-qpac-school-holiday-program-starts-today/) Images supplied. **Categories:** Brisbane, Concerts --- ### [Review: Sting Anchors The Last Ship Through A Powerful Voyage](https://thescoop.au/review-sting-anchors-the-last-ship-through-a-powerful-voyage/) **Published:** April 12, 2026 **Author:** Regan Baker **Content:** ![The Scoop The Last Ship Sting QPAC](https://thescoop.au/wp-content/uploads/2026/04/Shaggy-The-Wallsend-Ferryman-Annette-McLaughlin-Peggy-White-and-Sting-Jackie-White-photography-by-Pixeline-Photographie-copy-942x628.jpg "The Last Ship Sting QPAC • The Scoop")In only its second voyage, QPAC’s new Glasshouse Theatre has found its sea legs in Sting’s epic *The Last Ship*. There are some shows where you walk out talking about the performances, some where you talk about the music, and some where you spend half the interval staring at the stage trying to work out how on Earth they even built the thing. *The Last Ship* very much belongs in that last category. As only the second major show to anchor itself inside QPAC’s dazzling new Glasshouse Theatre, this Australian exclusive production doesn’t just use the space; it practically stress-tests it. And my word, what a way to do it. For a venue still enjoying that new theatre smell, *The Last Ship* lets the Glasshouse show off in all its radiant brilliance. The set is enormous. Properly enormous. Without a tape measure on hand, I’d still happily wager the LED wall stretching across the back of the stage had to be somewhere in the realm of 30 metres wide and almost as high. It is one of the most striking scenic elements I’ve seen in a musical for quite some time, and it gives the whole production an immediate sense of scale. The shipyard world it creates is cold, industrial and beautifully oppressive, with chains, scaffolds, and steel framing the stage like a working construction zone. At centre stage, even the floor seems to join the cast, rising up as a sculptural lighting piece that gives the production yet another visual trick to play. It is a massive, muscular theatre. And thankfully, this is a show with enough weight to match it. *The Last Ship* comes to Brisbane carrying a lot more than just Sting’s name above the title. The story is rooted in the shipbuilding community he grew up in, the people and place that helped shape him long before the stadium tours and platinum records. It has had many lives on its way here, having been written and reshaped over time by John Logan and Brian Yorkey, then Lorne Campbell, and more recently Barney Norris, before arriving in this stage musical form with Sting’s own music and lyrics sitting at its heart. That sense of lived-in history matters because *The Last Ship* does not feel like a manufactured musical designed by committee. It feels personal. Rugged. A little weather-beaten, in the best possible way. ![The Scoop The Last Ship Sting QPAC](https://thescoop.au/wp-content/uploads/2026/04/The-Last-Ship-5-photography-by-Mark-Senior-941x628.jpg "The Last Ship Sting QPAC • The Scoop")The show has one of the most striking scenic elements Ive seen in a musical for quite some time Photo by Mark SeniorBrisbane now joins New York, Paris and Amsterdam as one of the only homes for this expansive production, and it feels like exactly the kind of ambitious work this venue was built to hold. This is not a small, tidy musical. It is a full-bodied theatrical event. I’ll admit, it was not quite the show I expected. Going in with Sting’s catalogue hovering in the back of my mind, I was anticipating something with a bit more rock pulse to it. A bit more drive. A bit more forward propulsion. Instead, *The Last Ship* is a slower-moving beast. It unfolds gradually. Deliberately. And with far more patience than I usually claim to have. As my parents, who sat beside me, would happily tell you, I was not born to be a still human being. If I am not constantly stimulated, my brain kicks into overdrive and starts behaving like that over-caffeinated squirrel from *Over the Hedge*. But as slow as it may be, it moves like a giant, steel-hearted beast. Slow and imposing, but impossible to switch off from. That is because even when the story itself moves at a gentler pace, the production around it never stops evolving. There is always something shifting. Scaffold glides and towers overhead. Light deepens and redraws the emotional landscape. The LED wall morphs and breathes like a character in its own right, constantly reshaping the world before your eyes. It is a production that understands momentum does not always have to come from pace. Sometimes it comes from scale, tension, and atmosphere. This show has all three. It also has the rare quality of feeling less like a collection of standout parts and more like one giant, unified machine. Normally, I’d happily single out direction, lighting, sound, costumes, video design or set and break down which element did what best. Here, that almost feels like missing the point. *The Last Ship* operates as one vessel. A huge one, built with such detail and force that you find yourself admiring the entire thing rather than any one bolt holding it together. ![The Scoop The Last Ship Sting QPAC](https://thescoop.au/wp-content/uploads/2026/04/Sting-Jackie-White-photo-by-Mark-Senior-941x628.jpg "The Last Ship Sting QPAC • The Scoop")There is a grounded confidence in Stings presence that the show leans on well Photo by Mark SeniorThat same feeling carries through the cast. While Sting’s name is on every poster, and Shaggy headlines the marketing materials, it isn’t a show built around one or two stars doing the heavy lifting. It is communal, with every performer pitching in with maximum effort, which suits the material perfectly. Sting, of course, arrives with nearly fifty years of performance legacy behind him, and there is a grounded confidence in his presence that the show leans on well. Having lived a few lives on stage already, he doesn’t need to overplay anything. He holds onto that quiet authority of someone who you know is going to deliver, regardless. I did find myself wanting more from Shaggy, though, whose presence was more emblematic than vocal. Hiring such a drawcard music icon and then barely letting them sing seems like it should be a criminal offence! Don’t get me wrong, he certainly added to the world of the piece, but a background extra is not what I want from Mr Lover Lover! Speaking of vocals, though, the production is in very safe hands with Declan Bennett as Gideon, Annette McLaughlin as Peggy, Lauren Samuels as Meg and Hannah Richardson as Ellen. Between them, they provide the main vocal force of the evening, and faultless is not too strong a word. There is strength, soul and grit in their work, and each of them helps ground a production that could otherwise risk being swallowed by its own size. What truly makes this whole thing sail through, is that it never tries to rush itself into being something it isn’t. It trusts its own rhythm. It trusts its world. And it trusts that you give yourself over to it. *The Last Ship* is not in a hurry, and that is exactly why it works. By the final bows, it had done something I did not entirely expect. It won me over, not through speed or by being overtly boombastic, but through sheer scale, confidence and cohesion. *The Last Ship* is not the flashiest musical I’ve ever seen, nor the fastest, but it may well be one of the most impressively built. In a theatre still introducing itself to Brisbane, this production feels like a statement of intent. And what a statement it is. ***The Last Ship* runs to 3 May at the Glasshouse Theatre QPAC in an exclusive Brisbane season.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/thelastship26> Website: <https://www.qpac.com.au/whats-on/2026/the-last-ship> Socials: <https://www.instagram.com/atqpac/> and <https://www.instagram.com/lastshipmusical/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image: Pixeline Photographie **Categories:** Brisbane, Musical Theatre --- ### [Review: Beauty and the Beast Enchants With Timeless Magic](https://thescoop.au/review-beauty-and-the-beast-enchants-with-timeless-magic/) **Published:** April 12, 2026 **Author:** Sophie Cornett **Content:** ★★★★☆ ![The Scoop Beauty and the Beast Willoughby Theatre Company Sydney](https://thescoop.au/wp-content/uploads/2026/04/8-942x628.jpg "Beauty and the Beast Willoughby Theatre Company Sydney • The Scoop")Far off places, magic spells, a prince in disguise – all the hallmarks of the perfect fairy tale. *Beauty and the Beast* is one of my absolute favourite stories, blending heart and humour, wrapped up in the gorgeous aesthetics of the French Rococo period. Willoughby Theatre Company’s latest production brings this all to the stage in a dazzling and talent-packed show that will leave you absolutely delighted. Disney’s theatrical production of *Beauty and the Beast* almost perfectly aligns with the 1991 animated film, with a few additional songs that add beautiful emotional depth to the narrative. Belle’s desire to pursue a life beyond the simplicity of her provincial village isolates her from the masses. But it is her independence, courage and tremendous capacity for love that inspires hope for redemption in the residents of a cursed castle, including the stone-hearted Beast. Director Court Cassar has staged a phenomenal production. The success of this enormous-scale show is a testament to his directorial skills. What I loved most was the attention to detail that went into filling the stage with life and colour, across both the design and cast performances. Choreographer Sally Dangar brings iconic scenes and songs to life, with precise and intricately coordinated movements that evoke true joy and wonder. Peter Hayward masterfully leads the orchestra and cast as Musical Director, sending Alan Menken’s timeless music soaring through the theatre. The complexity of the sets and costumes is absolutely commendable. Cassar’s set design sees the use of scrims and large moving pieces to create the village, castle and woods. The recurring symbolism of the rose and its thorny branches transforms the stage. ![The Scoop Beauty and the Beast Willoughby Theatre Company Sydney](https://thescoop.au/wp-content/uploads/2026/04/4-942x628.jpg "Beauty and the Beast Willoughby Theatre Company Sydney • The Scoop")With a large ensemble it is wonderful to see so much talent fill the theatre Photo by Grant LeslieWith a cast this size and some tremendously complex characters and musical numbers, costuming all the roles is an impressive undertaking. The coordination team, comprising Catherine MacKinnon, Donna Fitzgerald, Nikole Music and Melissa Wilcox, must be mentioned for their outstanding job. The cast is phenomenal, and it was a delight to sit in the audience and feel the community support for everyone who played a part in bringing the production to the stage. Every performer is so clearly invested in the world-building and storytelling. Molly Owen portrays Belle with an incredible blend of fiery independence and emotional nuance. She brings such beautiful vocals, movement and characterisation to the stage, making Belle truly her own. Tom Kelly is phenomenal as the Beast. His physical and vocal characterisation perfectly reflect his monstrous nature. As the Beast opens up to Belle, it is so lovely to see this melt away to reveal the awkwardness and tenderness beneath. The characters of the castle are the perfect narrators, comedic relief and witnesses to the blossoming love that drives the story. Lumiere, played by Jerome Studdy, is a standout with delightful wit and a playfulness that is so joyous to watch. Luke Davis as Cogsworth plays off this beautifully. It is so much fun to see how his stubborn, curmudgeonly attitude is slowly worn away as he allows himself to hope for a better future. Emily Kimpton is a delightful Mrs Potts, bringing motherly warmth and heart to the stage in her interactions with Belle and the other castle inhabitants. Her son Chip, played on opening night by Mia Manion, adds charming insights to the story. Georgia Kokkoris and Emerson Goodenough, who play Madame de la Grande Bouche and Babette, respectively, are phenomenal performers. Their soaring vocals and tremendous physical character skills bring so much life to these roles. ![The Scoop Beauty and the Beast Willoughby Theatre Company Sydney](https://thescoop.au/wp-content/uploads/2026/04/6-942x628.jpg "Beauty and the Beast Willoughby Theatre Company Sydney • The Scoop")Molly Owen portrays Belle with an incredible blend of fiery independence and emotional nuance Photo by Grant LeslieFrom the village, Andrew Benson is the perfect Maurice. He brings a delightful eccentricity to the character and is so warm and endearing in his interactions with Belle. Caleb Hamwood plays Gaston impeccably. His blend of cruelty and stupidity make him so distasteful, with the payoff at the end all the more satisfying. He is followed around by his loyal sidekick LeFou, a role incredibly performed by Samuel Dobb. His comedic timing and physical humour perfectly play out on stage. The three La Fille De La Ville are portrayed by the talented Abby Van Balkom, Chloe McWilliam and Isabella Palamara. They are so much fun to watch as they chase Gaston through the village, desperate for his affection. The ensemble is amazing, and with forty four of them in total, it is wonderful to see so much talent fill the theatre. It was so delightful to see every performer give their characters such detailed backstories and motivations, all playing out behind the main action on stage. I would like to take the opportunity to praise the incredible hard work of the backstage and tech crews, as well as the professionalism of the performers, as they navigated a few tech issues on opening night. Their effectiveness and adaptability are a testament to the community that has built this show. Willoughby Theatre Company’s *Beauty and the Beast* is a beautiful adaptation, with a cast and crew bringing all the heart of the original story alongside delightful new design and character choices to the dazzling stage. This tale as old as time is only here for a short time, so I highly recommend seeing it while you can! ***Disney’s Beauty and the Beast* is presented by Willoughby Theatre Company. It runs to 26 April, at The Concourse Theatre, 409 Victoria Avenue Chatswood NSW 2067.** Tickets: <https://aucentury.sales.ticketsearch.com/sales/salesevent/152281> Website: <https://willoughbytheatreco.com.au/show/disneys-beauty-and-the-beast/> Socials: <https://www.instagram.com/willoughbytheatreco/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Grant Leslie Photography **Categories:** Musical Theatre, Sydney --- ### [Review: English Speaks Volumes In The Silence](https://thescoop.au/review-english-speaks-volumes-in-the-silence/) **Published:** April 12, 2026 **Author:** Benjamin Webb **Content:** ★★★★½ ![The Scoop English Outhouse Theatre Co Seymour Centre](https://thescoop.au/wp-content/uploads/2026/04/3Z1A0498w-Richard-Farland-929x628.jpg "English Outhouse Theatre Co Seymour Centre • The Scoop")What does it cost to be understood? That’s the driving question behind Outhouse Theatre Co’s production of *English,* presented with Seymour Centre in Sydney. And as is often the case in a play about learning language, it is the silences, the gaps between what is known and unknown, that speak the loudest. Written by Sanaz Toossi, *English* premiered in the United States to widespread acclaim, culminating in the 2023 Pulitzer Prize for Drama. Set in Iran in 2008, the play has since travelled internationally, resonating with audiences for its clever exploration of language and identity. In a classroom in Karaj, four adult students prepare for an English proficiency exam under the guidance of their teacher, Marjan. Over six weeks, each character grapples with what it means to adopt a new language – one that promises opportunity, but costs something personal. As Marjan, Nicole Chamoun performs a masterclass in restraint. She holds the room with a careful authority, her character’s own complicated relationship with English simmering just beneath the surface. ![The Scoop English Outhouse Theatre Co Seymour Centre](https://thescoop.au/wp-content/uploads/2026/04/3Z1A1120w-879x628.jpeg "English Outhouse Theatre Co Seymour Centre • The Scoop")Under the direction of Craig Baldwin the play is at times strikingly funny Photo by Richard FarlandSetareh Naghoni brings a feisty intelligence to Elham, capturing the frustration of someone who feels caught between two worlds. Neveen Hanna’s Roya offers a gentle warmth. Minerva Khodabande delivers a beautiful performance as Goli, full of humour and tenderness. Pedram Biazar rounds out the ensemble with a grounded, pensive Omid. Much like *Eureka Day* produced by Outhouse last year, and again under the direction of Craig Baldwin, this play is, at times, strikingly funny. Awkward mispronunciations, linguistic misunderstandings, and classroom dynamics are rendered with a keen comedic eye. But beneath that, there is always an undercurrent communicating to us that language carries a heavy emotional weight. ![The Scoop English Outhouse Theatre Co Seymour Centre](https://thescoop.au/wp-content/uploads/2026/04/3Z1A0859w-872x628.jpg "English Outhouse Theatre Co Seymour Centre • The Scoop")English asks us to consider the invisible negotiations that happen every time someone speaks Photo by Richard FarlandSoham Apte’s classroom set is precise and distinct. Lighting by Spencer Herd subtly shifts the emotional temperature of each scene. Rita Naidu’s costumes ground the characters in their own worlds, while music composition by Hamed Sadeghi gently underscores the lived-in atmosphere. Much of the play is spoken in English, but the characters are, within the world of the play, speaking Farsi. This tension, between what we hear and what is “actually” being said, creates a fascinating theatrical contract with the audience. It’s a constant reminder that language isn’t just a tool, it’s a territory we inhabit. *English* is a funny, precise, and profound triumph. It invites you to lean in, to listen more carefully, and to consider the invisible negotiations that happen every time someone speaks. See it, not just for its intelligence or its performances, but for the way it gently, insistently asks: who are we, when we are no longer speaking in our own voice? What does it cost to make ourselves understood? ***English* is presented by Outhouse Theatre Co and Seymour Centre and runs to 2 May at the Reginald Theatre. Seymour Centre, cnr City Road and Cleveland Street Chippendale NSW 2008.** Tickets are available [here](https://booknow.seymourcentre.com/WEBPAGES/EntaWebShow/ShowDatesCombo.aspx)! Website: <https://www.seymourcentre.com/event/english/> Socials: <https://www.instagram.com/outhousetheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Richard Farland **Categories:** Sydney, Theatre --- ### [Review: Mark Watson 20 Years Of Doing My Absolute Bloody Best Melbourne](https://thescoop.au/review-mark-watson-20-years-of-doing-my-absolute-bloody-best-melbourne/) **Published:** April 12, 2026 **Author:** Jacqui Moore **Content:** ★★★★☆ ![The Scoop Mark Watson 20 Years oof Doing My Absolute Bloody Best](https://thescoop.au/wp-content/uploads/2026/04/696ff33b52189-944x628.jpeg "Mark Watson 20 Years oof Doing My Absolute Bloody Best • The Scoop")Mark Watson toasts his twentieth year at the Melbourne International Comedy Festival with *20 Years Of Doing My Absolute Bloody Best*. This is a show that doubles as both celebration and hilarious self-interrogation. While Watson has spent plenty of time gracing comedy stages around the world, he’s perhaps best known for his television appearances on *8 Out of 10 Cats*, *Taskmaster*, and *Would I Lie to You?* Yet these credits barely scratch the surface. Beyond the stage and screen, he’s also an accomplished author, radio presenter, and producer, with a body of work that stretches well beyond stand-up. *20 Years Of Doing My Absolute Bloody Best* unfolds in the Supper Room, tucked within the maze-like splendour of Melbourne Town Hall. As the audience filters in, Watson is already at work, typing live messages onto a projector screen. It’s a quietly charming way to begin. The effect gently dissolves the usual barrier between performer and audience and establishing an immediate sense of intimacy. Watson announces his plan to revisit some of his favourite jokes as a way of reflecting on his twenty years at the festival. It’s a premise that could easily veer into clip-show territory. But in his hands, the material becomes something richer. Rather than simply recycling old bits, Watson reframes them as a kind of social time capsule. He uses comedy as a lens through which to chart both personal and cultural change. ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")20 Years of Doing My Absolute Bloody Best runs to 19 April as part of the Melbourne International Comedy FestivalWatson celebrates the humour in generational drift as he recounts the challenge of landing a punchline about *I’m Too Sexy* to a Gen Z audience. He reflects on memories of when mocking people for watching videos on their phones felt genuinely transgressive. Even Australia’s biosecurity laws make an appearance, recalling a time when exotic fruit sparked national panic. These stories are threaded through reflections on family, parenthood, and the inevitable absurdities that come with the passage of time. Watson’s observations remain nimble and self-aware. They balance warmth with a willingness to poke at his own changing place in the world. *20 Years Of Doing My Absolute Bloody Best* uses Watson’s twenty-year milestone as a springboard. He reflects on his career with a deft mix of nostalgia, humour, and relatable existential unease. The result lands somewhere between *This Is Your Life*, an impending apocalypse, and a light-hearted insistence that we may as well laugh anyway. The show closes on a buoyant note, making it clear that there is still plenty more in store. Watson’s curious, offbeat comedy will keep finding fresh air for years to come. ***Mark Watson: 20 Years of Doing My Absolute Bloody Best* runs to 19 April at the Melbourne Town Hall as part of the 2026 Melbourne International Comedy Festival. 100 Swanston Street Melbourne Vic 3000.** Tickets: <https://www.comedyfestival.com.au/browse-shows/mark-watson/> Website: <https://www.markwatsonthecomedian.com/> Socials: <https://www.instagram.com/watsoncomedian/> Read more of our Comedy Reviews Images supplied. **Categories:** Comedy, Melbourne --- ### [Review: The River Flows With Beauty Even As Answers Elude](https://thescoop.au/review-the-river-flows-with-beauty-even-as-answers-elude/) **Published:** April 12, 2026 **Author:** Caitlin Green **Content:** ★★★★☆ ![The Scoop The River Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/04/The-River_Sydney-Theatre-Company_credit_Daniel-Boud_041-941x628.jpg "The River Sydney Theatre Company • The Scoop")Anticipation was building. Miranda Otto’s soulful eyes had been staring at me from every bus stop and light rail ad all week. It sells itself. Sydney Theatre Company at the Sydney Opera House. And with STC’s season already off to such a strong start with hits like *[Purpose](https://thescoop.au/review-purpose-holds-laughter-grief-in-the-same-breath/)* and *[The Normal Heart](https://thescoop.au/review-the-normal-heart-is-a-raw-urgent-cry-for-love-justice/)*, I had that dizzying, pre-show feeling that *The River* was going to be something great. Here’s the synopsis, without spoiling anything: *The River*, written by Olivier and Tony Award winner Jez Butterworth, follows a man who brings a woman to his family’s cabin for the night. It’s romantic yet slightly unsettling. STC’s marketing copy promises “all is not as it seems.” The world that director Margaret Thanos has built is stunning. It feels grounded but also slightly mythic. There’s a real restraint in her work. Her direction allows the space to breathe and doesn’t shy away from loaded silence. Thanos nurtures the distinct sense that something sinister is at hand. Design by Anna Tregloan is captivating. The exposed frame of a cabin, sitting on this reflective, almost liquid floor. It feels like the river is swallowing the space. Strips of hanging fabric, surrounding the cabin, gave the illusion of a haunted world beyond. ![The Scoop The River Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/04/The-River_Sydney-Theatre-Company_credit_Daniel-Boud_092-941x628.jpg "The River Sydney Theatre Company • The Scoop")The acting is exceptional and exactly what you would expect from an STC production Photo by Daniel BoudLighting by Damien Cooper stretches and shrinks the space. Flashing of lightning create beautiful, eerie shadows. Sam Cheng’s score has a folk like quality. It walks the line between this world and another. The acting is exactly what you expect from a Sydney Theatre Company production. It’s exceptional. As always. Ewen Leslie, Andrea Demetriades, and Otto are all phenomenal. It’s a total masterclass in restraint and inner life. Leslie anchors the show so confidently as the leading man. He’s stoic, but so clearly layered. You can see each thought churning beneath the surface. His monologue about a childhood memory of fly-fishing with his uncle genuinely took my breath away. Otto is Australian royalty for a reason. And though much of her dialogue overlaps with Demetriades’, they each craft such distinct, equally compelling women. Their chemistry, all three of them, is completely palpable on stage. I was won over and immediately invested. The writing I can only describe as being beautifully visceral. Working with such rich text and translating that clearly to an audience is so difficult. But these actors take this text and just place the images directly into you. ![The Scoop The River Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/04/The-River_Sydney-Theatre-Company_credit_Daniel-Boud_077-941x628.jpg "The River Sydney Theatre Company • The Scoop")The River is visually stunning immersive and the performances are unreal Photo by Daniel BoudSpoilers ahead! Stop reading now if you don’t want even a hint! The whole show feels like it’s building to something. It’s breadcrumbing you. Every step of the way you are urged to question everything. I was enjoying wading through it. There is a sense of foreboding. Hooded figures in the distance, witchy rituals and the looming threat of violence. But when it comes to the payoff, it doesn’t quite land. I was left feeling like I needed more, that there were so many questions left unanswered. Was I reading into all of this too much? Is there something I’m just not getting? I don’t think so. This doesn’t detract from the experience as a whole. Every other element is so strong. It is visually stunning, immersive and the performances are unreal. For me, it may have oversold on its promise, but that doesn’t detract from how beautifully crafted this show is. *The River* is absolutely worth seeing. Go for the world and for the words. And stay for a masterclass in performance. ***The River* is presented by Sydney Theatre Company and runs to 16 May at the Drama Theatre, Sydney Opera House. Bennelong Point Sydney NSW 2000.** Tickets: <https://www.sydneytheatre.com.au/whats-on/2026/productions/the-river> Website: <https://www.sydneytheatre.com.au/> Socials: <https://www.instagram.com/sydneytheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Daniel Boud **Categories:** Sydney, Theatre --- ### [Review: RBG Of Many, One Speaks Urgently To A World In Flux](https://thescoop.au/review-rbg-of-many-one-speaks-urgently-to-a-world-in-flux/) **Published:** April 12, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop RGB Of Many One Heather Mitchell](https://thescoop.au/wp-content/uploads/2026/04/Heather-Mitchell-in-STC-RBG-Of-Many-One_ImageCredit_PrudenceUpton_116-942x628.jpg "RGB Of Many One Heather Mitchell • The Scoop")There’s a white chair. A white telephone. Both sit on a plinth, waiting. So is she. Ruth Bader Ginsburg waits for the call that will change everything. The appointment. The moment history tips. The play begins here, in stillness, before unfolding into something vast: a life, a jurisprudence, a belief system under pressure. *RBG: Of Many, One*, written by Suzie Miller and directed by Priscilla Jackman, premiered in 2022, during Joe Biden’s presidency. At the time, its message felt urgent but steady. Now, in a world where Donald Trump has returned to the centre of power, the work lands differently. Darker. Sharper. It becomes both balm and warning. A balm for the ache of endless headlines and truth-twisting noise. A reminder of what institutions once promised. And maybe still can. This is a monodrama. One actor. One hundred minutes. A lifetime. Heather Mitchell carries it all. And “tour de force” barely covers it. She does more than perform Ruth Bader Ginsburg. She inhabits her across time. With a flick of light, she shifts decades. A change in gait. A tightening of the jaw. The voice lifts, then settles. Teenager. Judge. Widow. Icon. Mitchell cries often. On cue. Again and again. It’s almost the least impressive thing she does. Because she also conjures rooms that aren’t there. She meets Bill Clinton. She debates with Barack Obama. She parodies Donald Trump with hand gestures so precise the audience erupts. It’s laughter edged with relief. Better to laugh than sit in recognition too long. ![The Scoop RBG Of Many One Heather Mitchell](https://thescoop.au/wp-content/uploads/2026/04/Heather-Mitchell-in-STC-RBG-Of-Many-One_ImageCredit_PrudenceUpton_135-942x628.jpg "RBG Of Many One Heather Mitchell • The Scoop")Crying on cue is the least impressive thing Heather Mitchell does Photo by Prudence UptonThe set is deceptively simple. Curtains. Light. Space. Designed by David Fleischer and lit by Alexander Berlage, it transforms constantly. The curtains blaze red and blue. Fireworks. Patriotism. Division. They become pillars of the Supreme Court. Corridors of power. A hospital room. A living room where a phone may or may not ring. At times, the stage feels operatic. Not by accident. A childhood memory cuts through. Her mother buys her a ticket to Puccini. She waits outside. They can’t afford two seats. That moment shapes everything. Love. Sacrifice. Art. Priscilla Jackman, with her Opera Australia, pedigree, leans into this. Key scenes swell with operatic scores from composer Paul Charlier. Mitchell stands still. A tear falls. Ruth Bader Ginsburg didn’t just admire the opera. She lived like one. Her marriage to Marty, a modern man who cooked the dinner and raised the kids when doing so was unheard of, makes us swoon and sob like it’s *La Boheme*. The script moves like a legal argument. Cases appear as if footnoted in real time in surtitles. She breaks the fourth wall, maybe addressing us as the jury. At one point, she compares her judicial collar to Rundle Mall’s Balls. But the deeper idea is this: dissent. ![The Scoop RBG Of Many One Heather Mitchell](https://thescoop.au/wp-content/uploads/2026/04/RBG-Of-Many-One_credit_Daniel-Boud_059-941x628.jpg "RBG Of Many One Heather Mitchell • The Scoop")In 2026 the work lands differently and becomes both a balm and a warning Photo by Daniel BoudHer dissenting judgments are framed as letters to the future. You may be one of nine. You may lose. You may be ignored. Still, you write. Because your time might come. That idea sits at the centre of the work. In a climate where it often feels like nothing we say makes a difference, this play insists otherwise. Change is slow. Sometimes generational. Sometimes invisible in the moment. Ruth Bader Ginsburg was raised with certain truths: Be independent. Hide the rage. Trust institutions. The play asks what happens when those beliefs fracture. There’s a moment of shame. A rare one. When she feels she hasn’t upheld judicial independence. It lingers. If only more public figures carried that weight. And then, without warning, the legal arguments and humorous asides are interrupted by tragedy. A blackout. Silence. Then she returns in activewear. A yoga mat rolls out. A pink Swiss ball appears. She begins ab crunches. The audience laughs again. It’s necessary. Jackman handles these tonal shifts with remarkable control. The play never fractures. It breathes. For Australian audiences, there’s a quiet parallel with Michael Kirby. A belief that the law must evolve. That constitutions are not frozen artefacts. That justice requires interpretation, not just preservation. In the end, RBG cannot outwork mortality. Not even her. She tries. Of course she does. But death comes. What remains are the letters. The dissents. The ideas sent forward in time for us to receive now, just when we need them. Ideas that stand firm. Like the woman who gave them to us. ***RBG: Of Many, One* is presented by State Theatre Company South Australia and runs to 2 May at Dunstan Playhouse. Adelaide Festival Centre, King William Street Adelaide SA 5000.** Tickets: <https://my.statetheatrecompany.com.au/overview/rbg-of-many-one> Website: <https://statetheatrecompany.com.au/shows/rbg-of-many-one/> Socials: <https://www.instagram.com/statetheatresa/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Hero image photo credit: Prudence Upton **Categories:** Adelaide, Theatre --- ### [Review: Anastasia Lands In Sydney With Glittering Gowns & The Ghosts Of History](https://thescoop.au/review-anastasia-lands-in-sydney-with-glittering-gowns-the-ghosts-of-history/) **Published:** April 11, 2026 **Author:** Benjamin Webb **Content:** ★★★★☆ ![The Scoop Anastasia Musical Australian Premiere Melbourne](https://thescoop.au/wp-content/uploads/2025/12/2494-Georgina-Hopson-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "Anastasia Musical Australian Premiere Melbourne • The Scoop")In *Anastasia*, fairytale meets revolution. Political violence, loss and erased identity give way to sweeping melodies and glittering gowns. And yet, there are still moments where the cracks of history show through the sparkle. *Anastasia* premiered in 2017 on Broadway, adapted from the beloved 1997 animated film. It was inspired by the enduring myth of Grand Duchess Anastasia Romanov having survived her family’s assassination. The stage adaptation leans more into the grounded aspects of the story than the supernatural, swapping out Rasputin as the antagonist for a soldier named Gleb. The musical became a global success, celebrated for its lush score and cinematic staging, and this Australian production continues that legacy. We follow Anya, a young woman with no memory of her past, who may or may not be the lost Romanov princess. Teaming up with conmen Dmitry and Vlad, she journeys from post-revolutionary Russia to Paris in search of identity and belonging. ![The Scoop Anastasia the Musical Australian Premiere Melbourne](https://thescoop.au/wp-content/uploads/2025/12/3164-The-Australian-Cast-of-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "Anastasia the Musical Australian Premiere Melbourne • The Scoop")There is a cinematic fluidity to the staging that sweeps the audience across continents Photo by Jeff BusbyUnder the direction of Darko Tresnjak, there is a cinematic fluidity to the staging that sweeps the audience across continents and emotional landscapes. This is supported by the musical direction of Anthony Barnhill and the choreography of Peggy Hickey, which blends classical form with theatrical flair. Georgina Hopson as Anya delivers a performance that balances steel and vulnerability. Her voice soars particularly in the iconic *Journey to the Past*, grounding the spectacle in heartfelt emotion. Robert Tripolino brings undeniable charm to Dmitry, while Rodney Dobson offers genuine warmth as Vlad. Rhonda Burchmore as Countess Lily injects effervescence into the Paris sequences. Theatre legend Nancye Hayes lends grandiose gravitas as the Dowager Empress. Joshua Robson’s Gleb is a compelling counterpoint. Haunted, conflicted, and quietly tragic, he embodies the moral tensions of a man caught between duty and conscience. His solo *Still*, in combination with Hopson’s *Journey to the Past*, concludes Act One in style, leaving the audience eagerly waiting for the interval to end so they can find out what happens next. A special mention must go to Sophia Bae. Her appearance as Odette in the *Swan Lake* ballet sequence is a moment of visual and physical poetry. ![The Scoop ANASTASIA Musical Australia](https://thescoop.au/wp-content/uploads/2026/03/2273-Joshua-Robson-and-Georgina-Hopson-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "ANASTASIA Musical Australia • The Scoop")The real history lingers at the edges and gives the stage musical more weight than the animated film Photo by Jeff BusbyAlexander Dodge’s set allows for seamless transitions across time and place, while Linda Cho’s costumes deliver a parade of opulence that never feels excessive. Lighting by Donald Holder visualises memory as both a wound and a compass. As the ghosts of her family interact with Anya, they are trapped in muted blue and pink tones, whereas she is lit in a warm orange, differentiating her from her surroundings. The real history – the fall of the Romanovs, the violence of revolution – lingers at the edges, reminding us that this fairytale is built on very real loss. This maturity gives the stage musical more weight than the animated film. And yet, I was left wanting more. *Anastasia* is no *Hamilton*, and it’s not trying to be. It uses history as a jumping-off point, and then fantasy takes over. There’s no doubt it offers an evening of theatrical splendour with a strong emotional core, even if its impact may fade with time. Ultimately, *Anastasia* is a sweeping journey of memory, identity and hope. It may not reinvent the musical theatre form, but it offers us a reminder that stories have the power to transform history into something magical. ***Anastasia* the musical runs** **to** **18 July at the Sydney Lyric Theatre as part of a national tour.** **It then heads to Adelaide and Brisbane. See full dates below.** Tickets: <https://anastasiathemusical.com.au/tickets/sydney/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Jeff Busby 2026 Australian Tour Dates: Sydney 7 April – 18 July, Lyric Theatre Adelaide 2 – 23 August, Festival Theatre Brisbane 16 September – 4 October, Lyric Theatre QPAC **Categories:** Musical Theatre, Sydney --- ### [Review: Australia Day Serves Up Satire With A Side Of Discomfort](https://thescoop.au/review-australia-day-serves-up-satire-with-a-side-of-discomfort/) **Published:** April 10, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop Australia Day Therry Theatre](https://thescoop.au/wp-content/uploads/2026/04/AusDay26_therry008-942x628.jpg "Australia Day Therry Theatre • The Scoop")Anyone who has sat on a local board or committee of any hue, be it the Lions, community radio or amateur theatrics will recognise the world of Australia Day. Before a word is spoken, the set does the work. A bland mustard scout hall. Baden-Powell staring down from the wall. A whiteboard. A pinboard cluttered with ribbons and faded purpose. That familiarity is the trap. And the point. Written by Jonathan Biggins in 2012, the play follows a small-town committee planning an Australia Day event. It has since travelled widely. It has also attracted controversy. In recent years, some communities have pushed back on its staging, arguing that its depiction of Indigenous issues and January 26 debates feels out of step with the current moment. Watching Therry Theatre’s production now, that tension sits in the room. The question isn’t just what the play says. It’s how we hear it in 2026. Act One unfolds inside that scout hall. The characters are drawn with surgical precision. A small business mayor. A high-vis tradie. A bureaucratic middle. A fresh graduate. An inner-city progressive. A Country Women’s Association stalwart with scones and certainty. Biggins captures their voices with unsettling accuracy forged from living in that world. That accuracy is where the discomfort lives. ![The Scoop Australia Day Therry Theatre](https://thescoop.au/wp-content/uploads/2026/04/AusDay26_therry019-942x628.jpg "Australia Day Therry Theatre • The Scoop")Anyone who has sat on a local board or committee will understand the world of the play Photo by Andrew TrimmingsSteve Kidd’s Wally is the production’s gravitational centre. A Farmers Union iced coffee in hand, high-vis firmly on, he delivers lines that are crude, abrasive, and often shocking. His views on Indigenous Australians, disability, and social change land hard. There are laughs. There are also moments where the laughter catches in the throat. Kidd resists caricature. He lets the resentment breathe. You see where it comes from. That doesn’t make it easier. It makes it harder. This is where the play’s reputation comes from. In a pre-Trump world, it may have been clearer what the audience was being invited to laugh at. Now, the lines between satire and recognition feel thinner. But the counterpoint is unavoidable. Nothing said on stage is more extreme than what scrolls past in a comments section every day. What theatre does is give those voices a face. And an inner life. The ensemble is well balanced. Adam Schulz is remarkable as Robert, stepping into the role just three weeks before opening. His performance anchors the play’s attempts at reason. Ollie Xu pops and locks to every beat as Chester, the Australian-born Vietnamese teacher. Michele Kelsey leans into the contradictions of the Greens councillor Helen. Moral certainty colliding with political ambition. Kristina Kidd brings warmth and unease as Maree, a softer mirror to Wally’s worldview. Then there is Stephen Bills’ mayor. All ego, calculation, and quiet panic. A local council Game of Throne Littlefinger in miniature. Act Two shifts outdoors. A sausage sizzle tent serving dubious lamb and rosemary snags on white bread, with or without onions. Painted trees. The threat of thunder. The stakes rise. Alliances fracture. The comedy sharpens. Director Jude Hines keeps the pace tight, allowing the jokes to land cleanly while letting the silences linger just enough. ![The Scoop Australia Day Therry Theatre](https://thescoop.au/wp-content/uploads/2026/04/AusDay26_therry040-942x628.jpg "Australia Day Therry Theatre • The Scoop")In 2026 the lines between satire and recognition feel thinner but the counterpoint is unavoidable Photo by Andrew TrimmingsAt times, the script shows its age in structure rather than content. It can feel exposition-heavy. Characters slip into monologues that spell out the playwright’s argument rather than letting it emerge organically. Some twists are satisfying but slightly telegraphed. You can see them coming a beat early. Still, the central question holds. What do we do with each other now as the social fabric hangs on by a thread? The play gestures towards answers. Calm down. Listen more. Find common ground. Sit in the same room with each other. These solutions feel neat. Perhaps too neat. Chester’s perspective lands strongest. As children, we see difference simply. Bigger. Smaller. Faster. Slower. By Year 6, we’ve formed tribes. The division is inevitable. The work is learning how to live alongside it. In an age of algorithmic silos, theatre becomes one of the few places where opposing worldviews share the same air. *Australia Day* doesn’t resolve the tension it creates. It sits with it. It forces us to look. To listen. To recognise. And maybe, just for a moment, to understand how we got here. ***Australia Day* is presented by Therry Theatre and runs to 18 April at the Arts Theatre. 53 Angas Street Adelaide SA 5000.** Tickets: <https://www.trybooking.com/events/landing/1506953> Website: <https://therry.org.au/> Socials: <https://www.instagram.com/therrytheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Andrew Trimmings **Categories:** Adelaide, Theatre --- ### [Review: School Of Rock A Smash For Passion Productions](https://thescoop.au/review-school-of-rock-a-smash-for-passion-productions/) **Published:** April 10, 2026 **Author:** Jenny Mason **Content:** ![The Scoop School of Rock Musical Passion Productions Brisbane](https://thescoop.au/wp-content/uploads/2026/04/212912-T2608_260407_A6390-scaled-e1775801300450-999x628.jpg "School of Rock Musical Passion Productions Brisbane • The Scoop")Passion Productions hits the right notes with *School of Rock*, transforming the classic Paramount film into a dynamic stage production and showcasing a community theatre scene that is alive, well, and rocking in North Brisbane at the Enoggera Performing Arts Centre. With huge shoes to fill, the cast and musicians, under Connor Clarke’s direction, create an impressive spectacle. The endearing and unconventional character of Dewey Finn, famously played by the one and only Jack Black in the film, is performed on stage by the charismatic Lachie Gleadhill, and he absolutely rocks it. The plot focuses on rock-loving Dewey being kicked out of his rock band and struggling to pay rent. Dewey then takes the opportunity to steal his flatmate Ned Schneebly’s (Jackson Kellaway) identity to become a substitute teacher. In doing so, Dewey discovers his students are musically talented and decides to form his own band to compete in the Battle of the Bands. Hats off to Lachie for playing a role immortalised by Jack Black. He does so courageously, undaunted and with his own style of manic brilliance. Lachie’s commanding voice and comic prowess, along with an incredibly talented supporting cast is powerful. ![The Scoop School of Rock Musical Passion Productions Brisbane](https://thescoop.au/wp-content/uploads/2026/04/194726-T2608_260407_B4103-942x628.jpg "School of Rock Musical Passion Productions Brisbane • The Scoop")Lachie Gleadhill plays Dewey Finn with his own style of manic brilliance Image suppliedThe result is magic. Lachie’s cool confidence and charm as Dewey steal the show. Magnetism hits the stage, and the audience is wowed. The energy is positive, and the vibe exciting. The supporting cast is also entertaining and features incredibly talented singing voices and acting performances. (Note: some of the leads are double cast.) Stand-out performances at the performance I attended were delivered by Summer, played by Saana Chang, whose energy never stops. Patty, Ned’s girlfriend, played by Isabella Farry, who sings and acts with gusto. Miss Mullins, played by Isabel Kruse, who is obviously a trained opera singer with great comic timing. She treats us to some inspiring Mozart opera singing and gets drunk to share her love of Stevie Nicks. And of course, Tamika, played by Alessia Lily Monteverde, with an awe-inspiring “set of pipes.” Under Jacqueline Atherton’s musical direction, the live singing and music are brilliant. The production captures many of the one-liners that made the film such a success, delivered with style. ![The Scoop School of Rock Musical Passion Productions Brisbane](https://thescoop.au/wp-content/uploads/2026/04/211822-T2608_260407_A6259-942x628.jpg "School of Rock Musical Passion Productions Brisbane • The Scoop")The supporting cast features incredibly talented singing voices and acting performances Image suppliedStephanie O’Shea’s choreography is sharp, and the students of the fictional Horace Green Elementary engage the audience from start to finish. The musical number *Stick it to the Man* is belted out with passion and choreographed to the nines. A witty script, the stage show presents some new musical numbers, yet it stays pretty true to the original film’s storyline. If you are a fan of the movie, you will not be disappointed. The original songs have the audience tapping their toes, and the strength of the vocals of all cast members simply dazzles. The show includes a live band on stage, in addition to many of the cast members, notably playing their own instruments. If you enjoy wonderful, catchy tunes, old school rock, exquisite voices and fun and laughter, then *School of Rock* is the show for you. Fast-paced and never dull, the production is ambitious and triumphant. ***School of Rock* is presented by Passion Productions and runs to 18 April at Enoggera Performing Arts Centre. Enoggera State School, 52 Laurel Street Enoggera Qld 4051.** Tickets: <https://events.humanitix.com/the-school-of-rock> Website: <https://www.passionproductions.com.au/> Socials: <https://www.instagram.com/passionproductionsau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied by Passion Productions. **Categories:** Brisbane, Musical Theatre --- ### [Review: Soothplayers Improvised Shakespeare 2026 Melbourne International Comedy Festival](https://thescoop.au/review-soothplayers-improvised-shakespeare-2026-melbourne-international-comedy-festival/) **Published:** April 9, 2026 **Author:** Jack Bengough **Content:** ![The Scoop Soothplayers Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/04/5-1396-6996a3830bf3a-942x628.jpg "Soothplayers Melbourne International Comedy Festival • The Scoop")Melbourne-based company Soothplayers returns to the Melbourne International Comedy Festival for their 10th year, marking a decade of their signature improvised Shakespearean comedy. Over that time, they have created more than 200 original works and been a launching ground for notable former Players, including Scout Boxall and Vidya Rajan. While the opening night performance for the 2026 season wasn’t without its shining moments, it struggled to fully find its rhythm as an entertaining whole. The production opened with the performers stepping on stage to introduce and set up the ‘show.’ This initial segment felt slightly uncoordinated, with overlaps in dialogue as performers occasionally spoke over one another. Before the proper show could begin, the players need a title from the audience. On this particular night, the title chosen was “The Great De-liver-y.” An odd title, but one that the players, to their credit, took on and totally committed to. An opening monologue attempted to rationalise the title, suggesting that the liver was symbolic of a person’s melancholia, and the hero of the story would not have the capacity for sadness due to losing their liver at war. This was a strong thrust to the narrative that the players held onto for the performance. Unfortunately, however, the band of improvisers struggled to maintain a firm grasp of their plot beyond the core premise. Throughout the show, many plot points and characters would be introduced before being abandoned, leading to a totally nonsensical narrative. ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")Completely Improvised Shakespeare runs to 12 April as part of the Melbourne International Comedy FestivalMore than the challenge of building a cohesive story, it was the apparent lack of chemistry between the improvisers that stood out. Too often, scenes drifted into silence, with performers seemingly waiting for someone else to step in and carry the moment. At times, inconsistencies in character and narrative further undercut the flow, drawing attention away from the unfolding story. It is honestly easy to see how these issues can come up, given the very premise of the show. Anyone can imagine how hard it must be to create an original play on the spot in one hour. This felt less like a limitation of improv itself and more a question of preparation. Even within a spontaneous form, techniques and guiding structures can provide a sense of cohesion, helping performers sustain momentum and shape the narrative as it unfolds. Both improvisational theatre and “Shakespeare… but different” are well-trodden corners of the Australian theatre scene. With greater cohesion and sharper ensemble connection, *Completely Improvised Shakespeare* has the potential to find a more confident voice. ***Soothplayers: Completely Improvised Shakespeare* runs to 12 April at the Impro Melbourne Theatre as part of the 2026 Melbourne International Comedy Festival. 21-23 Stanley Street, West Melbourne Vic 3003.** Tickets: <https://www.comedyfestival.com.au/browse-shows/completely-improvised-shakespeare/> Website: <https://www.soothplayers.com/> Socials: <https://www.instagram.com/soothplayers/> [Read more of our Comedy Reviews](https://thescoop.au/?s=comedy) Image supplied. **Categories:** Comedy, Melbourne --- ### [Review: Sam Nicoresti Baby Doomer 2026 Melbourne International Comedy Festival](https://thescoop.au/review-sam-nicoresti-baby-doomer-2026-melbourne-international-comedy-festival/) **Published:** April 8, 2026 **Author:** Liz Baldwin **Content:** ★★★★☆ ![The Scoop Sam Nicoresti Baby Doomer](https://thescoop.au/wp-content/uploads/2026/04/690157d7939e6-879x628.jpeg "Sam Nicoresti Baby Doomer • The Scoop")Fresh from a breakout, award-winning run at the Edinburgh Fringe, expectations for Sam Nicoresti’s Melbourne Comedy Festival debut *Baby Doomer* are high. And they more than meet them. *Baby Doomer* took out the 2025 Edinburgh Comedy Award for Best Show, a prestigious prize that’s previously gone to Hannah Gadbsy, Sam Campbell, and Rose Matafeo. It’s no wonder. This is an impressive set that combines quick gags with slow-build storytelling. I’d say it’s a laugh a minute, but – as they point out early on – that would be a pretty terrible strike rate for a comedy set, all things considered. There’s a warmth and generosity to Nicoresti’s presence that belies their relative youth – the assurance of someone who doesn’t have much to prove. They welcome the audience into their stories, and their gags. There’s a gentle poking of fun at the blind spots of comedians, the queer community, and self-described “dorks.” Being in the audience almost feels like being in a choir. Different sections tinkle with laughter at different jokes, whether it’s polycule or Pokemon references that hit closest to home for them. ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")Baby Doomer runs to 19 April as part of the Melbourne International Comedy FestivalNicoresti is, above all, an accomplished storyteller. The set centres on their experiences as a trans woman – navigating the TK Maxx changing room, an NHS waiting list, and hen dos. Each story is exquisitely paced, with throwaway gags as they build the stakes up, stretching the story, before the final punchline. Nicoresti uses these stories to deftly call out the challenges and indignities trans people face going about their life. In one memorable instance, Nicoresti recounts a well-meaning brother-in-law suggesting their nephew might call them “Aunc Sam.” If the set has weaker points, it’s in its opening and closing, which both felt a little less assured than the rest of the set. Nicoresti seems to take a little time to arrive on stage and settle into the storytelling that makes up the rest of the hour. And, while the show’s very last lines are a beautiful tie-in to earlier threads, they come after a period of conclusion throat-clearing that diluted the set’s energy a little. These are minor quibbles. For a young comic, this is a remarkably assured performance. Nicoresti’s *Baby Doomer* delivers an hour of comedy that is consistently, intelligently, and joyfully funny. I’m sure this won’t be the last time we see them on stage in Melbourne. ***Sam Nicoresti: Baby Doomer* runs to 19 April at The Westin as part of the 2026 Melbourne International Comedy Festival. 205 Collins Street Melbourne Vic 3000.** Tickets: <https://www.comedyfestival.com.au/browse-shows/sam-nicoresti/> Website: <https://www.samnicoresti.com/> Socials: <https://www.instagram.com/samnicoresti/> [Read more of our Comedy Reviews](https://thescoop.au/?s=comedy) Images supplied. **Categories:** Comedy, Melbourne --- ### [Review: Emma Holland The Dog Dies At The Start 2026 Melbourne International Comedy Festival](https://thescoop.au/review-emma-holland-the-dog-dies-at-the-start-2026-melbourne-international-comedy-festival/) **Published:** April 8, 2026 **Author:** Jacqui Moore **Content:** ★★★★★ ![The Scoop Emma Holland The Dog Dies At The Start](https://thescoop.au/wp-content/uploads/2026/04/5-1229-699fd3cfeaf49-942x628.jpeg "Emma Holland The Dog Dies At The Start • The Scoop")Emma Holland returns to the Melbourne International Comedy Festival with her latest work, *The Dog Dies At The Start*. It takes a very special artist to draw so much laughter from such a profound emotional loss. But somehow, Holland manages it. Perhaps it’s the 92.93 ATAR. Holland has been gracing comedy stages since 2018, appearing at festivals around the world. More recently, she has become widely recognised for her regular appearances on popular television programs *The Cheap Seats*, *Have You Been Paying Attention?* and *Thank God You’re Here*. She is swiftly cementing herself as a fixture among Australia’s comedy elite. At this year’s festival, Holland performs at Melbourne’s iconic venue, Comedy Republic. The building’s art deco-meets-industrial aesthetic provides the perfect setting for this particular show. As the audience enters the theatre, Holland is already at home in the intimate space, comfortably perched on a mustard-yellow armchair atop a checkerboard rug. A nearby canary in a cage and looping footage of a squirrel in a park signal that we’re in for a quirky, offbeat evening. The kind of comedy for which Holland has become so well known. So, what do you get in a show titled *The Dog Dies At The Start*? Genuinely, it tells you on the packet. The show opens with an emotional and poignant retelling of the unexpected death of Holland’s beloved dog, Teddy. ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")Emma Holland The Dog Dies At The Start runs to 19 April as part of the Comedy FestivalBut wait, we’re here for a comedy show, right? In what can only be described as a true stroke of genius, Holland hooks her audience from the outset and leads them through the more absurd edges of grief. She takes us through outspoken trips to the Swarovski store. First-time sensory deprivation tank experiences. And the karmic chaos of hundreds of baby spiders. Throughout the show, it is clear that Holland shares an undeniable bond with her family, often weaving in fond, affectionate, and sharply funny stories about their quirks and mannerisms. By the end of the show, Holland masterfully loops the audience back to Teddy and all the quirky, singular things that made Teddy, well, Teddy. And somehow, against all odds, we laugh. It’s tender, strange, and genuinely lovely. With *The Dog Dies At The Start*, Holland has crafted something rare: a comedy show about grief that is as hilarious as it is heartfelt. Tender, eccentric, and unmistakably her own, it is a beautiful reminder that even the deepest loss can still leave room for laughter. ***Emma Holland: The Dog Dies At The Start* runs to 19 April at Comedy Republic as part of the 2026 Melbourne International Comedy Festival. 231 Bourke Street Melbourne Vic 3000.** Tickets: <https://www.comedyfestival.com.au/browse-shows/the-dog-dies-in-the-end/> Website: <https://emmaholland.com.au/> Socials: <https://www.instagram.com/e.mmaholland/> [Read more of our Comedy Reviews](https://thescoop.au/?s=comedy) Images supplied. **Categories:** Comedy, Melbourne --- ### [Announcing 2026 HSBC German Film Festival First Highlights](https://thescoop.au/announcing-2026-hsbc-german-film-festival-first-highlights/) **Published:** March 12, 2026 **Author:** Newsroom **Content:** ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/03/Amrum_1-copy-941x628.jpg "2026 HSBC German Film Festival • The Scoop")The **2026 HSBC German Film Festival**, Australia’s only dedicated celebration of German language cinema, is screening nationally from **6 – 27 May** at **Palace Cinemas**, **Palace Nova** and **Luna Palace Cinemas**. Presented by Palace and German Films, this year’s dynamic line-up of contemporary German cinema includes powerful dramas, insightful true-life stories, delightful comedy and charming family films. This year’s festival Centrepiece is **AMRUM**, the celebrated new feature from multi award-winning director Fatih Akin. The film is a moving and deeply poignant drama about a 12-year-old boy named Nanning who lives on Amrum Island in 1945, during the final days of the war. Nanning braves the treacherous sea to hunt seals, goes fishing at night, and works the nearby farm to help his mother feed the family. Yet despite the hardship, life on the beautiful, windswept island almost feels like paradise. When peace finally comes, it reveals a deeper threat: the enemy is far closer than he imagined. Starring Laura Tonke, Diane Kruger and Matthias Schweighöfer, plus a brilliant performance from the young lead Jasper Billerbeck, AMRUM is based on the real-life story of co-writer Hark Bohm. ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/03/Sound-of-Falling_1-826x628.jpg "2026 HSBC German Film Festival • The Scoop")Still from Sound of Falling Image suppliedCannes Film Festival Jury Award winner **SOUND OF FALLING** (*In die Sonne schauen)* is the festival Special Presentation. Directed by Mascha Schilinski, the haunting drama follows four girls across four generations experiencing their youth on the same farm in northern Germany. A sensory and poetic epic, this beautifully crafted film has garnered much critical acclaim and was Germany’s entry into the 2026 Academy Awards©. From Switzerland comes a warm and humorous portrait of a unique Swiss cultural phenomenon in **HELLO BETTY** *(Hallo Betty).* Set in 1956, the film follows Emmi Creola, a talented copywriter who defies a male dominated workplace by inventing “Betty Bossi”, a fictional housewife who becomes Switzerland’s culinary icon. As Betty’s popularity skyrockets, Emmi struggles to balance the expectations of her public persona with her role as a wife, mother and professional. A warm and humorous portrait of the 1950s, HELLO BETTY explores female ambition, identity and the timeless tension between public image and private life. The popular ‘Kino for Kids’ sidebar, presented by the Goethe-Institut Australia, returns with a superb selection of films for younger cinema goers and families. ![The Scoop 2026 HSBC German Film Festival](https://thescoop.au/wp-content/uploads/2026/03/Pumuckls-Big-Mix-Up_1-1116x628.jpg "2026 HSBC German Film Festival • The Scoop")Still from Pumuckls Big Mix Up Image suppliedFrom Austria is **THE SECRET FLOOR** (*Das geheime Stockwerk),* a playful time-travel adventure shot in stunning Alpine locations. Twelve-year-old Karli moves with his parents to an old hotel in the Alps and discovers an elevator that transports him through time to 1938 where he makes new friends and must help solve a mystery. The magical phenomenon returns with **SCHOOL OF MAGICAL ANIMALS 4** (*Die Schule der magischen Tiere 4).* The highly anticipated fourth instalment of the successful franchise *School of Magical Animals,* based on Margit Auer’s bestselling book series, featuring stunning visual effects and valuable life lessons. **BARRY & ME** (*Mein Freund Barry)* is a breathtaking live-action adventure inspired by the legend of Switzerland’s most famous rescue dog, the St. Bernard. A boy called Georg raises a puppy in secret in a timeless story of friendship, bravery, and survival in late 18th century Switzerland. Featuring the legendary German children’s character Pumuckl, first created in 1961, **PUMUCKL’S BIG MIX-UP** (*Pumuckl und das große Missverständnis*) is a charming and entertaining tale that combines live action and animation, following the adventures of a quiet craftsman in Munich and his mischievous and invisible goblin friend Pumuckl. In the charming, observant coming-of-age film **TOMORROW I’LL BE BRAVE** (*Ab morgen bin ich mutig)* tween angst and young love is explored with a touch of humour and tenderness. **The 2026 HSBC German Film Festival runs 6 – 27 May. The full programme will be announced and tickets will be on sale early April.** See full city dates and venues below. Website: <https://germanfilmfestival.com.au/> Socials: <https://www.instagram.com/germanfilmfestival/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Hero image: still from AMRUM, the Festival’s centrepiece film. 2026 Festival Dates and Venues by City: **Sydney:** 6 – 27 May, Palace Norton Street, Palace Central, Palace Moore Park **Canberra:** 6 – 27 May, Palace Electric **Brisbane:** 6 – 27 May, Palace James St**,** Palace Barracks **Adelaide:** 6 – 27 May, Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas **Perth:** 7 – 27 May, Luna Leederville, Luna on SX & Palace Raine Square **Byron Bay and Ballina:** 7 – 27 May, Palace Byron Bay, Ballina Fair Cinemas **Melbourne:** 8 – 27 May, Palace Balwyn, Palace Brighton Bay, Palace Church St, Palace Cinema Como, Palace Westgarth, The Kino, The Astor Theatre, Pentridge Cinema, Palace Penny Lane **Ballarat:** 8 – 27 May, Palace Regent Ballarat **Categories:** News --- ### [Laughing Through The Housing Crisis: The Agent Opens This May](https://thescoop.au/laughing-through-the-housing-crisis-the-agent-opens-this-may/) **Published:** April 7, 2026 **Author:** Newsroom **Content:** ![The Scoop The Agent Anywhere Festival Brisbane](https://thescoop.au/wp-content/uploads/2026/04/Meryn-Cooper-by-Georgia-Haupt_Goldsuit-942x628.jpeg "The Agent Anywhere Festival Brisbane • The Scoop")With housing affordability reaching crisis point across Australia, the bold new comedy ***The Agent***, written by Meryn Cooper and premiering **20 May** as part of the Brisbane Anywhere Festival, is turning the spotlight on the people at the centre of it all: real estate agents. Blending satire with sharp social commentary, *The Agent* dives headfirst into the absurdities of Australia’s property market. It’s a fast-paced, unapologetically wacky spy spoof that asks: what if your real estate agent thought they were the hero of their own spy film? Playwright **Meryn Cooper** said: *“The Agent was born out of my own frustrations with the housing market. First as a tenant and then as a first-home buyer. It can be humiliating and dehumanising to the point where, if you don’t laugh, you’ll cry. So, I decided to channel those frustrations into a farce for stage.”* Behind the comedy lies a biting truth. With rising house prices, increasing mortgage stress, and rental costs outpacing incomes, Australians are feeling the squeeze, and those on the frontlines of the property market are often caught in the middle. *The Agent* explores this tension with humour, heart, and just the right amount of chaos. ![The Scoop The Agent Anywhere Festival Brisbane](https://thescoop.au/wp-content/uploads/2026/04/Agent-Logo-e1775558641677-790x628.png "The Agent Anywhere Festival Brisbane • The Scoop")A former journalist, Cooper undertook extensive research while developing the work. *“I pored over news articles. Listened to industry experts. And fell down a rabbit hole of data comparisons and affordability reports. But the real gold was in the anecdotes. Nine times out of ten, when I mentioned I was writing about home buying and real estate agents, people had a story to tell.* *Securing a home is an emotional experience. We’re still attached to the great Australian dream of a quarter-acre block. But the reality is a high-stakes investment that can lead to mortgage stress rather than stability.”* *Yes it’s a look at the housing crisis through the eyes of the real estate agents. But at its core, The Agent is designed to entertain. It’s big, bold, and packed with laughs, offering audiences a chance to escape, even briefly, from the pressures of real life.”* At the centre is Michelle Schrödinger — ambitious, self-obsessed, and determined to be crowned Real Estate Agent of the Year. With her loyal, and slightly clueless assistant Brad, and tech-savvy Joan by her side, Michelle sets out to dominate the market. But between a rival agent, a problematic property, and the smooth voice of radio announcer Jock Lovegrove, her mission quickly spirals out of control. The play also flips traditional gender dynamics, placing a powerful, unapologetic female character at the centre of a genre typically dominated by men. In doing so, *The Agent* playfully interrogates representation, power, and perspective, without ever losing its sense of fun. ***The Agent* runs 20 – 30 May at Warehouse 25 as part of the 2026 Brisbane Anywhere Festival. 25 Finchley Street Milton Qld 4064.** The venue’s restaurant and bar will be open, with food and drinks available for purchase. Doors open two hours prior to each performance. Tickets: <https://anywhere.is/event/the-agent/> Socials: <https://www.instagram.com/anywherefestbrisbane/> Socials: [https://www.instagram.com/zebramez\_creative/](https://www.instagram.com/zebramez_creative/) [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Georgia Haupt Zebra Mez Creative would like to thank their venue partner *Warehouse 25*, and sponsors *Eureka Furniture* – 40 years of turning houses into homes and *Acru Wealth* – Live your best life today and build a better tomorrow. Brisbane Anywhere Festival is supported by the Queensland Government through Arts Queensland and Brisbane City Council. ![The Scoop The Agent Anywhere Festival Brisbane](https://thescoop.au/wp-content/uploads/2026/04/Schrodinger-outside-home-471x628.jpg "The Agent Anywhere Festival Brisbane • The Scoop") **Categories:** News --- ### [Announcing Reg Livermore's New Ned Kelly Musical For Melbourne](https://thescoop.au/announcing-reg-livermores-new-ned-kelly-musical-for-melbourne/) **Published:** April 7, 2026 **Author:** Newsroom **Content:** ![The Scoop Reg Livermores Ned Kelly The Musical](https://thescoop.au/wp-content/uploads/2026/04/VO2026-Reg-Livermores-Ned-Kelly-The-Musical-©-Jeff-Busby-3-942x628.jpg "Reg Livermores Ned Kelly The Musical • The Scoop")Victorian Opera is delighted to announce a Melbourne season of its acclaimed new production of **Reg Livermore’s *Ned Kelly: The Musical***, playing **24–25 July** at **Union Theatre, The University of Melbourne**. The Melbourne season follows an acclaimed two-performance run exclusively presented at Her Majesty’s Theatre Ballarat in late March, marking the musical’s long-awaited return to the stage nearly fifty years after its original premiere. The production is directed by Victorian Opera’s Artistic Director Stuart Maunder AM (*Follies, The Pirates of Penzance, La Rondine*), with Simon Holt (*Cats, Sweeney Todd, Sunset Boulevard*) returning to conduct. Holt also contributed additional music and created new orchestrations for this revised version of the score. The legend himself, Reg Livermore AO (*Wicked, My Fair Lady, The Producers*), stars in a cameo role as Mr Tarleton, the Bank Manager. Full casting to be announced. ![The Scoop Reg Livermores Ned Kelly The Musical](https://thescoop.au/wp-content/uploads/2026/04/VO2026-Reg-Livermores-Ned-Kelly-The-Musical-©-Jeff-Busby-17-942x628.jpg "Reg Livermores Ned Kelly The Musical Victorian Opera Ballarat • The Scoop")Ned Kelly The Musical is coming to Melbourne this July Photo by Jeff BusbyThe creative team includes emerging designer **Harry Gill**, recipient of the 2026 Truscott Prize, who will design both set and costumes. **Nicole Melloy** (*The Who’s Tommy*) joins as choreographer. **Gavan Swift** (*Follies*) as lighting designer and **Samuel Moxham** (*The Pirates of Penzance*) as sound designer. Ned Kelly’s name is etched into Australian folklore. The infamous bushranger, his gang, and the iconic suit of armour continue to spark national debate: was he a champion of the underdog or a cold-blooded criminal? Experience the triumphant return of **Reg Livermore’s *Ned Kelly: The Musical***. **Reg Livermore’s *Ned Kelly: The Musical*** **runs** **24 – 25 July at** **Union Theatre, The University of Melbourne**. **Arts and Cultural Building**, **15 Monash Road Parkville Vic 3010.** Tickets: <https://my.victorianopera.com.au/overview/1495> Website: <https://www.victorianopera.com.au/production/reg-livermores-ned-kelly-the-musical-melbourne/> Socials: <https://www.instagram.com/victorianopera/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Jeff Busby **Categories:** News --- ### [Film Review: All That's Left Of You Has No Easy Answers, Only Human Cost](https://thescoop.au/film-review-all-thats-left-of-you-has-no-easy-answers-only-human-cost/) **Published:** April 6, 2026 **Author:** Alex Thompson **Content:** ★★★★☆ ![The Scoop All That's Left of You](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-06-at-100628-pm-1040x628.png "All That's Left of You • The Scoop")There’s a quiet confidence to *All That’s Left of You* that immediately sets it apart from most films tackling the Israeli–Palestinian conflict. Written, directed, and co-starring Cherien Dabis, the film resists the urge to lecture. It trusts the audience to sit inside the lived experience of a Palestinian family and draw their own conclusions. The result is a carefully balanced and very human portrait of generational trauma, survival, and identity. *All That’s Left of You* follows three generations of men shaped by displacement but is equally anchored by the women who carry memory, grief, and continuity. The story unfolds across multiple timelines: 1948, 1978, 1988, and 2022, moving fluidly between eras without ever feeling disjointed. That temporal structure is one of the film’s greatest strengths. It allows the audience to feel how history is not past, but present, embedded in the body, behaviour, and relationships of each generation. The first generation introduces us to Salim (Saleh Bakri), a man rooted in land, family, and tradition. His life in Jaffa, depicted with warmth through the orange orchard and family life, is shattered by forced displacement. The loss is just as much existential as it is physical. This opening act is heartbreaking in its simplicity: a family removed from their home at gunpoint, their future abruptly rewritten. It sets the emotional tone for everything that follows. The second generation, centred around Sharif (Adam Bakri, with an older version played by Mohammad Bakri), captures life in the refugee camps of the West Bank. Here, the film subtly shifts from immediate trauma to prolonged endurance. Sharif’s experience is defined by humiliation, particularly in moments involving Israeli soldiers, and the quiet erosion of dignity that comes with occupation. One of the most affecting elements of this section is how the film observes the father-son dynamic; how shame and powerlessness are silently transmitted. The son witnesses his father’s suffering, and that psychological inheritance becomes just as significant as any physical displacement. The third generation brings us to Noor (Muhammad Abed Elrahman), a boy whose life is cut short in a moment that is both sudden and tragically inevitable. His story is perhaps the most devastating because of its randomness. He joins a protest he barely understands, only to be shot. This moment captures something essential about the conflict: how ordinary life is constantly interrupted by forces beyond individual control. The aftermath, which sees his mother Hanan (Cherien Dabis) navigating grief and the decision around organ donation, is handled with remarkable restraint and complexity. ![The Scoop All That's Left of You ](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-06-at-100721-pm-1145x628.png "All That's Left of You • The Scoop")You genuinely feel like a fly on the wall observing rather than being told how to feelThe moral dilemma surrounding Noor’s organs is one of the film’s most thought-provoking threads. The family’s fear – that his organs might go to someone who could later harm Palestinians – perfectly encapsulates the cyclical nature of mistrust and trauma. The intervention of the Imam, guiding them toward saving lives, introduces a rare moment of clarity and humanity. It’s framed as a choice toward compassion in a context that rarely rewards it. One of the most powerful scenes, and arguably the film’s thesis, comes at the end, when Hanan meets the Israeli man who received her son’s heart. It’s a quietly devastating exchange. She wants him to *feel* the weight of generations of Palestinian suffering, while he implicitly carries his own inherited trauma. Neither can fully access the other’s pain. That emotional stalemate becomes a microcosm of the broader conflict: two sides shaped by grief, each waiting for recognition from the other before healing can begin. What makes this scene exceptional is its restraint. There is no dramatic resolution. No forced reconciliation. Just an uncomfortable, deeply human impasse. It’s here that the film’s writing truly shines. Visually, the film is stunning. Cinematographer Christopher Aoun crafts images that are intimate and expansive. Each time period is distinct without becoming stylised to the point of distraction. The compositions are precise, often framing characters within doorways, windows, or landscapes that emphasise both belonging and confinement. The sense of place is constant. You feel the land as something tangible. Something lost. Something remembered. The production design, costumes, hair, and makeup deserve particular recognition. Each era is meticulously realised, and grounds the film in authenticity. There’s a lived-in quality that makes you believe you are witnessing real lives rather than constructed drama. Performance-wise, the film operates as a true ensemble. What’s particularly impressive is how naturalistic the acting feels. It never tips into melodrama, even in the most emotionally charged moments. You genuinely feel like a fly on the wall, observing rather than being told how to feel. ![The Scoop All That's Left of You ](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-06-at-100538-pm-1084x628.png "All That's Left of You • The Scoop")Visually the film is stunning with each time period distinct without being stylised Saleh Bakri brings a quiet gravitas to Salim. Adam Bakri captures the internal conflict of a man caught between resilience and resignation. Mohammad Bakri’s portrayal of the older Sharif adds a layer of reflection and accumulated pain that ties the generational arc together. Maria Zreik as Munira provides emotional grounding, while Dabis herself delivers a restrained, deeply felt performance as Hanan. Importantly, the film achieves something rare: it presents a distinctly Palestinian perspective without reducing itself to political messaging. As Dabis has stated, the film is deeply personal and profoundly intimate rather than overtly political. That intention is clear in the final product. Politics exist because they must; they shape the characters’ lives, but they are never the point. The point is people. For many viewers, the film will also challenge preconceived notions. The depiction of displacement, particularly in 1948, confronts the idea that the land was empty or uninhabited. Instead, we see established families, communities, and livelihoods disrupted. Whether or not one is familiar with the historical context, the film grounds these events in personal experience rather than abstract history. With a two and a half hour run time, the film never drags. The pacing is deliberate yet fluid, allowing each era to breathe without overstaying its welcome. The transitions between timelines are seamless, reinforcing the idea that these stories are interconnected rather than separate. If there’s anything the film adds, it’s the concept of “post-memory.**”** This idea, that later generations live under the shadow of memories they didn’t directly experience, runs through every frame of the film. It explains the characters’ behaviour and the emotional inheritance passed from grandfather to father to son. The trauma is remembered. It is lived. *All That’s Left of You* doesn’t attempt to solve the conflict, and it knows it can’t. What it does instead is far more valuable: it creates space for empathy. It shows ordinary people trying to build lives, raise families, and find dignity in circumstances that constantly undermine those efforts. By focusing on the human cost rather than the political argument, the film achieves a rare balance. It invites you to step into another perspective, not to agree, but to understand. And in a conflict defined by a lack of mutual recognition, that might be the most powerful contribution cinema can make. ***All That’s Left of You* opens in select cinemas nationally from 9 April 2026. See below for details.** Website: <https://allthatsleftofyou.au/> Socials: <https://www.instagram.com/culturalmedia.au/> and <https://www.instagram.com/palestinianfilmfestival/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: All That’s Left of You Director: Cherien Dabis Cast: Saleh Bakri, Adam Bakri, Mohammad Bakri, Maria Zreik, Cherien Dabis Countries of Origin: Germany, Cyprus, Palestine, Jordan, Greece, Qatar, Saudi Arabia, United States, Egypt Duration: 145 mins Check cinema websites for session times: Sydney – Dendy Newtown Melbourne – Cinema Nova Brisbane – Dendy Coorparoo Gold Coast – HOTA Cinema Perth – Luna Leederville Adelaide – Palace Nova East End Canberra – Dendy Canberra Hobart – State Cinema **Categories:** Film --- ### [Film Review: The Deb Swings Big In Bold New Musical](https://thescoop.au/film-review-the-deb-swings-big-in-bold-new-musical/) **Published:** April 6, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop THE DEB Film Rebel Wilson](https://thescoop.au/wp-content/uploads/2026/04/Sc40_THE_DEB_JohnPlatt_46980286-942x628.jpeg "THE DEB Film Rebel Wilson • The Scoop")There’s a moment in *The Deb* where an intimate scene on a tyre swing under outback stars is interrupted by a high school rugby bloke rushing in, falling to his knees. A girl yells, “let me hold your mullet,” as her boyfriend spews. *The Deb*’s mixture of heart, hit songs, and humour goes together like scones, cream and jam made by a Country Women’s Association. For some, it’s a delicacy; for others, an abomination. Directed by Rebel Wilson, *The Deb* arrives as a bold attempt to create a modern Australian musical classic. It follows in the footsteps of *Muriel’s Wedding* and *The Adventures of Priscilla, Queen of the Desert*. City sequins clash with farmyard flannelette. Main street gazes fix on the out-of-towner. Inner-city latte politics mix with front bar patriotism. Wilson’s connection to this world runs deep. She trained at the Australian Theatre for Young People and, in 2003, moved to New York after winning its international scholarship funded by Nicole Kidman. *The Deb* itself emerged from that same ATYP ecosystem, first staged in 2022, and that theatrical DNA is still very much alive in the film. The story centres on Taylah Simpkins, played like a young Toni Collette by Natalie Abbott. She’s a farm girl. She’s an outsider. And she believes the Debutante Ball is her one chance to become someone new. ![The Scoop THE DEB Film Rebel Wilson](https://thescoop.au/wp-content/uploads/2026/04/Sc9_THE_DEB_JohnPlatt_46931272-copy-942x628.jpg "THE DEB Film Rebel Wilson • The Scoop")City sequins clash with farmyard flannelette in The Deb Photo by John PlattWhen her city cousin Maeve, played by Charlotte MacInnes, arrives in town, the dynamic shifts. Maeve is sharp. Cynical. Effortlessly cool. Their turbulent relationship forms the emotional core of the film. Think *Mean Girls* meets country Australia. MacInnes is the kind of singer who would get a reality show judge to turn their chair around. You can see the trajectory. She could be an Olivia, a Kylie, a Delta, a Natalie. Abbott matches her with sincerity. Their contrasting places in the spotlight drive the film. Stevie Jean as Annabelle, the lead singer of the boot-scooting Pixie Cups, delivers a nuanced performance as she wrestles with the person she is and the one her vicious stage mum wants her to be. With music by Megan Washington and book and lyrics by Hannah Reilly, the songs hit. They’re varied: pop, country strums, rugby team and salon hip hop throwdowns. Some are power ballads; some are comedy skits. Taylah, Maeve, and Annabelle each get moments that feel like genuine showstoppers. These are songs that will stick. There are clear musical theatre touchstones throughout. *Hairspray* in its body positivity message. *Grease* in its leather-jacket energy, especially through Dusty (Costa D’Angelo). Even shades of *Come From Away* in how the film explores small-town identity and community. Different worlds collide. And the film doesn’t dismiss either side. ![The Scoop THE DEB Film Rebel Wilson](https://thescoop.au/wp-content/uploads/2026/04/Sc44_THE_DEB_JohnPlatt_47041259-copy-942x628.jpg "THE DEB Film Rebel Wilson • The Scoop")Rebel Wilson steals scenes as Janette the overbearing stage mum Photo by John PlattRebel Wilson’s humour is everywhere. As Janette, the overbearing stage mum and salon owner, she steals scenes; what else is new? The *Fat Pizza* voice is back. Her interactions with her youngest daughter, Kid Koala, are among the film’s funniest moments. Just try to hold it in when the little koala sneaks a Tim Tam from a gift basket while her mum’s in the other room. The supporting cast is stacked. Shane Jacobson brings grounded humour as the mayor with a heart of gold. Steph Tisdell flashes in moments that feel primed for TikTok virality. Tara Morice reprises her role from the original stage production with tenderness. Even smaller roles are thoughtfully cast. Hal Cumpston delivers a deadpan rap that feels destined to become a cult moment, while Sam Simmons leans into absurdity as the hay bale-riding police officer. But for all its energy, *The Deb* doesn’t always move smoothly. There are tonal challenges. Long stretches of dialogue can suddenly give way to big dance breaks or songs bursting in without warning. At times, the transition from grounded rural realism to heightened musical theatre feels abrupt rather than fluid. You can sense the push and pull between Wilson’s broad comedic vision and the more structured musical storytelling of Washington and Reilly. ![The Scoop THE DEB Film Rebel Wilson](https://thescoop.au/wp-content/uploads/2026/04/Sc11_THE_DEB_JohnPlatt_46940363-copy-942x628.jpg "THE DEB Film Rebel Wilson • The Scoop")The Deb is the kind of film that could be dismissed as chaotic or celebrated as iconic Photo by John PlattWhat’s impressive is how much the film packs in without becoming preachy. It touches on class divides, city versus country, social media, bullying, sexuality, even exploitation. But it never lectures. Instead, it finds humour in the tension. It shows that every perspective has value, and something worth parodying. The real question for *The Deb* might be how it lands culturally. This is not a film that will land in the middle. Some will hate it. Some will adore it. Critics may roll their eyes at its tonal swings and broad humour. Audiences may embrace it wholeheartedly. It’s the kind of film that could be dismissed as chaotic or celebrated as iconic. Judged on its own terms, though, this is something rare. A genuinely Australian musical that feels contemporary, self-aware, and unafraid to be messy. *The Deb* has the potential to become a cultural touchstone. The kind of film people quote. The kind that ends up in the national conversation. The kind that, like *The Castle*, earns its place over time. This one belongs in the pool room. **THE DEB opens nationally on 9 April at participating cinemas.** Website: <https://rialtodistribution.com/film/the-deb/> Socials: <https://www.instagram.com/rialtodistributionau/> and <https://www.instagram.com/thedebfilm/> [Win Tickets to see THE DEB!](https://thescoop.au/win-tickets-to-see-the-deb-in-cinemas-next-month/) Watch the trailer below: **Film details:** Title: The Deb Director: Rebel Wilson Cast: Natalie Abbott, Charlotte MacInnes, Shane Jacobson, Rebel Wilson Country of Origin: Australia Duration: 121 mins Rating: M **Categories:** Film --- ### [Review: The Prom Brings Big Smiles & Pure Joy To Sydney](https://thescoop.au/review-the-prom-brings-big-smiles-pure-joy-to-sydney/) **Published:** March 29, 2026 **Author:** Sarah Skubala **Content:** ★★★★★ ![The Scoop The Prom Theatre at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/03/Abbey-McPherson-Nina-Hurley-Thern-Reynolds-in-THE-PROM-c-Robert-Miniter-copy-944x628.jpg "The Prom Theatre at the Italian Forum Sydney • The Scoop")There’s something big happening at a little theatre in Sydney’s Inner West, and people are starting to take notice. Teatro at the Italian Forum is carving out a space as a bold new creative hub, launching its slate of Australian premiere productions with the exuberant and big-hearted musical, *The Prom*. Behind Teatro are Nathan M. Wright and Andrew Bevis, a pair who are driven by a clear vision: to put artists, audiences and community front and centre. On opening night, the room was buzzing. By show’s end, they were completely won over. *The Prom* is a musical that thrives on that connection: it’s bright, joyful, and wears its heart on its sleeve. And it’s exactly the kind of show Teatro was built to deliver. *The Prom* follows four eccentric Broadway stars whose careers are in desperate need of a revival. When they catch wind of controversy in a small town over a high school prom, they seize the opportunity to champion a cause, and in the process, put themselves back in the spotlight. Arriving with a theatrical flourish and outsized personalities, they insert themselves into a community divided by a simple but powerful request: a student who just wants to bring her girlfriend to prom. What unfolds is heartfelt and hilariously chaotic, as the well-meaning but self-serving performers clash with conservative parents determined to keep the dance “traditional.” ![The Scoop The Prom Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/03/The-Cast-of-The-Prom-c-Robert-Miniter-copy-944x628.jpg "The Prom Teatro at the Italian Forum Sydney • The Scoop")The Prom is bright joyful and wears its heart on its sleeve Photo by Robert Miniter*The Prom* premiered in Atlanta in 2016 before transferring to Broadway, where it quickly gained acclaim. In 2019, it earned seven Tony noms, including Best Musical, Best Book, and Best Original Score. It went on to win the Drama Desk Award for Outstanding Musical. Its reach expanded further with the 2020 Netflix film adaptation directed by Ryan Murphy. The star-studded cast included Meryl Streep, Nicole Kidman, and James Corden. But this production’s cast leaves those names for dead. As Dee Dee Allen, Caroline O’Connor is an absolute theatrical force. Her Act One number, *It’s Not About Me*, brings the house down. This is a role that feels absolutely made for Caroline, and she has the crowd eating out of the palm of her hand the minute she steps on stage. Brendan Monger brings camp comedy gold as Barry Glickman. He performs with such control that you feel entirely at ease watching him. His Barry is warm, loyal, and exactly the kind of friend you’d want in your corner. Rounding out the team of Broadway stars is Thern Reynolds as Trent and Bella McSporran as Angie. In a life imitating art moment, Bella has stepped in for Renae Corser, who is sadly injured. Thern is fabulously funny as the Juilliard graduate turned cater waiter, standing out in his Act Two number, *Love Thy Neighbour*. Bella brings legs-for-days showgirl energy to her solo, *Zazz* and delivers her zingers with sass and confidence. ![The Scoop The Prom Cast Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/03/Sophie-Montague-Caroline-OConnor-Scott-Irwin-in-THE-PROM-c-Robert-Miniter-copy-942x628.jpg "The Prom Cast Teatro at the Italian Forum Sydney • The Scoop")*The Prom* is a musical that deserves to be seen by as many people as possible Photo by Robert MiniterThe story belongs to Sophie Montague as Emma, who had me from their opening number, *Just Breathe*. Sophie has an incredible voice, it’s true. But it’s their emotional honesty that sets them apart. I wish nothing but seriously big things for this bright young talent. And don’t get caught like I did, without tissues, because Sophie’s performance will tear out your heart. Keep your tissues on hand during Paige Fallu’s Act Two performance of *Alyssa Greene* as well; it is just beautiful. And it’s Alyssa and Emma’s duet, *Dance With You,* that is echoing in my head today. As Alyssa’s conservative mother, Erin Bruce delivers a performance with real emotional weight. She brings depth and complexity to a character that could easily feel one-dimensional. The ensemble fills the stage with colour and personality, elevating Nathan M. Wright’s choreography with infectious energy. It is a joy to watch a mix of emerging talent so clearly relishing the chance to perform. That sense of genuine enthusiasm radiates out into the audience. Under the direction of Andrew Bevis, with Nathan as co-director, that clear vision for Teatro is already taking shape both on stage and behind the scenes. Musical director Bev Kennedy leads with confidence, bringing Matthew Sklar’s score to life with full-bodied sound. Cornelia Cassimatis’ costumes and Nick Fry’s set embrace the show’s spirit wholeheartedly, bursting with rainbow glitter and sparkle that perfectly match its unapologetic heart. *The Prom* is a musical that deserves to be seen by as many people as possible. You’ll laugh, you’ll likely cry, and you’ll leave reminded of something simple but powerful: theatre still has the ability to shift perspectives, open hearts, and bring people together. It’s a mission Teatro set out with, and one that already feels firmly within reach. ***The Prom* is presented by Teatro in association with On Your Feet Australia and runs to 26 April at Teatro at the Italian Forum. 23 Norton Street Leichhardt NSW 2040.** Tickets are [on sale](https://teatroitalianforum.com.au/date/the-prom/) now! Website: <http://www.teatroitalianforum.com.au/> Socials: <https://www.instagram.com/teatroitalianforum/> [Read our Interview with Paige Fallu](https://thescoop.au/paige-fallu-finds-heart-pride-joy-in-the-prom/) Photo credits: Robert Miniter **Categories:** Musical Theatre, Sydney --- ### [Review: The Jungle Book Is A Fabulously Fun Musical Journey](https://thescoop.au/review-the-jungle-book-is-a-fabulously-fun-musical-journey/) **Published:** April 5, 2026 **Author:** Wendy Samantha **Content:** ![The Scoop The Jungle Book Australian Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-04-at-13304-pm-912x628.png "The Jungle Book Australian Shakespeare Company • The Scoop")Swinging into Melbourne these April holidays, your favourite jungle friends are taking over The Capitol in the CBD in *The Jungle Book: The Next Chapter*, a fresh adventure inspired by Rudyard Kipling’s classic tales. Mowgli is back to visit his besties Baloo the loveable sloth bear, Bagheera the protective black panther, Kaa the hypnotic snake and many more. There’s mischief. Mayhem. And everything fun you could possibly expect for a memorable musical holiday experience! Children will be dancing in the aisles and jumping out of their seats during this production by Australian Shakespeare Company, with every moment a delight. Adults will laugh at the jokes and good humour. The kiddos will sing, cheer, and duck for cover as all sorts of surprises fly into and across the audience. Mowgli, who is everyone’s happy friend, has taken to life in the city. He is now married and has a daughter! But he misses his time in the jungle. So he pops back for a visit, hoping to share all of his good news and catch up with the animal family that raised him. At first, Baloo does not recognise this man creature all dressed in a suit. But they soon remember the dances and jokes they enjoyed with each other and reminisce about all of the good times. ![The Scoop The Jungle Book Australian Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-04-at-13327-pm-1087x628.png "The Jungle Book Australian Shakespeare Company • The Scoop")There are special songs. Cheeky monkeys. All the funky moves. Shared handshakes. Happy memories. And even some rap and tap! The production is full of energy and pure joy. Max Macdonald as Mowgil and Teddy Burgess as Baloo lead the cast, and their partnership is beautifully heart-warming. It transcends a ray of sunshine into the audience that lights up like a Care Bear stare. Their onstage friendship adds to the uplifting spirit that fills the theatre and charms the families as they smile and sway along to the music. Macdonald is full of excitement, eyes twinkling and radiating charm as Mowgli. He dons the loincloth and tattered attire with brilliant confidence, singing and dancing across the stage with a dynamic presence. Burgess is full of cheer and courage, gathering the crowd behind him at every moment with a gentle sweetness that is caring and kind. With an amazing voice, his musicality shines under the emerald-green jungle lights. As Bagheera, Nicholas Dugdale slinks in some fabulous singing solos. As Kaa, Luke London shines as he slithers in with craft and scheme. We clap along, bop to the beats and join in the animalistic adventure that leads even the tiniest of elephants onto the stage. ![The Scoop The Jungle Book Australian Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-04-at-13403-pm-1057x628.png "The Jungle Book Australian Shakespeare Company • The Scoop")The production is full of energy and pure joy Images suppliedAs the playfully sly Jackal, Bronson Pfeiler adds the giggles and smiles as he slimes his way through the audience, trying to eat treats and gaining some high-five incentives. He adds a sprinkle of pepper when he taps onto the platform, swinging his cane and taking on a character with full embodiment and investment. What fun it was when he sat in the audience, chatting to the younger cubs, transfixed on his gleaming face. Excitement plus is exactly what *The Jungle Book: The Next Chapter* is all about. Evidenced by my 5-year-old nephew, who screamed out into the city as he charged down the theatre steps: “I saw a show! It was great!” *The Jungle Book: The Next Chapter* is a fabulously fun, musical journey that cleverly invites you into the jungle for an hour of entertainment and laughter. It is great for young families and friends to experience an immersive theatre production where everyone is your friend. ***The Jungle Book* is presented by the Australian Shakespeare Company and runs to 19 April at The Capitol, Melbourne. 113 Swanston Street Melbourne Vic 3000.** Tickets are available [here](https://tickets.shakespeareaustralia.com.au/sales/performances/family-theatre/the-jungle-book). Website: <https://www.shakespeareaustralia.com.au/shows/the-jungle-book> Socials: <https://www.instagram.com/shakespeareaust/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Images supplied. **Categories:** Melbourne, Theatre --- ### [Dynamic QPAC School Holiday Program Starts Today](https://thescoop.au/dynamic-qpac-school-holiday-program-starts-today/) **Published:** April 4, 2026 **Author:** Newsroom **Content:** ![The Scoop QPAC School Holiday Program](https://thescoop.au/wp-content/uploads/2026/04/4-Catherine-Dominguez-Mym-Kwa-Mathew-Lee-Nicholas-Starte-Photo-Phil-Erbacher-copy-942x628.jpg "QPAC Queensland Performing Arts Centre • The Scoop")Audiences can expect a dynamic mix of characters, including a guinea pig, a green sheep and Buzz Lightyear to star in the **Queensland Performing Arts Centre’s (QPAC)** school holiday program which starts today, 4 April, and runs to 18 April 2026. The novel ***YOU & ME and The Land of Lost Things*** by beloved Australian children’s author, **Andy Griffiths** and illustrator **Bill Hope**, will be adapted for the stage from **4 to 12 April**. The production will fill QPAC’s Playhouse with action, imagination and questionable navigation. **CDP Kids** – the team that brought the Treehouse series to life on stage – has created this hilarious new adventure. Characters *YOU and ME* navigate their way through the *Land of Lost Things*, to locate a guinea pig and a lucky rabbit’s foot. Along the way they encounter sharks, the Lost Foot Emporium, flying socks, treasure-hungry pirates, and an anxious bull. Entertaining, inventive and courageous, the storyline will entice young minds to learn more about the madcap world of the *Land of Lost Things*. The production is best suited for children aged 6 to 12 and their families. Toys will come to life on **11 April** when QPAC and **Queensland Symphony Orchestra (QSO)** present **Disney** and **Pixar**‘s ***Toy Story in Concert***, featuring the *Oscar®* and *Grammy®*-winning composer **Randy Newman**’s musical score, conducted by Nicholas Buc. ![The Scoop QPAC Queensland Performing Arts Centre School Holiday Program](https://thescoop.au/wp-content/uploads/2026/04/DIC_TS_9-1063x628.jpg "QPAC Queensland Performing Arts Centre School Holiday Program • The Scoop")Toy Story in Concert will run as part of the School Holiday Program at QPACCelebrating 31-years since it transfixed families across the world, a complete screening of the film will be accompanied by the full orchestra, featuring the lanky and likeable cowboy *Woody* and fearless space ranger *Buzz Lightyear*. QSO will perform a live rendition of the immersive film score, featuring signature songs such as *You’ve Got a Friend in Me,* *Strange Things* and *I Will Go Sailing No More* to accompany the nostalgic and heart-warming on-screen visuals. Transcending generations, the concert is suited to all ages and offers families the chance to experience groundbreaking animation like never before. From **13 to 18 April**, the elusive *Green Sheep* will return to the Playhouse, following sell-out shows at *Out of the Box* in 2025. ***Where is the Green Sheep?*** is an immersive visual experience adapted by **MonkeyBaa Theatre Company**, from the adored children’s book by author **Mem Fox** and illustrator **Judy Horacek**. A blend of puppetry, narration and animation, audiences meet *Blue Sheep* who loves blue flowers, *Red Sheep* who loves to cartwheel in the fields, *Bath Sheep* who loves bubbles and *Bed Sheep* who loves to bounce. However, *Green Sheep* is nowhere to be found. The audience is invited to join three farmers on their quest to find the mysteriously absent *Green Sheep*. This charming Australian classic is brought to life on stage co-created with children from **Bankstown West Public School**, using real voices to narrate the beloved story and resonate with young audiences. The production is best suited to children aged 1 to 6 years old and their families. ![The Scoop QPAC Queensland Performing Arts Centre School Holiday Program](https://thescoop.au/wp-content/uploads/2026/04/1020-MB25GS-2437-©-Robert-Catto-942x628.jpg "QPAC Queensland Performing Arts Centre School Holiday Program • The Scoop")Where is the Green Sheep Photo by Robert CattoQPAC Chief Executive **Rachel Healy** shared her enthusiasm in welcoming young audiences into the venue for a lively holiday program: *“For many young audience members, our holiday programs can be their very first experience of the magic of live performance. We know from our beloved Out of the Box festival and our year-round creative learning program, that early exposure to the arts invites curiosity, creative imagination and play.* *We have a joyous program lined up for this coming holiday break, including two page-to-stage book adaptions and an ‘in-concert’ version of a family-favourite Disney Pixar film. Importantly, the program is filled with a mix of visual mediums – on-screen films, animation, puppetry and interactive props – which offers our young audiences the experience of a range of performance forms.”* **QPAC’s School Holiday Program runs from 4 – 18 April 2026 at the Queensland Performing Arts Centre in South Brisbane.** **Tickets and info can be explored at the QPAC website or via phoning 136 246.** Tickets and info can be found [here](https://www.qpac.com.au/whats-on?genre=5794). Socials: <https://www.instagram.com/atqpac/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Still from*YOU & ME and The Land of Lost Things*. Photo by Phil Erbacher. Season Information: Andy Griffiths’ YOU and ME and the Land of Lost Things Presented by QPAC **When:** 4 – 12 April 2026 **Where:** Playhouse, QPAC, Queensland Cultural Centre, South Bank, Brisbane *YFG Shopping Centres are the Supporting Partner of YOU & ME and The Land of Lost Things* QSO: Toy Story in Concert Presented by QPAC and Queensland Symphony Orchestra **When:** 11 April 2026 **Where:** Concert Hall, QPAC, Queensland Cultural Centre, South Bank, Brisbane *Presentation licensed by Disney Concerts © All rights reserved* Where is the Green Sheep? Presented by QPAC **When:** 13 – 18 April 2026 **Where:** Playhouse, QPAC, Queensland Cultural Centre, South Bank, Brisbane *C&K Childcare and Kindergarten is the Major Partner of Where is the Green Sheep?* **Categories:** News --- ### [Review: Hannah Gadsby The Evening Muse 2026 Melbourne International Comedy Festival](https://thescoop.au/review-hannah-gadsby-the-evening-muse-2026-melbourne-international-comedy-festival/) **Published:** April 3, 2026 **Author:** Jacqui Moore **Content:** ★★★★½ ![The Scoop Hannah Gadsby Evening Muse Melbourne Comedy Festival](https://thescoop.au/wp-content/uploads/2026/04/5-1294-69954189808f0-879x628.jpeg "Hannah Gadsby Evening Muse Melbourne Comedy Festival • The Scoop")Hannah Gadsby returns to the Melbourne International Comedy Festival with their newest offering, *The Evening Muse*. Described as “a talk show wrapped in a comedy show wrapped in an existential crisis,” Gadsby’s performance is chaotic and self-aware, blending razor-edged wit with disarming vulnerability. Few comics mine discomfort, intellect and absurdity so masterfully. Gadsby has graced the stages of comedy festivals around the world, and 2026 marks their twentieth year in the industry. Gadsby shot to prominence in 2017 with their stand-up show turned Netflix special *Nanette,* which explored the topical themes of homophobia, xenophobia, gender-based violence and assault. *Nanette* quickly established Gadsby as an Emmy-award-winning comedian who could gently and tenderly walk the line between comedy and significant social issues. *The Evening Muse* is certainly no exception. The Merlyn Theatre at Melbourne’s Malthouse Theatre complex is lovingly decked out with an aesthetic similar to *The Tonight Show* – comfy couches, a desk for the host (complete with Emmy), and an old-school applause sign. It looked utterly sumptuous and brimming with nostalgia. Gadsby’s number one aim for the evening is to have fun. (An irony that is not lost on them given the current state of the world.) The first half of the evening takes the form of a stand-up show (what Gadsby refers to as “Bulk Chat”). ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")Hannah Gadsby Evening Muse runs to 19 April as part of the Melbourne International Comedy FestivalGadsby’s observational humour shines through, touching on their fear of doors, their suspicions of social media, and the utter dread they feel when it comes to small talk. Gadsby’s commentary is, of course, scaffolded by their trademark political and social reflections. The second half of the evening morphs into a madcap talk-show-meets-quiz-show, with Gadsby bringing fellow comedians Abby Howells and Emma Holland on stage to share stories and tackle Trivial Pursuit questions penned long before they were born. What follows is delightful pandemonium: utterly unpredictable and wildly whimsical. I’m still not entirely sure what I witnessed, and I wouldn’t have it any other way. By the final curtain, it is clear that *The Evening Muse* is quintessential Gadsby: unpredictable, intellectually nimble, and brimming with heart. They effortlessly blur the line between comedy and contemplation, leaving the audience simultaneously laughing, thinking, and marvelling at the audacity of it all. If you’ve ever wondered what happens when a comic takes the stage armed with wit, vulnerability, and complete disregard for convention, this is it. An unforgettable, haphazard and utterly joyous ride that reminds us why Gadsby remains one of the most singular voices in comedy today. ***Hannah Gadsby: The Evening Muse* runs to 19 April at the Malthouse – Merlyn Theatre as part of the 2026 Melbourne International Comedy Festival. 113 Sturt Street Southbank Vic 3006.** Tickets: <https://www.comedyfestival.com.au/browse-shows/the-evening-muse/> Website: <https://hannahgadsby.com.au/> Socials: [https://www.instagram.com/hannah\_gadsby/](https://www.instagram.com/hannah_gadsby/) and <https://www.instagram.com/melbcomedyfestival/> [Read more of our Comedy Reviews](https://thescoop.au/comedy-reviews/) Images supplied. **Categories:** Comedy, Melbourne --- ### [Announcing Local Cast For Sting's The Last Ship](https://thescoop.au/announcing-local-cast-for-stings-the-last-ship/) **Published:** April 4, 2026 **Author:** Newsroom **Content:** ![The Scoop The Last Ship Sting QPAC](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-04-at-112709-am-997x628.png "The Last Ship Sting QPAC • The Scoop")Last week Queensland Performing Arts Centre (QPAC) announced the local cast that will be joining Sting, Shaggy and the international ensemble starring in ***The Last Ship***, presented for the first time in the southern hemisphere from **9 April 2026** in the brand new Glasshouse Theatre for a strictly limited season. The talented local artists joining the exclusive season of *The Last Ship* include: **Tom Davis, Lachlan Dodd, Grace Driscoll, Morgan Francis, Brydie Faith Hall, Henry Kafoa, Benjin Maza, Erika Naddei, Nykita O’Keeffe, Croft Phillips, Aurélie Roque, James Shaw, Chloe Rose Taylor, Natasha Veselinovic, Geoffrey Winter,** and **Aysa Garcia Wong.** Bringing local and international talent together, the production fosters pathways and connection between these immensely talented artists and a global company of 48 performers, musicians, and choristers. ![The Scoop The Last Ship Sting QPAC](https://thescoop.au/wp-content/uploads/2026/04/IMG_4821-628x628.jpg "The Last Ship Sting QPAC • The Scoop")They join a previously announced international cast that includes: **Declan Bennett, Lauren Samuels, Annette McLaughlin, Marc Akinfolarin, Cassiopeia Berkeley-Agyepong, Matt Beveridge, Joe Caffrey, Mathew Craig, Matthew Gent, Llandyll Gove, Lou Henry, Helen Hill, Lemuel Knights, Grant Neal, Hannah Richardson, Gabriella Stylianou, Emma Thornett** and **Kevin Yates**. Also previously announced, Reggae icon and longtime friend and frequent Sting collaborator Shaggy will appear in the role of the Wallsend Ferryman. Sting takes on the leading role of Jackie White, the shipyard’s foreman, in this very personal show. Inspired by Sting’s childhood in Wallsend in the United Kingdom, and drawing on his own musical roots, *The Last Ship* tells the piercing story of a community facing the disappearance of their shipyard – the heart of their existence. It immerses the audience in a hometown he was desperate to escape, a world where love, loss, and hope intertwine. ![The Scoop The Last Ship Sting QPAC](https://thescoop.au/wp-content/uploads/2026/04/IMG_4822-628x628.jpg "The Last Ship Sting QPAC • The Scoop")The creative team joining Sting, who wrote the music and lyrics, includes: Director **Leo Warner**; Set and Props Designer **Jenny Melville**; Costume Designer **Loren Elstein**; Lighting Designer **Adam Bassett**; Sound Designer **Tom Gibbons**; Animation Director **Matt Taylor**; Choreographer **Rebecca Howell**; Video Designer **Benjamin Pearcy**; Musical Supervisor and Orchestrator **Rob Mathes,** Music Director and Co-Orchestrator **Richard John**; Set and Video Design by **59 Studio**. *The Last Ship* was first developed by Sting in 2011 and initially inspired by his 1991 album *The Soul Cages*. The original Broadway production was nominated for two Tony Awards: Best Original Score and Best Orchestrations. Sting’s beloved songs such as *Island of Souls*, *All This Time*, and *When We Dance* are woven into the performance. The original stage production premiered in Chicago in 2014, followed by a Broadway (Neil Simon Theatre) run the same year. It continued in the UK, Ireland and various European and US cities. This renewed version of the production includes new scenes and music, specially adapted for the 2026 run. Sting’s music – from gritty folk and rousing choruses to intimate ballads – forms the heart of the show. Taking a break from his STING 3.0 world concert touring schedule, Sting has dedicated a few months in 2026 to taking *The Last Ship* production to cities across the globe, including Amsterdam, Paris, and now, Brisbane, performing in every show. ***The Last Ship* forms part of the Glasshouse Theatre QPAC’s opening program and runs from 9 April to 3 May 2026.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/thelastship26> Website: <https://www.qpac.com.au/whats-on/2026/the-last-ship> Socials: <https://www.instagram.com/atqpac/> and <https://www.instagram.com/lastshipmusical/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. *The Last Ship* is supported by Strategic Partner the Queensland Government through Tourism and Events Queensland. It is also supported by Event Partner the Commonwealth Bank of Australia. *The Last Ship* is a Karl Sydow Production. Music and lyrics are by Sting. New book is by Barney Norris and Lorne Campbell. Based on the original book by John Logan and Brian Yorkey. Listen to *The Last Ship* album on [Spotify](https://open.spotify.com/album/5ITQq1FrdjSUxkw0VktNr6?go=1&sp_cid=03a19f101936f7838282fce021e384ba&utm_source=embed_player_p&utm_medium=desktop&nd=1&dlsi=7128826119f04142). Watch the trailer here: **Categories:** News --- ### [Review: Melanie Bracewell Dilly Dallying 2026 Melbourne International Comedy Festival](https://thescoop.au/review-melanie-bracewell-dilly-dallying-2026-melbourne-international-comedy-festival/) **Published:** April 3, 2026 **Author:** Jessica Flynn **Content:** ★★★★☆ ![The Scoop Melanie Bracewell Dilly Dallying Melbourne Comedy Festival](https://thescoop.au/wp-content/uploads/2026/04/690bf75cc292b.png "Melanie Bracewell Dilly Dallying Melbourne Comedy Festival • The Scoop")Effortlessly funny and quietly masterful, award-winning comedian, presenter, and writer Melanie Bracewell’s latest offering at the Melbourne International Comedy Festival is a reminder of just how satisfying great storytelling comedy can be. Melanie sparkles and shines with the kind of radiance only a comedian who knows exactly who they are and what they stand for could. Melanie’s signature style is storytelling. From the moment she steps on stage, there’s an ease about her. It feels a little like you’ve just met a friend for coffee and she’s about to tell you a series of deliciously salacious and giggly stories. The beauty of *Dilly Dallying* lies in how natural it all feels. Nothing is rushed, nothing is forced. It meanders in the best possible way, lulling you into a relaxed, happy rhythm before cleverly pulling threads together in a way that feels surprising yet inevitable. This is where Melanie really shines. The show is packed with small, seemingly throwaway anecdotes that slowly reveal themselves to be part of a much larger tapestry. By the time she neatly ties everything together, there’s an undeniable sense of satisfaction in the room. Compared to previous years, this show feels undeniably personal as we delve into Melanie’s past relationships and her recent engagement (congratulations!). Regardless, you are bound to find something to relate to. Whether that is having a quietly passive fight with your neighbours or flicking through TikTok with your nose. Stand-up comedy can be a bit daunting, often being the only one on the stage with no set to hide behind. I love that Melanie doesn’t shy away at all, dressed in a gorgeous sparkly number paired with (definitely buckled, NOT laced) silver shoes. She quite literally dazzles under the lights, perfectly complementing the disco ball hanging over the crowd. ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")Melanie Bracewell Dilly Dallying runs to 19 April as part of the Melbourne International Comedy FestivalThe venue, Max Watt’s, was completely packed and for good reason. Melanie has built a loyal following, and it shows. The crowd was with her from the outset, happily along for the ride as she dips in and out of stories, observations, and perfectly timed punchlines. A special mention has to go to Melanie’s use of props, which are incorporated with a sense of joy that never tips into gimmickry. I won’t give it away, but I was absolutely delighted with the reveal. Each addition feels purposeful instead of distracting. As a little forewarning to any introverts out there, Melanie does some light crowd work, but I promise it isn’t daunting, so don’t be afraid to come to the front row! Above all, *Dilly Dallying* is really funny. Melanie’s wit is sharp, her timing impeccable, and her delivery disarmingly relaxed. There’s no need for big theatrics or forced energy; she trusts the material, and rightly so. To me, Melanie is a phenomenal writer who also happens to be gifted with comedy genius. This is what makes her shows such a consistent joy to watch. If you’re after a comedy show that leaves you feeling lighter and entertained, come and dilly dally with Melanie Bracewell! ***Melanie Bracewell: Dilly Dallying* runs to 19 April at Max Watt’s and the Melbourne Town Hall as part of the 2026 Melbourne International Comedy Festival. Swanston Street Melbourne Vic 3000.** Tickets: <https://www.comedyfestival.com.au/browse-shows/dilly-dallying/> Website: <https://www.melaniebracewell.com/> Socials: <https://www.instagram.com/melbcomedyfestival/> and <https://www.instagram.com/melaniebracewell/> [Read more of our Comedy Reviews](https://thescoop.au/comedy-reviews/) Images supplied. **Categories:** Comedy, Melbourne --- ### [Theatrical Symphony To Showcase Musical Theatre In Special Event](https://thescoop.au/theatrical-symphony-to-showcase-musical-theatre-in-special-event/) **Published:** April 3, 2026 **Author:** Newsroom **Content:** ![The Scoop Theatrical Symphony Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Theatrical-Symphony-1-scaled-e1775200616335-1079x628.jpg "Theatrical Symphony Melbourne • The Scoop")Melbourne’s leading independent theatre group, **Theatrical Inc**, is set to present ***Theatrical Symphony***, a special three-night event at the National Theatre in St Kilda this **April**. This extraordinary celebration will feature an exceptional cast of the group’s strongest up-and-coming musical theatre stars, who will perform timeless hits from blockbuster musicals such as *Les Misérables*, *Matilda, Annie, Hamilton, Dear Evan Hansen, RENT* and *Wicked*, accompanied by a live 36-piece orchestra. The company is thrilled to welcome Australian stalwart of the stage and screen, **Alan Fletcher**, best known as Dr Karl from Neighbours, who will act as emcee for the evening. **Alan Fletcher** said: *“I’m very excited and flattered to be involved with the inaugural production of Theatrical Symphony. Theatre and music are the ultimate expressions of human nature and bring joy and inspiration to audiences and participants alike. Theatrical Inc is to be applauded for giving people the opportunity to explore their creativity.”* Led by seasoned Musical Director, Conductor and Composer **Kent Ross**, this cast of extraordinary young voices will join forces with an electrifying live orchestra to elevate these beloved Broadway hits and create an intoxicating atmosphere that promises to leave audiences spellbound. ![The Scoop Theatrical Symphony Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Kent-and-Orchestra-942x628.jpg "Theatrical Symphony Melbourne • The Scoop")A 36 piece live orchestra will accompany an exceptional cast of up and coming musical theatre stars Image suppliedThe cast of *Theatrical Symphony* features several stars from recent *Theatrical Inc* hit shows. These include 14-year-old **Amelia Durham** and 11-year-old **Ayda Melody Hendricks**, who shared the role of Summer Hathaway in the 2025 production of *[School of Rock](https://thescoop.au/review-school-of-rock-turns-up-the-volume-totally-shreds/)*. Also appearing are **Emily McDougall**, the standout leading lady who played Elle Woods in Theatrical’s 2025 production of *[Legally Blonde](https://thescoop.au/review-legally-blonde-is-guilty-of-being-fabulous/)*, and **Jackson Cross**, who starred opposite Emily as Emmett. Rounding out the highlights is **John Yanko**, known for his leading role in *School of Rock* and for featuring on ABC TV’s *The Piano*. Conductor **Kent Ross** said: *“I’m thrilled to be part of Theatrical Symphony, bringing together some of Melbourne’s most exciting emerging musical theatre talent on one stage. Performing at The National Theatre alongside a full symphonic orchestra, the concert spans musical theatre’s greatest hits, from timeless classics to modern favourites.* *I’ve created musical arrangements that honour the original works while fully embracing the scale and colour of a symphonic orchestra. It’s a celebration of the artistry behind these songs, and a chance to experience them in a fresh, exciting way.”* ![The Scoop Theatrical Symphony Melbourne](https://thescoop.au/wp-content/uploads/2026/04/Theatrical-Symphony-3-957x628.jpg "Theatrical Symphony Melbourne • The Scoop")Theatrical Symphony blends the thrill of live voices wth the grandeur of a full orchestra Image suppliedExecutive Producer, **Andrew Gyopar** said: *“Theatrical Symphony is such a special opportunity to showcase some of Melbourne’s most exciting emerging musical theatre talent. Bringing these performers together with a full symphony orchestra creates a moment where the next generation of artists can truly shine.* *Hearing these iconic musical theatre songs performed by a full symphony orchestra is something truly extraordinary. It is a chance to experience some of the greatest show tunes ever written in a way audiences may never have heard before.”* Kent Ross is a highly experienced conductor, boasting over 20 years in the field. Celebrated for his stellar musicianship and vibrant energy, Kent has garnered widespread attention. His extensive career includes musically directing and conducting more than twenty-five musical theatre productions. These include *Les Miserables*, *Titanic*, *Catch Me If You Can*, and *Legally Blonde*. From familiar favourites who have previously lit up the *Theatrical Inc* stage, to newcomers making their first appearance, this ensemble is set to deliver a must-see production brimming with wit, charm, and dazzling performances. *Theatrical Symphony* is a joyful celebration of the music that makes theatre unforgettable, blending the thrill of live voices with the grandeur of a full orchestra. It promises an uplifting night of sound, energy, and emotion. ***Theatrical Symphony* runs for 3 nights only from 10 – 12 April at The National Theatre in St Kilda. 20 Carlisle St, St Kilda Vic 3182.** Tickets: <https://booktickets.com.au/theatrical-symphony/> Website: <https://theatrical.com.au/> Socials: [Socials: https://www.instagram.com/theatricalinc/](socials:%20https://www.instagram.com/theatricalinc/) [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: One Man, Two Guvnors 2026 Melbourne International Comedy Festival](https://thescoop.au/review-one-man-two-guvnors-2026-melbourne-international-comedy-festival/) **Published:** April 3, 2026 **Author:** Jack Bengough **Content:** ★★★★★ ![The Scoop One Man Two Guvnors J&L Presents](https://thescoop.au/wp-content/uploads/2026/04/1M2GP_1193-942x628.jpg "One Man Two Guvnors J&L Presents • The Scoop")With Melbourne International Comedy Festival now in full swing, venues all across the greater metro are hosting a vast range of productions. Arriving at the Piano on Swan in Richmond, it was surprising to find that there was no backroom theatre space, similar to somewhere like the Motley Bauhaus in Carlton. Instead, the performance space for new company J&L Presents’ *One Man, Two Guvnors* is the bar itself. Not only did the production defy expectations with its choice of space, but this choice was only the first in a series that would produce an incredible night of farcical comedy. As the title suggests, *One Man Two Guvnors* is the story of a man attempting to juggle working for two people at the same time. The original script by Richard Bean was inspired by the classic Commedia dell’Arte play *A Servant to Two Masters* by Carlo Goldoni. In this reimagining of the tale, Francis Henshall (Daragh Wills) finds himself working for the gangster Roscoe Crabbe (Zoe Rose) and in-hiding upper-class criminal Stanley Stubbers (Johno White). Meanwhile, Roscoe attempts to wed Pauline Clench (Emilie Toby), under pressure from her father, the mobster Charlie “The Duck” (Andrew Roberts). But Pauline would rather be wed to Alan Dangle (Dylan Mazurek). ![The Scoop One Man Two Guvnors J&L Presents](https://thescoop.au/wp-content/uploads/2026/04/1M2GP_0871-942x628.jpg "One Man Two Guvnors J&L Presents • The Scoop")For the majority of the show the bar space makes for very immersive viewing Photo by Darcy K ScalesMany more convoluted layers to this plot are better seen than read. But trust that they are less confusing than they are delightful to witness unfold. The most important thing to know when going into *One Man, Two Guvnors* is that it is indeed hilarious. The whole cast is constantly rattling off witty prose from the script and performing elaborate skits that always go at least one notch more ridiculous than you would expect. There is also a fantastic improvisational quality to the whole thing. In particular, from leading performer Daragh Wills, who literally shines the whole way through. Wills has beads of sweat running down their face, not even halfway through the first act. They run about the venue, taking advantage of every comedic opportunity possible. A particularly remarkable moment shone through when the technical operator, Emma Venzke (whose work was otherwise exemplary), fumbled the timing of a particular sound cue. This led to Daragh Wills and Johno White break character for a moment to heckle her before returning to the action of the scene. Moments like these occur so perfectly spontaneously that it wouldn’t be a surprise if they were actually part of the script. ![The Scoop One Man Two Guvnors J&L Presents](https://thescoop.au/wp-content/uploads/2026/04/1M2GP_0267-942x628.jpg "One Man Two Guvnors J&L Presents • The Scoop")There is also a fantastic improvisational quality to the whole thing Photo by Darcy K ScalesDirector and J&L Presents Founder Johno White has a clear intention towards staging their productions in found spaces rather than theatres. It’s no accident that *One Man, Two Guvnors* is being performed in the middle of a bar. In fact, it is a stroke of genius. For the majority of the show, the bar space makes for very immersive viewing as it complements the setting of the play. Actors regularly grab drinks off the bar top and seat themselves around the band in the corner. The remainder of the time, the space is pushed beyond its perceived limits. It pulls stunts off that, from where the audience is sitting, doesn’t even seem possible. Before the show began, one may have had doubts about the space working given the unusual sightlines and cramped walkways. But by the end, those doubts were surely totally dashed. In a Comedy Festival season full of many spectacular offerings, *One Man, Two Guvnors* is a show not to be missed. ***One Man, Two Guvnors* runs to 15 April at Piano on Swan as part of the 2026 Melbourne International Comedy Festival. 215 Swan Street, Richmond Vic 3121.** Tickets: <https://www.comedyfestival.com.au/browse-shows/one-man-two-guvnors/> Website: <https://www.jandlentertainment.com.au/current-show> Socials: <https://www.instagram.com/jandlentertainment.oz/> [Read more of our Comedy Reviews](https://thescoop.au/comedy-reviews/) Photo credits: Darcy K Scales **Categories:** Comedy, Melbourne, Theatre --- ### [Review: Shaun Micallef De'Ath Takes A Holiday Book Launch](https://thescoop.au/review-shaun-micallef-death-takes-a-holiday-book-launch/) **Published:** April 2, 2026 **Author:** Jacqui Moore **Content:** ![The Scoop Shaun Micallef De'Ath Takes A Holiday Book Launch](https://thescoop.au/wp-content/uploads/2026/04/6927d6a257bd8-e1775130297533.jpg "Shaun Micallef De'Ath Takes A Holiday Book Launch • The Scoop")Shaun Micallef returns to Melbourne’s literary scene in 2026 with his latest release, *De’Ath Takes A Holiday*. To mark the occasion, Micallef die-hards gathered at Melbourne’s Wheeler Centre for an event that blended book launch, comedy performance, and a sharp, Parkinson–style interview into one engaging evening, expertly hosted by ABC’s Jacinta Parsons. Satirist, absurdist, and, let’s face it, Australian icon Micallef originally became commercially renowned for sketch comedy show *Full Frontal* in the mid-nineties. Since then, he graced our screens on programs such as *Newstopia*, *Micallef Tonight*, *Shaun Micallef’s Mad As Hell,* and *Shaun Micallef’s Eve Of Destruction*. Micallef is also well known as the comedian who left a career in the law to pursue something he loved…writing. It was clear from the palpable, sell-out energy in the room that Micallef’s career means so much to so many people. As the evening commenced, Micallef proclaimed that, as a sketch comedian, he has never felt the need to enter a show into the Melbourne International Comedy Festival. He’s happy to leave this to the Hughesy’s of the world. The evening wasn’t intended as the typical rib-tickling, laugh-out-loud stand-up show you might expect. It was more of an insightful, intelligent, and humbly humorous exploration into the world of Micallef’s inner wonderings and his new book, *De’Ath Takes A Holiday*. Enter Comte De’Ath. The newest vampire in town! Or perhaps the oldest one, depending on your perspective (let’s not “come to blows” about it). ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")Ostensibly, Micallef describes his book as a narrative that explores the events of Dracula’s life if he took a sabbatical from the mundanity of immortality (journeying to meet Freud, the Queen, and Henry Ford). But, in true Micallef style, if you dig six feet under the surface, there is much more insight to be found. Throughout the interview, effortlessly led by Parsons, Micallef spoke passionately of his need, in the current global climate, to explore the key purposes of life. His choice to do this via the comic vehicle of an immortal vampire lightens the heavy themes of the text. Micallef spoke passionately and philosophically about the importance of “investing in the life after your own life” and the earth-shattering realisation that you aren’t the centre of the universe. It was an authentically inspiring evening. It concluded in true Micallef style – with a reading from the book in the voice of Alec Guinness. The release of *De’Ath Takes A Holiday* proves that Shaun Micallef remains one of Australia’s sharpest and most singular minds. Witty, thoughtful and unmistakably his own, the evening was a reminder that in Micallef’s hands, even immortality can feel deeply human. ***Shaun Micallef: De’Ath Takes A Holiday Book Launch* ran for one night only at the Wheeler Centre on Tuesday 31 March as part of the 2026 Melbourne International Comedy Festival.** The session has now ended. Website: <https://www.comedyfestival.com.au/browse-shows/shaun-micallef-book-launch/> Socials: <https://www.instagram.com/wheelercentre> and <https://www.instagram.com/melbcomedyfestival/> [Read more of our Comedy Reviews](https://thescoop.au/?s=comedy) Images supplied. **Categories:** Comedy, Melbourne --- ### [Review: The Lost Casebook Of Sherlock Holmes by Innes Lloyd](https://thescoop.au/review-the-lost-casebook-of-sherlock-holmes-by-innes-lloyd/) **Published:** April 2, 2026 **Author:** Dr Josey De Rossi **Content:** ★★★★☆ ![The Scoop The Lost Casebook of Sherlock Homes Innes Lloyd Melbourne Comedy Festival](https://thescoop.au/wp-content/uploads/2026/04/1000036613-942x628.jpg "The Lost Casebook of Sherlock Homes Innes Lloyd Melbourne Comedy Festival • The Scoop")As far as we know, Sir Arthur Conan Doyle never envisioned his two famous detective characters, Sherlock Holmes and John Watson, as comedians. Oh no. At no stage did Doyle portray them as capable of slapstick routines, ear-splitting banter or tongue-twisting monologues. Yet Melbourne’s comedy duo Innes Lloyd have unashamedly reinvented the two crime-busting partners into serial stooges of preposterous scenarios. Thanks to them, the Melbourne International Comedy Festival’s 9pm show at Impro Melbourne Theatre is *Holmes Unbound: The Lost Casebook of Sherlock Holmes*. It’s a theatrical marvel that’s highly original and breathtakingly fast-paced. The two star performers, David Innes and Rob Lloyd, pour out witticisms with alacrity. Fluffed lines pardoned and inside jokes with known audience members forgiven, the pair work with gusto to secure the backbone of their staging of mayhem. They are fearless in their buffoonary. ![The Scoop The Lost Casebook of Sherlock Homes Innes Lloyd Melbourne Comedy Festival](https://thescoop.au/wp-content/uploads/2026/04/1000036609-942x628.jpg "The Lost Casebook of Sherlock Homes Innes Lloyd Melbourne Comedy Festival • The Scoop")Its a theatrical marvel thats highly original and breathtakingly fast paced Photo by Matthew ChenTheir collaborators, Chloë Towan and Liliana Braumberger are versatile and flexible. They need to be, given the multitude of roles they switch between enacting the pantheon of other characters in the Homes and Watson universe: Moriarty, Colonel Warburton, Mrs Warburton and a host of other characters. The lighting and sound by Jaklene Vukasinovic keep the presentation tight and measured in the middle of such a fast-moving performance. However, the most impressive feature of the night is the three “never-written” Sherlock Holmes mysteries referenced by Sir Arthur Conan Doyle. *Ricoletti of the Club Foot and His Abominable Wife*, *Colonel Warburton’s Madness*, and *The Giant Rat of Sumatra* share the postmodern mission of separating form from substance. ![The Scoop The Lost Casebook of Sherlock Homes Innes Lloyd Melbourne Comedy Festival](https://thescoop.au/wp-content/uploads/2026/04/1000036610-942x628.jpg "The Lost Casebook of Sherlock Homes Innes Lloyd Melbourne Comedy Festival • The Scoop")They deserve full applause for their comic interpretation of Holmes and Watson Photo by Matthew ChenThe comic antics in the plot keep up the pretence that something meaningful has to be happening. All along, there’s nothing other than a preposterous plot and fanciful whodunnit conventions. Yet…hanging over the hour’s performance, and threaded through the ‘fast facts’ interludes between the sketches, is the sheer iconic importance of Arthur Conan Doyle’s legendary creation. We glimpse for a fleeting moment how his novels and short stories give rise to over a century of creative endeavours – plays, films, television, board and video games. And now we have Innes Lloyd’s contribution to the forensic line-up of memorable enactments. They deserve full applause for their comic interpretation of Holmes and Watson. Like mysteries are timeless things that can appear out of nowhere, laughter has been known to erupt just as irresistibly. ***Holmes Unbound:*** ***The Lost Casebook of Sherlock Holmes* is presented by Innes Lloyd and runs to 5 April at the 2026 Melbourne International Comedy Festival. Impro Melbourne Theatre, 21 – 23 Stanley Street West Melbourne Vic 3003.** Grab your tickets [here](https://www.comedyfestival.com.au/browse-shows/holmes-unbound-the-lost-casebook-of-sherlock-holmes). Website: <https://www.inneslloyd.com.au/> Socials: <https://www.instagram.com/inneslloyd/> [Read our Interview with Innes Lloyd!](https://thescoop.au/elementary-my-dear-melbourne-innes-lloyd-unleash-holmes-lost-casebook/) Photo credits: Matthew Chen **Categories:** Comedy, Melbourne, Theatre --- ### [Review: MJ Cranks It To Eleven In A Roof Raising Brisbane Triumph](https://thescoop.au/review-mj-cranks-it-to-eleven-in-a-roof-raising-brisbane-triumph/) **Published:** April 2, 2026 **Author:** Sarah Skubala **Content:** ★★★★★ ![The Scoop MJ The Musical Melbourne Ilario Grant](https://thescoop.au/wp-content/uploads/2025/09/MJ-The-Musical-Illario-Grant_credit_Daniel-Boud_800_HEBE-copy-941x628.jpg "MJ The Musical Melbourne Ilario Grant • The Scoop")It is Brisbane’s turn to experience the explosive power of *MJ the Musical*, celebrating the music of one of the greatest artists of all time, the King of Pop, Michael Jackson. Last night’s Brisbane opening night crowd was electric, and The Scoop had the privilege of experiencing it all from a front-row seat. I don’t recall ever being in an audience this hyped. And that is the power MJ still holds. His music continues to unite and resonate across generations and cultures. When Ilario Grant first stepped onto the stage, wearing the hat that hides his eyes over that unmistakable low ponytail, my stomach flipped. For a split second, I had a sense of what it would have been like to be in Michael Jackson’s presence. *MJ the Musical* offers a fly-on-the-wall experience, using a documentary film crew as the framing device. The show opens in an LA rehearsal room in 1992, just before the *Dangerous* tour. Penny McNamee plays journalist Rachel. A lingering presence, she is accompanied by her cameraman Alejandro (Yashith Fernando). They are positioned at the edge of the stage, observing rehearsals, circling in for that juicy angle. This narrative device allows fluid shifts through time, charting key moments in MJ’s artistic evolution while gliding into sequences of fantasy. More importantly, it gives the production real substance. As director/choreographer Christopher Wheeldon notes, the work explores how we as a culture “exult and infringe” on those with extraordinary talent. In doing so, *MJ the Musical* is both a celebration and a reflection. It honours Jackson’s artistry while inviting the audience to sit with the tension between admiration and intrusion. While the production celebrates his talent, it does not shy away from hinting at the pressures and scrutiny that shadowed his extraordinary life. ![The Scoop MJ The Musical Melbourne Ilario Grant](https://thescoop.au/wp-content/uploads/2025/09/MJ-The-Musical_Illario-Grant_credit_Daniel-Boud_678_HEBE-copy-941x628.jpg "MJ The Musical Melbourne Ilario Grant • The Scoop")Watching Ilario Grant gave a sense of what it would have been like to be in Michael Jacksons presence Photo by Daniel BoudAs MJ, Ilario Grant captures the contradictions that defined the star. There is a striking contrast between his stillness and the explosive energy of his movement, between a gentle demeanour and a fierce drive for perfection. It’s in these shifts that the performance feels most authentic. That authenticity lands with surprising tenderness in numbers like *Human Nature*, performed alongside Penny McNamee, who delivers a quietly restrained but entirely memorable performance as Rachel. Liam Damons, beaming on his hometown stage, reflects the same contradiction as young adult Michael. He shines in emotive numbers like *I Can’t Help It* before pivoting to some of the night’s most powerful moments, including the high-energy *Wanna Be Startin’ Somethin’*. The supporting cast is terrific throughout. Oyoyo Joi and Blaiyze Barksdale deliver a touching rendition of *I’ll Be There*, capturing the bond between Little Michael and his mother, Katherine, with warmth and sincerity. J. Daughtry morphs seamlessly between the stern patriarch Joseph and present-day tour manager Rob. He executes a physically precise and demanding performance with remarkable control. The dancers are a powerhouse, sustaining non-stop energy across the full three-hour show. They elevate Wheeldon’s choreography with style and sheer athleticism while also moving set pieces on and off the stage as if part of the performance itself. ![The Scoop MJ The Musical Ilario Grant Brisbane](https://thescoop.au/wp-content/uploads/2026/04/MJ-The-Musical_credit_Daniel-Boud_853-copy-941x628.jpg "MJ The Musical Ilario Grant Brisbane • The Scoop")The dancers are a powerhouse sustaining non stop energy across the full three hour show Photo by Daniel BoudThey oscillate between the disciplined intensity of studio rehearsals and the full-blown spectacle of fantasy, most memorably in the ghoulishly electrifying *Thriller* sequence. Derek McLane’s scenic design draws from the *Dangerous* album cover here, and while the iconic *Thriller* music video choreography is reserved as a once a year encore performance on [Halloween](https://www.instagram.com/p/DQeOUmNk4RL/), the scene still delivers a nightmarish vision of Jackson’s memories and self-doubt. The production pushes beyond traditional musical theatre into stadium concert territory. Gareth Owen’s sound design team, alongside musical supervisor David Holcenberg, brings every musical moment to life. Advanced live sound reinforcement gives the music a depth and immediacy rarely heard on stage, particularly in the explosive Act Two showstopper *Smooth Criminal*. A small section of the live band appears at key moments via a sliding platform, adding even more energy to the spectacle. Some of Jackson’s biggest hits appear in snippets or medleys, serving the narrative rather than playing out in full. Fans hoping for back-to-back full-length performances of every favourite may feel that is a limitation, but it keeps the story central. And there are still plenty of iconic moments. The sequined glove, the red jacket. The moonwalk. Even the toaster pop move becomes part of the story arc. *MJ the Musical* ultimately walks a careful line between concert spectacle and character study. While it may not deliver every hit in full, it captures something more elusive: the essence of what made Michael Jackson extraordinary. It reminds us not just of the scale of his talent but of the humanity behind it. For those who never saw him live, it offers something rare: the closest we may ever come to experiencing the King of Pop in the flesh. ***MJ the Musical* is presented by Michael Cassel Group and runs in Brisbane to 24 May at the Lyric Theatre, QPAC.** It then runs in Perth from 7 June 2026. Tickets: <https://qpac.com.au/whats-on/2026/mj-the-musical> Website: <https://mjthemusical.com.au/> Socials: <https://www.instagram.com/mjthemusicalau/> [Read our Review of the Melbourne Season!](https://thescoop.au/review-mj-the-musical-brings-pure-pop-adrenaline-to-melbourne/) Photo credits: Daniel Boud **Categories:** Brisbane, Musical Theatre --- ### [Review: Jordan Barr Choir Girl 2026 Melbourne International Comedy Festival](https://thescoop.au/review-jordan-barr-choir-girl-2026-melbourne-international-comedy-festival/) **Published:** April 2, 2026 **Author:** Jessica Flynn **Content:** ★★★★☆ ![The Scoop Jordan Barr Choir Girl Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/5-1298-699542cab2a7a-879x628.jpeg "Jordan Barr Choir Girl Melbourne International Comedy Festival • The Scoop")There’s something immediately disarming about Triple J Weekend Breakfast host Jordan Barr’s *Choir Girl*. The show feels like you’ve just sat down for a slightly unhinged catch-up with a friend, rather than a formal performance. Jordan is charming, sharp, and just outrageous enough to keep you both captivated and mildly concerned. Having seen Jordan’s show at the Melbourne Comedy Festival annually since 2023, it has been an absolute pleasure to watch her grow in confidence and chaos. This year’s show has officially cemented her as one of my favourite comedians. What makes *Choir Girl* so compelling is how deeply relatable it is, even when she veers into the niche and specific. Jordan leans into the particularities of her own experience and somehow lands somewhere universal. In some way, shape, or form, all of us can resonate with being a young girl feeling like God’s favourite, walking into church choir practice. Jordan’s comedic voice is steeped in self-deprecation without feeling tired or performative. She’ll undercut herself in one breath. And then, in the next, deliver a line that reveals a deeper, sharper truth. There’s a running thread about not being bullied, which quickly unravels into a show that is entirely about being bullied. This very meta thread gives the show its bite and cleverness – very true to Jordan’s style. That same self-awareness carries through into her structure. Jordan has an exceptional instinct for timing – not just for punchlines, but for people too. She seems to know precisely when the audience is ready to move on, never overstaying a bit, never wringing a joke dry. ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")Jordan Barr Choir Girl runs to 19 April as part of the Melbourne International Comedy FestivalThe result is a show that feels like a seamless journey, one that flows effortlessly from anecdote to confession to absurdity, without ever losing momentum. Visually, the use of prop photos adds another unexpected dimension. Jordan has used PowerPoint slides in the past, so it is fun to see this gag evolve. The tangible element these props bring to the show makes it feel interactive without needing to lean on crowd work. I also found it hilarious that one of these images (an awkward photo of a young Jordan) lay disconcertingly face-up for the remainder of the set, staring out at the audience. Whether intentional or not, it certainly brought a funny edge to the rest of the set. Jordan has a knack for pulling out a deep-seated, slightly dark confession you didn’t even realise you’d internalised and articulating it with startling clarity. You feel it ripple through the room as laughter turns knowing, as people recognise themselves in what’s being said. It’s that rare kind of comedy that exposes and connects us as the silly little humans we are. Despite her insistence that she doesn’t want anyone to talk to her after the show, Jordan creates a true sense of intimacy. You leave feeling like you know her, or at least like she’s articulated something you’ve been circling for years. It makes you want to reach out, to say “same,” even if you suspect she’d rather you didn’t. *Choir Girl* is witty, laugh-out-loud funny, and quietly affecting. Jordan Barr proves herself once again as the cheeky and outrageously funny girl-next-door comedian that I can’t wait to see again soon! ***Jordan Barr: Choir Girl* runs to 19 April at The Westin – Four, as part of 2026 Melbourne International Comedy Festival. 205 Collins Street Melbourne Vic 3000.** See further tour dates at the website link below. Tickets: <https://www.comedyfestival.com.au/browse-shows/choir-girl/> Website: <https://comedy.com.au/tour/jordan-barr/> Socials: <https://www.instagram.com/melbcomedyfestival/> and [https://www.instagram.com/jbarr\_666/](https://www.instagram.com/jbarr_666/) [Read more of our Comedy Reviews](https://thescoop.au/comedy-reviews/) Images supplied. **Categories:** Comedy, Melbourne --- ### [Review: A Transgender Woman On The Internet, Crying](https://thescoop.au/review-a-transgender-woman-on-the-internet-crying/) **Published:** April 1, 2026 **Author:** Leo Manson **Content:** ★★★★½ ![The Scoop A Transgender Woman on the Internet Crying Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/ATWOTIC_2_PhotoCredit_BrettBoardman-941x628.jpeg "A Transgender Woman on the Internet Crying Old Fitz Theatre • The Scoop")*A Transgender Woman on the Internet, Crying*, a world premiere musical from Green Door Theatre Company, isn’t perfect, but it teaches us that it shouldn’t have to be. Following acclaimed concert presentations at the Adelaide Cabaret Festival and the Hayes Festival of New Work, the show arrives in Sydney at the Old Fitz Theatre in its first full production, offering a messy, searching exploration of identity, performance, and connection. The musical follows Corrin (Blake Appelqvist), a transfemme nonbinary micro-influencer known for their vicious take-downs. So when their friends need someone dealt with, Corrin is who they look to. This leads to a scheme where Corrin sets themselves up on a date with the traitor of the trans community, Avis O’Hara. The plan is to find her weaknesses and get her cancelled. But things go pear-shaped as Corrin falls in love. Written and composed by Cassie Hamilton, who also plays Avis, the show has already made its mark. At the 2025 APRA AMCOS Professional Development awards, *A Transgender Woman on the Internet, Crying* won Hamilton an award in the musical theatre category. ![The Scoop A Transgender Woman on the Internet Crying Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/ATWOTIC_3_PhotoCredit_BrettBoardman-941x628.jpeg "A Transgender Woman on the Internet Crying Old Fitz Theatre • The Scoop")Hamiltons fast paced writing touches on many key discourses within the trans community Photo by Brett BoardmanDirected by Jean Tong, the musical revels in online queer discourse. This is established the second you walk into the theatre. Ruby Jenkins’ set design sees the walls of the stage covered in graffiti with various references to trans internet culture. If the stage wasn’t enough, we meet Sasha, played by Teo Vergara and Mouth Feel, played by Rosie Rai. These supporting cast members represent two very different archetypes within the queer community: a clout-chasing party fan and a transfemme DJ, respectively. The costuming alone does so much for characterisation in this show. Fittingly, every character is very fashionable. Even without the quippy dialogue, you would be able to tell exactly how each character would act. Though every song is inspired by hyper-pop, the songs that lean more towards classic theatre stand out the most. *Falling in Love with Someone* endears Avis to the audience, and Hamilton’s vocals are excellent. The songs that lean further towards hyper-pop are a little hard to follow, but still entertaining. The strongest example of this is the song about bottom surgery. It is hilarious and had the whole audience cracking up. ![The Scoop A Transgender Woman on the Internet Crying Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/04/ATWOTIC_5_PhotoCredit_BrettBoardman-941x628.jpeg "A Transgender Woman on the Internet Crying Old Fitz Theatre • The Scoop")The costuming alone does so much for characterisation in this show Photo by Brett BoardmanOften in theatre, the audience is placed in an ambiguously American setting. Refreshingly, this musical is set in Australia. Though the show makes many references to issues affecting the community as a whole, it also makes references to more specific examples, such as Pauline Hansen and Tim Nicholls. Hamilton has even written songs to suit Australian accents, which you don’t often hear, even in Australian pop music. Em-Jay Dwyer’s sound design supports the digital space in which the musical is set. The varying notification sounds as characters communicate across different platforms is a clever way to immerse audiences in their world. Hamilton’s fast-paced writing touches on many key discourses within the trans community. Yet she is careful not to confuse her main message. At its core, *A Transgender Woman on the Internet, Crying* warns against division. Hamilton reminds us that there’s no right way to be trans. *A Transgender Woman on the Internet, Crying* is no doubt a pivotal piece of Australian theatre. Capturing so many unique elements in a single musical and actually pulling it off is no easy feat. As a trans person and theatre fanatic, I’m already excited to see where Hamilton goes next. ***A Transgender Woman on the Internet, Crying* is presented by Green Door Theatre Company and runs to 11 April at the Old Fitz Theatre. 129 Dowling St, Woolloomooloo NSW 2011.** Tickets: <https://tickets.iwannaticket.com.au/event/a-transgender-woman-on-the-internet-crying-txnbty> Website: <https://www.oldfitztheatre.com.au/a-transgender-woman-on-the-internet-crying> Socials: <https://www.instagram.com/atwotic/> and <https://www.instagram.com/oldfitztheatre/> [Read more of our Theatre Reviews](https://thescoop.au/newsroom/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Announcing Adelaide Cabaret Festival 2026 Program](https://thescoop.au/announcing-adelaide-cabaret-festival-2026-program/) **Published:** April 1, 2026 **Author:** Newsroom **Content:** ![The Scoop Adelaide Cabaret Festival 2026 Program Launch](https://thescoop.au/wp-content/uploads/2026/03/R5_7790-942x628.jpg "Adelaide Cabaret Festival 2026 Program Launch • The Scoop")The world’s largest cabaret festival, Adelaide Cabaret Festival, has unveiled its 2026 program, featuring a star‑studded line‑up of comedy, theatre and music with **tickets on sale from 12pm today, Wednesday 1 April.** Unveiling his debut program as Artistic Director, multi-award-winning Australian comedian, singer, and writer **Reuben Kaye** presents the 2026 Adelaide Cabaret Festival showcasing **79 performances over 12 nights**, featuring local, national and international artists from United Kingdom, USA and Cuba. The festival will officially kick off with the decadent *2026 Variety Gala* on Thursday 4 June at Festival Theatre, hosted by charismatic and daring Artistic Director Reuben Kaye. The extravagant red-carpet event promises an unforgettable night with a surprise line-up of local and international talent. ![The Scoop Adelaide Cabaret Festival 2026 Program Launch](https://thescoop.au/wp-content/uploads/2026/03/Incoming-Adelaide-Cabaret-Festival-Artistic-Director-Reuben-Kaye-Photo-by-Claudio-Raschella-2-942x628.jpg "Adelaide Cabaret Festival 2026 Program Launch • The Scoop")Adelaide Cabaret Festival Artistic Director Reuben Kaye Photo by Claudio RaschellaHeadline acts performing at Festival Theatre include: Australian pop-rock group **Lime Cordiale** will give their ARIA chart-topping tunes a symphonic facelift in a special collaboration with **Adelaide Symphony Orchestra** in their Adelaide premiere show. Experience the talent behind the global phenomenon *Jesus Christ Superstar* in this exclusive, one‑night‑only event, as Australian stars from the Olivier Award‑winning production perform iconic songs and share behind‑the‑scenes stories in *What’s The Buzz*. Featuring **Reuben Kaye**, **Mahalia Barnes**, **John O’Hara**, **Elliot Baker,** **Graeme Isaako**, **Javon King**, **Peter Murphy** and **Michael Paynter**. Adelaide audiences are treated to a one‑night‑only performance from **Casey Donovan** in *This Is Me*, as she brings **Amy Winehouse**’s iconic anthems to life with raw soul and unmistakable power. Celebrated opera and Broadway star **Alfie Boe** makes his Adelaide Cabaret Festival debut alongside soprano **Amy Manford**, performing greatest hits and songs from *Facing Myself*. The festival closes with **Scott Bradlee’s Postmodern Jukebox – The Future is Vintage**, transforming modern hits into a high‑energy, vintage‑style party. ![The Scoop Adelaide Cabaret Festival 2026 Program Launch](https://thescoop.au/wp-content/uploads/2026/03/Lime-Cordiale-Photo-by-Oliver-Begg-3-942x628.jpg "Adelaide Cabaret Festival 2026 Program Launch • The Scoop")Lime Cordiale will perform in a special collaboration with Adelaide Symphony Orchestra Photo by Oliver BeggAdelaide Cabaret Festival 2026 Artistic Director **Reuben Kaye** said: “*This year’s festival is every inch the Reuben Kaye definition of cabaret. It has edge, sex, comedy, fantastic music and hilarious, nail-biting comedy.* *A festival that pushes your sensibilities to the limits. From Aussie icons and international acts of immense fame and scale that you know and love to basement dwelling unknowns from distant shores who will change your life.* *This is a festival of risks, of leaps of faith, huge laughs and bigger heart. There is no other festival that could pull this off. No other festival would give me free rein!”* Audiences can indulge late into the night with *Festival Late Nights*, featuring a different show each week hosted by a rotating line‑up of artists including **Gillian Cosgriff**, **Frankie McNair** & **Isaac Haigh**, **Tina Del Twist** and **Reuben Kaye**. Reuben Kaye will also take to the stage with his award‑winning show *The Kaye Hole* on the penultimate night of the festival. ![The Scoop Adelaide Cabaret Festival 2026 Program Launch](https://thescoop.au/wp-content/uploads/2026/03/Casey-Donovan-Photo-by-Paul-Dear-898x628.jpeg "Adelaide Cabaret Festival 2026 Program Launch • The Scoop")Casey Donovan will bring the iconic anthems of Amy Winehouse to life Photo by Paul DearFestival highlights include: In an Adelaide premiere, **Em Rusciano** presents *Addicted to Love*, an unfiltered take on romance, validation and the myths we’re sold. Australian TV royalty **Jay Laga’aia** shares songs and stories in *Unscripted*, an intimate, nostalgic evening reflecting on his journey from *Play School* to *Water Rats*. National treasure **Vince Jones** returns to Adelaide Cabaret Festival with *A Maverick’s Tale*, celebrating five decades of Australian jazz through a selection of his most beloved classics. Festival favourite Mahalia Barnes performs **Bette Midler**’s award‑winning *The Rose*, delivering a raw, late‑’60s tale of fame, addiction and heartbreak, punctuated by hits from women of the era. Local legends **Libby O’Donovan** OAM and **Michaela Burger** bring *Short*, a high‑energy celebration of mega hits, tall tales and the power of small packages. Adelaide Cabaret Festival Icon Award winner **Paul Capsis** joins **Adam Noviello** in *HOUSE OF ROT: Grey Gardens*, a haunting world‑premiere reimagining of the 1975 documentary exploring legacy, survival and collapse. Australian rock icon **Sarah McLeod** gets up close and personal, sharing songs and wild stories from thirty years on stage. ![The Scoop Adelaide Cabaret Festival 2026 Program Launch](https://thescoop.au/wp-content/uploads/2026/03/Em-Rusciano-Photo-credit-Mrs-White-Photos-4-942x628.jpeg "Adelaide Cabaret Festival 2026 Program Launch • The Scoop")Em Rusciano presents the Adelaide premiere of her show Addicted to Love Phot by Mrs White PhotosThe inspiring [Class of Cabaret](https://cabaret.adelaidefestivalcentre.com.au/about/class-of-cabaret) program, introduced to the festival in 2009 by **David** and **Lisa Campbell**, will celebrate its 17th year. The program shines a light on the cabaret stars of tomorrow and is proudly supported by Department for Education and Adelaide Festival Centre Foundation through the Nathaniel O’Brien Scholarship, which supports one student from regional South Australia to participate in the program. This year’s [Frank Ford Commission](https://cabaret.adelaidefestivalcentre.com.au/about/the-frank-ford-commission) is awarded to South Australian performer **Baylie Carson**, presenting the world premiere of *Baylie Carson Is Handsome(ish)*. Following major success in *SIX the Musical*, *Mean Girls* and *Bring It On*, Carson returns home with a darkly humorous, deeply personal queer journey of self‑discovery. The award by Adelaide Cabaret Festival’s late founding father provides $25,000 a year towards the creation of new works by South Australian artists. Adelaide Festival Centre CEO **Kate Gould** said: “*Join us at the upgraded Adelaide Festival Centre to see cabaret icons and rising stars alike for Adelaide Cabaret Festival. Enjoy the comfort of our refurbished theatres, pre or post show dining at our new Angry Penguin restaurant, and the ease of QR code ordering for quick interval drinks and snacks*.” ![The Scoop](https://thescoop.au/wp-content/uploads/2026/04/Screenshot-2026-04-01-at-94331-am-941x628.png "Screenshot 2026-04-01 at 94331 am • The Scoop")Adam Noviello and Paul Capsis perform in the world premiere of HOUSE OF ROT Grey Gardens Photo by Abraham de SouzaFree Festival experiences include: Cabaret icon **Dr Trevor Jones** will again delight at the Quartet Bar by Corryton Burge with *Piano Man* and his always popular *Show Tunes Trevia*. Much loved and always fabulous *LGBTIQ+ Elders Dance Club* returns to Space Theatre. Festival Theatre Foyer exhibition, *Rags to Riches*, celebrates cabaret’s glamour and grit, featuring iconic costumes from **Rhonda Burchmore**, **Reg Livermore**, and **Kitty Bang Bang**. Pull up a chair for *Festival Talks*, a series of candid, intimate conversations hosted by **Reuben Kaye with special guests**, unpacking the art, history, and style of cabaret. Adelaide Cabaret Festival Executive Producer **Isobel Marmion** said: “*This year’s program is a smorgasbord of perfectly balanced chaos and craft. We’re thrilled to be bringing yet another year of superb performances to Adelaide and look forward to welcoming you all back to Adelaide Cabaret Festival this winter.*” Tickets go on sale today from 12pm Adelaide time at the Adelaide Cabaret Festival website. **The 2026 Adelaide Cabaret Festival runs from 4 – 21 June at Adelaide Festival Centre.** Website: <https://cabaret.adelaidefestivalcentre.com.au/> Socials: <https://www.instagram.com/adelaidecabaret/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Key cast of *Jesus Christ Superstar* who will appear in the one-off concert, *What’s The Buzz*. The full 2026 program is available [here](https://cabaret.adelaidefestivalcentre.com.au/whats-on?startDate=&endDate=&keywords=&view=show&genres%5B%5D=&time=0&free=&accessible=). **Categories:** News --- ### [Win Tickets To The Devil Wears Prada 2 At Dendy Cinemas](https://thescoop.au/win-tickets-to-the-devil-wears-prada-2-at-dendy-cinemas/) **Published:** March 31, 2026 **Author:** Newsroom **Content:** ![The Scoop The Devil Wears Prada 2](https://thescoop.au/wp-content/uploads/2026/03/The-Devil-Wears-Prada-2-Cover-1116x628.jpeg "The Devil Wears Prada 2 • The Scoop")To celebrate the release of **THE DEVIL WEARS PRADA 2** at **Dendy Cinemas** on **30 April**, including the special Everybody Wants This previews night before release, you could WIN an in-season double pass! The Scoop is **giving away two, in-season double e-passes** **to the film**, thanks to Dendy Cinemas! Ticket giveaway offer: One in-season double pass for [Dendy Cinemas Coorparoo](https://coorparoo.dendy.com.au/movie/the-devil-wears-prada-2/) One in-season double pass for [Dendy Cinemas Portside](https://portside.dendy.com.au/movie/the-devil-wears-prada-2/) Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop Coorparoo’ or ‘Scoop Portside’ under the post. ![The Scoop The Devil Wears Prada 2](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-31-at-90407-pm-967x628.png "The Devil Wears Prada 2 • The Scoop")Before the buzz. Before the group chat spoilers. Before everyone suddenly “discovers” it. Andy returns to Runway just in time to see Miranda and Emily go head to head in a sharp and stylish fight for power. The looks are iconic, the ambition is sky-high, and the dialogue is sharper than a sample-sale elbow. Be among the first to step back into the world of high fashion in **THE DEVIL WEARS PRADA 2** at our [Everybody Wants This Preview](https://dendy.com.au/the-devil-wears-prada-2--everybody-wants-this-previews) on Wednesday, 29 April from 6pm. Your ticket to the previews night includes popcorn and a sparkling wine on arrival or elevate your night in Dendy Coorparoo Premium Lounge with a themed cocktail on arrival and a little bite to eat. Arrive early. Sip something sparkling. Settle in. After all…everybody wants this. That’s all. **THE DEVIL WEARS PRADA 2 previews night runs on 29 April at Dendy Cinemas. It opens nationally on Thursday 30 April.** Website: <https://coorparoo.dendy.com.au/movie/the-devil-wears-prada-2/> Socials: <https://www.instagram.com/dendy.au/> [Back to the Newsroom](https://thescoop.au/newsroom/) Watch the trailer here: **Film details:** Title: The Devil Wears Prada 2 Director: David Frankel Cast: Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci Country of Origin: USA Duration: 122 mins **Categories:** competition, News --- ### [Review: Katrina Mathers Anything But The Dyson and Other Excellent Monologues](https://thescoop.au/review-katrina-mathers-anything-but-the-dyson-and-other-excellent-monologues/) **Published:** March 31, 2026 **Author:** Dr Josey De Rossi **Content:** ![The Scoop Katrina Mathers Anything But the Dyson and Other Excellent Monologues Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Anything-But-The-Dyson-Prod-Image-1-960x628.jpg "Katrina Mathers Anything But the Dyson and Other Excellent Monologues Melbourne International Comedy Festival • The Scoop")Katrina Mathers returns to the Melbourne International Comedy Festival after a 23-year hiatus with *Anything But the Dyson and Other Excellent Monologues*. Relaying how her long absence came about may be comical, but there’s raw courage in the way she survived cancer, twice, and then chose to branch out as a standup comedienne while experiencing full-blown menopause! However, there’s nothing maudlin about the content of the show, created by Mathers under the direction of Roz Hammond. Like the harlequin’s motley patchwork costume, the monologue vignettes are pieced together in full colour. We watch the comic actress’s flawless timing in presenting a woman’s transformation from awkward teenager to afflicted menopausal middle-aged woman to old woman still up to her elbows in housework, while her husband makes it to ‘retired.’ ![The Scoop Katrina Mathers Anything But the Dyson and Other Excellent Monologues Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Anything-But-The-Dyson-Prod-Image-4-990x628.jpg "Katrina Mathers Anything But the Dyson and Other Excellent Monologues Melbourne International Comedy Festival • The Scoop")The monologue vignettes are pieced together in full colour Photo by Brent LukeyThe sketch about the Dyson acts as a centrepiece of the many parallels in the monologues that show how women are ‘sold’ a version of themselves which they neither asked for nor have been invited to co-construct with anyone. Often, they are ‘gifted’ household goods by their partners. This is the case for her when she moves in with her husband. The image of watching the dirt fill the clear-plastic container questions the wisdom of what the male-invented world believes is good for her. How has the trendy Dyson benefited her, coming anywhere near releasing her from doing the bulk of domestic work? There are so many heartwarming stories in this show that I suggest to its director and performer that the production has only just started, and that it should have more development. I say this for two reasons. The monologues are well-written and, as a performer, Katrina Mathers has great comic timing. Her versatility in changing from one character to another is wonderful to watch. ![The Scoop Katrina Mathers Anything But the Dyson and Other Excellent Monologues Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Anything-But-The-Dyson-Prod-Image-2-857x628.jpg "Katrina Mathers Anything But the Dyson and Other Excellent Monologues Melbourne International Comedy Festival • The Scoop")There are so many heartwarming stories in this show Photo by Brent LukeyMore ambitiously, the show’s theme of menopausal women has had a tough path in Australian theatre history. I’m reminded how the premature closure of Dorothy Hewett’s 1972 Playhouse production in Perth of *Bon Bons and Roses For Dolly,* with its anti-heroic menopausal Dolly outraged the public. Katrina Mathers’ show *Anything But The Dyson and Other Excellent Monologues* is timely. As the inheritor of wise women before her, she just might have a chance of bringing new audiences to view womanhood in other ways than as a victim of biology. ***Katrina Mathers: Anything But The Dyson and Other Excellent Monologues* runs to 19 April as part of 2026 Melbourne International Comedy Festival. Trainscendence (Black Box Theatre), 5/48 Easey Street, Collingwood Vic 3066.** Tickets: <https://www.comedyfestival.com.au/browse-shows/anything-but-the-dyson-other-excellent-monologues/> Website: <https://katrinamathers.actor/> Socials: <https://www.instagram.com/katminsky/> and <https://www.instagram.com/melbcomedyfestival/> [Read more of our Comedy Reviews](https://thescoop.au/?s=comedy) Photo credits: Brent Lukey **Categories:** Comedy, Melbourne --- ### [Moulin Rouge! The Musical Auditions Have Kicked Off](https://thescoop.au/moulin-rouge-the-musical-auditions-have-kicked-off/) **Published:** March 31, 2026 **Author:** Newsroom **Content:** ![The Scoop Moulin Rouge! Musical Sydney](https://thescoop.au/wp-content/uploads/2026/03/Moulin_Rouge_Auditions_1C8A9383-942x628.jpg "Moulin Rouge! Musical Sydney • The Scoop")Auditions for the global smash hit *Moulin Rouge! The Musical* officially kicked off in Sydney last week, with hundreds of performers competing for a coveted place in next year’s highly anticipated production. With only a limited number of roles available, competition is fierce as performers bring elite technical skill, stamina and star power into the audition room. Associate Director **Jacinta John** said: *“There’s a boldness and fearlessness in Aussie performers. They’re not afraid to take risks, and that willingness to fully commit is exactly what this show demands.”* Associate Choreographer **Danielle Bilios** added: *“This first round is all about energy, musicality and presence. We’re looking for dancers who don’t just execute the choreography, but bring personality and storytelling into every movement.”* International Casting Director **Lisa Campbell** said: *“Australian performers are absolutely on par with international talent – what we’re seeing today here in Sydney is world-class. The standard is incredibly high, which makes these decisions even tougher.”* Following Sydney, auditions will continue in Melbourne as the nationwide search intensifies. ![The Scoop Moulin Rouge! Musical Sydney](https://thescoop.au/wp-content/uploads/2026/03/Moulin_Rouge_Auditions_1C8A9260-942x628.jpg "Moulin Rouge! Musical Sydney • The Scoop")Photo credits Lisa Maree Williams*Moulin Rouge! The Musical* is a spectacular celebration of Truth, Beauty, Freedom, and Love, featuring iconic songs and dazzling choreography. The worldwide blockbuster production will open at the **Sydney Lyric in March 2027**, delivering the same internationally acclaimed spectacle fans know and love. The 2027 Sydney season marks a homecoming sparked by demand, following a sold-out Australian national tour, culminating in February 2024, that welcomed 1.4 million theatregoers across Melbourne, Sydney, Perth and Brisbane. Enter a world of splendour and romance, of eye-popping excess, of glitz, grandeur and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Pop the champagne and prepare for the spectacular spectacular… Welcome to *Moulin Rouge! The Musical*. Baz Luhrmann’s iconic film comes to life onstage, remixed in a new musical mash-up extravaganza. *Moulin Rouge! The Musical* is a theatrical celebration of Truth, Beauty, Freedom, and – above all – Love. *Moulin Rouge! The Musical* is more than a musical; it is a state of mind. Released by 20th Century Studios, Baz Luhrmann’s MOULIN ROUGE! premiered at the 2001 Cannes Film Festival. At the 74th Academy Awards® the film was nominated for eight Oscars®, including Best Picture, and won two. ![The Scoop Moulin Rouge! Musical Sydney](https://thescoop.au/wp-content/uploads/2026/03/Moulin_Rouge_Auditions_DGA15128-942x628.jpg "Moulin Rouge! Musical Sydney • The Scoop")Photo credits Lisa Maree WilliamsAs in the film, *Moulin Rouge! The Musical* celebrates over 160 years of music – from Offenbach to Lady Gaga. The stage musical features many of the iconic songs from the movie and also includes recent hits released since the movie premiered over 25 years ago. *Moulin Rouge! The Musical* is the winner of ten 2021 Tony Awards®including Best Musical, an Olivier Award, two Drama League Awards including Outstanding Production of a Musical, five Drama Desk Awards and ten Outer Critics Circle Award Honor citations including New Broadway Musical. *Moulin Rouge! The Musical* is directed by Tony Award® winner Alex Timberswith a book by Tony Award® winner John Logan, choreography by Tony Award® and Emmy Award winner Sonya Tayeh and music supervision, orchestrations and arrangements by Tony Award® winner Justin Levine. The design team for *Moulin Rouge! The Musical* includes Tony Award® winner Derek McLane (sets), Tony Award® and Olivier Award winner Catherine Zuber (costumes), Tony Award® winner Justin Townsend (lighting), Tony Award® winner Peter Hylenski (sound), Drama Desk Award winner David Brian Brown (wig and hair design), Sarah Cimino (make-up design) and Tony Award® winner Matt Stine (Music Producer). Australian casting is by Lisa Campbell. *Moulin Rouge! The Musical* is produced by Carmen Pavlovic and Gerry Ryan OAM for Global Creatures and Bill Damaschke. The Executive Producer of the Australian production is Dawn Martin, Global Creatures. ***Moulin Rouge! The Musical* opens at Sydney Lyric Theatre from March 2027.** Tickets are on sale via [Ticketmaster](https://www.ticketmaster.com.au/moulin-rouge-the-musical-australia-tickets/artist/2769840). Website: <https://moulinrougemusical.com.au/> Socials: <https://www.instagram.com/moulinmusicalau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Lisa Maree Williams **Categories:** News --- ### [Announcing Cast For Pride and Prejudice* (*sort of)](https://thescoop.au/announcing-cast-for-pride-and-prejudice-sort-of/) **Published:** March 31, 2026 **Author:** Newsroom **Content:** ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/03/Ruby-Shannon-Zoe-Ioannou-Amy-Lehpamer-Kaori-Maeda-Judge-Teo-Vergara-942x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")The cast for the 2026 Australian tour of the musical comedy ***Pride and Prejudice\* (\*sort of)*** was announced today. The five performers who will portray the iconic roles of Elizabeth Bennet, Mr Darcy, Jane Bennet, Charles Bingley, Mr and Mrs Bennet and all other characters, will be **Amy Lehpamer**, **Zoe Ioannou**, **Kaori Maeda-Judge**, **Ruby Shannon** and **Teo Vergara**. **Amy Lehpamer** has led the cast of national tours of *& Juliet* as Anne Hathaway and *The Sound of Music* as Maria, as well as lead roles in *Dusty*, *Beautiful: The Carole King Musical*, *The Who’s Tommy*, *School of Rock*, *Dirty Rotten Scoundrels*, *Once, Rock of Ages*, *The Rocky Horror Show* and *Shane Warne the Musical.* A NIDA graduate, **Zoe Ioannou** most recently appeared in the Australian tour of *Grease*, understudying the roles of Sandy, Frenchy and Jan. Other performance credits include *Hairspray, West Side Story, The Wizard of Oz* and at the Hayes Theare Co, *Dubbo Championship Wrestling, Bridges of Madison County* and *Big Fish*. **Kaori Maeda-Judge**’s varied career has seen her in productions of David Bowie’s *Lazarus*, *White Pearl* for Sydney Theatre Company, *The Dismissal* for Squabbalogic, *The Hello Girls* and Meg March in *Little Women* at the Hayes Theatre Co, and Jack Thorne’s Tony Award winning *A Christmas Carol*, as well as TV’s *Neighbours.* A recent graduate of QUT, **Ruby Shannon** is making her professional debut in *Pride and Prejudice\* (\*sort of)*. Since graduating, Ruby has collaborated on several independent theatre, film and development projects. **Teo Vergara** is an actor, singer, dancer and a graduate of the VCA, who made their screen debut in the ABC series *Crazy Fun Park* and followed this by starring in the queer and gender diverse series *Turn Up The Volume* for the ABC. Teo was a member of the original Australian cast of *Jagged Little Pill*, and starred in the original Australian musical *Converted!* for ATYP. ![The Scoop Pride and Prejudice* (*sort of)](https://thescoop.au/wp-content/uploads/2026/03/Ruby-Shannon-Zoe-Ioannou-Amy-Lehpamer-Kaori-Maeda-Judge-Teo-Vergara-PAPSO-c-James-Terry-938x628.jpg "Pride and Prejudice* (*sort of) • The Scoop")The cast of Pride and Prejudice sort of Photo by James TerryWriter and original director **Isobel McArthur** said: *“It has been a long-held dream to undertake this tour with our take on Austen’s masterpiece*. *This show is a true celebration of love and romance so, now that the match-making is done, I cannot wait to watch Pride & Prejudice\* (sort of) and its Australian audiences fall head over heels for each other.”* Co-Director **Simon Harvey** added: “*I am delighted with the stellar cast of Australian talent we have been able to assemble for this production and can’t wait to travel down under to begin rehearsals. I feel sure that the wit, physical comedy and karaoke sound track of Isobel MacArthur’s take on Jane Austen’s timeless classic (sort of), will chime with Aussie audiences.*” Direct from its triumph in the West End where it won the Olivier Award for Best Comedy, *Pride and Prejudice\* (\*sort of)* is a unique and audacious retelling of Jane Austen’s most iconic love story. Men, money and microphones are fought over in this irreverent but affectionate adaptation where the stakes couldn’t be higher when it comes to romance. This “*smart, laugh out loud funny*” (Daily Telegraph) show features a string of pop classics including *Young Hearts Run Free, Will You Love Me Tomorrow* and *You’re So Vain*. Coming to Australia for the first time, these five fearless women bring Austen’s world of love, class and chaos to life with heart, humour and unstoppable energy in this modern take on one of the world’s most adapted pieces of literature. ***Pride and Prejudice\* (\*sort of)* runs in Melbourne from 18 June 2026 at the Athenaeum Theatre, and will then tour the country.** See full details below. Tickets: <https://www.prideandprejudicesortof.com.au/#book> Website: <https://www.prideandprejudicesortof.com.au/> Socials: <https://www.instagram.com/prideandprejudicesortofau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: James Terry **Creatives** Written by **Isobel McArthur after Jane Austen** Original production directed by **Isobel McArthur** Co-Director **Simon Harvey** Produced by **Neil Gooding Productions** and **Woodward Productions** by arrangement with **David Pugh Limited** 2026 Australian Tour Dates: Melbourne 18 June – 12 July, Athenaeum Theatre Sydney 16 July – 30 August, Drama Theatre, Sydney Opera House Wollongong 2 – 13 September, IMB Theatre, IPAC Canberra 16 – 27 September, Canberra Theatre Centre Brisbane 30 September – 18 October, Playhouse Theatre, QPAC **Categories:** News --- ### [Review: The Phantom Of The Opera Lights Up Sydney Harbour](https://thescoop.au/review-the-phantom-of-the-opera-lights-up-sydney-harbour/) **Published:** March 28, 2026 **Author:** Sarah Skubala **Content:** ★★★★★ ![The Scoop The Phantom of the Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2026/03/55170878186_614af6cef1_6k-942x628.jpg "The Phantom of the Opera Sydney Harbour • The Scoop")A lingering storm nearly upstaged one of the year’s most anticipated theatrical events. Instead, it receded at the final hour, setting the scene for a spectacular opening night of Handa Opera on Sydney Harbour’s *The Phantom of the Opera*. Nothing quite prepares you for theatre on this scale in the open air. It’s the unexpected touches of nature that elevate it into something truly memorable: a sudden gust of wind lifting a costume piece at just the right moment. The moon slipping out from behind the clouds during a key song. The sky clearing just in time for a fireworks display. It’s these unpredictable yet seemingly perfectly timed elements that add something a traditional theatre simply cannot replicate. The opening of Andrew Lloyd Webber’s *The Phantom of the Opera* launches the iconic show’s global 40th anniversary, with Opera Australia having the honour of staging the show as the first major event in a worldwide program of celebrations. And what a show it is. Based on Gaston Leroux’s 1910 novel, Le Fantôme de L’Opéra, *The Phantom of the Opera* tells the story of a mysterious masked figure who lurks beneath the Paris Opera House, exercising a reign of terror over all who inhabit it. *The Phantom of the Opera* is widely considered one of the most popular and stunning musicals ever created, having played to more than 160 million people and winning over 70 major theatre awards. The Sydney Harbour spectacular, directed by Simon Phillips, took audiences by storm when it premiered in 2022. ![The Scoop The Phantom of the Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2026/03/55171267320_083837e7bb_6k-942x628.jpg "The Phantom of the Opera Sydney Harbour • The Scoop")The production is set on Australias largest outdoor stage and yes it floats atop the water Photo by Daniel BoudPhillips has reunited with the original creative dream-team, which includes Set and Costume Designer Gabriela Tylesova, Choreographer and Associate Director Simone Sault, Lighting Designer Nick Schlieper and Sound Designer Shelly Lee. The production is set on Australia’s largest outdoor stage, and yes, it floats atop the water. While the grandeur is there, I wasn’t expecting it to feel as immersive and as intimate as it did. This is no entertainment centre style show. It’s possible, depending on your seats, to get closer than you normally would inside a traditional theatre. But you’ll need to be quick. This production has opened as the most successful Handa Opera on Sydney Harbour season on record, with over 70,000 tickets already sold. At just 22, Jake Lyle makes an impressive professional debut, becoming one of the youngest performers to take on the Phantom. Vocally assured and dramatically compelling, he brings both strength and sensitivity to the character. His final scene is quietly devastating, eliciting real empathy. It’s a performance that signals a bright future ahead. Amy Manford dazzles as Christine, revisiting a role she first played on the West End at the same age as Lyle. She brings real emotional depth to a character pulled between love, duty and fear. Her vocals are nothing short of stunning, with *Wishing You Were Somehow Here Again* delivered as a truly affecting highlight. As Raoul, Jarrod Draper completes the central love triangle with a grounded and earnest performance. His duet with Manford, *All I Ask of You*, is a highlight, made all the more memorable as the moon broke through the fading storm clouds to illuminate the moment. ![The Scoop The Phantom of the Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2026/03/55171267285_183d1a68bf_6k-942x628.jpg "The Phantom of the Opera Sydney Harbour • The Scoop")The Phantom of the Opera is a visual and aural marvel Photo by Daniel BoudThere isn’t a weak link among the supporting cast. Debora Krizak brings a commendable stillness and dramatic presence to Madame Giry. Brent Hill and Martin Crewes are a formidable comic duo as Monsieur Firmin and Monsieur André, landing the wittily rhyming lyrics with aplomb. Giuseppina Grech relishes portraying the unhinged opera diva Carlotta Giudicelli, with high notes that could surely break glass. I especially loved her overpronounced Italian accent. Daniel Belle’s tenor range seriously impresses as Ubaldo Piangi. And Jayme Jo Massoud leaves a lasting impression as Christine’s faithful friend, Meg Giry. There is one other character who nearly runs away with the show, and it’s the chandelier. A technical marvel dangling from a giant crane, it feels like a living entity in its own right. Occasionally rattled by the chilly night breezes, it faithfully delivers where it needs to thanks to the skilled technical team. This production features a working moat, live flames, dazzling pyrotechnics, the aforementioned fireworks, and that thunderous live organ which makes the score so memorable. It is a visual and aural marvel. As the final notes echo out across the harbour, we are left with the sense that we’ve witnessed something fleeting and unrepeatable. No two nights will ever be quite the same. With the elements as an uncredited collaborator, *The Phantom of the Opera* becomes an experience that will drift somewhere between spectacle and memory. ***The Phantom of the Opera* is presented by Handa Opera on Sydney Harbour. It runs to 3 May 2026. Fleet Steps, Mrs Macquaries Point, Sydney NSW 2000.** Tickets: <https://opera.org.au/productions/the-phantom-of-the-opera-on-sydney-harbour/> Website: <https://opera.org.au/national> Socials: <https://www.instagram.com/operaaustralia/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Daniel Boud **Categories:** Musical Theatre, Sydney --- ### [Review: The Last Train To Madeline Is Poignant & Powerful](https://thescoop.au/review-the-last-train-to-madeline-is-poignant-powerful/) **Published:** March 30, 2026 **Author:** Benjamin Webb **Content:** ![The Scoop The Last Train to Madeline Australian Theatre For Young People ATYP](https://thescoop.au/wp-content/uploads/2026/03/A2A4222-942x628.jpg "The Last Train to Madeline Australian Theatre For Young People ATYP • The Scoop")On the closing night of *The Last Train to Madeline* at The Popsy Theatre, presented by Australian Theatre for Young People, the room seemed to echo back to an earlier age. Like that of a long summer afternoon that you didn’t realise would define a particular period of your life. Written by emerging Australian playwright Callum Mackay, *The Last Train to Madeline* frames first love, friendship, and growing up through a kaleidoscopic lens that shifts across space and time. It is very clearly a story about these two young people, and yet, it feels just as much like it could be about any of us. The play marks a significant new work in the youth theatre landscape, and, as such, is a fitting inaugural production for ATYP’s new performance space. We follow Maddy and Luke across three key stages of their lives: childhood, adolescence and early adulthood. At eight, Maddy is certain her father is a rock star and that the world is waiting for her. At seventeen, the edges of reality begin to blur those dreams. By twenty-three, both characters are left to reckon with who they were, who they are, and what has been lost along the way. It feels more like a collage of moments than a linear narrative – fragments of memory stitched together with tenderness and care. ![The Scoop The Last Train to Madeline Australian Theatre For Young People ATYP](https://thescoop.au/wp-content/uploads/2026/03/A2A4856-942x628.jpg "The Last Train to Madeline Australian Theatre For Young People ATYP • The Scoop")The play sits in the quiet grief of letting go of who you once were Photo by Phil ErbacherThis production confidently embraces that fragmentation as Director Hayden Tonazzi leans into the fluidity of time. The actors playing different ages often linger. They bleed into each other’s scenes, leading to a final interaction that bends the rules of time and space in an achingly beautiful way. Events unfold and then continue to resurface in an emotionally truthful production. The casting across three age groups is one of the production’s greatest strengths. Tyallah Bullock and Leon Walshe anchor the piece as the 23-year-old Maddy and Luke. Their performances carry the accumulated history of the characters, grounding the play’s more abstract moments. As the 17-year-olds, Rylea Eilis and Finn Middleton capture the volatility and intensity of adolescence with impressive nuance. In one moment, Rylea sings a song as the other cast members montage around her. This gives an incredibly effective and almost cinematic calibre. Meanwhile, the youngest cast members – Pia Monti, Rory Spinks, Sophie Ghnodtke and Trix Bowditch – bring an infectious energy and that unfiltered sense of possibility that defines childhood. Savanna Wegman’s production and set design draws on a real multi-layered nostalgic world, the romance of urban spaces and the coming of age in youth. ![The Scoop The Last Train to Madeline Australian Theatre For Young People ATYP](https://thescoop.au/wp-content/uploads/2026/03/A2A5425-942x628.jpg "The Last Train to Madeline Australian Theatre For Young People ATYP • The Scoop")The casting across three age groups is one of the productions greatest strengths Photo by Phil ErbacherSpencer Herd’s lighting design plays a crucial role in shaping the emotional landscape. It shifts seamlessly between warm nostalgia and sharper, more reflective tones. Oliver Beard’s composition and sound design weaves through the production with sensitivity, often feeling like a memory in itself. *The Last Train to Madeline* doesn’t try to resolve the messiness of growing up. Instead, it sits in the quiet grief of letting go of who you once were. It trusts its audience – both young and old – to recognise themselves somewhere within the fragments. As a closing night performance, there was a palpable sense of completion. Not just for the run, but for the journey of these characters. A tender, visually poetic and deeply felt coming-of-age story, *The Last Train to Madeline* is a quietly powerful reminder that growing up is as much about what we lose as what we find. ***The Last Train to Madeline* was presented by Australian Theatre For Young People (ATYP) from 11 – 28 March 2026.** **The Popsy, Pier 2/3, Suite 2/13A Hickson Rd Dawes Point, NSW 2000.** The season has now ended. Tickets: <https://www.atyp.com.au/productions/the-last-train-to-madeline> Website: <https://www.atyp.com.au/> Socials: [https://www.instagram.com/atyp\_theatre/](https://www.instagram.com/atyp_theatre/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Phil Erbacher **Categories:** Sydney, Theatre --- ### [Review: My Brilliant Career Leaves Sydney Audiences In Awe](https://thescoop.au/review-my-brilliant-career-leaves-sydney-audiences-in-awe/) **Published:** March 30, 2026 **Author:** Sophie Cornett **Content:** ★★★★★ ![The Scoop My Brilliant Career Sydney](https://thescoop.au/wp-content/uploads/2026/03/Kala-Gare_Image-by-Pia-Johnson-1-942x628.jpg "My Brilliant Career Sydney • The Scoop")*My Brilliant Career*, based on the 1901 Australian novel by Miles Franklin, has taken the stage of the Roslyn Packer Theatre in Sydney by storm with a dazzling display of Australian talent. This pop-rock musical perfectly captures the fire and tenacity of the human spirit as we strive to live our most authentic lives. As you enter the theatre, the stage is already set with a suite of instruments upon a straw floor. There, they await their players, who quickly join the stage to strike up a jam that immediately imbues the space with a life and a vividity that is retained throughout the remainder of the show. We quickly meet Sybylla Melvyn, and this story, as she so eloquently describes, is all about her. The writing and musical team of Sheridan Harbridge, Dean Bryant and Mathew Frank have so perfectly captured the wit and spunk of our heroine. We follow as she fights against the societal expectations of her sex and constraints of financial disadvantage to live the life she wants on her own terms. Director Anne-Louise Sarks has created a narrative space where not only the extraordinarily talented performers, but also the music, the set, the lighting and the costumes take on a life and character of their own. Every moment is a rich visual and auditory tapestry that is a true delight to bask in. The clever use of space and movement, including wonderful choreography from Amy Campbell, invites the audience not just to be spectators, but participants, in the story as it unfolds. Marg Horwell, as the set and costume designer, has designed a space that sings in its simplicity. The band acting as a focal point truly centres the storytelling power of the music. Subtle but visually tantalising additions of sets and props effortlessly transport us between key locations of the tale. ![The Scoop My Brilliant Career Sydney](https://thescoop.au/wp-content/uploads/2026/03/Kala-Gare_Image-by-Pia-Johnson-942x628.jpg "My Brilliant Career Sydney • The Scoop")There are few words to describe just how sublime the music is throughout this production Photo by Pia JohnsonThe costume design is also spectacular, allowing every actor to clearly portray multiple characters or eras in their character development. The lighting design by Matt Scott is incredible. Clever use of spotlighting and colour highlight the moods and narrative ownership of the different characters. There are few words to describe just how sublime the music is throughout this production. It carries the story and seeps into your bones, leaving you in awe of the raw power of this narrative form. Musical Director Victoria Falconer has truly imbued the music with life and power. It is also delightful to see her and fellow ensemble member Jarrad Payne on stage, integrated into and driving the story with flawless rhythm. The ensemble in this production plays all the instruments as well as the diverse cast of characters with a fluidity that is extraordinary. I also want to take a moment to shout out the incredible backstage crew who make several featured appearances throughout the show. Getting to see their role play out is a beautiful testament to the size and talent of the teams who work tirelessly to stage such productions. Our heroine, Sybylla Melvyn, is played by the incomparable Kala Gare, who is an absolute rock star! She plays Sybylla with a frenetic energy that is infectious, perfectly counterbalanced by the softness she develops as her understanding of the world morphs throughout the narrative. I was left in absolute awe of her vocal performance. Her voice soared through the theatre like a battle cry, rousing us all to action against the safety of a simple life. ![The Scoop My Brilliant Career Sydney](https://thescoop.au/wp-content/uploads/2026/03/Lincoln-Elliot-Cameron-Bajraktarevic-Hayward-Image-by-Pia-Johnson-951x628.jpg "My Brilliant Career Sydney • The Scoop")Subtle but visually tantalising additions of sets and props effortlessly transport us between key locations Photo by Pia JohnsonChristina O’Neill, who plays Mother/Helen/Mrs M’Swat/Ensemble, Drew Livingston, as Father/Jay-Jay/M’Swat/Ensemble, and Ana Mitsikas as Grannie/Rose Jane/Ensemble, are the perfect trio of authority figures. They spur Sybylla on her path, each representing the multi-faceted influencing forces of familial expectation, condemnation, unwavering support and deep understanding. Each has their moment to shine, lending a richness and history to their characters that reminds us that everyone has their own story they are following. Raj Labade is naturally charming as both Sybylla’s love interest, Harry and Peter, the eldest son of the M’Swats. He perfectly captures the tenuous line between love and possession that exists in society as Harry. His vocal performance is layered with all the emotions that come with that tension. Cameron Bajraktarevic-Hayward as Frank/Ensemble, is a true delight to watch. His physicality and reactions are amazing; you cannot help loving him even as his character says the most absurd things. Melanie Bird as Gertie/Blanche/Ensemble, and Lincoln Elliot as Jimmy/Horace/Ensemble, both perform with a truly extraordinary deftness of character. They flit effortlessly between instruments, teenage mannerisms and high society affectations. Every moment and interaction are imbued with purpose and meaning both for Sybylla’s story and their own. This show is going to stay with me for a long time, as I continue to reflect on the bravery and sheer grit it takes to want and to fight for what you want against all odds. I laughed, I cried. I had full-body shivers. And most beautifully, I saw myself and all my fellow Australians reflected in the story up on that stage. I cannot recommend this production more highly. *My Brilliant Career* is, as the title implies, unequivocally brilliant! ***My Brilliant Career* is presented by Sydney and Melbourne Theatre Companies and runs to 3 May at the Roslyn Packer Theatre. 22 Hickson Rd, Walsh Bay NSW 2000**. Tickets: <https://www.sydneytheatre.com.au/whats-on/productions/2026/my-brilliant-career> Website: <https://www.sydneytheatre.com.au/> Socials: <https://www.instagram.com/mybrilliantcareer/> [Read our Interview with Kala Gare](https://thescoop.au/kala-gare-relights-the-fire-in-my-brilliant-career/) Photo credits: Pia Johnson 2026 Australian Tour Dates: Sydney 21 March – 3 May, Roslyn Packer Theatre Wollongong 8 – 17 May, Illawarra Performing Arts Centre **Categories:** Musical Theatre, Sydney --- ### [Review: Your Song Finds The Heart Inside Elton John's Greatest Hits](https://thescoop.au/review-your-song-finds-the-heart-inside-elton-johns-greatest-hits/) **Published:** March 26, 2026 **Author:** Regan Baker **Content:** ★★★★½ ![The Scoop Your Song The Little Red Company](https://thescoop.au/wp-content/uploads/2026/03/YourSong-2026-7633-942x628.jpg "Your Song The Little Red Company • The Scoop")Elton John is one of those artists almost everyone has a story about. Maybe it’s a wedding song. Maybe it’s a funeral song. Maybe it’s something your parents played to death in the car, or a track that still punches you in the chest because of who it reminds you of. Very few artists have a catalogue that reaches across quite so many generations, or so many life moments. In that context, *Your Song* sees The Little Red Company building a show around that depth of emotional attachment as an instinctively smart and assured choice. That said, Elton is not exactly easy territory. At this point, it is no secret that Little Red Co is one of my favourite independent companies in Brisbane, if not the country. I will back them into battle most days of the week, but even for them, taking on Elton John feels ambitious. Between his songs being huge and his voice being unmistakable, his stage presence is also so locked onto pop culture that trying to replicate it would be a fool’s game. Thankfully, *Your Song* doesn’t fall into that trap. It’s not interested in doing a Vegas-style Elton impersonation night. It’s a lot smarter than that. Instead, it leans into the heart of what Elton’s music has meant to people. Every day Australians were invited to submit stories about how his songs have shaped their lives, and those stories are woven throughout the performance. It gives the show a real emotional anchor. Without that, this could have just been a very good concert. With it, the whole thing becomes something warmer and far more personal. It’s still absolutely a concert, and a bloody good one. But it also becomes a reminder that songs do not just belong to the artist once they are out in the world. They belong to the people who have lived alongside them. And my god, what a cast to trust with that job. Luke Kennedy is one of those performers who just instantly settles you. The second you know he is in the lineup, you stop worrying about the vocals. From *The Ten Tenors* to *The Voice Australia* to what feels like half of Little Red’s greatest hits, he has long since proven he can handle just about anything thrown at him. ![The Scoop Your Song The Little Red Company](https://thescoop.au/wp-content/uploads/2026/03/YourSong-2026-7806-942x628.jpg "Your Song The Little Red Company • The Scoop")Your Song leans into the heart of what Eltons music has meant to people Photo by Joel DevereuxHere, he is in seriously fine form. His rendition of *Daniel* is underpinned by the story of an eight-year-old boy and his family trying to find the right name for his new baby brother. And it is without a doubt one of the night’s most affecting moments. Kennedy is controlled, clear and emotionally switched on. His *Tiny Dancer* is also a standout. And honestly, if you are going to hand one of Elton’s biggest songs to anyone, Kennedy is not a bad place to start. Jason Arrow, the people’s Alexander Hamilton, also absolutely nails his place in this show. He has charisma to burn and the kind of easy confidence on stage that makes him impossible not to watch. His performance of *I Guess That’s Why They Call It the Blues* had the audience dead quiet. And not in the awkward “are we meant to clap here?” kind of way. In the locked-in, completely with him kind of way. Even for someone like me who did not exactly grow up in Elton’s era, it landed hard. Just to make sure nobody had recovered, Arrow and Kennedy then team up for *Rocket Man*, which is every bit the powerhouse moment you hope it would be. And then there is John O’Hara, because apparently the cast wasn’t already stacked enough! Simply put, there is nothing this guy can’t do. His vocals are always effortless, his timing immaculate. And he knows exactly when to lean into the humour and when to just let a moment sink in a minute. Regardless of the artist, *Crocodile Rock* was always going to be a fan favourite, but O’Hara’s slightly chaotic rendition is certainly an instant crowd pleaser. However, it is his lead-in to *Goodbye Yellow Brick Road* that really got me. Telling the story of a young boy realising he was gay, dressing *as The Little Mermaid* while the other boys turned up as more “acceptable” heroes, only to then have that part of himself dulled down through his teenage years at a private Catholic school, gives the song a completely different weight. I already loved the song. But after that, it hit in a way I was not expecting. Rounding out the cast is Little Red regular Irena Lysiuk, and thank God for that. I have said it before, and I will happily say it again; she is one of the most consistently powerful female voices on a Brisbane stage. What makes her so watchable, though, isn’t just her voice. It’s her warmth. The openness. The sense that she means every word she sings. Her *Sorry Seems to Be the Hardest Word* is a genuine tearjerker, and one of those moments where you could feel the whole room collectively soften. She brings so much heart to this show, and if there is ever a Little Red production without Irena in it… Oh, who am I kidding, I’ll still see it – but with protest! ![The Scoop Your Song The Little Red Company](https://thescoop.au/wp-content/uploads/2026/03/YourSong-2026-7364-942x628.jpg "Your Song The Little Red Company • The Scoop")Irena Lysiuk is one of the most consistently powerful female voices on a Brisbane stage Photo by Joel DevereuxBacking them is a cracking band made up of Mik Easterman on drums, OJ Newcomb on bass, Damian Sim on keys and Stephen Ward on guitar. There is no point pretending a show like this works without a band that can really drive it, and this lot absolutely do. Elton’s music needs weight, lift and groove, and they give it exactly that. Nothing feels thin. Nothing feels underdone. The whole night sounds full and alive. The setlist doesn’t exactly mess around either. It rolls out favourites *like Candle in the Wind*, *Benny and the Jets*, *Saturday Night’s Alright for Fighting* and *I’m Still Standing*. There’s something pretty special about hearing songs that iconic land in a room like this, especially when the crowd already has such a strong connection to them. *Candle in the Wind* in particular carries a certain weight for obvious reasons. Given Elton never performed that reworked version again after Princess Diana’s funeral, there is always going to be something a little heavier sitting over it. Sure enough, it lands with exactly the kind of quiet respect you would hope for. For me personally, this was also a pretty special night for another reason. It’s not often these days I get to take my parents along when I’m reviewing something, and that made this one hit a little differently. Given Elton John was such a part of their world, and the fact they saw him live at Brisbane’s Festival Hall back in 1984, there was really no universe where I was going to this one without them. That personal link probably made the night resonate even more for me. And if anything, that just proves the show’s point. Everybody in that room had brought their own Elton history in with them. This show gets that. It understands that this music is not just iconic because of the charts or the costumes or the sheer force of Elton John as a performer. It’s iconic because people have attached their lives to it. *Your Song* is funny, full of heart and stacked with knockout vocals, but its greatest strength is knowing exactly what his music means to people. ***Your Song* is presented by The Little Red Company and runs to 29 March at the Brisbane Powerhouse. 119 Lamington Street New Farm Qld 4005.** See full 2026 tour dates below. Tickets: <https://brisbanepowerhouse.org/events/your-song/> Website: <https://www.thelittleredcompany.com/your-song> Socials: [Socials: https://www.instagram.com/thelittleredco/](Socials:%20https://www.instagram.com/thelittleredco/) [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Photo credits: Joel Devereux 2026 Australian Tour Dates: Brisbane 25 – 29 March, Brisbane Powerhouse Sydney 6 – 10 May, Sydney Opera House Brisbane 2 July, Redland Performing Arts Centre Toowoomba 8 July, Empire Theatre Maryborough 15 July, Brolga Theatre Gladstone 25 July, Entertainment Centre Proserpine 30 July, Entertainment Centre **Categories:** Brisbane, Concerts --- ### [Review: WAAPA's Renascence Sings With Heart & Fire](https://thescoop.au/review-waapas-renascence-sings-with-heart-fire/) **Published:** March 29, 2026 **Author:** Nanci Nott **Content:** ![The Scoop Renascence WAAPA Musical Theatre](https://thescoop.au/wp-content/uploads/2026/03/waapa-260326-renascence-37-WEB-ONLY-1116x628.jpg "Renascence WAAPA Musical Theatre • The Scoop")The Australian premiere of *Renascence* is a metaphysically autobiographical exploration of one of the greatest American poets of the twentieth century, Edna St Vincent Millay. Directed by Katt Osborne and written by Dick Scanlon – with music from WAAPA alumni Carmel Dean – *Renascence* utilises Millay’s own words, transforming twentieth-century poetry into a vibrant twenty-first century musical. This production features a cast of 3rd year WAAPA students who excel in their respective roles, both on and off the stage. Born in 1892, Edna St Vincent Millay grew up in Maine with two sisters, a remarkable mother, and an absent father. A poem she wrote as an adolescent (‘Renascence’) catapulted Millay to fame by virtue of the controversial fact that she did *not* win a poetry competition. Her legend only grew from there. From love sonnets to ballads and political poetry, Millay became an important voice of the Jazz Age, who would go on to win a Pulitzer Prize. Unconventional, defiant, and ahead of her time, Millay combined classical structure with contemporary themes, exploring themes of autonomy, freedom, female desire, and moral responsibility. *Renascence* shines a light on this provocative poet, whose candle undeniably burned at both ends. This production focuses on the earliest years of Millay’s career, with emphasis on what happens when words won’t come out of the pen as much as what happens when they do. What can you say once you’re dead? Quite a lot, apparently. Millay (Sarah Watson), who is referred to as Vincent throughout the play, begins her journey as the youngest of three daughters, embedded in the playful warmth of a financially precarious but emotionally supportive domestic life. ![The Scoop Renascence WAAPA Musical Theatre](https://thescoop.au/wp-content/uploads/2026/03/waapa-260326-renascence-485-WEB-ONLY-1116x628.jpg "Renascence WAAPA Musical Theatre • The Scoop")The music by Carmel Dean serves as the structure holding the show together Photo by Stephen HeathVincent’s mother, Cora (Alice Williams), is fiercely independent and intelligent. Unusually for the early 1900s, she is divorced, works multiple jobs, and raises her daughters to have a deep appreciation for the arts, particularly music and literature. Encouraged by her mother and sisters, Vincent writes ‘Renascence’, the poem that will catalyse major changes to her life’s trajectory. A public reading of ‘Renascence’ attracts the patronage of Caroline B. Dowe (Harry Ortuso) whose support opens doors for Vincent, enabling her to study at Vassar College. At Vassar, Vincent’s celebrity precedes her, and she has no shortage of admirers. However, one particular young woman (Tabitha Kerlin) captures Vincent’s full attention, to the detriment of her studies. The intensity of their relationship threatens to derail other aspects of Vincent’s life, including her poetry. Heartbreak ensues. After graduation, Vincent makes her mark on New York City through her provocative public image as much as her literary ability. She becomes a bohemian icon, whose radical opinions, unconventional affairs, and unrelenting ambition break the moulds imposed upon women of the era. The character of Vincent (as distinct from the real-life Millay) is depicted as being sexually manipulative more than passionately hedonistic, which serves to underline the gendered double standard of moral judgment imposed upon those who refuse to fit conventional moulds. The historical Millay’s intellectual ferocity and unwavering confidence are more acceptable for a woman in 2026 than it was in her own lifetime, but patriarchal double-standards continue to colour the lenses through which audiences interpret the moral value – and likeability – of morally ambiguous characters. Awareness of this fact is built into the narrative, as evidenced by the selective framing and focus. This production does not impose judgment upon Vincent’s recklessness but contextualises her impulsivity as a side-effect of youth and brilliance, subtly emphasised by the casting of aged-down actors. Whether one perceives Vincent as ruthlessly selfish or unapologetically authentic is highly subjective and dependent on context. ![The Scoop Renascence WAAPA Musical Theatre](https://thescoop.au/wp-content/uploads/2026/03/waapa-260326-renascence-360-WEB-ONLY-1116x628.jpg "Renascence WAAPA Musical Theatre • The Scoop")The musical is energetic humorous and vaguely metaphysical Photo by Stephen HeathThe lines of ‘Renascence’ are as pivotal to the course of Vincent’s life as they are to the structure of the narrative, particularly if one imagines the three “lone mountains” to represent her mother and sisters, and the “wood” to symbolise Millay’s absent father in the context of the final song. Carmel Dean’s music serves as the structure holding the show together, with jazzy elements paying homage to the setting and lived context of Millay’s life and times. Dean’s ability to aurally convey humour, heart, and forward motion is one of the production’s greatest strengths, capitalising on moments of emotional intensity and leveraging Millay’s flawless meter. From an a capella tribute (to a deadbeat dad) to an epistolary duet featuring Vincent and a certain literary editor, Millay’s poetry lends itself beautifully to a musical format. The stage comprises three areas, one of which contains the accomplished nonet who bring Dean’s compositions to life. Sparing set design centres around tables, chairs, and a swing. Minimalist props make subtle reference to elements of Millay’s life and poetry, for example, flowers, paper, lamps, and fire. WAAPA’s versatile cast of six each play multiple roles. The gender-blind casting reflects Millay’s refusal to adhere to convention, in addition to showcasing the broad scope of the cast’s ability. Sarah Watson’s captivating embodiment of Vincent leans into the strength and quirkiness inherent to the character, augmented further by the clarity and tone of her melodic execution. Harry Ortuso shines in every role (insert graceful gesture here), particularly as Vincent’s sister Kathleen, and the fabulous fairy godmother of poetic academia, Caroline B. Dowe. Vincent’s other sister, Norma, is played by Tabitha Kerlin, who is equally outstanding as Vincent’s main love interest. Kerlin does justice to two very different characters and their respective vocal performances, stealing the show in several scenes. ![The Scoop Renascence WAAPA Musical Theatre](https://thescoop.au/wp-content/uploads/2026/03/waapa-260326-renascence-455-WEB-ONLY-1116x628.jpg "Renascence WAAPA Musical Theatre • The Scoop")The versatile cast of six each play multiple roles Photo by Stephen HeathLuke Barker fills seemingly countless roles, with hilarious minor appearances as a doctor’s daughter and a Vasser girl, among others. His pantomimic delivery in certain moments is comically appropriate, never diminishing from the comparative seriousness of his portrayal of the Editor. Alice Williams compassionately channels Cora Millay’s intellectual determination and self-sacrificial love, bringing balance to a tale that might otherwise read as being disproportionately self-centred. Perhaps this is intentional. Hamish Stewart’s main role is that of Vincent’s father, who functions as a conduit for internal monologues, but is also a character in his own right. Whilst the inclusion of the father feels extraneous to both historical truth and narrative necessity, Stewart’s strong performance of ‘The Ballad of the Harp-Weaver’ makes the father’s inclusion worth the stage time dedicated to him. The greens, whites, and earthy neutrals of the costumes are not of the era but exist outside the boundaries of time. Although the lack of historically accurate attire could be viewed as a wasted opportunity to augment both setting and characterisation, this understated approach works both tonally and aesthetically, as well as enabling fluid character changes for the cast. At the risk of being slightly reductive, this play necessarily compresses Millay’s relationships and life events in order to tell (a portion of) Vincent’s story within the span of one musical. However, it doesn’t take itself too seriously, and this inherent light-heartedness offsets any unjust reductivism. Pre-existing knowledge of Millay’s life and poetry will enhance overall audience enjoyment, rather than diminishing it through perceived spoilers. Like a sonnet, this musical is an exploration of a question, as opposed to a concrete re-telling of facts. Energetic, humorous, and vaguely metaphysical, *Renascence* resurrects both the poet and her poetry. Like Millay herself, this musical is unapologetic and larger-than-life. ***Renascence* is presented by the WAAPA 3rd year Musical Theatre students and runs to 1 April at Studio Underground, State Theatre Centre of WA. 174 – 176 William Street Perth WA 6000.** Tickets: <https://boxoffice.waapa.ecu.edu.au/Events> Website: <https://www.artsculturetrust.wa.gov.au/venues/state-theatre-centre-of-wa/whats-on/renascence/> Socials: <https://www.instagram.com/waapa.ecu/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Stephen Heath Photography **Categories:** Musical Theatre, Perth --- ### [Review: WAAPA Brings High Kicks & Big Feelings To Dance Nation](https://thescoop.au/review-waapa-brings-high-kicks-big-feelings-to-dance-nation/) **Published:** March 29, 2026 **Author:** Greta Rule **Content:** ![The Scoop Dance Nation WAAPA Acting](https://thescoop.au/wp-content/uploads/2026/03/waapa-260327-dance-nation-76-WEB-ONLY-1116x628.jpg "Dance Nation WAAPA Acting • The Scoop")I arrived at Subiaco Arts Centre on opening night with little knowledge of what *Dance Nation* is about. Having only read the blurb, I did not anticipate the absurdity and familiarity that unfolded on stage. Originally written by Clare Barron and directed by Alexandria Steffensen, *Dance Nation* fully leans into the satirical, camp and exaggerated expression of the play, capturing the confusion of female adolescence. Performed by the 3rd Year Acting students (and a 2nd year and a BPA Hons student) from WAAPA, *Dance Nation* follows a dance troupe of tween-age girls from Liverpool Dance Works as they pour their hearts and souls into dance competitions in the hopes of making it to nationals. The play explores the gritty realities of female adolescence and satirises the bleakness of competitive ambition. The audience is left to question, with no obvious answer, whether friendships or winning matter more. Steffensen’s direction embraces the experience of female adolescence. She clearly understands the material and refuses to sugarcoat the formative, daunting questions and experiences young girls face as they grow into themselves. Themes of consent, sexual harassment, objectification, desire and fascination with bodily autonomy ran through the play. The crude language lands perfectly, reflecting the boundary-testing nature of being a teenager. The play reveals the confusion of early girlhood and the experience of developing at different rates. One character is in her bedroom playing with miniature horses while another is masturbating for the first time. ![The Scoop Dance Nation WAAPA Acting](https://thescoop.au/wp-content/uploads/2026/03/waapa-260327-dance-nation-396-WEB-ONLY-1116x628.jpg "Dance Nation WAAPA Acting • The Scoop")Each of the performers shows off their talent emotional range and physical stamina Photo by Stephen HeathVignettes of home life, relationships with parents and their own selves are relatable and heart-warming. A lone male student, played by Daniel Hsu, provides comic relief and perhaps offers a connection point for the men in the audience. Each cast member does an incredible job of capturing the heart of their character with impressive commitment. Every archetype of teenage girlhood is portrayed, and the performers’ expressive acting heightens and satirises the eccentric traits of each one. As the play progresses, the ensemble settles into the storyline, which feels increasingly authentic. Each of the performers is given the opportunity to show off their talent, emotional range and physical stamina. From vulnerable monologues to energetic dance routines, choreographed by Christabel Joy Ellis, the students act with precision and intention. Rali Maynard (Sofia) and Sofia Watts (Ashlee) are standouts, both embodying the complexities of their characters seamlessly and consistently. The humour is dark and unashamed. Tasked with confronting material, the actors did not shy away from their commitment to the part. From simulating masturbating on stage to wiping period blood on their face, to grinding on whatever set piece was closest, the actors perform with poise, guts and humility, allowing the audience to really lean in and laugh. The set, designed by Ruby Trevor-Mills, is simple and thematic: a Y2K, low-budget American dance studio complete with plastic blinds, pink stars and displays of trophies, medals and photos of only the best students. It effectively captures a Dance Moms-esque aesthetic. The soundtrack, curated by Eren Hazell, is nostalgic and punctuating, with songs by Lady Gaga, Olivia Rodgrigo and Britney Spears. It is jarring in an intentional manner, which elevates the humour and reinforces the unseriousness of the troupe’s raw ambition. ![The Scoop Dance Nation WAAPA Acting](https://thescoop.au/wp-content/uploads/2026/03/waapa-260327-dance-nation-653-WEB-ONLY-1116x628.jpg "Dance Nation WAAPA Acting • The Scoop")For all its hilarity the play is undeniably progressive and profound Photo by Stephen HeathMotifs are threaded through the performance: mirrors, crowns and wolves. The mirrors are ‘reflective’ of our obsession with our external self-image. Dance Teacher Pat, played by Nicholas Rose, often seen fixing his hair in the mirror, is a representation of a man overcome by the dangers of unchecked ambition and control. Repeated wolf motifs symbolise the feral rage and unruliness young girls are so often taught to suppress. In the play, the characters are invited to let their inner wolves free. For all its hilarity, the play is undeniably progressive and profound. There is so much happening at once, and the energy is electric. The audience oscillated between roaring laughter and soft, sympathetic ‘awws’ as the story unfolded. Despite the heavy themes, the performers don’t take themselves too seriously. The result is a raucous, heightened reality of teenage girlhood that feels both absurd and strangely familiar. I’m unsure if there is a moral to the story, or even a tidy resolution. Perhaps the point of WAAPA’s *Dance Nation* is simply to spotlight female adolescence in all its glory. If nothing else, it prompts audience members (myself and my guest included) to revisit and share our own experiences of puberty, high school, friendships and the big dreams that have shaped us. And maybe to reconsider what matters most: our relationships, our drive to succeed, or how we balance both. ***Dance Nation* is presented by WAAPA’s 3rd Year Acting students and runs to 31 March at the Subiaco Arts Centre.** **180 Hamersley Road Subiaco WA 6008.** Tickets: <https://boxoffice.waapa.ecu.edu.au/Events> Website: <https://www.artsculturetrust.wa.gov.au/venues/subiaco-arts-centre/whats-on/dance-nation/> Socials: <https://www.instagram.com/waapa.ecu/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Stephen Heath Photography **Categories:** Perth, Theatre --- ### [Review: Evil Dead Unleashes Cult Chaos In Melbourne](https://thescoop.au/review-evil-dead-unleashes-cult-chaos-in-melbourne/) **Published:** March 28, 2026 **Author:** Alyssa Moller **Content:** ★★★★★ ![The Scoop EVIL DEAD the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/02/EVIL-DEAD-Out-of-Order-photo-credit-Peter-Stoopjpg-942x628.jpg "EVIL DEAD the Musical Sydney • The Scoop")*Evil Dead The Musical* is an uproariously, bloody camp time. It is the musical adaptation of Sam Raimi’s classic horror film *Evil Dead*, a film I remember attempting to watch years ago and never finishing because I thought it was too chaotic. After this musical, I cannot wait to give it another chance. *Evil Dead The Musical* tells the story of Ash and his hodgepodge group of friends who holiday in an abandoned cabin in the woods. What could possibly go wrong in this foolproof situation you may be asking? Only accidentally awakening an ancient demonic spirit that inhabits the trees and possesses Ash’s friends one by one, of course. A good adaptation should honour the original text but do everything it can to make the most of its new format. *Evil Dead The Musical* does exactly this. It takes the core storyline and same characters of the film, then blows it wickedly out of proportion to match the energy the stage begs. The characters poke fun at their stereotypes, point out the plot holes, but maintain the structure of jump scares, keeping the thrill of the original text alive. The musical numbers are hilarious, with some of the most ridiculously silly lyrics I’ve heard. My cheeks hurt from laughing after a bunch of songs, especially *Good Old Reliable Jake*. Another standout was *Do the Necronomicon*, a number that really showcases the skill of the band, the choreography and ability to balance comedy and spectacle. Lochlan Erard’s choreography is playful and camp, a mixture of exaggerated posing and playing into the physicality of the demons, whilst still serving as genuinely well-constructed dance numbers. The set is beautiful and crammed with practical effects that sang (at times, literally) as the demonic possession started to take over the house. There’s puppetry, rhythmically swinging pots and pans and a series of funny tricks to hide severed heads and hands. ![The Scoop Evil Dead Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/03/EVIL-DEAD-Stomp-photo-credit-Peter-Stoopjpg-942x628.jpg "Evil Dead Musical Melbourne • The Scoop")The musical feels like it was made for me and my cheeks hurt from laughing after a bunch of songs Photo by Peter StoopDaniel Stoddart’s direction is a perfect match for this show. He has a fabulous sense of humour and clearly understands how to ring every joke out of an already stacked script. Not one beat didn’t land; the audience is carried along for every moment. The dramatic pauses for the characters to strike a pose, along with the hilarity of exposition describing what happened only seconds before, Stoddart turns the show into pantomime, especially in the final act. As the blood starts to spray, the whole audience is screaming along with the characters and demons, crying out in a chorus of moans and groans every time a demon just won’t die. The cast is stacked, with every single actor bringing something unique to the stage. They don’t overcrowd, but instead create a harmony of heightened chaos. Everyone is completely committed to creating beautiful anarchy, whilst still finding light and shade between their demonic selves and their regular selves. Together, the whole cast have impeccable comedic timing and exceptional chemistry. Harley Dasey kills it as Ash, the hero; fearless, stoic and a total caricature of masculinity. He plays the straight man, morally and tonally, leading the cast into and out of chaos. Grace Alston plays both Annie and Shelly and slips into both roles seamlessly. Emma Wilby as Cheryl embodies the demonic possession in such a surreal way. Her performance echoes that of other great demon characters, an amalgamation of Beetlejuice and Panzuzu from *The Exorcist*. ![The Scoop EVIL DEAD the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/02/EVIL-DEAD-car-scene-photo-credit-Peter-Stoopjpg-942x628.jpg "EVIL DEAD the Musical Sydney • The Scoop")*Evil Dead The Musical* reanimates the musical adaptation breathing new life into a classic Photo by Peter StoopJake Ameduri and Elaina Binachi, I had the privilege of seeing in *American Psycho*, also at Chapel Off Chapel, so I knew I’d feel safe the second they took the stage. Both Ameduri and Binachi have a keen understanding of taking the original text and running wild with it, amping the comedy to an almost absurdist level. Harrison Riley sings my favourite song of the night as Reliable Jake, a hillbilly so endearing, it truly hurts to see him die. Oliver Clisdell is fun as Ed, but shines once possessed, pulling focus in many of the group numbers. An essential part of the audience experience is signing up for the splatter zone. At the start of Act Two, the ushers hand out ponchos, and after a few songs into the second act, the blood starts to pour. Be warned, anything the poncho does not cover will be totally blood-soaked. Behind us, a couple wore all white, with the intention of walking away with a dyed red look. The only downside to the splash zone is once the blood starts flying, fight or flight takes over and through flinching and screaming, I missed a large portion of the final showdown. *Evil Dead The Musical* feels like it’s made exactly for me. Ridiculous, hilarious, camp and chaotic, a comedy horror that pulls out all the stunts to keep upping the wonderful stupidity of it. Oozing personality at every turn, *Evil Dead The Musical* reanimates the musical adaptation, breathing new life into a classic. ***Evil Dead The Musical* is presented by Stoddart Entertainment and runs to** **12 April at** **Chapel off Chapel.** **12 Little Chapel Street Prahran Vic 3181.** The season is almost sold out. Tickets: <https://chapeloffchapel.com.au/show/evil-dead-the-musical/> Website: <https://evildeadmusical.com.au/> Socials: <https://www.instagram.com/evildeadmusicalau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Peter Stoop **Categories:** Melbourne, Musical Theatre --- ### [Review: Celia Pacquola Gift Horse 2026 Melbourne International Comedy Festival](https://thescoop.au/review-celia-pacquola-gift-horse-2026-melbourne-international-comedy-festival/) **Published:** March 29, 2026 **Author:** Jacqui Moore **Content:** ★★★★★ ![The Scoop Celia Pacquola Gift Horse](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-101829-am-1092x628.png "Celia Pacquola Gift Horse • The Scoop")Celia Pacquola returns to the Melbourne International Comedy Festival this year with her latest work, *Gift Horse*. As a woman hurtling towards her forties, I don’t think I’ve ever felt so seen! It was a muggy, will-it-or-won’t-it-rain kind of day in Melbourne’s CBD. After wandering past all of the ‘Year of the Horse’ posters plastered throughout a busy Chinatown, I arrived at Melbourne’s stunning, sold-out Comedy Theatre for my first opportunity to see Pacquola live on stage. This year celebrates Pacquola’s twentieth year on the comedy scene. She is a national treasure and a welcome regular on our televisions with her hosting duties on *Thank God You’re Here*,and her regular appearances on *Have You Been Paying Attention?* Most recently, Pacquola has lit up our screens in ABC’s series, *Dog Park*. She is characterised by her down-to-earth, authentic, observational brand of comedy. *Gift Horse* is certainly no exception. They say *“don’t look a gift horse in the mouth.”* As Pacquola so articulately conveys, in its essence, this classic idiom advises us not to turn up our noses at gifts. Regardless of how odd, peculiar, or utterly not-you these gifts may be. What you’re supposed to do, of course, is just smile and say…”thank you.” So begins Pacquola’s masterful comedic storytelling into her partner’s well-meaning choice to gift her not one, but two inflatable kayaks for her 42nd birthday. Has she ever mentioned kayaking before? Nope – but where’s the fun in that? ![The Scoop 2026 Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-26-at-93513-pm-969x628.png "2026 Melbourne International Comedy Festival • The Scoop")Celia Paqcoulas show Gift Horse runs to 5 April at the Comedy TheatreThe show adeptly weaves its way through the raucous realities of being in one’s forties. Comedic meet-cutes, gasp-worthy approaches to motherhood, those inexplicable red dots on your skin, superhero friendships, and the need to face your fears…or not. Every single story is roll-your-eyes relatable. The heart of this show is clear from the get-go. It blazes from the insights Pacquola gives her audience into the everyday life of her family and the lovingly antagonistic relationship she shares with the love-of-her-life, partner Dara. It is always an utter joy to witness powerfully real, exceptionally talented women on Australian stages astutely unpacking the beautiful mundanity of everyday life. Pacquola’s show feels less like a performance and more like settling in for brunch with a brilliant mate. So if you’ve ever received your own, personal, blow-up kayak – that gift that’s made you ask “do you even know me?”, I say kayak, don’t walk, to catch Celia Pacquola’s show. ***Celia Pacquola: Gift Horse* runs to 5 April at the Comedy Theatre, 240 Exhibition Street, as part of the 2026 Melbourne International Comedy Festival.** Check Celia’s socials for further tour dates. Tickets: <https://www.comedyfestival.com.au/browse-shows/gift-horse/> Website: [https://www.comedyfestival.com.au/](https://www.comedyfestival.com.au/browse-shows/akmal) Socials: <https://www.instagram.com/melbcomedyfestival/> and [https://www.instagram.com/celia\_pacquola/](https://www.instagram.com/celia_pacquola/) [Read more of our Comedy Reviews](https://thescoop.au/comedy-reviews/) Images supplied. **Categories:** Comedy, Melbourne --- ### [Review: Messa da Requiem Opens On A Grand New Era](https://thescoop.au/review-messa-da-requiem-opens-on-a-grand-new-era/) **Published:** March 29, 2026 **Author:** Regan Baker **Content:** ★★★★☆ ![The Scoop Messa da Requiem Queensland Ballet Glasshouse Theatre](https://thescoop.au/wp-content/uploads/2026/03/Joshua-Ostermann-Photographed-by-David-Kelly-785x628.jpg "Messa da Requiem Queensland Ballet Glasshouse Theatre • The Scoop")There are worse ways to christen a brand new theatre than with a production featuring a full ballet company, a live orchestra, more than a hundred choristers and enough emotional weight to flatten a room. Opening QPAC’s new Glasshouse Theatre, Queensland Ballet’s *Messa da Requiem* is a clear declaration of intent: it is bold, it is grand, and it is completely uncompromising. And honestly, if you’re going to show Brisbane your shiny new venue, you may as well do it with Verdi. It has grief, spectacle, and a stage full of artists moving like the end of the world has arrived beautifully on cue. Truth be told, ballet isn’t exactly my specialist subject. Give me a musical, a play, a weird little cabaret in a basement somewhere, and I’m at home, but this will be my first ballet review for The Scoop, and also my first in about four years. If I accidentally (and inevitably) butcher a technical term somewhere along the line, my apologies in advance. What I can say, though, is that you don’t need to know all the correct language to know when something is working, and *Messa da Requiem* works. This is not one of those ballet evenings where you sit back and politely admire the technique. This feels bigger than that. It’s a full artistic event. With Queensland Ballet joined by Queensland Symphony Orchestra and not one but two choirs, including the Brisbane Chorale and the Canticum Chamber Choir, the scale alone is enough to make your brain do a quick recalibration. Then the music starts, the stage fills, and suddenly you are not really thinking about categories anymore. You’re just in it. And it is a lot… But in the best possible way. Verdi’s *Messa da Requiem* already comes loaded with enough drama, sorrow and spiritual heft to do most of the heavy lifting on its own, but hearing it performed live like this is something else entirely. It doesn’t drift nicely in the background while the dancers do their thing. It barrels through the room. ![The Scoop Messa da Requiem Queensland Ballet Glasshouse Theatre](https://thescoop.au/wp-content/uploads/2026/03/Lucy-Green-Vito-Bernasconi-photo-David-Kelly013A5359-942x628.jpg "Messa da Requiem Queensland Ballet Glasshouse Theatre • The Scoop")*Messa da Requiem* is bold it is grand and it is completely uncompromising Photo by David KellyThe orchestra sounds enormous. The choir sounds bigger again. Together, they create this wall of sound that, at times, feels almost impossible to escape, while the movement on stage takes all of that grief, fear, and anguish and gives it shape. That is what stayed with me most: the shape of it. The movement often feels wave-like, as though sorrow itself is rolling across the stage in repeated surges. Sometimes the dancers seem to drift. Sometimes they seem to brace against something. Sometimes they look like they are being pulled under. It is bleak, beautiful and strangely hypnotic all at once. For the opening night performance, soprano Naomi Johns, tenor Kyle Stegall, mezzo-soprano Cassandra Seidemann and bass-baritone Jeremy Kleeman were all tremendous. Their voices bring Verdi’s seven sections to life in a huge, thrilling way, and there are points where the sheer force of the sound makes the whole thing feel like some giant communal act of mourning. Principal Artist Lucy Green is graceful, precise and beautifully controlled. Everything she does seemed completely effortless and yet carries so much emotional substance. In a similar vein, Soloist Vito Bernasconi brings a combined sense of power and elegance to the performance. Joshua Ostermann and Ines Hargreaves are delights to watch, also, while First Company Artist Libby-Rose Niederer moves with such smoothness and assurance that it is hard not to keep being drawn back to her. Across the company, the standard is exceptionally high. In a work like this, that matters. There’s no giant set to hide behind. No flashy theatrical gimmick coming in to do the hard yards. It all comes back to the performers, and they more than hold it. In fact, just how stripped back the entire thing is, is one of the smartest things about the production. ![The Scoop Messa da Requiem Queensland Ballet Glasshouse Theatre](https://thescoop.au/wp-content/uploads/2026/03/Libby-Rose-Niederer-Photographed-by-David-Kelly-3-942x628.jpg "Messa da Requiem Queensland Ballet Glasshouse Theatre • The Scoop")One of the smartest things about the production is just how stripped back the entire thing is Photo by David KellyThere is quite literally no set to speak of, which, in turn, is one of its greatest strengths. The bare stage means the storytelling has no choice but to come through the movement, the music and the images being created in the moment. Nothing feels overdesigned, and nothing gets in the way. It’s 100% bodies and voices, light and shadow, and that gives the whole work a starkness that suits it perfectly. In a similar fashion, the lighting also does a fair bit of the heavy lifting. The shadows are harsh, and the stage pictures are often severe. At different moments throughout the evening, the dancers look almost ghost-like, then tidal, then seemingly ritualistic. There’s a real sense of grief hanging over the whole thing, but in a way that never feels repetitive, or makes me think, *“Ok, we get it.”* It keeps shifting. Keeps finding new ways to hit. A production involving this many artists could very easily get lost in its own ambition. This never does. For all its grandeur, it stays controlled. For all its size, it stays focused. Most importantly, it understands when to let the music roar and when to let stillness do the talking. So don’t be fooled; this isn’t a light night at the theatre. It’s heavy, sombre and emotionally demanding. But it is also one of the more striking things I have seen on stage in quite some time. Not because it is flashy, although it certainly knows how to fill a room, but because it commits so fully to what it is. As opening nights go, this was one hell of a way to introduce a new theatre. Queensland Ballet didn’t just cut the ribbon on the Glasshouse Theatre. It shook the walls a little. *Messa da Requiem* is immense. It’s moving. And it’s visually unforgettable. For a venue taking its first bow, it felt like exactly the right kind of entrance. ***Messa da Requiem* is presented by Queensland Ballet and runs to 4 April at the Glasshouse Theatre, QPAC.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/qbmessadarequiem26> Website: <https://www.queenslandballet.com.au/performances/2026/messa-da-requiem> Socials: <https://www.instagram.com/qldballet/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Photo credits: David Kelly **Categories:** Brisbane, Dance --- ### [Review: WAAPA Brings Terror & Irish Wit To The Lieutenant Of Inishmore](https://thescoop.au/review-waapa-brings-terror-irish-wit-to-the-lieutenant-of-inishmore/) **Published:** March 28, 2026 **Author:** Daniel Harvey **Content:** ![The Scoop The Lieutenant of Inishmore WAAPA Acting](https://thescoop.au/wp-content/uploads/2026/03/waapa-260325-lieutenant-of-inishmore-292-WEB-ONLY-942x628.jpg "The Lieutenant of Inishmore WAAPA Acting • The Scoop")Brutal, absurd, and darkly comic, *The Lieutenant of Inishmore*, the second play in Martin McDonagh’s Aran trilogy, turns a sharp eye toward sectarian violence and the fractured ideologies behind it. It is presented by the 3rd year Acting students at WAAPA for a limited season. Through its exaggerated bloodshed and biting humour, the play strips away any sense of nobility, revealing a cycle where violence feeds only more violence, until meaning dissolves into chaos. It remains one of his most celebrated works, even ranked by The Daily Telegraph among the fifteen greatest plays ever written. Award-winning director Anna Houston embraces the chaos with precision. Her experience is evident in the confident handling of tone, balancing brutality with biting humour. The story follows Padraic, the unhinged leader of a nationalist splinter group, whose world begins to unravel when he discovers his beloved cat has been killed. From this premise unfolds a relentless spiral of bloodshed, interrogation, and darkly comic escalation. ![The Scoop The Lieutenant of Inishmore WAAPA Acting](https://thescoop.au/wp-content/uploads/2026/03/waapa-260325-lieutenant-of-inishmore-401-WEB-ONLY-942x628.jpg "The Lieutenant of Inishmore WAAPA Acting • The Scoop")The cast embody their characters wonderfully and are a pleasure to watch Photo by Stephen HeathThe play embodies an agile Irish wit confronting tortured absurdity, where deep melancholy coexists with a buoyant humour and a quietly charismatic whimsy that ultimately prevail. In some fashion, it evokes a Tarantino-ism in its execution, not only in its blood, gore, and violence, but in the rhythm of the scenes: sudden eruptions, unreasonable reactions, and always that sliver of humour in it all. The cast embody their characters wonderfully and are a pleasure to watch. As Padraic, Casey Stevenson entices with a playful boyish innocence coupled with a psychotic mania. Daniel Halmarick is a standout as Donny, bringing to life the older man with a timely and strong voice. He has such a convincing Irish accent that I had to question whether he actually was Irish. Cj Ransome as Davey brings an awkward, uneasy energy, a man constantly pulled into situations far beyond his control. Katie Cameron as Mairead matches this intensity with a fierce and volatile presence, her own extremism cutting sharply through the action. Michael Kavanagh’s portrayal of Christy captivates, his eyepatch and distinctive mannerisms drawing the audience in from the start, carrying them through to a striking, memorable finish. Griffin McLaughlin as James offers a quieter, more restrained counterpoint. Zack Rock as Brendan and Tom Kim Kelly as Joey round out the world of the play, both contributing to its tension and absurdity, each character another piece in the violence. The entire cast deliver brilliant, believable performances. ![The Scoop The Lieutenant of Inishmore WAAPA Acting](https://thescoop.au/wp-content/uploads/2026/03/waapa-260325-lieutenant-of-inishmore-580-WEB-ONLY-942x628.jpg "The Lieutenant of Inishmore WAAPA Acting • The Scoop")The production balances brutality with biting humour Photo by Stephen Heath The production design, set design and special effects are tremendously well done. The single-room set, designed by Ruby Trevor-Mills, is presented without a curtain, enhances as an addition to the absurd hilarity of the subject matter. Seamless transitions of scenes as the stage darkened and props and sets were quickly moved by the cast. The sound design and use of effects such as gunshots, flashes, exaggerated blood and gore, add to the theatricality. While simplistic, they were honestly unexpected and folded into the absurd hilarity of the play. Special mention to sound designer Jessie Nalder and the sound and SFX crew. What emerges is a production that understands the delicate balance at the heart of McDonagh’s writing. It is violent, excessive, and often ridiculous, yet always aware of the underlying commentary. The laughter from the audience comes easily, but it is never entirely comfortable. Working within its means, *The Lieutenant of Inishmore* is provocative and striking, a theatrical spectacle that feels both inventive and fully realised. ***The Lieutenant of Inishmore* is presented by WAAPA’s 3rd Year Acting students and runs to 31 March at the Subiaco Arts Centre.** **180 Hamersley Road Subiaco WA 6008.** Tickets: <https://boxoffice.waapa.ecu.edu.au/Events> Website: <https://www.artsculturetrust.wa.gov.au/venues/subiaco-arts-centre/whats-on/the-lieutenant-of-inishmore/> Socials: <https://www.instagram.com/waapa.ecu/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Stephen Heath Photography **Categories:** Perth, Theatre --- ### [Review: La Clique Lets Loose With Popcorn, Puppets & Complete Chaos](https://thescoop.au/review-la-clique-lets-loose-with-popcorn-puppets-complete-chaos/) **Published:** March 27, 2026 **Author:** Regan Baker **Content:** ★★★★☆ ![The Scoop La Clique HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/03/R6__3482_2025_706_sd1_la_clique_Experience_Gold_Coast_HOTA_novasoma_photography-942x628.jpg "La Clique HOTA Gold Coast • The Scoop")To say I’ve seen a lot of circus cabaret lately is an understatement. So much so that I can usually feel where a show is heading within the first ten minutes. Not because they’re all the same, but because the bones of it tend to be. A bit of danger, a bit of comedy, something sexy, something weird, and then a big finish to send you out feeling like you’ve had a night. *La Clique*, returning to HOTA on the Gold Coast, still hits all of that. It just has a hell of a lot more fun getting there. When you see that a circus is being produced by David Bates, there is a certain level of execution you come to expect. After all, he’s been in this game longer than I’ve been alive, and you get a real sense of his passion for the art form straight away. Nothing here feels accidental. Even the chaos feels planned, which is probably why it works. That being said… I did not expect it to open with puppets. Cabaret Decadanse, the Montreal duo of Andre-Anne LeBlanc and Alexandre Lannuzzi, kicked things off, and within about three seconds, I was completely on board. It’s weird, a little unexpected, but very funny. Much to my girlfriend’s consistent dismay, I’ve always had a soft spot for puppets when they lean into the absurd, and this does exactly that. Think – Randy Feltface, Avenue Q, or Team America. It’s a strange way to start a circus show, sure, but it sets the tone of the evening nicely, after all, you’re not here for the predictable. Miss Jolie Papillon slides things back into that more classic cabaret space. It’s not my personal cup of tea, but it sets the tone nicely and gives the room a bit of air to breathe before getting back into the unhinged. Byron Hutton rolls in next with a juggling act, and if you’re anything like me, your brain probably just did that little sarcastic “whoop-dee-doo, Basil” moment from Austin Powers. Juggling is juggling, right? Not here. The timing of his routine to the music, combined with his entrancing personality, makes the whole routine land so much softer. It’s still juggling – but for once, I wasn’t just thinking to myself, “Okay, let’s move on now.” ![The Scoop La Clique HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/03/TaraBoom_FootJuggling14_creditCraigSugden-942x628.jpg "La Clique HOTA Gold Coast • The Scoop")Nothing about La Clique feels accidental Photo by Craig SugdenWhere a certain US President could speak for ten minutes but say absolutely nothing, Hilton Dennis is the complete and brilliant, polar opposite. He says absolutely nothing but speaks volumes. His pauses, his expressions. Hell, the man’s eye movements alone had the audience in stitches. His tap dancing was great, sure, but it’s everything around it that drove home how talented an artist he is. Nothing he did felt effortless, and yet it all seemed so controlled and easy. And then the show decides to remind you what kind of night you’ve signed up for. Heather Holliday shifts things pretty quickly. Sword swallowing, fire, all the stuff that makes you sit forward a bit and wonder how close you actually are to the stage. It’s one of those acts where you’re both impressed and slightly stressed. David Pereira is another one who gets people talking, and for good reason. His silk work is ridiculous. Strong, controlled, makes it look far easier than it should be. The kind of act where you start thinking maybe you should go to the gym and then immediately remember you won’t. But then there is his shaving routine… I’m not even going to try to explain it properly. It’s weird. It’s confronting. But hell, it was unlike anything I’ve seen on a stage before. The audience was truly divided. There were those who outright loved it, and those who loved it, but for ‘legal’ reasons had to at least try and pretend like they weren’t loving it quite as much. Unhinged doesn’t even begin to cover what we just saw – and we saw *a lot.* ![The Scoop La Clique HOTA Gold Coast](https://thescoop.au/wp-content/uploads/2026/03/DavidPereira_Silks2_creditCraigSugden-942x628.jpg "La Clique HOTA Gold Coast • The Scoop")The silk work of David Pereira is strong controlled and makes it look far easier than it should be Photo by Craig SugdenSpeaking of seeing a lot… Enter, Tara Boom. I’m going to tread carefully here, because this is one of those acts that really doesn’t survive being written about. It’s the kind of thing you experience live and immediately know you’re never going to be able to explain it properly to someone else. What I can say is this. There’s popcorn involved. Yay, popcorn, you may think. Nope – not this time! It’s not used the way you’d expect. And the crowd absolutely lost it. It was the kind of laughter where you’re really, really grateful that you’re sitting beside your partner or your friends, and not your gran. Needless to say, I chose the Magnum ice-cream at interval in favour of the savoury snacks. That’s kind of where *La Clique* lands as a whole. It’s not trying to impress you with how clever or refined it is, and thank God for that. It just backs itself, leans right into the madness, and lets the acts do the talking. Some of it is slick, some of it is completely cooked, and a lot of it sits somewhere in between, which is exactly where this kind of show should live. After seeing more circus than I probably needed to in the past twelve months, there’s something refreshing about a show that doesn’t feel like it’s just playing it safe. It knows what it is, it knows who it’s for, and it doesn’t waste time pretending otherwise. *La Clique* is bold, it’s a bit loose, and it’s very comfortable getting a little bit filthy when it wants to. Leave the kids at home. Maybe your mum too. ***La Clique* runs to 19 April at HOTA on the Gold Coast, 135 Bundall Rd, Surfers Paradise QLD 4217.** Tickets are available [here](https://tickets.hota.com.au/overview/50316?_gl=1%2A1k42j5%2A_gcl_au%2AMTA4NjQ3NDU2LjE3NzQ0MTIyMTk.%2A_ga%2AMTA2MDE2NTU1My4xNzc0NDEyMjE5%2A_ga_2BSS4CJNQV%2AczE3NzQ0MTIyMTkkbzEkZzAkdDE3NzQ0MTIyMTkkajYwJGwwJGgw). Website: <https://hota.com.au/whats-on/live/circus/la-clique> Socials: <https://www.instagram.com/lacliquetheshow/> and <https://www.instagram.com/hotagc/> [Read more of our Circus Cabaret Reviews](https://thescoop.au/circus-reviews/) Hero image photo credit: Novasoma Photography *La Clique* is an over 18s event. Contains nudity, coarse language, sexual references, adult content and themes, strobe lights, special effects and loud noises. **Categories:** Circus, Gold Coast --- ### [Review: Bette & Joan Puts An Iconic Feud In The Spotlight](https://thescoop.au/review-bette-joan-puts-an-iconic-feud-in-the-spotlight/) **Published:** March 26, 2026 **Author:** Nick Dale **Content:** ★★★★★ ![The Scoop Bette & Joan Ensemble Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/03/BetteAndJoan_Ensemble_Production_ImageCredit_PrudenceUpton_Jeanette-Cronin-4-942x628.jpg "Bette & Joan Ensemble Theatre Sydney • The Scoop")Whether it’s Kim Carnes’ smoky Bette Davis Eyes or Joan Crawford’s notorious wire hangers, we’ve all absorbed the cultural echoes of these two screen legends. Now, Anton Burge’s highly successful play *Bette & Joan* takes us backstage on the set of the 1962 film *What Ever Happened to Baby Jane?* and into the infamous feud between them. Full of acerbic wit and devastating fragility, the play makes its Australian premiere at The Ensemble Theatre in Sydney. The infamous feud between Davis and Crawford was recently resurrected in Ryan Murphy’s FX series *Feud*, starring Susan Sarandon and Jessica Lange. While Murphy gave us the full campy grandeur, Burge gives us the raw nerve, up close and personal. Here, directed by Liesel Badorrek, he moves beyond the mythology and the gossip, beyond the Hollywood anecdotes. He’s interested in the wounds that threaten to crack the polished public personas. The play opens in darkness. A vintage black-and-white film reel flickers to life on the back screen, and immediately, we’re transported to old Hollywood. There’s urgency and energy from the start, with suggestive huffing and puffing in the dark before the lights go up on Crawford doing her famous calf exercises, her regimented beauty routine in full swing. Director Badorrek holds this energy throughout, zooming us along from the first breath. British playwright Burge has built a reputation as a masterful writer of roles for women, drawing on the lives of extraordinary figures from the 20th century. He first brought this two-hander to London’s West End in 2011. Burge’s device is simple but effective: two women in two adjoining dressing rooms, their worlds separate but intertwined as they cut back and forth, preparing for the day’s shoot. The device works to a point, though it lacks real tension for an audience waiting for some kind of combustion between the two. But the actors draw us deeper into their psyches, keeping us engaged until the satisfying confrontational climax. ![The Scoop Bette & Joan Ensemble Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/03/BetteAndJoan_Ensemble_Production_ImageCredit_PrudenceUpton_Lucia-Mastrantone-Jeanette-Cronin-1-942x628.jpg "Bette & Joan Ensemble Theatre Sydney • The Scoop")Jeanette Cronin and Lucia Mastrantone are skilled veterans of the stage at the top of their game Photo by Prudence UptonThe performances are breathtaking; electric one moment and devastatingly fragile the next. Jeanette Cronin as Davis and Lucia Mastrantone as Crawford are skilled veterans of the stage at the top of their game. Mastrantone is beguiling as the Machiavellian Crawford, with pencil-thin eyebrows and toned calves to boot. She captivates with a mind-boggling rhythm, effortlessly playing with tone and pacing; her phrasing is almost musical as she switches between slippery charm and snappy demands. Crawford’s phone calls to Robert Aldrich, director of *Baby Jane*, are especially entertaining in their playful rhythm. Jeanette Cronin, who played Bette Davis in her one-woman show *Queen Bette* in 2015, embodies the screen icon with her characteristic bulldog ferocity and blunt honesty. She is so completely immersed in the character that you forget you’re watching a performance. It takes a moment to adjust to Cronin’s New England accent, the clipped transatlantic vowels and mid-Atlantic lilt, but soon the ear settles, and you’re pulled deeper into this backstage Hollywood world. But it’s in the unravelling where Cronin is most jaw-dropping. A shaky, brittle fragility surfaces as she gets drunk and turns wet-eyed, quaking and threatening to crumble. Cronin heartbreakingly reveals the wound of a woman who has spent her life needing to be loved by men. The play is full of wickedly delicious, razor-sharp wit. Lines like Joan’s perfectly aimed, “She was young back then, hard to believe I know,” arrive like darts you don’t see coming. The play brilliantly shows the wounded fragility of the stars that threatens to tug and tear at the carefully self-constructed masks. There’s an excellent mid-play moment when the production starts to hit its heartbeat. ![The Scoop Bette & Joan Ensemble Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/03/BetteAndJoan_Ensemble_Production_ImageCredit_PrudenceUpton_Jeanette-Cronin-8-942x628.jpg "Bette & Joan Ensemble Theatre Sydney • The Scoop")It is in the unravelling where Cronin is most jaw dropping Photo by Prudence UptonAs Bette and Joan come together, facing off under the spotlight, Bette is rabid and bulldog-like, Joan all slimy sneaky charm, both powerful as polar opposites. The subsequent spiral into the drunken battle is mesmerising and gripping. Director Badorrek and video designer Cameron Smith brilliantly incorporate multimedia elements. There are live screen projections on the actors as they look up to the spotlight and pre-recorded black-and-white footage that they interact with in real time. These effects serve to blur the boundary between stage and screen and also create a time-travelling feel with the authentic black and white footage. The close-ups on the actresses’ eyes create a sense of intimacy, their determined smiles betraying pain and longing. Lighting designer Kelsey Lee and composer Ross Johnston complete the picture with an almost eerie emotional undertone. Set designer Grace Deacon’s simple mirror frames, sans mirrors, bring us up close and personal as the women speak into their reflections, all the longing, the successes, the failures, the fears. For women whose identities were built on image and the relentless public gaze, it’s a device that speaks volumes. *Bette & Joan* delves into the cruelty of the spotlight on ageing in Hollywood and the devastating realisation of time passing. But beyond Hollywood, it asks, who are we as we age and who are we without the masks we’ve spent a lifetime building? With electrified, powerhouse performances, Ensemble Theatre’s *Bette & Joan* takes you on an emotional rollercoaster ride. Once you strap in, you won’t want to get off. ***Bette & Joan* runs to 25 April at Ensemble Theatre.** **78 McDougall Street Kirribilli NSW 2061.** Tickets: <https://www.ensemble.com.au/shows/bette-and-joan/> Website: <https://www.ensemble.com.au/> Socials: <https://www.instagram.com/ensembletheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Prudence Upton **Categories:** Sydney, Theatre --- ### [Review: An Evening In Concert, 3rd Year Musical Theatre Students](https://thescoop.au/review-an-evening-in-concert-3rd-year-musical-theatre-students/) **Published:** March 26, 2026 **Author:** Jackson Kellaway **Content:** ![The Scoop An Evening in Concert QAEMT Queensland Academy of Excellence in Musical Theatre](https://thescoop.au/wp-content/uploads/2026/03/QAEMT_AEIC-9-942x628.jpg "An Evening in Concert QAEMT Queensland Academy of Excellence in Musical Theatre • The Scoop")The Queensland Academy of Excellence in Musical Theatre (QAEMT) has a bit of a reputation for a reason. Their alumni are all over the place working professionally, and I’ve seen a bunch of them on stage, usually with that “yep, they’re the real deal” feeling. So I went into *An Evening in Concert* with my expectations pretty high. I’d never been in the Tony Gould Gallery before either, and I loved the black-box vibe: close, intimate, and the kind of room where you really notice the detail. Saul Kavenagh kicks things off with *New York* (a personal favourite of mine), and honestly, he had me straight away. Maybe it was the twinkle in his eye, maybe it was the confidence. Or perhaps it was just the charm of the whole thing, but I was strapped in from the first minute. After that, the show features one great number after another. Zoe Allsopp Lander’s *Morning Person* is bright and fun; she is basically glowing up there, and you could feel her energy bouncing around the room. Aarya Doolabh then comes in with *So Easy (To Fall In Love)* and it has this warm, grounded feel that really suits her voice. Ned Kelly brings the heart with *Waiting For Life*; emotional, but still really strong and steady. And AJ Betts’ *Changing My Major* has that great mix of feeling and humour; the intentions are clear, and the funny moments actually land. ![The Scoop An Evening in Concert QAEMT Queensland Academy of Excellence in Musical Theatre](https://thescoop.au/wp-content/uploads/2026/03/QAEMT_AEIC-8-942x628.jpg "An Evening in Concert QAEMT Queensland Academy of Excellence in Musical Theatre • The Scoop")The Tony Gould Gallery is close intimate and the kind of room where you really notice the detail Photo by Kenn WylchiHannah Mohr’s *Another New York Love Story* is genuinely lovely and shows off a really sweet quality in her voice. Lily Bennetts follows with *Two Little Lines* and brings a heap of personality: playful, but still in control. Caelan McCarthy’s *No Turning Back Now* feels open and honest. Sam Thomas comes out next with *Madrid Is My Mama* and very nearly runs away with the whole night. The character work is big and fearless, and it was impossible not to grin. Priya Gill’s *Life As We Know It* has this clear emotional through-line that pulls you in, and Addisyn Herndon’s *Pretty Funny* is a real standout; super precise vocally, but also properly vulnerable. The second half keeps on delivering. Lucas Harm does *Mom Could Play Guitar* with this easy warmth, and the last line got a very audible “hmm” from the crowd, which says a lot. Tayler Ramsay makes *Sister’s Pickle* really watchable: strong character, a bit of sparkle, and what I felt reminded me of Glinda. Annika Reilly absolutely belts *I’m Done* (in the best way), and her precision was a highlight for me. Lachlan Dunks gives *It All Fades Away* this calm focus that makes the story land. Harry Ince sounds rock-solid in *Playbill*, while Lottie Smith’s *Home* has a nice mix of grounded emotion and lightness. ![The Scoop An Evening in Concert QAEMT Queensland Academy of Excellence in Musical Theatre](https://thescoop.au/wp-content/uploads/2026/03/QAEMT_AEIC-7-942x628.jpg "An Evening in Concert QAEMT Queensland Academy of Excellence in Musical Theatre • The Scoop")There arent heaps of big dance breaks but what is there was clean and purposeful Photo by Kenn WylchiAlessia Charman tackles *Astonishing* with a lot of confidence and presence, and Jackson Hughesman makes *Santa Fe* look way too easy: full commitment, heaps of energy, and really clean vocals. Even without a solo song, Ella Wood still gives a memorable performance and I look forward to hearing her full range later in the year. And it wasn’t just the individual performances. The ensemble stuff is seriously strong, too. With Heidi Loveland as musical director, the group numbers sound tight and together. My favourite company moment is *That Ball* from *Shane Warne: The Musical*; the comedic timing is spot on, and you can really feel the group chemistry. One thing I really liked was the little monologues in between songs. Hearing each student talk about why they chose QAEMT, what motivates them, and how they’ve grown makes the whole thing feel more personal (and honestly, makes you root for them even more). Director and Helpmann Award winner Amy Lehpamer set those stories as part of the brief, and the way the night was staged feels really thoughtful; nothing was thrown away. Dan Venz’s choreography also has its stamp on the night. There aren’t heaps of big dance breaks, but what is there was clean and purposeful, and it definitely made me want to see this cohort in a full production later in the year. *An Evening in Concert* delivers a really strong night of musical theatre and serves to remind us how much talent is coming through QAEMT. The graduating class feels ready for what’s next, and if they can do this in a black-box space, I’m excited to see what happens when they hit a bigger stage. ***An Evening in Concert* runs for a limited season to 28 March. Presented by the 3rd year Musical Theatre students at the Queensland Academy of Excellence in Musical Theatre (QAEMT), Griffith University. Tony Gould Gallery, Queensland Performing Arts Centre (QPAC).** Tickets: <https://www.qtix.com.au/whats-on/2026/qcgu-an-evening-in-concert-3rd-year-musical-theatre-students> Website: <https://www.griffith.edu.au/arts-education-law/queensland-academy-of-excellence-in-musical-theatre> Socials: [Socials: https://www.instagram.com/qaemt.griffithuni/](Socials:%20https://www.instagram.com/qaemt.griffithuni/) [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Photo credits: Kenn Wylchi **Categories:** Brisbane, Concerts --- ### [Announcing Bold Door 3 Season For Queensland Theatre Company](https://thescoop.au/announcing-bold-door-3-season-for-queensland-theatre-company/) **Published:** March 26, 2026 **Author:** Newsroom **Content:** ![The Scoop Queensland Theatre Company Door 3 2026](https://thescoop.au/wp-content/uploads/2026/03/QTC_DOOR3_10175_Mu-mma-879x628.jpeg "Queensland Theatre Company Door 3 2026 • The Scoop")**Queensland Theatre Company** (**QTC**) has announced three extraordinary collectives for its 2026 **DOOR 3** program, the company’s premier platform for bold and blistering independent theatre. Now in its third year, DOOR 3 provides theatre makers the space, mentoring and resources to develop daring new work that pushes boundaries and sparks conversation. The collectives receive full dramaturgical, technical and marketing support, along with six weeks of dedicated development time, culminating in a public reading or a staged production in QTC’s Diane Cilento Studio. The 2026 productions include ***Mu-mma*** by **Courtney Cavallaro** (closed-door showing, June). ***Scenes With Girls*** by **Salad Days Collective** (4 – 19 September) and ***Lucky*** by **Yeah Nah Theatre** (13 – 28 November). Cavallaro’s *Mu-mma* is a quippy two-hander black comedy centred on Evelyn and her daughter Constance. Set during a stifling Australian Christmas, the play explores the tension, love and humour in their relationship and is directed by **Bridget Boyle**. ![The Scoop Queensland Theatre Company Door 3 2026](https://thescoop.au/wp-content/uploads/2026/03/QTC_DOOR3_11038_Salad-Days-879x628.jpeg "Queensland Theatre Company Door 3 2026 • The Scoop")Salad Days Collective will present Scenes With Girls Photo by Sam Scoufos*Mu-mma* will be a long form creative development, developed over several months for a closed-door showing. Led by Cavallaro, and supported by a team including Boyle, and Brisbane based creatives **Rachel Nutchey** and **Christen O’Leary**. *Scenes With Girls* by **Miriam Battye**, presented by Salad Days Collective, gleefully interrogates how modern womanhood becomes tangled in desire, identity and expectation. Across fast, sharp, deeply funny scenes, Fran, Lou and Tosh obsess over men in ways that are grotesquely heightened yet painfully recognisable. Salad Days Collective, led by Co-Creative Directors Jasmine Prasser and Georgina Sawyer, is known for staging provocative, ambitious and creative performances that challenge industry standards. *Lucky* by **Liam Lowth,** presented by Yeah Nah Theatre, follows university friends Pitt Martin and Brett King as a routine dinner party unravels into chaos when their dog Lucky bites the wrong person. Loyalties warp and relationships strain in this modern dinner-table classic. Directed by **Mikayla Hosking**, *Lucky* is a fearless, conversation-sparking production that showcases Queensland artists pushing boundaries and taking risks. Yeah Nah Theatre is an independent, community driven and collective, led by Mikayla Hosking, Campbell Lindsay, and Meg Bowden. ![The Scoop Queensland Theatre Company Door 3 2026](https://thescoop.au/wp-content/uploads/2026/03/QTC_DOOR3_11841_Yeah-Nah-879x628.jpeg "Queensland Theatre Company Door 3 2026 • The Scoop")Yea Nah Theatre will present Lucky Photo by Sam ScoufosQTC Artistic Director **Daniel Evans** says DOOR 3 is where fresh ideas take shape and next-generation Queensland theatre-makers can test their limits: *“DOOR 3 has become a springboard for Queensland artists to take risks, test ideas and find their voice on stage. Each year we see independent theatre at its most inventive, fearless, sharp and unflinching.* *These collectives are pushing boundaries, experimenting boldly and reminding us why Queensland’s indie theatre scene is among the most exciting in the country. DOOR 3 is a front-row seat to the future of theatre – intimate, electric and impossible to forget.”* In keeping with the program’s mission, 100 per cent of box office proceeds go directly to the artists, supporting Queensland’s independent theatre community while giving audiences the chance to experience daring new work up close. DOOR 3 offers a unique opportunity to create, experiment and test bold independent theatre and is open to everyone from emerging talent to seasoned theatre-makers. Tickets for *Scenes With Girls* and *Lucky* are on sale now. **For more information and to secure your tickets to Queensland Theatre Company’s DOOR 3 works in 2026, visit the website at the link below.** Website: <https://queenslandtheatre.com.au/> Socials: <https://www.instagram.com/qldtheatreco/> [ Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Sam Scoufos *DOOR 3 is supported by the Australian Government through Creative Australia and the Queensland Government through Arts Queensland.* 2026 Season at a Glance: **Mu-mma** By Courtney Cavallaro Presented by QTC DOOR 3 Collective Directed by Bridget Boyle Closed-door showing (June) <https://queenslandtheatre.com.au/plays/mu-mma> **Scenes With Girls** By Miriam Battye Presented by Salad Days Collective Produced by Jasmine Prasser & Georgina Sawyer Friday 4 – Saturday 19 September <https://queenslandtheatre.com.au/plays/scenes-with-girls> **Lucky** By Liam Lowth Presented by Yeah Nah Theatre Directed by Mikayla Hosking Friday 13 – Saturday 28 November <https://queenslandtheatre.com.au/plays/lucky> **Categories:** News --- ### [Paige Fallu Finds Heart, Pride & Joy In The Prom](https://thescoop.au/paige-fallu-finds-heart-pride-joy-in-the-prom/) **Published:** March 9, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Paige Fallu The Prom Sydney](https://thescoop.au/wp-content/uploads/2026/03/PHOTO-Vuk-Kahvedzic-1-4-879x628.jpeg "Paige Fallu The Prom Sydney • The Scoop")***The Prom*** arrives this month at the newly revitalised Teatro at the Italian Forum, bringing its heart and high-energy celebration of pride to Sydney audiences. The Tony-nominated Broadway smash-hit has become a global favourite for its infectious score and powerful message of acceptance. Anticipation is building ahead of the Australian premiere. The Scoop sat down with Paige Fallu for some rapid-fire questions. Paige steps into the role of Alyssa Greene, and reveals what makes the musical more than just a high school story, what the rehearsal room has been like so far, and the sweet spot she was standing in when she got the life-changing call. Read the full interview below. **For readers who’ve never seen *The Prom*, how would you describe it in one sentence?** A heart-warming, fun-filled, inspiring and eye-opening story. **Without spoilers, what makes *The Prom* more than just a ‘high school musical’?** The raw truth behind it! **What makes Alyssa Greene such an interesting character to play?** She goes on such a journey that is integral in a lot of young queer people’s lives. The audience might find her story frustrating, but it’s very real and relatable for a lot of young people. **Do you remember the moment you found out you’d be playing Alyssa?** Yes! I was in line for ice cream when I got the call! I got a double scoop to celebrate! **What’s the vibe been like in the rehearsal room so far?** It’s been so open and warm. Discussing the truth, the why, and the how between each of these characters. I am inspired by every single cast and crew member every single day! ![The Scoop The Prom Musical Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/01/The-Prom-Musical-Sydney-1053x628.png "The Prom Musical Teatro at the Italian Forum Sydney • The Scoop")**You previously played Tracy Turnblad in *Hairspray*. How different is Alyssa from Tracy?** Tracy Turnblad is always unapologetically herself. The interesting part about Alyssa Greene is the journey it takes for her to live as her proud, unapologetic self. She goes through ups and downs, but ultimately realises she must live as her whole true self. **Is there anything you learned from playing Tracy that you’ve brought to this role?** Alyssa totally needs some of the confidence that Tracy has! The difference is her journey and how she steps into that confidence by the end of the show. **What is your pre-show ritual?** I need lemon and ginger tea! I started it recently, and now I can’t stop. **You trained in Musical Theatre at WAAPA. What is your best advice for auditionees?** Be so unapologetically you! Drama school is about finding a safe place to develop your craft over an extended period of time. Don’t force yourself to be “perfect.” That’s the point of the training. Force yourself to BE yourself. **How do you stay sane and busy in between shows?** I love to stay physically active purely for my brain function! And I go pet all the cats that live on my street. *(Laughs)* ![The Scoop Paige Fallu The Prom](https://thescoop.au/wp-content/uploads/2026/03/Paige-Fallu-CMT-419x628.jpeg "Paige Fallu The Prom • The Scoop")Paige Fallu**What would your younger self say if she saw you now?** “Wow, we did it.” **Describe *The Prom* in just three words.** Heart. Pride. Joy. **If audiences walk away feeling one thing, what do you hope it is?** Open! I hope they walk away with open hearts and minds **What’s a dream role you’d love to play one day?** I’d love to play Muriel in *Muriel’s Wedding*. So fun! **What’a you advice to anyone wanting to pursue professional musical theatre?** Love it with your entire heart and soul and being. You get out what you put in so GO FOR IT. **Paige Fallu can be seen in *The Prom*, making its Australian premiere on 24 March at Teatro at the Italian Forum. Norton Street Leichhardt NSW 2040.** Tickets are [on sale](https://teatroitalianforum.com.au/date/the-prom/) now! Website: <http://www.teatroitalianforum.com.au/> Socials: <https://www.instagram.com/teatroitalianforum/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image: Paige Fallu in rehearsal for The Prom. Photo by Vuk Kahvedzic. Watch Paige Fallu and Sophie Montague performing *[Dance With Me](https://www.instagram.com/p/DUts51hk7A4/)* in a sneak peek performance on Instagram. ![The Scoop The Prom Cast Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-05-at-21436-pm-600x628.png "The Prom Cast Teatro at the Italian Forum Sydney • The Scoop") **Categories:** Features --- ### [Film Review: Othello Lands On The Big Screen](https://thescoop.au/film-review-othello-lands-on-the-big-screen/) **Published:** March 24, 2026 **Author:** Alex Thompson **Content:** ![The Scoop Othello Theatre Royal Haymarket London](https://thescoop.au/wp-content/uploads/2026/03/1131-0105P_c_Brinkhoff-Moegenburg-942x628.jpg "Othello Theatre Royal Haymarket London • The Scoop")There’s no shortage of reasons to head to the cinema for a filmed stage production, not least the simple pleasure of settling in with a choc top and some popcorn while someone else does the emotional heavy lifting. When that production happens to feature Toby Jones sinking his teeth into Shakespeare’s slipperiest villain, there’s even more incentive. Recorded live during its West End run at the Theatre Royal Haymarket, *Othello* arrives in Australian cinemas with a clear pedigree. Filmed theatre lives in the tension between media, and Tim Van Someran, who directed this production for the screen, leans into that instability. The overall visual world of the stage production, under Tom Morris’ direction, is tinged with decay, drawing on a Great War palette of mud, rot, and moral corrosion. The design remains sparse yet evocative, its minimalism amplifying both the physical and psychological desolation at the heart of the play. Ti Green’s set and Rich Howell’s lighting work together to create a stage that is often steeped in darkness, though not without striking visual flourishes. PJ Harvey’s score leaves a grimy, insistent imprint across the production. ![The Scoop Othello Theatre Royal Haymarket London](https://thescoop.au/wp-content/uploads/2026/03/1131-0899_c_Brinkhoff-Moegenburg-942x628.jpg "Othello Theatre Royal Haymarket London • The Scoop")Othello arrives in Australian cinemas as a live recording from its West End run Photo by Brinkhoff MoegenburgHints of Venice appear in the form of gold frames and pillars, lending a sense of faded grandeur. When the action shifts to Cyprus, a transparent screen at the rear transforms the space, allowing for layered entrances in front of, behind, and through it, while also supporting atmospheric video projections that deepen the mood. David Harewood brings a powerful presence to the stage, portraying Othello as both proud and noble. His initially commanding physicality seems to diminish under Iago’s relentless manipulation. By the end, despite his actions, it is hard not to feel a deep sense of pity for him. As Desdemona, Caitlin FitzGerald brings a quiet resilience and emotional clarity to the role. Her warmth grounds the production, and the relationship she builds with Harewood gives the tragedy its necessary emotional weight. As that bond fractures, the consequences feel intimate and painfully human. But it’s Toby Jones who dominates so completely that the production feels like it belongs more to Iago than to Othello. His Iago is a petty, needling presence, worming its way under the skin and refusing to leave. A masterclass in insinuation, Jones’ performance is twitchy, watchful, and completely corrosive. ![The Scoop Othello](https://thescoop.au/wp-content/uploads/2026/03/1131-0353A_c_Brinkhoff-Moegenburg-942x628.jpg "Othello Thetre Royal Haymarket London • The Scoop")Toby Jones performance as Iago is a masterclass in insinuation Photo by Brinkhoff MoegenburgThe main issue with this production lies in its editing. While the close-ups effectively capture every flicker of doubt and deceit, the seemingly random timing of cuts makes it difficult to follow where each actor is in the space. What is intended to enhance the artistry instead comes across as disorienting. As a cinematic experience, this *Othello* is both compelling and imperfect. The camera brings us closer to the characters than a theatre seat ever could, but it also reduces the scale. What remains, however, is the core of Shakespeare’s tragedy: jealousy, manipulation, and the terrifying ease with which trust can be undone. It may not be the definitive version of *Othello*, but anchored by Jones’ quietly devastating Iago, this West End import still proves a gripping addition to the growing slate of stage productions finding new life on Australian screens. ***Othello* is in cinemas nationally from 26 March 2026.** **Check the website link for participating cinemas.** Website: <https://sharmillfilms.com.au/othello/> Website: <https://othelloincinemas.com/> Socials: <https://www.instagram.com/sharmillfilms/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Photo credits: Brinkhoff-Moegenburg Watch the trailer here: **Film details:** Title: Othello Director: Tom Morris OBE Cast: David Harewood OBE, Toby Jones OBE, Caitlin FitzGerald, Vinette Robinson, Luke Treadaway Country of Origin: UK Duration: 172 mins Rating: M **Categories:** Film --- ### [Announcing Cast For Tootsie The Musical Sydney](https://thescoop.au/announcing-cast-for-tootsie-the-musical-sydney/) **Published:** March 24, 2026 **Author:** Newsroom **Content:** ![The Scoop Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/02/TOOTSIE_LOGO_1920x1080_02-1116x628.jpg "Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney • The Scoop")Producers today have announced the stellar cast of the hit Broadway musical ***Tootsie*** which will make its highly anticipated Australian premiere at **Teatro at the Italian Forum in Sydney**. Directed and choreographed by Award-winning director and choreographer **Cameron Mitchell** (*Putting It Together*, *Sweet Charity*) ***Tootsie*** opens on **26 May 2026**. Tickets are on sale now at [www.teatroitalianforum.com.au](http://www.teatroitalianforum.com.au/). In the role of Michael Dorsey and alter ego Dorothy Michaels, the dual role made famous on screen by two-time Oscar winner Dustin Hoffman, is **Andrew Bevis.** Andrew is an accomplished actor, director, and musical director whose work spans genres, continents and stages of every scale. His leading performances in the West End and the UK include *Les Misérables* (Palace Theatre) and *Romeo and Juliet* (Piccadilly Theatre). His extensive Australian stage work includes standout performances as Brad in *The Rocky Horror Show*, Henrik in *A Little Night Music*, and Barnaby Tucker in *Hello, Dolly!* starring Jill Perryman. He also starred in the title role of *Martin Guerre* at the Watermill Theatre in the UK, the originating home of *The Lord of the Rings – A Musical Tale*, in which he appeared and served as Musical Director on its Australian tour. Currently Andrew is co-directing the Australian Premiere of ***The Prom*** which opens this week at Teatro. ![The Scoop Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/03/TOOTSIE_1080x1350_MeetTheCastGrid_01-502x628.jpg "Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney • The Scoop")The cast of the Australian premiere of Tootsie has been announcedThe principal cast reads like a who’s who of Australian musical theatre. The role of Julie Nicholas will be played by Sydney Theatre Award winner **Elenoa Rokobaro** *(Hadestown)*. **Alana Tranter** *(Beauty and the Beast)* will play Sandy Lester. **Brendan Irving** *(The Rocky Horror Show)* will play Max Von Horn. **Tyran Stig** *(Titanique)* will play Jeff Slater. **Donna Lee** *(Hairspray)* will play Rita Marshall. **Chris Huntley-Turner** *(Friends: The Parody Musical)* will play Stan Fields. **Lachlan O’Brien** *(Phantom of the Opera)* will play Ron Carlisle. The ensemble features **Sam Austin, Lisa Callingham, Katie Green, Arthur Lees** (swing) **Maximillian Macdonald, Jessica Parris, Jamie Reisin, Julian Seguna** and **Nicole Vella.** Described by *The New York Post* as “Broadway’s funniest new musical” and praised by *Rolling Stone* as “musical comedy heaven”, ***Tootsie*** is the laugh-out-loud story of a talented but difficult actor who struggles to find work until one show-stopping act of desperation lands him the role of a lifetime. Director **Cameron Mitchell** said: *“I am absolutely thrilled with the cast we have assembled. Every one of them has something unique and special. I cannot wait to work with them all on this exciting new show.”* Based on the Oscar winning beloved hit film starring Dustin Hoffman, the Tony Award® Winner for Best Book of a Musical, ***Tootsie*** also received 11 Tony Award nominations, including Best Musical and Best Original Score. With music and lyrics by Tony Award & Grammy award-winner David Yazbek (*The Band’s Visit*, *Dirty Rotten Scoundrels*) and book by Tony Award-winner Robert Horn (*13 the Musical, Shucked*), ***Tootsie*** has had audiences rolling in the aisles. Fast-paced and outrageously funny, ***Tootsie*** plays with identity, ambition and ego, all while keeping the laughs coming. ***Tootsie* the musical makes its Australian premiere in Sydney at Teatro at the Italian Forum from 26 May 2026.** Tickets are available [here](https://www.ticketmaster.com.au/artist/2728443?did=venue)! Website: <https://teatroitalianforum.com.au/date/tootsie/> Socials: <https://www.instagram.com/teatroitalianforum/> [Read our 2026 Musical Theatre Show Guide](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. **Categories:** News --- ### [Review: Briefs The Works Brings After Dark Spectacle To Melbourne](https://thescoop.au/review-briefs-the-works-brings-after-dark-spectacle-to-melbourne/) **Published:** March 23, 2026 **Author:** Jesse Oey **Content:** ![The Scoop Briefs Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2026/03/Briefs_Sean_Breadsell_015-942x628.jpg "Briefs_Sean_Breadsell_015 • The Scoop")Masterfully toeing the line between risk and risqué, *Briefs: The Works* seductively brings in Melbourne’s thrill-chasing late-night crowds to its brand-new, magnificent Spiegel Haus. Equal parts charisma and camp, *Briefs: The Works* is the kind of spectacle that *detonates* from the get-go. From the moment you step into the jewel-box glow of the iconic Spiegeltent, this sultry, intoxicating show unleashes with a relentless parade of Briefs Factory International’s greatest hits. Long-time favourite numbers blend with fresh additions, balancing danger with delight through a seamless mix of drag, cabaret, circus and burlesque. With razor-sharp wit and commanding poise, MC Fez Faanana prowls the room like a ringmaster of chaos. He holds the audience captive as he effortlessly moves between laughter and earnestness. ![The Scoop Briefs Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2026/03/Briefs_Sean_Breadsell_076-942x628.jpg "Briefs Spiegel Haus Melbourne • The Scoop")Drag Queen Nastia flawlessly executes their number clad in towering stilettos Photo by Sean BreadsellWhat follows in his wake are two riotous hours of fun, ferocious mayhem. The company’s brilliant cast is truly extraordinary, bursting at the seams with jaw-dropping talent showcasing queer excellence. Pole virtuoso Benjamin Butterfly kicks off the evening with an alluring, glitter-soaked pole dancing routine. He sets the bar sky-high (pun intended!) with his impressive poses. Aerialist Dylan Rodriguez gracefully carves the air with gravity-defying precision, a striking dance of strength and elegance. He twists, unfurls, and becomes one with the silk crisscrossing around him. Sequinned songstress Hollywould Star serenades the audience with sultry showtunes, featuring a classy reimagining of the Kylie Minogue classic *Confide in Me*. Drag queens Nastia and Bendy Ben stun in their respective numbers, an opulent mix of glitz, glam and camp intertwined with gymnastic splits and somersaults. It’s all flawlessly executed whilst clad in towering stilettos. ![The Scoop Briefs Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2026/03/Briefs_Sean_Breadsell_095-942x628.jpg "Briefs Spiegel Haus Melbourne • The Scoop")Aerialist Dylan Rodriguez gracefully carves the air with gravity defying precision Photo by Sean BreadsellA definite highlight about midway through the performance features Butterfly, Nastia and Rodriguez simultaneously showcasing their prowess. Powerful bodies tease, twist and gyrate mid-air against a thumping beat. Faanana, luminescent at the centre as radiant alter-ego Shivannah, struts confidently on a treadmill, hair blowing in the wind, her eyes intensely locking in the audience’s gaze. Truly unforgettable. The evening culminates with a decadent, show-stopping performance by hula-hoop extraordinaire and Burlesque King Mark “Captain Kidd” Winmill. No spoilers, I promise: but at some point, the stage, and the audience, get a REALLY good soaking, in the best way possible. This dazzling finale leaves you buzzing long after the cast takes their final bow, as the night kicks on. Bold, boundary-pushing, and just a little bit wicked in all the right ways, *Briefs: The Works* shows a little skin and overflows with heart, offering an escapism that’s brimming with warmth. This remarkable experience feels truly at home headlining Melbourne’s latest destination for cutting-edge live arts. ***Briefs: The Works* runs to 19 April at Spiegel Haus Melbourne. 217 Lonsdale Street Melbourne Vic 3000.** Tickets are available [here](https://www.spiegelhausmelb.com/events/briefstheworks). Website: <https://www.spiegelhausmelb.com/events/briefstheworks> Socials: <https://www.instagram.com/briefsfactory/> and <https://www.instagram.com/spiegelhausmelb/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Sean Breadsell **Categories:** Circus, Melbourne --- ### [Announcing The Shark Is Broken For Sydney & Melbourne](https://thescoop.au/announcing-the-shark-is-broken-for-sydney-melbourne/) **Published:** March 23, 2026 **Author:** Newsroom **Content:** ![The Scoop The Shark Is Broken play Sydney Melbourne](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-23-at-120348-pm-1200x581.png "The Shark Is Broken play Sydney Melbourne • The Scoop")Olivier Award nominated **THE SHARK IS BROKEN** will make its Australian debut in **Sydney** and **Melbourne** from **August 2026**. This fictional piece centred around the making of JAWS is described as “hilariously brilliant and pure genius” (*Sunday Express*, ★★★★★) and has been co-written by Ian Shaw, the son of JAWS actor Robert Shaw. **THE SHARK IS BROKEN** is a razor-sharp, laugh-out-loud play about fame, failure, and friendship under pressure – an edgy, once is a lifetime theatrical treat that proves the biggest drama was never in the water. FADE IN: The open ocean, 1974. Filming is delayed…again. The lead actors, theatre veteran Robert Shaw and young Hollywood hotshots Richard Dreyfuss and Roy Scheider, are crammed into a too-small boat, entirely at the mercy of foul weather and a faulty mechanical co-star. Alcohol flows, egos collide, and tempers flare on a chaotic voyage that just might lead to cinematic magic…if it doesn’t sink them all. “Sensational! In between jokes and tasty movie trivia, this is a story of fathers, sons, mortality and legacy” *Mashable* “So vivid you can almost smell the salt air” *Deadline* Casting announcements will be made in coming weeks. **THE SHARK IS BROKEN is presented by StoreyBoard Entertainment** & **Stoddart Entertainment Group**. **It runs 28 August – 11 October at the Foundry Theatre at the Sydney Lyric Theatre.** It then runs 15 October – 8 November at the Athenaeum Theatre Melbourne. Tickets for Sydney are available [here](https://sharkisbroken.com.au/tickets/sydney/) and Melbourne are [here](https://sharkisbroken.com.au/tickets/melbourne/). Website: <https://sharkisbroken.com.au/> Socials: <https://www.instagram.com/sharkisbrokenau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. **Creative**s Director **Luke Joslin** Set and Costume Design **James Browne** Lighting Design **Jasmine Rizk** Original Music **Sean Peter** Production Manager **Alex Duffy** **Categories:** News --- ### [Announcing Cast For Phantom Of The Opera](https://thescoop.au/announcing-cast-for-phantom-of-the-opera/) **Published:** December 17, 2025 **Author:** Newsroom **Content:** ![The Scoop Phantom of the Opera Handa Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2025/12/54978923011_e9d7a149bb_k-942x628.jpg "Phantom of the Opera Handa Opera Sydney Harbour • The Scoop")**Opera Australia** has announced that Australian musical theatre royalty, celebrated soprano **Amy Manford** has been cast as Christine Daaé in Andrew Lloyd Webber’s ***The Phantom of the Opera*** when it returns for a much anticipated, limited season at Handa Opera on Sydney Harbour from **27 March to 3 May 2026.** Amy has attracted global recognition for her portrayal of The Phantom’s protégé, playing the role to critical acclaim in both the recent Australian in-theatre tour and the West End production in London. Amy will be joined by newcomer **Jake Lyle** who will slip on the world’s most famous mask for the role of The Phantom, making his musical theatre debut as one of the industry’s most iconic characters. The 22-year-old from Gladstone, Queensland is still studying Classical Voice at Queensland Conservatorium and is currently an Emerging Artist in Residence at Queensland Symphony Orchestra. Rising Australian musical theatre star **Jarrod Draper** will complete the trio of leads as Raoul, Vicomte de Chagny. Born in Orange, New South Wales, and a proud Wiradjuri man, Draper has made waves in Australia since he became the first Indigenous man to graduate from WAAPA’s prestigious Musical Theatre program, and has performed in *Moulin Rouge, Sunset Boulevard* and most recently as Munkustrap in *Cats*. Music Supervisor **Guy Simpson** said: *“Everyone loves to say they’ve ‘discovered’ someone, but during the auditions for the Ensemble, a young singer named Jake Lyle caught our attention. The next few days became a rollercoaster for Jake as we directed him through most of The Phantom’s material, all the while confident we had found our man. I think Jake has a stellar future and we will all remember his Opera Australia debut for a long time to come.* *“I’m really thrilled with all three outstanding talents we’ve selected for the 2026 season. It’s a great pleasure to work with Amy Manford again, she is one of the world’s best as Christine, as well as Jarrod Draper as Raoul, whose work in Sunset Boulevard impressed me greatly.”* This production will mark the debut at Handa Opera on Sydney Harbour for all three singers, who will undertake the epic task of performing on Australia’s largest outdoor stage floating above Sydney Harbour. Directed by Australia’s master of musical theatre, **Simon Phillips**, with elaborate costumes & set design by **Gabriela Tylesova** and choreography by Associate Director **Simone Sault**, the harbour setting brings a whole new level of spectacle to this legendary musical. Unmatched views of world-renowned Sydney Opera House, a live orchestra, nightly fireworks and pop-up restaurants and bars, Handa Opera on Sydney Harbour is one of the most unique theatrical experiences in the world, and the only place where you can see this magnificent, grand-scale production of *The Phantom of the Opera* under the stars. Handa Opera on Sydney Harbour is supported by the NSW Government, via its tourism and major events agency Destination NSW, and through the International Foundation for Arts and Culture as Naming Rights Partner, Dr Haruhisa Handa OA’s Patron in Chief, and OA’s Principal Partner HSBC. ![The Scoop Phantom of the Opera Handa Opera on Sydney Harbour](https://thescoop.au/wp-content/uploads/2025/12/54979222580_8d3502dca1_k-942x628.jpg "Phantom of the Opera Handa Opera on Sydney Harbour • The Scoop")Jake Lyle Amy Manford and Jarrod Draper will play the three lead roles in The Phantom of the Opera Photo by Daniel BoudQueensland Baritone **Jake Lyle** is currently undertaking a Bachelor of Music (Performance) in Classical Voice at Queensland Conservatorium Griffith University under the tutelage of Dr Margaret Schindler. During his studies at QCGU, Jake has received the Elizabeth Muir Undergraduate Memorial Award (2022), the Nora Baird Memorial Fund Audition Bursary (2022), the Donald Penman Prize (2024) and Alton Budd Memorial Award Runner Up (2024). Jake was selected as a Finalist in the IFAC Handa Australian Singing Competition in 2024. Recent performances include Tonio in *I Pagliacci* (Leoncavallo), Taddeo in *L’Italiana in Algeri* (Rossini) as part of the Val Machin Opera Scenes, Marco in *Gianni Schicci* (Puccini) and Jupiter in scenes from *Orpheus in the Underworld* (Offenbach). In 2025, Jake is the Emerging Artist in Residence for Queensland Symphony Orchestra and was also selected to participate in the Lisa Gasteen National Opera Program in 2024. **Amy Manford** has toured globally with Classical Crossover legend Andrea Bocelli, including throughout Asia, Australia and South Africa after making her US debut on his North American tour opening at the iconic Hollywood Bowl in Los Angeles. Earlier this year, she completed her second North American tour with celebrated crossover cellist, Hauser. Amy has co-produced, with her company MM Creative Productions, and performed in live concerts with Disney, including the 100th anniversary celebration concert which toured Australia in 2023 and a sold out run of *[Disney in Concert: Live](https://thescoop.au/review-disney-in-concert-brings-chills-and-fairytale-magic/)* at the Sydney Opera House and Arts Centre Melbourne. She won ‘Creative of the Year’ at the 2023 Marie Claire Women of the Year awards and has sung at iconic events such as the 2021 AFL Grand Final in Australia and for King Charles at Buckingham Palace in London. In 2023 Amy released her first EP ‘A Dream is A Wish’ and her first original song ‘Ghost of You’ after her viral cover of ‘Walking in The Air’ in 2024. Amy is trained classically in Opera and studied her Masters at the Royal College of Music in London after completing a Bachelor of Music at the Western Australian Academy of Performing Arts (WAAPA). Jarrod Draper is a proud Wiradjuri man and the first Indigenous graduate of the prestigious Music Theatre course at the Western Australian Academy of Performing Arts (WAAPA). Born in Orange, NSW, his artistic journey began with a full scholarship to the Regional Conservatorium, where he studied Music Theatre and Classical Voice, performing both nationally and internationally. Jarrod most recently appeared as Munkustrap in the 40th Australian Anniversary production of *[Cats](https://thescoop.au/review-cats-pounces-back-into-adelaide-with-jellicle-joy/)* for Crossroads Live! and starred as Artie Green in *Sunset Boulevard* for Opera Australia/GWB Entertainment across Australia and Asia. He previously made history as the first Indigenous artist to play Toulouse-Lautrec in *Moulin Rouge! The Musical* for Global Creatures. An original Australian cast member, he initially understudied Christian and Lautrec before taking over the role. He also starred as C.C. Baxter in *Promises, Promises* for Neglected Musicals. His additional credits include *Rent* (Sydney Opera House/LPD), *Catch Me If You Can* (Hayes Theatre Co), *Sondheim on Sondheim* (QPAC), *When the Rain Stops Falling* (Clovelly Fox Productions), and his critically acclaimed one-man show presented by Darlinghurst Theatre Company/People of Cabaret. Resilient and passionate, Jarrod continues to break barriers as a leading Indigenous artist in Australian musical theatre. **Handa Opera on Sydney Harbour – *The Phantom of the Opera* opens 27 March 2026. Fleet Steps, Mrs Macquaries Point, Sydney.** Tickets: <https://opera.org.au/productions/the-phantom-of-the-opera-on-sydney-harbour/> Website: <https://opera.org.au/national> Socials: <https://www.instagram.com/operaaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image photo credit: Daniel Boud **Categories:** News --- ### [Announcing Full Cast For The Phantom Of The Opera](https://thescoop.au/announcing-full-cast-for-the-phantom-of-the-opera/) **Published:** January 14, 2026 **Author:** Newsroom **Content:** ![The Scoop Phantom of the Opera Handa Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2025/07/54660136154_e46e86f966_k-942x628.jpg "Phantom of the Opera Handa Opera Sydney Harbour • The Scoop")**Opera Australia** has announced the full cast of Andrew Lloyd Webber’s *The Phantom of the Opera*. They join Queensland newcomer **Jake Lyle** as The Phantom when the iconic musical returns for a highly anticipated, limited run at Handa Opera on **Sydney Harbour from 27 March to 3 May.** Making his “dream-come-true” musical theatre debut as The Phantom, 22-year-old Lyle from Gladstone, Queensland was discovered during ensemble auditions. A recent graduate of Classical Voice at Queensland Conservatorium, he is currently an Emerging Artist in Residence with the Queensland Symphony Orchestra. Celebrated Australian soprano **Amy Manford** will return to the stage as Christine Daaé, a role for which she is globally acclaimed, both on London’s West End and the last Australian in-theatre tour. Making his debut as Raoul will be rising Australian musical theatre star **Jarrod Draper**, who has earned success in some of Australia’s biggest hit musicals including *Moulin Rouge, Rent* and *Cats*. Also cast is **Brent Hill** as Monsieur Firmin, **Martin Crewes** as Monsieur André, **Debora Krizak** as Madame Giry, **Guiseppina Grech** as Carlotta Giudicelli, **Daniel Belle** as Ubaldo Piangi, and **Jayme Jo Massoud** as Meg Giry. The ensemble features 39 brilliant Australian performers, including Melody Beck, Jess Bock, Rachel Breeze, Mia Byrnes, Darcy Carroll, Georgia Cosgrove, Mia Coutts, Matt Cranleigh, Zac de Gersigny, Andrew Dunne, Danielle Evrat, Anthony Garcia, Michaela Hodgson, Bianca Hopkins, Michael Lampard, Catrin Lewis, Josephine Lonergan, Natalie Lui, James MacAlpine, Imogen-Faith Malfitano, Sofia Mancini, Jake Maskill, Madeline McCartney, Ella Nonini, Lachlan O’Brien, Ryan Ophel, Ellise Pellizzer, Matthew Reardon, Annabelle Rosewarne, Julian Seguna, Tom Sharah, Anna Stephens, Daniel Tambasco, Leon Vitogiannis, Paul Whiteley, Raphael Wong, Vanessa You, Cathy-Di Zhang and Massimo Zuccara. The original creative dream-team has returned: Musical Supervisor **Guy Simpson**, Australia’s master of musical theatre, Director **Simon Phillips**, Set & Costume Designer **Gabriela Tylesova**, Choreographer & Associate Director **Simone Sault**, Lighting Designer **Nick Schlieper**, and Sound Designer **Shelly Lee**. Combined with the jaw-dropping setting, they bring a whole new level of spectacle to this musical masterpiece. Unmatched views of world-renowned Sydney Opera House, a live orchestra, nightly fireworks and popup restaurants and bars, Handa Opera on Sydney Harbour is one of the most unique theatrical experiences in the world. It is the only place where you can see this magnificent, grand-scale production under the stars. **Handa Opera on Sydney Harbour – *The Phantom of the Opera* runs 27 March – 3 May 2026. Fleet Steps, Mrs Macquaries Point, Sydney.** Tickets: <https://opera.org.au/productions/the-phantom-of-the-opera-on-sydney-harbour/> Website: <https://opera.org.au/national> Socials: <https://www.instagram.com/operaaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: The cast of *The Phantom of the Opera* in Handa Opera on Sydney Harbour’s 2022 production. Photo by Prudence Upton Handa Opera on Sydney Harbour is supported by the NSW Government, via its tourism and major events agency Destination NSW, and through the International Foundation for Arts and Culture as Naming Rights Partner, Dr Haruhisa Handa OA’s Patron in Chief, and OA’s Principal Partner HSBC. ![The Scoop The Phantom of the Opera Handa Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2025/07/54660435445_16c00d2f70_o.jpg "The Phantom of the Opera Handa Opera Sydney Harbour • The Scoop")The Phantom of the Opera runs from 27 March to 3 May 2026 in Sydney **Categories:** News --- ### [Review: Freaky Friday Shine Performing Arts Academy](https://thescoop.au/review-freaky-friday-shine-performing-arts-academy/) **Published:** March 23, 2026 **Author:** Jackson Kellaway **Content:** ![The Scoop Freaky Friday Shine Performing Arts Academy](https://thescoop.au/wp-content/uploads/2026/03/Busted-942x628.jpg "Freaky Friday Shine Performing Arts Academy • The Scoop")You most likely know *Freaky Friday* from the 2003 film starring Lindsay Lohan and Jamie Lee Curtis. You may also be like me and had no clue a musical version even existed. When I heard Shine Performing Arts Academy were putting it on at the local high school, I knew I had to see it. Based on the 1972 novel by Mary Rodgers, with music and lyrics written by Tom Kitt and Brian Yorkey, *Freaky Friday* the musical premiered in 2016. The musical follows the same premise as the movie, namely the tumultuous relationship between a teen girl and her mother. They switch bodies thanks to a magical hourglass, and whilst trying to figure out how to switch back, begin to understand and appreciate one another’s lives, bringing their relationship closer. Walking into the space, the first thing you notice is the ten-piece orchestra on the floor between the audience and the stage. I personally LOVE watching an orchestra, so I knew I would have to keep myself from being distracted from what was happening onstage. The orchestra were tight and only ever supported the cast and the storyline. Conducting them was the creative mastermind behind the show, director, musical director and choreographer Eli Ball. ![The Scoop Freaky Friday the musical Shine Performing Arts Academy](https://thescoop.au/wp-content/uploads/2026/03/Not-Myself-Today-942x628.jpg "Freaky Friday the musical Shine Performing Arts Academy • The Scoop")The ensemble were a delight to watch and filled the scenes with purpose and intent Image suppliedPlaying the lead role of Ellie (Lindsay Lohan’s character, if you need a reference point) was Layla Al Samaraie, a young performer who clearly knows how to be a teenager on stage. What was lovely to see was the clear difference in tone and physicality after the body swap. Vocally, Layla delivered with control, presence and emotion. Opposite Layla was Julie McCoy, playing the mother role of Katherine. Julie balanced the authority of Katherine with a warm undertone, so the character never felt one-note. The embodiment of a teenager was clear and hilarious, especially during the scenes with onstage fiancé Mike, played by John Da Cruz. Julie delivered vocally with strength and clarity. The ensemble and featured roles were such a delight to watch. From school scenes to wedding scenes, the ensemble filled the stage with purpose and intent. The choreography was minimal throughout, but when present, it suited the cast’s strengths and was cleverly done. Special mention goes to Arlo Michaels, who played Ellie’s younger brother, Fletcher. Arlo brought just enough cuteness without being insincere. The young actor’s comedic timing was sharp, and the characterisation of the sock puppets was commendable, right down to their accents! Also, special mention to Lauren Bull, who played Katharine’s assistant, Torrey, with bright energy. Lauren’s facial expressions were hilarious during the chaos that ensued after the body swap. ![The Scoop Freaky Friday the musical Shine Performing Arts Academy](https://thescoop.au/wp-content/uploads/2026/03/Watch-your-Back-942x628.jpg "Freaky Friday the musical Shine Performing Arts Academy • The Scoop")Shine continues to give local emerging talent a platform to create and explore ideas Image suppliedCostuming and props supported the story and helped differentiate between scenes and characters well. The set design was minimalist with rotating flats on wheels to turn between the family home and the school. There was an array of purple and green boxes that were on both sides of the stage and lined the back wall. The box towers downstage had writing on it in a removalist fashion; however the meaning and representation of the colours may have been confusing for anyone who didn’t read the program. Shine Performing Arts Academy delivered a top-notch production that balanced laugh-out-loud moments with messages about empathy, family and self-acceptance. The cast’s commitment and the creative team’s clear direction made *Freaky Friday* a highly entertaining and enjoyable show. Shine Performing Arts Academy continues to give local emerging talent a platform to create and explore ideas. I look forward to seeing what they do next. ***Freaky Friday* was presented by Shine Performing Arts Academy and ran for two shows only from 21 – 22 March at Burpengary State Secondary School. The season has now ended.** Website: <https://www.shineperformingartsacademy.com.au/> Socials: [https://www.instagram.com/shine\_performingarts/](https://www.instagram.com/shine_performingarts/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Images supplied. **Categories:** Brisbane, Musical Theatre --- ### [Announcing Hayes Musical The Pirates of Penzance For Foundry Theatre](https://thescoop.au/announcing-hayes-musical-the-pirates-of-penzance-for-foundry-theatre/) **Published:** March 23, 2026 **Author:** Newsroom **Content:** ![The Scoop Brittanie Shipway The Pirates of Penzance](https://thescoop.au/wp-content/uploads/2026/03/Brittanie-Shipway-Jay-Lagaaia-in-The-Pirates-of-Penzance-PHOTO-John-McCrae-2-942x628.jpg "Brittanie Shipway The Pirates of Penzance • The Scoop")For the first time ever, Hayes Theatre Co brings one of its landmark productions to the Foundry Theatre stage. After a sold-out extended season at Hayes in 2025, plus visits to Wyong, Wollongong and Canberra, Hayes Theatre Co-Artistic Directors **Richard Carroll** and **Victoria Falconer** will raise the Jolly Roger once again as they revive their acclaimed version of ***The Pirates of Penzance**.* Madcap, hilarious and bursting with invention, Carroll’s sparkling new adaptation harnesses the irreverent, genre-busting spirit of Gilbert & Sullivan’s sprawling satirical masterwork and launches it into the 21st century with raucous new life. And the wildest part? Just five actors play every role. Original cast members **Jay Laga’aia** (The Pirate King and others), **Brittanie Shipway** (Ruth and Mabel) and **Maxwell Simon** (Frederic) return to the motley pirate crew once again, joined by new recruits **Sarah Murr** and **Tana Laga’aia**. Together, this fearless ensemble conjures a world of pirates, lovers, sisters, major-generals, and many, many more. Transforming in an instant as costumes, voices and characters fly past at breakneck speed, it’s a breathtaking theatrical feat, with no safety net and truly **“**all hands on deck.**”** A **“***riotous example***”** of Carroll and Falconer’s famous “What if?” approach to theatre-making, the production was hailed by the Sydney Morning Herald as **“***a stroke of hilarious genius***.”** **Richard Carroll** said: “*Hayes shows thrive on being inventive, nimble and always entertaining, which aligns perfectly with the vision behind the Foundry Theatre. We’ve been looking for the right moment to bring a show to this space, and our rollicking, rowdy Gilbert & Sullivan reimagining is the ultimate way to kick off this exciting new partnership*.” ![The Scoop The Pirates of Penzance Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/03/image001-1200x614.png "The Pirates of Penzance Hayes Theatre Co • The Scoop")**Victoria Falconer** added: “*There is a specific magic built into the DNA of every Hayes production – an intimacy that we know will translate beautifully to an innovative space like the Foundry Theatre. Expanding our reach to new spaces, creative partnerships and bigger audiences isn’t just a growth milestone, it paves an ambitious pathway that will directly fuel the creativity and scope of future Hayes productions.*” This is Gilbert & Sullivan like you’ve never seen it before; a full throttle tour de force, as five wildly outnumbered actors (swash) buckle up for an epic voyage. ★★★★★ “*A practically perfect Pirates experience… Beautifully ridiculous charm*” – Time Out ★★★★ “*A hugely sophisticated show*” – Sydney Morning Herald ★★★★ “*A delight!*” – Stagenoise Batten down the hatches and jig along to the Foundry Theatre for **The Pirates of Penzance *or The Slave of Duty***. Five Actors. Every Role. The original mega-musical: re-wired, re-booted, re-duced! ***The Pirates of Penzance* is presented by Hayes Theatre Co and runs from 12 May – 7 June at Foundry Theatre, inside the Sydney Lyric, Pirrama Road Pyrmont** **NSW 2009.** Tickets are available [here](https://www.ticketmaster.com.au/pirates-of-penzance-tickets/artist/981726?). Website: <https://hayestheatre.com.au/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credit: John McCrae **Categories:** News --- ### [Review: Cluedo Hits Adelaide With Murder Most Madcap](https://thescoop.au/review-cluedo-hits-adelaide-with-murder-most-madcap/) **Published:** March 22, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop CLUEDO Adelaide](https://thescoop.au/wp-content/uploads/2026/03/XRL-CLUEDO-photo-Jeff-Busby_2880-copy-942x628.jpg "CLUEDO Adelaide • The Scoop")You may not know who the killer is, but *Cluedo* knows exactly what it is. And crucially, unlike its colourful cast of villains, it doesn’t pretend to be anything else. Based on the cult 1985 film written by Jonathan Lynn, itself inspired by the classic board game, this stage adaptation by Sandy Rustin leans hard into farce. It embraces chaos. It chases laughs. And in this slick Adelaide production, that gamble pays off. The premise is simple. Six strangers. One mansion. A series of murders. Was it Mrs Peacock in the conservatory with the wrench? Professor Plum in the billiard room with the candlestick? Colonel Mustard in the study with the dagger? The joy isn’t in solving it. It’s reliving your childhood game time. Director Luke Joslin understands the tone. This is not psychological drama. It’s melodrama pushed to absurdity. Doors slam. Rooms slide open and closed. Bodies drop. With no intermission the pace rarely lets up. ![The Scoop CLUEDO Adelaide](https://thescoop.au/wp-content/uploads/2026/03/XRL-CLUEDO-photo-Jeff-Busby_2461-copy-942x628.jpg "CLUEDO Adelaide • The Scoop")The cast is a genuine whos who of Australian stage and screen Photo by Jeff BusbyThe cast is a genuine who’s who of Australian stage and screen. Rachael Beck as Mrs White is all icy control and Cruella de Vil energy, she slices through scenes with precision. Adam Murphy plays Colonel Mustard like Drax from *Guardians of the Galaxy*. Every line lands with blunt-force literalism. It becomes a running joke that never quite wears out. Laurence Boxhall brings a different kind of physical comedy. His Reverend Green begins as a jittery, almost Jerry Lewis-style bumbler. Then the body work takes over. There are echoes of his time playing Gollum. Twitches. Collapses. A brilliant sequence involving corpses that feels lifted from *Weekend at Bernie’s*. It builds to one of the strongest comedic arcs of the night. Grant Piro nearly steals the show. His rapid-fire recap late in the piece is a feat. He re-enacts the entire play at breakneck speed, threading together chaos into something almost coherent. His death scene, meanwhile, gleefully borrows from every classic Hollywood trope in the book. It’s too much, in most contexts, but not here. There are strong turns across the ensemble. Olivia Deeble is a sultry Miss Scarlett; a character written before sex positivity. Genevieve Lemon sure knows how to gobble a shark fin soup as Mrs Peacock. Lib Campbell is a breakout as Yvette, a French maid who seems constitutionally unable to stand upright. The accent is outrageous. ![The Scoop CLUEDO Adelaide](https://thescoop.au/wp-content/uploads/2026/03/XRL-CLUEDO-photo-Jeff-Busby_2635-copy-942x628.jpg "CLUEDO Adelaide • The Scoop")The genuinely clever set feels feels like watching a diorama come to life Photo by Jeff BusbySet and costume designer James Browne has created something genuinely clever. Rooms slide in and out like drawers in a board game. It feels like watching a diorama come to life. The movement is efficient. It keeps the story moving. The show also benefits from moments of release. Dance sequences break up the pace. They arrive just as the tension threatens to plateau. If there’s a limitation, it’s built into the material. *Cluedo* has always struggled with its mystery. The original film was famously messy, with multiple endings. This adaptation tidies things up. But only to a point. The final reveal lands, but it’s not the reason you’re here. And that’s fine. This production thrives on comedy, not deduction. It understands that adapting a board game will always feel slightly mechanical. The trick is to lean into it. *Cluedo* integrates the rules, the lore, the references as smoothly as possible. With so many decades of adaptations, you could ask, “who hasn’t done this whodunnit?” Unlike half the characters by show’s end, though, this show still has more life in it yet. ***Cluedo* runs to 4 April at Her Majesty’s Theatre, 58 Grote Street Adelaide as part of a national tour. See dates below.** Tickets: <https://cluedoplay.com.au/#tickets> Website: <https://cluedoplay.com.au/> Socials: <https://www.instagram.com/cluedotheplay/> [Read our Interview with Rachael Beck](https://thescoop.au/rachael-beck-trades-ballads-for-bloodshed-as-mrs-white-in-cluedo/) Photo credits: Jeff Busby 2026 Australian Tour Dates Brisbane 7 January to 1 February, Playhouse Theatre, QPAC Melbourne 7 February – 15 March, Comedy Theatre Adelaide 21 March – 4 April, Her Majesty’s Theatre Sydney 11 April – 8 May, Theatre Royal **Categories:** Adelaide, Theatre --- ### [Win Tickets To The President's Cake In Cinemas Next Month](https://thescoop.au/win-tickets-to-the-presidents-cake-in-cinemas-next-month/) **Published:** March 22, 2026 **Author:** Newsroom **Content:** ![The Scoop The President's Cake In Cinemas 2 April](https://thescoop.au/wp-content/uploads/2026/03/TPC-Social-banner-1920x1080-April-2-1116x628.jpg "The President's Cake In Cinemas 2 April • The Scoop")Winner of the Cannes 2025 Camera d’Or and the Directors’ Fortnight Audience Award, **THE PRESIDENT’S CAKE** has been widely acclaimed by critics around the world. Set in 1991 Iraq during the final years of Saddam Hussein’s rule, the film follows nine-year-old Lamia, whose class is ordered to celebrate the President’s birthday by baking a cake. In a country gripped by sanctions and shortages, even the simplest ingredients are scarce and costly – turning the task into something far more daunting than it first appears, especially as failure to comply will result in punishment. The Scoop is **giving away ten, in-season double e-passes** **to the film**, thanks to Rialto Distribution! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The tickets are valid at any cinemas across Australia screening THE PRESIDENT’S CAKE. (Terms and conditions can be found on the tickets). Setting out from her village with her elderly grandmother – and pet rooster Hindi – to source the ingredients, Lamia’s journey soon takes an unexpected turn when the two become separated along the way. Determined to complete the task, Lamia continues on, eventually joined by her loyal best friend Saeed. ![The Scoop The President's Cake Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/ThePresidentsCake_BrochHero_MinRes-942x628.jpg "The President's Cake Perth Festival • The Scoop")The Presidents Cake opens in cinemas nationally from 2 April Together, the children embark on a remarkable journey to the city, navigating a landscape shaped by hardship, watchful authority and the quiet resilience of everyday life. Along the way they encounter moments of danger, kindness and humour that test their courage and deepen their friendship. *“Shot entirely in Iraq, using mostly untrained actors, The President’s Cake is populated by faces that look lived-in, tired, opportunistic, frightened. It is expertly made, emotionally precise, and devastating in its small details.”* [The Scoop](https://thescoop.au/film-review-the-presidents-cake-is-a-tender-portrait-of-fear-survival/) Seen through the eyes of a child, **THE PRESIDENT’S CAKE** is a moving and genuinely uplifting story about ingenuity, loyalty and the small acts of hope that endure even in the most difficult circumstances. ***The President’s Cake* opens nationally in cinemas from 2 April 2026.** Website: <https://rialtodistribution.com/film/the-presidents-cake/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read our Five Star Review of the Film](https://thescoop.au/film-review-the-presidents-cake-is-a-tender-portrait-of-fear-survival/) Watch the trailer here: **Film details:** Title: The President’s Cake Director: Hasan Hadi Cast: Baneen Ahmed Nayyef, Sajad Mohamad Qasem, Waheed Thabet Khreibat, Rahim AlHaj Country of Origin: Iraq, USA, Qatar Duration: 102 mins Rating: M **Categories:** competition, News --- ### [Review: Stage Kiss Is A Love Letter To Theatre's Most Awkward Moments](https://thescoop.au/review-stage-kiss-is-a-love-letter-to-theatres-most-awkward-moments/) **Published:** March 21, 2026 **Author:** Leo Manson **Content:** ★★★★☆ ![The Scoop Stage Kiss New Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/03/Stage-Kiss_8A6618RS-942x628.jpg "Stage Kiss New Theatre Sydney • The Scoop")Have you ever acted in a bad play before? *Stage Kiss,* on now at New Theatre, brings all that awkwardness to a hilariously cringeworthy (and relatable) light. Written by American playwright Sarah Ruhl, *Stage Kiss* premiered in 2011 in Chicago. Though many years have passed since its debut, the humour remains timeless. The story follows a middle-aged woman, known simply as ‘She,’ as she and an ex-lover (known as ‘He’) are cast as current lovers in a play. Directed by Alice Livingstone, *Stage Kiss* draws its humour primarily from the metatheatricality of it all. You see this immediately as you enter the theatre. At first, there is no stage design. It genuinely looks no different to the early days of any theatre project, a few chairs in an empty room. The show recounts the awkward warm-ups people do before auditions, the unintended comedy of staging a kiss, and so much more. It’s a show truly for people in the industry. ![The Scoop Stage Kiss New Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/03/Stage-Kiss_8A7448RS-942x628.jpg "Stage Kiss New Theatre Sydney • The Scoop")*Stage Kiss* draws its humour primarily from the metatheatricality of it all Photo credits Bob SearyParticularly well written are the quick one-liners. They’re given enough space to be shocking each time and are incredibly witty. The line delivery is consistent from the entire cast. What sells the comedy is the wonderful casting. It’s hard to imagine the main character as anyone other than the excellent Emma Delle-Vedove. She plays it with such a pathetic yet endearing manner that, despite her flaws, you can’t help but root for her. As the Director, Nicholas Papademetriou is captivating. You can feel his passion for theatre through the role. The lines aren’t just said by someone playing a character; they’re being performed by someone who truly lived those experiences. Though the stage begins bare, it slowly gathers props as it moves from scene to scene. Finally, as the characters make their way to opening night, we see the stage in its full glory. ![The Scoop Stage Kiss New Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/03/Stage-Kiss_6894RS-942x628.jpg "Stage Kiss New Theatre Sydney • The Scoop")The set design skilfully defines both the world of the theatre and home of the struggling actor Photo by Bob SearyMerle Leuschner is evidently a very skilled designer. The elegant set accumulated for the play within the show is greatly juxtaposed by the dirty room of the ex-lover, played by Jason Spindlow. The dingy teal walls in particular make the room look depressing. This symbolises a reality check for our main character as the show moves into its conclusion. Though the pace slows in the latter half of the second act, it is not without powerful moments. In particular, the forgiveness of the main character’s husband is incredibly compelling. Playing said ‘Husband’ is the talented Lynden Jones, who is a delight in every scene he’s in. He creates this sense that he and his partner are an indomitable force. Audiences really are convinced of the longevity of the characters’ relationship. How could one not mention the intimacy coordinator? A show with this many kisses between so many different people must be a difficult one to navigate. With that, credit is well due to the intimacy coordinator, Sonya Kerr. Anyone who’s had anything to do with performing arts of any form deserves to see *Stage Kiss*, a hilarious ode to theatre. ***Stage Kiss* runs to 11 April at New Theatre Newtown. 542 King Street Newtown NSW 2081**. Tickets are available [here](https://shorturl.at/NJXaz). Website: <https://newtheatre.org.au/stage-kiss/> Socials: <https://www.instagram.com/newtheatresydney/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Bob Seary **Categories:** Sydney, Theatre --- ### [Review: Fuccbois Live In Concert 2026 Adelaide Fringe](https://thescoop.au/review-fuccbois-live-in-concert-2026-adelaide-fringe/) **Published:** March 21, 2026 **Author:** Carolina Fioravanti **Content:** ★★★★☆ ![The Scoop Fuccbois Live in Concert Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/214_Fuccbois-_photocredit_AnnaKuceraSML-942x628.jpg "Fuccbois Live in Concert Adelaide Fringe • The Scoop")They’ve been creating music, travelling the world and breaking hearts for twelve years. Now, it’s time to say goodbye forever. Welcome to the final show of the Fuccbois Farewell Tour (NO encores). Your favourite heartthrobs, Brendan, Brandon, Tyler and Also Brendan, will pelvic thrust and four-part harmonise their way through their back catalogue just for you (and the 90,000 other people in the audience). Hopefully, everything goes off without a hitch. Created by ARIA Award-winning writer Bridie Connell, *Fuccbois: Live in Concert* is directed by Richard Carroll, with choreography by Jamie Winbank and music production by Dave Muratore. The show is a high-octane power hour with non-stop laughter from start to finish. Bridie, being an artist of many talents, also stars as Brandon. Vidya Makan and Clara Harrison play Brendan and Also Brendan, and the band was completed by Grace Royle as swing for Tyler. (I didn’t even realise Grace was a swing until after the show.) ![The Scoop Fuccbois Live in Concert Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/101_Fuccbois-_photocredit_AnnaKucera-942x628.jpg "Fuccbois Live in Concert Adelaide Fringe • The Scoop")Fuccbois Live in Concert is satire at its finest Photo by Anna KuceraIt’s clear they are tight-knit as a group and have worked incredibly hard to put on a show of this quality. Orya Golgowsky rounds out the cast as the band’s manager, Micaela, clearly on her last nerve after having to deal with the boys and their antics for the last decade. This show is satire at its finest. Take the concept of a f\*\*\*boy, set it to a boy band soundtrack, and you’ve got instant comedy gold. The themes and topics of feminism, the patriarchy, pop culture, toxic masculinity and modern dating culture are handled with all the grace and subtlety one would expect from a Fuccboi. The choice to have the Fuccbois played by women is incredibly inspired. It adds to the humour and cements it as satire. The audience can truly laugh along, rather than potentially feel uncomfortable with men singing about their own privileges. ![The Scoop Fuccbois Live in Concert Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/Mel-web1080x1350-785x628.jpeg "Fuccbois Live in Concert Adelaide Fringe • The Scoop")I was genuinely disappointed to find out that they are not a real bot band you can listen to on SpotifyTheir boy band inspiration is very clear. The British accents (save for the token Irish member) invoke bands like One Direction. Their baggy clothes and very specific dance moves conjure images of classic 90s boy bands like the Backstreet Boys and \*NSYNC. And their smooth vocals and clean, crisp harmonies summon memories of Boyz II Men. Their general behaviours and attitudes remind us of the boys that plague our DMs. The music is indeed as “banging” as advertised. The lyrics are nothing short of genius, with wordplay and puns abound. The music itself, thanks to Bridie and Dave, is so catchy that audience members clapped their hands and danced in their seats. Songs including *Slow Fade*, *Rich Dad* and the Irish folk-inspired *Gaslight Shanty* will be stuck in your head long after you leave the venue. I was genuinely disappointed to discover that they are not, in fact, a real boy band you can listen to on Spotify. Fingers crossed there’ll be a cast album released in the future! The boys’ next tour stop will be the Melbourne International Comedy Festival. However, as the Fringe finishes, so too must the Fuccbois’ time in Adelaide. But as they love to say, don’t cry because it’s over. Smile because it happened. ***Fuccbois: Live in Concert* is presented by Soft Tread and runs to 22 March at the Kingfisher, Gluttony as part of the 2026 Adelaide Fringe.** **Rymill Park Adelaide SA 5000.** It then runs 26 March – 5 April at The Show Room, Arts Centre Melbourne as part of the Melbourne International Comedy Festival. Tickets Adelaide: <https://adelaidefringe.com.au/fringetix/fuccbois-live-in-concert-af2026> Tickets Melbourne: <http://comedyfestival.com.au/browse-shows/fuccbois-live-in-concert> Socials: [https://www.instagram.com/fuccbois\_liveinconcert/](https://www.instagram.com/fuccbois_liveinconcert/) [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Photo credits: Anna Kucera **Categories:** Adelaide, Theatre --- ### [Review: MARVELous Brings Cheeky Superhero Chaos To Brisbane](https://thescoop.au/review-marvelous-brings-cheeky-superhero-chaos-to-brisbane/) **Published:** March 19, 2026 **Author:** Regan Baker **Content:** ![The Scoop Marvelous A Risqué Parody Brisbane](https://thescoop.au/wp-content/uploads/2026/03/Brisbane-Cast-of-Marvelous2-941x628.png "Marvelous A Risqué Parody Brisbane • The Scoop")For a show like *MARVELous: A Risqué Parody*, the title really does most of the heavy lifting in that you know exactly what you are walking into. In no way is this subtle theatre. And honestly? Thank God for that. It’s superheroes and sex jokes thrown into a latex-clad bender along with pop songs and pop culture references you honestly hadn’t thought about in years. The formula is knowingly stupid, proudly filthy, and designed for audiences who like their fandom with a side of burlesque and absolutely no dignity. This latest run at the Twelfth Night Theatre in Brisbane arrives with a bit of history behind it**.** *MARVELous* has toured Australia before in bigger, flashier forms, and its reputation has largely been built on that mix of comic book recognition, cheeky camp and adults-only spectacle. Previous coverage on [The Scoop](https://thescoop.au/review-marvelous-the-show-a-gloriously-good-time/) has touched on that same appeal. It is easy to see why the show has travelled well. Marvel characters already live in such an exaggerated world that parody feels like a natural extension. The best versions of this kind of production know they do not need to reinvent the wheel. They just need to throw Deadpool, Captain America, Loki, and others into increasingly stupid situations and trust the audience to come along for the ride. While its namesake hints at only being a Marvel parody, in actuality, it’s so much more. There are swings at *Star Wars*. A delightful nod to *The Simpsons* with Mr Plow. And even an *Austin Powers* runaway steamroller gag thrown into the mix. It turns the whole night into a sort of late-night pop culture fever dream, which is really where the material is at its strongest. It’s my gut instinct that creator and director, Samwise Holmes, spent his early adulthood with a man-crush on Ryan Reynolds’ Deadpool. And just like the rest of us, thought to himself, “I wanna be like that guy!” ![The Scoop Marvelous A Risqué Parody Brisbane](https://thescoop.au/wp-content/uploads/2026/03/Marvelous-Promotional-Poster1-1116x628.png "Marvelous A Risqué Parody Brisbane • The Scoop")While its namesake hints at only being a Marvel parody in actuality its so much more Photo by Ben DingleyUnlike the rest of us, though, he actually got to realise his dream. His Deadpool is confident, funny, and vocally very close to Reynolds in a way that instantly helps sell the character. He captures that smug, overcaffeinated rhythm that makes Deadpool such an easy crowd favourite in a beautifully chaotic and inappropriate way. In a similar fashion, as Loki, Natasha O’Hehir’s reimagining into an Elphaba-style *Wicked* gag is the exact sort of unhinged nonsense this show needs. The rewritten *Defying Gravity* lyrics are both silly and sharp in equal measure. Then there is HamilPool, which imagines Deadpool dropped into *Hamilton*. It is so naturally funny that it almost feels unfair not to give it more time. By the end, I had fully convinced myself Lin-Manuel Miranda and Ryan Reynolds need to stop whatever they are doing and make that happen properly. And yes, the loudest reaction of the night probably belonged to the *Dirty Dancing* homage featuring Bucky (Logan Grant) and Captain America (Trent Owers), with the added detail of…their own extra details (if you catch my drift). Highbrow? Not remotely. Effective? Very much so. If there is one thing I can say most confidently about *MARVELous*, it’s that it never lacks for ideas. The puns are just as frequent as a Deadpool F-bomb. The references hit you right in the nostalgia. And there is a solid understanding of how to hype up an audience that wants to laugh first and ask questions later. Some of the routines are genuinely fun, and there are enough good comic instincts throughout to remind you why the show has had a life beyond a one-off novelty run. This version, though, does feel like a leaner reworking of the production that previously toured Australia. Some of the larger visual elements I read about from [my colleagues](https://thescoop.au/review-marvelous-the-show-a-love-letter-to-stage-and-screen/)*,* which helped give it scale, appear to have been trimmed back. ![The Scoop Marvelous A Risqué Parody Brisbane](https://thescoop.au/wp-content/uploads/2026/03/Iron-Woman-Lulani-Rawson-1149x628.png "Marvelous A Risqué Parody Brisbane • The Scoop")This version does feel like a leaner reworking of the production that previously toured Australia Photo by Ben DingleyThere is no big screen this time, no construction-style scaffolding looming over the action, and the character spread feels smaller too (no Dr Strange or Scarlet Witch). That does change the overall feel a bit. Where earlier versions sounded built around excess, this feels more like a stripped-back club-style take on the material. There were also a few technical hiccups on the preview night. Lighting often felt less designed to shape the action and more designed to attack the audience directly, which got a bit much. Audio cues were occasionally missed, microphones were not always reliable, and a few costume elements looked like they were having a long evening themselves. The advertised jaw-dropping stunts were also absent, save for a death drop or two. Still, the crowd had plenty to laugh at, and there is something to be said for a show that never really stops throwing jokes at the wall. Even when it’s messy, it stays energetic. By the final number, when all three Spider-Men ended up scrambling for handheld microphones after their ear-hook mics fell off, the whole thing had become a bit unintentionally symbolic. Crackling sound, frantic recovery, everyone trying to push through to the finish. In a strange way, that ending captured *MARVELous: A Risqué Parody* perfectly. It’s chaotic, cheeky, endlessly clever, and more than a little rough around the edges. As Deadpool would know, not every superhero landing sticks. But there is still enough mischief, commitment and sheer silliness here to remind you why this show has managed to keep touring in the first place. ***MARVELous: A Risqué Parody* runs to 4 April at Twelfth Night Theatre, 4 Cintra Road Bowen Hills Qld 4006.** Tickets are available [here](https://feverup.com/m/534422?cp_landing_source=marveloustheshow.com&utm_source=direct). Website: <https://marveloustheshow.com.au/> Socials: <https://www.instagram.com/marveloustheshow/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Ben Dingley **Categories:** Brisbane, Circus, Musical Theatre --- ### [Review: Amplified Brings The Chrissy Amphlett Spirit To Melbourne](https://thescoop.au/review-amplified-brings-the-chrissy-amphlett-spirit-to-melbourne/) **Published:** March 20, 2026 **Author:** Liz Baldwin **Content:** ★★★★☆ ![The Scoop Amplified Chrissie Amphlett Melbourne](https://thescoop.au/wp-content/uploads/2026/03/4-Sheridan-Harbridge-in-Amplified-at-BELVOIR-Photo-by-Brett-Boardman-941x628.jpg "Amplified Chrissie Amphlett Melbourne • The Scoop")*Amplified: The Exquisite Rock and Rage of Chrissy Amphlett* is not a tribute show. It’s a stunning piece of art in its own right, anchored by an incredible performance from Sheridan Harbridge. Chrissy Amphlett, best known as the lead singer of 1980s Australian rock band Divinyls, holds a special place in many hearts. She broke the mould for female rockers, carving an identity as a spunky, supremely talented, lead singer. With her school uniform aesthetic, raw vocal style, and unapologetic stage presence, Amphlett helped redefine what it meant to be a woman in rock music, both in Australia and internationally. The shadow of Amphlett looms large over the show. The affection its creators, Sheridan Harbridge, Sarah Goodes, and Glenn Morehouse, have for her is clear. And they have big shoes to fill: the genesis of the show came when director Sarah Goodes was approached by Chrissy’s husband and friends to posthumously realise her vision for a one-woman show. ![The Scoop Amplified Chrissie Amphlett Melbourne](https://thescoop.au/wp-content/uploads/2026/03/1-Sheridan-Harbridge-in-Amplified-at-BELVOIR-Photo-by-Brett-Boardman-941x628.jpg "Amplified Chrissie Amphlett Melbourne • The Scoop")Amplified is a stunning piece of art in its own right Photo by Brett BoardmanThat admiration, or the sense of responsibility, could have hung heavy over the production. But it’s handled gracefully. Harbridge deals with the audience’s expectations up front: this isn’t a tribute show, and I don’t sound like Chrissy Amphlett, she acknowledges. It’s a smart, disarming move that resets the terms of engagement and allows the work to breathe on its own terms. What we get instead is something even richer. Harbridge narrates Chrissy’s life, combining the broad strokes of biography with evocative anecdotes and details. She handles the monologues deftly, bringing focus and heart to the storytelling. Sometimes she’s completely in the story, other times breaking the fourth wall to reflect on her own relationship with Amphlett and the role. It’s a stunning, distinctive performance, and it’s hard to imagine anyone else taking on this singular role. The exposition is interspersed with performances of Divinyls songs. Harbridge proves a capable vocalist, bringing Amphlett-like intensity to the performances. ![The Scoop Amplified Belvoir St Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/01/Amplified-byJadeEllis-lowres-03999-942x628.jpg "Amplified Belvoir St Theatre Sydney • The Scoop")Sheridan Harbridge delivers a stunning distinctive performance Photo by Jade EllisShe’s supported by musical director and guitarist Glenn Morehouse, who leads the on-stage band, with Ben Cripps on bass, Clarbell Liu on keys, and Dave Hatch on drums. Their live-gig energy helps smooth the transitions between biography and performance easily. This production is deceptively simple. The set is bare, and there’s little movement from the band, providing a visual foil to Harbridge as she prowls the stage, and occasionally steps off it. True to the spirit of Amphlett, she’s not afraid of audience participation. It’s in these off-the-cuff interactions that she shines comedically, at ease bouncing off the audience’s reactions and totally in control of the space. *Amplified* will be most appreciated by Divinyls fans, who were out in force at the Melbourne opening night. But Harbridge’s performance is compelling even beyond that context. This is less a retelling than a reimagining; a work that channels, rather than copies its subject. Whatever its talented trio of creators do next will certainly be worth watching. ***Amplified: The Exquisite Rock & Rage of Chrissy Amphlett* is presented by the Marriner Group and runs to 22 March at the Comedy Theatre**. **240 Exhibition Street Melbourne Vic 3000.** It then runs in Sydney at Seymour Centre 15 – 25 April. Tickets are available [here](https://premier.ticketek.com.au/shows/show.aspx?sh=AMPLIF26&v=COM&p=ECOM2026683AB)! Website: <https://www.amplifiedlive.com.au/> Socials: [https://www.instagram.com/amplified.show.live/](https://www.instagram.com/amplified.show.live/?g=5) [Read our Review of the Belvoir Sydney Season](https://thescoop.au/review-amplified-brings-chrissy-amphlett-back-with-leather-lace-voltage/) Photo credits: Brett Boardman **Categories:** Melbourne, Theatre --- ### [Announcing Child Cast For Waitress Melbourne](https://thescoop.au/announcing-child-cast-for-waitress-melbourne/) **Published:** March 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Waitress Child Cast Melbourne](https://thescoop.au/wp-content/uploads/2026/03/Waitress-child-cast-942x628.jpg "Waitress Child Cast Melbourne • The Scoop")Four young Melbourne actresses were announced today to play the role of Jenna’s daughter Lulu in the Melbourne season of Broadway’s smash-hit musical **WAITRESS**, which arrives at Her Majesty’s Theatre **Melbourne from 1 May** **2026**. Lulu will be played by **Stevie Denton** (aged 5 years old, from North Warrandyte), **Lola Inman** (aged 5, from Langwarrin), **Ruby Marshall** (aged 5, from Port Melbourne) and **Evie Papas** (aged 6, from Templestowe). Tickets are now on sale at <http://waitressthemusical.com.au/> Leading the cast as Jenna will be **Natalie Bassingthwaighte** (*Chicago, Shirley Valentine*). **Gabriyel Thomas** (*Cats, Sister Act*) and **Mackenzie Dunn** (*Grease, Annie*) play Becky and Dawn, Jenna’s coworkers at the diner. Charismatic star of stage and screen **Rob Mills** *(& Juliet, Wicked*) will play Dr Pomatter. Legendary actor **John Waters** (*Jesus Christ Superstar, Oliver!*) will be Joe, the owner of the diner. **Keanu Gonzalez** (*Annie, West Side Story*) will play Earl, **Gareth Isaac** (*Elf the Musical*, *Mary Poppins*) will play the role of Ogie, **John Xintavelonis** (*The Wizard of Oz, The Lion King*) will play Cal, and **Annie Aitken** (*Guys & Dolls, The Sound of Music*) will be the Jenna Alternate. The ensemble and swing cast comprises **Cameron Boxall**, **Alexandra Cashmere**, **Ethan Jones**, **Dwayne Mitchell**, **Joseph Naim**, **Conor Neylon**, **Belle Parkinson**, **Emily Robinson**, **Elandrah Tavares**, **Bree Tipoki** and **Stephanie Wall**. Producer **John Frost** For Crossroads Live said: “*This inspiring show was a massive hit on Broadway where it played for almost four years, and was a huge success in the West End and across the world. WAITRESS has become a ‘must see’ musical, with its memorable music by Sara Bareilles and universal themes of hope and resilience*. *Get your tickets now to see this sensational Australian cast perform this moving and original musical.*” ![The Scoop Waitress Musical Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Waitress-banner-944x628.jpg "Waitress Musical Australia 2026 • The Scoop")Inspired by Adrienne Shelly’s beloved film, and brought to life by a trailblazing female-led creative team, including a book by acclaimed screenwriter Jessie Nelson, an original, uplifting score by Grammy® winner Sara Bareilles *(Love Son*g, *Brave*) and direction by Tony® winner Diane Paulus, WAITRESS is the irresistible Broadway hit about resilience, friendship and hope that has captured hearts worldwide.​ This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. ​When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined.​ WAITRESS made history on Broadway with the four top creative spots in a show being filled by women – Sara Bareilles (music and lyrics), Jessie Nelson (book), Lorin Latarro (choreography) and Diane Paulus (direction). It opened on Broadway in April 2016 at the Brooks Atkinson Theatre, where it ran until January 2020. WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. Sweet, sassy and soul-stirring, WAITRESS is “*a little slice of heaven*” (Entertainment Weekly) and “*made from the finest ingredients*” (Time Out). It’s a feel-good celebration of second chances, and the magic of a well-made pie. Everyone deserves a slice of happiness! **WAITRESS premieres in Melbourne from 1 May 2026 at Her Majesty’s Theatre. 219 Exhibition Street Melbourne Vic 3000.** It runs in Sydney from 1 August 2026 at the Lyric Theatre. Get tickets for Melbourne [here](https://waitressthemusical.com.au/tickets/melbourne/) and tickets for Sydney [here](https://waitressthemusical.com.au/tickets/sydney/). Website: <https://waitressthemusical.com.au/> Socials: <https://www.instagram.com/waitressau/> [Read the Full Adult Cast Announcement](https://thescoop.au/exciting-cast-announced-for-waitress-australian-premiere/) Photo credit: Cameron Grant **Categories:** News --- ### [Review: Sunny Tribe District Brings Pure Fun & Infectious Energy](https://thescoop.au/review-sunny-tribe-district-brings-pure-fun-infectious-energy/) **Published:** March 20, 2026 **Author:** Jenny Mason **Content:** ![The Scoop Sunny Tribe District Salad Days Collective PIP Theatre](https://thescoop.au/wp-content/uploads/2026/03/STD-2-942x628.jpg "Sunny Tribe District Salad Days Collective PIP Theatre • The Scoop")Written by Brisbane playwright Patrick Mu’a, *Sunny Tribe District* is brought to life by the Salad Days Collective in co-production with PIP Theatre, delivering a night of pure fun and infectious hilarity. PIP Theatre is a quaint, intimate venue, complete with a cosy bar that sets the tone for an evening of independent theatre. The bustling audience is welcomed by enthusiastic ‘Camp Counsellors’ named Kurt, Kay, Kris and Celly with a C, played by four absolute triple threat performers: Peter Wood, Isabella Berlese, Darcy Jones and Rebecca Day, who also impressively co-directs alongside Jasmine Prasser. *Sunny Tribe District* started out as a ten minute play at Short + Sweet Festival, taking home several awards. It was developed into a full-length work by Robert the Cat and premiered as part of Metro Arts’ 2022 performance season. Set in a happy camp named Sunny Tribe District (STD – double meaning intended), this production is a laugh-out-loud, breath of fresh air. The singing is endearing, the set is cute, the choreography is tight, and the humour is constant. ![The Scoop Sunny Tribe District Salad Days Collective PIP Theatre](https://thescoop.au/wp-content/uploads/2026/03/STD-1-942x628.jpg "Sunny Tribe District Salad Days Collective PIP Theatre • The Scoop")Sunny Tribe District is a laugh out loud breath of fresh air Image suppliedThe straightforward plot focuses on missing founder of the camp named Ken. Our loveable and optimistic counsellors keep the pace moving with their well-meaning mission to spread joy and cure ‘Sadlings.’ The adorable and flirtatious Kurt, played Peter Wood, brings superb physical comedy. The show delivers a steady stream of laughs, songs and double entendres. The tongue-in-cheek humour is matched by strong physical comedy, while the charismatic cast keeps the energy high. Packed with puns and fast-paced gags, the entertainment rarely lets up. The audience is presented with many musical numbers, monologues, sexual tension and beautiful interactions. The chemistry is apparent, the mood is kitsch, and the laughter is loud. The stunning Kay, played by Isabella Berlese, presents subtle humour with many dimensions. A notable moment is the sultry performance, *Having A Moment,* featuring Kay as her alter-ego, Bubbles the Dominatrix. Each camp counsellor has their own approach towards how to cure sadness, and we hear all about it through many genres of song. Accents are impressive, from cheesy American to cool British. ![The Scoop Sunny Tribe District Salad Days Collective PIP Theatre](https://thescoop.au/wp-content/uploads/2026/03/STD-5-785x628.jpeg "Sunny Tribe District Salad Days Collective PIP Theatre • The Scoop")By the end of the play the performers feel more like good friends than characters in a play Image suppliedAs Kris, Darcy Jones gives a standout performance. The ‘Southern’ and captivating Celly with a C, played by Rebecca Day, is a crowd favourite, her charm irresistible. These extroverted talents are contrasted by the down-to-earth Nick (Nick with a K, Knick?) played by Peter Hatton, Ken’s long-lost brother, who is visiting the camp to find him. Knick has eyes for the beautiful Kay, adding yet another amusing flirtation. The witty and melodramatic script leans funny over complex. The audience is treated to many hilarious scenarios and humdingers with the cast earning every one of their laughs. By the end of the play, the performers feel more like good friends than characters in a play. With a well-deserved standing ovation, the play felt like a roaring success. *Sunny Tribe District* has achieved its mission – to make happiness reborn, with everyone leaving the theatre in a great mood. Bravo! ***Sunny Tribe District* is presented by Salad Days Collective and runs to 28 March at PIP Theatre. 20 Park Road Milton Qld 4064.** Tickets: <https://piptheatre.sales.ticketsearch.com/sales/salesevent/157484> Website: <https://piptheatre.org/sunny-tribe-district/> Socials: <https://www.instagram.com/salad.days.collective/> and <https://www.instagram.com/piptheatreau/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Images supplied. **Categories:** Brisbane, Theatre --- ### [Win Tickets To See The Deb In Cinemas Next Month](https://thescoop.au/win-tickets-to-see-the-deb-in-cinemas-next-month/) **Published:** March 20, 2026 **Author:** Newsroom **Content:** ![The Scoop THE DEB Film Rebel Wilson](https://thescoop.au/wp-content/uploads/2026/03/THE-DEB-Social-banner-1920x1080-Apr-9-1116x628.jpg "THE DEB Film Rebel Wilson • The Scoop")Rialto Distribution is excited to announce that the joyous new Australian musical **THE DEB** will hit cinemas nationwide from **9 April** **2026**! Set in the drought-stricken town of Dunburn, **THE DEB** follows big-hearted farm girl Taylah Simpkins, whose dreams of shining at the annual Debutante Ball are turned upside down by her sharp-witted city cousin Maeve. Declaring the event a “heteronormative shit-show,” Maeve shakes up the town and Taylah’s plans, sending both on a hilarious, touching and music-filled journey toward friendship, self-discovery, and stepping confidently into the spotlight. The Scoop is **giving away five, in-season double e-passes** **to the film**, thanks to Rialto Distribution! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. The tickets are valid at any cinemas across Australia screening THE DEB (terms and conditions can be found on the tickets). ![The Scoop THE DEB Film Rebel Wilson](https://thescoop.au/wp-content/uploads/2026/03/Sc1_THE_DEB_JohnPlatt_47062775-936x628.jpg "THE DEB Film Rebel Wilson • The Scoop")THE DEB is in cinemas 9 April Photo by John PlattMarking the feature directorial debut of **Rebel Wilson**, **THE DEB** is powered by a standout creative team whose decades of experience across Australian and international filmmaking bring vibrancy and expertise to every frame. The screenplay by award-winning writer **Hannah Reilly** delivers a fresh, contemporary Australian voice, while acclaimed musician **Meg Washington** contributes original songs that lift the story’s humour, heart, and energy. The production is overseen by **Gregor Cameron, Amanda Ghost, David Jowsey, Greer Simpkin** and **Rebel Wilson**, with executive producers **Vince Holden, Len Blavatnik,** and **Danny Cohen,** ensuring the musical’s story resonates with audiences. **THE DEB** features a charming ensemble, including rising talents **Natalie Abbott, Charlotte MacInnes** and **Stevie Jean**. They appear alongside seasoned actors **Shane Jacobson, Tara Morice** and **Wilson** herself, whose performances bring warmth and depth to the cast. Drawing on the same joyous, music-filled spirit that has made Australian favourites like *Muriel’s Wedding*, *The Sapphires* and *The Adventures of Priscilla, Queen of the Desert* beloved, **THE DEB** continues the proud tradition of films celebrated for their laughter, heart and unforgettable songs. **THE DEB opens nationally on 9 April at participating cinemas.** Website: <https://rialtodistribution.com/film/the-deb/> Socials: <https://www.instagram.com/rialtodistributionau/> and <https://www.instagram.com/thedebfilm/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: The Deb Director: Rebel Wilson Cast: Natalie Abbott, Charlotte MacInnes, Shane Jacobson, Rebel Wilson Country of Origin: Australia Duration: 121 mins Rating: M **Categories:** competition, News --- ### [Review: Code Of Conduct Is Workplace Theatre Like You've Never Seen](https://thescoop.au/review-code-of-conduct-is-workplace-theatre-like-youve-never-seen/) **Published:** March 20, 2026 **Author:** Sebastien Skubala **Content:** ★★★★★ ![The Scoop Code of Conduct Australasian Dance Collective](https://thescoop.au/wp-content/uploads/2026/03/Code-of-Conudct_Australasian-Dance-Collective_Photography-by-David-Kelly_3-942x628.jpg "Code of Conduct Australasian Dance Collective • The Scoop")If you’re curious about whether to see *Code of Conduct*, stop reading and go book tickets. Now. I’m seriously not kidding. The world premiere of *Code of Conduct* is the 2026 season opener from Australasian Dance Collective and takes place on Level 20 in one of the glittering crown jewels of Brisbane’s business hub at 300 George Street. This departure from the same old performance spaces we’ve become used to visiting over and over is a welcome addition. As someone who has never seen anything by Australasian Dance Collective before, I was curious to attend on opening night. The work inside does not disappoint. The 20th floor is a vacant, liminal space, evoking something a regular theatre cannot. As we marvelled at the views below, I couldn’t help but feel a bit like Neo in *The Matrix*. And like Neo, this show really is like taking the red pill. A searing indictment of capitalism, director/choreographers Amy Hollingsworth and Jack Lister, in collaboration with the six ADC Company Artists, have printed an unmissable memo for all to see: the modern office culture is broken and aims to turn us into corporate lapdogs. ![The Scoop Code of Conduct Australasian Dance Collective](https://thescoop.au/wp-content/uploads/2026/03/Code-of-Conudct_Australasian-Dance-Collective_Photography-by-David-Kelly_1-942x628.jpg "Code of Conduct Australasian Dance Collective • The Scoop")Performers move with and dance around the set which also feels like a living character in the show Photo by David KellyThe work feels more physical theatre than traditional contemporary dance, easing fears for any patron who might think they’ll have no idea what’s going on because there’s no dialogue. Wrong. And Wrong again. Unlike most dance works, the performers speak to enhance the storytelling, with Lilly King giving a standout performance in a featured role. Her Jekyll and Hyde ability to transform from the grey ‘sorry, but your sick leave has run out’ suit to animalistic, raw contortionist is remarkable. Special mention also goes to Taiga Kita-Leong for his grace, ease and presence. The technical team here deserve a standing ovation. The space comprises all the building blocks of office life. Filing cabinets, ‘90s desktop computers, long white desks and expensive-looking leather swivel chairs sit atop strips of fake grass. Surely office furniture has never been used like this before. Somewhere, Officeworks is nervously taking notes. Performers move with, lie on, and dance around the set, itself a living character in the show. The remarkable lighting design, realised by Claire Browning in collaboration with Hollingsworth and Lister, strobes, flickers and pulses, speeding up time and slowing it down. Louis Frere-Harvey’s work with sound design and composition weaves seamlessly with Guest Artist Alex Raineri’s piano solos. It is simply perfect. ![The Scoop Code of Conduct Australasian Dance Collective](https://thescoop.au/wp-content/uploads/2026/03/Code-of-Conudct_Australasian-Dance-Collective_Photography-by-David-Kelly_5-942x628.jpg "Code of Conduct Australasian Dance Collective • The Scoop")Surely office furniture has never been used like this before Photo by David KellyThe human body is used to create images with such impact that it feels almost cinematic to watch. This work could easily jump to the screen. Immersive and intense, it’s hard to look at just one thing for fear of missing a minute detail elsewhere. Human harvesting. Corporate lapdogs. There’s a great sequence with an extension cord. The absurd way we use screen time to pacify and endure even the most uncomfortable and dissident of realities. These things will remain long in my memory. Australasian Dance Collective’s *Code of Conduct* is a work that cannot be missed. It is all-encompassing, poignant and will surely age like the finest of wine. In a world where it seems the illusion of freedom and capitalism must be protected at all costs, you’ll incur a code of conduct violation from me if you think of something better to do with your time and money. ***Code of Conduct* is presented by Australasian Dance Collective and runs to 28 March. Level 20, 300 George Street Brisbane Qld 4000.** Tickets: <https://events.humanitix.com/adc-code-of-conduct/tickets> Website: <https://australasiandancecollective.com/performances/2026/code-of-conduct> Socials: <https://www.instagram.com/australasiandancecollective/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Photo credits: David Kelly **Categories:** Brisbane, Dance, Theatre --- ### [Announcing The Book Of Mormon For Perth & Adelaide](https://thescoop.au/announcing-the-book-of-mormon-for-perth-adelaide/) **Published:** March 20, 2026 **Author:** Newsroom **Content:** ![The Scoop The Book of Mormon Sydney 2025](https://thescoop.au/wp-content/uploads/2025/07/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_011-927x628.jpg "The Book of Mormon Sydney 2025 • The Scoop")Perth and Adelaide, the Mormons are back! The Tony®, Olivier®, and Grammy® award-winning production **THE BOOK OF MORMON** will return to Crown Theatre **Perth** from **October** and the **Festival Theatre Adelaide** from **December 2026**. Visit [www.thebookofmormonmusical.com.au](http://www.thebookofmormonmusical.com.au/) to sign up to the ticket waitlist for priority access to tickets. This follows previous announcements for Brisbane in July off the back of a successful Sydney season in 2025. The musical is currently playing in Melbourne at the Princess Theatre. *“The Book of Mormon is funniest, filthiest and most gloriously fearless musical ever to hit the Australian stage.”* [The Scoop](https://thescoop.au/review-the-book-of-mormon-spreads-the-good-word/) The cast includes **Sean Johnston** (*Hairspray)* as Elder Price and **Nick Cox** (*Beauty and the Beast*) as Elder Cunningham. **Paris Leveque** is making her professional debut as Nabulungi, **Tom Struik** (*Sister Act the Musical*) as Elder McKinley, **Simbarashe Matshe** (*Filthy Business*) as Mafala Hatimbi, **Augie Tchantcho** who is reprising his role as The General and **Matthew Hamilton** (*Tina – The Tina Turner Musical)* as Mission President. Winner of nine **Tony Awards**® including **Best Musical** and the **Grammy**® for **Best Musical Theatre album**, *The Book of Mormon* follows a pair of mismatched Mormon boys sent on a mission to a place that’s about as far from Salt Lake City as you can get. **THE BOOK OF MORMON** made its world premiere in March 2011 at Broadway’s Eugene O’Neil Theatre. The London production opened in February 2013 at the Prince of Wales Theatre, winning four **Olivier Awards**®, including **Best New Musical**. The show has set house records at 27 theatres across the US and broke theatre sales records at New York’s Eugene O’Neill Theater more than 50 times. The London production broke box office records for the highest single day of sales in West End history. ![The Scoop The Book of Mormon](https://thescoop.au/wp-content/uploads/2026/03/Princess-Theatre-Cam-Grant-942x628.jpg "• The Scoop")The Book of Mormon is on now at the Princess Theatre Melbourne Photo by Cameron GrantThe Australian premiere season in Melbourne in 2015 broke the record for the highest selling on-sale period of any production in Melbourne’s Princess Theatre’s 159-year history. It also won the Helpmann Award for Best Musical. **THE BOOK OF MORMON** features book, music and lyrics by Trey Parker**,** Robert Lopez**,** and Matt Stone**.** The production is co-directed by Casey Nicholaw and Parker and choreographed by Nicholaw**.** Trey Parker and Matt Stone are the creators of the Emmy and Peabody Award-winning television show, *South Park*, now in its 27th season, and the feature films *South Park: Bigger, Longer & Uncut* and *Team America: World Police*. Robert Lopez co-created the Broadway musical *Avenue Q* and co-wrote the songs for Disney’s *Frozen* and *Coco*. He is the first person ever to achieve a double EGOT, winning at least two each of the four major entertainment awards: Emmy, Grammy, Oscar and Tony Awards. **THE BOOK OF MORMON** is co-directed and choreographed by the Tony, Olivier, Drama Desk and Outer Critics Circle Award-winning Casey Nicholaw. His Broadway and West End credits include Disney’s *Aladdin*, *Dreamgirls*, *Mean Girls*, Monty Python’s *Spamalot*, *The Prom* and *The Drowsy Chaperone*. Set design for **THE BOOK OF MORMON** is by three-time Tony Award winner **Scott Pask**. Costume design is by two-time Tony Award winner **Ann Roth**. Lighting design is by five-time Tony Award winner **Brian MacDevitt**. Sound design is by two-time Tony Award winner **Brian Ronan**. Orchestrations are by Tony Award winner **Larry Hochman** and two-time Tony Award winner **Stephen Oremus**. Music direction and vocal arrangements are by Oremus. **THE BOOK OF MORMON runs in Perth from October 2026 at the Crown Theatre and runs in Adelaide from December 2026 at Festival Theatre.** Sign up at the website to waitlist for early access to tickets. Website: <https://thebookofmormonmusical.com.au/> Socials: <https://www.instagram.com/bookofmormonaunz/> [Read our Review of the Melbourne Season!](https://thescoop.au/review-the-book-of-mormon-hits-melbourne-with-big-laughs/) Hero image credit: Daniel Boud THE BOOK OF MORMON is produced in Australia by Anne Garefino, Important Musicals and Suzanne Jones for JONES Theatrical Group. 2026 Australia Tour Dates: Melbourne runs to 30 June, Princess Theatre Brisbane from 31 July, Glasshouse Theatre QPAC Perth from October, Crown Theatre Adelaide from December, Festival Theatre **Categories:** News --- ### [New Season, New Stage: Messa da Requiem Opens Next Week](https://thescoop.au/new-season-new-stage-messa-da-requiem-opens-next-week/) **Published:** March 19, 2026 **Author:** Newsroom **Content:** ![The Scoop Messa da Requiem Queensland Ballet Glasshouse Theatre](https://thescoop.au/wp-content/uploads/2026/03/Messa-da-Requiem-Ines-Hargreaves-Joshua-Osterman-Photo-Angharad-Gladding-9-942x628.jpg "Messa da Requiem Queensland Ballet Glasshouse Theatre • The Scoop")A new season and a new stage: **Queensland Ballet** opens their 2026 season with ***Messa da Requiem***, the first production to grace QPAC’s brand new Glasshouse Theatre from **27 March 2026**. Opening next week, *Messa da Requiem* marks Queensland Ballet’s first collaboration with acclaimed German choreographer, Christian Spuck, renowned internationally for his innovative storytelling, sophisticated musicality and emotionally charged choreography. Spuck’s monumental production is a landmark collaboration with Queensland Symphony Orchestra, Brisbane Chorale and Canticum Chamber Choir, unleashing the full force of dance, music, and opera to elevate Verdi’s score to new heights. Queensland Ballet Artistic Director **Ivan Gil-Ortega** describes the production as a masterwork that delivers a transcendent experience and redefines the possibilities of ballet: *“With a cast of over 100 artists, Messa da Requiem sweeps across the stage as Verdi’s score takes shape in movement and sound – summoning all the emotions we universally associate with mortality and hope for redemption.* *Messa da Requiem is an emotional and spiritual journey brought vividly to life by extraordinary artists. This is a convergence of astonishing talent and vision, delivering a dramatic tapestry of music and dance, that will stay with audiences long after the final note.”* ![The Scoop Messa da Requiem Queensland Ballet Glasshouse Theatre](https://thescoop.au/wp-content/uploads/2026/03/Messa-da-Requiem-Ivan-Surodeev-Lucy-GreenPhoto-Angharad-Gladding-942x628.jpg "Messa da Requiem Queensland Ballet Glasshouse Theatre • The Scoop")Ivan Surodeev and Lucy Green in rehearsal Photo by Angharad GladdingPrincipal singers include sopranos **Eva Kong** and **Naomi Johns**, Mezzo Sopranos **Milijana Nikolic** and**Cassandra Siederman**, Tenors **Diego Torre** and **Kyle Stegall,** and Basses **Jud Arthur** and**Jeremy Kleeman**. They are joined by a cast of 35 dancers, 110 choristers and 67 musicians. Conductor, **Simon Hewett**, who will lead the Queensland Symphony Orchestra and the singers said Verdi’s score demands the highest calibre of musicians and vocalists: *“Messa da Requiem is Verdi at his most magnificent, brought to life in the hands of top-tier musicians and singers. Performed live, with a thunderous orchestra and the combined power of the choristers and principal singers, it captures both our fears and our hopes, emotions that lie at the heart of the human experience.”* Written and first performed in 1894, *Messa da Requiem* is based on the Roman Catholic liturgy and is a Mass to honour those who have died. ![The Scoop Messa da Requiem Queensland Ballet Glasshouse Theatre](https://thescoop.au/wp-content/uploads/2026/03/Messa_da-Requiem-Moeki-KojimaChiara-Gonzalez-Edison-ManuelNeneka-YoshidaPhoto-Angharad-Gladding-20-942x628.jpg "Messa da Requiem Queensland Ballet Glasshouse Theatre • The Scoop")Moeki Kojima Chiara Gonzalez Edison Manuel and Neneka Yoshida in rehearsal Photo by Angharad GladdingWinner of the 2019 Prix Benois de la Danse, **Christian Spuck** said his production reaches beyond the religious ideas of death and resurrection: *“Verdi’s Messa da Requiem stands as one of the most profound statements on life and death ever set to music. Verdi blended the drama of his operas with the solemnity of the Latin mass. It is a colossal fusion of operatic drama and sacred intensity.* *However, I did not want to place the religious interpretation of the text at the centre. Rather, my intention was to transform Verdi’s score into a mass of human expression. The inevitability of death, the need for consolation, and our eternal hope for redemption.* *Verdi’s music is beyond words. It’s a powerful reminder of how music can bring us together, and an invitation to reflect on something beyond ourselves.”* ***Messa da Requiem* runs from 27 March – 4 April at the Glasshouse Theatre, QPAC.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/qbmessadarequiem26> Website: <https://www.queenslandballet.com.au/performances/2026/messa-da-requiem> Socials: <https://www.instagram.com/qldballet/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Ines Hargreaves and Joshua Ostermann in rehearsal. Photo by Angharad Gladding Fast facts Messa da Requiem: **First performed in Milan in 1874**, the seeds of *Messa da Requiem* were sown with the death of Verdi’s compatriot, Gioachino Rossini. Shortly after, Verdi’s close friend, Alessandro Manzoni, also passed away. **Verdi composed** ***Messa da Requiem*** **in honour of both men**, sending the completed score to his publisher in Milan, who not only printed it but also promoted it through the newspapers. ***Messa da Requiem*** **is structured in seven movements**: *Dies Irae* (Day of Wrath), *Offertorio* (Offertory), *Sanctus* (Holy), *Agnus Dei* (Lamb of God), *Lux Aeterna* (Eternal Light), and *Libera Me* (Deliver Me). **The most well-known musical moment,** ***Dies Irae*****, appears in the second movement**. It symbolizes death, with the chorus crying out in fear of the approaching Judgment Day. Its thunderous percussion and dramatic vocals include some of the most recognisable phrases in classical music. **The haunting and lyrical** ***Agnus Dei*** **(Lamb of God)** is a simple yet deeply moving acappella piece performed by the opera singers. **Christian Spuck first heard Verdi’s** ***Messa da Requiem*** **on the radio at age 17**. At the time, he was writing a paper on Franz Kafka and recorded the legendary Toscanini interpretation on his cassette recorder. **Categories:** News --- ### [Review: Trophy Boys Makes You Laugh, Then Shuts You Up](https://thescoop.au/review-trophy-boys-makes-you-laugh-then-shuts-you-up/) **Published:** March 18, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Trophy Boys Adelaide 2026](https://thescoop.au/wp-content/uploads/2026/03/Trophy-Boys-Kidaan-Zelleke-Fran-Sweeney-Nash-Tahlia-Jameson-Myfanwy-Hocking-front-942x628.jpg "Trophy Boys Adelaide 2026 • The Scoop")There’s a moment, about ten minutes from the end of *Trophy Boys*, where the laughter stops. Not fades. Stops. The room goes silent. Pin-drop silent. You can feel the audience recalibrating in real time. What began as a sharp, playful satire lands as something far more confronting. That tonal shift is the engine of Emmanuelle Mattana’s award-winning play, now making its South Australian debut with State Theatre Company South Australia under new Artistic Director Petra Kalive, and it’s a statement of intent. First staged in 2022, *Trophy Boys* has already built a formidable reputation. It enjoyed a twice-extended Off-Broadway run, toured nationally, and picked up multiple awards, including Sydney Theatre Awards and BroadwayWorld Australia recognition. That momentum is easy to understand. Mattana, herself a former champion debater, structures the play like a debate. Arguments are presented, dismantled, reframed. Ideas like fourth-wave feminism, intersectionality and lateral violence are woven in, then tested under pressure. It’s rigorous. But it’s also very funny. At first. Directed by Marni Mount, the production opens in full comic mode. Four female and non-binary performers in drag swagger across the stage, hip thrusting and manspreading with uncanny precision. The detail is spot on. The rhythms of speech, the physicality, the casual arrogance. Fran Sweeney-Nash (Jared) leans into the larrikin charm. Winks. Grins. Tongue out. A used-car salesman’s energy that hides behind “just joking.” It’s recognisable. You can see it at any front bar. Tahlia Jameson (Scott), looking like a young Lleyton Hewitt, is equally strong. Backwards cap. Tight shoulders. A performative masculinity that feels both constructed and necessary. There’s a flicker beneath it. A softness. A need to say “I love you” under the breath on the phone to dad. The dynamic shifts with Owen (Myfanwy Hocking) and David (Kidaan Zelleke). Owen, blazer weighed down with medals and badges, carries the sheen of achievement. But the accumulation raises a question: what do these symbols cover over? It’s the most complex arc in the piece. ![The Scoop Trophy Boys Adelaide 2026](https://thescoop.au/wp-content/uploads/2026/03/Trophy-Boys-2-942x628.jpg "Trophy Boys Adelaide 2026 • The Scoop")What begins as a sharp playful satire lands as something far more confronting Photo by Ben AndrewsDavid, alongside Owen, sits outside the dominant alpha pairing of Scott and Jared. Both characters hover on the edges of belonging, their outsider status edging into something closer to resentment. The play is at its most uncomfortable here, where vulnerability curdles into something harder. That tension runs through the entire work. The boys are funny. They are ridiculous. They spray Lynx Africa into the air and down their shorts. They posture. They compete. But underneath the jokes is something heavier. This is a system that rewards performance over reflection. Winning over truth. And that’s where the play cuts deeper. Like *Lord of the Flies*, *Trophy Boys* uses a small group to expose a much larger failure. Patriarchy. Colonialism. Institutional power. The boys are not monsters. They are products. Trained in debating, logic, and adversarial thinking, they are taught to win at all costs. To defend positions they may not even believe. To protect the system that benefits them. And they do. Again and again. Even when the cracks are obvious. Even when the truth is staring back at them. The play’s context gives it additional weight. Mattana’s writing was inspired by allegations made against former Attorney-General Christian Porter. That connection resonates strongly in South Australia. The audience on opening night included people directly connected to those events. You could feel that history sitting in the room. The design reinforces the themes. School desks. A Sherrin football. A drink bottle. On the walls, images of women like Penny Wong, Alexandria Ocasio-Cortez, Grace Tame and Mother Teresa. Icons of leadership. Of resistance. Watching over a space where those values are being tested and often undermined. ![The Scoop Trophy Boys Adelaide 2026](https://thescoop.au/wp-content/uploads/2026/03/Trophy-Boys-Fran-Sweeney-Nash-Kidaan-Zelleke-Myfanwy-Hocking-942x628.jpg "Trophy Boys Adelaide 2026 • The Scoop")Trophy Boys forces a kind of collective self reflection and this is exactly what theatre should do Photo by Ben AndrewsMount’s direction, supported by Katie Sfetkidis’ lighting design, is crucial in managing the tonal shifts. The transition from knockabout comedy to searing social commentary is handled with precision. The stage darkens. Individuals are caged in the spotlight and hounded from the shadows. By the final moments, the play is no longer asking questions. It’s demanding them. What does accountability look like in a system where those in power benefit? How do you change a structure when those inside it are incentivised not to? What happens when logic is used not to solve problems, but to win arguments? These are not abstract questions. They land hard. And that’s the point. *Trophy Boys* doesn’t offer easy answers. It doesn’t resolve neatly. What it does is force a kind of collective self-reflection. It makes the causes of failure impossible to ignore. It asks the audience to sit with discomfort. To recognise complicity. To question the systems we move through every day. This is exactly what theatre should do. Bold programming choices matter. Choosing *Trophy Boys* to open a new artistic era signals a commitment to challenge the establishment, not comfort. To provoke, not placate. By the end, the laughter has long since disappeared. What remains is a silence that asks: now what? ***Trophy Boys* runs to 2 April at the Space Theatre, Adelaide Festival Centre. Presented by State Theatre Company South Australia and Soft Tread in association with The Maybe Pile.** It then runs in Melbourne 21 – 22 April the Alexander Theatre, Monash University Performing Arts Centre. See remaining tour dates below. Tickets: <https://my.statetheatrecompany.com.au/overview/trophy-boys> Website: <https://statetheatrecompany.com.au/shows/trophy-boys/> Socials: [Socials: https://www.instagram.com/trophy.boys/](Socials:%20https://www.instagram.com/trophy.boys/) and <https://www.instagram.com/statetheatresa/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Ben Andrews Content: Adult themes, coarse language, references to sexual violence, underage sex and a strong whiff of Lynx Africa aerosol deodorant. 2026 Australian Tour Dates: Hobart 15 – 18 April, Theatre Royal Melbourne 21 – 22, Monash Performing Arts Centre Ballarat 24 April, Her Majesty’s Theatre Canberra 28 April – 2 May, Canberra Theatre Centre **Categories:** Adelaide, Theatre --- ### [Suspiciously Talented Cast Announced For Dirty Rotten Scoundrels](https://thescoop.au/suspiciously-talented-cast-announced-for-dirty-rotten-scoundrels/) **Published:** March 19, 2026 **Author:** Newsroom **Content:** ![The Scoop Dirty Rotten Scoundrels Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2026/03/Blake-Erickson-Rowan-Witt-DIRTY-ROTTEN-SCOUNDRELS-c-John-McRae-942x628.jpeg "Dirty Rotten Scoundrels Hayes Theatre Co • The Scoop")Producer Redfern Lane Productions is thrilled to announce the outrageously talented cast for ***Dirty Rotten Scoundrels*,** the devilishly cheeky, fun-filled Broadway musical opening at Hayes Theatre Co from **22 May 2026**. In a glittering new production that’s all charm, chaos, and con artistry at its most delicious, this cast brings star power, impeccable comic timing, and just enough respectability to make the scams feel almost classy. Tickets are on sale now from [www.hayestheatre.com.au](http://www.hayestheatre.com.au/) Music theatre star and Hayes Theatre Co favourite, **Blake Erickson** leads the cast as Lawrence Jamieson, a suave conman who believes in tricking corrupt, rich people out of their money to finance his lavish lifestyle. Currently on stage in the national tour of*[Cluedo](https://thescoop.au/win-tickets-to-see-cluedo-the-play-in-adelaide/)***,** Blake most recently wowed audiences with his hilarious performance as Roger de Bris in *The Producers*. He will later be seen on stage in *[My Fair Lady](https://thescoop.au/announcing-cast-for-historic-my-fair-lady-sydney-melbourne-seasons/).* The cocky small-time American hustler Freddy Benson will be played by star of screen and stage, **Rowan Witt** who will make his welcome return to the Hayes. Rowan has starred in blockbuster productions *Hamilton* and *The Book of Mormon*. He has also played the leading role of Georg Nowak in *She Loves Me* at the Hayes. Currently, he can be seen in television series *Ghosts Australia and Totally Completely Fine.* Christine Colgate, the naive and wealthy American heiress who is the target for Lawrence and Freddy’s con, will be played by **Kristina McNamara** *(Ned Kelly, CHICAGO)*. **Jordan Shea** *(The Producers)* plays police chief Andre Thibault. Two of the women conned by the pair, Muriel Eubanks and Jolene Oakes, are played by up-and-coming musical theatre stars **Aurélie Roque** (*Pippin*) and **Scarlet Lindsay** (*Guys and Dolls*). Rounding out the cast in the ensemble **Oliver Clisdell, Emma Feliciano, Brendan Godwin, Madelene Kirkwood and Christopher Tendai.** This all-new Australian production of ***Dirty Rotten Scoundrels*** is directed by **Rebecca McNamee** *(Abigail Williams),* musically directed by **Dylan Pollard** *(Woman on the Verge of a Nervous Breakdown)* and making his choreography debut is **Cameron Boxall**. ![The Scoop Dirty Rotten Scoundrels Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/04-Dirty-Rotten-Scoundrels-copy-880x628.jpeg "Dirty Rotten Scoundrels Hayes Theatre Co Sydney • The Scoop")Dirty Rotten Scoundrels runs at the Hayes from 22 May to 21 June Director **Rebecca McNamee** said: *“From seasoned professionals to talented graduates, the cast of Dirty Rotten Scoundrels is an exciting mix of diverse, worldly experiences! It is such an honour to work with talent who jump feet first into joy, nonsense and complex storytelling.* *Dirty Rotten Scoundrels is a big show and we have found the skill and energy to match! There is a reason that performers from some of Australia’s most successful productions want to be part of Dirty Rotten Scoundrels – because all their talents will be in full display. I can’t wait for you to join us in the Riviera.”* Based on the hit 1988 film starring Michael Caine and Steve Martin, this Tony-nominated musical comedy follows two cunning conmen — the elegant, ruthless Lawrence Jamieson and the wildly unpredictable Freddy Benson — as they go head-to-head on the French Riviera in a winner-takes-all game of deception. Their target? A sweet, unsuspecting American heiress. But in a world built on lies and reinvention, nothing — and no-one — is quite what they seem. With a razor-sharp book by **Jeffrey** **Lane** and an irresistibly cheeky score by **David Yazbek** (*The Band’s Visit, Tootsie, The Full Monty*), ***Dirty Rotten Scoundrels*** is a riot of farcical foolishness, toe-tapping tunes, and whip-smart satire. Expect bold physical comedy, razor-edged elegance, and performances as dazzling as a Riviera sunset. ***Dirty Rotten Scoundrels* runs 22 May – 21 June at Hayes Theatre Co. 19 Greenknowe Avenue Potts Point NSW 2011.** Tickets are available [here](https://boxoffice.hayestheatre.com.au/WEBPAGES/EntaWebShow/ShowPerformance.aspx). Website: <https://hayestheatre.com.au/event/dirty-rotten-scoundrels/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: John McRae Director **Rebecca McNamee.** Music Director **Dylan Pollard.** Choreographer **Cameron Boxall.** Set Designer **Soham Apte.** Costume Designer **Angelina Daniel.** Producer **Ebony Tucker.** Associate Choreographer **Carla Venezia.** Assistant Choreographer **Lauren Mitchell.** Lighting Designer **James Wallis.** **Categories:** News --- ### [Win Tickets To See Cluedo The Play In Adelaide](https://thescoop.au/win-tickets-to-see-cluedo-the-play-in-adelaide/) **Published:** March 18, 2026 **Author:** Newsroom **Content:** ![The Scoop Cluedo The Play 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/01/XRL-CLUEDO-photo-Jeff-Busby_2081-copy-942x628.jpg "Cluedo The Play 2026 Australian tour • The Scoop")***Cluedo***, the game of whodunnit that’s gripped generations has stepped off the board and onto the stage! Based on the fan-favourite 1985 Paramount Pictures movie, *Clue* and inspired by the classic Hasbro board game that is the 5th highest selling board game of all time, *Cluedo* is the ultimate whodunnit that will leave you dying of laughter and keep you guessing until the final twist. The Scoop is **giving away two double passes** **to see the show!** Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the ticket giveaway post and comment ‘Scoop’ under the post. Show prize: **Sunday 22 March 1pm**, Her Majesty’s Theatre, Adelaide Murder and blackmail are on the menu when six mysterious guests assemble at Boddy Manor for a night they’ll never forget! Was it Mrs. Peacock in the study with the knife? Or was it Professor Plum in the library with the wrench? The Australian cast for the game of whodunnit that’s gripped generations includes Octavia Barron-Martin, Rachael Beck, Laurence Boxhall, Lib Campbell, Olivia Deeble, David James, Nat Jobe, Genevieve Lemon, Joshua Monaghan, Adam Murphy and Grant Piro. This fast-paced, farcical comedy-thriller is a killer night of entertainment for fans of the board game, lovers of classic mysteries, and anyone who enjoys a good laugh with their larceny. Grab your trench coat, channel your inner detective, and prepare for an evening of deadly fun! ***Cluedo* runs 21 March – 4 April at Her Majesty’s Theatre, 58 Grote Street Adelaide as part of a national tour. See dates below.** Tickets: <https://cluedoplay.com.au/#tickets> Website: <https://cluedoplay.com.au/> Socials: <https://www.instagram.com/cluedotheplay/> Read our Review of the Melbourne Season! Photo credits: Jeff Busby 2026 Australian Tour Dates Brisbane 7 January to 1 February, Playhouse Theatre, QPAC Melbourne 7 February – 15 March, Comedy Theatre Adelaide 21 March – 4 April, Her Majesty’s Theatre Sydney 11 April – 8 May, Theatre Royal ![The Scoop Cluedo the play Australian tour 2026](https://thescoop.au/wp-content/uploads/2025/09/image001-1200x477.png "Cluedo the play Australian tour 2026 • The Scoop") **Categories:** competition, News --- ### [Review: Broadway Off-Broadway 2026 Adelaide Fringe](https://thescoop.au/review-broadway-off-broadway-2026-adelaide-fringe/) **Published:** March 16, 2026 **Author:** Sophie Tsoulos **Content:** ★★★★★ ![The Scoop Broadway Off Broadway Emma Kavanagh Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/26-03-15-Broadway-off-Broadway_HL_110-942x628.jpg "Broadway Off Broadway Emma Kavanagh Adelaide Fringe • The Scoop")Time-stepping back to the Adelaide Fringe for 2026 is the hit show *Broadway Off-Broadway*, following a stellar sold-out debut season last year! Assembling a superb cast of Adelaide talent, producer (and performer!) Emma Kavanagh has levelled up last year’s show to be even more Supercalifragilisticexpialidocious! Adelaide-born and bred, Emma Kavanagh has performed both nationally and internationally. She is a triple threat performer (quadruple if you also count directing this amazing show), best known for her soaring vocals. Joining Emma in the cast are Jayden Prelc and Madison Green, both fresh off their recent contracts with *Wicked*. Alongside them are Jason Bensen, Maddie Apacible and (at the performance reviewed) Lachlan Nash. Each with individual performance credits, what truly makes this whole show special is that all this talent is homegrown in South Australia. For their return season, *Broadway Off-Broadway* is tighter than ever. The show has elevated in production and performance quality, with tweaks to their setlist to delight musical theatre fans of all ages. With songs from *Frozen*, *Singin’ in the Rain, Jekyll & Hyde*, and *Dear Evan Hansen*, Emma Kavanagh has collated the most impressive ballads and hit show tunes to share. ![The Scoop Broadway Off Broadway Emma Kavanagh Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/26-03-15-Broadway-off-Broadway_HL_055-scaled-e1773814750593-884x628.jpg "Broadway Off Broadway Emma Kavanagh Adelaide Fringe • The Scoop")Broadway Off Broadway features a superb cast of local talent Photo by Harry LochertFor Sunday’s opening show, understudy Lachlan Nash (who stepped into the role as a lead vocalist) performed an adoringly entertaining duet of *In Summer* from *Frozen* with Jayden Prelc, who tapped alongside. Early on in the show, Emma Kavanagh and Jason Bensen perform a stunning vocal duet of *All I Ask Of You* from *The Phantom of the Opera.* Both impressively nail the operatic high notes of this iconic number. Maddie Apacible and Jayden Prelc also execute a graceful lyrical performance alongside the singers. Stitched together with personal anecdotes or cutesy little transition scenes into the next songs, the show rolls through its repertoire of showtunes. Another standout is the cast’s *Mary Poppins* medley, which includes *Step In Time* and *Supercalifragilisticexpialidocious ,* which sees the cast first tap dancing and then spelling out the word, complete with the iconic arm actions. This is a highly entertaining sequence that showcases vocals, acting, and dancing abilities. It left us all beaming! Maddie and Jayden’s choreography shines in many moments throughout the show. I thoroughly enjoyed the addition of their duet *Good Morning* from *Singin’ in the Rain.* Clearly having the time of their lives, they sing and tap dance their hearts out in an uplifting display of their crafts. ![The Scoop Broadway Off Broadway Emma Kavanagh Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/26-03-15-Broadway-off-Broadway_HL_034-942x628.jpg "Broadway Off Broadway Emma Kavanagh Adelaide Fringe • The Scoop")Choreography by Jayden Prelc and Maddie Apacible shines Photo by Harry LochertIt wouldn’t be a musical theatre variety show without a song from *Wicked*, which we are certainly treated to. Emma and Madison Green perform a punchy cover of *Loathing* with cheeky nods to Glinda and Elphaba’s personalities. Bringing the show’s music to life is the live, three-piece band. David Goodwin, Steve Staben and Declan Horan are a tight-knit trio. It was great to hear some songs stripped back and tempos adjusted for some creative flair and variations. To conclude the show, an extended vocal ensemble emerges to perform two tightly harmonised numbers: *You Will Be Found* from *Dear Evan Hanson* and *One Day More* from *Les Mis.* This moment is a love letter to Adelaide’s educators who foster these talents and it is Emma Kavanagh’s way of continuing the cycle. *You Will Be Found* actually brought me to tears. Many members had individual chances to be featured, with the youngest being just 9 years old! Who needs to travel to New York City when we have these amazing voices right here in our state?! *Broadway Off-Broadway* is a vibrant parade of Broadway favourites and an epic display of local talent. One not to be missed for the musical theatre fans! ***Broadway Off-Broadway* runs at The Flamingo at Gluttony on 15, 21 and 22 March as part of 2026 Adelaide Fringe. Rymill Park Adelaide SA 5000.** Tickets: <https://adelaidefringe.com.au/fringetix/broadway-off-broadway-af2026> Socials: <https://www.facebook.com/BroadwayOffBroadway> Socials: <https://www.instagram.com/broadwayoffbroadway/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe') Photo credits: Harry Lochert ![The Scoop Broadway Off-Broadway Emma Kavanagh Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Flyer-2026-copy-1200x566.jpg "Broadway Off-Broadway Emma Kavanagh Adelaide Fringe • The Scoop")Broadway Off Broadway returns to the 2026 Adelaide Fringe after a sold out premiere season **Categories:** Adelaide, Musical Theatre --- ### [Film Review: The Rivals Of Amziah King Is An Unruly Blend of Music, Crime & Community](https://thescoop.au/film-review-the-rivals-of-amziah-king-is-an-unruly-blend-of-music-crime-community/) **Published:** March 18, 2026 **Author:** Daniel Harvey **Content:** ★★★★☆ ![The Scoop The Rivals of Amziah King Matthew McConaughey](https://thescoop.au/wp-content/uploads/2026/03/Amziah-King-942x628.jpg "The Rivals of Amziah King Matthew McConaughey • The Scoop")Set against the hum and heat of the Deep South, *The Rivals of Amziah King* follows Matthew McConaughey’s Amziah as he drifts back into the life of Kateri, his former foster daughter, played by Angelina LookingGlass. What follows is a loose, unruly blend of music, crime, and community, a story that stumbles between mischief and tenderness while circling the question of where and with whom a person belongs. Director Andrew Patterson approaches the film with a playful, kinetic sensibility, blending musicality with visual experimentation. His style leans into movement, rhythm, and tonal shifts, allowing the story to feel as if it is being discovered in motion rather than carefully laid out. As often those great tales do, we begin at the appropriately named Ulysses Steak Sandwiches. In a mesmerising performance, McConaughey’s Amziah steps forth in a whirlwind of banjo, guitar, ukulele, and beat, swathed in harmonised voices. ![The Scoop The Rivals of Amziah King Matthew McConaughey](https://thescoop.au/wp-content/uploads/2026/03/TheRivalsOfAmziahKing_BrochHero_MinRes-1116x628.jpg "The Rivals of Amziah King Matthew McConaughey • The Scoop")The story stumbles between mischief and tenderness while circling questions of belonging Image suppliedThe tones of chaos erupt as the camera slides and freezes upon something often unexpected. Cinematographer Miguel I. Litten-Menz moves fast with the camera, sporadic cuts and unyielding pans as witty dialogue flows seamlessly and hilariously. The music comes and goes and threads throughout. Composers Erick Alexander and Jared Bulme intertwine their own blend of southern folkish music that is never missing some soft strum of various string instruments. Slow and mellow to fast and sporadic, it all adds to the shifting and swivelling scenes and stories, the turning of events and the pulse of the characters. Coupled with this are the chaotic and hilarious stories that unfold, layered upon each other and then those of the community. Amziah understands the community with both instinct and empathy, seeing in it a reflection of his bees: their journeys, their roles, and the delicate balance of a larger system. Food and music are the lifeblood of this community, and no one understands that better than Amziah. A distinct tonal shift follows, as the chaos settles into something quieter, almost deceptively calm. But beneath it lies a growing threat. Crime and the systematic crushing of small businesses by Kurt Russell’s tycoon, striking at the heart of the community Amziah holds dear. ![The Scoop The Rivals of Amziah King Matthew McConaughey](https://thescoop.au/wp-content/uploads/2026/03/Amziah-King-2-941x628.jpg "The Rivals of Amziah King Matthew McConaughey • The Scoop")The story feels as if it is being discovered in motion rather than carefully laid out Image suppliedKateri charges into a series of heists and schemes with a headstrong determination, driven by a newly entrenched desire for revenge. While some of the film’s earlier fast-paced chaos returns, the ending leaves her emotionally unresolved, with a lingering sense of unease. What remains is the living community, where each individual plays a small but essential role. Like Amziah’s bees, they form parts of a greater whole, something sustained through connection rather than control. *The Rivals of Amziah King* proves that when the storytelling is fresh, inventive, and alive, the subject can be anything. Even bees. Yet there is no clean resolution, only the sense that life continues in its own uneven way. Kateri carries something forward with her, not quite healed; a breath of southern air that is warm and full of life, but not without its sting. ***The Rivals of Amziah King* runs 23 – 29 March** **as part of Lotterywest Films and Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Website: <https://www.perthfestival.com.au/program/season-2026/the-rivals-of-amziah-king> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: The Rivals of Amziah King Director: Andrew Patterson Cast: Matthew McConaughey, Kurt Russell, Angelina LookingGlass, Jake Horowitz, Scott Shepherd, Rob Morgan, Tony Revolori, Owen Teague, Bruce Davis, Cole Sprouse Country of Origin: USA Duration: 131 mins Rating: M **Categories:** Film --- ### [Film Review: The President's Cake Is A Tender Portrait Of Fear & Survival](https://thescoop.au/film-review-the-presidents-cake-is-a-tender-portrait-of-fear-survival/) **Published:** January 22, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop The President's Cake Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/ThePresidentsCake_BrochHero_MinRes-942x628.jpg "The President's Cake Perth Festival • The Scoop")There are tyrants who demand monuments, and tyrants who demand cakes. *The President’s Cake* understands that the latter can be just as lethal. Set in Iraq in the 1990s, under Saddam Hussein and the weight of Western sanctions, Hasan Hadi’s debut feature reduces dictatorship to a child-sized task: nine-year-old Lamia must bake a mandatory cake for the president’s birthday, or face being dragged like dogs. Flour. Eggs. Sugar. Simple words that become impossible objects. From that premise, the film unfolds as a darkly comic odyssey through scarcity, fear, and moral erosion; a journey that feels uncomfortably timely in an era where strongmen are again repackaging cruelty as order. Lamia (a remarkable debut from Baneen Ahmad Nayyef) lives with her grandmother Bibi in the Mesopotamian Marshes, where water is precious, and groceries are rarer still. When Bibi paddles the Tiber, her small boat is buffeted by the wake of passing speedboats. The film moves like a parable with teeth. Each time Lamia and her friend Saeed get closer to the ingredients, another obstacle arrives: corrupt officials, predatory adults, indifferent systems. The cake becomes a classic McGuffin; not because it matters, but because power has decided it must. ![The Scoop The President's Cake Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-20-at-64036-pm.png "The President's Cake Perth Festival • The Scoop")Big eyes small hands and the quiet cruelty of power There’s a moment when Bibi is asked to describe Lamia to police sketch artists. She says simply: *“Big eyes.”* Those eyes carry the film. They absorb hunger, fear, comedy, and quiet resolve. Nayyef’s performance has the breakout force of *Slumdog Millionaire*’s child leads; expressive without sentimentality, tough without losing wonder. Hadi stages the film with fluent, often mischievous energy. There are flashes of *The Death of Stalin* style absurdity, where bureaucracy becomes grotesque theatre. Police are uninterested in missing children but deeply invested in birthday logistics. Adults barter, leer, threaten, shrug. The comedy goes very black. You will laugh, then immediately feel uneasy for having laughed. That tension is the film’s strength: it refuses to let humour soften the violence of the system that produces it. Visually, the film avoids polish. Shot entirely in Iraq, using mostly untrained actors, *The President’s Cake* is populated by faces that look lived-in, tired, opportunistic, frightened. This is not Hollywood’s airbrushed misery. It feels closer to something glimpsed on a news broadcast, except here, the camera stays long enough for humanity to return. The film has landed to rapturous acclaim, winning both the Directors’ Fortnight Audience Award and the Caméra d’Or at Cannes, and much of that praise is deserved. It is expertly made, emotionally precise, and devastating in its small details. ![The Scoop The President's Cake Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-21-at-82515-pm-936x628.png "The President's Cake Perth Festival • The Scoop")The film unfolds as a darkly comic odyssey through scarcity fear and moral erosionBut it is not beyond critique. The screenplay was co-written with American screenwriter Eric Roth, and at times, you can feel the risk that comes with that perspective. The film leans into familiar images: corrupt, obese officials; greedy traders; sex-crazed men circling vulnerability. Moral goodness is scarce. Almost everyone encountered is compromised. For viewers with limited knowledge of Iraq, this could reinforce old prejudices: the idea of a society flattened into dysfunction, awaiting rescue or judgment from outside. That discomfort is sharpened by the historical context: Western sanctions are present, but American complicity remains largely off-screen. At a time when authoritarian impulses are resurfacing globally, *The President’s Cake* reminds us how power really works: by outsourcing its cruelty to ordinary people, by turning survival into compliance, by making celebration compulsory while water runs out. You will hope, fiercely, for Lamia. For Saeed. For the rooster Hindi. *The President’s Cake* doesn’t ask you to admire its politics. It asks you to look closely, uncomfortably, into a pair of big eyes, and remember what systems do to children when no one is watching. ***The President’s Cake* opens nationally in cinemas from 2 April 2026.** It previously screened in January 2026 at Perth Festival. Website: <https://rialtodistribution.com/film/the-presidents-cake/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The President’s Cake Director: Hasan Hadi Cast: Baneen Ahmed Nayyef, Sajad Mohamad Qasem, Waheed Thabet Khreibat, Rahim AlHaj Country of Origin: Iraq, USA, Qatar Duration: 102 mins Rating: M **Categories:** Film --- ### [AG Theatre Announces 'Once' To Hit Melbourne In May](https://thescoop.au/ag-theatre-announces-once-to-hit-melbourne-in-may/) **Published:** March 17, 2026 **Author:** Newsroom **Content:** ![The Scoop Once the Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/03/Once-1197x628.png "Once the Musical AG Theatre Melbourne • The Scoop")Under the stewardship of Melbourne’s independent theatre company **AG Theatre,** known for their recent sell out productions of *Avenue Q* and *Mamma Mia* and renowned director Pip Mushin, ***Once*** is set for a limited season at Melbourne’s *Chapel off Chapel* in **May 2026**. The eight-time Tony Award-winning Irish musical became a Broadway phenomenon in 2012 and went onto become a global smash hit. Based on the 2007 film of the same name by John Carney, the show features a spell-binding score by Glen Hansard and Markéta Irglová, including their Oscar-winning song, *Falling Slowly*. *Once* holds the unique distinction of being the only Broadway production whose music has won the Academy Award, Grammy Award, Olivier Award, and Tony Award. From the surprising success of the original movie to the critically acclaimed stage production that captivated audiences on Broadway and in London’s West End, *Once* has firmly cemented its place in the canon of Western musicals. Director **Pip Mushin** said: *“What I love about Once is that the music isn’t just accompaniment. It’s the language the characters use to reveal who they truly are. When the actors create the music live on stage, it creates a beautifully intimate theatrical experience. I’m super excited to bring its spirit and heart to the stage..”* *Once* follows a Dublin-born busker and vacuum-fixer as he meets a young Czech mother with a faulty vacuum cleaner who reinvigorates his passion for music. It combines the infectious rhythm of Irish céili, an incredibly talented cast of actor-musicians, an Academy Award-winning soundtrack and a heart-warming story. Executive Producer **Andrew Gyopar** said: *“Once is one of the most intimate and heartfelt musicals ever written, making Chapel Off Chapel the perfect venue. The intimate theatre allows audiences to feel every moment of the story and every note of the music.* *A musical about human connection, creativity, and the power of music, Once felt right to bring back to Melbourne now. Audiences are craving genuine, heartfelt stories, and this piece lets the music speak for itself.”* Casting details will be announced in the coming weeks. Pre-sale tickets are available now, priced at $89 until 30 March. ***Once the Musical* is presented by AG Theatre and runs 8 – 23 May at Chapel Off Chapel. 12 Little Chapel Street Prahran Vic 3181.** Tickets: <https://booktickets.com.au/once/> Website: <https://agtheatre.com.au/once/> Socials: <https://www.instagram.com/agtheatreproductions/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Image supplied. **Creatives** Executive Producer **Andrew Gyopar** Director **Pip Mushin** Music Director **Timothy John Wilson** Choreographer **Jamie White** Production Manager **Abbey Stanway** Costume Design **Karen Spencer** Licensed exclusively by Music Theatre International (Australasia). Music & Lyrics by Glen Hansard & Markéta Irglová. Book by Edna Walsh. **Categories:** News --- ### [Disney On Ice Presents Magic In The Stars Australian Tour](https://thescoop.au/disney-on-ice-presents-magic-in-the-stars-australian-tour/) **Published:** March 16, 2026 **Author:** Newsroom **Content:** ![The Scoop Disney on Ice presents Magic in the Stars](https://thescoop.au/wp-content/uploads/2026/03/D37_Frozen-2-Group-942x628.jpg "Disney on Ice presents Magic in the Stars • The Scoop")*Disney On Ice presents Magic In The Stars*, where 56 of your favourite Disney stars shine bright! Featuring the most Disney characters in one show and the on-ce debut of Raya from *Raya and the Last Dragon*. The all-star cast includes Mirabel, Woody and Buzz, Tiana Chart a course through the night sky to *Disney On Ice* where every story begins with a wish! This all-new production brings the brightest Disney stars to life through cutting-edge figure skating, high-flying acrobatics, unexpected stunts, innovative lighting, thrilling special effects, eye-catching costumes, and stunning set designs. Experience the dynamic moments that take place on the ice and in the air when *Disney On Ice* visits six cities over June and July commencing in **Perth,** then **Adelaide, Brisbane, Melbourne, Newcastle** and **Sydney!** Disney On Ice Preferred Customers can purchase advance tickets starting, **Tuesday 17 March**, to get the best seats available before tickets go on-sale to the general public on **Tuesday April 28**. Fans can still sign up to become a [Disney On Ice Preferred Customer](https://www.disneyonice.com/en-au/sign-up/) (click to register now!) and get exclusive access to the pre-sale offer code. Join *Disney On Ice* for a magical journey with Mickey, Minnie, Goofy, Donald, and Daisy through timeless tales and today’s favorites. The adventure begins when the North Star shines brightly and descends upon Jiminy Cricket as he welcomes and reminds the audience that the most fantastic, magical things can happen, and it all starts with a wish. Pursue your dreams with Tiana, from *The Princess and the Frog*, as she strives to make her wish of opening a restaurant come true. Discover the power of three wishes with Aladdin when he finds a magic lamp in the Cave of Wonders. Reminisce with Cinderella, Snow White, Belle, and Rapunzel as they remind us to never stop wishing and dreaming. ![The Scoop Disney on Ice presents Magic in the Stars](https://thescoop.au/wp-content/uploads/2026/03/D37_20230830_Orlando_Geo_0432_Edit-942x628.jpg "Disney on Ice presents Magic in the Stars • The Scoop")Disney On Ice will visit six cities around Australia in June and July Image suppliedWatch as Raya from *Raya and the Last Dragon* debuts live on ice and ascends into the air, lifting the show to higher heights as the strong warrior performs an aerial acro-pole routine. Escape “Into the Unknown” with Elsa and Anna from *Frozen 2*, hit the road with Disney and Pixar’s Lightning McQueen and Tow Mater as they cruise on the ice to “Life Is A Highway,” and reconnect with *Toy Story*’s Buzz Lightyear, Woody, Jessie, Rex, and Hamm. Travel to the mountains of Colombia where the Madrigal family lives, unlock the magic in the family’s casita, and discover why “We Don’t Talk About Bruno.” Set sail with Moana on her canoe into the open ocean, to witness her encourage Te Kā to “Know Who You Are” and transform into Te Fiti. In the end, audiences will learn that everyone has dreams they want to come true, but the brightest light shines inside of YOU! Every one of you is a STAR! So, shine bright and let your stories light up the night sky! ***Disney On Ice presents Magic in the Stars* tours the country from 12 June – 19 July 2026. Full dates and cities below.** Tickets: <https://www.disneyonice.com/en-au/> Socials: <https://www.instagram.com/DisneyOnIce> YouTube: <https://www.youtube.com/DisneyOnIce> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. *Please note: Each guest (ages 2 and up) must have a Disney On Ice show ticket to attend.* 2026 Australian Tour Dates: Perth 12 – 14 June, RAC Arena Adelaide 19 – 21 June, Adelaide Entertainment Centre Brisbane 26 – 29 June, Brisbane Entertainment Centre Melbourne 2 -6 July, Rod Laver Arena Newcastle 9 – 12 July, Newcastle Entertainment Centre Sydney 15 – 19 July, Qudos Bank Arena **Categories:** News --- ### [Elementary, My Dear Melbourne: Innes Lloyd Unleash Holmes' Lost Casebook](https://thescoop.au/elementary-my-dear-melbourne-innes-lloyd-unleash-holmes-lost-casebook/) **Published:** March 16, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Innes Lloyd The Lost Casebook of Sherlock Holmes Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/02/untitled-06066-942x628.jpeg "Innes Lloyd The Lost Casebook of Sherlock Holmes Melbourne International Comedy Festival • The Scoop")Comedy duo **Innes Lloyd** have entertained Melbourne audiences for over ten years with their hilarious adaptations of well-known literary characters, including Dracula and Frankenstein. In 2026, they are bringing a brand-new show to the Melbourne International Comedy Festival, ***The Lost Casebook of Sherlock Holmes***. Sir Arthur Conan Doyle teased readers with hints of other daring adventures for Sherlock Holmes and Dr John Watson. These cases were left untold…until now. Innes Lloyd take three of these legendary, never-written mysteries and explode them onto the stage in a bold, high-energy, laugh-out-loud theatrical event. Audiences will face the peril of **Ricoletti of the Club Foot and His Abominable Wife**, and puzzle over the enigma of **Colonel Warburton’s Madness**. They will shudder at the terror of **The Giant Rat of Sumatra**. The Scoop sat down with David Innes and Rob Lloyd ahead of the season and talked all things comedy, including sandwiches without ham, mild cardio and public domain chaos. Across four novels and 56 short stories, Sir Arthur Conan Doyle only hinted at these three cases. What gave you the confidence to say, “Don’t worry, Arthur, we’ve got this”? **Lloyd:** There’s always been something tantalising about these infrequently mentioned but never published ‘missing’ adventures in the Sherlock Holmes canon. These are always dropped with off-handed flair by either Holmes or Watson. Fans have been speculating for over a century about what these stories could be about and why they were never written as official stories. From a comedy/creative point of view, it’s the perfect vehicle to create an original Holmes story that can go anywhere and explore any weird, wild, wonderful idea, but still connected to the official Holmes world. You can either be a massive Sherlock Holmes fan or only know very little to get into this show. No homework required! **Innes:** You’ve got Lloyd, that’s why. A man who scuttled away from the harshness of the Dubbo sun to bury himself in the timeless children’s classics that are the complete Sherlock Holmes collection. Anyone who says, “Um, actually, my favourite Sherlock Holmes is Ian Richardson,” is bound to be an expert on the subject. So, take it from me that we’ve got this, because we have an absolute authority on the matter! ![The Scoop Innes Lloyd The Lost Casebook of Sherlock Homes Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/02/ILPromo-089-887x628.jpeg "Innes Lloyd The Lost Casebook of Sherlock Homes Melbourne International Comedy Festival • The Scoop")The Lost Casebook of Sherlock Holmes unleashes three untold stories in a bold theatrical eventYou’ve tackled Dracula, Frankenstein, even James Bond… what is it about public-domain chaos that calls to you? **Innes:** Avoiding copyright fees. Also… James Bond isn’t public domain, so uh… nobody look up our previous shows on YouTube, will you? But jokes aside, we love a big, bold adventure, and these sorts of stories lend themselves to a rollicking good theatrical romp. **Lloyd:** These characters, heroes, and villains are my myths and legends! They’ve leapt off the page and into our connective consciousness! They’ve jumped to the small screen, the big screen and of course, the stage! Innes and I love exploring these characters because they represent fundamental aspects of what makes us what we are as humans. Heroes we aspire to! Villains we challenge! Good versus evil! Right and wrong! What do you stand for? Plus, they are so flexible…they can be adjusted, adapted and transformed in infinite ways, to fit the current times and issues. There is no limit to what you can create using these characters, with comedy, drama, action, and horror! The giant rat of Sumatra: misunderstood icon or genuine menace? **Innes:** Misunderstood icon. Rats are incredibly clever and beautiful creatures. It’s not his fault he’s big and controlled by… oh, I better not give that away. **Lloyd:** Spoilers! You’ll have to come see the show! I’m really excited about presenting this story. This title has even inspired a classic Doctor Who adventure…The Talons on Weng-Chiang! We have the amazing, award-winning puppet designer/maker Donna Prince creating our giant rat…it will no doubt fill the audience with both terror and wonder! After ten years together, who is Holmes and who is Watson in your working relationship? **Lloyd:** BAGSIES BEING HOLMES! **Innes:** Oh, I am definitely Watson. Lloyd has the gravitas to stand, hands on hips, on rocks at Dartmoor, being all dashingly heroic. I just look like I got lost on the bus tour. I love that. A 9pm slot feels deliciously late for Victorian intrigue. Should audiences expect danger? Drama? Mild cardio? **Innes:** Probably just sleepiness. It’s past my bedtime! **Lloyd:** There will be danger that Innes will fall asleep on stage. Mid-scene. Audiences can then expect the drama of me watching my scene partner take a quick snooze on stage. Then witness me getting my mild cardio for the day, trying to keep Innes upright and awake for the remaining 30 minutes of the show. ![The Scoop Innes Lloyd The Lost Casebook of Sherlock Holmes Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/02/untitled-06079-942x628.jpeg "Innes Lloyd The Lost Casebook of Sherlock Holmes Melbourne International Comedy Festival • The Scoop")Rob Lloyd and David Innes appear alongside Chloe Towan and Liliana Braumberger in the showWhy is the Melbourne International Comedy Festival the perfect place to unleash this particular beast? **Innes:** A Comedy Festival without Innes Lloyd would be like a sandwich without ham. We gotta be there! We show the audience a fun time and fill them in on delicious fun facts. **Lloyd:** This is our eleventh year of doing the Comedy Festival! We have premiered all our latest shows here! It’s the creative mecca for comedy types. We love being part of the community and energy of this festival. If Holmes himself reviewed the show, what would he deduce about you two? **Innes:** He would say,“I had neither kith nor kin in the Melbourne International Comedy Festival and was therefore as free as air, or as free as an income of eleven shillings and sixpence a day will permit a man to be. Under such circumstances, I naturally gravitated to Innes Lloyd shows, that great cesspool into which all the loungers and idlers of the Empire are irresistibly drained. There I stayed for some time at the Impro Melbourne Theatre in West Melbourne, leading a comfortless, meaningless existence, and spending such money as I had, considerably more freely than I ought.” **Lloyd:** “My mind rebels at stagnation. Give me Innes, give me Lloyd! Give me their most obscure reference or the most intricate homage, and I am in my own proper atmosphere, in the audience of an Innes Lloyd show.” Brilliant! If you could adapt one literary character who is absolutely off-limits, who would it be? **Innes:** Horace Rumpole, of *Rumpole of the Bailey* fame. **Lloyd:** The Scarlet Pimpernel. Finish this sentence: “The game is afoot… and so is the…” **Innes:** …contents of my shoe. **Lloyd:** …hope it’s good eating. ***The Lost Casebook of Sherlock Holmes* is presented by Innes Lloyd and premieres at the 2026 Melbourne International Comedy Festival. 31 March – 5 April at 9pm at the Impro Melbourne Theatre. 21 – 23 Stanley Street West Melbourne Vic 3003.** Grab your tickets [here](https://www.comedyfestival.com.au/browse-shows/holmes-unbound-the-lost-casebook-of-sherlock-holmes). Website: <https://www.inneslloyd.com.au/> Socials: <https://www.instagram.com/inneslloyd/> [Read more of our Features!](https://thescoop.au/feature-articles/) Images supplied. Created in partnership with Innes Lloyd. For more information about our partnerships, visit [here](https://thescoop.au/partner-with-the-scoop/). ![The Scoop Innes Lloyd The Lost Casebook of Sherlock Holmes Melbourne International Comedy Festival](https://thescoop.au/wp-content/uploads/2026/02/JPG-Innes-Lloyd-Sherlock-Holmes-copy-444x628.jpg "Innes Lloyd The Lost Casebook of Sherlock Holmes Melbourne International Comedy Festival • The Scoop") **Categories:** Features --- ### [Review: West Gate Is A Story Of Mateship, Memory & Tragedy](https://thescoop.au/review-west-gate-is-a-story-of-mateship-memory-tragedy/) **Published:** March 15, 2026 **Author:** Wendy Samantha **Content:** ★★★★★ ![The Scoop West Gate Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/03/Darcy-Kent-and-Daniela-Farinacci-Photo-by-Pia-Johnson-942x628.jpg "West Gate Melbourne Theatre Company • The Scoop")The house is full, and chatter is at a peak. The opening night crowd is in high anticipation, and tonight at the Southbank Theatre, Melbourne Theatre Company has an important story to tell. As the lighting rig lifts, we hear the mechanics at work and sparks fly. Six workers take to the stage, speaking to each other and to the audience, drawing us into the world of the West Gate Bridge. We are right in the heart of it. A workers’ meeting, hands raised, votes cast. Nods and murmurs filling the room. There is a lightness among them. A bit of banter and poking fun, even as safety concerns are raised, and the work ahead is mapped out. Then it’s back to it. *West Gate* is written by Dennis McIntosh, who watched the collapse of the bridge as an 11-year-old. Directed by the incredible Iain Sinclair, it is an emotional tribute to the men who tragically died when the bridge collapsed in 1970. Thirty-five lives were lost that day. The magnitude of the impact from the fall was felt by all Melbournians and right across Australia. It was the worst industrial accident our country has faced. This story has been researched to bring truth to light and to honour the men who worked on the bridge and through this terrible disaster. It is a story to respect. To remember. To feel. The relationships between the men, the camaraderie and friendships formed are real. The people on stage are your mates, grabbing a beer after work and downing a meat pie at break. You know the era to be true with the integration of multiculturalism. With the footy jokes, workers’ songs and the Aussie banter we’ve all grown up with. ![The Scoop West Gate Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/03/Steve-Bastoni-Photo-by-Pia-Johnson-942x628.jpg "West Gate Melbourne Theatre Company • The Scoop")West Gate is absolutely compelling from start to finish Photo by Pia JohnsonWith a highly skilful, dynamic cast and creatives, *West Gate* is absolutely compelling from start to finish. You know what’s to come, but sit at the edge of your seats. Eyes wet, heart racing, grasping to hold the hand of a friend in the darkness. Steve Bastoni plays Victor, an Italian migrant welder who is hopeful about building a better life for his young family. A reflection of the many labourers who assisted with the big construction projects in the ‘60s and ‘70s, he is spirited and full of traditional family values. Paired with Darcy Kent as Young Scrapper, they navigate the bridge work and this time in their lives together, sharing stories, support and developing a friendship. Scrapper is tough on the exterior, a straight-talking Aussie bloke who is full of working-class pride, despite facing difficulties at home. Bastoni is sincere and always controlled. His depiction of Victor graces us with a beauty in faith and a dream of a bright future. He sees everything with goodness in his heart, and promotes this in Kent’s role as they excel in bringing to life everything that is humane together. Kent brings an array of emotions to the stage as Young Scrapper. He performs with a full heart in every moment, whether in a joke or in tears. He works wonders like a theatrical virtuoso, capturing pride, humility, grief and anguish with deep authenticity. As part of the construction team, Rohan Nichols portrays Pat, the head of the union. He infuses the play with a strong sense of what is real and truly lived in. Simon Maiden brings us Vinny in an exceptionally grounded and believable performance. One of the most clever parts of this production is the crowded bar scene where he and his mate Scrapper share and pass drinks under a square spotlight. Niklas Pajanti’s lighting is incredibly important to the storytelling. ![The Scoop West Gate Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/03/Darcy-Kent-and-Steve-Bastoni-Photo-by-Pia-Johnson-942x628.jpg "West Gate Melbourne Theatre Company • The Scoop")Six workers draw us into the world of the West Gate Bridge Photo by Pia JohnsonWithin the corporate roles, Paul English anchors the play as Stevenson. He delivers a grounded businessman who is all suit and no charm. In contrast, Peter Houghton portrays McAlister as a more thoughtful figure. He is focused on the bigger picture and willing to navigate the questions, challenges and difficult conversations that are all part of the work. Ben Walter is dynamic and bright as the young hotshot Cooper. He brings energy and a knowing confidence that is shaken by questions after the bridge falls. In the aftermath of the accident, Daniela Farinacci delivers a powerful portrayal of Victor’s heartbroken wife, Frankie. Her performance carries both heightened emotion and quiet strength, while still allowing a glimmer of hope to shine through the sorrow. *West Gate* is a masterful production that uses creativity to honour the lives lost that day. It reminds us what truly matters, its message echoing gently through the darkness: “You’re safe with me.” For every Aussie battler, for anyone who drives through Melbourne, *West Gate* is an experience to be seen, felt and gently held on to. ***West Gate* is presented by Melbourne Theatre Company and runs to 18 April at Southbank Theatre, The Sumner.** **140 Southbank Boulevard Southbank Vic 3006.** Tickets: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/west-gate/> Website: <https://www.mtc.com.au/> Socials: <https://www.instagram.com/melbtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Pia Johnson **Categories:** Melbourne, Theatre --- ### [Review: & Juliet Brings Pop Power & Big Heart To The Empire](https://thescoop.au/review-juliet-brings-pop-power-big-heart-to-the-empire/) **Published:** March 15, 2026 **Author:** Regan Baker **Content:** ★★★★½ ![The Scoop & Juliet The Empire Theatre Toowoomba](https://thescoop.au/wp-content/uploads/2026/03/Empire-0I1A1613-Juliet_Hi-Res_Credit-Justin-Nicholas-942x628.jpg "& Juliet The Empire Theatre Toowoomba • The Scoop")I’m not exactly a regular at The Empire in Toowoomba, but when *& Juliet* comes calling, common sense really does go out the window. For a show I’ve already seen in London’s West End, Sydney and Melbourne, there was no chance I was going to let it pop up within ninety minutes of home and not make the trip up the range. At this point, my relationship with this musical is either commitment or a complete lack of self-control. When Shakespeare’s most famous tragedy gets reborn through the ingenious mind of Max Martin, though, resisting it feels less like restraint and more like a bad life choice. The premise is simple, yet ridiculous in the best way. Instead of Juliet copping the usual tragic ending, this version asks, what if she just… didn’t? What follows is two-and-a-bit hours of Shakespearean puns, 90s and early 2000s bangers, and a story about endings not being defined by tragedy, but by choice. That is what makes *& Juliet* such a crowd-pleaser. Under all the glitter, gags and nostalgic hits, there is a genuinely lovely message about agency, second chances, and refusing to let somebody else write your story for you. As one of my all-time favourite musicals, I walked into The Empire with expectations sitting somewhere between high and unfairly high. It’s a show I know very well, so it would have been easy for this production to feel like a lesser cousin. It did not. Was it as polished as the West End version? Of course not. Very little is. But what The Empire and director Tim Hill have created here gets about as close as you could realistically hope for. The scale feels big, the energy never drops, and from the second it kicks off, the whole theatre seems to buzz with the kind of excitement this show demands. Hill clearly understands that *& Juliet* only works if you fully commit to the bit. You cannot half-do a musical this knowingly ridiculous. It’s a show that needs colour, confidence, chaos, and a cast willing to throw themselves headfirst into the madness… And this is exactly what we get. The set is bold, the costumes glamorous, and the ensemble seems to multiply every time you blink. By the end, The Empire was absolutely ringing. I knew pretty quickly this show was in good hands when I saw Luke Kennedy’s name attached as Music Supervisor. He is one of those names that immediately makes you relax a little because you know the vocal standard is not going to be an issue. ![The Scoop & Juliet The Empire Theatre Toowoomba](https://thescoop.au/wp-content/uploads/2026/03/Empire-0I1A1479-Juliet_Hi-Res_Credit-Justin-Nicholas-942x628.jpg "& Juliet The Empire Theatre Toowoomba • The Scoop")This show lives or dies on its cast and this company absolutely delivers Photo by Justin NicholasSure enough, the score is in very safe hands. There is nothing subtle about a show built on songs by Britney, Katy Perry, The Backstreet Boys and P!nk, and thankfully, this production never tries to play them small. Massive accolades must be given to Tess Hill’s choreography, which well and truly stands out as one of the highlights. The routines she emboldened are sharp, energetic and well-thought-out. Even in some moments where the songs feel a touch disjointed, the movement on stage keeps everything glued together. The big ensemble numbers have real impact, but even in smaller moments, it never feels like filler. It is always pushing the story, the joke or the emotion forward. The technical team as a whole deserve a lot of praise as well, because this is not a small show to pull off. Debra Nairn’s costumes are glamorous, bold and exactly the right amount of extra. Ben Hunt’s lighting design does a lot of heavy lifting, too, especially in helping shift between the two sides of the story and giving the big pop numbers the concert-style lift they need. Aaron Hannant’s audio design is, for the most part, excellent. The odd mic cue did get missed here and there, and there were a few moments where the balance felt slightly off, but on the whole the sound is pumping, and the 90s are very much alive inside The Empire. Jake Lodder’s video design is also practical and engaging, used in a way that supports rather than distracts. I also love the bravery of trying to do live-video crosses; however, as someone who works in live broadcast, the audio delay really got me and unfortunately, worked against the visual boldness of the technique. Of course, as fun as all the visual and technical elements are, *& Juliet* lives or dies on its cast, and this company absolutely delivers. Kate Hudson-James, making her mainstage debut after graduating from Griffith University’s Queensland Academy of Excellence in Musical Theatre last year, announces herself in a very big way here. As one of the most iconic characters in Shakespeare’s arsenal, the role of Juliet always comes with certain expectations. As such, it is incredibly exciting to see Hudson-James step into those shoes and, come hell or high water, make the role her own. She has a voice that just won’t quit, and she is one to watch for the future, for sure. ![The Scoop & Juliet The Empire Theatre Toowoomba](https://thescoop.au/wp-content/uploads/2026/03/Empire-0I1A1879-Juliet_Hi-Res_Credit-Justin-Nicholas-942x628.jpg "& Juliet The Empire Theatre Toowoomba • The Scoop")The whole theatre seems to buzz with the kind of excitement this show demands Photo by Justin NicholasChris Thomson as Will Shakespeare is another standout, bringing excellent comic timing to all of the script’s snappy wordplay. Claire Sutton’s Anne Hathaway is a ball of infectious energy and one of the most instantly enjoyable performances of the night, with *That’s The Way It Is* a particular highlight. Meg Mackenzie had what was always going to be one of the trickier jobs of the night, especially with my last Angelique benchmark being Casey Donovan. But she more than holds her own. Her comic timing is superb, her vocals excellent, and she brings a warmth to the role that I wasn’t expecting. I honestly don’t have the word count to go into every cast member in detail. Which, to be fair, is always a good problem for a production to have. But a quick shoutout to the remainder of the named cast in Luca Blyth as May, Orlando Vella as Francois, Lachlan Dodd as Romeo and Nicholas Doyle as Lance, who all bring something strong and distinct to the table. They are backed by an ensemble of 17 who work incredibly hard from start to finish. By the final bows, The Empire’s *& Juliet* proves exactly why people keep falling for this story. It’s silly, smart, heartfelt and just self-aware enough to get away with all of its glorious nonsense. For a regional theatre to tackle something this big, this pop-heavy and this relentlessly high-energy is ambitious enough. To pull it off with this much confidence, polish, and joy is something else entirely. I made the trip up the range already knowing I loved the show. What I did not expect was to leave quite so impressed by just how well The Empire has managed to capture its sparkle. It may not have the budget or machinery of the mega-productions I have seen before, but it has the thing that matters most: a cast and creative team going all in. Funny, flashy and packed with heart, *& Juliet* provides the kind of night out that sends you home grinning like an idiot. And quietly adding the soundtrack back into your regular rotation. ***& Juliet* runs to 22 March at The Empire Theatre, 54-56 Neil Street Toowoomba 4350.** Tickets: <https://tickets.empiretheatre.com.au/event/-juliet-gmt6nx> Website: [https://empiretheatre.com.au/whats-on/&-juliet](https://empiretheatre.com.au/whats-on/&-juliet) Socials: [https://www.instagram.com/empire\_theatre/](https://www.instagram.com/empire_theatre/) [Read our Interview with Kate Hudson-James!](https://thescoop.au/kate-hudson-james-steps-into-the-spotlight-with-juliet/) Photo credits: Justin Nicholas **Categories:** Brisbane, Musical Theatre --- ### [Kate Hudson-James Steps Into The Spotlight With & Juliet](https://thescoop.au/kate-hudson-james-steps-into-the-spotlight-with-juliet/) **Published:** January 19, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Kate Hudson-James & Juliet Empire Theatre Toowoomba](https://thescoop.au/wp-content/uploads/2026/01/Juliet-Cast-copy-1116x628.jpg "Kate Hudson-James & Juliet Empire Theatre Toowoomba • The Scoop")The worldwide smash-hit musical ***& JULIET*** is heading to Toowoomba’s esteemed Empire Theatre in March, featuring an all-singing, all-dancing, all-star cast of more than two dozen young performers. In the title role is **Kate Hudson-James**, making her professional debut. The role marks a homecoming for Kate who is a former Toowoomba resident and a recent graduate of the Queensland Academy of Excellence in Musical Theatre at Griffith University. The Scoop had the pleasure of chatting with Kate ahead of the season. Kate discusses the journey that led her to this moment and shares advice for aspiring professionals. Read the full interview below. **Congrats on your role! Let’s start by talking a little bit about *& Juliet*. I’ve never seen the musical myself, and I’d love to hear what it’s all about**. Thank you so much! So, remember how *Romeo & Juliet* ends with Romeo dead by poison and Juliet dead by dagger? Well, *& Juliet* starts with Juliet holding that dagger, and deciding to put it down and live her life without Romeo. On that journey, she leans on her friends, discovers herself, helps reconnect old lovers, breaks patterns, and sings some absolute bangers. I can’t give anything else away, but I promise it is fun and glittery and will be spectacular! **Sounds like it’s going to be lots of fun! I’ve read that *& Juliet* is a jukebox musical. What songs are you most excited to perform in the show?** Oh, it’s got to be *Since You Been Gone* by Kelly Clarkson. To be able to perform this song with the femme ensemble backing me up feels like girl power set to music. Absolute dream. ![The Scoop Kate Hudson-James & Juliet Empire Theatre Toowoomba](https://thescoop.au/wp-content/uploads/2026/01/Juliet-Hero-2-1117x628.jpg "Kate Hudson-James & Juliet Empire Theatre Toowoomba • The Scoop")Kate Hudson James makes her professional debut in And Juliet at the Empire Theatre Toowoomba**I love it! Let’s talk about this particular production and what makes this so special for you.** *& Juliet* marks my professional debut! As a recent graduate, to be given an opportunity to use the skills I’ve been learning for the past three years, and to be able to use them in my hometown in the company of friends, is so exciting. I think every performer remembers their debut, so I know this show will stay with me for as long as I stay in this career! **Can you tell us about the experiences you had at the Empire Theatre with *Mamma Mia!* and *We Will Rock You*?** I was 16 years old in *Mamma Mia!*, and at the time, it was the most professional production I had ever been a part of. I remember the overwhelming joy and sense of belonging I had while rehearsing and performing that show, which ultimately convinced me to keep pursuing it. Enter *We Will Rock You* when I was 18 years old, and I was lucky enough to be cast as Scaramouche – the first time I had ever been trusted with a role (and song list!) of that size. *We Will Rock You* was the biggest performance challenge I had faced up to that point. The support and love I received from the cast and creative team helped me grow in confidence and skill, which ultimately helped me get into my Bachelor’s course! I can’t imagine what my life would look like without those two shows. ![The Scoop Kate Hudson-James & Juliet Empire Theatre Toowoomba](https://thescoop.au/wp-content/uploads/2026/01/Kate-Hudson-James-17MB-416x628.png "Kate Hudson-James & Juliet Empire Theatre Toowoomba • The Scoop")Kate Hudson James**As a musical theatre degree graduate, what advice would you give to others who may be entering their first, second or even graduate year – something that perhaps you wish you’d known as you were going through?** There are so many tips I could give myself in hindsight, but I honestly think there is incredible value in learning those lessons on your own timeline. I think my biggest advice for thriving in a musical theatre degree is to prioritise your health. It’s a huge physical and emotional commitment, and proper rest and diet are absolutely key. I learned that lesson the hard way in my first year! **It’s early in the year, but what auditioning tips do you have for those hoping to pursue formal education in musical theatre?** Again, so many! My biggest piece of advice, which isn’t really advice as much as it is an ethos, I suppose, is that things will happen when they are meant to. I got rejected in my first year of auditioning for Griffith, and in my second year of auditioning for schools, I got into some and was rejected from others. There are so many factors that go into those kinds of decisions – keep working on you, keep finding joy in what you do, and when it is right, it will happen! **With your whole exciting career ahead of you, what other musicals or roles are on your bucket list?** I’m a little *Wicked* obsessed at the moment (who isn’t?), so *Wicked* is definitely on my bucket list! I’d love to play both Glinda and Elphaba one day. I really can’t choose between them! **Kate Hudson-James appears in** ***& Juliet* from 13 – 22 March at The Empire Theatre, 54-56 Neil Street Toowoomba 4350.** Tickets: <https://tickets.empiretheatre.com.au/event/-juliet-gmt6nx> Website: [https://empiretheatre.com.au/whats-on/&-juliet](https://empiretheatre.com.au/whats-on/&-juliet) Socials: [https://www.instagram.com/empire\_theatre/](https://www.instagram.com/empire_theatre/) and <https://www.instagram.com/katehudsonjames/> [Read our Review of the Show!](https://thescoop.au/review-juliet-brings-pop-power-big-heart-to-the-empire/) Images supplied. **CAST** Juliet **Kate Hudson-James** Anne **Claire Sutton** Shakespeare **Chris Thomson** May **Luca Blyth** Francois **Orlando Vella** Lance **Nicholas Doyle** Angelique **Meg MacKenzie** Romeo **Lachlan Dodd** **ENSEMBLE** Dylan Ashton, Lydia Cunnington, Flynn Walmsley, Micah Adamson, Jayden Blaxland, Micah Walmsley, Bruce Blessing, Niamh Cadoo-Dagley, Rebecca Peake, Emma Bettinson, Georgia McNamara, Rhiannon Baird, Megan Cattell, Madelyn Robinson, Lucinda Isbel, Madeleine Tooley, Jenny Kempe **CREATIVES** Music by **Max Martin & Friends** Book by **David West Read** Director **Tim Hill** Music Supervisor **Luke Kennedy** Choreographer **Tess Hill** Scenic Designer **Frances** **Story** Audio Designer **Aaron Hannant** Costume Designer **Debra Nairn** Lighting Designer **Ben Hunt** Video Designer **Jake Lodder** **Categories:** Features --- ### [Review: The Chronicles by Stephanie Lake Company 2026 Adelaide Festival](https://thescoop.au/review-the-chronicles-by-stephanie-lake-company-2026-adelaide-festival/) **Published:** March 14, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop The Chronicles Stephanie Lake Company Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/AF26-THE-CHRONICLES-Photographer-Andrew-Beveridge-MEDIA-0018-942x628.jpg "The Chronicles Stephanie Lake Company Adelaide Festival • The Scoop")When the curtain begins to rise on *The Chronicles*, it does so slowly. Just a thin orange crack of light appears across the stage. It looks like an eyelid opening. The first breath of a life. Stephanie Lake’s latest work arrives with a strong pedigree. The Melbourne-based choreographer leads one of Australia’s most respected contemporary dance companies. Their catalogue includes acclaimed works such as *Colossus*, *Manifesto* and *Monsters*. With *The Chronicles*, Lake turns her gaze to something even larger. Life itself. From the womb to the tomb. Twelve dancers move through this sweeping meditation on human existence. They are joined by composer Robin Fox’s electro-acoustic score. Fox blends driving electronic rhythms with the ethereal voices of the Young Adelaide Voices choir. Baritone Oliver Mann also performs live. The result is a sonic landscape that feels both ancient and futuristic. The opening image is striking. A dancer lies curled beneath a box suspended above the stage. The shape evokes a crib. The body beneath it rests in a foetal position. The score begins to pulse like a heartbeat. Movement starts small. Barely perceptible. A twitch. A ripple. A breath. Life gathers momentum. Soon the stage floods with dancers. They arrive at speed. They gallop in from the wings like wild horses. Lake’s choreography is restless and muscular. Bodies collide. Groups form and dissolve. Soloists emerge only to melt back into the ensemble. Nothing holds still for long. This is a work about transitions. Moments appear and vanish before you can settle into them. Bosco Shaw’s lighting design marks these shifts with precision. Orange light becomes white. White fades into darkness. Each change feels like another phase of life. ![The Scoop The Chronicles Stephanie Lake Company Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/AF26-THE-CHRONICLES-Photographer-Andrew-Beveridge-MEDIA-0057-942x628.jpg "The Chronicles Stephanie Lake Company Adelaide Festival • The Scoop")Onstage the dancers arrange themselves in a line moving like dominoes Photo by Andrew BeveridgeThen the music shifts. The Young Adelaide Voices choir appear at the rear of the stage. They stand in what looks like a field of grass. Lanterns glow in their hands. They begin Robin Fox’s choral arrangement of the folk song *Ah Poor Bird*. It feels fragile. Almost sacred. Onstage, the dancers arrange themselves in a line. They move like dominoes. Pairs form and reform. One coupling becomes another. Relationships emerge and dissolve. It suggests the passage of love, friendship and family across a lifetime. The children’s choir then enter the stage. They sit in a circle. Their singing becomes playful whooshing sounds and tongue clicks. Around them, the dancers swirl. Packs of adults and children gather. They chatter and drift apart. It feels like the messy, noisy middle of life. Parenthood. Community. The crowded years. Baritone Oliver Mann’s solo brings a moment of stillness. His voice begins wordlessly. Then it folds into an a cappella version of the Alphaville arrangement of *Forever Young*. By now, the stage looks different. A dancer drags a heavy hay bale into the space. Then another appears. And another. The green grass has dried. Life’s experiences now carry weight. One by one the dancers rip their bales apart. Golden hay fills the air. It swirls through the light like dust in late afternoon sun. Some dancers stand free. Others disappear beneath the weight. The image is beautiful and unsettling. Age brings wisdom. But also burden. ![The Scoop The Chronicles Stephanie Lake Company Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/AF26-THE-CHRONICLES-Photographer-Andrew-Beveridge-MEDIA-0080-942x628.jpg "The Chronicles Stephanie Lake Company Adelaide Festival • The Scoop")What is remarkable about *The Chronicles* is its precision with complex yet disciplined choreography Photo by Andrew BeveridgeCharles Davis’s set and Harriet Oxley’s costumes keep the visual world clean and elemental. Nothing distracts from the movement. Or the ideas beneath it. The final moments arrive quietly. A dancer carries another across the stage. They lay the body down. The box that once hovered as a crib lowers again. This time, it becomes a coffin. Life closes the circle. What is remarkable about *The Chronicles* is its precision. Lake’s choreography is complex yet disciplined. Every gesture lands exactly where it should. Ironically, the piece about life’s chaos unfolds with total control. So much happens that the eye is constantly busy. The stage is always shifting. The work ends almost before you realise how much time has passed. Which feels appropriate. Life rarely warns us when a chapter has closed. Stephanie Lake proves once again that she is one of Australia’s most compelling choreographers. *The Chronicles* is ambitious. It is emotionally generous. And it leaves the audience with a simple, unsettling thought. Our lives are brief. But the dance of them is extraordinary. ***The Chronicles* is presented by Stephanie Lake Company and runs to 15 March as part of Adelaide Festival. Dunstan Playhouse, Festival Theatre Adelaide SA 5000.** Tickets: <https://premier.ticketek.com.au/shows/Show.aspx?sh=CHRONICL26> Website: <https://www.adelaidefestival.com.au/whats-on/season-2026/the-chronicles> Socials: <https://www.instagram.com/adelaidefestival/> and <https://www.instagram.com/stephanielakecompany/> [Read more of our Adelaide Festival Reviews](https://thescoop.au/?s=adelaide) Photo credits: Andrew Beveridge **Categories:** Adelaide, Dance --- ### [Review: The Riddle Of Washpool Gully Dead Puppet Society](https://thescoop.au/review-the-riddle-of-washpool-gully-dead-puppet-society/) **Published:** March 14, 2026 **Author:** Chloe White **Content:** ★★★★☆ ![The Scoop The Riddle of Washpool Gully Dead Puppets Society](https://thescoop.au/wp-content/uploads/2026/03/Washpool-feature-image-944x628.jpg "The Riddle of Washpool Gully Dead Puppets Society • The Scoop")Dead Puppet Society has revived their acclaimed production, *The Riddle of Washpool Gully*, and it arrives at QPAC as part of its national tour. Originally created by Terrapin Puppet Theatre in association with Dead Puppet Society, *The Riddle of Washpool Gully* is aimed at ages 6+, and is guaranteed to keep both children and adults hooked until the very end. Creative director and designer David Morton tells a tale of imagination, family and love. In a small Australian town, a dry creek bed has been forgotten. Big trucks and digging machines are set to take over. A boy stumbles upon the legend of the sleepy Washpool Gully and what is lying asleep in the scrub. But for how long? Blending old-fashioned storytelling with inventive visual stagecraft, the use of miniature sets and precise staging creates a production that is both entertaining and beautifully realised. ![The Scoop The Riddle of Washpool Gully Dead Puppets Society](https://thescoop.au/wp-content/uploads/2026/03/Washpool-3-944x628.jpg "The Riddle of Washpool Gully Dead Puppets Society • The Scoop")The story is both entertaining and beautifully realised Photo by Daniel BoudNarrator Hugh Parker demonstrates superb timing, delivering moments of emotion, surprise and humour that flow effortlessly with the rhythm of the story. Actor-puppeteers Reagan Mannix and Merlynn Tong deliver a masterclass in puppetry. Adults will marvel at the concentration and skill behind the performance, while children will be utterly mesmerised. To say the puppets are well designed is an understatement. The craftsmanship of the props brought everything to life on stage. The attention to detail and sophisticated design allow for movement that brings a level of realism to the creature and the Boy. The immersive soundscape designed by Brady Watkins, with compositions by Heath Brown, creates tension and adds depth to the scenes. The immersive roar of the storm and rhythmic precision of the train tracks are an added layer of auditory storytelling and are essential to the unfolding narrative. ![The Scoop The Riddle of Washpool Gully Dead Puppets Society](https://thescoop.au/wp-content/uploads/2026/03/Washpool-4-944x628.jpg "The Riddle of Washpool Gully Dead Puppets Society • The Scoop")The performers display a masterclass in puppetry Photo by Daniel BoudBen Hughes’ clever lighting design thoughtfully evokes both night and day, grounding the story in a realistic passage of time. The production’s playful take on hidden issues most children can relate to, such as feelings of isolation, loneliness, wanting a friend, family problems, and absent family members, adds a nuanced layer of complexity to the story. The result is real, raw, and emotive. *The Riddle of Washpool Gully*’s compelling hybrid of puppetry and live action is bound to leave a lasting impression on the audience. It will leave both the young and old wanting to revel in the imagination and creativity for a bit longer. ***The Riddle of Washpool Gully* is presented by QPAC and Dead Puppet Society and runs to 21 March at The Cremorne Theatre, QPAC.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/lepdpstheriddleofwashpoolgully26> Website: <https://www.qpac.com.au/whats-on/2026/lep-the-riddle-of-washpool-gully> Socials: <https://www.instagram.com/deadpuppetsociety/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Daniel Boud 2026 Australian Tour Dates (remaining): Brisbane 10 – 21 March, Cremorne Theatre, QPAC Sunshine Coast 26 – 27 March, The J Noosa Melbourne 8 – 11 April, Gasworks Creative Precinct Adelaide 16 – 18 April, Adelaide Festival Centre **Categories:** Brisbane, Theatre --- ### [Review: Theatre Of Dreams by Hofesh Shechter Company 2026 Adelaide Festival](https://thescoop.au/review-theatre-of-dreams-by-hofesh-shechter-company-2026-adelaide-festival/) **Published:** March 14, 2026 **Author:** Sophie Tsoulos **Content:** ★★★★★ ![The Scoop Theatre of Dreams Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/AF26-Theatre-of-Dreams-Photographer-Andrew-Beveridge-MEDIA-0116-942x628.jpg "Theatre of Dreams Adelaide Festival • The Scoop")Hofesh Shechter is one of the most in-demand choreographers in the world. In a knockout return to the Adelaide Festival, Hofesh Shechter Company brings us *Theatre of Dreams* for an unmissable limited season. Direct from the United Kingdom, the ensemble has been a boundary-breaking force in contemporary dance since 2008, creating powerful works under Shechter’s artistic direction. With an extraordinary, internationally diverse ensemble, Shechter’s works have toured worldwide, moving themselves and audiences beyond reason. The Company last toured to Adelaide in 2019 with their work *Grand Finale,* and now makes a long-awaited, triumphant return in 2026. *Theatre of Dreams* follows twelve dancers moving through portals of evolving emotions, darkness and dreams. However, this synopsis cannot do justice to what we all witnessed last night. I have to call it: this is the best contemporary dance work I have ever seen. A dancer is initially with us in the audience before the show starts. We don’t really notice him, but we should have. We are sitting, waiting for the house lights to dim to signal the start. But it doesn’t come. This dancer then appears on the stage. Curiously assessing the threshold of the curtain, should he enter? He peers behind, and then we are all lurched down this portal with him. ![The Scoop Theatre of Dreams Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/AF26-Theatre-of-Dreams-Photographer-Andrew-Beveridge-MEDIA-0007-942x628.jpg "Theatre of Dreams Adelaide Festival • The Scoop")Theatre of Dreams is the best contemporary dance work I have ever seen Photo by Andrew BeveridgeAh! This is what we were waiting for! The show had already started! It is instantly clear that we are on this journey too; there will be no separation between them and us. You can forget a slow build. *Theatre of Dreams* launches you into a cosmic whirlwind of illusion and movement instantly. The dancers Do. Not. Stop. The curtain is suddenly a character in this work – the window between us and the action. I have not seen anything like it. They slide or lift the upstage and downstage curtains across the stage – closing us off, letting us in. Shechter’s score pulses throughout the theatre, and Tom Visser’s lighting design plunges us in and out of darkness. The combination of all these elements creates an outstanding visual display that hijacks all our senses. These dancers are artistic athletes. They run, slide, groove, ebb and flow throughout this section and beyond. Their transitions between each other and moments of unison are all timed to perfection. This is an example of an ensemble at the peak of its power. Shechter’s choreographic style is one that uses the rhythms to drive the visceral physicality of the movements. It is incredibly unique and totally groovy. The dancers are completely at the mercy of the music and make it look habitual. These twelve incredible artists are: Alex Haskins, Robinson Cassarino, Tristan Carter, Frederic Despierre-Corporon, Cristel De Frankrijker, Rachel Fallon, Mickael Frappat, Justine Gouache, Zakarius Harry, Keanah Simin, Juliette Valerio and Chanel Vivent. ![The Scoop Theatre of Dreams Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/AF26-Theatre-of-Dreams-Photographer-Andrew-Beveridge-MEDIA-0078-942x628.jpg "Theatre of Dreams Adelaide Festival • The Scoop")The twelve incredible dancers are completely at the mercy of the music and make it look habitual Photo by Andrew BeveridgeAlso in this cathartic portal of dreams is a three-piece jazz band who appear throughout to further transcend the audience into a state of hypnosis. Norman Jankowski, Bartłomiej Janiak and James Keane are dressed in red, emerging each time to switch up the tone of the work. They blend genres musically; you can hear influences of Arabic, African and American Jazz rhythms. Again, complementing all this is Visser’s lighting, which switches the hues to match. On Visser’s lighting and Shechter’s direction, I must also mention the genius use of the house lights that are brought up a couple times throughout the show. In one moment, we are invited to join dancers in a boogie. Looking around, the scene looks like some euphoric cult, a theatre full of humans completely surrendering to the beats and movement, at the mercy of this place. The show ends by bringing us full circle. We are all let out gently from this fever-dream. The lights come up, and the dancers are on stage, also waking up in awe. We all feel the same. The collective feeling is, did we just imagine the past 90 minutes? Let me jump in again! *Theatre of Dreams* does more than push the boundaries of contemporary dance; it is already far beyond the boundary in a league of its own. Hofesh Shechter Company makes contemporary dance feel immediate, visceral and alive. *Theatre of Dreams* is an electrifying triumph from start to finish. I urge you to cancel all your weekend plans and jump down the rabbit hole before they are gone again. ***Theatre of Dreams* is presented by Hofesh Shechter Company and runs to 15 March at the Festival Theatre as part of Adelaide Festival.** Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=OFDREAMS26> Website: <https://www.adelaidefestival.com.au/whats-on/season-2026/theatre-of-dreams> Socials: <https://www.instagram.com/hofeshco/> and <https://www.instagram.com/adelaidefestival/> [Read more of our Adelaide Festival Reviews](https://thescoop.au/?s=adelaide) Photo credits: Andrew Beveridge **Categories:** Adelaide, Dance --- ### [Review: Torch The Place Finds Heart In The Chaos Of Family Life](https://thescoop.au/review-torch-the-place-finds-heart-in-the-chaos-of-family-life/) **Published:** March 14, 2026 **Author:** Regan Baker **Content:** ★★★★½ ![The Scoop Torch The Place Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/03/stephen-henry-7403375-890x628.jpg "Torch The Place Queensland Theatre Company • The Scoop")Let’s begin with a confession: I have a $5 Treasure Island Casino chip in my bedside drawer. It’s been there for 12 years, ever since a trip with one of my best mates. I have no real reason to keep it, especially since the casino changed over their chips, so it’s quite literally now worthless. But there it still sits. Queensland Theatre Company’s *Torch the Place* understands that impulse perfectly. This black comedy by Queensland-born writer Benjamin Law is built on the question every family eventually trips over: what do we do with all the stuff, and all the stories our parents refuse to throw away? Inspired by Law’s own family experience, it’s funny and moving. Hoarding is easy to sensationalise, but clinically significant. Hoarding disorder is more common than most people realise. A large systematic review and meta-analysis estimated the prevalence at about 2.5% of adults, roughly 1 in 40. *Torch the Place* doesn’t use that statistic as shock value. It uses it as context for compassion. The setup is simple. Mum is turning 60. The adult kids arrive with cake, presents and a skip bin. Teresa, the eldest, tries to force an overdue reckoning in an ordinary Gold Coast house that’s become a museum of grudges, Princess Diana trinkets, and late ‘90s relics. It’s not a reunion. It’s an intervention. The play’s genius is that it lets both things be true at the same time. Law’s writing is deeply Australian, built from Humphrey B. Bear plushies and other nostalgic artefacts. Then it keeps nudging you with pop staples like *The NeverEnding Story* and Barbies until your own nostalgia starts answering back. The only downside is that I don’t think I’ll ever be able to watch *Hey Hey It’s Saturday* the same way again. It is a fiercely funny and surprisingly tender family story that, on occasion, hits a little too close to home. In her mainstage solo directing debut, Ngọc Phan holds the household together with impressive confidence. Movements feel natural. Dialogue flows with an easy rhythm. The relationships between this tight-knit family land in a completely believable way. Phan clearly understands the balance this show needs. She lets the comedy breathe, but she never lets the emotional weight disappear underneath it. ![The Scoop Torch The Place Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/03/stephen-henry-7404777-903x628.jpg "Torch The Place Queensland Theatre Company • The Scoop")Torch The Place is a fiercely funny and surprisingly tender family story Photo by Stephen HenryThe design team matches that clarity beautifully. Jeremy Allen’s set design perfectly captures the chaotic shambles of a hoarder’s castle. While every surface is cluttered with relics and memories, the overall stage never feels confusing or buried. And even though everything looks wildly out of place, you can tell Allen spent a decent amount of time mulling over each item’s placement to ensure it is exactly where it should be. At its core, it’s visual storytelling that supports the play, without ever demanding attention for itself. In the background, Wil Hughes sound design works away at building a soundscape that superbly matches the chaos of the family home and its inhabitants. It ticks away in the background like a hoarded grandfather clock, then pokes its head through at just the right time to remind you that this house is full of noise, history and way too much unresolved family tension. It works quietly, but effectively. Similarly, Briana Clark’s lighting design deserves special praise. In her mainstage debut as sole lighting designer, Clark crafts warm pockets of memory across the stage using complex lighting states that shift seamlessly between present-day chaos and nostalgic recollection. She is absolutely one to watch. The cast is excellent across the board, and you would never guess that three of the five performers are making their Queensland Theatre debuts if the program did not tell you. As Teresa, Denise Chan captures the eldest child energy perfectly. She is determined, frustrated, and deeply relatable in her attempts to convince her ageing mother to finally clean up the house. I can guarantee that you will see at least a little bit of yourself in Teresa if you’ve ever had to have a difficult conversation with one of your own parents. ![The Scoop Torch The Place Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2026/03/stephen-henry-7403095-928x628.jpg "Torch The Place Queensland Theatre Company • The Scoop")Benjamin Law has written something that feels unmistakably Australian Photo by Stephen HenryLogan So is instantly likable as Toby, bringing a warm, bubbly energy that makes him very easy to relate to. He finds a really nice balance between humour and sincerity. Kristie Nguy’s Natalie is also great fun. She absolutely nails that slightly chaotic, social media-obsessed energy of someone who lives online chasing promo packs and freebie deals, but she still manages to ground the character with genuine care for her family. Peter Thurnwald’s Paul provides a calm centre to the chaos. His relaxed attitude and short shorts become a running visual joke, but the character also functions as the quiet emotional support behind Teresa’s frustration. And then there is Hsiao-Ling Tang as Diana, whose performance anchors the entire play. Tang delivers Diana’s quick one-liners with razor-sharp timing, constantly defending every piece of so-called junk as if it holds the meaning of life itself. Her antics are hilarious, but also deeply human. In the beginning, I don’t think anyone could understand why Diana held such meaning in these items. By the end, however, I for one did a full 180 and was entirely in support of her keeping some of her crap. That’s how good an actress Tang is. In the end, *Torch The Place* is a story about family. The dysfunctions. The memories. The love. And the strange little relics that tie it all together. Suffice to say, Benjamin Law has written something that feels unmistakably Australian, but its message travels far beyond the Gold Coast living room it portrays. You may leave wanting to call your mum. Or at the very least, finally deal with that drawer full of things you swear you will throw out one day. ***Torch The Place* is presented by Queensland Theatre Company and runs to 29 March** **at the Bille Brown Theatre, 78 Montague Road South Brisbane 4101.** Tickets are available [here](https://tickets.queenslandtheatre.com.au/events?startDate=2026-03-10&_gl=1%2A10skhgx%2A_gcl_aw%2AR0NMLjE3Njk3NDgyNzAuQ2owS0NRaUFwLXpMQmhEa0FSSXNBQmNZYzZ0YWZtV3U1NC00NEZNc1FCMnFaZUxYWnBEU0VGWWMtTDM0X2VQS3BkRVFINGNjUnlqc0ZOb2FBdjJvRUFMd193Y0I.%2A_gcl_au%2AMTc0ODI5MTU1LjE3NzM0NTgwNTE.%2A_ga%2AMzgwNDg2NzgyLjE3NjQzMDkxNTc.%2A_ga_JCHWY8Q8C3%2AczE3NzM0NTgwNTAkbzE0JGcxJHQxNzczNDU4MDUzJGo1NyRsMCRoMA..). Website: <https://queenslandtheatre.com.au/> Socials: [https://www.instagram.com/qld\_theatre/](https://www.instagram.com/qld_theatre/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Stephen Henry **Categories:** Brisbane, Theatre --- ### [Review: Julius Caesar Asks If Murder Can Ever Be Honourable](https://thescoop.au/review-julius-caesar-asks-if-murder-can-ever-be-honourable/) **Published:** March 14, 2026 **Author:** Benjamin Webb **Content:** ★★★☆☆ ![The Scoop Julius Caesar Bell Shakespeare Sydney](https://thescoop.au/wp-content/uploads/2026/03/JuliusCaesar_Ray-Chong-Nee-Brigid-Zengeni-Ava-Madon-and-Septiumus-Caton_Photo-Brett-Boardman-941x628.jpg "Julius Caesar Bell Shakespeare Sydney • The Scoop")We know the story. We know the knife is coming. Yet the thrill of Shakespeare’s great political tragedy, *Julius Caesar*, lies not in the assassination of Caesar himself, but what follows. Bell Shakespeare’s production asks the question: Can one commit murder and retain any moral standing? Is there any such thing as an honourable assassination? Written in 1599, *Julius Caesar* remains one of William Shakespeare’s most enduring explorations of leadership, loyalty and political manipulation. The play dramatises the real historical conspiracy against Caesar in 44 BCE. Across centuries, it has remained uncannily relevant, often staged during periods of political uncertainty. Its famous speeches, particularly those delivered by Brutus and Mark Antony, continue to shape how audiences understand persuasion, rhetoric and public opinion. The story begins in a Rome intoxicated by military victory. Caesar has returned triumphant, and the people celebrate him as their saviour. Yet within the Senate, unease grows. If Caesar accepts the crown, the republic may fall. Persuaded by Cassius, Brutus joins a conspiracy to assassinate Caesar for what he believes is the greater good. Their violent act, however, unleashes a wave of chaos that the conspirators cannot control. Director Peter Evans delivers a production that emphasises the fragile balance between democracy and tyranny. The Rome presented does not feel like distant history, but eerily similar to our own political landscape. The audience watches not simply a historical tragedy, but a cautionary tale about the seductive nature of power and the volatility of public opinion. ![The Scoop Julius Caesar Bell Shakespeare Sydney](https://thescoop.au/wp-content/uploads/2026/03/JuliusCaesar_Photo-Brett-Boardman-941x628.jpg "Julius Caesar Bell Shakespeare Sydney • The Scoop")Evans delivers a production emphasising the balance between democracy and tyranny Photo by Brett BoardmanAfter seeing Brigid Zengeni give a memorable performance in last year’s *Coriolanus*, I was eager to see her version of Brutus – one of Shakespeare’s most morally complex characters. Her interpretation is thoughtful and deeply human, portraying a leader driven not by ambition but by conscience. Zengeni anchors the production with a compelling performance that captures the internal conflict of a character who believes she is saving Rome, even as her actions lead it toward catastrophe. Leon Ford provides a nice counterbalance as Cassius. Sharp, restless and politically calculating, Ford’s performance reveals the character’s keen understanding of power. His scenes with Zengeni crackle with tension as he carefully guides Brutus toward the conspiracy. Septimus Caton brings a commanding presence to the role of Caesar, reminding the audience that Caesar’s greatest strength may also be his fatal blind spot. Meanwhile, Mark Leonard Winter delivers one of the evening’s standout performances as Mark Antony. His funeral oration is handled with impressive control, building steadily from calm diplomacy to something far more dangerous as the crowd begins to turn. Simone Romaniuk’s costume design places the characters in a contemporary political world, allowing the language to feel immediate rather than distant. Specifically, the beautiful, cream-white double-breasted suits are gorgeous to look at, and after the assassination, look completely different. ![The Scoop Julius Caesar Bell Shakespeare Sydney](https://thescoop.au/wp-content/uploads/2026/03/JuliusCaesar_Jules-Billington-and-Brigid-Zengeni_Photo-Brett-Boardman-941x628.jpg "Julius Caesar Bell Shakespeare Sydney • The Scoop")What makes Evans production compelling is its sense of inevitability Photo by Brett BoardmanAmelia Lever-Davidson’s lighting design shapes the stage with stark contrasts, using horizontal angles to contrast with the vertical lines in the Roman architecture style set. Madeline Picard, as Sydney’s one-and-only resident sound designer, once again proves she is worth her weight in gold. The rock anthem in the first act gives way to something more unsettling in the second act, adding a steady undercurrent of tension. While Tim Dashwood’s fight and movement direction ensure the production’s violent moments land with impact. The beginning of Act 2, from the moment after the assassination to the end of Anthony’s speech with the riot, is masterful, the exact kind of theatre you expect from Bell Shakespeare. The rest either felt like we were spinning our wheels waiting to get to the assassination or meandering around afterwards. I wanted to see the white suits become bloody; instead, it cut to black. The time jump to the Civil War felt like an entirely different play, while the final resolutions felt unsatisfactory. That said, what makes Evans’ production compelling is its sense of inevitability. From the moment the conspiracy is formed, the audience understands that the republic’s fate has already been sealed. The tragedy lies not in Caesar’s death, but in the chaos that follows. Bell Shakespeare’s *Julius Caesar* is intelligent, if occasionally uneven. Yet it reminds us that the conflict between power and principle is never confined to the past. In an age shadowed by political violence and assassination attempts, Shakespeare’s question feels chillingly immediate: can there ever be such a thing as an honourable assassination? The answer must surely be no. ***Julius Caesar* is presented by Bell Shakespeare Company and runs until 5 April at the Playhouse, Sydney Opera House, Bennelong Point Sydney NSW 2000.** It then transfers to Canberra and Melbourne. See dates below. Tickets: <https://www.sydneyoperahouse.com/bell-shakespeare/2026-season/julius-caesar> Website: <https://www.bellshakespeare.com.au/> Socials: <https://www.instagram.com/bellshakespeare/> Read more of our Theatre Reviews Photo credits: Brett Boardman 2026 Australian Tour Dates: Canberra: 10 – 18 April, Canberra Theatre Centre Melbourne: 23 April – 10 May, Arts Centre Melbourne **Categories:** Sydney, Theatre --- ### [Review: The Mountain Bride Finds Epic Drama In Everyday Life](https://thescoop.au/review-the-mountain-bride-finds-epic-drama-in-everyday-life/) **Published:** March 13, 2026 **Author:** Grace Coppola **Content:** ★★★★½ ![The Scoop The Mountain Bride Vermiglio Perth Festival](https://thescoop.au/wp-content/uploads/2026/03/TheMountainBrideVermiglio_BrochHero_MinRes-1190x628.jpg "The Mountain Bride Vermiglio Perth Festival • The Scoop")An epic family saga told in muted tones and under one’s breath. That is how one can describe *The Mountain Bride* (*Vermiglio*), the sophomore film of writer-director Maura Delpero. It is a film that prostrates before the first principles of human existence – life, death, and marriage. No family on our green earth is exempt from life’s ceremonies and despairs. No family is not also an epic saga. Though the setting is divinely beautiful, a small village cradled by the Italian Alps, *The Mountain Bride*’s characters feel dearly common. They are orthodox subjects for a film about the first principles of our existence. We imagine these Northern Italian village folk are closest to those most rudimentary aspects of our being, life and death. Women are constantly pregnant into their middle age, grief is painful yet unexceptional, and neither is ever far from their thoughts. They must work to ensure their survival. They bear the growth of the seasons by rote, the brunt of winter and the delights of summer. One feels, from the film’s opening images, endeared to these family characters not only because they are orthodox, familiar subjects, or village folk draped in white linen in crowded beds. They endear us because they are deeply unexceptional, as much as any of our lives are unexceptionally affected and organised by the same blooming and recession of life. This film is a rumination on one family saga, one family among millions like it, and derives from Delpero’s own history. *The Mountain Bride* follows a large rural family headed by patriarch-educator, Caesar (Tommaso Ragno). His daughters, Lucia, Ada, and Flavia, have increasingly divergent paths in spite of their deep sisterly connection. World War II looms over their village, Vermiglio, nestled in the Italian Alps; Lucia begins a romance with a fugitive soldier, Pietro. The sisters are compellingly portrayed by three actresses, all making their debut. Flavia is played by Anna Thaler, Ada by Rachele Potrich, and Lucia is played by Martina Scrinzi, a non-professional local actress. ![The Scoop The Mountain Bride Vermiglio Perth Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-11-at-51621-pm-1057x628.png "The Mountain Bride Vermiglio Perth Festival • The Scoop")From the films opening images one feels endeared to these family characters Image suppliedThe film premiered at the 81st Venice International Film Festival in 2024. It won the Grand Jury Prize, plus seven awards at the 71st David di Donatella (the Italian Oscars!) Delpero writes about her work: “*Vermiglio* is a landscape of the soul, a ‘Family Lexicon’ that lives inside me, on the threshold of the unconscious, an act of love for my father, his family and their small town. Crossing a personal period, it wants to pay homage to a collective memory.” While writing the film, Delpero spent time in her grandmother’s house, where her father, aunts and uncles grew up. She spent time in bars and churches in Vermiglio. She dug through family photographs and her own memory. In the town of Vermiglio, everyone has the same four or five surnames, and Delpero is one of them. In *The Mountain Bride*, there’s one teacher for a village of children. Everyone has watched everyone grow up or grow old. The postman personally delivers letters. Daughters and sons are tacitly betrothed to the children of close family friends or those of a vetted villageman. Religious custom punctuates every aspect of their lives. Children ask heavy questions with naivete. The sounds that resonate out from this tiny shelter are the crying of babes, musical festivity, and Chopin. The landscape is otherwise quiet, particularly during the snow-shuttered winter. The change of seasons is so delicately impressed by the accomplished director of photography, Mikhail Krichman. The white sunlight and snow, a cool blue tint, and silver nativity trinkets define the season marred by tragedy. It gives way to brighter, fresher spring-tones with Vivaldi. But quiet resumes, and soft-spokenness shows itself to be not a quality of winter, but a feature of village existence. Such soft-spokenness indexes an intimacy that seems to be conferred by village life. Reserve is an ineffective shield against eyes that have watched you grow up, with whom you share everything. ![The Scoop The Mountain Bride Vermiglio Perth Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-11-at-51658-pm-998x628.png "The Mountain Bride Vermiglio Perth Festival • The Scoop")The ruminative tone makes every character alive within their beautiful but silent surrounds Image suppliedReticence becomes coincident with openness, to the extent that courtship can proceed without speaking. Romantic gestures can be love-note small. One’s heart is never not on one’s sleeve, particularly during wartime. Village life seems to gift intuition as well, also derived from the great intimacy this life contrives. Ada intuits that she will not be allowed to resume her education before being told, showing an intimacy with both circumstance and with her father. And with such intimacy also comes the commentary on one’s life by one’s fellows; these characters frequently overwrite another’s suffering. Characters proselytise at a table while another, in the throes of disaster, sits quietly in the corner. Two sisters openly inquire about the grief of a third, lying in bed between them. Secrets are too, like their father’s cigarettes, not so private and easily recovered. Siblings naturally share their findings with one another. But their father, too, this non-privacy being a fact of life, shares his gramophone and expensive classical records with his schoolchildren. “Food for the soul,” it is not hidden in a drawer in his office. The formal language of this film is effectively insistent but unobtrusive. We are moved gently between interior and exterior scenes. The camera is still and restrained, shy but dutiful. The ruminative tone makes every character alive within their beautiful but silent surrounds. When Ada says, “I would like to be a priest because when you talk, everyone listens to you,” she is at odds with the film, which accords her, and every character, presence and distinctiveness. Rarely do you leave a film feeling that it has achieved exactly what it set out to do. The eggshell intimacy and plain beauty of this film, and the dignity bestowed on its characters, create something profound, poignant and heart-rending. *The Mountain Bride* will not rejuvenate you, but will have a quiet, important conversation with your soul. ***The Mountain Bride* runs 16 – 22 March** **as part of Lotterywest Films and Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Tickets: <https://www.perthfestival.com.au/program/season-2026/the-mountain-bride-vermiglio> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: The Mountain Bride (Vermiglio) Director: Maura Delpero Cast: Tommaso Ragno, Giuseppe De Domenico, Roberta Rovelli, Martina Scrinzi Country of Origin: Italy Duration: 120 mins Rating: M **Categories:** Film --- ### [Review: The Perfect Life (A Musical By Amity Dry) 2026 Adelaide Fringe](https://thescoop.au/review-the-perfect-life-a-musical-by-amity-dry-2026-adelaide-fringe/) **Published:** March 13, 2026 **Author:** Bethany Eloise **Content:** ★★★★★ ![The Scoop The Perfect Life A Musical By Amity Dry Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/casson207-scaled-e1773384442696-1000x628.jpeg "The Perfect Life A Musical By Amity Dry Adelaide Fringe • The Scoop")ARIA Gold singer-songwriter of *The Lighthouse* and former contestant on *The Block: All Stars*, Amity Dry has a powerful story to tell. And it’s our story. The story of women. *The Perfect Life (A Musical by Amity Dry)* arrives at this year’s Adelaide Fringe. Think *Desperate Housewives*, but less desperate and no murder. We meet all the female stereotypes you might expect – the busy mum, the empty nester, the businesswoman, and the young, unmarried millennial. We are welcomed intimately into the inner lives of these leading ladies, and soon find ourselves within them, experiencing their stories as if they were our own. The show debuted at the Adelaide Fringe in 2009 under its former title *Mother, Wife & the Complicated Life*. It later evolved into a full-length musical that toured regional South Australia. From there it travelled internationally, performing Off-Broadway at the New York Musical Theatre Festival and reaching audiences in London, Norway and Finland. *The Perfect Life* now returns to Adelaide fully grown and enriched with lived experience. *The Perfect Life* has the perfect cast, and it’s nothing short of star-studded. Please indulge me as I fangirl for a moment. Kerrie Anne Greenland won the Helpmann Award for Best Female Actor in a Supporting Role in a Musical for her portrayal of Éponine in *Les Misérables* and most recently graced the stage as Ellen in *Miss Saigon*. Chloé Zuel is best known for originating the role of Eliza in *Hamilton* and Catherine of Aragon in the pop musical sensation *Six*. Rounding out the cast is local talent Dee Farnell, who works as a vocal coach in Musical Theatre at the Elder Conservatorium of Music. She has also starred as Beverly in the award-winning *Come From Away* and Ms Pennywise in the Hayes Theatre Company’s production of *Urinetown*. The stage awaits silently. A hue of pink, amber and blue light floats through a soft mist. Lighting design by Mark Oakley sets the scene for the chapel on Clifton Hill, where our story takes place. Set design by Bec Francis suspends a single stained-glass window above the church-converted café. The walls are dotted with bookshelves and trinkets, creating a warm sense of home. Vertical screens embedded into the set seamlessly transport us to the various locations throughout the story. ![The Scoop The Perfect Life A Musical By Amity Dry Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/casson314-941x628.jpeg "The Perfect Life A Musical By Amity Dry Adelaide Fringe • The Scoop")*The Perfect Life* has the perfect cast and its nothing short of star studded Image supplied*The Perfect Life* is effortlessly supported by a five-piece band, masterfully led by Musical Director Martin Cheney, with excellent arrangements by Marco Callisto. Overflowing with moving solo ballads, the intimacy of the songs brings a subtle cabaret feel. The a cappella moments closing both acts are vocally and musically stunning. There is also fun to be had with *He Asked Me*, where we enjoy some quirky choreography thrown in for good measure. This energy continues in *Bridezilla* after the inevitable hen’s night, complete with a fabulous, fluffy penis hat. Direction is entrusted to the capable hands of Jo Casson. Guiding a nuanced performance from actors working with sensitive material, Casson creates space for each emotional moment to land. Bec (Farnell), a married mother of three, is the comic highlight and soul of the show. As her boisterous presence fills the stage with “Coffee? Wine? Coffee then wine!”, we know we’ve found our girl. She becomes the voice for all weary mothers or just about anyone who has had a rough day. Farnell, herself a mother of two, brings authenticity to the role, capturing both humour and emotional depth in bucket loads. She has belt notes for days, but brought me to tears with her heartfelt storytelling in *The Honeymoon Is Over*. Enter Kate (Greenland), single, 42, and suddenly pregnant. Will she keep the baby? What about her promotion? We buckle in for the inevitable ride. Greenland’s heart-wrenching rendition of *The Choice* is a glorious moment of musical theatre gold. Her acting and vocals transcend performance, holding us in the palm of her trembling hand. For me, this is the song you listen to on repeat. The one every soprano will want to learn. Jess (Zuel) is our free spirit, back in Australia due to her mother’s cancer diagnosis. She soon finds herself swept up in a whirlwind marriage. Zuel received perhaps too many laughs for *I Don’t Care* as she captures the raw essence of new baby overshare. This is her moment to truly show off her money notes. ![The Scoop The Perfect Life A Musical By Amity Dry Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/casson439-941x628.jpeg "The Perfect Life A Musical By Amity Dry Adelaide Fringe • The Scoop")The intimacy of the songs brings a subtle cabaret feel Image suppliedA special mention to the showstopper *Baby, Come to Bed*, where Farnell and Zuel absolutely bring the house down. And then there’s Amity Dry – the mother of it all. Having portrayed Kate in the original production, she now comes full circle as Lily. The main events unfold in the safety of her café, where she nurtures friendships, holds secrets and reflects on the ever-changing nature of life. It feels like the perfect role for the musical’s creator. We see so much of Dry’s heart in her performance. It is present in every word and song – her love for her children, her husband, her parents and her friends. She takes us on the journey. The audience shares a sense of camaraderie as we laugh, gasp and cry together. No laugh is louder than the shared appreciation for the miracle of an epidural. When the lights finally cut to black, we are instantly on our feet with a grateful standing ovation for the cathartic experience we have shared. But this is what excites me the most. Amity Dry is giving Australian musical theatre a voice. In an industry dominated by works from Broadway and the West End, this is the answer. I want more of this. Musical theatre sung in our own accent, telling our stories. We need to support new Australian theatre, nurture it and help it grow. What Dry has created is truly special. And don’t even get me started on the many cabaret shows she has written. I hope theatre companies across the country will produce this musical in years to come. Let’s get behind *The Perfect Life* so that the world stage knows its name. ***The Perfect Life (A Musical By Amity Dry)* runs to 21 March at the Arts Theatre as part of Adelaide Fringe. 53 Angas Street Adelaide SA 5000.** Tickets: <https://adelaidefringe.com.au/fringetix/the-perfect-life-a-musical-by-amity-dry-af2026> Socials: <https://www.instagram.com/amitydry/> and <https://www.instagram.com/theperfectlifemusical/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Images supplied. **Categories:** Adelaide, Musical Theatre --- ### [Review: Fair Play Is Smart, Fearless & Unafraid Of Hard Conversations](https://thescoop.au/review-fair-play-is-smart-fearless-unafraid-of-hard-conversations/) **Published:** March 13, 2026 **Author:** Caitlin Green **Content:** ★★★★☆ ![The Scoop Fair Play Old Fitz Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/03/Fair_Play_Selects-22-942x628.jpg "Fair Play Old Fitz Theatre Sydney • The Scoop")Fearless, provocative and deeply thought-provoking, *Fair Play* arrives at the Old Fitz Theatre for its Australian premiere. Ella Road’s razor-sharp script is brought to life by director Emma Whitehead and Lost Thought with honesty, humour and a real willingness to go to uncomfortable places. What struck me most about *Fair Play* is how fearless it is in unpacking complicated ideas. The play never shies away from saying the difficult or uncomfortable thing, and that’s exactly what makes it so compelling. Conversations about women’s bodies have always been at the centre of public debate, and this play leans in with all its might. Women’s bodies are political. They’re scrutinised constantly, but they’re also a site of resilience. In many ways, this production felt like a beautiful ode to the struggles and complexities of womanhood. At the centre of the show are two fantastic performances from Elodie Westhoff and Rachael Crossen. These women are total powerhouses. I have seen them both work previously, but never in roles as demanding and lengthy as this. They make it look easy. Their chemistry is undeniable, and their friendship onstage feels incredibly real, capturing the complicated, messy, joyful nature of female friendships so well. ![The Scoop Fair Play Old Fitz Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/03/Fair_Play_Selects-30-944x628.jpg "Fair Play Old Fitz Theatre Sydney • The Scoop")Fair Play fearlessly unpacks complicated ideas Photo by Robert MiniterBoth actors mine every inch of the script for its humour, vulnerability and emotional depth, and it’s clear the direction supports them to really go there. There’s a monologue towards the end delivered by Crossan that has stayed with me since. She speaks about her Blackness in relation to her womanhood, and the moment lands with weight that is palpable. It’s the kind of dialogue that makes you stop and think, which is exactly what I want from theatre. I love walking out of a show with more questions than answers, and this production absolutely delivers that. Whitehead, Domköc and the whole creative team have brought the world of the play to life with such sensitivity. Every element sings. Production design by Kate Beere is sleek and minimalistic. The use of a brilliant challengers-esque score (Mitchell Brown & Osibi Akerejola) and powerful transitional movement pieces (Cassidy Mcdermott Smith) catapults the momentum of this piece forward. My only critique is of the first 30 minutes. The play opens with a series of vignettes showing the early stages of the girls’ friendship. While I understand it’s important to establish that connection with the audience and each other, a number of those scenes felt redundant. They didn’t necessarily push the story forward in any meaningful way. Because of that, the first half and second half of the play feel almost like night and day. It’s in the second half that the script really takes off. It is razor sharp and rigorous, with real pace, diving deeper into conversations about race, bodies and identity. ![The Scoop Fair Play Old Fitz Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/03/Fair_Play_Selects-26-942x628.jpg "Fair Play Old Fitz Theatre Sydney • The Scoop")Both actors mine every inch of the script for its humour vulnerability and emotional depth Photo by Robert MiniterI found this theatre-going experience incredibly cathartic. In this moment in culture, I have been thinking about my body a lot. I feel overwhelmed with the amount of discourse that surrounds women’s bodies, especially online. It was so nice to get to log off social media and sit in the theatre to engage with these conversations in a way that felt thoughtful and balanced. Now for some spoilers ahead! Click away if you are going to see the work (which I highly recommend you do). I love the ending. I went with a close friend who was disappointed that Crossan’s character didn’t ultimately let Westhoff’s character inside her home. But to me, that’s exactly the point. You’re not entitled to forgiveness. It’s your responsibility to educate yourself and do the work. Sophie deeply misunderstands her friend’s experience and feels entitled to something that simply isn’t hers to demand. It leaves that tension unresolved, which feels honest and necessary. I’m always drawn to theatre that asks questions rather than neatly tying everything up, and *Fair Play* does that beautifully. It reminds us that the arts have always been political and they always will be. ***Fair Play* is presented by Lost Thought and runs until 21 March at the Old Fitz Theatre, 129 Dowling Street Woolloomooloo, NSW 2011.** Tickets: <https://tickets.iwannaticket.com.au/seller/old-fitz-ad9r> Website: <https://www.oldfitztheatre.com.au/fair-play> Socials: <https://www.instagram.com/oldfitztheatre/> and [https://www.instagram.com/lost\_thought\_arts/](https://www.instagram.com/lost_thought_arts/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Robert Miniter **Categories:** Sydney, Theatre --- ### [Review: Anastasia Casts Its Spell Over Perth](https://thescoop.au/review-anastasia-casts-its-spell-over-perth/) **Published:** March 9, 2026 **Author:** Nanci Nott **Content:** ★★★★★ ![The Scoop ANASTASIA Musical Australia](https://thescoop.au/wp-content/uploads/2026/03/2273-Joshua-Robson-and-Georgina-Hopson-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "ANASTASIA Musical Australia • The Scoop")Written by Terrence McNally and directed by Darko Tresnjak, this powerful production of *Anastasia* breathes potent new life into a beloved old tale. The award-winning creative team includes the composer and lyricist from the 1997 animated movie (a childhood staple to many) and features five songs from the film in addition to a score of new compositions. Outstanding performances from a talented cast combine with world-class sets and decadent costumes to make *Anastasia* a memorable theatrical experience for Perth audiences. The truth behind the fiction is more tragic than magic. The real Anastasia Nikolaevna Romanov, youngest daughter of Czar Nicholas II and Tsarina Alexander, was born in Russia in 1901. Described as a clever and mischievous child, she was close with her siblings, Olga, Maria, Tatiana, and Alexei. The five Romanov children (and their Imperial parents) were brutally murdered during the Bolshevik Revolution. Due to Soviet secrecy surrounding their deaths, rumours spread that Anastasia had survived the attack and would one day return to claim her birthright. The real-life Anastasia was never found, although a series of impostors tried to claim her name and lineage. In 2007, DNA analysis confirmed that all members of the Romanov family had indeed been killed, including Anastasia. Luckily, this re-telling of her tale applies imagination to fact, elevating this story beyond the realm of history and into the happier world of speculative fantasy. In this version, Anastasia (Georgina Hopson) does survive, but doesn’t remember who she is, or where she is from. With the help of fortune-seeking townspeople, Dmitry (Robert Tripolino) and Vlad (Rodney Dobson), she embarks upon a cross-continental journey of self-discovery and transformation. Beginning in Russia and ending in France, this story of losing it all and getting it back (sort of) is simultaneously emotional and funny, without shying away from the darkness at the heart of its premise. The show opens in St Petersburg in 1906, with snow falling beyond huge arched windows. Young Anastasia and her Nona, the Dowager Empress (Nancye Hayes), share a bonding moment as a tune – yes, that one – plays from a music box. A time skip from childhood to adolescence transforms Anastasia’s bedroom into a grand ballroom with a celebration in full swing. The music intensifies, and silhouettes of soldiers appear before a blood-red sky. Tragedy ensues. The story has begun. ![The Scoop ANASTASIA Musical Australia](https://thescoop.au/wp-content/uploads/2026/03/2565-Georgina-Hopson-Rodney-Dobson-and-Robert-Tripolino-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "ANASTASIA Musical Australia • The Scoop")The dance arrangements and choreography encompass various styles with French and Russian influences woven throughout Photo by Jeff BusbyGeorgina Hopson is mesmerising as Anastasia, walking a nuanced line between elegance and strength. Hopson’s voice is emotive and powerful, expertly capturing the cheeky spirit of her iconic character. Dimitry and Vlad are an entertaining duo, each epitomising chaotic good in their uniquely flawed ways. Tripolino and Dobson are comedically charming in these roles, bringing depth and humour to inherently likable characters. Joshua Robson is fantastic as Deputy Commissioner Gleb, the medalled autocratic spy who functions as the story’s main antagonist. More bureaucratic than fantastical, this sympathetic villain has his own backstory, motivation, and internal conflict to contend with, adding moral ambiguity to the narrative. Crowd-favourite Rhonda Burchmore is vibrant as the droll Countess Lilly, whose movement, expression, and comic delivery are consistently captivating. The Dowager Empress is portrayed beautifully by Nancye Hayes. She spends the latter majority clad in mourning black as she laments the loss of her family and is no longer able to withstand the constant crushing of her hope for Anastasia’s return. Her despairing darkness contrasts with the warmth and affection she conveys in the opening scene, when all the Romanov’s are adorned in glittering white, and Anastasia is still by her side. *Anastasia’s* glorious costumes, designed by Linda Cho, are partially inspired by Romanov family photographs utilising colour, fabric, and shape to great effect. One particularly powerful scene juxtaposes a stunning red dress (under white light) with stark white clothing (under red light) to underline both the repetition and subversion of a deeply personal history. Anastasia’s costumes are designed with motion and spectacle in mind. Her versatile ‘peasant’ outfit (brown jacket, long blue skirt, and a belt for shape) simultaneously gives beggar and princess vibes, while the decadence of Anastasia’s Parisian dresses emphasises the extent of her change in circumstance. The townspeople of Leningrad are both colourful and muted, with a palette reflecting the contradictory layers of their revolutionary context. In contrast to this, the Parisian costumes highlight cultural and narrative differences between France and Russia, emphasised by attention to lighting, set design, and choreographic influences. ![The Scoop ANASTASIA Musical Australia](https://thescoop.au/wp-content/uploads/2026/03/2109-Robert-Tripolino-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "ANASTASIA Musical Australia • The Scoop")The video design is crucial to the overall brilliance of the dramatic set design Photo by Jeff BusbyAlexander Dodge’s set design draws on Russian and French art and architecture, combining projection with set pieces to create a stage that transforms in an instant. These projections aren’t the static backdrops you might imagine. They are cleverly composed to provide depth and dimension, in addition to functioning as aesthetic scenery. Aaron Rhyne’s video design is crucial to the overall brilliance of Dodge’s dramatic design. From the dilapidated palace to a bureaucratic hellscape, artistic liberty is blended with realism to great effect, on a seemingly non-Euclidean stage. One stand-out scene involves a moving steam train, synchronised to the motion of its accompanying projection. This is impressive enough, but when Anastasia attends the ballet, Dodge’s set design takes opulence to a whole new level, featuring balcony seats, velvet curtains, and a live performance of *Swan Lake*. This cleverly choreographed homage to Russian ballet mirrors *Anastasia’s* basic plot (a missing princess) and thematic elements (personal transformation), whilst blending Tchaikovsky’s famous score with *Anastasia’s* own. David Chase’s dance arrangements and Peggy Hickey’s choreography encompass various styles. Ranging from Russian ballet to the Charleston, an array of French and Russian influences are woven throughout. Composer (Stephen Flaherty) and lyricist (Lynn Ahrens) feature five of the songs from the film in addition to new pieces, which incorporate Russian choral, ballet, and folk musical elements. The score builds atmosphere and carries the narrative with layered vocal arrangements and witty lyrics. Stand-out songs include *My Petersburg*, which lays the groundwork for Dmitry’s character development, and Gleb’s sad song about the death of the Romanov children at the hands of his father. *The Countess and the Common Man* delivers an entertaining subplot through the strength of Burchmore and Dobson’s lively performances. And of course, the haunting melody of the music box carries more than its fair share of weight. Just as Anastasia’s music box is the key to unlocking her memories, so too will the music of Anastasia unlock your emotions. Light-hearted interactions and delightful dynamics take centre stage throughout most of this captivating tale, despite the sad premise upon which the story is built. This production is more nuanced and much heavier than the animated movie, but it is every bit as magical. Maybe even more so. ***Anastasia* the musical runs** **to** **28 March at Crown Theatre Perth as part of a national tour.** **It then heads to Sydney, Adelaide and Brisbane. See full dates below.** Tickets: <https://anastasiathemusical.com.au/tickets/perth/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Jeff Busby 2026 Australian Tour Dates: Perth 3 – 28 March, Crown Theatre Sydney 7 April – 5 July, Lyric Theatre Adelaide 2 – 23 August, Festival Theatre Brisbane from September, Lyric Theatre QPAC **Categories:** Musical Theatre, Perth --- ### [Review: Monster Asks Who Is Responsible When A Child Turns Violent](https://thescoop.au/review-monster-asks-who-is-responsible-when-a-child-turns-violent/) **Published:** March 12, 2026 **Author:** Leo Manson **Content:** ★★★½ ![The Scoop Monster Tiny Dog Productions KXT Bakehouse Sydney](https://thescoop.au/wp-content/uploads/2026/03/Monster-2--942x628.jpg "Monster Tiny Dog Productions KXT Bakehouse Sydney • The Scoop")*Monster*, directed by Kim Hardwick, is a stripped-back exploration of who’s responsible when a child becomes violent, presented by Tiny Dog Productions for the first time on a Sydney stage, in association with bAKEHOUSE Theatre Co. *Monster* was originally written in 2007 by English playwright Duncan Macmillan. It follows teacher-in-training, Tom, who offers himself to deal with the violent and troubled student Darryl. This dynamic is striking and is the primary driving force of the play. Though given very little time to prepare for his role after stepping in at the last minute, Tony J. Black is still quite impressive as Tom. Hailing from Detroit, Michigan, he has appeared in *NCIS: Sydney* and the Peacock original *Apples Never Fall*. Through his careful body language, Black creates the image of a man grasping for control. Scenes with Campbell Parsons as Darryl are particularly gripping. This stands out in the first half of the show as tensions rise. ![The Scoop Monster Tiny Dog Productions KXT Bakehouse Sydney](https://thescoop.au/wp-content/uploads/2026/03/Monster-3-943x628.jpg "Monster Tiny Dog Productions KXT Bakehouse Sydney • The Scoop")Tony J Black impresses after stepping into the role of Tom at the last minute Photo by Abraham Da SouzaParsons is very well cast as the troubled high schooler. He nails the humour and mannerisms of a boy of Darryl’s background. The flippancy communicated through his body language elevates what could be considered a dated script to something very entertaining. In the earlier parts of the play, his behaviour is even humorous. As the play continues, we’re introduced to the supporting cast. Jodi, Tom’s girlfriend and later wife, is played by Romney Hamilton. She enters, announcing her pregnancy, a moment that brings little celebration, as Tom seems visibly disturbed. It’s an early sign that this isn’t a play with a hero. As Rita, Darryl’s grandmother, Linda Nicholls-Gidley, does an excellent job of upholding a British accent. Rita symbolises a lot of the play’s hope in the sense that she continues to support her grandchild despite their circumstances. The lighting by Topaz Marley-Cole is simplistic and perhaps most notable in the classroom scenes. The brighter, cooler tones create this sanitised interrogation room feeling. The sound design by Charlotte Leamon is minimal. The classroom scenes are quiet, which creates tension and ensures the scenes between Parsons and Black are noticed. The music playing between scenes is gritty and does a great job of building tension. ![The Scoop Monster Tiny Dog Productions KXT Bakehouse Sydney](https://thescoop.au/wp-content/uploads/2026/03/Monster-5-942x628.jpeg "Monster Tiny Dog Productions KXT Bakehouse Sydney • The Scoop")Monster is a thought provoking play that tackles questions society still struggle to answer Photo by Abraham Da Souza*Monster* asks a lot of questions and leaves the audience to answer them. It plays with classic debates about nature vs. nurture, and nearly every possible argument is addressed in some way. It’s a truly thought-provoking example of modern theatre and a masterclass in tension. Perhaps in its most shocking, the play graphically describes violence against a dog. Scenes that cover heavy topics like this are very well acted, but perhaps the show’s content warnings could have been more specific. Though never boring, the show falters slightly in pacing. The ending stretches a little long and feels unnecessary given that all the thrilling twists and turns have already been resolved. Overall, Monster is a well-acted, thought-provoking play that tackles questions society still struggles to answer. ***Monster* is presented by Tiny Dog Productions in association with bAKEHOUSE Theatre Co and runs to 21 March. KXT on Broadway 181 Broadway Ultimo NSW 2007.** Tickets: <https://events.humanitix.com/monster> Website: <https://www.kingsxtheatre.com/monster> Socials: <https://www.instagram.com/tinydogproductions/> and [https://www.instagram.com/kxt\_bakehouse/](https://www.instagram.com/kxt_bakehouse/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Abraham Da Souza **Categories:** Sydney, Theatre --- ### [Melbourne Women In Film Festival Program Unveils Landmark Program](https://thescoop.au/melbourne-women-in-film-festival-program-unveils-landmark-program/) **Published:** March 11, 2026 **Author:** Newsroom **Content:** ![The Scoop Koka Melbourne Women in Film Festival](https://thescoop.au/wp-content/uploads/2026/03/Koka-Image-1-Web-942x628.jpg "Koka Melbourne Women in Film Festival • The Scoop")The **Melbourne Women in Film Festival** (MWFF) has unveiled its landmark tenth-year program, marking a decade of championing women and gender diverse filmmakers from Australia and beyond. A vital platform for female and non-binary voices on screen, the festival celebrates this milestone with a defiant lineup of world-class features, shorts and special events. Running from **19 – 23 March** across **ACMI** and **Federation Square**, this year’s program continues to bring together bold works from Australia, Aotearoa New Zealand and Pasifika. Over four days, audiences can look forward to premiere screenings, restorations, creator conversations and hands-on workshops—an immersive celebration of diverse perspectives and the homegrown visionaries shaping the screen industry’s future. MWFF Director, **Sian Mitchell**, said: *“This year’s festival is a really special one for us as we celebrate our 10th anniversary. It’s an opportunity for us to look back at the festival’s achievements and to thank the community of filmmakers, artists, audiences, and volunteers that have helped this festival thrive.”* Kicking off the festival’s milestone year, the riotously funny ***Lesbian Space Princess*** will light up the big screen at the **Opening Night Gala**. Australian directors, **Emma Hough Hobbs** and **Leela Varghese** have delivered a lovable story of identity and empowerment with their feature debut. The film was awarded the Teddy Award at its Berlinale premiere – one of the most respected prizes for LGBTQIA+ cinema internationally. Following introverted lesbian princess Saira as she journeys across the galaxy to rescue her ex from a band of aliens, the film tracks her discovery of confidence and self-worth with absurd humour. Audiences can join the creative team later in the festival for a panel unpacking how the animated feature came to fruition. ![The Scoop Lesbian Space Princess Melbourne Women in Film Festival](https://thescoop.au/wp-content/uploads/2026/03/LSP-Option-2-1162x628.png "Lesbian Space Princess Melbourne Women in Film Festival • The Scoop")A still from Lesbian Space Princess by Emma Hough Hobbs and Leela VargheseInspired by true events, ***The Offing*** introduces a psychological thriller from first-time feature Melbourne filmmakers, **Lily Lunder** and **Koko Crozier**. The film follows two girls who embark on a scenic coastal escape that spirals into chaos as they struggle to outrun their pasts. A striking debut from the duo, who were both 18 years of age when the project began, the film showcases the collective power of young women behind the camera, while its raw and unflinching portrayal of girlhood and female agency exposes the realities shaping women’s lives. In a special 4K restoration, MWFF co-presents **Jane Campion**‘s electrifying debut feature *Sweetie* (1989), in partnership with ACMI and the National Film and Sound Archive. A film that shattered the conventions of Australian cinema and announced one of the world’s most distinctive and daring female voices, its restoration reminds us of the importance of bold and uncompromising cinema and its significant presence in history. As storytelling on screen continues to navigate complex emotional and physical relationships more deeply, the role of intimacy coordinators has become increasingly vital within the industry. Exploring this, the festival presents ***Make It Look Real: Inside Intimacy Coordination in Screen Production*** — a screening of **Kate Blackmore**‘s 2025 documentary followed by a panel discussion with filmmakers, actors and intimacy coordinators on how the field is reshaping production practices across Australian and global screen industries. The film follows intimacy coordinator Claire Warden as she works with three actors on the set of *Tightrope*, helping them negotiate boundaries while writer-director Kieran Darcy-Smith shapes the story — revealing a collaborative, consent-driven path for bringing sex and intimacy to the screen. ![The Scoop The Offing Melbourne Women in Film Festival](https://thescoop.au/wp-content/uploads/2026/03/TheOffing-1-1117x628.jpg "The Offing Melbourne Women in Film Festival • The Scoop")Still from The Offing by first time filmmakers Lily Lunder and Koko Crozier Image suppliedThe first feature filmed in the original dialect of East Cape iwi Ngāti Porou, ***Kōkā*** marks a major step for Māori language representation on screen and an outstanding feature debut from writer/director **Kath Akuhata-Brown**. A lyrical road movie rooted in healing, ancestry and identity, the film has premiered and featured in international festivals including the Hawai‘i International Film Festival and the Māoriland Film Festival, where it won the People’s Choice Award. MWFF’s screening of the film will also be accompanied by ***Hokia***, a short film by **India Fremaux** following a mother and teenage daughter on a road trip to visit the whānau matriarch. Elsewhere in the program, MWFF presents an outstanding line-up of short film programs platforming rising talent and storytellers from our region. ***Freshly Squeezed Shorts 1*** and ***Freshly Squeezed Shorts 2*** will each showcase the latest work from women and gender diverse filmmakers across Australia and Aotearoa New Zealand – spanning musical celebrations of country, animated odysseys of colour and texture, the complexities of motherhood and the unexpected joys of connection. ***Reel Shorts*** will bring together a selection of captivating and uplifting documentaries delving into the true and human stories from Australia, Aotearoa New Zealand and the wider Moana — from intimate portraits of artists and communities to stories of returning home and to Country. ***Next Gen Shorts*** will spotlight the next generation of women and gender diverse filmmakers, proving the future of screen culture is in excellent hands, before, ***Homegrown*** closes the festival with a celebration of the remarkable talent from within Victoria’s own local screen community. To celebrate the season of shorts, MWFF’s ***Awards Presentation & Screening*** will honour the festival’s short filmmakers with an awards ceremony and screening of the winning films on **Sunday 22 March** at ACMI. Featuring industry prizes, from bodies including **Women in Film & Television Victoria (WIFT VIC), Jorr and Crayon**, the awards support filmmakers in continuing to build their careers. From a spark of an idea to the galactic screen, ***Lesbian Space Princess: From Concept to Screen*** pulls back the curtain on the artistic vision, animation, and creative development that helped shape the festival’s Opening Night feature. For fans, filmmakers, and curious creatives alike, join an honest and inspiring conversation about collaboration, representation and what it really takes to push boundaries in the screen industry. ![The Scoop Sweetie Melbourne Women in Film Festival](https://thescoop.au/wp-content/uploads/2026/03/Sweetie-1200x581.jpg "Sweetie Melbourne Women in Film Festival • The Scoop")Still from Jane Campions electrifying debut feature Sweetie Image supplied***What Happens After the Film is Made? Discoverability in Australian Screen Culture*** brings together leading voices to examine the visibility of local work in a rapidly changing industry. As technology and global viewing habits reshape how audiences discover stories, this panel discussion will explore whose work is being seen, why Australian perspectives — especially marginalised ones — matter, and how festivals, criticism, archives, education and independent exhibition support emerging voices. At its core, the discussion will explore what’s at stake when access and representation go unsupported, and how cultural institutions, media and policy can ensure underrepresented Australian work is found, contextualised and valued into the future. With commissioners playing a pivotal role in shaping what we see on Australian screens and working closely with creators to select and develop their stories, ***Meet the Commissioners*** offers a unique chance to hear from our local content commissioners. An opportunity to learn more about what they do and how they help bring Australian stories to life, this panel of industry professionals will explain their place in the Australian screen ecology, demystify the commissioning process, and reveal what they wish creators knew about working with them. ***The Lifecycle of Film*** invites attendees to join 2–3 intimate roundtable conversations led by experts, offering early- and mid-career women and gender-diverse practitioners the chance to ask questions, gain insights into industry roles and processes, and explore the challenges and opportunities in filmmaking through shortform, spontaneous mentorship. Experience bold stories, fresh voices, and the groundbreaking work of women shaping the future of cinema in this special tenth year celebration of the Melbourne Women in Film Festival. From thought-provoking narratives to bold new voices, the festival remains a vital platform for the stories and storytellers shaping the future of the screen industry. **The Melbourne Women in Film Festival runs 19 – 23 March 2026 at ACMI and Federation Square.** Tickets and information: <https://www.mwff.org.au/home> Socials: [https://www.instagram.com/mwff\_au/](https://www.instagram.com/mwff_au/) [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: a still from *Kōkā* by Kath Akuhata-Brown. The Melbourne Women in Film Festival is supported by the City of Melbourne and VicScreen. **PROGRAM** **Features** Opening Night Gala \| *Lesbian Space Princess* \| Thursday 19th March, 7pm *Make it Look Real: Inside Intimacy Coordination in Screen Production* \| Friday 21st March, 7pm *Kōkā* + *Hokia* (short) \| Saturday 21st March, 1:30pm *The Offing* + *Snap* \| Saturday 21st March, 8:15pm *Sweetie* 4K Restoration\| Sunday 22nd March, 11am **Shorts** *Freshly Squeezed Shorts 1* \| Saturday 21st March, 10:30am *Freshly Squeezed Shorts 2* \| Saturday 21st March, 5pm *Reel Shorts* \| Sunday 22nd March, 1:30pm *Next Gen Shorts* \| Sunday 22nd March, 4:30pm *MWFF Shorts Awards & Screening* \| Sunday 22nd March, 7pm *Homegrown* \| Monday 23rd March, 7pm **Panels and Workshops** *Lesbian Space Princess: From Concept to Screen* \| Friday 20th March, 2pm *What Happens After the Film is Made? Discoverability in Australian Screen Culture* \| Friday 20th March, 4pm *Meet the Commissioners* \| Saturday 21st March, 11am *The Lifecycle of Film* \| Saturday 21st March, 2:30pm **Categories:** News --- ### [Film Review: The Plague Explores The Cruel Currents Of Adolescence](https://thescoop.au/film-review-the-plague-explores-the-cruel-currents-of-adolescence/) **Published:** March 10, 2026 **Author:** Nick Dale **Content:** ★★★★½ ![The Scoop The Plague film Joel Edgerton](https://thescoop.au/wp-content/uploads/2026/03/The-Plague-3-1-942x628.jpg "The Plague film Joel Edgerton • The Scoop")*The Plague* opens on a single, quiet, eerie shot underwater. We’re held for a moment beneath the surface of a swimming pool, watching, waiting. Then the surface breaks as several bodies plunge under in slow motion. Water has a way of feeling sensual and gentle but threatening at the same time, and writer/director Charlie Polinger uses it brilliantly – a sink-or-swim metaphor for everything that follows. Right away, we’re pulled into a tense, suffocating world that constantly teeters on the edge of peril. Polinger’s debut feature is jittery, unnerving and compelling, with brilliantly executed visual storytelling and raw, unaffected performances. Set in 2003 at a summer water polo camp in the US, it follows Ben (Everett Blunck), a sweet-natured, sensitive tween who becomes entangled in a cruel game of social hierarchy. The rules: Eli (Kenny Rasmussen), a quiet, awkward kid, has been marked as having ‘the plague’ due to his leprosy-like rash, supposedly contagious. Touch him, and you’re plagued, also outcast. He’s quite literally a representation of the abnormality phenomenon — the hen with a strange mark, pecked out of the social order. Ben begins to spiral as he’s forced to choose between his own values and the approval of the group and its ringleader, Jake (Kayo Martin). There’s not much scarier than the awkward, perilous time of our pre-teens, when social approval and the threat of being outcast consume every moment. Polinger takes us there in a way that’s confronting and suffocating, yet strangely compelling. He creates a pressure cooker in a contained location that tests the limits of social mores against one’s own integrity. The leisure centre is sterile, chlorine-soaked, with eerily empty corridors, sealed tight enough to build a tension you feel like you can’t escape from. ![The Scoop The Plague Joel Edgerton film](https://thescoop.au/wp-content/uploads/2026/03/The-Plague-2-942x628.jpg "The Plague Joel Edgerton film • The Scoop")The film is absorbing and immersive and a film worthy of awards for cinematography alone Image suppliedJoel Edgerton plays Coach Daddy Wags as refreshingly flawed and humble, a world-weary dude without the usual US coach bluster. Having experienced bullying in school, Edgerton has a passion for stories that show the ripple effects of persecution, as in his film *The Gift* (2015). Polinger’s direction feels unobtrusive, with most of the film centred on the seemingly unattended, lawless boys. There’s a fly-on-the-wall feel, almost like he’s left the cameras rolling while the adults leave the room, making for an uncomfortably real authenticity, with many peep-through-fingers moments. His script is sparse, leaving space for the actors to swim in subtext, but also peppered with clever moral dilemmas posed as ‘choose A or B’ questions. Where do you fit? What will you stand for, and to what consequence? In the locker room, Ben is confronted by Eli with a graphic question about what he would do to a dog if no one knew about it. It’s a bold piece of scripting that highlights the moral conflict Ben must grapple with. Visually, *The Plague* is absorbing and immersive and a film worthy of awards for cinematography alone. Shot on 35mm, Steven Breckon and Polinger build an exquisitely eerie and claustrophobic atmosphere. The underwater cinematography is beautifully executed. As Breckon has said: “That’s where the violence is, where the subconscious lives. It became an allegory for adolescence.” A feeling of peril and unease in the pool scenes spills over into the rest of the film and never fully dissipates. Influenced by Paul Thomas Anderson’s *Punch Drunk Love*, Polinger and Breckon create a similarly suffocating visual language. There is a terrifyingly visceral scene involving cockroaches and insects under a bedsheet that is the stuff of horror. ![The Scoop The Plague Joel Edgerton film](https://thescoop.au/wp-content/uploads/2026/03/The-Plague_1-961x628.jpg "The Plague Joel Edgerton film • The Scoop")The Plague is unnerving and compelling with raw unaffected performances Image suppliedJohan Lenox’s score is nightmarish and ‘70s horror-inspired, the sound design intrusive and grating. This is a visceral film. It has you cringe at the blood. Shirk from the eczema. Feel the pool. Smell the chlorine. And question your own values and integrity. Everett Blunck as Ben is a talent to watch. He has a tricky balance to strike between compassion and the need for approval and plays it with delicate authenticity. Kayo Martin as Jake is an astounding new talent. He’s charismatic as Ben’s nemesis and suitably hateful, vindictive and infuriating. With a constant smart-ass smirk, he effortlessly challenges Ben and his coach with that familiar wipe-the-grin-off-my-face look we all remember someone having in high school. Kenny Rasmussen is bold and captivating as Eli, unafraid to go places that make us squirm in shame but also feel real empathy. He shows us the freedom to be gained from being wholly and utterly oneself. To dance outside of the crowd with that sense of wild abandon, without the encumbrance of social demands. *The Plague* is about the marks that ‘other’ us, whether they be on the body, or in our perceived flaws and oddities. Nobody wants to be othered, but in some way or other, we’re all set aside at some point. This is a sharp, uncomfortable study of belonging, groupthink and the cost of integrity that feels timely in a climate where ethics are buried under corruption to sustain a status quo that’s no longer working. *The Plague* moves steadily until it grabs you around the throat. There’s a satisfying liberation that comes through, an invitation to let your particular type of crazy loose, no matter the consequences. **THE PLAGUE opens nationally in cinemas from 12 March 2026.** Website: <https://rialtodistribution.com/film/the-plague/> Socials: <https://www.instagram.com/rialtodistributionau/> [Win Tickets to See the Film!](https://thescoop.au/win-tickets-to-see-the-plague-in-cinemas-12-march/) Watch the trailer here: **Film details:** Title: The Plague Director: Charlie Polinger Cast: Joel Edgerton, Everett Blunck, Kayo Martin Country of Origin: United States, Romania Duration: 98 mins Rating: MA 15+ **Categories:** Film --- ### [Win Tickets To See The Plague In Cinemas 12 March](https://thescoop.au/win-tickets-to-see-the-plague-in-cinemas-12-march/) **Published:** March 9, 2026 **Author:** Newsroom **Content:** ![The Scoop The Plague Joel Edgerton](https://thescoop.au/wp-content/uploads/2026/03/THE-PLAGUE-1556x882-March-12-1108x628.jpg "The Plague Joel Edgerton • The Scoop")**Joel Edgerton** *(Train Dreams)* stars in **THE PLAGUE**, a psychological thriller about social hierarchy and alienation, set within an all-boys water polo summer camp. In the summer of 2003, Ben (Everett Blunck), a socially awkward 12-year-old finds himself struggling to fit within a ruthless social hierarchy enforced by his peers at an all-boys summer water polo camp. But when he befriends Eli (Kenny Rasmussen), another lonely tween, he becomes entangled in a cruel game that finds him casting out his only friend. Told that Eli suffers from a contagious plague, Ben must confront his own complicity in the game as he finds himself unable to separate teasing from real harm. Written and directed by Charlie Polinger, THE PLAGUE premiered at Cannes in 2025 and has received a 97% score on Rotten Tomatoes. ![The Scoop The Plague Joel Edgerton film](https://thescoop.au/wp-content/uploads/2026/03/The-Plague-3-942x628.jpg "The Plague Joel Edgerton film • The Scoop")The Scoop is **giving away five, in-season double pass** **e-tickets** **to the film**, thanks to **Rialto Distribution**! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply like our post, give us a follow and comment ‘Scoop’ under the post. The tickets are valid at any cinemas across Australia screening THE PLAGUE (terms and conditions can be found on the tickets). **THE PLAGUE opens nationally in cinemas from 12 March 2026.** Website: <https://rialtodistribution.com/film/the-plague/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read our Review of the Film!](https://thescoop.au/film-review-the-plague-explores-the-cruel-currents-of-adolescence/) Watch the trailer here: **Film details:** Title: The Plague Director: Charlie Polinger Cast: Joel Edgerton, Everett Blunck, Kayo Martin Country of Origin: United States, Romania Duration: 98 mins Rating: MA 15+ **Categories:** competition, News --- ### [Review: First Curtain Festival by Camberwell Grammarians Theatre Company](https://thescoop.au/review-first-curtain-festival-by-camberwell-grammarians-theatre-company/) **Published:** March 10, 2026 **Author:** Jacqui Moore **Content:** ![The Scoop First Curtain Festival Camberwell Grammarians Theatre Company](https://thescoop.au/wp-content/uploads/2026/03/First-Curtain-Fest-2-941x628.jpg "First Curtain Festival Camberwell Grammarians Theatre Company • The Scoop")How does one review the First Curtain Festival, comprising seven unique, contrasting, thoroughly entertaining plays in five hundred words? I’ll do it in six: *the true meaning of community theatre*. I attended the Clayton Community Centre Theatrette for the inaugural performance by the Camberwell Grammarian Theatre Company (CGTC)*.* From the moment I walked through the door, I could feel the hope, the joy, and the connection of every individual who had contributed towards the evening’s success. It was truly the stuff community is made of. The evening was constructed of seven brand-new short plays, each brought to life for the first time by an ensemble cast of fifteen dedicated and talented performers who wove their way across different characters, plots, eras, genres, and locations. I would firstly like to offer my sincere congratulations to the writers and directors of each play performed. The audience was truly transported. *The Last of the Gentlemen Sleuths,* written by Noah Sargent and directed by William Rotor, provided a hilarious whodunnit in the world of 1950s Britain. ![The Scoop First Curtain Festival Camberwell Grammarians Theatre Company](https://thescoop.au/wp-content/uploads/2026/03/First-Curtain-4-e1773135923633-885x628.jpg "First Curtain Festival Camberwell Grammarians Theatre Company • The Scoop")The evening was constructed of seven brand new short plays Photo by Aqila Shafa Arimurti*That Story About the Louvre,* written by DS Magid and directed by Jai Barlow, transported us to central Paris, where we could almost believe we might find the perfect colour to repair a not-quite-ready painting. *Drop Dead,* written by Benjamin Chesler and directed by Lakshmi Ganapathy, warned us about the dire consequences of logging in outback Australia. *Emily Takes a Lover,* written and directed by Julie Murphy, had us cheering for Emily as she took her justified fifty per cent from her unfaithful husband. *Salmon*, written by Peter Farrar and directed by Angus Fitzpatrick, had the audience sitting with a waiter and an apprentice chef musing about the struggles of working in the service industry. *Chips,* written and directed by James Gordon, had us truly believing we lived in a mind-blowing, futuristic world in which humans were turned into “PO-TA-TO” chips. While each play left its own unique imprint on the audience, one performance brought the entire theatre to complete, pin-drop silence. *Bystander*, written by Jennifer Pacey and directed by Ben Klein, offered a poignant insight into the deeply rooted complexities of trauma from the perspectives of three witnesses to a life-changing moment*.* ![The Scoop First Curtain Festival Camberwell Grammarians Theatre Company](https://thescoop.au/wp-content/uploads/2026/03/First-Curtain-Fest-1-939x628.jpg "First Curtain Festival Camberwell Grammarians Theatre Company • The Scoop")It is always refreshing when a company takes a chance on new grassroots Australian work Photo by Aqila Shafa ArimurtiThe casting of Crystal Haig, Shirin Albert, and Alexia Brady was utter perfection. This trio of powerhouse women ventured into every possible nuance of the text, employing flawless rhythm, emotional viscerality, and an electrifying sense of ensemble unity. I am hopeful to see this creative team and cast on professional stages soon. The *First Curtain Festival* evidently had a well-oiled village behind it. The program celebrated pages of helping hands across all areas of production. It is crystal-clear that CGTC is a highly cohesive, collaborative, and inclusive community that celebrates the successes of all of its members. It is always refreshing when a company takes a chance on new, grassroots, Australian work. I truly believe that CGTC has given new works a safe and nurturing place to be seen. If this is the *first* Curtain Festival, the sequel can’t come soon enough. ***First Curtain Festival* was presented by the Camberwell Grammarians Theatre Company and ran from 5 – 8 March at the Clayton Community Centre Theatrette.** The season has now ended. Facebook: <https://www.facebook.com/cgtc24> Socials: <https://www.instagram.com/cgtheatreco> and <https://www.instagram.com/firstcurtainfestival/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Aqila Shafa Arimurti **Categories:** Melbourne, Theatre --- ### [Review: Confessions Club Vol. III 2026 Adelaide Fringe](https://thescoop.au/review-confessions-club-vol-iii-2026-adelaide-fringe/) **Published:** March 9, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Confessions Club Vol. III Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/Confessions-Club-942x628.jpg "Confessions Club • The Scoop")The Adelaide Fringe has never been shy about late-night mischief, but *Confessions Club Vol. III* pushes past cheeky into something more theatrical. It’s sexy, yes, but it’s also surprisingly crafted. Beneath the kink and glitter sits a show about ownership of desire. The production returns to the Fringe after two sold-out seasons. The show debuted in 2024 and quickly found a loyal following, and by 2025, it had picked up a Weekly Award. Now, the third instalment lands at Nexus Arts Theatre with a bigger cast and a sharper identity. Co-producers Darcy Mae and Miss Foxy frame the night as a cabaret confessional with the set reinforcing the theme. Vintage Playboy magazines sit beside a chaise longue. Red pasties decorate mannequin torsos. Lamps cast a soft glow across a dressing partition. The aesthetic is boudoir meets theatre club. It feels intimate from the moment the audience walks in. Darcy Mae hosts the evening with confidence. Her musical theatre training shows: her vocals are strong and controlled. A jazzy reimagining of *I Kissed a Girl* becomes a teasing centrepiece. She lingers on the consonants like a serpent tempting Eve. She belts *Big Spender* with a wink. The audience interaction is whip smart. She knows exactly when to tease and when to move on. Miss Foxy delivers one of the night’s most playful acts. She arrives in a dressing gown. Three costumes in hand: air hostess, maid, and police officer. The crowd votes for their favourite. Stockings slide on slowly. A towel whip reveals perfectly styled hair. Then she disappears backstage for a lightning-fast change. The routine is both parody and seduction. ![The Scoop Confessions Club Vol. III Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/IMG_4107-e1773055992648-875x628.jpg "Confessions Club Vol. III Adelaide Fringe • The Scoop")Winchester Angel performs on a massage table Image suppliedGigi von Ginger slows the tempo with smoky jazz vocals. She reads from a fluffy book titled *Men Who Pine*. Inside are photographs of her crushes. It feels playful and oddly tender. Mira Moon shifts the mood again. After another failed date, she retreats to a mirror for solace. The act plays like a quiet meditation on loneliness. Physicality becomes the language of power in Ethereal Jade’s act. She appears strong, but her confession reveals a desire to submit. Petite Miam, towering in dominatrix heels, attaches a chain to Jade’s collar. She leads her down the aisle like a dog. Petite Miam returns later with a crack of chains against the stage. “No monsieur,” she warns, “that is not how you spell consent.” Amy Valentine offers comic relief. She’s a triple threat: stand-up comedy, singing, and the “best rack in Adelaide.” Her celebrity crush monologue about Justin Bieber lands huge laughs. The night’s best costume might belong to Duke Draper in a nun’s habit meets female anatomy lesson, as she confesses she can only feel pleasure when she imagines God is a woman. ![The Scoop Confessions Club Vol. III Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/IMG_4108-e1773056203634-853x628.jpg "Confessions Club Vol. III Adelaide Fringe • The Scoop")The best costume might belong to Duke Draper in a nuns habit Image suppliedFiva Scarlett then performs a webcam routine with an overseas lover. Just as the toys appear, there’s a knock at the door. Chaos follows. Somehow the moment morphs into a *Lady and the Tramp* spaghetti duet. It shouldn’t work, yet it does. Dance brings spectacle to the stage: Velvet Dolls deliver fan and belly dancing with main character energy. Winchester Angel performs on a massage table. Long nails glide across latex gloves before she slowly removes them. She looks like Jessica Rabbit reborn in ink. Then comes the finale: Perth performer Mya Tension. She performs self-shibari on a single leg, requiring her to crawl offstage in triumph. It is strange, mesmerising, and impossible to ignore. What makes *Confessions Club* work is precision: every reveal hits the beat of the music. Costumes and lighting feel carefully considered. The structure holds the chaos together. Even the wildest acts feel choreographed. The show also argues for burlesque as an art form. It isn’t simply about removing clothes, it’s about storytelling through bodies. Each act exposes something emotional alongside skin. In its third year, *Confessions Club* is working towards bigger and bigger Os: ovations. It’s a show that has audiences standing at attention. The title promises confession. What it delivers is liberation. ***Confessions Club Vol. III* ran from 21 February – 7 March at Nexus Arts as part of the 2026 Adelaide Fringe.** The season has now ended. Website: <https://adelaidefringe.com.au/fringetix/confessions-club-vol-iii-af2026> Socials: [https://www.instagram.com/confessionsclub\_adl/](https://www.instagram.com/confessionsclub_adl/) [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Images supplied. **Categories:** Adelaide, Circus --- ### [Announcing Cast For Historic My Fair Lady Sydney & Melbourne Seasons](https://thescoop.au/announcing-cast-for-historic-my-fair-lady-sydney-melbourne-seasons/) **Published:** March 10, 2026 **Author:** Newsroom **Content:** ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/03/my-fair-lady_54697592822_o-copy-1150x628.jpg "My Fair Lady Opera Australia • The Scoop")Producers Opera Australia and John Frost for Crossroads Live have today **announced cast members** for the upcoming 70th Anniversary of the much-loved musical ***My Fair Lady*** which will premiere at the **Sydney Opera House** in **September** before a season at the **Arts Centre Melbourne’s Ian Potter State Theatre** in **November**. Cast members chosen include a mix of some of Australia’s best new emerging performers, established musical theatre favourites as well as Australian theatre icons returning to the beloved musical. Leading cast members include **Reg Livermore** returning to the role of Alfred P. Doolittle, **Robyn Nevin** returning to the role of Mrs Higgins, **Tony Llewellyn-Jones** returning as Colonel Hugh Pickering, the much-loved **Anne Wood** as Mrs Pearce and **Freddy Hellier** in his mainstage musical theatre debut as Freddy Eynsford-Hill. The Ensemble cast includes: **Anton Berezin, Eleanor Blythman, Devon Braithwaite, Rachel Cole, Natasha Dumlao, Blake Erickson, Peter Ho, Anthony Garcia, Matt Heyward, Tisha R. Keleman, Naomi Livingston, Madeleine Mackenzie, Kassie Martin, Mary McCorry, Julia McRae, Oscar Mulcahy, Tom New, Lachlan O’Brien, Morgan Palmer, Matthew Predny, Suzanne Steele, Troy Sussman, Natasha Veselinovic** and **Sam Ward.** Swings include **Andrew Broadbent, Deborah Caddy, Ellie Nunan** and **David Sirianni.** Casting announcements for the key roles of Eliza Doolittle and Professor Henry Higgins will be made in the coming months. ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2025/08/MFL_PhotobyJeff-Busby_3757_L-1170x628.jpg "My Fair Lady Opera Australia • The Scoop")The cast are a mix of emerging performers established favourites and returning Australian theatre icons Photo by Jeff BusbyFrom its groundbreaking Broadway debut to the iconic Oscar-winning film, ***My Fair Lady*** remains one of the world’s most enduring and loved musical treasures, with this lavish recreation based on the 2016 Australian production which was directed by Julie Andrews. In keeping with the anniversary milestones, Opera Australia is also marking its platinum 70th anniversary this year, making it an extra special double celebration with ***My Fair Lady*** in 2026. A heartwarming story of identity and change, ***My Fair Lady*** brims with razor sharp wit, unforgettable characters, and a stunning score including ‘Wouldn’t It Be Loverly?’, ‘I Could Have Danced All Night’ and ‘Get Me to the Church on Time’. When Alan Jay Lerner and Frederick Loewe premiered their brilliant adaptation of George Bernard Shaw’s *Pygmalion* in 1956, it became an instant classic — hailed as “the perfect musical” and winning six Tony Awards. This production broke box office records when it premiered at the Sydney Opera House for its 60th anniversary in 2016. Lerner and Loewe’s iconic production will also be the first major musical to perform at Arts Centre Melbourne’s refurbished Ian Potter State Theatre when its season opens in November. ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-09-at-91423-pm-1200x607.png "My Fair Lady Opera Australia • The Scoop")My Fair Lady opens September in Sydney before touring to Melbourne in November A 20-year-old Julie Andrews was catapulted to superstardom when she originated the role of Eliza Doolittle, an irrepressible Cockney flower girl who transforms into a lady of society. The man attempting to remake her? The appealingly arrogant phoneticist Henry Higgins, who may just be the one who is transformed. Julie Andrews has been a beloved and much-honoured star of stage, screen and television for more than half a century. She created the role of Eliza Doolittle in Lerner and Loewe’s Broadway musical *My Fair Lady*, which became an instant classic and the longest-running musical of its day. Andrews also won a New York Drama Critics Award and garnered a Tony Award nomination for her performance. She made her feature film debut in 1964’s *Mary Poppins* which brought her an Academy Award®, a Golden Globe and a BAFTA Award. She earned a second Oscar® nomination and won another Golden Globe Award for her unforgettable portrayal of Maria von Trapp in *The Sound of Music*. She earned a third Academy Award® nomination and another Golden Globe Award for her “dual” role in *Victor/Victoria*. ***My Fair Lady* opens 12 September at the Sydney Opera House. It then runs at the Ian Potter State Theatre at Arts Centre Melbourne from November 2026.** Tickets for Sydney are available [here](https://myfairladythemusical.com.au/tickets/sydney/) and the waitlist for Melbourne tickets is [here](https://myfairladythemusical.com.au/tickets/melbourne/). Website: <https://myfairladythemusical.com.au/> Socials: <https://www.instagram.com/myfairladyaus/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Jeff Busby Book & Lyrics by Alan Jay Lerner. Music by Frederick Loewe. Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture *Pygmalion*. Based on the 2016 production by Julie Andrews. Directed by Karen Johnson Mortimer. **Categories:** News --- ### [Review: Corpse by Kirsty Mann 2026 Adelaide Fringe](https://thescoop.au/review-corpse-by-kirsty-mann-2026-adelaide-fringe/) **Published:** March 9, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Kirsty Mann Corpse Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/Untitled-design-2-942x628.jpeg "Kirsty Mann Corpse Adelaide Fringe • The Scoop")Ghost stories usually begin with a flicker of candlelight or a creaking door. *Corpse*, the new show from comedian Kirsty Mann, begins in darkness. Total darkness. Then something crawls. A figure moves slowly down the aisle between two rows of audience members. A long black wig trails across the floor. The body twists like something dragged out of a nightmare. It feels demonic. The room holds its breath. The lights flash on. Mann whips off the wig. “Relax,” she says. “It’s not that kind of show.” Of course, it absolutely is. Mann first gained attention with her debut solo show *Skeletons*, which began at the Edinburgh Fringe before touring Australia. That show blended stand-up storytelling with theatrical sound design. It later transferred to London’s Soho Theatre and won the Comedy Award at Fringe World. Her creative work also stretches beyond the stage. Her short film *Lady Brently’s End* screened at more than twenty international festivals and collected multiple awards. With *Corpse*, Mann expands the formula. ![The Scoop Kirsty Mann Corpse Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/DSC00413-942x628.jpg "Kirsty Mann Corpse Adelaide Fringe • The Scoop")Sometimes tragedy and absurdity collide in the same moment Image suppliedThe stage is gone. The audience faces each other in four rows. It feels like sitting inside the story rather than watching it. Horror arrives first. Then a punchline. Then another scare. Then another gag. The rhythm is relentless. It’s a clever structural choice. Life rarely unfolds with tidy emotional pacing. Sometimes tragedy and absurdity collide in the same moment. Mann knows this better than most comedians. Outside the theatre she works in hospitals as a doctor. One of her regular tasks is recording the time of death. That experience forms the beating heart of *Corpse*. The show explores Mann’s relationship with mortality and her uneasy belief in the afterlife. At its centre is a personal ghost story. The details unfold slowly and should remain unspoiled here. The brilliance of the writing lies in how Mann builds doubt. Each strange moment invites explanation. The audience searches for rational answers. Mann understands that instinct well. Humans are masters of justification. We rewrite evidence until the world feels safe again. By the end of the show, you may not believe in ghosts. But you will notice the mental gymnastics required not to. ![The Scoop Kirsty Mann Corpse Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/KirstyMannSkeletons_AdrianThomson_009-942x628.jpg "Kirsty Mann Corpse Adelaide Fringe • The Scoop")The show quietly asks how we hold space for the strange experiences of people we care about Photo by Adrian ThompsonThe technical team deserve enormous credit. The production features around 200 lighting and sound cues. Timing is everything. Thunder must crack at the exact moment for a scare or punchline to land. The precision is remarkable. Every flash and rumble arrives like clockwork. Yet *Corpse* is not just about death. It is also about belief. What happens when someone you love tells you something impossible? Do you trust them? Do you dismiss them? How much evidence is enough to change your mind? Mann connects the story to another horror narrative familiar to many young adults: the housing market. The affordability crisis is a reminder that the living can be just as frightening as the dead. There is real tenderness here as well. Beneath the ghost story sits a meditation on relationships. The show quietly asks how we hold space for the strange experiences of people we care about. Comedy rarely sits comfortably beside horror. *Corpse* proves it can thrive there. You may leave unconvinced about the supernatural. But you will leave thinking about death, belief, and the fragile ways we explain the unknown. ***Corpse* by Kirsty Mann runs to 15 March at the Courtyard of Curiosities as part of 2026 Adelaide Fringe. Migration Museum, 82 Kintore Ave Adelaide SA 5000.** Tickets: <https://adelaidefringe.com.au/fringetix/kirsty-mann-corpse-af2026> Socials: <https://www.instagram.com/kurdymann/> Socials: <https://www.instagram.com/the.courtyard.of.curiosities/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Images supplied. **Categories:** Adelaide, Theatre --- ### [Review: Antigone Reminds Us Why It Has Survived 2,500 Years](https://thescoop.au/review-antigone-reminds-us-why-it-has-survived-2500-years/) **Published:** March 8, 2026 **Author:** Regan Baker **Content:** ★★★½ ![The Scoop Antigone La Boite Theatre](https://thescoop.au/wp-content/uploads/2026/03/Ant-5-837x628.jpg "Antigone La Boite Theatre • The Scoop")La Boite kicking off the first show of its second century with *Antigone* is certainly a bold way to start the 2026 season. For a story that’s pushing close to 2,500 years old, it has a funny way of never really feeling outdated. At its core, it’s the story of a stubborn ruler and the inevitable fallout that comes when pride gets in the way of reason. That sentiment felt true seven years ago when I reviewed Queensland Theatre’s production, just as it feels true now in the midst of rising global tensions. Now, I must be honest up front. Queensland Theatre’s 2019 production of *Antigone* sits very high on the scale of their all-time best productions, so I came into this review with high (and unreasonable) expectations. For those who haven’t seen it before, *Antigone* is one of those ancient Greek plays that just refuses to age. It is the story of two brothers who go to war over different ideologies of how the city of Thebes should be ruled, and as a result, end up dying by each other’s sword. Their uncle Creon ascends the throne and immediately lays down the word of the law. One brother shall be buried with full military honours, while the other, branded as a traitor, shall be left to rot on the outskirts of town. Fuelled by grief and a stubborn belief that the law of the gods is mightier than the rule of kings, their sister Antigone decides to bury her ‘traitorous’ brother anyway. Suffice it to say that the new king did not take this very well. La Boite’s version, co-directed by Courtney Stewart and Nigel Poulton, keeps things pretty simple and lets the story do most of the work. The Roundhouse Theatre lives up to its name, set up in the round, with the stage in the middle and the audience surrounding it on all sides. The set itself is minimal, save for a glowing hole sitting six inches deep in its centre. As the night goes on, it starts to feel more symbolic than decorative. Death, the afterlife, fate… whatever interpretation you want to run with, it’s sitting there in plain sight. ![The Scoop Antigone La Boite Theatre](https://thescoop.au/wp-content/uploads/2026/03/Ant-2-837x628.jpg "Antigone La Boite Theatre • The Scoop")Taking on the title role Maddison Burridge delivers a very strong performance as Antigone Photo by Dean HansonThe stripped-back approach works in the show’s favour. *Antigone* is a story driven almost entirely through dialogue and argument, so anything elaborate would probably just get in the way. One visual moment that stands out is the sand falling slowly from above into the centre of the stage. Designed by Josh McIntosh, it gradually builds throughout the show and begins to feel like an hourglass quietly ticking down towards the seal of Antigone’s fate. A year on from my review of La Boite’s *Macbeth*, it was a nice little déjà vu moment seeing the dynamic duo of Teegan Kranenburg (lighting) and Brady Watkins (sound) teaming up once more. Their partnership was easily one of the strongest elements of that production, as it is for this one also. They consistently deliver the right tones and soundscapes when they are needed, and even with a stripped-back stage, their design elevates the performance. Moments of battle, heartbreak and grief land far stronger because of the atmosphere they build together. Taking on the title role, Maddison Burridge delivers a very strong performance as Antigone. It’s not an easy character to play, or an expectation to live up to when I still have Jess Tovey’s performance in the back of my mind. In saying that, she excelled. Antigone is stubborn, emotional and entirely set in her conviction that her decision is the right one. Burridge leans in heavily on that determination and gives the character a true sense of purpose and willingness to die for her beliefs. Throughout, she still allows her vulnerability to sprinkle through – like the sand falling from the ceiling, which makes her performance feel more grounded than heroic. Opposite her, Hayden Spencer steps into the role of Creon with the kind of vocal authority you would expect from someone with more than three decades of stage experience. Having seen his recent performance as Nathan Jessep in Queensland Theatre’s *A Few Good Men*, I expected nothing less than a powerful performance. Vocally, he delivers. He carries the kind of authority you want from a king. At times, though, some of the physical movement around the stage felt a little less natural. Certain gestures and transitions came across slightly forced, which occasionally pulled attention away from what was otherwise a strong performance. ![The Scoop Antigone La Boite Theatre](https://thescoop.au/wp-content/uploads/2026/03/Ant-3-837x628.jpg "Antigone La Boite Theatre • The Scoop")La Boites Antigone reminds you why this story has survived for more than two thousand years Photo by Dean HansonBilly Fogarty also has the small challenge of playing not one, but four characters across the night, appearing as Ismene, Haemon, the blind prophet Teiresias and a Sentry. It’s a fairly ambitious bit of casting and, for the most part, Fogarty handles the balancing act well. If you look at each character on its own, there is some really nice work going on. Ismene, in particular, has a few quieter moments that are delivered with good pacing and land nicely with the audience. The only thing that occasionally makes it tricky is the voice. Across the three roles, it stays fairly consistent, which means it can take a second to reset when a new character appears. The costumes do a solid job of letting you know who’s who, so visually it’s never confusing, but vocally the shift isn’t quite as clear. Over a wine at the end of the performance, I found myself googling quotes to summarise the many thoughts in my head, and this one from Neil Strauss felt particularly fitting: “Expectations are premeditated resentments.” I came into opening night expecting something similar to the 2019 production, and in hindsight, that was probably unfair. Once I put that comparison aside, it became much easier to appreciate La Boite’s production for what it is. *Antigone* is still one of the great stories of theatre. A tale about power, pride and the courage to stand up to authority. Right now, it feels just as relevant as it ever has. La Boite’s *Antigone* ends up doing exactly what it should. It reminds you why this story has managed to survive for more than two thousand years in the first place. ***Antigone* is presented by La Boite Theatre and runs to 21 March at the Roundhouse Theatre, 6 Musk Avenue Kelvin Grove 4059.** Tickets: <https://laboite.com.au/shows/antigone> Website: <https://laboite.com.au/> Socials: <https://www.instagram.com/laboitetheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Dean Hanson Photography **Categories:** Brisbane, Theatre --- ### [Review: Mary Said What She Said 2026 Adelaide Festival](https://thescoop.au/review-mary-said-what-she-said-2026-adelaide-festival/) **Published:** March 7, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop Mary Said What She Said Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/Isabelle-Huppert_Mary-Said-What-She-Said_11_Credit-Lucie-Jansch-943x628.jpg "Mary Said What She Said Adelaide Festival • The Scoop")The stage begins almost empty. A giant screen glows softly at the back of the Festival Theatre stage. Against it stands the regal silhouette of Isabelle Huppert as Mary, Queen of Scots. The image is stark. The figure is unmistakably royal. It is also strangely lonely. This visual motif frames the entire evening. The screen behind Huppert slowly morphs throughout the ninety-minute monologue: bursts of white light, spreading cracks, drifting blobs of colour. The imagery feels like a projection of Mary’s psyche. Directed by Robert Wilson, with text by Darryl Pinckney and music by Ludovico Einaudi, *Mary Said What She Said* premiered in Paris in 2019 and has toured internationally before arriving at Adelaide Festival. It is not a conventional historical drama. Instead, Wilson presents Mary’s final hours as a cascade of memory, resentment and reflection. For the first twenty-five minutes, Huppert stands in darkness. Her hands rest on her hips. Her body barely moves. You wonder if she ever will. Words spill out in a torrent that recalls the rapid-fire monologues of Samuel Beckett. The surtitles race across the screen. Trying to read every line quickly becomes futile. The words fly past like race cars. At first, this feels frustrating. We go to the theatre expecting clarity. We want the narrative to make sense. But Wilson appears to reject that expectation. Mary’s thoughts arrive in fragments. They contradict each other; they repeat obsessively. They return to betrayal, power and destiny. Perhaps that is the point. When confronting a monarch facing execution, perhaps we should feel lost. Perhaps our desire for neat explanations is itself a distortion of the messy reality of human consciousness. ![The Scoop Mary Said What She Said Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/Isabelle-Huppert_Mary-Said-What-She-Said_5_Credit-Lucie-Jansch-954x628.jpg "Mary Said What She Said Adelaide Festival • The Scoop")The play presents Mary Queen of Scots final hours Photo credit Lucie JanschLike our own minds, Mary’s thoughts circle endlessly. They repeat ad nauseam. By the end of the play, her intrusive thoughts begin to intrude on ours. She feels betrayed by Elizabeth I; she resents the double standards of power. She believes she was doomed from birth. Yet she also insists that the titles she inherited at birth should protect her from consequences. Modern parallels inevitably arise. The entitlement of royal privilege echoes in figures such as Prince Andrew. The belief that power grants immunity from accountability feels equally familiar in the age of Donald Trump. Wilson’s staging emphasises repetition and ritual. Huppert’s gestures are minimal but precise. A turn of the head. A slow step forward. A raised arm. The choreography is hypnotic. The question becomes whether repetition transforms madness into clarity. Or whether repetition simply convinces us of our own narratives. Repeat a lie often enough, and it becomes truth. This strategy may not persuade others. But it can certainly persuade ourselves. It might even explain why people refuse repentance even as the executioner raises the axe. There is no denying the discipline required of Huppert. She commands a vast empty stage with voice and posture alone. The performance demands extraordinary concentration and endurance. By the end of the evening, the language itself becomes an athletic feat. Midway through the show, the rhythm breaks. The stage floods with heavenly light. Billows of smoke drift across the floor. A strange recorded voice emerges from the darkness, repeating phrases like *I’m here* alongside seemingly random numbers. ![The Scoop Mary Said What She Said Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/Isabelle-Huppert_Mary-Said-What-She-Said_4_Credit-Lucie-Jansch-997x628.jpg "Mary Said What She Said Adelaide Festival • The Scoop")The surtitles race across the screen rying to read every line quickly becomes futile Photo by Lucie JanschThe moment recalls the disorienting audio collage of The Beatles’ *Revolution No. 9*. It adds another layer of complexity to an already dense work. Other sonic intrusions punctuate the performance. Children’s laughter echoes through the theatre. At other moments, demonic voices whisper from the darkness. Einaudi’s compelling score runs through it all. The meaning is not always clear. But the unease they create is unmistakable. By the end, Huppert returns to the same regal silhouette that opened the show. The audience responds with a standing ovation. It feels like applause recognising a generational talent completing one of the most demanding tasks in theatre. Art, after all, is not always meant to comfort us. Sometimes it is meant to challenge us. To leave us searching for meaning. To force us to reconsider our assumptions about power, history and identity. *Mary Said What She Said* certainly achieves that. Yet one question lingers. When theatre becomes deliberately incomprehensible, is it revealing the complexity of human experience or simply embracing obscurity for its own sake? Robert Wilson’s production walks that line for ninety hypnotic minutes. ***Mary Said What She Said* is presented by Robert Wilson and runs to 8 March at the Festival Theatre as part of 2026 Adelaide Festival.** Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=MARYSAID26> Website: <https://www.adelaidefestival.com.au/whats-on/season-2026/mary-said-what-she-said> Socials: <https://www.instagram.com/adelaidefestival/> [Read more of our Adelaide Festival Reviews](https://thescoop.au/?s=adelaide) Photo credits: Lucie Jansch **Categories:** Adelaide, Theatre --- ### [Review: As You Like It Brings Love, Laughter & Lost Dukes](https://thescoop.au/review-as-you-like-it-brings-love-laughter-lost-dukes/) **Published:** March 7, 2026 **Author:** Benjamin Webb **Content:** ★★★★☆ ![The Scoop As You Like It Fingerless Theatre](https://thescoop.au/wp-content/uploads/2026/03/Low-Res-Alex-Kendall-Robson-Nicholas-Starte-and-Meg-Bennetts-942x628.jpg "As You Like It Fingerless Theatre • The Scoop")Fingerless Theatre’s production of *As You Like It* at Flightpath Theatre embraces a lively sense of escape. With picnic blankets, live music and a warm, nostalgic glow, this production invites its audience to take a breath, sit under the metaphorical sunshine and enjoy one of Shakespeare’s most joyful comedies. First performed around 1599, *As You Like It* remains one of William Shakespeare’s most beloved rom-coms. Packed with disguises, philosophical musings and some of the Bard’s most famous lines, including Jaques’ “All the world’s a stage” speech, it has long been celebrated for its wit, romantic entanglements and celebration of nature as a place of freedom and transformation. The story begins in a tense and dangerous court. Orlando is mistreated by his older brother Oliver, while Rosalind finds herself exiled by the ruling Duchess. Fleeing the oppressive court, Rosalind disguises herself as a young man and escapes with her cousin Celia into the Forest of Arden. There, they encounter shepherds, fools and wandering courtiers. What follows is a delightful tangle of mistaken identities, playful flirtation and philosophical reflection as love begins to blossom in unexpected places. Director and producer Alex Kendall Robson leans wholeheartedly into the play’s sense of pastoral joy. His concept places the action in the nostalgic haze of the early 2010s, an era of mason jars, bunting, folk-pop soundtracks and sun-drenched Instagram filters. It’s a playful idea that works surprisingly well, giving the forest sequences the relaxed atmosphere of an endless summer picnic. The result is a production that is inviting, warm and feels genuinely affectionate toward the material. ![The Scoop As You Like It Fingerless Theatre](https://thescoop.au/wp-content/uploads/2026/03/Low-res-Pat-Mandziy-and-Jade-FudaL-R-in-photo_-Phil-Erbacher-jpg-942x628.jpg "As You Like It Fingerless Theatre • The Scoop")The show invites its audience to sit under the sunshine and enjoy one of Shakespeares most joyful comedies Photo by Phil ErbacherAt the centre of it all is Jade Fuda as Rosalind. Now, Shakespeare sleuths will know that Rosalind is supposed to be tall so that she can pass in her disguise as a man. Jade is not tall. In this production, Rosalind is the same height as Celia, which made me initially apprehensive to see how the journey would play out. Fear not, fellow thespians. Jade delivers the best portrayal of Rosalind I have ever seen. She completely understands Rosalind’s pain, playfulness and resolve. She is charismatic and assured, navigating the character’s verbal dexterity and emotional intelligence with impressive ease. In particular, the scenes where Rosalind (disguised as Ganymede) mischievously “teaches” Orlando how to woo her. Pat Mandziy’s Orlando brings sincerity and youthful enthusiasm to the role. He creates a believable and charming romantic counterpart. By Jade’s side, Larissa Turton shines as Celia, providing warmth and sharp comic timing. Zachary Aleksander’s Touchstone proves an energetic and entertaining presence, balancing irreverent humour with just enough mischief. Soyna Kerr carries herself well in the dual Duchess roles: the conniving one at the court and the comforting one in the forest. Nicholas Starte’s Oliver/Sylvius offers a nicely contrasted pair of performances. Alex Kendall Robson himself steps into the role of Jaques/Corin, delivering the famous “All the world’s a stage” speech with thoughtful restraint. Meg Bennetts brings playful comedy to Audrey/Phebe. Jack Elliot Mitchell adds lively physicality as Charles the Wrestler and aged frailty as Adam the carer. Max Fernandez provides eccentric versatility across Le Beau, Amiens and Hymen. ![The Scoop As You Like It Fingerless Theatre](https://thescoop.au/wp-content/uploads/2026/03/Low-res-Nicholas-Starte-Jack-Elliot-Mitchell-James-Robin-Sonya-Kerr-and-Hannah-Buckley-L-R-in-photo_-Phil-Erbacher-jpg-942x628.jpg "As You Like It Fingerless Theatre • The Scoop")What ultimately makes this production work is its sense of joy Photo by Phil ErbacherThe production is further enriched by its live musicians. Brea Macey, Hannah Buckley and James Robin provide a gentle folk-infused atmosphere that perfectly complements the play’s rustic setting. Music Director Zachary Aleksander integrates these musical moments smoothly into the storytelling, giving the show an easy, communal feel. Visually, the design team supports the concept with flair. Costume designers Josh Carter and Lily Moody lean into the hipster-inspired aesthetic suggested by the director’s note, creating a playful and contemporary world while still allowing the text to breathe. Holly Nesbitt’s lighting design, assisted by Gaby Whalland, helps guide the audience between the cool tones of the court and the warmth of the forest. David Wilson’s sound design helps shape the production’s relaxed outdoor atmosphere. What ultimately makes this production work is its sense of joy. Alex Kendall Robson’s direction doesn’t try to reinvent Shakespeare so much as rediscover the simple pleasures embedded within the play. Friendship, music, laughter and the restorative power of nature. My only quibbles are that there are a couple of moments where the tone feels inconsistent. If this truly is a rom-com, then it is not a drama. The scene at the court and the one in the forest add too much weight instead of letting the comedy lift us. I love Rosalind’s monologue at the end of the play, where she breaks the fourth wall and charges the audience of men and women to love one another. That final beat is missing in this production because Fingerless Theatre have favoured their unique musical style. Which, to be fair, gives the play a grandiose conclusion and had the audience on their feet. Fingerless Theatre’s *As You Like It* is a charming and heartfelt reminder that sometimes the greatest theatrical pleasure lies in gathering together, sharing stories and escaping, if only briefly, to somewhere greener. It’s a warm, playful and delightfully sweet evening of Shakespeare that invites audiences to lose themselves in the sunshine of Arden. ***As You Like It* is presented by Fingerless Theatre and runs to 14 March at Flight Path Theatre. 142 Addison Road Marrickville NSW 2204.** Tickets: <https://www.flightpaththeatre.org/whats-on/as-you-like-it> Website: <https://fingerlesstheatre.com/> Socials: <https://www.instagram.com/fingerlesstheatre/> and <https://www.instagram.com/flightpaththeatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Phil Erbacher **Categories:** Sydney, Theatre --- ### [Announcing Little Anastasia Cast For Sydney Season](https://thescoop.au/announcing-little-anastasia-cast-for-sydney-season/) **Published:** March 6, 2026 **Author:** Newsroom **Content:** ![The Scoop Little ANASTASIA Musical Sydney](https://thescoop.au/wp-content/uploads/2026/03/Maya-Porragas-Willa-Valaris-Arianna-Lorusso-Willow-Wilson-ANASTASIA-©-Cameron-Grant-Parenthesy-31-942x628.jpg "Little ANASTASIA Musical Sydney • The Scoop")Producers of the hit Broadway musical **ANASTASIA** have today revealed the talented young Sydney performers who will be sharing the role of Little Anastasia in the highly anticipated musical opening in April at the spectacular Lyric Theatre Sydney. The local performers who scored the coveted role amongst many keen auditionees are **Arianna Lorusso** aged 9 and based in Beacon Hill; **Maya Porragas** aged 10 from Cremorne; **Willa Valaris** aged 10 from Allambie Heights and **Willow Wilson** aged 11 from Lisarow. The crowd-favourite musical made its Australian debut in December at Melbourne’s Regent Theatre wowing audiences and critics alike, and is now playing in Perth. New tickets for the Sydney season go on sale today for the final performances from **8 – 19 July**. [The Scoop’s review](https://thescoop.au/review-anastasia-the-musical-delivers-a-powerful-hope-filled-escape/) said the musical:***“is an incredibly well-told story and an artistic and creative delight. It provides a place for families to gather, feel a sense of home, and for audiences of all ages to embrace the past while imagining a brighter future that feels truly their own.”*** These hugely talented young performers will join cast members **Georgina Hopson** as Anya, **Robert Tripolino** as charming con artist Dmitry, **Joshua Robson** in the role of antagonist Gleb, **Rodney Dobson** as Vlad, the much-loved **Rhonda Burchmore** as Countess Lily and theatre icon **Nancye Hayes AM** in the role of the Dowager Empress. The ensemble cast members include Sophia Bae, Elliot Baker, Billy Bourchier, Nicholas Cunningham, Davis Giotopoulos Moore, Todd Goddard, Stephanie Kurlow, Keian Langdon, Bella Minniti, Nathan Stafford, Alexis Van Maanen, Annie Wilson, Deone Zanotto, and Andrea Zappacosta. The Swings team features Manon Gunderson-Briggs, Iosefa Laga’aia, Nathan Pinnell and Emma Russell. ![The Scoop Little Anastasia Perth Musical](https://thescoop.au/wp-content/uploads/2026/02/1023-Eleanor-Flynn-and-Nancye-Hayes-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "• The Scoop")Eleanor Flynn as Little Anastasia with Nancye Hayes in Melbourne Photo by Jeff BusbyInspired by the mysterious tale of Grand Duchess Anastasia Romanov’s rumoured escape in the dawning days of the Russian Revolution, the story comes to life with intrigue and wonder. Based on the 1997 Oscar-nominated animated film of the same name, it brings that beloved world to the stage. ANASTASIA has been brought to life by the Tony Award-winning creative team of Terrence McNally, Stephen Flaherty and Lynn Ahrens. **ANASTASIA** is a lavish musical for all ages. It transports audiences from the twilight years of the Imperial rule to the euphoria and exuberance of Paris in the 1920s. The story sees a brave young woman named Anya setting out to discover the mystery of her past. Pursued by an army officer determined to silence her, she enlists the aid of a dashing conman and a loveable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family. Directed by Tony Award winning director Darko Tresnjak**, ANASTASIA** premiered on Broadway in March 2017. It received a Tony Award nomination for Best Costume Design in a Musical. It also won more than 15 major international awards including Best Musical awards in Germany, the Netherlands and Spain. The book for **ANASTASIA** was written by the late five-time Tony Award-winning writer Terrence McNally. His credits include *Love! Valour! Compassion!, Master Class, Kiss of the Spider Woman* and *Ragtime.* Music and lyrics for **ANASTASIA** were written by the renowned writing team of Stephen Flaherty and Lynn Ahrens. They have been referred to as “one of the greatest songwriting teams in Broadway history.” (*Chicago Tribune*). Produced by John Frost for Crossroads Live and Opera Australia in special collaboration with Stage Entertainment Productions, Tom Kirdahy, Hunter Arnold and Dan Hinde. **ANASTASIA the musical runs** **from 7 April – 19 July at the Lyric Theatre Sydney. See full tour dates below.** Tickets: <https://anastasiathemusical.com.au/tickets/sydney/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> Read our 2026 Musical Theatre Show Guide! Hero image: Maya Porragas, Willa Valaris, Arianna Lorusso and Willow Wilson. Photo by Cameron Grant 2026 Australian Tour Dates: Perth 3 – 28 March, Crown Theatre Sydney 7 April – 19 July, Lyric Theatre Adelaide 2 – 23 August, Festival Theatre Brisbane from September, Lyric Theatre QPAC **Categories:** News --- ### [Review: The Diary of Anne Frank Spreads Hope, Strength & Humanity](https://thescoop.au/review-the-diary-of-anne-frank-spreads-hope-strength-humanity/) **Published:** March 6, 2026 **Author:** Wendy Samantha **Content:** ★★★★★ ![The Scoop The Diary of Anne Frank Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/03/TDOAF25-_MG_9370-Enhanced-NR-Hi-994x628.jpg "The Diary of Anne Frank Drew Anthony Creative • The Scoop")It’s the start of autumn and on this peaceful Melbourne evening, the sun sets in a glow over Melbourne’s Athenaeum Theatre. There’s a natural surge of energy rising in the foyer tonight with the opening of Drew Anthony Creative’s *The Diary of Anne Frank*, and this one will stay close to the heart. With a stream of light bringing a hopeful warmth through a rooftop window, it shines onto seven makeshift beds. A tub of water, a small wooden dining table, and a few scattered chairs are thrown across the stage in what appears to be a hastened exit. *You Are My Sunshine* echoes with the air of the era, and we are set for a memorable tale. The audience is inquisitive, gentle chatter on a Thursday evening until Mr Frank enters, stopping to pick up some items of memorabilia, holding them to his heart and then breaking into sobs. A true story taken from real events, *The Diary of Anne Frank* derives from a young girl’s own thoughts, words and feelings that were published by her father after he survived hiding in the Secret Annex in Amsterdam during World War II. This play takes place across the span of two years, starting on Monday, 6 July 1942, when the Nazi soldiers have taken over the city. In a desperate act of survival, Anne’s father, Otto Frank (Phil Bedworth), hides his wife (Holly Easterbrook) and daughters Margot (Ciara Taylor) and Anne (Chloe-Jean Vincent) above his workplace. Joined by Mr and Mrs Van Daan (Matt Dyktynski and Asha Cornelia Clueer), their son Peter (Nathan Hampson) and Mr Dussel (Jamie Jewell), the eight of them live in secrecy until 1944, when they were unfortunately captured. Being gifted with food and supplies throughout that time, however, their good friends Meip (Grace Tolich) and Mr Kraler (Kingsley Judd) are outside of the annex and risk their lives to assist. Every time the hidden group hears a car engine start up, tyres screeching to a halt, a buzzer go off, the phone ringing, a door opening, a creak in the downstairs floorboards – they freeze in fear of what may come. ![The Scoop The Diary of Anne Frank Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/03/TDOAF25-1K7A9820-Enhanced-NR-Hi-942x628.jpg "The Diary of Anne Frank Drew Anthony Creative • The Scoop")Without Annes brightness were going to forget how to dance Photo by Amanda HumphreysConstantly in flight or fight mode, there is never a moment to feel free and to rest easily. But whilst there is this constant uncertainty, Anne’s story highlights above all else – a spirit that dances in hope. Her dreams are strong for a brighter future, and we are taught about incredible human compassion and the gift of giving and kindness. Whilst Anne must survive with resilience and tolerance through the terrible events surrounding her, this story has become one of the most important firsthand accounts of the Holocaust. With real characters and insight, this is a window to an important part of history we should remember. War affects all people, no matter who you are, your race or religion. The feeling of helplessness for matters beyond our control can be suffocating. But within our human nature, our strength lies in where hope survives. One voice can inspire a million, and Anne did just that – as she said “I want to go on living even after my death.” And what an impact she has made on so many. In an incredibly uplifting performance, Chloe-Jean Vincent as Anne Frank is full of sweet innocence, radiating positivity even with the crisp voice of a cheeky, confident teen. She is captivating in every moment, and prances across the stage like a kitten chasing a ball of light – only it’s Anne that is all the light needed on the stage. She is the forward motion that gives life to the dismal residence, and without her brightness, “we’re going to forget how to dance.” Vincent’s performance truly makes you feel all of what Anne is feeling with a strikingly emotional performance. Phil Bedworth as Anne’s father, Otto Frank, gives perfect sincerity as the mild-mannered, gentle, thoughtful and always caring soul. The love he has for his family pours out in every action, and he leads with honest emotion. It is a deeply moving portrayal of a loyal and loving father caught up in horrendous circumstances. Playing his wife, Holly Easterbrook gives moments of incredible dramatic brilliance as her character evolves over the years of trauma. Her relationship with both of her daughters is relatable, and whilst she is mostly controlled, Easterbrook crafts her role with such precision that she allows us to see her stifled emotions and a suffocated voice. Emma Smith plays Margot, the ‘good daughter,’ who is obedient and kind. Smith is clever here to present a character that runs alongside her sister Anne, always encouraging and supportive, but never overshadowing. This helps to showcase her polished, natural talent, drawing us into the story where all the people are believable. ![The Scoop The Diary of Anne Frank Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/03/TDOAF25-1K7A1525-Enhanced-NR-Hi-942x628.jpg "The Diary of Anne Frank Drew Anthony Creative • The Scoop")The play reminds us that our strength lies in where hope survives Photo by Amanda HumphreysThe pairing of Matt Dyktynski and Asha Cornelia Cluer as Mr and Mrs Van Daan is a partnership that allows each to elevate their performances. Dyktynski is a powerful presence on stage, bringing anger and force in a fierce tone that is articulated superbly. In contrast, Cluer brings out a more bubbly and social personality for that time, with slight flirtatious notes to her characterisation despite the conditions. The couple’s suffering is felt throughout the play, with losses from so many directions. But with disappointments, the focus must be on survival, even with the frustrations that may come along with that, and this, perhaps, is what their son feels the most. Peter Van Daan, played by Nathan Hampson, embodies the unsure nature of a teenage boy while brilliantly portraying his character’s development. We see the shift in his thinking, yet understand an almost cowardly wincing when his father overpowers him. It is an outstanding performance. Jamie Jewell’s Mr Dussel grows from strength to strength throughout the performance, while Kingsley Judd brings a quiet bravery and determination to Mr Kraler, further strengthening this talented cast. Grace Tolich as Miep is like happiness in a jar. The residents in hiding eagerly await her visits, and her warmth and optimism radiate beyond the stage to the audience. One of the highlights of this production is the use of a spotlight, both on the performers and on powerful props. This gives emphasis to Anne’s words spoken out from her diary. Interestingly, the choice to mime items such as cups, bags, smoking pipes and presents rather than use physical props adds power to the scenes. It strengthens the sense that the families must cope with the bare essentials, while also allowing the audience to engage their imagination. In a hidden attic filled with “I couldn’t,” *The Diary of Anne Frank* replaces them with a defiant “I will.” And sometimes that belief in something is the most beautiful part of being human, and the reason we endure. ***The Diary of Anne Frank* is presented by Drew Anthony Creative and runs to 14 March 2026 at the Athenaeum Theatre. 188 Collins Street Melbourne Vic 3000.** It then runs at the State Theatre Sydney from 28 March. Tickets are on sale now for Melbourne [here](https://www.ticketmaster.com.au/the-diary-of-anne-frank-melbourne-07-03-2026/event/1300635BD1348E57) and Sydney [here](https://www.ticketmaster.com.au/the-diary-of-anne-frank-sydney-28-03-2026/event/1300635AE0D6C9B8). Website: <https://www.drewanthonycreative.com.au/> Socials: <https://www.instagram.com/drewanthonycreative/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Amanda Humphreys **Categories:** Melbourne, Theatre --- ### [Win Tickets To LASSÙ Cosmic Cabaret At Adelaide Fringe!](https://thescoop.au/win-tickets-to-lassu-cosmic-cabaret-at-adelaide-fringe/) **Published:** March 5, 2026 **Author:** Newsroom **Content:** ![The Scoop LASSÙ Cosmic Cabaret Brisbane](https://thescoop.au/wp-content/uploads/2025/09/Sean_Breadsell_Lassu_019-copy-1-942x628.jpg "LASSÙ Cosmic Cabaret Brisbane • The Scoop")Step into **LASSÙ Cosmic Cabaret** **Saloon** perched on the galaxy’s edge, where space cowboys, alien drifters, and the legendary Rodeo Sisters dazzle with out-of-this-world acts. Join Rodeo Clown Rusty as he journeys through the golden days of LASSÙ, determined to revive the magic that once filled the saloon. Immerse yourself in a story where past and future collide in a spectacular, risqué circus experience that blends modern spectacle with traditional artistry all performed in a stunning bespoke big top creating an intimate and exhilarating environment where they can witness every daring feat up close. The Scoop is **giving away 5 double passes** **to see the LASSÙ the show!** Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow, like the post and comment ‘Scoop’ under the post. ![The Scoop LASSU Cosmic Cabaret at Fringe World Perth photo by Sean Breadsell](https://thescoop.au/wp-content/uploads/2025/01/A_Sean_Breadsell_Lassu_006-942x628.jpg "LASSU Cosmic Cabaret at Fringe World Perth photo by Sean Breadsell • The Scoop")*“LASSÙ doesn’t deal in smoke and mirrors or Cirque du Soleil–style pageantry. This is a different beast entirely. It’s a steely, space-cowboy kind of circus that rides on strength, balance, comedy, and daring precision. It’s got grit, it’s got soul, and once the lights hit the ring, you’re strapped in whether you like it or not.”* The Scoop Seventh-generation circus performer and producer, **Merrik Ashton**, grew up surrounded by the unique lifestyle of circus performers. He has known nothing but the thrill of performance and travel. The performing arts are literally in his blood, and he is excited to be bringing this new show to the Adelaide Fringe. *LASSÙ*’s Creative Director is the Helpmann Award-winning choreographer **Mitchell Woodcock**, one of Australia’s most sought-after creative minds. Known for his extensive work across entertainment, he has created performances for over 50 national and international artists. They include Kylie Minogue, Rita Ora, and Meghan Trainor. **LASSÙ Cosmic Cabaret runs to 22 March at the Chapiteau in Light Square as part of the 2026 Adelaide Fringe.** Tickets: <https://adelaidefringe.com.au/fringetix/lassu-cosmic-cabaret-af2026> Website: <https://www.lassutheshow.com.au/> Socials: <https://www.instagram.com/lassutheshow/> [Read our Review of LASSÙ the Show!](https://thescoop.au/review-lassu-lights-up-the-stage-with-cosmic-cabaret-magic/) Photo credits: Sean Breadsell Terms & Conditions: Tickets are not transferable, exchangeable or redeemable for cash. Included show times are subject to ticket availability. Entry is open to Adelaide residents aged 18 years and over only, as this is an R18+ show. **Categories:** competition, News --- ### [Toy Symphony Returns To Sydney In A Rare Homecoming](https://thescoop.au/toy-symphony-returns-to-sydney-in-a-rare-homecoming/) **Published:** March 5, 2026 **Author:** Newsroom **Content:** ![The Scoop Toy Symphony The Pavilion](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-05-at-20258-pm-1174x628.png "Toy Symphony The Pavilion • The Scoop")[The Sutherland Pavilion](https://thepavilionarts.au/) will make a significant theatrical debut, presenting the Helpmann Award-winning play ***Toy Symphony**,* written and directed by Michael Gow from **18 – 20 June** **2026**. Presented exclusively for the venue’s 50th anniversary, the production marks the first professional Sydney staging of *Toy Symphony* since its acclaimed 2007 premiere at Belvoir Company B, where critics praised Gow’s “superbly crafted” script (*Variety)* and its “inventive, original, cheeky, mature, funny” plot (*Stage Noise*). In a rare playwright-as-auteur moment, Gow returns to his most autobiographical work to **direct it professionally for the first time**, reclaiming the text in the very location that shaped it. Like the play’s protagonist Roland, Gow revisits the emotional and physical memories of the Sutherland Shire in an act of creative homecoming that mirrors the play’s central theme: no matter how far an artist travels, it’s the quiet gravity of childhood imagination that constantly tugs on your creative voice. *Toy Symphony* follows writer Roland, first introduced in Gow’s earlier work *Furious*, as he grapples with crippling writer’s block. Through sessions with his therapist, Roland is propelled between present reality and memories of his childhood in the Shire. The play interrogates the fragility of creativity – what happens when inspiration falters, and how an artist reconciles the noise of life with the act of making art. Award-winning actor **Sam O’Sullivan** takes on the demanding role of Roland, bringing credits across stage and screen including productions with Ensemble Theatre, Belvoir St Theatre and Sport for Jove, along with appearances in *NCIS: Sydney*, *Home and Away* and *The F-Ward*. ![The Scoop Toy Symphony The Pavilion](https://thescoop.au/wp-content/uploads/2026/03/Michael-Sam-square-screen-627x628.jpg "Toy Symphony The Pavilion • The Scoop")Michael Gow and Sam OSullivan Image suppliedThe play’s namesake references the 18th-century composition, *Toy Symphony*, a whimsical work of long disputed authorship, originally composed for strings and children’s toy instruments. Its playful dissonance becomes a poignant metaphor within Gow’s drama: the delicate, sometimes chaotic orchestra of memory, creativity and identity. **Michael Gow** said: *“It is a rare opportunity to direct one’s own work, let alone in the suburbs where it was born. The Sutherland Shire played a pivotal role in my creative upbringing, and many of the stories within the play are set here. Returning now, not just as playwright but as director, feels like completing a full circle.* *This work is deeply personal and asks what happens to creatives when the ideas suddenly stop. In a post-COVID arts landscape increasingly dominated by safe IP, reinventions and AI-led entertainment, I hope audiences will reflect on what it still means to be truly creative in 2026, and how we rediscover meaning in what we make.”* First staged in 2007, *Toy Symphony* went on to win the Helpmann Award for Best New Australian Work (2008), alongside Best New Work and Best Mainstage Production at the Sydney Theatre Awards (2007). This landmark new production positions *Toy Symphony* not only as a celebrated Australian classic, but as a timely reflection on authorship, originality and artistic identity – staged where its story began and shaped by the voice that first imagined it. In keeping with the production’s spirit of creative homecoming, members of the **cast will be selected from emerging and established performers within the Sutherland Shire**, ensuring that local artists are at the heart of this major Sydney return. Full cast details to be announced in May 2026. ***Toy Symphony* is presented by Pavilion and runs 18 – 20 June 2026 at The Sutherland Pavilion. 30 Eton Street Sutherland NSW 2232.** Tickets are [on sale now](https://tickets.thepavilionarts.au/EventAvailability?WebEventId=ToySymphony)! Website: <https://thepavilionarts.au/> Socials: <https://www.instagram.com/thepavilionarts/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Rehearsals Are Underway For Phantom Of The Opera](https://thescoop.au/rehearsals-are-underway-for-phantom-of-the-opera/) **Published:** March 5, 2026 **Author:** Newsroom **Content:** ![The Scoop Phantom of the Opera Handa Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2026/03/image-945x628.png "Phantom of the Opera Handa Opera Sydney Harbour • The Scoop")**Rehearsals have begun** for the spectacular **Handa Opera on Sydney Harbour** production of ***The Phantom of the Opera**,* which makes its highly anticipated return to Mrs Macquaries Point from **27 March to 3 May**. [Cast](https://thescoop.au/announcing-full-cast-for-the-phantom-of-the-opera/) are perfecting some of the most famous moments in musical theatre, including the hauntingly beautiful tunes, *The Music of the Night* and *All I Ask of You*, as well as the spectacular ensemble piece *Masquerade*, which all plays out across a 6 metre high staircase set against the glittering city lights. With a stage that’s two and half times bigger than a regular theatre, an Olympic-sized rehearsal venue is required to prepare performers for the sheer scale of the work, so they will spend 4 weeks in a huge gymnasium space at Homebush before relocating to Mrs Macquaries Point to rehearse on the purpose-built outdoor stage. Director **Simon Phillips** is back to lead the new cast through his epic production of the mega musical: *“It is an absolute thrill to again be immersed in the world of The Phantom of the Opera. It is a magnificent work and the grand scale to which we can stage it at Handa Opera on Sydney Harbour transforms it from a classic piece of theatre into something new again.”* ![The Scoop Phantom of the Opera Handa Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2026/03/55127587776_8d43ba2155_h-942x628.jpg "Phantom of the Opera Handa Opera Sydney Harbour • The Scoop")Rehearsals for Phantom of the Opera Photo by Carlita SariQueensland newcomer **Jake Lyle** is preparing for his “dream-come-true” musical theatre debut as The Phantom, the 22-year-old Lyle from Gladstone, Queensland was discovered during ensemble auditions. Although this is the fourth time playing the role of Christine for celebrated Australian soprano **Amy Manford,** this will be her first time performing on the Sydney Harbour stage, requiring additional preparation for performing out in the elements. Her onstage character’s counterpart, Raoul will be played by proud Wiradjuri man **Jarrod Draper**, who has stepped straight off the stage in another Lloyd Webber hit, *Cats*, to join Lyle and Manford, along with an ensemble of some of Australia’s best singers and dancers. Combined with the jaw-dropping setting, the entire team, including Musical Supervisor **Guy Simpson**, Set & Costume Designer **Gabriela Tylesova,** Choreographer & Associate Director **Simone Sault,** Lighting Designer **Nick Schlieper**, and Sound Designer **Shelly Lee,** is working hard to bring a whole new level of spectacle to this musical masterpiece. Handa Opera on Sydney Harbour is supported by the NSW Government, via its tourism and major events agency Destination NSW, and through the International Foundation for Arts and Culture as Naming Rights Partner, Dr Haruhisa Handa OA’s Patron in Chief, and OA’s Principal Partner HSBC. **Handa Opera on Sydney Harbour – *The Phantom of the Opera* runs 27 March – 3 May 2026. Fleet Steps, Mrs Macquaries Point, Sydney NSW 2000.** Tickets: <https://opera.org.au/productions/the-phantom-of-the-opera-on-sydney-harbour/> Website: <https://opera.org.au/national> Socials: <https://www.instagram.com/operaaustralia/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Carlita Sari ![The Scoop The Phantom of the Opera Handa Opera Sydney Harbour](https://thescoop.au/wp-content/uploads/2025/07/54660435445_16c00d2f70_o.jpg "The Phantom of the Opera Handa Opera Sydney Harbour • The Scoop") **Categories:** News --- ### [Film Review: How To Make A Killing Sees Hustle Turn Hazardous](https://thescoop.au/film-review-how-to-make-a-killing-sees-hustle-turn-hazardous/) **Published:** March 5, 2026 **Author:** James Murphy **Content:** ★★★½ ![The Scoop How To Make A Killing film](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-04-at-94655-pm-977x628.png "How To Make A Killing film • The Scoop")Dark comedies about wealth, class and murder are hardly new territory. *Saltburn* and *The Talented Mr Ripley* have made class envy fiction all the rage. They have rarely felt quite as uncomfortable as they do in *How to Make a Killing*, the latest film from writer-director John Patton Ford. The film arrives with an interesting lineage. It is loosely inspired by the 1949 British classic *Kind Hearts and Coronets*, the celebrated Ealing Studios satire about a disgraced aristocratic descendant who murders his way up the family succession line. That earlier film remains one of the sharpest comedies about class hypocrisy ever made, and famously featured Alec Guinness playing eight members of the doomed aristocratic family. Ford’s modern update retains the central premise while shifting the tone and cultural context. The protagonist, Becket Redfellow (Glen Powell), is the illegitimate descendant of a wealthy dynasty who decides to reclaim what he believes is rightfully his. Like the original film’s Louis Mazzini, Becket faces a long line of relatives standing between him and the inheritance. Ford originally wrote the script more than a decade ago under the title *Rothchild*, a project that sat on the industry’s famous Black List of unproduced screenplays. Development stalled several times before Ford eventually directed the film himself after the success of his debut feature, *Emily the Criminal*. That earlier film thrived on Aubrey Plaza’s ability to play a morally ambiguous protagonist who remained oddly sympathetic. Here, Ford attempts something similar, but the casting choices shift the tone in unexpected ways. Glen Powell plays Becket as a blend of charm and sociopathy. At times, he recalls Dexter Morgan; at others, he echoes Christian Bale’s Patrick Bateman in *American Psycho*. It is an intentionally unsettling performance. The problem is that Powell’s star persona works against the satire. ![The Scoop How To Make A Killing film](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-04-at-94732-pm-1104x628.png "How To Make A Killing film • The Scoop")Glen Powell plays Becket with a blend of charm and sociopathy Powell has spent the last few years being positioned as Hollywood’s new leading man. He carries the energy of a conventional action hero. Ford even joked in interviews that Powell resembles “Captain America crossed with a golden retriever.” That makes him an unusual choice for a character whose moral compass is meant to drift steadily into darkness. The original *Kind Hearts and Coronets* succeeded partly because Dennis Price’s performance leaned heavily into dry absurdity. The film was ruthless about class but never lost its playful satirical tone. *How to Make a Killing* struggles to find that balance. It oscillates between pitch-black humour and straight-faced thriller. That tonal uncertainty shapes the film’s biggest issue. In Ford’s story, most of the Redfellow family members are unpleasant in one way or another. They are privileged, selfish or morally dubious. But they are rarely monstrous. That leaves the audience in a strange moral vacuum. It becomes difficult to root for anyone. The exception is Jessica Henwick as Ruth. She brings warmth and humanity to the film and quickly becomes the emotional anchor of the story. Whenever she appears, the movie finds a steadier footing. Margaret Qualley, meanwhile, continues her remarkable run of scene-stealing performances. Qualley has the rare ability to dominate a scene without appearing to try. Even in relatively brief appearances, she adds unpredictability and sharp intelligence to the film’s energy. There are other highlights scattered throughout the ensemble. Zach Woods and Topher Grace are particularly effective as obnoxious members of the Redfellow clan. Both actors understand that the film works best when it leans into its satirical instincts. ![The Scoop How To Make A Killing film](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-04-at-94644-pm-1001x628.png "How To Make A Killing film • The Scoop")Margaret Qualley continues her remarkable run of scene stealing performancesEd Harris also brings gravitas as the family patriarch Whitelaw Redfellow; he’s stepped straight out of *Westworld*. His presence helps anchor the story’s broader themes about wealth, legacy and moral compromise. Ford has said he did not want to make a film that simply declares “rich people are bad.” Instead, he explores a darker philosophical question: where does morality come from in a world that increasingly replaces religious authority with economic power? One line in the film captures this tension. A character recalls a piece of ruthless business advice: “Your only enemy is your own conscience. If you can turn that off, you can succeed.” It is both brilliant and horrifying. The entire film unfolds inside that contradiction. That thematic ambition is admirable. But it also makes the film feel slightly uneasy in the current political climate. At a time when public anger toward corporate elites is intensifying, a movie about murdering wealthy relatives inevitably carries uncomfortable echoes. The satire sometimes drifts close to endorsing the idea that society has become a predator-versus-predator battlefield. Ford is a filmmaker interested in moral ambiguity. His characters often believe they are victims of unjust systems. They respond by becoming something worse. In a world already full of anger toward wealth and power, *How to Make a Killing* asks a dangerous question: if conscience is the only thing standing between ambition and violence, what happens when people decide to turn it off? The film never fully answers that question. But it lingers long after the credits roll. ***How To Make A Killing* is in cinemas nationally from today. Check your local cinemas for screening details.** Website: <https://a24films.com/films/how-to-make-a-killing> Socials: <https://www.instagram.com/studiocanalaus/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer below: **Film details:** Title: How To Make A Killing Director: John Patton Ford Cast: Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, Ed Harris Country of Origin: USA Duration: 109 mins Rating: M **Categories:** Film --- ### [Bernie Dieter's Club Kabarett Returns To The Meat Market in 2026](https://thescoop.au/bernie-dieters-club-kabarett-returns-to-the-meat-market-in-2026/) **Published:** March 4, 2026 **Author:** Newsroom **Content:** ![The Scoop Bernie Dieter's Club Kabarett](https://thescoop.au/wp-content/uploads/2026/03/Bernie-Dieter-live_130_DSC7281_250118_MatthewGedling83jpg-944x628.jpeg "Bernie Dieter's Club Kabarett • The Scoop")Following a phenomenal, sell-out 2025 season, and due to overwhelming demand, **Bernie Dieter’s Club Kabarett** returns to North Melbourne’s iconic **Meat Market** for a limited season from **17 April – 24 May 2026**. The critically acclaimed show is once again led by the undisputed queen of Weimar kabarett, **Bernie Dieter**. Renowned for her immense vocal talent, riotous original songs, and flair for debaucherous mayhem, Dieter has been stunning, arousing, and terrifying audiences and critics worldwide for over a decade! Inspired by the pre-war burgeoning Weimar kabarett scene of 1920s Berlin, the return season of **Club Kabarett** is a wild, modern-day den of iniquity, a gender-bending space celebrating sexual freedom and difference at a time of great division. ![The Scoop Bernie Dieter's Club Kabarett](https://thescoop.au/wp-content/uploads/2026/03/Bernie-Dieter-red-3-944x628.jpg "Bernie Dieter's Club Kabarett • The Scoop")By popular demand Bernie Dieters Club Kabarett returns to the Meat Market in Melbourne Image suppliedMore than just a show, it’s a triumphant revolt against the mundane! Melbourne audiences will be astounded, shocked, and entertained by an electrifying collection of the most exceptional cabaret artists in the world. This decadent and daring experience is a lightning bolt of pure, unadulterated, life-affirming joy! Mistress of Mayhem, **Bernie Dieter** said: *“I am so excited to be back at the glorious Meat Market in Melbourne. The season last year was just electric, filled with packed houses, and so many gorgeous humans. Melbourne is also one of my favourite cities in the world so it’s always amazing to perform there. I cannot wait!* **Club Kabarett** stars the deliciously salacious and immensely talented, Bernie Dieter, alongside her live band of legendary misfits and the renowned cast including contortionists, sword swallowers, fire breathers, international tap dancers and incredible aerialists – all set to the soundtrack of Bernie’s incredible vocals and her debauched gin-soaked haus band. The show will play from Tuesday to Sunday, welcoming people from all walks of life to Melbourne’s historic **Meat Market**. ![The Scoop Bernie Dieter's Club Kabarett](https://thescoop.au/wp-content/uploads/2026/03/ClubKabarett-2_2_25-03174jpg-837x628.jpeg "Bernie Dieter's Club Kabarett • The Scoop")The show has enjoyed a successful 2025 and headlines the Garden at the 2026 Adelaide Fringe Image supplied *“**Bernie Dieter’s Club Kabarett is a raunchy, mesmerising and welcoming escape that will have you squealing, gasping and lapping up every glorious second.”*** **★★★★★** [The Scoop](https://thescoop.au/review-bernie-dieters-club-kabarett-2026-adelaide-fringe/) Bernie Dieter has cemented herself as one of the standout cabaret artists of her generation, consistently earning raving reviews. Blending a menagerie of leather, sequins, satire, and a cut-throat wit, **Club Kabarett** is an international sensation! In the last few years, this cabaret icon and her international assortment of bombastic bohemians have headlined the **Auckland Festival**, and the **Sziget Festival** in Budapest. They also enjoyed a critically acclaimed three-month season in **London’s West End** and a sell-out 2025 season at Melbourne’s **Meat Market.** Most recently, the show has enjoyed a critically acclaimed season as the headliner in **The Garden of Unearthly Delights** at **Adelaide Fringe.** But be warned, this limited season will sell-out fast, so please don’t be left crying into your feather boas – secure your seats now! Pre sale begins 10 March and general tickets go on sale 17 March. **Bernie Dieter’s Club Kabarett runs from 17 Apri – 24 May 2026 at Meat Market. 3 Blackwood Street North Melbourne, Vic 3051.** Tickets: <https://clubkabarett.flicket.io/> Socials: <https://www.instagram.com/clubkabarett/> [Read our Review of the Adelaide Fringe Season!](https://thescoop.au/review-bernie-dieters-club-kabarett-2026-adelaide-fringe/) Hero image: Matthew Gedling CAST LIST: **Bernie Dieter** EmCee/Vocalist **Soliana Ersie** Contortionist **Mel Lee** Hair Hang / Pole **Jacqueline Furey** Fire & Sword Swallowing **Lachlan Bartlett** Iva Rosebud **Jarred Dewey** Aerial Trapeze **Caleb Cameron** Tap Dancer **Categories:** News --- ### [Review: Bernie Dieter's Club Kabarett 2026 Adelaide Fringe](https://thescoop.au/review-bernie-dieters-club-kabarett-2026-adelaide-fringe/) **Published:** February 25, 2026 **Author:** Sophie Tsoulos **Content:** ★★★★★ ![The Scoop Bernie Dieters Club Kabarett Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/PNC5086-12_HR-941x628.jpg "Bernie Dieters Club Kabarett Adelaide Fringe • The Scoop")The hottest cabaret club East of Berlin has arrived in Adelaide, instantly cementing themselves in my eyes as the 5-star, unmissable show this Fringe season! *Bernie Dieter’s Club Kabarett* is a raunchy, mesmerising and welcoming escape that will have you squealing, gasping and lapping up every glorious second. Bernie Dieter is a world-renowned cabaret artist, songwriter and performer born in Köln, Germany, referred to as the “undisputed Queen of punk cabaret.” Deiter boasts sell-out seasons in Japan, Singapore, London and across Australia. In the last twelve months, *Club Kabarett* had a critically acclaimed three-month season on London’s West End, toured to Japan, headlined Sziget Festival in Budapest and Fringe World Perth, as well as headlining Auckland Festival. Therefore, it’s an absolute treat to have a cabaret of this world-class calibre right here in Adelaide! So Willkommen to *Bernie Dieter’s Club Kabarett*, a rebellion against the mundane, a tribute to the misfits, and a place where you can be whoever you want to be. Upon entering, you are thrust into their gritty East German world, and the Weimar-punk jazz band is already blaring amongst the smoky haze. The cast is already flittering about the audience, and the atmosphere is humming with a dangerous anticipation. Deiter opens the show and instantly hooks the audience with a natural charisma. She emerges singing a rock-cover of The Catnip Junkies *Take Your Skin Off and Dance*, an instant indicator that the night is about to get loose! ![The Scoop Bernie Dieters Club Kabarett Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/PNC5086-1_HR-941x628.jpg "Bernie Dieters Club Kabarett Adelaide Fringe • The Scoop")The hottest cabaret club East of Berlin has arrived in Adelaide and is the unmissable show this Fringe season Image suppliedIn the first five minutes, she had three grown men from the audience willingly wrapped around her. Amongst the craziness is her message that the night is about presence, connection, and leaving your inhibitions at the door! While *Club Kabarett* is hosted by Dieter, she is joined by a cast of uber-talented performers from around the country and overseas. Caleb Cameron saunters onto the stage first. Cigarette in mouth, he executes a hella-smooth tap number. Sountracked by the live band, he plays a call and response to their guitar and drum rhythms. It was epic to see tap dancing look so grunge and seductive. After this, there is no slowing down. Jaqueline Furey struts out to literally set the place on fire. She leaves no patch of skin untouched by the flames, giving a masterclass performance of her tricks and crowd work, knowing how to have the audience transfixed on her. Appearing suddenly out of a black case, is contortionist Soliana. She has the audience gasping and hollering at her incredible acrobatics. Bending and twisting further than you think is possible. Just when you think things cannot get any wilder, Drag performer Iva Rosebud emerges. What you think is going to be a classic lip-synching drag performance turns into an act that has the audience screeching and hollering in delightful shock. They are incredibly cheeky and playful, stripping the audience (and themselves literally) of any lingering inhibitions. When they come back later with a decorated cake, don’t expect the stage to stay clean… ![The Scoop Bernie Dieters Club Kabarett Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/PNC5086-93_HR-941x628.jpg "Bernie Dieters Club Kabarett Adelaide Fringe • The Scoop")Once intermission hits youll have forgotten where you are as you get swept up in the mischief and chaosThe final performer is aerialist Jarred Dewey. What *Club Kabarett* masters above other cabaret shows is their ability to harness theme, message and storytelling with each performance. A truly impactful number for us all was Dewey’s trapeze routine, joined by Dieter singing *Masculinity* by LUCKY LOVE. Dewey gives an emotive and mesmerising performance, nailing tricks in time with the song’s accents and executing powerful storytelling through their facial expressions. Sending a clear message about identity and place in the world, Dewey showcases incredible strength and stage presence, in heels too! By the time intermission hits, you have forgotten where you are, suddenly swept up in the mischief and chaos. When Act II begins, the performers return again with more tap dancing, sword swallowing and aerial pole. Elevating *Club Kabarett* even further is the live band performing throughout the show. Topped with Dieter’s covers and original songs, it all asserts the amount of careful consideration made to the setlist and storytelling. Last night, the show earned an instant standing ovation, and THAT is something you don’t see very often. *Bernie Dieter’s Club Kabarett* is an intoxicating whirlwind riot that pushes the boundaries of cabaret as you know it. It truly is not to be missed! ***Bernie Dieter’s Club Kabarett* runs to 22 March in the Aurora Spiegeltent at the Garden of Unearthly Delights as part of 2026 Adelaide Fringe. Rundle Park, Corner East Terrace and Rundle Road Adelaide SA 5000.** Tickets: <https://adelaidefringe.com.au/fringetix/bernie-dieter-s-club-kabarett-af2026> Website: <https://berniedieter.com/> Socials: <https://www.instagram.com/clubkabarett/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Images supplied. Suitability & Warnings from Adelaide Fringe: **Content Rating** R18+ **Family Friendly** No **Nudity Level** Occasional, Strong **Sexual References** Frequent, Mild **Coarse Language** Occasional, Mild **Categories:** Adelaide, Circus, Theatre --- ### [Review: Afterglow Is A Slick, Sensual Study Of Modern Love](https://thescoop.au/review-afterglow-is-a-slick-sensual-study-of-modern-love/) **Published:** March 4, 2026 **Author:** Nick Dale **Content:** ★★★½ ![The Scoop AFTERGLOW the play Sydney Midnight Theatricals](https://thescoop.au/wp-content/uploads/2026/03/Matthew-Mitcham-Julian-Curtis-in-AFTERGLOW--Cameron-Grant-Parenthesy-942x628.jpg "AFTERGLOW the play Sydney Midnight Theatricals • The Scoop")New York playwright S. Asher Gelman’s *Afterglow* arrives at the Eternity Playhouse in Darlinghurst after a Melbourne premiere season. Sleek, sensual and provocative, it’s a high-gloss production about the complications of polyamorous relationships and the messiness of love. *Afterglow* wastes no time, diving right into the physical. It opens with three silhouetted figures behind a sheer curtain, moving and moaning in a threesome. When the curtain lifts, we see three men, fully naked. They are bold in their vulnerability, if a little nervy and shaky to start with. The play follows Josh (Matthew Mitcham) and Alex (Julian Curtis), a married Manhattan couple in their 30s expecting a surrogate baby, who invite Darius (Matthew Predny), a 25-year-old massage therapist, into their bed. When feelings complicate what was meant to be purely physical, the three men must confront the real demands of desire, commitment and the harder work of truth. Based on the writer’s own experiences, the play was written in 2016 to make sense of a situation that nearly destroyed Gelman’s marriage. Gelman wanted to explore the tricky territory of polyamory and the “honesty and transparency” needed to love more than one person successfully. He brings most of his production team, including set and lighting designers, to Australia to offer up the conundrum of love and lust to Aussie audiences. Ann Beyerdorfer’s set design is slick and brilliantly adaptable, allowing for simple, fluid-like transitions between places. The entire production floats within a space that feels suspended and malleable. Everything takes place within this cube, making the characters, perhaps deliberately, seem detached from the outside world, absorbed in the joys and struggles of their throuple. ![The Scoop AFTERGLOW the play Sydney Midnight Theatricals](https://thescoop.au/wp-content/uploads/2026/03/Matthew-Predny-Matthew-Mitcham-in-AFTERGLOW--Cameron-Grant-Parenthesy-2-942x628.jpg "AFTERGLOW the play Sydney Midnight Theatricals • The Scoop")Afterglow is a glistening foray into the world of polyamory and how love tests us Photo by Cameron GrantThe large shower head in the centre of the stage is particularly distinct as a piece of staging, used effectively in fun, intimate or emotional moments. The running water creates a slightly clichéd but effective breakdown moment when Mitcham crouches under it as he unravels, torn between two men he wants to be with. Jamie Roderick’s lighting bathes the characters and set in sultry purple, pink and blue hues, giving a mix of *Flashdance* and *9½ Weeks* vibes. Disco light washes across the stage, bouncing off gleaming ultra-smooth bodies, part underground club, part early-noughties music video. Occasionally, it feels like a promo for a lubricant, but, in combination with the set and sound, it works effectively. Alex Mackyol’s sound design works beautifully, with pulsating transitional pieces that give an underground club feel. Sonically, the play draws you into the cool pulse of disco clubland. Recognisable beats like Robyn’s *Dancing on My Own* lands with easy pleasure. The choreographed sequences that help to transition between scenes are particularly intriguing. Gelman holds a BA and MFA in Dance, and his passion for movement is evident throughout. Actors effortlessly move between scenes, dancing fluidly with each other while transforming the space around them. These dance interludes, despite coming off slightly disjointed in the context of the play overall, give the drama an intriguing unique element. Matthew Mitcham, Olympic diving champion, is particularly adept with the choreography and clearly has confidence in how he moves. All actors have a beautiful command of their physicality and commit bravely to the vulnerability required. ![The Scoop AFTERGLOW the play Sydney Midnight Theatricals](https://thescoop.au/wp-content/uploads/2026/03/Julian-Curtis-in-AFTERGLOW--Cameron-Grant-Parenthesy-942x628.jpg "AFTERGLOW the play Sydney Midnight Theatricals • The Scoop")Washes of disco lighting gives part underground club part early noughties music video vibes Photo by Cameron Grant Julian Curtis is grounded and nuanced as Alex, the steadiest anchor in the play. He gives time between lines and lets private thoughts flash across his face. His mid-play monologue, recalling a childhood visit to New York, is a standout moment, allowing the fast-paced, quip-filled story to breathe for a minute. Matthew Predny, as the selected third partner in the relationship, brings that buoyant vulnerability we often have in our mid-20s. Naïve and eager. Mitcham brings a lot of posturing, posing and flouncing early on. As the play progresses, however, he finds real emotional weight, expressing inner turmoil and desperation. There’s a strong focus on the physicality in *Afterglow*, and the dialogue can veer toward the literal, with lines like “I deserve more than you give me!” While at times it feels rushed, the actors bring enough boldness and commitment to carry the story through. The play works to move beyond its skin-deep surface, if a little too late in the piece. In the third act, led well by Curtis, the messy complications of love see the characters unravelling in ways that feel real and relatable. *Afterglow* is a glistening foray into the world of polyamory and how love tests us. There’s electric sensuality, committed performances and enough human truth to keep you watching. ***Afterglow* is presented by Midnight Theatricals and runs to 22 March at the Eternity Playhouse. Burton Street Darlinghurst NSW 2010.** Tickets can be found [here](https://ngpdarl.sales.ticketsearch.com/sales/salesevent/156509). Website: <https://www.afterglowplay.com/australia> Socials: <https://www.instagram.com/afterglowtheplay/> [Read our Review of the Melbourne Premiere Season](https://thescoop.au/review-afterglow-burns-bright-at-2026-midsumma-festival/) Photo credits: Cameron Grant **Categories:** Sydney, Theatre --- ### [Film Review: Silent Friend Whispers In The Stillness](https://thescoop.au/film-review-silent-friend-whispers-in-the-stillness/) **Published:** March 4, 2026 **Author:** Daniel Harvey **Content:** ★★★★☆ ![The Scoop Silent Friend film Perth Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-03-at-35223-pm-995x628.png "Silent Friend film Perth Festival • The Scoop")At the heart of the botanical garden in the medieval university town of Marburg stands a Ginkgo biloba tree, ancient and patient, watching a century of lives pass beneath its branches. Across three stories set in 1908, 1972 and 2020, *Silent Friend* follows those who cross paths with it, their lives quietly altered by the presence of the tree and the world of nature surrounding them. Ildikó Enyedi presents the film as a meditation on the unseen connections between people and the natural world. The ginkgo stands not simply as a tree but as a witness, enduring while generations arrive and disappear. Her storytelling drifts between the poetic and the philosophical, allowing the audience to consider a form of connection that exists beyond speech, beyond the boundaries of time. Winner of the FIPRESCI Prize and the Marcello Mastroianni Award for Best Young Actor (Luna Wedler) at the 2025 Venice Film Festival, the film places human lives within the wider systems of nature. The intertwined roots and reaching branches of the garden form their own quiet network, a living structure of symbiosis and survival that continues beneath the surface of the human world. The film visualises this connection through moments of illumination, representing brain and glowing plant activity. The throbbing pulses of light on the computer screen, the light inside the tree radiating its aura to those all who share beneath it. ![The Scoop Silent Friend film Perth Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-04-at-31818-pm-1001x628.png "Silent Friend film Perth Festival • The Scoop")The film follows three stories set in time spanning 1908 1972 and 2020 The branches and root systems are like strands of brain nerves. The connected, intertwining systems of the trees and plants in the garden of the university are a symbolic symbiosis of thriving nature. The score is pure sci-fi, droning and hovering notes of questioning and observing of phenomenon, arisen of witnessing the aurora-borealis-like light show of brain activity and internal tree activity. Low hovering tones drift through scenes like signals being transmitted as if listening for something hidden. All four characters are observers of their world in the grasp of understanding it, and in reality, in search of connection. They all share in the forms of isolation. Grete (Luna Wedler), a woman in a world of men. Hannes (Enzo Brumm) is in a complex world of academia, but also the complexities of love and relationships. Tony (Tony Leung Chiu-wai) is in a pure world of isolation due to COVID restrictions. The Ginkgo biloba is only at the heart of Tony’s story yet is a silent observer to all. All three gain connection and transformation from the nature around them. ![The Scoop Silent Friend film Perth Festival](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-04-at-31331-pm-956x628.png "Silent Friend film Perth Festival • The Scoop")All three characters gain connection and transformation from the nature around them Seamlessly, we transition between the time periods. 1908 is in clear black and white. 1972 has a bright almost grainy effect similar to films of that era. Enriching the connection between plant and human, human and human, are the contrasting close-ups of faces speaking. But they are also reacting to what is said. The camerawork hovers, acting as the silent watcher (friend). It is not menacing, but often simply an observer in silent awe. We peek behind the branches and beside the trunk and from the roots. But it is those who are watching as well as us. Gergely Pálos’s beautiful cinematography uses the surrounding plant life to mirror and intensify the characters’ emotional states. Close-ups of blossoms and exposed stamens echo Grete’s simmering frustration with misogyny. Hannes’ uneasy coming-of-age is reflected in thorns and jagged growths, nature at once reaching outward and defending itself. Tony, meanwhile, is framed against barren winter branches, the stripped bark and stark lines underscoring his isolation. In *Silent Friend*, Nature does not simply sit behind the human story. It watches, it waits. It listens. Beneath the quiet soil of the garden runs a living network, roots touching roots, life communicating in ways unseen. Something is shared there, something ancient and patient, a language still beyond our understanding. ***Silent Friend* runs 9 – 15 March** **as part of Lotterywest Films and Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Tickets: <https://www.perthfestival.com.au/program/season-2026/silent-friend> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer: **Film details:** Title: Silent Friend Director: Ildikó Enyedi Cast: Tony Leung Chiu-wai, Luna Wedler, Enzo Brumm, Léa Seydoux Country of Origin: Germany, Hungary, France Duration: 147 mins Rating: M *Silent Friend* is also running at [ACMI Melbourne](https://www.acmi.net.au/whats-on/focus-on-tony-leung-chiu-wai/silent-friend/) on 6 March. **Categories:** Film --- ### [Review: Murder, She Didn't Write 2026 Adelaide Fringe](https://thescoop.au/review-murder-she-didnt-write-2026-adelaide-fringe/) **Published:** March 4, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop Murder, She Didn't Write Gluttony Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/006_MSDW_Set-ups_Pamela-Raith-Photography-scaled-e1772539487913-1093x628.jpg "Murder, She Didn't Write Gluttony Adelaide Fringe • The Scoop")Inside Gluttony’s Gosling tent, detective Agatha Crusty reclines on a chaise armchair with her nose buried in a book. It’s a neat piece of scene-setting. We are in the 1930s. Somewhere in the room lurks her Watson-like sidekick, Jerkins. The catch is that Jerkins has been undercover so long that they’ve forgotten who they are. A hat is flung blindly into the audience. Whoever it lands on must don it. Like King Arthur drawing the sword from the stone, this unsuspecting participant becomes Jerkins. Their first task is simple. Help decide the murder mystery that will unfold. This is the premise of *Murder, She Didn’t Write*, an improvised whodunnit that has become a smash hit at the Edinburgh Fringe and London’s West End before arriving for its Australian premiere at Adelaide Fringe. Produced by Wildpark Entertainment and Interactive Theatre International, the show borrows the familiar trappings of Agatha Christie and the mechanics of Cluedo. But instead of a carefully plotted script, the entire story is invented live on stage. Once the hat lands, the chaos begins. Audience members shout out suggestions for settings, relationships and suspicious circumstances. On opening night, the crowd proposed everything from a second wedding to forest bathing, a wake for a third husband and even barefoot grape crushing. The latter suggestion won. Suddenly, we were investigating a murder at a vineyard on the Isle of Wight. The performers, dressed in bright Cluedo-style colours, take these fragments and spin them into a narrative with astonishing speed. The ensemble includes Peter Baker, Caitlin Campbell, Emile Clarke, Stephen Clements, Rachael Procter-Lane and Lizzy Skrzypiec. Each player juggles an avalanche of audience prompts. ![The Scoop Murder, She Didn't Write Gluttony Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/003_MSDW_Set-ups_EDIT_Pamela-Raith-Photography-896x628.png "Murder, She Didn't Write Gluttony Adelaide Fringe • The Scoop")The show borrows the familiar trappings of Agatha Christie and the mechanics of Cluedo Photo by Pamela RaithLights flash on and off to signal the end of scenes. Detective Crusty frequently intervenes to set extra challenges. A scene might have to be delivered in rhyme. Another might require French dialogue. At other points, physical comedy cues are introduced whenever certain words or actions occur. It is theatre sports in a trench coat. Like real sport, improv has its batting averages. Some performers land punchline after punchline. Others have quieter innings. That is part of the charm. Watching quick-thinking actors scramble to stitch together nonsense is the real pleasure. And there is a lot of nonsense. Improvisers leap from character to character. A vineyard heiress mourns her third husband, Gerald the Bacon Eater. Grapes are stomped in imaginary barrels. Accents wobble. All the while, the audience acts as co-writers, detectives and hecklers. The joy lies in the game. The performers commit fully to every absurd idea thrown their way. Even the most incoherent suggestions are treated as precious narrative clues. Slowly, threads begin to link. Motives form. Suspicion grows. And somehow, Agatha Crusty pulls it all together. What initially appears to be a jumble of unrelated jokes gradually morphs into a coherent and surprisingly satisfying solution. The detective gathers the suspects, delivers the classic drawing-room monologue, and reveals the culprit. The fact that it works at all feels like magic. ![The Scoop Murder, She Didn't Write Gluttony Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/010_MSDW_Set-Ups_Pamela-Raith-Photography-989x628.jpg "Murder, She Didn't Write Gluttony Adelaide Fringe • The Scoop")When the ensemble lands a perfect improvised gag the room erupts Photo by Pamela RaithImprovised theatre has a long Fringe history. In many ways, it functions as the modern pantomime. Audiences shout. Actors respond. The boundary between stage and crowd dissolves. No two performances are the same. *Murder, She Didn’t Write* embraces that tradition wholeheartedly. The production’s biggest strength is its structure. The improvisation may be chaotic, but the format keeps things moving. The rotating challenges, scene resets and detective commentary ensure momentum never stalls. Occasionally, a segment runs longer than the joke demands. That is the risk of improv. Some ideas simply stretch thinner than others. Yet even those moments carry a kind of fascination. You are watching creative problem-solving happen in real time. And when the ensemble lands a perfect improvised gag, the room erupts. The show’s creators describe it as a Cluedo-style murder mystery written live before the audience’s eyes. That description proves accurate. The audience does not just watch the mystery unfold. They create it. The result is an evening that feels less like theatre and more like a collaborative party game with professional comedians. Not everyone loves improv. It relies on spontaneity, audience participation and the occasional uneven moment. If tightly scripted comedy is your preference, this may not be your cup of tea. But if you enjoy quick wit, playful chaos and watching performers think on their feet, *Murder, She Didn’t Write* is a splendid tea party. And with every performance generating a brand-new crime, it is a mystery that never repeats. ***Murder, She Didn’t Write* runs for 12 shows only to 15 March at The Gosling at Gluttony as part of 2026 Adelaide Fringe. Rymill Park SA 5000.** Co-produced by Wildpark Entertainment and Interactive Theatre International (ITI). Tickets: <https://adelaidefringe.com.au/fringetix/murder-she-didn-t-write-af2026> Website: <https://www.murdershedidntwrite.com/> Socials: <https://www.instagram.com/murdershedidnt/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Photo credits: Pamela Raith Photography **Categories:** Adelaide, Theatre --- ### [Exciting Cast Announced For Waitress Australian Premiere](https://thescoop.au/exciting-cast-announced-for-waitress-australian-premiere/) **Published:** March 4, 2026 **Author:** Newsroom **Content:** ![The Scoop WAITRESS Musical Sydney 2026](https://thescoop.au/wp-content/uploads/2026/03/WAITRESS-New-Lead-Performers-1116x628.jpg "WAITRESS Musical Sydney 2026 • The Scoop")**Producer John Frost for Crossroads Live** today announced other talented performers who will play lead roles and ensemble in the Australian Premiere of Broadway’s smash-hit musical **WAITRESS**, which will ignite **Her Majesty’s Theatre Melbourne from 1 May**, and the **Sydney Lyric Theatre from 1 August** **2026**. Tickets are now on sale at <http://waitressthemusical.com.au/> Recently seen on stage as Rooster in the Australian tour of *Annie*, **Keanu Gonzalez** will play Earl, Jenna’s narcissistic and explosive husband. After making his professional musical theatre debut at the age of 16, understudying Scott Hastings in Baz Luhrmann’s *Strictly Ballroom The Musical*, Keanu has gone on to play Bernardo in *West Side Story*, Kenickie in *Grease* and Charles Lee in *Hamilton*. Additional credits include Greg in *A Chorus Line*, Alonzo/Rumpus Cat in *Cats* and Kassim understudy in Disney’s *Aladdin*. **Gareth Isaac** will play the role of Ogie, a sweet, awkward “nerd” who pursues Dawn for a date. Hailing from Gosford on the Central Coast of NSW, Gareth has most recently played Buddy the Elf in the Australian Premiere of *Elf the Musical*, Eugene in *Grease*, Robertson Ay in *Mary Poppins* and The Narrator in *Puffs: Or Seven Increasingly Eventful Years at a Certain School of Magic and Magic*. With past roles such as Pumbaa in *The Lion King*, Harry the Horse in *Guys and Dolls*, the Lion in *The Wizard of Oz* and Mr Braithwaite in *Billy Elliot The Musical*, **John Xintavelonis** will play Cal, the manager of Joe’s Diner. John’s television credits include *Bay of Fires, The Tailings, Rosehaven, The Kettering Incident* and *Dance Academy 2*. Critically acclaimed performer **Annie Aitken** will be the Jenna Alternate. She most recently starred as Sarah Brown in *Guys & Dolls* for Handa Opera on Sydney Harbour and as Cunégonde in Opera Australia’s *Candide*. She has also featured as Millie Dillmount in *Thoroughly Modern Millie*, Nellie Melba in Melba, and in *Muriel’s Wedding*, A *Gentleman’s Guide to Love and Murder,* *The Sound of Music* and *Anything Goes.* The ensemble and swing cast comprises **Cameron Boxall**, **Alexandra Cashmere**, **Ethan Jones**, **Dwayne Mitchell**, **Joseph Naim**, **Conor Neylon**, **Belle Parkinson**, **Emily Robinson**, **Elandrah Tavares**, **Bree Tipoki** and **Stephanie Wall**. These gifted artists join the already announced lead cast – **Natalie Bassingthwaighte** as Jenna, **Gabriyel Thomas** as Becky, **Mackenzie Dunn** as Dawn, **Rob Mills** as Dr Pomatter and **John Waters** as Joe. The four young actresses who will play Lulu, Jenna’s daughter, during the Melbourne season will be announced shortly. ![The Scoop Waitress Musical Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Waitress-banner-944x628.jpg "Waitress Musical Australia 2026 • The Scoop")**Producer John Frost** said: “*What a sensational Australian cast we have for WAITRESS*.*This original and inspiring show was a massive hit on Broadway where it played for almost four years, and was a huge success in the West End and across the world. WAITRESS has become a ‘must see’ musical, with its memorable music by Sara Bareilles and universal themes of hope and resilience. Get your tickets now to enjoy this life-affirming show*.” Inspired by Adrienne Shelly’s beloved film, and brought to life by a trailblazing female-led creative team, including a book by acclaimed screenwriter Jessie Nelson, an original, uplifting score by Grammy® winner Sara Bareilles *(Love Son*g, *Brave*) and direction by Tony® winner Diane Paulus, WAITRESS is the irresistible Broadway hit about resilience, friendship and hope that has captured hearts worldwide.​ This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. ​When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined.​ WAITRESS made history on Broadway with the four top creative spots in a show being filled by women – Sara Bareilles (music and lyrics), Jessie Nelson (book), Lorin Latarro (choreography) and Diane Paulus (direction). It opened on Broadway in April 2016 at the Brooks Atkinson Theatre, where it ran until January 2020. WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. Sweet, sassy and soul-stirring, WAITRESS is “*a little slice of heaven*” (Entertainment Weekly) and “*made from the finest ingredients*” (Time Out). It’s a feel-good celebration of second chances, and the magic of a well-made pie. Everyone deserves a slice of happiness! **WAITRESS premieres in Melbourne from 1 May 2026 at Her Majesty’s Theatre. 219 Exhibition Street Melbourne Vic 3000.** It runs in Sydney from 1 August 2026 at the Lyric Theatre. Get tickets for Melbourne [here](https://waitressthemusical.com.au/tickets/melbourne/) and tickets for Sydney [here](https://waitressthemusical.com.au/tickets/sydney/). Website: <https://waitressthemusical.com.au/> Socials: <https://www.instagram.com/waitressau/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. **Categories:** News --- ### [Announcing Matilda Awards Winners In A Standout Year For Queensland Theatre](https://thescoop.au/announcing-matilda-awards-winners-in-a-standout-year-for-queensland-theatre/) **Published:** March 3, 2026 **Author:** Newsroom **Content:** ![The Scoop Matilda Awards 2025](https://thescoop.au/wp-content/uploads/2026/03/X7A5397_3600px_BulimbaStudios_MATILDAAWARDS_March02_2026-2-942x628.jpg "Matilda Awards 2025 • The Scoop")Queensland performing arts took centre stage last night as the 38th **Matilda Awards** were presented at the Queensland Performing Arts Centre (QPAC) Playhouse, celebrating the talent and innovation driving the state’s arts sector. The Awards highlighted the diversity of Queensland’s performing arts landscape, with regional companies standing proudly alongside mainstage and independent productions, and exceptional work in design. **Queensland Theatre Company (QTC)** delivered a commanding standing ovation on the night, securing multiple wins that underscored the company’s creative ambition and artistic excellence in Daniel Evans’ first full year as Artistic Director. *Aaron Sorkin’s A Few Good Men* received multiple accolades, with QTC Artistic Director **Daniel Evans** awarded **Best Direction** presented by Minister for the Arts, Hon John-Paul Langbroek, **Courtney Cavallaro** taking out **Best Leading Role – Mainstage Production**, and the production honoured with the QPAC Award for **Best Mainstage Production**. **Reagan Mannix** won **Best Supporting Role – Mainstage Production** for his work. **Mike Willmett** earned **Best Composition/Sound Design** and **Ben Hughes** was recognised for **Best Lighting Design** for their respective contributions under the Queensland Theatre Company banner. ![The Scoop A Few Good Men Queensland Theatre](https://thescoop.au/wp-content/uploads/2025/11/Courtney-Cavallaro-Doron-Chester-and-George-Pullar-Photo-by-Stephen-Henry-904x628.jpg "A Few Good Men Queensland Theatre • The Scoop")Aaron Sorkins A Few Good Men won multiple awards including Best Mainstage Production and Best Director Photo by Stephen Henry Beyond the major companies, the Awards recognised the strength and originality of Queensland’s independent and regional theatre-makers, and the vital role they play in shaping the state’s cultural landscape. *CROSSING THE DIVIDE* by Gold Coast-based **Shock Therapy Arts** won **Best Ensemble**. **Fletcher Colfs** won the **Bille Brown Award – Best Emerging Artist** for his body of work with Gympie’s Perseverance Street Theatre in *GRIT: The Stories. The Town, The Music* and *Pirates, Cowboys and Aliens*. Also, Gold Coast-based **Arc Circus & The Yugambeh Aboriginal Dancers** impressed with *Living Sculptures: How The Birds Got Their Colours*, winning **Best Circus or Physical Theatre Production** and **Best Costume Design** for Maria McRae. The **QUT School of Creative Arts Behind the Scenes Award** went to Cairns-based emerging Lighting Designer and Theatre Technician, **Eben Love**, recognized for his work on numerous productions in 2025, including for Bangarra Dance Theatre, QTC’s *Dear Son*, and R and R Productions *All Fired Up* at the Edinburgh Fringe Festival. **Rachel Nutchey** took out **Best Leading Role – Independent Production** for her performance in *Superheroes* by Bodysnatchers Theatre. **Malika Savory** earned **Best Supporting Role – Independent Production** for her role in *The Dead Devils of Cockle Creek* by Cut & Run Productions. *Blushing* by **Zen Zen Zo Physical Theatre** was awarded the QPAC Award for **Best Independent Production.** ![The Scoop The Lovers Shake & Stir Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2025/11/TheLovers-Prod-0840-992x628.jpg "The Lovers Shake & Stir Theatre Co Sydney • The Scoop")The Lovers won the Griffith University Award for Best Musical or Cabaret Photo by Joel DevereuxIn its 20th year, **Shake & Stir Theatre Co** thrilled audiences with a new production of the musical *The Lovers*, winning **Griffith University Award for Best Musical or Cabaret**, underscoring the innovation of Shake & Stir Theatre Co’s milestone production. The **Lord Mayor’s Award for Best New Australian Work** was presented by **Brisbane City Councillor,** Cr Vicki Howard to *CROSSING THE DIVIDE*, celebrating the vision and artistry of Sam Foster, Hayden Jones, and Benjin Maza from **Shock Therapy Arts**, highlighting the bold creativity emerging from Queensland’s independent theatre sector. The prestigious **Gold Matilda** was presented to **Louise Bezzina**, former Artistic Director for Brisbane Festival, now CEO/Artistic Director at Brisbane Powerhouse. In presenting the Gold, former CEO of QPAC **John Kotzas** recognised her leadership and innovation, championing excellence and leaving a lasting impact on the sector. Minister for the Arts **John-Paul Langbroek** congratulated the 2025 winners, finalists and nominees for their artistic excellence, creative achievements and dedication to Queensland audiences through significant works and compelling stories: *“The Crisafulli Government is supporting continued delivery of the Matilda Awards with funding of $150,000 over four years, highlighting the valuable contribution of performing arts to our vibrant, statewide arts scene.* *The Awards deliver on our 10-year arts and cultural strategy, Queensland’s Time to Shine, and its priorities to share our stories, celebrate our storytellers and strengthen our reputation as a creative powerhouse and unique cultural destination.”* ![The Scoop Crossing the Divide Shock Therapy Arts QPAC](https://thescoop.au/wp-content/uploads/2026/02/CTD_8670-942x628.jpg "Crossing the Divide Shock Therapy Arts QPAC • The Scoop")Crossing the Divide won Best Ensemble and Best New Australian Work Image Shock Therapy ArtsChair of the Matilda Awards, **Nigel Lavender**, said the ceremony celebrated artists across the state: *“From regional companies bringing fresh perspectives to major productions pushing boundaries, it was a thrilling night showcasing the incredible talent across Queensland.”* Lead Judge **Paul Dellit OAM** added that the Awards recognised bold new works, independent productions, and remarkable performances: *“Every nominee was already a winner. This year’s recipients demonstrate the exceptional standard of theatre being created across our state.”* Queensland designers and creatives were celebrated, too. **Christina Smith** won **Best Set Design** for *Pride And Prejudice* by **Queensland Theatre Company**. Craig Wilkinson won **Best Video Design** for his work on QTC’s *Dear Son*. **Brisbane City Councillor and Civic Cabinet Chair for Community and the Arts Cr Vicki Howard** said Brisbane continues to be a powerhouse for bold, original theatre that reflects the city’s creative confidence and diversity: *“From independent companies to major stages, Brisbane artists are telling stories that resonate far beyond our city. The Lord Mayor’s Award celebrates the home-grown creativity that makes Brisbane a leading cultural capital.”* ![The Scoop Matilda Awards 2025](https://thescoop.au/wp-content/uploads/2026/03/X7A5154_3600px_BulimbaStudios_MATILDAAWARDS_March02_2026-942x628.jpg "Matilda Awards 2025 • The Scoop")John Paul Langbroek and Daniel Evans at the Matilda Awards Photo by Bulimba Studios2025 Matilda Award Winners: **Gold Matilda Award:** Louise Bezzina **The Lord Mayor’s Award for Best New Australian Work:** *CROSSING THE DIVIDE*, Sam Foster, Hayden Jones & Benjin Maza, Shock Therapy Arts **QPAC Award for Best Mainstage Production:** *Aaron Sorkin’s A Few Good Men*, Queensland Theatre Company in association with QPAC **QPAC Award for Best Independent Production:** *Blushing*, Zen Zen Zo Physical Theatre **Best Direction:** Daniel Evans – *Aaron Sorkin’s A Few Good Men*, Queensland Theatre Company in association with QPAC **Griffith University Award for Best Musical or Cabaret:** *The Lovers*, Shake & Stir Theatre Co and QPAC, in association with Brisbane Festival **Best Ensemble:** *CROSSING THE DIVIDE*, Shock Therapy Arts **Best Circus or Physical Theatre Production:** *Living Sculptures: How The Birds Got Their Colours*, Arc Circus & The Yugambeh Aboriginal Dancers, with commissioning support from SWELL Sculpture Festival **Best Performance in a Leading Role – Mainstage Production:** Courtney Cavallaro – *Aaron Sorkin’s A Few Good Men*, Queensland Theatre Company in association with QPAC **Best Performance in a Leading Role – Independent Production:** Rachel Nutchey – *Superheroes*, Bodysnatchers Theatre **Best Performance in a Supporting Role – Mainstage Production:** Reagan Mannix – *Aaron Sorkin’s A Few Good Men*, Queensland Theatre Company in association with QPAC **Best Performance in a Supporting Role – Independent Production:** Malika Savory – *The Dead Devils of Cockle Creek*, Cut & Run Productions **Bille Brown Award for Best Emerging Artist:** Fletcher Colfs – *GRIT: The Stories. The Town. The Music*., *Pirates, Cowboys and Aliens*, Perseverance Street Theatre **QUT School of Creative Arts Behind The Scenes award:** Eben Love **Best Set Design:** Christina Smith – *Pride And Prejudice*, Queensland Theatre Company in association with The Empire **Best Costume Design:** Maria McRae – *Living Sculptures: How The Birds Got Their Colours*, Arc Circus & The Yugambeh Aboriginal Dancers, commissioning support from SWELL Sculpture Festival **Best Composition and/or Sound Design:** Mike Willmett – *Aaron Sorkin’s A Few Good Men*, Queensland Theatre Company in association with QPAC **Best Lighting Design:** Ben Hughes – *Aaron Sorkin’s A Few Good Men*, Queensland Theatre Company in association with QPAC **Best Video Design:** Craig Wilkinson – *Dear Son*, Queensland Theatre Company and State Theatre Company South Australia **The 2025 Matilda Awards ran on Monday 2 March 2026 at the Playhouse, QPAC.** For more information on winners and the Matilda Awards, visit the Matilda Awards website. Website: <https://www.matildaawards.com.au/> Socials: <https://www.instagram.com/matildaawards/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image photo credit: Bulimba Studios The Matilda Awards are proudly supported by the Queensland Government through Arts Queensland, Brisbane City Council and Queensland Performing Arts Centre. **Categories:** News --- ### [Review: Sudan Archives 2026 Perth Festival](https://thescoop.au/review-sudan-archives-2026-perth-festival/) **Published:** March 3, 2026 **Author:** Greta Rule **Content:** ★★★½ ![The Scoop Sudan Archives Perth Festival](https://thescoop.au/wp-content/uploads/2026/03/SudanArchives_BrochHero_CrYanranXiong_MinRes-1099x628.jpg "Sudan Archives Perth Festival • The Scoop")East Perth Power Station came alive for the final night of Perth Festival 2026 as crowds gathered to see LA-based musician Sudan Archives. Brittney Parks, known to fans as Sudan Archives, delivered a stand-out set on the Main Stage in her first tour since releasing her new album *The BPM*. Opening the night was Western Australian Indigenous artist Kayps, whose blend of hip-hop, indie rock and house set a charged energy for the evening. The 19-year-old Triple J Indigenous Initiative winner, joined by songwriter and mixer Calvin Bennett, performed with presence and charisma. Kayps is an up-and-coming artist to keep your eyes on if you love a boogie and authentic, politically charged songwriting. At 9:15pm, Sudan Archives took to the stage in a striking green and blue body suit, armed with a geometric red electric violin and surrounded by multiple digital audio workstations. Moving between them to mix and master her original music into a swirl of electronic strings, heavy beats and soulful R&B, Parks delivered a theatrical performance. The show unfolded in robotic, hyper-stylised choreography, where the visual elements were just as central to her storytelling as the music itself. In interviews, Sudan Archives has described herself as a visual artist who happens to make music, and that identity was clearly reflected on stage. Every movement is exaggerated, intentional and diverting. Parks assumed a “gadget girl” persona, and her physicality reinforced a non-human, machine-like aesthetic. I, and many of the audience, fell in love with her violin, a centrepiece to her brand, which took on a character of its own throughout the show. At times, the violin became a gun, a bow and arrow, triggering sharp sound cues that the crowd ate up. The lighting design reflected the colours of *The BPM* album cover as it danced in sync to the music. ![The Scoop Perth Festival 2026 Truth Telling & Mischief Making](https://thescoop.au/wp-content/uploads/2025/10/EPPS_BrochHero_CrJessicaWyldPhotography_MinRes-942x628.jpg "Perth Festival 2026 • The Scoop")East Perth Power Station Photo by Jessica WyldHer set blended well-known tracks like *Come Meh Way* and *Selfish Soul* with the faster, more electronic direction of her new album. Her background in ethnomusicology and lifelong relationship with the violin were evident in the way she pushed the boundaries and conventions of the instrument. In her album, she experiments with the violin as a percussive tool and synthesises it to create unique and original sounds. The BPMs (beats per minute) of the tracks on her aptly named new album are higher than those of her earlier work, reaching above 120, making it her most energetic dance record. The bouncy tempos paired well with the cyborg-esque visual world she built on stage, creating a dynamic performance blending sound, movement and aesthetic. Parks’ connection to the audience was playful and energetic. She turned the show into a shared experience by inviting everyone into the world of her music. During the performance, she brought an audience member onstage to portray the “type of the night,” dancing together to *A BUG’S LIFE*, one of my favourite tracks on the album. Later, she parted the crowd to create an aisle, danced through it and then encouraged others to follow. Throughout the night, Parks guided us, telling us when to sing, when to clap and when to dance. From where I stood, I could see a lot of people fully giving into the moment, having a wonderfully silly time. The feeling of spontaneity in these interactions cultivated a warm and groovy atmosphere. Sudan Archives delivered a show that fused bold visuals, boundary-pushing music and infectious crowd connection. It was an entertaining, unforgettable experience to round out Perth Festival 2026. **Sudan Archives performed for one night only on Sunday 1 March at the East Perth Power Station as part of Perth Festival.** The season has now ended. Check the website for further city tour dates. Website: <https://sudanarchives.com/> Website: <https://www.perthfestival.com.au/program/season-2026/sudan-archives> Socials: <https://www.instagram.com/sudanarchives/> and <https://www.instagram.com/perthfest/> [Read more of our Perth Festival Reviews](https://thescoop.au/?s=perth+festival) Images supplied. **Categories:** Concerts, Perth --- ### [Review: The Cherry Orchard 2026 Adelaide Festival](https://thescoop.au/review-the-cherry-orchard-2026-adelaide-festival/) **Published:** February 28, 2026 **Author:** James Murphy **Content:** ★★★★½ ![The Scoop The Cherry Orchard LG Arts Center Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/AF_Opening_NIght_022026_Jack_Fenby_web_DSC_6595-942x628.jpg "The Cherry Orchard LG Arts Center Adelaide Festival • The Scoop")Anton Chekhov wrote *The Cherry Orchard* in 1903. It premiered in Moscow in 1904 and was his final play. It arrived at a turning point in Russian history. Former serfs were rising. Aristocratic landowners were falling. The old order could no longer survive on inherited privilege and cheap labour. More than a century later, director Simon Stone transplants that story to modern Seoul. The result feels uncannily timely. And deeply Korean. Presented by Adelaide Festival and produced by LG Arts Center, this reinterpretation merges Chekhov’s Russia with contemporary South Korea. Mentions of Netflix replace talk of billiards. Text messages interrupt conversations. Golf swings replace idle aristocratic hobbies. Drivers and personal assistants stand where manual labourers once did. The orchard is now corporate real estate. The class struggle has simply changed costume. Korean storytelling has dominated the past decade. Film. Television. Theatre. It has proven uniquely adept at skewering capitalism. This production leans into that strength. A chaebol family is collapsing under debt. A rising middle class circles. A former chauffeur’s son returns wealthy and strategic. The cycle turns. The bones of Chekhov remain. Doyoung Song returns home after years away, grieving the loss of her son. Her family’s company teeters on bankruptcy. The ancestral house is under threat. But this is no dusty museum piece. It feels alive. Urgent. Politically sharp. Doyeon Jeon anchors the production as Doyoung. It marks her return to the stage after 27 years. She carries both glamour and fragility. Her Doyoung is brittle. Alcohol-soaked. Haunted. Wealth offers no protection against grief. Her scenes recalling her late son cut through the satire with real ache. ![The Scoop The Cherry Orchard LG Arts Center Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/AF_Opening_NIght_022026_Jack_Fenby_web_DSC_6599-942x628.jpg "The Cherry Orchard LG Arts Center Adelaide Festival • The Scoop")The set is the productions visual triumph and resembles a house fused with a stock market graph Photo by Jack FenbyOpposite her, Haesoo Park as Doosik Hwang is magnetic. He is the son of a chauffeur turned corporate conqueror. His quiet confidence masks strategic ruthlessness. When he reveals he has bought the family home, the audience gasps. Then laughs. It is brutal. And deserved. Byunghoon Yoo’s Youngho provides some of the evening’s biggest laughs. A drunken oaf. A walking symbol of useless inherited entitlement. The comedy lands hard. In this era, the fall of the elite is not tragic. It is absurd. That may be Stone’s boldest stroke. Purists may bristle at his liberties. Yet this version may be closer to Chekhov’s spirit than many reverent revivals. Chekhov insisted *The Cherry Orchard* was a comedy. Too often it is staged as solemn tragedy. Here, the laughter is loud. Sometimes uncomfortable. Often cathartic. The audience clearly sides with Donglim, the idealistic tutor railing against corporations. His ideological rants about moral responsibility and systemic change feel pointed. We live in an age of tech billionaires and disproportionate power. The parallels are obvious. As royal houses wobble and economic transitions accelerate, the play lands with bite. The set is the production’s visual triumph. Designed by Saul Kim, it resembles a house fused with a stock market graph. One side rises steadily. The other plunges. The slope becomes a staircase. Characters climb and descend throughout. Their physical positions mirror their social standing. At times they teeter near the edge. It is elegant. Symbolic. Unmissable. ![The Scoop The Cherry Orchard LG Arts Center Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/03/AF_Opening_NIght_022026_Jack_Fenby_web_DSC_6633-942x628.jpg "The Cherry Orchard LG Arts Center Adelaide Festival • The Scoop")The bones of Chekhov remain in this production which transplants the story to modern Seoul Photo by Jack FenbyLighting by James Farncombe sharpens the contrasts; it tinges blue during sadness, and orange as the sun sets on an era. Youngkyu Jang’s music underscores both tension and farce but turns industrial and harsh as the show ends with a call for an uprising. A Korean acoustic version of Johnny Cash’s Nine Inch Nails cover, *Hurt* is an apt soundtrack to an empire turning to dust. If there is a criticism, it lies in pace. The opening reunion scene is chaotic by design. Conversations overlap on different levels of the house. The dialogue fires rapidly. For those relying on surtitles, it can feel overwhelming. Nuance risks being lost in the speed. If you spoke Korean, it likely feels exhilarating rather than taxing. Still, it requires focus. Yet even in the chaos, the emotional core holds. Hyunsook’s pain as an adopted daughter lands quietly. Haena’s yearning for maternal approval resonates. When Doyoung’s grief erupts, the room stills. Loss of family is to be mourned. Loss of privilege is not. The play understands the difference. As the bulldozer arrives and the house falls, Doosik declares a new era. The cycle resets. Chekhov’s Russia and modern Seoul collapse into one another. The fact that they align so neatly says something sobering about human nature. History changes costume. Power rearranges itself. The orchard is always sold. ***The Cherry Orchard* is presented by LG Arts Center and runs to 1 March at the Festival Theatre as part of 2026 Adelaide Festival.** Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=CHERRYOR26> Website: <https://www.adelaidefestival.com.au/whats-on/season-2026/the-cherry-orchard> Socials: <https://www.instagram.com/adelaidefestival/> and <https://www.instagram.com/lgartscenter/> [Read more of our Adelaide Festival Reviews](https://thescoop.au/?s=adelaide) Photo credits: Jack Fenby **Categories:** Adelaide, Theatre --- ### [Review: The Music Of John Williams Queensland Symphony Orchestra](https://thescoop.au/review-the-music-of-john-williams-queensland-symphony-orchestra/) **Published:** February 28, 2026 **Author:** Isabella Visser **Content:** ★★★★☆ ![The Scoop The Music of John Williams Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/03/SM-QSO-John-Williams-Orchestra-45-942x628.jpg "The Music of John Williams Queensland Symphony Orchestra • The Scoop")The Queensland Symphony Orchestra presents an incredible celebration of the iconic film composer with *The Music of John Williams*. The most legendary tunes in film history are played live by the talented Symphony Orchestra in this adrenaline-rushed and nostalgia-filled show. From the menacing two-note composition in *Jaws*, *Harry Potter*’s magical Hedwig’s theme and the brazen songs in *Star Wars*, Williams’ music has played in the hearts and minds of film lovers for generations. John Williams’ work has become synonymous with adventure and can instantly transport listeners to another world. His renowned partnership with director Steven Spielberg has seen them create 29 films together, with their thirtieth, *Disclosure Day*, coming out later this year. Despite initially retiring from film composing in 2022, Williams has fortunately returned with plans to keep creating for the rest of his golden years. He is the most Academy Award-nominated person alive today, with 54 nominations, with the second most nominations in history after Walt Disney, who has 59 nominations. The main title from *Star Wars* is an epic opening to the concert that promises an evening of momentous performances. It’s a song so famous that it doesn’t even need an introduction for any pop-culture fan to recognise the stunning composition. ![The Scoop The Music of John Williams Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/03/SM-QSO-John-Williams-Orchestra-39-942x628.jpg "The Music of John Williams Queensland Symphony Orchestra • The Scoop")The music of John Williams is an adrenaline rushed and nostalgia filled show Image suppliedThe mix of strings, brass and woodwind instruments perfectly comes together in this bold melody that echoes in the minds of listeners. The tune was originally believed to be too basic for the sci-fi genre of the time, with other composers favouring more complex or futuristic scores. But the composition in *Star Wars* reshaped the standard and paved the way for Williams’ other renowned works. The excitement only escalates with the Raiders March, the theme from *Indiana Jones: Raiders of the Lost Ark*. This backing sound to the high-stakes archaeological adventure is jovial and features an upbeat tune that stirs exhilaration. It’s mesmerising to watch the quick and animated movements of the symphony orchestra and conductor Nicolas Buc in this sequence. A personal favourite is the *Jurassic Park* theme, which is a composition that instils a lot of hope and aspiration despite the fearful plot of the movies. Interestingly, it’s a slower tune than some of Williams’ other action and adventure compositions and stands out for its great sweeping notes, giving time for listeners to appreciate the sound. When John Williams was first approached by Steven Spielberg for the film composition in *Schindler’s List,* he told the director, “Steven, for this film, you need a better composer than I am.” To which Spielberg famously replied, “You’re right, John. But they’re all dead.” The resulting theme is beautiful and gentle. It features an incredibly complex violin solo that Queensland Symphony Orchestra’s Concertmaster Glenn Christensen perfectly executes; his performance is beyond outstanding. Christensen’s poised and swift movements with his bow inspire admiration even with such a melancholy tune. ![The Scoop The Music of John Williams Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2026/03/SM-QSO-John-Williams-Nicholas-Buc-14-942x628.jpg "The Music of John Williams Queensland Symphony Orchestra • The Scoop")Conductor Nicolas Buc gives great insight into the music played Image suppliedThe Queensland Symphony Orchestra glides to success under Conductor Nicolas Buc’s strong leadership. As an award-winning composer, conductor and arranger Buc gives great insight into the music that’s being played. His innate passion and enthusiasm are clearly visible in every performance, where he consistently excels and has audiences eager for more. The stage, set up with the many skilled musicians, looks as remarkable as they sound playing their instruments. The orchestra’s flawless, synchronicity and graceful movements while performing such big and multifaceted songs are amazing. The Queensland Symphony Orchestra’s *The Music of John Williams* is a breathtaking tribute to a film-composing legend. Not just catchy earworms, Williams’ work has helped define some of the biggest movie franchises of the last few decades. Playing for a limited time only, popular demand saw both shows sell out before opening. Williams’ music has the special ability to unlock another world in listeners’ imaginations. Brought to life by the unbelievably talented musicians in the Queensland Symphony Orchestra, *The Music of John Williams* ignites a sense of wonder and sentimentality. ***The Music of John Williams* is performed by the Queensland Symphony Orchestra and runs to 28 February at the Concert Hall, QPAC.** The season is now sold out. Website: <https://www.qpac.com.au/whats-on/2026/qso-the-music-of-john-williams> Socials: <https://www.instagram.com/qsorchestra/> [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Images supplied. **Categories:** Brisbane, Concerts --- ### [Review: Nell Gwynn Is A Witty Restoration Romp Bursting With Joy](https://thescoop.au/review-nell-gwynn-is-a-witty-restoration-romp-bursting-with-joy/) **Published:** March 2, 2026 **Author:** Chloe White **Content:** ★★★★½ ![The Scoop Nell Gwynn Queensland Conservatorium Griffith University Bachelor of Acting](https://thescoop.au/wp-content/uploads/2026/03/Nell-Gwynn-Review-Photos-4-copy-942x628.jpg "Nell Gwynn Queensland Conservatorium Griffith University Bachelor of Acting • The Scoop")‘Pretty, witty, Nell.’ Based on true events, *Nell Gwynn*, by playwright Jessica Swale, is a light-hearted, witty and clever farce, presented by the third year Bachelor of Acting students at the Queensland Conservatorium, Griffith University. Nell Gwynn was known as King Charles’ most popular mistress in the 17th century, and Restoration theatre’s best rags-to-riches story. From selling oranges in the Drury Lane theatre to becoming a celebrity figure, she carved the way for women to appear centre stage. Putting quill to parchment is never an easy task, but Swale has created something that resembles a time of quick wit, sex scandals and entertainment with a modern take that left the opening night audience in stitches. The story provides a ‘not-so-accurate’ insight into the playhouse of the 1600s, and the conversations that may have occurred inside. The crowning of King Charles meant the return of theatre, along with the madcap comedy that came with it. Director Jacqui Somerville allows for a flowing mise-en-scène. She utilises blocking to maximise the stage space and bring an electric rhythm to the room, leaving no audience member in the dark. Between the sneaky allusions and playful cast engagement, the entire production feels like a knowing wink to the audience. A little messy, although I think this was by design for Restoration theatre, the thoughtful approach to the prologue and epilogue, the sharp tongues of the characters, and pace of the performance deliver a delightful, humorous take on an important part of history: when women began acting on the stage. ![The Scoop Nell Gwynn Queensland Conservatorium Griffith University Bachelor of Acting](https://thescoop.au/wp-content/uploads/2026/03/Nell-Gwynn-Review-Photos-3-copy-942x628.jpg "Nell Gwynn Queensland Conservatorium Griffith University Bachelor of Acting • The Scoop")The thought and cleverness put into every character feels fun and playful Photo by Hermione DevlinOn opening night, the Cheapside cast was on point. Their dedication to the script and energy on stage kept the audience laughing so much that it came as a surprise when the interval landed! Their expressionism and externalisation make for an entertaining watch. The thought and cleverness put into every character, including the background ones, feels fun and playful. In the title role, Ellie Dawson executes Nell Gwynn masterfully. A true talent, just like her character, this graduate is a force to be reckoned with. With flair and authenticity, Dawson captures Nell’s quick wit and fearless spirit, particularly in the standout scene where she boldly takes on Frenchwoman Louise de Keroualle (Mia Thomas). As Nell puts the King on the spot, firing frank and demanding questions with ease and confidence, you can’t help but wonder how he will respond. Dawson’s performance captivates throughout, and her vocals are phenomenal. She is believable, fun and energetic. What King Charles II wants, King Charles II gets. Ben Jason-Easton’s performance skilfully captures the winsome personality the King must have possessed to keep his wife, Nell and a dozen other mistresses happy. Jason-Easton is charming and cheeky, and surprisingly, a pretty good political leader. As Rose Gwynn, Olivia van Gool embodies a nurturing and kind-hearted older sister. She perfectly captures that familiar instinct to protect, bringing warmth and genuine concern to the stage. As Lord Arlington, Georgia Cassidy shows true devotion to the King and court. The coldness and authority were felt across the room: you would definitely want to stay on her good side! The scenes at the theatre are a joy and really bring the play to life. The characters of Nancy (Bonny Treloar), Edward Kynaston (Oliver Hunter), John Dryden (Jack Miller) and Thomas Killigrew (Michael Hawkins) are hilarious, relatable, and a lot of fun to watch. ![The Scoop Nell Gwynn Queensland Conservatorium Griffith University Bachelor of Acting](https://thescoop.au/wp-content/uploads/2026/03/Nell-Gwynn-Review-Photos-2-copy-942x628.jpg "Nell Gwynn Queensland Conservatorium Griffith University Bachelor of Acting • The Scoop")The cast create a performance that is tight confident and consistently entertaining Photo by Hermione DevlinThe musical interludes are a particular highlight, sending waves of smiles through the audience. That same buoyant energy carries through the entire production. Delivering such a hilarious and lively take on a fascinating period in history requires grit, stamina and genuine talent, and the cast rises to the challenge. Together, they create a performance that is tight, confident and consistently entertaining. The band, under Hannah Blain’s music direction, are incredibly well-timed. Their cheerful and upbeat tunes help create an atmosphere of light and laughter. The pace and precision required to stay on track and in tune did not go unnoticed; they formed a symphony of harmony and coordination. I kept looking up at them in awe, remembering there was a band following along and creating the beautiful sounds that accompanied the play. It was a true gift to witness. The costume team deserves special mention. The designs are tasteful and quaint, with a lived-in authenticity that evokes the bustle of a 17th-century playhouse. They balance elegance with practicality, allowing Nell to command the stage while retaining the quick tongue and strength that define her character. *Nell Gwynn* cleverly mirrors the cast’s own aspirations for stage success, delivering a hilarious take on one woman’s dream. Beneath the theatrical comedy, themes of love, family and sibling rivalry will leave the audience warm-hearted. ***Nell Gwynn* is presented by the third year Bachelor of Acting students from the Queensland Conservatorium, Griffith University. It runs to 7 March at New Benner Theatre, Metro Arts**. **97 Boundary Street West End Qld 4101.** Tickets: <https://metroarts.com.au/event/nell-gwynn/> Website: <https://www.queenslandconservatorium.com.au/nell-gwynn-by-jessica-swale/> Socials: <https://www.instagram.com/qldcon.acting/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Hermione Devlin **Categories:** Brisbane, Theatre --- ### [Review: The Taming of the Shrew Melbourne Shakespeare Company](https://thescoop.au/review-the-taming-of-the-shrew-melbourne-shakespeare-company/) **Published:** March 1, 2026 **Author:** Dr Josey De Rossi **Content:** ![The Scoop The Taming of the Shrew Melbourne Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/03/The-Taming-of-the-Shrew-NickMickPics4-942x628.jpg "The Taming of the Shrew Melbourne Shakespeare Company • The Scoop")Updating the themes of Shakespeare’s *The Taming of the Shrew* with exuberant showmanship puts the business of experiencing live performance at the centre of this production by Melbourne Shakespeare Company. In this case, director Emma Austin, together with set and costume designers Jemima Eva and Leah Downey, set up a carnivalesque atmosphere at Central Park in Malvern that highlights the artifice of social norms. I love Emma Austin’s re-imagining of the play’s induction scene. In Shakespeare’s original script, it is written as a long introduction around Sly the tinker’s drunken dream. In this production, Sly, played fulsomely by Ali Samaei, is transformed into the company’s director, and all the characters of the original play are morphed into stylised ‘jobbing actors,’ keen to stay in work. For fifteen minutes before the ‘real’ play begins, the audience is given a wonderful display of stereotypes in which egos require pampering and artistic decision. ‘Making’ is driven by the economics of ‘making do.’ Props become 2D cardboard facsimiles, and locations are reduced to barely relatable depictions of the real place. ![The Scoop The Taming of the Shrew Melbourne Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/03/The-Taming-of-the-Shrew-NickMickPics2-942x628.jpg "The Taming of the Shrew Melbourne Shakespeare Company • The Scoop")This production sets up a carnivalesque atmosphere at Central Park in Malvern Photo by Nick RobertsonWhat Shakespeare’s *The Taming of the Shrew* has historically shown is that the shrew is part of the Western narrative of ‘love and marriage.’ In essence, the patriarchal structure requires that she is contained by both the father and the sister (and other women). The proposition was made intrinsically ironic because all Shakespeare’s female roles were played by boys. Gender bending is in the very fabric of the making of every Shakespearean play! Consequently, Petruchio (JP Vizcay-Wilson) and Katerina (Kian Pitman) are interpreted as one pair amongst a host of pairings requiring their relationships to have a resolution. We don’t know if any of them are a perfect match. At the very least, Katerina, with her beautiful looks and feistiness, and Petruchio, with his showmanship and towering confidence, are matched energetically. By contrast, the tamer Bianco (Lucas Dwyer) and the more earnest Lucentia (Charlie Morris) have a far more complicated road ahead of them because of being more conformist. There is so much more pretending they need to do: swapping roles with servants and hiding from respective parents. ![The Scoop The Taming of the Shrew Melbourne Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/03/The-Taming-of-the-Shrew-NickMickPics5-942x628.jpg "The Taming of the Shrew Melbourne Shakespeare Company • The Scoop")The company is a well assembled cast of talented young performers Photo by Nick RobertsonThis calls on great acting by the ensemble. Baptista (Lyndall Grant), Gremio (​​Smeeta Singh), Hortensia (Gisele Forsyth), Grumio (Jackson Cross), Trania (Imogen Rabbitte), Biondella (Kaia Reyes), Pedant (Daniel Hillman), Vincentio / Curtis (Chris Broadstock), and Widow (Oliver Gorringe). The company is a well-assembled cast of talented young performers. I loved their transitions from Shakespearean poetic language into contemporary song. This is no doubt thanks to the good musical direction of Natalie Calia. The music is reminiscent of many pantomimic and commedia touches throughout the production. My one reservation came when I was afforded a choice at the beginning of the play regarding what interpretation we would be given subsequently. I think I heard that the choice comes down to ‘do you want to see cross-dressing or not?’ Even though I thought the moment was supportive of the vision of the play, it was a disproportionately short moment that then sends the play off into a particular direction. I wonder if you can ever do a gender-based exploration without any sense of cross-dressing and only role swapping. Perhaps this last point remains an academic consideration, as *The Taming of the Shrew* is wonderful to view and deserves a sell-out season. Its presentation of gender politics will undoubtedly call up much discussion, debate and laughter. ***The Taming of the Shrew* is presented by Melbourne Shakespeare Company. It runs to 15 March at Central Park, Malvern. 148 Burke Rd, Malvern East Vic 3145.** Tickets: <https://www.trybooking.com/events/landing/1490390> Website: <https://www.melbourneshakespeare.com/the-taming-of-the-shrew> Socials: <https://www.instagram.com/melbourneshakespeare/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Nick Robertson **Categories:** Melbourne, Theatre --- ### [Review: Cadel - Lungs On Legs 2026 Adelaide Fringe](https://thescoop.au/review-cadel-lungs-on-legs-2026-adelaide-fringe/) **Published:** March 1, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Cadel Lungs on Legs Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-01-at-45802-pm-962x628.png "Cadel Lungs on Legs Adelaide Fringe • The Scoop")Sport and theatre rarely share the same stage. Funding debates rage. Value debates rage. Is art more important than sport? Does sport unite more than art? When the two worlds do collide, it is often through failure: the fallen star, the redemption arc, the cautionary tale. *Cadel: Lungs on Legs* does something braver. It celebrates an elite athlete at the height of his powers. Connor Delves stars as Cadel Evans, the first and only Australian to win the Tour de France. Fresh from a sold-out, award-winning run at Edinburgh Fringe, the show arrives in Adelaide with serious momentum. It won Best Show of the Fringe from Theatre Weekly and Underbelly’s Fringe Fix Wild Card. The hype is real. So is the sweat. Delves rides live on stage. Not a prop. Not a suggestion. The actual bike Evans rode to victory. His quads pump relentlessly. The pedals turn. The breath grows ragged. At one point, he sprays water from his bottle, and it mists the front row. Later, he blows the contents from one nostril onto the stage floor. It is not theatrical sweat. It is real. Behind him, archival race footage fills a giant screen. Phil Liggett’s iconic commentary booms through the theatre. Yellow arch lights burst into life as stage finishes are crossed. The effect is visceral. You know the result. You still clench. ![The Scoop Cadel Lungs on Legs Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-01-at-45741-pm-955x628.png "Cadel Lungs on Legs Adelaide Fringe • The Scoop")This production does not apologise for excellence but instead it revels in it Photo by Adam KennaThat is the show’s great trick. You know Evans wins in 2011. You know he stands on the podium in Paris. Yet when the gradients steepen and the attacks come, you hope again. You will him forward. You feel the doubt, the isolation, the calculation. The script does not reduce Evans to a highlight reel. We see the regional kid. The broken home, the skull fractured by a horse’s kick. The young Australian heading to Europe as an outsider. Cycling is a European cathedral. Evans entered as a stranger. He endured, he adapted. He conquered. Normally, art treats elite sport with suspicion. It prefers the underdog. It prefers the fallen hero. This production does not apologise for excellence. It revels in it. Delves is magnetic. His performance is athletic in every sense. He shifts between narrator, competitor and inner voice with precision. His body does not fake fatigue. He earns it. That physical commitment elevates the storytelling. There is something quietly radical here. Recent years have shown how powerful sport documentaries can be. Think *The Last Dance* and the Chicago Bulls. They humanise icons. They expose doubt behind dominance. *Cadel: Lungs on Legs* achieves that same intimacy in a theatre space. ![The Scoop Cadel Lungs on Legs Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/03/Screenshot-2026-03-01-at-45723-pm-990x628.png "Cadel Lungs on Legs Adelaide Fringe • The Scoop")Delves is magnetic and his physical commitment elevates the storytelling Photo by Adam KennaFor theatre lovers, it offers a new respect for athletic discipline. You feel the monotony of training. The marginal gains. The mental chess of a peloton. For sports fans, it offers something rarer. Interior life. The fear of losing despite preparation. The loneliness of leadership. When Evans falters in previous Tours, you feel the weight of public expectation. When he finally holds yellow, you feel relief more than triumph. And when the Champs-Élysées arrives, the victory feels communal. The real triumph of this show is not nostalgia. It is empathy. You leave with more understanding of what elite performance costs. You also leave with a sense that theatre can be an entry point for audiences who might never normally step inside. This is pioneering work. It bridges two worlds that too often sit apart. It celebrates excellence without irony, it sweats for its applause. Sport and art do not need to compete. In *Cadel: Lungs on Legs*, they come together. ***Cadel: Lungs on Legs* runs to 21 March at the Goodwood Theatre and Studios as part of the 2026 Adelaide Fringe. 166 Goodwood Road Goodwood SA 5034.** See the website for the full Australian tour dates. Tickets: <https://adelaidefringe.com.au/fringetix/cadel-lungs-on-legs-af2026> Website: <https://www.cadeltheplay.com/> Socials: <https://www.instagram.com/cadeltheplay/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide) Photo credits: Adam Kenna **Categories:** Adelaide, Theatre --- ### [Review: Hannah Maxwell BABYFLEAREINDEERBAG 2026 Adelaide Fringe](https://thescoop.au/review-hannah-maxwell-babyfleareindeerbag-2026-adelaide-fringe/) **Published:** March 1, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Hannah Maxwell BABYFLEAREINDEERBAG](https://thescoop.au/wp-content/uploads/2026/02/Production-Image-of-BABYFLEAREINDEERBAG-at-The-Front-Room-c-Lucasz-Izdebski_1-942x628.jpg "Hannah Maxwell BABYFLEAREINDEERBAG • The Scoop")BABYFLEAREINDEERBAG arrives in Adelaide after a sell-out run at Edinburgh Fringe. It has collected five-star reviews and a Weekly Best of Theatre Award. The premise is deceptively simple. You walk in and it feels wrong. The house lights are up. There is no comforting darkness. You are handed a name tag and a texta. You write your name. You stick it to your chest. You are told to talk to the people around you. You are told you will move your chair. You eye your bag, which must be left in a designated pile. It feels less like theatre and more like a corporate bonding day. And you wonder: how on earth will this generate emotion? Then Hannah Maxwell begins. And by the end, you are no longer sure where the line between theatre and reality sits. Maxwell needs her next autobiographical show to be a hit. Preferably a Netflix adaptation. She needs audience research. She needs us to help decide which of her traumas is most marketable. In an era shaped by *Fleabag* and *Baby Reindeer*, oversharing has become currency. Trauma sells. Vulnerability streams. Maxwell interrogates that economy with surgical wit. She does not just break the fourth wall. She obliterates it. ![The Scoop BABYFLEAREINDEERBAG Hannah Maxwell Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Production-Image-of-BABYFLEAREINDEERBAG-at-The-Front-Room-c-Lucasz-Izdebski_2-942x628.jpg "BABYFLEAREINDEERBAG Hannah Maxwell Adelaide Fringe • The Scoop")Hannah Maxwell does not just break the fourth wall She obliterates it Photo by Lucasz IzdebskiWe become her focus group. After each segment, we scribble feedback on Post-it notes. We discuss in clusters. We vote on which life event might go viral. It sounds gimmicky. It is not. It reveals how brutal the creative process is. It is easy to sit back and critique. It is hard to stand up and create. Maxwell laments that she does not have a trauma. She offers options. Being the “first pancake” in relationships with bisexual partners. Working in government countering misinformation, which births existential dread. Growing up Fringe adjacent, with a father who once performed a ventriloquist show about telemarketing bears. The absurdity piles up. The show is funny. Properly funny. But beneath the meta layers sits something sharper. Maxwell can sing. She can play guitar. She can slip into accents, including a flawless Estonian. She can deliver spoken word that bites. She can improvise with frightening agility. She can hold a room with the lights fully up. And still, at almost 33, she cannot make a living from it. That is her trauma. She just does not call it that. At one point, Maxwell compares performing to her former cocaine addiction. This is where she is wrong. Addiction is destruction. It harms everyone around you. Her performing heals. Addiction is compulsion. Her art is creation. If she cannot earn from it, that is not a moral failing. It is systemic. ![The Scoop BABYFLEAREINDEERBAG Hannah Maxwell Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Production-Image-of-BABYFLEAREINDEERBAG-at-The-Front-Room-c-Lucasz-Izdebski_4-942x628.jpg "BABYFLEAREINDEERBAG Hannah Maxwell Adelaide Fringe • The Scoop")This is theatre that deserves to stream everywhere Photo by Lucasz IzdebskiEvery Fringe season, social media posts go viral about the broken economics of the model. Artists shoulder venue costs. Marketing costs. Travel costs. They gamble on audiences. This show should go viral in the same way. Because Maxwell lays it bare. The labour. The doubt. The hustle. The constant recalibration between authenticity and marketability. There is no set to hide behind. No blackout to escape into. The lights stay up. We are implicated the whole time. By the end, the focus group feels like a mirror. What do we reward? What do we consume? What stories do we demand? The brilliance of BABYFLEAREINDEERBAG is that it refuses to beg for a seat at the table. It flips the table. Then asks you to rate the experience out of five. If there is a risk, it is that some audiences may initially resist participation. It can feel exposed. But that discomfort is the point. Lean in. Maxwell does not need a more dramatic trauma. She needs a fairer system. This is theatre that thinks. Theatre that laughs at itself. Theatre that dares you to examine why you are there. It deserves to stream everywhere. **Hannah Maxwell: BABYFLEAREINDEERBAG runs to 15 March at the Hetzel Room, Courtyard of Curiosities at the State Library as part of 2026 Adelaide Fringe.** **North Terrace Adelaide SA 5000.** It then runs 25 – 28 March at Qtopia, Sydney. Get tickets [here](https://tickets.qtopiasydney.com.au/Events/BABYFLEAREINDEERBAG/). Hannah is also performing in I, AMDRAM at Holden Street Theatres as part of Adelaide Fringe. Get tickets [here](https://www.holdenstreettheatres.com/iamdram). Tickets: <https://adelaidefringe.com.au/fringetix/hannah-maxwell-babyfleareindeerbag-af2026> Website: <https://hannah-maxwell.com/> Socials: <https://www.instagram.com/hannahmaxwellhere/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide) Photo credits: Lucasz Izdebski **Important information**: You will be required to leave bags in a designated area in the performance space. Though this area will be in full view throughout the performance, you may want to avoid bringing valuables with you. Audience members will be asked to wear name badges and converse with each other in small groups. The audience will also be required to pick up and move their chairs during the performance. There will be designated static seating for people with access requirements; please arrive early and make yourself known to Front of House staff if you require static seating. **Categories:** Adelaide, Theatre --- ### [Announcing My Fair Lady For Ian Potter State Theatre Melbourne](https://thescoop.au/announcing-my-fair-lady-for-ian-potter-state-theatre-melbourne/) **Published:** March 1, 2026 **Author:** Newsroom **Content:** ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/03/MFL3108_cmyk_PhotobyJeffBusby_R-copy-942x628.jpg "My Fair Lady Opera Australia • The Scoop")Celebrating 70 dazzling years since its glorious Broadway debut, Lerner and Loewe’s iconic ***My Fair Lady*** will be the first major musical to perform at **Arts Centre Melbourne’s refurbished Ian Potter State Theatre** when its season opens in **November 2026**. This news comes after it was [announced](https://thescoop.au/announcing-return-of-my-fair-lady-to-sydney/) that the production would be returning to **Sydney** from **September 2026**. From its groundbreaking Broadway debut to the iconic Oscar‑winning film, ***My Fair Lady*** remains one of the world’s most enduring and loved musical treasures, with this lavish recreation based on the 2016 Australian production which was directed by Julie Andrews. Producer **John Frost** said: *“Presenting this special anniversary production of My Fair Lady alongside Opera Australia gives me immense pride. I’m delighted that such an iconic performance, featuring one of the world’s greatest scores, will be the first musical to return to the rejuvenated and beloved Ian Potter State Theatre in Melbourne.”* In keeping with the anniversary milestones, Opera Australia is also marking its platinum 70th anniversary this year, making it an extra special double celebration with ***My Fair Lady*** in 2026. ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/03/MFL3962_cmyk_PhotobyJeffBusby_R-copy-1049x628.jpg "My Fair Lady Opera Australia • The Scoop")My Fair Lady has been announced for Melbourne for November and runs in Sydney from September Photo by Jeff BusbyOpera Australia CEO **Alex Budd** said: *“When it premiered in 1956 My Fair Lady was hailed as ‘wise, witty and winning,’ a musical that felt nothing short of miraculous. It set a new standard for the art form, and seventy years on, its brilliance continues to shine.* *To once again present this beloved work with Producer John Frost in Opera Australia’s platinum anniversary year, is to honour a landmark of musical theatre that has delighted generations and continues to enchant audiences today.”* A heartwarming story of identity and change, ***My Fair Lady*** brims with razor sharp wit, unforgettable characters, and a stunning score. Songs include *Wouldn’t It Be Loverly*?, *I Could Have Danced All Night* and *Get Me to the Church on Time*. When Alan Jay Lerner and Frederick Loewe premiered their brilliant adaptation of George Bernard Shaw’s *Pygmalion* in 1956, it became an instant classic. Hailed as “the perfect musical,” it won six Tony Awards. This production broke box office records when it premiered at the Sydney Opera House for its 60th anniversary in 2016. ![The Scoop My Fair Lady Opera Australia](https://thescoop.au/wp-content/uploads/2026/03/my-fair-lady_54697592822_o-copy-1150x628.jpg "My Fair Lady Opera Australia • The Scoop")My Fair Lady tickets for Sydney are on sale now with the waitlist open for Melbourne Photo by Jeff BusbyA 20-year-old Julie Andrews was catapulted to superstardom when she originated the role of Eliza Doolittle, an irrepressible Cockney flower girl who transforms into a lady of society. The man attempting to remake her? The appealingly arrogant phoneticist Henry Higgins, who may just be the one who is transformed. Julie Andrews has been a beloved and much-honoured star of stage, screen and television for more than half a century. She created the role of Eliza Doolittle in Lerner and Loewe’s Broadway musical *My Fair Lady*, which became an instant classic and the longest-running musical of its day. Andrews also won a New York Drama Critics Award and garnered a Tony Award nomination for her performance. She made her feature film debut in 1964’s *Mary Poppins* which brought her an Academy Award®, a Golden Globe and a BAFTA Award. She earned a second Oscar® nomination and won another Golden Globe Award for her unforgettable portrayal of Maria von Trapp in *The Sound of Music*. She earned a third Academy Award® nomination and another Golden Globe Award for her “dual” role in *Victor/Victoria*. Casting announcements will be made in the coming weeks. ***My Fair Lady* runs at the Ian Potter State Theatre at Arts Centre Melbourne from November. It opens in Sydney on 12 September 2026 at the Sydney Opera House.** Tickets for Sydney are available [here](https://myfairladythemusical.com.au/tickets/sydney/) and the waitlist for Melbourne tickets is [here](https://myfairladythemusical.com.au/tickets/melbourne/). Website: <https://myfairladythemusical.com.au/> Socials: <https://www.instagram.com/myfairladyaus/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Jeff Busby Book & Lyrics by Alan Jay Lerner. Music by Frederick Loewe. Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture *Pygmalion*. Based on the 2016 production by Julie Andrews. Directed by Karen Johnson Mortimer. **Categories:** News --- ### [Review: The Other Side Of Me Is A Powerful Dance Of Identity](https://thescoop.au/review-the-other-side-of-me-is-a-powerful-dance-of-identity/) **Published:** February 28, 2026 **Author:** Charmaine Idris **Content:** ★★★★★ ![The Scoop The Other Side of Me QPAC Gary Lang Blakdance](https://thescoop.au/wp-content/uploads/2026/02/THE-OTHER-SIDE-OF-ME_2023-Image-Credit-PAZ_TASSONE-74-of-133-2-944x628.jpg "The Other Side of Me QPAC Gary Lang Blakdance • The Scoop")Acclaimed for its cross-cultural collaboration, *The Other Side of Me* premiered in 2023 at the Darwin Festival. In 2024, the production toured Western and Central Australia and in 2025, it premiered at DanceX Festival in Naarm. *The Other Side of Me* is choreographed by renowned dance industry leader, Larrakia man, Gary Lang and is based on actual events. An Aboriginal man born in the Northern Territory is adopted by a white English family and is raised in the remote English countryside. This profound story of the Stolen Generations is told through a bold dance production, expertly executed by two multi-talented male dancers, Alexander Abbott and Blake Escott (Dhuriti, Worimi). Two stark grey boxes sit forlornly in the spotlight as two men, Abbott and Escott, shuffle haltingly across the sparsely decorated set. Clad in ochre-coloured overalls, and judging from their cowered body language, including the position of their hands, it is obvious that they are prisoners. Employing deftly executed movements, Abbott and Escott inhabit the adoptee – his white alter ego clashing with his Blak identity while yearning interminably for his lost mob. ![The Scoop The Other Side of Me QPAC Gary Lang Blakdance](https://thescoop.au/wp-content/uploads/2026/02/PAZ_TASSONE_THE_OTHER_SIDE_OF_ME_DR_Tuesday_08-08-2023-111-of-133-942x628.jpg "The Other Side of Me QPAC Gary Lang Blakdance • The Scoop")This profound story of the Stolen Generations is told through a bold dance production Photo by Paz TassoneRaw emotion and brute strength underpin their remarkable performances as they effortlessly spin, balance, duck, weave and sometimes lock heads aggressively. An intricate range and variety of strongly executed contemporary dance moves, accentuated by Indigenous dance practices, underpins Abbott and Escott’s versatility and fluidity as dancers extraordinaire. Sound Designer Arian Pearson’s (Yolŋu) intricate, staccato sound design is underscored by the classical music arrangements composed by his musical counterpart, Samuel Pankhurst. In combination, the soundscape is a dramatic, heaving, visceral subsistence to the adopted man’s unfolding memories. Yolŋu Songman, Banula Marika’s haunting vocals contribute to the atmospheric mood, sanctifying the importance of spiritual connection to country. Samuel James’s projection design – gurgling water, lush landscapes, generic rotating objects – is spread across a towering backdrop. It is, without a doubt, a visual testament to the intense yearning of the man in the unfolding narrative. ![The Scoop The Other Side of Me Gary Lang Blakdance QPAC](https://thescoop.au/wp-content/uploads/2026/02/The-Other-Side-of-Me-942x628.jpg "The Other Side of Me Gary Lang Blakdance QPAC • The Scoop")Raw emotion and brute strength underpin their remarkable performances Photo by Gregory LorenzuttiLighting Designer, Joseph Mercurio’s apt choice of contrasting lighting changes enhances the overall emotional ebbs and flows reflected in the movements so adroitly executed by Abbott and Escott. Jennifer Irwin is renowned for her prestigious contributions as Costume Designer for Bangarra Dance Theatre. In *The Other Side of Me,* her simple yet effective choice of basic overalls drenched in rich ochre pays homage to First Nations cultural practices. Josephine Crawshaw (Gurindji) and Jesse Norris (Torres Strait Island descendant) define the contextual understanding of First Nations cultural practices through their combined input as Cultural Consultants. After debuting here in Queensland with just a mere three performances, Magandjin held sacred space for the very first stop of *The Other Side of Me*’s inaugural 2026 East Coast tour. *The Other Side of Me* does not flinch from the enormity, destruction and harm done by white Australia to its original Blak inhabitants. Gary Lang’s redemptive production gracefully addresses this divisive history through the lens of a man stripped of his identity and who remains ‘stuck in purgatory.’ ***The Other Side Of Me* is created by Gary Lang NT Dance Company and produced by Blakdance. It runs to 28 February 2026 at the Cremorne Theatre, QPAC as part of an East Coast tour.** See full tour dates below. Tickets: <https://qpac.n.qtix.com.au/tickets/series/fntheothersideofme26> Website: <https://www.qpac.com.au/whats-on/2026/the-other-side-of-me> Socials: [https://www.instagram.com/garylang\_ntdancecompany/](https://www.instagram.com/garylang_ntdancecompany/) and <https://www.instagram.com/blakdance/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Photo credits: Paz Tassone 2026 Australian Tour Dates: Brisbane 27 – 28 February, Cremorne Theatre QPAC Goulburn 4 March, Goulburn Performing Arts Centre Taree 12 March, Manning Entertainment Centre Wollongong 22 – 23 April, Illawarra Performing Arts Centre Burnie 29 April, Burnie Arts Centre Hobart 1 – 2 May, Theatre Royal Sydney 6 – 9 May, Sydney Opera House **Categories:** Brisbane, Dance --- ### [Review: Dragon I 2026 Perth Festival](https://thescoop.au/review-dragon-i-2026-perth-festival/) **Published:** February 28, 2026 **Author:** Cody Fullbrook **Content:** ![The Scoop Dragon I Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Dragon-I_PF_Production-Documentation_AC_Highlights_ScreenRes_3-942x628.jpg "Dragon I Perth Festival • The Scoop")Dragons are often representative of important elements of humanity. Whether it’s Smaug hoarding gold, Puff getting abandoned by an aging child, or even the dragon slain by St George being analogous to a generally intimidating situation, dragons are heralds of significance. This brings us to *Dragon I*, the newest show written by James Berlyn and Adam Kelly, tackling the very real threat A.I. poses to storytelling. Under Berlyn’s direction, performer Adam Kelly moves casually and appears to be portraying himself in what starts as a lecture on his history writing about dragons. Three TV screens line the back of the set, periodically showing text and drawings, guiding us through his fantastical tales. ![The Scoop Dragon I Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Dragon-I_PF_Production-Documentation_AC_Highlights_ScreenRes_1-942x628.jpg "Dragon I Perth Festival • The Scoop")Dragon I is a show that tackles the very real threat AI poses to storytelling Photo by Aaron ClaringboldEveryone is encouraged to draw a dragon during the performance, using a complimentary pencil and paper. They can also call out details of an individual dragon that is made at the start of the show, unique to that specific crowd, and projected onto one of the screens. The “crowd’s dragon” (it was called Kevin) is discussed at the tail end of the show, with Adam and Jade referencing its idiosyncratic features (wings, number of legs, personality etc.) in an attempt to be inspired by the awesome creation. It’s easily the highlight of *Dragon I*. I was left wondering who the target audience is, as the scattered swearing and mature A.I. ideas make it unsuitable for young viewers. Meanwhile the colourful drawings and bouncy energy from the performers can feel patronising. ![The Scoop Dragon I Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Dragon-I_PF_Production-Documentation_AC_Highlights_ScreenRes_7-942x628.jpg "Dragon I Perth Festival • The Scoop")The discussion around the crowds dragon is easily the highlight of the show Photo by Aaron ClaringboldWhat lets *Dragon I* down the most is its mismanagement of tone. What begins as a sincere speech about how childish creations can have lasting effects in your adult life, Adam’s hyper assistant, Jade, bounds onto stage and gestures as if talking to a crowd of toddlers, in a show that contains expletives. Adam doesn’t look comfortable on stage, evident by his frequent pacing and visible reliance on the script, making it difficult for the performance to fully settle. Overall, *Dragon I* was disappointing; it had a lack of focus and an inconsistent tone. Much like a slumbering dragon, there is fire, but at the moment it isn’t being completely used. ***Dragon I* runs to 1 March at the Subiaco Arts Centre as part of 2026 Perth Festival. 180 Hamersley Road Subiaco WA 6008.** Tickets: <https://www.perthfestival.com.au/program/season-2026/dragon-i> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/westberlynspace/> [Read more of our Perth Festival Reviews](https://thescoop.au/?s=perth+festival) Photo credits: Aaron Claringbold **Categories:** Perth, Theatre --- ### [Review: A Mirror Turns The Audience Into The Accused](https://thescoop.au/review-a-mirror-turns-the-audience-into-the-accused/) **Published:** February 28, 2026 **Author:** Benjamin Webb **Content:** ★★★★☆ ![The Scoop A Mirror Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/02/BELVOIR_AMirror_Production_003844_Rose-Riley-Faisal-Hamza-941x628.jpg "A Mirror Belvoir St Theatre • The Scoop")*A Mirror* delivers that special kind of silence that falls in a theatre when an audience realises it has been complicit. We thought we were watching a wedding. We were not. We thought we were safe observers. We were not. The stage doesn’t reflect society. It reflects the very theatre-going people in their seats back at themselves. Written by British playwright Sam Holcroft, *A Mirror* has earned international attention for its daring play-within-a-play structure and its forensic dissection of censorship. The work lands at Belvoir at a time when conversations about artistic freedom, state influence and self-censorship feel less theoretical and more urgent. Director Margaret Thanos does not attempt to soften that relevance. As her director’s note boldly states: this show is about us. We watch as Adem, a playwright, tries to tell the truth. Mr Čelik, a Ministry of Culture official, wants to help him tell a more ‘constructive’ version of it. Bax and Mei are caught within this ideological tug-of-war. What begins as a staged wedding ceremony slowly unravels to reveal itself as an illegal performance disguised to evade government scrutiny. ![The Scoop A Mirror Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/02/BELVOIR_AMirror_Production_003769_Eden-Falk-Rose-Riley-Faisal-Hamza-941x628.jpg "A Mirror Belvoir St Theatre • The Scoop")The play delivers that special kind of silence that falls in a theatre when an audience realises it has been complicit Photo by Brett BoardmanBy the final moments, which are best experienced rather than explained, it twists the central concept into something dark and confronting as Holcroft’s cat-and-mouse game between artist and censor reaches a devastating crescendo. This production is immensely precise. The writing is intelligent and playful without losing its bite. Holcroft’s censorship is not Orwell’s blunt-force erasure in *1984*, nor Bradbury’s book-burning spectacle in *Fahrenheit 451*. It is softer. More polite. A conversation over tea. A request to ‘improve’ the narrative. That subtle manipulation, the reshaping rather than the removal of truth, is what makes this play so sinister. Eden Falk as Bax brings an anxious bravado that underscores the fragility of artists operating under scrutiny. Faisal Hamza’s Adem is quietly resolute; his performance captures the cost of truth-telling. Rose Riley’s Mei offers both warmth and steel, grounding the piece’s emotional stakes. But it is Yalin Ozucelik as Mr Čelik who commands the stage. Ozucelik avoids caricature, instead presenting Čelik as thoughtful, articulate and disturbingly reasonable. He is the bureaucrat who believes he can change the system from within. The censor who sees himself as a collaborator. It is a deeply unsettling portrayal precisely because it feels familiar. ![The Scoop A Mirror Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2026/02/BELVOIR_AMirror_Production_002184_Rose-Riley-Faisal-Hamza-941x628.jpg "A Mirror Belvoir St Theatre • The Scoop")The writing is intelligent and playful without losing its bite Photo by Brett BoardmanMargaret Thanos’ direction is taut and intelligent, refusing to let the audience settle into comfort. Angelina Daniel’s set and costume design is striking. A boxed-in space that evokes both dance floor and interrogation chamber, visually reinforcing the attempt to contain truth within neat edges. Yet as Thanos suggests, truth always spills beyond the square. Phoebe Pilcher’s lighting design sharpens the sense of surveillance, carving the actors into light and shadow as though watched at all times. Deniel Herten’s composition and sound design subtly build unease. The fight direction by Diego Retamales introduces moments of physical tension that feel disturbingly plausible. Military consultant Jake Speer ensures the production’s authoritarian details ring true. *A Mirror* is a searing interrogation of art, power and the seductive logic of compromise. It asks whether a mirror that only reflects beauty is a mirror at all, or merely a mask. This production is urgent, intelligent and bracingly relevant because it is theatre that refuses to flatter its audience. And for that reason alone, it feels essential. ***A Mirror* runs to 22 March at the Upstairs Theatre, Belvoir St Theatre, Surry Hills NSW 2010.** Tickets: <https://my.belvoir.com.au/overview/14646> Website: <https://belvoir.com.au/productions/a-mirror/> Socials: <https://www.instagram.com/belvoirst/> [Read our Interview with Faisal Hamza](https://thescoop.au/a-wedding-as-a-cover-story-faisal-hamza-on-belvoirs-radical-new-play-a-mirror/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Review: Saints Elbow Room Theatre La Mama Courthouse](https://thescoop.au/review-saints-elbow-room-theatre-la-mama-courthouse/) **Published:** February 27, 2026 **Author:** Alyssa Moller **Content:** ![The Scoop Saints Elbow Room Theatre La Mama Melbourne](https://thescoop.au/wp-content/uploads/2026/02/SAINTS_Darren_Gill-0066-941x628.jpg "Saints Elbow Room Theatre La Mama Melbourne • The Scoop")La Mama presents *Saints*, a wordy interrogation of religion, history and land created by Elbow Room Theatre. The show questions the voices of history and religion, why events have been told the way they have, and why those voices were the ones shaping the version of what happened. *Saints* looks at witch trials and prophetic figures, contains spiritual drug trips, the long history of tensions between Ireland and England, all culminating in a percussion-based spoken (and shouted) word performance to close out the show. It takes a big bite of dense material to chew on for the duration of the play. The show starts with a jolt of energy, a clever use of screens and punchy lighting to pair with a high-octane rap track, taking us through a rapid-fire history lesson, from the Big Bang to 1654, where the story, or rather cultural interrogation, takes place. ![The Scoop Saints Elbow Room Theatre La Mama Melbourne](https://thescoop.au/wp-content/uploads/2026/02/SAINTS_Darren_Gill-0393-941x628.jpg "Saints Elbow Room Theatre La Mama Melbourne • The Scoop")Cait Spiker as Anna is quiet controlled and demands attention Photo by Darren GillI loved watching Cait Spiker as Anna, who pulls focus at every moment. Her performance is, for the most part, quiet and controlled, and yet demands attention. When Anna raises her voice, it’s chilling, and in these moments, Spiker carries the captivating nature of a preacher. Emily Tomlins as Elizabeth, a spy, is fascinating. Her character feels distinct from the rest and grounds the piece in the present moment. Tomlins sustains the narrative tension, pulling the audience back to the stakes for these characters whenever the show drifts toward a new thematic thread. Miki Looker’s costume design has a fun steampunk edge, pairing neatly with Rachel Nankin’s production design. I loved the use of rope on stage and the splatters of red paint on the staircase of the stage. A red velvet curtain lies strewn over the edges of the stage. Instead of guarding the stage, it delineates a deconstruction of traditional structure, accurately setting the tone for the show. ![The Scoop Saints Elbow Room Theatre La Mama Melbourne](https://thescoop.au/wp-content/uploads/2026/02/SAINTS_Darren_Gill-0091-942x628.jpg "Saints Elbow Room Theatre La Mama Melbourne • The Scoop")The show questions the voices of history and religion and why events have been told the way they have Photo by Darren GillMarcel Dorney’s script is rich with concepts and takes exciting swings through the dialogue, mixing period-specific language with more contemporary slang and phrases. There’s a lot Dorney has to say, which is invigorating. I would have loved more of a focus on Anna’s character to bring these ideas down to a more human level that we, as the audience, can connect with. Stripping back some of these lines could have helped clarify some of the vision, which at times gets muddled by how much is itching to be covered. These are creatives with a great deal to say, and a voice that is only beginning to find its full force. The breadth of creative expression on display in *Saints* signals real promise. It’s more than enough reason to keep a close eye on Elbow Room’s future work. ***Saints* is presented by Elbow Room Theatre and runs to 27 February at La Mama Courthouse. 349 Drummond Street Carlton Vic 3053.** Tickets are available [here](https://www.lamama.com.au/whats-on/la-mama-presents-2026/s-a-i-n-t-s). Website: <https://www.lamama.com.au/whats-on/la-mama-presents-2026/s-a-i-n-t-s> Socials: [https://www.instagram.com/elbow\_room\_theatre/](https://www.instagram.com/elbow_room_theatre/) and <https://www.instagram.com/lamamatheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Darren Gill **Categories:** Melbourne, Theatre --- ### [Review: Meow Meow's The Red Shoes 2026 Perth Festival](https://thescoop.au/review-meow-meows-the-red-shoes-2026-perth-festival/) **Published:** February 27, 2026 **Author:** Daniel Harvey **Content:** ★★★½ ![The Scoop Meow Meow's The Red Shoes Black Swan Theatre Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/MEOW-MEOWS-THE-RED-SHOES_c_Brett-Boardman_11_Jethro-Woodward-Meow-Meow-Mark-Jones-941x628.jpg "Meow Meow's The Red Shoes Black Swan Theatre Perth Festival • The Scoop")Meow Meow is an international cabaret figure known for blending virtuosic singing with anarchic, unpredictable performance. Equal parts diva, clown and provocateur, she constructs shows that veer between glamour and collapse, humour and menace, intimacy and spectacle. And in *Meow Meow’s The Red Shoes*, co-presented by Black Swan State Theatre Company for Perth Festival, she is every bit and then some more. The production draws loosely upon Hans Christian Andersen’s tale *The Red Shoes.* It portrays not a play, but an unconventional song-driven cabaret meditation on obsession, ambition, and creative exhaustion. Held together by a deliberately mismatched collection of songs, the show slips from her own sly, self-referential *Why Must There Be an Opening Number?* and *Why? Why? Why?* into the quiet unease of Radiohead’s *No Surprises* and the aching swell of Patrick Watson’s *Here Comes the River*. Each piece arrives as if from a different emotional universe. ![The Scoop Meow Meow's The Red Shoes Black Swan Theatre Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/MEOW-MEOWS-THE-RED-SHOES_c_Brett-Boardman_8_Dan-Witton-Meow-Meow-Mark-Jones-Jethro-Woodward-941x628.jpg "Meow Meow's The Red Shoes Black Swan Theatre Perth Festival • The Scoop")The stage becomes less a setting and more a ruin cluttered with remnants of a life spent performing Photo by Brett BoardmanUnder Kate Champion’s direction, the stage becomes less a setting and more a ruin, cluttered with the remnants of a life spent performing. Costumes, instruments, discarded objects and bodies occupy the same space, indistinguishable in their purpose. Nothing rests for long. Performers move through it like survivors picking over wreckage, everything caught in a continual push forward, as if stopping would mean disappearing altogether. Meow Meow dominates the stage from the outset. She appears as an unwilling showgirl dragged into performance despite her apparent lack of inspiration. What follows is a chaotic, deeply self-aware display of singing, improvisation, physical comedy, audience interaction, and theatrical spectacle. Meow Meow’s vision presents an ever-shifting tale, with help from Mark Jones, Dan Witton and Jethro Woodward, who hover at the edges and then step into the centre, shifting roles as needed: musicians, attendants, conspirators, and characters. From a refrigerator stuffed with half-formed thoughts and abandoned ideas, the author himself emerges, operatic, imposing, brought vividly to life by Kanen Breen, whose pipes are brandished wholeheartedly, ranged small, soft to deep, carrying, and always magnificent. ![The Scoop Meow Meow's The Red Shoes Black Swan Theatre Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/MEOW-MEOWS-THE-RED-SHOES_c_Brett-Boardman_4_Meow-Meow-941x628.jpg "Meow Meow's The Red Shoes Black Swan Theatre Perth Festival • The Scoop")Meow Meows The Red Shoes is a shot of espresso and an escapade of hilarity Photo by Brett Boardman*Meow Meow’s* *The Red Shoes* is splendidly absurd, a heady concoction of genres, tones, messages, songs, and anecdotes. Beautiful voices blend in harmony or belt independently through slow ballads and epic rock numbers, backed by the band The Why Why Whys’ rich instrumentals and fantastic vocal arrangements. And above all, it is just so *funny*. An escapade of hilarity, almost stand-up, threads between and through the catchy tunes, before giving way to heartfelt songs at the end. They are undeniably funny and engaging; you are never bored for a second. Yet there appears to be a fine line between *what will happen next?* in its delicious absurdity, and *where is this going?* Whether a remix, a remake, or simply a borrowing of *The Red Shoes’* name to analyse or contrast its themes remains open to interpretation. *Meow Meow’s The Red Shoes* is a shot of espresso, pure entertainment. And if that is enough, then perhaps that is enough. Deciphering a cohesive story, or uncovering a deeper meaning however, is another question. ***Meow Meow’s The Red Shoes* is presented by Black Swan State Theatre Company, Malthouse Theatre and Belvoir St Theatre. It** **runs to** **1 March at His Majesty’s Theatre as part of 2026 Perth Festival. 827-905 Hay Street Perth WA 6000.** Tickets: <https://www.perthfestival.com.au/program/season-2026/meow-meows-the-red-shoes> Website: <https://blackswantheatre.com.au/> Socials: <https://www.instagram.com/blackswanstc/> and <https://www.instagram.com/perthfest/> [Read more of our Perth Festival Reviews](https://thescoop.au/?s=perth+festival) Photo credits: Brett Boardman **Categories:** Perth, Theatre --- ### [Review: Cyclops A Satyr Play 2026 Adelaide Fringe](https://thescoop.au/review-cyclops-a-satyr-play-2026-adelaide-fringe/) **Published:** February 27, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop Cyclops A Satyr Play Holden Street Theatres Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/MC1_9160-942x628.jpeg "Cyclops A Satyr Play Holden Street Theatres Adelaide Fringe • The Scoop")When the audience files into Judy’s Room at Holden Street Theatres, Silenus is already there. Or rather, sprawled there. Passed out on the floor. Empty cans of Prancing Pony IPA and Tiger Beer litter the stage. A karaoke screen glows on the wall. The machine is still switched on. And next to Silenus’ hand lies a monstrous, translucent pink dildo. It’s going to be that kind of night. Euripides’ *Cyclops* is the only surviving satyr play from Ancient Greece. It was always meant to be the wild afterparty to high tragedy. Panic Theatre’s *Cyclops: A Satyr Play*, supported by Talk Is Free Theatre (the company behind Adelaide Fringe’s Best Theatre winner *Every Brilliant Thing*), honours that tradition by dragging the whole thing through a queer, techno-pop fever dream. Silenus, played by Canadian writer and actor Griffin Hewitt, eventually wakes. Memory hazy. He tidies the beer cans. The dildo stays put. That’s for later. What follows is a retelling of Odysseus and Polyphemus set somewhere between Mount Aetna and a sticky-floored club night. The premise is familiar. Odysseus arrives in Sicily after the Trojan War. He meets Silenus and the satyrs, enslaved by the giant Cyclops. There’s wine. There’s betrayal. There’s a drunken blinding with a burning stake. But this production refracts the myth through karaoke, club culture and audience complicity. Original Euripidean verses are delivered in faithful, muscular monologues at key moments. They land surprisingly well amid the chaos. Then the show swerves into karaoke bangers, audience interaction and camp absurdity. The viewers become the chorus of satyrs. We bleat. We chant. We enable. ![The Scoop Cyclops A Satyr play Holden Street Theatres Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-27-at-12228-pm-937x628.jpeg "Cyclops A Satyr play Holden Street Theatres Adelaide Fringe • The Scoop")The show drags Euripides work through a queer techno pop fever dream Photo by Frank LynchIt is both highbrow and deeply, gloriously low. Euripides’ Cyclops worships only his belly. He sacrifices to appetite. He mocks morality as something invented by the weak. This production draws a neat parallel with modern excess. Booze. Bongs. Sex. Karaoke. Consumption as identity. The satyr becomes a figure of queer inversion. Masculine and feminine. Ridiculous and erotic. Pitiful and terrifying. The satyrs here are drunken goats with texta-drawn moustaches swinging dildos while quoting Euripides. It shouldn’t work. It absolutely does. The comedy lands more cleanly than the tragedy. The jokes hit. The audience’s energy builds. When the satyrs balk at helping Odysseus blind the Cyclops, the absurd excuses feel delightfully contemporary. But beneath the laughter is something sharper. The play foregrounds a central question from Euripides: who decides morality? Near the end, the audience is given three choices about how the story should resolve. There is debate. Genuine discussion. It feels almost civic. We reach an agreement. And yet, no matter what we choose, the story ends the same way. ![The Scoop Cyclops A Satyr play Holden Street Theatres Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-27-at-12243-pm-932x628.png "Cyclops A Satyr play Holden Street Theatres Adelaide Fringe • The Scoop")Near the end the audience is given three choices about how the story should resolve Photo by Frank LynchNihilism? Maybe. Or a reminder that people, not gods, are the source of morality. Euripides flirted with impiety. This production embraces it. Understanding the satyr play form and Greek mythology deepens the experience. There are nods to Bakhtin’s “grotesque ingestion.” The Cyclops’ obsession with his belly. The inversion of norms. But the show never requires a classics degree. It just rewards it. The performer’s ease within the small room is impressive. Judy’s Room is intimate. There is nowhere to hide. The interaction never feels forced. The karaoke never feels lazy. It feels curated. Controlled chaos. If there is a limitation, it is tonal balance. The tragic undercurrents occasionally get swallowed by the revelry. But perhaps that is the point of a satyr play. Tragedy followed by release. This is peak Fringe. Wild. Smart. Profane. Thoughtful. Euripides would probably have approved. After a few drinks. ***Cyclops: A Satyr Play* runs to 22 March 2026 at Judy’s at Holden Street Theatres as part of the 2026 Adelaide Fringe. 32-34 Holden Street Hindmarsh SA 5007.** Tickets: <https://adelaidefringe.com.au/fringetix/cyclops-a-satyr-play-af2026> Website: <https://www.holdenstreettheatres.com/cyclops> Socials: <https://www.instagram.com/cyclopsasatyrplay/> and <https://www.instagram.com/holdenstreettheatres/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Hero image supplied. **Categories:** Adelaide, Theatre --- ### [Film Review: The Testament Of Ann Lee Dances Towards Salvation](https://thescoop.au/film-review-the-testament-of-ann-lee-dances-towards-salvation/) **Published:** February 27, 2026 **Author:** Chloe White **Content:** ★★★★½ ![The Scoop The Testament of Ann Lee](https://thescoop.au/wp-content/uploads/2026/02/TTAL_SG_00001_v1-scaled-e1772096258765-1088x628.jpg "The Testament of Ann Lee • The Scoop")A celibate religious movement from the 1700s may not sound like compelling subject matter for a musical biopic, but *The Testament of Ann Lee* starring Amanda Seyfried proves otherwise, presenting a female leader whose conviction and force would shake even today’s world. Premiering at the Venice Film Festival in September 2025 and nominated for the Golden Lion, *The Testament of Ann Lee* is an artistic and musical performance of heart and soul. The film follows the life of the extraordinary Ann Lee, known as ‘Mother Ann,’ the founder of religious sect, the Shaker movement. The biopic describes this time in history through one woman, capturing the sense of community, devotion and endurance. The story does not shy away from adversity and strength after tragedy. But, without spending too much time there, it brings light and positivity and focuses on her mission: to bring the Gospel to America. There is a raw, authentic and intense beauty behind each Shaker’s dance and song; the energy of the community shines through. The infectious spirit and motions create a sight you can’t look away from, even for a second. It’s entrancing to say the least. ![The Scoop The Testament of Ann Lee Amanda Seyfried film](https://thescoop.au/wp-content/uploads/2026/02/Ann-Lee-still-2-954x628.png "The Testament of Ann Lee Amanda Seyfried film • The Scoop")The production design creates a world of warmth light and intimacy Image courtesy of Searchlight PicturesChoreographer Celia Rowlson-Hall creates a spectacle, blending historical Shaker movement with modern expression, depicting the genuine pain and worship one would have experienced in the moment. The synergy between dance and music makes the scenes so captivating. Composer Daniel Blumberg introduces a blend of traditional Shaker spirituals and original compositions to communicate the soul and heart that breathe through the scenes. Mona Fastvold, co-writer and director, delivers a riveting film, applying modern technique to the historical biopic and transforming it into something electrifying rather than merely educational. Amanda Seyfried’s commitment as Ann Lee is authentic and genuine. She shows emotion, hurt and grief in a physical way that is moving and evokes nothing but empathy. Her strength through adversity and perseverance for a utopia she truly believes in feels genuine. You can’t help but want her to succeed, even if the utopia she envisions may feel unfamiliar. ![The Scoop The Testament of Ann Lee Amanda Seyfried film](https://thescoop.au/wp-content/uploads/2026/02/Ann-Lee-still-3-1200x549.png "The Testament of Ann Lee Amanda Seyfried film • The Scoop")As Ann Lee Amanda Seyfried is authentic and genuine Image courtesy of Searchlight PicturesWilliam Lee (Lewis Pullman)’s devotion to his sister is unwavering. Their love for each other sees them journey quite literally across the seas. It is both admirable and a true gem to witness on screen. Boy, does that man walk for her! The collective energy is palpable throughout. The shifts in pace are impeccably timed, moving from frenetic, fast-paced dance to moments of slow-motion brutality that deepen the emotional intensity and pull you fully into the experience. At its core, the film unfolds in three distinct sections: Manchester, the journey across the Atlantic, and finally America, where Ann Lee sets out to bring the Gospel to the nation. The pre-industrial scenes in Manchester depict harsh labour conditions, crowded rooms, large families and a constant sense of urgency. When they board the ship, the historic *Gothebörg*, there is a striking shift from confined interiors to wide open spaces, symbolising opportunity and promise. The ship’s dance scenes are particularly captivating and raw; they sing and dance through the four-week journey with hope and heart, and it pours out onto the screen. Once in America, the openness remains. Greenery and stillness replace the earlier intensity, and the community appears calmer and healthier, ready to spread their faith. ![The Scoop The Testament of Ann Lee Amanda Seyfried film](https://thescoop.au/wp-content/uploads/2026/02/Ann-Lee-still-1-1200x546.png "The Testament of Ann Lee Amanda Seyfried film • The Scoop")The costumes bring a tangible sense of life to the characters Image courtesy of Searchlight PicturesA special mention goes to the narration, the true guide of the story. The voice of Mary Partington (Thomasin McKenzie) provides welcome context and direction amid all the chaos and intensity. Production designer Sam Bader creates a world of warmth, light and intimacy. The spaces where the Shakers move, the intimate moments between loved ones, are visually enhanced by candlelight. Handmade by designer Małgorzata Karpiuk, the costumes live and breathe within the scenes. Their textured beauty, the weight of the dresses, the earthy tones worn by the Shakers, and the woollen fabrics bring a tangible sense of life and humanity to the characters. *The Testament of Ann Lee* elevates the biopic beyond simple retelling. Rather than merely tracing the arc of Ann Lee’s life, it offers profound insight into the strength of one woman and the resilience of a community bound by hardship, grief and hope. It is a story you won’t want to end, yet feel grateful to have witnessed. ***The Testament of Ann Lee* opens exclusively in cinemas from 26 February**, **including 35mm and 70mm across select cinemas.** Check cinema listings [here](https://www.instagram.com/p/DVFqwiRllKk/?img_index=1). Website: <https://www.20thcenturystudios.com.au/movies/the-testament-of-ann-lee> Socials: [https://www.instagram.com/20thcenturystudios\_aunz](https://www.instagram.com/20thcenturystudios_aunz) [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Testament of Ann Lee Director: Mona Fastvold Cast: Amanda Seyfried, Lewis Pullman, Thomasin McKenzie, Christopher Abbott Country of Origin: US Duration: 137 mins Rating: M **Categories:** Film --- ### [Review: Terminator 2, A New Concert Experience by Hear My Eyes](https://thescoop.au/review-terminator-2-a-new-concert-experience-by-hear-my-eyes/) **Published:** February 27, 2026 **Author:** Jack Bengough **Content:** ★★★★½ ![The Scoop Hear My Eyes Terminator 2](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-26-at-12745-pm-899x628.png "Hear My Eyes Terminator 2 • The Scoop")The opening scene of *Terminator 2: Judgment Day* presents the audience with a view of a collapsed highway filled with exploded cars, the skeletons of their drivers still sitting in the front seats. As the camera pulls out to reveal a better look at this hellish landscape, block letters appear at the bottom of the screen: “LOS ANGELES 2029 A.D.” At the opening night of Australian music group Hear My Eyes’ concert experience for *Terminator 2*, an awkward, uncomfortable laugh ran through the room at the appearance of this subtitle. For the unfamiliar, *Terminator 2* picks up about ten years after the events of *The Terminator*. It follows a young John Connor (Edward Furlong) as he finds himself in the crosshairs of the T-1000 (Robert Patrick), a robot assassin sent from the future to kill him. ![The Scoop Hear My Eyes Terminator 2 A New Concert Experience](https://thescoop.au/wp-content/uploads/2026/02/HME-Terminator-2-LR-100_Credit_Simon-Aubor-942x628.jpg "Hear My Eyes Terminator 2 A New Concert Experience • The Scoop")Hear My Eyes collaborates with artists to create interpretive experiences for a diverse range of films Photo by Simon AuborWith the help of the T-800 (Arnold Schwarzenegger), another future robot sent by his future self to protect him, John breaks his mother, Sarah (Linda Hamilton), out of prison. The trio set out to rewrite the future and defeat the seemingly unkillable T-1000. For the last few years, Hear My Eyes has been collaborating with various artists across the globe to create new interpretive experiences for a diverse range of films. In the past, the films has been mostly niche cult classics, such as *Chopper* and *Wake in Fright*. A blockbuster like *Terminator 2* feels like a bold and ambitious departure for the collective. Hear My Eyes has teamed up with Belgian composer Peter Van Hoesen and Australian audio-visual maestro Robin Fox. Together, they bring a bold new synthesiser-driven sound and laser show to accompany James Cameron’s hit sci-fi classic. ![The Scoop Hear My Eyes Terminator 2 A New Concert Experience](https://thescoop.au/wp-content/uploads/2026/02/HME-Terminator-2-LR-102_Credit_Simon-Aubor-942x628.jpg "Hear My Eyes Terminator 2 A New Concert Experience • The Scoop")It is hard not to see right now as the perfect time to revisit Terminator 2 Photo by Simon AuborCollaborating with the Melbourne Electronic Sound Studio (MESS), *Terminator 2: Judgment Day* is a phenomenal experience for fans of the original film. *Terminator 2* is an all-time classic action flick. It is packed with iconic performances, boundary-pushing special effects, and killer action sequences. The whole thing is tied together with a narrative that may be even more relevant now than it was when it was released 35 years ago. In the face of rapid developments in AI, it’s hard not to see right now as the perfect time to revisit *Terminator 2*. When John asks the T-800, “We’re not gonna make it, are we?” the T-800 responds, “It’s in your nature to destroy yourselves.” That same awkward laughter from the start of the film ran through the crowd once again. Hear My Eyes’ choice to take on *Terminator 2* clearly isn’t just motivated by its Rotten Tomatoes score. It’s been taken on because, in the current moment, it is a movie that fans and newcomers should be seeing and thinking about. ![The Scoop Hear My Eyes Terminator 2 A New Concert Experience](https://thescoop.au/wp-content/uploads/2026/02/HME-Terminator-2-LR-33_Credit_Simon-Aubor-942x628.jpg "Hear My Eyes Terminator 2 A New Concert Experience • The Scoop")Hear My Eyes consistently pick the right time to jump in with thrilling synthetic beats Photo by Simon AuborIt’s easy to imagine that it would be a challenging prospect to approach a movie this highly lauded by its fans. Fortunately, fans of *Terminator 2* will be pleased to know that Hear My Eyes has produced a soundtrack that is very much additive to the experience of watching the original film. Their performance is appropriately restrained; they know exactly when to let the film breathe and tell its own story. They consistently pick the right time to jump in with their thrilling synthetic beats, enhancing an action sequence and contributing a subtle low drone to punctuate tense dialogue. *Terminator 2: Judgment Day* is a must-see experience for fans of the original film. It is running in Melbourne for a short season before touring to Sydney and Canberra. ***Hear My Eyes – Terminator 2: Judgment Day A New Concert Experience* runs to 28 February at Hamer Hall, Arts Centre Melbourne. 100 St Kilda Road Southbank Vic 3006.** It then runs in Sydney and Canberra, tour dates below. Tickets are available [here](https://www.artscentremelbourne.com.au/whats-on/2026/contemporary-music/hear-my-eyes--terminator-2-judgment-day). Website: <https://www.hearmyeyes.com.au/events/terminator-2-judgement-day-a-new-concert-experience/> Socials: <https://www.instagram.com/artscentremelbourne/> and <https://www.instagram.com/hearmyeyes/> [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Photo credits: Simon Aubor 2026 Australian Tour Dates: Melbourne 25 – 28 February, Hamer Hall, Arts Centre Sydney 7 March, Sydney Recital Hall Canberra 18 – 19 March, Canberra Theatre Centre **Categories:** Concerts, Melbourne --- ### [Review: Faraway Australian Dance Theatre 2026 Adelaide Festival](https://thescoop.au/review-faraway-australian-dance-theatre-2026-adelaide-festival/) **Published:** February 26, 2026 **Author:** Sophie Tsoulos **Content:** ★★★★★ ![The Scoop Faraway Australian Dance Theatre Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/02/8-ADT_-Zoe-Wozniak-Yilin-Kong-and-Karra-Nam-in-Faraway-by-Jenni-Large_-Credit-Jonathan-VDK-942x628.jpg "Faraway Australian Dance Theatre Adelaide Festival • The Scoop")Coming into full bloom this Adelaide Festival is Australian Dance Theatre’s latest work, *Faraway.* It is unsettling and evocative, and has you utterly transfixed in a world of visceral fantasy. The work asks the question: where do our collective dreams and nightmares take us? Under the Artistic Director of Australian Dance Theatre, Daniel Riley, *Faraway* is choreographed by award-winning choreographer and director Jenni Large. In 2022, Large won the Keir Choreographic People’s Choice Award for her work *Wet Hard*, which she then extended into the acclaimed *Wet Hard Long*, which received a Green Room nomination for Most Outstanding Visual Design. Alongside Large on the choreography is Brianna Kell, dancer, choreographer and Artistic Associate of Australian Dance Theatre. The work is an exploration of the form and function of fantasy itself, drawing parallels between fairy tales and fetish: two methods of escapism and liberation which help us process the world around us. This feeling of escapism strikes the moment the show begins; all staging elements instantly stimulating the audience’s visual and aural senses. The stage is grey and bare, yet hanging from the ceiling are black knotted ropes, resembling to me, some form of cursed jungle. The sound design by Anna Whitaker begins to pierce, initially industrial and harsh. Centre stage is dancer Zachary Lopez, hypnotizingly strumming along on a whimsical-looking instrument, luring the audience in further. ![The Scoop Faraway Australian Dance Theatre Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/02/4-ADT-Ensemble-in-Faraway-by-Jenni-Large-_-Credit-Jonathan-VDK-942x628.jpg "Faraway Australian Dance Theatre Adelaide Festival • The Scoop")All the staging elements instantly stimulate the audiences visual and aural senses Photo by Jonathan VDKThen, the full cast of dancers appear: Joshua Doctor, Macon Escobal Riley, Yilin Kong, Karra Nam, Patrick O’Luanaigh and Zoe Wozniak. They are donned in Meg Wilson’s costume designs, a mix of black, burlesque-style corsets or extravagant robes of the most unique design. Large’s choreography is deliberately slow, grounded and writhing in the first half. The dancers strikingly lock eyes with the audience members, tempting and inviting. The ropes are played with, adding more visual movement to the stage as they are swung across the space. As the work builds, their movements become animalistic, raw and athletic. They move through positions and shapes with their bodies that are unconventional, further plunging the audience into this world where primal urges are acted upon. Halfway through the work, the dancers have us arrive at a ‘skipping rope’ section. I thought this was such a clever exploration of how raw sound is used to create rhythm and movement. Here you could hear the dancers communicating, the rhythm of the rope smacking the floor adding further pace and intensity to the scene. Like the audience, it appeared that the dancers themselves were now in the trance. ![The Scoop Faraway Australian Dance Theatre Adelaide Festival](https://thescoop.au/wp-content/uploads/2026/02/9-ADT_-Macon-Escobal-Riley-Yilin-Kong-and-Zoe-Wozniak-in-Faraway-by-Jenni-Large_-Credit-Jonathan-VDK-942x628.jpg "Faraway Australian Dance Theatre Adelaide Festival • The Scoop")Australian Dance Theatre continues to push the limits of contemporary dance Photo by Jonathan VDKA powerful trio section between Karra, Zoe and Yillin is a visceral exploration of female urges and connection. They move from separate unison to close proximity, touching and rolling over each other. By the end, the dancers strip themselves to their bare bodysuits, now appearing calm and hypnotised. Their outward intense stares still powerfully have the audience anticipating their next move. I don’t want to spoil how the work ends, but Large’s choreographic choice is thoroughly impactful. Alex Berlage’s lighting design perfectly matches the hazy, dream-like world. Accented flashes of yellow and green are used to correspond with stark moments of action. These moments correspond with the sound design, clearly showing the amount of careful consideration in the technical elements in complementing the movement and storytelling. What Whitaker also does expertly is weave in sounds of the voice throughout the piece, creating truly striking and unsettling noise, true to the fantasy themes. Australian Dance Theatre continues to push the limits of contemporary dance in terms of movement and theme. *Faraway* lends itself to individual audience interpretation, but ultimately is an escape into a universe that exists when an audience’s deepest imaginations are stimulated. ***Faraway* is presented by Australian Dance Theatre and runs to 1 March as part of the Adelaide Festival. Odeon Theatre, 57a Queen Street Norwood SA 5067.** Tickets: <https://www.adelaidefestival.com.au/whats-on/season-2026/faraway> Website: <https://www.adt.org.au/our-work/faraway> Socials: <https://www.instagram.com/ausdancetheatre/> [Read more of our Adelaide Festival Reviews](https://thescoop.au/?s=adelaide) Photo credits: Jonathan VDK **Categories:** Adelaide, Dance --- ### [Cyclops: A Satyr Play To Premiere At Holden Street Theatres](https://thescoop.au/cyclops-a-satyr-play-to-premiere-at-holden-street-theatres/) **Published:** February 6, 2026 **Author:** Newsroom **Content:** ![The Scoop Cyclops: A Satyr Play Holden Street Theatres Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/MC1_9570-2-942x628.jpeg "Cyclops: A Satyr Play Holden Street Theatres Adelaide Fringe • The Scoop")Adelaide is officially invited to come and join the afterparty this Fringe with the Australian premiere of ***Cyclops: A Satyr Play*** – the ground-breaking solo work by Canadian actor and writer **Griffin Hewitt**. Dubbed as the ultimate pop-techno post-party haze, this show is destined to be the underground hit of Adelaide Fringe 2026. *Cyclops: A Satyr Play* will run in Judy’s, an intimate 30-seat Holden Street Theatres venue from **24 February – 22 March 2026**. Written and performed by Griffin Hewitt, with original music by Juliette Jones, *Cyclops: A Satyr Play* was created during the pandemic allowing audience interaction at a safe distance. The show is about choices, choices we must make, choices we are forced to make, choices that affect others. It is a fun and bold experiment in contemporary interactive theatre. Hewitt says *Cyclops: A Satyr Play* is transgressive, funny, hot, taboo, boundary pushing theatre, while still asking deep questions about how we live: *“The show is the kind of wild night out that starts off with flashing lights and dancing like nobody’s watching. It takes some twists and turns as you realise you didn’t make a plan to get home. and you end up regretting a few major choices along the way – but hey, at least you made some memories right? Or… did you?* *Cyclops: A Satyr Play is a big party, and I can’t wait to bring the show to Adelaide Fringe for its Australian premiere. Everyone is invited to come and play.”* ![The Scoop Cyclops: A Satyr Play Holden Street Theatre Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/IMG_3273-471x628.jpg "Cyclops: A Satyr Play Holden Street Theatre Adelaide Fringe • The Scoop") *Cyclops: A Satyr Play* is presented by Panic Theatre and Joanne Hartstone Presents and supported by Talk is Free Theatre (TIFT). Canada’s TIFT is internationally renowned for its use of unconventional spaces and performance spaces. The Company previously won the best theatre award in Adelaide Fringe 2020 for *Every Brilliant Thing*. Producer **Joanne Hartstone** said: *“This show is going to catch fire. Griffin Hewitt is of the most daring and urgent theatre makers in the world right now. ‘Cyclops’ an exclusive experience that Fringe audiences cannot afford to miss. With only 30 tickets each night, this will sell out. Tell everyone!”* ***Cyclops: A Satyr Play* runs from 24 February – 22 March 2026 at Judy’s at Holden Street Theatres as part of the 2026 Adelaide Fringe. 32-34 Holden Street Hindmarsh SA 5007.** Tickets: <https://adelaidefringe.com.au/fringetix/cyclops-a-satyr-play-af2026> Website: <https://www.holdenstreettheatres.com/cyclops> Socials: <https://www.instagram.com/cyclopsasatyrplay/> and <https://www.instagram.com/holdenstreettheatres/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Wynnum Fringe Returns As Queensland Fringe Hits The Road](https://thescoop.au/wynnum-fringe-returns-as-queensland-fringe-hits-the-road/) **Published:** February 26, 2026 **Author:** Newsroom **Content:** ![The Scoop Wynnum Fringe and Queensland Fringe](https://thescoop.au/wp-content/uploads/2026/02/Wynnum-Fringe-Spiegeltent-942x628.jpeg "Wynnum Fringe and Queensland Fringe • The Scoop")After six years of dazzling audiences on Brisbane’s bayside, the award-winning **Wynnum Fringe** returns to the **Augathella Spiegeltent** from **25 June – 12 July 2026**. Building on its success as one of the state’s most exciting cultural events, the team behind Wynnum Fringe launches **Queensland Fringe**, a brand-new festival offering with statewide ambitions. First up is ***The Wild West!*** a new arts celebration delivering high-quality fringe programming west of the capital from **1 – 7 August 2026**. This inaugural trail will journey through **Augathella, Charleville, Roma** and **Toowoomba**, connecting local and travelling audiences with world-class artists, live performance and vibrant festival experiences along the way. This trail is just the first step to the wider plan of Queensland Fringe. Hubs are planned across the state, including Brisbane, Cairns, Rockhampton and beyond, creating a lasting network of arts experiences for Queensland audiences. **Tom Oliver**, Wynnum Fringe Founder and CEO/Artistic Director, said the launch of Queensland Fringe marks a defining moment for the state’s cultural evolution: *“Wynnum Fringe has grown from a COVID recovery mission into an internationally recognised fringe festival in six short years. With the countdown on until the 2032 Brisbane Olympics, the team and I feel very ready to take our learnings to the rest of Queensland.* *Starting in the West is a natural progression because of our friendship with Murweh Shire Council region through to our long-standing partnership with the Augathella Spiegeltent Project. Queensland Fringe is about creating meaningful opportunities for artists, communities and audiences. We welcome local artists, venues and partners to be part of shaping its future.”* International comedy legend **Jim Jefferies** headlines the Toowoomba hub on **Thursday 6 August**. He will be supported by a curated program of small-scale independent works over the two-day festival. Queensland Fringe will transform the precinct into a social, celebratory playground. ![The Scoop Wynnum Fringe and Queensland Fringe](https://thescoop.au/wp-content/uploads/2026/02/Rhonda-4-942x628.jpg "Wynnum Fringe and Queensland Fringe • The Scoop")Still from Wynnum Fringe 2025 Image supplied **Jim Jeffries** said: “I’m really excited to bring my Son of a Carpenter tour to Queensland’s regional towns. It’s where the carpenter himself grew up. It’ll be great to share a few laughs and join a world-class program that Queenslanders don’t have to drive hours to see.” Joining the star-studded line up is Toowoomba-based singer-songwriter, **Sue Ray**, who will perform as part of the festival’s Toowoomba program while supporting local engagement. **Sue** **Ray** said: *“Queensland Fringe is doing something extraordinary by taking live art to new places. I feel lucky to be part of this adventure. It’s going to be a lot of fun!* *It**’s such an exciting opportunity to perform alongside internationally acclaimed artists while also supporting local voices. Seeing the community come together to celebrate and experience live performance in their own backyard is incredibly rewarding.”* Queensland Fringe has been built with the support of key partners. These include **Empire Theatre, University of Southern Queensland, Murweh Shire Council,** and **Port of Brisbane**. These partnerships ensure the inaugural trail combines professional artistry with grassroots community engagement. An open Expression of Interest (EOI) is now inviting artists and sponsors to join the festival, creating opportunities for both headline moments and local participation. Wynnum Fringe continues as the flagship festival, anchoring the calendar with its bayside magic. Queensland Fringe begins a new tradition of regional arts touring. Together, the festivals celebrate place and champion artists. In addition, they set the foundation for a long-term vision to make Queensland Fringe the largest arts festival in the state by 2032, ahead of the Brisbane Olympic and Paralympic Games. **Queensland audiences can experience the inaugural Queensland Fringe Trail from 1 – 7 August 2026. Wynnum Fringe returns from 25 June – 12 July 2026.** For further information and to submit your EOI, visit the website links below. Website: <https://qldfringe.com/> and <https://wynnumfringe.com/> Socials: <https://www.instagram.com/wynnumfringe/> and <https://www.instagram.com/qldfringe/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Announcing Broadway Off-Broadway Return For Adelaide Fringe](https://thescoop.au/announcing-broadway-off-broadway-return-for-adelaide-fringe/) **Published:** February 8, 2026 **Author:** Newsroom **Content:** ![The Scoop Broadway Off-Broadway Emma Kavanagh Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Broadway-Off-Broadway-Photo-Credit-Harry-Lochert-copy-942x628.jpg "Broadway Off-Broadway Emma Kavanagh Adelaide Fringe • The Scoop")After premiering to sold out shows at the 2025 Adelaide Fringe, Adelaide born and bred soprano **Emma Kavanagh** is bringing **Broadway Off-Broadway** back by popular demand for a return season bigger and better than ever with lots of new surprises. The 2026 season runs for three shows only at **The Flamingo at Gluttony** on **15, 21** and **22 March**. Tickets are selling fast on [Fringe Tix](https://adelaidefringe.com.au/fringetix/broadway-off-broadway-af2026) and the season is set for another sell out. This year Broadway Off-Broadway features two cast members from the current Australasian tour of *Wicked*: South Australian born and bred **Madison Green** and **Jayden Prelc**, who will be flying straight back to Adelaide to perform in the show after finishing their tour throughout Singapore and South Korea. The day after the final performance of Broadway Off-Broadway’s 2025 premiere season, dancer Jayden Prelc hopped on a flight to join the cast of *Wicked* on tour…and now Emma says the stars have aligned for him to captivate audiences in the return season. ![The Scoop Broadway Off-Broadway Emma Kavanagh Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Broadway-Off-Broadway-12-Emma-Kavanagh-and-Stephanie-Cole-Photo-Credit-Harry-LochertJPEG-942x628.jpeg "Broadway Off-Broadway Emma Kavanagh Adelaide Fringe • The Scoop")Stefanie Cole and Emma Kavanagh performing in Broadway Off Broadway 2025 Photo by Harry LochertLast year an ensemble of emerging artists joined the cast for the finale, in celebration of “the remarkable talent that is nurtured in Adelaide’s youth theatre” (Glam Adelaide). Director, Producer and Lead Vocalist **Emma Kavanagh** says she is passionate about supporting the next generation of artists: *“I am thrilled to be showcasing a group of talented emerging artists in the show again this year, including some of Adelaide’s even younger up and coming singers. We can’t wait to introduce them to you!”* Emma says Broadway Off-Broadway brings Broadway down under, featuring iconic musical theatre hits from *Phantom of the Opera* to *Wicked*: *“Adelaide’s Musical Theatre professionals are ready to give world-class performances fit for the Broadway stage! It’s not often you have these talented performers in the same room (or on the same stage!), so you don’t want to miss this all-star lineup! Audiences can expect powerhouse vocals, lush harmonies, captivating dance, a spectacular live band, and plenty of Broadway pizzazz.”* ![The Scoop Broadway Off-Broadway Emma Kavanagh Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Flyer-2026-copy-1200x566.jpg "Broadway Off-Broadway Emma Kavanagh Adelaide Fringe • The Scoop")Broadway Off Broadway returns to the 2026 Adelaide Fringe after a sold out premiere seasonAfter touring across Europe and Australia, and singing on internationally broadcast TV, Emma Kavanagh is home and she has gathered another line-up of other accomplished South Australian artists to join her onstage. The cast includes Lead Vocalists **Madison Green** (*Cats, Charlie and the Chocolate Factory*, current Australasian touring cast of *Wicked*), **Josh Spiniello** (*Jesus Christ Superstar, Back to the Future*) and **Jason Bensen** (*Cosi Fan Tutte, Alcina*). Completing the cast are dancers **Maddie Apacible** (Disneyland Paris, Norwegian Cruise Lines) and **Jayden Prelc** (current Australasian touring cast of *Wicked*). **Broadway Off-Broadway runs at The Flamingo at Gluttony on 15, 21 and 22 March as part of 2026 Adelaide Fringe. Rymill Park Adelaide SA 5000.** Tickets: <https://adelaidefringe.com.au/fringetix/broadway-off-broadway-af2026> Socials: <https://www.facebook.com/BroadwayOffBroadway> Socials: <https://www.instagram.com/broadwayoffbroadway/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Harry Lochert Created in partnership with Broadway Off-Broadway. For more information about our partnerships, visit [here](https://thescoop.au/partner-with-the-scoop/). **Categories:** News --- ### [Announcing Cast For Ned Kelly The Musical](https://thescoop.au/announcing-cast-for-ned-kelly-the-musical/) **Published:** February 26, 2026 **Author:** Newsroom **Content:** ![The Scoop Reg Livermores Ned Kelly The Musical Victorian Opera Ballarat](https://thescoop.au/wp-content/uploads/2026/02/VO2026-Reg-Livermores-Ned-Kelly-The-Musical-Key-Art-1080-x-720-1-942x628.jpg "Reg Livermores Ned Kelly The Musical Victorian Opera Ballarat • The Scoop")**Victorian Opera** has announced the cast for its upcoming revival of an iconic work of Australian theatre: Reg Livermore’s ***Ned Kelly: The Musical***. Audiences can experience this exclusive, limited-run season across two performances only at **Her Majesty’s Theatre, Ballarat**, on **Saturday 28 March 2026**. Following its original seasons in Adelaide and Sydney in the late 1970s, this landmark musical **returns to the stage for the first time in 48 years**, featuring a stellar cast of Australian musical-theatre greats. Ned Kelly’s name is etched into Australian folklore. The infamous bushranger, his gang, and that unmistakable suit of armour continue to ignite a national debate. Was he a champion of the underdog or a cold-blooded criminal? Victorian Opera’s Artistic Director **Stuart Maunder** (*Follies*, *The Pirates of Penzance*, *La Rondine*) breathes fresh life into the work as director. He is joined by conductor **Simon Holt** (*Cats*, *Sweeney Todd*, *Sunset Boulevard*), who has contributed additional music and newly orchestrated this revised version of the score. The creative team includes emerging designer **Harry Gill**, recipient of the 2026 Truscott Prize, who will design both set and costumes. **Nicole Melloy** (*The Who’s Tommy*) joins as choreographer. **Gavan Swift** (*Follies*) as lighting designer and **Samuel Moxham** (*The Pirates of Penzance*) as sound designer. Fresh from *[Back to the Future: The Musical](https://thescoop.au/review-back-to-the-future-brings-gigawatt-energy-to-australia/)*, rising star **Ethan Jones** is Ned Kelly. He is joined by celebrated stage veterans **Maria Mercedes** (*Candide*) as Ma Kelly and **Robert Grubb** (*Sunset Boulevard*) as Superintendent Hare. As members of the Kelly Gang, **Jacob Steen** (*Follies*) appears as Joe Byrne, alongside **Darcy Wain** and **Luke London**, recently in Victorian Opera’s *The Pirates of Penzance*, as Steve Hart and Dan Kelly. **Chelsea Dawson** (*[Six](https://thescoop.au/review-six-the-musical-brings-queen-energy-in-spades/)*) performs as Ned’s sister Kate. **Rohan Campbell** (*[The Lord of the Rings – A Musical Tale](https://thescoop.au/review-lord-of-the-rings-a-musical-tale/)*) makes his Victorian Opera debut as Aaron Sherritt, the friend-turned-informant whose betrayal shaped the Kelly story. **Sally Bourne** (*[Sister Act](https://thescoop.au/review-sister-act-the-musical-is-fabulous-baby/)*) stars as publican Mrs Jones. **Kiran Rajasingam** (*The Pirates of Penzance*) appears as Judge Redmond Barry, who famously sentenced Kelly to death. Victorian Opera’s current and former Opera Prize winners join the supporting cast. They include **Douglas Kelly** as Sergeant Fitzpatrick and Edwin Living. **Rachael Joyce** as Ellen Sherritt. **Bailey Montgomerie** as Constable McIntyre, and **Alessia Pintabona** in the ensemble. The ensemble also features **Teddy Burgess, Declan Farr, Hanlon Innocent, Kristina McNamara,** and **Connor Sweeney.** In a special cameo by the legend himself, **Reg Livermore AO** (*Wicked*, *My Fair Lady*, *The Producers*) returns to the world he created, appearing as Mr Tarleton, the Bank Manager. On the season, **Livermore** notes: *“Victorian Opera’s production of Ned Kelly: The Musical this year is a labour of love for all concerned, as it surely was for those members of the original company when it premiered in Adelaide 48 years ago.* *The Ned Kelly saga has long fascinated me. When I first stumbled across the material in a bookshop during the early 1970s, I had been immediately convinced the startling narrative was ideal for a stage adaptation. Since I was appearing in one at the time, a musical was my projection.* *Now, I am excited once more. I’m hoping the work will take its place amongst the long list of worthy but neglected Australian musicals.”* Plan a weekend escape and experience a remarkable piece of Australian theatre history with Reg Livermore’s *Ned Kelly: The Musical*. Limited tickets remain. **Reg Livermore’s *Ned Kelly: The Musical* runs for two performances only on 28 March 2026. Her Majesty’s Theatre Ballarat.** **17 Lydiard Street South Ballarat Central Vic 3350.** Tickets are on sale [here](https://hermaj.com/events/reg-livermore-ned-kelly-the-musical-2026?token=40ee2f56afe659a2a167bc4434af960e7243c27a). Website: <https://www.victorianopera.com.au/production/reg-livermores-ned-kelly-the-musical/> Socials: <https://www.instagram.com/victorianopera/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. **Categories:** News --- ### [Caroline O'Connor To Perform In Star-Studded Showcase: Encore!](https://thescoop.au/caroline-oconnor-to-perform-in-star-studded-showcase-encore/) **Published:** February 26, 2026 **Author:** Newsroom **Content:** ![The Scoop Encore! Songs from the Musicals](https://thescoop.au/wp-content/uploads/2026/02/55113931867_aa04ba8e67_k-885x628.jpg "Encore! Songs from the Musicals • The Scoop")Musical theatre royalty **Caroline O’Connor** will perform in three **Melbourne**-only concerts ***Encore! Songs from the Musicals*** singing show-stopping hits, alongside an outstanding cast of Australian star performers and backed by **Orchestra Victoria**, at the **Regent Theatre** from **28-30 May 2026**. Audiences will revisit some of the most iconic musical moments from **Opera Australia**’s impressive catalogue of Musical Theatre productions, including *The Phantom of the Opera*, *My Fair Lady*, *South Pacific*, *West Side Story*, *Miss Saigon*, *Evita*, *Sunset Boulevard*, *A Little Night Music*, *Guys & Dolls* and more. The legendary Caroline O’Connor has thrilled audiences throughout her illustrious career, having originated roles on Broadway, the West End and beyond. With an impressive list of musicals to her name, she remains one of the most respected, admired and sought after triple threats in show business. Joining O’Connor are some of Opera Australia’s most acclaimed musical theatre performers, including leading ladies, **Abigail Adriano**, who made a powerful debut in *Miss Saigon*, following up her early acclaim with a sensational Australian premiere season of *[Hadestown](https://thescoop.au/review-hadestown-is-just-what-we-need-right-now/)*, and **Ashleigh Rubenach** renowned for her commanding stage presence, vocal power and sharp comic instinct, she swept audiences away across Australia and Asia in *Sunset Boulevard*. Also starring in *Encore!* is the award-winning **Nigel Huckle**, who thrilled audiences both as Chris in *Miss Saigon* and Tony in *West Wide Story*, along with two standout performers, rapidly rising talent **Jarrod Draper** and acclaimed baritone **Raphael Wong**, straight from a season of the epic Handa Opera on Sydney Harbour production of *The Phantom of the Opera*. Directed by Mark Sutcliffe and conducted by Vanessa Scammell, this landmark concert celebrates 70 years of great storytelling and music from Opera Australia featuring hit after hit from their impressive and ever-popular repertoire of world-renowned musicals. ***Encore! Songs from the Musicals*** **runs from 28 – 30 May 2026 at the Regent Theatre, Melbourne.** **191 Collins St, Melbourne Vic 3000**. Tickets are on sale [here](https://opera.org.au/productions/encore-melbourne/). Website: <https://opera.org.au/productions/encore-melbourne/> Socials: <https://www.instagram.com/operaaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. **Categories:** News --- ### [Announcing Brisbane Cast For MJ The Musical](https://thescoop.au/announcing-brisbane-cast-for-mj-the-musical/) **Published:** February 26, 2026 **Author:** Newsroom **Content:** ![The Scoop MJ The Musical Melbourne](https://thescoop.au/wp-content/uploads/2025/05/MJ-The-Musical_Sydney-Lyric_credit_Daniel-Boud_383-Si-941x628.jpg "MJ The Musical Melbourne • The Scoop")With all performances now on sale and anticipation building for its Brisbane premiere, Australian producer **Michael Cassel**, alongside original Broadway producers **Lia Vollack**, **John Branca** and **John McClain**, is thrilled to announce that Broadway sensation **Ilario Grant** will lead the Brisbane season of the Olivier and Tony Award**®**-winning **MJ THE MUSICAL,** following his celebrated run in Melbourne. Grant will be joined by Brisbane’s own **Liam Damons**, who returns home to open the season playing the role of Michael in his teenage years, marking a special homecoming for the rising performer. Damons, who made his professional debut with **MJ** andis currently reprising the role in Melbourne, will share the stage with one of Australia’s most electrifying companies. The Brisbane adult cast is completed by original Broadway company member, **Oyoyo Joi** as Michael Jackson’s mother, Katherine Jackson/Kate; **Conlon Bonner** playing the dual roles of Tito Jackson and Quincy Jones; **J. Daughtry** playing Michael’s father, Joseph, and his tour director, Rob; **Yashith Fernando** as Alejandro; **Wonza Johnson** as Berry Gordy and Nick; **Tim Wright** as Dave; and *Home and Away* star **Penny McNamee** making her highly anticipated return to the stage as MTV journalist, Rachel. The adult cast also features **Ceeko, Albanus Terry Strickland II, Luther Brooks IV, Sage Lee, Beth Appiah Cain, Shewit Belay, Martha Berhane, Eric Boyd, Charlie Bryant, Liam Costello, Tevin Daniel, Xavier Gibson, Kalisha Johnson, G Madison IV, Loredo Malcolm, David L. Murray Jr, Sebaga Neumann, Coby Njoroge, Warren Nolan Jr, Fletcher O’Leary, Brittany Page, Dustin Praylow, Tigist Strode**, **Iris Wei**, and **Tavio Wright**. ![The Scoop MJ The Musical Melbourne Ilario Grant](https://thescoop.au/wp-content/uploads/2025/09/MJ-The-Musical_Illario-Grant_credit_Daniel-Boud_703_HEBE-copy-941x628.jpg "MJ The Musical Melbourne Ilario Grant • The Scoop")Ilario Grant as MJ Photo by Daniel BoudAustralian producer **Michael Cassel** said: *“Ilario has been extraordinary in this role. I’m delighted that Brisbane audiences will now experience the depth and brilliance he brings to MJ. It’s also incredibly special for Liam Damons to open the season in his hometown of Brisbane, bringing Michael’s teenage years to life. Together, this exceptional company will have Brisbane audiences on their feet night after night.”* **Ilario Grant** said: *“My time in Australia with MJ has been amazing. I feel so grateful to continue this journey in Brisbane. The audiences here have been so welcoming. I’m really looking forward to meeting Brisbane locals, exploring the city, and sharing this show with a whole new audience.”* **Liam Damons** said: *“Returning home to Brisbane with MJ is incredibly special. This city shaped me as a performer, and to share this role here, in front of a hometown audience, means everything.”* Set in 1992, **MJ** offers a behind-the-scenes look at the creation of Michael Jackson’s iconic *Dangerous World Tour*. The production goes far beyond the signature moves and global hits, inviting audiences in to share in the creative mind and collaborative spirit that catapulted Michael Jackson into legendary status. It’s all brought to life through the lens of an MTV journalist granted rare rehearsal-room access. From the mind of two-time Pulitzer Prize winning **Lynn Nottage** (*Ruined, Sweat*), **MJ** explores intimate moments from the complex history of Jackson’s life as he attempts to align the *Dangerous World Tour* to his creative genius. Seen by over 5 million people worldwide, **MJ** was nominated for 10 Tony Awards. It won for Best Choreography for the show’s creator, Artistic Associate of The Royal Ballet **Christopher Wheeldon OBE** (*An American in Paris*) and Best Actor in a Musical for the show’s original Broadway star, **Myles Frost**. **MJ** also received three Olivier Award nominations, with Christopher Wheeldon OBE taking home the award for Best Theatre Choreography. ![The Scoop MJ The Musical Melbourne Ilario Grant](https://thescoop.au/wp-content/uploads/2025/09/MJ-The-Musical-Illario-Grant_credit_Daniel-Boud_800_HEBE-copy-941x628.jpg "MJ The Musical Melbourne Ilario Grant • The Scoop")MJ the Musical opens in Brisbane on 27 March at QPAC Photo by Daniel BoudFeaturing more than 25 of Michael Jackson’s greatest hits – including *Beat It, Smooth Criminal, Man in The Mirror* and *Thriller* –**MJ** has captured the hearts and imaginations of packed houses around the world. Australian fans have gone wild for **MJ,** describing it as “the most incredible thing I’ve seen in my life” and “mind-blowing.” The internationally renowned creative team for **MJ** also includes Scenic Design by Tony Award and two-time Emmy Award winner **Derek McLane** (*Moulin Rouge! The Musical*) and Lighting Design by six-time Tony Award winner **Natasha Katz** (*Once*). Costume Design is by Tony, Emmy, and most recently Academy Award winner **Paul Tazewell** (*Hamilton, Wicked*). Sound Design is by Tony Award and Olivier Award winning **Gareth Owen** (*Come From Away*). Projection Design is by two-time Tony Award nominee **Peter Nigrini** (*Dear Evan Hansen*). Hair & Wig Design is by two-time Emmy Award nominee **Charles LaPointe** (*The Color Purple*). Make-up Design is by **Joe Dulude II**. Musical Supervision is by Tony Award nominee **David Holcenberg** (*Matilda*), and the Orchestrations and Arrangements are by **David Holcenberg** and Tony Award winner **Jason Michael Webb** (*The Color Purple*). Casting Director for the Australian Production is **Lauren Wiley** with Additional Casting by The Telsey Office (**Rachel Hoffman**, CSA & **Lindsay Levine**, CSA). ***MJ the Musical* opens in Brisbane on 27 March at the Lyric Theatre, QPAC. It then runs in Perth from 7 June 2026.** Tickets: <https://qpac.com.au/whats-on/2026/mj-the-musical> Website: <https://mjthemusical.com.au/> Socials: <https://www.instagram.com/mjthemusicalau/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/#MJ) Photo credits: Daniel Boud **Categories:** News --- ### [Review: Evil Dead Brings Bloody Good Fun To Sydney](https://thescoop.au/review-evil-dead-brings-bloody-good-fun-to-sydney/) **Published:** February 25, 2026 **Author:** Ronson Blake **Content:** ★★★½ ![The Scoop EVIL DEAD the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/02/EVIL-DEAD-Group-Shot-photo-credit-Peter-Stoopjpg-942x628.jpg "EVIL DEAD the Musical Sydney • The Scoop")Bloody hell! It’s *Evil Dead The Musical!* Twenty-three years after premiering in a small Toronto club, *Evil Dead the Musical* has found its way to Australia and to the intimate, culty confines of the Seymour Centre’s Reginald Theatre. Mashing the two 1980s films made by legendary horror auteur Sam Raimi, it emphasises their campy, comedic elements rather than outright horror. And blood – *lots* of blood. The story is pretty basic and has become something of a modern horror trope. Five college kids drive to a dilapidated cabin in the woods for a weekend. In the cellar, the friends find the *Necronomicon ex Mortis* – a Book of the Dead – and a tape-recorded translation from a ‘Professor Knowby.’ Do they play it? Of course they play it, and very unfortunately, manage to summon the evil dead. One at a time, they’re possessed, leaving only Ash, a 12-gauge and a chainsaw. Directed with wit and verve by Daniel Stoddart, this production sets a cracking pace. It plays up the absurdities of the splatter/horror genre – isolated cabin, supernatural events, victims walking into danger, and generally making very dumb decisions. There are beheadings, behandings, and an awful amount of stage blood. More on that later. Book and lyrics are by George Reinblatt, who also composed the music in collaboration with friends Frank Cipolla**,** Melissa Morris and Christopher Bond. The show is much in the style of *Rocky Horror* and *Little Shop of Horrors,* and has a rough and ready appeal about it. But the choices look deliberate, leaning into the cheap campiness of the films. Production values are nevertheless very solid. Jason Bovaird’s lighting is thrillingly effective, as is sound design from Jacob Harwood. The live band under Mark Bradley is tight. ![The Scoop EVIL DEAD the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/02/EVIL-DEAD-car-scene-photo-credit-Peter-Stoopjpg-942x628.jpg "EVIL DEAD the Musical Sydney • The Scoop")This production sets a cracking pace and plays up the absurdities of the splatter horror genre Photo by Peter StoopEric Luchen’s set, a, well…cabin in the woods, provides ample space for the big, choreographed numbers. Luchen has plenty of fun with the props, which at one point have a joyous excursion into *The Sorcerer’s Apprentice* territory. In fact, there are tongue-in-cheek film and stage references everywhere, including a literal Chekhov’s (shot)gun that doesn’t remain wall-mounted for long. Pivotal to the success of the films was Bruce Campbell’s portrayal of Ash, and here Harley Dasey does likewise, bringing great timing, physicality, a lovely tenor voice and Campbell’s signature facial expressions to the party. He’s simply terrific. As Linda, Ash’s girlfriend, Elaina Bianchi has great chemistry with Dasey, and their vocal harmonising is a highlight. Jake Ameduri plays Scott with a Californian stoner accent that wavered occasionally, but it’s all part of the fun. (Less fun is the script’s insistence on having him repeat variations of “dumb bitch,” which came close to being the most genuinely violent thing in the production.) However, Ameduri’s dancing, especially in the number *What the F\*@k Was That?* with Dasey, is killer – in a good way. Grace Alston has the somewhat thankless task of playing Scott’s one-dimensional ditz pick-up Shelly, but really shines in the second half as archaeologist Annie, Knowby’s daughter. ![The Scoop EVIL DEAD the Musical Sydney](https://thescoop.au/wp-content/uploads/2026/02/EVIL-DEAD-Out-of-Order-photo-credit-Peter-Stoopjpg-942x628.jpg "EVIL DEAD the Musical Sydney • The Scoop")There are beheadings behandings and an awful amount of stage blood Photo by Peter StoopEmma Wilby is a force of (un)nature as Cheryl. Oliver Clisdell, as the dominated Ed, finds the spotlight and shows us his grooves and moves. The song *Good Old Reliable Jake* gives Harrison Riley (as Jake) a chance to display his beautiful tenor. Renata Beslik’s costumes pay homage to the films, and her prosthetics garner plenty of laughs. The choreography from Lochlan Erard is sharp and witty. The cast gives it everything in ensemble numbers like the thrilling *Do the Necronomicon*. If you’re not already familiar with *Evil Dead* lore, definitely watch the first two films because appreciating this musical’s cleverness is predicated on some background knowledge. Now…the first two rows are designated the “splatter zone” – for good reason, I can attest. Plastic ponchos are supplied at interval, though they won’t stop everything, as the traumatised look on one couple’s blood-soaked faces clearly suggested. *Evil Dead The Musical* brings some strong musical numbers, a talented cast of young actors, and a whole lot of blood. It isn’t deep, but it is gloriously outrageous fun. ***Evil Dead The Musical* is presented by Stoddart Entertainment and runs to** **21 March at the Reginald Theatre, Seymour Centre. Corner City Road and Cleveland Street Chippendale NSW 2008.** It then runs in Melbourne from 26 March – 12 April at Chapel off Chapel. Tickets are available [here](https://evildeadmusical.com.au/#tickets). Website: <https://evildeadmusical.com.au/> Socials: <https://www.instagram.com/evildeadmusicalau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Peter Stoop **Categories:** Musical Theatre, Sydney --- ### [Film Review: Deaf Is A Scoreless Exploration Of Isolation & Love](https://thescoop.au/film-review-deaf-is-a-scoreless-exploration-of-isolation-love/) **Published:** February 25, 2026 **Author:** Daniel Harvey **Content:** ★★★★☆ ![The Scoop Sorda Deaf film Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Deaf_BrochHero_MinRes-1043x628.jpg "Sorda Deaf film Perth Festival • The Scoop")Premiering at the 2025 Berlin International Film Festival, *Sorda (Deaf)* won the Panorama Audience Award and has been widely praised for its authenticity and striking use of sound. Ángela, a deaf woman, is expecting a child with her hearing partner, Héctor. The baby’s arrival unsettles the fragile equilibrium of their lives, forcing Ángela to confront the quiet terror of raising a hearing daughter in a world already designed without her in mind. Eva Libertad approaches the story with restraint, letting us inhabit Ángela’s world rather than explaining it. With no traditional score, sound collapses into vibration, absence, texture. Miriam Garlo, a deaf actress and artist, delivers a remarkable performance as Ángela, grounded in physical presence rather than vocal expression. Her face, posture, and hands carry the narrative’s emotional architecture. She conveys fear, tenderness, frustration, and longing with minimal theatricality, making the character feel wholly real. Álvaro Cervantes as Héctor moves beside her as both companion and barrier. He loves her; this is never in doubt. Yet love cannot translate experience. He can step into rooms she cannot hear, speak to people she cannot reach, calm a child with a voice she will never possess. There are moments where he seems stranded, too, caught between worlds. ![The Scoop Deaf Sorda film Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-25-at-21152-pm-1116x628.png "Deaf Sorda film Perth Festival • The Scoop")With no traditional score the sound collapses into vibration absence and texture Image supplied‘I am outside of everything.’ To be in a world of sound, without it. A sensory exploration in the scoreless film, we hear all the noises of the world, prevalent and sounding through until we hear as she does, muffled drones and soft echoes of a seashell, sounds as vibrations, faces the only form of communication unless they can sign with their hands. Subtly touch is shown as meaning to Ángela, the water on her skin, skin to skin of Hector and Ona, their child. Her work of pottery making, hands moulding wet clay into beauty, the loud machine of the spinning pottery wheel silent to her. The sounds and feelings of sounds in nature, natural that Ángela is a part of, craving to be a part of, a natural person born a person who is missing sound in a world of sound. The natural world is safety, feelings, alone but the vibrations of the birds, that of the wind, drone of cicadas, the sun upon skin. When water is present it is amplified, the movement of it, the surge of waves, the coolness sleeking on skin, and safest of all, the crashing of the waterfall in her secluded lagoon. Childbirth exposes the deepest isolation. We find Ángela outside in the grass, arms clutching the branches of her tree, asking to stay here for the fear of the unknowing nurses and doctors whose faces become deaf beneath surgical masks, her birth unable to be explained, communicated to her. ![The Scoop Deaf Sorda film Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-25-at-21948-pm-1116x628.png "Deaf Sorda film Perth Festival • The Scoop")Miriam Garlo who is a deaf actress and artist delivers a remarkable performance as Ángela Image suppliedThe baby arrives and is a ‘hearing person’, and another barrier is created for Ángela. Between a deaf mother and a hearing baby. The baby, naturally, responds to noise and the mother silent, speaks with her hands. Jealousy of Hector, he can communicate to their child, yet she once again is on the outside of another thing in her life. The camera work takes us into the scene, makes us the third to the conversations, over the shoulder, side by side, a slight shake or wobble adding to the ‘I am there.’ Creating intimacy, realism, at times anxious and strung tension. These feelings are extrapolated, brought to life and realism by the two lead actors who sweep you into the confines of their personal relationship. Coupled with the superb writing of the dialogue, a blended weave of accentuated storytelling has been produced. Ángela is not simply a deaf woman struggling in a hearing world. She is a person perpetually positioned at the edge of belonging, reaching toward connection through touch, presence, and love. In that sense, the film speaks to a universal fear. Not of silence itself, but of being unheard. ***Deaf* runs from 4 – 8 March as part of Lotterywest Films and Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Tickets: <https://www.perthfestival.com.au/program/season-2026/deaf> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Deaf Director: Eva Libertad Cast: Miriam Garlo, Álvaro Cervantes, Elena Irureta, Joaquín Notario Country of Origin: Spain Duration: 99 mins Rating: M **Categories:** Film --- ### [Announcing Hair Musical For Sydney In June](https://thescoop.au/announcing-hair-musical-for-sydney-in-june/) **Published:** February 25, 2026 **Author:** Newsroom **Content:** ![The Scoop Hair the Musical Melbourne](https://thescoop.au/wp-content/uploads/2025/10/4-2025-cast-for-the-Australalian-production-of-HAIR-Photo-credit-Ben-Fon--941x628.jpg "Hair the Musical Melbourne • The Scoop")Following its acclaimed [Melbourne season](https://thescoop.au/review-hair-lets-the-sun-shine-in-melbourne-once-more/), the new production of **HAIR** will open at **Theatre Royal Sydney** from **6 June 2026** for a strictly limited season. The Grammy and Tony Award-winning American tribal love-rock musical, which first played in Sydney in 1969, returns to the city with its story of peace, freedom and rebellion for a new generation of audiences. When HAIR first exploded onto the Australian stage, it shocked and thrilled audiences capturing the nation’s attention and sparking debate on politics and censorship. It quickly becoming one of the most talked about productions of its era. Amid that turmoil, the production also helped launch the careers of some of the country’s most beloved performers. Artists such as Marcia Hines, Reg Livermore, John Waters, Lyndsay Field and Sylvie Paladino all appeared in early productions, cementing their places in Australian music and theatre history. Created by Gerome Ragni and James Rado (book and lyrics) and featuring an electrifying score by Galt MacDermot, it became an anthem for a generation, and included unforgettable hits such as *Aquarius*, *Good Morning Starshine, Let the Sunshine In*, I *Got Life* and the title track *HAIR –* songs that broke records, topped charts, and helped define the sound of the era. “The highlight of the show is the music. Filled with heart and soul, each song stands uniquely on its own yet fits perfectly together, much like the tribe’s cast of characters.” [The Scoop](https://thescoop.au/review-hair-lets-the-sun-shine-in-melbourne-once-more/) ![The Scoop Hair the Musical Melbourne](https://thescoop.au/wp-content/uploads/2025/10/3-2025-cast-for-the-Australalian-production-of-HAIR-Photo-credit-Ben-Fon--941x628.jpg "Hair the Musical Melbourne • The Scoop")Following its acclaimed Melbourne season the musical Hair arrives this June in Sydney Photo by Ben FonSet against the backdrop of a decade defined by social change and cultural revolution, the groundbreaking musical captures the 1960s counterculture spirit and its quest for peace, truth and freedom. It tells the story of free-spirited young hippies who advocate a lifestyle of pacifism and free love in a society riddled with intolerance and brutality. As they explore sexual identity, challenge racism, experiment with drugs and burn draft cards, the “tribe” not only create an irresistible message of hope and change. They also address timeless themes of alienation, civil disobedience, and youthful defiance. The story continues to resonate with audiences almost 60 years later. Director **Glenn Elston said**: *“I’ve always had a very personal connection to HAIR. It’s the soundtrack of my youth during a time really close to my heart. Revisiting it now, I’m reminded how fearless this show was back then and how much it still matters today. After an incredible season in Melbourne, I’m excited to bring it back to Sydney for those who know and love it. And introduce it to a whole new generation.* *HAIR is the anti-war musical that helped focus the world on the futility of the Vietnam war and gave a young generation (and their parents alike) a voice to protest against being sent to fight and die in this senseless war. I think we would all agree that voice is needed again right now.”* HAIR premiered off-Broadway in 1967 before transferring to Broadway the following year. It quickly became a global phenomenon – both for its soundtrack and for the way it challenged the boundaries of traditional musical theatre. Further details, including the full cast and creative team will be announced soon. ***Hair: The Tribal Love-Rock Musical* is presented by the Australian Shakespeare Company. It runs from 6 June 2026 for a limited season at the Theatre Royal Sydney. 108 King St, Sydney NSW 2000**. Tickets are on sale [here](https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/110/?tix-tr=HAIRWEB). Website: <https://www.hairthemusical.com.au/> Socials: <https://www.instagram.com/hairmusicalau/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Ben Fon Book and Lyrics by **Gerome Ragni and James Rado**. Music by **Galt MacDermot**. Directed by **Glenn Elston OAM**. Choreography by **Sue-Ellen Shook**. **Categories:** News --- ### [Review: Twenty Sixteen at Gluttony 2026 Adelaide Fringe](https://thescoop.au/review-twenty-sixteen-at-gluttony-2026-adelaide-fringe/) **Published:** February 25, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Twenty Sixteen Amplified House 2026 Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/TWENTYSIXTEEN-9-942x628.jpg "Twenty Sixteen Amplified House 2026 Adelaide Fringe • The Scoop")In 2016, it felt like the music died. David Bowie. Prince. George Michael. Leonard Cohen. Sharon Jones. Maurice White. Leon Russell. It was a year of cultural aftershocks. Add Brexit and the election of Donald Trump and the mood darkened further. Ten years on, *Twenty Sixteen* dares to step back into that year and ask: what did we lose, and what remains? From the creators of the hit live rockumentary *27 Club*, Amplified House return with a deep dive into a year that reshaped the soundtrack of our lives. If *27 Club* was about tragic youth, *Twenty Sixteen* is about legacy. And it hits just as hard. The show opens with Leonard Cohen’s *You Want It Darker*. It’s a bold choice. It sets the tone. This is not simply a jukebox concert. It is remembrance. Reflection. Led by a killer band. Eight pieces. Tight. Precise. Driven. Flik Freeman’s bass anchors everything with warmth and muscle. Nic Jeffries’ saxophone weaves through arrangements, before he later steps forward on vocals for a Leon Russell tribute that will delight music nerds who can’t fault a note. Front and centre is Kylie Auldist. Dressed in gold. Gold sneakers. Golden tonsils. Known as Australia’s Queen of Soul and frontwoman of The Bamboos, Auldist commands the stage with authority. Her tribute to Sharon Jones is electric. Her *This Land Is Your Land* lands with grit and heart. Then she delivers Cohen’s *Hallelujah*. It’s a song that has been covered so many times, you think you don’t need another version. Until you hear hers. ![The Scoop Twenty Sixteen Amplified House 2026 Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/TWENTYSIXTEEN-17-2-942x628.jpg "Twenty Sixteen Amplified House 2026 Adelaide Fringe • The Scoop")Twenty Sixteen is about legacy and it hits just as hard Photo by Julian Crupi Gemini fotoAuldist shares a story about 2016. She had tickets to see Prince. Her father was dying. She thought she could see Prince another time. Both her father and Prince passed away. She imagines them partying together in heaven. The Fantail tent goes still. That story gives *Hallelujah* new weight. Dusty Lee Stephensen, in a Bowie-red suit, channels chameleon energy. He is a human jukebox. Bowie. Cohen. Don Henley. You believe every one. He recalls taping ABC’s *Rage* onto VHS and discovering Bowie as a formative influence. By the end of the show, he is dancing through the crowd to *Let’s Dance*, fully embodying rock star abandon. Jaron Jay arrives in a sleeveless black vest and cosmic pants. Guitar slung low. Frontman confidence. He admits he never truly understood Prince until he realised Prince inspired the artists who inspired him, from Bruno Mars to modern pop royalty. When he launches into *Purple Rain*, the Fantail becomes a stadium. The show smartly threads personal stories between the songs. It gives context without becoming heavy. It honours grief without wallowing. And it ends with George Michael’s *Freedom*. The message is clear. The year may have felt like an ending. The music still gives hope. ![The Scoop Twenty Sixteen Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/TWENTYSIXTEEN-47-942x628.jpg "Twenty Sixteen Adelaide Fringe • The Scoop")The show threads personal stories between songs giving context without becoming heavy Photo by Julian Crupi Gemini fotoThere are inventive medleys that mash Bowie and Prince in ways that feel fresh. The band locks in as if they’ve been playing together for decades. For a brand-new show, it is remarkably cohesive. If there is a quibble, it’s this: the patter between songs is still finding its rhythm. Timing and phrasing will sharpen as the run continues. And the show is a true grab bag of genres. Fans of Leonard Cohen may not love Status Quo. But that is also the point. 2016 was sprawling. So is this setlist. Not every name here carries the headline mystique of Hendrix or Cobain from *27 Club*. But by the end of *Twenty Sixteen*, you suspect audiences will remember two new names: Dusty Lee Stephensen and Jaron Jay. They deserve to be household. Amelia Ryan and Zac Tyler’s Amplified House have built a reputation for polished, high-impact live productions. This one continues that streak. It is both celebration and catharsis. In 2016, the world darkened. Ten years later, these songs still shine. ***Twenty Sixteen* runs to 9 March at The Fantail at Gluttony as part of Adelaide Fringe. Rymill Park Adelaide SA 5000.** Tickets: <https://adelaidefringe.com.au/fringetix/twenty-sixteen-af2026> Website: <https://www.amplifiedhouse.com/> Socials: [https://www.instagram.com/twenty\_sixteen\_show/](https://www.instagram.com/twenty_sixteen_show/) and [https://www.instagram.com/amplified\_house/](https://www.instagram.com/amplified_house/) [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Photo credits: Julian Crupi, Gemini foto **Categories:** Adelaide, Concerts --- ### [Win Tickets To The Australian Premiere of The Prom!](https://thescoop.au/win-tickets-to-the-australian-premiere-of-the-prom/) **Published:** February 24, 2026 **Author:** Newsroom **Content:** ![The Scoop The Prom Musical Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/01/The-Prom-Musical-Sydney-1053x628.png "The Prom Musical Teatro at the Italian Forum Sydney • The Scoop")Rehearsals are well underway for the upcoming Tony-nominated Broadway smash-hit production, ***THE PROM***. This Drama Desk Award™ Winner for Best Musical is arriving in **Sydney** for its Australian premiere next month at the newly revitalised Teatro at the Italian Forum from **24 March 2026**. The Scoop is **giving away one double pass** **to see the show!** Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply like the post, give us a follow and comment ‘Scoop’ under the post. Prize date: **Wednesday 25 March 7pm**, Teatro at the Italian Forum Leading the stellar cast is Broadway and West End star Caroline O’Connor as Tony Award Winner Dee Dee Allen. Caroline has played lead roles on Broadway, the West End, France and across Australia. They include *Chicago, Anything Goes, 9 to 5 The Musical, West Side Story and Anastasia*, among many others. At the heart of this joyful musical are its young stars. [Sophie Montague](https://thescoop.au/sophies-time-to-shine-chat-with-a-sister-act-star/) *(Sister Act)* plays Emma, High School Student Banned from The Prom. Paige Fallu *(Hairspray)* plays Alyssa Greene, Head of Student Council with a Secret. The role of Broadway Chorine, Angie is played by Renae Corser née Berry *(Saturday Night Fever).* Brendan Monger *(Urinetown)* plays Drama Desk Award Winner Barry Glickman. Brad Green *(Bootmen)* plays Sheldon Saperstein, Broadway Press Agent with a Plan. Thern Reynolds (*Evita)* plays Esteemed Julliard Graduate / Cater Waiter, Trent. Joining this incredible line up are: Erin Bruce as Mrs Greene, President of the PTA, and Scott Irwin as Mr Hawkins, High School Principal (and Theatre Fan). Murray Cunynghame as Nick, Ewan Herdman as Kevin, Abbey McPherson as Shelby and Nina Hurley as Kayley. The ensemble comprises of: Isabella Colusso, Rafael Gill, Sophie Gulloch, Kye Hall, Clementine Jenkins, Bella McSporran, Brock Rankmore, Jack Ryan, Sophie Sutton, and Jasper Wind. ![The Scoop The Prom Cast Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/02/image002-628x628.jpg "The Prom Cast Teatro at the Italian Forum Sydney • The Scoop")Four eccentric Broadway stars are in desperate need of a new stage. So, when they hear that trouble is brewing around a small-town prom, they know that it’s time to put a spotlight on the issue…and themselves. The town’s parents want to keep the high school dance on the straight and narrow. But when one student just wants to bring her girlfriend to prom, the entire town has a date with destiny. On a mission to transform lives, Broadway’s brassiest join forces with a courageous girl and the town’s citizens and the result is love that brings them all together. Everyone deserves a chance to celebrate! ***THE PROM*** made its world premiere at the Alliance Theatre in Atlanta, Georgia in August 2016 before it moved to Broadway and enjoyed a successful and critically acclaimed run. The musical was nominated for seven Tony Awards in 2019, including Best Musical, Best Book, and Best Original Score. It won the Drama Desk Award for Outstanding Musical and received multiple Drama Desk and Outer Critics Circle nominations. With direction by Teatro Co-Founder **Andrew Bevis** and co-direction and choreography by Teatro Co-Founder **Nathan M. Wright** and musical direction by **Bev Kennedy, *THE PROM*** features a book by Tony Award® winner Bob Martin (*Elf, The Drowsy Chaperone*) and Tony Award® nominee Chad Beguelin (*Aladdin*). Music is by Tony Award® nominee Matthew Sklar (*Elf the Musical*) and lyrics by Tony Award® nominee Chad Beguelin. ***THE PROM* makes its Australian premiere on 24 March at Teatro at the Italian Forum. Norton Street Leichhardt NSW 2040.** Tickets are [on sale](https://teatroitalianforum.com.au/date/the-prom/) now! Website: <http://www.teatroitalianforum.com.au/> Socials: <https://www.instagram.com/teatroitalianforum/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Suzanne Gately **Categories:** competition, News --- ### [Review: Time Goes By at Woodville 2026 Adelaide Fringe](https://thescoop.au/review-time-goes-by-at-woodville-2026-adelaide-fringe/) **Published:** February 23, 2026 **Author:** James Murphy **Content:** ★★★★☆ ![The Scoop Time Goes By 2026 Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/000019-929x628.jpg "Time Goes By 2026 Adelaide Fringe • The Scoop")There is something comforting about a grandfather clock on stage. It promises structure. Rhythm. Time behaving itself. In *Time Goes By*, that promise lasts all of five minutes. The show opens in a smoky Chicago music hall of the Jazz Age. Costumes shimmer. Shoulders roll. The music swings. A large grandfather clock stands to the left of the stage, ticking quietly as dancers glide through a world of flappers and brass. Then Tyler War, the sole male dancer in the ensemble, steps forward. He removes the clock face. And just like that, time collapses. The dancers are sucked into a vortex that propels them across more than 80 years of music, fashion and movement in a brisk 60-minute sprint. It is an ambitious concept. It is also an exhausting one, for both the cast and the costume rack. From World War II-era ballrooms and Bing Crosby’s *White Christmas*, through Elvis hip swivels and Beatles mania, into disco, pop princesses and boy band glory, the decades blur past in rapid succession. Irene Cara gives way to Michael Jackson. Shania Twain swings into Britney Spears. N’SYNC slides into Lewis Capaldi. That is a lot of costume changes. ![The Scoop Time Goes By 2026 Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/F7019CF8-43E9-4143-97B7-E0122CCB8A14_1_105_c-929x628.jpeg "Time Goes By 2026 Adelaide Fringe • The Scoop")Time Goes By is a feel good dance concert with a narrative spine It is also a testament to the discipline of this young cast that the quick shifts never feel chaotic. Audio segments are cleverly produced to define each era. Short live vocal moments, delivered by dancer Mia, give the rest of the ensemble precious seconds to change. It is a smart structural choice. It keeps the energy high while solving a practical problem. By the time the cast reaches the COVID years, dancing in pyjamas and face masks to Lewis Capaldi, sweat is visible. Breath is heavy. And the audience is with them. Tara Beyne, the Adelaide-born independent creator behind the production, is clearly a choreographer with vision. Trained through Global Dance Pro, Transit Dance and The Platform UK, she understands stage pictures. She understands momentum. Most importantly, she understands nostalgia. The audience sings along. They clap on cue. They lean forward when the next era is teased. This is a feel-good dance concert with a narrative spine. It does not linger long in any one decade, but that is part of the appeal. It is a sampler platter of pop culture memory. The cast is uniformly strong. Mia Ferraretto’s vocal interludes add texture. Each dancer commits fully to the character of the decade they inhabit. There is no ironic distance. Only enthusiasm. ![The Scoop Time Goes By 2026 Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Main-Image-1-929x628.jpg "Time Goes By 2026 Adelaide Fringe • The Scoop")The show succeeds because it understands its audienceThere is, however, room to grow. With a larger budget or expanded cast, the time-travel motif could be pushed further. Screens and projection could enhance the vortex effect. More dynamic lighting shifts might heighten the sense of eras colliding. An additional male dancer would particularly strengthen boy band numbers like N’SYNC, where symmetry matters. These are not flaws. They are growth opportunities. The show succeeds because it understands its audience. It understands that memory is movement. That a chorus from your teenage years can transport you faster than any special effect. That watching dancers collapse joyfully into a ‘90s pop routine will always feel communal. *Time Goes By* is polished. It is energetic. It is nostalgic without being saccharine. And when that clock face comes off, you are more than happy to let time unravel. ***Time Goes By* runs to 8 March at the Murree Smith Hall at Woodville Town Hall as part of the 2026 Adelaide Fringe.** **74/76 Woodville Road Woodville South SA 5011.** The Sunday 1 March performance is sold out with tickets on Sunday 8 March selling fast. Tickets: <https://adelaidefringe.com.au/fringetix/time-goes-by-af2026> Socials: <https://www.instagram.com/timegoesbyshow/> [Read more of our Adelaide Fringe Reviews!](https://thescoop.au/?s=adelaide+fringe) Images supplied. **Categories:** Adelaide, Dance --- ### [Crescendo By Lianne Mackessy Takes Home Top Prize At Tropfest](https://thescoop.au/crescendo-by-lianne-mackessy-takes-home-top-prize-at-tropfest/) **Published:** February 23, 2026 **Author:** Newsroom **Content:** ![The Scoop TROPFEST 2026 Liane Mackessy Crescendo](https://thescoop.au/wp-content/uploads/2026/02/TROPFEST-2026-Image-by-Scott-Ehler-2026-47-942x628.jpg "TROPFEST 2026 Liane Mackessy Crescendo • The Scoop")**Lianne Mackessy** (Sydney, NSW) has been crowned the winner of **Tropfest 2026** for her film ***Crescendo***, following a weekend of industry events and celebrations, culminating in the main showcase at **Centennial Park, Sydney** last night. The international jury featured actors **Sarah Snook** and **Taron Egerton**; directors **Danny Philippou** and **Dylan River**; and producer **Bruna Papandrea**, all led by Jury President **Margot Robbie**. They were joined by filmmaker **James Cameron**, who participated as a virtual judge. Together, the panel described ***Crescendo*** as “absolutely pitch perfect.” Accepting the $50,000 award in person to a roaring audience of more than 35,000 people **Mackessy** said: *“I’m so grateful to John Polson, the Tropfest team and all the sponsors. Without them, we couldn’t have connected with audiences the way we have.”* Taking home second prize was **Jasper Sharpe** (Melbourne, VIC) for his film ***We Don’t Take Breaks***. In third place was **Nicky Tyndale-Biscoe** (Melbourne, VIC) for her film ***Silent Night.*** Made possible by the newly established **CommBank Tropfest Emerging Filmmakers Fund**, the first, second and third prize winners received **$50,000**, **$30,000** and **$20,000** respectively. The top three get Sony camera packages worth approximately $10,000 each, and all 16 finalists received premium technology bundles from Google. ![The Scoop TROPFEST 2026 Liane Mackessy Crescendo](https://thescoop.au/wp-content/uploads/2026/02/TROPFEST-2026-Image-by-Scott-Ehler-2026-206-941x628.jpg "TROPFEST 2026 Liane Mackessy Crescendo • The Scoop")Jury President Margot Robbie at Tropfest Photo by Scott EhlerThe **NIDA Emerging Performer Award for Best Female Actress** went to **Laura Bunting** for her role in ***Crescendo***, and the **NIDA Emerging Performer Award for Best Male Actor** was presented to **Ben Keller** for his performance in ***We Don’t Take Breaks***. Both awards were presented on stage by fellow NIDA graduates **Sarah Snook** and **Essie Davis**. The inaugural **Chery Creative Acceleration Award** was presented to **Georgina Haig**, Director of ***No Thank You***, recognising their bold ambition, forward-thinking innovation and outstanding creative excellence. Celebrating storytellers who are pushing boundaries and driving the industry forward, this award spotlights talent on the rise. As part of the honour, the recipient didn’t just take home the title – they will be driving away with a brand-new Chery Tiggo 7 Super Hybrid valued at $34,990, the ultimate symbol of momentum, progress and the road ahead. **Best Cinematography**, presented by **Sony** was awarded to **Josh Flavell** for his work on ***Project Hourglass****.* **Flavell** received a complete Sony camera and lens package valued at almost $20,000. Taking home the new **Pandora Women’s Brilliance** award created to recognise a woman in film whose vision, voice, and creative impact truly shine. This award celebrates the women shaping the stories of tomorrow and was awarded to **Nicky Tyndale-Biscoe** – writer, director and producer of ***Silent Night***. As part of this recognition, the recipient is gifted a Pandora Infinite lab grown diamond jewellery set. The recipient will also be invited to collaborate with Pandora on a bespoke piece of content. The winner of the iconic **Tropicana Award** went to **Sean Bayles** for **The End.** ![The Scoop TROPFEST 2026 Liane Mackessy Crescendo](https://thescoop.au/wp-content/uploads/2026/02/Tropfest-20206-1st-prize-winner-Crescendo-1044x628.png "TROPFEST 2026 Liane Mackessy Crescendo • The Scoop")Still from the 2026 Tropfest winner Crescendo by Lianne MackessyTwo of the night’s sixteen finalists have been chosen as the inaugural recipients of **Tropfest Runways** Powered by the **Motion Picture Association**. **Benjamin Mathews** (***Project Hourglass***) and **Lianne Mackessy** (***Crescendo***) will be flown straight to LA after the festival for G’Day USA on 26 February and a week-long industry immersion hosted by MPA member studios. Voting is now open for the **CommBank Tropfest 2026 People’s Choice Award** – watch the films and cast your vote [here](https://www.tropfest.com/peoples-choice-award). Since relaunch, the Tropfest YouTube channel has had 164.8M video views, added 120K subscribers and achieved a watch time of 2.8M hours. Last night’s event was live streamed on YouTube globally and is now available on [Tropfest’s official YouTube channel](https://www.youtube.com/tropfest) for FREE in full, to watch at home. It was also announced that **Trop Jr** is returning in 2026, bigger, bolder and built for the next generation of Australian storytellers. Designed for budding filmmakers and creators aged 15 and under, Trop Jr gives kids – from all around Australia – a real platform to imagine, experiment and tell stories that matter. Powered by the **Australian Children’s Television Foundation** ([ACTF](https://actf.com.au/)), Trop Jr is a national creative program that runs throughout the school year. It supports students, teachers and families through virtual masterclasses, teacher guides and step-by-step learning resources to support young people to create an amazing short film. And in an exciting new initiative to further enhance opportunities for emerging filmmakers, the **Chery Filmmaker Challenge** was launched. The short-form filmmaker challenge invites creators to produce a 45-second film inspired by the spirit of, “For The Road Ahead.” The winner’s film will be integrated into Chery’s official marketing activity and receive $10,000. The competition is now open and runs until **Tuesday 31 March**. For more information, visit <https://www.tropfest.com/chery-filmmaker-challenge>. ![The Scoop TROPFEST 2026 Liane Mackessy Crescendo](https://thescoop.au/wp-content/uploads/2026/02/image002-3-1200x439.jpg "TROPFEST 2026 Liane Mackessy Crescendo • The Scoop")The 2026 event marked Tropfest’s official transition to a not-for-profit Foundation, dedicated to nurturing emerging creative talent. The Foundation is guided by a board of cultural leaders including **Sarah Murdoch** (Chair), **Bryan Brown**, **John Polson**, **Peter V’landys** and **Richard Weinberg**. Tropfest 2026 would not be possible without the incredible support and passion of partners including **CommBank**, **YouTube**, **Qantas**, **Nine Entertainment**, **Chery Motor Australia**, **Greater Sydney Parklands**, **NSW Government**, **Destination NSW**, **Screen NSW**, **NIDA**, **Sony**, **Pandora**, **Scape, JCDecaux**, **Fraser Suites Sydney**, **Holding Redlich**, **Lumina** and **NixCo**. **Tropfest was held at Centennial Park, Sydney on Sunday 22 February, 2026.** The event has now concluded. Website: <http://www.tropfest.com/> Socials: <https://www.instagram.com/tropfest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Scott Ehler Tropfest is proudly supported by the NSW Government through its tourism and events agency, Destination NSW, and Screen NSW. **Categories:** News --- ### [Announcing Shaggy To Jump Aboard Sting's The Last Ship](https://thescoop.au/announcing-shaggy-to-jump-aboard-stings-the-last-ship/) **Published:** February 23, 2026 **Author:** Newsroom **Content:** ![The Scoop Shaggy Sting The Last Ship QPAC](https://thescoop.au/wp-content/uploads/2026/02/Sting-Shaggy-in-Amsterdam-backstage-20260118_LastShip_Premiere-photo-by-Samuel-van-Leeuwen-942x628.jpg "Shaggy Sting The Last Ship QPAC • The Scoop")**Queensland Performing Arts Centre** (**QPAC**) has today announced that **Shaggy –** international reggae icon, longtime friend and frequent [Sting](https://thescoop.au/announcing-sting-to-perform-in-his-musical-the-last-ship-exclusive-to-qpac/) collaborator – will join the cast of ***The Last Ship***. The musical will run exclusively in Brisbane’s new **Glasshouse Theatre** from **9 April to 3 May 2026**. **Orville Richard Burrell CD**, professionally known as Shaggy, rose from New York City’s dancehall scene to become the only diamond-selling artist in the genre’s history. After serving in the U.S. Marines, he broke through with *Oh Carolina* and global hits like *Boombastic* and *It Wasn’t Me*. A two-time Grammy Award winner with over 40 million albums sold, Shaggy remains among the top three most-streamed reggae artists worldwide. His new album, *Lottery*, will be released in May via a partnership with VP Records and Shaggy’s Ranch Entertainment. He will appear in *The Last Ship* in the role of the Wallsend Ferryman alongside 48 artists, musicians, and choristers. **Shaggy** said he was looking forward to performing in Queensland: *“I’m honoured to join Sting onstage in Brisbane and am especially grateful to help bring a story so personal to him to life.”* QPAC Chief Executive **Rachel Healy** said Shaggy’s addition to *The Last Ship* was a boon for the Australian-exclusive season in Brisbane: *“Sting and Shaggy have collaborated for years. From their Grammy Award‑winning album 44/876 to extensive international touring. But global audiences have never seen them step into character roles side by side.* *To witness two close friends bring Sting’s own story to life is a rare and unmissable experience. We’re thrilled that Queensland’s new Glasshouse Theatre will host the only Australian season of this remarkable creative partnership.”* ![The Scoop The Last Ship The Musical Sting Glasshouse Theatre QPAC](https://thescoop.au/wp-content/uploads/2026/01/TLS-MainImage-Low-Res-1022x628.jpg "The Last Ship The Musical Sting Glasshouse Theatre QPAC • The Scoop")Sting will perform in The Last Ship musical which arrives exclusively to QPAC in April Queensland Minister for the Arts **John-Paul Langbroek** said the production – led by two music icons – would boost Queensland’s reputation as a global arts and cultural destination: *“We’re excited for The Last Ship to dock in Brisbane this April, bringing world-class and chart-topping talent to our shores. This stellar production will be among the first to premiere in our new Glasshouse Theatre. A contemporary 1,500-seat venue designed to attract acclaimed artists and shows from Australia and around the world alongside our local artists and arts companies.* *Hosting The Last Ship’s exclusive Australian season will lure thousands of people to our State capital and inject more than $11 million into our economy. It will grow our capacity for major arts events in the lead up to the 2032 Brisbane Olympic and Paralympic Games.”* Inspired by Sting’s childhood in Wallsend in the United Kingdom, and drawing on his own musical roots, *The Last Ship* tells the piercing story of a community facing the disappearance of their shipyard – the heart of their existence. Sting takes on the leading role of Jackie White, the shipyard’s foreman, in this very personal show. It immerses the audience in a hometown he was desperate to escape, a world where love, loss, and hope intertwine. *The Last Ship* is written and composed by Sting. It will be presented for the first time in the southern hemisphere in QPAC’s Glasshouse Theatre in 2026 for a strictly limited season. The original Broadway production of *The Last Ship* was nominated for two Tony Awards: Best Original Score and Best Orchestrations. ***The Last Ship* forms part of the Glasshouse Theatre’s opening program. It runs from 9 April to 3 May 2026.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/thelastship26> Website: <https://www.qpac.com.au/whats-on/2026/the-last-ship> Socials: <https://www.instagram.com/atqpac/> Read our 2026m Musical Theatre Show Guide! Hero image photo by Samuel van Leeuwen *The Last Ship* is supported by Strategic Partner the Queensland Government through Tourism and Events Queensland. It is also supported by Event Partner the Commonwealth Bank of Australia. *The Last Ship* is a Karl Sydow Production. Music and lyrics are by Sting. New book is by Barney Norris and Lorne Campbell. Based on the original book by John Logan and Brian Yorkey. **Categories:** News --- ### [Review: Amplified Brings Chrissy Amphlett Back With Leather, Lace & Voltage](https://thescoop.au/review-amplified-brings-chrissy-amphlett-back-with-leather-lace-voltage/) **Published:** January 31, 2026 **Author:** Benjamin Webb **Content:** ![The Scoop Amplified Belvoir St Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/01/Amplified-byJadeEllis-lowres-04622-942x628.jpg "Amplified Belvoir St Theatre Sydney • The Scoop")Who is Chrissy Amphlett? No, really, who the f\*\*k is Chrissy Amphlett? After seeing *Amplified* at Belvoir St Theatre, I’m beginning to get an idea. Chrissy Amphlett was one of those artists who didn’t just perform her songs but became them. The opening night crowd of people my Dad’s age crackled with energy, charging the room before the first chord was even struck. Then, as soon as the band entered the stage, they erupted. This wasn’t nostalgia. It wasn’t tribute karaoke. It felt like a time bomb ticking away, the spirit of Chrissy – all lace, leather, snarl and startling vulnerability – was about to be plugged back in. Written and performed by Sheridan Harbridge, and co-created with director Sarah Goodes and musical director Glenn Moorhouse, *Amplified* was commissioned and developed by the University of Melbourne Arts and Culture (UMAC) with support from Geelong Arts Centre. Running a tight 80 minutes, the show blends cabaret, biography and concert, charting Amphlett’s meteoric rise from pub stages to global success with the Divinyls. It’s less a cradle-to-grave retelling and more a live-wire immersion into her artistry – the woman who fronted a band through blokey crowds and made sexuality, rage and fragility inseparable. Harbridge fronts a four-piece band, weaving anthemic hits with stories drawn from interviews, collaborators and fans. We hear about the myth, the mischief, the magnetism – and the cost. ![The Scoop Amplified Belvoir St Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/01/Amplified-byJadeEllis-lowres-03999-942x628.jpg "Amplified Belvoir St Theatre Sydney • The Scoop")Amplified is a show that blends cabaret biography and concert Photo by Jade EillisRather than impersonating Chrissy, Harbridge channels her, letting the music do the heavy lifting. The result is a portrait not only of an icon, but of a generation learning how to take up space loudly, learning about the revolution she started will be… amplified. From the opening number, the show surges with muscular sound and unapologetic attitude. You leave buzzing – not in a neat, sentimental way, but with the messy exhilaration that only rock can deliver. The audience oscillates between reverent silence and full-throated recognition. Harbridge is extraordinary. As writer, co-creator and performer, she carries the evening with ferocity and wit. Vocally, she doesn’t mimic Amphlett’s rasp so much as find her own edge within it – gritty, elastic, emotionally exposed. There’s humour here too, and a sharp intelligence underpinning the storytelling. Under Sarah Goodes’ direction (also co-creator), the piece is almost an act of summoning rather than imitation, honouring the fact that no one could BE Chrissy – only reach for the spell she cast. ![The Scoop Amplified Belvoir St Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/01/Amplified-byJadeEllis-lowres-04245-942x628.jpg "Amplified Belvoir St Theatre Sydney • The Scoop")From the opening number the show surges with muscular sound and unapologetic attitude Photo by Jade EllisMusical director and co-creator Glenn Moorhouse anchors the show from the guitar, joined by musicians Ben Cripps, Dave Hatch and Clarabell Limonta, forming a tight, responsive ensemble that feels both polished and gloriously raw. The sound design by Michael Waters ensures every lyric lands with clarity while still feeling like a pub gig turned up to eleven. Visually, Michael Hankin’s set and costume design captures the grit and glamour of Amphlett’s world – a true playground for performance. Paul Jackson’s lighting design bathes the theatre in saturated rock hues and intimate cabaret shadows, shifting seamlessly between concert and confession. Ultimately, *Amplified* is not about canonising a legend; it’s about reigniting her charge. It reminds us who Chrissy Amphlett is and why she mattered. Not just because she was provocative, but because she was precise, intelligent and emotionally fearless. Sheridan Harbridge and this formidable creative team have crafted a blistering, big-hearted rock odyssey that roars. If you have ever belted a Divinyls chorus, if you have ever felt too loud or too much, come witness Australian theatre go full throttle and plug in. ***Amplified: The Exquisite Rock & Rage of Chrissy Amphlett* is presented by Belvoir St Theatre runs to 8 Feb. Upstairs Theatre, Belvoir St Theatre, Surry Hills NSW 2010.** Tickets: <https://my.belvoir.com.au/overview/14644> Website: <https://belvoir.com.au/productions/amplified/> Socials: <https://www.instagram.com/belvoirst/> and [https://www.instagram.com/amplified.show.live/](https://www.instagram.com/amplified.show.live/?g=5) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Jade Ellis 2026 Tour Dates: Ballarat 11 February, Her Majesty’s Theatre Geelong 12 – 13 February, Geelong Arts Centre Melbourne 19 – 22 March, Comedy Theatre Sydney 15 – 25 April, Seymour Centre **Categories:** Sydney, Theatre --- ### [Review: ...Earnest? at Gluttony 2026 Adelaide Fringe](https://thescoop.au/review-earnest-at-gluttony-2026-adelaide-fringe/) **Published:** February 22, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop Earnest? Say It Again, Sorry? Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Earnest_02_Mark_Senior-958x628.jpg "Earnest? Say It Again, Sorry? Adelaide Fringe • The Scoop")Oscar Wilde would have adored this chaos. Mistaken identity. Double lives. Social pretension. Air and graces. Wilde’s *The Importance of Being Earnest* has always been about performance. About whom we pretend to be. About the masks we wear to survive polite society. So it feels deliciously inevitable that Say It Again, Sorry?’s smash Edinburgh hit …*Earnest?* turns the audience into the cast. Direct from a sold-out Edinburgh Fringe run, this interactive Australian premiere at Adelaide Fringe begins as a “traditional” production. The set is in place. The tone is suitably Victorian. Everything appears on track. Then Earnest doesn’t show up. The first ten minutes can feel messy. Slow. Slightly chaotic. That’s by design. This is the hook being baited. The actor playing Earnest fails to arrive on cue. Panic sets in. The “director” storms on stage. The audience senses what is coming. We are not watching Wilde. We are about to become Wilde. The recasting is not a simple grab-the-first-hand-raised exercise. There is interrogation. Testing. A sly audition process. Who will be good value? Who has the inner performer itching to burst out? ![The Scoop Earnest? Say It Again, Sorry? Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Earnest_05_Mark_Senior-942x628.jpg "Earnest? Say It Again, Sorry? Adelaide Fringe • The Scoop")The smash hit Edinburgh Fringe comedy Earnest turns the audience into the cast Photo by Mark SeniorAt last night’s show, an extroverted lawyer was enlisted as Earnest. He attempted to climb on stage barefoot and had to be instructed, mid-chaos, to put his sandals back on for Occupational Health and Safety reasons. Already, Wilde’s world of polite façades was cracking. A strapping six-foot-three Scotsman out-auditioned a bald youth worker for the role of Cecily. The youth worker was later resurrected to paint. A bearded travel writer donned a purple gown. A purple-haired pianist emerged as an unexpected star. They all took bows at the end. And they deserved them. Director and co-writer Simon Paris describes the show as an experiment in joyful chaos. For fans of *The Play That Goes Wrong* and *Noises Off*, the pleasure lies in watching a production teeter on collapse. Here, the stakes feel even higher. The performers on stage have not rehearsed. The improvisation is genuine. The laughter is earned. It would be easy for a show like this to rely on one repeated gag. “Look, the audience are bad actors.” But …*Earnest?* avoids that trap. Care is taken to distribute the spotlight. Even those holding placards or stepping in for a single line feel momentarily heroic. The humour is generous. Never cruel. And beneath the anarchy lies something sharper. Wilde’s original play skewers ego, performance and the absurdity of social posturing. In this version, those themes gain fresh resonance. We watch ordinary audience members transform under lights. We see hidden talent. We see nerves. We see vanity. We see vulnerability. ![The Scoop Earnest? Say It Again, Sorry? Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/Earnest_03_Mark_Senior-942x628.jpg "Earnest? Say It Again, Sorry? Adelaide Fringe • The Scoop")By the final bows the audience have become complicit in the madness Photo by Mark SeniorThe show quietly suggests that the people beside us in the audience carry rich inner lives. The lawyer. The youth worker. The pianist. The traveller. Each holds a performer waiting to be invited. It is theatre about theatre. About the creative industries. About the thrill and terror of stepping forward. About how fragile and thrilling live art can be. By the final bows, the line between cast and audience has dissolved. We have all been complicit in the madness. As late-night Fringe fare, *…Earnest?* feels destined for cult status. Like *Shitfaced Shakespeare*, it is a show that rewards the slightly tipsy crowd. The kind who have staggered in from Champagne Island, hoping to be chosen. The only quibble? The opening stretch could tighten by a minute or two. The chaos sometimes lingers just long enough for the energy to wobble before it finds its rhythm. But once the machine clicks, it roars. This is Wilde reimagined for an era obsessed with participation. It honours the text while gleefully dismantling its formalities. And it reminds us of something simple. Everyone wants to be Earnest. Sometimes we just need someone to call us on stage. ***…Earnest?* is presented by Say It Again, Sorry? and runs until 22 March at The Peacock, Gluttony, as part of the 2026 Adelaide Fringe. Rymill Park** **Adelaide SA 5000.** Tickets: <https://adelaidefringe.com.au/fringetix/earnest-af2026> Website: <https://www.earnestshow.co.uk/> and <https://sayitagainsorry.com/> Socials: <https://www.instagram.com/sayitagainsorry> and <https://www.instagram.com/earnestshowaus/> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Photo credits: Mark Senior **Categories:** Adelaide, Theatre --- ### [Review: The Shamrocks at Gluttony 2026 Adelaide Fringe](https://thescoop.au/review-the-shamrocks-at-gluttony-2026-adelaide-fringe/) **Published:** February 22, 2026 **Author:** James Murphy **Content:** ★★★★★ ![The Scoop The Shamrocks 2026 Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/The_Shamrocks_06-942x628.jpeg "The Shamrocks 2026 Adelaide Fringe • The Scoop")On the giant screen behind the stage sits an Irish pub frozen in time. Beer taps gleam. Whisky bottles line wooden shelves. Half-filled glasses perch on kegs at the corners of the stage. To the far left, what looks like an archer’s quiver hangs beside a fiddle, but instead of arrows it is packed with flutes and whistles, ready for battle. For ninety minutes, Gluttony’s air-conditioned tent disappears. In its place: a cold winter’s day in Belfast. The warmth comes not from heaters, but from five voices raised in harmony, hands clapping in rhythm, and the unmistakable lift of Irish cheer. The Shamrocks arrive in Adelaide with serious credentials. Double Emmy® Award-winners. Over 100 million video views. Performances in more than 30 countries. Founded in 2018 by West End *Les Misérables* star Raymond Walsh, the Belfast-born group celebrate cross-community Northern Irish heritage while reimagining the Irish songbook for global stages And that’s exactly what this show does. It takes songs that can drift comfortably into background noise in suburban pubs on St Patrick’s Day and elevates them into mainstage anthems. Black Velvet Band. Whiskey in the Jar. The Wild Rover. ![The Scoop The Shamrocks at Gluttony 2026 Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/The_Shamrocks_04-837x628.jpeg "The Shamrocks at Gluttony 2026 Adelaide Fringe • The Scoop")The Shamrocks arrive in Adelaide for Fringe with serious credentials These are not pub standards tossed out casually. They are arranged with five-part harmonies that weave into a rich, powerful tapestry. The blend is tight. The balance is pristine. Crescendos swell with operatic force. When the group leans into a chorus, the tent lifts with them. The audience becomes part of the engine. Clapping along. Singing refrains. Stamping feet. It is immersive in the most traditional sense; the Irish pub as democratic theatre. The political undercurrent is subtle but present. Walsh speaks of Northern Ireland’s journey. Catholic and Protestant performers share the stage as living proof of reconciliation. Yet this is not a lecture. The pub is a sanctuary. Protestants and Catholics sing together. Australians join in. For a while, individual politics are replaced by shared rhythm. There are Australian nods too. *Waltzing Matilda.* *Bound for South Australia*. In a modern climate where such songs can carry complex histories, the show resists heavy analysis. There is no room for debate in the pub tonight. Just camaraderie. Not every ballad makes the cut. There is no *Fields of Athenry*. *No Danny Boy*. *No Carrickfergus*. The emphasis is squarely on the rollicking. That is both a strength and a limitation. A few deeper, mournful numbers might have expanded the emotional range. That said, when *The Parting Glass* arrives, the tent quiets. Voices soften. For a moment, the craic gives way to collective stillness. ![The Scoop The Shamrocks at Gluttony 2026 Adelaide Fringe](https://thescoop.au/wp-content/uploads/2026/02/The_Shamrocks_01-942x628.jpg "The Shamrocks at Gluttony 2026 Adelaide Fringe • The Scoop")The Shamrocks do what the best Irish music always does and gathers strangers into temporary community A highlight comes in the Bodhrán battle. Two performers remain on stage, driving rhythm against rhythm while the singers disappear for a cheeky onstage drink. It is playful. It is precise. It reminds us that virtuosity can be joyful. The screen behind them is underused. The static pub image does its job, but there is room to push the visual storytelling further. Still, truthfully, your eyes rarely wander. The performers command attention. As annual Fringe favourites in the making, The Shamrocks could lean even harder into audience participation. A cheeky onstage Splitting the G challenge. A competitive sing-off between sections. Fringe rewards risk and spontaneity. The foundations are already there. But even without those additions, this is an expertly crafted night out. The Shamrocks do what the best Irish music always does. They gather strangers into temporary community. They turn nostalgia into something muscular and immediate. For ninety minutes, the Adelaide Parklands become Belfast. And everyone leaves warmer than they arrived. **The Shamrocks are performing at The Virago in Gluttony until 22 March as part of 2026 Adelaide Fringe.** Tickets: <https://adelaidefringe.com.au/fringetix/the-shamrocks-af2026> Website: [https://theshamrock](https://theshamrocks.ie/)[s.ie/](https://theshamrocks.ie/) Socials: <https://www.instagram.com/theshamrocksofficial> [Read more of our Adelaide Fringe Reviews](https://thescoop.au/?s=adelaide+fringe) Images supplied. **Categories:** Adelaide, Concerts --- ### [Film Review: Killer Whale Revisits Jaws With An Orca Twist](https://thescoop.au/film-review-killer-whale-revisits-jaws-with-an-orca-twist/) **Published:** February 22, 2026 **Author:** Alex Thompson **Content:** ★★★☆☆ ![The Scoop Killer Whale film Jaggi Entertainment](https://thescoop.au/wp-content/uploads/2026/02/KW_Stills_188-scaled-e1771724839447-1112x628.jpg "Killer Whale film Jaggi Entertainment • The Scoop")We’ve known since *Jaws* that isolating people in open water with a large sea predator is a reliable way to churn up tension, so how about a killer whale? The orca has already breached once before in the 1977 film *Orca*, so this isn’t uncharted territory. What *Killer Whale* attempts instead is to shift the current slightly, framing the animal not simply as a monster of the deep, but as a long-isolated captive abruptly dumped into a remote atoll after a fatal incident at a water park. There’s an ethical undertow here about captivity and displacement. The script gestures toward it, but never quite sails fully into those waters. There is a stronger story somewhere beneath the surface. Directed by Jo-Anne Brechin, who co-wrote the screenplay with Katharine McPhee, the film feels shaped by its production realities. Produced by Jaggi Entertainment alongside Head Gear Films and Metrol Technology, set in Thailand and shot in Queensland, much of it is anchored to contained environments, tanks, tight rock formations, and limited stretches of open sea. ![The Scoop Killer Whale film Jaggi Entertainment](https://thescoop.au/wp-content/uploads/2026/02/KW_Stills_287-scaled-e1771725352179-1200x597.jpg "Killer Whale film Jaggi Entertainment • The Scoop")The film frames the animal not simply as a monster but as a long isolated captive abruptly dumped into an atollThe production sometimes feels designed around what could be practically achieved rather than expansively imagined. That said, cinematographer Shing-Fung Cheung makes effective use of isolation, even if a few early editing choices leave the narrative drifting slightly off course. The whale itself is one of the film’s sturdier vessels. Created by Formation Effects with 3D sculptor John Chen, ‘Ceto’ the whale has weight and presence in several key moments. The CGI doesn’t always glide seamlessly, but it holds together well enough to sustain tension, and the creature rarely becomes distracting. Performance-wise, Virginia Gardner as Maddie and Mel Jarnson as Trish Stevens do what they can within the confines of the script. Gardner carries much of the screen time and keeps the emotional arc coherent, while Jarnson provides a counterbalance in the more frantic sequences. The material occasionally leaves them stranded more than it supports them. ![The Scoop Killer Whale film Jaggi Entertainment](https://thescoop.au/wp-content/uploads/2026/02/KW_Stills_171-scaled-e1771725908809-1003x628.jpg "Killer Whale film Jaggi Entertainment • The Scoop")By the final act the film sails into more familiar survival territory Where the film slightly runs aground is in its set-ups that never quite reach shore. Maddie’s hearing aids are repeatedly foregrounded, particularly when the whale is near. It feels like a deliberate build-up to a clever third-act payoff, something uniquely tied to her character and survival. Instead, that thread drifts away. It’s a missed opportunity to let character and strategy meaningfully intersect. By the final act, the film sails into more familiar survival territory. The resolution is serviceable but not especially groundbreaking, particularly given the moral currents running beneath the surface. Still, *Killer Whale* is seaworthy enough for a streaming-night voyage. While it doesn’t chart new territory, it delivers tension in pockets, competent craft, and a creature that mostly convinces. It’s not a legendary catch, but it’s not something to throw back in the water either. ***Killer Whale* is available now to rent on major streaming platforms including Apple TV, Prime Video, Foxtel Store, YouTube, Google TV, Fetch and Sky NZ.** Website: <https://www.jaggientertainment.com/killer-whale> Website: <https://rialtodistribution.com/film/killer-whale/> Socials: [https://www.instagram.com/Jaggi\_Entertainment/](https://www.instagram.com/Jaggi_Entertainment/) and <https://www.instagram.com/rialtodistributionau/> [Back to our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer: **Film details:** Title: Killer Whale Director: Jo-Anne Brechin Cast: Virginia Gardner, Mel Jarnson, Mitchell Hope Country of Origin: Australia Duration: 89 mins Rating: MA 15+ **Categories:** Film --- ### [Review: Haribo Kimchi 2026 Perth Festival](https://thescoop.au/review-haribo-kimchi-2026-perth-festival/) **Published:** February 19, 2026 **Author:** Greta Rule **Content:** ![The Scoop Haribo Kimchi Bea Borgers](https://thescoop.au/wp-content/uploads/2026/02/Haribo-Kimchi_cr-Bea-Borgers-5-942x628.jpg "Haribo Kimchi Bea Borgers • The Scoop")Jaha Koo invites us into the story of his ‘home’ in a work that blends poetic, vulnerable storytelling with striking visuals and sound media. *Haribo Kimchi* is a hilarious, intimate and mouth-watering take on what it means to emigrate, assimilate and find solace in unfamiliar places. Presented as part of Perth Festival for a short season at Studio Underground at the State Theatre Centre in Northbridge, the show combines multimedia theatre with audience interaction and live cooking. Koo invites two willing audience members to dine at his onstage pojangmacha, a late-night snack bar common to the streets of South Korea, where he grew up. As the rest of us watch them eat freshly made, culturally significant dishes, Koo shares personal anecdotes of his childhood, South Korean culture, travel, and kimchi. The show is captivating, rich with electronic music, absurd videos, robotics, voiceovers and more, questioning the meanings of home and belonging. Koo’s use of physical and digital techniques is both intricate and playful. South Korean EDM pulses throughout the space as zoomed-in videos of peculiar subjects seem to dance along. ![The Scoop Perth Festival 2026](https://thescoop.au/wp-content/uploads/2025/10/HariboKimchi_BrochHero_MinRes-942x628.jpg "Perth Festival 2026 • The Scoop")At times the subtle aroma of the dishes fills the theatre Photo by Jaha Koo and Eunkyung JeongA singing snail and Haribo gummy bear appear as unexpected characters, pulled from stories of his past. English subtitles appear on a screen above the set as the storytelling shifts between Korean voiceover and Koo’s live narration. He cooks Kimchi pancakes, seaweed soup and somaek (soju and beer) and, at times, the subtle aroma of the dishes fills the theatre. Each of these unusual techniques contributes to very elaborate and detailed world-building. As Koo cooks, he shares personal anecdotes that are innately human and layered. Smells become a recurring motif. In his stories, they are a source of solace and comfort, but they are also triggers for isolation and racism. He demonstrates that when emigrating, people often cook the dishes they grew up eating to carry familiarity into unfamiliar places. Koo speaks to the physical and emotional strain of assimilating to a new culture; the way the weather, food and language create unnoticed tension that permanently reshapes you. Thus, upon returning home to South Korea after ten years abroad, Koo finds it unfamiliar. Home is no longer one fixed location. ‘Routes are more important than roots’ appears on the screen in a quietly profound moment, and ‘My home has no location.’ He emphasises the difference between ‘routes’ and ‘roots’ in shaping who you are and what home means to you. These sincere moments are balanced with moments of light-hearted humour, toying with our emotions. The audience can’t help but laugh at the absurdity of a glowing robotic eel wiggling across the stage. ![The Scoop Haribo Kimchi Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-19-at-104017-pm-964x628.png "Haribo Kimchi Perth Festival • The Scoop")The performance is simple yet profound and individual yet totally relatable Photo by Bea BorgersVisually, the show is striking. Vibrant colours, zoomed-in moving imagery, and strategic blocking make for a kind of satisfying asymmetry. Everything is carefully placed, yet natural. Despite the multimedia and heavy use of technology, the performance feels refined. It is simple, yet profound; individual, yet totally relatable. *Haribo Kimchi* is full of Koo’s charismatic personality. As someone who moved around a lot growing up, the overarching theme of the show deeply resonated with me. I imagine it would resonate with anyone who doesn’t have a clear, singular idea of ‘home.’ It is comforting in that way. For Jaha Koo, home isn’t a place but a journey and an accumulation of all the life-altering experiences and routes he chose to take. In *Haribo Kimchi*, we, as the audience, have the privilege of hearing his witty and poetic take on the story of his home, which challenges the notion that home is where you’re born or spend the better part of your life. For many, immigrants especially, this narrative fails to capture all parts of who they are. Koo invites us to believe that ‘home’ is something within us; it is all the parts of us that make us whole. ***Haribo Kimchi* runs to 22 February at Studio Underground, State Theatre Centre of WA as part of Perth Festival. 174/176 William Street Perth WA 6000.** Tickets: <https://www.perthfestival.com.au/program/season-2026/haribo-kimchi> Website: <https://gujaha.com/haribo-kimchi-2024> Socials: <https://www.instagram.com/perthfest/> and [https://www.instagram.com/jaha\_koo/](https://www.instagram.com/jaha_koo/) [Read more of Perth Festival Reviews](https://thescoop.au/?s=perth+festival) Hero image: Bea Borgers **Categories:** Perth, Theatre --- ### [Review: In These Shoes Glynis Traill-Nash Chapel Off Chapel](https://thescoop.au/review-in-these-shoes-glynis-traill-nash-chapel-off-chapel/) **Published:** February 21, 2026 **Author:** Liz Baldwin **Content:** ★★★☆☆ ![The Scoop In These Shoes Glynis Traill-Nash](https://thescoop.au/wp-content/uploads/2026/02/HiRes-Finished_60A9830-Edit-942x628.jpg "In These Shoes Glynis Traill-Nash • The Scoop")I went to the Melbourne Fashion Festival last night. Don’t worry, you’re still on the right review site. *In These Shoes* is a fashion cabaret show; part memoir, part commentary, part of the Festival’s 2026 program. The creator and star is Glynis Traill-Nash, a formidable fashion journalist. She was the Fashion Editor of The Australian for ten years and has written for a bevy of other publications: the Sunday Telegraph, In Style, Grazia, The Sun-Herald, Harper’s Bazaar, and Marie Claire, to name a few. The popular stereotype of a writer is of a cloistered, mousy figure, most at home behind a laptop screen with an audience in the figurative only. Traill-Nash breaks the mould. Along with writing, her passion is singing jazz. Moonlighting as a singer, she performed in Sydney, Perth and London and took a one-woman jazz cabaret to the Edinburgh Fringe Festival in 1998. ![The Scoop In These Shoes Glynis Traill-Nash Melbourne](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-21-at-120053-pm-1069x628.png "In These Shoes Glynis Traill-Nash Melbourne • The Scoop")*In These Shoes* is a fashion cabaret show part memoir part commentary Image suppliedThis unlikely combination of talents served Traill-Nash well in putting together this hybrid show. *In These Shoes* is a cabaret-style show, which Traill-Nash initially developed in 2024. It has toured Australia’s fringe and cabaret festivals, before heading to the Edinburgh Fringe Festival in 2025. It combines narrative reflections on her own career, some songs, and, of course, this is a fashion show! No small number of costume changes (including an original gown by Tim Chappel, Costume Designer for *The Adventures of Priscilla, Queen of the Desert*). Traill-Nash’s evolution from front row to centre stage pays off, and she commands the stage. Her voice is strong, bringing life to an eclectic mix of songs that run the gamut from Rodgers and Hammerstein to Olivia Newton-John. The soliloquies are a bit more hit and miss. At times, her practised pat feels a little too glossy – another list of cities to which she’s jet set, or celebrity designers she’s had the pleasure of interviewing – skating over the surely delicious, gritty stories in each of these names. ![The Scoop In These Shoes Glynis Traill-Nash](https://thescoop.au/wp-content/uploads/2026/02/FRINGEWORLD25_JoeMammoliti_Vidimage.jpeg "In These Shoes Glynis Traill-Nash • The Scoop")Traill Nashs evolution from front row to centre stage pays off and she commands the stage Photo by Joe MammolitiThe most rewarding parts of the night are the glimpses of the more personal. The image of her ducking into a newsagent’s to wrap up a gift for a designer in leopard print paper and a giant red bow is striking (I won’t spoil the recipient!) or dealing with the phalangeal consequences of a seventeen-hour stint of stiletto wearing. Her commentary on social and fashion trends felt a little less fresh – relatable but familiar beats on the satirically well-trodden ground around activewear, the joys of pockets, and so on. If it’s been covered by a [*Reductress*](https://reductress.com/post/i-lived-it-no-one-said-they-liked-my-dress-so-i-couldnt-tell-them-it-has-pockets/) post, suffice to say it’s a take that’s hit the mainstream. Traill-Nash is ably accompanied on stage by Josh Haines, a Perth-based composer and performer. Haines is skilful on piano and a useful foil to Traill-Nash on stage. Ultimately, *In These Shoes* is a polished show from a charismatic and talented performer. I might have occasionally wished it had cut a little deeper, but there’s still plenty of sparkle here for fashion fans to love. ***In These Shoes* runs to 22 February at Chapel Off Chapel. 12 Little Chapel Street Prahran Vic 3181.** Tickets: <https://chapel.sales.ticketsearch.com/sales/salesevent/158709> Website: <https://chapeloffchapel.com.au/show/in-these-shoes/> Socials: <https://www.instagram.com/glynistn/> and <https://www.instagram.com/chapeloffchapel/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Hero image by John McRae. **Categories:** Circus, Melbourne, Theatre --- ### [Review: The Great Gatsby Jazz Ballet Odyssey Is A Triumph](https://thescoop.au/review-the-great-gatsby-jazz-ballet-odyssey-is-a-triumph/) **Published:** February 20, 2026 **Author:** Sophie Cornett **Content:** ★★★★★ ![The Scoop The Great Gatsby BIG Live](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-20-at-94402-pm-1132x628.png "The Great Gatsby BIG Live • The Scoop")*The Great Gatsby*, written by F. Scott Fitzgerald in 1925, is a classic piece of American literature. Its ever-relevant themes and opulent setting have seen it adapted for the stage and screen many times over the years. Now, BIG Live present their version, magnificently capturing the heart and soul of this timeless narrative in their ballet jazz odyssey. Set against the backdrop of 1920s New York City, *The Great Gatsby* reflects the sacrifices people are willing to make to cling to a life of luxury. Nick Carraway, acting as the narrative’s moral compass and narrator, mourns the loss of integrity, honesty and love in high society. For audiences already familiar with the story, you will be delighted by this fresh and exciting adaptation that truly honours the original novel. If the story is unknown to you, though, the program synopsis and elegant physical storytelling easily align audiences with the world and its nuanced relationships. Joel Burke, Co-Founder and Artistic Director of BIG Live, and choreographer for *The Great Gatsby*, has crafted a magnificent story. Every movement is filled with narrative purpose, from the dazzling jazz styles of the many parties to the more traditional balletic moments of intimate connection and reflection. Composers Jason Fernandez and Dominic Cabusi have crafted a glorious musical score, carrying audiences through every moment of tension, passion, joy and grief effortlessly. Combined with moments of voiceover from the narrator, the soundscape beautifully mirrors the visual storytelling on stage. From the moment the curtain rises, we see all the glitz and glamour of the world come to life. The set design by Ben Hambling impeccably combines stunning projections and physical set pieces. They are framed by a border of beautiful Art Deco motifs immediately reminiscent of the era. ![The Scoop The Great Gatsby A Jazz Ballet Odyssey BIG Live](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-20-at-94533-pm-1127x628.png "The Great Gatsby A Jazz Ballet Odyssey BIG Live • The Scoop")This fresh and exciting adaptation truly honours the original novel Image suppliedSteven May’s lighting design perfectly complements this, with different colours and hues reflecting every character and their emotional state within the setting. Sophia Drakos absolutely nailed the brief with the costume design. She captures the iconic flapper fashion style of the 1920s while allowing freedom and confidence of movement for the dancers. Ethan Mrmacovski portrays Nick Carraway, the observer and moral centre of the tale. How he is swept up in the glamorous lifestyle of the rich is embodied in the free and playful way he dances during the party scenes. But even through this, and in his moments of quiet reflection, there is an honesty and integrity that shines through his movement. Ervin Zagidullin takes on the eponymous role of Jay Gatsby and carries an incredible blend of confidence and emotional vulnerability throughout the performance. It is amazing to watch how his movements reflect his love for Daisy, particularly in their pas de deux in Act One. This contrasts perfectly with how he holds himself when commanding the attention of the room, tinged with the remnants of his scrappy rise to power. Abbey Hansen beautifully embodies the role of Daisy Buchanan, the New York City socialite at the centre of this tragic tale. Her desire to love truly and deeply is captured in her honest and emotive dancing, particularly when partnered with Gatsby. In the end, however, her need to retain her social status wins out, embodied in the polished and poised way she carries herself in her final scenes. ![The Scoop The Great Gatsby A Jazz Ballet Odyssey BIG Live](https://thescoop.au/wp-content/uploads/2026/02/Gatsby-3-e1771588725263-983x628.jpg "The Great Gatsby A Jazz Ballet Odyssey BIG Live • The Scoop")Mia Zanardo is delightful as Myrtle and her final moments on stage are incredibly poignant Image suppliedTom Buchanan, Daisy’s husband, is portrayed by Joel Burke, and he does so with incredible finesse and power. His arrogance and desperation to assert control over everything and everyone are perfectly embodied in the strength and sharpness of his dance style. Giselle Osborne wonderfully performs in the role of Jordan Baker, carrying herself with power and confidence through the new freedoms of the era. She acts as the perfect foil to Carraway; also an observer of the story but detached from the emotional consequences and willing to set these aside in favour of retaining her advantage. Mia Zanardo is delightfully feisty and fiery as Myrtle Wilson, Tom Buchanan’s mistress. Every moment of her performance is passionate, tainted with the desperate way she clings to any tiny morsel of power and luxury that comes her way. Her final moments on stage are incredibly poignant, leaving audiences reeling as she pays the ultimate price for the crimes and follies of those she so desperately wants to be. The performers are credited as both dancers and actors in the program, a title which I could not more heartily agree with. The ensemble is delightful to watch, filling every scene with life and enriching the story with their immaculate execution of the choreography. BIG Live’s adaptation of *The Great Gatsby* is masterful. The show grips audiences’ attention from the very first note and holds it tight with stunning visuals, an evocative score and emotive, narrative-driven choreography. I highly recommend taking the time to bask in all the glitz, glamour and glory of this new production. ***The Great Gatsby: A Jazz Ballet Oydssey* is presented by BIG Live and runs to 8 March at the Capitol Theatre Sydney. The full national tour schedule can be found at the website link below.** Get tickets [here](https://www.ticketmaster.com.au/the-great-gatsby-tickets/artist/1238471?venueId=155850). Website: <https://bigliveco.com/performances/the-great-gatsby/#schedule> Socials: <https://www.instagram.com/bigliveco/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Images supplied. **Categories:** Dance, Sydney --- ### [Review: Art Sees Herriman, Roxburgh & Schmitz Top Of Their Game](https://thescoop.au/review-art-sees-herriman-roxburgh-schmitz-top-of-their-game/) **Published:** February 20, 2026 **Author:** Ronson Blake **Content:** ★★★★☆ ![The Scoop Art the play Damon Herriman Toby Schmitz Richard Roxburgh](https://thescoop.au/wp-content/uploads/2026/02/Damon-Herriman-Toby-Schmitz-Richard-Roxburgh-942x628.jpg "Art the play Damon Herriman Toby Schmitz Richard Roxburgh • The Scoop")Premiering on the French stage in 1994, and then in London with Christopher Hampton’s 1996 English translation, Yasmina Reza’s play *Art* is now performed so frequently around the world that it’s almost never out of production. It’s easy to see why. Sharp, witty dialogue, a touch of cruelty, men fighting over an absurd, completely white painting that threatens a 20-year friendship. Rare, though, is a theatre performance that can sustain consistent, genuine laughs for its entirety. Under the sure control of director Lee Lewis, this production pulls it off. Rare, too, is watching three of our best actors at the top of their game having so much fun. This production of *Art*, though not without a quibble, is a cracker. Serge (Damon Herriman), a well-to-do dermatologist, has bought a painting for €160,000. It’s white, just white, maybe some white lines, “incredibly modern.” Serge has invited Marc (Richard Roxburgh) to view his purchase, expecting validation. But Marc, an intellectual, self-proclaimed outsider, detests it, seeing it as an egregious affront to values that he assumed Serge shared. The more Marc attacks, the more Serge defends his purchase, so Marc encourages a mutual friend, Yvan (Toby Schmitz), to view the painting. Yvan sells stationery, is about to be married, and is insecure. But he sees no problem with the painting if that is “what makes Serge happy.” Marc, not one to contemplate a middle ground, is contemptuous of this position and resolves to change it. One evening at Serge’s, the tension between the trio blows up deluxe. ![The Scoop Art the play Toby Schmitz Damon Herriman Richard Roxburgh](https://thescoop.au/wp-content/uploads/2026/02/Toby-Schmitz-Damon-Herriman-941x628.jpg "Art the play Toby Schmitz Damon Herriman Richard Roxburgh • The Scoop")It is a rare thing to watch three of our best actors at the top of their game having so much fun Photo by Brett BoardmanDespite the dissonance of a Parisian setting and talk of Euros, the play really doesn’t jar because there’s an element of the poseur, the wanker, in Serge that is instantly recognisable in an Australian context. As Serge, Herriman is all smooth vibes, with just the right amount of fragile superiority that quickly collapses into defensiveness. Roxburgh plays Marc, hands thrust into his pockets, pants hitched, chest puffed, as a study in frustration and roiling outrage with a sense of abandonment not far below the surface. Yvan is the relatable, emotional and anxious heart of the play. Schmitz nails it perfectly, all gangly awkward angles and panicky insecurity. He’s sympathetic without being doltish. There’s also palpable generosity between the actors, and they play off each other wonderfully. Their physical comedy is finely honed, and their timing is impeccable. And of course, the delicious irony of three friends playing three friends who fall out is not missed. Lewis has tight control of her actors and manages scene changes and transitions into and out of direct speech to the audience deftly. Her sharp woman’s eye on the way men interact is evident in the perceptive comedy of the olive-eating scene, and her pacing is sharp. ![The Scoop Art the play Toby Schmitz Damon Herriman Richard Roxburgh](https://thescoop.au/wp-content/uploads/2026/02/Toby-Schmitz-Richard-Roxburgh-942x628.jpg "Art the play Toby Schmitz Damon Herriman Richard Roxburgh • The Scoop")There is palpable generosity between the actors and they play off each other wonderfully Photo by Brett BoardmanThe headlong rush to the next joke, however, does mean we don’t always get time to engage with the implications of Reza’s ideas. The play is a mild commentary on art, highlighting the subjectivity of value and meaning, but its larger theme is the construction (and deconstruction) of friendship. Yvan’s therapist’s notes on Serge and Marc’s relationship are a case in point. They sound like pretentious gibberish, played for laughs, but there’s a kernel of truth in there about how we construct identity and interact within relationships, and what happens when our roles are challenged. Should we always be truthful? The irony is that having torn down the relationship through brutal honesty, Serge seeks to re-establish it with a lie. Is this okay, he asks the audience? Each technical aspect of this production is integrated beautifully. The clever set from Charles Davis evokes a modern apartment with classic lines, enabling it to double for all three apartments, individually defined by paintings on slide-out walls. Fashionable lighting (Paul Jackson) and complementary sound design and music (David Letch and Max Lambert) afford an ambience of sophistication and calm against which the turmoil plays out. Costumes (also from Davis) clearly delineate character, and the actors inhabit them like a second skin. Minor cavils aside, *Art* is a great night out. We pretty much know that men behave badly; they have trouble expressing themselves honestly; they can be cruel. But this play is never pitiless. Rather, it remains sympathetic to the humanity in each character. *Art* has a clear intent to have a bloody good time with a 30-year-old play performed many times. It succeeds brilliantly. ***Art* runs in Sydney to 8 March at the Roslyn Packer Theatre for a limited season.** **22 Hickson Road Walsh Bay NSW** **2000.** **See full dates below.** *Art* is presented by Rodney Rigby, Marriner Group, Paul Wheelton AM and State Theatre Company South Australia. Tickets: <https://arttheplay.com.au/tickets/sydney/> Website: <https://www.arttheplay.com.au/> Socials: <https://www.instagram.com/arttheplayau/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credit: Brett Boardman 2026 Australian Tour Dates: Sydney 10 February – 8 March, Roslyn Packer Theatre Brisbane 11 – 22 March, Playhouse QPAC Melbourne 22 April – 3 May, Comedy Theatre Adelaide 20 – 24 May, Her Majesty’s Theatre **Categories:** Sydney, Theatre --- ### [Review: Do Not Pass Go Is A Magnetic Clash Of Belief & Survival](https://thescoop.au/review-do-not-pass-go-is-a-magnetic-clash-of-belief-survival/) **Published:** February 20, 2026 **Author:** Alyssa Moller **Content:** ★★★★☆ ![The Scoop Do No Pass Go Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/02/Ella-Prince-and-Belinda-McClory-Photo-by-Pia-Johnson-copy-942x628.jpg "Do No Pass Go Melbourne Theatre Company • The Scoop")Go to work. Complete the work. Go home. Go back to work. Do Not Pass Go. *Do Not Pass Go*, presented by Melbourne Theatre Company, is an offbeat comedy that slowly descends into dramedy. Written by Jean Tong, it explores the cyclical nature of work, interrogating identity and our place in the bigger picture. When did our lives become about work? What happened to our lives outside of this? What’s the point? *Do Not Pass Go* is existential but never condescending. It instead asks these questions with us, reminding us that the structures that dictate our lives don’t have to, as much as they seem to. The play questions authority while exposing the quiet power of hierarchy. Rather than condemning corporate work as meaningless, it interrogates the structures that define it and how often we shape our lives around work, instead of the other way around. It’s not about the actual job, in the way a show like *Severance* is; the job itself is not necessarily the problem. *Do Not Pass Go* balances these ideas wonderfully between its two main characters, Penny and Flux, brilliantly portrayed by Belinda McClory and Ella Prince, respectively. ![The Scoop Do Not Pass Go Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/02/Ella-Prince-and-Belinda-McClory-Photo-by-Pia-Johnson-1-copy-942x628.jpg "Do Not Pass Go Melbourne Theatre Company • The Scoop")The play questions authority while exposing the quiet power of hierarchy Photo by Pia JohnsonMcClory as Penny is a strong-willed woman, at peace with the cards she’s been dealt. She understands questioning the system, but sees it as futile, because she’s never seen it work out successfully. Prince as Flux is optimistic about change and believes in their voice having power. However, they are slowly having that light dimmed as the pressures of life, work and identity come to weigh on them. McClory and Prince together are a powerhouse, a magnetic push and pull of ideas delivered through incredibly nuanced performances. Their characters feel refreshingly modern, expressed not just through their beliefs, but through their delivery of those beliefs. Never preachy, just honest and open. There’s a monologue Ella Prince delivers about shirts as the play comes to its conclusion, cleverly written and expertly executed. It’s a fabulous metaphor that condenses the play’s big ideas into something tangible, yet impossible to pin down. With all of this in mind, the show is also really funny. Tong’s writing is charming and witty, and as each character tries to understand the other, it sets up a real odd couple pairing that is endlessly endearing. The script allows the audience to alternate whose side they are on in each discussion Penny and Flux have, carving out personalities with refreshing contradictions. ![The Scoop Do No Pass Go Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/02/Belinda-McClory-and-Ella-Prince-Photo-by-Pia-Johnson-3-copy-942x628.jpg "Do No Pass Go Melbourne Theatre Company • The Scoop")McClory and Prince are a powerhouse and deliver incredibly nuanced performances Photo by Pia JohnsonKaty Maudlin’s direction balances these tonal shifts, allowing us to laugh at the absurdity of capitalism, but also allowing the emotional beats to stand on their own. This creates space for an ending that takes the characters outside of the play’s world for a moment and lets us sit in contemplation. Jacob Battista’s set design vividly establishes the world, creating a scene that feels instantly recognisable. Harrie Hogan’s lighting design pairs beautifully with the set. I loved the use of the practical fluorescent lights, beautifully moody and expressive, to create tension. There’s a powerful juxtaposition to this light at the end, a warm orange light from an open door that opposes the cold overhead lights, alluding to the world outside the characters’ four walls. *Do Not Pass Go* is a captivating dissection of capitalism, identity and the structures that confine our humanity. It’s funny and reflective and wants us to question the rules that we instinctively follow. ***Do Not Pass Go* is presented by Melbourne Theatre Company and runs to 28 March at The Lawler, Southbank Theatre.** **140 Southbank Boulevard Southbank Vic 3006.** Tickets: <https://tickets.mtc.com.au/production/19781> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/do-not-pass-go/> Socials: <https://www.instagram.com/melbtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Pia Johnson **Categories:** Melbourne, Theatre --- ### [Adelaide Festival Centre Reopens After Major Theatre Upgrades](https://thescoop.au/adelaide-festival-centre-reopens-after-major-theatre-upgrades/) **Published:** February 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Adelaide Festival Theatre](https://thescoop.au/wp-content/uploads/2026/02/Festival-Theatre-photographer-credit-Naomi-Jellicoe-104-copy-944x628.jpg "Adelaide Festival Theatre • The Scoop")The extensive redevelopment of Adelaide Festival Centre is now complete, with the new-look Centre unveiled by South Australian Minister for Arts the Hon. **Andrea Michaels** MP, Adelaide Festival Centre CEO **Kate Gould** and Adelaide Festival Centre Trust Chair the Hon. **Karlene Maywald** this week. Audiences will be able to experience the upgraded seating, foyers, staging and lighting on Friday 27 February with a new take on **Anton Chekhov**’s masterpiece *The Cherry Orchard* in Festival Theatre, *History of Violence* from revered German theatre director **Thomas Ostermeier** in Dunstan Playhouse and dynamic contemporary dance from China *Re-shaping Identity* in Space Theatre as part of Adelaide Festival. **Foyers will be open from Monday 23 February**, welcoming visitors to *From Mid-Century to Now: Selections from Adelaide Festival Centre’s Collections*, a free survey exhibition showcasing the Centre’s significant visual and performing arts heritage. **Dunstan Playhouse’s Riverdeck Café** will be open serving breakfast, lunch, coffee and pastries from 8am – 3pm daily. The ground floor of the Festival Theatre foyer has been renamed the **Ian** and **Pamela Wall** Foyer, recognising their significant contribution to the arts – including the milestone $10 million donation to Adelaide Festival Centre in 2025. **Foyer opening hours are 9am – 5pm daily**, as well as during performance times. Inspired by an art rebellion, Adelaide Festival Centre opens **Angry Penguin restaurant**. Executive Chef **Alex Katsman** delivers elevated dining, European technique and local ingredients — with a side of nostalgia. Angry Penguin will open to the public from Friday 27 February for lunch and dinner. [Bookings open now.](https://www.adelaidefestivalcentre.com.au/your-visit/eat-drink/angry-penguin) Designed by COX Architecture, redevelopment works across Adelaide Festival Centre commenced in June 2025, delivered by managing contractor Built. Managed jointly by the South Australian Department for Infrastructure and Transport, Department of the Premier and Cabinet and Adelaide Festival Centre, the project employed more than 200 construction workers at its peak. ![The Scoop Adelaide Festival Centre Dunstan Playhouse](https://thescoop.au/wp-content/uploads/2026/02/Dunstan-Playhouse-photographer-credit-Naomi-Jellicoe-18-copy-947x628.jpg "Adelaide Festival Centre Dunstan Playhouse • The Scoop")Adelaide Festival Centre Dunstan Playhouse Photo by Naomi JellicoeThe upgrades include: New auditorium seats in Festival Theatre, Dunstan Playhouse and Space Theatre New foyer and auditorium lighting in all three theatres New stage flooring in Dunstan Playhouse and Space Theatre Improved pedestrian access to Adelaide Festival Centre with a new lift and staircase New auditorium and foyer carpet in Dunstan Playhouse and Space Theatre New foyer furniture in Dunstan Playhouse and Space Theatre Refurbished Festival Theatre dressing room wet areas Upgraded Banquet Room, including new ceiling and paint South Australian Premier the Hon. **Peter Malinauskas** MP said: *“South Australia is proud to be the festival state, and this extensive redevelopment ensures that Adelaide Festival Centre will remain the Heart of the Arts in our state, continuing to foster local talent and attract world class productions for many years to come.”* **The Hon. Andrea Michaels MP**, South Australian Minister for Arts said: *“The Malinauskas Government is committed to cementing South Australia’s legacy as a world-class arts, cultural and creative capital for the future. This upgrade will ensure generations to come can enjoy the power of the arts.”* Adelaide Festival Centre CEO **Kate Gould** said: *“I am delighted to welcome back our audiences to experience the beloved Adelaide Festival Centre as we re-open with greater accessibility and comfort for both our patrons and our artists.”* Australia’s first capital city performing arts centre, Adelaide Festival Centre opened in 1973, and has showcased many big names across 53 years including: **Billy Crystal**, **Cate Blanchett**, **David Suchet**, **Ella Fitzgerald**, **Eric Clapton**, **Joanna Lumley**, **Joni Mitchell**, **Liza Minnelli**, **Nick Cave**, **Olivia Newton-John**, **Paul Kelly** and **Tim Minchin**. Patrons are invited to leave their mark on Australian theatre history with [personalised seat plaques](https://foundation.adelaidefestivalcentre.com.au/buy-a-seat) available to purchase for the refurbished seats in both Festival Theatre and Dunstan Playhouse. **The Festival Theatre foyer at Adelaide Festival Centre will be open from Monday 23 February at 9am. Located at King William Street Adelaide SA 5000.** Venue information can be found [here](https://www.adelaidefestivalcentre.com.au/your-visit/festival-theatre). Website: <https://www.adelaidefestivalcentre.com.au/> Socials: <https://www.instagram.com/adelaidefescent/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Festival Theatre, photo by Naomi Jellicoe **Categories:** News --- ### [Announcing The Great British Bake Off Musical For Australia](https://thescoop.au/announcing-the-great-british-bake-off-musical-for-australia/) **Published:** February 20, 2026 **Author:** Newsroom **Content:** ![The Scoop The Great British Bake Off Musical](https://thescoop.au/wp-content/uploads/2026/02/The-Great-British-Bake-Off-West-End-production-image-no-3-942x628.jpg "The Great British Bake Off Musical • The Scoop")A **brand-new musical** based on the beloved global television phenomenon ***The Great British Bake Off*** is heading to Australia, with its premiere production set to open in **Melbourne** in 2026 before touring to **Sydney** and **Brisbane**. Produced by **See You Sunday**, the company behind the sell-out Melbourne season of *[American Psycho – The Musical](https://thescoop.au/review-american-psycho-has-killer-tunes-and-bloody-good-fun/)*, the production promises a joyful, high-energy theatrical event inspired by the world’s most comforting competition. Producer **Mark Taylor** says the show feels like the perfect next step for the company following the sell-out season of *American Psycho – The Musical.* *“After American Psycho, we wanted to swing the pendulum in the most unexpected direction possible. This show is pure joy. It’s funny, heartfelt and unapologetically feel-good. And yes, expect a few soggy bottoms along the way.”* ***The Great British Bake Off Musical*** is a comedic and heartwarming celebration of baking, self-discovery, and the joy of community, served with a generous helping of British charm and comedic flair. This delightful show brings the beloved baking competition to life, blending the charm, humour, and heartwarming moments of the TV show with catchy tunes and recognisable characters. Whether you’re a fan of the show or simply love a good musical, this is a theatrical treat that promises to rise to the occasion. ![The Scoop The Great British Bake Off Musical](https://thescoop.au/wp-content/uploads/2026/02/The-Great-British-Bake-Off-West-End-production-image-837x628.jpg "The Great British Bake Off Musical • The Scoop")The Great British Bake Off Musical West End production Image suppliedFollow the journey of a group of contestants as they whisk, knead, and bake their way to glory, all under the watchful eyes of judges and hosts who have become household names. With a mix of original songs that capture the spirit of the Bake Off tent—from tense technical challenges to joyous showstoppers—the musical creates a vibrant and immersive experience. Expect a rollercoaster of emotions as friendships form, cakes collapse, and dreams come true. ***The Great British Bake Off Musical*** celebrates friendship, community, triumph, disaster and the sheer emotional stakes of baking under pressure. Expect big laughs, heartfelt moments, show-stopping numbers and lashings of buttercream. It premiered in London’s West End in 2023, where it was hailed by reviewers as “the epitome of feel-good fun” and “the perfect recipe for a good night out”. Further details including casting, creative team, venues and performance dates will be announced soon. Join the Waitlist now via bakeoffmusical.com to find out about exclusive updates, pre-sale offers and more delicious offers! ***The Great British Bake Off Musical* runs in Melbourne, Sydney and Brisbane in 2026. More details to come.** Waitlist for tickets [here](https://www.bakeoffmusical.com.au/)! Website: <https://www.bakeoffmusical.com.au/> Socials: <https://www.instagram.com/bakeoffmusicalaus/> [Read our 2026 Musical Theatre Show Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: West End production *The Great British Bake Off Musical*, supplied. **Categories:** News --- ### [The Scoop's New Star Rating System Explained](https://thescoop.au/the-scoops-new-star-rating-system-explained/) **Published:** February 19, 2026 **Author:** Newsroom **Content:** ![The Scoop The Scoop Star ratings](https://thescoop.au/wp-content/uploads/2026/02/ChatGPT-Image-Feb-18-2026-07_53_42-PM-942x628.png "The Scoop Star ratings • The Scoop")As The Scoop continues to grow within Australia’s arts landscape, we are introducing a formal star rating system across our reviews. Since our inception, our reviews have focused on thoughtful engagement, context and considered evaluation. As our readership and industry reach expand, we believe a clear rating framework provides greater clarity for audiences and producers alike. From now on, every review will display a star rating. --- ### What Our Star Ratings Mean 5 stars ★★★★★ **Exceptional. Artistically outstanding and deeply resonant** 4 stars ★★★★☆ **Highly recommended. Strong, assured work with clear impact** 3 stars ★★★☆☆ **Good and worthwhile. A solid production with clear strengths** 2 stars ★★☆☆☆ **Uneven. Promising elements, though significant issues limit overall impact** 1 star ★☆☆☆☆ **Not successful in its current form** --- It’s important to note that 3 stars ★★★☆☆ represents a positive and credible outcome. Some productions will fall within this range, reflecting the complexity and subjectivity of live performance and film. Our signature pink stars reflect The Scoop’s independent and contemporary voice. Every rating is carefully considered and awarded with respect for the artists and creative teams whose work we engage with. This update marks an evolution, not a departure, from our commitment to rigorous, fair and constructive arts journalism. [All the Latest from The Scoop](https://thescoop.au/latest/) **Categories:** Brisbane --- ### [Holden Street Theatres At Adelaide Fringe 2026: A Season of Power, Class & Belonging](https://thescoop.au/holden-street-theatres-at-adelaide-fringe-2026-a-season-of-power-class-belonging/) **Published:** February 19, 2026 **Author:** James Murphy **Content:** ![The Scoop Holden Street Theatres 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/20190630_133759-e1764072687222-983x628.jpg "Holden Street Theatres 2026 Season • The Scoop")There’s a pulse running through **Holden Street Theatres** this Adelaide Fringe season. It’s political without being preachy. Personal without being small. Across music, monologue and solo theatre, these works circle a common question: *Who gets to belong and who decides the rules?* From Bob Marley’s revolutionary rhythms to elite debate rooms, Cambridge dining halls, suburban rainstorms and eight voices channelling Adele, Holden Street Theatres’ 2026 Adelaide Fringe program is concerned with power: who holds it, who loses it, and how we survive its absence. ![The Scoop Bob Marley How Reggae Changed the World](https://thescoop.au/wp-content/uploads/2026/02/Bob-Marley-hero.jpg "Bob Marley How Reggae Changed the World • The Scoop")[Bob Marley: How Reggae Changed The World](https://www.holdenstreettheatres.com/bob-marley-how-reggae-changed-the-world)17 February – 22 March ★★★★★ Duane Forrest doesn’t just perform Marley. He explains him. Blending soulful renditions of the classics with a history lesson on slavery, Jamaica and the birth of reggae, Forrest gently dismantles the way popular culture has sanitised Marley’s radicalism. The rebellion. The call for equality. The return to Zion. The system-challenging message that so often gets stripped away when the songs become wedding-playlist staples. Forrest tells it all disarmingly, with warmth and a smile. He steps away from the microphones to speak directly to the audience. He invites sing-alongs. Images of his childhood and Marley’s life glow against three black panels. Growing up in Toronto with Jamaican parents, wrestling with colourism and cultural disconnection, Forrest found pride through Marley’s music. That journey, from isolation to identity, is the beating heart of the show. You might think you don’t like reggae. By the end, you’ll understand it, and probably love it. ![The Scoop Holden Street Theatres 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/The-Debate-Web-tile-1-1116x628.png "Holden Street Theatres 2026 Season • The Scoop")[The Debate](https://www.holdenstreettheatres.com/thedebate)13 February – 22 March ★★★★★ A mother waits. Ambition hums beneath the surface. From the multi-award-winning team behind *Grounded* and *That Boy*, this bold three-act drama stars Martha Lott opposite her real-life daughter Amelia Lott-Watson, a rare opportunity to watch a mother and daughter play mother and daughter. The premise is timely in the aftermath of our social media ban: a teenage debate prodigy on the brink of national selection. A rival. A political operative mother who knows exactly how to weaponise words. Directed by Holden Street Theatres’ new artistic director Nick Fagan, *The Debate* is an excavation of elite privilege and parents living vicariously and viciously through their children. Social media becomes an accelerant, taking age-old prejudices and amplifying them at scale. Lott relishes the role of foul-mouthed villain: a campaign strategist only a mother could love. Amelia Lott-Watson charts an emotional descent so convincing that her character’s pain lingers even as she bows. When every story can be spun, what chance does truth have? ![The Scoop Eat the Rich but maybe not me mates x](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-18-at-45505-pm-839x628.png "Eat the Rich but maybe not me mates x • The Scoop")[Eat The Rich (but maybe not me mates x)](https://www.holdenstreettheatres.com/eat-the-rich-but-maybe-not-me-mates-x)17 February – 22 March ★★★★★ Jade Franks arrives in tan activewear, Betty Boop lashes and a thick Scouse accent and detonates Cambridge. This Fringe First winner, now in development with the team behind *Adolescence*, is poised to be Netflix’s next obsession. Think *Fleabag* meets Ricky Gervais via a culture-clash comedy in the tradition of *Pygmalion* and *Educating Rita*. A working-class Liverpudlian secretly cleaning her own college to survive, Jade navigates the shark tank of inherited privilege. Latin quotations fly. Etiquette codes bristle. The myth of meritocracy crumbles. At a moment when the UK, and much of the world, is scrutinising aristocracy, billionaires and invisible class barriers, this show could ignite like Guy Fawkes. Yet beneath the politics lies something universal: leaving home. Trying to fit in. Deciding whether to assimilate or revolt. ![The Scoop Love is a Game An Adele Song Cycle](https://thescoop.au/wp-content/uploads/2026/02/LIAG-1200-x-800-942x628.png "Love is a Game An Adele Song Cycle • The Scoop")[Love Is A Game: An Adele Song Cycle](https://www.holdenstreettheatres.com/loveisagame)24 February – 8 March ★★★★ Finding one Adele is hard. Holden Street found eight. Oliver John’s award-winning song cycle returns bigger and bolder, with eight powerhouse voices navigating romantic, queer, platonic and self-love through Adele’s catalogue. Forget the Ten Tenors, this is the Eight Adeles. There’s no single narrative thread; instead, vignettes unfold through lyrics, staging and body language. Emerald hues wash the stage. Harmonies swell. John’s near counter-tenor cuts through like glass. An a cappella *Sweetest Devotion* is the standout; eight voices unaccompanied, heavenly and raw. The slick band occasionally joins in vocally, blurring the line between pit and stage. It runs a touch longer than sixty minutes, one or two songs could be trimmed, but when the harmonies hit, you don’t mind. ![The Scoop The Soaking of Vera Shrimp](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-19-at-52824-pm-822x628.png "The Soaking of Vera Shrimp • The Scoop")[The Soaking of Vera Shrimp](https://www.holdenstreettheatres.com/verashrimp) From Patch of Blue[](https://www.holdenstreettheatres.com/verashrimp)17 February – 22 March ★★★★★ In a small room that feels like a living room, Vera Shrimp sits in school uniform and long socks, legs swinging, eyes squeezed tightly shut. Then she begins. Martha Walker delivers what may become one of the highlights of the Fringe: a poignant solo show about love, grief and the death of a parent. Armed with overhead projector slides and “top facts” about the people and places in her life, Vera reveals a world children rarely get to articulate and adults rarely stop to hear. She can read raindrops, each soaked with emotion. It’s whimsical. It’s devastating. The show explores sensory overwhelm, misophonia, the way classroom scratches can burn the skin. It interrogates how quickly we deliver a casserole and demand the bowl back, without listening. Yet it ends in hope: maybe we are all connected. Maybe nothing truly dies. Maybe our lives are streams of emotion returning to the heavens. **Across these works, patterns emerge.** Music as resistance. Class as battleground. Parenthood as ambition. Identity as negotiation. Grief as transformation. Holden Street’s Fringe offering asks whether belonging is earned, inherited, fought for or simply felt. It challenges meritocracy myths, interrogates elite systems, honours cultural roots and insists that even in collapse, there is connection. In a world saturated with curated truths and algorithmic certainty, these shows make a case for something older: Stories told live. Voices shared in rooms. Communities formed in the dark. **Holden Street Theatres full program for the 2026 Adelaide Fringe can be found at their website.** Tickets: <https://www.holdenstreettheatres.com/> Website: <https://adelaidefringe.com.au/> Socials: <https://www.instagram.com/holdenstreettheatres/> [Read our Adelaide Fringe News & Reviews](https://thescoop.au/?s=adelaide+fringe) Images supplied. **Categories:** Adelaide, Theatre --- ### [Review: Crossing The Divide Is Timely, Tense & Unflinching](https://thescoop.au/review-crossing-the-divide-is-timely-tense-unflinching/) **Published:** February 18, 2026 **Author:** Alex Thompson **Content:** ![The Scoop Crossing the Divide Shock Therapy Arts QPAC](https://thescoop.au/wp-content/uploads/2026/02/CTD_8670-942x628.jpg "Crossing the Divide Shock Therapy Arts QPAC • The Scoop")Shock Therapy Arts’ *Crossing the Divide* is not subtle about its ambitions, and it shouldn’t be. This is theatre that wants to provoke, question and unsettle. In a dynamic, tightly performed production, on now for a limited season at QPAC, the company confronts the long shadow of Australia’s colonial past and asks whether the divide it created can ever truly be bridged. Written, directed and performed by Sam Foster, Hayden Jones and Benjin Maza, the piece begins with a deceptively simple premise. A high school history class trekking across the Great Dividing Range to retrace the expedition of Blaxland, Wentworth and Lawson. What could be an educational excursion quickly becomes something far more charged. As the students move through the Blue Mountains, their guide gently reveals what is often omitted from textbook accounts: the early and fraught encounters between Indigenous people and colonial explorers. The play cleverly uses the landscape as both literal and metaphorical terrain. The mountains loom not just as physical obstacles but as symbols of the ideological and cultural rifts that continue to shape national identity. ![The Scoop Crossing the Divide Shock Therapy Arts QPAC](https://thescoop.au/wp-content/uploads/2026/02/CTD_9039-942x628.jpg "Crossing the Divide Shock Therapy Arts QPAC • The Scoop")The ensemble shifts seamlessly between characters and the performance style is energetic and fluidThe production finds its emotional core in Liam (Benjin Maza), a Torres Strait Islander scholarship student who grows increasingly uncomfortable as classroom debate turns personal. Forced to repeatedly explain or defend his lived experience, Liam becomes the human cost of historical abstraction. When tensions flare around the campfire, particularly between Liam and his friend Max (Hayden Jones), who sees colonisation through a lens of inevitable progress, the fissures between past and present widen dramatically. The performance style is energetic and fluid. The ensemble shifts seamlessly between characters, perspectives and time periods, maintaining a brisk pace without sacrificing emotional weight. A pivotal sequence in which Liam becomes dislocated in time, suddenly confronting Gregory Blaxland (Sam Foster) at gunpoint, is staged with a jolt that blurs history and immediacy. The effect is both theatrical and deeply unsettling. The trio’s dynamic chemistry underscores the work. As an ensemble, they create a charged yet cohesive rhythm that carries the narrative forward with urgency. There is little excess here; the storytelling is lean, purposeful and driven by ideas as much as action. ![The Scoop Crossing the Divide Shock Therapy Arts QPAC](https://thescoop.au/wp-content/uploads/2026/02/CTD_1667-942x628.jpg "Crossing the Divide Shock Therapy Arts QPAC • The Scoop")The work is both provocative and compelling and recognises the divide within our national storyThe sound design and composition, crafted by DOBBY alongside Foster and Maza, play a crucial role in shaping the atmosphere. The score pulses beneath the action, heightening tension and grounding the production in a distinctly contemporary voice. *Crossing The Divide* premiered in March 2024, and it is no surprise that the work has earned multiple Matilda Award nominations, including recognition for Best Composition / Sound Design, Best Ensemble and Best Independent Production, as well as The Lord Mayor’s Award for Best New Australian Work. Importantly*, Crossing the Divide* resists offering easy answers. It does not sermonise, nor does it allow its audience the comfort of historical distance. Instead, it presents competing perspectives with clarity and invites viewers to interrogate their own assumptions. At its best, the production feels urgent and necessary: theatre that engages with the present moment while acknowledging the complexity of the past. Shock Therapy Arts has delivered a work that is both provocative and compelling, one that recognises the divides within our national story while daring to ask whether they might yet be crossed. ***Crossing The Divide* is presented by Shock Therapy Arts and runs to 20 February at the Cremorne Theatre, QPAC.** **Cultural Precinct Cnr Grey and Melbourne Street South Brisbane QLD 4101.** Tickets: <https://www.qtix.com.au/whats-on/2026/lep-crossing-the-divide> Website: <https://shocktherapyarts.com/crossing-the-divide> Socials: <https://www.instagram.com/shocktherapyarts/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Images supplied by Shock Therapy Arts **Categories:** Brisbane, Theatre --- ### [No One Is Coming To Save You: Inside Sharehouse Productions Urgent Debut](https://thescoop.au/no-one-is-coming-to-save-you-inside-sharehouse-productions-urgent-debut/) **Published:** February 10, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Caitlin Green Victor ZY Xu Tonsils + Tweezers Sharehouse Productions](https://thescoop.au/wp-content/uploads/2026/02/BETH_NOTEXT-837x628.jpeg "Caitlin Green Victor ZY Xu Tonsils + Tweezers Sharehouse Productions • The Scoop")Next week, **Sharehouse Productions** makes its debut at the Old Fitz Theatre with ***Tonsils + Tweezers***, an Australian work by playwright Will O’Mahony, directed by Lucy Rossen. Set on the eve of a high school reunion, *Tonsils + Tweezers* follows two best friends reckoning with grief, masculinity and the fallout of one life-altering night. The Scoop sat down with co-producers and actors **Caitlin Green** and **Victor YZ Xu** ahead of the season. Caitlin and Victor talk all things indie theatre, including launching Sharehouse Productions, the urgency behind their debut work, and why *Tonsils + Tweezers* needs to return to a Sydney stage. Read the full interview below. Can you tell us a little bit about how Sharehouse Productions came to be? **Caitlin:** We founded Sharehouse with two of our best friends, Caleb Jamieson and Jago Field. We were all living together at the time and had just finished NIDA. I think when you graduate from acting school, the industry feels shiny and exciting, like all these gigs are just going to fall into your lap. Don’t get me wrong; we have all been incredibly fortunate over the past two years, but also came to the realisation that success in this industry has almost nothing to do with talent. Everyone is so bloody talented. It’s all luck and gumption. **Victor:** Yeah, I think the decision came from just totally itching to do something. And who better to make work with than your best friends? Running a company with your closest people makes everything so much easier. Everyone just gets it. And in the times when you don’t get it right, we give each other a lot of grace. Massive props to people who produce by themselves. I truly don’t know how they do it. ![The Scoop Caitlin Green Victor YZ Xu Sharehouse Productions Tonsils + Tweezers](https://thescoop.au/wp-content/uploads/2026/02/VictorXuAriyanSharma2-942x628.jpg "Caitlin Green Victor YZ Xu Sharehouse Productions Tonsils + Tweezers • The Scoop")Victor YZ Xu and Ariyan Sharma in rehearsal for Tonsils and Tweezers Image suppliedHow does wearing both a co-producer and performer hat change the way you are approaching the rehearsal process? **Caitlin:** I think at the beginning of this process, transparently, it was beginning to get on top of me. I felt like I didn’t know where actor Caitlin began, and producer Caitlin ended. Our fabulous director, Lucy Rossen, gave me some great advice. She said to make a conscious decision that when I am in the rehearsal room, I’m an actor, NOT a producer. I think that helped a lot. **Victor:** Yeah, for me, I don’t know if it’s ever fully off. But I do think that it’s a really unique experience and one I’m grateful for. This is what we set out to do. We wanted to make the work we wanted to be a part of, and this is it. What initially drew you to Will O’Mahony’s writing? **Caitlin:** Will was my favourite teacher when I was at WAAPA. He was the cool teacher whose class you always looked forward to. We worked with his text a lot in class, although not this specific play. I read *Tonsils + Tweezers* that same year, and it really stuck with me. When Vic and I were talking about putting something on this season, it immediately came to mind. We did a read of it in our lounge room with Caleb, Jago and our other housemate, Al and hearing it out loud just reminded me of all the reasons why I loved it so much in the first place. It’s fast-paced and gripping, and dark and funny. But most of all, it feels very resonant for this moment in time. It tackles masculinity in a really unique way. **Victor:** I totally agree. It’s a really vulnerable text. Genuinely. It’s a challenge to perform, and it’s a challenge to watch because you have to confront yourself. But I also just think it’s just weird, like bizarre. The first time I read it, I thought, “oh this guy is insane. You see me.” ![The Scoop Caitlin Green Victor YZ Xu Sharehouse Productions Tonsils + Tweezers](https://thescoop.au/wp-content/uploads/2026/02/VictorXuAriyanSharma-942x628.jpg "Caitlin Green Victor YZ Xu Sharehouse Productions Tonsils + Tweezers • The Scoop")Victor YZ Xu and Ariyan Sharma in rehearsal for Tonsils and Tweezers Image suppliedHow would you describe the collaboration between the cast and creative team on this production so far? **Victor:** We have assembled the Avengers of indie theatre. We feel so fortunate that these amazing creatives agreed to be part of this insane journey and also bet on us and this show. Everyone really is the best at what they do. **Caitlin:** He’s not kidding. Ariyan and Toby are the A league, like these guys are running laps around me, but that’s what we wanted, you know? You want to have people on your side who bring out the absolute best version of yourself and make you work really hard just to try to keep up. Our whole creative team are absolute guns too. Lucy Rossen is our angel. Nick Warrand is our angel. So is Poppy and Matt and Mehhma and Bella and Lia (if you are reading this, we love y’all). We are also so grateful to the team at the Old Fitz for taking a massive chance on us. What advice would you give to drama school graduates looking to sustain and survive a career in the arts? **Caitlin:** This is not my advice at all, but it was very good advice I was given by a number of teachers during my time at NIDA. The phone is not going to ring. No one is coming to save you. So the only way to be as an actor is to be proactive. Work is difficult to come by, especially work that you’re passionate about, so it’s incredibly important that you make those opportunities for yourself. Do that play reading with your friends in the lounge room, and sketch comedy night at the pub, and write that thing you’ve been wanting to write. A personal nugget of wisdom from me, who has absolutely no business giving people advice, is to surround yourself with the best people. People you love, who support you, and make work with those people. It is SO much more fun that way. **Victor:** Stay open-minded, make things, stay connected with those people you went through drama school with. And also having a whole life outside of this job is really important because acting is an incredibly volatile thing. So just living your life, I guess. ![The Scoop Caitlin Green and Victor YZ Xu Tonsils Tweezers Sharehouse Productions](https://thescoop.au/wp-content/uploads/2026/02/Headshots-1001x628.png "Caitlin Green and Victor YZ Xu Tonsils Tweezers Sharehouse Productions • The Scoop")Caitlin Green and Victor YZ Xu Brilliant, I love it. And finally, what roles or shows are on your bucket list? **Caitlin:** It’s not specifically a role, but I would love to be in a procedural drama. Preferably something medical, like *Grey’s Anatomy* or *The Pitt*. I want all the high stakes and fancy smart words and none of the fear that I’m actually going to kill someone. **Victor:** I would love to be a part of something one day that moves people, makes them think or inspires. I’d also just love to be the monkey king. **Caitlin Green and Victor YZ Xu are appearing in *Tonsils + Tweezers* from 17 – 27 February at the Old Fitz Theatre as part of their Late Night programming. 129 Dowling Street, Woolloomooloo NSW 2011.** Tickets: <https://tickets.iwannaticket.com.au/seller/old-fitz-ad9r> Website: <https://www.oldfitztheatre.com.au/tonsils-tweezers> Socials: <https://www.instagram.com/sharehouseproductionco/> [Read our Review!](https://thescoop.au/review-tonsils-tweezers-is-a-blistering-portrait-of-love-loyalty/) Hero image photo credit: Nicholas Warrand ![The Scoop Tonsils + Tweezers Sharehouse Production Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/01/HERO-16X9-1116x628.png "Tonsils + Tweezers Sharehouse Production Old Fitz Theatre • The Scoop") **Categories:** Features --- ### [Review: Tonsils + Tweezers Is A Blistering Portrait Of Love & Loyalty](https://thescoop.au/review-tonsils-tweezers-is-a-blistering-portrait-of-love-loyalty/) **Published:** February 18, 2026 **Author:** Benjamin Webb **Content:** ![The Scoop Tonsils + Tweezers Sharehouse Production Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/02/DSC07462-copy-942x628.png "Tonsils + Tweezers Sharehouse Production Old Fitz Theatre • The Scoop")Ever wanted to kill someone? Not in a real way, perhaps. But in that dark, late night, half-joke way you confess only to your closest friend. Last night at the Old Fitz Theatre, *Tonsils + Tweezers* began with that very question hanging in the air. The audience was greeted by one of the actors on stage playing a guessing game with them, only to realise the game has a significant weight in the premise of the show. What followed was not just a story about violence, but about male friendship under strain. The kind built on shared history and private language. The kind that can survive anything, until it cannot. *Tonsils + Tweezers* had its world premiere in 2016 with Black Swan State Theatre Company in Perth under the direction of Will O’Mahony, who also wrote the play. It then came to Kings Cross Theatre (KXT) in Sydney with Jackrabbit Theatre in 2018 and was met with glowing reviews. This third iteration marks the debut for Sharehouse Productions, bringing O’Mahony’s script back to Sydney at a time when we need it most. The play sits in a growing canon of Australian works discussing masculinity, loyalty and the cost of emotional repression. Two boys, Tonsils and Tweezers, are best friends, a duo as inseparable as Wham! or toothbrush and toothpaste. But late one night, ten years ago, everything changed. ![The Scoop Tonsils + Tweezers Sharehouse Production Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/02/DSC07472-copy-942x628.png "Tonsils + Tweezers Sharehouse Production Old Fitz Theatre • The Scoop")This is a play that understands how platonic love between men can be both fierce and fragile Photo by Nicholas WarrandNow, in the present day, on the day of their high school reunion, Tweezers pulls out a gun and asks the question that frames the evening. Around them circle Beth and Max, in a subplot about Macbeth that fuels the subtext of the whole piece. From the outset, O’Mahony captures the way young men talk when they are circling fear, pain or grief without naming it. The banter is sharp and funny. The jokes land. Yet beneath the humour is a steady thrum of dread. I left the theatre shaken but hopeful. This is a play that understands how platonic love between men can be both fierce and fragile. Ariyan Sharma’s Tonsils is exuberant. From the moment we are greeted by him as we enter the theatre, he is lively, endearing and, most importantly, on our side. He sees us watching and speaks to us as the story unfolds. There is one shift, when we flashback to that dreadful night, which Sharma plays to perfection; his switch gets us to empathise with both boys’ plights and makes us wish they could talk to each other before it all goes away. Victor YZ Xu as Lewis, also known as Tweezers, is emotionally reserved until the dam waters break at the climax. His determination kept me guessing whether he had a phantom gun or a real one. Together, Xu and Sharma create a wholesome yet charged dynamic, where their shared history is believable. ![The Scoop Tonsils + Tweezers Sharehouse Production Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/02/DSC07334-copy-942x628.png "Tonsils + Tweezers Sharehouse Production Old Fitz Theatre • The Scoop")The staging never distracts from the performances allowing the relationships to remain central Photo by Nicholas WarrandCaitlin Green as Beth grounds the production with clarity and intelligence. Her storytime readings are funny in a deeply unsettling way, and her interactions with Max are a mixture of both care and frustration. Toby Carey’s Max adds texture and tension, his presence complicating the emotional geometry between Tonsils and Tweezers. Director Lucy Rossen keeps the action taut and focused. The staging never distracts from the performances, allowing the relationships to remain central. The design team supports the emotional arc with a fine eye for detail. Matthew Phillips’ sound design underscores the tension beautifully, and Poppy Townsend’s lighting design plays with shadows – as well as our heartstrings. In the intimate space of the Old Fitz Theatre, there is nowhere to hide. Every flinch is visible, and every silence feels like a lifetime. As producers, Caitlin Green and Victor YZ Xu have shepherded a bold and confident debut for Sharehouse Productions. *Tonsils + Tweezers* is a fierce look at male friendship and the damage left by unspoken grief. It is a blistering portrait of love, loyalty and the cost of silence. ***Tonsils + Tweezers* is presented by Sharehouse Productions and runs to 27 February at the Old Fitz Theatre as part of their Late Night programming. 129 Dowling Street, Woolloomooloo NSW 2011.** Tickets: <https://tickets.iwannaticket.com.au/seller/old-fitz-ad9r> Website: <https://www.oldfitztheatre.com.au/tonsils-tweezers> Socials: <https://www.instagram.com/sharehouseproductionco/> [Read our interview with the Cast!](https://thescoop.au/no-one-is-coming-to-save-you-inside-sharehouse-productions-urgent-debut/) Photo credits: Nicholas Warrand **Categories:** Sydney, Theatre --- ### [NIDA Festival Of Emerging Artists Returns In 2026](https://thescoop.au/nida-festival-of-emerging-artists-returns-in-2026/) **Published:** February 18, 2026 **Author:** Newsroom **Content:** ![The Scoop NIDA FOEA 2026](https://thescoop.au/wp-content/uploads/2026/02/NIDA_FOEA-2026_IMG_8473_Photo-by-Maja-Baska-942x628.jpg "NIDA_FOEA 2026_IMG_8473_Photo by Maja Baska • The Scoop")**The Festival of Emerging Artists** showcases the major projects of the Master of Fine Arts (MFA) Directing course at **NIDA**, with the soon-to-be graduating directors each presenting a 40-minute stage production from **25 – 28 March 2026**, free to the public. The festival is a culmination of the practical training delivered as part of NIDA’s Master of Fine Arts (Directing) and is an opportunity for the **seven emerging directors** to connect with live audiences and present their skills and unique perspectives. NIDA’s celebrated Directing alumni include Tony Award nominee **Kip Williams** (Directing 2009), Directors Guild of America Award winner **Shannon Murphy** (Directing 2007), and CEO and Artistic Director of Opera Queensland **Patrick Nolan** (Directing 1991). **Dr Benjamin Schostakowski** (Directing, 2013), NIDA’s Head of Directing, said: *“These seven newly staged productions offer a vivid glimpse into the exciting future of the arts and entertainment industries. Each director has collaborated passionately with peers in Acting, Design, Technical Theatre, and a range of other creative disciplines to bring compelling works of drama and comedy to life. Free and open to the public, this festival is an unmissable celebration of emerging talent and bold storytelling.”* Tickets are free but [bookings are essential](https://www.nida.edu.au/news-and-events/student-productions/2026-festival-of-emerging-artists/). ![The Scoop NIDA 2026 FOEA](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-18-at-120108-pm-1200x592.png "NIDA 2026 FOEA • The Scoop")Full Program: Mega-Mall **Director: Liam Wallis** By: **Mark Rogers** Sophie is eighteen and stuck in the grind; clocking in, clocking out, and watching her pay disappear into the fluorescent void. Between wage theft, managers with God complexes, and customers who treat her like furniture, she’s just trying to keep her head above the retail tide. The Actor’s Nightmare **Director: Louise Birgan** By: **Christopher Durang** George is an ordinary accountant who one day wakes up backstage in a theatre and is told he must go on. The problem? He doesn’t know the lines, the cues, or even remember rehearsing the show. Thrust onstage, George finds himself in the spotlight and forced to perform through some of theatre’s most challenging masterpieces. Oh, The Humanity and Other Good Intentions **Director: Ava Rusch** By: **Will Eno** In this trio night of Will Eno delight, three short works — Ladies and Gentlemen, The Rain, Enter the Spokeswomen Gently and Oh, The Humanity — are brought together, slipping effortlessly from the ordinary into the quietly profound. From the strange choreography of online dating to a corporate announcement that spirals out of control, each play reveals how easily language, intention and certainty can unravel. The Birds **Director: Cameron Taylor** Based on the play by **Aristophanes** Music, Book and Lyrics: **Cameron Taylor** & **Otto Zagala** Grief does not arrive in one shape. In this devised, ensemble-based musical physical theatre work, myth and movement merge to explore the many faces of loss. Inspired by Aristophanes’ The Birds and shaped by the visual languages of Slava’s Snowshow, Robert Wilson and Cirque du Soleil, the piece follows a man navigating the approaching death of his brother. The Red Shoes **Director: Jason Forrest** Based on the fairy tale by **Hans Christian Andersen** Poems by **Anna Maria Murphy** and Adapted by **Emma Rice** This bold new adaptation reimagines the classic tale through a contemporary, queer lens. After losing his mother, an orphaned boy is taken in by a wealthy widow who offers him shelter, fine clothes, and a striking pair of red shoes. The shoes awaken something within him, becoming a powerful symbol of his true self and unspoken desire. Conviction **Director: Emma Johns** By: **Zoey Dawson** On the brutal shores of colonial Australia, a convict mother and her daughter disguise themselves as free settlers, desperate for another chance at life. When the arrival of a sinister redcoat threatens to expose their secret, hope gives way to terror and betrayal. As the day unfolds, the story fractures, revealing Zoey, a young woman confronting isolation, fear and self-doubt. Like Stars in My Hands **Director: Esther Dougherty** By: **Timothy Conigrave** In the final stages of an AIDS-related illness and trying to make sense of what’s to come, Simon finds a new lover for his boyfriend Marcello — their good friend Jimmy. Set in Sydney in 1993, amid the sex, drugs and pulse of Darlinghurst, this is a portrait of queer love, loss and resilience at the height of the AIDS crisis. **The Festival of Emerging Artists runs from 25 -28 March 2026 at NIDA Theatres, Kensington.** Tickets are free but bookings are essential. Tickets: <https://collections.humanitix.com/foea-by-production> Website: <https://www.nida.edu.au/> Socials: <https://www.instagram.com/nidacommunity/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Maja Baska **Categories:** News --- ### [Review: Es & Flo Is A Quietly Devastating Triumph](https://thescoop.au/review-es-flo-is-a-quietly-devastating-triumph/) **Published:** February 18, 2026 **Author:** Benjamin Webb **Content:** ![The Scoop Es & Flo Mi Todo Productions Old Fitz Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/02/2-2700-MT26EF-7170-©-Robert-Catto-942x628.jpg "Es & Flo Mi Todo Productions Old Fitz Theatre Sydney • The Scoop")Written by Jennifer Lunn, *ES & FLO* premiered in the UK before finding a new life in Australia, notably with Mi Todo Productions at the Old Fitz Theatre in Sydney. The play places older women at its centre, exploring sexuality, friendship and autonomy with honesty. The story follows Es and Flo, two women later in life who’ve been together for thirty-six years. Around them orbit younger women whose own relationships, expectations and assumptions collide with Es and Flo’s choices. It is so rare that we see stories like this told. I found it so refreshing to witness the dignity afforded to these women as the play treats them as full, flawed human beings. Annie Byron as Es anchors the production, bringing real warmth and restraint, allowing vulnerability to surface in the moments that matter most. Fay Du Chateau’s Flo is spirited and direct, with a spark that keeps the play alive. Together, Byron and Du Chateau create a relationship that feels mature, aged like fine wine; their chemistry is natural and deeply moving. ![The Scoop Es & Flo Mi Todo Productions Old Fitz Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/02/20-2448-MT26EF-7027-©-Robert-Catto-942x628.jpg "Es & Flo Mi Todo Productions Old Fitz Theatre Sydney • The Scoop")The play places older women at its centre and explores sexuality friendship and autonomy with honesty Photo by Robert CattoEloise Snape is back after a magnificent outing in *[Mary Jane](https://thescoop.au/review-mary-jane-finds-hope-in-unexpected-places/)* last year. This time, instead of our hero, she is playing somewhat of an antagonist, with her own struggles at home. Charlotte Salusinszky as Beata and Georgina “Gigi” Warren-Nwokolo as Kasia add some lovely levity and companionship for both Es and Flo throughout the play. For me, Salusinszky is the standout. From her first entrance to her final exit, she inhabits the role with complete assurance. There’s a lived-in quality to her performance, a sense that she has endured situations like this before, perhaps with far less kindness than Es and Flo offer. It feels as though these three women were destined to find one another. She is captivating to watch. Director Emma Canalese handles the material with sensitivity and control. The elongated scene transitions beautifully depict the slow marching of time. We can’t stop it, but wouldn’t want to even if we could. Intimacy Director Sonya Kerr deserves particular praise. The physical closeness between Es and Flo is staged with care and respect. ![The Scoop Es & Flo Mi Todo Productions Old Fitz Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/02/7-1133-MT26EF-0460-©-Robert-Catto-942x628.jpg "Es & Flo Mi Todo Productions Old Fitz Theatre Sydney • The Scoop")The elongated scene transitions beautifully depict the slow marching of time Photo by Robert CattoThe design team supports the emotional world of the play with precision. Soham Apte’s set design creates a domestic space with walls that double as projection space for Aron Murray’s video design, which adds texture and backstory. Alice Vance’s costumes subtly reflect character without drawing attention. Lighting Designer Luna Yuet Yee Ng shapes the mood with backlighting and pops of colour. The soundscape, crafted by Keelen Ellis and co-composed with Freyja Meany, underscores the shifts in tone and displacement with attentiveness. *ES & FLO* is a tender portrait of love later in life. It challenges assumptions without preaching and finds humour without cruelty. There is a location shift halfway through the play; from then on, I had a constant stream of tears rolling down my face. It is an intimate, courageous celebration of connection at any age. ***ES & FLO* is presented by Mi Todo Productions and runs until 28 February at the Old Fitz Theatre, 129 Dowling Street Woolloomooloo, NSW 2011.** Tickets: <https://tickets.iwannaticket.com.au/seller/old-fitz-ad9r> Website: <https://www.oldfitztheatre.com.au/es-flo> Socials: <https://www.instagram.com/oldfitztheatre/> and <https://www.instagram.com/mitodoproductions/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Robert Catto **Categories:** Sydney, Theatre --- ### [Film Review: The Count Of Monte Cristo A Tale Of Betrayal Revenge & Redemption](https://thescoop.au/review-the-count-of-monte-cristo-betrayal-revenge-and-redemption/) **Published:** April 5, 2025 **Author:** Adam Skubala **Content:** ★★★★☆ ![The Scoop The Count of Monte Cristo](https://thescoop.au/wp-content/uploads/2025/04/THE-COUNT-OF-MONTE-CRISTO-11-PierreNiney-©PalaceFilms-scaled-e1743856007489-823x628.jpg "THE COUNT OF MONTE CRISTO - 11 - PierreNiney ©PalaceFilms • The Scoop")*The Count of Monte Cristo* is a bold, gripping adaptation that breathes fresh life into Alexandre Dumas’ classic. With stunning performances, gorgeous cinematography, and a real sense of historical texture, it just might be the best film you’ll see this year. Directors Matthieu Delaporte and Alexandre De La Patellière handle the story with confidence and heart, reminding us how powerful great storytelling can still be. There’s already a quiet buzz around this one, and after catching a preview screening in a packed cinema, it was a refreshing reminder of how special the big screen experience can be. For those unfamiliar, *The Count of Monte Cristo* is a sweeping tale of betrayal, revenge, and redemption. It follows Edmond Dantès, a young sailor in 1815 whose life is derailed when he’s falsely accused of treason and thrown in prison. There, he meets a fellow inmate who becomes his mentor, teaching him about the world—and the location of a hidden treasure. After a daring escape, Edmond reinvents himself as the wealthy, mysterious Count of Monte Cristo, and sets out to dismantle the lives of those who wronged him. But his journey forces him to wrestle with deeper questions about justice, vengeance, and who he’s become. Pierre Niney is exceptional as Edmond. He captures the full emotional arc of the character, from naive optimism to cold calculation, without losing the humanity underneath. His performance carries the film, but the supporting cast, including Anaïs Demoustier, Anamaria Vartolomei, Patrick Mille, Bastien Bouillon, and Laurent Lafitte, bring real weight to every scene. Each actor fits their role like a glove, grounding the drama in something believable and human. ![The Scoop The Count of Monte Cristo](https://thescoop.au/wp-content/uploads/2025/04/THE-COUNT-OF-MONTE-CRISTO-07-_PatrickMille_LaurentLafitte_BastienBouillon©PalaceFilms-947x628.jpg "The Count of Monte Cristo • The Scoop")The production design is quietly spectacular. The Count’s homes, especially his main house with its moody indoor courtyard, feel less like film sets and more like actual places, filled with meaning and history. It’s not flashy, but every detail serves the story. What I loved most is how this film refuses to play by Hollywood rules. There’s no overuse of CGI or sweeping drone shots just for the sake of it. When drones are used, like in the tense hunting scene through the tall grass, the effect is striking and purposeful. Mist is used throughout the film in a way that actually adds to the drama, rather than just setting a mood, it deepens it. Visually, the film is stunning. It captures 19th-century France in a way that feels grounded, not overly romanticised. Costumes, set design, and lighting all work together to draw you into this world without shouting for attention. The themes are as relevant as ever: power, jealousy, greed, corruption, and the slippery slope between justice and revenge. Each of the Count’s enemies represents a different facet of human weakness. Mille’s Danglars is driven by greed. Bouillon’s Fernand by envy and ambition. And Lafitte’s Villefort, by the rot of unchecked power. None of them are cartoon villains—they’re frightening because they feel real. ![The Scoop The Count of Monte Cristo](https://thescoop.au/wp-content/uploads/2025/04/THE-COUNT-OF-MONTE-CRISTO-03-_PierreNiney-©PalaceFilms-1190x628.jpg "THE COUNT OF MONTE CRISTO - 03 - _PierreNiney ©PalaceFilms • The Scoop")Despite the runtime of just over three hours, the pacing never drags. Every scene earns its place. The subtitles are easy to follow, and the dialogue is lean, keeping the focus on the action and emotion. It’s impressive that the directors kept such a complex story coherent and compelling without splitting it into two parts. (Hollywood likely would have.) In a time when streaming dominates and attention spans are shorter than ever, *The Count of Monte Cristo* feels like a throwback in the best sense. It’s a film you should see in a cinema. It’s smart, thrilling, beautifully made, and full of ideas that stick with you long after the credits roll. If it doesn’t sweep awards season, it’ll be a shock. Definitely don’t miss it. ***The Count of Montecristo* is in cinemas from 10 April 2025.** **Release Date:** 10 April 2025 (Sydney, Melbourne, Canberra, Brisbane) \| 17 April (Perth, Adelaide, Gold Coast) **Director:** Matthieu Delaporte & Alexandre de La Patellière **Cast:** Pierre Niney, Anaïs Demoustier, Pierfrancesco Favino, Anamaria Vartolomei, Laurent Lafitte, Bastien Bouillon, Vassili Schneider **Duration:** 178mins **Country of Origin:** France Tickets: <https://www.palacecinemas.com.au/movies/the-count-of-monte-cristo> Website: <https://www.palacecinemas.com.au/> Socials: <https://www.instagram.com/palacecinemas/> [Read Our Latest Reviews and Features](https://thescoop.au/latest/) **Categories:** Film --- ### [Review: Rebel Rebel Perth Symphony 2026 Perth Festival](https://thescoop.au/review-rebel-rebel-perth-symphony-2026-perth-festival/) **Published:** February 14, 2026 **Author:** Greta Rule **Content:** ![The Scoop Rebel Rebel Perth Symphony Orchestra Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/21_20260213_PERTH-FEST_RebelRebel-Selects-942x628.jpg "Rebel Rebel Perth Symphony Orchestra Perth Festival • The Scoop")For one night only, the East Perth Power Station came alive with the music of David Bowie reimagined by Perth Symphony Orchestra and an impressive line-up of guest singers in Perth Festival’s *Rebel Rebel*. With an audience made up of mostly Gen X and Boomers, peppered with a few younger fans, the event delivered an energetic, affectionate and delightfully eccentric tribute to the late musical icon ten years after his passing. MC Joe Louis Robinson and acclaimed conductor Jessica Gethin guided the evening with charisma and precision. Immersive sound, striking visuals, charming costumes and unique musical interpretations made for an unforgettable night. The performance unfolded on the Main Stage at the back of the Power Station, surrounded by food trucks, pop-up bars and plenty of seating. The building’s industrial skeleton created a spectacular view and atmosphere. The side of the building became a canvas for Bowie-inspired moving projections by Perth creative agency [The Start](https://thestart.com.au/). The sheer size of the projection was a spectacle we couldn’t take our eyes off, the colour and imagery captivating too. ![The Scoop Rebel Rebel Perth Symphony Orchestra Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/19_20260213_PERTH-FEST_RebelRebel-Selects-942x628.jpg "Rebel Rebel Perth Symphony Orchestra Perth Festival • The Scoop")The rotating lineup of guest singers brought their own unique reimagination to the songs Photo by Thomas EarnshawRobinson wore a vibrant green suit and kept the night flowing with light-hearted jokes and Bowie trivia. ‘We’re not only here to entertain you, but to educate you,’ he exclaimed, before introducing the talented conductor and singers. His addition of some of Bowie’s most iconic quotes, including his self-description of being a ‘born librarian with a sex drive,’ was a crowd favourite. Jessica Gethin, who has worked with artists including Blondie – who had a close relationship with Bowie – guided the orchestra in delivering a dynamic setlist. The rotating lineup of guest singers brought their own unique reimagination to the songs. Abbe May, Rachael Dease, Katy Steele and PSO’s own Matt Milford and Justin Burford delivered confident and lively interpretations. International cabaret sensation Meow Meow brought her signature blend of chaos and elegance, complete with a moment of crowd surfing. Perth’s own Noah Dillon charmed the audience with his take on *Rebel Rebel*, featuring the harmonica. Well-dressed back-up singers Amy Ehlers and Jordan Anthony also deserve recognition for their harmonies and support. ![The Scoop Rebel Rebel Perth Symphony Orchestra Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/26_20260213_PERTH-FEST_RebelRebel-Selects-942x628.jpg "Rebel Rebel Perth Symphony Orchestra Perth Festival • The Scoop")Rebel Rebel was an energetic affectionate and delightfully eccentric tribute to the late icon David Bowie Photo by Thomas EarnshawWhile I expected more of the audience to embrace Bowie-esque costumes, there were a few wigs scattered throughout the crowd, as well as one worn by the lead violinist. The performers also embraced Bowie’s eccentricity, wearing outfits reflecting their individual personalities. Highlights include Katy Steele glossy silver dress and boots, Meow Meow’s sparkling dress and fluffy green coat and Matt Milford’s purple suit. Dancers from K2 Dance Company appeared for three of the popular upbeat numbers – *Fashion, Young Americans* and *Rebel Rebel* – each time in curated costumes that nodded to the themes of the song without slipping into parody. The musicians, singers and dancers were having as much fun as the audience. This is an important criterion in performances like these, giving the rest of us permission to let loose and enjoy ourselves. From where I stood, I could see various members of the audience dancing, jumping and singing along. For many of them, the night would have incited decades of memories*.* Yet *Rebel Rebel* wasn’t just nostalgic. It was a testament to Bowie’s unmatched lyrical expertise and ever-evolving persona. The Perth Symphony Orchestra and its guest artists didn’t try to imitate Bowie but rather reinterpret and celebrate him in a visually and aurally stunning performance. ***Rebel Rebel* was presented by Perth Symphony and ran on 13 February at East Perth Power Station as part of 2026 Perth Festival.** The event has now concluded. Website: <https://www.perthfestival.com.au/program/season-2026/rebel-rebel> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/perthsymphony/> [Read more of our Perth Festival Reviews](https://thescoop.au/?s=perth+festival) Photo credits: Thomas Earnshaw **Categories:** Concerts, Perth --- ### [Film Review: Solo Mio Brings Love, Light & A Little Escapism](https://thescoop.au/film-review-solo-mio-brings-love-light-a-little-escapism/) **Published:** February 17, 2026 **Author:** Ronson Blake **Content:** ![The Scoop Solo Mio film Kevin James](https://thescoop.au/wp-content/uploads/2026/02/solo-mio-1116x628.jpg "Solo Mio film Kevin James • The Scoop")Are you ready for a little whimsy? From the Kinnane Brothers and Angel Studios comes *Solo Mio*, an old-style romantic comedy that traces a long PG-rated Hollywood lineage. Cue exotic location, engineered encounters, and goofy minor characters. Elementary school art teacher Matt *(King of Queens’* Kevin James) proposes to fellow teacher Heather (Julie Ann Emery) but is jilted at the altar of their Rome wedding. Heather disappears, leaving only an apologetic note professing herself not ready. Confronted with losing not just the love of his life, but all his non-refundable honeymoon bookings, Matt reluctantly decides to go solo. The screenplay from Patrick and John Kinnane and Kevin James ensures a bereft Matt encounters all sorts of awkward ‘single man on a honeymoon’ situations, though mercifully without sliding into mawkishness. He meets two American couples – Julian and Meghan (Kim Coates and Alyson Hannigan), and Neil and Donna (Jonathan Roumie and Julee Cerda). Julian and Neil, after some brief mockery, take Matt under their wings. ![The Scoop Solo Mio film Kevin James](https://thescoop.au/wp-content/uploads/2026/02/Solo_Mio_3-e1770968633613-987x628.jpg "Solo Mio film Kevin James • The Scoop")The evocative cinematography of Jared Fadel will leave you contemplating a plane flightMore importantly, Matt also meets a delightful cafe-owner, Gia (Nicole Grimaudo), in a fairly contrived encounter, but one that makes sense later. Mind you, if you think too hard about it, nothing *actually* makes any sense. But hey, it’s a romcom, and the internal logic of the genre demands certain machinations. We’ve seen this thing many, many times before, so pretty much from the opening scenes, you will know where this is headed. But park your brain (and, okay, your cynicism) and enjoy the scenery. It’s competently co-directed by Charles and Daniel Kinnane, with some elegant camera work and framing. No scene overstays its welcome, and Jared Fadel’s evocative cinematography will leave you contemplating a plane flight. Andrea Bocelli appears, befitting the Italian travelogue vibe (and there may be a little singing). Still, for a film about heartbreak and potential new romance, the film spends an inordinate amount of time on Matt’s newfound, at times unwanted, relationship with Neil and Julian. It’s here that the script’s shortcomings are most apparent. They’re simply not funny enough characters – there’s no bite. ![The Scoop Solo Mio film Kevin James](https://thescoop.au/wp-content/uploads/2026/02/Solo_Mio_93-scaled-e1770969028232-1200x605.jpg "Solo Mio film Kevin James • The Scoop")The film succeeds largely on the casting of the two leads and in particular Kevin JamesNeil could be more neurotic (he married his therapist for goodness’ sake) and Julian less manically flippant. Roumie and particularly Coates try hard, perhaps too hard, to create believable characters, but they’re up against it. Both Cerda and Hannigan, as their respective wives, are underused, and I’m pretty sure the film wouldn’t pass the Bechdel test. Some of the later scenes, where characters seemingly appear just for plot points, are underdeveloped or just plain odd. There’s a long shot of Bocelli mounted on a strapping black stallion in the middle of nowhere that is beautifully composed, but an obvious indulgence. The film feels as though the screenplay has spent too much time on the middle act and needs to hustle to wrap up inside 100 minutes. Nevertheless, *Solo Mio* succeeds – largely on the casting of the two leads, and in particular, James’ performance. Stepping into a leading role, James keeps the pathos light but heartfelt, and his self-effacing, sincere turn grounds the film. As Gia, Grimaudo is also very good, evincing a sparky vibrancy that plays well against James’ lovelorn, shy Matt. They’re pretty good together. *Solo Mio* is an agreeable and undemanding watch. It’s light and airy, and for the most part avoids *Mamma Mia* corniness. There are no sweary, nasty people. Loose ends are tied up sweetly. Even the ‘villain’ Vincenzo (Giancarlo Bartolomei) has a (very) short redemptive arc. It’s PG romcom tosh of course, but James and Grimaudo give wholehearted performances, the scenery is truly lovely, and the film is like a warm bath – somewhere to luxuriate and forget the real world for a short while. ***Solo Mio* opens nationally in cinemas from 26 February 2026.** Website: <https://rialtodistribution.com/film/solo-mio/> Socials: <https://www.instagram.com/solomiomovie/> and <https://www.instagram.com/rialtodistributionau/> [Enter our our Ticket Giveaway!](https://thescoop.au/win-tickets-to-see-solo-mio-in-cinemas-26-february/) Watch the trailer: **Film details:** Title: Solo Mio Directors: Charles Kinnane and Daniel Kinnane Cast: Kevin James, Alyson Hannigan, Jonathan Roumie, Kim Coates, Nicole Grimaudo Country of Origin: United States Duration: 96 mins Rating: PG Check your local cinema websites for screenings: [Hoyts Cinemas](https://www.hoyts.com.au/movies/solo-mio) [Palace Cinemas](https://www.palacecinemas.com.au/movies/solo-mio) [Village Cinemas](https://villagecinemas.com.au/movies/solo-mio) [Palace Nova Adelaide](https://www.palacenova.com.au/films/solo-mio) **Categories:** Film --- ### [Win Tickets To See Solo Mio In Cinemas 26 February](https://thescoop.au/win-tickets-to-see-solo-mio-in-cinemas-26-february/) **Published:** February 13, 2026 **Author:** Newsroom **Content:** ![The Scoop Solo Mio film Kevin James](https://thescoop.au/wp-content/uploads/2026/02/image002-2-1112x628.jpg "Solo Mio film Kevin James • The Scoop")After debuting Top 3 at the US box office, **SOLO MIO** opens in cinemas in Australia on **26 February**. Written and directed by Charles and Daniel Kinnane, alongside co-writer and star Kevin James, **SOLO MIO** follows Matt Taylor **(Kevin James),** an earnest but heartbroken elementary school art teacher whose dream Italian wedding falls apart when his fiancée abandons him at the altar in Rome, leaving him heartbroken in the world’s happiest city. Determined not to waste his once‑in‑a‑lifetime trip, Matt bravely embarks upon their planned honeymoon alone, embracing Italy’s vibrant culture, delicious food and breathtaking scenery. Along the way, he crosses paths with a colourful cast of fellow travellers and locals, including Gia (**Nicole Grimaudo)**, a spirited café owner who opens his eyes to new possibilities. What begins as a solo adventure soon becomes a journey of self‑discovery, friendship and unexpected romance as Matt learns that sometimes life’s greatest stories start with a detour. Blending humour, heart and picturesque European charm, **SOLO MIO** is a story about moving forward after heartbreak and finding joy in the unplanned. ![The Scoop Solo Mio Film Kevin James](https://thescoop.au/wp-content/uploads/2026/02/Solo_Mio_99-scaled-e1770967308371-1154x628.jpg "Solo Mio Film Kevin James • The Scoop")Alyson Hannigan and Kim Coates costars of Solo MioThe Scoop is **giving away ten, in-season double pass** **e-tickets** **to the film**, thanks to **Rialto Distribution**! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow and comment ‘Scoop’ under the post. The tickets are valid at any cinemas across Australia screening SOLO MIO (terms and conditions can be found on the tickets). **SOLO MIO opens nationally in cinemas from 26 February 2026.** Website: <https://rialtodistribution.com/film/solo-mio/> Socials: <https://www.instagram.com/solomiomovie/> and <https://www.instagram.com/rialtodistributionau/> [Read our Review of the Film!](https://thescoop.au/film-review-solo-mio-brings-love-light-a-little-escapism/) Watch the trailer below: **Film details:** Title: Solo Mio Directors: Charles Kinnane and Daniel Kinnane Cast: Kevin James, Alyson Hannigan, Jonathan Roumie, Kim Coates, Nicole Grimaudo Country of Origin: United States Duration: 96 mins Rating: PG Check your local cinema websites for screenings: [Hoyts Cinemas](https://www.hoyts.com.au/movies/solo-mio) [Palace Cinemas](https://www.palacecinemas.com.au/movies/solo-mio) [Village Cinemas](https://villagecinemas.com.au/movies/solo-mio) [Palace Nova Adelaide](https://www.palacenova.com.au/films/solo-mio) **Categories:** competition, News --- ### [Announcing Prima Facie Return To Sydney and Melbourne](https://thescoop.au/announcing-prima-facie-return-to-sydney-and-melbourne/) **Published:** February 17, 2026 **Author:** Newsroom **Content:** ![The Scoop Prima Facie 2026 Tour](https://thescoop.au/wp-content/uploads/2026/02/3-Sheridan-Harbridge-in-Prima-Facie-at-Griffin-Theatre-Photo-by-Brett-Boardmanjpg-942x628.jpg "Prima Facie 2026 Tour • The Scoop")One of the most influential theatrical works of the 21st century, seen by over one million people worldwide and translated into more than 30 languages, ***Prima Facie*** returns to Australian stages in a landmark homecoming season. Playing limited seasons in **Sydney** and **Melbourne**, the original **Griffin Theatre Company** production returns to Australian mainstages from **20 May 2026**. Written by Lawrence Olivier Award-winning Australian playwright **Suzie Miller**, one of the most internationally produced playwrights of her generation, **Sheridan Harbridge** will return to the role she originated – the performance that ignited a global theatrical phenomenon – under the direction of **Lee Lewis**. *Prima Facie* premiered at Sydney’s Griffin Theatre Company in 2019, emerging from the Griffin Award for new Australian writing before touring nationally and rapidly expanding onto the international stage. The production moved from an intimate Kings Cross theatre to global acclaim, becoming one of the most produced contemporary plays of the 21st century. *Prima Facie* follows Tessa, a criminal lawyer at the top of her game. She’s a winner who knows the law permits no room for emotion – even in cases of sexual assault. But when Tessa finds herself on the other side of the bar, everything she knew about the law comes into question. Since its premiere, *Prima Facie* has been translated into more than 30 languages and staged across Europe, the UK, the US, Asia and South America. It culminated in record-breaking West End and Broadway seasons starring Jodie Comer and a forthcoming major screen adaptation starring Cynthia Erivo. The Olivier and Tony Award-winning play has been widely praised for its emotional force and global impact, exploring themes of law, justice, gender and power with urgent relevance. ![The Scoop Prima Facie 2026 Tour](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-17-at-11619-pm-1198x628.png "Prima Facie 2026 Tour • The Scoop")Writer **Suzie Miller** said: *“I couldn’t be more thrilled to bring the original production of Prima Facie* *back to the stage with Lee Lewis and Sheridan Harbridge.* *I am forever grateful for the talent and courage of these phenomenal Australian creatives.* *Harbridge’s iconic performance of Tessa is carried in my heart, and has inspired productions in over 50 other countries! The joy of seeing her play Tessa Ensler again is, for me, immeasurable.”* Award winning performer **Sheridan Harbridge** said*:* *“Prima Facie shot out of a tiny theatre in Kings Cross like a lightning bolt, igniting conversation about the justice system that spread around the globe. “Theatre of change is a special rare bird, and it began in Australia. What an honour to bring back the show that ignited a flame that’s still burning bright.”* Prima Facie is a partnership between Griffin Theatre Company and **Andrew Henry Presents**. Co-producer Andrew Henry, described the return as a defining moment of cultural recognition: *“Australia does not often pause to celebrate its great cultural exports while they are still shaping the world. Prima Facie is one of the most significant theatrical works ever to come out of this country. This season is about honouring that achievement, not chasing it, not remaking it, but acknowledging where it began, and the artists who carried it into the world.”* Artistic Director & Co-CEO of Griffin Theatre Company, **Declan Greene** said: *“**Prima Facie was the play that only Suzie could write. The culmination of her years of legal practice, her astonishing craft as a playwright, and moment of white-hot fury that ignited a blaze across the globe.* *Alongside Andrew Henry Presents, it’s a thrill to celebrate the powerhouse team that launched this cultural landmark from Griffin’s tiny 105-seat theatre—Suzie Miller, Lee Lewis and the original Tessa, Sheridan Harbridge.”* This return season is the original production, returned intact… the voice, the performance and the staging that ignited a global phenomenon. ***Prima Facie* is presented by Griffin Theatre Company and Andrew Henry Presents. It runs for limited seasons in Melbourne from 20 May and Sydney from 3 June 2026.** Tickets for Sydney are on sale **Thursday 19 February**. Tickets for Melbourne are on sale **Friday 27 February**. Website: <https://primafacieplay.com.au/> Socials: <https://www.instagram.com/primafacieaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image photo credit: Brett Boardman 2026 Australian Tour Dates: Melbourne from 20 May, Comedy Theatre Sydney from 3 June, Roslyn Packer Theatre Running time: 90 minutes. No interval. Age guidance: Recommended for Audiences 14+ CONTENT WARNING: This production contains coarse language and strong themes of sexual assault. **Categories:** News --- ### [Announcing Tootsie Musical To Make Australian Premiere Sydney](https://thescoop.au/announcing-tootsie-musical-to-make-australian-premiere-sydney/) **Published:** February 17, 2026 **Author:** Newsroom **Content:** ![The Scoop Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/02/TOOTSIE_LOGO_1920x1080_02-1116x628.jpg "Tootsie Australian Premiere May 2026 Teatro at the Italian Forum Sydney • The Scoop")Co-Founders **Nathan M Wright and Andrew Bevis** (*The Addams Family*, *The Prom*) today announced that the hit Broadway musical ***Tootsie*** will make its highly anticipated **Australian premiere** this **May** at **Teatro at the Italian Forum in Sydney**. The production further cements the company’s reputation for bringing acclaimed international premieres and blockbuster musicals to Australian audiences. Award-winning director and choreographer **Cameron Mitchell** (*Putting It Together*, *[Sweet Charity](https://thescoop.au/review-sweet-charity-is-stylish-simple-bursting-with-soul/)*) will helm the production, as rehearsals begin this week for *[The Prom](https://thescoop.au/announcing-cast-of-the-prom-musical-to-premiere-in-march/)*. Tickets for ***Tootsie*** are **on sale now** at <https://teatroitalianforum.com.au/>. *The New York Post* calls it “Broadway’s funniest new musical” and *Rolling Stone* said it is “musical comedy heaven.” ***Tootsie*** tells the laugh-out-loud story of a talented but difficult actor who struggles to find work until one show-stopping act of desperation lands him the role of a lifetime. Director **Cameron Mitchell** said: *“Tootsie is the perfect feel-good musical for everyone. It has all the nostalgia of the 1982 Sydney Pollack film starring Dustin Hoffman with a hilarious new book and dazzling score. I am very excited to work with the team at Teatro and bring this brand-new show to Sydney audiences. Tootsie is laugh out loud funny, with a lot of heart and great song and dance numbers. Can’t wait!”* Based on the Oscar winning beloved hit film starring Dustin Hoffman, the Tony Award® Winner for Best Book of a Musical, ***Tootsie*** also received 11 Tony Award nominations, including Best Musical and Best Original Score. Music and lyrics are by Tony Award & Grammy award-winner **David Yazbek** (*The Band’s Visit*, *Dirty Rotten Scoundrels*). Book by Tony Award-winner **Robert Horn** (*13 the Musical, Shucked*). ***Tootsie*** has had audiences rolling in the aisles. It is fast-paced and outrageously funny, playing with identity, ambition and ego, all while keeping the laughs coming. ***Tootsie* the musical makes its Australian premiere in Sydney at Teatro at the Italian Forum from 26 May 2026.** Tickets are available [here](https://www.ticketmaster.com.au/artist/2728443?did=venue)! Website: <https://teatroitalianforum.com.au/date/tootsie/> Socials: <https://www.instagram.com/teatroitalianforum/> [Read our 2026 Musical Theatre Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. ![The Scoop Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2025/08/norton4_RET-942x628.jpg "Teatro at the Italian Forum Sydney • The Scoop")Teatro at the Italian forum is Sydneys newsest creative hub**About Teatro:** Teatro is Sydney’s newest creative hub for the performing arts, located in the heart of Leichhardt at the iconic Italian Forum. With a focus on community engagement, emerging talent, and world-class productions, Teatro aims to be a vibrant gathering place for artists and audiences alike. Under the leadership of Nathan Wright and Andrew Bevis, Teatro will continue to build on the venue’s rich history while ushering in a new era of creativity and cultural exchange. Recent productions include *The Addams Family, Santa Claus* with rehearsals of the Australian Premiere of *The Prom* currently underway. ![The Scoop Cameron Mitchell](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-17-at-103745-am-464x628.png "Cameron Mitchell • The Scoop")Cameron Mitchell**About Cameron Mitchell:** Cameron Mitchell’s career began in the children’s chorus of the Cameron Mackintosh and Adelaide Festival Centre’s production of *Oliver!* This was followed by *The Snow Queen* and the world premiere of Opera Australia’s *Voss****.*** Other musical theatre credits include Baby John in *West Side Story* and *My Fair Lady, Chicago, Hot Shoe Shuffle.* Concert versions of *Mack & Mabel* and *Zorba,* and the Australian premiere of *Monty Python’s Spamalot.* He also was a featured dancer in the Baz Luhrman’s *Moulin Rouge!* Cameron began his choreographic career with the National tour of girl group *Bardot* from the hugely successful television series *Popstars.* He went on to work closely with musical theatre star Caroline O’Connor for many years, where he co-created the critically acclaimed *From Stage to Screen*, which toured internationally and was televised on the ABC as well as *The Showgirl Within.* Cameron choreographed for the Logies and ARIA award winning children’s group *Hi -5* for many years. He was instrumental in creating the internationally successful *Boys In The Band* and *The Diamonds* with SMA Productions and his work was heavily featured in the Logie Award winning *So You Think You Can Dance* on Network Ten. Cameron choreographed numerous performances over three seasons of *Dancing with the Stars* and worked as choreographer on the feature film *Peter Rabbit 2.* Musical Theatre choreographic credits include *Heathers the Musical*, *High Society*, *The Fantasticks*, *Mack & Mabel, Big Fish, Brigadoon*, *The Rover, The View Upstairs*, *Calamity Jane*, *High Fidelity*, *Gypsy, Cry-Baby The Underpants*, *Spamalot*, *FRIENDS! The Musical Parody* and *Urinetown The Musical.* He has worked for many years with internationally renowned cabaret and musical theatre artist Trevor Ashley on shows such as *Pop Princess 2*, *Gentlemen Prefer Blokes, Diamonds Are For Trevor*, *Fat Swan*, *Little Orphan Trashley*, *Twins, The Lyin’ Queen* and *The Bodybag.* Cameron made his directorial debut with the critically acclaimed Australian premiere of the Broadway musical *Catch Me If You Can,* with a sellout season at The Hayes Theatre. He directed *To Barbra With Love* with the Melbourne Symphony Orchestra commemorating Streisand’s 80th birthday. He directed and choreographed the Gershwin musical *Nice Work If You Can Get It* for which he won both Best Direction and Best Choreography of a musical at the 2023 Sydney Theatre Awards. He directed and choreographed *Singin’ in The Rain in Concert* at QPAC and *Menopause The Musical* for which he was nominated for Best Direction and Best Choreography at the 2025 Green Room Awards. Recently Cameron directed and choreographed *Sweet Charity* for Prospero Arts and QPAC and *Putting It Together* for Impresario Productions at the Foundry Theatre. **Categories:** News --- ### [Announcing Heathers The Musical Cast For Australian Tour](https://thescoop.au/announcing-heathers-the-musical-cast-for-australian-tour/) **Published:** February 17, 2026 **Author:** Newsroom **Content:** ![The Scoop Heathers the Musical 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/02/The-Heathers-Calista-Nelmes-Amelia-Rojas-Abigail-Sharp-2-copy-942x628.jpg "Heathers the Musical 2026 Australian tour • The Scoop")Welcome to Westerberg High: meet the class of 2026! The global phenomenon **Heathers The Musical** today unveils the cast for its highly anticipated professional Australian premiere. Based on the cult 1988 film starring Winona Ryder and Christian Slater, the high-octane black comedy rock musical arrives in Australia following record-breaking seasons in London and New York. Featuring an exciting mix of seasoned stage performers and rising stars representing the country’s next generation of theatre talent, the show opens in **Melbourne** on **8** **April** before touring **Sydney, Adelaide, the Gold Coast, Canberra** and **Perth** as part of a major Australia–New Zealand tour. Leading the class as outsider-turned-icon Veronica Sawyer is **Emma Caporaso**, making her mainstage debut after winning audiences with her powerhouse vocals as part of girl-group G-Nation on The Voice Australia. Opposite her, **Conor Beaumont** takes on the role of the dangerously charismatic J.D. Conor. He was most recently seen in the musical adaptation of *[American Psycho: A Musical](https://thescoop.au/review-american-psycho-has-killer-tunes-and-bloody-good-fun/)* at Melbourne’s Chapel Off Chapel. **Calista Nelmes** dons the iconic red scrunchie as queen bee Heather Chandler, bringing star power honed through roles in *[RENT](https://thescoop.au/review-rent-marks-the-seasons-of-love-anew/)*, *Jesus Christ Superstar* and *Jersey Boys*. **Amélia Rojas** takes on Heather Duke, fresh from *Chicago*. **Abigail Sharp** completes the iconic trio as Heather McNamara in her debut mainstage performance. Award-winning performer **Mel O’Brien** (FANGIRLS), who’s best known for her work as one half of musical comedy duo [Mel & Sam](https://thescoop.au/review-mel-and-sam-no-hat-no-play-2025-melbourne-international-comedy-festival/), will bring her trademark humour to the role of Martha Dunnstock. **Zoe Gertz** (*Come From Away, Legally Blonde, Wicked, Les Misérables*) is Ms Fleming and Veronica’s Mum. **David Cuny** (*Elvis: A Musical Revolution, The Lord of the Rings: A Musical Tale*) and **Nic Van Lits** (*Jesus Christ Superstar, The Rocky Horror Show, Joseph and the Amazing Technicolor Dreamcoat*) will swagger into Westerberg High as jocks Ram Sweeney and Kurt Kelly. Rounding out the adult chaos are **Ellis Dolan** (*The Rocky Horror Show, School of Rock*) and **Brodie Masini** (*The Play That Goes Wrong*), juggling parents, principals and authority figures who are very much out of their depth. Completing the cast, are ensemble members **Thalia Osegueda Santos, Hannah Chesser, Jocelyn Scott, Mackenzie Htay, Sam Henderson, Jack Reason, Aimee Jones,** and **Scarlett Anthony**. ![The Scoop Heathers the Musical 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/02/Heathers-cast-Amelia-Rojas-Calista-Nelmes-Abigail-Sharp-Conor-Beaumont-Emma-Caporaso-copy-941x628.jpg "Heathers the Musical 2026 Australian tour • The Scoop")The Heathers cast includes Amélia Rojas Calista Nelmes Abigail Sharp Conor Beaumont Emma Caporaso Photo by Cameron GrantFeaturing a mercilessly catchy mix of ballads and bangers by award-winning writers **Kevin Murphy** (*Desperate Housewives*) and **Laurence O’Keefe** (*Legally Blonde The Musical*), *Heathers the Musical* is directed by acclaimed American screen and stage director **Andy Fickman**. Speaking about the show, **Fickman** said: *“How Very…excited we are about this brilliant cast who are bringing Westerberg High School to life Down Under! We truly were blown away by the exceptional level of talent we saw throughout our auditions.* *This was one of our most competitive searches ever. The end results truly will ensure each performance is Big Fun. Our new Rottweilers represent both Australia and New Zealand with many of our cast making their professional debuts.* *So, motor on over to the box office and grab tickets as you will not want to miss this amazing cast as they welcome you to their Candy Store!”* Since its sold-out Los Angeles premiere in 2013 and New York debut in 2014, *Heathers* has gone on to three smash-hit West End seasons, multiple sold-out UK and Ireland tours, and a 2019 WhatsOnStage Award win for Best New Musical. In 2022, it was filmed and streamed globally via The Roku Channel. Most recently, the show smashed records at New York’s New World Stages, opening in June 2025 to the biggest advance sale in the venue’s history and immediately extending due to demand. The stage capture of the London production played in cinemas across the country in September. *Heathers the Musical* is produced by **Bill Kenwright Ltd, Paul Taylor-Mills** in partnership with **GMG Productions** and **Stoddart Entertainment.** ***Heathers the Musical* opens in Melbourne from 8 April 2026 at Arts Centre Melbourne, followed by a national tour.** Tickets available at the links below. Website: <https://heathersthemusical.com/australia/> Socials: <https://www.instagram.com/heathersmusicalaunz/> [Read our 2026 Musical Theatre Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Cameron Grant 2026 Australian Tour Dates: Melbourne from 8 April, Playhouse, Arts Centre Melbourne [Tickets](https://www.artscentremelbourne.com.au/whats-on/2026/musical/heathers-the-musical) Adelaide 16 – 26 July, Her Majesty’s Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=THEATHER26) Gold Coast 30 July – 9 August, HOTA, Home of the Arts [Tickets](https://tickets.hota.com.au/49744) Canberra 14 – 23 August, Canberra Theatre Centre [Tickets](https://canberratheatrecentre.n.qtix.com.au/tickets/series/ctcheathersthemusical26) Sydney 26 – 29 August, Coliseum Theatre [Tickets](https://premier.ticketek.com.au/shows/Show.aspx?sh=HEATHERS26) Sydney 1 – 19 September, Roslyn Packer Theatre [Tickets](https://www.roslynpackertheatre.com.au/whats-on/productions/2026/heathers-the-musical) Perth 30 September – 11 October, Regal Theatre [Tickets](https://premier.ticketek.com.au/shows/show.aspx?sh=HEATHPER26) **Categories:** News --- ### [Announcing Moulin Rouge! The Musical For Sydney](https://thescoop.au/announcing-moulin-rouge-the-musical-for-sydney/) **Published:** February 17, 2026 **Author:** Newsroom **Content:** ![The Scoop Moulin Rouge! Musical Sydney](https://thescoop.au/wp-content/uploads/2026/02/MRTM-North-American-Touring-Cast_CREDIT-Matthew-Murphy-copy-942x628.jpg "Moulin Rouge! Musical Sydney • The Scoop")Global Creatures announced today that the worldwide blockbuster production of ***Moulin Rouge! The Musical* will open at the Sydney Lyric in March 2027**, with an all new Australian cast, delivering the same internationally acclaimed spectacle fans know and love. In 2025, seven productions of the hit show lit up stages across the globe, painting new cities red, welcoming new audiences, and serving up unforgettable moments at every turn. To date, over 12 million theatregoers worldwide have experienced the spectacular, and the original Broadway soundtrack has had 169 million streams on Spotify and leading music streamers. The 2027 Sydney season marks a homecoming sparked by demand, following a sold-out Australian national tour, culminating in February 2024, that welcomed 1.4 million theatregoers across Melbourne, Sydney, Perth and Brisbane. Auditions for the next superstar Aussie cast commence in Sydney from 16–21 March, before moving to Melbourne from 23–28 March 2026. **Pre-sale tickets** for the **Sydney season** will be available to [waitlist members](https://moulinrougemusical.com.au/) from 10am AEDT on **Monday 23 February 2026**. **Tickets** go on sale to the **general public** at 9am AEDT on **Thursday 26 February 2026** from Ticketmaster. It’s a homecoming fuelled by audience love. **Carmen Pavlovic**, Global Creatures CEO and Producer of *Moulin Rouge! The Musical* said: *“Australian audiences embraced Moulin Rouge! The Musical with incredible passion. It was extraordinary to feel that energy in every city we played.* *We heard from so many people who missed out the first time, and just as many who couldn’t wait to come back for a taste of the Spectacular. Bringing the production home again is a thrill for us. It’s what audiences asked for, and we’re delighted to deliver.”* ![The Scoop Moulin Rouge! Musical Sydney 2027](https://thescoop.au/wp-content/uploads/2026/02/MRTM-_Original-Australian-Cast_CREDIT-Tim-Carrafa-790x628.jpg "Moulin Rouge! The Musical Sydney 2027 • The Scoop")Original Australian Cast Photo by Tim CarrafaFollowing its pre-Broadway engagement in Boston in 2018, and earning rave reviews, *Moulin Rouge! The Musical* set its sights on New York City, officially opening at the Al Hirschfeld Theatre on 25 July 2019, making history as the first Australian-produced musical to originate on Broadway. Melbourne became the first international city to host the 10-time Tony Award® – winning production after its electric Broadway debut, opening at the Regent Theatre in 2021 to rave reviews. The season also marked the 20th anniversary of Baz Luhrmann’s revolutionary film – a full circle celebration of an Australian story turned global phenomenon. Sold-out seasons in Sydney, Brisbane and Perth followed. A sold out return Melbourne season in 2023/24 closed the original Australian tour – a poetic finale where it all began. What began as an Aussie spark now illuminates stages across the world. *Moulin Rouge! The Musical* continues its international triumph with productions dazzling audiences in New York on Broadway, in London’s West End, lighting up Cologne in Germany, and captivating crowds in Utrecht in the Netherlands. The North American Tour continues to thrill audiences across the United States, while the newly launched World Tour burst to life in Edinburgh in April 2025. In November 2025 the production returned to Seoul, Korea for a second season. Past triumphs include sold-out runs in Tokyo, Osaka and Seoul, along with the acclaimed Australian Tour. Beyond Global Creatures’ produced productions, the show has also been licensed to Nordiska APS – the largest performing rights agency in Scandinavia – resulting in celebrated non-replica productions across Denmark, Finland, Norway, Sweden and Iceland. Meanwhile, in Rome Italy, Peeparrow Entertainment brought the Spectacular to local audiences in a new limited season from October 2025. ![The Scoop Moulin Rouge! Musical Sydney 2027](https://thescoop.au/wp-content/uploads/2026/02/MRTM_BackstageRomance_Original-Australian-Cast_CREDIT-Michelle-Grace-Hunder-copy-1036x628.jpg "Moulin Rouge! Musical Sydney 2027 • The Scoop")Backstage Romance Original Australian Cast Photo by Michelle Grace Hunder**The New York Times** called it ‘pure escapism’ and a ‘cloud-surfing, natural high of a production’. While **Broadway World** declared, “Derek McLane’s Tony Award® winning, exquisitely sumptuous scenic design, decadently lit by Justin Townsend’s Tony Award® winning lighting design, is alone worth the ticket price, even before the show begins!” Locally, **The Sydney Morning Herald** observed, “You don’t just go to see *Moulin Rouge! The Musical*, you enter its world.” **Time Out** praised, “*Moulin Rouge! The Musical* is every bit the ‘spectacular spectacular’ fans have waited for, bursting onto the stage with the same visual splendour and captivating music that made Baz Luhrmann’s film such a hit.” **The Daily Telegraph** captured it perfectly, saying, “You can’t help but leave with a smile on your face, toes still tapping.” Directed by Alex Timbers, *Moulin Rouge! The Musical* is a theatrical celebration of Truth, Beauty, Freedom and – above all – Love. With a book by John Logan, music supervision, orchestrations and arrangements by Justin Levine, and choreography by Sonya Tayeh. Bringing *Moulin Rouge! The Musical* to the stage was a decade-long journey spanning 3 continents, encompassing 75 songs credited to 165 songwriters, administered by 31 publishers, representing over 160 years of music. *Moulin Rouge! The Musical* is produced by **Carmen Pavlovic** and **Gerry Ryan AO, OAM** for Global Creatures and **Bill Damaschke**. The Executive Producer of the Australian production is **Angela Dalton**, Global Creatures. ***Moulin Rouge! The Musical* opens at Sydney Lyric Theatre from March 2027.** Join the waitlist for priority access to Sydney tickets at the website below. Tickets: <https://moulinrougemusical.com.au/sign-up/> Website: <https://moulinrougemusical.com.au/> Socials: <https://www.instagram.com/moulinmusicalau/> [Read our 2026 Guide to Musical Theatre!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image: North American touring cast, photo by Matthew Murphy **Categories:** News --- ### [A Night At The Musicals Brings Sondheim To Life](https://thescoop.au/a-night-at-the-musicals-brings-sondheim-to-life/) **Published:** February 16, 2026 **Author:** Newsroom **Content:** ![The Scoop A Night At The Musicals Side by Side with Sondheim Brisbane](https://thescoop.au/wp-content/uploads/2026/02/BANNER-CAST-1116x628.jpg "A Night At The Musicals Side by Side with Sondheim Brisbane • The Scoop")One of musical theatre’s most celebrated songwriters takes centre stage this March, as **A Night At The Musicals** presents *Side by Side with Sondheim* at the Brisbane Powerhouse for a strictly limited season from **12 -14 March 2026**. This original staged concert celebrates the wit, complexity and emotional depth of Stephen Sondheim’s body of work – brought to life by an exceptional cast of Australia’s leading musical theatre performers. Running for just four performances, in the **Underground Theatre at Brisbane Powerhouse**, *Side by Side with Sondheim* offers audiences a rare opportunity to experience Sondheim’s music in an intimate ‘in the round’ setting, where lyric, story and performance is front and centre for the audience. The production features a powerhouse line up, including **Courtney Monsma**, fresh from international success and best known to Australian audiences as Glinda in *Wicked*. Joining her will **Sarah Morrison** (*Mamma Mia*, *Come From Away*), **James Shaw** (*Rent*, *The Secret Garden*), **Renae Suttie** (*The Swing Collective*), **Lachlan Greenland** (*Cirque Alice*), **Jordan Koulos** (*& Juliet*, *Grease*), and **Erica Wild** (*Rocky Horror*, *Cinderella*). Erica was recently announced as joining the cast of *[A Beautiful Noise: The Neil Diamond Musical](https://thescoop.au/announcing-stellar-cast-for-neil-diamond-musical/)*. Backing the cast is a featured quartet, **Josh Whitten, Paige McKay, Liam J. O’Byrne and Laura Garrick**, vocally underscoring Sondheim’s music throughout the show. ![The Scoop A Night At The Musicals Side by Side with Sondheim Brisbane](https://thescoop.au/wp-content/uploads/2026/02/FULL-CAST-TILE-502x628.jpg "A Night At The Musicals Side by Side with Sondheim Brisbane • The Scoop")Together, the cast will perform hits from *Company*, *Into the Woods*, *Merrily We Roll Along, Sweeney Todd* and beyond. They will also perform lesser-known gems and thoughtfully re-imagined favourites, thanks to expert Musical Direction by Michael Keen. Director **Alex Watson** says the production is as much about the performers as it is about the composer: *“Stephen Sondheim demands the very best from performers, musically, emotionally, and intellectually. This cast represents an extraordinary cross-section of Australian musical theatre talent. Side by Side with Sondheim gives them the space to really tell these stories. It’s intimate, it’s actor-driven, and it’s going to be a treat for Brisbane audiences.”* Whether audiences are lifelong devotees or discovering Sondheim’s work for the first time, Side by Side with Sondheim promises an evening of sharp humour, humanity and unforgettable music. With only four performances available, this limited Brisbane season is expected to sell quickly. ***Side by Side with Sondheim*** **is presented by A Night At The Musicals and runs 12 – 14 March 2026. Underground Theatre, Brisbane Powerhouse, 119 Lamington Street New Farm Qld 4005.** Tickets: <https://premier.ticketek.com.au/shows/Show.aspx?sh=ANIGHTAT26> Website <https://brisbanepowerhouse.org/events/side-by-side-with-sondheim/> Socials: <https://www.instagram.com/anatmbris/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: The Deadmouse And Peabrain Dreams Theatre Works](https://thescoop.au/review-the-deadmouse-and-peabrain-dreams-theatre-works/) **Published:** February 16, 2026 **Author:** Jack Bengough **Content:** ![The Scoop The Deadmouse and Peabrain Dreams Alright? Theatre Works Melbourne](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-16-at-100849-am-833x628.png "The Deadmouse and Peabrain Dreams Alright? Theatre Works Melbourne • The Scoop")The Theatre Works Explosives Factory is an odd little venue tucked away in a laneway behind Inkerman Street in St Kilda. Walking into the venue, you are sent straight up a set of stairs that leads directly to a ticketing desk at the top. Through the doorway on the left, you are taken immediately into a modestly sized theatre space. It’s an appropriately odd setting for *The Deadmouse and Peabrain Dreams* from theatre company Alright? and writer/ director/ performer Alana Louise. The *Deadmouse and Peabrain Dreams* is a family comedy drama where two sisters dream of escaping their rural country town by winning the X-Factor. The show attempts to walk a very tricky tightrope between the dark and the silly, as the sisters attempt to grapple with the lack of prospects in their lives, all the while mutually emotionally abusing each other. While not without faults, this serves as a short and entertaining production with a decent bit of heart at its centre. Opening with a sequence where sisters Shannon (Alana Louise) and Jodi (Sarah Palmieri) attempt to catch a mouse with the help of their father (Jason Schwab) before it is stomped by the neighbour Ronald (Joe Kenny). The sequence has the group moving through the space in slow motion, climbing on furniture and tossing brooms and nets between each other. This is just a taste of what the rest of the show will have to offer, as *Deadmouse* regularly treats the audience with elaborate physical comedy and witty dialogue loaded with irreverent humour. ![The Scoop The Deadmouse and Peabrain Dreams Alright? Theatre Works Melbourne](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-16-at-101003-am-847x628.png "The Deadmouse and Peabrain Dreams Alright? Theatre Works Melbourne • The Scoop")The show walks a very tricky tightrope between the dark and the silly Photo by Nina HopleyShannon and Jodi are living out their young adult lives in the small town of Dumbfordton, working as funeral directors in their priest father’s church. After their mother left them for a man she met during a family holiday in Bali, Shannon and Jodi became determined to escape their hometown by winning the X-Factor. Jodi struggles with the familiarity of a small country town, leading to memorable segments in the show where Kenny and Schwab rapidly switch between several of the townspeople of Dumbfordton interacting with Jodi. Shannon, on the other hand, has completely hitched herself to Shannon’s future success, serving as her songwriter and choreographer. *‘DMPD’* first began development while Alana Louise was studying at French theatre school École Phillipe Gaulier, which specialises in teaching clowning. The influence of Gaulier is very much apparent in the comedic stylings of the production as well as the character work done by the performers. There is an undeniably strong chemistry between the cast members, despite the absurdity of the premise and the larger-than-life nature of the characters; they all interact with each other very naturally and believably. ![The Scoop The Deadmouse and Peabrain Dreams Alright? Theatre Works Melbourne](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-16-at-101037-am-849x628.png "The Deadmouse and Peabrain Dreams Alright? Theatre Works Melbourne • The Scoop")There is an undeniably strong chemistry between the cast members Photo by Nina HopleyStrangely, the character of Jodi seems much less heightened than the rest of the ensemble, regularly seeming significantly more down to earth than the other characters despite her position in the narrative. Although moment-to-moment, the production consistently delivers both laughs and heartfelt character moments, it is the construction of the larger narrative where *DMPD* falters. Certain aspects of the characters’ relationships seem underexplored, like the two sisters living in a religious household but not being devoted to religion themselves, or the mutual emotional abuse that the two sisters regularly inflict on one another. Towards the end of the production, there is an unexpected dark shift in the story following the death of a character, and from there, the plot stumbles until the show reaches its conclusion. *The Deadmouse and Peabrain Dreams* delivers laughs through its excellent use of character work and clowning techniques, but struggles to deliver a convincing narrative to tie itself together. Even still, if you are looking for a night of laughs and earnest character drama, be sure not to miss this one. ***The Deadmouse and Peabrain Dreams* runs to 21 February at Theatre Works Explosives Factory. Rear Laneway, 67 Inkerman Street St Kilda Vic 3004.** Tickets are available [here](https://www.eventbrite.com.au/e/the-deadmouse-and-peabrain-dreams-tickets-1976059025740?aff=oddtdtcreator). Website: <https://www.theatreworks.org.au/2026/the-deadmouse-and-peabrain-dreams> Socials: [https://www.instagram.com/alright\_comedy/](https://www.instagram.com/alright_comedy/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Nina Hopley **Categories:** Melbourne, Theatre --- ### [Announcing Full Cast Of The Lion King Australia](https://thescoop.au/announcing-full-cast-of-the-lion-king-australia/) **Published:** February 5, 2026 **Author:** Newsroom **Content:** ![The Scoop The Lion King Disney Sydney 2026](https://thescoop.au/wp-content/uploads/2026/02/4-Buyi-Zama-on-stage-as-Rafikijpg-942x628.jpg "The Lion King Sydney 2026 • The Scoop")Disney has revealed the full cast that will step into the pride lands when **THE LION KING** returns to **Sydney**. The world’s number #1 musical will roar into the Capitol Theatre with performances from **Saturday 18 April**. Announced today Australian stage and screen actor **Daniel Frederiksen**, whose credits include film, television and working with leading theatre companies across Australia, will step into the role of Scar. Appearing alongside Frederiksen and making up the ensemble will be a group of talented and diverse performers including: **Shugri Abdi, Mario Acosta-Cevallos, Claire Abaijah-Griffin, Tara Bajan, Evangeline Batucan, Sophie Dadge, Ed Deganos, Leorate Dibatana, Junior Dilape, Matt Domingo, Joe Gaudion, Mukelisiwe Goba, Chaska Halliday, Jayme-Lee Hanekom, Annie-Lenore Hanman, Hamish Johnston, Khaya Mniki, Iteboge Modipane, Kearabetswe Mogotsi, Steven Mokone, Lwazi Mzimase, Buhle Nkomo, Rania Potaka-Osborne, Jack Rowan, Jacob Rozario, Laila Salloum, Asmara Soekotjo, Chemon Theys, Clifford Tlomatsana, Dean Vince, Tarisai Vushe, Brendan Xavier, Asemahle Xenti** and **Angel Zum**. The ensemble cast join the principal performers previously announced, who will bring the beloved characters of THE LION KING to life on stage. **Buyi Zama** returns to lead the cast as Rafiki, reprising the iconic role for a third time in Australia. She previously played Rafiki in the 2003 and 2013 tours and has been part of THE LION KING productions around the world. Following his theatre debut twelve years ago as Simba, **Nick Afoa** also returns, this time taking on the role of Mufasa. Completing the [principal cast](https://thescoop.au/announcing-principal-cast-for-the-lion-king/) will be **Benn Welford** as Zazu, **Aphiwe Nyezi** as Simba, **Emily Nkomo** as Nala, **Jamie McGregor** as Timon, **Rutene Spooner** as Pumbaa, **Ezra Williams** as Shenzi, **Winston Hillyer** as Banzai and **Mat Verevis** as Ed. Audiences at the Capitol Theatre will join more than 124 million worldwide who have seen THE LION KING. THE LION KING has been critically acclaimed around the world, with *The New York Times* proclaiming that ‘there is simply nothing else like it’. The previous 2013 Sydney season of THE LION KING was celebrated by both audiences and critics. THE LION KING will be the ninth production from Disney Theatrical Group to play in Sydney over the past thirty years. This follows an impressive list of smash-hits that include recent national tours of *Beauty and the Beast, Aladdin, Mary Poppins* and *Frozen*. Now in its fourth decade as a theatrical producer, Disney Theatrical is headed by Managing Director Andrew Flatt and Executive Producer Anne Quart. **Disney’s** **[THE LION KING](https://thescoop.au/announcing-disneys-the-lion-king-for-sydney-2026/) runs from 18 April to 30 August 2026 at the Capitol Theatre.** **13 Campbell St, Haymarket NSW 2000.** Tickets are [on sale now](https://thelionkingmusical.com.au/tickets/?city=sydney)! Website: <https://thelionkingmusical.com.au/> Socials: <https://www.instagram.com/thelionkingau/> [Read our 2026 Musical Theatre Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image: Buyi Zama on stage as Rafiki, supplied. The Australian premiere of Disney’s THE LION KING is proudly supported by the NSW Government through its tourism and major events agency Destination NSW. **Categories:** News --- ### [Announcing Stellar Cast For Neil Diamond Musical](https://thescoop.au/announcing-stellar-cast-for-neil-diamond-musical/) **Published:** February 16, 2026 **Author:** Newsroom **Content:** ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/02/A-BEAUTIFUL-NOISE-BROADWAY-CAST-2-942x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")Producers **Paul Dainty** and **TEG Dainty, Ken Davenport** and **Bob Gaudio** are thrilled to announce the stellar Australian cast of the smash-hit musical ***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL***, which makes its Australian premiere exclusively in **Melbourne** at the Princess Theatre, with previews commencing on **Wednesday 5 August** **2026**. Due to overwhelming demand, the season has been extended by two weeks and is now playing through to Sunday 11 October 2026. Ticket pre-sales commence today, with tickets to the general public on sale from 9am **Thursday 19 February** via Ticketek. The Australian cast will join previously announced Broadway star **Will Swenson** in the titular role *Neil Diamond – Then*, bringing his acclaimed, award-winning performance to Australia for the very first time. Joining Swenson is an exceptional company of Australian talent, featuring principal cast members **Terence Crawford** (*Neil Diamond – Now*), **Ashleigh Rubenach** (*Marcia Murphey*), **Monica Sayers** (*Doctor*), **Alana Tranter** (*Jaye Posner*), **Tim Wright** (*Fred Weintraub / Tommy O’Rourke),* **Hannah Fredericksen** (*Ellie Greenwich / Rose Diamond*), with **Rob Mallett** (*Standby Neil Diamond – Then*), and **Mark Owen Taylor** (*Standby Neil Diamond – Now, Fred Weintraub / Tommy O’Rourke, Bert Berns / Kieve Diamond*). Rounding out the company as “The Beautiful Noise” ensemble are **Katrina Bickerton, Cameron Davey, Paul Leandre Escorrido, Matt Hourigan, Alana Iannace**, **Jerome Javier** (Swing) **Joshua Kobeck, Etuate Lutui** *(Shilo soloist),* **Anna Mallows** *(Swing),* **Jordan Malone, James Maxfield** *(Swing),* **Isabella Roberts, Sophie Tzioumis, Emma Wilby** *(Swing),* and **Erica Wild** *(Swing)*. Producer **Paul Dainty AO** said: *“The audition process for **A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL** was extraordinary. Together with members of the international creative team we saw an incredible calibre of performers from across Australia, and the depth of talent on display made this one of the most exciting casting journeys we’ve been part of.* *We’re immensely proud of the stellar Australian cast we’ve assembled — artists who bring not only exceptional vocal power, but heart, authenticity and a real connection to Neil Diamond’s music. Audiences are in for something truly special.”* Minister for Tourism, Sport and Major Events **Steve Dimopoulos** said: *“Victoria is the nation’s cultural capital and welcoming this musical is yet another example of how we’re bringing the world’s biggest productions to Melbourne – creating jobs, boosting tourism and giving audiences unforgettable experiences.* *This fantastic cast will make for a blockbuster musical experience for fans, giving people another great reason to plan a trip to Melbourne and experience everything the city has to offer.”* ![The Scoop A Beautiful Noise The Neil Diamond Musical](https://thescoop.au/wp-content/uploads/2026/02/A-BEAUTIFUL-NOISE-BROADWAY-CAST-4-942x628.jpg "A Beautiful Noise The Neil Diamond Musical • The Scoop")The Australian cast will join previously announced Broadway star Will Swenson in the titular role Image suppliedCreated in collaboration with **Neil Diamond** himself, ***A BEAUTIFUL NOISE*** is the uplifting true story of how a kid from Brooklyn became a chartbusting, show-stopping American rock icon. With **120 million albums sold,** a catalogue of classics like ***Cracklin’ Rosie,** **Forever in Blue Jeans,*** and ***Sweet Caroline,*** an induction into the **Songwriters and Rock and Roll** **Halls of Fame**, a **Grammy® Lifetime Achievement Award**, and **sold-out concerts around the world** that made him bigger than Elvis, **Neil Diamond’s** story was made to shine on Broadway – and the world. ***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL*** is directed by Tony Award® winner **Michael Mayer** (*Spring Awakening, Hedwig and the Angry Inch*), choreographed by Olivier Award winner **Steven Hoggett** (*Once, Harry Potter and the Cursed Child*), and written by four-time Academy Award nominee **Anthony McCarten** (*Bohemian Rhapsody, The Two Popes*). The design team for A BEAUTIFUL NOISE features Tony Award winner **David Rockwell** (Scenic Design). Tony Award nominee **Emilio Sosa** (Costume Design). Four-time Tony Award winner **Kevin Adams** (Lighting Design). Tony Award winner **Jessica Paz** (Sound Design), and **Luc Verschueren** (Hair, Wig and Make Up Design). The production has Music Supervision and Arrangements by **Sonny Paladino**. Incidental Music and Dance Music Arrangements by **Brian Usifer**. Vocal Design by **AnnMarie Milazzo**, and Orchestrations by **Bob Gaudio, Sonny Paladino**, and **Brian Usifer**. **Neil Diamond’s** connection with Australia spans nearly half a century of music and memories. He has toured here seven times with promoter Paul Dainty AO, from the landmark *Thank You Australia* tour in 1976 through to 2015, with his music resonating deeply with audiences. His iconic 1972 live album *Hot August Night* spent 29 weeks at number one and 65 weeks on the chart, making it the third-longest-charting album of its era in Australian music history. Due to demand, new ticket pre-sales commence today. Tickets to the general public will go on sale **Thursday 19 February** from www.ticketek.com.au. ***A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL* will make its Australian premiere exclusively in** **Melbourne** **at The Princess Theatre.** **It runs from 5 August to 11 October 2026.** Ticket [link](https://premier.ticketek.com.au/shows/show.aspx?sh=ABEAUTN26). Website: <https://theneildiamondmusical.com.au/> Socials: <https://www.instagram.com/theneildiamondmusicalau/> [Read our 2026 Guide to Musical Theatre!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images of *A Beautiful Noise* Broadway cast, supplied. **Categories:** News --- ### [Review: The Great Gatsby Reawakens With Champagne, Class & Confidence](https://thescoop.au/review-the-great-gatsby-reawakens-with-champagne-class-confidence/) **Published:** February 15, 2026 **Author:** Regan Baker **Content:** ![The Scoop The Great Gatsby Queensland Theatre Company Shake & Stir Theatre Co](https://thescoop.au/wp-content/uploads/2026/02/Gatsby-Show-2026-5556-881x628.jpeg "The Great Gatsby Queensland Theatre Company Shake & Stir Theatre Co • The Scoop")Queensland Theatre Company and Shake & Stir Theatre Co finally joining forces for *The Great Gatsby* feels a bit like pairing really good cheese with a seriously great wine. On paper, it makes perfect sense, but the best combinations take time. In this case, about twenty years. *Gatsby* is their first official collaboration, with Daniel Evans and Nelle Lee shaping the adaptation and Evans directing alongside Nick Skubij. The end product of their labour is a hundred-year-old story that feels like it was written yesterday. You can taste both companies in it from the opening moments. Queensland Theatre provides the sturdy backbone of story, Shake & Stir splash in the theatrical flair, and together they have uncorked something rich, layered and just a little intoxicating. They’ve turned a classic into a pulse-racing theatrical event! Before we deep-dive, let’s start with a confession: I went into opening night completely blind. I’m not much of a reader, and due to outright stubbornness, I’ve never seen the film – although I got close. When it premiered, a few of us from Uni decided we absolutely had to be there. So, we drove from Brisbane to Sydney, fuelled by caffeine and confidence, convinced we were about to become serious documentary filmmakers overnight. We somehow talked our way onto the red carpet. I still don’t really know how, but one minute we were standing behind barricades, the next we were holding a microphone in front of Tobey Maguire and Joel Edgerton, trying to sound composed. And then we didn’t get into the movie. Not on the list. No seats. Thanks for coming. Evidently, I hold a grudge. ![The Scoop The Great Gatsby Queensland Theatre Company Shake & Stir Theatre Co](https://thescoop.au/wp-content/uploads/2026/02/QTC_TGG-Meta_1080x1350__pink-6-785x628.jpeg "The Great Gatsby Queensland Theatre Company Shake & Stir Theatre Co • The Scoop")This adaptation gets in tells the story and trusts the audience to keep up Photo by Joel DevereuxSo, this was it. My first *Gatsby*. No comparison points. No Luhrmann glitter haze. Just a theatre lover, more than 200 reviews in, finally meeting one of literature’s great cautionary tales for the first time. The adaptation doesn’t muck around. It gets in, tells the story, and trusts the audience to keep up. There is no flowery detour just to remind you it started life as a novel. Instead, it leans straight into the stuff that still stings a hundred years later. The class divide is brutal and obvious. The expectations placed on women feel tight and airless. Everyone is making choices in a world that seems to reward the worst instincts. It is bold, muscular storytelling, dropped in champagne and rolled in glitter. What Evans and Skubij really nail in their direction is control, but the relaxed kind. The show feels carefully guided without ever feeling locked in or over-rehearsed. No one is wandering around just to fill space. When someone crosses the stage, it matters. When there is a pause, you feel it. The pace stays steady, and if it slows down, it is because it is meant to. You are never checking your watch or wondering where it is headed. It just carries you with it. And the result is a *Gatsby* that does not feel dusty or distant. It feels awake, renewed, and dangerously close to home. Turning inwards, it is Christina Smith’s set and costume design that quietly steals the show. The costumes are undeniably stunning and have that unmistakable 1920s sparkle without ever feeling like dress-ups. There are constant changes, and not a single one looks rushed or thrown together. The set itself does a lot of heavy lifting. When the story leans into wealth and status, the stage opens up and feels almost intimidating in its size. Then the sidewalls slide in like the iris of a camera, and suddenly everything tightens. Conversations feel closer, more exposed. It’s a simple idea, but it works beautifully. For the party scenes, Smith pulls off something clever. They feel big and decadent without needing endless props or spectacle. It is suggestion, lighting and movement doing most of the work. No blockbuster film budget required, just smart theatre making. ![The Scoop The Great Gatsby Queensland Theatre Company Shake & Stir Theatre Co](https://thescoop.au/wp-content/uploads/2026/02/Gatsby-Show-2026-5392-scaled-e1771130038943-969x628.jpg "The Great Gatsby Queensland Theatre Company Shake & Stir Theatre Co • The Scoop")Christina Smiths set and costume design quietly steals the show Photo by Joel DevereuxAs for the cast, I genuinely don’t know where to start. They work as a collective organism. A single pulsing heart driving the narrative forward. It feels unfair to isolate them, yet credit is due. With five lead debutants for Queensland Theatre, you might expect a touch of tentativeness. Instead, Ryan Hodson as Nick Carraway anchors the story with quiet clarity. Jess Vickers’ Daisy Buchanan balances fragility and calculation in ways that keep you guessing. Shiv Palekar’s Jay Gatsby is earnest and obsessive, never drifting into caricature. Ethan Lwin brings a heartbreaking vulnerability to George Wilson. And Loren Hunter, as Catherine and Mint Julep, blows you away with her striking vocals that have cemented her as one of Australia’s musical theatre queens. Donné Ngabo, in only his second mainstage outing for Queensland Theatre following his excellent turn in *[A Few Good Men](https://thescoop.au/review-queensland-theatres-a-few-good-men-is-a-triumph/)*, continues to prove himself as one to watch. Libby Munro, Rachel Nutchey, Jeremiah Wray and Nelle Lee round out the ensemble with grit and sparkle in equal measure. Being opening night, though, there were a few jitters. A couple of stumbled lines. A microphone not switched on in time. At one point, a costume malfunction left poor Libby Munro navigating an entire scene while subtly holding her top in place like the consummate professional she is. None of it derailed the evening. After the final curtain, we wandered over to the 1920s-themed after party at Soleil, where we asked Daniel Evans how it felt to tackle such an iconic, beloved text. His answer was simple. “Terrifyinggggg.” All five g’s hanging there for dear life. It is safe to say, though, that sometimes you have to lean into that fear. And to borrow a line from Poppa Henry in the 2015 Pixar classic, *The Good Dinosaur*, “Sometimes you have to get through your fear to see the beauty on the other side.” And beautiful it was. ***The Great Gatsby* is presented by Queensland Theatre Company and Shake & Stir Theatre Co and runs to 8 March at the Playhouse, QPAC.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/qtgreatgatsby26> Website: <https://queenslandtheatre.com.au/plays/the-great-gatsby> Socials: <https://www.instagram.com/qldtheatreco/> and <https://www.instagram.com/shakeandstir/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Joel Devereux **Categories:** Brisbane, Theatre --- ### [Review: The Normal Heart Is A Raw, Urgent Cry For Love & Justice](https://thescoop.au/review-the-normal-heart-is-a-raw-urgent-cry-for-love-justice/) **Published:** February 14, 2026 **Author:** Nick Dale **Content:** ![The Scoop The Normal Heart Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/02/STC-The-Normal-Heart_credit-Neil-Bennett_DSC3060-942x628.jpg "The Normal Heart Sydney Theatre Company • The Scoop")Sydney Theatre Company’s revival of Larry Kramer’s *The Normal Heart* returns almost forty years after its Australian premiere in 1989. A political drama with a feisty, beating heart, it feels disturbingly relevant today. Set in early-1980s New York at the beginning of the AIDS crisis, the play follows Ned Weeks (Mitchell Butel), a gay activist struggling to raise awareness about a disease threatening to kill gay men. With the help of Dr Emma Brookner (Emma Jones), a physician and survivor of polio, Ned attempts to rally his community and the media to spotlight the disease while falling in love for the first time. Dean Bryant and Mitchell Butel debuted Kramer’s semi-autobiographical play in October 2022 in Adelaide for the State Theatre Company of South Australia. They now bring it to the Sydney Opera House. The title draws from W.H. Auden’s poem September 1, 1939, written on the day World War II was declared and is particularly inspired by the line “We must love one another or die.” It’s an idea that serves as a stark reminder in these times that failing to unite in our oneness as humans could be to our detriment. Watching it now feels confronting, in a world that again feels closer to pandemics post-Covid but also shows us the cost of silence. From the start, there’s a sense of urgency. The dialogue moves quickly – explaining, documenting and persuading. Much of it functions as exposition and testimony, like political speeches. The writing can feel cold and didactic at first, but the sharp, deeply inhabited performances pull us through into the human experience. ![The Scoop The Normal Heart Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/02/STC-The-Normal-Heart_credit-Neil-Bennett_DSC0718-942x628.jpg "The Normal Heart Sydney Theatre Company • The Scoop")Bryant keeps the world moving around the characters with the intriguing choice to keep all actors on stage Photo by Neil Bennett Director Dean Bryant wisely resists softening Kramer’s polemic, letting the argument drive the play forward. He creates an undercurrent of emotion through moments of human connection that gathers until it breaks in waves. Bryant keeps the world moving around the characters with the intriguing choice to keep all actors on stage throughout. They switch between scenes and move into the background, either observing the scenes play out or visiting the Gay Men’s Health clinic for check-ups. This adds to the building tension of the story. Jeremy Allen’s production design is sparse, almost wide shot in feel, giving the audience space to observe. A sterile hospital with peeling walls creates a sombre environment that the actors gradually draw us into. Nigel Levings’ lighting is restrained, letting characters recede and re-emerge as scenes shift around the stage. The lighting begins cool and subtle, before gradually introducing warmth. The morning light, later in the play, that streams through windows and falls across faces, is excellent production design. It gives a fleeting sense that things might shift even in a world of uncertainty. The score, composed by Hilary Keinig, gently affects the emotional rhythm of the production, subtly guiding transitions between scenes. Both musicians stay visible within the action. Michael Griffiths, at times, turns from the piano to observe the play, while cellist Rowena Macneish plays with delicate sensitivity beneath the dialogue. The cello in particular draws emotions out slowly and unexpectedly, pulling at the emotional undercurrent. This is a show worth seeing for the performances alone. The actors are precise, nuanced and powerful in their portrayals and the play thrills with some of the most affecting monologues I’ve seen on stage. They begin in restrained, intellectual desperation and build until the emotion finally breaks through. Each actor hits a variety of chords, from snappy humour to heartbreaking moments made visceral by the performers’ perfect physical control. The emotional centre of the play is in the burgeoning love between Ned (Butel) and Felix, played with aching sweetness by Nicholas Brown. ![The Scoop The Normal Heart Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/02/STC-The-Normal-Heart_credit-Neil-Bennett_DSC0471-942x628.jpg "The Normal Heart Sydney Theatre Company • The Scoop")The play asks us to look back on how far weve come but also offers a rousing call to action Photo by Neil BennettEqually affecting are the scenes between Ned and his brother Ben (Mark Saturno), a loving connection marred by underlying disapproval, bringing the play into a relatable human light. Together they form an emotional through-line beneath the brisk, snappy dialogue. Mitchell Butel is both brittle and vulnerable as Ned Weeks. He anchors the play as a fiercely articulate activist whose need to be heard pushes the story forward. Particular standouts are Keiynan Lonsdale as Tommy and Evan Lever as Mickey. Lonsdale is magnetic as Tommy Boatwright, with finely tuned comic timing and expressive mannerisms. Evan Lever’s Mickey Marcus feels completely inhabited, lived right to the bone. His phone-room monologue builds to a crescendo, with palpable, relatable distress and despair. “I feel so inadequate,” he admits, and we feel the helplessness with him. Emma Jones’ Dr Brookner provides the hard-nosed rational through-line. She’s sharp, weary, and given a moment that’s among the most moving and staggering I’ve seen on stage or screen. As Artistic Director, Butel reminds us, despite all the work and progress, World AIDS Day, which was commemorated in 1988, is no longer recognised by the United States. Executive orders have also targeted transgender rights, undoing decades of progress. *The Normal Heart* is devastatingly powerful with precise performances that strike many emotional chords. It asks us to look back on how far we’ve come but also offers a rousing call to action. Kramer reminds us that now is no time to settle, and the risk of speaking up is worth it. ***The Normal Heart* runs to 14 March at the Drama Theatre, Sydney Opera House.** Tickets: <https://www.sydneytheatre.com.au/whats-on/productions/2026/the-normal-heart> Website: <https://www.sydneytheatre.com.au/> Socials: <https://www.instagram.com/sydneytheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Neil Bennett Presented by Sydney Theatre Company, in association with Wagnan Productions Sarah Rohrsheim and, community partners Sydney Gay and Lesbian Mardi Gras and ACON. **Queer Night:** Tuesday 17 February, post-show panel discussion, Drama Theatre, Sydney Opera House **Night with the Artists:** Monday 23 February, post-show Drama Theatre, Sydney Opera House **Queer Backstage Tours:** Thursday 19 and Thursday 26 February at 5:30pm, Sydney Theatre Company Wharf 4/5 15 Hickson Road, Walsh Bay **Categories:** Sydney, Theatre --- ### [Review: For The Sake Of Love Finds Big Feelings In A Small Space](https://thescoop.au/review-for-the-sake-of-love-finds-big-feelings-in-a-small-space/) **Published:** February 14, 2026 **Author:** Jenny Mason **Content:** ![The Scoop For the Sake of Love](https://thescoop.au/wp-content/uploads/2026/02/0N2A7423-942x628.jpg "For the Sake of Love • The Scoop")A play perfectly matched to Valentine’s Day, *For the Sake of Love* has hit Brisbane town. Written by Claire Yorston and presented by Sun and Wine Arts Company, the play is a fascinating tale centring on a number of complex relationships. Directed by Cherie McCaffery, it is performed in the most intimate of settings at the Wonargo Revue. The audience is so close to the action, creating excitement and intensity in the room. The play is a comical and modern look at romantic relationships involving eight characters interwoven together in this little story. Convincing performances, a witty script and the comforting comic relief from the cherub-like narrator, Cupid (Hamish Chappell I), make this an all-round entertaining show. There are moments of pure emotion and pain followed by laughter. The lovable Cupid is a crowd favourite for sure. Claire Yorston not only wrote the play, but stars as the enthralling and charismatic Sophie. Also engaging is Reagan Warner, who is both commanding and debonair as Mark, Sophie’s love interest. The experience of this play is quite intense and moving. The most intimate setting has the audience feeling well and truly part of the show. At one stage, Cupid breaks the fourth wall to share his grapes with the crowd. ![The Scoop For the Sake of Love Sun and Wine Arts Brisbane](https://thescoop.au/wp-content/uploads/2026/02/0N2A7155-942x628.jpg "For the Sake of Love Sun and Wine Arts Brisbane • The Scoop")For the Sake of Love is a play perfectly matched for Valentines Day Photo by Jasmine PrasserThe relationships face complications thanks to unrequited love, misunderstandings, mismatched priorities and the age-old dilemma of simply wanting what you cannot have. Ben Kasper puts in an authentic performance as the very likable Oliver, while Laura Renee conveys pure emotion as Ash. At first, Oliver is portrayed as the guy who is simply too ‘nice,’ and then the dynamics change, and we get to see some depth. Another storyline featured is that of Jacob, played by Cristian Stanic, and Josh, played by Hayden Parsons, a gay couple who have somehow found that their life goals have become misaligned. There is a passionate monologue delivered by Josh where he is contemplating his homosexuality and the way he was brought up. The heart wants what the heart wants. ![The Scoop For the Sake of Love Sun and Wine Arts Brisbane](https://thescoop.au/wp-content/uploads/2026/02/0N2A7119-942x628.jpg "For the Sake of Love Sun and Wine Arts Brisbane • The Scoop")A strong cast and poignant moments make this an endearing viewing indeed Photo by Jasmine PrasserThe play reveals how complex both people and relationships can be. Just as some relationships are doomed, others are born, and one man’s trash really is another’s treasure. Misunderstandings almost lead to disasters. Some make it, some don’t, just like real life. A strong cast and poignant moments make this an endearing viewing indeed. Attending this play would make for a most interesting Valentine’s date. Confronting and engaging, there are no dull moments in this performance. The audience is instantly drawn into caring about the characters and their well-being. *For the Sake of Love* is not just about attraction. It delves into many types of love, analysing why it changes over the years and highlighting that indescribable spark that you can have with some people and not at all with others. Obsessive love, unrequited love, lost love and friendship are all explored in this script. Treading the boards are a professional cast with some thought-provoking takes on love. Bravo. ***For the Sake of Love* is presented by Sun and Wine Arts Company and runs for four performances to 15 February 2026 at the Wonargo Revue. 62 Flower Street Northgate Qld 4013.** Tickets: <https://events.humanitix.com/for-the-sake-of-love-8lynuhuv> Socials: <https://www.instagram.com/sun.and.wine.arts/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Jasmine Prasser **Categories:** Brisbane, Theatre --- ### [Review: The Book Of Mormon Hits Melbourne With Big Laughs](https://thescoop.au/review-the-book-of-mormon-hits-melbourne-with-big-laughs/) **Published:** February 13, 2026 **Author:** Jessica Flynn **Content:** ![The Scoop The Book of Mormon Musical Melbourne 2026](https://thescoop.au/wp-content/uploads/2026/02/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_427-942x628.jpg "The Book of Mormon Musical Melbourne 2026 • The Scoop")Jones Theatrical Group and Marriner Group’s latest rendition of *The Book of Mormon* is a raucous and raunchy musical comedy with absolutely no intention of behaving itself. *The Book of Mormon* has stood the test of time because it dares to be outrageous and is clever enough to earn every laugh. Created by Trey Parker, Matt Stone, and Robert Lopez, this Tony Award-winning adventure follows two young Mormon missionaries sent to Uganda to spread their faith. What unfolds is a display of youthful optimism mixed with a dash of signature *South Park*-esque satire as their worlds open up. As blasphemous as the show feels at first glance, there is an undercurrent of admiration woven throughout. The show highlights how absurd certain elements might feel to outsiders. Moroni’s whispered instructions about the golden plates and a cameo from Jesus himself are gleefully absurd… But it also highlights how religion unites communities in crises. What makes *The Book of Mormon* more than shock-value comedy is its intelligence. In the midst of the heavy parody, it is easy to overlook the sheer talent of the cast. It takes a lot to deliver like Paris Leveque precociously singing “I’m wet with salvation” during *Baptize Me* while also delivering a powerhouse vocal as Nabulungi. Her debut performance is perfectly delivered as the sweet, starry-eyed girl looking for answers in *Sal Tlay Ka Siti*. ![The Scoop The Book of Mormon Musical Melbourne 2026](https://thescoop.au/wp-content/uploads/2026/02/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_486-942x628.jpg "The Book of Mormon Musical Melbourne 2026 • The Scoop")The Ugandan villagers embody the stark contrast to shiny sparkling Utah Photo by Daniel BoudSean Johnston is a loveable egomaniac as Elder Price. His punchy choreography and shining vocals create beautiful moments on the stage. His chaotic sidekick Elder Cunningham, played by Nick Cox, brings theatrical flair and care to the odd boy desperately trying to fit in with his peers. Their chemistry anchors the production, allowing even the most outrageous jokes to land with warmth rather than cruelty. The saccharine missionary ensemble surrounding them is electric. Elder McKinley, played by Tom Struik, is especially sassy and fun. The choreography by Emma Delmenico-Smith for the ensemble numbers is crisp and in sync, no small feat! The Ugandan villagers embody the stark contrast to shiny, sparkling Utah – sometimes with nothing more than a dragged donkey corpse to make the point. Mafala Hatimbi, played by Simbarashe Matshe, brings a lightness to his role as our guide to the African way with a stellar performance in *Hasa Diga Eebowai* in particular. It would be remiss to forget about the stoic, yet hilarious, General played by Augie Tchantcho. God, he makes a wonderful Satan. Visually, the production is spectacularly Broadway. *Spooky Mormon Hell Dream* is my favourite scene of the show. The pulsating rock ballad is paired with a set that screams an exaggerated, stereotypical hell back at the audience. ![The Scoop The Book of Mormon Musical Melbourne 2026](https://thescoop.au/wp-content/uploads/2026/02/The-Book-of-Mormon_Capitol-Theatre_credit_Daniel-Boud_467-942x628.jpg "The Book of Mormon Musical Melbourne 2026 • The Scoop")Visually the production is spectacularly Broadway Photo by Daniel BoudThe climactic *Joseph Smith American Moses,* gets the entire concert hall giggling like naughty school children. The delivery of the show is heavily reliant on the execution of sound and lighting. Nathan Santamaria and Jon Nichols, respectively, nail it. Delivery is flawless at every step, especially noticeable in numbers like *Turn It Off,* where the lighting and sound are a critical part of landing the punchlines. Costumes by Janet Hine, originally imagined by Ann Roth, are sublime. It is a feast for the eyes, from the crisp white All-American shirts to the absurd pink sequined vests. And of course, the tainted American flag boardies on a Ugandan villager sums up the heart of the show. *The Book of Mormon* is provocative and will challenge some sensibilities, as the creators are infamously known for. But it is also one of the most tightly crafted, witty, and joyfully performed musicals to grace a Melbourne stage in recent memory. If you’re ready for a night of bold and riotous comedy, ring the doorbell at the Princess Theatre. Remember to leave your clutching pearls at home and just *hasa diga eebowai!* ***The Book of Mormon* runs in Melbourne at the Princess Theatre, 163 Spring Street Melbourne Vic 3000.** It then opens in Brisbane on 31 July at the Glasshouse Theatre, QPAC. Tickets: <https://thebookofmormonmusical.com.au/tickets/melbourne/> Website: <https://thebookofmormonmusical.com.au/> Socials: <https://www.instagram.com/bookofmormonaunz/> [Read our 2026 Musical Theatre Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Daniel Boud **Categories:** Melbourne, Musical Theatre --- ### [Announcing Little Anastasia Cast For Perth Season](https://thescoop.au/announcing-little-anastasia-cast-for-perth-season/) **Published:** February 13, 2026 **Author:** Newsroom **Content:** ![The Scoop Little Anastasia Perth Musical](https://thescoop.au/wp-content/uploads/2026/02/1023-Eleanor-Flynn-and-Nancye-Hayes-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "• The Scoop")Producers of the hit Broadway musical **ANASTASIA** have today revealed the talented young Perth performers who will be sharing the role of **Little Anastasia** in the highly anticipated musical opening next month at Perth’s spectacular Crown Theatre. The local performers who scored the coveted role amongst many keen auditionees are **Ruby Cowin, Isla Graham, Lacey McCormack** and **Olive Murray**. The crowd-favourite musical made its Australian debut in December at Melbourne’s Regent Theatre wowing audiences and critics alike. The Scoop said the musical “is an incredibly well-told story and an artistic and creative delight. It provides a place for families to gather, feel a sense of home, and for audiences of all ages to embrace the past while imagining a brighter future that feels truly their own.” These hugely talented young performers will join cast members **Georgina Hopson** as Anya, **Robert Tripolino** as charming con artist Dmitry, **Joshua Robson** in the role of antagonist Gleb, **Rodney Dobson** as Vlad, the much-loved **Rhonda Burchmore** as Countess Lily and theatre icon **Nancye Hayes AM** in the role of the Dowager Empress. The ensemble cast members include Sophia Bae, Elliot Baker, Billy Bourchier, Nicholas Cunningham, Davis Giotopoulos Moore, Todd Goddard, Stephanie Kurlow, Keian Langdon, Bella Minniti, Nathan Stafford, Alexis Van Maanen, Annie Wilson, Deone Zanotto, and Andrea Zappacosta. The Swings team features Manon Gunderson-Briggs, Iosefa Laga’aia, Nathan Pinnell and Emma Russell. ![The Scoop Little Anastasia Perth Musical](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-13-at-72253-pm-502x628.png "Little Anastasia Perth Musical • The Scoop")Inspired by the mysterious tale of Grand Duchess Anastasia Romanov’s rumoured escape in the dawning days of the Russian Revolution, the story comes to life with intrigue and wonder. Based on the 1997 Oscar-nominated animated film of the same name, it brings that beloved world to the stage. ANASTASIA has been brought to life by the Tony Award-winning creative team of Terrence McNally, Stephen Flaherty and Lynn Ahrens. **ANASTASIA** is a lavish musical for all ages. It transports audiences from the twilight years of the Imperial rule to the euphoria and exuberance of Paris in the 1920s. The story sees a brave young woman named Anya setting out to discover the mystery of her past. Pursued by an army officer determined to silence her, she enlists the aid of a dashing conman and a loveable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family. Directed by Tony Award winning director Darko Tresnjak**, ANASTASIA** premiered on Broadway in March 2017. It received a Tony Award nomination for Best Costume Design in a Musical. It also won more than 15 major international awards including Best Musical awards in Germany, the Netherlands and Spain. The book for **ANASTASIA** was written by the late five-time Tony Award-winning writer Terrence McNally. His credits include *Love! Valour! Compassion!, Master Class, Kiss of the Spider Woman* and *Ragtime.* Music and lyrics for **ANASTASIA** were written by the renowned writing team of Stephen Flaherty and Lynn Ahrens. They have been referred to as “one of the greatest songwriting teams in Broadway history.” (*Chicago Tribune*). Produced by John Frost for Crossroads Live and Opera Australia in special collaboration with Stage Entertainment Productions, Tom Kirdahy, Hunter Arnold and Dan Hinde. **ANASTASIA the musical runs** **from 3 March at Crown Theatre Perth. See full tour dates below.** Tickets: <https://anastasiathemusical.com.au/tickets/perth/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Read our Review of the Melbourne Premiere Season!](https://thescoop.au/review-anastasia-the-musical-delivers-a-powerful-hope-filled-escape/) Hero image: Eleanor Flynn and Nancye-Hayes in ANASTASIA Melbourne. Photo by Jeff Busby 2026 Australian Tour Dates: Melbourne on now until 20 February, Regent Theatre Perth 3 – 28 March, Crown Theatre Sydney 7 April – 5 July, Lyric Theatre Adelaide 2 – 23 August, Festival Theatre Brisbane from September, Lyric Theatre QPAC **Categories:** News --- ### [The Garden of Unearthly Delights Best Circus 2026 Adelaide Fringe](https://thescoop.au/the-garden-of-unearthly-delights-best-circus-2026-adelaide-fringe/) **Published:** February 13, 2026 **Author:** Newsroom **Content:** ![The Scoop Garden of unearthly delights](https://thescoop.au/wp-content/uploads/2026/02/the-garden-hero-1-943x628.jpg "the garden hero 1 • The Scoop")Tonight, Australia’s favourite outdoor performance precinct, **The Garden of Unearthly Delights**, will once again bloom into the beating heart of the **2026 Adelaide Fringe**, transforming Rundle Park / Kadlitpina into a vibrant celebration of world-class performances, including unbelievable jaw-dropping circus acts. The Garden’s 2026 Program showcases **more than 115 dynamic shows** across a six-week season. Running from **13 February – 22 March**, it features internationally adored and beloved returning favourites, including the audiences’ pick of daring, talented and incredibly entertaining circus performers. Headlining the circus line-up is returning high-flying, five-star hit *[La Ronde](https://thescoop.au/review-la-ronde-a-daring-dance-of-desire-and-acrobatics/)*, promising a bolder, wilder, and more unmissable show than ever. The show features a dizzying spectacle of glittering bodies, provocative energy, and raw talent straight from the world’s most elite stages. This comes along with two brand new Australian Premieres. They include *Laser Kiwi – Everybody Knows*, a brand-new, world-class circus and sketch comedy, armed with their signature brand of surreal sketch comedy. And *Haus of Yolo*, an Adelaide exclusive, where fashion, circus, and cabaret collide in a glitter-fuelled chaos. For one night only, head designer Welt Couture will create their “Adelaide” collection live on stage – as acrobats, models and misfits bring each look to life through jaw-dropping circus and camp comedy. Step back into the early 2000’s with *Naughties*, a Y2K high-flying acrobatic extravaganza from YUCK Circus. Expect Backstreet Boys, Britney, and big throwback energy. ![The Scoop Bernie Dieters Club Kabarett](https://thescoop.au/wp-content/uploads/2025/04/Bernie-Dieters-Club-Kabarett-941x628.jpg "Bernie Dieters Club Kabarett • The Scoop")Bernie Dieters Klub Cabarett Photo by Cameron GrantOther circus highlights include: *Keep in Touch*. An Adelaide exclusive of a breathtaking contemporary circus show from Taiwan. *[Bubble Show for Adults Only](https://thescoop.au/review-bubble-show-for-adults-only-brings-big-laughs-to-brisbane/)*. With its final season in Adelaide, now is your last chance to see this hit, filled with artistic, mind-bending, hilarious and high-level bubble tricks. *[Bernie Dieter’s Club Kabarett](https://thescoop.au/review-bernie-dieters-club-kabarett-is-dazzling-and-defiant/)*. New to The Garden in 2026, this show offers a blend of breathtaking circus, gender-bending aerial and fire-breathing performances from the hottest cabaret club from East Berlin. *Camp Culture*. A fabulous circus adventure led by Faboriginal superstar Dale Woodbridge Brown. *A Paper Trail*. Join this group of acrobats on an enchanting circus adventure where thrilling acrobatics and intricate origami tell a story of friendship and courage. Guests will also get the opportunity to take part in an interactive craft activity where they can meet the cast. *Trash Test Dummies Circus*: Returning for one last Fringe season, this slapstick circus comedy is perfect for the entire family with high-energy antics, wild imagination and bin-based brilliance. Expect jaw-dropping acrobatics, hilarious juggling and the most action-packed wheelie bins you’ve ever seen. ![The Scoop La Ronde Strut and Fret Garden Adelaide Fringe](https://thescoop.au/wp-content/uploads/2025/02/La_Ronde_Cast_Stage-8-e1740712423301.jpg "La Ronde Photo by Jacinta Oaten • The Scoop")La Ronde is the headline act in the Garden of Unearthly Delights Photo by Jacinta Oaten**Michelle Buxton**, Co-Director of The Garden of Unearthly Delights, said: *“Circus is always a crowd favourite. This year’s program raises the bar even higher with some of the best circus performers in the world. Circus performers are such incredible athletes. In this incredible array of shows, audiences will get to see the creativity and the heights to which they push themselves – both literally and figuratively!”* Tickets to all shows at the Garden of Unearthly Delights are on sale now. For ticket bookings, visit the website links below. **The Garden of Unearthly Delights runs 13 February – 22 March 2026. Rundle Park (Kadlitpina), East Terrace Adelaide SA 5000.** To explore the full 2026 Program online, click [here](https://issuu.com/gardenofunearthlydelights/docs/the_garden_of_unearthly_delights_-_2026_program). Website: <https://www.gardenofunearthlydelights.com.au/> Website: <https://adelaidefringe.com.au/> Socials: <https://www.instagram.com/thegardenofud/> and <https://www.instagram.com/adlfringe/> [Read all our Adelaide Fringe Reviews here!](https://thescoop.au/?s=adelaide+fringe) Hero image supplied. **Categories:** News --- ### [Review: POV Re:group Performance Collective 2026 Perth Festival](https://thescoop.au/review-pov-regroup-performance-collective-2026-perth-festival/) **Published:** February 12, 2026 **Author:** Tiffany Barton **Content:** ![The Scoop POV Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/POV_ProductionShots_PF2026_AC_ScreenRes_5-942x628.jpg "POV Perth Festival • The Scoop")Parents are supposed to guide and support their children. But what if they aren’t able to do that? What if an illness is holding them back? More problematically, what if it’s a mental illness? How do we talk to our kids about mental health? POV, created by re:group performance collective for Belvoir St Theatre in Sydney and later picked up by Perth Festival, is an innovative piece of theatre that uses the trope of the documentary to explore childhood, parenting and mental health. The fun of the project lies in the fact that the kids call the shots. Each night two different actors are chosen who know little about the project. They arrive with only thumbnail sketches of their characters and the knowledge that they’ll be improvising a story based on prompts from an eleven‑year‑old actor/director/documentary‑maker. The child tells them where to sit or stand, what to read and how to act. There’s something inherently intriguing about a 12‑year‑old with that much agency. Grace Tione, who plays ‘Bub’ (alternating with Yuna Ahn), commands the stage with beguiling confidence. The premise is that she’s making a documentary about her Mum Penny’s forthcoming ceramics exhibition. But the subtext quickly emerges: all is not well with Penny. Dad is trying to shield Bub from the fact that her Mum is experiencing a bipolar episode. Armed with a camera and a series of probing questions, Bub’s documentary becomes an exposé of her parents’ struggle with Penny’s mental health. ![The Scoop POV Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/POV_ProductionShots_PF2026_AC_ScreenRes_7-942x628.jpg "POV Perth Festival • The Scoop")The fun of the project lies in the fact that the kids call the shots Photo by Aaron ClaringboldFor a serious topic, the production treads lightly and has a lot of fun with its material. Humphrey Bower, playing Dad (and Bub’s hero — the legendary documentary maker Werner Herzog), is hilarious and brings a lovely authenticity to the role. The awkwardness inherent in the actors’ limited knowledge and the improvisational format transfers neatly to the awkwardness of the Dad character (whom Bub describes as “the biggest nerd in the world”), making Bower appear natural and grounded. Mum Penny (played by Will O’Mahony) is a more complex challenge. O’Mahony is playing against gender, which requires a little more suspension of disbelief from the audience, and he’s also navigating a character with deeper emotional terrain — not an easy task when improvising sight unseen. He captures Penny’s undertones of sadness with some beautiful, authentic nuances, but he seems less comfortable in the role, and a few moments (including the ending) don’t land as convincingly as they might. This aside, there’s no denying the emotional force of a crucial scene in which Bub insists on talking to her Mum despite Dad’s gentle opposition. The actors perform the scene repeatedly under Bub’s direction, and it hits with remarkable impact. The beauty of it is that the audience carries the emotion. The actors are simply following instructions, and within that the child actors are also protected from the heavy weight of the material. ![The Scoop POV Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/POV_ProductionShots_PF2026_AC_ScreenRes_10-942x628.jpg "POV Perth Festival • The Scoop")For a serious topic the production treads lightly and has a lot of fun with its material Photo by Aaron ClaringboldSolomon Thomas, the director and video designer of POV, has woven the multimedia into the fabric of the storytelling so completely that it becomes its own character. The screens aren’t decorative or supplementary. They’re the mechanism through which Bub tries to make sense of her world. As she wields her camera — sometimes playfully, sometimes with unnerving intensity — the live feed splinters across the screens, giving us multiple angles on the same moment and revealing the gaps between what the adults say and what they feel. The dolly track used to move the camera cleverly doubles as a train track that Bub lies on during tense moments, blurring the line between documentary device and emotional landscape. The result is a multimedia design that doesn’t just support the story but actively shapes it, capturing the way a child might use technology to interrogate, interpret and sometimes escape the complexities of the adult world. POV is a funny, tender and moving portrait of a family caught between the messiness of adulthood and the unfiltered curiosity of childhood. Not every improvisational moment lands with the same force, but the production’s willingness to take risks — and to place a child at the centre of the storytelling — gives it a freshness and immediacy that’s hard to resist. POV doesn’t pretend to offer neat answers. Instead, it invites us to sit with the discomfort, the humour and the humanity of mental illness within a family. That invitation alone makes it a work of real value. **POV is presented by re:group performance collective and runs to 15 February as part of Perth Festival. Subiaco Arts Centre, 180 Hamersley Rd Subiaco WA 6008.** It then runs from 4 – 8 March as part of [Adelaide Festival](https://www.adelaidefestival.com.au/whats-on/season-2026/pov). Tickets: <https://www.perthfestival.com.au/program/season-2026/pov> Website: <https://www.regroupperformancecollective.org/pov> Socials: [https://www.instagram.com/regroup\_/](https://www.instagram.com/regroup_/) and <https://www.instagram.com/perthfest/> [Read more of our Perth Festival Reviews](https://thescoop.au/?s=perth+festival) Photo credits: Aaron Claringbold **Categories:** Perth, Theatre --- ### [Review: Mamma Mia! Brings Dancing Queen Energy To Melbourne](https://thescoop.au/review-mamma-mia-brings-dancing-queen-energy-to-melbourne/) **Published:** February 12, 2026 **Author:** Jesse Oey **Content:** ![The Scoop MAMMA MIA! The Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/02/02A2417-942x628.jpg "MAMMA MIA! The Musical AG Theatre Melbourne • The Scoop")A sun-kissed, faraway Greek island. A mother, a daughter, one wedding, three possible dads. An old diary leads a bride-to-be on a discovery quest about her history, revealing unspoken stories along the way. What could go wrong? A familiar premise, as beloved jukebox musical MAMMA MIA! descends into The National Theatre in St Kilda, Melbourne, for a strictly limited season. Brought to life by renowned executive producer Andrew Gyopar and AG Entertainment (*3 Little Pigs, Avenue Q*), MAMMA MIA! presents a luminescent affair overflowing with joy, soundtracked by instantly recognisable ABBA tunes. This high-energy, feel-good musical boasts a brilliant, electrifying ensemble cast overflowing with excellence. From the get-go, it’s clear this talented group of performers is having the time of their lives on stage. Precise movements, assured voices, every number sharply executed; together they manifest a jubilant world that feels playful and full of life. Bek Chapman leads the pack with remarkable emotional depth. A consummate professional, her portrayal of Donna Sheridan is grounded and nuanced. She carries the show with grace, vulnerability and humour, navigating Donna’s complex struggles, the calamities surrounding her daughter’s wedding, the unwelcome arrival of three old flames, and finally coming face-to-face with the consequences of long-forgotten choices. Belle Parkinson is truly effervescent as Sophie, perfectly capturing the character’s youthful optimism. Her bright, crystalline voice conveys Sophie’s curiosity, confusion and longing. ![The Scoop MAMMA MIA! The Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/02/02A2726-942x628.jpg "MAMMA MIA! The Musical AG Theatre Melbourne • The Scoop")MAMMA MIA provides a brief escapism into a world filled with joyful optimism Photo by Natalie EdgeJesse Vasiliadis exudes cool confidence as city-lad-turned-island-boy Sky, as he finds himself increasingly tangled in the wedding saga, wondering where he stands. Sophie’s hilarious run-ins with her potential fathers – chipper architect Sam (Sam Anderson), carefree adventurer Bill (Luke Stephens), and high-strung banker Harry (Shannon Foley) – feel natural and believable, as she gets closer to each of them, examines her own life story, and starts questioning her decisions. Dynamic duo Tanya (Sasha Hennequin) and Rosie (Antoinette Davis) are absolute scene-stealers as Donna’s best friends and one-time backing singers. Thankfully, they both get their time to shine in the second act. Hennequin’s sassy, sultry Tanya exudes radiance in her solo performance of *Does Your Mother Know* (always my personal favourite), while Davis brings all the laughs as she awkwardly seduces Bill with her charm, shimmying through *Take a Chance on Me*. Under the leadership of Director Pip Mushin, this victorious local revival of MAMMA MIA! leaves a distinctive mark, remaining largely faithful to the original. It energetically spotlights all the best elements of Judy Cramer’s vision, paying it respect whilst succeeding in adding a fresh, contemporary flair. The vibrant colours of Kalokairi as the backdrop to this timeless tale comes to life through original set design by Sally Martin, exquisite scene dressing by Ella Campbell, and costume design by Karen Spencer. ![The Scoop MAMMA MIA! The Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/02/02A3648-942x628.jpg "MAMMA MIA! The Musical AG Theatre Melbourne • The Scoop")Together the cast manifest a jubilant world that feels playful and full of life Photo by Natalie EdgeImpressive, cohesive choreography by Adriana Pannuzzo enables each performer to embody their best self, complemented by Ian Scott’s luminous lighting design. At the centre of it all are ABBA’s timeless, iconic tunes. Musical Director Kent Ross ensures every song, every lyric, every pulsating beat – the heartfelt *I Have a Dream*, free-spirited *Dancing Queen*, epic *The Winner Takes It All*, raucous *Gimme! Gimme! Gimme! (A Man After Midnight)* – come together as the beating heart of the story, weaving seamlessly into the narrative. There wasn’t a dry eye in the house during *Slipping Through My Fingers*. Donna and Sophie share a tender mother-daughter moment as flashbacks of their younger selves prance around the set, a solemn time capsule of days gone by. Despite subtle displays of opening night jitters and slight pacing issues in the second act, the show was largely a roaring success. By the time classic fan-favourites *Super Trouper* and *Waterloo* rolled in during the encore – the cast donning colourful sequins and dazzling platform heels – the entire theatre was on our feet, blissfully dancing along, breaking into rapturous applause. Resplendent, uplifting, and triumphant, MAMMA MIA! feels like exactly the kind of show the world needs right now. It provides a brief escapism into a world filled with joyful optimism. It is a gentle reminder that while we often search for meaning in faraway places, the clarity we need and want has been right in front of our eyes all along. If you crave a wondrous evening that lifts your spirit, warms your heart and leaves you humming all the way home, make the trip to see MAMMA MIA! for yourself. It is an utterly delightful showing! **MAMMA MIA! is presented by AG Theatre, and runs to 8 March 2026 at The National Theatre. 20 Carlisle Street St Kilda Vic 3182.** Tickets: <https://booktickets.com.au/mammamia/> Website: <https://nationaltheatre.org.au/mamma-mia/> Socials: <https://www.instagram.com/agtheatreproductions/> Read our 2026 Musical Theatre Guide! Photo credits: Natalie Edge Photography **Categories:** Melbourne, Musical Theatre --- ### [From Fringe Favourite to KXT Hit: Gia Ophelia Gets A Bold New Life](https://thescoop.au/from-fringe-favourite-to-kxt-hit-gia-ophelia-gets-a-bold-new-life/) **Published:** February 12, 2026 **Author:** Caitlin Green **Content:** ![The Scoop Annie Stafford in Gia Ophelia](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-12-at-44604-pm-920x628.png "Annie Stafford • The Scoop")*Gia Ophelia* takes to the stage at KXT on Broadway this week in a highly anticipated, limited season. Written by Australian playwright Grace Wilson and directed by Jo Bradley, the gripping one-woman show starring Annie Stafford captivated audiences at last year’s Sydney Fringe. The show earned Jo Bradley an award for Best Emerging Artist for her work as producer, director and dramaturg. The Scoop sat down with **Jo Bradley**, who is set to make her professional directorial debut later in the year in *[Snowflake](https://www.ensemble.com.au/shows/snowflake/)* for Ensemble Theatre. Jo discusses her longstanding creative partnership with Grace Wilson and the challenges of staging a one person show. ***Gia Ophelia* is transferring to KXT after an award-winning Fringe season. What can audiences expect from this remount?** It’s a one-woman play about a failed actor who is a little in denial about her career, and is determined that if she can have one more shot at acting, she could make it. So she signs up for this overpriced Shakespeare residency, in the hope it would lead to getting an agent and getting cast as Ophelia. In one hour, it covers a lot of light and dark. It has a lot of comedy about the acting world. But it also has a more earnest, dramatic storyline, as she confronts her complicated feelings about motherhood. And a boyfriend who is trying to push her into a more traditional, domestic life. Transferring to KXT after doing well at Fringe has been a cool chance to keep the punky, scrappy essence of the Fringe season, while also embracing the chance to have a more developed design world and a bigger team. We were previously in a triple bill in a town hall so had very little production elements. Now that we are in a proper theatre, we get to add Holly Nesbitt on lighting and Geita Goarin helping with design, who have both done such a great job. So while the set and design is more developed, we are trying to keep the tongue-in-cheek Fringe energy, with a bit of audience interaction and playfulness. ![The Scoop Jo Bradley Gia Ophelia](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-12-at-54814-pm-939x628.png "Jo Bradley Gia Ophelia • The Scoop")Jo Bradley in rehearsal Photo by Robert Hoang**You’ve collaborated with writer Grace Wilson on several productions now. Can you speak to your creative partnership and how that relationship came to be?** Grace and I were both members of ATYP’s Youth Advisory Board (“Yabbies”), and we got paired up to work together for an ATYP scratch night in 2022, because I’ve always been interested in new writing. That went well, so we kept working together. She was still living in Queensland then, so I would direct readings in Sydney while we did notes on Zoom and email. After a couple of readings, we were keen to have a shot at a proper production. I asked her to write me something for Sydney Fringe, which could be staged simply with a small cost and minimal set or budget. ![The Scoop Gia Ophelia Jo Bradley KXT on Broadway](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-12-at-83448-pm-845x628.png "Gia Ophelia Jo Bradley KXT on Broadway • The Scoop")Annie Stafford performing in Gia Ophelia in 2025 Photo by Robert Miniter**A one-person show is no easy feat. How do you prepare, both creatively and practically, for a production like this?** Creatively, it was a lot of me printing out the whole script and laying it out on the floor in order so I could get a sense of the structure of it. When Grace was writing it last year, I was also supporting as a dramaturg, so I would be thinking a lot about structure and character and arc. I feel so lucky Annie Stafford came onboard because she’s just so talented and hardworking and wasn’t at all daunted by the challenge. She was able to learn so many lines in a really short amount of time, and was so unfazed when we kept updating the drafts. **What advice would you give to emerging artists hoping to sustain a career in the arts? Are there any notes or lessons you’ve been given that continue to guide you?** I would say that anyone who wants to get their own work up, whether you’re a writer, a director, or an actor with a passion project, you need to learn about producing. But at the same time, artist/producers should try to find reliable people who can support you with the producing workload. It can be tough juggling multiple roles at once. I feel so lucky that my friend from NIDA, Bianca Watkins, came on to help me with producing last year. That made a big difference to my mentality and workload. And then this season, Bianca and I got two more emerging producers onboard to help us, Laila Chesterman and Violeta Brau Mugica. It’s been so nice to know that we have people we can lean on. We are all working multiple jobs on top of this. ![The Scoop Jo Bradley](https://thescoop.au/wp-content/uploads/2026/02/joanna-bradley-colour-419x628.jpg "joanna-bradley-colour • The Scoop")Jo Bradley**Finally, we always finish with this question at The Scoop. Do you have any dream projects or collaborations on your directorial bucket list?** After seeing how widely *Snowflake* resonated when it first premiered, I have a couple of other published international scripts that I’d really love to bring to Australia for the first time. I also would love to explore the potential of *Gia Ophelia* as a touring work and get to experience other Fringe Festivals. ***Gia Ophelia* is presented by** **JB Theatre Co in association with bAKEHOUSE Theatre. It runs to 15 February at KXT on Broadway.** **181 Broadway, Ultimo NSW 2007.** Tickets: <https://events.humanitix.com/gia-ophelia> Website: <https://www.kingsxtheatre.com/gia-ophelia> Socials: <https://www.instagram.com/jbtheatreco/> and [https://www.instagram.com/kxt\_bakehouse/](https://www.instagram.com/kxt_bakehouse/) [Read more of our Features](https://thescoop.au/feature-articles/) Hero image: Annie Stafford in *Gia Ophelia*. Image supplied. **Categories:** Features --- ### [A Wedding As A Cover Story: Faisal Hamza On Belvoir's Radical New Play, A Mirror](https://thescoop.au/a-wedding-as-a-cover-story-faisal-hamza-on-belvoirs-radical-new-play-a-mirror/) **Published:** February 12, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Faisal Hamza Belvoir St Theatre A Mirror](https://thescoop.au/wp-content/uploads/2026/02/BELVOIR_AMirror_Rehearsal_PhotoBrettBoardman_005820_Faisal-Hazma-Margaret-Thanos-941x628.jpg "Faisal Hamza Belvoir St Theatre A Mirror • The Scoop")**Belvoir St Theatre** is thrilled to present *A Mirror*, a smart new hit play about art versus power, premiering on 21 February and starring Eden Falk, Faisal Hamza, Yalin Ozucelik and Rose Riley. Written by Sam Holcroft and directed by Margaret Thanos, this sharp comedy skewers theatre, politics, war, egotism and bureaucracy. It was first presented at the Almeida Theatre in London in 2023 and transferred to Trafalgar Theatre in 2024. The Scoop sat down with **Faisal Hamza**, who plays Adem, a mechanic who’s written a play. In a riveting extended interview, Faisal reflects on finding purpose through theatre and navigating the tension between safety and artistic integrity. Read the full interview below. **Can you tell us a little about *A Mirror* for readers who might not be familiar with the play, and how your character fits into the story?** *A Mirror* is a play within a play! The audience is invited to the wedding of Leyla and Joel, which is in fact a front for an illegal theatrical production. In the world of the play, there exists a Ministry of Culture, which must approve a play via licence before it is staged. Unfortunately, the play our group of dissidents want to stage is a little too controversial and revealing for the Ministry. So, they use a wedding as a front to bring an audience together to stage their play. Basically, they’re looking for any way around the law to gather a large group of people without raising suspicion. The play is exciting in that the audience is a character alongside us – within this society, they are citizens engaging with a radical underground theatre movement. In terms of the play within the play, I play Adem. He’s a young veteran turned mechanic who is summoned to the ministry after submitting his first playscript. However, what he’s written lands him in far hotter circumstances than he could’ve imagined. ![The Scoop Faisal Hamza Belvoir St Theatre A Mirror](https://thescoop.au/wp-content/uploads/2026/02/BELVOIR_AMirror_Rehearsal_PhotoBrettBoardman_001454_Eden-Falk-Rose-Riley-Faisal-Hamza-941x628.jpg "Faisal Hamza Belvoir St Theatre A Mirror • The Scoop")Eden Falk Rose Riley and Faisal Hamza in rehearsal for A Mirror Photo by Brett Boardman**That explains it so well! It sounds like it’s going to be a unique experience. You’ve written two full-length original plays of your own, and you’re now portraying a young playwright navigating power, censorship and compromise. How much of Adem feels familiar to you as a writer, not just as an actor?** Back when I wrote those plays, I worked at a cinema whilst studying engineering full-time. I wasn’t the most stimulated or inspired by my studies. At the cinema we had floor shifts, where you were responsible for cleaning and ushering. On a late-night shift, you’d stay back at the podium with a manager in the office until midnight, or just after, and usher out the last sessions before closing up. As you can imagine, those shifts could get pretty existential pretty quickly. But things were different when I was writing. I had something that inspired me. It occupied all my thoughts; it stole all my attention. It stimulated me, gave me an opportunity to express, create, daydream, fantasise, explore, and filled me with a sense of purpose and relief. I’d tear out bits of receipt paper and jot down ideas in between cleans and during long spells at the podium. It was a very specific, very purposeful, very engrossing feeling. Whilst exploring Adem’s world, I’ve returned to that feeling a lot. ![The Scoop Faisal Hamza Belvoir St Theatre A Mirror](https://thescoop.au/wp-content/uploads/2026/02/BELVOIR_AMirror_Rehearsal_PhotoBrettBoardman_006131_Faisal-Hazma-941x628.jpg "Faisal Hamza Belvoir St Theatre A Mirror • The Scoop")Faisal Hamza in rehearsal for A Mirror Photo by Brett Boardman**Writing is so much fun, but yes, it does tend to steal all your attention! Does stepping into Adem’s shoes make you more empathetic to the compromises artists sometimes make, or more stubborn about protecting your own voice?** We’re forced into compromise all the time. People, in every field I think, constantly find themselves at a crossroad between morals, beliefs and livelihood. I’ve got nothing but empathy for how the systems we live in force us to contort in ways we find uncomfortable, just to make a living. Holding ourselves to an impossibly pure standard is not the healthiest, or most sustainable way, to grow strength as a community. Of course, I believe there are things you should stand for no matter what, and I think life is easier when we can rally and stand around those things together, both as a community of artists, and beyond in our neighbourhoods, unions, community groups, etc. It’s an interesting question in terms of artists working today given Israel’s ongoing genocide against Palestinians and its illegal occupation of their land. We have seen constantly how the livelihood of artists has been threatened for taking a pretty basic moral stance against this. The cases are endless. I’ve got nothing but support and solidarity for all those artists, and I hope we can organise more effectively as a community to stand alongside each other. In this piece, a favourite subplot of mine is seeing how Adem’s dreams come alive as a team forms around him. It really does make the dreamwork! Adem, like many of us, takes an opportunity that offers what he absolutely needs: space to learn, mentorship, and the chance to one day stage his work for an audience. Familiarly, it threatens his artistic intentions. I think I have a lot to learn from what unfolds after. **Do you see Adem as naïve, hopeful, strategic… or all three at once?** He’s all by necessity! He’s so new to this process, very well intentioned, and a little naïve as to the processes of the Ministry. When he meets the Director of the Ministry, he is completely sincere and honest. I think that’s very strategic – to demonstrate you are someone who represents no harm. I think he absolutely has hopes of staging his play and sharing it with his community. When he’s offered the opportunity to learn and develop his craft, he accepts it enthusiastically. This outlet is a lifeline for him, and in there is a tremendous amount of hope. ![The Scoop Belvoir St Theatre A Mirror Faisal Hamza](https://thescoop.au/wp-content/uploads/2026/02/BELVOIR_AMirror_Rehearsal_PhotoBrettBoardman_004183_Faisal-Hazma-941x628.jpg "Belvoir St Theatre A Mirror Faisal Hamza • The Scoop")Faisal Hamza in rehearsal for A Mirror Photo by Brett Boardman**What do you hope audiences leave thinking about after seeing *A Mirror*? Do you think this play will land differently for younger artists or early-career creatives?** I hope they’re inspired not just to think but to talk about it with their friends, family, and other punters! I think it’ll land differently for everyone. I hope it inspires conversations about the systems in place for developing and programming art that we currently have. Are leaders who act in good faith capable of reforming systems that don’t prioritise meaningful artistic expression? Or do they inevitably become what the system empowers them to be? How does theatre become political? How politically should it then behave? How do politics and story structure overlap? And therefore, how does education become political? And more, and more. I’ve got my thoughts and questions and am excited to chat about them with audiences. **In your NIDA bio, you mention (on behalf of your mum!) that you’re technically on “approved leave” from your Engineering degree, which I love. I’m curious about how you made the transition from the engineering path to the ‘approved’ performer path — it sounds like it might have been a bumpy ride.** Haha yes – I have actually since graduated with my Bachelor of Science! Mum was stoked. All throughout my degree I was involved with the University Dramatic Society (UDS), the drama club on campus. I thought studying Engineering would put performing on pause, but as soon as I learned about the club, I joined. There I was involved in an original student production every semester across a variety of roles on and off stage. When I say original, I mean it at every level. We did everything – writing, producing, directing, lighting, marketing, costume, props, performing, crewing, and more. This was an invaluable experience. I made many lifelong friends, worked alongside incredible creatives and it deepened my passion for the arts. Through my degree I auditioned for NIDA a bunch of times and kept getting knocked back. I guess those two things helped me realise how badly I wanted to do this as a career. It was something I could fail at yet never lose my desire, and I always needed to do it. Eventually I bothered NIDA enough times that they figured it’d be easier to let me in, and it provided a great scaffolding for me to learn more about craft and industry. ![The Scoop Faisal Hamza Belvoir St Theatre A Mirror](https://thescoop.au/wp-content/uploads/2026/02/BELVOIR_AMirror_Rehearsal_PhotoBrettBoardman_005772_Faisal-Hazma-941x628.jpg "Faisal Hamza Belvoir St Theatre A Mirror • The Scoop")Faisal Hamza in rehearsal for A Mirror Photo by Brett Boardman**What advice would you give to young people wanting to pursue a creative life, whether that’s filmmaking, acting, or playwriting?** Maaaannnnn, I dunno. I get too stressed about specifics to give useful general advice so I’m going to say what I would tell myself at the start of NIDA: when you compare yourself with others in a quest to be the best, it will obstruct your ability to be dextrous and share the story. Connect with what actually matters to you, and it’s okay if that’s a bit muddy or unclear, or there are reasons you think are negative and embarrassing. That’s right now. Be honest with yourself and decide what doesn’t matter. Give yourself time to explore it freely and connect with people, history, and your surroundings. Nerves are not a bad sign, and you are not the only person in the world to have felt them. Bravery is what you do when you feel them, so be brave. Be comfortable with discomfort and let love lead. I’m gonna say it again: let love lead. Also join the union and keep up to date with the news. And read history and drink water. And call Mum on the weekends, it’ll make you both really happy. ![The Scoop Belvoir St Theatre A Mirror Faisal Hamza](https://thescoop.au/wp-content/uploads/2026/02/Faisal-Hamza-428x628.png "Belvoir St Theatre A Mirror Faisal Hamza • The Scoop")Faisal Hamza**I love that! And finally, are there any roles, stories or shows on your bucket list?** Where do I start?? Last year I was super inspired by shows like *Daytime Deewane*, *Cruise*, *Jacky*, *Sistren*, and *Ruins*. They were all distinctly theatrical experiences across different forms styles that explored topics I found stimulating, humanising and extremely resonant. I’d love to do something in the spirit of those shows, especially exploring work that engages with Palestinian justice, contemporary Australian issues (especially the mining industry!), and modern Muslim identity and issues. In terms of screen, oh man. If I could one day pull off something like *Taste of Cherry* or be in something like *The Dupes* or *Cleo* *from* *5 to 7* or *Network*, I’d be really happy with myself. But even that list feels way too narrow. There’s so much you don’t know or forget to mention, right? The coolest thing may be something you don’t expect or ever saw coming. So, I’m really excited for whatever Allah (swt) brings. Hopefully, I can be part of some pretty cool shit. **Faisal Hamza appears in** ***A Mirror,* running 21 February to 22 March at the Upstairs Theatre, Belvoir St Theatre, Surry Hills NSW 2010.** Tickets: <https://my.belvoir.com.au/overview/14646> Website: <https://belvoir.com.au/productions/a-mirror/> Socials: <https://www.instagram.com/belvoirst/> [Read more of our Features!](https://thescoop.au/feature-articles/) Photo credits: Brett Boardman **Categories:** Features --- ### [Review: Purpose Holds Laughter & Grief In The Same Breath](https://thescoop.au/review-purpose-holds-laughter-grief-in-the-same-breath/) **Published:** February 12, 2026 **Author:** Benjamin Webb **Content:** ![The Scoop Purpose Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/02/Purpose_STC_ImageCredit_PrudenceUpton_382b-942x628.jpg "Purpose Sydney Theatre Company • The Scoop")I walked into Wharf 1 Theatre not knowing *Purpose* had arrived at Sydney Theatre Company with a cloud of awards; Tony Award, Pulitzer Prize, Drama Critics’ Circle. Even if I had, nothing could have prepared me for how alive the Jasper family felt. Three hours later, I left feeling shaken and amused because *Purpose* feels like family therapy. It was funny, enraging, and joyful. *Purpose* is the latest play by American playwright Branden Jacobs-Jenkins, whose work has reshaped contemporary drama. Commissioned by Chicago’s legendary Steppenwolf Theatre Company, it premiered there in 2024. It then transferred to Broadway, winning the 2025 Tony Award for Best Play and the 2025 Pulitzer Prize for Drama, among other accolades. It continues the tradition of powerful American family dramas that examine identity, legacy and social history through personal narrative. *Purpose* follows the Jasper family: a dynastic Black family long involved in civil rights, religion and politics. The play opens with Solomon Jasper, a Jesse Jackson-like civil rights leader in his later years, now beekeeping as a way to connect with his late father’s legacy. His sons, Solomon ‘Junior’ and Nazareth ‘Naz,’ grapple with divergent paths. Junior is emerging from prison and trying to rebuild his life. Naz is seeking distance from the family name. Into this taut household comes an unexpected guest, forcing each member to face long-buried tensions, betrayals and questions about faith, identity and what it means to “do good.” ![The Scoop Purpose Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/02/Purpose_STC_ImageCredit_PrudenceUpton_207c-942x628.jpg "Purpose Sydney Theatre Company • The Scoop")The Jasper family is brought to life by a commanding ensemble Photo by Prudence UptonDirector Zindzi Okenyo guides this sprawling family saga with clarity and confidence. She allows the emotional rhythms to breathe so that when tensions erupt, they hit with precision. Jeremy Allen has basically created a full home interior on stage, complete with tiny details of this family’s past lives in every corner. Lighting by Kelsey Lee enhances mood shifts from dinner table pressure to late-night confessions. James Peter Brown’s composition and sound design underscore the narration with melodic truth. The Jasper family is brought to life by a commanding ensemble. Deni Gordon’s matriarch carries a blend of strength and vulnerability that anchors the family’s public reputation and private fractures. After *[Happy Days](https://thescoop.au/review-beckett-gets-the-stc-treatment-in-happy-days/)* last year, Markus Hamilton is back with STC. His portrayal of Solomon Jasper mixes charisma with the weariness of a leader confronting his own myths. Tinashe Mangwana gives depth and nuance to Naz, whose observations and choices propel much of the play’s thematic weight. ![The Scoop Purpose Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2026/02/Purpose_STC_ImageCredit_PrudenceUpton_344-942x628.jpg "Purpose Sydney Theatre Company • The Scoop")The play asks big questions without offering easy answers Photo by Prudence UptonSisi Stringer provides a compelling presence as an outside perspective on this peculiar family. Maurice Marvel Meredith is brilliant as the tortured older brother / eldest son, but always reminds us that his actions shouldn’t give him too much sympathy. Finally, Grace Bentley-Tsibuah ties it all together with a stunning picture of someone being crushed by the pressure after giving their life to the Jaspers, her own identity be damned. This play walks the tightrope expertly. There is humour, but it doesn’t undercut the tension, and the confrontations reveal both the characters’ tenderness and cruelty. More broadly, its engagement with the legacy of Black political leadership gives it a wider resonance – it is both extremely personal and undeniably political. I left the theatre feeling both energised and quietly moved, not just by the narrative, but the many fallible human contradictions it presents. *Purpose* is a riveting family drama that interrogates what we owe to history, community and ourselves. It asks big questions without offering easy answers and invites audiences to reflect on their own ideas of responsibility and belonging. I highly recommend this production – not just for its performances and craft, but for the rare way it holds laughter and pain in a single breath. ***Purpose* is presented by Sydney Theatre Company and runs to 22 March at Wharf 1 Theatre.** **Wharf 4/5 Walsh Bay, Sydney NSW 2000.** Tickets: <https://www.sydneytheatre.com.au/whats-on/productions/2026/purpose> Website: <https://www.sydneytheatre.com.au/> Socials: <https://www.instagram.com/sydneytheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Prudence Upton **Categories:** Sydney, Theatre --- ### [Shake & Stir and QPAC Announce New Macbeth For Brisbane Mainstage](https://thescoop.au/shake-stir-and-qpac-announce-new-macbeth-for-brisbane-mainstage/) **Published:** February 12, 2026 **Author:** Newsroom **Content:** ![The Scoop Macbeth Shake & Stir Theatre Co QPAC](https://thescoop.au/wp-content/uploads/2026/02/1440x1024-Macbeth-883x628.jpg "Macbeth Shake & Stir Theatre Co QPAC • The Scoop")**Queensland Performing Arts Centre** (QPAC) and **Shake & Stir Theatre Co** today announced a brand-new retelling of ***Macbeth*** that will storm into the **Playhouse** from **6 – 21 June 2026**. In celebration of its 20th anniversary, acclaimed production house Shake & Stir will tackle Shakespeare’s most-gripping tragedy in its **very first mainstage adaptation of the bard’s work**. For the Brisbane-based company that started out in 2006 as three actor friends united by a love of adapting and performing Shakespeare, this upcoming season of *Macbeth* fans the flames of that passion. The production will remain faithful to Shakespeare’s text but is reimagined for our age of clickbait and catastrophe: a dark, seductive, ratings-driven descent where perception is everything, loyalty is currency, and one couple’s hunger for the top spot threatens to bring their whole empire crashing down. Reborn into a ruthless world of rolling news, political theatre and weaponised ambition, this razor-sharp new adaptation charts the course of a rising war hero who becomes the media’s latest obsession and, pushed by a partner as polished as she is dangerous, turns the 24-hour news cycle into his personal battleground. Shake & Stir’s Co-Artistic Directors will helm the production. Directed by **Nick Skubij** and adapted by **Nelle Lee**, with **Ross Balbuziente** as Creative Producer, audiences can expect another literary adaptation that is inventive and fearless in its staging from the creative team behind *Frankenstein,* *A Christmas Carol*, [*1984*](https://thescoop.au/review-shake-stirs-1984-sees-big-brother-loom-large/) and *Jane Eyre.* QPAC Chief Executive **Rachel Healy** said the organisation was extremely proud of its support for Shake & Stir’s growth ambitions over the years: *“Shake & Stir is a rare and remarkable group of theatre-makers, blazing a trail by creating world-class work in Brisbane, touring major international shows around Australia, and running vital education programs across Queensland.* *Since 2011, more than 330,000 people have visited QPAC to see a Shake & Stir show – from instant-hit page-to-stage adaptations like Roald Dahl’s The Twits to the Australian premiere of Green Day’s Broadway phenomenon American Idiot.* *It’s been a joy to watch Shake & Stir go from strength to strength, and we are thrilled to continue our partnership by co-presenting their blockbuster version of Macbeth in this, the company’s 20th year.”* Director **Nick Skubij** shared his enthusiasm for a new *Macbeth* created for a media savvy 2026 audience: *“We’re bringing Macbeth screaming into the 21st century with large scale theatricality, fusing cutting edge production with muscular storytelling to deliver a night of gripping theatre on an epic scale.”* *Through the amplification, re-framing and live broadcasting of Shakespeare’s classic, we will interrogate how misinformation, fear and persuasion drive contemporary power and reveal what happens when the story becomes more powerful than reality.”* ***Macbeth* is presented by Shake & Stir Theatre Co and QPAC and runs 6 – 21 June 2026 at the Playhouse.** Tickets are on sale now at the QPAC website. Tickets: <https://www.qpac.com.au/whats-on/2026/shakestir-macbeth> Website: <https://shakeandstir.com.au/mainstage/macbeth> Socials: <https://www.instagram.com/atqpac/> and <https://www.instagram.com/shakeandstir/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. **Categories:** News --- ### [Announcing Anastasia For Brisbane In September 2026](https://thescoop.au/announcing-anastasia-for-brisbane-in-september-2026/) **Published:** February 12, 2026 **Author:** Newsroom **Content:** ![The Scoop ANASTASIA the Musical 2026 Australian Tour](https://thescoop.au/wp-content/uploads/2026/02/1299-Robert-Tripolino-and-Georgina-Hopson-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "ANASTASIA the Musical 2026 Australian Tour • The Scoop")Producers John Frost for Crossroads Live and Opera Australia are delighted to announce that Broadway musical **ANASTASIA** will premiere in **Brisbane** at the **Lyric Theatre QPAC** from **September 2026**. The crowd-favourite musical made its Australian debut in December at Melbourne’s Regent Theatre wowing audiences and critics alike. **Tickets** will go on pre-sale for the Brisbane season to those who have signed up to the waitlist on **Monday 2 March** and to the general public from **Friday 6 March**. The Scoop said the musical “is an incredibly well-told story and an artistic and creative delight. It provides a place for families to gather, feel a sense of home, and for audiences of all ages to embrace the past while imagining a brighter future that feels truly their own.” The cast includes Queensland’s own **Georgina Hopson** as Anya, **Robert Tripolino** as charming con artist Dmitry, **Joshua Robson** in the role of antagonist Gleb, **Rodney Dobson** as Vlad, the much-loved **Rhonda Burchmore** as Countess Lily and theatre icon **Nancye Hayes AM** in the role of the Dowager Empress. **Georgina Hopson**, who trained at Queensland Conservatorium Griffith University, said: *“As a very proud Queenslander, I just can’t wait to share the magic of ANASTASIA with Brisbane audiences. It’s a beautiful story to be immersed in, accompanied by iconic songs that invoke a nostalgic feeling of our shared childhood including Once Upon a December and Journey to the Past.* *ANASTASIA’s message is the importance of home, love and family, and to me Queensland represents all of this so I can’t wait to share the story with local audiences.”* The ensemble cast members include Sophia Bae, Elliot Baker, Billy Bourchier, Nicholas Cunningham, Davis Giotopoulos Moore, Todd Goddard, Stephanie Kurlow, Keian Langdon, Bella Minniti, Nathan Stafford, Alexis Van Maanen, Annie Wilson, Deone Zanotto, and Andrea Zappacosta. The Swings team features Manon Gunderson-Briggs, Iosefa Laga’aia, Nathan Pinnell and Emma Russell. ![The Scoop ANASTASIA the Musical 2026 Australian Tour](https://thescoop.au/wp-content/uploads/2026/02/2761-Rhonda-Burchmore-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "ANASTASIA the Musical 2026 Australian Tour • The Scoop")Rhonda Burchmore in ANASTASIA the Musical Photo by Jeff BusbyInspired by the mysterious tale of Grand Duchess Anastasia Romanov’s rumoured escape in the dawning days of the Russian Revolution, the story comes to life with intrigue and wonder. Based on the 1997 Oscar-nominated animated film of the same name, it brings that beloved world to the stage. ANASTASIA has been brought to life by the Tony Award-winning creative team of Terrence McNally, Stephen Flaherty and Lynn Ahrens. **ANASTASIA** is a lavish musical for all ages. It transports audiences from the twilight years of the Imperial rule to the euphoria and exuberance of Paris in the 1920s. The story sees a brave young woman named Anya setting out to discover the mystery of her past. Pursued by an army officer determined to silence her, she enlists the aid of a dashing conman and a loveable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family. Directed by Tony Award winning director Darko Tresnjak**, ANASTASIA** premiered on Broadway in March 2017. It received a Tony Award nomination for Best Costume Design in a Musical. It also won more than 15 major international awards including Best Musical awards in Germany, the Netherlands and Spain. The book for **ANASTASIA** was written by the late five-time Tony Award-winning writer Terrence McNally. His credits include *Love! Valour! Compassion!, Master Class, Kiss of the Spider Woman* and *Ragtime.* Music and lyrics for **ANASTASIA** were written by the renowned writing team of Stephen Flaherty and Lynn Ahrens. They have been referred to as “one of the greatest songwriting teams in Broadway history.” (*Chicago Tribune*). Tickets will go on pre-sale for the Brisbane season for those on the waitlist on **Monday 2 March** and to the general public from **Friday 6 March**. **Anastasia runs in Brisbane from September at the Lyric Theatre, QPAC. See full tour dates below.** Tickes: <https://anastasiathemusical.com.au/tickets/brisbane/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Read our Review of the Melbourne Premiere Season!](https://thescoop.au/review-anastasia-the-musical-delivers-a-powerful-hope-filled-escape/) Photo credits: Jeff Busby 2026 Australian Tour Dates: Melbourne on now until 20 February, Regent Theatre Perth 3 – 28 March, Crown Theatre Sydney 7 April – 5 July, Lyric Theatre Adelaide 2 – 23 August, Festival Theatre Brisbane from September, Lyric Theatre QPAC **Categories:** News --- ### [Review: Barbra Proves She Is Still The Greatest Star](https://thescoop.au/review-barbra-proves-she-is-still-the-greatest-star/) **Published:** January 23, 2026 **Author:** Sophie Cornett **Content:** ![The Scoop Barbra: The Greatest Star Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/Laura-Murphy-Photo-by-John-McRae-copy-917x628.png "Barbra: The Greatest Star Hayes Theatre Co Sydney • The Scoop")Barbra Streisand is an icon of the performing arts world with a dazzling career that spans over six decades across music, theatre and screen. Hayes Theatre Co have opened their 2026 season with an immaculate homage to her extraordinary talent in *Barbra: The Greatest Star*. It’s a show filled with all the humour and heart that the star is renowned for. As director, Brittanie Shipway has curated a show that blends the magnificence of the Streisand songbook with moments of lovely personal reflection. The impact Babs has had on generations of performers can be deeply felt. Every moment of the show feels like a joyous celebration amongst friends, with the emotional arcs of each number perfectly captured by the performers. The sets, under designer Brendan De La Hay, are the perfect ode to the glitz and glamour that followed Barbra’s career. Gorgeous floral arrangements by stylist Pia Andersen complement velvet curtains and portraits of the star herself framing the space. I loved the detail that went into the costuming with jewelled accessories, fabulous, feathered robes and tulle boas adding delightful character to different numbers. ![The Scoop Barbra: The Greatest Star Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/Brittanie-Shipway-Laura-Murphy-Stellar-Perry-and-Tana-Lagaaia-Photo-by-John-McRae-copy-942x628.jpg "Barbra: The Greatest Star Hayes Theatre Co Sydney • The Scoop")Every moment of the show feels like a joyous celebration amongst friends Photo by John McRaeNicholas Gentile, as musical director, has perfectly captured the iconic Streisand musicality in his arrangements. Every piece embodies the immense love and respect that the artists have for the material. Nicholas also performs a duet with director and cast member Brittanie Shipway; their vocals are glorious together. Alongside him, musicians Matt Reid, Michael Napoli and Sam Evans create a musical soundscape that is fresh, exciting, and a true immersive delight. The cast is stellar, perfectly capturing the beautifully diverse range of genres and characters. ![The Scoop Barbra: The Greatest Star Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2026/01/Laura-Murphy-Stellar-Perry-and-Brittanie-Shipway-Photo-by-John-McRae-copy-942x628.png "Barbra: The Greatest Star Hayes Theatre Co Sydney • The Scoop")The cast is stellar perfectly capturing the beautifully diverse range of genres and characters Photo by John McRaeShipway’s vocals have such an incredible musical theatre tone. She effortlessly combines flawless technique, stunning power and emotive storytelling through her songs. Tana Laga’aia is a powerhouse of a performer, conveying both beautiful softness and upbeat joy across the range of pieces he performs. It was also amazing to see his range of talents in his piano and guitar accompaniment. Laura Murphy is so much fun to watch as she brings a quickness and lightness to the stage. She flits between great humour and beautifully intense emotional beats deftly throughout the show. Stellar Perry rounds out the cast with a rockstar energy and vocal dynamics that bring the house down. She absolutely owns the stage, immediately capturing the audience’s attention from the opening notes. The cast and creative team have crafted a stunning showcase of both Streisand’s repertoire and the extraordinary talent of Australian performers. *Barbra: The Greatest Star* is an incredible night out for both the die-hard Streisand fans and newcomers to her work. ***Barbra: The Greatest Star* runs to 14 February 2026 at Hayes Theatre Co. 19 Greenknowe Avenue Potts Point NSW 2011.** It then runs 26 – 28 February at Riverside Live at PHIVE. 5 Parramatta Square, Parramatta NSW 2140. Get tickets [here](https://riversideparramatta.com.au/whats-on/barbra-the-greatest-star/). Tickets: <https://hayestheatre.com.au/event/barbra/> Website: <https://hayestheatre.com.au/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: John McRae **Categories:** Musical Theatre, Sydney --- ### [WAAPA Opens New City Campus & An Exhilarating Performance Program](https://thescoop.au/waapa-opens-new-city-campus-an-exhilarating-performance-program/) **Published:** February 10, 2026 **Author:** Newsroom **Content:** ![The Scoop WAAPA 2026 Performance Program](https://thescoop.au/wp-content/uploads/2026/02/waapa-251105-tivoli-lovely-549-PRINT-ONLY-copy-1116x628.jpg "WAAPA 2026 Performance Program • The Scoop")The **Western Australian Academy of Performing Arts (WAAPA)** has released its **2026 Performance Program**, with over 300 performances and concerts on offer throughout the year at its newly opened city campus. **Professor David Shirley**, Executive Dean of WAAPA, said: *“This program ushers in an exciting new era for WAAPA as we welcome audiences to the Minderoo Centre for Performance Excellence at ECU City.* *Our brand-new performance space and state-of-the-art facility will ensure WAAPA continues its place at the forefront of performing arts training, both nationally and internationally.”* ![The Scoop WAAPA 2026 Performance Program and New City Campus](https://thescoop.au/wp-content/uploads/2026/02/waapa-260130-promo-2-WEB-ONLY-1116x628.jpg "WAAPA 2026 Performance Program and New City Campus • The Scoop")WAAPA has a brand new performance space and state of the art facility Photo by Stephen HeathThis year also marks the start of the Premier Visiting Artists Fund which, through the generous support of Minderoo Foundation, will bring the world’s pre-eminent creative artists to WAAPA. Professor Shirley added: *“Our partnership with Minderoo will enable WAAPA to deliver dynamic, highly enabling training and extraordinary performance experiences that serve to inspire and empower both current and future generations of arts practitioners.”* In March, WAAPA is proud to present the inaugural Premier Visiting Artist, internationally renowned classical pianist Alexander Gavrylyuk. Described by Roger Woodward as ‘easily the most compelling pianist of his generation’, the Ukrainian-born Australian pianist will be at WAAPA for a week-long residency and concert. Then in October the acclaimed Grammy-winning jazz composer and bandleader Maria Schneider will collaborate with the WAAPA Big Band to perform her celebrated works in the magnificent new McCusker Recital Hall. ![The Scoop WAAPA 2026 Performance Program and New City Campus](https://thescoop.au/wp-content/uploads/2026/02/waapa-260130-promo-29-WEB-ONLY-1116x628.jpg "WAAPA 2026 Performance Program and New City Campus • The Scoop")In March WAAPA is proud to present their inaugural Premier Visiting Artist Photo be Stephen HeathThroughout the year, music lovers will enjoy a range of concerts from classical to jazz, contemporary to new music. There are free concerts for all, and free weekend music workshops for high school students. Other highlights of the 2026 Performance Program include LINK Dance Company’s *Enter Coda* at the Liberty Theatre in May, featuring an excerpt of Hofesh Shechter’s *Grand Finale*, and a mid-year production of Shakespeare’s *Romeo and Juliet* at the Heath Ledger Theatre starring the graduating Acting students. September marks the inaugural performance in WAAPA’s gorgeous new Playhouse Theatre, a production of Purcell’s *The Fairy Queen* performed by the Classical Voice and Music students. That same month, the Music Theatre students light up the Regal Theatre with the Broadway hit musical, *& Juliet*. In November, the Performance Making students will stage a contemporary Australian reimagining of Euripides’ *The Bacchae* in WAAPA’s new Flex Theatre. ![The Scoop WAAPA 2026 Performance Prgoram and new city campus](https://thescoop.au/wp-content/uploads/2026/02/waapa-260204-promo-3-WEB-ONLY-943x628.jpg "WAAPA 2026 Performance Prgoram and new city campus • The Scoop")The venues might have changed but their program remains as extensive and exciting as ever Photo by Stephen HeathThese are just a taste of what’s on offer at WAAPA this year. As this 2026 Performance Program proves, WAAPA’s venues might have changed but their performances and concerts remain as extensive and exciting as ever. Get a copy of the 2026 WAAPA Performance Program in person from the WAAPA Box Office (entry via Roe St). Hard copy programs are available upon request by emailing: waapaboxoffice@ecu.edu.au. The 2026 Performance Program can also be downloaded [here](https://www.waapa.ecu.edu.au/__data/assets/pdf_file/0006/730644/WAAPA_Performance_Program.pdf). **Tickets for the WAAPA 2026 Performance Program are on sale now. Visit the website for details.** Tickets: <https://www.waapa.ecu.edu.au/performances-and-events/performances> Website:<https://www.waapa.ecu.edu.au/> Socials: <https://www.instagram.com/waapa.ecu/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Still from Tivoli Lovely 2025. Photo by Stephen Heath 2026 Musical Theatre Season at a Glance: **RENASCENCE** 27 March – 1 April Studio Underground, State Theatre Centre of WA Australian Premiere. Music by WAAPA alum Carmel Dean **COMPANY** 6 – 11 June Studio Underground, State Theatre Centre of WA **& JULIET** 11 – 17 September Regal Theatre **IRVING BERLIN’S HOLIDAY INN** 13 – 18 November Playhouse Theatre 2026 Acting Season at a Glance: **REPERTORY SEASON: **THE LIEUTENANT OF INISHMORE**** and **DANCE NATION** 26 – 31 March Subiaco Arts Centre WAAPA’s 3rd Acting present two plays performed in repertory with distinct casts. **ROMEO AND JULIET** 12 – 17 June Heath Ledger Theatre, State Theatre Centre of WA **THE CRUCIBLE** 12 – 17 September Flex Theatre **Categories:** News --- ### [Kala Gare Relights The Fire In My Brilliant Career](https://thescoop.au/kala-gare-relights-the-fire-in-my-brilliant-career/) **Published:** January 28, 2026 **Author:** Wendy Samantha **Content:** ![The Scoop Kala Gare My Brilliant Career Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/01/5-Kala-Gare-in-My-Brilliant-Career-with-MTC-Photo-by-Pia-Johnson-942x628.jpg "Kala Gare My Brilliant Career Melbourne Theatre Company • The Scoop")Back by popular demand, Melbourne Theatre Company kicks off its 2026 season with ***My Brilliant Career***, based on the novel by Miles Franklin. Led once more by the formidable **Kala Gare**, and featuring much of the original cast, this smash-hit musical earned critical acclaim and five Green Room Awards, including Outstanding Production. Set in the sweeping landscapes of 1890s Australia, this electric reimagining transforms Miles Franklin’s literary heroine into a singer-songwriter for this very moment. Unapologetically ambitious, Sybylla Melvyn is wholly uninterested in the future society expects of her. Instead, she marches to the beat of her own drum, challenging class, gender and family to find her own voice. The Scoop had the pleasure of chatting with Kala Gare ahead of the Melbourne encore season. Kala talks all things *My Brilliant Career*, including pursuing the path of an artist and the importance of positive mentors. Read the full interview below. **My Brilliant Career is returning by popular demand after its 2024 season. What excites you most about stepping back into this world?** I was just with another cast member, Raj, and I feel like these people are so the heart and soul of the show. Coming back to (and embarking on a tour with) them, I’m so excited to be around them all the time. But to tell this story with them is such a beautiful thing. I’m so aware of how lucky I am to be acting opposite these giants. It’s such a special show. But I think also, Sybylla as a character, she’s one of my favourite characters that I’ve ever played. And to have had a hand in the creation of her as well, it was such a beautifully collaborative process. I think for that reason, she just has such freedom to get out there. And that is so beautifully, continuously brought out of me by director Anne-Louise Sarks. This is such a beautiful show for how free I’ve been able to be in all creative aspects; sing how I want to sing, move, run around the stage in the way that feels authentic to the moment. To be such a channel for this firecracker of a character, I love doing the whole thing. ![The Scoop Kala Gare My Brilliant Career Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/01/4-Kala-Gare-in-My-Brilliant-Career-with-MTC-Photo-by-Pia-Johnson-942x628.jpg "Kala Gare My Brilliant Career Melbourne Theatre Company • The Scoop")Kala Gare in My Brilliant Career Photo by Pia Johnson**How has your relationship with the role evolved since the original season?** It so has. I feel like my relationship with the character has deeply evolved, like when you have time away from anything. It’s been a year, a year and a little bit. But the life experience that I have gained, it’s the biggest gift to look at a script again and say, Whoa, this means such different things now because of what I’ve experienced. And things that meant so much to me before now have even deeper meaning. Different things have been popping up that I’m like, Whoa. I didn’t even see the weight of that last time. Last time was such a beautiful process of creating the show, but it meant there was just so much time put into, like, changing and figuring out what was the right version. Whereas this time, it’s been a real deep dive into what’s now text in there. Even though we’ve gorgeously been able to fine-tune, I’ve had the ability to really, actually go in and be like, What am I saying? And actually have an even deeper appreciation for her journey, and for what it even means in this time of our current lives to be fighting against pressures saying you have to be a certain way. For her to be this character that’s saying, Why? And actively fighting and continually choosing the scary option of asking questions. **This adaptation has been widely praised for feeling both faithful and fresh. What do you think makes it resonate so strongly with modern audiences?** It’s so Australian, but it’s the Australia of now, because it is such a diverse cast of ages and cultures, and the whole show is deeply rooted in what Australia is like today. And I get to look into the audience and say, every single one of us, we are the community that is fighting against these forces that are saying different things. And we’re saying, No, we’re all here, and this is what we are. And I get to really call on the community. **Sybylla’s journey in *My Brilliant Career* is so much about claiming artistic independence. Do you think being raised by artists helped you feel permission to pursue that path yourself?** Absolutely, it was never a doubt. I was so fortunate to have the most supportive – and it will make me emotional – parents who really, truly believed in it as a career, as an art form and craft, and never doubted that it was something I could pursue as a full-time thing. And I think that just gave me complete – without even knowing – courage. I was just naive to the fact that it was something that people were like, No way. And it was actually other people who were the voices saying, Oh, should you have a backup? Whereas my internal world was beautifully just like, Yeah, try. Go, do what you can, try. ![The Scoop Kala Gare My Brilliant Career Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/01/2-Kala-Gare-in-My-Brilliant-Career-with-MTC-Photo-by-Pia-Johnson-942x628.jpg "Kala Gare My Brilliant Career Melbourne Theatre Company • The Scoop")Kala Gare in My Brilliant Career Photo by Pia Johnson**As you know, I run a performing arts school, and I’ve got two little performers, so I’m always thinking about the example to set in this industry. You grew up watching your parents perform and teach. What do you think children absorb most from being around working artists?** I have such an appreciation for the role of teachers, of the whole school experience, especially teaching young minds. I can remember the subjects I wasn’t even that interested in, being so passionate about them because my teacher was. Teachers have this huge responsibility to nurture and care for these children’s dreams and aspirations. Having such gorgeous role models in my parents as beautiful teachers, I think that what young people pick up on the most is that passion. And the gorgeousness of that passion as an adult artist is the thing that gets you through. Because every industry is difficult, but the performing arts industry has really, really high highs and quite low lows. But the through line, through all of it, is the passion. The passion for the craft, the passion for what you are giving to people, and what you get to do with your gifts. I think when the passion is so strong, it is something other people can see and think, Oh, permission to care about it, and really fuel that fire. That will be the thing that’s going to be the consistent through to where you want to go. **What advice would you give to parents and teachers trying to nurture talent without putting pressure on the outcome?** I think advice to parents, who maybe aren’t in the industry and have a kid who says, I really want to do this thing, and you maybe know nothing about it, I can appreciate that that might be a really scary thing. Because statistically, there are a lot of poorer artists, and that is just fact. But that is not to say that it isn’t a viable career, and that there are so many skills, like resilience, hard work and self-belief that come from your kid choosing a career in the arts, and actively pursuing something they really believe in. To actually try and get to the place where it is a viable career, you have to fully go in and commit to it. It actually is a bit of a disservice to say you need to have these things as a backup as well, because then the energy is split. But it’s also hard because a backup is useful. I play the piano, so I am able to teach, and I’m also able to coach. So I think it’s also being savvy about where you can be doing things that are maybe a stream of income. But in terms of the commitment, if you can, support and nurture your child. This is from a non-parent *(laughs)*, I’m not a parent! ![The Scoop Kala Gare My Brilliant Career Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/01/Kala-Gare-467x628.png "Kala Gare My Brilliant Career Melbourne Theatre Company • The Scoop")Kala Gare**You went to the Victorian College of the Arts. What’s your advice to graduates for bridging uni and entry into the industry?** Ohhhhh, I feel really, like, this makes me go *eee*, because the balcony of Melbourne Theatre Company is looking right over VCA. And I had – hee hee hee, let me share a story – I had a meltdown when I was in third year. And I viscerally remember walking – and I can see the spot from the balcony, which is so lovely – but walking and looking up and being like, I’m not ready. I can’t do it, and just cry, cry, cry. And it’s so sweet to now look out from that balcony, and say, *You got this!* But you are going to go through the lows. It’s just inevitable. Because you’ve been in this beautiful – hey, you might not, but it’s important to – because you go through this beautiful, supported bubble of university, and then that support, especially if you’ve gone straight from high school into uni, that support is not there. And it’s not in a scary way, but in a way of just naturally, the university support is not there. And you are now your backing in the whole industry. And it takes an adjustment period, and it is a scary thing. But if you keep the faith and keep working through it, you’ll find your feet, I promise you’ll find your feet. It just takes a second, but then the world is yours. Because then you have the strength from getting through that to know, okay, now I can start to build my career outside of being someone who was a part of a cohort. Now you are a unit who has your own back. **And finally, what kinds of stories or roles are you feeling drawn to next? That is to say, what shows or roles are on your bucket list?** Sybylla is the coolest rock star in the world, but I think I would love to play a dirty 80s rock star. Like Sibylla, if she were 28, not a 15-year-old baby.*(Laughs)* But I feel like, something period, like, if Joan Jett had a thing. Honestly: messy. I feel quite excited to play characters that maybe aren’t so likeable. A messy rock star. ***My Brilliant Career* is presented by Melbourne Theatre Company and runs to 28 February at Southbank Theatre, The Sumner.** **140 Southbank Boulevard Southbank Vic** **3006.** It then embarks on a national tour. See full dates below. Tickets: <https://tickets.mtc.com.au/production/19714> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/my-brilliant-career/> Socials: <https://www.instagram.com/mybrilliantcareer/> and [https://www.instagram.com/k.gare\_/](https://www.instagram.com/k.gare_/) [Read our Review of Opening Night!](https://thescoop.au/review-my-brilliant-career-shines-in-a-glorious-encore-season/) Photo by Pia Johnson 2026 Australian Tour Dates: Canberra 7 – 15 March, Canberra Theatre Centre Sydney 21 March – 3 May, Roslyn Packer Theatre Wollongong 8 – 17 May, Illawarra Performing Arts Centre **Categories:** Features --- ### [Review: My Brilliant Career Shines In A Glorious Encore Season](https://thescoop.au/review-my-brilliant-career-shines-in-a-glorious-encore-season/) **Published:** January 28, 2026 **Author:** Jessica Flynn **Content:** ![The Scoop Kala Gare My Brilliant Career Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/01/3-MTC-My-Brilliant-Career-Photo-by-Pia-Johnson-942x628.jpg "Kala Gare My Brilliant Career Melbourne Theatre Company • The Scoop")*My Brilliant Career,* brought to you by Melbourne Theatre Company, is back for an encore season after a smash hit in 2024. Directed by Anne-Louise Sarks, this is a masterclass in Australian theatre. The award-winning musical brings bush ballads, pop, and pub-rock tunes all under the southern cross sky. What a delight to hear the Australian accent on stage, delivering an Australian classic that celebrates the spirit of this country. It is an unfortunate rarity, despite being a nation that punches well above its weight in the arts. This is a show that needs to go international. What a fantastic display of Australian talent and stories. While the play is based on Miles Franklin’s novel, published in 1901, its themes of feminism, breaking free of expectations, and the intensity of youth remain relevant. This stage adaptation features a book by Sheridan Harbridge and Dean Bryant, with lyrics by Bryant and music by Matthew Frank, made possible through Monash University and the NEXT STAGE Writers’ Program. We follow Sybylla, crushed by societal norms and burning with a fever for a life bigger than others have imagined for her. She is feisty, punchy and loveable. Bringing modernity to this tale means that we get some anachronistic twists in the language and costumes used at times. This is endearing and puts us right into the story rather than distracts, which is no small feat! ![The Scoop Kala Gare My Brilliant Career Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/01/6-MTC-My-Brilliant-Career-Photo-by-Pia-Johnson-942x628.jpg "Kala Gare My Brilliant Career Melbourne Theatre Company • The Scoop")Gares comedy delivery is exceptional and it is hard to imagine anyone else in this role Photo by Pia JohnsonKala Gare as Sybylla Melvyn is a genius. What a powerhouse of talent that can act, sing, and play seemingly every instrument on stage. Her voice is among the most impressive I have ever heard live. Her ability to demonstrate not just technical range but also to deliver emotions makes for an outstanding performance. Gare’s comedy delivery is exceptional, and it is hard to imagine anyone else in this role. She brings a lightness that invites each audience member to feel every part of Sybylla’s journey. I am a huge fan and can’t wait to see what is next for her. *My Brilliant Career* is a show that fully integrates the whole cast into each scene. Even musical director Victoria Falconer is part of the ensemble! Each cast member is incredibly talented, playing an instrument AND many in multiple roles (with multiple costume changes too, of course!). Raj Labade as the smarmy yet charming Harry and lady-killer Peter is magnetic and confident. Drew Livingston as Father, Jay-Jay and M’Swat is fantastic. His physical comedy is spot-on, and what a fantastic voice too, particularly in *Prince of a Girl*. Melanie Bird, playing Gertie and Blanche, brings so much range and voice to vastly different and demanding roles. Cameron Bajraktarevic-Hayward as Frank is hilarious, bringing fun and heart to the ‘stuck-up’ Englishman. Lincoln Elliott, playing Jimmy and Horace, also brings comedic relief and a youthful energy to his boisterous characters. ![The Scoop Kala Gare My Brilliant Career Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2026/01/4-Kala-Gare-in-My-Brilliant-Career-with-MTC-Photo-by-Pia-Johnson-942x628.jpg "Kala Gare My Brilliant Career Melbourne Theatre Company • The Scoop")What a delight to hear the Australian accent on stage Photo by Pia JohnsonChristina O’Neill as Mother, Helen, Mrs M’Swat is inspiring, playing the multifaceted strength of each character with immense grace. Ana Mitsikas, playing Grannie and Rose-Jane, brings elegance to the roles while also killing it on the keys. The set and costumes by Marg Horwell bring harmony to the show. The staging echoes the barren, drought-ridden wheat-belt, with each transition effective and precise. Props are simple yet effective, using chairs for acting and for dance scenes. The costumes use fabrics that sparkle and dull on the stage, reflecting the mood of our heroine. A special shout-out to the flamboyant pink feathery number for Blanche’s number – gorgeous! The lighting by Matt Scott is also poignant and purposeful. From the disco lights to the subtle orange tones of an Aussie sunrise, Scott creates a beautiful atmosphere throughout the show. As Sybylla shows us, to be understood is to be loved. Be sure to catch this very special limited season of *My Brilliant Career* from Melbourne Theatre Company to listen, to feel, and to recognise something of yourself reflected back. ***My Brilliant Career* is presented by Melbourne Theatre Company and runs to 28 February at Southbank Theatre, The Sumner.** **140 Southbank Boulevard Southbank Vic** **3006.** It then embarks on a national tour. See full dates below. Tickets: <https://tickets.mtc.com.au/production/19714> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/my-brilliant-career/> Socials: <https://www.instagram.com/mybrilliantcareer/> [Read our interview with Kala Gare!](https://thescoop.au/kala-gare-relights-the-fire-in-my-brilliant-career/) Photo credits: Pia Johnson 2026 Australian Tour Dates: Canberra 7 – 15 March, Canberra Theatre Centre Sydney 21 March – 3 May, Roslyn Packer Theatre Wollongong 8 – 17 May, Illawarra Performing Arts Centre **Categories:** Melbourne, Musical Theatre --- ### [Review: Cluedo Brings Murder Most Fun To Melbourne](https://thescoop.au/review-cluedo-brings-murder-most-fun-to-melbourne/) **Published:** February 11, 2026 **Author:** Wendy Samantha **Content:** ![The Scoop Cluedo the play Australian tour 2026](https://thescoop.au/wp-content/uploads/2026/02/XRL-CLUEDO-photo-Jeff-Busby_2097-copy-942x628.jpg "Cluedo the play Australian tour 2026 • The Scoop")The window is wide open, the curtain is waving, there’s fog, lightning and a rumble of heightened excitement for a Tuesday murder! Melbourne is alive with murder, as *Cluedo* – the hilarious whodunnit play has hung itself with immaculate grandeur at The Comedy Theatre. It’s sudden, scandalous, and executed with absolute perfection. Based on the board game created by British musician Anthony Pratt, it was originally called Murder and designed for entertainment during the blackouts in World War II. Known in the US as Clue, the game has 324 possible outcomes. The play version was first staged in 1985 and then released as a feature film later that year. *Cluedo* the play is set at Boddy Manor and journeys through a setup, blackmail, murder, investigations, accusations and then multiple revelations. It includes bullet speeding action sequences! Spanner-wielding physical comedy! Knife-pointed humour! Candlestick smackingly good jokes! And strong-as-a-lead-pipe freezes that allow for all sorts of shadows, darkness, hidden passages, exposed secrets and outed indiscretions that all bring addictive twists and delightful drama. Following six eccentric guests who are invited to a grand yet gloomy hilltop manor, the stormy evening brings the arrival of the suspects. All have been instructed to use pseudonyms for the evening’s procedures. We meet Miss Scarlett (Olivia Deeble), Professor Plum (David James), Mrs White (Rachael Beck), Reverend Green (Laurence Boxhall), Mrs Peacock (Genevieve Lemon) and Colonel Mustard (Adam Murphy), who are greeted by the butler Wadsworth (Grant Piro). The party is then served by the cook (Octavia Barron-Martin), and the maid, Yvette (Lib Campbell), for dinner and drinks, and thereafter sent off to the lounge where all the fun begins. It is then revealed that they are all being blackmailed by the host of the event, Mr Boddy (Joshua Monaghan), who suddenly appears holding a briefcase of evidence. He has called the police, so that before their arrival, the guests must agree to pay more hush money. ![The Scoop Cluedo the play Australian tour 2026](https://thescoop.au/wp-content/uploads/2026/02/XRL-CLUEDO-photo-Jeff-Busby_2973-copy-942x628.jpg "Cluedo the play Australian tour 2026 • The Scoop")With an incredible cast of highly talented performers each character is brought to life with a unique energy Photo by Jeff BusbyBut when the lights suddenly go out, and Mr Boddy is found dead, there is great urgency to find out who killed him, where and with what weapon. As more bodies start to pile up, the story becomes a chaotic, cleverly constructed mystery that is sliced and diced with just so much fun. With an incredible cast of highly talented performers, each character is brought to life with unique energy. They flow together like a rainbow. Working in unison, they are a collegiate team with precise entrances and exits, door swinging and stage positioning. They manage all this with in an array of complications, a mess of accents and snapping, sharp looks. It’s just layer upon layer of murderous lasagne, spiced with suspicion and served with an incredible intention to eliminate! After all, “it takes a lot of courage to kill someone twice.” Our larger-than-life troupe includes the alluring housemaid Yvette played by Lib Campbell, who is all feathers and no duster. She is absurdly provocative in all the right ways and the ideal combination of airy, fairy and flirt. The brilliantly bossy Cook, played by Octavia Barron-Martin, brings pomp and poise to the table. Her discovered death scene is a standout as she gets ‘walked’ across the corridor and left to ‘stand’ with knife in back still in place. The suspicious policeman Bobby sends everyone into a frantic frenzy. Nat Jobe plays it cool and collected, with a lighthearted hand in hand until further notice: when he doesn’t get to play anymore at all! Mr Boddy is brought to life by Joshua Monaghan, only to die twice in a suave and swift blow. But he is all confidence and swish here. To get more colourful, Rachael Beck gives us a flawless performance as the classy Mrs White, a devilish widow full of intelligence and attention. She is her own spotlight on stage, masterful with detail and full of more expression than every existing emoji. ![The Scoop Cluedo the play Australian tour 2026](https://thescoop.au/wp-content/uploads/2026/02/XRL-CLUEDO-photo-Jeff-Busby_2092-copy-942x628.jpg "Cluedo the play Australian tour 2026 • The Scoop")Cluedo is sudden scandalous and executed with absolute perfection Photo by Jeff BusbyLaurence Boxhall as Reverend Green displays an incredible craft; bumbling around, nervously checking his pulse so as not to place doubt. He has amazing comedic timing and truly captivates when telling his story. The audience all applaud for his exceptional portrayal. Olivia Deeble as the charming Miss Scarlett is definitely a crowd favourite. Special mention from my starstruck daughters who are huge fans of *Little Lunch* and couldn’t believe they were sitting in front of her! She radiates elegant power, bringing to life an iconic character with zest and feist. David James, as the self-important, cunning Professor Plum, is full of cheek and mischief. He has a natural presence on stage, and his brilliance in delivering straight-shooting humour builds the storyline, gathering a momentum that adds to the tension. Genevieve Lemon as the always extra Mrs Peacock is a parade of extroversion. She brings humour into every scene and flair to the funnies, whilst being graceful and simply splendid. The moment where she crept across the stage, shadowed all in blue, at an attempt to powder her nose, had the crowd in fits of laughter. Adam Murphy’s Colonel Mustard is one of the highlights of this production. He is the punchline to many of the jokes, and he delivers it with genius. Often with a slight, deliberate delay or an effective pause and play with words, he embodies the role with an official type of politeness that adds to the wonderful humour. Grant Piro as Wadsworth completes the cast, and he is a standout of everything incredible. His character changes as different events take place. He embodies every swish movement of a rope, a dagger, a gun and more. He is a blast of energy, stabbed with delicate storytelling and tied together with action-packed comedy. Director Luke Joslin and his creative team have put together a brilliant production of Cluedo. It’s hilariously clever, and then it leans even harder into being *Cluedo*. Everything is incredibly well thought out in design, with moving pieces coming together like a rubix cube of scrambled colours magically solving as it floats in front of you. The show is a thread through a needle eye at first try, an excellence of sewn together clues, a well-lit candle on everyone’s story, and an experience where the whole theatre is caught in the game. Grab your seat and be a part of the mystery. ***Cluedo* runs to 15 March 2026 at the Comedy Theatre Melbourne. It then tours to Adelaide and Sydney. See dates below.** Tickets: <https://cluedoplay.com.au/#tickets> Website: <https://cluedoplay.com.au/> Socials: <https://www.instagram.com/cluedotheplay/> [Read our Review of the Brisbane Season!](https://thescoop.au/review-cluedo-the-play-brings-the-classic-whodunnit-to-life/) Photo credits: Jeff Busby 2026 Australian Tour Dates Brisbane 7 January to 1 February, Playhouse Theatre, QPAC Melbourne 7 February – 15 March, Comedy Theatre Adelaide 21 March – 4 April, Her Majesty’s Theatre Sydney 11 April – 8 May, Theatre Royal **Categories:** Melbourne, Theatre --- ### [Review: Cats Lands On Its Feet For A Brisbane Farewell](https://thescoop.au/review-cats-lands-on-its-feet-for-a-brisbane-farewell/) **Published:** February 9, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop CATS the Musical Adelaide 2025 Australian Tour](https://thescoop.au/wp-content/uploads/2025/09/Jarrod-Draper-Leigh-Archer-in-CATS-c-Daniel-Boud_139-942x628.jpg "CATS the Musical Adelaide 2025 Australian Tour • The Scoop")CATS marks the third touring musical to make its final stop in Brisbane, following on from *[Annie](https://thescoop.au/review-annie-musical-charms-brisbane-big-time/)* and *[Jesus Christ Superstar](https://thescoop.au/review-jesus-christ-superstar-reigns-with-grit-and-glitter/)*. Brisbane musical theatre lovers are always happy to be lucky last, and once again, the opening night audience welcomed the show with much enthusiasm. The Scoop has followed the CATS tour since it opened in [Sydney](https://thescoop.au/review-cats-the-musical-is-back-on-stage-and-better-than-ever/) last year, tracking its journey through [Adelaide](https://thescoop.au/review-cats-pounces-back-into-adelaide-with-jellicle-joy/), [Perth](https://thescoop.au/review-cats-pounces-on-perth-with-pure-purr-fection/) and [Melbourne](https://thescoop.au/cats-musical-welcomes-in-the-new-year-in-melbourne/). We’ve chatted with [Gabriyel Thomas](https://thescoop.au/memory-and-meaning-gabriyel-thomas-steps-into-the-spotlight-in-cats/) playing Grizabella and [Lucy Maunder](https://thescoop.au/coffee-cats-conversation-a-chat-with-lucy-maunder/) playing Jellylorum. Through interviews and video footage, I’ve felt a connection to this cast. So it was a thrill to finally see them live, from what might just be the best seats I’ve ever had at QPAC’s Lyric Theatre. Based on T. S. Eliot’s *Old Possum’s Book of Practical Cats* and set to music by Andrew Lloyd Webber, CATS first leapt onto the stage in 1981 at the New London Theatre. The venue was later renamed the Gillian Lynne Theatre, honouring the celebrated choreographer whose movement language helped define the show. The original production ran for almost 21 years, with close to 9,000 performances and multiple Best Musical awards. Since then, CATS has been presented in over 50 countries, translated into 23 languages and has been seen by over 81 million people. CATS played for 18 years on Broadway and won seven Tony Awards, including Best Musical. You can’t really call yourself a true musical theatre fan unless you’ve seen it at least once. CATS defies the conventions of musical theatre, unfolding not as a traditional story but as a glimpse into one extraordinary night with the Jellicle cats. At the heart of their gathering, the Jellicle Ball, one cat will be chosen by their elder, Old Deuteronomy. That cat will ascend to the Heaviside Layer and be reborn into a new Jellicle life. For the Brisbane season, resident director and choreographer Amy Berrisford is pouncing onto the stage as Demeter. She pairs with Mia Dabkowski-Chandler in an Act Two standout that’s been stuck in my head all day: the bluesy *Macavity*. Emily Casey steps into the role of Cassandra, instantly drawing the eye and giving off hairless-cat vibes in her sleek brown Lycra costume. ![The Scoop CATS the Musical Sydney](https://thescoop.au/wp-content/uploads/2025/06/Cast-of-CATS-c-Daniel-Boud_244-998x628.jpg "CATS the Musical Sydney • The Scoop")CATS is celebrated as a dance forward show but the vocal strength of the cast deserves equal praise Photo by Daniel BoudEach cat boasts a distinct costume and characterisation, and taking it all in feels like a visual overload in the best way. There would be new details to discover on every return visit. (Keep an eye out for the cute Siamese twin cats played by Sarah Bourke and Joshua Gordon.) Claudia Hastings is also unmissable as Victoria the White Cat, gliding across the stage with balletic grace. Jarrod Draper as Munkustrap serves as our narrator, welcoming us into the Jellicle Ball and guiding us through the magic. Draper has a strong presence and voice to match. His velvety operatic tones remind us why he’s bound for *Phantom* next month. CATS is rightly celebrated as a dance-forward show, but the collective vocal strength of this cast deserves equal praise. As Old Deuteronomy, classical crossover artist Mark Vincent commands the stage. He comes into his own in full operatic splendour by the show’s conclusion. Act One highlights include Leigh Archer as Old Gumbie Cat, leading the company in a show-stopping number choreographed by Bill Deamer. No one told me there were tap dancing cockroaches in CATS! As Skimbleshanks, Tom Davis leads the company through a lively Act Two routine, complete with a makeshift steam train. It’s an ingenious piece of work from the design team. The undisputed standouts, however, are Tim Haskayne as Mr Mistoffelees and Gabriyel Thomas as Grizabella. Both explode onto the stage in Act Two, though Thomas first gives us a devastating teaser of *Memory* to close Act One. Have tissues ready when the lights come up. ![The Scoop CATS the Musical Sydney](https://thescoop.au/wp-content/uploads/2025/06/Gabriyel-Thomas-and-the-cast-of-CATS-c-Daniel-Boud_057-942x628.jpg "CATS the Musical Australian Tour 2025 • The Scoop")Gabriyel Thomas as Grizabella delivers a standout performance of Memory Photo by Daniel BoudHaskayne’s spectacular dancing is matched only by his eye-catching black velvet, bejewelled costume. His Mistoffelees will leave you wanting more. Thomas’s *Memory* is raw, deep, and guaranteed to tear at the heart. Special mention also to Ella Fitzpatrick as Jemima, who provides haunting backup support. Anyone who grew up in the 80s listening to musicals on cassette tape will feel this song land hard, the melody stirring emotion and nostalgia. *Memory* sits comfortably in the musical theatre hall of fame alongside iconic numbers like *I Dreamed a Dream*. The technical elements are just as impressive as the performances onstage. Greg Pink’s sound design is crisp and immersive, allowing Andrew Lloyd Webber’s score to soar while still letting every lyric land clearly. Under music director Paul White’s baton, the band drives the show, giving the production real momentum from the opening bars. Alan Walker’s set stays true to John Napier’s design, featuring a moonlit junkyard complete with clever hideaways for the Jellicles. Howard Eaton’s lighting, following David Hersey’s original vision, shifts seamlessly from gritty industrial tones to surreal, dreamlike washes. Effects in complete blackout moments add another layer of magic. Napier’s costumes, supervised by Billy Roache, Karen Dawson’s make-up and Jenny Dean’s wigs, supervised by Kellie Ritchie and Michele Skeete, all serve to elevate the Jellicles’ 80s aesthetic. Leg warmers will live on forever through this iconic costuming. As the final tour stop, Brisbane is getting CATS at full strength. It’s a slick, high-energy production that looks, sounds and moves beautifully. If you’ve ever loved this musical, or if you’re curious to see why it became a global phenomenon, this is a purrrfect farewell. **CATS the Musical runs in Brisbane until 22 February 2026 at the Lyric Theatre QPAC as the final stop on its national tour.** Tickets: <https://www.qpac.com.au/whats-on/2026/cats> Website: <https://catsthemusical.com.au/> Socials: <https://www.instagram.com/catsthemusicalau/> Read our Interview with Gabriyel Thomas! Photo credits: Daniel Boud **Categories:** Brisbane, Musical Theatre --- ### [Announcing Principal Cast For Waitress The Musical](https://thescoop.au/announcing-principal-cast-for-waitress-the-musical/) **Published:** February 11, 2026 **Author:** Newsroom **Content:** ![The Scoop WAITRESS Musical 2026](https://thescoop.au/wp-content/uploads/2026/02/Rob-Mills-Mackenzie-Dunn-Natalie-Bassinthwaighte-Gabriyel-Thomas-John-Waters-c-Peter-Brew-Bevan-831x628.jpg "WAITRESS Musical 2026 • The Scoop")Producer John Frost for Crossroads Live today **announced the stellar cast** for the Australian Premiere of Broadway’s smash-hit musical **WAITRESS***,* which will light up Her Majesty’s Theatre Melbourne from 1 May, and the Sydney Lyric Theatre from 1 August. Tickets are now on sale at [WaitresstheMusical.com.au](http://waitressthemusical.com.au/). Leading the cast as Jenna will be **Natalie Bassingthwaighte** (*Chicago, Shirley Valentine*). **Gabriyel Thomas** (*Cats, Sister Act*) and **Mackenzie Dunn** (*Grease, Annie*) will play Becky and Dawn, Jenna’s coworkers at the diner. Charismatic star of stage and screen **Rob Mills** (*& Juliet, Wicked*) will play Dr Pomatter. Legendary actor **John Waters** (*The Woman in Black, Play School*) will be Joe, the owner of the diner. One of Australia’s most popular leading ladies of stage and screen, Natalie Bassingthwaighte will play Jenna, an unhappily married waitress in a small US town. Natalie’s music career has seen her achieve acclaim as one of only twenty Australian solo female artists to reach Number One on the ARIA Album Charts with her solo album, 1000 STARS. She has enjoyed international success as front woman of The Rogue Traders, achieving multi-platinum sales across two albums, as well as two APRA nominations, an MTV award win and seven ARIA nominations. Most recently lauded for her performance on stage in the title role of last year’s Australian tour of *[Shirley Valentine](https://thescoop.au/review-shirley-valentine-a-remarkable-one-woman-show/)*, Natalie has created many memorable characters on stage. These include Roxie in *Chicago,* Mary-Jane in Alanis Morissette’s *Jagged Little Pill,* Sandy in *Grease* and Florence Vassy in *Chess*. Her work on television includes the original host of *So You Think You Can Dance*, judge on *The X Factor*, and competing alongside her sister Mel on *The Amazing Race*. ![The Scoop Waitress the Musical Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Rob-Mills-Natalie-Bassinthwaighte-John-Waters-WAITRESS-c-Peter-Brew-Bevan-926x628.jpg "Waitress the Musical Australia 2026 • The Scoop")Rob Mills Natalie Bassingthwaighte and John Waters will star in Waitress the Musical Photo by Peter Brew BevanDirect from her acclaimed performance as Grizabella in the national tour of *[Cats](https://thescoop.au/review-cats-lands-on-its-feet-for-a-brisbane-farewell/)*, the role of Becky, the irascible waitress with a wicked sense of humour, will be played by [Gabriyel Thomas](https://thescoop.au/memory-and-meaning-gabriyel-thomas-steps-into-the-spotlight-in-cats/). Gabriyel’s other credits included Michelle and sometimes the lead role of Deloris Van Cartier in the Australian tour of *[Sister Act](https://thescoop.au/review-sister-act-the-musical-is-fabulous-baby/),* *The Sound of Music, Ragtime* and the Australian and US tours of *Hairspray.* Most recently seen on stage as Lily St Regis in the Australian tour of *[Annie](https://thescoop.au/review-annie-musical-charms-brisbane-big-time/),* [Mackenzie Dunn](https://thescoop.au/easy-street-a-chat-with-mackenzie-dunn-from-annie-the-musical/) will be Dawn, the eccentric youngest waitress at the diner. Mackenzie has also played Rizzo in *[Grease](https://thescoop.au/review-grease-the-musical-at-the-lyric-theatre-qpac/)*, Penny Pingleton in *Hairspray*, Squeaky Fromme in *Assassins*, Francine in *Jersey Boys*, Evelyn Nesbit in *Ragtime*, Bubba in *Summer of the Seventeenth Doll*. She understudied and performed the role of Princess Fiona in the Australian tour of *Shrek.* Charming stage and screen star **Rob Mills** will be playing Dr Pomatter, Jenna’s endearing but neurotic gynaecologist. Rob has had celebrated roles in musicals including *& Juliet, Wicked, Hairspray, Ghost, Jesus Christ Superstar* and *Grease*. On screen he has appeared in *Neighbours, Winners and Losers, Dancing With The Stars* and the 2025 season of *The Amazing Race Australia: Celebrity Edition*. As Joe, the curmudgeonly diner owner who has a soft spot for Jenna, will be stage icon **John Waters**. With a career spanning over 50 years, John is well known for lead roles in the film *Breaker Morant* and the television series *Rush, All the Rivers Run, Rake* and his 20-year run on *Play School.* His prolific stage work includes *Hair, Godspell* and *Jesus Christ Superstar* in the 1970s, through to the musicals *The Rocky Horror Show, They’re Playing Our Song* opposite Jackie Weaver, *The Sound of Music* opposite Lisa McCune. Most recently he starred in the thrilling play *[The Woman in Black](https://www.theatretravels.org/post/review-the-woman-in-black-at-the-playhouse-qpac)*. ![The Scoop Waitress the Musical Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-11-at-72535-am-1007x628.png "Waitress the Musical Australia 2026 • The Scoop")Natalie Bassingthwaighte Gabriyel Thomas and Mackenzie Dunn to star in Waitress the Musical Photo by Peter Brew BevanProducer **John Frost** said: *“I’m overjoyed to announce this extraordinarily talented cast. They will beautifully bring to life the delightful characters in this original and inspiring production.* *WAITRESS was a massive hit on Broadway where it played for almost four years, and was a huge success in the West End and across the world. WAITRESS has become a ‘must see’ musical, with its memorable music by Sara Bareilles and universal themes of hope and resilience. Get your tickets now to enjoy this life-affirming show.”* Inspired by Adrienne Shelly’s beloved film, and brought to life by a trailblazing female-led creative team, including a book by acclaimed screenwriter Jessie Nelson, an original, uplifting score by Grammy® winner Sara Bareilles *(Love Song*, *Brave*) and direction by Tony® winner Diane Paulus, WAITRESS is the irresistible Broadway hit about resilience, friendship and hope that has captured hearts worldwide.​ This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. ​When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined. ![The Scoop Waitress the Musical Australia 2026](https://thescoop.au/wp-content/uploads/2026/02/260204_Waitress_ALL-CAST_812-861x628.jpg "Waitress the Musical Australia 2026 • The Scoop")The principal cast of Waitress the Musical Photo by Peter Brew BevanWAITRESS made history on Broadway with the four top creative spots in a show being filled by women. With Sara Bareilles (music and lyrics), Jessie Nelson (book), Lorin Latarro (choreography) and Diane Paulus (direction). It opened on Broadway in April 2016 at the Brooks Atkinson Theatre, where it ran until January 2020. WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. Sweet, sassy and soul-stirring, WAITRESS is “*a little slice of heaven*” (Entertainment Weekly) and “*made from the finest ingredients*” (Time Out). It’s a feel-good celebration of second chances, and the magic of a well-made pie. If only life were as easy as pie… **WAITRESS premieres in Melbourne from 1 May 2026 at Her Majesty’s Theatre. 219 Exhibition Street Melbourne Vic 3000.** It runs in Sydney from 1 August 2026. Get tickets for Melbourne [here](https://waitressthemusical.com.au/tickets/melbourne/) and tickets for Sydney [here](https://waitressthemusical.com.au/tickets/sydney/). Website: <https://waitressthemusical.com.au/> Socials: <https://www.instagram.com/waitressau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Peter Brew-Bevan **Categories:** News --- ### [Bec Moret Invites New Audiences Into Opera With Gente, gente!](https://thescoop.au/bec-moret-invites-new-audiences-into-opera-with-gente-gente/) **Published:** February 10, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Gente, gente! Productions Riders to the Sea](https://thescoop.au/wp-content/uploads/2026/02/IMGL90501-945x628.jpg "Gente, gente! Productions Riders to the Sea Elizabeth Maconchy • The Scoop")**Gente, *gente!* Productions** sails into 2026 with a bold new double bill directed by **Bec Moret**, featuring Ralph Vaughan Williams’ one act opera *Riders to the Sea* and a selection of works by his protégée, Dame Elizabeth Maconchy. Conducted by Dr Joanna Drimatis, the production centres female perspectives on and off the stage. Women remain significantly underrepresented in leadership roles within major Australian opera companies. Gente, *gente!* offers a necessary shift for the New South Wales industry by challenging limiting operatic tropes and reimagining these works for contemporary audiences. The Scoop chatted to director Bec Moret ahead of the season. Read the full interview below. **You’re returning to Gente, *gente!* after directing *Dialogues des Carmélites* in 2024. What drew you back to the company for this new double bill?** Gente, *gente!* stands for two things I’m very passionate about – opera, and centring the stories of women. In *Dialogues des Carmélites*, we dealt with such huge events and themes – it’s a work of truly epic scale, especially for an independent company like Gente, *gente!* So one of the things that was so appealing about putting together this program and that made it a big departure was its intimacy. In Vaughan Williams’ *Riders to the Sea*, the focus sits so closely on the characters and the moment-by-moment shifts in their understanding and emotional stakes. Many emerging artists have been trained to be so focused on the sheer, monumental athletic challenge that is operatic singing that being able to dive into the complexities of human psychology offered by such an intricate dramatic work is a huge gift. And pairing *Riders to the Sea* – a haunting work centred on the lives of three women but written by men – with a selection of works by Elizabeth Maconchy, who studied composition with Vaughan Williams, gives us a wonderful opportunity to reframe and add context to this heart-wrenching work. ![The Scoop Bec Moret Gente, gente! Productions Riders to the Sea Elizabeth Maconchy](https://thescoop.au/wp-content/uploads/2026/02/Finale-2-944x628.jpg "Bec Moret Gente, gente! Productions Riders to the Sea Elizabeth Maconchy • The Scoop")A still from the In Tune with Her Concert at Bronte 2025 Photo by Stuart Bucknell **Although the two pieces are by different composers, they speak to each other in subtle ways. What thematic or emotional threads do you see connecting them?** *Riders to the Sea* is an intricate domestic drama about how we communicate (and fail to communicate) with our loved ones. At its heart is the question of whether we can really value the lives of those closest to us when we’re also dependent on them for survival. But it’s also a work about the private lives of women, written by two men. Sympathetic as they may be, Synge and Vaughan Williams aren’t internal to that tragedy. In *Riders to the Sea,* the story ends with the death of the final male family member, leaving three women apparently alone in the world. Pairing it with the works of Elizabeth Maconchy lets us examine that assumption – that once the men are gone, the story is over. We know that isn’t true. History is packed with women whose lives went on – rich, eventful and often unrecorded – long after a final date was etched for the notable man in her life. And Maconchy’s work, which pairs poetry and folk song, myths and cheeky innuendos, gives us a wonderful match for John Synge’s brilliant flavour of grounded, authentic patois peppered with throw-away legends and almost-accidental symbolism. ***Riders to the Sea* is often described as a ‘gut punch’ of a work. What do you think gives it such enduring emotional power?** *Riders to the Sea* is perfect proof that the more specific your storytelling, the more relatable it can be to an audience. *Riders* is built on granular detail of a very particular time and place – the first years of the 20th century, on the tiny Aran Islands off the coast of Ireland. And in its intricate specifics, it creates a world that is complete and believable – and so becomes ripe soil for the subtle complexities of human relationships under duress. What it is to live in a world coming apart at the seams, through tragedies that shake your whole world. Wondering if you, if those you love, can survive that change – or if you’ll unravel right along with the life you’ve always known. ![The Scoop Gente Gente! Riders to the Sea Elizabeth Maconchy](https://thescoop.au/wp-content/uploads/2026/02/Banner-image-1200x608.png "Gente Gente! Riders to the Sea Elizabeth Maconchy • The Scoop")Riders To The Sea and The Works of Elizabeth Maconchy runs 28 February to 1 March **Maurya’s story is one of endurance rather than action. How are you approaching staging that kind of quiet devastation without sentimentalising it?** I think Maurya’s a very active character, but one whose choices aren’t well-suited to her goal. She’s so consumed with her own grief, with her fear of losing the world as she knows it, that she refuses to see her children and how they’re struggling too. She’s certainly not the only one making mistakes – but as I see it, her self-appointed role as Cassandra of the story, predicting terrible things to come and not being believed, is an active choice that creates a self-fulfilling prophecy. Maurya contributes to the tragedy by alienating her children and then must grapple with the consequences. **The opera explores what it means to be a mother, daughter, and sister in a world structured around men. How are you working with the cast to bring those relationships to the foreground?** By the end of *Riders to the Sea*, a mother and her daughters are forced to face not only tragedy, but also the way they’ve moulded their lives around the men in their lives. Through this tragedy, these three women really see and value each other for the very first time. The beauty of an opera adapted so closely from such a tightly-written piece of literature is that everything is in the text – in the hierarchy of language, in the rhythm and variation of dialogue, in pulling words to pieces to find how these different generations of women understand their world. So doing that work with the singers to detail and differentiate those relationships is a real delight. ![The Scoop Bec Moret Gente, gente! Productions Riders to the Sea Elizabeth Maconchy](https://thescoop.au/wp-content/uploads/2026/02/itpol-657-e1770693194860-993x628.jpg "Bec Moret Gente, gente! Productions Riders to the Sea Elizabeth Maconchy • The Scoop")A Still from Coven A Halloween Special in Lawson 2025 Photo by Samuel Herriman **Opera has long been associated with exclusivity. What does it mean to you, as a director, to be part of a company that invites audiences in on a pay-what-you-can basis? What do you say to someone who thinks opera is ‘not for them’?** Opera is an incredibly human thing. It’s not naturalistic, because being human isn’t the arms-length viewing experience of naturalism. The power of the unamplified human voice has an uncanny ability to let us feel with other people, in all their desires and fears and hormonal chaos. At its best, opera is both incredibly heightened and impossibly real and immediate in the very same moment. The payoff when it all comes together in opera is massive. It’s one of those experiences where you just need to *be* there, a shared experience for audiences and performers that you never forget. But the great challenge is that it requires enormous preparation and live, in-person performances from a huge number of expert artists to pull that off, so training, rehearsal and performances can be very expensive endeavours. A pay-what-you-can policy really helps – it lets people who just want to take a chance come along for whatever a new experience is worth to them – and it allows those who are more familiar with our work and want to support us to chip in more if they like. And for those of us who are just passionate about sharing the almost miraculous experience of opera with others, we’re always looking for ways to make it easier for people to try it out. ![The Scoop Gente, gente! Productions Riders to the Sea Elizabeth Maconchy](https://thescoop.au/wp-content/uploads/2026/02/IMGL90585-945x628.jpg "Gente, gente! Productions Riders to the Sea Elizabeth Maconchy • The Scoop")Lucy Bailes will be playing Maurya in Riders to the Sea Photo by Rob Studdert**Gente, *gente!* creates professional opportunities for early and mid-career artists beyond traditional age-limited programs. Why is that kind of support so vital?** Traditionally, emerging artist opportunities for opera professionals have been tightly age-limited – and very often those age limits are totally different for men and women applying to the same program. If you ask the administrators for a rationale, you may hear something about male voices requiring more time, more maturity, to develop. But there is no biological basis for that claim. Both male and female operatic voices take the same physical maturity to develop. The truth is that there are a lot more women and AFAB people who train in opera than there are men, so administrators can afford to be choosy. And the way many companies get choosy with women is in age discrimination. But I think that’s looking at the whole situation backwards. It seems to me that if you want great artistry, and you have more exceptional female voices than you do male voices, then what you have isn’t a deficit of male singers – it’s a deficit of female roles. So part of what Gente *gente!* is aiming to do is find those female voices that have been sidelined, and put them onstage. ![The Scoop Bec Moret Gente, gente! Productions Riders to the Sea Elizabeth Maconchy](https://thescoop.au/wp-content/uploads/2026/02/Bec-Moret-MC-3-942x628.jpg "Bec Moret Gente, gente! Productions Riders to the Sea Elizabeth Maconchy • The Scoop")Bec Moret speaking at the In Tune with Her Concert in 2025 Photo by Stuart Bucknell**As a director, what excites you most about working with artists at this stage of their careers?** There’s sometimes a very special moment working with emerging artists, when you get to see them pull off something they thought they couldn’t do. When right in front of your eyes, a particular image or phrase or scene connects and comes to life, and goes from seeming impossible to really happening. It’s wonderful to be a part of that. **What do you hope audiences leave thinking, or feeling, after experiencing this double bill?** That like Maurya, Cathleen and Nora, they come away seeing with new eyes the potential of the women around them, the depth of their feeling and the scope of their lives – and that they feel excited about discovering more of the work of extraordinary women composers, creatives, singers and conductors that deserve the spotlight. **Finally, what kind of stories are you most eager to tell next?** When we’re in a position to do so, I would love to commission a new opera by a female Australian composer – to create something wholly new and compelling and make a dent in the repertoire! ***Riders To The Sea* and The Works of Elizabeth Maconchy are presented by Gente, *gente!* Productions. The double bill runs 28 February to 1 March, Sydney. See details below.** 25, 28 Feb, 1 Mar – Hunters Hill Town Hall, 22 Alexandra St, Hunters Hill NSW 2110 27 Feb – Leichhardt Town Hall, Corner of Marion and 107 Norton St, Leichhardt NSW 2040 Tickets: <https://events.humanitix.com/riders-to-the-sea-or-works-of-elizabeth-maconchy> Website: <https://gentegente.org/> Socials: <https://www.instagram.com/gentegenteproductions/> and <https://www.instagram.com/becmoret/> [Read more of our Features!](https://thescoop.au/feature-articles/) Hero image: Lucy Bailes, who will be playing Maurya in *Riders to the Sea*. Photo by Rob Studdert Created in partnership with Gente, *gente!* Productions. For more information about our partnerships, visit [here](https://thescoop.au/partner-with-the-scoop/). **Categories:** Features --- ### [Win Tickets To See Jimpa In Cinemas 19 February](https://thescoop.au/win-tickets-to-see-jimpa-in-cinemas-19-february/) **Published:** February 9, 2026 **Author:** Newsroom **Content:** ![The Scoop Jimpa Film Kismet Movies Olivia Colman John Lithgow Sophie Hyde](https://thescoop.au/wp-content/uploads/2026/02/Jimpa-1200x800px-942x628.jpg "Jimpa Film Kismet Movies Olivia Colman John Lithgow Sophie Hyde • The Scoop")From acclaimed director Sophie Hyde (*Good Luck to You, Leo Grande*), **JIMPA** is an uplifting multi-generational family story starring award-winning favourites Olivia Colman and John Lithgow. Hannah (Colman) travels to vibrant Amsterdam with her teen, Frances (Aud Mason-Hyde), to reconnect with her politically-engaged, gay father—affectionately known as “Jimpa” (Lithgow). Frances is besotted with Jimpa and announces they wish to stay with him for a year – to Hannah’s apprehension. Jimpa is fiercely independent, so it is a shock when his declining health is revealed, upending Frances’ plans and bringing Hannah’s sister in from the UK. As the siblings negotiate what happens next, Hannah must confront her past and the stories she has told about her family. With warmth, humour and joy, **JIMPA** reminds us that, in every family, there are stories that don’t add up. The Scoop is **giving away five, in-season double pass** **e-tickets** **to the film**, thanks to **Kismet Movies**! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow and comment ‘Scoop’ under the post. The tickets are valid at any cinemas across Australia screening JIMPA (terms and conditions can be found on the tickets). **JIMPA opens nationally on 19 February at participating cinemas.** Search for a cinema near you at the website. Website: <https://kismetmovies.com/releases/jimpa> Socials: <https://www.instagram.com/kismetmovies/> [Back to the Newsroom](https://thescoop.au/newsroom/) Watch the trailer below: **Film details:** Title: Jimpa Director: Sophie Hyde Cast: Olivia Colman, Aud Mason-Hyde, John Lithgow Country of Origin: Australia Duration: 112 mins Rating: MA 15 UPCOMING PREMIERES: [Queensland Premiere at AACTA Festival \| 7 February, 7pm](https://www.aactafestival.com/program/jimpa-queensland-premiere) [New South Wales Premiere at Mardi Gras Film Festival \| 12 February, 7pm](https://queerscreen.org.au/sessions/jimpa/) Q&A SCREENINGS: NSW [Cremorne Orpheum \| 15 February, 2:30pm](https://www.orpheum.com.au/movie/jimpa-director-qa-preview) [Ritz Cinema \| 15 February, 4:30pm](https://www.ritzcinemas.com.au/events/jimpa-qa-screening-with-director-sophie-hyde) [Dendy Newtown \| 16 February, 6:30pm](https://newtown.dendy.com.au/jimpa--qa-preview/) VIC [Cinema Nova \| 17 February, 6:45pm](https://www.cinemanova.com.au/films/jimpa) SA [Palace Eastend \| 18 February, 6:30pm](https://www.palacenova.com.au/special-events/filmmaker-qa-jimpa-with-sophie-hyde-aud-mason-hyde) NT [Flix in the Wet \| 8 February, 11am](https://ticketing.oz.veezi.com/purchase/3357?siteToken=apk8pc95yqj95hjbgpbwt8hc7m) OUTDOOR SCREENINGS: [Moonlight Cinema Sydney \| 18 February, 8:15pm](https://www.eventcinemas.com.au/Orders/Tickets#sessionId=15089641&bookingSource=Moonlight&_gl=1%2Adizhls%2A_gcl_au%2AMjA5NTcyODgxMy4xNzY4MjczMTU3%2A_ga%2ANzU0MjQ3MTAzLjE3NjgyNzMxNTc.%2A_ga_BHVXVSNLDJ%2AczE3NjgyNzMxNTckbzEkZzAkdDE3NjgyNzMxNTckajYwJGwwJGgw&_ga=2.28667772.1706448062.1768273157-754247103.1768273157) [Moonlight Cinema Melbourne \| 18 February, 8:30pm](https://www.eventcinemas.com.au/Orders/Tickets#sessionId=15089605&bookingSource=Moonlight&_gl=1%2A14wq9e3%2A_gcl_au%2AMjA5NTcyODgxMy4xNzY4MjczMTU3%2A_ga%2ANzU0MjQ3MTAzLjE3NjgyNzMxNTc.%2A_ga_BHVXVSNLDJ%2AczE3NjgyNzMxNTckbzEkZzEkdDE3NjgyNzQ5MDgkajU0JGwwJGgw&_ga=2.30869375.1706448062.1768273157-754247103.1768273157) [Moonlight Cinema Perth \| 18 February, 7:30pm](https://www.eventcinemas.com.au/Orders/Tickets#sessionId=15089583&bookingSource=Moonlight&_gl=1%2A3hsmfi%2A_gcl_au%2AMjA5NTcyODgxMy4xNzY4MjczMTU3%2A_ga%2ANzU0MjQ3MTAzLjE3NjgyNzMxNTc.%2A_ga_BHVXVSNLDJ%2AczE3NjgyNzMxNTckbzEkZzEkdDE3NjgyNzUwNzckajUzJGwwJGgw&_ga=2.35996512.1706448062.1768273157-754247103.1768273157) **Categories:** competition, News --- ### [Announcing Cast For Steel Magnolias Return To The Stage](https://thescoop.au/announcing-cast-for-steel-magnolias-return-to-the-stage/) **Published:** February 9, 2026 **Author:** Newsroom **Content:** ![The Scoop Steel Magnolias Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/02/Jessica-Redmayne-Lisa-McCune-Debra-Lawrance-Mandy-Bishop-Belinda-Giblin-Lotte-Beckeet-c-Benny-Capp_4676-869x628.jpg "Steel Magnolias Australian Tour 2026 • The Scoop")Producers **Neil Gooding** and **Alex Woodward** today are thrilled to announce an all-star cast featuring some of the country’s most recognisable and celebrated television actors for the upcoming production of **STEEL MAGNOLIAS.** Under the direction of **Lee Lewis,** this dazzling new Australian production brings together an extraordinary ensemble led by **Lisa McCune, Belinda Giblin, Debra Lawrance, Mandy Bishop, Jessica Redmayne** and **Lotte Beckett**. It’s a line up that reads like a who’s who of Australian television, now uniting on stage for one of theatre’s most cherished plays. Written by Robert Harling, the timeless tale of **STEEL MAGNOLIAS** will tour to QPAC, **Brisbane** from April 2026, Theatre Royal **Sydney** in May, **Wollongong** and **Canberra** in June, His Majesty’s Theatre, **Perth** in July and the Athenaeum Theatre **Melbourne** from July. Tickets are on sale now. In the role of M’Lynn is Gold Logie winner and leading lady of stage and screen **Lisa McCune** *(Blue Heelers, The 39 Steps)*. She will be joined by *Home and Away* icons, **Belinda Giblin** (*Amadeus, Doubt*) as Ouiser and **Debra Lawrance** (*Harry Potter and The Cursed Child AU and UK, A Christmas Carol*) as Clairee. Acclaimed performer **Mandy Bishop** (*Wharf Revue, Blue Heelers)* plays Truvy. Current *Home and Away* star **Jessica Redmayne** (*800 Words, The Great Gatsby)* plays Shelby. Newcomer **Lotte Beckett** (*Julia, The Election Monologues)* joins this elite line up in the role of Annelle. ![The Scoop Steel Magnolias Australian Tour 2026 Neil Gooding Alex Woodward Productions](https://thescoop.au/wp-content/uploads/2026/02/image002-1-1150x628.jpg "Steel Magnolias Australian Tour 2026 Neil Gooding Alex Woodward Productions • The Scoop")Director **Lee Lewis** said: *“Once upon a time I wished for the best cast ever for Steel Magnolias…. Lisa McCune! BRILLIANT! Belinda Giblin! LEGEND! Deborah Lawrence! FABULOUS! Mandy Bishop! OUTRAGEOUS! Jessica Redmayne! GORGEOUS! Lotte Beckett! PERFECT!!!! Yes, said my fairy godmother, you shall have a ball.* *Assembling a magic cast for this very special play has been a real joy. This story means so much to so many people and I can’t wait to bring everyone together to revisit all the love, laughter and tears that fill Truvy’s salon.A dream cast for a play that lives in all our dreams.”* Step inside Truvy’s beauty salon, the heart of a small Southern town, where local women share their joys, struggles and a little neighbourly gossip. From weddings and babies to divorces and funerals, they face life’s highs and lows with humour, courage and impeccably styled hair. When tragedy strikes, it’s in these familiar walls that they find comfort, support and the unbreakable bonds of friendship that carry them through. STEEL MAGNOLIAS originally opened in Australia at the York Theatre at Sydney’s Seymour Centre in May 1988 and toured to Melbourne’s Athenaeum Theatre, featuring a cast which included Maggie Dence, Nancye Hayes, Melissa Jaffer, Genevieve Lemon, Pat McDonald and Nicole Kidman making her professional stage debut. Bursting with sass, warmth and Southern charm, STEEL MAGNOLIAS delivers laughter, love and unforgettable heart. **STEEL MAGNOLIAS runs from 30 April at the Playhouse, QPAC and then tours nationally. See details below.** Tickets: <https://www.steelmagnoliasplay.com/tickets> Website: <http://www.steelmagnoliasplay.com.au/> Socials: <https://www.instagram.com/steelmagnoliasau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Benny Capp 2026 Australian Tour Brisbane 30 April – 10 May, Playhouse QPAC Sydney 13 – 31 May, Theatre Royal Wollongong 3 – 11 June, Illawarra Performing Arts Centre Canberra 17 – 21 June, Canberra Theatre Centre Perth 7 – 18 July, His Majesty’s Theatre Melbourne 23 July – 9 August Athenaeum Theatre **Categories:** News --- ### [Review: Kitty Litter Is A Fresh, Fast & Funny New Comedy](https://thescoop.au/review-kitty-litter-is-a-fresh-fast-funny-new-comedy/) **Published:** February 8, 2026 **Author:** Liz Baldwin **Content:** ![The Scoop Kitty Litter play A Serious Goose Melbourne](https://thescoop.au/wp-content/uploads/2026/02/Kitty-litter-Production-shots-063-copy-942x628.jpg "Kitty Litter play A Serious Goose Melbourne • The Scoop")*Kitty Litter,* playing at the MC Showroom Prahran for a limited season, is a brilliant new Australian comedy by production company A Serious Goose – fresh, fast, and funny. The play opens with Robin (Sian Crowe) entering an apartment and pouring herself a very large glass of wine. She’s had a rough night. But it only gets rougher when her ex-boyfriend Dan (Hamish Johnston) arrives at the door – but perhaps she shouldn’t be so surprised, given it’s his apartment. It only gets messier from there. After some desultory travel chat, Robin discloses that she’s been seeing an older man, Brian (Stuart Daulman), for the past six months, but it ended badly when she found out (a mere handful of hours ago) that he’d been less than honest with her, specifically about the existence of his wife. Caught between anger, sadness, and a desire for revenge, Robin’s emotional journey propels the play. And the situation only gets stickier when Brian shows up at the door too, searching for his missing cat. ![The Scoop Kitty Litter play A Serious Goose Melbourne](https://thescoop.au/wp-content/uploads/2026/02/Kitty-litter-Production-shots-085-942x628.jpg "Kitty Litter play A Serious Goose Melbourne • The Scoop")The script is funny with oodles of laugh out loud moments Photo by Rhonin XuThe play is the brainchild of Hamish Johnston, who wrote the script and stars as Dan. He’s teamed up with Cameron Taylor, an emerging director and performer with Cirque du Soleil. It’s a rewarding pairing. The script is funny, with oodles of laugh-out-loud moments, and the action is fast-paced – Robin and Dan move through conversation with an ease that feels real for two people who know each other well. Johnston clearly has an ear for dialogue: the whole thing felt like listening in on a particularly juicy conversation on the tram or peering into the neighbours’ living room. Alice Vance brings the same eye for detail to the set design. The aperture is tight: the living-room-cum-kitchen of a single apartment, in a suburb not too far from here. That helps build authenticity, and it’s clear every decision has been made with purpose. ![The Scoop Kitty Litter play A Serious Goose Melbourne](https://thescoop.au/wp-content/uploads/2026/02/Kitty-litter-Production-shots-079-942x628.jpg "Kitty Litter play A Serious Goose Melbourne • The Scoop")The performances are strong across the board Photo by Rhonin XuThe apartment, from the IKEA lamp to the tube of Woollies al foil to the sad spider plant, feels lived in. It echoes the charming authenticity of *Please Like Me*. And the effect is only heightened by the way the characters themselves fully inhabit the space. Tics such as Dan’s regular concern for feet on his couch add to the mise-en-scene. The performances are strong across the board. Sian Crowe and Hamish Johnston have an ease on stage together and nail the familiar-yet-unfamiliar strangeness of exes. They both clearly have excellent comedic chops, too, with understated delivery that works perfectly for dry Australian humour. Stuart Daulman is suitably weary as Brian, a slightly pathetic, sweat-pocked man who would very much like to go home with his cat and escape the consequences of his own actions. *Kitty Litter* has a short run time – just over an hour, but it packs in a lot of laughs. This fresh and fun show is an impressive debut for a new voice in Australian comedy. I’ll be watching closely what comes next! ***Kitty Litter* is presented by A Serious Goose and runs to 11 February at the MC Showroom. L1 / 50 Clifton Street Prahran Vic 3181.** Tickets: <https://www.trybooking.com/events/landing/1510677?> Website: <https://www.kittylitterplay.com/> Socials: <https://www.instagram.com/kittylitterplay/> and <https://www.instagram.com/a.seriousgoose/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Rhonin Xu **Categories:** Melbourne, Theatre --- ### [Review: Reuben Kaye Hard To Swallow 2026 Fringe World Perth](https://thescoop.au/review-reuben-kaye-hard-to-swallow-2026-fringe-world-perth/) **Published:** February 7, 2026 **Author:** Tiffany Barton **Content:** ![The Scoop Reuben Kaye Hard to Swallow 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/02/Reuben-Kaye-Hard-To-Swallow9211-3-LR-942x628.jpeg "Reuben Kaye Hard to Swallow 2026 Australian tour • The Scoop")Reuben Kaye’s website boldly declares, “Reuben Kaye already knows he’s an icon. It’s time for you to find out too.” *Hard to Swallow* proves he isn’t exaggerating — he’s simply ahead of the curve. From the moment he storms onto the stage like a glitter-drenched gale-force hurricane, it’s clear he’s stepping fully into the icon status he’s long prophesied for himself. With his trademark wit, immaculate makeup and couture, filthy humour, powerhouse vocals, and razor-sharp crowd work, Kaye commands the room with the assurance of someone who knows exactly what he is: a star in full flight. The two-hundred-seat theatre at Liberty is packed to the rafters, and the audience devours every camp jab, every political barb, every outrageous aside. “Melania’s nothing more than a Temu Eva Braun.” But it’s his take on the current shite state of affairs on the global stage that really elevates this show to something meteoric. He pulls no punches and takes no prisoners in his critiques of Trump, fascism, toxic masculinity, and international politics. ![The Scoop Reuben Kaye Hard To Swallow](https://thescoop.au/wp-content/uploads/2026/02/HTS4-1-785x628.jpeg "Reuben Kaye Hard To Swallow • The Scoop")Kaye commands the room with the assurance of someone who knows exactly what he is Photo by Jason MatzHe even manages to wring laughs from the funeral of Charlie Kirk. (“Fascism is nationalism combined with authoritarianism and pageantry — let’s take a look at the funeral of Charlie Kirk, for instance. Did anyone catch Erica Kirk’s performance? Oscar‑award worthy!”) Trained in Music Theatre at the Victorian College of the Arts, Kaye is a consummate professional. His voice and performance are electric, and his songwriting is formidable. His mind and wit are sharp as a tack, and with a gag every three seconds (pun fully intended), he keeps the audience on their toes. Even his occasional self‑deprecating asides land beautifully: “Sorry! Missed my meds today — thought the show might be more fun without them!” What really impresses is that he sings his satirically loaded songs with perfect diction, ensuring the audience catches every word — important, because the lyrics are delicious, outrageous, and biting. You don’t want to miss a syllable. ![The Scoop Reuben Kaye Hard To Swallow](https://thescoop.au/wp-content/uploads/2026/02/HTS3-1-785x628.jpeg "Reuben Kaye Hard To Swallow • The Scoop")Kaye radiates charisma and wields his opinions with unapologetic force Photo by Jason MatzHe also shares some wonderful stories that point to a new age of acceptance and diversity, including a fascinating anecdote about a Palestinian doctor he encountered in a Jewish hospital in Berlin. (It’s worth noting that Kaye is Jewish and outspokenly pro-Palestinian.) Kaye radiates charisma and wields his opinions with unapologetic force. His confidence is magnetic, and his sheer delight in performance makes him irresistible to watch. He’s a razor-sharp entertainer with a treasure trove of wit, allowing him to deliver the most audacious lines with style and precision. His comedy can be startling, but he has the elegance and control to make even the boldest moments land. It’s this fearlessness — and the craft to back it up — that continues to propel him forward, earning him growing acclaim. His previous show, *The Party’s Over*, recently picked up four nominations at Melbourne’s Green Room Awards, and *Hard to Swallow* suggests he’s only just hitting his stride. **Reuben Kaye performs in *Hard To Swallow* until 12 February 2026 as part of Fringe World. The Theatre at Liberty, Liberty Laneway, 161 Murray St Mall, Perth WA 6000.** He then goes on tour, see full dates below. Tickets: <https://fringeworld.com.au/whats-on/reuben-kaye-hard-to-swallow-fw2026> Website: <https://www.reubenkaye.com/tour-dates> Socials: <https://www.instagram.com/reubenkayeofficial/> [Read our review of enGORGed!](https://thescoop.au/review-reuben-kaye-reigns-supreme-in-engorged/) Photo credits: Jason Matz 2026 Australian Tour Dates Perth 28 January – 12 February, Liberty Theatre Adelaide 18 – 21 March, Hindley Street Music Hall Melbourne 7 – 19 April, Athenaeum Theatre Brisbane 8 – 10 May, The Tivoli Sydney 16 May, Enmore Theatre **Categories:** Perth, Theatre --- ### [Review: Perfect Arrangement New Theatre 2026 Sydney Mardi Gras](https://thescoop.au/review-perfect-arrangement-new-theatre-2026-sydney-mardi-gras/) **Published:** February 7, 2026 **Author:** Leo Manson **Content:** ![The Scoop Perfect Arrangement New Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/02/Perfect-Arrangement_1_20-RS-941x628.jpg "Perfect Arrangement New Theatre Sydney • The Scoop")Kicking off the 2026 season for New Theatre Newtown is *Perfect Arrangement*, directed by Patrick Kennedy, a play that blends fifties flair with sitcom hijinks to create two hours of amazingly acted hilarity. The story follows Bob Martindale and Norma Baxter, two employees of the US State Department. The pair are tasked with identifying so-called ‘sexual deviants’ among their colleagues during the Lavender Scare. Secretly queer themselves, Bob and Norma have entered a sham marriage with each other’s partners as a way to protect their jobs and their lives. Though originally written in 2009 and set in the 1950s, Topher Payne’s writing is timeless. This is no doubt due to the quick, witty and often meta-theatrical writing. The stage design is immaculate. The reds and blues feel modern in a retro way. Even little details such as the red seeping from the photo frames perfectly capture the sense that something’s amiss. Kennedy and associate set designer Tom Bannerman have a fine eye for detail. ![The Scoop Perfect Arrangement New Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/02/Perfect-Arrangement_1_31-RS-941x628.jpg "Perfect Arrangement New Theatre Sydney • The Scoop")Jordan Thompson and Dominique Purdue as Millie and Norma are particularly refreshing to watch Photo by Bob SearyAbove the stage hangs the applause light, a silly and absolutely welcome addition. It’s like a cherry on top, perfecting the sitcom mise en scène. As Bob Martindale, Luke Visentin does a great job in capturing that comfortability in remaining closeted. His incessant misogyny and internalised homophobia become near insidious. Jordan Thompson and Dominique Purdue, as Millie and Norma respectively, are particularly refreshing to watch. It’s rare and powerful to see a story that speaks directly to how misogyny uniquely affected, and continues to affect, lesbians. Their performances bring real depth to each character’s specific struggles. Brooke Ryan as Kitty Sunderson is an absolute delight. She nails the accent and perfectly conveys that ditsy, inattentive nature. Ryan’s strong acting is supported by the wonderful costume designs. The pink, overly feminine dresses are always gorgeous and capture the housewife archetype completely. ![The Scoop Perfect Arrangement New Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/02/Perfect-Arrangement_1_38-RS-942x628.jpg "Perfect Arrangement New Theatre Sydney • The Scoop")Despite the serious subject matter the play keeps things light through its humour Photo by Bob SearyAnother standout is Lucinda Jurd as femme fatale, Barbara Grant. Jurd’s raspy voice is captivating, and her appearance commands attention. The role is also a breath of fresh air for bisexual representation. Often, bisexual characters are villanised, but thankfully, this trope is subverted in the play’s ending. This is not to discredit the rest of the cast. In fact, for the entire two hours, each actor is amazing at sustaining their accents and keeping their mannerisms distinctly fifties. This must be incredibly challenging. Despite the serious subject matter, the play keeps things light through its humour. Watching the men literally living in the closet is hilarious, and it is a great example of subtle storytelling. This delightfully foreshadows their near antagonistic nature later in the play. *Perfect Arrangement* doesn’t forget to pull at the heartstrings. As the play goes on, audiences are literally brought closer to the characters through the moving stage. This ensures that when the play reaches its climax, everyone is on the edge of their seats. Patrick Kennedy has taken a great script and pushed it further through his excellent direction and design. *Perfect Arrangement* is truly a show you won’t want to miss, especially this Mardi Gras season. ***Perfect Arrangement* runs to 7 March as part of 2026 Sydney Mardi Gras Festival. New Theatre, 542 King Street Newtown NSW 2081**. Tickets: [https://aunewtheatre.sales.ticketsearch.com/sales/salesevent/156904](https://newtheatre.us4.list-manage.com/track/click?u=45138904fd1b4b852b903988c&id=b21e24d927&e=246255cf6a) Website: [https://newtheatre.org.au/perfect-arrangement/](https://newtheatre.us4.list-manage.com/track/click?u=45138904fd1b4b852b903988c&id=d17ef31ca9&e=246255cf6a) Socials: <https://www.instagram.com/newtheatresydney/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Bob Seary **Categories:** Sydney, Theatre --- ### [Announcing Michael Paynter To Play John Farnham In New Musical](https://thescoop.au/announcing-michael-paynter-to-play-john-farnham-in-new-musical/) **Published:** February 2, 2026 **Author:** Newsroom **Content:** ![The Scoop Michael Paynter Whispering Jack The John Farnham Musical](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-02-at-63226-am-964x628.png "Michael Paynter Whispering Jack The John Farnham Musical • The Scoop")**Sydney Theatre Company**, **Michael Cassel** and **Gaynor Wheatley** today announced **Michael Paynter** will play Australian music icon John Farnham in **WHISPERING JACK: THE JOHN FARNHAM MUSICAL** in **Sydney Theatre Company’s** world premiere season at **Roslyn Packer Theatre** this November. Forty years since its 1986 release, Paynter and an ensemble cast – under the direction of STC Artistic Director **Mitchell Butel** – will bring to life the extraordinary story behind the album that made John Farnham a household name and *Whispering Jack* the highest selling Australian album of all time. **Single tickets go on sale today at 9am** via [sydneytheatre.com.au](https://www.sydneytheatre.com.au/whats-on/productions/2026/whispering-jack-the-john-farnham-musical). Due to demand, the season has been extended with extra shows now added from 22 – 27 December. Loved by his fans and about to embark on his “**The Great Australian Songbook”** national tour, featuring Farnham classics in his set list, **Michael Paynter** thrilled audiences in 2025 with his Sydney Theatre Award-winning performance as Jesus in JESUS CHRIST SUPERSTAR. It’s the the same role played by Farnham himself 30 years ago – garnering five-star reviews and mid-performance standing ovations. Paynter says that being asked to tell the story of “*the greatest voice this country has produced”* is an honour that is hard to put into words: “*For me, John Farnham is the absolute zenith of male singers in all of history. The gold standard that I have spent my entire life being blessed and instructed by. After the whirlwind of the last year, being chosen to be a part of this musical, on the Sydney Theatre Company stage, is a once-in-a-lifetime opportunity.”* ![The Scoop Whispering Jack The John Farnham Musical](https://thescoop.au/wp-content/uploads/2026/02/unnamed.jpg "Whispering Jack The John Farnham Musical • The Scoop")Single tickets for Whispering Jack The John Farnham Musical go on sale todayFour-time Helpmann Award-winning director **Mitchell Butel** says witnessing Paynter’s rendition of Gethsemane in JESUS CHRIST SUPERSTAR is when he knew he could be the perfect John: “*How do you cast someone to play one of the greatest singers who’s ever lived? First, you have to try and find a voice as golden and powerful and rich. But John Farnham is more than just an incredible voice. He is the ultimate showman and musical storyteller, with a rare ability to open his heart and connect with every person in his audience.* *When I watched Michael in* JESUS CHRIST SUPERSTAR*, his voice and performance took my breath away. During our audition process, it’s been a joy watching Michael unlock a warmth and charm and wit that is spookily Farnham-like as well.*“ **Michael Cassel** says that it was an “*an enormous responsibility*“to find the right performer to portray John Farnham: “*When Michael Paynter auditioned, his extraordinary vocal ability and emotional connection to the material immediately set him apart. There was a palpable sense of excitement in the room, and it was clear we were witnessing something exceptional.**“* **Gaynor Wheatley** adds: “*Finding the right person to step into John’s shoes and bring this story to life has been a meticulous and considered process. When Michael Paynter performed the material for the first time, there was an immediate sense of recognition in the room. Not just of his remarkable vocal ability, but of the respect, understanding and care he brings to John’s story. Audiences will be blown away by his performance.*“ ![The Scoop Whispering Jack The John Farnham Musical 2026](https://thescoop.au/wp-content/uploads/2025/09/John-Farham-994x628.jpg "Whispering Jack The John Farnham Musical 2026 • The Scoop")Whispering Jack The John Farnham Musical runs in November in Sydney in a world premiere**ABOUT WHISPERING JACK: THE JOHN FARNHAM MUSICAL** In 1986, John Farnham was approaching middle-age and a financially struggling artist. Working out of a suburban garage in outer Melbourne with a new band and manager Glenn Wheatley, he began recording an album that would ultimately redefine his place in Australian music. That album, *Whispering Jack*, with its lead single *You’re the Voice* would go on to become a cultural landmark: making Farnham a house-hold name and a national treasure. To celebrate the 40th anniversary of the highest-selling Australian album of all time, *Whispering Jack*, Sydney Theatre Company and Artistic Director **Mitchell Butel** join forces with **Michael Cassel Group** (*Hamilton*, *Harry Potter and the Cursed Child*), **TalentWorks** (*Finding the Voice*) and acclaimed writer **Jack Yabsley** (*Gold Diggers*) to bring Farnham’s life, mischief and musical genius to the stage. **WHISPERING JACK: THE JOHN FARNHAM MUSICAL** takes audiences behind the scenes of the five extraordinary years that redefined Farnham’s career, from a broke former teen idol to the voice of a nation. The musical explores the personal and creative stakes behind the making of *WHISPERING JACK*, the highest-selling Australian album of all time. At its heart is the story of the people who stood beside him. **Jill Farnham**, his wife and pillar of strength. And **Glenn Wheatley**, his manager and friend who risked everything to make the dream a reality. **WHISPERING JACK: THE JOHN FARNHAM MUSICAL** will showcase Farnham’s greatest hits alongside unforgettable songs of the era. From power ballads to pop anthems, this collection of songs underscores Farnham’s remarkable versatility and cements his place as one of Australia’s most enduring voices. **WHISPERING JACK: THE JOHN FARNHAM MUSICAL runs from 15 November – 27 December 2026. Roslyn Packer Theatre, 22 Hickson Rd, Sydney New South Wales 2000.** Tickets: <https://www.sydneytheatre.com.au/whats-on/productions/2026/whispering-jack-the-john-farnham-musical> Website: <https://www.sydneytheatre.com.au/> Socials: <https://www.instagram.com/sydneytheatreco/> [Read our 2026 Guide to Musical Theatre!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Images supplied. **Creatives** Book by **Jack Yabsley**. Directed by **Mitchell Butel**. Presented by **Sydney Theatre Company** in association with **Michael Cassel** and **Gaynor Wheatley**. Choreographer **Fabian Aloise.** Music Supervisor & Vocal Arrangements **Carmel Dean.** Orchestrator & Incidental Arrangements **Kris Kukul.** Set Designer **Jeremy Allen.** Costume Designer **Renée Mulder.** Lighting Designer **Matt Scott.** Music Director **Zara Stanton.** Associate Director **Kenneth Moraleda** With **Michael Paynter**. Further cast to be announced. Watch Michael Paynter perform *The Age of Reason*: **Categories:** News --- ### [Perth Festival 2026: Lights Up, The Stage Is Set](https://thescoop.au/perth-festival-2026-lights-up-the-stage-is-set/) **Published:** February 5, 2026 **Author:** Newsroom **Content:** ![The Scoop Perth Festival 2026](https://thescoop.au/wp-content/uploads/2026/02/East-Perth-Power-Station_credit-Sky-Perth-942x628.jpg "Perth Festival 2026 • The Scoop")**Perth Festival 2026** bursts to life tomorrow with a bold, immersive opening weekend that celebrates art, time and place in all their rich and surprising forms. From an eclectic music line-up lighting up the returning East Perth Power Station, to the gripping theatrics of LACRIMA at the State Theatre Centre, and powerful First Nations voices shining through a new Boorloo Contemporary program, the city becomes the stage. Across the opening weekend Perth is taken over, with iconic spaces transformed to surprise, provoke and delight. With **13** Perth Festival commissions, an incredible **28** world premieres and a further seven Australian premieres over **23** days, it will showcase art from **413** West Australian and **144** international artists. Hosting **117** events, a third of which are free to experience, Artistic Director Anna Reece believes there is something in the Festival for everyone. Perth Festival Artistic Director **Anna Reece** said: *“When festival season arrives in Perth each summer you can feel the temperature of the city shift. Perth Festival doesn’t sit still. It spills across the city into halls, river edges, bridges, galleries, museums, power stations, theatres, bush settings and more, turning Perth itself into the stage.* *Across February we get to tell the world exactly who we are and perhaps who we want to be. We are a city on the edge. A city of possibility. Our program for 2026 brings arts and culture from around the world together with brilliant WA artists, giving our city a spark and a pulse. Perth Festival is for everybody.”* ![The Scoop Perth Festival 2026](https://thescoop.au/wp-content/uploads/2026/02/001-PF-Karla-Bidi-250214-cr_Jess-Wyld-942x628.jpg "Perth Festival 2026 • The Scoop")Karla Bidi is a captivating Lotterywest Community Experience Photo by Jess WyldWestern Australian Premier, **the Hon Roger Cook MLA** said: *“Perth Festival has played an important role in fostering a vibrant and creative economy for decades. This year promises to be no different. That’s why my government is again proud to support this year’s festival. It’s an opportunity for international and local performers to come together, put on a show and make Perth the place to be this summer.* *I can’t wait to get down to iconic venues like the refurbished East Perth Power Station to listen to some live music and support local businesses. I hope plenty of Western Australians do the same.”* Western Australian Minister for Creative Industries, **the Hon Simone McGurk MLA** said: *“Perth Festival attracts visitors, supports jobs and boosts our creative sector by showcasing our local creative talent. As a Government we are committed to fostering a vibrant and creative economy. We are proud to support the Perth Festival with record funding through Lotterywest of $9.6 million. I encourage all Western Australians to support this year’s festival and the diverse range of art, music and theatre on offer.”* Launching online from Friday and rolling out throughout February, British artist Joe Bloom’s digital project ***A View From A Bridge*** brings his acclaimed conversations from the UK to the streets of Perth. Filmed during Bloom’s visit to Western Australia in January, the series will be released online from tomorrow on Bloom’s Instagram, YouTube and TikTok, amplifying the voices of everyday Perth people. In an era shaped by constant distraction and fast-paced social media, *A View From A Bridge* invites moments of connection, reflection and courage. Expect ten stories to be released throughout the Festival. ![The Scoop Perth Festival 2026](https://thescoop.au/wp-content/uploads/2026/02/BradRimmer_BrochHero_MinRes-837x628.jpg "Perth Festival 2026 • The Scoop")Loom of the Land Exhibition is on at Perth Festival by Brad RimmerA rich and daring season of theatre unfolds across the city this month, showcasing bold artistry and unforgettable live experiences, sometimes in unexpected spaces. Thrilling audiences from tomorrow at the State Theatre Centre is the French theatrical epic ***LACRIMA*** from director Caroline Guiela Nguyen. Then the iconic dancers of Chunky Move arrive with their futuristic cinematic battle ***U>N>I>T>E>D*.** Contemporary thriller meets operatic fever dream in the Australian premiere of Philip Glass’ ***The Trial***, with the action unfolding in a chilling maze of a forgotten office space in Forrest Chase. Across town at Subiaco Arts Centre the inventive docu-drama ***POV*** will crackle with wit and energy. The cross-genre world premiere of ***Dragon I*** blends fantasy and technology in a most unique storytelling adventure. Explore more drama, theatrics and inventive productions across the program with tickets still available for ***Haribo Kimchi, Scenes from the Climate Era, Songs of the Bulbul*** and ***Lé Nor \[the rain\].*** The hugely successful revival of the iconic **East Perth Power Station** is open again from tomorrow with an incredible line-up of local and international artists and events. UK electronic visionary **Max Cooper’s** sold-out show kicks off the music program on the Main Stage. On Saturday evening discover Perth’s iconic underground club music **SYBER: 013** as they takeover with baile funk, Jersey club tracks, trap, hip hop and more. Expect the dancefloor of **Casa Musica** to come alive as families, friends and festival goers settle in for free live music every Thursday to Sunday. Opening the river-side stage tomorrow evening is the Gold Coast’s trailblazing Indigenous-led alt-rock band **Selve**, with ARIA-nominated **Ngaiire** bringing a bold, stripped-back performance with her three-piece band on Saturday. Explore the incredible line-up of musicians online. ![The Scoop Perth Festival 2026](https://thescoop.au/wp-content/uploads/2026/02/MainStage2025_BrochureHero_CrNuShade_MinRes-942x628.jpg "Perth Festival 2026 • The Scoop")Expect the dancefloor to come alive as families friends and festival goers settle in for live music Photo by NuShadeReturning for another year is **Boorloo Contemporary –** bringing the Power Station to life with entirely new awe-inspiring projections commissioned from iconic Bibbulmun Noongar/Budimia Yamatji artist **Lance Chadd Tjyllyungoo**, lighting up the building’s facade from 7.45pm until late. Be amazed by the theatrics alongside a series of subversive pennant flags created by Wadawurrung artist **Kait James** adorning the industrial site. With a mix of music, late-night energy and insta-worthy visuals, this Lotterywest Community Experience will become the ultimate venue for hot summer nights in February. For 2026, the Power Station welcomes Australian rock royalty supergroup **Bleak Squad**; the unmistakable chilled grooves of Britain’s **Morcheeba** in a sold out performance. They also welcome genre blending UK rock band **Black Country, New Road**; multi award-winning superstar **Baker Boy** alongside Haisla Nation rappers **Snotty Nose Rez Kids**; the electrifying indie pop of one of Britain’s most exciting singer songwriters **Nilüfer Yanya**; Yolŋu surf rockers **King Stingray**; and **Sudan Archives**, who fuses R&B, hip hop, electronica and strings into a sound that defies labels, closing the Main Stage with her acclaimed boundary breaking album. **Perth Symphony Orchestra** will also host special guest vocalists **Meow Meow, Abbe May, Noah Dillon, Katy Steele** and **Rachael Dease** for a one-night-only spectacular performance in ***Rebel Rebel***, celebrating the music of David Bowie. Illuminating the skies once again in 2026 is the powerful ***Karla Bidi***, inspired by the Noongar tradition of lighting fires to greet and guide visitors. From the hills in Mandoon/Guildford to the sea in Walyalup/Fremantle, this captivating Lotterywest Community Experience features a brand-new soundscape of song and story, transforming the Derbarl Yerrigan/Swan River into a stunning pathway of beacons. The activations start from 7.30pm and run until 10.30pm. Discover the exact locations online. ![The Scoop Perth Festival 2026](https://thescoop.au/wp-content/uploads/2025/10/CERCLES_BrochHero_CrQuentinChevrier_MinRes-942x628.jpg "Perth Festival 2026 • The Scoop")CERCLES is an open air dance workshop Photo by Quentin ChevrierStep outside the traditional and discover new cultural immersions at ***The BhuMeJha Project***, hosted in The Art Sanctuary in the Perth Hills. Share a meal and conversations in an evening of ceremony, song, ritual and dance as performances from Indian, Malaysian and Noongar artists converge. Then taking to the streets of the Perth CBD are two incredible walk-through experiences in ***the booster protocol*** – a provocative roleplay adventure from the pvi collective – and ***Let Me In, Let Me Out*** from Hugo Flavelle, a multidisciplinary artist who integrates his personal experiences of inequality into creative performance art. Blending contemporary artistry with historic surroundings, **The Embassy** once again transforms the Perth Town Hall into a home for cabaret, jazz and blues. Highlights at the iconic venue include **Ali Bodycoat and The Embassy Big Band** for four unforgettable nights; **Somi** blending the soul of East African folk with the improvisational spirit of New York jazz; drag diva **Le Gateau Chocolat** presenting a unique performance of Raw Cacao; **Annahstasia** bringing a compelling set of contemporary folk and blues; whilst musical theatre sensation **Marney McQueen** will serve up a night of Broadway classics and pop hits. Performances from **Promises & Wild Beasts** and bluesman **C.W Stoneking** are already sold-out, making The Embassy the hottest ticket in town. Within the soaring beauty of St Mary’s Cathedral in East Perth, Perth Festival creates a new home for fine music in 2026 with the **Sanctum Series**, where melodies, architecture and atmosphere collide. The incredible line-up includes Grammy Award–winning vocal innovators **Roomful of Teeth**; popular Irish fiddle master **Martin Hayes**; WASO musicians led by Riley Skevington in **Echoes Through Time**; an internationally acclaimed trio featuring **Tommaso Lonquich, Umberto Clerici** and **Claudio Martínez Mehner**; and Swedish vocal quartet **Åkervinda**, closing the series with radiant reimaginings of Nordic song. ![The Scoop Perth Festival 2026](https://thescoop.au/wp-content/uploads/2025/10/TheEmbassy_BrochureHero_CrFranzBato_MinRes-942x628.jpg "Perth Festival 2026 • The Scoop")The Embassy Photo by Franz BatoBringing together some of the world’s most compelling creative minds, **Summit** returns for another year of thought-provoking sessions at Lawson Flats. Across four remaining sessions, the program will explore the theme ‘nothing is neutral, everything is political’, bringing together artists, poets, musicians, filmmakers and experts from a wide range of disciplines. With sessions open to all, the venue will transform into a buzzing hub of exchange. Discover the full program online. A huge offering of free experiences is open for the people of Perth this month. Alongside the likes of *Karla Bidi,* Casa Musica and the always-popular ***Perth Moves*** dance sessions, discover the Perth Festival commission ***Kwop Ben*** for Boorloo Contemporary. See Boorloo Bridge in a whole new light as it’s brought to life with a new animated light work by Wandandi Noongar artist Tyrown Waigana, guided by the knowledge of Noongar cultural leaders Richard Walley and Herbie Bropho. *Kwop Ben* (meaning ‘Good Light’) transforms one of Perth’s newest and most recognisable crossings into a living digital canvas every night of the Festival. Families are also encouraged to hit the banks of the Derbarl Yerrigan in Dyoondalup/Point Walter for the one-night-only concert ***Nitja***. A collaboration between the City of Melville and Perth Festival, this free, family friendly picnic event is an evening of storytelling and community, with local artists bringing to life stories of Country, connection and a spirit of celebration through live performance, animation and dance. [Lotterywest Films](https://thescoop.au/?s=lotterywest) continues until Sunday 29 March, taking audiences across the globe, offering access to the creativity, insights and imaginations of the world’s best filmmakers. Already this season we’ve been to the streets of 1960s Paris, through the transformative rivers of the Amazon and up the coastlines of Brazil. Upcoming this month you can catch the buzzworthy dom-com *[Pillion](https://thescoop.au/film-review-pillion-is-a-tender-twisted-love-story-in-the-fast-lane/)* starring Alexander Skarsgård, and the haunting Cannes Jury award-winning ***Sound of Falling.*** ![The Scoop Perth Festival Lotterywest Films Somerville](https://thescoop.au/wp-content/uploads/2025/12/Lotterywest-Film-Opening-Perth-Fest-print-5057-941x628.jpg "Perth Festival Lotterywest Films Somerville • The Scoop")For the first time Lotterywest Films hosts several films within the weeks alongside Perth FestivalFor the first time Lotterywest Films is also thrilled to host several films within the weeks alongside Perth Festival, featuring a subversive and creative month of movies that celebrates global and WA storytelling. From the compelling ***The Voice of Hind Rajab***, darkly absurdist ***Two Prosecutors*** and whimsical ***The Tale of Silyan***, to the powerful documentaries ***Mr Nobody Against Putin*** and ***Put Your Soul on Your Hand and Walk*.** Two debut Australian directors will see their stories hit the big screen; the biting satire ***Birthright*** and the thought-provoking ***First Light***, with the intimate documentary ***Broken English*** closing out the month. This year marks the inaugural Festival for **new CEO Marah Braye**. With a distinguished career spanning more than two decades in the Australian and global arts and culture sector, she brings a wealth of executive leadership and experience for the incoming season. *“I am thrilled to arrive in time for what promises to be a momentous and exhilarating Perth Festival 2026. The program offers the Festival’s adventurous and generous audiences the chance to experience WA creations alongside work and performances from around the globe, in inspiring environments across Perth city and surrounds.”* Perth Festival 2026 brings together First Nations voices and Western Australian artists with leading European theatre makers and artists from the Indian Ocean rim and Southeast Asia, opening a rich space for local audiences to engage, encounter and be inspired. ![The Scoop Perth Festival 2026 Truth Telling & Mischief Making](https://thescoop.au/wp-content/uploads/2025/10/EPPS_BrochHero_CrJessicaWyldPhotography_MinRes-942x628.jpg "Perth Festival 2026 • The Scoop")A huge offering of free experiences is open for the people of Perth this festival Photo by Jessica WyldThe Festival is committed to making events and performances accessible and inclusive for all, whilst also presenting work by artists from a range of cultural backgrounds and those with disability to celebrate difference and diverse audiences. **Mob Tix** for Indigenous Australians are available for most events; concession prices; wheelchair accessible venues; Auslan interpreted performances for audiences who are deaf or hard of hearing; for those who are blind or have low vision, with some events audio described. Sensory spaces at the East Perth Power Station are available for neurodivergent audience members who might require a calm space. The full scope of accessibility options at the Festival is available online. As Perth Festival shows edge closer towards capacity, there’s still time to experience some of the program’s most compelling performances. From Power Station shows by Bleak Squad and Sudan Archives, to theatre highlights *POV* and *Dragon I.* Hear the melodies of Åkervinda in the Sanctum Series or discover the charm of Marney McQueen at The Embassy. Together they offer a snapshot of the Festival at its most adventurous. **Perth Festival runs Friday 6 February – Sunday 1 March 2026. Lotterywest Films continues at UWA Somerville until Sunday 29 March 2026.** Website: <https://www.perthfestival.com.au/> Socials: <https://www.instagram.com/perthfest/> [Read our Perth Festival News & Reviews!](https://thescoop.au/?s=perth+festival) Hero image: East Perth Power Station, photo by Sky Perth Thanks to Western Australians that play Lotterywest games, a Lotterywest grant of $9.6 million is supporting the Perth Festival 2026. **Categories:** News --- ### [Review: Australian Theatres Unveiled By Cameron Grant](https://thescoop.au/review-australian-theatres-unveiled-by-cameron-grant/) **Published:** February 5, 2026 **Author:** Regan Baker **Content:** ![The Scoop Australian Theatres Unveiled Cameron Grant Parenthesy Prints](https://thescoop.au/wp-content/uploads/2026/02/ParenthesyPrints_FFNight-439_LR-944x628.jpg "Australian Theatres Unveiled Cameron Grant Parenthesy Prints • The Scoop")Cameron Grant’s Australian Theatres Unveiled photography exhibition is a striking reminder that some of the most dramatic parts of theatre happen before you ever walk through the doors. He’s taken the places we usually rush through on the way to our seats and made them the main event. Hosted at fortyfivedownstairs, Melbourne’s gorgeous little underground gallery space, the exhibition feels like the perfect match for Grant’s work. There’s something fitting about descending beneath the city streets to look at photographs that ask you to slow down and really see the spaces where stories are made. Not the actors, not the applause; the architecture itself. The opening showcased more than 60 of Grant’s works, each one a love letter to Australian theatre design. And not in a nostalgic, dusty way. These images are bold. They’re sharp. They celebrate the uniqueness of our cultural spaces with a kind of reverence that never slips into sentimentality. ![The Scoop Australian Theatres Unveiled Cameron Grant Parenthesy Prints](https://thescoop.au/wp-content/uploads/2026/02/ParenthesyPrints-Venue-15_LR-941x628.jpg "Australian Theatres Unveiled Cameron Grant Parenthesy Prints • The Scoop")Photo by Sulaiman Enayatzada aka Lazy FairGrant’s strength is in how he frames these buildings. He’s not trying to capture the magic of what happens inside, but the personality sitting right there on the street. The entrances, the odd angles, the signage you normally walk past without thinking. In his hands, a theatre exterior stops being just a frontage and starts feeling like a character. The lines are sharp, the shadows do a lot of heavy lifting, and suddenly a simple brick wall looks like it has a story to tell before you’ve even bought a ticket. What really sets Australian Theatre’s Unveiled apart is how specific it is. This isn’t a general tribute to theatre as an idea. Grant has gone straight for the buildings themselves, the physical places that shape the experience long before anyone steps on stage. ![The Scoop Australian Theatres Unveiled Cameron Grant Parenthesy Prints](https://thescoop.au/wp-content/uploads/2026/02/ParenthesyPrints_FFNight-465_LR-944x628.jpg "Australian Theatres Unveiled Cameron Grant Parenthesy Prints • The Scoop")Photo by Sulaiman Enayatzada aka Lazy FairA gallery show purely about theatre architecture feels strangely rare, especially when you realise how much these spaces are tied up in who we are culturally. And it feels properly Australian. Not in a flag-waving way, just in the fact that these buildings look like the theatres we actually have. They’re not these ridiculous gold opera houses from overseas that feel like museums. They’re places with a bit of wear on them. Some are beautiful, some are a little odd, some look like they’ve been patched up three times and kept going anyway. But they all have character. Grant doesn’t try to make them look grander than they are. He just lets them be themselves, and somehow that’s what makes them interesting. ![The Scoop Australian Theatres Unveiled Cameron Grant Parenthesy Prints](https://thescoop.au/wp-content/uploads/2026/02/unnamed-1-944x628.jpg "Australian Theatres Unveiled Cameron Grant Parenthesy Prints • The Scoop")Photo by Sulaiman Enayatzada aka Lazy FairIt also makes you realise how much theatre starts before you’re even inside. We always talk about what happens on stage, but half the feeling of a night at the theatre is walking up to the building in the first place. The front doors, the old sign, the way it sits there like it’s been waiting for people to come back. After you leave fortyfivedownstairs, you do catch yourself looking at theatres differently. Not in a deep and meaningful way, just in that small way where you actually notice the outside for once. Like: *oh yeah, that’s a great old building*. Or: *I’ve walked past that a hundred times and never really looked at it properly*. Cameron Grant is not just taking pretty photos here. He’s basically saying these places matter too. Not just the shows inside them. The buildings are part of the whole thing. And it’s nice seeing them get a bit of the spotlight for once. **Australian Theatres Unveiled runs to 14 February at fortyfivedownstairs, 45 Flinders Lane Melbourne Vic 3000.** Tuesday – Friday 12-7pm, Saturday and Sunday 12-4pm Tickets are free but must be booked [here](https://www.simpletix.com/e/australian-theatres-unveiled-exhibition-tickets-249706). Website: <https://parenthesyprints.com.au/pages/exhibitions-events> Socials: <https://www.instagram.com/parenthesyprints/> [Read our 2026 Guide to Musical Theatre!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Sulaiman Enayatzada aka Lazy Fair [@lazyfairr](https://www.instagram.com/lazyfairr/) **Categories:** Melbourne, Theatre --- ### [Film Review: Pillion Is A Tender Twisted Love Story In The Fast Lane](https://thescoop.au/film-review-pillion-is-a-tender-twisted-love-story-in-the-fast-lane/) **Published:** February 5, 2026 **Author:** Tiffany Barton **Content:** ![The Scoop Pillion film Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Pillion_BrochHero_MinRes-1162x628.jpg "Pillion film Perth Festival • The Scoop")*Pillion* is the Dom Rom Com of the year, and it’s got everyone talking. It just scooped three awards at the British Independent Screen Awards, including Best British Film and Best Screenplay, and it won the Un Certain Regard Best Screenplay Award at Cannes. Written and directed by Harry Lighton in a wonderful debut, *Pillion* amuses and titillates with its racy scenes of domination and submission, which, contrasted with gorgeously gauche depictions of Colin’s hometown (Bromley) and home life, make for comedy gold. But comedy and kink aside, there’s a warmth and heart to this film that elevates it above and beyond mainstream comedy. Adapted from the novel *Box Hill* by Adam Mars‑Jones, *Pillion* tells the story of Colin (Harry Melling), a shy, awkward young man whose life is upended and transformed by his meeting with the more worldly and mysterious Ray (Alexander Skarsgård). Colin, adorned in an ever-so-cute boater hat and pinstripe suit (the film also won Best Costumes at the BISAs), performs in a barbershop quartet at the local pub with his dear old dad. Here he encounters the impossibly handsome, enigmatic Ray, and the next evening finds himself engaging in an entirely different kind of performance down a dark Bromley alleyway. From there, he embarks on an edgy relationship with the Nordic Ray, in which he finds himself welcomed into a clan of hilariously kinky gay bikers (the costume designers clearly had a field day) and has his boundaries and orifices pushed in all kinds of directions. ![The Scoop Pillion Film Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-04-at-114139-am-983x628.png "Pillion Film Perth Festival • The Scoop")Harry Mellings performance as Colin is deep nuanced and unexpectedly movingIn the absence of any conversations between the couple about safe words and consent, we’re left to question how healthy this relationship is for Colin’s self-esteem. But he’s clearly enjoying the ride (pun fully intended) and all in for a good time. Douglas Hodge and Lesley Sharp put in lovely performances as Colin’s parents, Pete and Peggy. Sophisticated writing by Lighton positions them as enlightened, gay‑positive parents who attempt to help Colin find a nice man to date and only want the best for their beloved son. There’s a key scene where Peggy confronts Ray about the way he treats her son, which rings with a lovely authenticity. When Ray tries to dismiss her pointed barbs, she cuts through his smugness with a beautifully placed “And you’re a c\*\*t.” It slices him down to size, reasserts her authority in her own home and brings the house down in the process. Alexander Skarsgård’s performance is riveting, and the chemistry between the two actors is far more potent than their contrasting energies would suggest. Where Colin is open, human, fallible and instantly relatable, Ray is closed, enigmatic, mysterious — almost godlike in his remove from the rest of us mere mortals. Skarsgård plays him with a beautifully controlled opacity; the lack of transparency invites the audience to project multiple meanings onto every glance, every pause, every half‑smile. And just when Ray risks becoming too aloof, Skarsgård lets slip the faintest flicker of tenderness, care or genuine affection, reminding us that something warmer — and more complicated — might be pulsing beneath the armour. ![The Scoop Pillion Film Perth Festival](https://thescoop.au/wp-content/uploads/2026/02/Screenshot-2026-02-04-at-114237-am-997x628.png "Pillion Film Perth Festival • The Scoop")Skarsgård invites the audience to project multiple meanings onto every glance pause and halfsmileHarry Melling’s performance as Colin is deep, nuanced and unexpectedly moving. He fully suspends our disbelief that this plain, gauche young man could attract such a Nordic god. He leads us through a rich emotional journey: exhilaration, sexual awakening, jealousy, betrayal, fear, excitement, the desire for agency and intimacy, and ultimately heartbreak. For all that this is far from a hetero-normal relationship (whatever that means), the emotional arc mirrors many coming-of-age and early‑love stories, making Colin’s experience eminently relatable to audiences. Ultimately, *Pillion* invites audiences to loosen their grip on judgment and let go of tidy preconceptions about what sexuality should look like. Lighton’s film celebrates the messy, diverse and experimental ways people find connection, pleasure and identity. But it also opens the door to a more complicated conversation. We’re encouraged to revel in Colin’s liberation while still questioning the emotional risks he shoulders, and to consider where exploration ends and vulnerability begins. It’s this blend of celebration and unease, held with such warmth and humour, that makes *Pillion* linger long after the credits roll. ***Pillion* runs from 9 – 15 February as part of Lotterywest Films and Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Tickets: <https://www.perthfestival.com.au/program/season-2026/pillion> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Pillion Director: Harry Lighton Cast: Harry Melling, Alexander Skarsgård, Lesley Sharp, Douglas Hodge Country of Origin: UK / Ireland Duration: 107 mins Rating: R 18+ (high impact nudity and sex scenes) Pillion screens nationally at Palace Cinemas from 19 February 2026. Check listings [here](https://www.palacecinemas.com.au/movies/pillion). **Categories:** Film --- ### [ATYP Launches New Era Of Leadership & Returns To Opera House After 17 Years](https://thescoop.au/atyp-launches-new-era-of-leadership-returns-to-opera-house-after-17-years/) **Published:** February 4, 2026 **Author:** Newsroom **Content:** ![The Scoop ATYP Australian Theatre For Young People](https://thescoop.au/wp-content/uploads/2026/02/2026Program-credit_-Campbell-Parsons.png "ATYP Australian Theatre For Young People • The Scoop")**The Australian Theatre for Young People** (ATYP) have launched its first program under the newly appointed Artistic Director Hayden Tonazzi. Its **2026 Program** marks a bold new era with a spotlight on rising young talent, a new performance space, a return to the Sydney Opera House and a major national tour. Headlining the season is *Saplings*, the breakout hit of Sydney Festival 2024 and winner of Best Production for Young People at the Sydney Theatre Awards. Written by Yuwaalaraay playwright Hannah Belanszky and directed by Kalkadoon artist Abbie-lee Lewis, *Saplings* marks ATYP’s first return to the Sydney Opera House in 17 years from **11 – 17 May 2026** before embarking on the largest national tour in the company’s history, visiting **five states and territories**, including **Arts Centre Melbourne**. In 2026, *Saplings* will also be added to the Victorian Schools Drama Syllabus, introducing thousands of students to its themes of resilience, humour and hope. Artistic Director, **Hayden Tonazzi**, said: *“ATYP has always been a bridge between: young people and the professional stage, local voices and national conversations. 2026 is an exciting time for ATYP with a new performance space for emerging artists and an expanded program to support the next generation of Australian storytellers.”* Highlights of the **2026 Program** are: 15 emerging artists – actors, directors, writers and designers featured across four major productions A new creative hub, *The Popsy*, within ATYP’s Pier 2/3 Walsh Bay Arts Precinct, premiering *The Last Train To Madeline* by Callum Mackay, and *Straight Panic* by Lachlan Parry An adaptation of the hit musical *Islander*, showcasing the energy and innovation of ATYP’s next wave of creatives. **Andrew Johnson**, Chair, Australian Theatre for Young People said: *“The 2026 program reflects ATYP’s renewed purpose in connecting the creativity of young Australians with audiences across the country. We’re proud to invest in a company that continues to evolve, to open doors, and to champion the voices that will shape the cultural future of our nation.”* ![The Scoop The Last Train to Madeline ATYP](https://thescoop.au/wp-content/uploads/2026/02/The-Last-Train-to-Madeline-Production-Still-Credit_-Liv-Rowlands-942x628.webp "The Last Train to Madeline ATYP • The Scoop")The Last Train To Madeline will be the premiere production in the new performance space2026 Season at a Glance: **THE LAST TRAIN TO MADELINE** 11 – 21 March A sweltering small-town summer in Wangaratta. Eight-year-olds Maddy and Luke first meet. Maddy is convinced of two things: her mum is a famous rockstar and if she travels the world for long enough, she’ll eventually find her. Follow Maddy and Luke from eight, to seventeen, to twenty-three years old as they reminisce and dream about what once was, what could one day be, and all the confusing and painful stuff in between. *The Last Train to Madeline* showcases six performers aged ten to twenty-six and will be the premiere production in ATYP’s new performance space – The Popsy. **SAPLINGS** Opens 11 – 17 May, Sydney Opera House *Would you risk breaking bail for a packet of Mi Goreng? Would you snitch on a mate to save your own skin? Around here, ordinary days can turn on you so fast you’ve still got a smile on your face as your hopes die in your hands.* After premiering for the Sydney Festival in 2024 and winning the Sydney Theatre Award for Best Production for Young People, Yuwaalaraay playwright Hannah Belanszky and Kalkadoon director Abbie-lee Lewis bring *Saplings* back to the stage. This production raises an important question: how do young people grow when the system keeps cutting them down? **STRAIGHT PANIC** 24 June – 4 July The frazzled staff of Myer George St anticipate an ill-timed visit from their Regional Manager. A particularly fraught annual gathering for The McLaren Family Olympics takes place without their patriarch, who is otherwise indisposed. And three befuddled boys on Cronulla Beach, in December 2005, question…everything. Lachlan Parry puts the hysterical in hysterical in this frenzied and biting comedy — a triptych of silliness and satire. If you think it’s the gays who are prone to histrionics, you might want to think again. **ISLANDER** 21 September – 03 October Eilid lives on an island. Adrift and with one eye on the horizon, she is aimless. It seems every day someone is leaving for the mainland, even her own mother. Then a whale washes up on the shore, followed soon after by a mysterious young girl… Using loop pedal technology, two actors will bring an entire town to life. Community meetings smash against mythic folklore as two friends from different worlds learn how an ancient fracture can lead to a new future, together. Originated in Scotland, and recontextualized by ATYP, this worldwide smash-hit washes up to Pier 2/3 and takes over The Popsy. About ATYP: The Australian Theatre for Young People (ATYP) is Australia’s national youth theatre company. For over sixty years, ATYP has launched the careers of hundreds of artists and created pathways for young Australians to see themselves reflected on stage. Based at The Rebel Theatre on Pier 2/3 Walsh Bay, ATYP develops and presents new work, tours nationally, and delivers artist development and education programs that connect young creatives across the country. View the 2026 Season Program [here](https://drive.google.com/file/d/1EYb15AkIP_cSqK2v-6GVXFnz98vJc1vU/view). ***The Last Train to Madeline* kicks of the 2026 Season Program and runs 11 – 21 March at The Popsy. Pier 2/3, Suite 2/13A Hickson Rd Dawes Point, NSW 2000.** Tickets: <https://www.atyp.com.au/productions/the-last-train-to-madeline> Website: <https://www.atyp.com.au/> Socials: [https://www.instagram.com/atyp\_theatre/](https://www.instagram.com/atyp_theatre/) [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: photo by Campbell Parsons ATYP is supported by Creative Australia, the NSW Government Create NSW, and the Neilson Foundation. **Categories:** News --- ### [Announcing Cast For Mackenzie: A World Premiere By Bell Shakespeare](https://thescoop.au/announcing-cast-for-mackenzie-a-world-premiere-by-bell-shakespeare/) **Published:** February 4, 2026 **Author:** Newsroom **Content:** ![The Scoop Mackenzie Bell Shakespeare Kimberley Hodgson](https://thescoop.au/wp-content/uploads/2026/02/Kimberley-Hodgson-and-Anusha-Thomas-copy-942x628.jpg "Mackenzie Bell Shakespeare Kimberley Hodgson • The Scoop")Bell Shakespeare today announced the cast for the upcoming world premiere of ***Mackenzie***, a new play by visionary creator **Yve Blake**, including five original songs. The production will open in Sydney at **The Neilson Nutshell** from **6 June – 18 July**, before touring to **Arts Centre Melbourne** from **23 July – 9 August.** A dark, camp and satirical reimagining of Shakespeare’s Macbeth, Mackenzie twists the classic tale to explore if Macbeth was a 13-year-old child star in the heights of early 2000s TV stardom and Lady Macbeth was her ruthlessly ambitious stage mum. Directed by actor and former Artistic Director at the Adelaide Cabaret Festival **Virginia Gay**, the production will star **Kimberley Hodgson** (*[SIX](https://thescoop.au/review-six-the-musical-brings-queen-energy-in-spades/)*, *Miss Saigon, FANGIRLS*) in the titular role of Mackenzie. Celebrated comedian **Nikki Britton** (*How to Stay Married*, *Deadloch*) will star as her mother Ruth. They are joined onstage by **Ryan Gonzalez** (*In the Heights, Moulin Rouge! The Musical*), **Billie Palin** (*Once, Calamity Jane*), **Anusha Thomas** (*Hamilton*) and **Jane Watt** (*War Crimes*). **Genevieve Goldman** and **Tom Rodgers** join the cast in understudy roles. Creator **Yve Blake** said: *“The idea for ‘Mackenzie’ came to me like a fever dream — like Macbeth’s witches turning up. I’d always been gripped with fascination about the dark sides of child stardom. It felt like the perfect lens through which to reimagine Macbeth.* *I wanted to maintain all the juiciest moments of the original because it’s such a timeless BANGER of play. But I also wanted to make it fun and CAMP and super accessible*, *especially for young audiences.* *I’m so excited to have this perfect cast bringing this story to life. I wrote the script so that whether you’re 12, 22 or 72 – there’s something in this show for you to love!”* ![The Scoop Mackenzie Bell Shakespeare Kimberley Hodgson](https://thescoop.au/wp-content/uploads/2026/02/Kimberley-Hodgson-as-Mackenzie-copy-941x628.jpg "Mackenzie Bell Shakespeare Kimberley Hodgson • The Scoop")Kimberley Hodgson will play the title role in Mackenzie by Bell Shakespeare Director **Virginia Gay** said: *“What’s so genius about Yve’s writing is that she knows exactly how to honour Shakespeare’s original play while making it feel joyful, pop-soaked and completely approachable.* *By leaning into camp, a very specific 2006 energy and Yve’s razor-sharp wit, we get all the big moments of Macbeth, but with a completely fresh feel played by an incredible ensemble of performers.”* Bell Shakespeare Artistic Director **Peter Evans** said: *“Our commitment at Bell Shakespeare to make Shakespeare accessible to all Australians continues with Yve’s exciting new take on Macbeth, which will bring a new generation of audiences into the theatre. Mackenzie is funny, disturbing and full of pathos. It proves that Shakespeare’s plays are endlessly adaptable, thrilling, and very much alive.* *I am delighted to have Virginia Gay take the helm as director, bringing all her comedy and drama skills to usher Yve’s play to stage. While it’s sure to be a hit with younger audiences, I suspect if you are like me, any age will delight in this mischievous, shocking and hilarious new play.”* The creative team is made up of **Keerthi Subramanyam** as Designer, **Kelsey Lee** as Lighting Designer, **Tom Lowndes of Hot Dub Time Machine** as Sound Designer in his first foray into theatre, and **Ella Evangelista** as Choreographer. ***Mackenzie* is presented by Bell Shakespeare and runs 6 June – 18 July 2026 at The Nielsen Nutshell. Pier 2/3 Sydney NSW 2000.** It then runs at Arts Centre Melbourne from 23 July – 9 August. Tickets for Sydney are [here](https://shop.bellshakespeare.com.au/overview/271533). Tickets for Melbourne are [here](https://www.artscentremelbourne.com.au/whats-on/2026/seasons/bell-shakespeare/mackenzie). Website: <https://www.bellshakespeare.com.au/mackenzie> Socials: <https://www.instagram.com/bellshakespeare/> [Read our 2026 Musical Theatre Guide!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Hero image: Kimberley Hodgson and Anusha Thomas, image supplied. **Categories:** News --- ### [Announcing Cast of The Prom: Musical To Premiere In March](https://thescoop.au/announcing-cast-of-the-prom-musical-to-premiere-in-march/) **Published:** February 4, 2026 **Author:** Newsroom **Content:** ![The Scoop The Prom Cast Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/02/The-Prom-Cast-c-Suzanne-Gately-1116x628.jpg "The Prom Cast Teatro at the Italian Forum Sydney • The Scoop")They’re invited! The cast of the upcoming Tony-nominated Broadway smash-hit production, ***THE PROM*** has today been announced. This Drama Desk Award™ Winner for Best Musical is arriving in **Sydney** for its Australian premiere at the newly revitalised **Teatro at the Italian Forum from 24 March 2026**. Tickets are on sale now! Visit: [www.teatroitalianforum.com.au](http://www.teatroitalianforum.com.au/) Broadway and West End star **Caroline O’Connor** leads this stellar cast as Tony Award Winner Dee Dee Allen. Currently performing in *[Putting it Together](https://thescoop.au/review-putting-it-together-is-a-glamorous-toast-to-sondheim/)* at The Foundry, Caroline has played lead roles on Broadway, the West End, France and across Australia. They include *Chicago, Anything Goes, 9 to 5 The Musical, West Side Story and Anastasia*, among many others. At the heart of this joyful musical are its young stars. **[Sophie Montague](https://thescoop.au/sophies-time-to-shine-chat-with-a-sister-act-star/)** *(Sister Act)* plays Emma, High School Student Banned from The Prom. **Paige Fallu** *(Hairspray)* plays Alyssa Greene, Head of Student Council with a Secret. The role of Broadway Chorine, Angie is played by **Renae Corser née Berry** *(Saturday Night Fever).* **Brendan Monger** *(Urinetown)* plays Drama Desk Award Winner Barry Glickman. **Brad Green** *(Bootmen)* plays Sheldon Saperstein, Broadway Press Agent with a Plan. **Thern Reynolds** (*Evita)* plays Esteemed Julliard Graduate / Cater Waiter, Trent. Mrs Greene, President of the PTA, is played by **Erin Bruce** *(Priscilla, Queen of the Desert – The Musical*). The role of Mr Hawkins, High School Principal (and Theatre Fan) is played by **Scott Irwin** *(West Side Story)*. Joining this incredible line up are: **Murray Cunynghame** as Nick, **Ewan Herdman** as Kevin, **Abbey McPherson** as Shelby and **Nina Hurley** as Kayley. The ensemble comprises of: **Isabella Colusso, Rafael Gill, Sophie Gulloch, Kye Hall, Clementine Jenkins, Bella McSporran, Brock Rankmore, Jack Ryan, Sophie Sutton, Jasper Wind**. **Siena Bucknall** and **Justin Sacco** join as swings. ![The Scoop The Prom Cast Teatro at the Italian Forum Sydney](https://thescoop.au/wp-content/uploads/2026/02/image002-628x628.jpg "The Prom Cast Teatro at the Italian Forum Sydney • The Scoop")The Prom makes its Australian premiere in Sydney in March Tickets are on sale nowWith direction by Teatro Co-Founder **Andrew Bevis** and co-direction and choreography by Teatro Co-Founder **Nathan M. Wright** and musical direction by **Bev Kennedy, *THE PROM*** features a book by Tony Award® winner Bob Martin (*Elf, The Drowsy Chaperone*) and Tony Award® nominee Chad Beguelin (*Aladdin*). Music is by Tony Award® nominee Matthew Sklar (*Elf the Musical*) and lyrics by Tony Award® nominee Chad Beguelin . Co-founders and co-drectors **Nathan M Wright** and **Andrew Bevis** said: “*Choosing The Prom as Teatro’s third musical felt both deliberate and deeply personal. From the outset, Teatro was created to champion work that is joyful, relevant, and unapologetically human.* *The Prom embodies all of that. Its infectious energy and its message of love, acceptance, and belonging speak directly to the kind of theatre we believe in and the community we are building.* *This cast is truly exceptional. What excites us most is the combination of leading artists with emerging voices, performers who are fearless, collaborative, and deeply connected to the story they are telling.* *It’s a company that reflects the spirit of The Prom itself: bold, inclusive, and full of joy.”* Four eccentric Broadway stars are in desperate need of a new stage. So, when they hear that trouble is brewing around a small-town prom, they know that it’s time to put a spotlight on the issue…and themselves. The town’s parents want to keep the high school dance on the straight and narrow. But when one student just wants to bring her girlfriend to prom, the entire town has a date with destiny. On a mission to transform lives, Broadway’s brassiest join forces with a courageous girl and the town’s citizens and the result is love that brings them all together. Everyone deserves a chance to celebrate! ***THE PROM*** made its world premiere at the Alliance Theatre in Atlanta, Georgia in August 2016 before it moved to Broadway and enjoyed a successful and critically acclaimed run. The musical was nominated for seven Tony Awards in 2019, including Best Musical, Best Book, and Best Original Score. It won the Drama Desk Award for Outstanding Musical and received multiple Drama Desk and Outer Critics Circle nominations. In addition to its Broadway success, a Netflix film adaptation of ***THE PROM***, directed and produced by **Ryan Murphy** and starring **Meryl Streep**, **Nicole Kidman**, **James Corden**, **Jo Ellen Pellman**, and **Ariana DeBose**, was released in December 2020. So, grab your tickets and your friends and join the most joyful night of the year at ***THE PROM****!* ***THE PROM* makes its Australian premiere on 24 March at Teatro at the Italian Forum. Norton Street Leichhardt NSW 2040.** Tickets are [on sale](https://teatroitalianforum.com.au/date/the-prom/) now! Website: <http://www.teatroitalianforum.com.au/> Socials: <https://www.instagram.com/teatroitalianforum/> [Read our 2026 Guide to Musical Theatre!](https://thescoop.au/the-scoop-2026-guide-to-australian-musical-theatre/) Photo credits: Suzanne Gately **Categories:** News --- ### [Applications Now Open For The Frank Van Straten Fellowship](https://thescoop.au/applications-now-open-for-the-frank-van-straten-fellowship/) **Published:** February 3, 2026 **Author:** Newsroom **Content:** ![The Scoop Frank Van Straten Fellowship Australian Performing Arts Collection](https://thescoop.au/wp-content/uploads/2026/02/Australian-Performing-Arts-Collection_2-942x628.jpg "Frank Van Straten Fellowship Australian Performing Arts Collection • The Scoop")Applications are now open for the **Frank Van Straten Fellowship**, a yearly fellowship that offers arts enthusiasts access to Australia’s largest specialist collection, the **Australian Performing Arts Collection**. Dedicated to the collection and preservation of the nation’s performing arts heritage, the [Australian Performing Arts Collection](https://www.artscentremelbourne.com.au/exhibitions-collections/australian-performing-arts-collection) now holds over 850,000 objects related to circus, dance, music, opera and theatre. Returning for its seventh year, the fellowship will provide the successful recipient $15,000 to research and develop a project on a topic of their choosing. The aim of the Frank Van Straten Fellowship is to tell stories of performance and performers through the costumes, designs, photographs and objects that make up the Australian Performing Arts Collection. The Frank Van Straten Fellowship is made possible by the generous contribution of The Van Straten and Turley Foundation. The Fellowship honours the memory of the late Frank Van Straten AM who played a pivotal role in the establishment of the Australian Performing Arts Collection in the late 1970s. He was the founding director and first archivist of what was then the Performing Arts Museum in the 1980s. Frank Van Straten was a celebrated performing arts historian, published author, consultant, and radio presenter. Throughout his career, he graciously served on many boards, committees and panels across the arts and cultural sector. **Sandra Bruce**, Director Collections and Exhibitions, Arts Centre Melbourne said: *“We are thrilled to open applications for the seventh year of this prestigious Fellowship, which continues to honour Frank Van Straten’s incredible legacy by breathing new life into our Collection.* *The Australian Performing Arts Collection is a treasure trove of our nation’s cultural identity. This fellowship ensures the Collection doesn’t just preserve the past, but also inspires future artists by giving them the resources to uncover and share stories that might otherwise remain untold.”* ![The Scoop Frank Van Straten Fellowship Australian Performing Arts Collection](https://thescoop.au/wp-content/uploads/2026/02/T-shirt-worn-by-Kylie-Minogue-in-Your-Disco-Needs-You.jpg "Frank Van Straten Fellowship Australian Performing Arts Collection • The Scoop")T shirt worn by Kylie Minogue in Your Disco Needs You Australian Performing Arts Collection Arts Centre MelbournePrevious recipients of the Frank Van Straten Fellowship have highlighted fascinating stories from Australia’s rich performing arts history. Current recipients **Sarah Kriegler** and **Jacob Williams** are uncovering the hidden stories of the puppets and puppetry objects from the Collection with plans to develop a new puppetry work for family audiences called *THINGS HAVE A LIFE OF THEIR OWN*. Past recipients include: Opera and cabaret performer **Ali McGregor (2024)** with *[Sweet Nell: The Story of Australia’s Rose](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFt232liEA0_ueglPLJJ3Oc95F_zduYUOe-3XIpitH)*, an investigation into the life and career of 1880s Australian actress Nellie Stewart, **Dr Amaara Raheem (2023)** with [*C.O.R.R.U.P.T.E.D II*](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFt232liEA0_ueglPLJJ3Oc95F_zduYUOe-3XIpitL), **Angela Bailey (2022)** with [*The GLAD Project*,](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFt232liEA0_ueglPLJJ3Oc95F_zduYUOe-3XIpitP) **Cathy Pryor (2021)** with [*Rare Flowers and Golden Butterflies: Stories of women and magic from the Australian Performing Arts Collection*](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFt232liEA0_ueglPLJJ3Oc95F_zduYUOe-3XIpitT) and inaugural Fellow **Dr Kate Rice (2020)** with [*Performing the Past*](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFt232liEA0_ueglPLJJ3Oc95F_zduYUOe-3XIpitX). Australia’s largest performing arts venue, **Arts Centre Melbourne,** has been the proud custodian of the Australian Performing Arts Collections for over five decades. Notable objects in the Collection include elaborate costumes and iconic rare objects from stars of the Australian stage including: Kylie Minogue, Dame Nellie Melba, ACDC, Nick Cave, Barry Humphries, Dame Joan Sutherland, Hugh Jackman, Peter Allen, Chrissy Amphlett and Dame Olivia Newton-John as well as famed performing arts institutions including The Australian Ballet, Circus Oz, Melbourne Theatre Company and Opera Australia. With such a vast collection, there are thousands of stories waiting to be told and inspire whole new generations of performers and audiences. Alongside the Frank Van Straten Fellowship, these stories are brought to life at Arts Centre Melbourne’s newest venue the **Australian Museum of Performing Arts (AMPA)**, currently showing blockbuster exhibition [***DIVA***](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFt232liEA0_ueglPLJJ3Oc95F_zduYUOe-3XIpitb). [Behind-the-scenes tours](https://artscentremelbourne.prospect2.com/lt.php?x=4lZy~GDLJXSZ5aGu-g9GV.ZsAn2muQPxw~YwjXPJUFXKEH_5z0y7xeFt232liEA0_ueglPLJJ3Oc95F_zduYUOe-3XIpitf) of the Australian Performing Arts Collection are also now available on weekends at Hamer Hall. **Applications for the 2026 Frank Van Straten Fellowship are now open and will close on 13 March 2026.** Website: <https://www.artscentremelbourne.com.au/exhibitions-collections/research-access/frank-van-straten-fellowship> Socials: <https://www.instagram.com/artscentremelbourne/> [Read our Review of the DIVA Exhibition](https://thescoop.au/review-diva-is-a-glittering-celebration-of-iconic-reinvention/) Hero image: the Australian Performing Arts Collection Store. Courtesy of the Australian Performing Arts Collection. **Categories:** News --- ### [Film Review: Two Prosecutors Chases The Truth In The Stalinist Shadows](https://thescoop.au/review-two-prosecutors-chases-the-truth-in-the-stalinist-shadows/) **Published:** November 11, 2025 **Author:** Ronson Blake **Content:** ![The Scoop TWO PROSECUTORS by Sergei Loznitsa](https://thescoop.au/wp-content/uploads/2025/11/TP-Landscape-artwork_clean-1116x628.png "TWO PROSECUTORS by Sergei Loznitsa • The Scoop")To the slightly absurd and melancholic soundtrack of trombone and trumpet (from composer Christiaan Verbeek), another day of endless days begins as the latest work gang of prisoners shuffle into a courtyard. Clutching their belts in a forlorn effort to keep their pants hitched on bent, emaciated bodies, they are yet more victims of Stalin’s purges. An old man carrying a bulging sack is directed to a cell, bare but for a window and a stove. He is directed to burn the sack’s contents – hundreds of letters, desperate pleas to Stalin for clemency for unknown ‘crimes.’ One of these letters, written in blood, finds its way to newly appointed prosecutor Kornyev (Aleksandr Kuznetsov). Kornyev is young, fresh out of law school, idealistic, determined, and brave. But in Stalin’s Soviet Union in 1937, these qualities make him far too credulous. This is not going to end well. So begins ***Two Prosecutors**,* the latest film from director Sergei Loznitsa, adapted from Georgy Demidov’s 1969 novella, written about his experience of the Gulags. The film hints at Kafka and Orwell in its examination of malign bureaucracy, while in a comic interlude, also pays direct homage to Gogol’s *Dead Souls*. As Loznitsa describes it, within the tragedy, ‘there is always a place for the grotesque, and for farce.’ And it is this black humour that prevents the film from becoming a bleak treatise on, not so much the banality of evil (though that is clearly present), as how State-induced paranoia and institutionalised repression become the quotidian norm. Indeed, the film is always fascinating, frequently poignant and occasionally, disconcertingly beautiful. ![The Scoop TWO PROSECUTORS by Sergei Loznitsa](https://thescoop.au/wp-content/uploads/2025/11/TWO_PROSECUTORS_by_Sergei_Loznitsa©SBS_Productions_Still_3-837x628.jpg "TWO PROSECUTORS by Sergei Loznitsa • The Scoop") Two Prosecutors is always fascinating frequently poignant and occasionally disconcertingly beautiful Image SBS Productions*Two Prosecutors* is largely dialogue-driven, though almost every conversation is to be understood on two levels. Kornyev is warned by the prison governor (Vytautas Kaniušonis) against seeing the inmate who wrote the letter – Stepniak (a wonderfully stoic Alexander Filippenko) – because of the risk of infection. However, the infection is implicitly understood to be political rather than merely physical. Outwaiting the governor (there is a *lot* of waiting that emphasises both bureaucratic inertia and its power), Kornyev finally gets to see Stepniak, who reveals the brutalism of the NKVD (now the FSB), Stalin’s security service, which is systematically incarcerating and executing Stalin’s former Bolshevik colleagues. Paranoia eats its own. Recognising a like-minded idealist, the meeting sets in motion a hero’s journey. But to where? Kornyev fails to see, or deliberately ignores, any number of warning signs as he pursues Stepniak’s cause right to the top (literally, as he slowly winds his way up a seemingly endless staircase). Through patience and determination, he gains an audience with the Procurator General, Vyshinsky (Anatoli Beliy). It’s here that *Two Prosecutors* dramatic irony bites sharpest. The historical Vyshinsky was an obsequious and enthusiastic judicial implementer of Stalin’s purges, and Beliy’s fictional version here alludes to that, seated beneath a looming life-size bust of Stalin. This scene is typical of the film’s use of a static camera and meticulously framed shots where detail is important. Loznitsa creates visual metaphors of the endless layers of bureaucracy in government and prison that exist to insulate the decision makers from the consequences of their actions and to repress those who dare to challenge the system. ![The Scoop TWO PROSECUTORS by Sergei Loznitsa](https://thescoop.au/wp-content/uploads/2025/11/TWO_PROSECUTORS_by_Sergei_Loznitsa©SBS_Productions_Still_2-837x628.jpg "TWO PROSECUTORS by Sergei Loznitsa • The Scoop")You can see the art behind every decision in this film and its transposition to screen Image SBS ProductionsWitness the labyrinth of corridors and locked doors that define movement within the prison. Everything has its choreographed function; nothing is rushed, and to step out of line is to invite punishment. Accompanied by sounds of locks opening, footsteps echoing, doors slamming shut, director Loznitsa doesn’t hurry either; his pace is carefully calibrated. Likewise, the cinematography from long-time collaborator Oleg Mutu has a stillness and undeniable austere beauty that contraposes narrative and form. Employing a washed-out palette that suggests the soul-leaching existence under Stalin’s dictatorship, *Two Prosecutors* has a period verisimilitude enhanced by its use of academy ratio, location-shooting in a 1905-built Latvian prison and costumes from Dorota Roqueplo sewn from vintage 1930s fabric. You can see the art behind every decision in this film and its transposition on to screen. If the film has a minor flaw, it is whether such a character as Kornyev, fresh from law school, would be so ignorant of the political situation that he would trust anyone in power. Nevertheless, Kuznetsov does a fine job, his wordless eloquence imbuing Kornyev with patient resolve and a decency that keeps the audience constantly fearful of his fate. The audience knows the consequences of questioning an authoritarian regime, and Loznitsa’s screenplay ratchets up the dramatic irony at every encounter, so that the end, when it comes, is inevitably banal. *Two Prosecutors* is not merely a historical appraisal. Today, as our democratic institutions are suborned by authoritarian narcissists and CEOs supplicate themselves to wannabe dictators, Loznitsa’s mightily impressive film is devastatingly relevant. ***Two Prosecutors* opens at select cinemas nationally on 13 November 2025. Session times can be found at the website below.** Website: <https://sharmillfilms.com.au/feature-film/two-prosecutors/> Socials: <https://www.instagram.com/sharmillfilms/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Two Prosecutors Director: Sergei Loznitsa Cast: Aleksandr Kuznetsov, Alexander Filippenko, Pegleg Anatoli Beliy Rating: PG Duration: 118 mins Participating Cinemas: **VIC** Cinema Nova **SA** Palace Nova Eastend **QLD** New Farm Cinemas Regal Twin Graceville Palace Barracks HOTA, Home of the Arts **NSW** Cremorne Orpheum Dendy Newtown United Collaroy Roseville Cinemas **ACT** Palace Electric **TAS** State Cinema Hobart *Two Prosecutors* is scheduled to screen on 19 and 20 February as part of the the [2026 Perth Festival](https://www.perthfestival.com.au/program/season-2026/two-prosecutors). **Categories:** Film --- ### [Matthew Predny On Love, Power & Afterglow](https://thescoop.au/matthew-predny-on-love-power-afterglow/) **Published:** January 20, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Afterglow the play Matthew Predny](https://thescoop.au/wp-content/uploads/2026/01/PNC6096-2-375_HR-942x628.jpg "Afterglow the play Matthew Predny • The Scoop")***Afterglow*** is heading down under next week for its highly anticipated Australian premiere. The critically acclaimed off-Broadway play, written by S. Asher Gelman, is a modern, intimate exploration of desire, honesty and connection. The Scoop chatted with **Matthew Predny**, one of the play’s three stars, ahead of the season. Matthew gave us a sneak peek into his character, Darius, and what audiences can expect from the show. Read the full interview below. **Can you give us a little summary of *Afterglow*, for those who may not be familiar with it?** *Afterglow* is a fresh, exciting play that puts queer experiences at the front and centre. It’s the story of a married couple who decide to bring in a third for a single night. But this one-off hookup ends up being the genesis for a whole new relationship dynamic. It’s a story of coming to terms with new feelings and how they can affect our existing relationships. And more importantly, how the way we deal with and communicate these feelings to our partner can be the most dangerous part of the whole experience. **Power dynamics sit at the core of this play. How does your character, Darius, wield power, consciously or unconsciously (spoiler-free)?** This is an interesting question! Darius is, in many ways, a truly morally-pure character. He is sensitive and checks in, and follows other people’s leads to make sure everyone’s happy and comfortable. But his power comes from his use of physical touch. He’s a massage therapist and is most comfortable when communicating through his love language: physical touch. ![The Scoop Afterglow the play Australian Premiere Matthew Predny](https://thescoop.au/wp-content/uploads/2026/01/PNC6096-2-116_HR-942x628.jpg "Afterglow the play Australian Premiere Matthew Predny • The Scoop")Matthew Mitcham Matthew Predny and Julian Curtis in rehearsal for Afterglow Photo by Cameron Grant**What deeper insights has S. Asher Gelman been able to offer as both the play’s writer and director that wouldn’t be evident from the script alone?** I think a really interesting aspect of the process has been learning about which parts of the play are based on real life events. I won’t say which because (a) it’s not my place to say and (b) I think the mystery is more interesting. **Why do you think *Afterglow* feels timely for an Australian audience right now?** This story is something that queer people from all different generations can relate to. But I think the themes addressed in this show, in 2026, have a surprising amount of relevance to non-queer relationships as well. A lot of what happens in this show is certain to start conversations for real couples! **I love that! What do you think audiences can learn about the shared human experience from seeing *Afterglow*?** That so often in relationships, it’s not about *us* against *each other*. It’s *us* against *the problem*. ![The Scoop Matthew Predny Afterglow the play](https://thescoop.au/wp-content/uploads/2026/01/Matthew-Predny-419x628.jpg "Matthew Predny Afterglow the play • The Scoop")Matthew Predny**Do you have any advice for drama school graduates for sustaining themselves and surviving in this industry?** A very difficult question! Many times I’ve fallen victim to “giving it up.” Even as recently as December last year, I started telling people closest to me I couldn’t work in the industry anymore. I think it takes some wild mental gymnastics to treat this job as both the only thing you could ever possibly want to do, while also being something that you don’t invest too much of your self-worth into. They are mutually exclusive in nature but we have to lean in to that cognitive dissonance… **Brilliant answer and so true. And finally, are there any projects, creatives, or roles on your professional bucket list?** I want to work on shows that I love, with people that I love being around. And maybe occasionally do an international tour. **Matthew Predny will perform in** ***Afterglow* from 30 January – 21 February at Chapel Off Chapel in Melbourne. Little Chapel Street Prahran Vic 3181.** *Afterglow* then runs in Sydney from 26 February – 22 March at Eternity Playhouse. Burton Street Darlinghurst NSW 2010. Tickets to Melbourne are [here](https://chapel.sales.ticketsearch.com/sales/salesevent/155514) and Sydney are [here](https://ngpdarl.sales.ticketsearch.com/sales/salesevent/156509). Website: <https://www.afterglowplay.com/australia> Socials: <https://www.instagram.com/afterglowtheplay/> and <https://www.instagram.com/matthewpredny/> [Read our Review of the Australian Premiere!](https://thescoop.au/review-afterglow-burns-bright-at-2026-midsumma-festival/) Hero image photo credit: Matthew Predny in rehearsal for Afterglow. Photo by Cameron Grant ![The Scoop Afterglow the play Australian Premiere](https://thescoop.au/wp-content/uploads/2026/01/Afterglow-banner-1200x527.jpg "Afterglow the play Australian Premiere • The Scoop") **Categories:** Features --- ### [Review: Afterglow Burns Bright At 2026 Midsumma Festival](https://thescoop.au/review-afterglow-burns-bright-at-2026-midsumma-festival/) **Published:** February 3, 2026 **Author:** Alyssa Moller **Content:** ![The Scoop Afterglow the play](https://thescoop.au/wp-content/uploads/2026/02/Matthew-Mitcham-Matthew-Predny-in-AFTERGLOW--Cameron-Grant-Parenthesy-1-942x628.jpg "Afterglow the play • The Scoop")*Afterglow,* making its Australian premiere at Chapel off Chapel, is an examination of modern queer relationships, breaking down a central theme of polyamory. Written, directed and choreographed by S. Asher Gelman and presented by Midnight Theatricals, it looks at the blurring of lines between sex, love and open relationships. Set on a mirrored stage, an almost sheer cloth shrouds the cast in silhouette. Their bodies dance and play in the light, before the sheet drops, and the afterglow of a threesome emerges. Matthew Mitcham as Josh, Julian Curtis as Alex and Matthew Predny as Darius banter playfully and establish dynamics. This is about Josh and Alex, a married couple with a third, Darius, for the night, but not their first. Josh and Alex are expecting a baby through surrogacy. Josh quite likes Darius, and Darius takes a liking to Josh. They establish some boundaries, friends with benefits, and Alex approves, but asserts he has the say if things go too far. Things get messy fast. Darius and Josh fall in love. Alex gets insecure and jealous. Money is exchanged behind backs. And all of the stress accumulates with the reminder that Josh and Alex have a baby on the way. ![The Scoop Afterglow the play](https://thescoop.au/wp-content/uploads/2026/02/Matthew-Predny-Matthew-Mitcham-Julian-Curtis-in-AFTERGLOW--Cameron-Grant-Parenthesy-941x628.jpg "Afterglow the play • The Scoop")The most revealing scenes for each character are always when they are fully clothed Photo by Cameron Grant*Afterglow* is sexy and serious, driven by some great writing and gripping performances. Matthew Predny plays the youthful Darius, naive, trusting and optimistically hopeful in love. Matthew Mitcham’s Josh is hot-headed and needy, emotionally turbulent and easily pulled in by Darius’ light and freedom. Julian Curtis is the real emotional driving force of the show. Curtis balances Alex’s insecurity with his indecisiveness, and we, as the audience, weigh up both sides of each dilemma he faces with him. His character is unreasonable at times, but at least for me, I still reasoned with him. Alex’s inner turmoil about how to confront his husband is so delicately handled, and Curtis brings a real sensitivity to each of his scenes. The costume design, by Lauren Peters, is simple, with a real focus on the body. It is a clever costuming choice in that the most revealing scenes for each character are always when they are fully clothed. It’s a nice use of subversion to convey the full-frontal moments as peaceful and serene, simple even. It’s the moments that come after that serve as the beats of vulnerability for the characters. ![The Scoop Afterglow the play](https://thescoop.au/wp-content/uploads/2026/02/Matthew-Mitcham-Matthew-Predny-in-AFTERGLOW--Cameron-Grant-Parenthesy-942x628.jpg "Afterglow the play • The Scoop")As the warmth drips away from the story so too does the light Photo by Cameron GrantI loved the staging, which sees each transition between rebuilding the space acted out by the cast who use small moments to develop character dynamics. On the mirrored floor, a series of stools move around to create a series of identifiable spaces. The mirrors of the floor and walls of the set, designed by Ann Beyersdorfer, are lit from the inside, which initially paints the stage a warm, rosy purple. Eventually, they turn to a stark, pulsing white for the show’s conclusion. As the warmth drips away from the story, so too does the light. Jamie Roderick’s lighting design uses strobing in the final act, a really powerful way to build intensity. The show is performed to a punchy, synthy, techno-pop sound, amping up the sexuality of the story. Alex Mackyol’s sound design mimics that of a club and is reminiscent of scores recently used in *Challengers* and *Heated Rivalry*. It creates an immediately recognisable sexual tension, something that entrances the body into movement, exalted by passion. *Afterglow* is charged by strong performances and modern themes that speak directly to contemporary queer relationships. Seeing the play with an audience celebrating Midsumma Festival in Melbourne gives the work an added resonance. As the play reminds us, there are no fairytales about polyamory. Only the messy, human work of loving honestly. ***Afterglow* runs to 21 February at Chapel Off Chapel in Melbourne as part of 2026 Midsumma Festival. Little Chapel Street Prahran Vic 3181.** It then runs in Sydney from 26 February – 22 March at Eternity Playhouse. Burton Street Darlinghurst NSW 2010. Tickets to Melbourne are [here](https://chapel.sales.ticketsearch.com/sales/salesevent/155514) and Sydney are [here](https://ngpdarl.sales.ticketsearch.com/sales/salesevent/156509). Website: <https://www.afterglowplay.com/australia> Socials: <https://www.instagram.com/afterglowtheplay/> [Read our Interview with Matthew Predny!](https://thescoop.au/matthew-predny-on-love-power-afterglow/) Photo credits: Cameron Grant **Categories:** Melbourne, Theatre --- ### [Review: Twelfth Night Australian Shakespeare Company Melbourne](https://thescoop.au/review-twelfth-night-australian-shakespeare-company-melbourne/) **Published:** February 2, 2026 **Author:** Jack Bengough **Content:** ![The Scoop Twelfth Night Australian Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/01/Twelfth-Night-Nicole-Nabout-and-Elizabeth-Brennan-942x628.jpeg "Twelfth Night Australian Shakespeare Company • The Scoop")Australian Shakespeare Company’s Summer Season in Melbourne’s Royal Botanic Gardens continues with its production of *Twelfth Night*. Much of the same creative team from the company’s previous show, *[Peter Quince Presents Shakespeare’s Best Bits](https://thescoop.au/review-peter-quince-presents-shakespeares-best-bits-melbourne/),* returns for this production. With Glenn Elston directing, that show’s cast further flexes their comedic chops with the help of some additional new players. *Twelfth Night* delivers another rollicking night of comedy under the stars, serving as a great opportunity for friends and family to come together for a cracking show. *Twelfth Night* is a romantic comedy centred around a gender-bent case of mistaken identity. The story sees twins Viola (Elizabeth Brennan) and Sebastian (Scott Middleton) separated in a shipwreck and land on the island of Illyria. Viola disguises herself as a man and finds work under the lovesick Duke Orsino (Hugh Sexton). She is made to help Orsino win over the love of the mourning Countess Olivia (Nicole Nabout), who instead falls in love with the disguised Viola. Meanwhile, Olivia’s uncle Toby Belch (Jackson McGovern) teams up with servants Fabian (Henny Walters) and Maria (Maddie Somers), the fool Feste (Alex Cooper) and friend Sir Andrew (Tony Rive) to trick Olivia’s servant Malvolio (Peter Houghton) into believing that Olivia is in love with him. ![The Scoop Twelfth Night Australian Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/02/Twelfth-Night-Maddie-Somers-Nicole-Nabout-and-Henny-Walters-942x628.jpeg "Twelfth Night Australian Shakespeare Company • The Scoop")The returning cast from *Peter Quince*, as well as the newcomers, all put on fantastic performances ranging from the serious to the manic, and sometimes doing a bit of both. Jackson McGovern as Sir Tony Belch is particularly delightful as he drunkenly moseys about the stage, occasionally picking fights with audience members. Elizabeth Brennan as Viola / Cesario does an excellent job of walking a tightrope between femme and masculine. Peter Haughton perfectly portrays Malvolio’s slow descent into madness. Nicole Nabout’s turn as the countess Olivia is a particularly fun performance to watch as the mournful countess is turned ravenous by her love for Cesario. This production of *Twelfth Night* is a fairly straightforward adaptation of the original script, but it introduces several songs that are performed throughout, featuring light audience interaction. The songs are certainly a highlight, with Alex Cooper showing off his skills on guitar throughout the show. The cast comes together to deliver some truly beautiful harmonies. ![The Scoop Twelfth Night Australian Shakespeare Company](https://thescoop.au/wp-content/uploads/2026/02/Twelfth-Night-Hugh-Sexton-Alex-Cooper-and-Elizabeth-Brennan-942x628.jpeg "Twelfth Night Australian Shakespeare Company • The Scoop")These songs are certainly highlights of the production with Alex Cooper showing off his skills on guitar Photo by Ben FonIndeed, the entire show is hilarious, particularly whenever the scheming servants are on stage. Production-wise, the bones of the set are very much the same as *Peter Quince*. It has been dressed, however, to better fit the setting of Illyria. This includes foliage, Renaissance period art and a few hidden pieces that reveal themselves throughout the show. As expected, the costuming and makeup are of the highest standard. Some unique challenges come up for an outdoor event. Especially in a city like Melbourne, where the seasons exist mostly as a suggestion rather than anything else. On opening night, the first act was regularly impeded by rain. The performers barely seemed to notice, however. Aside from makeup running off some of their faces, the show indeed went on without a hitch. Apart from the weather, the space within the Royal Botanic Gardens provides a great atmosphere for the show. There is plenty of space to roll out a picnic mat and gather around with friends and family. *Twelfth Night* is another hit out of the park for the Australian Shakespeare Company’s Summer season in Melbourne’s Royal Botanic Gardens. It can be enjoyed right throughout the month of February. ***Twelfth Night* is presented by the Australian Shakespeare Company and runs to 28 February at the Royal Botanic Gardens. Southern Cross Lawn (enter through Observatory Gate on Birdwood Avenue)**. Tickets: <https://tickets.shakespeareaustralia.com.au/sales/performances/under-the-stars/twelfthnight> Website: <https://www.shakespeareaustralia.com.au/productions/twelfth-night-2026> Socials: <https://www.instagram.com/shakespeareaust/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Ben Fon **Categories:** Melbourne, Theatre --- ### [Queensland's New Cultural Superstar: The Glasshouse Theatre Set For Opening](https://thescoop.au/queenslands-new-cultural-superstar-the-glasshouse-theatre-set-for-opening/) **Published:** February 2, 2026 **Author:** Newsroom **Content:** ![The Scoop Glasshouse Theatre QPAC](https://thescoop.au/wp-content/uploads/2026/02/Glasshouse_Night_By_David_Kelly-copy-961x628.jpg "Glasshouse Theatre QPAC • The Scoop")Queensland Arts Minister **John-Paul Langbroek** confirmed the **Glasshouse Theatre** was ready to be handed over to **Queensland Performing Arts Centre (QPAC)** ahead of welcoming audiences at a highly anticipated opening season of events and performances from March. With construction of the theatre now finished, the Minister announced the doors to the architectural marvel and state-of-the-art venue would open to the public for a free **Community Day** on **Saturday 7 March 2026**. From **9am to 4.30pm**, Community Day visitors are invited to explore Australia’s newest theatre with a limited number of guided tours also on offer. Audiences will also be treated to pop-up performances and the Glasshouse Theatre’s two bars will be open. QPAC Chief Executive **Rachel Healy** said the opening of the Glasshouse Theatre was a momentous occasion for the arts in Queensland, and one to be celebrated with the entire state: *“The Glasshouse Theatre is a gift to the people of Queensland and our cultural sector, with the significant investment through the Queensland Government set to build on QPAC’s 40-year legacy.* *This 1,500-seat theatre gives us greater capacity to attract world-class talent and Australian exclusives to Queensland – such as global music icon Sting in The Last Ship. It forges our reputation as one of Australia’s biggest and busiest cultural precincts as we move towards the Brisbane 2032 Olympic and Paralympic Games.* *Anticipation about the opening date of the Glasshouse has been building for a very long time, so we wanted to give our community the first opportunity to explore it. We expect the guided tours will book out extremely quickly.* *But our doors will be open for the whole day for anyone to explore our beautiful new theatre themselves and to experience small pop-up performances in the stunning light-soaked foyers.* *I encourage everyone to come and discover Queensland’s newest cultural superstar.”* ![The Scoop Glasshouse Theatre QPAC](https://thescoop.au/wp-content/uploads/2026/02/Glasshouse_Facade_By_David_Kelly-copy-827x628.jpg "Glasshouse Theatre QPAC • The Scoop")The Glasshouse Theatre facade Photo by David KellyMinister for the Arts, the Honourable **John-Paul Langbroek**, said the new Glasshouse Theatre is a striking landmark that represents the Crisafulli Government’s commitment to ensuring Queenslanders can access more of the best performing arts from across the state and the globe: *“The Community Day in March is an important opportunity to open Glasshouse Theatre’s doors for Queenslanders to see its stunning glass foyers, stage, and orchestra pit even before the first performance is held.* *Completion of the Glasshouse Theatre delivers on our 10-year Queensland’s Time to Shine arts and cultural strategy and reinforces this State’s reputation as a cultural tourism destination that is home to exceptional arts experiences ahead of Brisbane 2032.”* Following the Community Day, Glasshouse Theatre’s opening season will showcase the best local, national and international talent. It comprises: **Queensland Ballet**’s *Messa da Requiem* (27 March to 4 April) The Australian exclusive season of *The Last Ship*, composed by and starring **Sting** (9 April to 3 May) The world premiere of *The Drover’s Wife – The Opera* (13 to 22 May). Directed by **Leah Purcell**, composed by **George Palmer** with libretto by Leah Purcell with George Palme The opening of the Glasshouse Theatre makes **QPAC the largest performing arts centre under one roof in Australia**. The new venue paves the way for QPAC to increase its visitation by an extra 300,000 people to 1.6 million visitors per year. ![The Scoop Glasshouse Theatre QPAC](https://thescoop.au/wp-content/uploads/2026/02/Glasshouse_External_By_David_Kelly-copy-941x628.jpg "Glasshouse Theatre QPAC • The Scoop")The opening of the Glasshouse Theatre makes QPAC the largest performing arts centre under one roof in Australia Photo by David KellyDesigned by Brisbane-based architects **Blight Rayner** in collaboration with **Snøhetta** (Oslo), the Glasshouse Theatre is an architectural feat with its already iconic curved glass façade. The waves and ripples of the glass reference the adjacent Brisbane River and is a nod to the flowing lines of theatre drapes and stage curtains. Materials used in the Glasshouse Theatre take inspiration from many of the special characteristics of Queensland. These include locally sourced grey Ironbark timber, green auditorium carpet that references the state’s rainforests, and gold foyer carpet and sand-coloured precast concrete which is a nod to its beaches. Brian Robinson’s *Floriate*, a four-metre-high bronze sculpture inspired by Queensland’s native flora and its connection to First Nations Peoples, will take pride of place in the external entry plaza. Moreover, the QPAC team’s learnings from the past 40 years and extensive consultation with local, national and international artists and arts workers informed the design brief. The results include an enhanced artist and audience experience, increased efficiencies and safety for venue hirers and back of house staff, as well as outstanding acoustics for any kind of performance. While Community Day festivities are completely free to the public, guided tours must be booked in advance via [qpac.com.au](http://qpac.com.au/). Numbers for the guided tours are limited, with bookings open from Friday 6 February at 9am. **The Glasshouse Theatre Community Day runs from 9am – 4:30pm on Saturday 7 March 2026 at QPAC.** Website: <https://qpac.com.au/whats-on/2026/glasshouse-theatre-community-day> Socials: <https://www.instagram.com/atqpac/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: David Kelly **Categories:** News --- ### [Announcing 2025 Matilda Awards Nominations](https://thescoop.au/announcing-2025-matilda-awards-nominations/) **Published:** February 2, 2026 **Author:** Newsroom **Content:** ![The Scoop Congratulations, Get Rich! Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2025/11/CongratulationsGetRich_STC_ImageCredit_PrudenceUpton_346-942x628.jpg "Congratulations, Get Rich! Sydney Theatre Company • The Scoop")Queensland’s premier celebration of performing arts excellence, the **Matilda Awards**, has announced the nominees for its 38th year, with the Awards ceremony scheduled for its new home, the **QPAC Playhouse on Monday 2 March 2026**. The 2025 nominations highlight the energy, diversity, and innovation within Queensland theatre, with strong representation from independent and regional companies. In total, the Matilda Awards judging panel, led by Lead Judge **Paul Dellit**, viewed nearly 100 productions across the state, from intimate 50-seat venues to the 1600-seat QPAC Concert Hall. The complete list of nominees can be found [here](https://www.matildaawards.com.au/2025). Among the standout nominees, Queensland Theatre Company’s *[A Few Good Men](https://thescoop.au/review-queensland-theatres-a-few-good-men-is-a-triumph/)* leads with 7 nominations, with a large cast of 16 actors. La Boîte Theatre Company’s *[Congratulations, Get Rich! ](https://thescoop.au/review-congratulations-get-rich-2025-brisbane-festival/)*and female-led company Belloo Creative’s *Back to Bilo* each received 5 nominations, highlighting the strength of mainstage theatre this year. ![The Scoop A Few Good Men Queensland Theatre](https://thescoop.au/wp-content/uploads/2025/11/Courtney-Cavallaro-Doron-Chester-and-George-Pullar-Photo-by-Stephen-Henry-904x628.jpg "A Few Good Men Queensland Theatre • The Scoop")A Few Good Men by Queensland Theatre Company Photo by Stephen HenryRegional independent theatre is thriving, with Gympie-based Perseverance Street Theatre’s *Pirates, Cowboys and Aliens* earning 5 nominations, and Gold Coast’s Shock Therapy Arts *Crossing the Divide* receiving 4 nominations. Emerging independent productions continue to shine, including *Charlie & The Bin Chicken* (Art For Earthlings), *[Into the Woods](https://thescoop.au/review-into-the-woods-a-triumphant-return-for-ad-astra/)* (Ad Astra), and emerging artists creating for Backbone Youth Arts Festival *FUSE* (Anabella Gregory), and *Hot Girls Don’t Poo* (Produced by Madeline Armit and Tainika Kane-Potaka). Physical theatre and circus productions are well represented with *Wired Differently* (Zen Zen Zo/Undercover Artist Festival) and *Living Sculptures: How The Birds Got Their Colours* (Arc Circus & Yugambeh Aboriginal Dancers). In its 20th year, Shake & Stir Theatre Co is also recognised for its world premiere musical, *[The Lovers](https://thescoop.au/review-the-lovers-mixes-bard-bangers-with-sparkling-style/)*. The Awards span a range of categories, including, Best Mainstage Production, Best Independent Production, Best Performance in Leading and Supporting Roles, Best Musical or Cabaret, Best Circus or Physical Theatre Production and the Bille Brown Award for Best Emerging Artist. The Lord Mayor’s Award for Best New Australian Work and the Gold Matilda will also be announced on the night. ![The Scoop The Complete Works of William Shakespeare Abridged QPAC](https://thescoop.au/wp-content/uploads/2025/05/Complete-Works-of-William-Shakespeare-Abridged-942x628.jpg "The Complete Works of William Shakespeare Abridged • The Scoop")The Complete Works of William Shakespeare Abridged Photo by Morgan RobertsChair of the Matilda Awards, **Nigel Lavender,** said this year’s nominations reflect the incredible creativity, energy, and ambition of Queensland’s theatre sector: *“From regional companies bringing fresh perspectives to major mainstage productions pushing the boundaries of performance, it will be a thrilling night to celebrate our artists in our new home on 2 March.”* Lead Judge **Paul Dellit** added the Matilda Awards judges were inspired by breadth of distinctive Queensland stories brought to life on stages across the state, from Gympie and the Gold Coast to Brisbane. *“The Judges saw close to 100 productions, spanning bold new works, innovative independent productions, and a remarkable depth of performance*. *This year’s Awards highlights how vibrant and varied our sector has become. Every nominee is already a winner in their own right.* *The Gold Matilda to be awarded on the night, stands as a distinguished honour, recognising an outstanding contribution to Queensland performing arts.”* The winners will be revealed live on the night, making this a must-attend event for the arts community. **The 2025 Matilda Awards ceremony will be held on Monday 2 March 2026 from 7pm at the Playhouse, QPAC.** Tickets are [now on sale](https://www.qtix.com.au/whats-on/2026/2025-matilda-awards)! Website: <https://www.matildaawards.com.au/> Socials: <https://www.instagram.com/matildaawards/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: *Congratulations, Get Rich!* Photo by Prudence Upton. **2025 MATILDA AWARD NOMINATIONS** **BEST MAINSTAGE PRODUCTION** [Congratulations, Get Rich!](https://thescoop.au/review-congratulations-get-rich-2025-brisbane-festival/) – La Boite Theatre [A Few Good Men](https://thescoop.au/review-queensland-theatres-a-few-good-men-is-a-triumph/) – Queensland Theatre Company [The Complete Works of William Shakespeare (Abridged)](https://thescoop.au/review-shakespeares-complete-works-gets-the-fast-and-funny-treatment/) – QPAC, Woodward Productions and Neil Gooding Productions Back to Bilo – Belloo Creative, presented by Queensland Theatre & Brisbane Festival Malacañang Made Us – Queensland Theatre Company **BEST INDEPENDENT PRODUCTION** CROSSING THE DIVIDE – Shock Therapy Arts Blushing – Zen Zen Zo Physical Theatre Queer as Flux – The Nest Ensemble Superheroes – Bodysnatchers Theatre [Pramkicker](https://thescoop.au/review-pramkicker-a-love-letter-to-modern-women/) – MO Theatre **GRIFFITH UNIVERSITY AWARD FOR BEST MUSICAL OR CABARET** [Into the Woods](https://thescoop.au/review-into-the-woods-a-triumphant-return-for-ad-astra/) – Ad Astra Theatre Company [The Lovers](https://thescoop.au/review-the-lovers-mixes-bard-bangers-with-sparkling-style/) – QPAC and Shake & Stir Theatre Company with Brisbane Festival [Parade](https://thescoop.au/review-parade-the-musical-is-a-haunting-tale-of-injustice-and-love/) – Bump In Productions (Michael Lewis, Belinda Lewis) [Calamity Jane](https://thescoop.au/review-queensland-theatres-calamity-jane-is-a-rip-roaring-hit/) – Queensland Theatre Company [Sweet Charity](https://thescoop.au/review-sweet-charity-is-stylish-simple-bursting-with-soul/) – Prospero Arts View the complete list of nominees at the Matilda Awards [website](https://www.matildaawards.com.au/2025). **Categories:** News --- ### [Beetlejuice The Musical Announced For Perth](https://thescoop.au/beetlejuice-the-musical-announced-for-perth/) **Published:** February 1, 2026 **Author:** Newsroom **Content:** ![The Scoop Beetlejuice The Musical Perth](https://thescoop.au/wp-content/uploads/2026/02/5-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-copy-942x628.jpg "Beetlejuice The Musical Perth • The Scoop")**Michael Cassel Group**, Warner Bros. Theatre Ventures and Langley Park Productions announced today that the eight-time Tony Award-nominated hit musical **BEETLEJUICE THE MUSICAL** will play **Perth in 2026**. Western Australian theatre fans have chanted “Beetlejuice” three times and the most mischievous ghost in the history of musicals has responded. **BEETLEJUICE THE MUSICAL** will play the **Crown Theatre** **Perth from 16 August**. Fans are encouraged to sign up for the waitlist at [beetlejuicethemusical.com.au](https://beetlejuicethemusical.com.au/?utm_campaign=127868358-PR%20%26%20Media&utm_source=hs_email&utm_medium=email&utm_content=20874546&_hsenc=p2ANqtz--WiwkyEQrvBR1ADbUa1BGZ49L8B2EJPIrA7fVfEPJjGd4bWZn7mx3pkc9w08Q1-kHgl90xyboJWyMX-GuxjRQhuEH8z1qplr1bG-zc4rJGv50Cr9c), to be the first to access tickets when the show goes on sale later this year. **BEETLEJUICE THE MUSICAL** features an original score by Australia’s own Eddie Perfect which earned him a Tony Award nomination. Speaking about the Perth season **Eddie** **Perfect** said: “*My training in musical theatre began in Perth at the West Australian Academy Of Performing Arts as a fresh-faced youth, full of dreams, making coffees in Leederville and conducting community choirs in Fremantle. I love Perth, and I am thrilled that 20 years later my love affair with this city continues with* BEETLEJUICE THE MUSICAL*.* *This show about death (and life!) is full of incredible puppetry, magic and dark comedy, and I am overjoyed that my friend and Broadway superstar Andy Karl will be continuing to haunt audiences across Australia.*” Reprising his role as Beetlejuice, Broadway star **Andy Karl** said: “*I am so lucky to do what I love while also getting to see so much of Australia. I’m thrilled to bring Beetlejuice down under. Perth, get ready for the Netherworld, the most “down under” you can get.”* **BEETLEJUICE THE MUSICAL** tells the story of Lydia Deetz, a strange and unusual teenager obsessed with the whole “being dead thing.” Lucky for Lydia, her new house is haunted by a recently deceased couple and a degenerate demon with a thing for stripes. When Lydia calls on this ghost-with-the-most to scare away her insufferable parents, Beetlejuice comes up with the perfect plan, which involves exorcism, an adorable girl scout who gets scared out of her wits and a whole (nether)world of pandemonium. Producer **Michael Cassel** said: “*We are dead excited to be bringing yet another world-class production to Crown Theatre Perth. We cannot wait to unleash the mischief of Beetlejuice on Western Australian audiences and take them on the surprisingly heartfelt journey of this show*.*“* ![The Scoop Beetlejuice The Musical Brisbane 2026 QPAC Andy Karl](https://thescoop.au/wp-content/uploads/2025/11/3-Beetlejuice-The-Musical-Australian-Production-Photo-by-Eugene-Hyland-942x628.jpg "Beetlejuice The Musical Brisbane 2026 QPAC Andy Karl • The Scoop")Andy Karl in Beetlejuice The Musical which has just been confirmed for Perth Photo by Eugene Hyland**BEETLEJUICE THE MUSICAL** is directed by two-time Tony Award-winner **Alex Timbers** (*Moulin Rouge!,* original Broadway production of *Peter and the Starcatcher*). The original score is by Tony Award-nominee **Eddie Perfect** (*King Kong*). The book is by **Scott Brown** & Emmy Award nominee **Anthony King** (*Broad City*). Choreography is by **Connor Gallagher** (*The Robber Bridegroom*). Music supervision, orchestrations and incidental music is by **Kris Kukul** (*Joan of Arc: Into the Fire*). **BEETLEJUICE THE MUSICAL** features scenic design by two-time Tony Award nominee **David Korins** (*Hamilton*), costume design by six-time Tony Award winner **William Ivey Long** (*The Producers*), lighting design by Tony Award winner **Kenneth Posner** (*Kinky Boots*), sound design by four-time Tony Award nominee **Peter Hylenski** (*Frozen*), and projection design by Drama Desk Award winner **Peter Nigrini** (*Dear Evan Hansen*). Puppet design is by Drama Desk Award winner **Michael Curry** (*The Lion King*), special effects design by **Jeremy Chernick** (*Harry Potter and the Cursed Child*), illusions by **Michael Weber** (*Forrest Gump*), hair and wig design by **Charles G. LaPointe** (*Hamilton*), make-up design by **Joe Dulude II** (*Wicked*), dance arrangements by **David Dabbon** and music producing by **Matt Stine**. **BEETLEJUICE THE MUSICAL** is based on the 1988 Academy Award-winning Geffen Company motion picture with story by **Michael McDowell** and **Larry Wilson**. The smash-hit comedy was directed by **Tim Burton**. **BEETLEJUICE THE MUSICAL will play at Crown Theatre Perth from 16 August 2026.** **Waitlist for tickets at the link below.** Waitlist: <https://beetlejuicethemusical.com.au/#waitlist> Website: <https://beetlejuicethemusical.com.au/> Socials: <https://www.instagram.com/beetlejuiceaus/> [Read our interview with Karis Oka!](https://thescoop.au/strange-and-unusual-karis-oka-reflects-on-playing-lydia-in-beetlejuice/) Photo credits: Eugene Hyland **Categories:** News --- ### [Review: The 25th Annual Putnam County Spelling Bee Funk Soul Productions](https://thescoop.au/review-the-25th-annual-putnam-county-spelling-bee-funk-soul-productions/) **Published:** January 31, 2026 **Author:** James Murphy **Content:** ![The Scoop The 25th Annual Putnam County Spelling Bee](https://thescoop.au/wp-content/uploads/2026/01/1E5A7218-942x628.jpg "The 25th Annual Putnam County Spelling Bee • The Scoop")At first glance, *The 25th Annual Putnam County Spelling Bee* leans gleefully into anarchy: awkward bodies, competitive nerves, bodily functions, and a sense that anything could derail at any moment. This musical, presented by Funk Soul Productions, with music and lyrics by William Finn, understands that chaos is the joke, but also that chaos is the mask. Underneath the gags sits a quiet melancholy about childhood, expectation, and the moment when the rules that once felt reassuring start slipping out of reach. This is a show about control. Or rather, about the fantasy of it. Once, all you had to do was learn the words written down in a dictionary. Spell them correctly, and you’d be safe. But puberty arrives. Erections arrive. Parents loom: tiger mums, absent dads, or worse, well-meaning ones watching too closely. Winning begins to feel conditional. And somewhere along the line, the question shifts from *can I spell the word?* to *what does it cost to be the winner and who decided that mattered anyway?* The comedy lands consistently, but never cheaply. This is an unusually even ensemble: there isn’t a weak link or a dropped beat. The cast operates as a tightly tuned ecosystem, alive to each other’s reactions even when they’re not the focus of the scene. ![The Scoop The 25th Annual Putnam County Spelling Bee](https://thescoop.au/wp-content/uploads/2026/01/1E5A6251-942x628.jpg "The 25th Annual Putnam County Spelling Bee • The Scoop")This is an unusually even ensemble there isnt a weak link or a dropped beat You could watch this production multiple times and follow a different character each night; the flickers of envy, dread, relief or delight registering in the margins while someone else is centre stage. It feels like stepping back onto a handball court during recess, scanning not just the ball but everyone orbiting it. Special mention must go to Jaxon Joy, whose Barfée is all bravado and fragility, with the infamous “magic foot” becoming both running joke and talisman. And Neve Sargent, whose Logainne is exquisitely controlled: knees pressed together, feet on tiptoe, smile frozen just a fraction too long, a lisp that never slips even as the pressure mounts. You can feel the parental gaze hovering just offstage. It’s a performance that understands stillness as comedy. Vocally, the ensemble harmonies under Immi Beattie’s direction are strong across the board, but the standout musical moment comes in Olive’s number, *The I Love You Song*, with Amelia Boys delivering a genuinely affecting turn. It’s the moment where laughter tightens in the throat, and the emotional stakes crystallise. Director Gracie Greenrod and choreographer Alycia Angeles manage the show’s youthful energy with impressive control. *Pandemonium* becomes exactly that, but a *controlled* chaos, and a slow-motion sequence in the show is beautifully judged, allowing the emotional undercurrent to surface without underlining it. Transitions are clean, pacing is tight, and the production never sags under its own cleverness. ![The Scoop The 25th Annual Putnam County Spelling Bee](https://thescoop.au/wp-content/uploads/2026/01/1E5A6546-942x628.jpg "The 25th Annual Putnam County Spelling Bee • The Scoop")What lingers most is the joy of performers who look genuinely free and uninhibited onstageAudience participation, always a danger zone in this musical, is handled deftly. When volunteers inevitably try to improvise or pull focus, the cast responds quickly and generously, redirecting the energy without humiliation. One participant joked about using the “magic foot” while wearing towering platform shoes; the deadpan retort — “it would be hard in those shoes” — landed perfectly. The show stays playful, not predatory. Design-wise, the set is minimal but effective, giving the performers room to work. Costumes do much of the character-building heavy lifting. Sargent’s purple pantsuit, studded with political buttons, is the most immediately legible; a visual shorthand for ambition, ideology, and inherited pressure. Much of the wardrobe feels op-shop assembled rather than custom-built, which is understandable given budget constraints and arguably suits the scrappy, adolescent aesthetic of the piece. What lingers most, though, is the joy. Not a forced, competitive joy, but the joy of performers who look genuinely free and uninhibited onstage. As a young theatre company, this cast still feels close to childhood; not yet fully burdened by “adulting,” ego, or the brutal calculus of winners and losers. That proximity gives the production its emotional honesty. It mirrors the show’s central tension: what is lost when systems, expectations, and the pain of not being the “winner” begin to press down? And how might we hold onto that early joy without remaining trapped by our parents’ mistakes or our own awkward transitions into adulthood? This *Spelling Bee* understands that comedy and melancholy are not opposites but partners. It’s a show about learning the rules and then realising they were never the whole story. ***The 25th Annual Putnam County Spelling Bee* is presented by Funk Soul Productions and runs to 7 February at the Goodwood Theatre & Studios. 166 Goodwood Road Goodwood SA 5034.** Tickets: <https://www.trybooking.com/events/landing/1509056?> Socials: <https://www.instagram.com/funksoulproductions/?hl=en> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Henry Cook **Categories:** Adelaide, Musical Theatre --- ### [Talented Trio Of Finalists Revealed In Queensland Premier's Drama Award 2026](https://thescoop.au/talented-trio-of-finalists-revealed-in-queensland-premiers-drama-award-2026/) **Published:** January 28, 2026 **Author:** Newsroom **Content:** ![The Scoop Queensland Premier's Drama Award](https://thescoop.au/wp-content/uploads/2026/01/MalacanangMadeUs_MorganRoberts_Production_MartyAlix_MarcusRivera-942x628.jpg "Queensland Premier's Drama Award 2026 • The Scoop")Three Australian writers will develop bold new theatre works as finalists in the **Queensland Premier’s Drama Award 2026** (QPDA), one of the nation’s most prestigious theatre award programs. **Melanie Tait**, **Michelle Law** and **Alberto Di Troia** were selected as finalists following a competitive, nationwide search for captivating stories and audacious ideas. The three finalists will participate in an 18-month development process, including a week-long, regionally based residency. They will present their works in a public reading before a respected judging panel, with one named the QPDA winner later in 2026. The winning play will be further developed and premiered as part of **Queensland Theatre Company**’s (QTC) 2027 Season. QTC Artistic Director **Daniel Evans** said the awards program holds a deeply personal place in his heart, having won the QPDA 2015 with *Oedipus Doesn’t Live Here Anymore*. *“The QPDA is more than just a prestigious award; it is a transformative opportunity for Australian writers and theatre makers to create unforgettable pieces of theatre.* *For audiences, the QPDA is a key that unlocks a treasure chest of untold truths, fascinating stories, bold new perspectives, provocative ideas and profound emotions. It offers up compelling theatre with heart and impact that stops you in your tracks and inspires you to think and feel.* *I am brimming with excitement to see how Melanie, Michelle and Alberto collaborate with QTC to develop their wholly original ideas into captivating complete scripts.”* ![The Scoop Queensland Premier's Drama Award 2026 QPDA](https://thescoop.au/wp-content/uploads/2025/08/William-Bartolo-and-Daniel-Evans-in-rehearsal-for-The-Almighty-Sometimes-by-Kendall-Feaver-Photo-by-Cinnamon-Smith-943x628.jpg "Queensland Premier's Drama Award 2026 QPDA • The Scoop")William Bartolo and Daniel Evans in rehearsal for The Almighty Sometimes by Kendall Feaver Photo by Cinnamon SmithThe 2026 finalists are: Melanie Tait’s *Mrs Crocodilia* is an outrageous new comedy set in Queensland’s biggest tourist attraction, Crocodilia Park. Led by park founder and matriarch Lynnie McGarry and her three very different daughters, this modern, feminist retelling of *KingLear* is a story of legacy and succession in Far North Queensland. Tait is a broadcaster and writer for stage and screen. Her play, *The Appleton Ladies’ Potato Race*, premiered at the Ensemble Theatre in Sydney in March 2019 and played a season at Queensland Theatre during its 2021 national tour. Michelle Law’s *Cake* is a hilarious and heartbreaking story of family and generational divide set in Brisbane’s Sunnybank. When a young woman joins forces with her estranged father to plan a family wedding, she finds herself willing to mend their relationship until his closely guarded secrets threaten to blow everything apart. Law is a QUT alum whose debut play, *Single Asian Female*, premiered at La Boite Theatre in 2017. She also wrote *Top Coat* (Sydney Theatre Company, 2022) and *Miss Peony* (Belvoir St Theatre, 2023) and was commissioned by SBS to co-write the comedy-drama series *Homecoming Queens* in 2017. Alberto Di Troia’s *My Erotic Journey Through Italian Fascism* is a darkly comic thriller set in Australia and rural Italy. A story of belonging and discovery, a young, queer writer travels to his ancestral Italian village where he discovers many of his long-lost family are neo-fascists. Di Troia is a writer and script producer who has worked extensively across screen and theatre, most recently on Netflix’s *The Survivors*. He was the inaugural Victorian recipient of the SBS Emerging Writers Incubator in 2022 and is Co-Director of award-winning performance company Stage Mom. ![The Scoop Queensland Premier's Drama Award 2026](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-30-at-25213-pm-1200x497.png "Queensland Premier's Drama Award 2026 • The Scoop")Left to right Michelle Law Melanie Tait Alberto Di TroiaQPDA 2026 marks the 13th iteration of the biennial award program, presented by QTC in partnership with the **Queensland Government**, which celebrates and supports writers and theatre makers in developing new work and bringing it to the stage. The winning playwright will also receive a $30,000 cash prize, contributed by **Griffith University**, a full commission fee and box office royalties from the work’s QTC season. Minister for the Arts **John-Paul Langbroek** said the Crisafulli Government was committed to supporting writers in creating exciting new works that reflect Australia’s unique stories, people and places. *“The 2026 Queensland Premier’s Drama Award encourages playwrights to create captivating theatre by submitting fresh ideas and concepts without a completed script.* *Our investment in Queensland Theatre Company and this award enables the company to collaborate with the three finalists to develop their works, with the winning play to premiere in the 2027 season.* *Our 10-year strategy for arts and culture, Queensland’s Time to Shine, outlines our commitment to celebrating our stories and storytellers and boosting the state’s reputation as a vibrant cultural destination.”* Griffith University Pro Vice Chancellor (Arts, Education and Law) and Assistant Vice Chancellor (Cultural Curation and Community Partnerships), **Professor Scott Harrison**, said Griffith University was delighted to support the Queensland Premier’s Drama Award once again. *“We are pleased to champion local voices and support the development of new Australian plays here in Queensland through the new iteration of QPDA. This award has received national recognition and reflects Griffith’s sustained commitment to strengthening a resilient creative industry and fostering a community deeply engaged in the arts.”* **For more information about the Queensland Premier’s Drama Award, visit Queensland Theatre Company’s website at the link below.** Website: <https://queenslandtheatre.com.au/queensland-premiers-drama-award> Socials: <https://www.instagram.com/qldtheatreco/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: *Malacañang Made Us*, the 2024 QPDA winner. Photo by Morgan Roberts *The Queensland Premier’s Drama Award is proudly supported by the Queensland Government and Queensland Theatre Company, with prize contribution by Griffith University.* **Categories:** News --- ### [The Next Step: Legacy World Tour Adds New Performances](https://thescoop.au/the-next-step-legacy-world-tour-adds-new-performances/) **Published:** January 30, 2026 **Author:** Newsroom **Content:** ![The Scoop The Next Step: Legacy World Tour](https://thescoop.au/wp-content/uploads/2026/01/S9_TheNextStep_S09_ALL_KeyTalentStill_WindowWallB5-942x628.jpg "The Next Step: Legacy World Tour • The Scoop")Due to popular demand, new performances have been added to the Australian leg of global dance phenomenon ***The Next Step: Legacy World Tour.*** Featuring many of the beloved cast members from the iconic TV show, ***The Next Step: Legacy World Tour*** arrives in Australia from **8 April** turning up the heat in 10 electrifying venues around the country. Additional performances have now been added to **Melbourne, Geelong, Brisbane, Sutherland** and **Sydney**. Tickets available now from <https://thenextstep.admitone.com/> The tour features a star-studded cast featuring fan-favourites from the series’ historic 10-Season Run of the beloved TV series *The Next Step* including **Victoria Baldesarra** (Michelle), **Trevor Tordjman** (James**), Briar Nolet** (Richelle), **Jordan Clark** (Giselle), **Noah Zulfikar** (Kingston), **Emmerly Tinglin** (Kenzie) **Carter Musselman** (Heath), **Alex Chaves** (Piper), **Benjamin Williams** (Pete), and **Shane Mahabir** (Ethan). This latest tour is a must-see event for fans of the series, with fan-favourite cast members uniting on one stage to perform showstopping choreography, tell new stories, and revisit the iconic moments that made the series a global hit. The live action teen drama is broadcast in over 120 countries and has aired more than 250 episodes over its 10-season run. **Season 10 is currently available on the ABC**. ![The Scoop](https://thescoop.au/wp-content/uploads/2026/01/S1_TNS_Gallery_SS_1305-942x628.jpg "S1_TNS_Gallery_SS_1305 • The Scoop")The cast of The Next Step Season One Image suppliedCast member **Trevor Trojman** said: *“I am so excited to be coming back to Australia with The Next Step Legacy Tour. I have so many incredible memories from touring Australia in the past and feel super lucky to get the chance to come back! Shoutout to all the Aussie TNS fans! Love y’all!”* Fellow cast member **Jordan Clark** reiterated the sentiment saying: *“Hey mates! I can’t even begin to tell you how excited I am to come back to Australia. It’s been 10 long years since I’ve had the pleasure of performing there. I’m so pumped to meet and see all the fans! See you soon!”* ***The Next Step: Legacy World Tour*** is a collaboration between Boat Rocker Studios and MRG Live. The tour is choreographed by **Amy Wright, Trevor Tordjman** and **Jordan Clark**, with Tordjman and Clark also serving as show creatives. ***The Next Step: Legacy World Tour*** **kicks off in Melbourne on 8 April at Hamer Hall, Arts Centre Melbourne. See full dates below.** Tickets are on sale now at the website link below! Website: <https://thenextstep.admitone.com/> Socials: <https://www.instagram.com/thenextstep/> and <https://www.instagram.com/thenextsteptouring/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. 2026 Australian Tour Dates: **MELBOURNE** Venue Arts Centre Melbourne, Hamer Hall Date 8 April Performance Times 2.30pm NEW MATINEE PERFORMANCE, 7.30 pm LIMITED TICKETS Prices From $65.90 (Transaction fees apply) Bookings: [artscentremelbourne.com.au](http://artscentremelbourne.com.au/) **GEELONG** Venue Geelong Arts Centre, The Playhouse Date 9 April Performance Times 2.30pm NEW MATINEE PERFORMANCE, 7.30 pm LIMITED TICKETS Prices: From $69.90 (Transaction fees apply) Bookings: [geelongartscentre.org.au](http://geelongartscentre.org.au/) **ADELAIDE** Venue Thebarton Theatre Date 10 April Performance Time 7.30 pm LIMITED TICKETS Prices: From $75.90 (Transaction fees apply) Bookings [ticketmaster.com.au](http://ticketmaster.com.au/) **GOLD COAST** Venue HOTA Date 12 April Performance Time 7.00 pm Prices: From $69.90 (Transaction fees apply) Bookings: [hota.com.au](http://hota.com.au/) **SUNSHINE COAST** Venue The Events Centre, Caloundra Date 12 April Performance Time 7.30 pm Prices: From $69.90 (Transaction fees apply) Bookings: [theeventscentre.com.au](http://theeventscentre.com.au/) **BRISBANE** Venue QPAC, Concert Hall Date 14 April Performance Times 2.30pm NEW MATINEE PERFORMANCE, 7.30 pm LIMITED TICKETS Prices: From $69.00 (Transaction fees apply) Bookings: [qpac.com.au](http://qpac.com.au/) **NEWCASTLE** Venue Civic Theatre Date 15 April Performance Times 7.30 pm Prices: From $69.90 (Transaction fees apply) Bookings: [civictheatrenewcastle.com.au](http://civictheatrenewcastle.com.au/) **SUTHERLAND** Venue The Pavillion Performing Arts Centre Date 16 April Performance Times 2.30pm NEW MATINEE PERFORMANCE, 7.30 pm LIMITED TICKETS Prices: From $69.00 (Transaction fees apply) Bookings: [tickets.thepavilionarts.au](http://tickets.thepavilionarts.au/) **SYDNEY** Venue State Theatre Date 17 April Performance Times 2.30pm NEW PERFORMANCE, 7.30 pm LIMITED TICKETS Prices: From $69.90 (Transaction fees apply) Bookings: [ticketmaster.com.au](http://ticketmaster.com.au/) **CANBERRA** Venue Canberra Theatre Centre Date 19 April Performance Times 7.30 pm LIMITED TICKETS Prices: From $75.90 (Transaction fees apply) Bookings: [canberratheatrecentre.com.au](http://canberratheatrecentre.com.au/) **Categories:** News --- ### [Review: The Social Ladder By David Williamson Ensemble Theatre](https://thescoop.au/review-the-social-ladder-by-david-williamson-ensemble-theatre/) **Published:** January 29, 2026 **Author:** Nick Dale **Content:** ![The Scoop The Social Ladder Ensemble Theatre David Williamson](https://thescoop.au/wp-content/uploads/2026/01/THE_SOCIAL_LADDER_Mandy_Bishop_Sarah_Chadwick_Jo_Downing_Matt_Minto_Andrew_McFarlane_Johnny_Nasser_creditPhilErbacher_A2A3161-942x628.jpg "The Social Ladder Ensemble Theatre David Williamson • The Scoop")*The Social Ladder*, David Williamson’s newest play, has opened at Ensemble Theatre Sydney in a world premiere season. It’s a sharp, social satire that has you laughing one moment and squirming in your seat the next. A hilariously cutting look at our collective desperation to climb the ranks, Williamson’s new work is current, relatable and brazen in its exposure of human foibles. *The Social Ladder* takes us right into the living room of the Norries as they plan and prep a night to impress. We’ve all been there. Those awkward dinner parties with people of varying social status and political persuasions you’d probably avoid if you had a choice. Katie Norrie (Mandy Bishop) is an arts program officer from a modest background who craves a seat at the table and aspires to a major board position to get there. When Katie and her husband, Roger (Johnny Nasser), invite the Mallorys (Sarah Chadwick and Andrew McFarlane), an elite Sydney power couple, over for dinner, the stakes skyrocket, and Katie goes all in. As the girl with the wrong accent from Engadine, she is desperate to get everything right, including every word that falls out of her husband’s mouth. Old friends are plucked back into temporary favour to help impress the Mallorys, and as drinks flow, polite facades crack and careful social masks begin to slip. David Williamson is a titan of Australian theatre, with a back catalogue that is head-spinningly prolific. As the most produced playwright in Australian theatre history, his work spans decades of Australian social and political life, from *The Removalists* and *Don’s Party* in the 1970s through to films such as *Gallipoli* and *Emerald City* in the 1980s and beyond. ![The Scoop The Social Ladder Ensemble Theatre David Williamson](https://thescoop.au/wp-content/uploads/2026/01/THE_SOCIAL_LADDER_Mandy_Bishop_Sarah_Chadwick_Matt_Minto_creditPhilErbacher_A2A3440-942x628.jpg "The Social Ladder Ensemble Theatre David Williamson • The Scoop")The Social Ladder is a hilariously cutting look at our collective desperation to climb the ranks Photo by Phil ErbacherWilliamson has a knack for highlighting political and social struggles in a way that moves beyond the surface and into the living room, uncovering human flaws and foibles. He understands actors, trusting they will breathe life into his lines which are so quintessentially Australian, making them immediately recognisable. Director Janine Watson, herself an actor, provides a strong structural frame that allows the cast to be shameless and bold. The result is a fearless, skilled ensemble that launches the play with energy, precision and a willingness to get gloriously messy. The set, designed by Veronique Benett, is minimal and malleable, allowing the text and performances to take centre stage. Matt Cox’s lighting adds a subtle sparkle, just enough glamour to signify elite life and the relentless pressure of keeping up appearances. A clever motif appears in the form of descending chandeliers at the start of each act, which feel like characters in their own right. The hilariously tentative way one chandelier lowers at the beginning of the dinner party scene perfectly reflects how we’re all feeling, bracing ourselves for the awkward discomfort that’s about to come. The second act opens with an especially clever and amusing sequence, as the actors and a stage assistant assemble the Norrie living room to absolute perfection. Set to Clare Hennessy’s composition, the scene beautifully heightens audience tension as the couple prepares for their high-stakes dinner. I always love it when directors incorporate actors into stage management, blurring the boundary between off-stage and on-stage worlds. A cast of stage and screen veterans bring Williamson’s biting satire to life with sharp comic timing and precise physical work that keeps the audience on edge. ![The Scoop The Social Ladder Ensemble Theatre David Williamson](https://thescoop.au/wp-content/uploads/2026/01/THE_SOCIAL_LADDER_CAST_Mandy_Bishop_Jo_Downing_Matt_Minto_Andrew_McFarlane_Johnny_Nasser_creditPhilErbacher_2311966-942x628.jpg "The Social Ladder Ensemble Theatre David Williamson • The Scoop")The ensemble of actors all bring strong energetic physicality to their roles Photo by Phil ErbacherMandy Bishop gives a commanding performance as Katie, her physicality expressing tension and desperation from the start. She feels like a dam waiting to burst, and the audience teeters on the edge with her. Bishop plays the ‘pathetic clown’ with hilarious, endearing pathos. Sarah Chadwick is magnetic as Catherine Mallory, snake-like in her sensual charm and penetrating gaze. She brings layering and nuance to the role, subtly subverting expectations as the character unfolds. She’s the quintessential British ex-pat of the North Shore, played with intelligence and pointed subtext. (Fun fact: she played a memorable role in the original *Priscilla Queen of the Desert* film as Tick’s ex-wife.) Andrew McFarlane is charismatic and ruthless as Charles Mallory, expertly handling an unlikeable character who somehow becomes oddly endearing. His verbal and physical wrangling with Matt Minto’s Ben Gregory is a particular highlight. The actors are all particularly impressive in the way they bring strong, energetic physicality to their roles. Some of the sharpest comic moments arrive through movement. There are moments of slapstick and even an unexpected and spontaneous Bollywood interlude. Many lines capture the current social climate with uncomfortable accuracy, with references to trends like AI. When Ben Gregory says to his wife, as she walks in with student assignments to mark, “They’re training AI to mark papers, you know?” Jo replies “Bring it on!”, and it cuts straight to the contemporary mood. Modern cultural shorthand is everywhere, from kimchi, kombucha and sourdough to a frantic reliance on apps and online reviews, with panicked declarations like, “TripAdvisor only gives it two stars.” Wine functions as its own form of social sparring. Requests from the Mallorys around wine selection are especially seat-squirming in their relatability. Watching the cast wriggle, twitch and grimace in this awkward moment is perfectly judged comic timing. *The Social Ladder* delivers a sharp, biting take on social climbing. It’s hilariously engaging theatre that asks us to loosen our tight grip on the social masks we wear. In doing so, it invites us to question our own sense of status, while ultimately forgiving ourselves for our flaws. **David Williamson’s*The Social Ladder* runs to 14 March at Ensemble Theatre.** **78 McDougall Street Kirribilli NSW 2061.** Tickets: <https://www.ensemble.com.au/shows/the-social-ladder/> Website: <https://www.ensemble.com.au/> Socials: <https://www.instagram.com/ensembletheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Phil Erbacher **Categories:** Sydney, Theatre --- ### [Review: Severe Lacerations To The Head 2026 Fringe World Perth](https://thescoop.au/review-severe-lacerations-to-the-head-2026-fringe-world-perth/) **Published:** January 29, 2026 **Author:** Tiffany Barton **Content:** ![The Scoop Severe Lacerations to the Head Fringe World Perth](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-28-at-80556-pm-971x628.png "Severe Lacerations to the Head Fringe World Perth • The Scoop")Kate Smurthwaite is no ordinary comedian. She’s an utterly fearless firebrand with a hell of a lot to say. In her one-hour show, *Severe Lacerations to the Head,* the British comedian takes hilarious pot shots at Trump, calls out racism and Islamophobia in Perth, speaks passionately about the genocide in Gaza, tells us the story behind the show’s title, and titillates the audience with hysterical tales of polyamory and naturism. Her best story is about her recent run at the Edinburgh Fringe, where Oasis decided to perform at a 68,000-seat venue, sending hotel and BnB prices skyrocketing and deterring many visitors from attending the festival. For the first time in her two-decade career (including television and radio), Smurthwaite had to cancel a show when zero audience members turned up. She blogged about it on her website. Next minute, the British right-wing tabloids seized on it and had a field day slagging her off: “Furious feminist comedian blames Oasis…” (The Daily Mail). Even Noel Gallagher weighed in, shaking his head in disgust and sarcastically dedicating a song to “that left-wing lesbian atheist.” “Hang on,” Kate quips. “First of all, he doesn’t seem to know the difference between a lesbian and a feminist. Secondly, he sold out a 68,000-seat stadium, and I got sod‑all audience — and *he’s* whingeing about *me*?” ![The Scoop Severe Lacerations to the Head Fringe World Perth](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-28-at-80819-pm-964x628.png "Severe Lacerations to the Head Fringe World Perth • The Scoop")Kate Smurthwaite performs in Severe Lacerations to the Head for Fringe World Perth and Adelaide Fringe Images suppliedOne of Smurthwaite’s many strengths as a performer is her ability to shrug off public humiliation and turn it into comedy gold. She excels at exposing the misogyny inherent in tabloid media, calling out the attacks on her character and making the audience pee themselves laughing in the process. It’s an admirable trait, especially when you consider that the nastiness she’s endured online and in the press would crush most of us mere mortals. Smurthwaite just takes it on the chin and strides off to her next gig. Last night, she played to a full house, and after the show, many audience members were eagerly enquiring about her one-off poetry show about grief (*Slight*) and her children’s show *Evolution Revolution*, which won Fringe World’s Best Children’s Show last year. Smurthwaite is one of a kind. She speaks truth to power, lives life entirely on her own terms, and calls out the bullshit with skill, flair, and a terrific sense of humour. The audience was lapping her up; the women in particular responded strongly to her fearless, take-no-prisoners stance on misogyny and her brazen ownership of her sexual autonomy and adventurousness. With only one more show before she flies off to [Adelaide Fringe](https://adelaidefringe.com.au/fringetix/severe-lacerations-to-head-af2026), this is your last chance to catch a performer who is not just funny but fiercely alive onstage. You don’t want to miss her. ***Severe Lacerations To The Head* is presented by Kate Smurthwaite and runs on 28 January and 5 February at The Flaming Galah as part of Fringe World Perth. 19B Essex Street Fremantle WA 6160.** Tickets: <https://fringeworld.com.au/whats-on/severe-lacerations-to-head-fw2026> Website: <https://www.katesmurthwaite.co.uk/slh> Socials: [https://www.instagram.com/kate\_smurthwaite/](https://www.instagram.com/kate_smurthwaite/) and <https://www.instagram.com/theflaminggalahfreo/> Kate is also performing her other shows in Perth, *Evolution Revolution* from 29 – 31 January, get tickets [here](https://fringeworld.com.au/whats-on/evolution-revolution-fw2026), and in *Slight* on 8 February. Get tickets [here](https://events.humanitix.com/kate-smurthwaite-slight). [Read more of our Perth Reviews](https://thescoop.au/?s=perth) Images supplied. **Categories:** Comedy, Perth, Theatre --- ### [Review: The Girl's Guide To Saving The World Old Fitz Theatre](https://thescoop.au/review-the-girls-guide-to-saving-the-world-old-fitz-theatre/) **Published:** January 29, 2026 **Author:** Leo Manson **Content:** ![The Scoop The Girl's Guide to Saving to the World Old Fitz Sydney](https://thescoop.au/wp-content/uploads/2026/01/Girls-Save-World_RMiniter-68_Selects-944x628.jpg "The Girl's Guide to Saving to the World Old Fitz Sydney • The Scoop")*The Girl’s Guide to Saving the World* was written in 2014 by English playwright Elinor Cook. Though the concept of a blog is a long-gone medium, the refreshing direction by Roisin Wallace-Nash keeps this production, presented by With Pleasure Productions as part of the Old Fitz late night programming, feeling contemporary. The story follows childhood friends Jane and Bella. Feeling upset with the way women are treated, the two decide to start a blog to discuss these big issues. However, their blog quickly gains traction, forcing the two to confront their history and future as women. The chemistry between Bridget Bourke as Jane and Mia Fitzgerald as Bella is delightful. In particular, their physical closeness really makes you root for the duo. That warmth between them in the opening scene is moving; they genuinely read as childhood friends. Jane is a very compelling character, and this is due to Bourke’s clear characterisation through her acting. She has excellent control of tone, which shines in scenes with the character’s boyfriend, Toby, played by Alex Kirwan. It’s this tone that makes the dialogue feel incredibly authentic. ![The Scoop The Girl's Guide to Saving the World Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/01/Girls-Save-World_RMiniter-1940_Selects-944x628.jpg "The Girl's Guide to Saving the World Old Fitz Theatre • The Scoop")The play is at its strongest in the confrontation between Jane and Toby Photo by Robert MiniterThis is also elevated through the costumes of Jane and Bella. They appear fashionable and trendy, which is very fitting for two young women who work in the media. The play is at its strongest in the confrontation between Jane and Toby. The scene is turbulent and raw. Kirwan, as Toby, begins as this unassuming, goofy man. Yet as the story continues, a hidden, insidious nature gleams through. He captures this darkness that even ‘good’ men can harbour perfectly. This storyline is increasingly relevant today with the growth of the performative male archetype. Since this show relies on the characters’ relatability, setting this rendition in Australia was a clever decision. The Aussie embellishments make the story feel familiar. It’s honestly hard to imagine the play in any other context. Despite the darker elements, the play is mostly a light watch. There is plenty of comedy spliced throughout. This can be seen in the large use of swearing by most characters. The invented profanities add to the homey atmosphere. ![The Scoop The Girl's Guide to Saving the World Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/01/Girls-Save-World_RMiniter-1329_Selects-942x628.jpg "The Girl's Guide to Saving the World Old Fitz Theatre • The Scoop")The staging in this production is simple yet chic Photo by Robert MiniterRiley Warner’s work as set designer is excellent. The staging is simple yet chic. This allows the set to act as a cafe, living room and doctor’s office without the audience even batting an eye. Additionally, the music by composer Angelo Torres tugs at the heartstrings. Especially during the scene where Bella reads from the blog while Jane and Toby are across the stage. It’s soft and haunting, which really supports those serious scenes. The show ends on a hopeful note and leaves one with a lot to think about. It’s satisfying to watch a play where the female characters’ happy ending is to be single. Though *The Girls Guide to Saving the World* isn’t perfect, it’s a unique show with a lot of charm. Its ability to capture such specific and complex characters must be commended. ***The Girl’s Guide To Saving The World* is presented by With Pleasure Productions and runs to 6 February at the Old Fitz Theatre. 129 Dowling Street Woolloomooloo NSW 2011.** Tickets: <https://tickets.iwannaticket.com.au/seller/old-fitz-ad9r> Website: <https://www.oldfitztheatre.com.au/the-girls-guide-to-saving-the-world> Socials: <https://www.instagram.com/oldfitztheatre/> and <https://www.instagram.com/withpleasureproductions/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews-australia/) Photo credits: Robert Miniter **Categories:** Sydney, Theatre --- ### [Win Tickets To Mamma Mia! The Musical In Melbourne](https://thescoop.au/win-tickets-to-mamma-mia-the-musical-in-melbourne/) **Published:** January 27, 2026 **Author:** Newsroom **Content:** ![The Scoop MAMMA MIA! The Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2025/12/02A5151-982x628.jpg "MAMMA MIA! The Musical AG Theatre Melbourne • The Scoop")Fans of the beloved ABBA musical can rejoice as the **MAMMA MIA! The Musical** makes a triumphant return to Melbourne this summer. Independent theatre company **AG Theatre** brings the Tony, Grammy and Olivier Award nominated show to **Melbourne**’s historic National Theatre in St Kilda, kicking off on **7 February 2026**. Seen and loved by over 65 million people around the world, this smash hit phenomenon is a joyous celebration of love, laughter and friendship, proving that **MAMMA MIA! The Musical** is a fabulous night out for all ages. The Scoop is **giving away two double passes** **to see the show!** Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply like the post, give us a follow and comment ‘Scoop’ under the post. Show prize: **Saturday 7 February 7:30pm**, National Theatre Melbourne Featuring twenty-two of ABBA’s greatest hits, including *Dancing Queen, Voulez Vous, S.O.*S and *Take a Chance On Me*, the iconic songs you know and love are guaranteed to have audiences dancing in the aisles! Tickets are [on sale now](https://ticketing.nationaltheatre.org.au/tickets/series/MammaMia26) with a recently announced season extension to 8 March! ![The Scoop Mamma Mia! The Musical National Theatre Melbourne](https://thescoop.au/wp-content/uploads/2026/01/Banner--1200x609.png "Mamma Mia! The Musical National Theatre Melbourne • The Scoop")Set on a Greek island paradise and inspired by the story-telling magic of ABBA’s timeless songs, writer Catherine Johnson’s heart-warming tale centres around a young bride-to-be. On the eve of her wedding, as a daughter’s quest to discover the identity of her father brings three men from her mother’s past back to the island they last visited twenty years ago. **MAMMA MIA! The Musical** first opened on Broadway in 2001, where it ran for 14 years. It became the 9th-longest running show of all time. The musical features music and lyrics by ABBA’s Benny Andersson and Björn Ulvaeus, a book by Catherine Johnson, direction by Phyllida Lloyd and choreography by Anthony van Laast. For theatre enthusiasts and ABBA fans alike, this limited run promises a nostalgic yet fresh celebration of one of Broadway’s most enduring hits. With its infectious tunes and timeless appeal, **MAMMA MIA! The Musical** is set to sweep audiences off their feet once more. **MAMMA MIA! The Musical, presented by AG Theatre, runs from 7 February – 8 March 2026 at The National Theatre. 20 Carlisle Street St Kilda Vic 3182.** Tickets: <https://booktickets.com.au/mammamia/> Website: <https://nationaltheatre.org.au/mamma-mia/> Socials: <https://www.instagram.com/agtheatreproductions/> [Read the Full Cast Announcement!](https://thescoop.au/cast-announced-for-mamma-mia-the-musical-melbourne/) Photo credits: Natalie Edge **Categories:** competition, News --- ### [Cast Announced For Mamma Mia! The Musical Melbourne](https://thescoop.au/cast-announced-for-mamma-mia-the-musical-melbourne/) **Published:** December 5, 2025 **Author:** Newsroom **Content:** ![The Scoop MAMMA MIA! The Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2025/12/02A4463-947x628.jpg "MAMMA MIA! The Musical AG Theatre Melbourne • The Scoop")Fans of the beloved ABBA musical can rejoice as the **MAMMA MIA! The Musical** makes a triumphant return to Melbourne this summer! Melbourne independent theatre company, **AG Theatre**, has announced that the Tony, Grammy and Olivier Award nominated show will open at **Melbourne**’s historic **National Theatre in St Kilda**, for a special five-week engagement, kicking off on **7 February 2026**. Seen and loved by over 65 million people around the world, this smash hit phenomenon is a joyous celebration of love, laughter and friendship, proving that *MAMMA MIA! The Musical* is a fabulous night out for all ages! Featuring twenty-two of ABBA’s greatest hits, including *Dancing Queen, Voulez Vous, S.O.*S and *Take a Chance On Me*, the iconic songs you know and love are guaranteed to have audiences dancing in the aisles! In addition to its legendary stage presence, *Mamma Mia!* has left an indelible mark on popular culture. The musical was adapted into the 2008 film starring Meryl Streep, Amanda Seyfried, Pierce Brosnan, and Colin Firth, followed by a well-received sequel, *Mamma Mia! Here We Go Again* in 2018. Set on a Greek island paradise and inspired by the story-telling magic of ABBA’s timeless songs, writer Catherine Johnson’s heart-warming tale centres around a young bride-to-be. On the eve of her wedding, as a daughter’s quest to discover the identity of her father brings three men from her mother’s past back to the island they last visited twenty years ago. Executive Producer **Andrew Gyopar** said: “*It’s a real privilege to work with so many emerging and early-career performers who are absolutely sensational. Their talent and commitment have shaped this production into something vibrant and full of life.* *Mamma Mia! is the perfect way to celebrate a Melbourne summer. It’s a story filled with music, heart and connection, and our cast brings an energy that feels genuinely fresh. I can’t wait for audiences to experience it!”* ![The Scoop MAMMA MIA! The Musical AG Theatre Melbourne](https://thescoop.au/wp-content/uploads/2025/12/02A5151-982x628.jpg "MAMMA MIA! The Musical AG Theatre Melbourne • The Scoop")MAMMA MIA will run for a special five week engagement at the National Theatre St Kilda Photo by Natalie EdgeStarring in this exciting new Australian production as mother-of-the-bride Donna Sheridan is **Bek Chapman**. Bek is a graduate of the Melbourne Conservatorium of Music and has appeared in productions such as *Kinky Boots*, *Jazz Men* and *Ladies in Black* – Beaumaris Theatre earlier this year where she received a Music Theatre Guild nomination, Best Supporting Actress. In the role of Donna’s daughter and bride-to-be, Sophie, is emerging young Australian actor **Isabelle (Belle) Parkinson**. The WAAPA graduate has recently been seen in *Dog Man the Musical* and as Cecile in *Cruel Intentions*.. Starring as Donna’s vivacious and loyal friend Rosie, is **Antoinette Davis**, who is a graduate of the Federation University Arts Academy. Her recent theatre credits include *Heathers, RENT!* and *Dogfight*. **Sasha Hennequin** rounds out the Dynamo trio in the role of Donna’s spirited friend Tanya. The seasoned performer has starred across stage, theatre and film. Her recent credits include *Spreadsheet* on Paramount+, and *Wentworth* for Foxtel. Stage and screen actor **Sam Anderson** stars as Sam Carmichael, one of Sophie’s unsuspecting fathers. Sam’s stage and screen career has seen him perform as *Dorothy the Dinosaur* with *The Wiggles* and perform at Edinburgh Fringe with his one man show, as well appearances on *Underbelly 2 and All Saints*. Acclaimed theatre performer **Shannon Foley** plays Harry Bright, another man from Donna’s past who could be Sophie’s father. Shannon’s production credits include *Footloose, Harry Potter and the Cursed Child* and *Guys and Dolls*. **Luke Stephens** plays Bill Austin, the third potential father in this light-hearted story. Luke is a versatile Australian actor whose career spans film, television, theatre and commercial work. He made his professional musical theatre debut in *Mamma Mia!* as part of the original Australian company. Sophie’s adoring fiancé, Sky, is played by **Jesse Vasiliadis**, having just finished up a production of *The Last Sunday* *In June* at Chapel Off Chapel*.* **Elena Atanasovski** and **Ally Long** play the role of Sophie’s best friends, Ali and Lisa respectively. Elena is a dedicated performer whose recent credits include *Cruel Intentions: The 90s Musical, Footloose* and *Oz: The Cirque Experience*. Ally will also cover the role of Sophie and recently graduated from the Queensland Academy Of Excellence in Musical Theatre in 2024. Sky’s energetic mates are played by **Abe Geyer** as Pepper and **Deklan Haas** as Eddie. The incredible supporting cast includes (in alphabetical order) **Darcy Ward, Isabella Gangi, Isabelle Pascua, Joey Phyland, Lauchlan Mant, Lily Mullen-Wood, Natsuki Akaishi, Patrick Friedlander** and **Steven Thomas**. **MAMMA MIA! The Musical** first opened on Broadway in 2001, where it ran for 14 years. It became the 9th-longest running show of all time. The musical features music and lyrics by ABBA’s Benny Andersson and Björn Ulvaeus, a book by Catherine Johnson, direction by Phyllida Lloyd and choreography by Anthony van Laast. For theatre enthusiasts and ABBA fans alike, this limited run promises a nostalgic yet fresh celebration of one of Broadway’s most enduring hits. With its infectious tunes and timeless appeal, **MAMMA MIA! The Musical** is set to sweep audiences off their feet once more. **MAMMA MIA! The Musical runs from 7 February – 8 March 2026 at The National Theatre, 20 Carlisle Street St Kilda Vic 3182.** Tickets: <https://booktickets.com.au/mammamia/> Website: <https://agtheatre.com.au/> Socials: <https://www.instagram.com/agtheatreproductions/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Natalie Edge **Creatives** Executive Producer **Andrew Gyopar** Director **Pip Mushin** Music Director **Kent Ross** Choreographer **Adriana Pannuzzo** Production Manager **Carla Maggio De Leo** **Categories:** News --- ### [Review: Now You See Me Live Astounds Perth](https://thescoop.au/review-now-you-see-me-live-astounds-perth/) **Published:** January 26, 2026 **Author:** Nanci Nott **Content:** ![The Scoop Now You See Me Live Perth Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/01/PNC6093-569_HR-942x628.jpg "Now You See Me Live Perth Australian Tour 2026 • The Scoop")Created by Tim Lawson and Simon Painter, *Now You See Me Live* contains bona fide magic of the highest degree, guaranteed to astound. This spectacular stage production reimagines the Lionsgate franchise, eliciting a quality of awe rarely experienced beyond early childhood. The first surprise appears mere seconds into the show, closely followed by an aerial escape, a jaw-dropping quick-change, explosive pyrotechnics, and a helicopter feat – all of which occur within the first five minutes. And it only gets better from there! The Four Horsemen deliver danger, wonder, fun, and illusion with endless energy and flawless technique. Andrew Basso (*The Illusionists*) is a magician and escape artist who specialises in escapology. Gabriella Lester (*Penn & Teller: Fool Us*) is an award-winning magician who has appeared on some of the world’s most prestigious stages. Pablo Canovas (*The Illusionists*) has established his reputation as a leading illusionist of artistic depth. Mathew Pomeroy (*The Conjurors*) is a world-class mind reader and master showman whose playful patter effortlessly mesmerises the crowd. Together, these four are a force to be reckoned with. Their unbelievable skill, expert delivery, and polished execution set this show apart from any other. Replete with humorous theatrics, *Now You See Me Live* is more than a series of back-to-back illusions. The Four Horsemen break physics with feats of teleportation and examples of reverse entropy (infinite drinks hack?). Portal-hopping, mathe-magic, and a spit-take-with-a-sting feature alongside evidence of time travel and proof of liminal spaces. ![The Scoop Now You See Me Live Perth Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/01/PNC6093-794_HR-942x628.jpg "Now You See Me Live Perth Australian Tour 2026 • The Scoop")Even hardcore magic enthusiasts will scratch their heads multiple times Photo by Cameron GrantOne unique moment (part game show, part standup) combines audience participation with mild corporate roasting to great comedic effect. Another act merges technology with real-life in a well-timed dance of reality-bending that blurs the boundary between physical and digital realms. Illusion designer Enzo Weyne is known for technically ambitious amalgamations of theatrical storytelling and immersive visual design, and this show is no exception. From the explosive danger of a safe-escape to the jeopardy of a live scorpion, even hardcore magic enthusiasts will scratch their heads multiple times. Attempts to deconstruct the turns will only reinforce respect. Houdini fans will appreciate a particular narrative tangent, followed by Andrew Basso’s heartstopping take on the most dangerous escape act in magic history – the water torture cell – complete with heavy chains and handcuffs. The act itself – unlike Houdini’s version – is not performed behind a curtain, but in full view of the audience. The show’s sole moment of silence is deafening, rising to a low hum as a captive Basso descends into the water. Evocative lighting and sound design emulate an impression of submergence as the pressure builds, both literally and figuratively. This climactic high-stakes moment is a feat most magic show audiences will never have the good fortune to witness performed in quite this way. The set design could be described as having a ‘showbiz industrial’ vibe, complete with the presence of an onstage videographer (Martin Hopkins) who captures the magic in realtime, feeding closeups and alternative angles to a massive on-stage screen. This infuses the electric atmosphere of live magic with the attentional direction of film, revealing that anything is possible, and that “the closer you look, the less you see.” Hugo Mercier Bosseny’s artistic vision for the lighting design functions on more than just an aesthetic level. It translates meaning, conveys tone, and directs attention, working in perfect harmony with every other element. ![The Scoop Now You See Me Live Perth Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/01/PNC6093-496_HR-941x628.jpg "Now You See Me Live Perth Australian Tour 2026 • The Scoop")Hugo Mercier Bossenys lighting design works in perfect harmony with every other element Photo by Cameron GrantSimilarly, Evan Duffy’s suspenseful score embeds the aural tone of the films into the stage production, emphasising inflection points and building dramatic tension with atmospheric flair. Costume designer Eugene Titus channels the essence of the source material while meeting the demands of live theatre and magical practicality, with noticeable nods to the films. Prestidigitation aficionados and newcomers to the artform will be equally enthralled by the live iteration of this well-beloved franchise. The show’s family-friendly format doesn’t dilute the captivation factor, which is further enhanced by the fast-paced structure that gives this show a broad appeal. Perth’s opening night audience was visibly blown away, expressing their enthusiasm with extended applause and a standing ovation. Pro tip: Try to get a front row seat if you like to be part of the action. If this isn’t possible, don’t despair. The entire audience can participate to an extent, as long as you play your cards right. Which you will (no doubt to your own amazement) under the guiding hands of The Four Horsemen. This two-hour spectacle builds to a surprisingly emotional crescendo. Layered messaging underlines the importance of working magic into someone else’s day, whether that be through a name written on a card, an item placed in a mysterious box, or some other method of uplifting a fellow human. You will walk away from this show determined to cherish every moment of your own magical dash. *Now You See Me Live* is a once-in-a-lifetime experience for families of all ages, would-be time travellers, and anyone hoping to reignite a dormant sense of wonder. ***Now You See Me Live* runs until 1 February at the Crown Theatre Perth.** **Great Eastern Hwy, Burswood WA 6100**. Tickets are available [here](https://www.ticketmaster.com.au/now-you-see-me-tickets/artist/3908244?venueId=304372&brand=crown)! Website: <https://www.nowyouseemelive.com/> Socials: <https://www.instagram.com/nowyouseemelive/> [Read our review of the Brisbane Season!](https://thescoop.au/review-now-you-see-me-live-amazes-brisbane/) Photo credits: Cameron Grant, Parenthesy **Categories:** Perth, Theatre --- ### [Review: Danny And The Deep Blue Sea Old Fitz Theatre](https://thescoop.au/review-danny-and-the-deep-blue-sea-old-fitz-theatre/) **Published:** January 18, 2026 **Author:** Leo Manson **Content:** ![The Scoop Danny and the Deep Blue Sea Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/01/DatDBS_Tony-Davison_4-879x628.jpeg "Danny and the Deep Blue Sea Old Fitz Theatre • The Scoop")*Danny and the Deep Blue Sea,* presented by NicNac Productions at the Old Fitz Theatre, originally ran in 1983 off-Broadway. John Patrick Shanley’s play is a short one, clocking in at just 75 minutes. It’s this short runtime that helps capture the often rapid ways relationships form, making every second count. The titular Danny is played by JK Kazzi, who last year starred in Bell Shakespeare’s *[Henry 5](https://thescoop.au/review-henry-5-a-powerful-journey-from-reckless-youth-to-warrior-king/)*. Opposite him is Jacqui Purvis of *Home and Away* and *Neighbours* fame, playing the deuteragonist Roberta. The strong and incredibly sustained New York accents help set the scene in a dodgy bar excellently. The minimal set gives the audience the context they need and keeps the focus squarely on the performances. In those tense first minutes, audiences are left wondering: *what good can come of this?* The direction by Nigel Turner-Carroll is careful and clever. Using the tables at the bar as symbols for the mental barriers people put up is crafty. Roberta’s continual attempts to sit with Danny feel organic. There’s desperation in her persistence that is deeply compelling. ![The Scoop Danny and the Deep Blue Sea Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/01/DatDBS_Tony-Davison_1-785x628.jpg "Danny and the Deep Blue Sea Old Fitz Theatre • The Scoop")The minimal set gives the audience the context they need and keeps the focus squarely on the performances Photo by Tony DavisonDanny is bitter, tense and violent. He’s written as a product of his time and environment. This type of character is incredibly hard to play, and Kazzi does so with ease. Both stars shine in a production that features moments of on-stage intimacy and violence. Each is handled with an easy naturalism. The scenes of intimacy feel deeply human, tender and soft rather than confrontational. Roberta’s trauma is handled with care and never made light of. Some elements of its treatment reflect the period in which the play is set. Even so, the consistency of the accents and dialogue ensures the audience’s immersion is never lost. As Roberta, Purvis is wonderful to watch. She is the primary driver of hope throughout the play. Pulling Danny from his isolation, her dream-like monologue is deeply moving. This is supported through the simple yet effective sound design by Chaii Ki Chapman. The synth is quiet and monotone, which is perfect for keeping the audience focused on the beautiful dialogue. ![The Scoop Danny and the Deep Blue Sea Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/01/DatDBS_Tony-Davison_8-942x628.jpg "Danny and the Deep Blue Sea Old Fitz Theatre • The Scoop")The lighting by Poppy Townsend is another element that propels the piece Photo by Tony DavisonThough Danny is at first a violent man, the story attempts to keep their relationship balanced. Purvis always plays Roberta as being in control; in their time together, she never plays a victim. Danny and Roberta match each other’s outbursts in a show that feels almost cyclical as they navigate their feelings for each other. The lighting by Poppy Townsend is another element that propels the piece. The blues, pinks, and eventual purples are mesmerising and a wonderful way to shift the tone from the heavy beginning to the hopeful rising action. The ‘moon’ and the window that light filters through are simply gorgeous. *Danny and the Deep Blue Sea* is ultimately a play about masculinity, mental health and the power of human connection. These themes are just as, if not more important, today than they were in the play’s original run. In a world as wild as ours, I can only hope this wonderful production gains even more recognition. ***Danny and the Deep Blue Sea* is presented by NicNac Productions and runs to 7 February at the Old Fitz Theatre. 129 Dowling Street Woolloomooloo NSW 2011.** Tickets: <https://www.oldfitztheatre.com.au/book-now> Website: <https://www.oldfitztheatre.com.au/danny-and-the-deep-blue-sea-1> Socials: <https://www.instagram.com/oldfitztheatre/> and <https://www.instagram.com/nic.nac.productions/> [Read more of out Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Tony Davison **Categories:** Sydney, Theatre --- ### [Announcing Freak Out! The Afterparty To Close Out Midsumma Festival](https://thescoop.au/announcing-freak-out-the-afterparty-to-close-out-midsumma-festival/) **Published:** January 26, 2026 **Author:** Newsroom **Content:** ![The Scoop Freak Out! The Afterparty Midsumma Festival Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2026/01/Additional-Image-2-942x628.jpg "Freak Out! The Afterparty Midsumma Festival Spiegel Haus Melbourne • The Scoop")For one night only, **FREAK OUT! THE AFTERPARTY** is set to become the ultimate late-night closer destination for the Midsumma Festival. A wild collision of burlesque, circus, cabaret, and live acts, all set to the pulsing, nostalgic beat of a 90s house music soundtrack runs on **Saturday 7 February 2026.** Step into Melbourne’s Spiegel Tent, to experience an atmosphere charged with pure joy and fuelled by jaw-dropping talent, bold performances, fierce choreography, and outrageous fun. This is more than just a show—it’s a full-throttle, sweaty, glitter-soaked celebration of dance floor freedom, capturing the euphoria of queer nightlife at its peak. Creator and host, **Flynn V**, said: *“When the world feels overwhelming, I turn to music, movement and being in a room full of people who want to feel something joyful together. FREAK OUT is my way of creating that escape. I’m so excited to finally bring this show to Melbourne Spiegel Haus for the first time with this phenomenal cast.* *There’s vocal powerhouse Milo Hartill, iconic drag superstar, Max Drag Queen, fire breathing sensation Clara Fable, gravity defying aerialist Leo Pentland and burlesque bending Alfie, with plenty more surprises to come!”* ![The Scoop Freakout! The Afterparty Midsumma Festival Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2026/01/Hero-Image-2400-x-1260-FO-26-1196x628.jpg "Freakout! The Afterparty Midsumma Festival Spiegel Haus Melbourne • The Scoop")The cast of Freak Out The Afterparty With no seats and no barriers, you don’t just watch. You become part of the party. Whether you lived the 90s or wish you had, get ready to move, cheer, and lose yourself completely in an explosion of energy that will keep you buzzing all night long!! ★★★★★ “Mind blowing celebration of Queer nightlife” – The List ★★★★★ “Everything cabaret is meant to be” – SeeDoEatReview ★★★★★ “A full throttle celebration of queer joy” – Perth Happenings ★★★★★ “Incredible immersive spectacular” – Fringefeed Winners of Pick of the Week (Adelaide Fringe 2023), Cabaret & Variety Weekly Award (FRINGE WORLD 2025), and Editor’s Pick by The List (Adelaide Fringe 2025). **FREAK OUT! THE AFTERPARTY runs on Saturday 7 February at the Spiegel Haus Melbourne as part of Midsumma Festival. 217 Lonsdale Street, Melbourne Vic 3000.** Tickets are available [here](https://www.spiegelhausmelb.com/events/freak-out-the-after-party)! Website: <https://www.spiegelhausmelb.com/events/freak-out-the-after-party> Socials: <https://www.instagram.com/freakoutafterparty/> and <https://www.instagram.com/flynnvincent/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [PIP Theatre Launches 2026 Season With Over 30 Productions](https://thescoop.au/pip-theatre-launches-2026-season-with-over-30-productions/) **Published:** January 25, 2026 **Author:** Newsroom **Content:** ![The Scoop PIP Theatre 2026 Season](https://thescoop.au/wp-content/uploads/2026/01/MIDNIGHT-CRY-1117x628.png "PIP Theatre 2026 Season • The Scoop")**PIP Theatre** recently celebrated the launch of its **2026 Season** in a significant moment for the independent company based in Milton, Brisbane. With a season boasting over **30 productions** running concurrently in their Level 1 Studio and Level 2 Main Theatre, PIP Theatre cements itself as a year-round hub of independent and contemporary performance. PIP Theatre’s 2026 Season spans drama, comedy, musicals, cabaret, experimental performance and family-friendly work. With such a broad program, the season has been designed so that **there is genuinely something for everyone** – whether audiences are seeking big laughs, powerful storytelling, surprising adaptations, or intimate studio experiences. Founder and Creative Director **Deidre Grace** said: *“When we talk about PIP Theatre, we often talk about shows, seasons, and stories*. *But at the heart of everything we do is something much simpler – people.”* *PIP Theatre was founded on the belief that theatre is not just something you watch; it’s something you share. It’s made by people, for people, and with people – in all their difference, complexity, and contradiction.”* ![The Scoop PIP Theatre 2026 Season Steve the Queen](https://thescoop.au/wp-content/uploads/2026/01/Steve-the-Queen-1117x628.png "PIP Theatre 2026 Season Steve the Queen • The Scoop")Steve the Queen is produced by Cosmo Creative and runs from 4 to 14 MarchThe year includes work by internationally recognised playwrights such as [Jesse Eisenberg](https://piptheatre.org/the-spoils/) and [Marius von Mayenburg](https://piptheatre.org/fireface/), alongside acclaimed Australian voices including [Stephen Vagg](https://piptheatre.org/sidekicks/) and [Joanna Murray-Smith](https://piptheatre.org/female-of-the-species/), and local playwrights **Bianca Butler Reynolds** and **Samantha Hill**. The season also features [*Gutenberg! The Musical!*](https://piptheatre.org/gutenberg-the-musical/) from the creators behind global hits including *Beetlejuice: The Musical*, and a local production of the hit play *[Trophy Boys](https://piptheatre.org/trophy-boys/)*, sitting comfortably alongside bold new writing and independent Australian stories. Supporting **emerging and mid-career artists** remains central to PIP Theatre’s mission, with the venue continuing to provide paid opportunities, creative development, and platforms for artists to build momentum and take risks. *“Our stages are filled with voices that aren’t always centred elsewhere*. *Artists with disability, LGBTIQA+ storytellers, emerging creatives and mid-career artists finding new momentum. At PIP, representation is about who gets to make work – and who is supported to keep making it.”* – Deidre Grace In 2025, PIP Theatre hosted **300 performances across 74 productions**, welcomed **over 11,000 audience members**, and provided **paid opportunities for 295 artists and crew**. This reflects both the scale of the venue’s activity and its ongoing commitment to people at every level. ![The Scoop PIP Theatre 2026 Season Sunny Tribe](https://thescoop.au/wp-content/uploads/2026/01/Sunny-Tribe-1117x628.png "PIP Theatre 2026 Season Sunny Tribe • The Scoop")Sunny Tribe District is produced by Salad Days Collective and runs 18 to 28 MarchAlongside its main stage and studio programming, PIP Theatre will also see the return of its **Children’s Theatre program**. This includes shows for young audiences **every school holiday** – welcoming the next generation of theatre-goers into the building. PIP’s 2026 Season is already underway, with *[Any Moment](https://thescoop.au/review-any-moment-is-a-promising-new-pilot-musical-with-heart/)* just wrapping in the Main Theatre. Opening in the coming weeks are: *[Deal With It](https://piptheatre.org/deal-with-it-2026/)* 28 January – 7 February, Main Theatre, produced by Hanson Creative *[Murder Incorporated](https://piptheatre.org/murder-incorporated/)* 28 January – 7 February, Lvl 1 Studio Theatre, produced by Mayhem Theatre Australia *[Sidekicks](https://piptheatre.org/sidekicks/)* 18 – 28 February, Main Theatre, produced by Tammy Tresillian and Simon Chugg *“As we look ahead to 2026, we’re excited about the range of stories, artists and audiences that will fill this building*. *It’s about continuing to create a space where people feel welcome – on stage, behind the scenes, and in the audience.”* -Deidre Grace **PIP Theatre’s 2026 Season is on sale now. For program details and tickets, visit their website at the links below.** Browse the full 2026 Season guide here: <https://piptheatre.org/whats-on/> Website: <https://piptheatre.org/> Socials: <https://www.instagram.com/piptheatreau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: *The True Midnight Cry* by Minola Theatre, supplied by PIP Theatre. About PIP Theatre: Located in the lively Milton area along Park Road, PIP Theatre is a registered not-for-profit charity that leverages the transformative power of performing arts to drive social change. Their 100-seat intimate venue serves as a vibrant entertainment hub, complemented by a plethora of trendy restaurants for a complete evening out. At PIP Theatre, their purpose is to embed powerful messages in the heart of each performance, igniting conversations and inspiring positive societal impact. **Categories:** News --- ### [Review: Any Moment Is A Promising New Pilot Musical With Heart](https://thescoop.au/review-any-moment-is-a-promising-new-pilot-musical-with-heart/) **Published:** January 25, 2026 **Author:** Jackson Kellaway **Content:** ![The Scoop Any Moment Musical Bradley McCaw PIP Theatre](https://thescoop.au/wp-content/uploads/2026/01/IMG_6ABBAA654A9B-1-e1769302655471-809x628.jpeg "Any Moment Musical Bradley McCaw PIP Theatre • The Scoop")Seeing a brand-new pilot musical is always an interesting experience. The audience has never seen the show performed. They don’t know the music. The staging. Will there be dancing? Is there a band? I know I was thinking all of the above when I arrived at PIP theatre to attend *Any Moment*, a new musical by Bradley McCaw. The show’s production concept is to provide a pathway into the industry for recent musical theatre graduates, and a safe space where they can continue developing whilst performing in a professional environment. The entire show is set in Brisbane on New Year’s Eve. It opens with a character overlooking the bustling streets. They are wondering who the people are, what their life is like, and what they are doing in that moment. As the show is performed in a song cycle format, each character files through singing a variety of songs, all of which relate to their ‘moment.’ Bradley McCaw has done an excellent job with the music and lyrics. ![The Scoop Any Moment Musical Bradley McCaw PIP Theatre](https://thescoop.au/wp-content/uploads/2026/01/IMG_5979-879x628.jpeg "Any Moment Musical Bradley McCaw PIP Theatre • The Scoop")The powerful sound emanating into the audience at times gave goosebumpsThe phenomenal talent onstage only elevate the beauty of the lyrics. I wouldn’t expect less from a cast largely featuring recent graduates from the Queensland Academy of Excellence in Musical Theatre. The powerful sound emanating into the audience, at times, gave me goosebumps, particularly in *White House Down The Road*, performed by Lucy Ross with backing support by the cast. Some songs are hilarious, including *Top Shelf*, performed by Connor Chadwick, with clever lyrics such as, ‘if you were a meat pie, I’d be the crust.’ And *My Phone*, performed by Sam Henderson and Chloe Flanagan, with backing support by Croft Phillips and Niamh Cadoo-Dagley, which is a song about society’s addiction to phones. Both numbers had the audience laughing out loud. I am unsure if the pink and green lighting used in *Door Duet,* performed by Sam Henderson and Connor Chadwick, was an intentional nod to *Wicked* or not, but it made me smile nevertheless. Accompanied by a single piano played by musical director William Martineau, watching *Any Moment* made for an extremely enjoyable afternoon. It left my friend and I contemplating returning for the evening show to experience it all again. ![The Scoop Any Moment Musical Bradley McCaw PIP Theatre](https://thescoop.au/wp-content/uploads/2026/01/IMG_6148-837x628.jpeg "Any Moment Musical Bradley McCaw PIP Theatre • The Scoop")Any moment in our lives no matter how mundane how exciting or sad is every momentBeing a brand-new musical, it is understandable that the production theatrics were kept to a minimum, which worked in the PIP Theatre space. There were no giant sets, no lavish costumes and minimal props. Place and time were instead constructed using lighting. This minimalism allowed greater focus on the performers while sharing their character’s story. Boundary microphones were largely effective, though offstage singing occasionally proved less clear. At times, the ensemble vocals felt slightly uneven and, on occasion, momentarily overwhelmed the leads. Even so, these minor balance issues never detracted from the clarity of the storytelling. The message in *Any Moment* is powerful: that any moment in our lives, no matter how mundane, how exciting or sad, is every moment. They are all around us. We all have them, and we all share them. I guarantee this is not the last moment we will see of this entertaining, wholesome new musical. ***Any Moment* is presented by Bradley McCaw and ran from 21 – 24 January 2026 at PIP Theatre. 20 Park Road Milton Qld 4064.** The season has now ended. Website: <https://bradleymccawmakesmusicals.com/any-moment> Socials: <http://instagram.com/anymomentmusical/> and <http://instagram.com/bradleymcccawmakesmusicals> [Read more of our Musical Theatre Reviews!](https://thescoop.au/musical-theatre-reviews/) Images supplied. Audiences can further explore the work by listening to *[Any Moment: The Concept Cast Recording](https://bradleymccawmakesmusicals.com/any-moment)*, available online. **Categories:** Brisbane, Musical Theatre --- ### [Review: Lacrima by Caroline Guiela Nguyen 2026 Sydney Festival](https://thescoop.au/review-lacrima-by-caroline-guiela-nguyen-2026-sydney-festival/) **Published:** January 24, 2026 **Author:** Jasmine Joyan **Content:** ![The Scoop Lacrima Sydney Festival 2026](https://thescoop.au/wp-content/uploads/2026/01/Lacrima-2026-01-22-photo-by-Wendell-TeodoroLacrima-2026-01-22-photo-by-Wendell-Teodoro-WT9_0807-942x628.jpg "Lacrima Sydney Festival 2026 • The Scoop")In the last few years, mainstream discourse has criticised the production of fast fashion, which has cast moral judgment on those who purchase such goods. The implicit blame falls on consumers of lower socio-economic classes who may rely on fast-fashion due to its affordability. But where does high fashion fall within this? How much do we truly know about the ‘ethical’ practices of haute couture? Do those who can afford such luxury goods have hands as pristine as the dresses they buy? Caroline Guiela Nguyen’s *Lacrima* explores this through a parallel narrative, tracing the story behind the making of the Princess of England’s wedding dress. This multilingual production, performed in French, English and Tamil, captures the intersection of dominance across different spaces and structures. When the Princess of England announces her engagement, Maison Beliana, a Parisian haute couture fashion house, wins the bid for its commission. The making of the dress is divided into three parts: its veil in Alençon, its dress in Paris and its train in Mumbai. Whilst the dressmaking is divided, the story is not, as Nguyen interweaves both the commercial and personal costs of vanity and beautification. The story explores how much blood, sweat and tears *dye* the making of haute couture. The cast is strong and effortlessly responds to each other’s cues and rhythms moving across the stage, both in performance and in transforming the set, with a choreographed fluidity. Maud Le Grevellec, who plays Marion, highlights the martyrdom of being a mother, wife and head of the atelier in a poetic suffering which culminates in a devastating outcome. Dan Artus, who plays Julius Marion’s husband, also craftily transitions from a seemingly neglected and inadequate husband to a man with complete dominance and violent control over his wife, depicting the nature of domestic violence and abuse. ![The Scoop Lacrima Perth Festival 2026](https://thescoop.au/wp-content/uploads/2025/10/Lacrima_credit-Jean-Louis-Fernandez--1004x628.jpeg "Lacrima Perth Festival 2026 • The Scoop")The set design is spectacular and the seamless movement to establish shifts in location is effortlessly done Photo by Jean Louis FernandezA special mention must also be made for Aurore Medjeber, whose understated control and restraint powerfully encapsulate the bittersweet idea of legacy and loss. The production is one of melodrama, and both sound and music technicians Antoine Richard, Jean-Baptiste Cognet and Teddy Gauliat-Pitois meet that expectation. Whilst the intensity and looming sense of dread feel at times draining, this somatic experience wonderfully culminates in the final scenes where the true experience of making a dress and wearing a dress is both felt and revealed. Alice Duchange’s set design is spectacular. The set’s seamless movement and centring of different desks and tables to establish shifts in location is effortlessly done without distracting from the video projections of Jérémie Scheidle. However, the set lives up to its description – it is purely a spectacle. Nguyen’s production heavily relies on Scheidle’s poetic videography to advance the story. Without the set, the performance could stand on its own as a fascinating experimental film, begging the question of the line between theatre and film when projections are so heavily relied upon. The paradox of this film is that, in isolation, each part of the production is an elegant thread of expertise and passion. From Duchange’s set designs and the grandeur of Benjamin Moreau’s costumes and the rapport of the cast, each element stands as an elegant thread of expertise and passion. However, woven together, much like the Princess of England’s veil, the work becomes too heavy and overwhelms the audience in a competition between each component in almost every scene. Nguyen’s script is clearly researched, but it goes into excessive detail about the dressmaking that becomes borderline verbose in what is already a very long, three-hour production. The commentary on the imbalance of power between the global North and South is didactic and reduces the power of more poignant scenes. ![The Scoop Lacrima 2026 Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/Lacrima-2026-01-22-photo-by-Wendell-Teodoro-WT9_0339-942x628.jpg "Lacrima 2026 Sydney Festival • The Scoop")Each element of the production stands as an elegant thread of expertise and passion Photo by Wendell TeodoroAbdul’s role as the embroidery maker in Mumbai plays a meta-role by remaining primarily in the background of the performance, much like dressmaking, creating more tension when the viewer sees Abdul on the video projections for his mandated eye appointment. However, long and overzealous dialogue about the idea of Western ethics detracts from such meaningful direction. By incorporating so many storylines, some of Nguyen’s ideas lose their nuance. The storyline of the genetic disease seems out of place and competes with a young lacemaker’s own complicated history and her relationship to lace. These storylines then attempt to work alongside those set in Mumbai and Paris, but appear much less significant and relevant. *Lacrima* is a work of striking ambition and undeniable craft, one that is as invested in spectacle as it is in moral interrogation. In striving to say everything, *Lacrima* risks obscuring its most powerful insights, which emerge most forcefully in moments of restraint, silence, and embodied labour. What lingers is not the grandeur of the Princess’s dress, but the weight of the hands that made it—strained, unseen, and ultimately burdened by a beauty too heavy to wear. ***Lacrima* is presented by Caroline Guiela Nguyen & Théâtre National de Strasbourg**. **It** **runs to 25 January at Rosyln Packer Theatre as part of Sydney Festival.** **22 Hickson Rd, Walsh Bay NSW 2000.** It then runs 6 – 10 February as part of Perth Festival. Tickets Sydney: <https://www.sydneyfestival.org.au/events/lacrima> Tickets Perth: <https://www.perthfestival.com.au/program/season-2026/lacrima> Socials: [https://www.instagram.com/sydney\_festival/](https://www.instagram.com/sydney_festival/) and [https://www.instagram.com/caroline\_guiela\_nguyen/](https://www.instagram.com/caroline_guiela_nguyen/) [Read more of our Sydney Festival reviews](https://thescoop.au/?s=sydney+festival) Photo credits: Wendell Teodoro **Categories:** Sydney, Theatre --- ### [Review: Elixir Revived 2026 Fringe World Perth](https://thescoop.au/review-elixir-revived-2026-fringe-world-perth/) **Published:** January 24, 2026 **Author:** Greta Rule **Content:** ![The Scoop Elixir Revived Head First Acrobats Fringe World Perth](https://thescoop.au/wp-content/uploads/2026/01/A_ElixirRevived_JasonMatz-82-942x628.jpg "Elixir Revived Head First Acrobats Fringe World Perth • The Scoop")Head First Acrobats return to Perth Fringe World this year with a bang in their new show: *Elixir Revived*. A high-energy production filled with daring acrobatics and cheeky humour; it’s a perfect way to end a night out with friends at Northbridge’s Pleasure Gardens. Made up of four boys: Callan Harris, Anthony Saltalamachia, Thomas Gorham and Liam Dummer, the group combines slapstick physical comedy, satirical storytelling and a little spice, putting the pleasure in Pleasure Gardens. You can find them performing late at the Aurora Spiegeltent in Russell Square. After grabbing a few drinks at the pop-up bars, take your friends, or a date, to a show that’s guaranteed to end the night with a whole lot of laughs. These four chiselled acrobats tell the story of misguided scientists, employees of an authoritarian pharmaceutical corporation, attempting to find the Elixir of Life. The catch: they must test the colourful concoctions on themselves. What unfolds is a spectacle blending skilled athletic feats with storytelling and playful tease. One of the most compelling elements of *Elixir Revived* is the slapstick physical comedy. This being my first time at a Head First Acrobatics show, it was a lot funnier than I had expected, eliciting many laugh-out-loud moments. ![The Scoop Elixir Revived Head First Acrobats Fringe World Perth](https://thescoop.au/wp-content/uploads/2026/01/A_ElixirRevived_JasonMatz-33-941x628.jpg "Elixir Revived Head First Acrobats Fringe World Perth • The Scoop")One of the most compelling elements of *Elixir Revived* is the slapstick physical comedy Photo by Jason MatzDialogue is scarce, with most of the humour delivered through physical theatre. The performers rely on exaggerated movement, body language and sharp audience interaction to land their jokes. The opening night audience ate it up: the performers’ comedic timing was spot on. Every creative choice is deliberate to enhance the humour. The sound design, for example, cleverly swings between dramatic action-movie-style music and mundane elevator music to match the storyline. Each acrobat is given time to show off their distinct, individual talents. From aerial ropes to knife throwing to stunts with ladders and blocks, the group throws themselves around the stage in daring stunts with confidence. In the process, they strip down to gaudy velvet underwear, much to the audience’s delight. Watching the acrobats execute their ‘don’t-try-this-at-home’ style stunts is genuinely nerve-wracking. Like many other audience members, I found myself audibly gasping on many occasions. Depending where you’re sitting, you can see the action from almost any angle, and the acrobats have nowhere to hide as they put their bodies on the line. ![The Scoop Elixir Revived Head First Acrobats Fringe World Perth](https://thescoop.au/wp-content/uploads/2026/01/ElixirRevived_JasonMatz-60-942x628.jpg "Elixir Revived Head First Acrobats Fringe World Perth • The Scoop")Each acrobat is given time to show off their distinct individual talents Photo by Jason MatzThe show is less Magic Mike, more Cirque du Soleil, but with minimal clothing. The routines are predominantly played for laughs and shock factor, rather than seduction. What truly elevates the performance, from an audience perspective, is the performers’ evident enjoyment in what they’re doing. They’re having as much fun on stage as we are in the audience. *Elixir Revived* offers exactly what many people seek from the arts: a welcome distraction from reality and a chance to laugh at moments of absurdity. It’s silly, raunchy and undeniably entertaining. Yet, beneath the surface, it could also be read as a satirical reflection of contemporary anxieties. That is, the obsession that powerful, authoritarian billionaires have with finding a way to live longer, or forever. Watching the subtle mocking of corporate ambition in a show, and industry, that undoubtedly relies on community support is gratifying. Without a doubt, *Elixir Revived* is a must-see Perth Fringe World show if you’re looking for an exciting night out and you love a circus act. Even if it’s just to see four snatched men do audacious stunts in velvet undies, make sure to visit them at the Pleasure Gardens while you can! ***Elixir Revived* runs to 15 February as part of 2026 Fringe World Perth. The Aurora Spiegeltent at The Pleasure Garden**, **Russell Square, James St, Northbridge WA 6003.** Tickets: <https://fringeworld.com.au/whats-on/elixir-revived-fw2026> Website: <https://www.headfirstacrobats.com/> Socials: <https://www.instagram.com/headfirstacrobats/> [Read more of our Fringe reviews!](https://thescoop.au/?s=fringe) Photo credits: Jason Matz **Categories:** Circus, Perth --- ### [Review: Sisa-Sisa Bankstown Art Centre 2026 Sydney Festival](https://thescoop.au/review-sisa-sisa-bankstown-art-centre-2026-sydney-festival/) **Published:** January 24, 2026 **Author:** Benjamin Webb **Content:** ![The Scoop Sisa-Sisa Sydney Festival Bankstown Arts Centre](https://thescoop.au/wp-content/uploads/2026/01/SisaSisa_260123_-VictorFrankowski-8597-942x628.jpeg "Sisa-Sisa Sydney Festival Bankstown Arts Centre • The Scoop")There are nights in the theatre where applause feels insufficient, where clapping hands struggle to meet what has just been offered. *Sisa-Sisa* is one of those nights. This double-bill of solo dance works is not performance as spectacle, but performance as remembrance – an act of listening to bodies that carry histories words cannot fully hold. Premiering as part of Sydney Festival and presented in partnership with Bankstown Arts Centre, *Sisa-Sisa* is a world premiere commissioned with support from Create NSW. The title itself signals its intent: *sisa-sisa* is an Indonesian word meaning “remains.” What follows are two deeply personal works, *Gelumbang Raya* by Murtala and *Jejak & Bisik* by Alfira O’Sullivan, grounded in Indonesian cultural frameworks and united by a shared inquiry into what endures after trauma, silence and change. Each solo unfolds as a lived testimony. In *Gelumbang Raya* – roughly translated as “great wave” – Murtala retraces his experience volunteering in the aftermath of the 2004 Aceh tsunami, where he spent months recovering bodies from the land. ![The Scoop Sisa-Sisa Sydney Festival Bankstown Arts Centre](https://thescoop.au/wp-content/uploads/2026/01/SisaSisa_260123_-VictorFrankowski-8991-942x628.jpg "Sisa-Sisa Sydney Festival Bankstown Arts Centre • The Scoop")Sisa Sisa includes two deeply personal works *Gelumbang Raya* by Murtala and *Jejak Bisik* by Alfira OSullivan Photo by Victor FrankowskiThe work moves between storytelling and movement, refusing to sensationalise catastrophe while allowing its weight to be felt. *Jejak & Bisik* (“traces and whispers”) turns inward. Alfira O’Sullivan confronts cultural silences around fertility, perimenopause and the ageing female body, weaving memory, voice and movement into a ritual of acknowledgement and transformation. Both works had the audience cheering cultural chants and stamping their feet on the floor as applause rather than the typical Western clapping hands. The experience for both performers and observers is less about catharsis and more about recognition – an appreciation that deepens on an intellectual level even as it resonates emotionally. As performers, both Murtala and O’Sullivan are commanding in entirely different ways. Murtala’s physical language is grounded and deliberate, his movement carrying the labour of memory and the aftershocks of displacement. Alfira’s work is more textural and layered, combining body percussion, soulful song, voice-over and culturally informed choreography to articulate experiences so often left unspoken. ![The Scoop Sisa-Sisa Sydney Festival Bankstown Arts Centre](https://thescoop.au/wp-content/uploads/2026/01/SisaSisa_260123_-VictorFrankowski-8746-942x628.jpg "Sisa-Sisa Sydney Festival Bankstown Arts Centre • The Scoop")This double bill of dance works is not performance as spectacle but performance as remembrance Photo by Victor FrankowskiThe creative team supports this work with remarkable sensitivity. Gondrong Gunarto’s original score thrums beneath the movement, at times insistent, at times almost imperceptible. Sound design by Gembyang Abad Enggal deepens the sensory landscape, while Fausto Brusamolino’s lighting design sculpts space with precision. Sam James’ visual design presents both natural phenomena in beautiful artistic form. Costumes by GaluhSari honour cultural specificity and Danielle Micich, former Artistic Director of Force Majeure, brings a clear curatorial hand as Creative Associate. In the end, *Sisa-Sisa* is not easily summarised, and nor should it be. It is a raw and resonant act of remembrance – intimate, unflinching and profoundly human. *Sisa Sisa* is a powerful reminder that when language falls short, the body remembers – and dance endures. ***Sisa-Sisa* runs to 24 January at Bankstown Arts Centre as part of Sydney Festival. 5 Olympic Parade Bankstown NSW 2200.** Tickets: <https://www.sydneyfestival.org.au/events/sisa-sisa> Website: <https://www.bankstownartscentre.com.au/sisa-sisa> Socials: <https://www.instagram.com/alfirasuaradance/> and <https://www.instagram.com/pakmuraustralia/> [Read more of our Sydney Festival Reviews](https://thescoop.au/?s=sydney+festival) Photo credits: Victor Frankowski **Categories:** Dance, Sydney --- ### [Review: Mama Does Derby 2026 Sydney Festival](https://thescoop.au/review-mama-does-derby-2026-sydney-festival/) **Published:** January 17, 2026 **Author:** Ronson Blake **Content:** ![The Scoop Mama Does Derby Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/R3_0534-942x628.jpg "Mama Does Derby Sydney Festival • The Scoop")The queue for Adelaide-based Windmill Production Company’s latest creation *Mama Does Derby* stretches down the Sydney Town Hall steps. The crowd, surprisingly older than expected, is buzzing. The cramped Druitt St foyer is packed with punters eyeing off the roller derby merch. Inside, the ground floor of the venerable old dame has been transformed into a roller derby track stretched between two banks of opposed seating. Roller derby warm-up time – and we are pumped! Co-created by writer Virginia Gay and inspired by director and collaborator Clare Watson’s personal history, *Mama Does Derby* sees mother Maxine (Amber McMahon) and 16-year-old daughter Billie (Elvy-Lee Quici) washed up in yet another regional town, clinging to each other for support. Maxine’s way of providing this is to be Billie’s BFF, the fun mum constantly wisecracking while abrogating her parental role. It’s a little bit Saffy and Edina from *Ab Fab*, but without the comedic tartness. As Maxine continues behaving like a teenager, Billie becomes increasingly anxious. But when Maxine finally dares to find a sense of place and identity in the local roller derby community, Billie feels abandoned just as she is grappling with her own identity. Directed by Watson at a cracking pace with a playful positivity as befits the production’s ethos, the play examines how women can find themselves trapped in lonely places, desperate for support that is often difficult to find. ![The Scoop Mama Does Derby Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/R5_5799-941x628.jpg "Mama Does Derby Sydney Festival • The Scoop")Mama Does Derby has some big theatrical elements including a three piece live punk band Photo by Claudio RaschellaThe early scenes aim for big, crazy, and lovable, but miss the mark because the humour is not sharp enough. McMahon strives hard to compensate, but can only do so much with such a broadly written OTT character. Quici fares better because Billie is more clearly defined and believable, and Quici’s sincerity rings true. There *is* a Snowtown joke that lands well. Yep, they went there. In fact, it’s a shame the script didn’t go there more often to provide a little more shade and bite, as it does in the later, increasingly pointed interactions between a school counsellor (a funny Annabel Matheson) and mother and daughter. *Mama* *Does Derby* gels in later scenes when tension develops in the mother-daughter relationship, bringing some real emotional heat. Billie’s anxieties become so acute that they assume physical form as a shape-shifting demon, Nathan (Benjamin Hancock). Hancock not so much moves as oozes and contorts with an oily sinuousness that is enhanced by a stunning black sequined costume from designer Jonathon Oxlade and maker Ziva Von Der Borch. Hello darkness, where have you been? It’s a brilliant theatrical representation of mental trauma. Still, even as it interrogates what it means to be a woman fleeing an abusive relationship, *Mama Does Derby* is meant to be fun and a little bit frothy. The male characters, Dave (Dylan Miller) and Neil (Antoine Jelk, who also doubles on drums in the band), exist largely for comic relief, which is quite entertaining. ![The Scoop Mama Does Derby Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/R3_8878-942x628.jpg "Mama Does Derby Sydney Festival • The Scoop")The ten Sydney Roller Derby League athletes are also integral to the mechanics of the production Photo by Claudio RaschellaThis production is *definitely* about spectacle. How couldn’t it be with so many (literal) moving parts? Plus dramatic lighting from Lucy Birkinshaw and booming sound. Not to mention a 3-piece punk band (another nod to derby culture) covering a range of songs from the Beastie Boys’ *Sabotage*, through Tina Turner, to a great outro with *The Distance* by Cake. So much so that it’s with some relief when moments of respite arrive with the quietly assured performance from Aud Mason-Hyde as Hux, Billie’s new friend and potential love interest. Roller derby, predominantly a women’s sport, is positioned at the heart of a narrative emphasising themes of empowerment and community for women. From staging a climactic race to manipulating set changes, the ten Sydney Roller Derby League athletes are also integral to the mechanics of the production. Here, Oxlade’s design embraces the fluidity of movement inherent in roller skating. Sets and props are mounted on wheels that fit together like Lego. It works seamlessly, aided by some wizardry from choreographer Larissa McGowan. *Mama Does Derby* is something of a bildungsroman – for 16-year-old Billie certainly, but perhaps also for Maxine. Their relationship is ‘normalised’ through a catharsis courtesy of roller derby. You don’t have to embrace the ending, and *Mama Does Derby* doesn’t traverse virgin territory, but it does have some big theatrical elements, a lot of heart, and – roller derby! ***Mama Does Derby* is presented by Windmill Production Company and runs to 22 January at Sydney Town Hall as part of 2026 Sydney Festival.** **483 George Street NSW 2000.** It then runs 27 February – 8 March as part of [Adelaide Festival](https://www.adelaidefestival.com.au/whats-on/season-2026/mama-does-derby). Get tickets [here](https://www.windmill.org.au/show/mama-does-derby/). Website: <https://www.sydneyfestival.org.au/events/mama-does-derby> Socials: [https://www.instagram.com/sydney\_festival/](https://www.instagram.com/sydney_festival/) and <https://www.instagram.com/windmillprodco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Claudio Raschella **Categories:** Sydney, Theatre --- ### [Review: Alice In Wonderland Ballet Is A Dazzling Golden Age Delight](https://thescoop.au/review-alice-in-wonderland-ballet-is-a-dazzling-golden-age-delight/) **Published:** January 23, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Alice in Wonderland Ballet Theatre Queensland](https://thescoop.au/wp-content/uploads/2026/01/BalletTheatreQueensland_AliceinWonderland26-13-copy-942x628.jpg "Alice in Wonderland Ballet Theatre Queensland • The Scoop")*Alice in Wonderland*, a brand-new full-length ballet, has arrived, presented by Ballet Theatre Queensland (BTQ) for a spectacular limited season at QPAC. This marks BTQ’s second new work in as many years, following *Snow White,* which premiered in 2025. Like *Snow White*, this production features an entirely original score by Dr Lucas D. Lynch. There are also new designs and, of course, fresh choreography by Artistic Director, Clare Morehen, blending classic ballet technique with jazz-infused, era-specific movement. The story reimagines Lewis Carroll’s classic novel, transporting audiences to Hollywood in the 1930s. It opens not unlike *The Wizard of Oz*, with a completely sepia-toned colour palette. (There’s even a moment of heel-clicking choreography, a playful nod to Dorothy’s mantra: there’s no place like home.) Three tall streetlamps line the stage, evoking a loving homage to *Singin’ in the Rain.* A dreamy Alice reads her novel as life rushes past her, unaware of the time until she bumps into a mysterious man who reveals it on his pocket watch. She flees, realising she is late for school. Before long, she ventures down the rabbit hole into Wonderland, here reimagined as a bustling, neon-lit soundstage. Drawn into the golden world of old Hollywood, Alice encounters a host of colourful characters, including a Mad Hatter director, a pair of Tweedle costume ladies, a leading-man Caterpillar and a Hollywood starlet Queen of Hearts. Lucas D. Lynch’s score enchants from the Overture. Performed live to perfection by the Cadenza Chamber Players, it is sweeping and cinematic, transporting us to a place we want to stay for as long as possible. (His *Snow White* score has been recorded on both CD and vinyl, both of which are for sale alongside a charming collection of mementos in the foyer.) ![The Scoop Alice in Wonderland Ballet Theatre Queensland](https://thescoop.au/wp-content/uploads/2026/01/BalletTheatreQueensland_AliceinWonderland26-5-copy-942x628.jpg "Alice in Wonderland Ballet Theatre Queensland • The Scoop")Drawn into the golden world of old Hollywood Alice encounters a host of colourful characters Photo by Quince and MulberryAs Alice, Genevieve Schofield embodies the sweetness and dreamy innocence of youth, captured beautifully in her Act One solo. The classroom scene is an early Act One standout. Lynch’s score is wonderfully melancholic here, while Josh McIntosh’s desk and blackboard set captures the rigidity of 20th century education. In an uncredited cameo role, Sophia Gougoulas plays the menacing teacher to perfection, alongside Schofield and a cast of charming schoolchildren. It’s not long before the rich colours of Wonderland descend. Reds, pinks and purples dominate both Rebekah Ellis’ stunning costumes and Ben Hughes’ evocative lighting design. This is a world bursting with colour, sparkle and possibility. Almost all of Wonderland’s iconic characters are introduced in Act One, and what a joy it is to see so many brightly painted ballet shoes, a welcome break from tradition. Standout performers include Jayden Grogan as the Mad Hatter film director, who calls “Cut!” at the end of sweeping scenes. His acrobatic skills are impressive, and Morehen’s choreography integrates them in a way that feels natural to his energetic character. The twin wardrobe assistants, aka Tweedledum and Tweedledee, make a striking pair. Played by Chloe Hough and Zara Strelen, they dance with fabulous energy, stage presence and characterisation. The Act One finale sees the cast burst into a high-energy dance number inspired by the great styles of the time, notably the Charleston. It is undeniably the joyous highlight of the first half. ![The Scoop Alice in Wonderland Ballet Theatre Queensland](https://thescoop.au/wp-content/uploads/2026/01/BalletTheatreQueensland_AliceinWonderland26-11-copy-942x628.jpg "Alice in Wonderland Ballet Theatre Queensland • The Scoop")Clare Morehen blends classic ballet technique with jazz infused era specific movement Photo by Quince and MulberryBut the best is yet to come. Act Two begins, and we meet the Diva, aka the Queen of Hearts, played by Sophia Gougoulas. She arrives late to set in a luxurious motor car and is enraged when she discovers that Alice has replaced her, wearing an identical sparkling red dress. Alice is swiftly cast aside, the cameras roll, and the movie magic begins. Channelling Lady Gaga in a platinum soft-waved wig, Gougoulas delivers a show-stealing performance as the Diva. Layer after layer, her costuming is divine, from the fur-trimmed, full-length red overcoat to the soft white satin slip. This is old Hollywood glamour ramped up to ten. The highlight of the production is the Romantic Pas De Deux. Staged as a scene from a resplendent old Hollywood movie musical, it pairs the Diva with her leading man, the enigmatic Jordan Lennon, as the blue-haired Caterpillar. Together they dance surrounded by a chorus of Flamingos dressed as feathered showgirls. Lynch’s lush score reaches its romantic peak here, and the overall effect is so overwhelmingly beautiful it moved me to tears. There are countless technical highlights best left as a surprise; there are simply too many to name. Josh McIntosh works magic, creating an imaginative set within a theatre with no fly tower or conventional wing space. Kudos to the entire team who execute set transitions with such seamless precision. There’s still time to secure a ticket to *Alice in Wonderland*, but don’t be late; this is a very important date. With this dazzling new production, Ballet Theatre Queensland reaffirm their commitment to ambitious, original storytelling and their growing reputation as one of Australia’s most exciting ballet companies. ***Alice in Wonderland* is presented by Ballet Theatre Queensland. It runs for a strictly limited, 8 show season until 25 January at the Concert Hall, QPAC.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/btqaliceinwonderland26> Website: <https://www.btq.com.au/production/alice-in-wonderland-2025> Socials: <https://www.instagram.com/ballettheatreqld/> [Read our review of BTQ’s Snow White!](https://thescoop.au/review-ballet-theatre-queenslands-new-snow-white-is-pure-magic/) Photo credits: Kate Taylor, Quince & Mulberry **Categories:** Brisbane, Dance --- ### [Film Review: Sirāt Is A Haunting Road Into The Unknown](https://thescoop.au/film-review-sirat-is-a-haunting-road-into-the-unknown/) **Published:** January 21, 2026 **Author:** Tiffany Barton **Content:** ![The Scoop Sirāt feature film Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/Sirat-947x628.jpg "Sirāt feature film Perth Festival • The Scoop")A father searches for his missing daughter at a rave in southern Morocco, accompanied by his young son. The country is in a state of emergency. The military arrives to evacuate the LSD-soaked ravers from their beat-driven utopia. Father and son escape the militia and follow a band of raver renegades into the desert, chasing rumours of the next rave, and the faint hope of finding the daughter. And so the story begins. *Sirāt* is a film as compelling and relentless as the soundtrack that drives it. From its opening images of bodies moving in hypnotic unison to its final, devastating conclusion, it grips the audience by the short and curlies and refuses to let go. This is a film like no other. *Sirāt* defies easy categorisation, fusing one part road-trip adventure, one part horror film, one part war movie and three parts spiritual odyssey. The result is a volatile Molotov cocktail that leaves audiences exhilarated, shaken and slightly scorched. ![The Scoop Sirāt feature film Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/Sirat-2-1003x628.png "Sirāt feature film Perth Festival • The Scoop")Sirat is a film that defies easy categorisation and will leave leaves audiences exhilarated shaken and slightly scorchedThe cast is unforgettable: ecstatic dancers shaped by psychedelic drugs, some missing limbs, most of them pushing middle age. Like the film itself, they defy convention and demand that the audience rethink who gets to be seen as vital, beautiful or free. Character development is minimal, but the film more than compensates by capturing raw, authentic moments of connection. Director Oliver Laxe draws bravura performances from a largely non-professional cast sourced from within the Spanish rave scene. The film’s visceral authenticity is such that you can almost taste the grit of the desert and smell the sour tang of unwashed bodies. The music is central – consummately evoking euphoria, danger and transcendence – while the Moroccan landscape looms with an ever-present sense of apocalypse. ![The Scoop Perth Festival Lotterywest Films Somerville](https://thescoop.au/wp-content/uploads/2025/12/Lotterywest-Film-Opening-Perth-Fest-print-5057-941x628.jpg "Perth Festival Lotterywest Films Somerville • The Scoop")Sirat runs until 25 January as part of Lottery West Films and Perth FestivalBy the time *Sirāt* reaches its final moments, the rave has long since dissolved into something far darker and more elemental. What remains is a confrontation with death that feels both personal and cosmic. The desert swallows illusion, community fractures, and the music that once promised transcendence becomes an echo of something already lost. Few films capture grief with such ferocity or refuse catharsis so completely. *Sirāt* does not offer answers; it offers an experience: one that crawls under the skin, rattles the nervous system, and leaves the audience blinking into the light, stunned. ***Sirāt* runs from 19 – 25 January** **as part of Lotterywest Films and Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Tickets: <https://www.perthfestival.com.au/program/season-2026/sirat> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Sirāt Director: Oliver Laxe Cast: Sergi López, Brúno Nuñez, Stefania Gadda, Joshua Liam Henderson, Tonin Janvier, Jade Oukid, Richard Bellamy Country of Origin: France / Spain Duration: 115 mins Rating: M **Categories:** Film --- ### [Announcing Tonsils + Tweezers For New Indie Theatre Collective](https://thescoop.au/announcing-tonsils-tweezers-for-new-indie-theatre-collective/) **Published:** January 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Tonsils + Tweezers Sharehouse Production Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/01/TONSILS_NOTEXT-837x628.jpeg "Tonsils + Tweezers Sharehouse Production Old Fitz Theatre • The Scoop")**Sharehouse Production Company** in association with The Old Fitz Theatre is thrilled to present their debut production, ***Tonsils + Tweezers*** from **17 -27 February** as part of Fitz’s 2026 Late Night programming. This is the debut production for Sharehouse Production Company, a newly formed Sydney-based collective founded by four housemates and NIDA grads (Jago Field, Caleb Jamieson, Caitlin Green and Victor Xu). *Tonsils + Tweezers*, written by Will O’Mahony, received a playwriting Australia National Script Workshop before going on to win the 2014 Black Swan Emerging Writers Groups Best New Play Award. Ever wanted to kill someone? Tonsils and Tweezers are a dynamic duo; think Wham!, toothbrush and toothpaste, the Macbeths. It’s the kind of inextricable friendship that is built on banter, in-jokes and the weight of a shared past. But one life-altering night has left a fracture between them. On this day, the day of their high school reunion, Tweezers will down tools, take out a gun and ask, *“Tonsils, ever wanted to kill someone?”* This reimagining features some of Sydney’s most promising emerging talent. For director **Lucy Rossen** (*À La Carte,* NIDA), this marks her debut production since graduating from NIDA’s prolific Directing MFA in 2025. The cast includes up-and-comers **Ariyan Sharma** (*Dear Evan Hansen*, Sydney Theatre Company; *Life Is A Dream*, Belvoir 25A), **Toby Carey** (*All Boys*, KXT; *Black Snow 2*, Stan), **Victor Xu** (*All Boys*, KXT) and **Caitlin Green** ([*Traffic Light Party*, KXT](https://thescoop.au/review-traffic-light-party-2025-sydney-fringe-festival/)). The cast and creative team are predominantly NIDA trained. Ariyan Sharma and Toby Carey are graduates from the Bachelor of Fine Arts (Acting) 2023, while Victor Xu and Caitlin Green, who also serve as co-producers, are graduates from the Diploma of Acting, 2023. Others NIDA grads on the team include the aforementioned director, Lucy Rossen, stage manager / sound crew Matthew Phillips (BFA Technical Theatre and Stage Management, 2025), and lighting designer Poppy Townsend (BFA Technical Theatre and Stage Management, 2025). ![The Scoop Tonsils + Tweezers Sharehouse Production Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2026/01/HERO-16X9-1116x628.png "Tonsils + Tweezers Sharehouse Production Old Fitz Theatre • The Scoop")Co-producer **Victor Xu**, who also plays Lewis / Tweezers said: *“It kinda had me at hello. Or at first read at least. There is this line in the script that says: ‘even though the two of them killed together, the ‘scary’ is not that we in the audience are a potential victim, but that in private we all confess to having a folded up Maccy deepy downy.’* *They’re talking about Macbeth, but I suppose they’re also not at all. They’re talking about us. About me. How men suffer and grieve and inflict pain upon others, upon themselves. Our own villains; the school bully, the shooter, the Tonsils, the Tweezers… are in us all.* *This play interacts with masculinity in such a unique way. It says the quiet part out loud. Even now, 8 years since Tonsils + Tweezers was last staged, those cultural ideas are unfortunately more pressing than ever. The violence, the suffering, the loneliness; it hasn’t changed, it’s persisted. I want to tackle subject matter that feels confronting, and I want to work really hard for it.”* Co-producer **Caitlin Green**, who also plays Beth, said: *“Sharehouse was dreamed up around our shitty rentals’ kitchen table at a point where, transparently, things felt pretty hard. All those Netflix gigs you think you’re going to get turn into half a torso in a Colgate ad and we were suddenly faced with the reality of the industry. What became really clear, really quickly, was that if we wanted to make work, we were going to have to make it ourselves.* *The Sydney arts scene is so beautiful but it can also feel like a closed door; an ‘it’s who you know’ type of situation. Starting Sharehouse felt like a way of pushing back against that and not just for us, but hopefully for other early-career artists too.* *Sharehouse is about championing the next generation of Australian artists, both on and off the stage. We’re unbelievably grateful to the Old Fitz for taking a chance on us. This show feels a bit rough and tumble, you know? Quick and dirty. But that’s the kind of theatre we’re excited by, so that’s the kind of theatre we’re making.”* At its core, *Tonsils + Tweezers* is a play about men; how they love each other, hate each other and mourn. It’s sharp, joyful and devastating. ***Tonsils + Tweezers* runs from 17 – 27 February at the Old Fitz Theatre as part of their Late Night programming. 129 Dowling Street, Woolloomooloo NSW 2011.** Tickets are available [here](https://tickets.iwannaticket.com.au/seller/old-fitz-ad9r/section/new-shop-section-666z). Website: <https://www.oldfitztheatre.com.au/tonsils-tweezers> Socials: <https://www.instagram.com/sharehouseproductionco/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Nicholas Warrand **Categories:** News --- ### [Reuben Kaye Announces New Show: Hard To Swallow In 2026](https://thescoop.au/reuben-kaye-announces-new-show-hard-to-swallow-in-2026/) **Published:** December 20, 2025 **Author:** Newsroom **Content:** ![The Scoop Reuben Kaye Hard to Swallow 2026 Australian tour](https://thescoop.au/wp-content/uploads/2025/12/Reuben-e1766197474380-1070x628.jpg "Reuben Kaye Hard to Swallow 2026 Australian tour • The Scoop")**Reuben Kaye** returns with a brand-new solo cabaret comedy show, ***Hard to Swallow*** – sharper, sexier and more political than ever, touring Australia in 2026. The tour kicks off in **Perth** at the end of January, and continues to **Adelaide, Melbourne, Sydney** and **Brisbane**. In this no-holds-barred spectacle, Kaye dives headfirst into the truths society would rather choke down than confront. With his trademark wit and razor-sharp political commentary, he takes aim at the big subjects such as masculinity, queer rights and systemic oppression. Kaye sets his sights set on the world’s monsters – the loud ones, the dangerous ones and those hiding in plain sight. From Charlie Kirk and Donald Trump in the US, to Nigel Farage in the UK, and Australia’s own Thomas Sewell and Pauline Hanson. No one is safe. Kaye asks the uncomfortable questions: *we know how we got here…but who’s to blame? And more importantly, how do we survive?* Audiences can expect **fearless comedy, explosive satire and the kind of high-voltage cabaret only Kaye can deliver! It’s been a whirlwind period for Kaye, with his recent appointment as Artistic Director of the 2026 Adelaide Cabaret Festival, a limited-season run of his hit show *[enGORGEd](https://thescoop.au/review-reuben-kaye-reigns-supreme-in-engorged/)* accompanied by an 18-piece orchestra, three consecutive years captivating audiences in *Opera Up Late* and a national tour of *[Jesus Christ Superstar](https://thescoop.au/review-jesus-christ-superstar-reigns-with-grit-and-glitter/)*, where his acclaimed turn as King Herod drew rave reviews. ![The Scoop Reuben Kaye Hard To Swallow Australian Tour 2026](https://thescoop.au/wp-content/uploads/2025/12/Reuben-Kaye-1047x628.jpeg "Reuben Kaye Hard To Swallow Australian Tour 2026 • The Scoop")Reuben Kayes new show is sharper sexier and more political than ever Unapologetically loud and fabulously queer, Kaye has taken the world by storm, with his viral performances amassing millions of views. His television appearances span *The Block* (Ch 9), *The Cook Up with Adam Liaw* (SBS), *Silence Is Golden* (U&Dave), *Spicks and Specks* (ABC), the Melbourne International Comedy Festival Galas (ABC), *The Apprentice: You’re Fired with Tom Allen* (BBC) and *Kids React to Drag* (Channel 4). *Hard to Swallow* runs in Perth as part of Fringe World, with shows commencing 28 January at the Liberty Theatre. It then moves on to the Adelaide Fringe with a limited season at the Hindley Street Music Hall from 18 March. Melbourne International Comedy Festival is next, with a season at the Athenaeum Theatre from 7 April. Then it’s the Brisbane International Comedy Festival with a limited season at The Tivoli from 8 May. The tour concludes in Sydney on 16 May at the Enmore Theatre. **Tickets for *Hard to Swallow* are on sale now at Reuben Kaye’s official website.** Website: <https://www.reubenkaye.com/tour-dates> Socials: <https://www.instagram.com/reubenkayeofficial/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. 2026 Australian Tour Dates Perth 28 January – 12 February, Liberty Theatre Adelaide 18 – 21 March, Hindley Street Music Hall Melbourne 7 – 19 April, Athenaeum Theatre Brisbane 8 – 10 May, The Tivoli Sydney 16 May, Enmore Theatre ![The Scoop Reuben Kaye Hard to Swallow Australian Tour 2026](https://thescoop.au/wp-content/uploads/2025/12/Screenshot-2025-12-20-at-94653-am-369x628.png "Reuben Kaye Hard to Swallow Australian Tour 2026 • The Scoop") **Categories:** News --- ### [Announcing 2025 Sydney Theatre Awards Winners](https://thescoop.au/announcing-2025-sydney-theatre-awards-winners/) **Published:** January 20, 2026 **Author:** Newsroom **Content:** ![The Scoop Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2025/10/Lincoln-Elliot-Joel-Granger-in-Phar-Lap-c-John-McCrae-941x628.jpg "Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney • The Scoop")The winners of the **2025 Sydney Theatre Awards** were announced last night at a star-studded ceremony. 29 awards were presented, shared between 19 productions which played on Sydney stages during 2025. Almost 500 members of the Sydney theatre community gathered at the York Theatre, Seymour Centre to celebrate. Best Mainstage Production was awarded to *Grief is the Thing with Feathers*, produced by Belvoir and Andrew Henry Presents, which also took home Best New Australian Work, Best Stage Design, Best Lighting Design and Best Sound Design and Composition. Best Independent Production went to *Sistren* from Green Door Theatre Company in association with Griffin Theatre Company, which was also awarded Best Direction of an Independent Production (Ian Michael). Damien Ryan was awarded Best Direction of a Mainstage Production for his work on *The Player Kings* for Sport for Jove. Best Performance in a Leading Role in a Mainstage Production went to Kat Stewart for *Who’s Afraid of Virginia Woolf?*, while Best Performance in a Leading Role in an Independent Production was awarded to Fraser Morrison for *Cruise*. The Best Musical award was presented to *Phar Lap: The Electro-Swing Musical* (Hayes Theatre Co). The show’s director, Sheridan Harbridge, was awarded Best Direction of a Musical, while lead actor Joel Granger took home Best Performance in a Leading Role in a Musical. The Award for Lifetime Achievement was presented to **Elizabeth Butcher AM**. Butcher was General Manager of NIDA for almost 40 years, and alongside director John Clarke, she helped forge the school into a world-renowned training ground. In 1979 she established the Sydney Theatre Company, then found the abandoned wharf in Walsh Bay and convinced the NSW Government to restore it and the Hickson Road precinct as a home for the STC and the arts. ![The Scoop Sistren Griffin Theatre Company Sydney Theatre Awards 2025](https://thescoop.au/wp-content/uploads/2026/01/GRIFFIN_Sistren_PhotoBrettBoardman_002693-941x628.jpg "Sistren Griffin Theatre Company Sydney Theatre Awards 2025 • The Scoop")Sistren by Green Door Theatre Company in association with Griffin Theatre Company Photo by Brett BoardmanButcher has held positions on the NSW Government Cultural Grants Advisory Council, the Council of the University of NSW, the Australia Council (Chairman of the Theatre Board 1981-1985), the Board of Management of the Seymour Centre (1984-1989), the Sydney Opera House Trust (Chairman 1989-1995), Playing Australia (Deputy Chairman 1992-1993) and the University of Technology Arts Management Course Advisory Committee (Chairperson 1990-1998). Presenters at the Awards ceremony, which was hosted by Marney McQueen, included Tel Benjamin, Andrew Bevis, Tina Bursill, Brendan de la Hay, Eva Di Cesare, Sue Donnelly, Neil Gooding, Joanne Kee, Radhika Mudaliyar, Caroline O’Connor, Simone Sault, Phil Scott, Ian Stenlake and Hayden Tonazzi. The ceremony opened with a performance of *For The Gaze* by host Marney McQueen, and featured a performance by Alec Steedman of *Write My Story* from his new Australian musical, *Silver Tongue*. Another performance highlight was a celebration of musicals which starred the late Toni Lamond, the Sydney Theatre Awards Lifetime Achievement winner in 2008, performed by Danielle Barnes, Zoe Gertz, Donna Lee, Caroline O’Connor and Geraldine Turner. This year, for the first time, Sydney Theatre Award winners received a trophy designed by Brian Thomson, rather than the traditional framed certificate. The Sydney Harbour Bridge-like trophy has been affectionately nicknamed the “Syd.” The Sydney Theatre Awards are presented annually to celebrate the strength, quality and diversity of theatre in Sydney, and gratefully thank major sponsor the Seaborn, Broughton & Walford Foundation, as well as other sponsors: the William Fletcher Foundation, Showcast, Currency Press, Ticketmaster, Actors Benevolent Fund, JPJ Audio, Lisa Loxley Design, Freeflow Projects, HereWeAre and the Seymour Centre. **The 2025 Sydney Theatre Awards ran on Monday 19 January 2026 at the York Theatre, Seymour Centre.** Website: <https://www.sydneytheatreawards.com/> Socials: <https://www.instagram.com/sydneytheatreawards/> [Read the Full List of Nominations ](https://thescoop.au/announcing-2025-sydney-theatre-awards-nominations/) Hero image: *Phar Lap The Electro Swing Musical* Photo by John McCrae **WINNERS OF 2025 SYDNEY THEATRE AWARDS** **BEST MAINSTAGE PRODUCTION** Grief is the Thing with Feathers (Belvoir and Andrew Henry Presents) **BEST INDEPENDENT PRODUCTION** Sistren (Green Door Theatre Company in association with Griffin Theatre Company) **BEST DIRECTION OF A MAINSTAGE PRODUCTION** Damien Ryan (The Player Kings) **BEST DIRECTION** **OF AN INDEPENDENT PRODUCTION** Ian Michael (Sistren) **BEST PERFORMANCE IN A LEADING ROLE IN A MAINSTAGE PRODUCTION** Kat Stewart (Who’s Afraid of Virginia Woolf?) **BEST PERFORMANCE IN A LEADING ROLE IN AN INDEPENDENT PRODUCTION** Fraser Morrison (Cruise) **BEST PERFORMANCE IN A SUPPORTING ROLE IN A MAINSTAGE PRODUCTION** Angela Mahlatjie (Primary Trust) **BEST PERFORMANCE IN A SUPPORTING ROLE IN AN INDEPENDENT PRODUCTION** Deborah Galanos (Saints of Damour) **BEST STAGE DESIGN** **OF A MAINSTAGE PRODUCTION** Nick Schlieper and Simon Phillips with Craig Wilkinson and Jon Weber (Grief is the Thing with Feathers) **BEST STAGE DESIGN** **OF AN INDEPENDENT PRODUCTION** Hannah Tayler and Paris Bell (Lost & Finding) **BEST COSTUME DESIGN** **OF A MAINSTAGE PRODUCTION** Ella Butler and Hailley Hunt (Orlando) **BEST COSTUME DESIGN** **OF AN INDEPENDENT PRODUCTION** Emelia Simcox (Cowbois) **BEST LIGHTING DESIGN** **OF A MAINSTAGE PRODUCTION** Nick Schlieper (Grief is the Thing with Feathers) **BEST LIGHTING DESIGN** **OF AN INDEPENDENT PRODUCTION** Ryan McDonald (Furious Mattress) **BEST SOUND DESIGN AND COMPOSITION** **OF A MAINSTAGE PRODUCTION** Freya Schack-Arnott and Daniel Herten (Grief is the Thing with Feathers) **BEST SOUND DESIGN AND COMPOSITION** **OF AN INDEPENDENT PRODUCTION** Tom Hogan (Birdsong of Tomorrow) **BEST NEW AUSTRALIAN WORK** Grief is the Thing with Feathers (Simon Phillips, Nick Schlieper & Toby Schmitz) **BEST NEWCOMER** Danny Howard (Jacky / Whitefella Yella Tree) Iolanthe (Sistren / The Edit) **BEST ENSEMBLE** The Player Kings (Sport for Jove in association with Seymour Centre) **BEST PRODUCTION OF A MUSICAL** Phar Lap: The Electro-Swing Musical (Hayes Theatre Co) **BEST DIRECTION OF A MUSICAL** Sheridan Harbridge (Phar Lap: The Electro-Swing Musical) **BEST PERFORMANCE IN A LEADING ROLE IN A MUSICAL** Joel Granger (Phar Lap: The Electro-Swing Musical) **BEST PERFORMANCE IN A SUPPORTING ROLE IN A MUSICAL** Elenoa Rokobaro (Hadestown) **BEST MUSICAL DIRECTION** Guy Simpson (Guys & Dolls) **BEST CHOREOGRAPHY OF A MUSICAL** Kelley Abbey (Guys & Dolls) **BEST DESIGN OF A MUSICAL** Dann Barber (Set and Costume Design, Candide) **BEST PRODUCTION FOR CHILDREN** Wolfgang in the Stars (Circa and Riverside Theatres) **BEST PRODUCTION FOR YOUNG PEOPLE** Converted (ATYP) **LIFETIME ACHIEVEMENT AWARD** Elizabeth Butcher AM **Categories:** News --- ### [Circus of Illusion Returns This Easter: Win Tickets!](https://thescoop.au/circus-of-illusion-returns-this-easter-win-tickets/) **Published:** January 19, 2026 **Author:** Newsroom **Content:** ![The Scoop Circus of Illusion State Theatre Sydney 2026](https://thescoop.au/wp-content/uploads/2026/01/0226-P1222510-942x628.jpg "Circus of Illusion State Theatre Sydney 2026 • The Scoop")Celebrate Easter with ***Circus of Illusion***, featuring the acclaimed illusionist and *Australia’s Got Talent* finalist **Michael Boyd** as he returns with his spectacular show to Sydney’s State Theatre for two **shows only on Saturday 4 April 2026**. Audiences are invited to escape into a dazzling world where **sawdust and sequins meet cutting-edge illusions and jaw-dropping magic** in *Circus of Illusion* – a high-octane theatrical experience that blends death-defying escapes, mind-blowing illusions, mime and magic, breathtaking costumes and an international cast of world-class performers. The Scoop is **giving away one family pass** **to see the show!** (A family pass is 4 tickets.) Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow and comment ‘Scoop’ under the post. Sydney show prize: **Saturday 4 April 2pm**, State Theatre *“If you’ve got a little magician in the family, or if your inner child still believes in a little hocus pocus, Circus of Illusion is just the ticket. With colourful costumes, world-class performers, and great music, this show brings a slice of Vegas glitz to the heart of Sydney. It’s a magical night out that will leave you wondering, How did they do that?”* [– The Scoop](https://thescoop.au/review-circus-of-illusion-brings-magic-and-mystery/) ![The Scoop Circus of Illusion Sydney State Theatre Easter 2026](https://thescoop.au/wp-content/uploads/2026/01/0308-P12228631-942x628.jpg "Circus of Illusion Sydney State Theatre Easter 2026 • The Scoop")Circus of Illusion returns this Easter to Sydney for two shows only on Saturday 4 April Image suppliedTaking centre ring, Boyd’s charismatic ringmaster leads audiences on a mesmerising journey through a modern circus dreamscape, seamlessly weaving spectacular magic with elite circus artistry. Highlights include high-risk **rola bola sensation Sascha Williams**, whose gravity-defying balance act leaves audiences holding their breath, alongside an extraordinary ensemble of performers from across the globe. Prepare to be amazed as glamorous showgirls **levitate, vanish and soar high above the stage**, while elaborate illusions and larger-than-life set pieces unfold in rapid succession. Every moment is designed to astonish, surprise and delight – keeping audiences on the edge of their seats from the first flourish to the final reveal. ***Circus of Illusion* runs for two shows only on Saturday 4 April at State Theatre Sydney. 49 Market Street Sydney NSW 2000.** Tickets: <https://www.ticketmaster.com.au/artist/2767004> Website: <https://www.statetheatre.com.au/show-calendar/circus-of-illusion/> Socials: <https://www.instagram.com/circus.of.illusion/> [Read our review of the 2025 Season!](https://thescoop.au/review-circus-of-illusion-brings-magic-and-mystery/) Images supplied. **Categories:** competition, News --- ### [Film Review: Somebody To Love Palace Cinemas](https://thescoop.au/film-review-somebody-to-love-palace-cinemas/) **Published:** January 19, 2026 **Author:** Amy Hyde **Content:** ![The Scoop Somebody to Love Palace Films](https://thescoop.au/wp-content/uploads/2026/01/SOMEBODY-TO-LOVE-02-PilarFogliati_EdoardoLeo-©PalaceFilms-944x628.jpg "Somebody to Love Palace Films • The Scoop")Director Paolo Genovese solidifies his dominance on the International film scene with another smash hit in the form of *Somebody to Love* (also known as *Follemente* or *Madly*). Following the global success of 2016’s *Perfect Strangers*, Genovese once again captures the humour and vulnerability in human behaviour to deliver a universally relatable narrative. Set in the backstreets of Rome, the film follows Lara (Pilar Fogliati) and Piero (Edoardo Leo) as they navigate through the awkwardness of a first date. Lara, a thirty something furniture restorer, feels an internal pull towards short-lived relationships. This is even though the characters in her mind dream of a long-term commitment. ![The Scoop Somebody to Love Palace Films](https://thescoop.au/wp-content/uploads/2026/01/SOMEBODY-TO-LOVE-110-VittoriaPuccini_EmanuelaFanelli_MariaChiaraGiannetta_ClaudiaPandolfi-©PalaceFilms-944x628.jpg "Somebody to Love Palace Films • The Scoop")What separates *Somebody to Love* from your run of the mill romcom is its unique plot deviceOn the other hand, 50-year-old Piero is a recently divorced single father who has been out of the dating game for quite some time. What separates *Somebody to Love* from your run-of-the-mill romcom is its unique plot device. Both protagonists’ anxieties, impulses, and desires take on physical forms which argue, intervene, and occasionally hijack the date altogether. Even though the film’s concept could be likened to that of Disney-Pixar’s *Inside Out*, Genovese’s delivery couldn’t be more different. Instead of singular emotions to guide the characters through the evening, *Somebody to Love* depicts a chorus of fully formed personas that often usher the protagonists into compromising dialogue. While the inner voices drive the narrative, much of the film’s emotional pull rests on the chemistry between Fogliati and Leo. ![The Scoop Somebody to Love Palace Films](https://thescoop.au/wp-content/uploads/2026/01/SOMEBODY-TO-LOVE-113-MarcoGiallini_ClaudioSantamaria_MaurizioLastrico_RoccoPapaleo-©PalaceFilms-944x628.jpg "Somebody to Love Palace Films • The Scoop")The film will strike a chord with anyone who has ever stumbled their way through the early stages of attractionIt is through their performances that Genovese explores a multitude of emotions that are sure to strike a chord with anyone who has ever stumbled their way through the early stages of attraction. This makes Lara and Piero impossible not to root for. Much of the film’s humour comes from the conversations between Lara and Piero’s respective inner voices. The fast-paced dialogue is full of playful argumentation. There’s also a cheeky musical number that had me giggling. In saying that, like many subtitled films, some of the finer details get lost in translation. Though it’s not enough to dull the film’s personality. *Somebody to Love* sees Genovese tugging on the heartstrings in a playful reimagining of the rom-com drama. The film’s ending that is sure to leave even those with the coldest of hearts smiling. ***Somebody to Love*** **is playing in cinemas nationally from 22 January 2026.** Tickets are [on sale](https://www.palacefilms.com.au/somebody-to-love) now! Website: <https://www.palacefilms.com.au/somebody-to-love> Socials: <https://www.instagram.com/palacecinemas/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Somebody To Love Director: Paolo Genovese Cast: Edoardo Leo, Pilar Fogliati, Emanuela Fanelli, Maria Chiara Giannetta, Claudia Pandolfi, Vittoria Puccini, Marco Giallini, Maurizio Lastrico, Rocco Papaleo, Claudio Santamaria Country of Origin: Italy Duration: 98 mins Rating: M Showing at cinemas around the country: **Sydney:** Palace Central, Palace Norton Street, Palace Moore Park, Hayden Orpheum Cremorne, United Warriewood Cinema, also screening in Westpac Open Air Cinema Sydney (Feb 14) **Melbourne:** Palace Balwyn, Palace Brighton Bay, Cinema Como, Palace Westgarth, Palace Pentridge, Palace Penny Lane Cinema, Cinema Nova, The Kino, Sun Theatre Yarraville, and Palace Regent Cinema Ballarat **Adelaide:** Palace Nova Eastend & Prospect **Brisbane:** Palace Barracks & Palace James St Cinemas **Byron Bay:** Palace Byron Bay **Canberra:** Palace Electric **Perth:** Palace Raine Square, Luna Leederville, Luna On SX **Hobart:** State Cinema **Categories:** Film --- ### [Review: Beauty And The Beast Brings Magic To Brisbane Musical Theatre](https://thescoop.au/review-beauty-and-the-beast-brings-magic-to-brisbane-musical-theatre/) **Published:** January 17, 2026 **Author:** Jackson Kellaway **Content:** ![The Scoop Beauty and the Beast Brisbane Musical Theatre](https://thescoop.au/wp-content/uploads/2026/01/TECHBMTBATB-30-838x628.jpg "Beauty and the Beast Brisbane Musical Theatre • The Scoop")Disney’s *Beauty and the Beast* is a classic fairytale with the musical being just as magical. Premiering on Broadway in 1994 with music by Alan Menken and lyrics by Howard Ashman and Tim Rice, it is a show that has certainly proven the test of time. The story follows a young woman, Belle, who stumbles into a castle occupied by a cursed Beast. Along the way, she meets an array of colourful characters who are eager for the two to fall in love, which in turn will break the curse. The show being a crowd favourite means that it is a popular choice for theatre companies. This time, it is Brisbane Musical Theatre’s turn to recreate that Disney magic onstage. As the overture plays, the audience can hear the familiar songs. The magic has begun through the music. Under the expert musical direction of Mark Beilby, the 11-piece orchestra nails every number from the dramatic swells to the softest whispers. Beilby’s vocal direction is also remarkable as the cast of over 50 perform favourites such as *Belle, Gaston* and *Be Our Guest.* ![The Scoop Beauty and the Beast Brisbane Musical Theatre](https://thescoop.au/wp-content/uploads/2026/01/TECHBMTBATB-82-837x628.jpeg "Beauty and the Beast Brisbane Musical Theatre • The Scoop")In her leading lady debut Leah Harford delivers an outstanding vocal performance Directing and choreographing such a large cast would be no easy feat, so special kudos to Jesse Bradford and Ava Moschetti, respectively. The ensemble numbers mentioned above, although having a large number of people, never seem clunky or messy. I especially enjoyed the cup-oreography in *Gaston.* The costuming for a show like *Beauty and the Beast* is always under the microscope. All eyes are on the household characters and their costumes. These include Mrs Potts, Chip and Madame de la Grande Bouche. Not only were the lead costumes spot on, but so was the ensemble’s. It is refreshing to see such detail right down to each cast member. Well done to Geena Lukin and Andrea Hunter. Projection is often used when a production’s physical space is limited. Here, it takes the form of images that resemble pages from the classic storybook. This tied in well with the large set pieces used. The downside to large set pieces is the manpower needed to move them, and unfortunately, at times crew were lit up whilst onstage. Although this detracts from the magic slightly, the lead cast are there to draw you back in. ![The Scoop Beauty and the Beast Brisbane Musical Theatre](https://thescoop.au/wp-content/uploads/2026/01/TECHBMTBATB-62-837x628.jpg "Beauty and the Beast Brisbane Musical Theatre • The Scoop")The passion and love are clear in the quality of work the whole team bring to this productionLeah Harford as Belle is soft yet direct in her compassion towards the Beast. In her leading lady debut, Harford delivers an outstanding vocal performance. Making his musical theatre debut is Dan Pohlmann as the Beast. Pohlmann brings a softness to the Beast as he discovers that true beauty lies under the surface. Special mention to Michael Chazikantis, who brings Lumiere to life. Chazikantis plays the role with a cheekiness that deserves its own spin-off. Another special mention goes to Alex Sturdee, who gives us a different take on the much-loved character of Lefou. Sturdee plays him as more of an unhinged, crazy sidekick, with a voice not even Gaston could pretend to love. As Gaston, Reagan Warner plays into the chauvinistic side of his character incredibly well. There is no pretending that this is a community theatre production. But the passion and love are clear in the quality of work this cast, crew and orchestra at Brisbane Musical Theatre bring to the stage in *Beauty and the Beast*. ***Beauty and the Beast* is presented by Brisbane Musical Theatre and runs to 23 January at the Emerge Church Auditorium. 1 Coorparoo Road Warner Qld** **4500.** Tickets: <https://www.trybooking.com/events/landing/1502025> Website: <https://brisbanemusicaltheatre.com.au/performances/beauty-and-the-beast-january-2026/> Socials: [https://www.instagram.com/brisbane\_musical\_theatre/](https://www.instagram.com/brisbane_musical_theatre/) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Artist Focused Photography **Categories:** Brisbane, Musical Theatre --- ### [Film Review: Kangaroo Island Asks Old Questions In A New Light](https://thescoop.au/film-review-kangaroo-island-asks-old-questions-in-a-new-light/) **Published:** August 21, 2025 **Author:** James Murphy **Content:** ![The Scoop Kangaroo Island film Maslow Entertainment](https://thescoop.au/wp-content/uploads/2025/08/Rebecca-Breeds-in-Kangaroo-Island-940x628.png "Rebecca Breeds in Kangaroo Island • The Scoop")Timothy David’s *Kangaroo Island*, made in collaboration with wife, Sally Gifford, is a South Australian story that contemplates the universe. At its heart is a family on an isolated island, but the drama is pitched well beyond domestic quarrel. The film becomes a prism through which faith, science, and metaphysical dread are refracted: Buddhist impermanence, Christian afterlife, the constant tug between reason and belief. The island is less a setting than a stage for every question that keeps people awake at night. *Kangaroo Island* begins in Los Angeles, where Lou (Rebecca Breeds), once a promising actress, finds herself adrift: broke and drifting on a couch after a career lull. A lifeline arrives unexpectedly when her estranged father, Rory (Erik Thomson), sends her a plane ticket home. Lou reluctantly returns to the wild beauty of Kangaroo Island, where familial tensions await: her sister Freya (Adelaide Clemens) has embraced faith, and Lou’s former boyfriend, Ben (Joel Jackson), is now married to Freya. In a story threaded with love, rivalry, and buried secrets, Lou is forced to reckon with the past and with what it means to truly come home. David and Gifford push this idea to its edge. The family’s life is an unrelenting string of misfortunes: accidents, diagnoses, betrayals, dissolving marriages, careers that fall apart. On paper, it could sound like melodramatic excess. Yet on screen it coheres, because the filmmakers don’t indulge in misery for its own sake. ![The Scoop Kangaroo Island film Maslow Entertainment](https://thescoop.au/wp-content/uploads/2025/08/Erik-Thompson-in-Kangaroo-Island-942x628.jpg "Erik Thompson in Kangaroo Island • The Scoop")The film becomes a prism through which faith science and metaphysical dread are refracted Images by Maslow EntertainmentThe tragedies arrive with rhythm, woven into a narrative that is punctured, often at just the right moment, by humour. The town’s oddball characters and rural absurdities provide relief that stops the film from collapsing under the weight of its themes. This balance keeps *Kangaroo Island* away from the trap of arthouse bleakness. There is substance abuse, grief, and despair, but this is not *Requiem for a Dream*. The intent is different: to draw the viewer into confronting mortality, betrayal, and faith by cloaking them in wit and beauty. Existential reflection rarely goes down smoothly, and the filmmakers know it, so they sugar-coat the bitter medicine with sunlit seas, laughter, and striking faces. The ensemble cast leans into archetypes without caricature. Rebecca Breeds brings a chaotic, Lindsay Lohan–esque volatility. Adelaide Clemens embodies the rigidity of the born-again moralist. Joel Jackson delivers heartthrob charm, and Erik Thomson carries the emotional centre, grounding the film with unexpected tenderness. Each role is heightened but never hollow. They remind us that no amount of glamour or fame offers immunity from the randomness of tragedy. ![The Scoop Kangaroo Island film Maslow Entertainment](https://thescoop.au/wp-content/uploads/2025/08/Kangaroo-Island-Maslow-Entertainment-945x628.png "Kangaroo Island Maslow Entertainment • The Scoop")Kangaroo Island dares to ask the oldest questions in the newest light Images by Maslow EntertainmentBut it’s the island itself that seizes the spotlight. David’s camera makes the familiar extraordinary: oceans so blue they appear unreal, wildlife captured with reverence and menace in equal measure. Even the image of kangaroo roadkill becomes unsettlingly poetic, a reminder that beauty and brutality live side by side. What lingers is not just the family’s unravelling but the film’s larger argument: that paradise is no shelter from uncertainty, and that every person, regardless of status or circumstance, is eventually confronted with loss. *Kangaroo Island* entertains, provokes, and unsettles in equal measure. It’s an ambitious work that dares to ask the oldest questions in the newest light. It leaves you with the uneasy realisation that the tides of fate, however luminous, carry everyone out to sea. ***Kangaroo Island* opens in cinemas nationwide from 21 August 2025.** **It is now streaming on Netflix in Australia and New Zealand as of January 2026.** Tickets: <https://www.flicks.com.au/movie/kangaroo-island/> Website: <https://www.maslowentertainment.com/films/kangaroo-island> Socials: <https://www.instagram.com/maslowentertainment/> [Read more of our Film Reviews](https://thescoop.au/category/film/) **Categories:** Film --- ### [Review: Turandot Opera Australia 2026 Sydney Festival](https://thescoop.au/review-turandot-opera-australia-2026-sydney-festival/) **Published:** January 17, 2026 **Author:** Sophie Cornett **Content:** ![The Scoop Turandot Opera Australia Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/55042387024_f08675f8e4_k-859x628.jpg "Turandot Opera Australia Sydney Festival • The Scoop")In 1926, two years after the death of renowned composer Giacomo Puccini, his final opera *Turandot,* made its stage debut. Now, a hundred years later, Opera Australia, in association with Sydney Festival, has brought this powerful story to the Opera House stage. This production stands as a testament to love, its sacrifices, complexity and uncertainties, brought to life by a visionary creative team and powerful ensemble of performers. *Turandot* is a beautifully poignant tale set in ancient China. The titular character, Princess Turandot, is renowned for her icy and bloodthirsty demeanour, murdering potential suitors who are unable to answer her three riddles. As the story unfurls, the prince Calàf, transfixed by her beauty, steps forward to take on the challenge. In doing so, he sets in motion a series of heart-wrenching events, all driven by the all-consuming and overwhelming power of love in its many forms. If you are new to the opera, as I was when seeing this show, a couple of things to note. This opera is sung entirely in Italian, with screens adjacent to the stage providing surtitles (the live performance equivalent of subtitles), in both English and simplified Chinese to help follow the story. The program provides a synopsis of the plot, which I recommend reading, so you can fully immerse yourself in the performance. Act I and Act II are presented together before the interval, with Act III presented afterwards. Director and choreographer Ann Yee has reimagined this historic text extraordinarily. From the moment the music starts to the final curtain fall, the performance is visually stunning. Her deep commitment to the nuances of the story as an allegory for isolation, the deep effects of intergenerational trauma and the awesome power of love resonates in every scene. ![The Scoop Turandot Opera Australia 2026 Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/55042307058_882aa42d7c_k-1028x628.jpg "Turandot Opera Australia 2026 Sydney Festival • The Scoop")From the moment the music starts to the final curtain fall the performance is visually stunning Photo by Keith SaundersSet designer Elizabeth Gadsby has created a staging masterpiece. The rotating stage acts as a powerful focal point, highlighting the dynamics between characters alone on stage. Awe-inspiring set pieces seem to fade in and out of the background seamlessly, creating beautiful pockets of space for performers to inhabit. The projection of Turandot’s avatar, created by Collider, haunts the stage through the first acts with a precision and porcelain artistry that is both beautiful and terrifying. David Fleischer has created a beautiful palette in his costume design, with gorgeous use of contrast in style, colour and texture. I loved the use of ombre colouration and contrasting cold and warm hues to represent the different connections and strengths of characters. The music sweeps you away into this mythical world and truly holds you in its power throughout the performance. Conductor Henrik Nánási leads the phenomenally talented orchestra through the music deftly. Vocally, the beautiful harmonies of the ensemble complement the incredible strength and artistry of the leads. Stories told without dialogue, such as in opera and ballet, share a reliance on the strength of the performer to convey their character’s journey through physicality, emotion and voice. The cast of *Turandot* clearly possesses this strength in abundance. Every emotional beat is clearly and powerfully revealed. In this production, Ann Yee chose to physically represent Turandot’s ancestor, Lou-Ling. Featured dancer Hoyori Maruo impeccably embodies her power in both life and death through her movement. Maruo endows a character who usually doesn’t appear on stage with depth and purpose. Rebecca Nash portrays the titular role of Turandot with an awe-inspiring performance. We see and feel her deep commitment to her history and her struggle to reconcile the pain and love she experiences through her soaring vocals and emotive physicality. ![The Scoop Turandot Opera Australia 2026 Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/55042468345_59ded6ffcc_k-1084x628.jpg "Turandot Opera Australia 2026 Sydney Festival • The Scoop")Turandot is a visual masterpiece vocal triumph and beautiful celebration of extraordinary talent Photo by Keith SaundersAs a character, the Prince Calàf’s single-minded recklessness is distasteful, but it is perfectly portrayed with strength and passion by Young Woo Kim. His vocals portray a beautiful blend of desperation and desire. and his performance of the iconic aria *Nessun Dorma* in Act III is breathtaking. Maria Teresa Leva portrays the role of Liù, the only remaining servant of Calàf’s father, Timur, the banished King of the Tartars. She beautifully holds the role of the moral and emotional compass within the story, embodying the strength of her love in her quiet compassion and commitment. Timur is portrayed by Richard Anderson, and his desperate love for his son and Liù is palpable in every scene. Anderson and Leva deliver vocal and emotional performances that contrast stunningly with Calàf’s brashness while revealing the same magnitude of devotion. Turandot’s advisors, titled as P1, P2 and P3, lend an amazing comedic element to the tale as they desperately try to convince Calàf to abandon his endeavour. Luke Gabbedy, John Longmuir and Michael Petruccelli portray the three roles respectively with a witty lightness that is so enjoyable to watch. Their delivery of *Ho una casa nell’Honan*, in which they reminisce about their quiet lives away from the city, is absolutely beautiful. Shane Lowrencev as the Speaker and Gregory Brown as the Emperor deliver powerful vocal performances that tap into both the detached cruelty of this reality and the desperation to break the cycle, respectively. The ensembles of the show, comprised of the Opera Australia Chorus, Children’s Chorus and Dancers, vocally and visually enrich the story. Their quiet reverence as they oversee proceedings or physical desperation as they try to fight for and against their princess is tremendously powerful. A visual masterpiece, vocal triumph and beautiful celebration of the extraordinary talent of the Opera Australia community, *Turandot* is an incredible night out at the Sydney Opera House for both Opera devotees and newcomers alike. ***Turandot* is presented by Opera Australia and the Opera Conference. It runs to 27 March at the Joan Sutherland Theatre, Sydney Opera House as part of 2026 Sydney Festival.** Tickets: <https://opera.org.au/productions/turandot-sydney/> Website: <https://www.sydneyfestival.org.au/events/turandot> Socials: [https://www.instagram.com/sydney\_festival/](https://www.instagram.com/sydney_festival/) and <https://www.instagram.com/operaaustralia/> [Read more of our Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Keith Saunders **Categories:** Musical Theatre, Sydney --- ### [Review: Nowhere Australian Premiere 2026 Sydney Festival](https://thescoop.au/review-nowhere-australian-premiere-2026-sydney-festival/) **Published:** January 15, 2026 **Author:** Jasmine Joyan **Content:** ![The Scoop Nowhere Khalid Abdalla 2026 Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/Nowhere-at-RossPacker-2026-01-13-photo-by-Neil-Bennett-015-942x628.jpg "Nowhere Khalid Abdalla 2026 Sydney Festival • The Scoop")The Sydney Festival has kicked off, celebrating art, performance and big ideas. Among its highlights is the Australian premiere of Khalid Abdalla’s *Nowhere*. This one-man production adds a metaphysical dimension to Abdalla’s personal journey toward arriving ‘here.’ The production, directed by Omar Elerian, and produced by the UK company Fuel, begins with Abdalla’s experience and involvement in the 2011 Egyptian revolution, nimbly threading stories of the self, meaning and politics to create a tapestry of his own history. In this production, the fourth wall does not exist, or rather, no walls exist as Abdalla creates a space removed from the confines of the Roslyn Packer Theatre. We are nowhere. Abdalla captures the audience’s attention from the moment he starts his performance. His range is a testimony to his skills, which effortlessly translate from screen to the stage. ![The Scoop Nowhere Khalid Abdalla 2026 Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/Nowhere-at-RossPacker-2026-01-13-photo-by-Neil-Bennett-141-916x628.jpg "Nowhere Khalid Abdalla 2026 Sydney Festival • The Scoop")Khalid Abdallas range is a testimony to his skills which effortlessly translate from screen to the stage Photo by Neil BennettThe entire performance feels like a paradox, with cascading scenes that suddenly shift tone and event, yet also gently transition you to each scene at the same time. As an ‘anti-biography,’ the distinction between Abdalla as a performer and Abdalla as himself begins to blur. An intimacy and almost informal atmosphere is created, but within this laissez-faire approach, the audience is invited to share and respond to nuanced and, at times, comedic vulnerability. The production feels like a visual depiction of an Egyptian J. Alfred Prufrock featuring its own magic lantern that throws nerves in patterns on a screen. Sarah Readman’s video design is the secondary character of the performance, providing Abdalla with the visual aid to depict both time and the ‘not here.’ ![The Scoop Nowhere Khalid Abdalla 2026 Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/Nowhere-at-RossPacker-2026-01-13-photo-by-Neil-Bennett-077-942x628.jpg "Nowhere Khalid Abdalla 2026 Sydney Festival • The Scoop")The audience is invited to share and respond to nuanced and at times comedic vulnerability Photo by Neil BennettTi Green’s simple set design also works brilliantly to accompany this, whilst also allowing Abdalla to transition seamlessly across the stage without disrupting the flow of the production. Where the production falters is in its choreography. Elerian’s production uses scenes of dance to further evoke emotional depth in the performance. However, these scenes come across as slightly jarring and diminish the momentum and storytelling. The ending of the performance also provides the most powerful sentiments but seems to mince its words. Much like Prufrock, it seems that it is impossible for Abdalla to say what he means. The script dips its toe into deconstructing peace and the function of violence, but quickly recoils before allowing the audience to really sit in its implications. Despite its moments of hesitation, *Nowhere* remains a creatively profound production. It transforms personal history into collective inquiry and lingers as an unsettled meditation on presence, politics, and the impossibility of arrival. ***Nowhere* runs to 17 January at the Roslyn Packer Theatre as part of the 2026 Sydney Festival. 22 Hickson Rd, Walsh Bay NSW 2000.** Tickets are available [here](https://www.sydneyfestival.org.au/events/nowhere). Website: <https://www.sydneyfestival.org.au/events/nowhere> Socials: [https://www.instagram.com/sydney\_festival/](https://www.instagram.com/sydney_festival/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Neil Bennett Stick around for a post-show talk following the 8pm show on 16 January. The post-show talk will last approximately 25 minutes. Content advice: Contains distressing scenes, references to death, coarse language and loud music. **Categories:** Sydney, Theatre --- ### [Review: Sugar By Tomáš Kantor 2026 Midsumma Festival](https://thescoop.au/review-sugar-by-tomas-kantor-2026-midsumma-festival/) **Published:** January 15, 2026 **Author:** Jesse Oey **Content:** ![The Scoop SUGAR by Tomáš Kantor Midsumma Festival 2026](https://thescoop.au/wp-content/uploads/2026/01/ACM_Sugar_2025_credit_Mark_Gambino-0899-942x628.jpg "SUGAR by Tomáš Kantor Midsumma Festival 2026 • The Scoop")Showing at Arts Centre Melbourne for 2026 Midsumma Festival, *Sugar* performed by Tomáš Kantor is a riotous cocktail of camp glamour, irresistible pop, and larger-than-life storytelling. Brought to life through Kitan Petkovski’s precise, astute direction, with acerbic, razor-sharp writing by Ro Bright, this dazzling cabaret follows the mischievous exploits of Sugar. A gorgeous, gender-fluid twink, Sugar is exploring the mysterious, intoxicating world of sugar-daddy relationships with an enigmatic, charming man named Richard. Through its brisk 70-minute running time, the show reimagines familiar tropes from Julia Roberts’ *Pretty Woman* and takes us on a relentless journey. Along the way, it examines the messy realities of chasing after a fairytale ending and the complex power dynamics involved when intimacy, money, secrecy, and queer identity collide. As the show’s titular protagonist, Tomáš Kantor is utterly magnetic. Their undeniable charisma stuns and shimmers at the centre of the calamity. Kantor effortlessly moves between heartfelt monologues, rapid costume changes, and well-known pop belters. ![The Scoop SUGAR by Tomáš Kantor Midsumma Festival 2026](https://thescoop.au/wp-content/uploads/2026/01/ACM_Sugar_2025_credit_Mark_Gambino-0745-942x628.jpg "SUGAR by Tomáš Kantor Midsumma Festival 2026 • The Scoop")As the shows titular protagonist Tomáš Kantor is utterly magnetic Photo by Mark GambinoKantor commands the stage with heartfelt vulnerability. They frolic across the cotton-candy-meets-rainbows set by visual designer Bethany J Fellows with purpose, swapping between musical instruments flawlessly. Kantor fearlessly breaks the fourth wall when interacting with the audience. They play off Spencer Herd’s dynamic lighting design to further immerse us in their colourful, chaotic universe. And then, there’s the music. Sugar’s vivid fantasies and inner turmoil manifest through a curation of pop anthems from beloved queer icons. From the manic pace of Lady Gaga’s *Abracadabra* to the anxious beats of classic Sugababes track *Overload*. From Dua Lipa’s flirty *Levitating* to Kylie Minogue’s glittery, earnest *On A Night Like This,* complete with a glimmering disco ball. Every tune works brilliantly as an effective storytelling device. A poignant, devastating rendition of Lorde’s *Liability* successfully delivers the standout moment of the evening. As the liaison between Sugar and Richard inevitably deteriorates, building up to a potential spectacle, the story culminates with surprising softness. ![The Scoop SUGAR by Tomáš Kantor Midsumma Festival 2026](https://thescoop.au/wp-content/uploads/2026/01/ACM_Sugar_2025_credit_Mark_Gambino-3595-942x628.jpg "SUGAR by Tomáš Kantor Midsumma Festival 2026 • The Scoop")Sugar is outrageously silly sexy and unapologetic in celebrating queer joy and resilience Photo by Mark GambinoStanding tall in the face of disappointment, our protagonist offers a defiant kind of forgiveness, ultimately choosing self-preservation and refusing to let heartbreak dim their sparkle. After a successful national tour and a victorious international debut, *Sugar* feels confidently at ease back on home turf. Kantor’s luminescent performance proves they are destined for superstardom, under the bright lights of global stages. Outrageously silly, sexy, and unapologetic in celebrating queer joy and resilience, *Sugar* is unexpectedly tender in its candid exploration of trans identity, self-discovery, and the hidden emotional costs of transactional intimacy. Whether you’ll rock up to enjoy the infectious pop soundtrack, bask in the glittery excess, or witness its powerful social commentary, you’ll leave emotionally moved and thoroughly entertained. Funny, fierce, unforgettable, *Sugar* is a definite highlight of the 2026 Midsumma Festival. ***Sugar* by Tomáš Kantor runs until 25 January as part of 2026 Midsumma Festival. The Show Room, Arts Centre Melbourne**. Tickets: <https://www.artscentremelbourne.com.au/whats-on/2026/theatre/sugar> Website: <https://www.midsumma.org.au/whats-on/events/sugar/> Socials: <https://www.instagram.com/tomkantor> and <https://www.instagram.com/midsummafestival/> [Read our review from the Adelaide Cabaret Festival!](https://thescoop.au/review-tomas-kantor-sparkles-in-sugar-at-adelaide-cabaret-festival/) Photo credits: Mark Gambino Duration: 70 minutes Age Recommendation: 18+ Warnings: Strong coarse language, both sudden and sustained loud noises, some infrequent audience interaction, Queerphobia or homophobia, sexual references, alcohol and drug references. **Categories:** Melbourne, Theatre --- ### [Announcing The Happiest Man On Earth For Sydney](https://thescoop.au/announcing-the-happiest-man-on-earth-for-sydney/) **Published:** January 15, 2026 **Author:** Newsroom **Content:** ![The Scoop Anton Berezin The Happiest Man On Earth Sydney](https://thescoop.au/wp-content/uploads/2026/01/AntonBerezin_TheHappiestManOnEarth-130-942x628.jpg "Anton Berezin The Happiest Man On Earth Sydney • The Scoop")Following acclaimed seasons and rave reviews across North American and the UK, Mark St Germain’s theatrical adaptation of ***The Happiest Man on Earth*** will have its Australian premiere at the **Sydney Opera House** playing from **12 – 17 May 2026**. This deeply moving production brings Anton Berezin to the stage to tell the extraordinary true story of Holocaust survivor Eddie Jaku OAM, as adapted from his international bestselling memoir of the same name. When announcing the show, **Rabbi Alon Meltzer**, Shalom Collective said: *“This piece of theatre was always going to be a needed piece on Australia’s grandest stage. Eddie was a local hero, a giant of a personality. The importance of learning about the Holocaust and the importance of rising above the trauma to aspire and hope for a better world is a message the world has always needed to hear, but even more so in the aftermath of the antisemitic terror attack in Bondi. While the planning for this play has been many months in the making, today more than ever, all Australians should witness this story.”* Eddie’s remarkable story now returns home to Sydney – the city where he found refuge, rebuilt his life, and made the remarkable choice to embrace happiness after unimaginable trauma and loss. ![The Scoop The Happiest Man on Earth Sydney 2026 Australian Premiere](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-15-at-93116-pm-1107x628.png "The Happiest Man on Earth Sydney 2026 Australian Premiere • The Scoop")The Happiest Man on Earth makes its Australian premiere in Sydney Born Abraham Jakubowicz in Germany in 1920, Eddie Jaku’s life was irrevocably altered on 9 November 1938, Kristallnacht, when he was brutally beaten, arrested, and imprisoned for being Jewish. During World War II, he survived imprisonment in Buchenwald and Auschwitz, endured a death march, escaped, and was eventually rescued by Allied soldiers in 1945. The Nazis took everything from Eddie – his family, his friends, and his country – but they did not take his spirit. Eddie went on to dedicate his life to sharing his story, educating future generations, and championing kindness, tolerance, and compassion. This timely and deeply affecting new production is a testament to the endurance of the human spirit and a powerful reminder of our shared responsibility to remember, to bear witness, and to choose humanity over hatred. ***The Happiest Man on Earth* runs 12 – 17 May 2026 at the Playhouse, Sydney Opera House.** Presented by Monstrous Theatre, Neil Gooding Productions and Shalom Collective in association with Lyndi Adler. Tickets: <https://www.sydneyoperahouse.com/theatre/happiest-man-earth> Website: <https://www.monstroustheatre.com.au/current-projects/the-happiest-man-on-earth> Socials: <https://www.instagram.com/neilgoodingproductions/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Anton Berezin as Eddie Jaku. Photo by Vicki Lauren Photography **Categories:** News --- ### [Review: Anastasia The Musical Delivers A Powerful, Hope Filled Escape](https://thescoop.au/review-anastasia-the-musical-delivers-a-powerful-hope-filled-escape/) **Published:** December 29, 2025 **Author:** Wendy Samantha **Content:** ![The Scoop Anastasia Musical Australian Premiere Melbourne](https://thescoop.au/wp-content/uploads/2025/12/2494-Georgina-Hopson-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "Anastasia Musical Australian Premiere Melbourne • The Scoop")An absolutely enchanted evening awaits in Melbourne with *Anastasia*, the hit Broadway musical! Making the grandest of entrances, the crowd was full of excitement as their opening night carriage welcomed them into the Regent Theatre. With a sea of gold across the venue, beautiful dress-ups and a scattering of happy young princesses in the audience grinning ear to ear, we had truly stepped into a fairytale. Our tale begins in 1906. The snow is falling, and we are privy to a special moment between little Anastasia Romanov, played on opening night with energetic spirit and joy by Lillian Kinter, and her grandmother, the Dowager Empress, played by Nancye Hayes, who gifts the young child a music box before heading to Paris. Fast forward to 1917 and we arrive at the evening when the Russian Imperial family were executed to establish a new communist government. The world stood still in shatter and heartbreak, though it was believed perhaps Anastasia survived. Moving on to 1927, rumours are rising as imposter princesses try to claim the family fortune. We meet the street cleaner Anya (Georgina Hopson) trying to make ends meet in a life she is living with no recollection of her past. All she knows is that she has a yearning to meet someone in Paris and finds herself caught up with two conmen trying to make the big bucks. These sketchy characters are Dmitry (Robert Tripolino) and Vlad (Rodney Dobson), and they are putting together a scam. They are looking for someone to pretend to be the lost princess, in hope of presenting her to Countess Lily (Rhonda Burchmore) for a reward. Following orders and in hot pursuit is officer Gleb Vaganov (Joshua Robson), whose father was one of the original executioners of the family. As the days go by, the Dowager Empress is losing faith in seeing her favourite granddaughter again. Filled with adventure, romance and the search for identity, this musical production is the scent of freshly picked roses and the light in your eyes that glistens while watching flowers blossom. It’s sunshine and hope decorated with beautiful musical ornamentation. ![The Scoop Anastasia Musical Australian Premiere Melbourne](https://thescoop.au/wp-content/uploads/2025/12/1425-Rodney-Dobson-Georgina-Hopson-and-Robert-Tripolino-in-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "Anastasia Musical Australian Premiere Melbourne • The Scoop")In all that is entertaining about *Anastasia* the talent on display will make you speechless Photo by Jeff BusbyThe vocal talent is superb, with all songs delivered with power, strength, clarity and emotion. The harmonies echo out into the evening, and everyone on stage and in the orchestra is committed to telling this story with conviction. Every note, movement, action or reaction is precise. We are drawn into this fictional world where the soundtrack plays on repeat. It hauntingly evokes a longing whilst shadows gently dance around in front of us, circling as a reminder of the ballerina in the music box. We relate to the characters, understand the historical events and feed off the storyline. In all that is entertaining about *Anastasia*, the talent on display will make you speechless. Georgina Hopson leads the cast as our amnesic Anya, portraying her with strength, courage, fight and determination. She truly knows how to light up a stage and is this musical’s North Star. As a naturally charming storyteller, Robert Tripolino as Dmitry brings drive to the themes of selflessness and a sense of belonging. He highlights hope with his down-to-earth mannerisms, depicting a different type of prince. One that is perhaps more obtainable and relatable. A common man who may win over the heart of an empress or countess, no matter his wealth or glory. The pairing between Hopson and Tripolino is incredibly well-matched. They play off each other superbly, bringing out smiles in feistiness and sharing an understanding of trust. They encourage us to believe that not only is there love for everyone out there, but that you can make your own happily ever after that does not look like something out of a Little Golden Book. There is no palace-balcony wave to the masses in this musical’s finale. The reward here is something more real and more human, and the tale is so powerful, you believe it could happen to you. ![The Scoop Anastasia the Musical Australian Premiere Melbourne](https://thescoop.au/wp-content/uploads/2025/12/3164-The-Australian-Cast-of-ANASTASIA-Photo-by-Jeff-Busby-scaled-1-942x628.jpg "Anastasia the Musical Australian Premiere Melbourne • The Scoop")The production sends a clear message of hope and belief in yourself to audiences of all ages Photo by Jeff BusbyProviding many laughs with his confidence and charismatic play is the incredible Rodney Dobson. As Vlad, he swoons after Countess Lily in a joint flirtatious encounter that is one for the memory box of keepsakes. Igniting the flame in Act Two as Countess Lily, Burchmore sweeps across the stage like Swarovski crystals that would never be attainable. She is outstanding in every way. What a gift it is to see her shine, sparkle and glisten under the spotlight with the audience cheering, laughing and applauding her performance. Bringing poise and beauty as the Dowager Empress, the accomplished Nancye Hayes adds an umbrella of control over the entire production. She is stunningly glamorous throughout. As the conflicted antagonist Gleb, Joshua Robson is unforgettable with his powerhouse vocals. He perfectly depicts the struggle between his duty to country and his feelings for Anya. Highlights include the cleverly designed projections by Aaron Rhyne, the rotating train carriage, and the Neva Club dance scene. Song highlights include the Act One closer, *Journey to the Past*, the Act Two duet *The Countess and the Common Man*, and vocal solos from Elliot Baker as Count Ipolitov. Director Darko Tresnjak, along with his creative team and producers John Frost for Crossroads Live and Opera Australia, have brought a gift to Melbourne with *Anastasia*. The production sends a clear message of hope and self-belief: *“You can’t be anyone unless you recognise yourself.”* *Anastasia* is an incredibly well-told story and an artistic and creative delight. It provides a place for families to gather, feel a sense of home, and for audiences of all ages to embrace the past while imagining a brighter future that feels truly their own. Do not miss this sensational production! ***Anastasia The Musical* runs to 20 February 2026 at the Regent Theatre. 191 Collins Street Melbourne Vic 3000.** It will transfer to the Crown Theatre [Perth](https://anastasiathemusical.com.au/tickets/perth/) from 3 March, the Lyric Theatre [Sydney](https://anastasiathemusical.com.au/tickets/sydney/) from 7 April and the Festival Theatre [Adelaide](https://anastasiathemusical.com.au/tickets/adelaide/) from August 2026. Tickets: <https://anastasiathemusical.com.au/tickets/melbourne/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Jeff Busby **Categories:** Melbourne, Musical Theatre --- ### [Win Tickets To See The Housemaid In Cinemas Boxing Day](https://thescoop.au/win-tickets-to-see-the-housemaid-in-cinemas-boxing-day/) **Published:** December 15, 2025 **Author:** Newsroom **Content:** ![The Scoop The Housemaid feature film](https://thescoop.au/wp-content/uploads/2025/12/THM-1920-x-1080-1116x628.jpg "The Housemaid feature film • The Scoop")**THE HOUSEMAID** is a wildly entertaining thriller starring Sydney Sweeney and Amanda Seyfried, based on the best-selling book by Freida McFadden. It’s coming to cinemas nationally on **26 December 2025.** From director Paul Feig, the film plunges audiences into a twisted world where perfection is an illusion, and nothing is as it seems. Trying to escape her past, Millie (Sweeney) accepts a job as a live-in housemaid for the wealthy Nina (Seyfried) and Andrew Winchester (Brandon Sklenar). But what begins as a dream job quickly unravels into something far more dangerous — a sexy, seductive game of secrets, scandal, and power. Behind the Winchesters’ closed doors lies a world of shocking twists that will leave you guessing until the very end. ![The Scoop The Housemaid Feature Film](https://thescoop.au/wp-content/uploads/2025/12/housemaid-unit-250206-00133rc5-942x628.jpg "The Housemaid Feature Film • The Scoop")Sydney Sweeney and Amanda Seyfried in The Housemaid Photo credit Daniel McFadden LionsgateThe Scoop is **giving away five, in-season double passes** **to the film**, thanks to STUDIOCANAL! Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow and comment ‘Scoop’ under the post. The tickets are valid at any cinemas across Australia screening THE HOUSEMAID (terms and conditions can be found on the tickets). **THE HOUSEMAID opens nationally on 26 December at participating cinemas.** Search for a cinema near you at the website. Website: <https://thehousemaidmovie.com.au/> Socials: <https://www.instagram.com/housemaidmovie/> [Read our review of The Housemaid!](https://thescoop.au/film-review-the-housemaid-proves-the-most-terrifying-secrets-are-hidden-in-plain-sight/) Watch the trailer below: **Film details:** Title: The Housemaid Director: Paul Feig Cast: Sydney Sweeney Amanda Seyfried Brandon Sklenar Country of Origin: USA Duration: 131 mins **Categories:** competition, News --- ### [Review: Dear Son Belvoir St Theatre 2026 Sydney Festival](https://thescoop.au/review-dear-son-belvoir-st-theatre-2026-sydney-festival/) **Published:** January 14, 2026 **Author:** Nick Dale **Content:** ![The Scoop Dear Son Belvoir St Theatre 2026 Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/LORES_Dear-Son_Belvoir_2026_by-Stephen-Wilson-Barker-054_Waangenga-Blanco-Luke-Carroll-Kirk-Page-Tibian-Wyles-942x628.jpg "Dear Son Belvoir St Theatre 2026 Sydney Festival • The Scoop")*Dear Son* opens on a familiar Australian setting. A soft sandy beach with a fire pit ready to burn, a beer-garden-like area with benches and a soothing sunset. Already there’s a sense of quiet reverence, and we’re ready to lean into the intimacy of shared stories. Adapted from Thomas Mayo’s book *Dear Son*, Belvoir St Theatre’s co-production, presented as part of Sydney Festival, brings together letters written by First Nations men to their sons and fathers. The letters, written by prominent Australian figures such as Stan Grant, Charlie King and Joe Williams, speak about life, masculinity, love, culture and grief, and the impact of racism across generations. What starts as a casual chat becomes a deeply moving reflection on fatherhood, lineage and the power of connection. From the outset, the design draws us into this quiet, reflective space. Kevin O’Brien’s set is simple and earthy, inviting the audience into a remote meeting place for Indigenous men somewhere in Australia, a “place we can gather.” Straight away, we’re invited into a space that lends itself to storytelling and vulnerability. With the staging and lighting, together with Isaac Drandic’s gentle direction, this becomes a space where we’re invited to let down our guards. David Walters’ lighting paints the set with subtle shifts that reflect different times of day, emotional states and historical moments. The changes add emotional weight without disrupting the flow of the performances. Lighting, set design, video projection and sound move together in a fluid way, evoking mood while allowing the actors to remain the focus. The visual design by Craig Wilkinson is particularly effective. At times, racial slurs are projected across the back screen and over the actors’ bodies – words such as “primitive” and “savage.” For me, as a privileged white audience member, this simple device hits hard. It takes you into the experience of an indigenous Australian man growing up in an unjust, racist society. ![The Scoop Dear Son Belvoir Street Theatre 2026 Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/LORES_Dear-Son_Belvoir_2026_by-Stephen-Wilson-Barker-125_Tibian-Wyles-Waangenga-Blanco-942x628.jpg "Dear Son Belvoir Street Theatre 2026 Sydney Festival • The Scoop")The performances are endearingly playful and raw deliberately unpolished in the best sense Photo by Stephen Wilson BarkerSeeing these words imposed on bodies, while the performers claim the power of retaining their native dialects, is emotionally arresting. The words echo from painful histories and serve as a stark reminder that words *do* have impact. Words can wound, shape identity, and ripple out across generations. This idea is heartbreakingly woven through the narrative. Director Isaac Drandic gently nudges the actors to unravel their masculine facades and allow vulnerability to surface. The men are guided to let go of the actor mask and stand without the protective veneer we all carry in society. The effect is an unfolding of something almost childlike in its innocence and purity. The actors speak about the love for the men in their lives, their regrets and grief. The ensemble work is a real strength. Waangenga Blanco, who is both a cast member and movement director, choreographs the group in a way that balances grounded stillness with moments of playful energy. The bike-riding sequence, where two actors jump on stationary bikes and mimic riding flat-out across the Aussie outback, is genuinely entertaining. It is delivered with an almost musical-style physicality, complete with synchronised head turns and leg swings. There’s a bond between the ensemble that feels both warrior-like and tender. They talk about their fathers, about growing up as sons, raising their own children, and caring for ageing parents. One line, spoken as an actor reflects on looking after his father: *“I’m scared I’m not man enough yet to live in this world without you,”* is deeply poignant and something many of us will recognise. The performances are endearingly playful and raw, deliberately unpolished in the best sense. There’s an organic quality to the acting, where the intention is not perfection but presence. This approach is especially effective with Tibian Wyles and Waangenga Blanco, bringing a freshness and sincerity to the show. Wyles is playful and expressive, making him immediately engaging and relatable. TV and film veteran, Aaron Pedersen (*Water Rats, Mystery Road*), brings his warm, cheeky charisma to the stories. Pederson performed in the Brisbane and Adelaide runs and currently replaces Luke Carroll in the Sydney season. He carries many of the longer monologues with a strong energy and relatability, while bringing a grounding presence to the stories. ![The Scoop Dear Son Belvoir Street Theatre 2026 Sydney Festival](https://thescoop.au/wp-content/uploads/2026/01/LORES_Dear-Son_Belvoir_2026_by-Stephen-Wilson-Barker-056_Luke-Carroll-Tibian-Wyles-942x628.jpg "Dear Son Belvoir Street Theatre 2026 Sydney Festival • The Scoop")The play speaks to deeply human and universal truths like the struggle to be better men Photo by Stephen Wilson BarkerKirk Page (*Redfern Now*), who’s also a movement and theatre director, is a true triple threat. He has a great command of his physicality and a buoyant playfulness that’s engaging. Page’s narration of a letter about a man coming out as gay to his sons is especially touching. Jimi Bani, who played land rights activist Eddie Mabo in the 2012 telemovie *Mabo*, brings a grounded presence and a natural gift for storytelling. When he speaks as a grandfather, we listen. The play offers an ideal model of inclusive representation. It spans a wide spectrum of the male experience, covering fathers, sons, grandfathers, women, romance, love gained and lost, failure, the gay experience and alcoholism. We see that, beyond the bravado, banter, stoicism and self-sufficiency, there’s a whole lot more to being a man. These stories applaud the tenderness and softness in men, too. *Dear Son* also weaves personal stories with reflections on key moments in Indigenous Australian history. References to the Mabo decision sit alongside reminders of how damaging representation can be, such as the 2016 Bill Leak cartoon depicting an Aboriginal father who doesn’t know his son’s name, “a single image shifting the blame.” This comes from Joel Bayliss’s letter in the book. His response was to fight back with love, posting an image on Twitter as a proud Australian Aboriginal Dad. The play speaks to deeply human and universal truths: the struggle to be better fathers, sons and men, or simply better people. Who are we when we disappoint ourselves or others, and when we lose those we love? No matter the colour of your skin, where you’re from, or your sexuality or gender, these are stories that hit home. They bring us back to the rawness of our humanity. These are conversations we need now. Conversations that help us heal and connect beyond our screens, in shared spaces. *Dear Son* invites us into what First Nations peoples have to teach us: a wisdom that is grounded and deeply human, rooted in respect for the land we walk on, the seas we fish from, and the earth that sustains us. There is also a deep respect for lineage, for the binding threads of family and the legacy we leave behind. As Jimi Bani states, *“We are fathers and sons of the longest surviving culture on earth.”* That alone is enough to inspire reverence, to make you want to listen and learn. ***Dear Son* is produced by Belvoir St Theatre, Queensland Theatre and State Theatre Company South Australia. It is co-presented by 2026 Sydney Festival and runs to 25 January. Upstairs Theatre, Belvoir St Theatre, Surry Hills NSW 2010.** Tickets: <https://belvoir.com.au/productions/dear-son/> Website: <http://sydneyfestival.org.au/events/dear-son> Socials: <https://www.instagram.com/belvoirst/> and [https://www.instagram.com/sydney\_festival/](https://www.instagram.com/sydney_festival/) [Read our interview with Isaac Drandic](https://thescoop.au/isaac-drandic-on-dear-son-crafting-a-theatrical-love-letter-to-first-nations-men/) Photo credits: Stephen Wilson Barker **Categories:** Sydney, Theatre --- ### [Announcing Observatory Theatre 2026 Season Act 1](https://thescoop.au/announcing-observatory-theatre-2026-season-act-1/) **Published:** January 13, 2026 **Author:** Newsroom **Content:** ![The Scoop Observatory Theatre Season 2026](https://thescoop.au/wp-content/uploads/2026/01/Dead_Bat_Hero_Image.jpg "Observatory Theatre Season 2026 • The Scoop")**Observatory Theatre** proudly announces Act 1 of their 2026 Season, presenting new works by some of Queensland’s brightest emerging theatre-makers. With major collaborations, epic premiere productions, and ambitious new commissions, audiences are in for an extra-ordinary journey. Act 1 begins with a partnership alongside CAST Performance and Communify Qld with a musical performance of *The Talent Scout*. Devised with the House of Soul with an original story by Brian Procopis, *The Talent Scout* was written in collaboration with Observatory Artistic Director Lachlan Driscoll. The production will unite audiences as it celebrates the magic of music, community, and the power of being yourself. Based on Brisbane’s community choir of singers from all experience levels, walks of life, cultures and abilities, audiences can catch this show at Brisbane Powerhouse for one big night on 7 March. Proudly sponsored by Brisbane City Council. Observatory Theatre Artistic Director **Lachlan Driscoll** said: *“The choir is a sanctuary for everyone to come together, sing and express themselves, and share their stories. It has a rich history that is ready to take to the stage.”* Following on from that, local writer Samantha Hill’s new play *Dead Bat On the Night Shift,* commissioned and developed through the Telescope New Writing Program, will have its world-premiere as a co-production with PIP Theatre from 26 August – 5 September. This dark comedy of otherworldly proportions ventures into the mind of call centre employee Sloane. She believes the universe is sending her signs to make a change in her life. Laced with black wit and sparkling with social commentary, audiences can expect to dive deep into the chaotic spiral of someone who is searching for more in life than just work. **Driscoll**, who will direct the production, said: *“We’ve been developing this play for a few years now. Sam and I are thrilled to finally bring this weird and wonderful corporate comedy to the stage.”* 2026 will also welcome the new commission of *The Left Hand of Darkness* adapted by genderqueer writer el waddingham, based on the 1969 novel by Ursula K. Le Guin. A groundbreaking sci-fi tale renowned for its exploration of gender roles and fluidity, this adaptation will reinvent what was truly a novel ahead of its time. Writer **el waddingham** said: *“Reading this novel for the first time felt like coming home to a place beyond our galaxy that maybe, in some other life, I could belong to. It is going to be an absolute treat for queer audiences and science-fiction buffs alike.”* The Telescope New Writing Program also introduces the new commissions of *Paid!* by Alexandra Ellen and *Wasted* by Annabel Gilbert. Both outstanding emerging professionals, Ellen and Gilbert’s relevant new plays explore urgent and complex ideas that seek to challenge audience expectations. Audiences can track their journey from page to stage by following Observatory’s social media profiles and their website. With *so many worlds* waiting to be experienced, the 2026 season’s first act will be nothing short of extra-ordinary. Observatory Theatre invites audiences to join them at the theatre and explore together. **Tickets for Observatory Theatre’s Season 2026 Act 1 are on sale now at their website.** Tickets: <https://www.observatorytheatre.com/2026-season-act-1> Website: <https://www.observatorytheatre.com/> Socials: <https://www.instagram.com/observatorytheatre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: *Dead Bat on the Night Shift*, photo by [Images by Anderson](https://www.imagesbyanderson.com/) **Categories:** News --- ### [Vocalists Announced For Rebel Rebel Bowie Concert At Perth Festival](https://thescoop.au/vocalists-announced-for-rebel-rebel-bowie-concert-at-perth-festival/) **Published:** January 13, 2026 **Author:** Newsroom **Content:** ![The Scoop Rebel Rebel Perth Symphony Orchestra Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/Meow-Meow_cr-Karl-Giant.jpeg "Rebel Rebel Perth Symphony Orchestra Perth Festival • The Scoop")**Perth Symphony Orchestra** will be joined by powerhouse guest vocalists **Meow Meow**, **Abbe May**, **Noah Dillon**, **Katy Steele** and **Rachael Dease** for a one-night-only spectacular performance: ***Rebel Rebel***, celebrating the music of **David Bowie** at the East Perth Power Station on **Friday 13 February 2026**. Perth Festival Artistic Director **Anna Reece** says: *“David Bowie never belonged to one genre, one era, or one idea of who he was meant to be. Rebel Rebel brings together musicians who understand that restlessness, artists bold enough to take risks, bend form, and honour Bowie their way. This line-up of artists is wild and this celebration of Bowie is not to be missed.”* The line-up brings together some of Australia’s most distinctive and leading voices. Internationally acclaimed cabaret star **Meow Meow** is renowned for her fearless genre-defying stages from the Sydney Opera House to Carnegie Hall. ARIA nominated singer songwriter **Abbe May** is a commanding presence in Australian music, celebrated for her unique blend of soul, gospel, blues and indie rock. Rising local star **Noah Dillon** delivers emotionally honest songwriting that blends rock and folk tinged influences. **Katy Steele**, best known as the front woman of Little Birdy, adds iconic Australian indie pedigree and an unmistakable voice to the bill. One of Perth’s most respected vocalists, **Rachael Dease** will showcase her versatility across soul, pop and orchestral collaborations. Completing the line-up include local soloists **Justin Burford** and **Matt Milford**, whose extensive experience across contemporary orchestral performance brings additional depth and range to Bowie’s iconic repertoire. ![The Scoop Rebel Rebel Perth Symphony Orchestra Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/Abbe-May_cr-Hannah-Jones-copy-939x628.jpeg "Rebel Rebel Perth Symphony Orchestra Perth Festival • The Scoop")Abbe May is confirmed for Rebel Rebel Photo by Hannah JonesFrom the anthemic pulse of *Let’s Dance* to the haunting beauty of *Life on Mars?*, *Rebel Rebel* will explore Bowie’s genre defying catalogue in a full orchestral setting like never heard before. Audiences will hear fresh interpretations of his unforgettable hits including *Heroes, Space Oddity, Rebel Rebel* and *Changes*, and many others. *Rebel Rebel* will be more than a performance, it will act as a sonic time machine through the eras of Ziggy Stardust, The Thin White Duke and beyond. For both long time Bowie fans or those discovering his genius for the first time, *Rebel Rebel* will be a dazzling, spine-tingling night under the stars. Audiences will come together to salute an artist who challenged convention and expanded the boundaries of popular music. A rare celebration of an extraordinary artist, *Rebel Rebel* promises to be an unforgettable evening in honour of David Bowie’s enduring legacy ***Rebel Rebel* is presented by Perth Symphony Orchestra on Friday 13 February as part of Perth Festival. East Perth Power Station, 11 Summers Street Warndoolier / East Perth WA 6004.** Tickets are on sale [now](https://www.perthfestival.com.au/program/season-2026/rebel-rebel). Website: <https://www.perthfestival.com.au/program/season-2026/rebel-rebel> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/perthsymphony/> [Read more about Perth Festival here](https://thescoop.au/announcing-lineup-for-perth-festival-2026-truth-telling-mischief-making/) Hero image: Meow Meow. Photo by Karl Giant **Categories:** News --- ### [Review: Cluedo The Play Brings The Classic Whodunnit To Life](https://thescoop.au/review-cluedo-the-play-brings-the-classic-whodunnit-to-life/) **Published:** January 12, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Cluedo The Play 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/01/XRL-CLUEDO-photo-Jeff-Busby_2782-copy-942x628.jpg "Cluedo The Play 2026 Australian tour • The Scoop")*Cluedo* the play arrives on the Australian stage in one of the new year’s most anticipated productions. It’s kicking off its tour in Brisbane at the QPAC Playhouse, and will head to Melbourne, Adelaide and Sydney soon after. *Cluedo* the play is a fast-paced murder mystery comedy where six suspicious guests, all using a colourful pseudonym, are invited to a remote mansion and quickly become suspects when their host turns up dead. As secrets spill and bodies pile up, the characters race to uncover whodunnit, with what weapon, and in which room, keeping the audience guessing to the very end. The play is based on the hit 1985 film *Clue*, which in turn was based on the beloved *Cluedo* board game. As a light-hearted piece of broad comedy that has appeal to a wide audience, *Cluedo* the play delivers. Director Luke Joslin is allowed to give this Australian production its own flavour, pace and personality, a rare gift. For those who grew up worshipping the film, there are a few notable differences worth pointing out. It’s no longer set in 1954, New England, USA. It’s set in ‘Old’ England, aka London, 1949, likely a loving nod to the year the original board game was first manufactured. There are references to Westminster instead of Washington, D.C., and British accents abound. The move away from American accents usually lands more positively among Australian theatre audiences, and a British setting feels more on brand for a retro murder mystery. The Hill House mansion is now known as Boddy Manor. Mr Green has reverted to Reverend Green, his original boardgame namesake. And Colonel Mustard is a lot more clueless. ![The Scoop Cluedo The Play 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/01/XRL-CLUEDO-photo-Jeff-Busby_2081-copy-942x628.jpg "Cluedo The Play 2026 Australian tour • The Scoop")Theres enough dialogue from the film to keep fans happy while the new additions for the most part feel purposeful Photo by Jeff BusbyThere’s plenty that has been kept the same, though. Miss Scarlett is still a vamp. Mrs Peacock is dotty. Mr Green is a clumsy, nervous wreck. Mrs White is a black widow. And Professor Plum is still, well, not that smart for a professor. The singing telegram girl scene remains as one of the funniest in the production. And there’s a secret passageway from the Conservatory to the Lounge. Designer James Browne also grew up loving the original film, and his set is a marvel. He’s described it as another character, and he is not wrong. Centre stage is the Hall, which serves as the beating heart of the production. There are visual references to the film, with dark timber finishes, tall walls, sumptuous drapes, and of course, the famous chandelier. (No, it doesn’t get smashed; that would be a logistical nightmare.) Browne has given each room its own personality, the library being my personal favourite. The set contains a maze of doors with rooms that slide open and closed. It almost feels like a life-sized doll’s house. It is remarkable to think it has also been designed to be flat-packed so it can travel with ease on the tour. Browne’s costumes are visually gorgeous, with each character wearing their namesake’s colour. As each character arrives at the manor, their overcoats are a sight to behold, and are removed far too soon. One detail I wish had been retained is the red nails and lipstick, which, to me, are synonymous with the ladies from *Clue*. It’s probably one of the reasons I still wear red nail polish to this day – they are the epitome of classic glamour. In this production, Miss Scarlet has attained an almost head-to-toe red colour palette, while Mrs White is almost completely monochrome. I’ll get over it. Sandy Rustin has written the script, with additional material by Hunter Foster and Eric Price. There’s enough dialogue from the film to keep fans happy, while the new embellishments and additions, for the most part, feel purposeful. ![The Scoop Cluedo the play 2026 Australian tour](https://thescoop.au/wp-content/uploads/2026/01/CLUEDO-Set-Ups__1321-copy-942x628.jpg "Cluedo the play 2026 Australian tour • The Scoop")The set and costumes by James Browne are a sight to behold and are bespoke to this Australian production Photo by Jeff BusbyThe show runs for 90 minutes with no intermission. It’s fast-paced and fun, with not much time to catch your breath. The plot moves incredibly fast, especially in the final section known as The Revelation. One wonders if an extra 30 minutes and an intermission might have given the show, and its hard-working cast, a little more space to breathe. As Wadsworth, Grant Piro leans into the vaudeville, delivering a performance full of over-the-top choices. Lawrence Boxhall’s Reverend Green pairs physical comedy with disarming English humour to garner genuine laughs from the audience. Colonel Mustard’s character leans heavily into literal gags and wordplay, a departure from the original film that doesn’t always land. Adam Murphy confidently carries it though in a performance that is impossible not to like. David James’ Professor Plum commands the stage with bravado and a boomy voice. Olivia Deeble blends wry humour and subtle charm, giving her Miss Scarlett a seductive allure. Mrs Peacock embodies the all-too-familiar mother-in-law archetype, and Genevieve Lemon performs this delightfully painful character to a tee. Rachael Beck gives a wonderfully poised performance as the morbid Mrs White. Octavia Barron-Martin, Lib Campbell, Nat Jobe, and Joshua Monaghan play all the other characters, including Mr Boddy, the Cook, Yvette, the motorist, the cop (known as ‘bobby’) and the singing telegram girl. *Cluedo* the play knows exactly what it is and leans into it with confidence. This is slick, silly, old-fashioned fun, elevated by a fabulous design, a cast clearly up for the ride and a production team in on the joke. Once you’ve enjoyed this stage production, I urge you to seek out the 1985 film, *Clue*. With a cast that includes Tim Curry, Madeline Kahn, Christopher Lloyd, Eileen Brennan, Martin Mull, Michael McKean and Lesley Ann Warren, it’s no wonder the film has cult status. Because going through life having not seen it? That is the *real* crime. ***Cluedo* runs to 1 February 2026 at The Playhouse, QPAC Brisbane. It then tours to Melbourne, Adelaide and Sydney. See dates below.** Tickets: <https://cluedoplay.com.au/#tickets> Website: <https://cluedoplay.com.au/> Socials: <https://www.instagram.com/cluedotheplay/> [Read our interview with Rachael Beck!](https://thescoop.au/rachael-beck-trades-ballads-for-bloodshed-as-mrs-white-in-cluedo/) Photo credits: Jeff Busby 2026 Australian Tour Dates Brisbane 7 January to 1 February, Playhouse Theatre, QPAC Melbourne 7 February – 15 March, Comedy Theatre Adelaide 21 March – 4 April, Her Majesty’s Theatre Sydney 11 April – 8 May, Theatre Royal **Categories:** Brisbane, Theatre --- ### [Rachael Beck Trades Ballads For Bloodshed As Mrs White In Cluedo](https://thescoop.au/rachael-beck-trades-ballads-for-bloodshed-as-mrs-white-in-cluedo/) **Published:** January 11, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Rachael Beck Cluedo Mrs White](https://thescoop.au/wp-content/uploads/2026/01/XRL-CLUEDO-photo-Jeff-Busby_2333-copy-942x628.jpg "Rachael Beck Cluedo Mrs White • The Scoop")Based on the fan-favourite 1985 Paramount Pictures movie and inspired by the classic Hasbro board game, ***Cluedo*** is hitting Australian stages in 2026 in a four-city tour. **Rachael Beck** is playing Mrs White, and The Scoop sat down for a rapid-fire Q & A chat ahead of opening night in Brisbane. Rachael talks all things *Cluedo*, including the joy of working with an ensemble cast and the ups and downs of stepping into Mrs White’s shoes. Read the full interview below. ***Cluedo* has such a devoted fan base. When did you first encounter the film or the game, and what was your initial reaction?** I played the game when I was young, and we always fought over who was going to be certain characters. But it was also a fight between Cluedo and Monopoly. Half the family wanted to play Monopoly, half wanted to play Cluedo. **Totally, yes! I always wanted to be Miss Scarlet. What about you?** Mrs Peacock. **And what about the film?** I only watched the film when I knew I got the role. **Oh my goodness! I grew up with it, I could probably recite the whole script.** Gosh, we’d better know our lines then! *(laughs).* **The film *Clue* is a cult classic with very specific rhythms and iconic performances. How does the stage version make the story its own?** Great question. It’s like the characters have stepped off the board game and onto the stage. We’re not imitating. We’re actors. We’re making it our own, but it absolutely has the rhythm and flavour and feel of the film. ![The Scoop Cluedo The Play Rachael Beck Mrs White](https://thescoop.au/wp-content/uploads/2026/01/XRL-CLUEDO-photo-Jeff-Busby_2544-copy-942x628.jpg "Cluedo The Play Rachael Beck Mrs White • The Scoop")Rachael Beck as Mrs White in Cluedo The Play Photo by Jeff Busby**What does theatre allow this story to do that film can’t?** It’s the magic of live theatre. It’s the tennis match that you play with every line. You rely on the laughs. Different audiences have different lines that they love. We rely on the audience as much as the audience relies on us to play the actual characters and deliver the lines. So it’s the magic of that. It’s the embellishment of that. It makes it so much more real. You’re basically in the game when you’re watching a live show, other than when you’re watching the movie. **Were there any lines or moments you were secretly hoping would survive the transition to the stage?** Well, I can tell you that most of the lines, I think almost all the lines, are in the stage play. I was watching out for Mrs White, so obviously, the flames line is in. I do make that my own as well. **What was your first thought when you found out you’d be playing Mrs White?** The role description was ‘insipid, angry and cold,’ and I thought: gosh, I’m so far from that sort of character in my real life. Wow, I’m really going to have to act. And also, she’s perhaps killed three or four of her husbands, so I had to do a little bit of research into that. I was excited because I hadn’t played a role like that before, and the characters are so big. They’re not caricatures, but it’s just very specific acting and a very specific style. So I was excited to be able to play Mrs White in that way. **Mrs White is dry, deadpan and quietly lethal. What do you enjoy most about sitting in that kind of stillness while chaos unfolds around you?** It’s hard for me to do that, because I do like to be in the centre of things, but it’s such a wonderful departure from a lot of the other roles I’ve played. And I don’t know, I think as you grow older, there is a stillness that happens. There’s a depth that happens to you as a person, so I can definitely identify with her at this age. **Is Mrs White misunderstood, or exactly as dangerous as she seems?** Oh, definitely as dangerous as she seems, hands down. ![The Scoop Cluedo The Play Rachael Beck Mrs White](https://thescoop.au/wp-content/uploads/2026/01/XRL-CLUEDO-photo-Jeff-Busby_2026-copy-942x628.jpg "Cluedo The Play Rachael Beck Mrs White • The Scoop")Mrs White with The Cook Wadsworth the Butler and Yvette Photo by Jeff Busby**Does playing someone so emotionally contained make the moments she *does* snap even more satisfying?** Definitely, I think for me, there’s also almost an insanity, and a madness inside there that is humming away for Mrs White in my portrayal. So when she does snap, it’s explosive because it’s just below the surface. She’s always just pressing it down and putting on that mask. And I really love that as an actor, that’s quite a wonderful challenge to play. **With such a tightly choreographed farce, what’s been the biggest challenge in rehearsals?** Oh, it is so intense. All of our bodies are aching because we’re doing lots of head snaps. Even though Grant Piro is heading it as Wadsworth, the Butler, and does an amazing job, we have done a lot of work to get all of our gasps and our head snaps together. It’s a true ensemble piece. It’s rapid-fire dialogue, so you cannot have any pauses. And that is what requires a lot of focus every night. But also, needing to counterbalance that with where the laughs and audience reactions may be, because they are different every night. So you’ve got to actually have a hyper focus when you’re doing this style. You can’t really rest, and you can’t play for laughs. You’ve got to play for drama. That’s when it’s funny. **Who breaks character the most in rehearsals?** I think maybe Genevieve Lemon, because she’s just so damn funny. And I don’t know whether it’s her breaking or whether it’s us breaking, because she’s so funny. We’ve all laughed in rehearsal. It’s been a very community-type rehearsal. Usually, you stay in your lane, you listen to the director, but everyone has been very collaborative. If someone is finding it hard to get the timing of a joke, other actors will come and help, and that doesn’t usually happen. But we all just have this camaraderie, because if one person gets the joke right, it’s good for the whole show. It’s been a really, really fantastic rehearsal process in that way. **I love hearing that. What kind of audience member is going to love this production the most?** Oh, I think Aussies really love that British style humour, that double entendre, play on words, physical comedy. I think anyone who loves a good laugh. There’s something that’s very appealing to each age group. One of my best friends, her 17-year-old, plays *Cluedo* on her phone. So there’s this whole new group of young people coming through who are loving it as well, which is exciting. So, you know, parents can take their teenagers. I think it’s a really great show to introduce theatre to kids as well, because it snaps along, it’s magical, and it’s funny. Some of the jokes are obvious, and some of the jokes will go over the kids’ heads. **Why is *Cluedo* the perfect night at the theatre right now?** Because we all need a laugh at the moment. And this production was done in London, but we’ve been given total Australian creativity on this. So we’ve got all-new costumes and sets. It’s a totally blank slate, and I think Australian audiences are going to be really proud of it. ![The Scoop Rachael Beck Cluedo Mrs White](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-11-at-21054-pm-420x628.jpeg "Rachael Beck Cluedo Mrs White • The Scoop")**Our final two questions we like to ask everyone we chat to as we love hearing the answers. Are there any dream roles or shows left on your bucket list?** Ooh. I think… I think my dream role is being written. It’s being written right now. **It doesn’t exist yet?** Not yet. **I love that answer! No one has said that before. And finally, what advice would you give anyone wanting to get into the industry?** If you are um-ing and ah-ing about doing it, don’t do it. Because it’s a very hard industry, and there are a lot of people doing it. But follow your passion, train yourself up. And there are many things you can do: singing, dancing, acting, gymnastics, an instrument. The more skills you have, the more employable you are. If you don’t get a show straight away, do something that’s pro-am, do something that’s amateur, because that still hones your skills. But I think that you have to be ready for waits. Waits of no work and people saying: no, that show is not right for you. Even though you think it is. You just have to say: I’m just going to keep doing it, because I love to do it. I would say to young people, getting a degree or something on the side is probably a good idea, too. So you can have something that you can go in and out of. You’re still using your mind in another way. And I think that if you really do want to be in this industry, do it in whatever way you can. It doesn’t have to be at QPAC. It doesn’t have to be the Opera House. It can be in your local theatre. It can be wherever it is. You’re not more successful because you’re here and here. That’s what I think. And I know it’s easy for me to say, but I honestly do think that an audience is an audience. Whether they’re at the Opera House or whether they’re at the Church Hall. Because you’re still touching people, still affecting people. I think one of my greatest joys is to make people laugh. Always has been comedy. To make someone laugh is just such a gift. ***Cluedo* officially opens tonight and runs to 1 February 2026 at The Playhouse, QPAC Brisbane. It then tours to Melbourne, Adelaide and Sydney. See dates below.** Tickets: <https://cluedoplay.com.au/#tickets> Website: <https://cluedoplay.com.au/> Socials: <https://www.instagram.com/cluedotheplay/> [Read our review of the Brisbane opening show!](https://thescoop.au/review-cluedo-the-play-brings-the-classic-whodunnit-to-life/) Hero image photo credit: Jeff Busby 2026 Australian Tour Dates Brisbane 7 January to 1 February, Playhouse Theatre, QPAC Melbourne 7 February – 15 March, Comedy Theatre Adelaide 21 March – 4 April, Her Majesty’s Theatre Sydney 11 April – 8 May, Theatre Royal **Categories:** Features --- ### [Announcing Cluedo Stage Play To Tour Australia In 2026](https://thescoop.au/announcing-cluedo-stage-play-to-tour-australia-in-2026/) **Published:** August 10, 2025 **Author:** Newsroom **Content:** ![The Scoop Cluedo the play Australian tour 2026](https://thescoop.au/wp-content/uploads/2025/08/3-The-Company-of-the-North-American-tour-of-CLUE-photo-by-Evan-Zimmerman-for-MurphyMade-941x628.jpg "Cluedo the play Australian tour 2026 • The Scoop")The world’s favourite murder mystery board game now a new stage play! ***Cluedo***, the game of whodunnit that’s gripped generations is stepping off the board and onto the stage! Premiering at QPAC in **Brisbane in January 2026**, the much-loved murder mystery will then travel to the Comedy Theatre in **Melbourne**, Her Majesty’s Theatre in **Adelaide** and Theatre Royal **Sydney** throughout 2026. Based on the fan-favourite 1985 Paramount Pictures movie, *Clue* and inspired by the classic Hasbro board game that is the 5th highest selling board game of all time, ***Cluedo*** is the ultimate whodunnit that will leave you dying of laughter and keep you guessing until the final twist. Producer **John Frost** for Crossroads Live said: *“Continuing our tradition of presenting some of the world’s favourite mysteries on stage including Agatha Christie’s And Then There Were None and The Mousetrap, I’m delighted to present the Australian premiere of **Cluedo**.* *We know audiences love a murder mystery. With **Cluedo** being one of the world’s best-selling board games with over 150 million games sold in over 40 countries, I know that Australia will delight in seeing the mystery played out live on stage.”* ![The Scoop Cluedo the play Australian tour 2026](https://thescoop.au/wp-content/uploads/2025/08/5-The-Company-of-the-North-American-tour-of-CLUE-photo-by-Evan-Zimmerman-for-MurphyMade-942x628.jpg "Cluedo the play Australian tour 2026 • The Scoop")Cluedo is the ultimate whodunnit that will leave you dying of laughter and keep you guessing until the final twist***Cluedo***, also known as *Clue* in the US, has played on stage in the US and the UK to great success and sell out shows. The film *Clue* is regarded as a cherished cult classic. It featured a stellar cast including Tim Curry, Lesley Ann Warren, Christopher Lloyd and Madeline Kahn. Audiences will join the suspicious and slightly eccentric dinner guests **Colonel Mustard, Miss Scarlet, Professor Plum, Mrs Peacock, Mr Green** and **Mrs White** as they arrive at Boddy Manor for a night they’ll never forget! Was it Mrs Peacock in the study with the knife? Or was it Colonel Mustard in the library with the wrench? One thing’s certain, everyone has something to hide. This fast-paced, farcical comedy-thriller is a killer night of entertainment for fans of the board game, lovers of classic mysteries, and anyone who enjoys a good laugh with their larceny. Grab your trench coat, channel your inner detective, and prepare for an evening of deadly fun! Casting announcements will be made in the coming months. ***Cluedo* premieres 7 January 2026 at The Playhouse, QPAC Brisbane. It then tours to Melbourne in February, Adelaide in March and Sydney in April.** Tickets: <https://cluedoplay.com.au/#tickets> Website: <https://cluedoplay.com.au/> Socials: <https://www.instagram.com/cluedotheplay/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Evan Zimmerman for MurphyMade Based on the screenplay *Clue* by Jonathan Lynn, written by Sandy Rustin with additional material by Hunter Foster and Eric Price. Based on the Paramount Pictures Motion Picture Based on the Hasbro board game CLUE. By special arrangement with Clue On Stage LLC. Originally produced at Bucks County Playhouse, New Hope, Pennsylvania, USA. Clue developed by Cleveland Playhouse, Cleveland, Ohio, USA. CLUE and all related characters are trademarks of Hasbro and are used with permission. (c) 2025 Hasbro. Licensed by Hasbro **Categories:** News --- ### [Review: Saturday Night Fever Brings Disco Energy To Melbourne](https://thescoop.au/review-saturday-night-fever-brings-disco-energy-to-melbourne/) **Published:** January 11, 2026 **Author:** Wendy Samantha **Content:** ![The Scoop Saturday Night Fever Drew Anthony Creative Melbourne](https://thescoop.au/wp-content/uploads/2026/01/6348-copy-942x628.jpg "Saturday Night Fever Drew Anthony Creative Melbourne • The Scoop")The temperature is definitely rising in Melbourne, and a fever has hit the city centre! *Saturday Night Fever* is here, so lace up those chunky heels, get those big do’s done, and head on down to The Athenaeum Theatre to join in on the groovalicious disco dancing fun. Drew Anthony Creative has put together an absolutely brilliant production, and you will be entertained by the glistening of every mirror in the spinning disco ball. The talent on stage is just outta sight, and the tracks in the mix are all killer jams. Led primarily by The Bee Gees, other chart-topping hits include songs from Yvone Elliman, The Trammps, Kool & the Gang, KC and the Sunshine Band. Transporting you back to the 1970s where bell bottoms and flares, wide collars and big sunglasses were all the rage, you will want to bust a move in the aisles and funk it up into the evening after seeing this addictive production. It will leave you wanting more! Based on the 1977 film *Saturday Night Fever*, this musical shines a spotlight on dance, social pressures and the culture of the time. We follow 19-year-old Tony Manero (Ethan Churchill), who is struggling with the direction of his mundane day-to-day life. He’s facing issues within his family, and his friends are battling their issues too. His mother Flo (Chelsea Plumley) is a deeply religious Italian-American, proud of her oldest son, Frank Jr (Matthew Casamento), who is studying for the priesthood. Believing heavily in respect, rules and duty, she puts a lot of pressure on her sons and daughter, Linda (Amileya Moro), as to who they should be. Often arguing with her husband Frank (George Kapiniaris) at the dinner table, he is angry and bitter after losing his job and expects obedience from his family. Prone to excessive drinking, it is explained that he also has violent outbursts and has been physically abusive. Tony’s boys crew include the troubled Bobby C (Sam Hamilton) who is trying to come to terms with his girlfriend’s pregnancy. His best friend Double J (Dimitri Raptis) is full of humour as he tries to don a streetwise image and act tough. And the loyal Joey (Ewan Herdman) shows us that the need to belong can lead you into a difficult situation. ![The Scoop Saturday Night Fever Drew Anthony Creative Melbourne](https://thescoop.au/wp-content/uploads/2026/01/6469-copy-942x628.jpg "Saturday Night Fever Drew Anthony Creative Melbourne • The Scoop")Churchill is like a firestick at a night rave energising the crowd with his dynamic dancing Photo by Ben FonOn Saturday nights, they all look forward to feeling alive and free at the disco. They dance the night away on the floor where Tony knows he can be confident and admired. Attracting the attention of many young women, he faces the unwanted affections of Annette (Izzi Green). But it’s the alluring and ambitious Stephanie (Regan Barber) who has caught his eye as more than just a dance partner. As they prepare for a big disco dancing competition, the friendships, choices and consequences are all heightened and challenged. In music, dance and heartbreak, this story is told with charm and sparkle. Leading the troupe and setting the dance floor ablaze is Ethan Churchill as Tony Manero. He has all the moves, the charisma, the shine and of course, the hair! Churchill is like a firestick at a night rave, energising the crowd and headlining an electrifying mob with his dynamite dancing and powerful portrayal of such an iconic character. Paired with the foxy Regan Barber as Stephanie Mangano, they have a natural chemistry that showcases moments of love with delicate beauty. Barber’s vocals will leave you breathless. She sings each note with passion and power, and delivers her character with inner respect and grace. Izzi Green conveys so many emotions as Annette, and you empathise with the rollercoaster of feelings she experiences. Her crystal-clear vocals carry every word she sings perfectly. Chelsea Plumley governs her family, with her portrayal of Flo depicting strength despite the setbacks. She is gutsy and earnest, showing sincerity in her scenes. Frank, played by the talented George Kapiniaris, had the full house’s applause, bringing honesty to his role with notable command. His assertive behaviour and confidence contrast nicely with the innocence of Amileya Moro as Linda. Moro displays courage and fun in her character, a sweet shadow of her determined on-stage mother. ![The Scoop Saturday Night Fever Drew Anthony Creative Melbourne](https://thescoop.au/wp-content/uploads/2026/01/2109-copy-942x628.jpg "Saturday Night Fever Drew Anthony Creative Melbourne • The Scoop")As they prepare for a big dancing competition their choices and consequences are all heightened Photo by Ben FonThrown into this Manero mix is Matthew Casamento, playing Frank Jr. He has a calm warmth and care as he arrives home after leaving the priesthood. Scenes between the two brothers allows Churchill and Casamento to highlight their opposite personalities. Yet they also share their sibling love and support for one another with a playful bond. Tony and his crew bring amazing harmonies to the stage and would have given The Jackson 5 a run for their money! Sam Hamilton as Bobby C leaves the dance floor shaking in a powerful and captivating performance. Dimitri Raptis playing Double J is suave and swish, and boy, can he bust a move! Ewan Herman as Joey captures a fun-loving and cheeky persona, whilst delivering every move, note and line with strong precision, flair and exciting execution. When thinking about this production, two standout solos come to mind that left me with a powerful image captured under that spotlight. These are *If I Can’t Have You*, performed by Izzi Green, and *First and Last / Tragedy* sung by Sam Hamilton. Perfected brilliance! The duet, *How Deep Is Your Love,* performed by Ethan Churchill and Regan Barber, is a gorgeous finale. And of course, the dancing throughout the show, choreographed by Suzi and Jamie Rolton, is a most brilliant highlight. Phenomenal vocals in trio Bianca Baykara, Clara Harrison and Thalia Osegueda Santos will have you looking forward to each scene transition and every moment as they take to the stage together. Projections are definitely on point in this production. As you enter the theatre, a giant impressive television showcasing news snippets from the time gets you all set. There are also intricately designed cafes, a basketball court, a warm dining room, detailed streets, moving cityscapes and starry nights you can only dream of that take you on this fabulous journey. Drew Anthony Creative’s production of *Saturday Night Fever* is boss! It’s a masterful musical, celebrated with a live band led by the vibrantly talented Daniel Puckey. If you’re looking for entertainment, this show is that word! And as those disco lights rotate across the audience and into the ceiling, it will leave you with a memory filled with groove and boogie. One that you can carry with happiness for a lifetime. ***Saturday Night Fever* runs to 25 January at the Athenaeum Theatre, 188 Collins Street Melbourne Vic 3000.** Tickets: <https://www.ticketmaster.com.au/saturday-night-fever-tickets/artist/844061> Website: <https://www.drewanthonycreative.com.au/> Socials: <https://www.instagram.com/drewanthonycreative/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Ben Fon **Categories:** Melbourne, Musical Theatre --- ### [Review: Hamlet Camp Proves You Can Never Really Quit Hamlet](https://thescoop.au/review-hamlet-camp-proves-you-can-never-really-quit-hamlet/) **Published:** January 11, 2026 **Author:** Benjamin Webb **Content:** ![The Scoop Hamlet Camp Carriageworks Brendan Cowell](https://thescoop.au/wp-content/uploads/2026/01/Hamlet-Camp_Carriageworks_credit_Daniel-Boud_067-941x628.jpg "Hamlet Camp Carriageworks Brendan Cowell • The Scoop")Co-written by Brendan Cowell, Ewen Leslie, and Toby Schmitz, *Hamlet Camp* premiered in 2025 and draws on each performer’s long and storied relationship with Shakespeare’s most famous tragedy. All three actors have played Hamlet in major productions, and the show emerges as a kind of post-Hamlet reckoning – part memoir, part poetry reciting, part theatrical experiment. It also reflects a broader contemporary trend of artists interrogating classical texts through personal storytelling, collapsing the distance between performer and role. Rather than retelling Shakespeare’s plot, the piece offers fragments: original poems performed by the cast. These include *Storage* by Cowell, *Ship to Shore* by Leslie, and *Skip Retail Therapy* by Schmitz. These texts orbit around grief, masculinity, regret, and ageing. They are vulnerable without being indulgent and playful without undercutting the emotional stakes. ![The Scoop Hamlet Camp Carriageworks Sydney](https://thescoop.au/wp-content/uploads/2026/01/Hamlet-Camp_Carriageworks_credit_Daniel-Boud_069-941x628.jpg "Hamlet Camp Carriageworks Sydney • The Scoop")All three actors have played Hamlet and the show emerges as a kind of post Hamlet reckoning Photo by Daniel BoudAs a creative, I loved how three artists allowed themselves to be seen not as icons of Australian theatre, but as men still wrestling with loss, longing and the stories they tell themselves to survive. I left feeling reflective, exhilarated, and quietly moved. As performers, Cowell, Leslie and Schmitz bring sharply distinct energies. Cowell’s writing and delivery feel muscular and emotionally direct, often landing with surprising tenderness. Leslie brings a poetic restraint, allowing silence and breath to do as much work as language. Schmitz leans into humour and self-awareness, skilfully pivoting between wit and vulnerability. Together, they form a beautifully balanced trio, never competing for focus, always listening. Claudia Haines-Cappeau, as both producer and performer, grounds the work structurally and physically. She pops up twice throughout the show and both times leaves a mark. In particular, the *Ophelia* dance piece, which she choreographed and performs, acts as a bridge between the men’s emotional spoken poetry and their bombastic skit, Hamlet Camp. ![The Scoop Hamlet Camp Carriageworks Brendan Cowell Toby Schmitz](https://thescoop.au/wp-content/uploads/2026/01/Hamlet-Camp_Carriageworks_credit_Daniel-Boud_077-941x628.jpg "Hamlet Camp Carriageworks Brendan Cowell Toby Schmitz • The Scoop")*Hamlet Camp* is less about Shakespeare and more about what remains after Shakespeare Photo by Daniel BoudIt is her movement that cuts through the structure with visceral clarity, offering a bodily counterpoint to the men’s verbal introspection and restoring Ophelia’s presence as something more than metaphor. Steve Francis’s original music and sound design work nicely within the dreamscape of the show, supporting the performers, breathing with the text. Jimi Rawlings’ lighting design is restrained but precise, sculpting space and mood with elegant simplicity, while Blazey Best’s voice-over work adds a hilarious and hauntingly disembodied texture that deepens the show’s dreamlike quality. *Hamlet Camp* is less about Shakespeare and more about what remains after Shakespeare. It is, quite simply, a tender and funny meditation on memory, masculinity and the stories we carry. Audiences of all ages will bear witness to a fabulous comedy about Shakespeare’s (arguably) most well-known tragedy. ***Hamlet Camp*** **is presented by MODERN CONVICTS and Carriageworks and** **runs to 25 January. Bay 20, Carriageworks, 245 Wilson Street Eveleigh NSW 2015.** Tickets are [on sale now](https://my.carriageworks.com.au/overview/2179?_gl=1%2A1vlse11%2A_gcl_au%2AMTY3NzM2ODgwLjE3NjMwNzQ0ODg.)! Website: <https://carriageworks.com.au/events/hamlet-camp-2026/> Socials: <https://www.instagram.com/carriageworks/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Daniel Boud **Categories:** Sydney, Theatre --- ### [Review: Now You See Me Live Amazes Brisbane](https://thescoop.au/review-now-you-see-me-live-amazes-brisbane/) **Published:** January 10, 2026 **Author:** Isabella Visser **Content:** ![The Scoop Now You See Me Live Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/01/PNC6093-675_HR_Credit-to-Cameron-Grant-Parenthesy-942x628.jpg "Now You See Me Live Australian Tour 2026 • The Scoop")*Now You See Me Live* brings the Four Horsemen from the big screen to the stage in an epic showcase of mind-bending illusions, masterful sleight of hand and death-defying escapes. Brought to life by producers Simon Painter and Tim Lawson, the pair behind Broadway’s record-breaking phenomenon, *The Illusionists*, *Now You See Me Live* is guaranteed to impress even the harshest of sceptics. Inspired by Lionsgate’s film sensation, the *Now You See Me* franchise is a box office hit that has grossed nearly $670 million worldwide. A fourth film is already in development. The movies follow the Horsemen, a misfit team of magicians, through incredible twists and trickery to serve their vigilante justice. The third and most recent film, *Now You See Me: Now You Don’t,* was released in November and introduced a new generation of Horsemen to the franchise. Following on their coattails, *Now You See Me Live* features four internationally renowned illusionists as they perform magic that crosses the line between reality and the unbelievable. The stars Gabriella Lester (Canada), Adam Trent (USA), Andrew Basso (Italy), and Pablo Canovas (Spain) shine a new light on the beloved movies while also adding their own personal touch. They encourage the audience to pay close attention and make every effort to minimise doubt in their performances. Quoting the famous words of Horseman J. Daniel Atlas, played by Jesse Eisenberg: *“the closer you think you are, the less you’ll actually see.”* ![The Scoop Now You See Me Live Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/01/PNC6093-501_HR_Credit-to-Cameron-Grant-Parenthesy-942x628.jpg "Now You See Me Live Australian Tour 2026 • The Scoop")*Now You See Me Live* is unique for its immersive experience Everyone gets the chance to be a part of the magic Photo by Cameron GrantCreative and Staging Director Ash Jacks expertly incorporates this sentiment into the show through props and designs that enable spectators to see another side of the tricks and have a deeper appreciation of the quartet’s talent. Throughout the show, a cameraman takes the audience up close and broadcasts every detail of the illusions onto a big screen. Yet solving the mystery of their magic is still close to impossible. *Now You See Me Live* is unique for its immersive experience. Everyone gets the chance to be a part of the magic. Especially during the card trick where audience members rip their four playing cards in half, shuffle them and throw seemingly random pieces in the air, only to be left with something that defies logic. Adam Trent is a natural entertainer with his elaborate tricks, funny jokes and his ability to mess around with the audience. His infectious charm is the greatest magic of all. Trent’s sleight of hand expertise is best seen when he magically transports an audience member’s phone inside something that seems impossible. As the youngest member of *Now You See Me Live*’s Four Horsemen, Gabriella Lester proves that a daredevil attitude and devious skills don’t just come with age. In one of her acts, she is locked in a safe onstage only to appear a few seconds later on the third-floor balcony waving and calling down to the audience. It’s a joy to see her perform with an explosive passion and fiery sentimentality. ![The Scoop Now You See Me Live Australian Tour](https://thescoop.au/wp-content/uploads/2026/01/IMG_2606-837x628.jpg "Now You See Me Live Australian Tour • The Scoop")Pablo Canovas Andrew Basso Gabriella Lester and Adam Trent Photo by The ScoopPablo Canovas plays a clever and artful trickster. When showcasing his teleportation skills, he urges the spectators to look closely to catch how he accomplishes it. He adds more light to the stage and wears a bright coverall to make it easier to see. But he still manages to fool everyone. The show features more than just spellbinding illusions. It also has Andrew Basso’s daring and dangerous stunts. He shocks and amazes when he escapes from chains with a scorpion trapped inside his mouth, while having an audience member slap him across the face. Yet, he outdoes himself by recreating Houdini’s famous Water Torture Cell. A feat that is truly extraordinary to watch live. Seeing the pain, fear and relief flash across his face leaves no room to doubt his extraordinary skills. Basso’s performance will have audiences gripping at the edge of their seats and waiting with bated breath. *Now You See Me Live* goes beyond its namesake movies to become an experience that everyone, not just fans, will enjoy. It is an out-of-this-world, reality-bending show that the whole family will love. *Now You See Me Live* is a once-in-a-lifetime opportunity magic show, witnessed on an epic theatrical scale. Don’t miss it before it disappears. ***Now You See Me Live* runs until 18 January at the Concert Hall, QPAC in Brisbane.** It then heads to Perth from 23 January. Check full Australian tour dates below. Tickets: <https://www.qpac.com.au/whats-on/2026/now-you-see-me-live> Website: <https://www.nowyouseemelive.com/> Socials: <https://www.instagram.com/nowyouseemelive/> [Read more about Now You See Me Live!](https://thescoop.au/now-you-see-me-live-stage-illusion-spectacular-on-tour-this-summer/) Photo credits: Cameron Grant, Parenthesy. Taken at Sydney Opera House 2026 Australian Tour Dates: Sydney 19 December 2025 – 3 January 2026, Concert Hall, Sydney Opera House Brisbane 8 – 18 January 2026, Concert Hall, QPAC Perth 23 January – 1 February 2026, Crown Theatre **Categories:** Brisbane, Theatre --- ### [Alan Ritchson In Queensland To Film Vietnam War Thriller](https://thescoop.au/alan-ritchson-in-queensland-to-film-vietnam-war-thriller/) **Published:** January 10, 2026 **Author:** Newsroom **Content:** ![The Scoop Alan Ritchson Untitled Mike Thornton Project](https://thescoop.au/wp-content/uploads/2026/01/UntitledMikeThorntonProject_composite-942x628.png "Alan Ritchson Untitled Mike Thornton Project • The Scoop")**Screen Queensland** has revealed that *Runner* star **Alan Ritchson** is returning to Queensland, Australia to begin filming a new Amazon MGM Studios feature about **decorated NAVY Seal hero Mike Thornton**. Directed by Australia’s **Patrick Hughes** (*Hitman’s Wife’s Bodyguard, War Machine),* **the untitled feature** depicts the incredible real-life struggle for survival in the hostile waters of the South China Sea that earned Mike Thornton a Congressional Medal of Honor. **Alan Ritchson** (*Reacher,* *Fast X)* is set to star alongside **Joe Cole** *(Subversion, A Prayer Before Dawn)* and **Hoa Xuande** *(The Sympathizer, Avatar: The Last Airbender).* Filming begins in January at Village Roadshow Studios on the Gold Coast, with the project secured for the state through Screen Queensland’s Production Strategy and the Federal Government’s Location Offset. Acting Minister for the Arts **Tim Nicholls** said that 2026 is shaping up to be another strong year for screen production in Queensland with the support of the Crisafulli Government: *“With the continued backing of our incentives, the Crisafulli Government is delivering ongoing employment and economic benefits to Queensland. We are committed to ensuring our state remains number one for screen production in the country.”* *This latest project for Amazon MGM Studios will create employment for around 260 local cast and crew while injecting an estimated $50 million into the Queensland economy and supporting numerous small businesses.”* **Jacqui Feeney**, Screen Queensland CEO, said that Queensland’s expertise with military and water-based projects made it a perfect choice to bring Mike Thornton’s remarkable story to the screen: *“Queensland crews have an internationally renowned reputation for delivering complex action films and series. It’s fantastic to start the new year with such an ambitious production coming into Village Roadshow Studios.”* Director **Patrick Hughes** said: *“It’s incredibly rewarding to bring this project back to Australia. The Gold Coast offers world-class crews, facilities, and locations, making it an ideal home for a production of this scale. I’m thrilled to be working with Screen Queensland to bring this film to life.”* The **untitled Mike Thornton project** is the latest production in a growing slate of Queensland-made films for Amazon MGM Studios. Previous productions include *Balls Up, The Bluff, Voltron* and *Subversion*. The film is supported by the Australian Government through the Location Offset, the Queensland Government through Screen Queensland’s Production Attraction Strategy, and Local Government through the City of Gold Coast’s Screen Attraction Program. Producers on the *Mike Thornton* project include Sylvester Stallone and D. Matt Geller under Balboa Productions, Hidden Pictures’ Todd Lieberman and Alex Young, Alan Ritchson’s AllyCat Entertainment, and Alan Rautbort. Executive producers are Valerie Bleth Sharp and Mike Thornton. The script is written by Mark Semos (*Seal Team, Y: Marshals*), Alan Ritchson, and Jason Hall (*American Sniper;* *Thank You For Your Service*). **For more information about funding programs, incentives, locations and facilities, visit the Screen Queensland website.** Website: <https://screenqueensland.com.au/> Socials: <https://www.instagram.com/screenqueensland/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image L-R: Alan Ritchson, Director Patrick Hughes, Joe Cole, Hoa Xuande **Categories:** News --- ### [Review: A Lie Of The Mind Finds Wicked Humour In Wounded Souls](https://thescoop.au/review-a-lie-of-the-mind-finds-wicked-humour-in-wounded-souls/) **Published:** January 9, 2026 **Author:** Christian Claye Edwards **Content:** ![The Scoop A Lie of the Mind Light The Torch Sydney](https://thescoop.au/wp-content/uploads/2026/01/P1030585-1-939x628.jpg "A Lie of the Mind Light The Torch Sydney • The Scoop")As a true friend of the show, dear reader, you well know that we of Scoop Central delight as much in unearthing raw talent as we do in grooving among the great. And this month in Newtown, there will be lashings of both as the New Theatre hosts Light the Torch Productions’ uncompromising take on Sam Shepard’s *A Lie of the Mind*. Unbeknownst to director Johann Walraven, this newshound had the secret pleasure of sitting next to him throughout the entire emotional cataclysm his cast have made of Shepard’s polite scream of a play. Walraven clasped his hands and suffered through every hammerblow delivered by the playwright and an audacious cast of graduates from Actors Centre Australia. And the hammerblows certainly come on thick and fast in this American allegory of the mid-80s, and really only accelerate through the back end of a near two hours of desperate humanity and sublime bluegrass. I’m no devout follower of Sam Shepard, pretty much since he was perversely miscast in the wildly inappropriate and absurdly obvious Homo Faber (Voyager in English), where director Volker Schlöndorff has Shepard sail around the world in a three-piece suit, endlessly shagging Julie Delpy, who also turns out to be his daughter. ![The Scoop A Lie of the Mind Light The Torch Sydney](https://thescoop.au/wp-content/uploads/2026/01/P1040678-2-939x628.jpg "A Lie of the Mind Light The Torch Sydney • The Scoop")The cast sets the language on fire before soothing into each scene with some really quite gorgeous harmonies Photo by Josh MertenFortunately, *A Lie of the Mind* skirts the incest, but revels in the violent juices of two aimless, high country American families with intertwined fates and a shared history of cruelty. Opening with a pathetic ferocity that only metastasises and spreads through the remainder of the poverty stricken Murphy’s and the Montana-bound Miller’s, Walraven’s cast sets the language on fire before soothing into each scene with some really quite gorgeous harmonies. *A Lie of the Mind* demands an avalanche of choices from its characters, its audience and particularly its director. Terrible things happen slowly. Slow enough to demand a response from all the apathetic bystanders. The original off-Broadway production, directed by Shepard himself and with no less than Harvey Kietel, Jessica Lange and Aidan Quinn kicking about, provides an older lens with which to view – aghast – at the American condition of today. ![The Scoop A Lie of the Mind Light The Torch Sydney](https://thescoop.au/wp-content/uploads/2026/01/P1050348-939x628.jpg "A Lie of the Mind Light The Torch Sydney • The Scoop")The entire ensemble clicks and crackles with energy and charisma Photo by Josh MertenAs Walraven says, “It’s such a powerful piece of writing, and has a great story arc for all characters, which is why I eventually chose it.” “It’s particularly timely viewing America from afar in today’s current climate of obfuscation and deceit, blatant lies and untruths, and even non-cognisant self-delusion. We see that in the macro on our phones and TVs, and this play presents the same theme in the micro – in the context of the breakdown of the familial dynamic.” And somehow, despite all the wretchedness, *A Lie of the Mind* is also painfully funny. Intensely sympathetic performances abound from a young cast. Ticking all the boxes, from accurate American accents to convincingly ageless white trash, the eight performers share a near full album of folk music, making each transition a pleasure. Lily MacNevin brings it for the brutalised Beth. Both Murphy brothers, played by Finn Couzner and Amos Walker, are savage and infantile. The entire ensemble clicks and crackles with energy and charisma. I’m loath to call anyone out, but Indiana Jamie’s impossible bitchface of a mother will likely be hardest to forget. ***A Lie Of The Mind* is presented by Light The Torch Productions in association with New Theatre. It runs to 24 January at New Theatre, 542 King Street Newtown NSW 2081.** Tickets are available [here](https://aunewtheatre.sales.ticketsearch.com/sales/salesevent/158377). Website: <https://newtheatre.org.au/a-lie-of-the-mind/> Socials: <https://www.instagram.com/lightthetorchproductions/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: [Josh Merten](https://www.instagram.com/joshie_merten/) **Categories:** Sydney, Theatre --- ### [Review: Putting It Together Is A Glamorous Toast To Sondheim](https://thescoop.au/review-putting-it-together-is-a-glamorous-toast-to-sondheim/) **Published:** January 9, 2026 **Author:** Sophie Cornett **Content:** ![The Scoop Putting It Together Musical Sydney](https://thescoop.au/wp-content/uploads/2026/01/Cast-of-PUTTING-IT-TOGETHER-c-Daniel-Boud_095-942x628.jpg "Putting It Together Musical Sydney • The Scoop")The name Stephen Sondheim is famous among the world of musical theatre. An American composer and lyricist, he is the genius behind some of the most notable pieces of theatre, such as *West Side Story, Sweeney Todd* and *Into the Woods* (to name very few). *Putting it Together* compiles iconic music from his most famous scores into a celebration of his extraordinary talent for storytelling through song. *Putting It Together* first took to the stage in Oxford in 1992, under the direction of Julia McKenzie in a production by Cameron McIntosh. The show then made its Off-Broadway debut in the United States a year later. Now, Impresario Productions brings this celebration of Sondheim to the Sydney stage, and it is a delightful journey through the composer’s immortal contribution to the musical theatre world. A musical revue would be described as a compilation of songs that explore a similar theme, as opposed to following a linear narrative that we see in traditional musicals. *Putting It Together* sees five individuals gathered in a New York City apartment to celebrate and satirise love, relationships and desire through the medium of Sondheim’s music. The audience clearly received the memo that this was a party, as theatre goers descended upon the Foundry Theatre in their cocktail finest. From the moment we entered, the music, staging and lighting transported us to the opulence of upper-class New York City. ![The Scoop Putting It Together Foundry Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/01/Bert-LaBonte-Caroline-OConnor-and-Michael-Cormick-in-PUTTING-IT-TOGETHER-c-Daniel-Boud-942x628.jpg "Putting It Together Foundry Theatre Sydney • The Scoop")The show transports us to the opulence of upper class New York City Photo by Daniel BoudNick Fry has done an impeccable job transforming the theatre into the perfect soirée setting, complete with decadent crystal chandeliers and the most perfectly themed musical note staircase banister. Cameron Mitchell, as director and choreographer, has perfectly captured the whimsy, wit and wonder of Sondheim’s score. The performers leap nimbly between emotional ballads and highly complex comedic numbers. They leave the audience on the edge of their seats as they await the next song. In this production, the three musicians are featured on the stage. And my goodness, are they deserving of the thunderous round of applause that they received at the end of the night. Musical Director Kevin Wang and musician Nicholas Till wield their dual pianos deftly. Richard Gleeson on percussion is mesmerising as he navigates the multiple instruments at his station. As I left the theatre, the sentiment I heard repeatedly was how extraordinary our Australian talent is, and I couldn’t agree more. The cast delivers the complexity of Sondheim’s music with finesse and delightful characterisation. Bert Labonté is the perfect observer and narrator of the evening. His comedic delivery and charm make you feel truly welcome into the celebration. ![The Scoop Putting It Together Foundry Theatre Sydney](https://thescoop.au/wp-content/uploads/2026/01/Stefanie-Caccamo-Nigel-Huckle-and-Michael-Cormick-in-PUTTING-IT-TOGETHER-c-Daniel-Boud_039-942x628.jpg "Putting It Together Foundry Theatre Sydney • The Scoop")The cast delivers the complexity of Sondheims music with finesse and delightful characterisation Photo by Daniel BoudCaroline O’Connor continues to demonstrate why she is an icon of the Australian musical theatre scene. Her delivery of some of Sondheim’s most tongue-tripping work is a delight to watch. She brings such amazing depth to her character. Michael Cormick, in the role of Husband, commands the stage. He demonstrates a beautiful blend of gravitas and emotion that truly holds the audience in every moment. Stefanie Caccamo is a powerhouse of a performer. Her vocals are absolutely gorgeous as she expertly navigates a diverse range of tone and character throughout her songs. Nigel Huckle is delightful as the Young Man. He captures the hearts of the audience with his incredible emotional connection to the music and his playful physicality. *Putting it Together* is the perfect way to kick off 2026. It celebrates not only the incredible work of a musical theatre legend, but also our extraordinary Australian talent. If you are after a joyful and glamorous way to start your year, *Putting it Together* is the show for you. ***Putting It Together* runs until 15 February at Foundry Theatre, Pirrama Road Pyrmont NSW 2009.** Tickets: <https://www.foundrytheatre.com.au/putting-it-together#times> Website: <https://www.foundrytheatre.com.au/putting-it-together> Socials: <https://www.instagram.com/foundrytheatresydney/> [Read our interview with Stefanie Caccamo!](https://thescoop.au/stefanie-caccamo-unpacks-the-intimacy-of-sondheims-putting-it-together/) Photo credits: Daniel Boud **Categories:** Musical Theatre, Sydney --- ### [Stefanie Caccamo Unpacks The Intimacy Of Sondheim’s Putting It Together](https://thescoop.au/stefanie-caccamo-unpacks-the-intimacy-of-sondheims-putting-it-together/) **Published:** December 19, 2025 **Author:** Sarah Skubala **Content:** ![The Scoop Putting it Together Foundry Theatre Sydney Stefanie Caccamo](https://thescoop.au/wp-content/uploads/2025/12/Stefanie-Caccamo-and-Michael-Cormick-in-PUTTING-IT-TOGETHER-c-Daniel-Boud_030-942x628.jpg "Putting it Together Foundry Theatre Sydney Stefanie Caccamo • The Scoop")***Putting It Together***, a dazzling celebration of Stephen Sondheim’s greatest work, arrives in Sydney in the New Year and features some of Australia’s finest performers. Set at a glamorous cocktail party, the cast navigate the complexities of love, ambition and desire. The Scoop chatted with one of the show’s stars, **Stefanie Caccamo**, who will be joining Caroline O’Connor, Michael Cormick, Nigel Huckle and Bert LaBonté in the iconic revue. Stefanie talks about the joy of live theatre and what’s special about this show. Read the full interview below. ***Putting It Together* is a unique piece in the Sondheim canon. How would you describe this production’s tone and focus to someone who only knows the big musicals?** It’s intimate and sophisticated. A celebration of Stephen Sondheim’s many works woven into a narrative of its own! Some musicals are great for escapism – this one will make you reflect and FEEL. It’s also an amazing vehicle for the cast and musicians – storytelling through song at its finest! ![The Scoop Stefanie Caccamo Putting it Together Sydney](https://thescoop.au/wp-content/uploads/2025/12/2025-12-12-130737-Music-rehearsal-with-Stefanie-Caccamo-837x628.jpg "Stefanie Caccamo Putting it Together Sydney • The Scoop")Stefanie Caccamo in rehearsal for Putting it Together Photo by Paul Whiteley**What excites you most about starting the New Year with this production?** Kicking off the new year with some of music theatre’s finest material? Yes, please! The end of one year and the start of the next is usually a reflective time. What’s so fantastic about this show is that it strips everything back and unpacks the fundamentals: relationships, love, life; all the universal things that audiences can resonate with. **What are you hoping 2026 audiences are going to take away from this production?** Sondheim’s works are timeless. Written decades ago and still relevant today – people might be surprised by that. **What does the live theatre experience offer people that they simply can’t get by staying at home and watching their screens?** Feeling connected to your community. There’s something so special about sharing an artistic experience with others – you don’t know everyone around you but you’re all on the journey together. Also, people are also less likely to hop on their phones in the theatre – you can be really present. ![The Scoop Stefanie Caccamo Putting it Together Foundry Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/12/Stefanie-Caccamo-Headshot-2024-419x628.jpeg "Stefanie Caccamo Putting it Together Foundry Theatre Sydney • The Scoop")Stefanie Caccamo **You are a WAAPA graduate, and we are at that time of year when auditionees are receiving their drama school offers. Not everyone, of course, will receive an offer. I wondered if you have any advice for people doing the audition circuit who might be facing next year with no firm plans?** Work / life balance is really important. Set yourself up with consistency and routine whether that be through a “muggle job” as we call the 9-5. Or through dance classes, acting and singing lessons – these are accessible ways to feel connected to the industry and meet other graduates as well as people who are currently working in the industry. Classes and workshops are great spaces to work with people on the other side of the desk as well – casting agents, choreographers etc. Stay connected, keep the craft up, go see shows if you can. And don’t forget to live! Take that holiday. Do that random gig. Your work will be better for it. **And finally, this is a fun question: are there any shows / roles / genres or people you’d like to work with on your bucket list?** I’m a classically trained singer and I’ve always loved the classical/MT crossover so shows like *Bridges of Madison County* are very high up on my bucket list! I’ve had the privilege of working with the incomparable Caroline O’Connor in the past and I’m ticking off other creatives that I’ve been dying to work with on this very production – I feel so lucky. ***Putting It Together* runs from 6 January – 15 February at Foundry Theatre, Pirrama Road Pyrmont NSW 2009.** Tickets: <https://www.foundrytheatre.com.au/putting-it-together#times> Website: <https://www.foundrytheatre.com.au/putting-it-together> Socials: <https://www.instagram.com/foundrytheatresydney/> [Read our review of Putting It Together!](https://thescoop.au/review-putting-it-together-is-a-glamorous-toast-to-sondheim/) Hero image: Daniel Boud **Categories:** Features --- ### [Review: Cirque Alice Turns Adelaide Upside Down](https://thescoop.au/review-cirque-alice-turns-adelaide-upside-down/) **Published:** January 9, 2026 **Author:** Sophie Tsoulos **Content:** ![The Scoop Cirque Alice Adelaide](https://thescoop.au/wp-content/uploads/2026/01/card-march-from-the-front-scaled-e1767930605409-939x628.jpg "Cirque Alice Adelaide • The Scoop")Adelaide, it’s time to follow the White Rabbit to Her Majesty’s Theatre for a feast of circus like no other! *Cirque Alice* has come to town, offering us a magical escape to Wonderland this January. On opening night, Adelaide audiences were left utterly surprised and delighted at the sheer extravaganza that unfolded in the theatre. *Cirque Alice* commands you to sit in awe, gasp at the daring, and just enjoy the visual spectacle that unfolds. From the producers of *The Illusionists*, Tim Lawson with Simon Painter as Creative Producer, and directors Ash Jacks and Kirsty Painter, have taken the story of *Alice in Wonderland* and used it as the vehicle in which to theme their new circus show. They have assembled a cast from around the world with talents that I can guarantee you have not witnessed before. The show begins with a sense of familiarity with the narrative. The White Rabbit appears, yet it’s Darius Thompson on the violin, enticing our curiosity. Layla Schillert as Alice follows, softly exposing her stunning opera voice. Once she jumps “down the rabbit hole,” she is launched back out, and the showcase begins. What *Cirque Alice* masters is using the zany characters from the original tale as concepts for each of the acts. The pace and transitions between them are perfectly timed, keeping the audience hooked and eagerly anticipating what will come next. Without spoiling, the acrobatics and stunts in this show are standouts. When you think they couldn’t go higher, go faster, or somehow more advanced, they can, and they do. ![The Scoop Cirque Alice Adelaide](https://thescoop.au/wp-content/uploads/2026/01/CIRQUEDEALICE-385-scaled-e1767947809350-890x628.jpg "Cirque Alice Adelaide • The Scoop")The Tweedles perform the most insanely precise acrobatic tricks between each other Image suppliedThe Tweedles are up first, known as the TT Boys: Tamrta Kuka and Thomas Keka Alemu. Their duet is the way to start the show, hyping up the crowd as they perform the most insanely precise acrobatic tricks between each other. Likewise, the Ramadhani Brothers, Fadhili Rashidi and Ibrahim Mwaimise, are The Knights, who push the limits of human ability to the extreme. You truly have to see their head-to-head duet to believe it; the audience sat frozen in bated breath. A crowd favourite is Paul Dabek as the Mad Matter, who brings a welcome pause to the action with his effortless comedy, magic tricks and shadow puppetry. With plenty of jokes just for the adults in the room, he commands that you keep up with him! Schillert’s Alice anchors the show’s transitions by threading and coursing across the stage with command. Impressively boasting an effortless opera voice that soars, she truly gets her moment to shine as she belts *Ave Maria* for the finale. Also enhancing the transitions between acts is Dane Bates’ choreography on the ensemble of dancers. With each appearance, they model costume designer Angela Aaron’s stunning Alice-inspired outfits, further contributing to the visual spectacle. Up in the air, you are treated to a stunning aerial duet by The Flamingos, Emeline Goavec and Yoann Benhamou. This couple nailed both their stunts and performance quality – I was close enough to see the pure adoration and emotion on their faces during their performance, which was truly special. ![The Scoop Cirque Alice Coliseum Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/10/Caterpillar-contortion-3-942x628.jpg "Cirque Alice Coliseum Theatre Sydney • The Scoop")The Contortion Quartet execute a hypnotic performance as The Caterpillar Image suppliedThe Contortion Quartet, composed of Enkhzaya Battogoo, Baigalmaa Chuluun, Doljinsuren Ganbold, and Dolgorsuren Ganbold, execute a hypnotic performance as The Caterpillar. Clad in stunning, glittering costumes, they move as a sinuous, interwoven contortion group. In Act II, the Queen of Hearts makes a grand entrance, culminating in a mesmerising hand balancing act on canes. Munguntsatsrag Naranbaatar exudes graceful strength and flexibility, creating stunning visuals with her body centre stage. Despite being in a theatre, the stage is arranged as a runway with a circular front, with patrons getting the option to sit on the stage cabaret-style. Hugo Mercier and Sarah Cleverley’s lighting design keeps the staging visually grand, mimicking the roof of a Big Top. Soundtracking the show are the music arrangements by Martin Raabe-Olsen and Marius Christiansen. Their propulsive score is perfectly timed to each artist’s performance with key musical accents and beats. *Cirque Alice* is a visually sumptuous reimagining through a circus lens. When the show concludes, you are ready to jump back down and relive it all over again! I guarantee that *Cirque Alice* is a delightful, transportive escape to Wonderland and the perfect outing for all ages. ***Cirque Alice* runs in Adelaide until 18 January at Her Majesty’s Theatre. 58 Grote Street Adelaide SA 5000.** It then runs in Canberra. See dates below. Tickets: <https://premier.ticketek.com.au/shows/Show.aspx?sh=CIRALICE26> Website: <https://cirquealice.com/> Socials: <https://www.instagram.com/cirquealice/> [Read our review of the World Premiere Season!](https://thescoop.au/review-cirque-alice-is-the-perfect-easter-treat/) Images supplied. 2026 Australian Tour Dates: Sydney 24 December – 4 January, Coliseum Theatre Adelaide 8 – 18 January, Her Majesty’s Theatre Canberra 22 – 31 January, Canberra Theatre Centre **Categories:** Adelaide, Circus --- ### [Review: Little Shop Of Horrors Revival Blooms in Brisbane](https://thescoop.au/review-little-shop-of-horrors-revival-blooms-in-brisbane/) **Published:** January 8, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Little Shop Of Horrors Musical QPAC Brisbane](https://thescoop.au/wp-content/uploads/2026/01/LittleShop-3534-942x628.jpg "Little Shop Of Horrors Musical QPAC Brisbane • The Scoop")QPAC has kicked off 2026 with a packed program of must-see shows, including a revival of *Little Shop of Horrors*, presented in association with Woodward Productions. Other productions filling QPAC’s theatres this season include *[Annie the Musical](https://thescoop.au/review-annie-musical-charms-brisbane-big-time/)*, *[Cluedo](https://thescoop.au/announcing-cluedo-stage-play-to-tour-australia-in-2026/)* and *[Now You See Me Live](https://thescoop.au/now-you-see-me-live-stage-illusion-spectacular-on-tour-this-summer/)*. It’s been more than a decade since QPAC last staged this cult classic, and the musical has lost none of its appeal. The six-week season is almost completely sold out. If you want any chance of seeing the show, stop reading and grab a [ticket](https://qpac.n.qtix.com.au/tickets/series/littleshopofhorrors26) right now! *Little Shop of Horrors* began as a 1960 horror-comedy film, famously featuring a young Jack Nicholson in a minor role. It was the inspiration for the 1982 off-Broadway musical spin off, with book and lyrics by Howard Ashman and music by [Alan Menken](https://thescoop.au/announcing-alan-menken-coming-to-australia-in-2026/). In 1986, the musical was adapted into a film starring Rick Moranis and Steve Martin, securing its cult status. Set on the streets of Skid Row, the story is centred around mild-mannered florist Seymour Krelborn (Maxwell Simon) who works in a failing flower shop owned by the irritable Mr Mushnik (Bryan Probets). Hopelessly in love with his kind-hearted co-worker Audrey (Kirby Burgess), and desperate to escape obscurity, Seymour’s fortunes begin to change when he discovers a strange plant he names Audrey II. As the plant draws customers, Seymour finally gets a taste of success, fame and a glimpse of a better life. But Audrey II has a dark secret: it thrives on human blood. As the plant grows more demanding, Seymour is forced to confront the cost of his sudden rise and the moral compromises he’s willing to make. ![The Scoop Little Shop Of Horrors Musical QPAC Brisbane](https://thescoop.au/wp-content/uploads/2026/01/LittleShop-4676-942x628.jpg "Little Shop Of Horrors Musical QPAC Brisbane • The Scoop")Its been over a decade since QPAC last staged this cult classic and its lost none of its appeal Photo by Joel DevereuxWhat begins as a quirky tale spirals into a wickedly funny and increasingly sinister story about greed, power and desire. Wrapped in a doo-wop–infused score and black humour, it gleefully blurs the line between comedy and horror. Rather than playing *Little Shop of Horrors* as a campy horror-comedy alone, director Alister Smith leans into its Faustian heart. Seymour and Audrey are framed as tender, optimistic people shaped by a world that has repeatedly told them they don’t matter. As Seymour, Maxwell Simon skilfully embodies the desperate, dreamer anti-hero, landing the humour while grounding Seymour’s choices in a genuine, aching love for Audrey. Opposite him, Kirby Burgess is irresistible as Audrey, a woman with a heart of gold and a fragile hope for something better. Her rendition of *Somewhere That’s Green* is heartbreakingly beautiful. The opening night audience erupted at their first kiss during the Act Two duet *Suddenly Seymour*, a reaction earned through the emotional work laid earlier. That connection became literal in *Call Back in the Morning*, when Burgess and Simon navigate a clever sequence involving tangled telephone cords, choreographed by Dan Venz. Audrey II, voiced by Matthew McKenzie and puppeteered by Charles Ball, is brought to life with clean coordination. The plant’s growing scale, complete with illuminated panels and the ability to swallow characters whole, delivers classic, crowd-pleasing spectacle. ![The Scoop Little Shop Of Horrors Musical QPAC Brisbane](https://thescoop.au/wp-content/uploads/2026/01/LittleShop-4452-942x628.jpg "Little Shop Of Horrors Musical QPAC Brisbane • The Scoop")Seymour and Audrey are shaped by a world that has told them they dont matter Stephen Hirst and Bryan Probets effortlessly embrace the show’s heightened reality with obvious relish. As Mr Mushnik, Probets is excellent as the opportunistic florist, particularly in the comic duet *Mushnik & Son*, where his timing and physicality shine. Hirst flexes his versatility as Orin alongside a string of walk-on roles, each one more unhinged and hilarious than the last. Completing the picture is the Greek chorus trio played by Kimberley Hodgson, Anna Francesca Armenia and Nykita O’Keefe. Together they are sassy, sharply defined and vocally formidable, providing both narrative drive and musical firepower. Penny Challen’s monochromatic sets and costumes capture the grimy charm of Skid Row. She cleverly integrates a neon colour palette, allowing scenes to evolve seamlessly and escalating the stakes as Audrey II grows. Declan O’Neill’s lighting and Ben Murray’s sound design work hand-in-hand to heighten both comedy and menace. Bright, nostalgic washes evoke the show’s 1960s roots, while sharper, more sinister cues underscore the plant’s increasing dominance. Heidi Loveland’s four piece live band delivers Menken’s iconic score with punch and polish. They balance doo-wop sweetness with theatrical drive, ensuring the music remains a central character in the storytelling. After more than ten years away from Brisbane stages, *Little Shop of Horrors* has returned in full bloom. If the near sell-out season is any indication, audiences are more than ready to be fed. ***Little Shop of Horrors* is presented by QPAC in association with Woodward Productions and runs to 15 February 2026. Cremorne Theatre, QPAC, Brisbane.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/littleshopofhorrors26> Socials: <https://www.instagram.com/atqpac/> Socials: [https://www.instagram.com/woodward\_productions/](https://www.instagram.com/woodward_productions/?hl=en) [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: Joel Devereux **Categories:** Brisbane, Musical Theatre --- ### [Announcing Sting To Perform In His Musical The Last Ship Exclusive To QPAC](https://thescoop.au/announcing-sting-to-perform-in-his-musical-the-last-ship-exclusive-to-qpac/) **Published:** August 14, 2025 **Author:** Newsroom **Content:** ![The Scoop The Last Ship The Musical Sting Glasshouse Theatre QPAC](https://thescoop.au/wp-content/uploads/2026/01/TLS-MainImage-Low-Res-1022x628.jpg "The Last Ship The Musical Sting Glasshouse Theatre QPAC • The Scoop")In an Australian exclusive, **17-time Grammy Award winning artist Sting** is set to perform in his musical, ***The Last Ship***, at **Queensland Performing Arts Centre**’s (**QPAC**) newest venue, **Glasshouse Theatre from 9 April to 3 May 2026**. The global icon will play a leading role in a renewed version of *The Last Ship*, the acclaimed musical first developed by Sting in 2011 and initially inspired by his 1991 album *The Soul Cages*. Rooted in his own childhood in the British shipbuilding town of Wallsend, *The Last Ship* tells the moving story of a community of shipbuilders in the northeast of England, faced with the closure of their shipyard – the heart of their existence. Sting takes on the role of Jackie White, the shipyard’s foreman whose health is failing just as his leadership is needed most. In this very personal show, the artist immerses the audience in a hometown he was desperate to escape. It’s a world where love, loss, and hope intertwine. **Sting** said: *“I grew up in the shadow of the shipyard. My father wanted me to follow him into the shipyard, but I dreamed of something else. I dreamed of escaping. I did everything in my power to get away from that life. But the farther I got, the more I realised I needed to understand where I came from and felt I had to give something back. The Last Ship is my tribute to the people and the place that shaped me.”* Taking a break from his STING 3.0 world concert touring schedule, Sting has dedicated a few months in 2026 to taking *The Last Ship* production to cities across the globe, including Amsterdam, Paris, and now Brisbane, performing in every show. Sting’s beloved songs such as ‘Island of Souls’, ‘All This Time’, and ‘When We Dance’ are woven into the performance in a full stage production featuring a company of 28 artists, musicians and choristers. The original stage production premiered in Chicago in 2014, followed by a Broadway (Neil Simon Theatre) run the same year. It continued in the UK, Ireland and various European and US cities. This renewed version of the production includes new scenes and music, specially adapted for the 2026 run. Sting’s music – from gritty folk and rousing choruses to intimate ballads – forms the heart of the show. **QPAC Chief Executive Rachel Healy** said it was a huge coup for Brisbane to secure one of the few international seasons of the renewed production. *“You might have experienced Sting’s amazing stadium performances in the past. But witnessing a performer of this calibre sharing a fascinating and deeply personal story in the gorgeous intimacy of Queensland’s brand-new Glasshouse Theatre is truly a once-in-a-lifetime experience. This will be Sting like you’ve never seen him before.”* *Interestingly, Brisbane has its own shipbuilding history. The Evans Deakin shipyard was Australia’s third largest shipbuilding enterprise just down the river from the Glasshouse Theatre. 2026 marks fifty years since its closure in 1976. So it’s very special to link this local history with the personal experiences retold in The Last Ship.”* *The fact that we’ve secured this season exclusively for Brisbane in Australia, as the first international production in our new theatre speaks to Brisbane’s reputation as a cultural tourism destination. We’re very grateful to the Queensland Government for its support.”* **Minister for the Arts John-Paul Langbroek** said Queensland’s new world-class theatre deserved performances worthy of a worldwide megastar. *“We promised the new Glasshouse Theatre would attract acclaimed artists, and it doesn’t get much bigger than multi-Grammy Award winning legend, Sting.* *Today’s announcement marks an exciting new chapter for QPAC. The Glasshouse Theatre will showcase extraordinary talent and elevate live performance experiences for Queenslanders and visitors, while contributing significantly to the economy.”* Sting has sold nearly 100 million albums and received 17 Grammy Awards, more than 30 Broadcast Music Inc (BMI) Awards, four Brit Awards, numerous Golden Globe, Academy Award and Emmy nominations and accolades. The original Broadway production of *The Last Ship* was nominated for two Tony Awards: Best Original Score and Best Orchestrations. ***The Last Ship* forms part of the Glasshouse Theatre’s opening program and will have 29 performances from 9 April to 3 May 2026.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/thelastship26> Website: <https://www.qpac.com.au/whats-on/2026/the-last-ship> Socials: <https://www.instagram.com/atqpac/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. The event is supported by the Queensland Government via Tourism and Events Queensland and tickets will go on sale to the public from 18 September 2025. **BACKGROUND ON GLASSHOUSE THEATRE** The new 1,500 seat Glasshouse Theatre was originally commissioned by the Queensland Government to meet the growing demand for live performance in Queensland, adding a fifth theatre to QPAC’s performance spaces and making QPAC Australia’s largest performing arts centre under one roof. The construction of the $184 million theatre, funded with Queensland Government investment of $159 million and $25 million from QPAC, is an architectural and engineering feat with seamless integration into the heritage-listed QPAC. The Glasshouse Theatre will have the capacity to accommodate the highest technical and artistic demands of the latest touring blockbuster productions. The design is visually stunning with a sweeping staircase, spacious bars and amenities and an auditorium, finished off with sustainable Queensland ironbark timber. Glasshouse Theatre is on track to be completed by the end of the year, before audiences are welcomed in 2026. **Categories:** News --- ### [Film Review: Dreams Is An Intimate & Thoughtful Portrayal Of First Love](https://thescoop.au/film-review-dreams-is-an-intimate-thoughtful-portrayal-of-first-love/) **Published:** January 8, 2026 **Author:** Greta Rule **Content:** ![The Scoop Dreams Film Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-06-at-73626-pm-1017x628.png "Dreams Film Perth Festival • The Scoop")It may have been my post-cinema high, but *DREAMS (Sex Love)* has earned a spot as one of my favourite films. Poetic in all the right moments, but never showy or self-important, the film doesn’t try to be something it’s not. Instead, it tells a deeply relatable and vulnerable story of first love with a touch of dry humour, intimate detail, and nuance. *DREAMS* is the third film in Dag Johan Haugerud’s trilogy exploring love and sexuality. Set in Oslo, Norway, the film is driven by a female-dominated cast and explores coming-of-age, sexuality and the intensity of first love, intergenerational relationships and materialising memory through writing. Watching *DREAMS* felt like a stark and nostalgic reminder that many of us will never experience first love again. As we grow older, we come to understand that there are many loves of our lives, but our first love is unique, untouched by experience, logic or self-protection. Haugerud captures this emotional distinction with tenderness. At its core, *DREAMS* is a story about a teenage girl, Johanne (Ella Øverbye), who falls in love with her teacher (Selome Emnetu). She documents the intimate details of this experience in a memoir, which she later shares with her mother (Ane Dahl Torp) and grandmother (Anne Marit Jacobsen). Upon reading her memoir, the characters are forced to grapple with the ethics of the relationship as well as the literary potential of Johanne’s story. Individually, Johanne’s vulnerability prompts her mother and grandmother to confront their own histories of love, desire and sexuality. Johanne’s coming-of-age is a queer one, though the film resists making it a central theme. Instead, it centres on first love and infatuation, emotions that are understood almost universally. Johanne herself doesn’t appear preoccupied with defining her sexuality; she is simply in love. ![The Scoop Dreams Film Perth Festival](https://thescoop.au/wp-content/uploads/2026/01/Screenshot-2026-01-06-at-80409-pm-1118x628.png "Dreams Film Perth Festival • The Scoop")The film centres on first love and infatuation emotions that are understood almost universallyWhen her mother and grandmother discuss the possibility of publishing Johanne’s memoir, they reflect on what it might mean for queer readers. The film delicately captures the power that vulnerability and visibility have in eradicating stigma and shame. Ella Øverbye’s thoughtful portrayal of Johanne and the collective emotional maturity portrayed by all actors suggest that coming-of-age is not a fixed event, but an ongoing process. We are reminded that “finding yourself” doesn’t end with adolescence. Johanne’s experience of infatuation is painfully relatable. *Øverbye* captures this emotional intensity with striking accuracy. Having a crush on someone unattainable or forbidden feels almost like a rite of passage for a teenage girl, especially those who are queer. At seventeen years old, boundaries and expectations are unclear and, as Haugerud explains, “there can be a disconnect between the mental conception and the physical experience” of a crush. In these moments, imagination runs wild. Fantasies feel real because our emotional responses are so intense, blurring the line between dreams and reality. Haugerud leans into this ambiguity. The decision to centre the story around a student–teacher dynamic undeniably toys with ethics and morality. There is no question that the relationship crosses a line; however, the film offers the audience multiple perspectives rather than a single moral verdict. It maintains emotional sincerity, and the tension of this unlikely relationship makes the film a compelling watch. The depiction of intergenerational relationships in *DREAMS* is one of its most compelling characteristics. The dynamic between Kristen (mother) and Karin (grandmother) as they navigate their reactions to Johanne’s memoir is gentle, patient and deeply human. The film becomes a testament to the strength women derive from deep emotional relationships with each other. ![The Scoop Lotterywest Films UWA Somerville Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/129-PF-Summer-Films-191125-JWyld-942x628.jpg "Lotterywest Films UWA Somerville Perth Festival • The Scoop")Haugerud delivers a profound story by depicting relatable human experience relationships and the vulnerability of first loveThought-provoking dialogue between characters reflects different experiences and opinions of desire, sexuality and empowerment, “which are not fixed and sometimes contradict each other.” Each character and scene has a place and feels purposeful. Kristen’s calm and open-hearted attempt to understand Johanne’s perspective feels especially healing. Healthy mother–daughter relationships are rarely depicted on screen with such nuance, and seeing one unfold here was genuinely refreshing. The recurring motif of knitting serves as a metaphor for this intergenerational exchange and symbolic intimacy. An underappreciate artform, knitting is a craft rarely learned in formal institutions and instead passed down from generation to generation, making it an intimate practice with relationship-building potential. From a formal standpoint, *DREAMS* excels in its restraint. Indie films can sometimes feel alienating and obscure in their pursuit of profundity. Haugerud manages to deliver a profound story by depicting relatable human experience, relationships and the vulnerability of first love. Dominated by Johanne’s voiceover, though unconventional, allows the film to portray the inner turmoil of infatuation in a way that dialogue alone could not. The ascending stairway, the soft colour palette, the fitting, brassy soundtrack, feel earned rather than imposed. Each stylistic decision seemed thoughtfully considered. Ultimately, *DREAMS* is a film about the paradox of first love. How it can be innocent and inappropriate, short-lived and everlasting. It is evidence of how memories and fantasy, related in the film to the impermanence and dreamlike imagery of clouds, can be materialised and made permanent in the act of writing. It is a must-see this summer! ***Dreams* runs from 12 -18 January** **as part of Lotterywest Films and Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Tickets: <https://www.perthfestival.com.au/program/season-2026/dreams> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Dreams Director: Dag Johan Haugerud Cast: Ella Øverbye, Selome Emnetu, Ane Dahl Tor Country of Origin: Norway Duration: 110 mins Rating: PG **Categories:** Film --- ### [The Scoop Favourite Shows Of 2025 Part Three: Circus & Festivals](https://thescoop.au/the-scoop-favourite-shows-of-2025-part-three-circus-festivals/) **Published:** December 30, 2025 **Author:** Sarah Skubala **Content:** ![The Scoop Cirque Alice QPAC](https://thescoop.au/wp-content/uploads/2025/04/CIRQUEALICE_08-1080x628.jpg "CIRQUE ALICE • The Scoop")It’s been one year since The Scoop was created, and the first feature published was my personal list of [Favourite Shows](https://thescoop.au/best-shows-of-2024/) of the year. As 2025 comes to a close, we have been looking back at some of the shows that stood out this year. This next instalment is an eclectic mix of our favourite **Festival** and **Fringe shows**, favourite **Circus** and **Circus Cabaret** shows, and favourite **Concerts**. It feels like there’s been an explosion of shows in the Circus Cabaret genre in recent times, and perhaps it’s because this type of hedonistic escapism is just what we need right now. Many of our favourites in this genre are still running somewhere, so be sure to take our reviewers’ advice and check them out! So without further ado, let’s take a look at some more of The Scoop’s Favourite Show of 2025, in no particular order, starting with Favourite Festival and Fringe Shows. Favourite Festival and Fringe Shows ![The Scoop THE LOVERS Brisbane Festival QPAC Shake & Stir](https://thescoop.au/wp-content/uploads/2025/09/TheLovers-Prod-1137-942x628.jpg "THE LOVERS Brisbane Festival QPAC Shake & Stir • The Scoop")The Lovers by Shake and Stir Theatre Co and QPAC for Brisbane Festival Photo by Joel Devereux**The Lovers** Shake & Stir Theatre Co and QPAC in association with Brisbane Festival Written and composed by Laura Murphy, *The Lovers* offered a fresh, high-energy reimagining of *A Midsummer Night’s Dream*. After its Sydney premiere in 2023, this thrilling new production made its Queensland debut at Brisbane Festival, and followed with a tour to Sydney. **What we said at the time:** *“Laura Murphy’s writing is what makes The Lovers click. The songs are catchy and sharp, and the jokes feel organic rather than forced. At its heart, it’s still Shakespeare, but Murphy twists it just enough to make it feel cheeky, current, and unmistakably Australian.”* *“The Lovers is a pop-fuelled triumph that proves Australian theatre can shine just as brightly as Broadway or the West End.”* Read the full review [here](https://thescoop.au/review-the-lovers-mixes-bard-bangers-with-sparkling-style/). **Can I still see the show?** No, this one was a two city season tour in Brisbane and Sydney only. Keep an eye on Laura Murphy’s [socials](https://www.instagram.com/p/DRQFHU3k8hI/) to see what she’s up to next. ![The Scoop Elements Of Freestyle ISH Dance Collective Brisbane Festival](https://thescoop.au/wp-content/uploads/2025/09/23-24ElementsOfFreestyleMichelSchnater115-943x628.jpg "Elements Of Freestyle ISH Dance Collective Brisbane Festival • The Scoop")Elements of Freestyle by ISH Dance Collective Photo by Michael Schnater**Elements of Freestyle** ISH Dance Collective, Brisbane Festival *Elements of Freestyle*, from Dutch physical theatre innovators ISH Dance Collective, exploded into the Brisbane Powerhouse with a mash-up of extreme sports, dance and sound. The show was a jaw-dropping spectacle that defied categorisation, and a love letter to urban expression and youth culture. **What we said at the time:** *“Elements of Freestyle is an unmissable masterpiece where dance meets extreme urban sports. This adrenaline-fuelled production pushes the boundaries of performance.”* *“Fusing breakdance, inline skating, skateboarding, freestyle basketball, BMX, and parkour with exhilarating live musicianship, the result is an explosive vision which leaves the audiences gasping at every turn, flip and beat.”* Read the full review [here](https://thescoop.au/review-elements-of-freestyle-2025-brisbane-festival/). **Can I still see the show?** This was a Brisbane Festival exclusive season. Follow ISH on the [socials](https://www.instagram.com/ishdancecollective/) to see where in the world they will be performing next. ![The Scoop Milestone William Yang 2025 Brisbane Festival](https://thescoop.au/wp-content/uploads/2025/09/williamatworldpridelaunch2022-suppliedbyartist-942x628.jpg "Milestone William Yang 2025 Brisbane Festival • The Scoop")Milestone by William Yang for Brisbane Festival Image supplied**Milestone** William Yang, Brisbane Festival William Yang, one of Australia’s most revered visual and performance artists, reflected on his remarkable life in his show *Milestone*. Drawing on his vast collection of documentary photographs and poignant personal reminiscences, Yang weaved together themes of family, cultural, and sexual identity with his signature blend of warmth, disarming humour, and total candour. **What we said at the time:** *“In Milestone, Yang looks back on 80 years of his life through an extensive catalogue of photos that capture more than a moment in time. It shows Australia’s history and the changes in the country’s culture.”* Read the full review [here](https://thescoop.au/review-milestone-by-william-yang-2025-brisbane-festival/). **Can I still see the show?** It doesn’t appear so. Keep an eye on William Yang’s [socials](https://www.instagram.com/williamyang51/) to see what he will be up to next. ![The Scoop Mummy, I'm Scared! Sydney Fringe Festival](https://thescoop.au/wp-content/uploads/2025/09/126_DSC9130-944x628.jpg "Mummy, I'm Scared! Sydney Fringe Festival • The Scoop")Mummy Im Scared ran at Qtopia as part of Sydney Fringe Festival Photo by Lucy Parakhina**Mummy, I’m Scared!** Qtopia, Sydney Fringe Festival Devised and performed by Fia Morrison, Georgia Condon, and Alison Cooper, *Mummy, I’m Scared!* has its roots in the traditions of absurdism, camp melodrama, and devised performance. Developed under the mentorship of performance maker Mish Grigor, the show was first presented earlier this year as part of ArtsLab: Reverb, a program from Shopfront Arts that showcases the talents of emerging artists. It then ran for a short season at Sydney Fringe Festival. **What we said at the time:** *“What really sells the show is the writing. It’s fast-paced, gloriously meta, and unafraid to acknowledge its own ridiculousness. Morrison, Cooper, and Condon clearly trust one another on stage, and that ensemble synergy is the engine of the performance.”* Read the full review [here](https://thescoop.au/review-mummy-im-scared-2025-sydney-fringe-festival/). **Can I still see the show?** It doesn’t appear so. Keep an eye on Fia Morrison’s [socials](https://www.instagram.com/fia_morrison/) to see what is next in store. ![The Scoop SUGAR by Tomáš Kantor Adelaide Cabaret Festival 2025](https://thescoop.au/wp-content/uploads/2025/06/SUGAR-Photo-by-James-Reiser-3-copy-942x628.jpg "SUGAR by Tomáš Kantor Adelaide Cabaret Festival 2025 • The Scoop")Sugar by Tomáš Kantor ran at 2025 Adelaide Cabaret Festival Photo by James Reiser**Sugar** Tomáš Kantor, Adelaide Cabaret Festival Theatrical, outrageous, silly and sexy, Tomáš Kantor’s award-winning debut is about Sugar – a radiantly-beautiful gender-fluid twink who discovers that there’s money to be made from ‘transactional relationships’ (though their primary source of information is Julia Roberts in *Pretty Woman*). What could go wrong? Tomáš veritably shimmers with charisma, and reveals their talent not only as a storyteller, but a multi-instrumentalist and a superstar-in-the-making. **What we said at the time:** *“Rightly so, Sugar is on its way to the Edinburgh Fringe, where it will no doubt make waves overseas. Australia, do yourselves a favour and make sure you see it now before it soars into its well-deserved international success. You’ll be treated to a deliciously unhinged blend of pop-culture fantasy and theatrical honesty in a show that satisfies your sweet tooth and then some.”* Read the full review [here](https://thescoop.au/review-tomas-kantor-sparkles-in-sugar-at-adelaide-cabaret-festival/). **Can I still see the show?** Yes! Sugar is on this January at Arts Centre Melbourne as part of Midsumma Festival. Get tickets [here](https://www.midsumma.org.au/whats-on/events/sugar/). ![The Scoop Night Night The Last Great Hunt Perth Festival](https://thescoop.au/wp-content/uploads/2025/02/Night-Night-9-scaled.jpg "Night Night • The Scoop")Night Night by The Last Great Hunt at Perth Festival Image supplied by Perth Festival**Night Night** The Last Great Hunt, Perth Festival Making its world premiere as part of Perth Festival, the newest creation from the WA company tells the tale of Pip, a downtrodden Antarctic scientist on a quest to discover the origin of life. As her world unravels, Pip must team up with a mysterious, glowing entity to reveal the threads that bind life, death and the universe. Blending puppets, animation, and DIY digital magic, *Night Night* took audiences on an extraordinary adventure as they witnessed the onscreen story while experiencing the behind-the-scenes artistry as a theatrical film was created live. **What we said at the time:** *“Night Night tells a story (using an) incredibly elaborate and effective craft. The audience sees exactly how this sausage is made, and it is a wondrous thing to witness as it all comes together.”* Read the full review [here](https://thescoop.au/review-night-night-bursts-with-energy-and-whimsy/). **Can I still see the show?** Not at this time, but the company are back in 2026 with one of their most requested shows, *Lé Nør \[the rain\]*, for Perth Festival in February. Get tickets [here](https://www.perthfestival.com.au/program/season-2026/le-nor-the-rain). Favourite Circus / Circus Cabaret Shows ![The Scoop Cirque Alice QPAC](https://thescoop.au/wp-content/uploads/2025/04/Cirque-Alice-QPAC-947x628.jpg "Cirque Alice QPAC • The Scoop")Cirque Alice made its world premiere at QPAC at Easter and is back on tour in 2026 Image supplied by QPAC**Cirque Alice** TML Enterprises What do you get when you mix an operatic Alice, a Mad Hatter magician, and a White Rabbit who shreds the violin? You get *Cirque Alice*, a bold new spectacle from *The Illusionists* creators Tim Lawson and Simon Painter. Blending classical music favourites, circus spectacle, opera and magic, this is a circus show worth stepping right up for. **What we said at the time:** *“The soundtrack remixes classical favourites. The music isn’t listed (sorry, music nerds!) so bring your ears and sharp memory. You’ll hear ‘In the Hall of the Mountain King’ from Peer Gynt and ‘The Swan Theme’ from Swan Lake… if you’re paying attention.”* *“In the role of Alice is Layla Schillert. She doesn’t speak, she sings opera. Her soaring renditions of the ‘Flower Duet’ and ‘Ave Maria’ are stunning. And she flies high above the stage while she sings.”* Read the full review [here](https://thescoop.au/review-cirque-alice-is-the-perfect-easter-treat/). **Can I still see the show?** Yes! *Cirque Alice* is currently in [Sydney](https://thescoop.au/review-cirque-alice-brings-circus-magic-wonder-to-sydney/) and makes its way to Adelaide and Canberra in 2026. Get tickets [here](https://cirquealice.com/). ![The Scoop Gatsby At The Green Light Twelfth Night Theatre 2025 Brisbane Festival](https://thescoop.au/wp-content/uploads/2025/09/09-03-25-Green-Light-Preview-Morgan-Roberts-2425-941x628.jpeg "Gatsby At The Green Light Twelfth Night Theatre 2025 Brisbane Festival • The Scoop")Gatsby at the Green Light Photo by Morgan Roberts**Gatsby At The Green Light** Brisbane Festival in association with Blackbird Brisbane and Twelfth Night Theatre We celebrated the 100th anniversary of *The Great Gatsby* and partied like it was 1925 in a new age of old-world splendour. Co-created by Craig Ilott and Stuart Couzens, *Gatsby At The Green Light* saw Brisbane’s beloved Twelfth Night Theatre reawakened and reinvigorated as a jazz age club fit for Fitzgerald and Gatsby alike. **What we said at the time:** *“Renier Jansen van Vuuren’s set design sees the venue dressed up like a 1920s speakeasy with roaming stage lights, dancing waiters, a juggling bartender, and an effervescent hostess. It’s hard not to feel like a part of the performance.”* Read the full review [here](https://thescoop.au/review-gatsby-at-the-green-light-2025-brisbane-festival/). **Can I still see the show?** Yes! *Gatsby At The Green Light* is on right now at the Sydney Opera House and is running to 28 March. Get tickets [here](https://www.sydneyoperahouse.com/musical-theatre-cabaret/gatsby). ![The Scoop Blanc de Blanc Encore at The Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2025/11/photo-credit-Cameron-Grant_Parenthesy_BlancdeBlancEncore_PNC6064-30_HR-941x628.jpg "Blanc de Blanc Encore at The Spiegel Haus Melbourne • The Scoop")Blanc de Blanc Encore at the Spiegel Haus Melbourne Photo by Cameron Grant**Blanc De Blanc Encore** Strut & Fret, Spiegel Haus Melbourne *Blanc de Blanc* *Encore* is a champagne-soaked playground of cheeky comedy, dazzling cabaret, and unapologetic fun. World-class acrobats, dancers, and aerialists deliver high-energy performances in an immersive, up-close setting where the crowd becomes part of the spectacle. Bold, flirty, and strictly adults-only, it’s a playful night out that refuses to behave. **What we said at the time:** *“There’s flying grapes, shocking contortion, feathers and bubbles, pillow throwing and addictive champagne. Legs, arms, and faces are all twisted and swung in high flight, with confetti sprays, water shooting and sexy silhouettes.”* Read the full review [here](https://thescoop.au/review-blanc-de-blanc-encore-at-spiegel-haus-melbourne/). **Can I still see the show?** Yes! *Blanc De Blanc Encore* has just announced a season extension in Melbourne and runs to 22 March. Get tickets [here](https://www.spiegelhausmelb.com/events/blanc-de-blanc-encore). The show is also running in Brisbane at The West End Electric and is taking bookings to mid March. Get tickets [here](https://strutnfret.com/shows/blanc-de-blanc-west-end-electric/). ![The Scoop Sxip Shirey LIMBO Adelaide Fringe](https://thescoop.au/wp-content/uploads/2025/02/0020-scaled.jpg "Sxip Shirey LIMBO • The Scoop")LIMBO The Return by Strut and Fret Photo by Damien Bredberg**LIMBO: The Return** Strut & Fret, Adelaide Fringe Set somewhere between heaven and hell, LIMBO combines a fresh and intoxicating mix of cabaret, circus and acrobatics, all set to the beat of New York composer Sxip Shirey’s ecstatic heart-pounding live music. **What we said at the time:** *“The music in this show alone needs a special mention! It’s surprising, lively and deliberately unsettling at times, used to complement the action on stage or create suspense as the performers transitioned between acts.”* *“Adelaide, you better strap yourself onto the edge of your seat because LIMBO: The Return is this season’s Fringe bucket list show!”* Read the full review [here](https://thescoop.au/review-limbo-is-edge-of-your-seat-entertainment/). **Can I still see the show?** No, the show won’t be back for the 2026 Adelaide Fringe but Strut & Fret’s newest show, *[La Ronde](https://thescoop.au/review-la-ronde-a-daring-dance-of-desire-and-acrobatics/)* will be there. Get your tickets [here](https://adelaidefringe.com.au/fringetix/la-ronde-af2026). Keep an eye on LIMBO’s [socials](https://www.instagram.com/limbotheshow/) to see where they will pop up next. ![The Scoop MARVELous the Show Riverside Parramatta Ben Dingley](https://thescoop.au/wp-content/uploads/2025/03/Bucky-Hero_c-Ben-Dingley-scaled.jpg "MARVELous the Show Riverside Parramatta Ben Dingley • The Scoop")MARVELous A Risque Parody Photo by Ben Dingley**MARVELous A Risqué Parody** Samwise Holmes, Adelaide Fringe MARVELous is an outrageously hilarious parody show for adults, reimagining Marvel heroes with aerials, live vocals, stunts, and a risqué twist. With Deadpool as your unhinged narrator, iconic Marvel scenes are transformed into wild, unexpected spectacles — all set to a rock-infused soundtrack and stunning stage design. **What we said at the time:** *“Whether you are a Marvel Universe expert or only vaguely familiar with the characters, MARVELous the Show has a glorious mix of parodies and pop culture references that will leave any Fringe-goer in stitches.”* Read the full review [here](https://thescoop.au/review-marvelous-the-show-a-gloriously-good-time/). **Can I still see the show?** Yes! MARVELous is heading to Fringe World Perth in from 27 January 2026. Get tickets [here](https://fringeworld.com.au/whats-on/marvelous-a-risque-parody-fw2026). It’s coming to Brisbane from 18 – 29 March. Get tickets [here](https://feverup.com/m/534420?cp_landing_source=marveloustheshow.com&utm_source=email&utm_campaign=534420_BNE&utm_term=cta_1&utm_content=BNE_EML_MKT_LCH_JTW_BLK_USR_RQT_534420_JoinTheWaitlist_Marvelous_MA_7-1-2026_63381385_1965817_4007&utm_medium=join_the_waitlist). ![The Scoop Bernie Dieters Club Kabarett](https://thescoop.au/wp-content/uploads/2025/04/PNC5086-Bernie-Dieters-Club-Kabarett-3-941x628.jpg "Bernie Dieters Club Kabarett • The Scoop")Bernie Dieters Club Kabarett Photo by Cameron Grant**Bernie Dieter’s Club Kabarett** Meat Market, Melbourne Bernie and her menagerie of misfits and mischief-makers celebrate non-conformity with an electrifying fusion of music, performance, and pure unadulterated joy! Bernie’s unique brand of risqué humour combines original songs, bold covers and a dizzying collection of the most exceptional artists in the world. **What we said at the time:** *“In a world that too often capitalises on fear of difference, shows like Bernie Dieter’s Club Kabarett feel vital. Diversity, in all its dazzling, defiant forms, isn’t just a strength; it’s the beauty that binds us.”* Read the full review [here](https://thescoop.au/review-bernie-dieters-club-kabarett-is-dazzling-and-defiant/). **Can I still see the show?** Yes! *Bernie Dieter’s Club Kabarett* is heading to the Garden of Unearthly Delights for 2026 Adelaide Fringe in February. Get tickets [here](https://www.gardenofunearthlydelights.com.au/event/bernie-dieters-club-kabarett/). ![The Scoop LASSÙ Cosmic Cabaret Brisbane](https://thescoop.au/wp-content/uploads/2025/09/Sean_Breadsell_Lassu_019-copy-1-942x628.jpg "LASSÙ Cosmic Cabaret Brisbane • The Scoop")LASSU cosmic cabaret Photo by Sean Breadsell**LASSÙ Cosmic Cabaret** Ashton Legacy Productions *LASSÙ* is seventh-generation circus performer Merrik Ashton’s debut show as a producer. With creative direction by Mitchell Woodcock, the cosmic cabaret has taken the country by storm. **What we said at the time:** *“LASSÙ doesn’t deal in smoke and mirrors or Cirque du Soleil–style pageantry. This is a different beast entirely. It’s a steely, space-cowboy kind of circus that rides on strength, balance, comedy, and daring precision. It’s got grit, it’s got soul, and once the lights hit the ring, you’re strapped in whether you like it or not.”* Read the full review [here](https://thescoop.au/review-lassu-lights-up-the-stage-with-cosmic-cabaret-magic/). **Can I still see the show?** Yes! *LASSÙ: Cosmic Cabaret* is heading to **Hobart** for a 2 week season in January. Get tickets [here](https://wrestpoint.com.au/entertainment/lassu-2/). It will then be to the 2026 Adelaide Fringe in February. Get tickets [here](https://adelaidefringe.com.au/fringetix/lassu-cosmic-cabaret-af2026). Favourite Concerts ![The Scoop Art of the Score Hans Zimmer Queensland Symphony Orchestra](https://thescoop.au/wp-content/uploads/2025/05/Art-of-the-Score-Orchestra-66-942x628.jpg "Art of the Score Hans Zimmer Queensland Symphony Orchestra • The Scoop")**Art of the Score: The Music of Hans Zimmer** Queensland Symphony Orchestra Not everyone was able to catch the man himself on his live, comeback tour of Australia, so Queensland Symphony Orchestra’s *Art of the Score: The Music of Hans Zimmer* was the next best thing. Hans Zimmer has scored more than 500 projects across all mediums, with highlights including *Dune: Part One* and *Part Two*, *The Lion King, Inception*, *Interstellar* and the list goes on. **What we said at the time:** *“The more than 80 members of the Queensland Symphony Orchestra fill the stage to capacity. Their flawless synchronicity while playing is incredible to watch and even better to listen to.”* *“Hosted by the talented crew from the Art of the Score podcast, Andrew Pogson and Dan Golding, this performance is more than a concert. Be prepared to learn and laugh as they guide audiences through Zimmer’s life and work.”* Read the full review [here](https://thescoop.au/review-the-music-of-hans-zimmer-soars-with-queensland-symphony-orchestra/). **Can I still see the show?** The season was short, but keep an eye on the 2026 offerings from Queensland Symphony Orchestra, including The Music of John Williams, coming in February. Get tickets [here](https://qso.com.au/events/2026/concert-specials-2026/qso-the-music-of-john-williams). ![The Scoop INXS Reimagined by Perth Symphony Orchestra](https://thescoop.au/wp-content/uploads/2025/05/INXS-Reimagined-by-Perth-Symphony-Orchestra-5-1-942x628.png "INXS Reimagined by Perth Symphony Orchestra 5 1 • The Scoop")INXS Reimagined by Perth Symphony Orchestra Photo by Callen Dellar**INXS Reimagined** Perth Symphony Orchestra INXS holds a deep and lasting place in Australia’s music history with all six original band members, including brothers Andrew, Jon, and Tim Farriss, born in Perth. This special, one night only concert from Perth Symphony reimagined the hits that defined a generation. **What was said at the time:** *“This show brings new layers. Soaring highs, intimate lows, playful choir moments, and a few surprises along the way. It all builds to a big, joyful finish that will transport people back to a place of pure nostalgia.”* Read our interview with Creative Director Fiona Campbell [here](https://thescoop.au/inxs-reimagined-roars-back-to-crown-perth-with-orchestral-fire/). **Can I still see the show?** This was a one off concert, but Perth Symphony are back on 13 February for Perth Festival 2026 with *Rebel Rebel*, reimagining the music of David Bowie. Get tickets [here](https://www.perthfestival.com.au/program/season-2026/rebel-rebel). ![The Scoop Sydney Festival 2026 Reuben Kaye enGORGEd](https://thescoop.au/wp-content/uploads/2025/11/Reuben-Kaye_enGORGEd_Credit-Claudio-Raschella_LR-942x628.jpg "Sydney Festival 2026 Reuben Kaye enGORGEd • The Scoop")**enGORGEd** Reuben Kaye, Melt Festival Brisbane (This Editor’s pick could have sat under any of these categories, but to pad out the Concert section, we’ve put it here.) The gift that keeps on taking returned to Brisbane for one night only with his show *enGORGEd*. Accompanied by his five-piece band, three-piece vocal ensemble and ten-piece orchestra courtesy of Camerata – Queensland’s Chamber Orchestra, *enGORGEd* was Reuben’s most ambitious show to date. **What we said at the time:** *“While enGORGEd is billed as a cabaret show, Reuben could have stood up there ad-libbing for two hours, and I’m sure the crowd would have been equally as mesmerised.”* *“What you see on the stage is what you get. Reuben is charming, quick-witted and a little risqué. His energy and joy are infectious. He leaves you feeling energised.”* Read the full review [here](https://thescoop.au/review-reuben-kaye-reigns-supreme-in-engorged/). **Can I still see the show?** Yes! It is running on 16 January as part of 2026 Sydney Festival. Get tickets [here](https://www.sydneyfestival.org.au/events/engorged). Or get tickets to Reuben’s new show, *Hard To Swallow*, touring in 2026, starting with Perth on 28 January. Details [here](https://thescoop.au/reuben-kaye-announces-new-show-hard-to-swallow-in-2026/). **And that concludes another long list of favourite shows!** **Stay tuned for our final instalment – Favourite Shows of 2025 Part Four: Dance.** [Read our Favourite Shows of 2025 Part Two: Plays](https://thescoop.au/the-scoop-favourite-shows-of-2025-part-two-plays/) Hero image: Cirque Alice world premiere, image supplied by QPAC. **Categories:** Features --- ### [Film Review: David Is A Visually Ravishing Animated Epic](https://thescoop.au/film-review-david-is-a-visually-ravishing-animated-epic/) **Published:** January 7, 2026 **Author:** Nick Dale **Content:** ![The Scoop David Animated Feature Film Review](https://thescoop.au/wp-content/uploads/2026/01/david-film_Still-2025-07-09-130155-Tone-Mapped-100-nit-BT709-BT1886_141.jpeg "David Animated Feature Film Review • The Scoop")The ancient story of *David* from the Hebrew Bible comes to life in this vibrant epic animated feature film. Created by South Africa–based studio Sunrise Animation, the film takes us on an adventurous journey that is, at its core, surprisingly human and moving. From the opening moments, *David* pulls you in with action as young David, a shepherd boy, fights off a lion to protect his flock. It’s an effective way to ground a familiar story in movement and urgency. Faith, love and courage are closely entwined here as David protects his sheep, yet also saves the lion from a fall. In these early scenes, his character is quickly established as endearing and humble, someone we’re eager to follow. Based on 1 and 2 Samuel, the film is a musical retelling of the life of an ancient prophet, poet and king. The story follows David as he is secretly chosen by the prophet Samuel to replace Saul as king. A joyful boy who simply wants to lift people up through music, David is reluctantly drawn into the royal court. His journey proves treacherous as he is forced to confront the giant Goliath (remember David and Goliath?), the scavenger Amalekites, and the troubled King Saul. One of the film’s great strengths is its authenticity and attention to detail. Visually, it strikes a pleasing balance between realism and fantasy. There’s nuance in the shading, the colours, in the way light falls across hair and faces, and in the natural desaturation that gives the world a grounded, tactile feel. The scene in which Samuel secretly anoints David as king is exquisite in its detail. It was the moment that truly captured my attention and drew me into David’s story. The textures and movement feel almost tactile. It reminded me of that feeling when you step into a quiet church, and you’re suddenly humbled by stained-glass light and a sense of reverence. ![The Scoop David Animated Feature Film](https://thescoop.au/wp-content/uploads/2026/01/david-film_Still-2025-07-09-130155-Tone-Mapped-100-nit-BT709-BT1886_1471.png "David Animated Feature Film • The Scoop")One of the films great strengths is its authenticity and attention to detail Authenticity is clearly a major focus for the production team, who blend live-action and animation feature influences. Think *Prince of Egypt* meets *Gladiator*. There’s a deliberate sense of grit and weight here, which feels refreshing in a world increasingly glossed over by AI. Directors Phil Cunningham and Brent Dawes worked closely with the biblical text to inform details such as clothing, weapons and the naming of battles. Landscape is equally important, with research trips to Israel and collaboration with historians helping to ground the film in accuracy. The result is a world that feels tangible, sensual and engaging. A major reason *David* works emotionally is the voice work, particularly Young David, voiced by Brandon Engman. His soaring vocals are disarming and endearing. The emotional centre of the film is the relationship between David and his mother, Nitzevet. Beautifully voiced by Miri Mesika, she becomes the film’s emotional anchor. Her voice carries both strength and tenderness, and the nuance in their scenes together keeps the story emotionally engaging. Nitzevet’s tapestry metaphor acts as a thematic through line for personal faith. *“Every thread has a purpose. You just don’t know your part in the tapestry yet,”* she says. The mother-and-son musical sequence that follows is one of the film’s visual and musical highlights. David dances through dyed cloth of vibrant colours that hang in preparation for rugs. The combination of colour, light and movement is thrilling to watch. ![The Scoop David Animated Feature Film](https://thescoop.au/wp-content/uploads/2026/01/david-film_Still-2025-07-09-130155-Tone-Mapped-100-nit-BT709-BT1886_11421.png "David Animated Feature Film • The Scoop")A major reason *David* works emotionally is the voice workThe iconic David and Goliath confrontation is both exciting and resonant. Goliath represents the aspects of life that overwhelm and intimidate us, the challenges that feel impossible to overcome. What I loved most about *David* is how it avoids the perfectly exposed images and glossy rendering so common in contemporary animation. In a world of increasing fakery and trickery, the film embraces imperfect humanness, creating a rich and genuinely sensory experience. And then there’s the cinematography. The light. (Did I mention the light?) Cinematographer Dave Walvoord builds emotional impact through tone and illumination, embracing over- and under-exposure borrowed from live-action filmmaking. The desert sequences, where David is driven out, are particularly striking. Nature is presented in all its awe, with light that feels real, powerful and alive. A huge collaborative effort, *David* succeeds through its sensitivity, artistry and authenticity. Drawn from an ancient text, it offers a timely message that reaches beyond dogma, reminding us of the power of faith, connection and the very human capacity to rise above our challenges. ***David* opens in cinemas nationally from 15 January 2026.** Website: <https://rialtodistribution.com/film/david/> and <https://www.thedavidmovie.com/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: David Director: Phil Cunningham & Brent Dawes Cast: Brandon Engman, Phil Wickham, Asim Chaudry Country of Origin: South Africa Duration: 115 mins Rating: PG **Categories:** Film --- ### [Review: Shrek The Musical Is The Perfect Holiday Treat](https://thescoop.au/review-shrek-the-musical-is-the-perfect-holiday-treat/) **Published:** January 6, 2026 **Author:** Wendy Samantha **Content:** ![The Scoop Shrek The Musical Showcase Entertainment Group](https://thescoop.au/wp-content/uploads/2025/12/Shrek-The-Musical-Showcase-Entertainment-Group-7-1116x628.jpg "Shrek The Musical Showcase Entertainment Group • The Scoop")A flock of fairytale characters have taken over Arts Centre Melbourne for *Shrek The Musical*! There are prattling pigs, silly soldiers, a wicked witch, a funny fairy and a daring donkey. You’ll see mixed-up mice, an ugly duckling, boisterous bears, a wandering wolf and a talking gingerbread man. But behold the hideous, ugly beast too, as he’ll use a booming voice that comes from both ends to scare you into hiding! *Shrek* is a musical with happiness and hilarity around every corner, and it is an entertaining gift for families to enjoy. Like an outing for ice cream on a hot summer day, this production is sweet and crunchy and has just the right amount of sprinkles! With fabulous puppetry that will make your eyes pop out, whiz bang props and laugh-out-loud moments for the kids and grown-ups to enjoy, you will let your “freak flag fly” as you learn to be happy in your own skin and proud to be who you are. As you travel into these deep and mysterious woods, you will come across sliding trees, part of a castle, a room high in a tower, a shaky bridge over lava, and many well-designed projections and highly creative uses of set pieces. They include moving curtains, smoking skunks and other cleverly designed elements. The masterful puppetry of the dragon is an absolute highlight. ![The Scoop Shrek The Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/01/Shrek-The-Musical_Showcase-Entertainment-Group-7-1116x628.jpg "Shrek The Musical Melbourne • The Scoop")A flock of fairytale characters have taken over Arts Centre Melbourne for Shrek The Musical Image suppliedAs the giant storybook unfolds, we meet our gorgeous green hero, who has been abandoned by his parents and told to find his own way, as: “every dream comes true, but not for you!” Living out a lonely but peaceful existence in the swamplands, Shrek suddenly finds himself surrounded by angry mythical folk who have all been banished from their homes in Duloc by the minute, yet incredibly power-hungry Lord Farquaad. They have set up camp all around his residence, and they are crazy, chaotic and noisy. Determined to get his home back for himself, our loveable ogre makes a deal with Farquaad. He will rescue Princess Fiona from a dragon-guarded tower so that Farquaad can marry her and remove the other folk from his land. Along his quest, Shrek befriends a chatterbox Donkey, flees from a dragon, saves the princess and learns that perhaps being an ogre is not necessarily a bad thing. Having spent most of his life focused on the negative, Princess Fiona shines some light on his life, and Shrek gains insight into the positive. This changes his story, allowing a celebration of friendship, love and embracing “just how you were hatched.” Shrek, played by Nick Wilkinson, embodies the “I don’t care what anybody thinks” attitude with presence. As Princess Fiona, Kate Allnut’s vocals are rich and full of warmth. Iosia Tofilau as Donkey really rules the roost! He is charismatic, spunky and hilarious in all the right places, giving heart to the musical. ![The Scoop Shrek The Musical Melbourne](https://thescoop.au/wp-content/uploads/2026/01/Shrek-The-Musical_Showcase-Entertainment-Group-8-1116x628.jpg "Shrek The Musical Melbourne • The Scoop")You will wait to see what Lord Farquaad will do every time he gets to parade across the stage Image suppliedOlly Humphries as Lord Farquaad is also an absolute delight; his every appearance is gold. You will wait to see what he will do every time he gets to parade across the stage. Jocelyn Scott, as the Dragon, truly sets the Playhouse aflame with her phenomenal voice. Jack Duff as Pinocchio plays the part with perfect characterisation. The whole cast tells the story with gusto, life and punch. The costumes are delicately designed. They allow the performers to truly embody their characters, bringing the beloved animations to life on the stage. Each outfit has been thoughtfully chosen and crafted, giving a sense of play and fun. Stand out moments in this production include: the comedic terror in the soldiers when they meet Shrek and Donkey, Lord Farquaad questioning the Gingerbread Man, all three differently aged Fiona’s singing together, the growing of Pinocchio’s nose, the moving background featuring nursery rhyme puppets when Shrek and Donkey are travelling, the morning bird exploding, the trio’s outstanding harmonised vocals before the interval, and of course the giant moving dragon! Every element, from the clever puppetry and imaginative set design to the energetic performances and stunning vocals, works in harmony to create a magical experience for audiences of all ages. *Shrek The Musical* is a joyful, laugh-out-loud celebration of friendship, self-acceptance, and the power of embracing who you truly are. ***Shrek The Musical* runs in Melbourne until 10 January and Sydney from 21 -24 January 2026. See full dates below.** Tickets are [on sale](https://shrekmusical.com.au/) now! Website: [www.shrekmusical.com.au](http://www.shrekmusical.com.au/) Socials: <https://www.instagram.com/shrekmusicalaustralia/> [Win Tickets to see Shrek The Musical In Sydney!](https://thescoop.au/announcing-shrek-the-musical-tour-this-summer-ticket-giveaway/) Images supplied. 2026 Australian Tour Dates: Melbourne 6 – 10 January, Arts Centre Melbourne Frankston 12 – 14 January, Arts Centre Bendigo 16 – 17 January, Ulumbarra Theatre Sydney 21 – 24 January, Coliseum Theatre **Categories:** Melbourne, Musical Theatre --- ### [Announcing Shrek The Musical Tour This Summer: Ticket Giveaway!](https://thescoop.au/announcing-shrek-the-musical-tour-this-summer-ticket-giveaway/) **Published:** December 26, 2025 **Author:** Newsroom **Content:** ![The Scoop Shrek The Musical Showcase Entertainment Group](https://thescoop.au/wp-content/uploads/2025/12/Shrek-The-Musical-Showcase-Entertainment-Group-1116x628.jpg "Shrek The Musical Showcase Entertainment Group • The Scoop")Everybody’s favourite green ogre is heading Down Under! ***Shrek The Musical*** is set to tour Australia this summer in a spectacular live stage production that promises laughter, heart, and happily-ever-afters for audiences of all ages. Bringing the beloved DreamWorks classic from screen to stage, *Shrek The Musical* transforms the world of Far Far Away into a vibrant theatrical adventure, complete with dazzling sets, show-stopping musical numbers, and a cast of unforgettable characters. Touring Victoria and New South Wales from **31 December 2025**, the production will visit **Melbourne**, **Geelong**, **Bendigo**, **Frankston**, and **Sydney**, offering families a must-see school holiday experience. The Scoop is **giving away two family passes** **to see the show!** (A family pass is 4 tickets.) Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow and comment ‘Scoop’ under the post. Melbourne show prize: **Tuesday 6 January 2:30pm**, Arts Centre Melbourne Sydney show prize: **Wednesday 21 January 2:30pm**, Coliseum Theatre At its heart, the story follows Shrek, a grumpy ogre living a quiet life in his swamp, until a parade of banished fairytale misfits turns his world upside down. Determined to reclaim his home, Shrek embarks on an unlikely quest alongside the endlessly talkative Donkey, striking a deal with the diminutive Lord Farquaad to rescue Princess Fiona from a fire-breathing dragon. What unfolds is a joyful tale of friendship, courage, and self-acceptance, reminding audiences that true beauty comes from embracing who you are. Produced by Showcase Entertainment Group, the company behind *Madagascar The Musical* and *The Cat in the Hat*, the show features a professional cast of 16 performers supported by more than 20 crew members, delivering Broadway-calibre vocals, choreography, and production values. The touring production boasts million-dollar sets, intricately crafted costumes, and immersive lighting design, bringing cinematic scale to the live stage. ![The Scoop Shrek The Musical Showcase Entertainment Group](https://thescoop.au/wp-content/uploads/2025/12/Shrek-The-Musical-Showcase-Entertainment-Group-7-1116x628.jpg "Shrek The Musical Showcase Entertainment Group • The Scoop")Shrek The Musical will tour Sydney Melbourne Geelong Frankston and Bendigo these holidaysProducer **Layton Lillas** said: *“Our version of Shrek The Musical features a talented professional cast of 16 actors. The set alone is worth over $1 million and was used on both the UK and American tours. It even comes with a spectacular dragon that has its own 40-foot shipping container. Believe me when I say that everyone who comes will be blown away!”* Designed for **children aged four and up**, *Shrek The Musical* balances big laughs with meaningful storytelling. Through humour, music, and larger-than-life characters, the show promotes empathy, inclusion, and resilience, encouraging young audiences to celebrate individuality and difference while enjoying a truly magical theatre experience. Running for approximately two hours across two acts, with a 20-minute intermission, the production is family-friendly, accessible, and packed with visual surprises. Tickets start from $50 per person, with group discounts available, making it an easy win for holiday entertainment. With ogre-the-top energy, heart-warming moments, and plenty of fairytale mayhem, *Shrek The Musical* is set to be a highlight of the summer theatre season. For performance dates, venues, and ticket information, visit the website. ***Shrek The Musical* starts on 31 December in Geelong and tours until 24 January 2026. See full dates below.** Tickets are [on sale](https://shrekmusical.com.au/) now! Website: [www.shrekmusical.com.au](http://www.shrekmusical.com.au) Socials: <https://www.instagram.com/shrekmusicalaustralia/> [Read our Review of the Show!](https://thescoop.au/review-shrek-the-musical-is-the-perfect-holiday-treat/) Images supplied. 2026 Australian Tour Dates: Geelong 31 December – 3 January, Geelong Arts Centre Melbourne 6 – 10 January, Arts Centre Melbourne Frankston 12 – 14 January, Arts Centre Bendigo 16 – 17 January, Ulumbarra Theatre Sydney 21 – 24 January, Coliseum Theatre **Categories:** competition, News --- ### [Announcing The Diary Of Anne Frank For Melbourne & Sydney](https://thescoop.au/announcing-the-diary-of-anne-frank-for-melbourne-sydney/) **Published:** January 6, 2026 **Author:** Newsroom **Content:** ![The Scoop The Diary of Anne Frank Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/01/TDOAF-Hi-res-942x628.jpg "The Diary of Anne Frank Drew Anthony Creative • The Scoop")Award winning producers **Drew Anthony Creative** are continuing their 2026 East Coast season with the announcement of a powerful stage adaptation of the Pulitzer Prize winning play, **THE DIARY OF ANNE FRANK.** The production is set to open at the historic **Athenaeum Theatre in Melbourne from** **4 March 2026**. With previous productions taking out a Pulitzer Prize, Tony Award and the New York Drama Critics’ Circle Award, *The Diary of Anne Frank* comes directly from its own critically acclaimed sell out season at The Heath Ledger Theatre in Perth. It will debut in Melbourne before moving to the **State Theatre in Sydney from** **28 March 2026**. This brand-new production allows audiences to step into one of the most inspiring true stories of the 20th century. Masterfully bringing to life the remarkable true story of 13-year-old Anne Frank, a young Jewish girl hiding with her family for two years in occupied Amsterdam during World War II. Through Anne’s extraordinary diary, audiences are given an intimate view into the challenges, fears, and small triumphs of their life in hiding. Anne’s teenage diary has made her one of the most powerful voices in literature. A young girl whose hope, humour, and unwavering belief in the goodness of humanity continues to inspire millions even today. Written in 1955 by playwrights Frances Goodrich and Albert Hackett, the stage play is based on the original book, *The Diary of Anne Frank*. Published by Anne’s father, Otto Frank, it details Anne’s experiences and insights while she and her family were in hiding, living in a constant fear of being arrested. Director **Drew Anthony** said: *“It has been my absolute privilege to stage this production in Perth, and I am thrilled to be bringing this play to Melbourne. The enduring power of Anne’s voice resonates through time, offering a profound call for tolerance, courage, and compassion. As prejudice and division continue to challenge our world, Anne’s diary serves as a vital reminder to learn from the past, value our freedoms, and strive toward a more hopeful future.”* The show is a deeply moving production that combines brilliant performances and skilled narration. The experience is sure to stay with audiences long after the curtain falls. ***The Diary of Anne Frank* runs from 4 – 14 March 2026 at the Athenaeum Theatre. 188 Collins Street Melbourne Vic 3000.** It then runs at the State Theatre Sydney from 28 March. Tickets are on sale now for Melbourne [here](https://www.ticketmaster.com.au/the-diary-of-anne-frank-melbourne-07-03-2026/event/1300635BD1348E57) and Sydney [here](https://www.ticketmaster.com.au/the-diary-of-anne-frank-sydney-28-03-2026/event/1300635AE0D6C9B8). Website: <https://www.drewanthonycreative.com.au/> Socials: <https://www.instagram.com/drewanthonycreative/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. This production is recommended for audiences 10 years and up. Running time 2 hours 10 mins including interval. Producer **Drew Anthony Creative**. Associate Producer **Rachel Burgess**. Director **Drew Anthony**. Production Design **Drew Anthony.** Costume Design **Annette Stivaletta**. Lighting Design **Drew Anthony & Jason Bovaird**. DAC Social Media Videography **Abbey Burton**. ![The Scoop The Diary of Anne Frank Drew Anthony Creative](https://thescoop.au/wp-content/uploads/2026/01/TDOAF-MelSyd-1080-628x628.png "The Diary of Anne Frank Drew Anthony Creative • The Scoop")The Diary of Anne Frank opens March in Melbourne **Categories:** News --- ### [Review: Balloon Story Lifts The Everyday Into Something Quietly Magical](https://thescoop.au/review-balloon-story-lifts-the-everyday-into-something-quietly-magical/) **Published:** January 5, 2026 **Author:** Wendy Samantha **Content:** ![The Scoop Balloon Story Melbourne](https://thescoop.au/wp-content/uploads/2026/01/Balloon-Story-942x628.jpg "Balloon Story Melbourne • The Scoop")Whatever you can imagine, imagine it in balloons! The most uplifting experience awaits you at *Balloon Story,* which has bounced its way to the Melbourne Convention & Exhibition Centre. Featuring over 400,000 balloons of all colours, shapes and sizes, be ready to let your creativity go wild! Featuring the best blown-up Instagram opportunities, a pit of bubbles big enough to swim in, and a visit to pretty much every continent on earth, you will be in awe of what surrounds you during every step of this immersive adventure. Play the drums, swing across a lake, travel in a hot air balloon, stop traffic and grow wings! Seek out the giant silver pup, spill some paint and smile with love in a heart. Be thrilled in the jungle by larger-than-life furry friends, frolic with the flamingos and stay on the lookout for crocodiles with the rangers close by. Keep an eye on the cheeky monkeys too. Head under the sea and into the most imaginative underwater dream where all sorts of creatures will take your breath away. Find Nemo, hide from the sharks, dance under the jellies and hang with the octopi. There are seahorses and crab friends, turtles and a little mermaid. ![The Scoop Balloon Story Melbourne](https://thescoop.au/wp-content/uploads/2026/01/BS-3-879x628.jpeg "Balloon Story Melbourne • The Scoop")Balloon Story is a fabulous joyous journey that will blow your mind Image suppliedYou can play with giant inflatable chips and pose beneath the sweetest icy treat. Use your aim to pop virtual balloon animals and throw balls into the air in an enclosed playroom. With so much fun to explore, don’t forget to wave at the happy penguins, duck as the whale dives, hug the polar bears, high-five a walrus and run from the abominable snowman! You can also snap a pic with Santa and a smiley snowman. When you head into space, make sure you really look up and take in all the galactic glow, including the planets, the astronauts and aliens. Then you get a chance to pick the famous balloonatied people, get lost in New York and find yourself in Paris. The Eiffel Tower is absolutely breathtaking. That piece alone is worth a thousand words! Floating around this exhibit, you hear both young and old exclaiming in excited gasps. It’s just ‘wow!’ and bursts of happiness in every direction, for absolutely everyone to enjoy. It is a fabulous, joyous journey that will blow your mind! Don’t miss *Balloon Story* before it pops off at the end of this month. ***Balloon Story* is on now throughout January at the Melbourne Convention & Exhibition Centre. 1 Convention Centre Pl, South Wharf VIC 3006.** It opens in Sydney on 13 January at Sydney Olympic Park. Details [here](https://balloonstory.com/sydney/). Tickets for Melbourne are available [here](https://feverup.com/m/517628?cp_landing=cta_tickets&cp_landing_term=cta_tickets&cp_landing_source=balloonstory&utm_source=statics.teams.cdn.office&utm_medium=referral). Website: <https://balloonstory.com/melbourne/> Socials: <https://www.instagram.com/balloonstory.live/> [Read more of our Latest Reviews](https://thescoop.au/latest/) Images supplied. Practical information: Opening hours are 9am to 8pm, Monday through Sunday The exhibit takes approximately 60 – 90 minutes to complete Children under 3 years old have free admission This exhibition is fully wheelchair accessible, however there are no wheelchair rentals on site. **Categories:** Melbourne, Theatre --- ### [Now You See Me Live Stage Illusion Spectacular On Tour This Summer](https://thescoop.au/now-you-see-me-live-stage-illusion-spectacular-on-tour-this-summer/) **Published:** January 5, 2026 **Author:** Newsroom **Content:** ![The Scoop Now You See Me Live Australian Tour 2026](https://thescoop.au/wp-content/uploads/2026/01/PNC6093-501_HR_Credit-to-Cameron-Grant-Parenthesy-942x628.jpg "Now You See Me Live Australian Tour 2026 • The Scoop")This summer, four trailblazing illusionists will unleash a mind-blowing spectacle: ***Now You See Me Live***. Inspired by **Lionsgate**’s global hit *Now You See Me* film franchise, the show is brought to life by the producers of the record-breaking phenomenon *The Illusionists*. This cutting-edge production is touring Sydney, Brisbane and Perth, taking up residence this week in **Queensland Performing Arts Centre**’s (**QPAC**) Concert Hall from **8 to 18 January 2026**. A world-class magic ensemble – inspired by the film’s characters, the “Four Horsemen” – will stun audiences in a showcase of unmatched synergy. Assembled from around the globe, they bring an unbelievable arsenal of solo skills, shocking twists and grand feats of illusion to this Australian premiere season. The Australian tour opened at the Sydney Opera House and it makes its way to QPAC this week, followed by Crown Perth. Redefining the expectations of stage magic, the “Four Horsemen” are: **Adam Trent** (USA). Harnessing the power of technology and deceptive sleight of hand, Trent has become a modern magical force by translating his skills from stage to screen to social media. **Pablo Cánovas** (Spain). An international prodigy, Cánovas’ spellbinding mastery earned him the titles of “Golden Magician”, “Magician D’Or”, and “Heir of Illusion”. **Andrew Basso** (Italy). A true daredevil known for his death-defying acts, Basso became the first and youngest Italian to win the World Escape Championship. **Gabriella Lester** (Canada). At just 22, the quick-witted Lester is the youngest and only female Horseman, who mastered Houdini’s upside down straight-jacket escape when she was only 14. Combined, the quartet have performed in thousands of shows in hundreds of cities. These include sell-out residencies on Broadway and in Las Vegas. Audiences have been left spellbound, questioning the realms of possibility in their wake. QPAC Chief Executive **Rachel Healy** said: *“The next summer blockbuster is breaking out of the cinema and onto the stage when Now You See Me Live appears in QPAC’s Concert Hall in January. With the awe-inspiring cast and creative teams behind it, this is guaranteed to be a breathtaking event where you won’t want to miss a trick.”* **Simon Painter**, Creative Producer said: *“Now You See Me Live pushes the boundaries of stage magic to the absolute edge, making the impossible possible in front of your very eyes. Together we’ve created a show with truly mind-blowing artistry at epic scale. We can’t wait for audiences to experience the magic – live!”* Lionsgate’s President, Global Products & Experiences, **Jenefer Brown** said: *“Fans are mesmerised by the showmanship, spectacle, and skill of the Four Horsemen in the Now You See Me movies. We are thrilled for audiences to experience the magic of the franchise live on stage.”* Lionsgate’s $670 million *Now You See Me* franchise includes two hit film installments. A third—from director **Ruben Fleischer** and a screenplay by **Seth Grahame-Smith**, **Michael Lesslie**, **Paul Wernick** and **Rhett Reese**, based on a story by **Eric Warren Singer**— came to theatres in November. *Now You See Me Live* is based on characters that were created by **Boaz Yakin** and **Edward Ricourt**. *Now You See Me Live* is brought to the stage by **Simon Painter** (Co-Creator, Executive Producer), **Adam Trent** (Co-Creator), **Tim Lawson** (Executive Producer), **Ash Jacks** (**McCready**) (Creative Director, Staging Director), **Kirsty White** (Creative Director), and **Enzo Weyne** (Illusion Director). The production is based on characters that were created by **Boaz Yakin** and **Edward Ricourt**. ***Now You See Me Live* arrives at QPAC in Brisbane on 8 January and then heads to Perth from 23 January 2026. Check full Australian tour dates below.** Tickets: <https://www.qpac.com.au/whats-on/2026/now-you-see-me-live> Website: <https://www.nowyouseemelive.com/> Socials: <https://www.instagram.com/nowyouseemelive/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Cameron Grant, Parenthesy. Taken at Sydney Opera House 2026 Australian Tour Dates: Sydney 19 December 2025 – 3 January 2026, Concert Hall, Sydney Opera House Brisbane 8 – 18 January 2026, Concert Hall, QPAC Perth 23 January – 1 February 2026, Crown Theatre **Categories:** News --- ### [Review: Peter Quince Presents Shakespeare's Best Bits Melbourne](https://thescoop.au/review-peter-quince-presents-shakespeares-best-bits-melbourne/) **Published:** January 4, 2026 **Author:** Jack Bengough **Content:** ![The Scoop Peter Quince Presents Shakespeare's Best Bits](https://thescoop.au/wp-content/uploads/2026/01/Jackson-Mcgovern-and-Alex-Cooper-941x628.jpg "Peter Quince Presents Shakespeare's Best Bits • The Scoop")The Australian Shakespeare Company has begun their 2026 season with a bang thanks to the hilarious *Peter Quince Presents Shakespeare’s Best Bits* at the Royal Botanical Gardens in Melbourne. Directed by veteran Glenn Elston, this tongue-in-cheek compilation of a multitude of Shakespeare’s works is a great night for friends and family to get together in the park for a good laugh. Beginning the show, we are introduced to ‘The Athenian Players,’ the very same mob of amateur theatre makers seen in *A Midsummer Night’s Dream* as they prepare to put on a show for the Duke of Athens’ wedding. This time, however, the performers are desperate to stop their director, Peter Quince (Jackson McGovern), from making them perform *Pyramus and Thisbe*. The performers successfully persuade Peter Quince to look through a book of the collected works of William Shakespeare. Thus begins a journey through many of the Bard’s works, from well-known classics like *Hamlet* to more obscure works like *Richard III*. ![The Scoop Peter Quince Presents Shakespeare's Best Bits](https://thescoop.au/wp-content/uploads/2026/01/Peter-Houghton-and-Maddie-Somers-941x628.jpg "Peter Quince Presents Shakespeare's Best Bits • The Scoop")Each performer has their own unique skills they bring to the table Photo by Ben FonThese adaptations of Shakespeare are brought to life by a cast of multi-talented performers. McGovern’s Peter Quince is joined by Peter Houghton as Nick Bottom, Alex Cooper as Francis Flute, Hugh Sexton as Robin Starveling, Scott Jackson as Tom Snout, and Maddie Somers as Snug. Each performer has their own unique skills they bring to the table, making their work as an ensemble that much more entertaining. They all give each other space to shine in their own moments and showcase their individual talents. There is an incredible comedic pace to this production as the cast endeavours to milk comedy out of every spare moment. Thanks to the electric chemistry from the cast and the superb direction from Glenn Elston, the comedy flows with abundance. The audience is sure to be howling with laughter throughout. Beginning with a relatively straightforward abridgement of *Macbeth*, the audience is simply not prepared for the lengths this production will go to reimagine Shakespeare’s works. It only becomes more delightfully obscene as the show goes on. Thanks to Musical Director Paul Norton and Choreographer Sue-Ellen Shook, audiences can expect various musical and dance numbers throughout in a multitude of styles. ![The Scoop Peter Quince Presents Shakespeare's Best Bits](https://thescoop.au/wp-content/uploads/2026/01/The-Company-of-Shakespeares-Best-Bits-941x628.jpg "Peter Quince Presents Shakespeare's Best Bits • The Scoop")Those willing to see the old texts pushed to their absolute limits are sure to be entertained Photo by Ben FonThese additions certainly go far beyond the traditional boundaries of Shakespeare. Those willing to see the old texts pushed to their absolute limits or those who never much cared for those texts in the first place, though, are sure to be entertained. The entire production has a nice laid-back vibe thanks to the choice of staging it in the Royal Botanical Gardens. Audiences are encouraged to bring their friends and family along to the show and to pack some snacks and buy a drink from the bar. The cast occasionally join the audience in the crowd and playfully banter. They even take a few members of the crowd at some points to directly participate in the show. Because of all this, *Shakespeare’s Best Bits* is a great pick for a fun night out with family or friends. It’s even suitable for people who wouldn’t typically have much interest in Shakespeare or theatre in general. *Peter Quince Presents Shakespeare’s Best Bits* doubles as an entertaining entry point for those unfamiliar or uninterested in Shakespeare. It is also a delightful reinterpretation of many of the Bard’s works for long-term enthusiasts looking for something different. ***Peter Quince Presents Shakespeare’s Best Bits* runs to 17 January at the Royal Botanical Gardens, Southern Cross Lawns. Birdwood Avenue, Melbourne** **Vic 3000.** Tickets are available [here](https://tickets.shakespeareaustralia.com.au/sales/performances/under-the-stars/shakespeares-best-bits). Website: <https://www.shakespeareaustralia.com.au/productions/bestbits-melbourne> Socials: <https://www.instagram.com/shakespeareaust/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Ben Fon **Categories:** Melbourne, Theatre --- ### [Review: Annie Musical Charms Brisbane Big Time](https://thescoop.au/review-annie-musical-charms-brisbane-big-time/) **Published:** January 3, 2026 **Author:** Sarah Skubala **Content:** ![The Scoop Annie Musical](https://thescoop.au/wp-content/uploads/2025/03/Amanda-Lea-Levergne-Matilda-Casey-Anthony-Warlow-and-ensemble-ANNIE-c-Daniel-Boud-941x628.jpg "Annie Musical Matilda Casey • The Scoop")It’s become something of a tradition for Australian musical tours to finish in Brisbane, and *Annie* follows suit. With a story that culminates on Christmas morning in the Warbucks mansion, the production arrives at the perfect time. It is playing through the holiday season until the end of January. The opening night crowd was awash in signature *Annie* red. It was heartening to see so many smiling young faces and families fill the Lyric Theatre to capacity. Set in New York City in 1933, *Annie* unfolds against the hardships of the Great Depression, a time when even billionaire Oliver Warbucks feels the strain as his factories falter. Returning home for Christmas, Warbucks asks his secretary, Grace Farrell, to invite an orphan to stay in his Fifth Avenue penthouse. What he doesn’t specify is that he expected a boy. Instead, Grace brings home the spirited eleven-year-old Annie from the local orphanage. Armed with a half-heart locket and a note, Annie clings to the hope that her parents will one day return for her. As her optimism and resilience begin to soften Warbucks’ hardened exterior, an unexpected bond forms, one that just might change both their lives forever. I had the rare privilege to catch this production, directed by Karen Johnson Mortimer, when it opened in [Sydney](https://thescoop.au/review-annie-proves-golden-age-of-musicals-is-here/) in April 2025. It is a treat to see it again and observe its evolution. ![The Scoop Annie Musical Sydney Australia 2025](https://thescoop.au/wp-content/uploads/2025/04/Stephanie-McNamara-Anthony-Warlow-and-ensemble-in-ANNIE-c-Daniel-Boud-941x628.jpg "Annie Musical Sydney Australia 2025 • The Scoop")Its been a treat to see the show strengthen and evolve since its Sydney debut in April last year Photo by Daniel BoudThis marks Anthony Warlow’s fourth turn as Daddy Warbucks, following Australian seasons in 2000 and 2012, and a Broadway appearance later that same year, (a production I was also lucky enough to see in New York). Warlow has only deepened the role with time; the character now feels completely embedded in him. He is grounded, generous, and assured. Warlow anchors the production, leading the company with quiet authority. He takes the audience with him, landing every joke along the way. Warlow’s onstage counterpart is played by his real-life wife, Amanda Lea LaVergne, as Warbucks’ devoted secretary, Grace. Together, they bring genuine warmth to the production, with an ease and trust that deepens the emotional core of the show. Their shared history only adds to that chemistry: the pair first met during the Broadway production of *Annie*, where LaVergne covered the role of Grace. This beautiful pairing is completed by Annie, our show’s star, played on opening night by Isabella Hayden. Having recently shared the role in the [Melbourne](https://thescoop.au/review-the-sun-comes-out-for-annie-in-melbourne/) season, her chemistry with her two adult co-stars was immediately evident. Hayden’s renditions of the classic songs *Maybe* and *Tomorrow* will likely evoke tears, so bring tissues. If that doesn’t do it, Sandy the dog is guaranteed to melt your heart. As I observed in my original [review](https://thescoop.au/review-annie-proves-golden-age-of-musicals-is-here/), this production’s titular star feels less feisty and more vulnerable. Resigned to a life of hard knocks and disappointment, our collective hearts both break and soar as Annie’s story unfolds. ![The Scoop Annie the Musical Melbourne](https://thescoop.au/wp-content/uploads/2025/07/Annie-Melbourne-2-942x628.jpg "Annie the Musical Melbourne • The Scoop")Isabella Hayden played Annie on opening night fresh from her turn in the Melbourne season Photo by Lord Murray Schoorman of Peak Hour ImagesThe scenes in the Warbucks mansion are a highlight. They are complemented by the fabulous set design by Kenneth Foy and the assured ensemble who play the staff. As British butler Drake, Tom New quietly makes his mark. A character who at times finds it impossible to keep his emotions in check, he never overdoes it. Instead he brings just the right amount of charm, comedy and humanity to the role. There are so many glorious songs, moments and characters, and on opening night, they included *Easy Street*, an Act One showstopper featuring the villainous trio, Debora Krizak, Mackenzie Dunn and Keanu Gonzalez. As Miss Hannigan, Lily St Regis and Rooster, their handling of Mitchell Woodcock’s choreography has only gotten better with time (if that is even possible!). The gorgeous team of orphans received an extended applause during their Act Two showstopper, *You’re Never* *Fully Dressed Without A Smile (Reprise)*. As a troupe of six, they make a tight unit. On opening night, they were played by Aenorah Wallace, Sienna Hannant, Kensi Simpson, Aubrie Wildman, Macy Salvana and Claire Taylor. *N.Y.C.* is another Act One highlight number, channelling Broadway and the lights of the Big Apple. And the *Tomorrow* reprise in Act Two brought the house down, featuring Greg Page the original Yellow Wiggle as the President, joined by the spirited Whitehouse ensemble. After all these years, *Annie* has lost none of its allure. Perhaps it is the evocation of a simpler time that gives the musical renewed significance for modern audiences. Certainly, its enduring message of hope, of holding out for a better tomorrow, continues to strike a chord. It reminds us that optimism, resilience and kindness remain just as vital today as they were when the show first premiered. ***Annie* the musical runs for a strictly limited season to 31 January 2026 at the Lyric Theatre, QPAC in Brisbane.** Tickets: <https://anniemusical.com.au/tickets/brisbane> Website: <https://anniemusical.com.au/> Socials: <https://www.instagram.com/anniemusicalau/> [Read our interview with Greg Page the Yellow Wiggle](https://thescoop.au/greg-page-trades-wiggles-for-the-whitehouse-in-annie/) Photo credits: Daniel Boud **Categories:** Brisbane, Musical Theatre --- ### [Ticket Giveaway: Legends In Concert Makes Melbourne Return](https://thescoop.au/ticket-giveaway-legends-in-concert-makes-melbourne-return/) **Published:** January 2, 2026 **Author:** Newsroom **Content:** ![The Scoop Legends in Concert Melbourne](https://thescoop.au/wp-content/uploads/2026/01/LIC-CM-1800X1200-08192025-TAYLOR-PRODUCTION-942x628.jpg "Legends in Concert Melbourne • The Scoop")Back by overwhelming demand, ***Legends in Concert*** returns for its eighth electrifying season at **The Palms at Crown** Melbourne from **8 January 2026** with 16 performances until 24 January. It’s bigger, bolder, and more unforgettable than ever! Direct from Las Vegas, this internationally acclaimed production brings the world’s greatest tribute artists to the stage in an all-star celebration of music’s most iconic legends. The Scoop is **giving away two double passes** **to see the show on Thursday 8 January 7:30pm!** Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow and comment ‘Scoop’ under the post. Each legendary performer not only looks like the star they portray but use their own natural voices to pay homage to their iconic musical counterpart, singing their greatest and fan favourite hits. Witness powerhouse live performances from dazzling tributes to: Elizabeth Burnett as **Taylor Swift** – radiant grace, dazzling vocals and fearless stage presence Josh Smith as **Michael Bublé** – smooth vocals and timeless charm Karen Hester as **Dolly Parton** – country queen with heart and sass Trisha McCluney as **Cher** – show-stopping style and decades of hits Bill Cherry as **Elvis Presley** – the King lives on in rock ‘n’ roll glory Stacey Whitton Summers as **Pat Benatar** – fierce, fiery, and full of 80s edge Jazmine as **Whitney Houston** – voice of an angel, presence of a powerhouse. Featuring stunning costumes, world-class vocals, eight classically choreographed dancers and a live band that brings every note to life. This is not imitation, it’s legendary entertainment! ![The Scoop Legends in Concert Melbourne](https://thescoop.au/wp-content/uploads/2026/01/LIC-CM-1200X800-08192025-CLEAN-942x628.jpg "Legends in Concert Melbourne • The Scoop")Performing at Legends in Concert are seven of the worlds best tribute artists Image suppliedGeneral Manager for Special Events for Legends, **Mark Kogan**, said: *“We’re so happy, and honored returning for our eighth great annual season in Melbourne. Our Legendary Vegas celebration of popular music production will be the final production taking place at the Crown’s Legendary Palms prior to its exciting planned enhancements and renovations.* *We have seven of the ’best of best’ tribute artists in the world. They again will be performing in one of the finest and most intimate venues Legends in Concert have appeared in during its forty-three-year history.* *The Aussie audiences have been great and amazing at The Palms at Crown and have made Legends’ production one of their favourite shows to attend, with the songs that make their hearts sing, their hands clap, and their bodies stand, with many dancing in their seats and in the aisles during and throughout the performance. Our high energy lineup will get the show going from the first song. We can’t wait to return this January.”* *Legends in Concert* made its Las Vegas debut in 1983 as an initial six-week engagement in the centre of the Las Vegas Strip. Four decades later with over 100,000 performances receiving standing ovations in over 20 countries, it has since earned entertainment industry awards including “Show of the Year”, “Entertainers of the Year”, “Grand Slam” and the prestigious “Show of Shows” awarded by the international Press Association. Today, *Legends in Concert* is the longest running show in Las Vegas’ history. Don’t miss out on your chance to witness the magic of music legends live on stage! ***Legends in Concert* runs 8 – 24 January 2026 at The Palms at Crown, Melbourne.** **8 Whiteman Street Southbank Vic 3006.** Tickets: <https://www.ticketmaster.com.au/artist/2116595> Website: <https://legendsinconcert.com/location/melbourne-australia/> Socials: <https://www.instagram.com/legendsinconcertlv/> [Read our Review of Legends in Concert 2025!](https://thescoop.au/review-legends-in-concert-2025-australian-tour/) Images supplied. **Categories:** competition, News --- ### [Review: Cats Musical Welcomes In The New Year In Melbourne](https://thescoop.au/cats-musical-welcomes-in-the-new-year-in-melbourne/) **Published:** January 1, 2026 **Author:** Wendy Samantha **Content:** ![The Scoop CATS the Musical Australian Tour 2026 Melbourne](https://thescoop.au/wp-content/uploads/2026/01/Jarrod-Draper-Todd-McKenney-in-CATS-c-Daniel-Boud_128-942x628.jpg "CATS the Musical Australian Tour 2026 Melbourne • The Scoop")The full moon is out, the fog is setting, and as the lights dim, the build of feline curiosity amongst the audience rises. The Australian tour of *CATS* has landed at Hamer Hall in Melbourne, and the arched elegance is sublime. There’s a purring hum as everyone takes their seats and settles into a cosy cushion, and the excitement has all eyes and ears pricked up and directed towards centre stage. Suddenly, a full orchestration awakens every one of our senses, and eyes glow in front of us. They are seen hidden within the gritty junkyard set, and flash brightly as four legged shadows roam up and down the aisles. As an elevation of lights surface and rises to the sky, furred whiskers appear from all different hiding places. There’s rolling, sliding, tumbling and scurrying across the stage and throughout the audience as we find ourselves part of this feline frenzy. Gathering tonight is a tribe of Jellicle Cats who are celebrating their individual stories as they wait for their leader, Old Deuteronomy. He will choose which furry friend will journey to the Heaviside Layer and be reborn into a new life. There are many graceful slippings in and out of the shadows as tails flick, heads tilt, and there are twists and scratching and rubbing. The way the cast works together as a clowder is clear from the opening, delivered in strong unison. The vocals remain a strength throughout. Both singing and spoken voice play a crucial role in shaping the animalistic characterisations and drawing us fully into this shared dream. The feline mannerisms are executed with precision throughout. Watching the little ear flicks and seemingly effortless movement allows us to believe these creatures who each have a story. ![The Scoop CATS the Musical Sydney](https://thescoop.au/wp-content/uploads/2025/06/Cast-of-CATS-c-Daniel-Boud_244-998x628.jpg "CATS the Musical Sydney • The Scoop")The way the cast works together as a clowder is clear from the opening Photo by Daniel BoudResident director and choreographer Amy Berrisford has truly woven together a prized production. The choreography in every piece is sensational: instinct-driven and high-energy. Every move seems deliberate, delivered with flow that is followed by accentuated punctuation. Paul White leads the orchestra, who perform masterfully. Stand-out moments include the tension built by drummer Dave Beck and the emotions intensified with synthesised tones created by Andrew Patterson and Martine Wengrow on the keys. The costumes, designed by Billy Roache, are absolutely exceptional. Alongside Kellie Ritchie’s wigs and Karen Dawson’s makeup, they are perfectly imagined to suit every cat like grace. The commanding vocals driven into the starry night sky from Grizabella, played by the extraordinary Gabriyel Thomas, will leave you wanting to replay *Memory* over and over again. Her pitch-perfect performance will be etched into your cherished theatre moments. Rum Tum Tugger is definitely the crowd favourite. Des Flanagan’s primal rock star characterisation is a savage stand out. His gestures, swish moves, crooning vocals, all at an untamed wow – especially as the female cats feverishly trill below him. Mark Vincent gives Old Deuteronomy a poetic, regal governing. Tod Strike as Asparagus is full of entertainment. Jellylorum, played by Lucy Maunder, brings strength and stance to *Gus the Theatre Cat* with a commanding stage presence and sublime vocals. ![The Scoop CATS Musical Perth](https://thescoop.au/wp-content/uploads/2025/11/Savannh-Lind-Jake-OBrien-in-CATS-c-Daniel-Boud_029-942x628.jpg "CATS Musical Perth • The Scoop")Savannah Lind and Jake OBrien are a fabulous pairing that gained huge applause with their partner work Photo by Daniel BoudMungojerrie and Rumpleteazer, played by Jake O’Brien and Savannah Lind, are also highly impressive. They are a fabulous pairing that gained huge applause with their partner cartwheels across the stage. Tom Davis as Skimbleshanks the Railway Cat gives a joyous performance that is full of paws of fun. Tim Haskayne as Mr Mistoffelees is iridescent as a mind-blowing, magical, spinning spray of sparkling glitter. Singing *Macavity the Mystery Cat* is the stunning duo Demeter, played by Olivia Carniato, and Bombalurina, played by Mia Dabkowski-Chandler. The pair prowl the stage, captivating the audience and singing with alluring finesse. Edward Smith as Macavity is also unforgettable. He is wildly rogue with a menacing theatrical presence that is all too purrfect for the part. *CATS* is a production full of spirit and artistic brilliance. Every part of the show allows mischievous energy to be at full play, and there’s just so much to see and take in. The music and lyrics will hold you and stay with you forever. *CATS* is fur-tastic entertainment, full of brilliance and pawesome charm that you will never forget. ***CATS the Musical* runs in Melbourne until 31 January 2026 at Hamer Hall, Arts Centre Melbourne. 100 St Kilda Road Southbank Vic 3004.** It then tours to Brisbane from 6 February for two weeks only! Tickets: <https://catsthemusical.com.au/tickets/melbourne/> Website: <https://catsthemusical.com.au/> Socials: <https://www.instagram.com/catsthemusicalau/> [Read our Interview with Gabriyel Thomas!](https://thescoop.au/memory-and-meaning-gabriyel-thomas-steps-into-the-spotlight-in-cats/) Photo credits: Daniel Boud **Categories:** Melbourne, Musical Theatre --- ### [The Scoop Favourite Shows Of 2025 Part Four: Dance](https://thescoop.au/the-scoop-favourite-shows-of-2025-part-four-dance/) **Published:** December 31, 2025 **Author:** Sarah Skubala **Content:** ![The Scoop The Sleeping Beauty McAllister The Australian Ballet Ako Kondo 2025](https://thescoop.au/wp-content/uploads/2025/08/The-Sleeping-Beauty-McAllister-Ako-Kondo-Credit_David-Kelly-2025-942x628.jpg "The Sleeping Beauty McAllister The Australian Ballet Ako Kondo 2025 • The Scoop")It’s been one year since The Scoop was created, and the first feature published was my personal list of [Favourite Shows](https://thescoop.au/best-shows-of-2024/) of the year. As 2025 comes to a close, we have been looking back at some of the shows that stood out this year. The final instalment includes our favourite **Dance shows**, including Ballet, Contemporary Dance, Student Productions and Youth Productions. The team at The Scoop are incredibly passionate about Dance and it is something we will continue to vigorously champion as we head into 2026. So without further ado, let’s take a look at some more of The Scoop’s Favourite Show of 2025, in no particular order, starting with Favourite Ballets. Favourite Ballet ![The Scoop The Sleeping Beauty The Australian Ballet Adelaide](https://thescoop.au/wp-content/uploads/2025/07/3757249-TAB-The-Sleeping-Beauty-McAllister-Larissa-Kiyoto-Ward_Rina-Nemoto_Samara-Merrick_Aya-Watanabe-Credit_Jonathan-van-der-Knaap-2025-942x628.jpg "The Sleeping Beauty The Australian Ballet Adelaide • The Scoop")The Sleeping Beauty by The Australian Ballet toured in 2025 to Sydney Adelaide and Brisbane Photo by David Kelly**The Sleeping Beauty** The Australian Ballet Sydney, Brisbane and Adelaide audiences were captivated by the grand revival of David McAllister’s *The Sleeping Beauty*, marking the 10th anniversary of its celebrated debut with The Australian Ballet. First performed in 2015 and brought back by popular demand in 2017, this breathtaking production returned to the stage under the artistic direction of David Hallberg. **What we said at the time:** *“The Sleeping Beauty is ballet at its most extravagant: glittering, grand, and gloriously decadent. But beneath the tiaras, tulle and towering candelabras lies a production crafted with precision and pure passion. The Australian Ballet’s revival of David McAllister’s masterpiece is a feast for the senses. But it is also a love letter to fairytales, theatre magic, and the enduring power of storytelling through dance.”* Read our full review [here](https://thescoop.au/review-the-sleeping-beauty-has-brisbane-under-its-spell/). **Can I still see the show?** There was a [livestream](https://australianballet.com.au/performances/live-on-ballet-tv) of the Sydney Opera House season’s production which was available to view from 16-30 December, but this has just ended. By special invitation, The Stuttgart Ballet will be bringing Marcia Haydée’s *The Sleeping Beauty* exclusively to Melbourne in October as part of the 2026 season, get tickets [here](https://australianballet.com.au/performances/the-sleeping-beauty-stuttgart-ballet). The Australian Ballet will be touring *Romeo & Juliet* in 2026, but it will not be visiting Adelaide, much to the sadness of ballet lovers there. It will tour Sydney, Melbourne and Brisbane. Get tickets [here](https://australianballet.com.au/performances/romeo-and-juliet#dates-and-times). ![The Scoop Queensland Ballet Romeo and Juliet Kenneth MacMillan QPAC 2025 David Kelly](https://thescoop.au/wp-content/uploads/2025/03/Romeo-and-Juliet-Queensland-Ballet-David-Kelly-912x628.jpg "Queensland Ballet Romeo and Juliet Kenneth MacMillan QPAC 2025 David Kelly • The Scoop")Kenneth MacMillans Romeo and Juliet by Queensland Ballet Photo by David Kelly**Romeo & Juliet** Queensland Ballet Queensland Ballet launched its 65th anniversary year with a revival of Kenneth MacMillan’s great ballet masterpiece, *Romeo & Juliet*. One of the largest productions Queensland Ballet performs, it offered a night of drama, romance, and timeless beauty. **What we said at the time:** *“720 individual costume pieces feature in the production including hand dyed and Devaney velvet dresses made with lush, heavy fabrics. One of Juliet’s dresses is embroidered with hundreds of glass beads and some of the cloths feature real gold leaf. The attention to detail in the period-inspired design enhances the romance and tragedy of the ballet.”* Read our full review [here](https://thescoop.au/review-romeo-juliet-a-beautiful-revival-of-a-beloved-classic/). **Can I still see the show?** No, but Queensland Ballet has an exciting 2026 season in store, kicking off with the Queensland debut of *Messa da Requiem* in March at QPAC’s new Glasshouse Theatre. Featuring more than 110 Queensland Symphony Orchestra musicians and Brisbane Chorale singers and 36 QB artists, this unforgettable staging transcends boundaries and merges artforms in this once‑in‑a‑generation production. Get tickets [here](https://www.queenslandballet.com.au/performances/2026/messa-da-requiem). ![The Scoop Dracula Ballet International Gala BIG Live](https://thescoop.au/wp-content/uploads/2025/09/Dracula-4-880x628.jpeg "Dracula Ballet International Gala BIG Live • The Scoop")Dracula by BIG Live Photo by Braeden OConnor**Dracula** BIG Live BIG Live, Australia’s fastest-growing ballet company premiered *Dracula*, it most daring production to date. A gripping reimagining of the iconic vampire legend, audiences are swept from the blood-soaked battlefields of 15th-century Europe to the eerie halls of a 19th-century castle. Combining breathtaking choreography with some of the world’s most powerful orchestral works, *Dracula* explores themes of love, loss, vengeance, and the eternal fight against fate. **What we said at the time:** *“The dark subject matter of Dracula is handled with grace and just the right amount of drama, with this adaptation feeling almost Shakespearean in the way the tragic story unfolds.* *Perhaps the most surprising element on opening night was the audience itself. This was no typical ballet crowd. Dracula has drawn people beyond the usual circle, proving that some stories can break through boundaries. And that is exactly what ballet in 2025 needs.”* Read our full review [here](https://thescoop.au/review-dracula-the-ballet-is-love-at-first-bite/). **Can I still see the show?** Yes! *Dracula* will be returning in 2026 with all touring details are still to be announced. Stay updated [here](https://bigliveco.com/performances/dracula/) at BIG Live’s new-look website. ![The Scoop Romeo and Juliet. Ballet International Gala BIG Live Cloud Nine Productions](https://thescoop.au/wp-content/uploads/2025/02/31A8048-scaled.avif "ROMEO AND JULIET • The Scoop")Romeo and Juliet by BIG Live Photo by Cloud Nine Productions**Romeo & Juliet** BIG Live Shakespeare’s most iconic love story came to life with BIG Live’s stunning touring production of *Romeo and Juliet*. Audiences were swept away by the passion, drama, and heartbreak of this timeless classic set to the breathtaking scores of Sergei Prokofiev and Pyotr Ilyich Tchaikovsky. **What we said at the time:** *“Coming out of the theatre, everyone was talking about two moments. The Tybalt-Mercutio fight and the Romeo-Juliet final dance…In their last dance together, we see and feel every moment of anguish, heartbreak, longing, and devastation.”* Read our full review [here](https://thescoop.au/review-big-lives-romeo-and-juliet-ballet-is-iconic/). **Can I still see the show?** No, this was a touring season for 2025 only. BIG Live has an exciting new ballet lined up for 2026 with *The Great Gatsby: A Jazz Ballet Odyssey* opening in Sydney in February and then touring to Melbourne, Canberra, Cairns and Adelaide. Get tickets [here](https://bigliveco.com/performances/the-great-gatsby/). ![The Scoop Murray Whispers Adelaide Ballet 2025](https://thescoop.au/wp-content/uploads/2025/08/DSC_7210_MW2024-2-942x628.jpg "Murray Whispers Adelaide Ballet 2025 • The Scoop")Murray Whispers by Adelaide Ballet Photo by Alexander Waite Mitchell**Murray Whispers** Adelaide Ballet South Australia’s only professional ballet company made their season debut in 2025 with *Murray Whispers*, a stunning new work that beautifully blended performance and technology. Choreographed by Co-Founders and Artistic Directors, Sarah Humeniuk and Rejane Garcia, the work draws inspiration from the Murray River’s ever-changing flow, brought to life through original choreography, a powerful live score and breathtaking LED visuals. **What we said at the time:** *“For a first outing, Murray Whispers feels both rooted and ambitious; a statement that Adelaide Ballet is a company serious about weaving South Australian stories into the bones of their art.”* Read our full review [here](https://thescoop.au/review-murray-whispers-dances-with-the-rivers-spirit/). **Can I still see the show?** Not at this stage, but keep an eye on [Adelaide Ballet](https://www.adelaideballet.com.au/) to see what they have in store next. Favourite Christmas Show ![The Scoop Queensland Ballet The Nutcracker 2025 Lyric Theatre QPAC](https://thescoop.au/wp-content/uploads/2025/12/Vito-Bernasconi-Dr-Drosselmeyer-Jessica-Stratton-Smith-as-Clara-Photo-David-Kelly-013A3769-855x628.jpg "Queensland Ballet Nutcracker 2025 Lyric Theatre QPAC • The Scoop")The Nutcracker by Queensland Ballet Photo by David Kelly**The Nutcracker** Queensland Ballet and BIG Live We have a tie breaker here, but either way, there’s no denying that it’s not really Christmas without a production of *The Nutcracker* to attend in your city. Brisbane audiences enjoyed Queensland Ballet’s version by Ben Stevenson OBE which they have performed since 2013. BIG Live’s touring production went all over Australia and even included a stint in Singapore. **What we said at the time:** *“Filled with magic and cheer, The Nutcracker is the best way to start the festive season. This classic Christmas tale is a gift to the senses, with enchanting music, gorgeous costumes, and dazzling dances all packaged into a heartwarming story.”* Read the full review [here](https://thescoop.au/review-the-nutcracker-ends-its-era-in-a-flurry-of-festive-magic/). **Can I still see the show?** BIG Live wrapped their tour today in Melbourne, but they will be back in 2026. Watch [here](https://bigliveco.com/performances/) for tour details. Queensland Ballet will present a brand new production of *The Nutcracker* in 2026, with a new work commissioned by Derek Deane OBE. Watch [here](https://www.queenslandballet.com.au/performances/2026/the-nutcracker) for details. Favourite Youth Production ![The Scoop Ballet Theatre Queensland Snow White QPAC Phot by Quince and Mulberry](https://thescoop.au/wp-content/uploads/2025/01/BalletTheatreQueensland_2025SnowWhite-020-scaled-scaled.jpg "BalletTheatre Queensland Snow White • The Scoop")Snow White by Ballet Theatre Queensland Photo by Kate Taylor at Quince and Mulberry**Snow White** Ballet Theatre Queensland The world premiere production of *Snow White* featured a stunning original score by Lucas D. Lynch and all new choreography by Clare Morehen. Ballet Theatre Queensland, formed in 1937, offers professionally staged performance opportunities for promising young dancers in South East Queensland. **What we said at the time:** *“It would be a mistake to assume that this might be an inferior production simply because most of the dancers are young. In short, Snow White holds its own (and then some) alongside anything you might see on the QPAC main stage.”* *“Snow White is everything one hopes for when heading out for a night at the theatre. It is a captivating new work that seamlessly blends enchanting choreography, a stunning score, and heartfelt storytelling. Snow White a must-see production for all ages – don’t miss the chance to experience this spellbinding premiere performance.”* Read the full review [here](https://thescoop.au/review-ballet-theatre-queenslands-new-snow-white-is-pure-magic/). **Can I still see the show?** Yes! There will be a return season from 9 – 12 July at the Concert Hall, QPAC. Get tickets [here](https://www.qpac.com.au/whats-on/2026/btq-snow-white). For an earlier ballet fix, BTQ will present Alice in Wonderland from 22 – 25 January. Get tickets [here](https://www.qpac.com.au/whats-on/2026/btq-alice-in-wonderland). Favourite Student Production ![The Scoop Queensland Ballet Academy Gala 2025](https://thescoop.au/wp-content/uploads/2025/08/013A5572-942x628.jpg "Queensland Ballet Academy Gala 2025 • The Scoop")Queensland Ballet Academy Gala Photo by David Kelly**Queensland Ballet Academy Gala** Queensland Ballet A proud highlight of the year, the *Gala* offers a glimpse into the next generation of ballet stars destined for stages worldwide. Featuring a dazzling mix of classical, neo-classical, and contemporary works, this event showcases the extraordinary artistry of the Academy’s Upper School and Pre-Professional Program dancers and the thrilling Academy Défilé, uniting all levels of training on stage. **What we said at the time:** *“Moving with an effortless elegance and skill well beyond their years, each dancer exudes both technical precision and a powerful, mature artistry. Their extraordinary skill seamlessly blends with a powerful stage presence, making it hard to comprehend that this talent belongs to emerging artists within the Academy.”* Read the full review [here](https://thescoop.au/review-queensland-ballet-academy-gala-celebrates-emerging-talent/). **Can I still see the show?** The Gala is an annual presentation and will run in 2026 from 6 – 8 August. Visit the [website](https://www.queenslandballet.com.au/performances/2026/gala?) for more information. Favourite Contemporary Dance / Dance Theatre ![The Scoop Australian Dance Theatre Marrow Daniel Riley](https://thescoop.au/wp-content/uploads/2025/06/ADT-Marrow-1-942x628.jpg "Australian Dance Theatre Marrow Daniel Riley • The Scoop")Marrow by Australian Dance Theatre Photo by Morgan Sette**Marrow** Australian Dance Theatre Created by the electric mind of Director Daniel Riley, *Marrow* confronts the cultural narratives shaping today’s political landscape. Born in the wake of the unsuccessful Voice to Parliament in 2023, *Marrow* challenges political restraints and envisions a unified nation paving a collective path forward. After an Adelaide Festival premiere in 2024, *Marrow* embarked on a national tour this year. **What we said at the time:** *“Marrow is a confronting yet breathtaking work of art – bold, raw and unapologetic all at once. Promising an eye-opening experience, it challenges audiences to rethink historical narratives and sparks momentum towards a unified future.”* Read the full review [here](https://thescoop.au/review-marrow-by-australian-dance-theatre-is-bold-raw-and-unapologetic/). **Can I still see the show?** It doesn’t appear so, but *Faraway* will make its world premiere at the 2026 Adelaide Festival on 25 February. Get tickets [here](https://www.adelaidefestival.com.au/whats-on/season-2026/faraway). ![The Scoop Queensland Ballet Elastic Hearts HOTA Home of the Arts](https://thescoop.au/wp-content/uploads/2025/11/0Queensland-Ballet-Elastic-Hearts-Photo-by-David-Kellly-13A1608-966x628.jpg "Queensland Ballet Elastic Hearts HOTA Home of the Arts • The Scoop")Elastic Hearts by Queensland Ballet and HOTA Home of the Arts Photo by David Kelly**Elastic Hearts** Queensland Ballet & Home of the Arts Queensland Ballet and HOTA, Home of the Arts entered a landmark three-year partnership that will see the creation of three music-led world premieres exclusive to the Gold Coast. Launching with the debut of *Elastic Hearts*, a genre-defying dance experience choreographed and directed by Garry Stewart, it features the music of global pop icon Sia, reimagined with cinematic power by the Queensland Symphony Orchestra. **What we said at the time:** *“Each dancer performs from the soul, commanding the stage with technical brilliance and expressive depth. The most powerful moment comes during Sia’s iconic Chandelier, when chandeliers descend from above and transform into swings. It’s a literal and thrilling nod to ‘swinging from the chandelier’ that sent a ripple of exhilaration through the crowd.”* Read the full review [here](https://thescoop.au/review-elastic-hearts-presented-by-queensland-ballet-hota/). **Can I still see the show?** Yes! *Elastic Hearts* will run as part of Queensland Ballet’s 2026 season from 30 April – 2 May. Get tickets [here](https://www.queenslandballet.com.au/performances/2026/elastic-hearts). ![The Scoop Glass Teeth by Melanie Lane Australasian Dance Collective](https://thescoop.au/wp-content/uploads/2025/12/IMG_7166-880x628.jpeg "Glass Teeth by Melanie Lane Australasian Dance Collective • The Scoop")Glass Teeth by Melanie Lane Australasian Dance Collective Photo by David Kelly**Glass Teeth** by Melanie Lane, as part of *Blue* Triple Bill, Australasian Dance Collective Australasian Dance Collective celebrated their 40th anniversary in 2025, and to celebrate, their latest work *Blue* was an exquisite triptych reflecting something old, something new and something borrowed. *Glass Teeth* was their something new, a work by Melanie Lane which saw the six company dancers come together as a tight unit yet each stood out in their own way. **What we said at the time:** *“Each dancer wears a black, bespoke design which draws inspiration from Greek mythology and seminal visual artists. The result evokes a futuristic, twisted fairytale vibe, as the dancers embody figures of dream messengers.”* *“This is the Australasian Dance Collective I love: stylish, edgy, and brimming with a wicked sense of fun. Glass Teeth strikes that perfect balance of joy and drama, performed with a palpable love for the art form.”* Read the full review [here](https://thescoop.au/review-blue-weaves-old-roots-and-new-rhythms-for-australasian-dance-collective/). **Can I still see the show?** Not at this stage, but keep an eye out for future performances. Check out ADC’s 2026 season [here](https://australasiandancecollective.com/performances/2026). ![The Scoop Mother Nature Australian Calisthenics Theatre Company Adelaide](https://thescoop.au/wp-content/uploads/2025/07/ASB3561-ACTC-MOTHER-NATURE-STILLS-Photographer-Andrew-Beveridge-PRESS-023-942x628.jpg "Mother Nature Australian Calisthenics Theatre Company Adelaide • The Scoop")Mother Nature An Arena Spectacular by the Australian Calisthenics Company Photo by Andrew Beveridge**Mother Nature: An Arena Spectacular** Australian Calisthenics Theatre Company *Mother Nature*, presented by the Adelaide-based Australian Calisthenics Theatre Company, was the jewel in the crown of their 2025 program. Featuring a cast of 120 elite dancers from across the country, the show blended many elements of dance in a tribute to the unstoppable force of Mother Nature, told through story, acrobatics and live music. The show premiered in Adelaide but also enjoyed a season in Melbourne. **What we said at the time:** *“Mother Nature is a stunning visual display of dance, movement, dazzling costumes, and amazing storytelling, with music, lighting, projections and special effects adding even more layers of wonder. Even the youngest dancers display remarkable polish and maturity, while every performer shows incredible strength, flexibility, precision and dedication.”* Read the full review [here](https://thescoop.au/review-mother-nature-is-a-spectacular-celebration-of-calisthenics/). **Can I still see the show?** Not at this stage, but keep an eye on ACTC’s [socials](https://www.instagram.com/auscalisthenicstheatre.co) for their exciting 2026 performance announcements. ![The Scoop An Honest Conversation Form Dance Projects](https://thescoop.au/wp-content/uploads/2025/12/An-Honest-Conversation-879x628.jpeg "An Honest Conversation Form Dance Projects • The Scoop")An Honest Conversation by Java Dance Theatre as part of Thats Two Thank You by FORM Dance Projects**An Honest Conversation** by Java Dance Theatre as part of *That’s Two, Thank You* Festival by FORM Dance Projects at Riverside Parramatta *That’s Two, Thank You* is FORM Dance Project’s new annual dance festival celebrating the art of the duet. *An Honest Conversation* ran as part of the inaugural season, presented by New Zealand’s Java Dance Theatre. Built from a wonderful concept of juxtaposition and spontaneity, *An Honest Conversation* was effortlessly funny and terrifically truthful. **What we said at the time:** *“An hour-long improvised verbal and physical conversation between Wellington choreographer, Sacha Copland, and a different local Sydney artist, featuring either Vicki Van Hout, Azzam Mohamad and Hoyori Maruo. Each conversation only happens once where the dancers discuss matters of the heart while dancing, attempting to be as honest as possible.”* Read the full review [here](https://thescoop.au/review-thats-two-thank-you-form-dance-projects/). **Can I still see the show?** Potentially. Keep an eye on FORM Dance Projects [website](https://www.form.org.au/whats-on/) for future festivals and productions in 2026. **And that concludes our Favourite Shows of 2025 series!** **Be sure to check out the other three articles.** **Here’s to a fabulous 2026.** [Read our Favourite Shows of 2025 Part Three: Circus & Festivals](https://thescoop.au/the-scoop-favourite-shows-of-2025-part-three-circus-festivals/) Hero image: Ako Kondo in *The Sleeping Beauty* by The Australian Ballet. Photo by David Kelly **Categories:** Features --- ### [Review: Les Misérables Rocks Brisbane in a Spectacular Arena Concert](https://thescoop.au/review-les-miserables-rocks-brisbane-in-a-spectacular-arena-concert/) **Published:** May 29, 2025 **Author:** Sarah Skubala **Content:** ![The Scoop Les Miserables the Arena Spectacular Brisbane](https://thescoop.au/wp-content/uploads/2025/05/LES-MISERABLES-THE-ARENA-SPECTACULAR-Sydney-2025-One-Day-More-Photo-credit-Daniel-Boud-copy-941x628.jpg "Les Miserables the Arena Spectacular Brisbane • The Scoop")*Les Misérables*, the global musical phenomenon, has arrived in Brisbane, the last stop in Australia as part of its 40th anniversary, first ever Arena Spectacular World Tour. It is here for just seven performances at the Brisbane Entertainment Centre in a blink-and-you’ll-miss-it short season. Quite simply, if you love *Les Miz*, you would be missing out not to flock to this extraordinary production. If you have ever wondered what the fuss is all about, now is the perfect chance to get along and see for yourself. Just be sure to read up on the storyline ahead of time. This is a concert spectacular, performed in a stand and deliver style, in a slightly trimmed down version, as opposed to the traditional, full length theatrical performance. (A more practical format for grand touring productions such as this one.) The moving projector screen at the back helps denote time and place and assists in the storytelling. But is there anyone who isn’t at least familiar with the semi-recent film version starring our own Hugh Jackman and Russell Crowe? The statistics speak for themselves. More than 75 million people have seen *Les Misérables* in 54 countries since it premiered 40 years ago. This even includes the late Queen, who invited the show to Windsor Castle in 2004. Michael Ball, playing Javert in this latest production, was on hand at the time to play Jean Valjean. He originated the role of Marius in the 1985 London premiere production. Such is the pedigree of this World Tour cast. Almost all the leads have performed in *Les Miz* professionally somewhere around the world. Producer Cameron Mackintosh has gathered some of the world’s best performers for this special anniversary tour. A breakdown of each of the leads’ history with *Les Miz* can be found in our [Newsroom](https://thescoop.au/les-miserables-the-arena-spectacular-tour-has-arrived-in-australia/) article about the show. (And of course, in the gorgeous souvenir program.) From the opening number, as the Company steps on stage to deliver *Look Down* as part of the Prologue, it is clear this is an exceptional group of singers. Shaun Dalton played our Bishop of Digne on opening night in a small but memorable Prologue role. His vocals were seriously impressive. ![The Scoop Les Miserables The Arena Spectacular Brisbane](https://thescoop.au/wp-content/uploads/2025/05/LES-MISERABLES-THE-ARENA-SPECTACULAR-Sydney-2025-Hear-the-people-sing-Photo-credit-Daniel-Boud-copy-942x628.jpg "Les Misérables The Arena Spectacular Brisbane • The Scoop")The cast are quite simply some of the worlds best performers Photo by Daniel BoudAnchoring the show is Jean Valjean and his longstanding battle with Inspector Javert. The dream duo of Alfie Boe and Michael Ball performed on opening night, alternating on the tour with Killian Donnelly and Bradley Jaden. It is a treat to watch these stage legends excel in their roles. Valjean’s solo, *Bring Him Home*, is sung with tenderness and an exceptionally high range tenor voice and is a show highlight. Javert’s solo *Stars* is another spectacular moment. It was the smaller, lesser known moments that stood out at the Brisbane opening night. (All the favourites still hit the mark, in particular the Act One closing number, *One Day More*.) The ABC Gang’s *Red and Black* was a notable highlight, led by James D. Gish as Enjolras. James’ presence and talent on stage in this production cannot go unnoticed or unrecognised. Keep an eye on this man, he is a star. It’s hard to believe this tour is the first time he’s left North America. *A Heart Full of Love* was another highlight, sung by Jac Yarrow as Marius, Beatrice Penny-Touré as Cosette and Emily Bautista as Éponine. I dare anyone to sit through *Les Misérables* and not shed a tear, and it was Bautista who finally set me off, during her Act Two death scene *A Little Fall Of Rain*. More tears came when Yarrow delivered his heart wrenching version of *Empty Chairs and Empty Tables*. By contrast, it was so much fun to see Matt Lucas perform live as Thénardier. His solo, *Dog Eats Dog*, was particularly good. Watching the evil sparkling in his eyes was captivating. (Two big projector screens either side of the stage ensure a great view no matter where you are sitting. But I recommend splurging and getting as close to the front as you can.) Lucas meets his match with our own Marina Prior playing opposite him as Madame Thénardier. The crowd actually cheered when she first appeared, and rightly so. Prior played Cosette and covered Fantine in the 1987 Australian premiere. She is fabulous in this role. Children always add something special to a production, and as Gavroche, young Orlando Steiner almost steals the show. He perfectly encapsulates the pint sized tour de force that is this character. While his death scene is cut short in this version, he still leaves an impression. Violet Massingham makes her professional debut as Little Cosette. While this concert version role feels more like a cameo, she makes her presence count with a perfectly haunting rendition of *Castle On A Cloud*. ![The Scoop Les Miserables the Arena Spectacular Brisbane](https://thescoop.au/wp-content/uploads/2025/05/LES-MISERABLES-THE-ARENA-SPECTACULAR-Enjolras-James-D-Gish-photograph-by-Danny-Kaan-942x628.jpg "LES MISERABLES THE ARENA SPECTACULAR Brisbane • The Scoop")The talent and presence of James D Gish as Enjolras cannot go unnoticed in this production Photo by Danny KaanOur opening night Fantine was played by Mary-Jean Caldwell, billed in the program as Factory Girl and Fantine Understudy. Caldwell’s ghostly return in the Finale reduced me to tears for the third and final time. Her delivery alongside Bautista’s Éponine as they welcomed Valjean in his moment of death was a truly emotional moment. Bring tissues, you will be using them. A stunning live, on-stage orchestra led by Adrian Kirk brings the emotional score to life with precision and heart. Lighting by Paule Constable and Warren Letton heightens the drama, while Matt Kinley’s set and image design beautifully evoke the grit and grandeur of 19th-century France. Mick Potter’s sound design ensures every note and lyric resonates powerfully throughout the arena. Under the assured direction of James Powell and Jean-Pierre Van Der Spuy, this production strikes a fine balance between spectacle and soul. *Les Misérables The Arena Spectacular* is not just a musical. It’s an event, a celebration, and a triumph of storytelling through song. With its world-class cast, rich musicality, and powerful staging, this touring production delivers everything fans love about the show on a grander scale than ever before. The raw emotion, the iconic music, and the timeless themes of love, justice, and redemption feel even more impactful in this sweeping arena format. Brisbane audiences are lucky to witness this rare spectacle, one that truly honours four decades of *Les Miz* magic. Whether you’re a longtime fan or a first time viewer, don’t let this breathtaking moment in musical theatre history pass you by. Tickets may be limited, or a tad on the pricey side, but the memories will last a lifetime. I have some handy tips about the venue which I’ll leave for the notes at the bottom of this review. It’s important that the logistics of the venue don’t derail your night! See below. ***Les Misérables The Arena Spectacular* runs until 1 June at the Brisbane Entertainment Centre, 1 Melaleuca Drive Boondall Qld 4034.** Tickets: <https://lesmisarenatour.com.au/tickets/brisbane/> Website: <https://lesmisarenatour.com.au/> Socials: <https://www.instagram.com/lesmisarenatourau/> [Read our review of the Sydney season!](https://thescoop.au/review-les-miserables-a-revolution-reimagined-in-spectacular-scale/) Photo credits: Daniel Boud Handy tips for navigating the Brisbane Entertainment Centre: Allow plenty of time to travel to the venue, the location is in Boondall (near Nudgee). Parking costs $18 flat rate – payment is by credit card (not cash) via the roving car park attendants on arrival. Bag checks and body scanning occurs upon entry. All bags larger than an A4 sized piece of paper will need to go into the cloakroom. This can cause further delays getting in as you’ll need to leave the line to go to the cloakroom. Opt for a small bag to be safe. The person in the line in front of me was asked to put their chewing gum in the bin before they were allowed entry. Yes, really. The lines for the women’s toilets are ridiculously long. Even at the outdoor toilet before entering the venue. I’ll never understand why it’s not the same for men! Latecomers will be locked out for the first twelve minutes and miss the Prologue. **Categories:** Brisbane, Musical Theatre --- ### [Celebrate New Year's Eve With Sydney's Best Free Fireworks Views](https://thescoop.au/celebrate-new-years-eve-with-sydneys-best-free-fireworks-views/) **Published:** December 31, 2025 **Author:** Newsroom **Content:** ![The Scoop Sydney's free Fireworks New Year's Eve](https://thescoop.au/wp-content/uploads/2025/12/Fireworks_NYE2023_Barangaroo_Credit_CassandraHannagan-24-942x628.jpg "Sydney's free Fireworks New Year's Eve • The Scoop")Sydney’s glittering harbour skyline will take centre stage as we welcome 2026 with one of the most spectacular and celebrated fireworks displays in the world. From **Barangaroo’s** expansive harbourside and the historic laneways of **The Rocks** to the family friendly fun at **Darling Harbour**, there’s a perfect place for every kind of New Year celebration. Best of all, Sydney’s most iconic vantage points are **all FREE and unticketed** so make sure to get down early at your chosen location to secure your spot! **The Rocks** Ring in the New Year at The Rocks, Sydney’s oldest neighbourhood. Where buzzing laneways, great food and live music create the ultimate street-party atmosphere to celebrate with friends. There are four vantage points offering spectacular views of the 9pm and midnight fireworks; West Circular Quay, Campbells Cove, Hickson Road Reserve, Dawes Point Park and East Circular Quay. For those looking for breathtaking harbour views, you can celebrate in style at [Harbourfront Seafood Restaurant](https://palink.co/l/pa2dabd925f3911059526b8e6e6c172bd0) where you can enjoy a 7-course set dinner menu and champagne with friends and family. Alternatively, wander down to The Doss House for [*Masquerade at Midnight*](https://palink.co/l/pa124f4d123cdaf120390f0f6287dfec0c)*,* a night draped in mystery, music and masked intrigue. For more details visit the website [here.](https://palink.co/l/pa154e0e8259961fd4cbf69103f3bf5d72) **Barangaroo** For an unforgettable New Years celebration, head to Barangaroo, Sydney’s most stunning waterfront destination. Offering front-row views of both the 9pm and midnight fireworks bursting over the Harbour Bridge, Barangaroo Reserve sets the stage for a memorable celebration with live music and cultural performances, along with garden games and delicious food options to keep you entertained until the big show. Looking for something a little more sophisticated? Ring in the New Year with opulence and mystery at Crown Sydney’s iconic rooftop cocktail bar and lounge, [CIRQ](https://palink.co/l/paf5714085844a33371968ad07ec8d8220). Don your most Gatsby inspired gowns and suits, as the harbour sparkles into the New Year. For more details visit the website [here.](https://palink.co/l/pa12956e724df1684e0a5c05e696893bde) ![The Scoop Sydney's free Fireworks New Year's Eve](https://thescoop.au/wp-content/uploads/2025/12/Darling-Harbour-NYE-2023-Fireworks-20-942x628.jpg "Sydney's free Fireworks New Year's Eve • The Scoop")Fireworks view from Darling Harbour Image supplied**Darling Harbour** For a family night to remember, head to Darling Harbour! With something for everyone, it is Sydney’s favourite spot for a fun filled New Year’s Eve to watch the iconic 9pm and midnight firework display over Cockle Bay. It’s a celebration the whole family will treasure. Make a night of it by grabbing a bite to eat at one of the delicious restaurants in the precinct. For those wanting to send off 2025 in style, [Blackbird Cafe](https://palink.co/l/pad5f63d123f2394d5d2be2369553cd6e1) is offering a 4-course dinner featuring significant flavours and sparkling views overlooking Darling Harbour or you can indulge in a spectacular Buffet Dinner at [The Ternary](https://palink.co/l/pa926bcc85e617fa92c458bfa1eda91d81) with good food and festive vibes. For those looking to party the night away, you can spend the night at [Café del Mar Sydney](https://palink.co/l/pa4f31f7bf43d9674212eede8ee29af4d6) who are throwing the ultimate party in collaboration with Talum Australia, with rooftop fireworks and sunset afro house vibes. Your visit to Darling Harbour doesn’t have to end at midnight. Make a night of it and treat the whole [family staycation](https://palink.co/l/pa0120f246e45a3ac0ff357422b6252d02) at some of the best hotels in the city and then wake up to a day out at top attractions like [SEA LIFE Sydney Aquarium](https://palink.co/l/pae17872865a9024e7d88ec6a950171947) and [WILD LIFE Sydney Zoo](https://palink.co/l/pa5a2e1dd4664b970d3b01d09257882509). For more details visit the website [here](https://palink.co/l/pa56ac4729f6c2b78987ebc60d90e8d221). Website: <https://www.darlingharbour.com/whats-on/campaigns/new-years-eve> Socials: <https://www.instagram.com/darlingharbour> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: New Year’s Eve fireworks Barangaroo. Photo by Cassandra Hannagan **Key Details**: **Fireworks at 9pm & midnight** Each event is free with no tickets required but we’d recommend getting down early for a good spot Capacity limits apply, once full, areas will close with no pass outs Check vantage point maps for live updates on closures [here.](https://palink.co/l/pa9757189d72f03864fec509e2e64afd76) Know what you can and can’t pack so you don’t leave home without the essentials. You can review the checklist [here.](https://palink.co/l/pa897069e094d940ba372586751b61668f) Leave the car at home if you can! Barangaroo, The Rocks & Darling Harbour are all easily accessed via public transporting including train, light rail, ferry, bus and are a short walk from nearby stations. Check transport details [here.](https://palink.co/l/paca70e2a0e5a46db7f0958636af25bac1) **Categories:** News --- ### [Review: Sport For Jove's The Comedy Of Errors Finds Its Heart](https://thescoop.au/review-sport-for-joves-the-comedy-of-errors-finds-its-heart/) **Published:** December 28, 2025 **Author:** Benjamin Webb **Content:** ![The Scoop The Comedy of Errors Sport For Jove Theatre Co](https://thescoop.au/wp-content/uploads/2025/12/20251218-1286-ComedyOfErrors-942x628.jpg "The Comedy of Errors Sport For Jove Theatre Co • The Scoop")Sport for Jove’s *The Comedy of Errors* begins not with slapstick, but with a plea for empathy. A lone figure speaks Shakespeare’s “strangers’ case” into the open air, and suddenly this familiar comedy is bookended by an emotional family drama. Believed to be Shakespeare’s earliest comedy, *The Comedy of Errors* was first performed in 1594 at the Inns of Court in London. Drawing on Roman farce by Plautus, the play doubles mistaken identity by featuring two sets of identical twins. Written during a period of intense immigration anxiety in England, the play opens with the threat of state violence against a displaced man. That context is foregrounded here by directors Damien Ryan and George Banders, who frame the comedy with Shakespeare’s rarely heard “strangers’ case” speech from *Sir Thomas More*. After a shipwreck separates twin brothers and their servants, both sets unknowingly arrive in the same city. Confusion follows as characters mistake one twin for the other, resulting in wrongful arrests, romantic chaos, and mounting panic. Beneath the farce sits a deeper story about exile, fractured families, and the longing to belong. This production knows exactly why it is telling this story now. I was so drawn in by the comedy that I had forgotten about the stakes that started the play. So when, as is required in a comedy, we get our happy ending, it becomes more touching and thoughtful than initially meets the eye. ![The Scoop The Comedy of Errors Sport For Jove Theatre Co](https://thescoop.au/wp-content/uploads/2025/12/20251218-0073-ComedyOfErrors-943x628.jpg "The Comedy of Errors Sport For Jove Theatre Co • The Scoop")The outdoor setting adds a sense of shared experience that suits the plays communal ending Photo by Grant LeslieThat balance between laughter and gravity is carefully held, and the ensemble work is strong. The outdoor setting adds a sense of shared experience that suits the play’s communal ending. Damien Ryan and George Banders’ direction foregrounds physical storytelling and clean comic timing. The doubling of characters is always legible, thanks to confident performances and sharp blocking. The use of the open space allows characters to appear, vanish, and collide with pleasing speed. Among the cast, Kaya Byrne brings warmth and restless energy to Antipholus of Syracuse, while John Panayiotis Tsakiris offers a contrasting intensity as Antipholus of Ephesus. The twin servants are a highlight. Gabriel Fancourt and Diego Retamales create distinct Dromios whose confusion escalates with delightful precision, and slapstick! Imogen Sage grounds Adriana with emotional clarity, while Tamara Lee Bailey offers a frenetic, fierce and physical Luciana. Lani Tupu commands authority and humour as Duke Solinus and Balthazar. ![The Scoop The Comedy of Errors Sport For Jove Theatre Co](https://thescoop.au/wp-content/uploads/2025/12/20251218-0868-ComedyOfErrors-942x628.jpg "The Comedy of Errors Sport For Jove Theatre Co • The Scoop")The balance between laughter and gravity is carefully held and the ensemble work is strong Photo by Grant LeslieNicholas Papademetriou gives Aegeon real weight, ensuring the play’s opening never feels like a formality. Inga Romantsova brings grace to Aemelia, completing the story’s arc of reunion. Naomi Belet is a standout as the Courtezan, also serving as composer and singer. Her music adds texture and playfulness, shaping transitions and underscoring emotion without overwhelming the text. Bernadette Ryan’s costumes are practical and expressive, supporting quick changes and character clarity. Lisa Benham’s lighting subtly adapts to the fading daylight, while Shannon Burns’ choreography, aided by Retamales, sharpens the physical comedy. This *Comedy of Errors* understands that Shakespeare’s funniest plays often begin in fear. By honouring that truth, the production earns its laughter. Set against the open sky, it becomes a story about loss, recognition, and the hope of reunion. It’s a thoughtful, generous, and genuinely funny night of Shakespeare that proves comedy can still ask serious questions and answer them with joy. ***The Comedy Of Errors* is presented by Sport For Jove Theatre and runs until 28 December at Bella Vista Farm House. Elizabeth Macarthur Dr, Bella Vista NSW 2153**. Tickets are available [here](https://boxoffice.riversideparramatta.com.au/WEBPAGES/EntaWebShow/ShowCalendar.aspx). Website: <https://www.sportforjove.com.au/the-comedy-of-errors-2025> Socials: <https://www.instagram.com/sportforjove/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Grant Leslie Photography 2026 NSW Summer Tour Dates: Everglades Gardens, Leura 10 – 25 January 2026 Blue Mountains Theatre, Springwood 28 – 29 January 2026 Kooloobong Oval, University of Wollongong 11 – 22 February 2026 **Categories:** Sydney, Theatre --- ### [Review: Cirque Alice Brings Circus Magic & Wonder To Sydney](https://thescoop.au/review-cirque-alice-brings-circus-magic-wonder-to-sydney/) **Published:** December 27, 2025 **Author:** Benjamin Webb **Content:** ![The Scoop Cirque Alice Coliseum Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/12/Layla-Schillert_Alice-942x628.jpg "Cirque Alice Coliseum Theatre Sydney • The Scoop")*Cirque Alice* demands that you look up, lean forward, and gasp in shock at the sheer audacity of the performers. From the moment a lone violin echoes out, the show starts at a pace of 10 and only gets quicker! Opening night felt like being dropped headfirst into a story you already know, then discovering it has learned how to fly, flip, balance, and spin faster than your eyes can keep up. Inspired by Lewis Carroll’s *Alice’s Adventures in Wonderland*, *Cirque Alice* continues a long tradition of reimagining the classic through spectacle and movement. While Carroll’s story has been adapted countless times across stage, screen, and circus, this production places physical storytelling at its core. Produced by Tim Lawson with Simon Painter as Creative Producer, and directed by Ash Jacks McCready and Kirsty Painter, *Cirque Alice* blends contemporary circus, live music, and dance into a large-scale theatrical event designed for modern audiences. The narrative loosely follows Alice as she falls down the rabbit hole and encounters Wonderland’s familiar inhabitants. The White Rabbit guides her journey, the Mad Hatter disrupts it, and the Queen of Hearts threatens it. The story functions as a framework rather than a focus, allowing each act to explore Wonderland through movement, music, and visual metaphor. ![The Scoop Cirque Alice Coliseum Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/12/Caterpillar-contortion-1-942x628.jpg "Cirque Alice Coliseum Theatre Sydney • The Scoop")*Cirque Alice* demands that you look up lean forward and gasp in shock at the sheer audacity of the performersThis is a vast production that fills the Coliseum Theatre with motion from floor to ceiling. The pacing rarely lets up, and the variety of acts keeps the audience alert. If there is a central pleasure here, it is watching artists perform at the absolute limits of balance, strength, and control. The show opens with Darius Thompson as the White Rabbit, delivering an electrifying live violin sequence while Layla Schillert’s Alice descends from above, her dress billowing across the stage. Schillert commands attention with operatic vocals, poise, and a calm authority that anchors the chaos of Wonderland. The Tweedles, played by Tamrat Kuka and Tomas Teka Alemu of the TT Boys, deliver some of the night’s most astonishing acrobatics. Their precision and trust are breathtaking. Paul Dabek’s Mad Hatter is a comedian disguised as a magician, landing jokes with ease while still serving the show’s visual rhythm. The Contortion Quartet, Enkhzaya Battogoo, Baigalmaa Chuluun, Doljinsuren Ganbold, and Dolgorsuren Ganbold, mesmerise as Caterpillars, their bodies folding and unfolding with eerie beauty. Viktor Hladchenko’s March Hare rolls across the stage inside a human-sized hoop. Estuart Mena Gonzales climbs a ladder of his own making as the Dormouse. ![The Scoop Cirque Alice Coliseum Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/12/March-hare-upside-down--942x628.jpg "Cirque Alice Coliseum Theatre Sydney • The Scoop")*Cirque Alice* continues a long tradition of reimagining the classic through spectacle and movement Act One builds toward the Queen through the Ramadhani Brothers, Fadhili Rashidi and Ibrahim Mwaimise, whose head-to-head acrobatics generate real tension. Munguntsatsrag Naranbaatar’s Queen of Hearts follows, displaying extraordinary balance and control. Highlights continue with Brandon Raffo as Wonderland’s Juggler, the roller-skating brilliance of Daniel Monni and Marina Sabetta as the White King and Queen, and the Flamingos, Emeline Goavec and Yoann Benhamou, whose aerial pas de deux is quietly stunning. Behind the scenes, Dane Bates’ choreography keeps the show flowing. Martin Raabe-Olsen and Marius Christiansen’s music arrangements give the production its pulse. Angela Aaron’s costumes are bold and imaginative, enhanced by Israel Leslie’s audio design and Hugo Mercier and Sarah Cleverley’s lighting that makes you feel like you are under a circus tent. *Cirque Alice* is a feast for the senses. It prioritises wonder, skill, and scale. This is theatre as spectacle, executed with extraordinary talent and care. If you are looking to be impressed, surprised, and lifted out of your seat, *Cirque Alice* delivers. It’s a dazzling journey through Wonderland that reminds us why live performance still feels like magic. ***Cirque Alice* runs in Sydney from 24 December – 4 January at the Coliseum Theatre. 33 Railway Street Rooty Hill NSW 2766.** It then runs in Adelaide and Canberra. See dates below. Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=ALICIRQU25> Website: <https://cirquealice.com/> and <https://coliseumtheatre.com.au/whats-on/cirquealice/> Socials: <https://www.instagram.com/cirquealice/> [Read our review of the Brisbane World Premiere Season! ](https://thescoop.au/review-cirque-alice-is-the-perfect-easter-treat/) Images supplied. 2026 Australian Tour Dates: Sydney 24 December – 4 January, Coliseum Theatre Adelaide 8 – 18 January, Her Majesty’s Theatre Canberra 22 – 31 January, Canberra Theatre Centre **Categories:** Circus, Sydney --- ### [The Scoop Favourite Shows Of 2025 Part Two: Plays](https://thescoop.au/the-scoop-favourite-shows-of-2025-part-two-plays/) **Published:** December 22, 2025 **Author:** Sarah Skubala **Content:** ![The Scoop Fly Girl Ensemble Theatre](https://thescoop.au/wp-content/uploads/2025/12/FlyGirl_Ensemble_GenevieveHegney_CatherineMoore_EmmaPalmer_ImageCredit_PrudenceUpton_438-942x628.jpg "Favourite Shows 2025 The Scoop Fly Girl Ensemble Theatre • The Scoop")It’s been one year since The Scoop was created, and the first feature published was my personal list of [Favourite Shows](https://thescoop.au/best-shows-of-2024/) of the year. As 2025 comes to a close, it’s time to take a look back at some of the shows that stood out this year. The Scoop’s team of writers are all deeply passionate about live theatre, and this comes across in their review writing. One of our writers, Caitlin Green, summed it up best in her review of [*Fly Girl* ](https://thescoop.au/review-fly-girl-is-full-throttle-big-hearted-hilariously-self-aware/)by Ensemble Theatre: *“Amongst all the noise, it’s easy to lose sight of what we are really contributing. No, we’re not saving lives, but theatre is the beating heart of our society. It starts conversations, it makes people feel seen. It keeps our stories alive.”* So without further ado, let’s take a look at The Scoop’s Favourite Plays of 2025, in no particular order, starting with the touring productions. Favourite Mainstage Play – Touring Productions ![The Scoop Trent Dalton's Love Stories 2025](https://thescoop.au/wp-content/uploads/2025/04/039A8717-credit-Andrew-Beveridge-926x628.jpg "Trent Dalton's Love Stories 2025 • The Scoop")Trent Daltons Love Stories by Brisbane Festival and QPAC Photo by Andrew Beveridge**Trent Dalton’s Love Stories** Brisbane Festival and Queensland Performing Arts Centre (QPAC) This was on the list for 2024, and it’s back this year. Based on Trent Dalton’s non fiction book of the same name, *Love Stories* premiered at Brisbane Festival and embarked on a multi-city national tour in 2025. **What we said at the time:** *“What struck me first was the warmth of the ensemble. This is truly an actor’s showcase, and each performer brought a unique texture to the night.”* *“Trent Dalton’s Love Stories is exactly what its title promises: an ode to the messy, fragile, hilarious, transformative thing that makes us human.”* Read the full review [here](https://thescoop.au/review-trent-daltons-love-stories-is-intimate-uplifting-and-unforgettable/). **Can I still see this show?** Not currently. But we may not have seen the last of this wonderful play! ![The Scoop Heather Mitchell RBG Of Many One HOTA Sydney 2025](https://thescoop.au/wp-content/uploads/2025/04/Heather-Mitchell-in-STC-RBG-Of-Many-One_ImageCredit_PrudenceUpton_066-942x628.jpg "Heather Mitchell RBG Of Many One HOTA Sydney 2025 • The Scoop")Heather Mitchell in RBG Of Many One Photo by Prudence Upton**RBG: Of Many, One** Sydney Theatre Company This one is the Editor’s pick. Written by Suzie Miller and directed by Priscilla Jackman, *RBG: Of Many, One* is a compelling portrait of Ruth Bader Ginsburg. A trailblazing US Supreme Court Justice, ‘RBG’ dedicated her life to fighting for gender equality and civil rights. The 2025 encore season saw the show take a multi-city tour. **What we said at the time:** *“At the centre of the show is Heather Mitchell, giving what can best be described as a masterclass in solo performance. Mitchell doesn’t just play Ginsburg; she becomes her. From the quick wit and sharp mind to the physical transformation that sees her age decades before our eyes, Mitchell’s performance is astonishing.”* Read the full review [here](https://thescoop.au/review-rbg-of-many-one-makes-unmissable-victory-lap/). **Can I still see this show?** Yes! What was meant to be a victory lap in 2025, has extended again with more seasons promised for 2026. [Black Swan Perth](https://blackswantheatre.com.au/season-2026/rbg-of-many-one-2026) has a season, as does [State Theatre Company South Australia](https://statetheatrecompany.com.au/shows/rbg-of-many-one/) and [Geelong Arts Centre](https://geelongartscentre.org.au/whats-on/all-events/rbg-of-many-one/). This one is an absolute must see. Get tickets while you can. ![The Scoop The 39 Steps Australian tour 2025](https://thescoop.au/wp-content/uploads/2025/09/The-cast-of-THE-39-STEPS-c-Cameron-Grant-942x628.jpg "The 39 Steps Australian tour 2025 • The Scoop")The 39 Steps presented by Woodward Productions and Neil Gooding Productions Photo by Cameron Grant**The 39 Steps** Woodward Productions and Neil Gooding Productions Mix Alfred Hitchcock’s classic spy thriller with a dash of Monty Python-style chaos, and you get *The 39 Steps*. A turbo-charged, Olivier and Tony Award-winning comedy smash, it features four actors who play 130 characters. **What we said at the time:** *“With a mix of thrilling spy stuff and choreographed chaotic comedy, Director Damien Ryan has put together a brilliant masterpiece of heightened theatrical entertainment.”* *“The 39 Steps is an adventure for everyone: part parody, part love letter to Hitchcock, and entirely riotous fun. A highlight of the year, this production doesn’t just add spring to your step. It practically sends you leaping out of the theatre with joy.”* Read the full review [here](https://thescoop.au/review-the-39-steps-is-murder-mayhem-and-madcap-fun/). **Can I still see this show?** No. This tour has ended. ![The Scoop Shirley Valentine Natalie Bassingthwaighte](https://thescoop.au/wp-content/uploads/2025/10/SHIRLEY-VALENTINE-c-Brett-Boardman_003323-copy-977x628.jpg "Shirley Valentine Natalie Bassingthwaighte • The Scoop")Natalie Bassingthwaighte is Shirley Valentine Photo by Brett Boardman**Shirley Valentine** Woodward Productions and Neil Gooding Productions The heartwarming, hilarious, and inspiring story of Shirley Valentine, written by Willy Russell and directed by Lee Lewis, was brought to life by Natalie Bassingthwaighte in her greatest acting challenge to date. **What we said at the time:** *“The audience is taken on an emotional rollercoaster across the two hours. Shifting from bursts of laughter to moments of quiet reflection as we wipe tears from our cheeks, Natalie’s masterful performance is going to stay with us.”* Read the full review [here](https://thescoop.au/review-shirley-valentine-a-remarkable-one-woman-show/). **Can I still see this show?** No. This tour has ended. ![The Scoop The Visitors QPAC Clancestry 2025](https://thescoop.au/wp-content/uploads/2025/07/The-Visitors-2024-Tour-Images-Production-By-Stephen-Wilson-Barker-01-873x628.jpg "The Visitors QPAC Clancestry 2025 • The Scoop")The Visitors by Moogahlin Performing Arts and Sydney Theatre Company Photo by Stephen Wilson Barker**The Visitors** Moogahlin Performing Arts and Sydney Theatre Company In an epic opening to Brisbane’s Clancestry festival, *The Visitors* by Jane Harrison, takes audiences back in time to January 1788 when the First Fleet arrived at Sydney Cove. **What we said at the time:** *“The Visitors transforms a historic Australian event into a powerful platform for First Nations voices. In this fateful meeting between seven clan leaders, they debate the merit in welcoming the fleet of visitors approaching them.”* *“With her distinctive blend of comedic flair and dark wit, storytelling sensation Jane Harrison blurs the past, present, and future in this thought-provoking ethical exploration*.*“* *“Director Wesley Enoch masterfully breathes life into Harrison’s work, bringing a layered perspective of culture and ethics to the production.”* Read the full review [here](https://thescoop.au/review-the-visitors-looks-at-tradition-tension-and-timely-truths/). **Can I still see this show?** *The Visitors* is touring overseas in 2026, with shows in New York City in January and Aotearoa, New Zealand in April. Follow their [socials](https://www.instagram.com/moogahlin/) to keep up with the journey. ![The Scoop Looking For Alibrandi Brink Productions HOTA](https://thescoop.au/wp-content/uploads/2025/06/Alibrandi-1033x628.jpg "Looking For Alibrandi Brink Productions HOTA • The Scoop")Looking For Alibrandi by Brink Productions Photo by Matt Byrne**Looking for Alibrandi** Brink Productions Director Stephen Nicolazzo brought Melina Marchetta’s best-selling novel to the stage in 2025 for a national tour. Vidya Rajan’s adaptation offered audiences a fresh and dynamic retelling of the Australian classic. **What we said at the time:** *“What makes this production feel so alive is its balance of nostalgia with sharp contemporary insight. It reminds us that the challenges of growing up between two worlds never really change. The audience was fully along for the ride, laughing, gasping, and swept up in the emotional journey.”* Read the full review [here](https://thescoop.au/review-looking-for-alibrandi-serves-drama-with-extra-sauce/). **Can I still see this show?** No, this tour has ended. Favourite Mainstage Play – Non Touring Productions ![The Scoop Belvoir St Theatre The Spare Room Judy Davis](https://thescoop.au/wp-content/uploads/2025/06/BELVOIR_TheSpareRoom_Production_BrettBoardman_003320_Elizabeth-Alexander-Judy-Davis-941x628.jpg "BELVOIR The Spare Room Elizabeth Alexander Judy Davis • The Scoop")The Spare Room by Belvoir St Theatre Photo by Brett Boardman**The Spare Room** Belvoir St Theatre, Sydney After close to a fifteen-year hiatus, Australian powerhouse Judy Davis returned to the stage in the highly anticipated adaption of Helen Garner’s 2008 acclaimed novel *The Spare Room*. Belvoir St Theatre’s resident Artistic Director, Eamon Flack, served as both adapter and director in what our reviewer described as a “must-see, theatrical tour-de-force.” **What we said at the time:** *“At no time does The Spare Room try to extract cheap tears from its audience. It is a richly layered and achingly honest portrait of two deeply relatable friends, each grappling with their own monumental struggle. It revels in ambiguity, posing profound and haunting questions that linger…”* Read the full review [here](https://thescoop.au/review-no-easy-comforts-in-the-spare-room-just-raw-beautiful-truth/). **Can I still see this show?** Not at the moment. ![The Scoop](https://thescoop.au/wp-content/uploads/2025/08/BELVOIR_GriefIsTheThingWithFeathers_Production_PhotoBrettBoardman_012552_Philip-Lynch-Toby-Schmitz-Fraser-Morrison-941x628.jpg "Grief Is The Thing With Feathers Belvoir St Theatre Sydney • The Scoop")Grief Is The Thing With Feathers by Belvoir St Theatre Photo by Brett Boardman**Grief Is The Thing With Feathers** Belvoir St Theatre, Sydney and Andrew Henry Presents Max Porter’s exquisite verse novel has been a literary sensation, garnering an ardent tribe of devotees. In the expert hands of director Simon Phillips, alongside co-adaptors Nick Schlieper and star Toby Schmitz, the fresh stage version brought theatricality and insight. **What we said at the time:** *“It isn’t just musical in the literal sense. The text itself has its own kind of lyricism, and the entire team leans into that symphony with all their might. The whole show has this sort of incredible, magical quality to it.”* *“This production hit me like a wave. Actually, like a whole ocean. There were moments I felt like I could come up for air, to breathe, to belly laugh, then I’d be completely submerged again, drowning in feelings I didn’t even realise I was holding onto. It was beautiful. Brutal. Healing.”* Read the full review [here](https://thescoop.au/review-grief-is-the-thing-with-feathers/). **Can I still see this show?** Not at the moment. ![The Scoop Orlando Belvoir St Theatre](https://thescoop.au/wp-content/uploads/2025/09/2025_BELVOIR_ORLANDO_Production_PhotosBrettBoardman_006006_Janet-Anderson-942x628.jpg "Orlando Belvoir St Theatre • The Scoop")Orlando by Belvoir St Theatre Photo by Brett Boardman**Orlando** Belvoir St Theatre, Sydney Carissa Licciardello and Elsie Yager’s joyous adaptation of Virginia Woolf’s most beloved and brilliant novel saw four actors play Orlando, a young courtier, who journeyed through 400 years of history in search of love, identity, and purpose. **What we said at the time:** *“With its playful leaps across four centuries and a protagonist who refuses to be pinned down by gender or convention, Orlando has long been considered a dazzling, ‘unstageable’ novel. Belvoir St Theatre embraces the challenge head-on.”* *“An ambitious theatrical experiment with flashes of brilliance, Orlando is a show that some will find exhilarating, others perplexing. But it’s one that is undeniably worth the conversation afterwards.”* Read the full review [here](https://thescoop.au/review-orlando-dances-through-time-in-a-bold-adaptation/). **Can I still see this show?** Not at the moment. ![The Scoop Fly Girl Ensemble Theatre](https://thescoop.au/wp-content/uploads/2025/10/FlyGirl_Ensemble_GenevieveHegney_CatherineMoore_EmmaPalmer_ImageCredit_PrudenceUpton_398-942x628.jpg "Fly Girl Ensemble Theatre • The Scoop")Fly Girl by Ensemble Theatre Photo by Prudence Upton**Fly Girl** Ensemble Theatre, Sydney Genevieve Hegney and Catherine Moore’s brand-new comedy, *Fly Girl*, tells the story of Deborah Lawrie, the first female pilot to fly for a major Australian airline. Directed by Janine Watson, the show delves into her fight for equality in the aviation industry against the backdrop of the 1970s. **What we said at the time:** *“I love, love, love seeing new Australian work find its space, its audience, and its confidence. Ensemble Theatre deserves huge credit for its consistent effort to champion local artists and the stories that reflect who we are.”* *“Seeing Deborah Lawrie honoured on that stage was a reminder that the arts connect us and ensure we don’t forget. Don’t forget our people, our mistakes, our triumphs. Fly Girl cuts through the noise. It offers a night of reprieve, a breath of fresh air and a deep belly laugh.”* Read the full review [here](https://thescoop.au/review-fly-girl-is-full-throttle-big-hearted-hilariously-self-aware/). **Can I still see this show?** Not at the moment, but keep an eye out for future productions! ![The Scoop Eureka Day Seymour Centre Outhouse Theatre Company](https://thescoop.au/wp-content/uploads/2025/06/Eureka-Day-1-954x628.jpg "Eureka Day Seymour Centre Outhouse Theatre Company • The Scoop")Eureka Day by Outhouse Theatre Co and Seymour Centre Photo by Richard Farland**Eureka Day** Outhouse Theatre Company and Seymour Centre, Sydney Directed by Craig Baldwin, the Sydney premiere of Jonathan Spector’s *Eureka Day* unfolds within a hyper-progressive private primary school, using its proudly inclusive community as a sharp microcosm of contemporary society. When a mumps outbreak strikes, good intentions quickly give way to chaos. This multi-award-winning play incisively exposes the fragility of civil discourse, and the uncomfortable reality of how hard it has become to truly listen to those we disagree with. **What we said at the time:** *“This shrewd social satire interrogates the idea of vaccines from all angles equally. It is both infectiously hilarious and pragmatically polarising. Overflowing with comic poise, Eureka Day’s razor-sharp commentary left me laughing just as much as it left me thinking.”* Read the full review [here](https://thescoop.au/review-eureka-day-goes-viral-with-an-outbreak-of-opinions/). **Can I still see this show?** No, the season has ended. ![The Scoop Mother Play Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2025/07/MTC_MotherPlay_Production_PhotoBrettBoardman_003297-941x628.jpg "Mother Play Melbourne Theatre Company • The Scoop")Mother Play by Melbourne Theatre Company Photo by Brett Boardman**Mother Play** Melbourne Theatre Company Hot off the heels of a successful Broadway run, *Mother Play* is a poignant and moving exploration of family, resilience and the complexities of motherhood. Directed by Lee Lewis, the Tony nominated play led by Sigrid Thornton brought Paula Vogel’s semi-autobiographical story to life. **What we said at the time:** *“Mother Play is about love in all of its stages. It is heart-wrenching and at times difficult to watch due to its raw frankness about how love can change us. On a personal note, it has changed the way I view my relationships and makes me reconsider the temptation to hold a grudge.”* Read the full review [here](https://thescoop.au/review-mother-play-is-a-devastating-and-beautiful-meditation-on-family/). **Can I still see this show?** No, the season has ended. ![The Scoop Rebecca Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2025/10/Nikki-Shiels-and-Pamela-Rabe-Photo-by-Pia-Johnson-1-942x628.jpg "Rebecca Melbourne Theatre Company • The Scoop")Rebecca by Melbourne Theatre Company Photo by Pia Johnson**Rebecca** Melbourne Theatre Company This timeless tale, by Daphe du Maurier, reinvented the Gothic genre for modern audiences while Alfred Hitchcock’s masterful film adaptation further cemented its legend as one of the iconic tales of the twentieth century. Anne-Louise Sarks’ new adaptation invited us back to this ghostly manor, conjuring up the living and the dead who haunt its halls. **What we said at the time:** *“Rebecca is an exceptional piece of theatre, one of the finest to grace Australia’s stages this year. It is a sophisticated adaptation that lets the work hang in its complexities and subtleties.”* *“Anne-Louise Sarks’ direction is exceptional. She excavates the key emotional beats and characters from a long and complex novel, succeeding where film adaptations have failed in conveying the waking-nightmare quality of du Maurier’s text. This isn’t garish, untethered gothic horror. There are no literal ghosts; the real terror comes from within.”* Read the full review [here](https://thescoop.au/review-rebecca-is-a-dark-romance-reborn-in-spectacular-style/). **Can I still see the show?** No, the season has ended. ![The Scoop A Few Good Men Queensland Theatre](https://thescoop.au/wp-content/uploads/2025/11/Courtney-Cavallaro-Doron-Chester-and-George-Pullar-Photo-by-Stephen-Henry-904x628.jpg "A Few Good Men Queensland Theatre • The Scoop")A Few Good Men by Queensland Theatre Company Photo by**A Few Good Men** Queensland Theatre Company Long before Hollywood, this sizzling legal drama from the masterful Aaron Sorkin dominated Broadway, and court was in session for QPAC’s 40th Birthday celebrations. Directed by Daniel Evans, a cast of rising stars went head-to-head with a swathe of stage legends in a courtroom tour-de-force. **What we said at the time:** *“A Few Good Men is powerful, thrilling and incredibly well crafted. It takes a story that is familiar to many and presents it with boldness and clarity. It is by far one of Queensland Theatre Company’s strongest productions in years, a technical and performance masterclass.”* Read the full review [here](https://thescoop.au/review-queensland-theatres-a-few-good-men-is-a-triumph/). **Can I still see the show?** No, the season has ended. Honourable Mention ![The Scoop Sport For Jove The Player Kings Part 1 and 2](https://thescoop.au/wp-content/uploads/2025/03/SportForJove_ThePlayerKings_Part1_PhotoBrettBoardman_010100-941x628.jpg "Sport For Jove The Player Kings Part 1 and 2 • The Scoop")The Player Kings by Sport For Jove was an epic 12 hour marathon Photo by Brett Boardman**The Player Kings Part 1 & 2** Sport For Jove, Sydney Eight plays, 17 cast members, 12 hours. *The Player Kings* was split into two parts: The Hollow Crown (*Richard II*, *Henry IV* *Parts 1 and 2*, and *Henry V*) and The War of the Roses (*Henry VI* *Parts 1, 2 and 3*, and *Richard III*). With an option to see both parts separately or in one gloriously long day, it was glorious to see director Damien Ryan go once more into the world of vain, heroic, foolish and all too human kings. **What we said at the time:** *“A standing ovation, almost de rigueur for opening nights and not always merited, was here a thundering acclamation of a remarkable experience. Though quite the endurance test for everyone, this is genuinely spine-tingling theatre with real swagger and attitude.”* Read the full review [here](https://thescoop.au/review-sport-for-joves-the-player-kings-part-1-2/). **Can I still see the show?** No, the season has ended. Favourite Indie Play ![The Scoop Mary Jane Old Fitz](https://thescoop.au/wp-content/uploads/2025/05/Mary-Jane-Old-Fitz-942x628.jpg "Mary Jane Old Fitz • The Scoop")Mary Jane by Mi Todo Productions and Old Fitz Theatre Photo by Phil Erbacher**Mary Jane** Mi Todo Productions and Old Fitz Theatre, Sydney *Mary Jane,* written by Amy Herzog, follows a mother on her journey with her sick child. From hospital to home and back again, this is the story of a single mother in an impossible family situation. After seeing the production on Broadway, Eloise Snape obtained the rights to the play. She co-produced and starred in this Australian premiere. **What we said at the time:** *“This caring community of supportive women, both the creatives and the characters themselves, makes Mary Jane undeniably memorable. The play explores the challenges and triumphs of a mother as she navigates the realities of caregiving.”* *“I cannot recommend Mary Jane enough. You will find hope in unexpected places and you will learn how deep a mother’s love really is.”* Read the full review [here](https://thescoop.au/review-mary-jane-finds-hope-in-unexpected-places/). **Can I still see the show?** No, the season has ended. ![The Scoop Dial M For Murder Theatre Works Melbourne](https://thescoop.au/wp-content/uploads/2025/08/processed-0DE73343-D8ED-4F73-97B0-6BFBE2E976B4-942x628.jpeg "Dial M For Murder Theatre Works Melbourne • The Scoop")Dial M For Murder by Smoke and Mirrors Productions and Theatre Works Photo by Dave McCarthy**Dial M For Murder** Theatre Works and Smoke & Mirrors Productions, Melbourne Made famous by Hitchcock’s iconic film of the same name, this thrilling reimagining of *Dial M for Murder*, directed by Dean Drieberg, proves that the themes it explores are more pertinent than ever before. **What we said at the time:** *“Dial M for Murder is a play that has plenty to chew on. It is an adaptation that takes bold swings and lands each one. A refreshing whodunnit, it keeps you gripped tight as the story twists and turns.”* Read the full review [here](https://thescoop.au/review-dial-m-for-murder-absolutely-kills-it/). **Can I still see the show?** No, the season has ended. **RED** Little Life Productions and Company 16, Melbourne fortyfivedownstairs was the perfect setting for John Logan’s Tony Award-winning play RED, directed by lain Sinclair. An intense, exhilarating drama that takes a raw look at the collision of art and ambition through the eyes of one of the 20th century’s most celebrated and challenging artists, Mark Rothko. **What we said at the time:** *“We are a culture increasingly unable to sit with our thoughts. RED asks us to do exactly that and let the stillness wrap around us. We are asked to move beyond likability and go towards what is real, no matter how painful that may be.”* Read the full review [here](https://thescoop.au/review-red-paints-a-captivating-canvas-of-contradictions/). **Can I still see the show?** No, the season has ended. ![The Scoop Scenes From A Yellow Peril The Reaction Theory QPAC](https://thescoop.au/wp-content/uploads/2025/07/DSCF8802-942x628.jpg "Scenes From A Yellow Peril The Reaction Theory QPAC • The Scoop")Scenes From A Yellow Peril by The Reaction Theory and BIPOC Arts with QPAC Photo by Jack Alfred Kelly**Scenes From A Yellow Peril** The Reaction Theory and BIPOC Arts with QPAC, Brisbane From award-winning Chinese-New Zealand writer and poet Nathan Joe, *Scenes From a Yellow Peril*, co-directed by Chelsea August and Egan Sun-Bin, was less a play and more of a punchy, poetic mixtape of insights that explored the painful ways which people are othered, yet refusing to be silenced. **What we said at the time:** *“There are few productions that grab you by the collar and pull you headfirst into their truth. Scenes from a Yellow Peril is one of them – a visceral, poetic and emotionally explosive reckoning with the weight of racialised identity in so-called Australia.”* *“In a country that still wrestles with its colonial legacy and ongoing systemic inequality, Scenes From A Yellow Peril is both a protest and a balm. A place for reflection, connection, and, perhaps, the start of meaningful change. This is what theatre should be: a mirror, a megaphone, a movement.”* Read the full review [here](https://thescoop.au/review-scenes-from-a-yellow-peril-is-unflinching-unapologetic-and-utterly-essential/). **Can I still see the show?** No, the season has ended. **The Dead Devils of Cockle Creek** Cut & Run Productions and PIP Theatre, Brisbane Working out of an isolated shack in Tasmania’s wilderness, an environmental scientist tries to protect an endangered species as the realities of the job press in from all sides. When a single night spirals out of control after unexpected visitors arrive, ideals around environmentalism, control and responsibility are put to the test. Authored by Brisbane-based playwright Kathryn Marquet, *The Dead Devils of Cockle Creek*, directed by Darcy Jones, asks how far principle can really take you when survival demands something far messier. **What we said at the time:** *“A wild journey from start to finish, The Dead Devils of Cockle Creek will hold audiences captive. It’s a wickedly clever, uncomfortably timely, and outrageously funny night at the theatre.”* *“Cut & Run’s commitment to sustainability is evident in their use of pre-owned and recycled materials, which enhance the set’s authentic, lived-in feel.”* Read the full review [here](https://thescoop.au/review-the-dead-devils-of-cockle-creek-by-cut-run-productions/). **Can I still see the show?** No, the season has ended. ![The Scoop Who's Afraid of Virginia Woolf? Holden Street Theatres Adelaide](https://thescoop.au/wp-content/uploads/2025/08/IMG_2718-837x628.jpeg "Who's Afraid of Virginia Woolf? Holden Street Theatres Adelaide • The Scoop")Martha Lott and Brant Eustice in Whos Afraid of Virginia Woolf Image supplied by Holden Street Theatres**Who’s Afraid of Virginia Woolf?** Holden Street Theatres, Adelaide A multi-award winning cast appeared in one of the greatest plays of the 20th century, *Edward Albee’s Who’s Afraid of Virginia Woolf?* First staged in October 1962 and famously adored by the film adaptation, the play examines the complexities of the marriage of middle-aged couple Martha and George, played by Martha Lott and Brant Eustice. **What we said at the time:** *“It’s a long haul; three hours locked in a cluttered lounge with a couple whose toxicity could be bottled and sold, and yet Peter Goers’ direction keeps the energy from sagging. This isn’t a play that moves like the moon, with its rises and falls. It’s more like a firework that just refuses to burn out. Even the rare moments of reprieve are loaded, like when George walks in with flowers and you think, just for a second, that everything’s going to be fine. (It’s not.)”* Read the full review [here](https://thescoop.au/review-whos-afraid-of-virginia-woolf-is-emotional-whiplash/). **Can I still see the show?** No, the season has ended. Honourable Mentions ![The Scoop Ophelia Thinks Harder Fingerless Theatre Shaw Cameron Brea Macey](https://thescoop.au/wp-content/uploads/2025/03/Ophelia-Thinks-Harder-pres-by-Fingerless-Theatre-_-Shaw-Cameron-Brea-Macey-L-R-in-photo-_-photo-credit-Phil-Erbacher-scaled.jpeg "Ophelia Thinks Harder pres by Fingerless Theatre _ Shaw Cameron Brea Macey • The Scoop")Ophelia Thinks Harder by Fingerless Theatre in association with bAKEHOUSE Theatre Co Photo by Phil Erbacher**Ophelia Thinks Harder** Fingerless Theatre in association with bAKEHOUSE Theatre Co, Sydney Ophelia has a lot going on: her boyfriend, Hamlet, is being weird with her, and that was before he murdered her father and covered it up. Written by Jean Betts and directed by Alex Kendall Robson, *Ophelia Thinks Harder* is a cheeky, irreverent and insightful feminist reimagining of Shakespeare’s monumental masterpiece. **What we said at the time:** *“This production is a timely reminder of how people in power often abuse it.* *It’s not all doom and gloom though. The play is not only Shakespearean in its content but also in its tone and form. It blends comedy and tragedy by using slapstick and farce to pair with its profound sense of darkness.”* Read the full review [here](https://thescoop.au/review-ophelia-thinks-harder-brings-new-depth-to-a-classic/). **Can I still see the show?** No, the season has ended. **The Shark Arm Case** Deadhouse Productions, Sydney Founded in 2007 by Stephen Carnell, Deadhouse Productions specialises in Australian true crime dramas performed in historic locations. The Justice and Police Museum is used to tell the story of The Shark Arm Case. In 1935, a tiger shark held in Coogee Aquarium regurgitated a human arm bearing a distinctive tattoo. This bizarre event kick-started an investigation that took 1930s Sydney by storm. **What we said at the time:** *“This riveting tale of fraud, questionable morality and murder…pays wonderful homage to our fascination with the bizarre and macabre. The journey we are taken on encourages us to reflect on how the actions of one person can ruin so many lives. And it is not necessarily the person we expect.”* Read the full review [here](https://thescoop.au/review-the-shark-arm-case-is-immersive-true-crime-at-its-finest/). **Can I still see the show?** No, the season has ended. **Don’t Panic! (It’s Happened Before)** Sam Bowden, Old Fitz Theatre, Sydney *Don’t Panic!* is a play about how history repeats itself and, whether you like it or not, we’re all trapped on the hamster wheel, destined to cock it up again and again and again. The one-man show, written and performed by Sam Bowden, first graced stages at the Sydney Fringe Festival in 2023. In 2024, it toured Australia, and in 2025, made its theatre debut, directed by Artie Gallagher. **What we said at the time:** *“Watching Don’t Panic! (It’s Happened Before) feels like a drunk conversation with friends. Bowden turns pop culture references, conspiracy theories and ‘impolite descriptions of the English’ into a wonderful tale of hope.”* Read the full review [here](https://thescoop.au/review-dont-panic-its-happened-before/). **Can I still see the show?** No, the season has ended. But look out for further performances. Favourite Youth Production ![The Scoop Work But This Time Like You Mean It Canberra Youth Theatre](https://thescoop.au/wp-content/uploads/2025/10/1Y5A7356HR-941x628.jpg "Work But This Time Like You Mean It Canberra Youth Theatre • The Scoop")Work But This Time Like You Mean It by Canberra Youth Theatre Photo by David Hooley**Work, But This Time Like You Mean it** Canberra Youth Theatre Written by Honor Webster-Mannison as part of the company’s Emerging Playwright Commission, *Work, But This Time Like You Mean It* captures the absolute absurdity that occurs for young people working in fast food restaurants. Directed by Luke Rogers, the play premiered in Canberra before making its Sydney debut. **What we said at the time:** *“Canberra Youth Theatre once again proves its commitment to bold, original storytelling. This is theatre made by and for young people who refuse to stay quiet about the world they inherit.”* Read the full review [here](https://thescoop.au/review-work-but-this-time-like-you-mean-it/). **Can I still see the show?** No, the season has ended. **And that concludes our long list of plays!** **Stay tuned for our next instalment after Christmas – Favourite Shows of 2025 Part Three: Best of The Fest.** [Read our Favourite Shows Of 2025 Part One: Musicals](https://thescoop.au/the-scoop-favourite-shows-of-2025-part-one-musicals/) Hero image photo credit: Fly Girl by Ensemble Theatre. Photo by Prudence Upton **Categories:** Features --- ### [The Scoop Favourite Shows Of 2025 Part One: Musicals](https://thescoop.au/the-scoop-favourite-shows-of-2025-part-one-musicals/) **Published:** December 20, 2025 **Author:** Sarah Skubala **Content:** ![The Scoop Back to the Future The Musical](https://thescoop.au/wp-content/uploads/2025/12/Back-to-the-Future-The-Musical_credit_Daniel-Boud_190_JZEdit-941x628.jpg "Back to the Future The Musical • The Scoop")It’s been one year since The Scoop was created, and the first feature published was my personal list of [Favourite Shows](https://thescoop.au/best-shows-of-2024/) of the year. As 2025 comes to a close, The Scoop is now made up of a beautiful team of writers from around the country. We have a busy reviews schedule on the horizon for early 2026, and feel so rewarded to support an industry we care about. It’s time, though, to take a look at some of the shows that stood out in 2025. Our writers have nominated their favourite shows across multiple categories. The lists are so long we will be spreading them out over several articles. First up, it’s musicals. The Scoop’s readers love their musicals. Our top, most read reviews of the year were the [Brisbane](https://thescoop.au/review-les-miserables-rocks-brisbane-in-a-spectacular-arena-concert/) and [Sydney](https://thescoop.au/review-les-miserables-a-revolution-reimagined-in-spectacular-scale/) seasons of *Les Misérables: An Arena Spectacular*. Our top, most read news article was the *[Heathers The Musical](https://thescoop.au/announcing-heathers-the-musical-for-australia-2026/)* 2026 tour announcement. And our top feature articles were our interviews with [Karis Oka](https://thescoop.au/strange-and-unusual-karis-oka-reflects-on-playing-lydia-in-beetlejuice/) and [Axel Duffy](https://thescoop.au/how-back-to-the-future-turned-axel-duffy-into-a-leading-man-a-true-crowd-favourite/), stars of *Beetlejuice* and *Back to the Future*. That love of musical theatre extends to our social pages too, where our top Instagram post was the [*Tarzan the Musical* on stage photos](https://www.instagram.com/p/DOA-me8kX7P/?img_index=1), with 350K views! Our top TikTok post was the [*Annie the Musical* bows video](https://www.tiktok.com/@thescoop.au/video/7489059961314594056), with 600K views. The Scoop will be ending 2025 with a review of the Australian premiere of *Anastasia the Musical*, and starting 2026 with a review of *CATS* in Melbourne. It’s all about musicals, baby. So without further ado, let’s take a look at which musicals stood out to our reviewers in 2025, in no particular order. Favourite Mainstage Musical ![The Scoop BACK TO THE FUTURE The Musical Sydney](https://thescoop.au/wp-content/uploads/2025/10/BTF_ProductionPhoto_credit_Daniel-Boud_198-964x628.jpg "BACK TO THE FUTURE The Musical Sydney • The Scoop")Roger Bart and Axel Duffy in Back to the Future Photo by Daniel Boud**Back to the Future** Starting with the Editor’s pick. While I didn’t get to see some of the other, highly anticipated musicals of 2025 (that’s what having a team is for), this was my pick of the year. **What I said at the time:** *“As someone who grew up with the films, I’ll admit I arrived with a healthy dose of hesitation. Could any stage version ever match the magic of the original? To my surprise, this production not only lived up to expectations but surpassed them, staking its claim as the best musical I’ve seen this year.*“ *“The DeLorean sequences alone are a theatrical thrill…The climactic clock tower lightning scene is simply incredible and had the entire audience transfixed. Back To The Future is one ride you do not want to miss. It’s 1.21 gigawatts of pure theatrical joy.*“ Read the full review [here](https://thescoop.au/review-back-to-the-future-brings-gigawatt-energy-to-australia/). **Can I still see this show?** Not for much longer, but yes! *Back To The Future* runs in Sydney until 25 January 2026. Get tickets [here](https://backtothefuturemusical.com.au/tickets/sydney/). ![The Scoop Christine Anu Hadestown](https://thescoop.au/wp-content/uploads/2025/03/Abigail-Adriano-Christine-Anu-and-Noah-Mullins-in-Hadestown-copy-942x628.jpg "Abigail Adriano Christine Anu and Noah Mullins in Hadestown • The Scoop")Christine Anu as Hermes in Hadestown with Abigail Adriano and Noah Mullins Photo by Lisa Tomasetti**Hadestown** This one topped a few of our reviewer’s favourite lists, and also holds a special place for The Scoop, with a quote from the Melbourne season appearing on the [flyer](https://www.instagram.com/stories/highlights/18035071430412661/). **What we said at the time:** Sydney premiere season [review](https://thescoop.au/review-hadestown-is-just-what-we-need-right-now/): *“My heart was aching for a show like this to come along. In a time that feels as if the ground could fall out from underneath us, in all the darkness and fear, Hadestown will hold you and guide you in a different way forward. You need to feel it for yourself. The hum, the rumble, the stirring.”* Melbourne season [review](https://thescoop.au/review-melbourne-welcomes-hadestown-with-a-thunderous-heartbeat/): *“The show’s themes of love in the face of adversity, the struggle against oppressive systems, and the cost of hope resonate deeply today, now more than ever.”* *“Wait For Me is the most powerful song to hit the Australian stage since Defying Gravity. Huge call, I know. But I challenge you to prove me wrong.*“ **Can I still see this show?** Short answer, no. If you missed *Hadestown*, you missed out. ![The Scoop Beetlejuice Musical Melbourne Michael Cassel Group Karis Oka Eddie Perfect](https://thescoop.au/wp-content/uploads/2025/05/9-Beetlejuice-The-Musical-Australian-Production-Photo-by-Michelle-Grace-Hunder-copy-1082x628.jpg "Beetlejuice The Musical - Australian Production • The Scoop")Eddie Perfect starred in title role of the musical he also wrote Photo by Michelle Grace Hunder**Beetlejuice** What started as a Melbourne only exclusive season has since become one of Brisbane’s most eagerly anticipated musicals of 2026, with a return season [announced](https://thescoop.au/announcing-beetlejuice-for-brisbane-in-2026/) for June. **What we said at the time:** *“You don’t need to be a fan of the movies to enjoy the Beetlejuice the Musical. But if you are, it’s a bonus. Go for the fun and the laughter, bring your friends, and buckle in for a wild, ghostly ride packed with adrenaline and heart. Sometimes, in the weirdest of places, we find home. In chaos, we discover where we belong.”* Read the full review [here](https://thescoop.au/review-beetlejuice-brings-the-chaos-in-a-spirited-spectacle/). **Can I still see the show?** Yes! As stated, the musical returns to [Brisbane](https://thescoop.au/announcing-beetlejuice-for-brisbane-in-2026/) from 7 June at the Lyric Theatre, QPAC with Andy Karl in the title role. Get tickets [here](https://www.qpac.com.au/whats-on/2026/beetlejuice-the-musical). ![The Scoop Sister Act The Musical Adelaide Casey Donovan](https://thescoop.au/wp-content/uploads/2025/03/Sister-Act_Capitol-Theatre_credit_Daniel-Boud_091_EDIT-scaled.jpg "Sister Act The Musical Adelaide • The Scoop")Casey Donovan leads the cast of nuns in Sister Act Photo by Daniel Boud**Sister Act** In her first starring role, Casey Donovan joined theatre veterans Rhonda Burchmore and Genevieve Lemon alongside a terrifically talented cast. In 2025, the musical toured to [Brisbane](https://thescoop.au/review-sister-act-the-musical-is-fabulous-baby/), [Adelaide](https://thescoop.au/review-praise-be-adelaide-sister-act-the-musical-has-arrived/), and [Perth](https://thescoop.au/review-perth-raises-its-voice-for-the-joyful-sister-act/) after seasons in Sydney and Melbourne. **What we said at the time:** *“Sister Act is everything you want from a feel-good musical. Big voices, big laughs, and a whole lot of heart. If you’re after a night of uplifting, high-energy entertainment, this is one show you won’t want to miss.”* Read the full review [here](https://thescoop.au/review-praise-be-adelaide-sister-act-the-musical-has-arrived/). **Can I still see the show?** This one has long since ended its national tour. ![The Scoop The Lord of the Rings A Musical Tale Daniel Boud Perth](https://thescoop.au/wp-content/uploads/2025/03/1-The-Lord-of-the-Rings-A-Musical-Tale_credit_Daniel-Boud-copy-942x628.jpg "The Lord of the Rings A Musical Tale Daniel Boud Perth • The Scoop")Rarmian Newton and Wern Mak with the cast of Lord of the Rings A Musical Tale Photo by Daniel Boud**Lord of the Rings – A Musical Tale** One of the first musicals to kick off 2025, The Scoop saw *Lord of the Rings* in all four cities it was toured in. Our Melbourne reviewer loved this one so much, she went back a second time and brought her children. **What we said at the time:** Melbourne season [review](https://thescoop.au/review-lord-of-the-rings-a-musical-tale-melbourne/): *“It’s rare to sit transfixed in awe for a three-hour-long show from start to finish. But this brilliant performance will have you on the edge of your seat and wanting more!”* *“It cannot be overstated that the performers in this production are absolutely outstanding. Their incredible talents lie not just in their singing, dancing and acting, but their musicality in the instruments played.”* Sydney season [review](https://thescoop.au/review-lord-of-the-rings-a-musical-tale/): *“The standout song, ‘Now and For Always,’ performed as a duet between Sam and Frodo, was a touchingly quiet moment amidst the chaos. It realised a real cathartic poignancy. You could hear a pin, or a tear, drop. Here, the show nailed its brief – the importance of the friendships and music that sustain us.”* **Can I still see the show?** Sadly, it was announced in September that LORStage Asia Pacific Pty Ltd entered voluntary administration. ![The Scoop Kimberly Akimbo Australian Premiere 2025](https://thescoop.au/wp-content/uploads/2025/07/STC_Kimberly-Akimbo_Production-Stills_Jul8-2025_0949_LoRes-942x628.jpg "Kimberly Akimbo Musical Australian Premiere 2025 • The Scoop")Marina Prior with the young cast of Kimberly Akimbo Photo by Sam Roberts**Kimberly Akimbo** A co-production between Melbourne Theatre Company and State Theatre Company South Australia, the Australian premiere of *Kimberly Akimbo* was highly anticipated. Set in 1999, Marina Prior starred as Kimberly Levaco, not quite 16 years old and suffering from a rare genetic disease that ages her about four times the normal rate. **What we said at the time:** *“Kimberly Akimbo is an absurd comedy, a caper-heist, and a heartfelt celebration of growing up all in one. It reminds us that life is short, but it can still be weird, wonderful, and worth singing about. It is a gift for audiences, offering laugh-out-loud moments, tearful truths, and a reminder to cherish the time we have.”* Read the full review [here](https://thescoop.au/review-kimberly-akimbo-is-a-tender-twisted-triumph/). **Can I still see this show?** No. This musical was a 2025 season production only. ![The Scoop Bright Star Sport For Jove Hayes Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/09/4185-SJ25BS-7308-©-Robert-Catto-942x628.jpg "Bright Star Sport For Jove Hayes Theatre Sydney • The Scoop")Bright Star played at Hayes Theatre Co and was co produced with Sport For Jove Photo by Robert Catto**Bright Star** Sport For Jove teamed up with Hayes Theatre Co to present *Bright Star*, a bluegrass musical written by Steve Martin and Edie Brickell. **What we said at the time:** *“The musical catches the grandeur and the desperation of America’s deep south with a story that’s part biography, part whimsy, awfully human, and entirely bursting with the consolations of bluegrass.”* *“To be so close to something so incongruous, so beautiful and unpredictable is immediately transportive. From the first twang to the final clang, the predominant sensation from three metres away is wonder.”* Read the full review [here](https://thescoop.au/review-bright-star-shines-with-music-memory-and-hope/). **Can I still see this show?** No. This one was a Sydney only season at the Hayes. ![The Scoop Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2025/10/Cast-of-Phar-Lap-c-John-McCrae-941x628.png "Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney • The Scoop")The cast of Phar Lap An Electro Swing Musical Photo by John McCrae**Phar Lap** *Phar Lap: The Electro-Swing Musical* is another notable inclusion from Hayes Theatre Co. This world premiere featured an irresistible electro-swing score, with inspirations from Duke Ellington to Daft Punk. Our reviewer described writer Steven Kramer’s first major work as “truly iconic.” **What we said at the time:** *“Phar Lap: The Electro-Swing Musical is a delightful homage to an icon of Australian history. This tale is told in the only way we can truthfully represent it, through irreverent humour, witty one-liners and an energy that reflects the true heart and soul of Australian culture.”* Read the full review [here](https://thescoop.au/review-phar-lap-the-electro-swing-musical-is-one-for-the-history-books/). **Can I still see this show?** No. This one was a Sydney only season at the Hayes, but watch this space for future productions! ![The Scoop No Love Songs Lucy Maunder Keegan Joyce 2 Sydney Foundry Theatre](https://thescoop.au/wp-content/uploads/2025/03/No-Love-Songs-2-Lucy-Maunder-Keegan-Joycey-942x628.jpg "No Love Songs Lucy Maunder Keegan Joyce 2 Sydney Foundry Theatre • The Scoop")Keegan Joyce and Lucy Maunder starred in No Love Songs Photo by Brett Boardman**No Love Songs** Starring Lucy Maunder and Keegan Joyce, *No Love Songs* was inspired by Kyle Falconer’s real-life experiences with his partner Laura Wilde. Songs from Falconer’s second solo album, *No Love Songs for Laura*, were reimagined for the stage in a musical which premiered in 2023. **What we said at the time:** *“There are no filters, no touch-ups, no carefully curated story, and no artificial glitz. Just two beautiful humans who, just like us, are only trying to figure life out, hoping not to turn into monsters in the process. The result is theatre at its best. No Love Songs is a refreshing and poignant story that reminds us of the power of genuine connections.”* Read the full review [here](https://thescoop.au/review-no-love-songs-is-incredibly-raw-and-refreshingly-real/). **Can I still see this show?** *No Love Songs* toured Sydney’s Foundry Theatre early in the year, but sadly, plans for a national tour were cancelled. Honourable Mentions ![The Scoop CATS the Musical Sydney](https://thescoop.au/wp-content/uploads/2025/06/Gabriyel-Thomas-and-the-cast-of-CATS-c-Daniel-Boud_057-942x628.jpg "CATS the Musical Australian Tour 2025 • The Scoop")Cats the Musical is still on tour with Melbourne and Brisbane on the list Photo by Daniel BoudA few of us couldn’t just nominate one musical, so below are our Honourable Mentions. **CATS** Fortunately, *[CATS](https://catsthemusical.com.au/#tickets)* is still on tour, opening in Melbourne tomorrow! It then moves to Brisbane in February for a limited season. **What we said at the time:** *“…presented with such brilliance and incredible talent, and with such unwavering respect and admiration for its enduring material, this latest production offers not just a homage, but a compelling invitation to fall in love with this legendary phenomenon all over again.”* Read the full review [here](https://thescoop.au/review-cats-the-musical-is-back-on-stage-and-better-than-ever/). **Annie** The hard-knock life musical *[Annie](https://anniemusical.com.au/tickets/brisbane)* opens in Brisbane next week from 27 December as its final stop on the national tour. **What we said at the time:** *“In 2025, Annie’s anthem, ‘Tomorrow,’ takes on a whole new meaning. Its sweet optimism reminds us that, even in the darkest times, faith, hope, and the human spirit can see us through. Cos you gotta hang on til tomorrow, come what may…”* Read the full review [here](https://thescoop.au/review-annie-proves-golden-age-of-musicals-is-here/). **The Book Of Mormon** The Mormons are back! *[The Book Of Mormon](https://thebookofmormonmusical.com.au/)* is on right now in Sydney and runs until 25 January. It then opens in Melbourne from February and in Brisbane at the new Glasshouse Theatre QPAC from July. **What we said at the time:** *“Iconically, this is my fifth time seeing the show. It still holds strong contention in my top five favourite musicals of all time; a testament to the sheer genius of a script that balances profanity and profundity with effortless precision. It remains as sharp, shocking, and side-splittingly hilarious as ever.”* Read the full review [here](https://thescoop.au/review-the-book-of-mormon-spreads-the-good-word/). Favourite Indie Musical ![The Scoop A Chorus Line Willoughby Theatre Company](https://thescoop.au/wp-content/uploads/2025/05/5-942x628.jpg "A Chorus Line Willoughby Theatre Company • The Scoop")A Chorus Line by Willoughby Theatre Company Photo by Grant Leslie**A Chorus Line** Willoughby Theatre Company, Sydney **What we said at the time:** *“The themes of ambition, identity, and vulnerability are just as relevant today as they were 50 years ago. With no traditional set, no star and no traditional plot, this bold and honest production revolutionised my understanding of musical theatre.”* Read the full review [here](https://thescoop.au/review-a-chorus-line-dances-straight-to-the-heart/). **Gypsy** North Shore Theatre Company, Sydney **What we said at the time:** *“That is what I love about community theatre: it brings people together. It is such a tremendous celebration of the talent and passion of the many people who come together to produce the show. North Shore Theatre Company have developed a beautiful supportive community, and that is apparent in every moment of the experience as an audience member.”* Read the full review [here](https://thescoop.au/review-gypsy-shines-with-glitz-glamour-and-community-spirit/). **Ride The Cyclone** Sydney Musical Theatre **What we said at the time:** *“If you want to laugh, to cry or to simply bask in the incredible wonder of being alive, race over to see this phenomenal production. Enjoy the ride!”* Read the full review [here](https://thescoop.au/review-ride-the-cyclone-balances-death-destiny-deadpan-delight/). **American Psycho** See You Sunday, Melbourne **What we said at the time:** *“American Psycho: A Musical Thriller is chilling, unsettling, and witty. It holds a mirror up to our obsession with image, wealth, and power, daring us to confront what lurks beneath those Burberry raincoats.”* Read the full review [here](https://thescoop.au/review-american-psycho-has-killer-tunes-and-bloody-good-fun/). ![The Scoop American Psycho A Musical Thriller See You Sunday Chapel Off Chapel Melbourne](https://thescoop.au/wp-content/uploads/2025/09/SYSAmericanPsychoProductionShots-01005-942x628.jpg "American Psycho A Musical Thriller See You Sunday Chapel Off Chapel Melbourne • The Scoop")American Psycho is the debut production from See You Sunday Melbourne Photo by Matthew Chen**Ride The Cyclone** Vox Theatre Arts in association with Phoenix After Dark, Brisbane **What we said at the time:** *Buckle in and hold on tight for the Queensland premiere of Ride the Cyclone, an exhilarating, energetic and existential musical showcase! Prepare to go full speed ahead through the highs and lows of life in this loopy performance.* Read the full review [here](https://thescoop.au/review-ride-the-cyclone-turns-teen-tragedy-into-musical-magic/). **Come From Away** Therry Theatre, Adelaide **What we said at the time:** *“Come From Away is a powerful reminder of humanity’s capacity for compassion in the face of crisis. Therry Theatre’s production is a shining example of community theatre at its best. It delivers a heartfelt, immersive experience that brings raw, human stories to life and leaves audiences with a lasting sense of unity and hope.”* Read the full review [here](https://thescoop.au/review-come-from-away-finds-light-in-the-dark/). **Urinetown** Western Sky Projects, Perth **What we said at the time:** *“In a time when satire feels more vital than ever, Urinetown delivers a hilarious, high-octane punch to the status quo. With its fearless ensemble and infectious energy, this production is a must-see for lovers of bold, intelligent theatre. Don’t let the title fool you — Urinetown is pure gold.”* Read the full review [here](https://thescoop.au/review-urinetown-the-musical-is-smart-silly-subversive/). Favourite Student Production ![The Scoop Tivoli Lovely Musical Eddie Perfect Dean Bryant WAAPA](https://thescoop.au/wp-content/uploads/2025/11/waapa-251105-tivoli-lovely-611-WEB-ONLY-1116x628.jpg "Tivoli Lovely Musical Eddie Perfect Dean Bryant WAAPA • The Scoop")Tivoli Lovely was developed over three years with the students at WAAPA Photo by Stephen Heath**Tivoli Lovely** Western Australian Academy of Performing Arts (WAAPA), Perth A brand new musical by Eddie Perfect, *Tivoli Lovely* was created with the students at WAAPA in a three year development, made possible by the support and investment of the Minderoo Foundation. The musical is set in both the present time and in 1954, the golden age of the Tivoli, a popular circuit of Australian theatres staging variety shows. Performed by WAAPA’s 2nd and 3rd Year Music Theatre students alongside the Music students, it was designed, built and crewed by Production and Design staff and students. **What we said at the time:** *“The production stands as an example of how song and dance can enhance the emotional resonance of a story, whilst celebrating the power and positive reception of distinctly Australian narratives. Judging by the audience’s response, it is clear there is a desire for more local stories like this on stage.”* Read our full review [here](https://thescoop.au/review-tivoli-lovely-sees-waapa-shine-in-new-eddie-perfect-musical/). **A Chorus Line** Queensland Academy of Excellence in Musical Theatre (QAEMT), Brisbane **What we said at the time:** *“The awe-inspiring choreography is best seen in the exciting and mesmerising group dances, such as the show’s opening, I Hope I Get It. And in the finale, One, where dozens of dancers come together in perfect synchronicity and are all granted their time in the spotlight.”* Read the full review [here](https://thescoop.au/review-a-chorus-line-showcases-future-stars-of-musical-theatre/). **Into The Woods** Elder Conservatorium Music Theatre (ECMT), Adelaide **What we said at the time:** *“While it may be a student production on paper, what’s delivered on stage is nothing short of professional. With its clever Australian twist and polished performances, this is a magical night out. And proves that the future of Australian musical theatre is in seriously good hands.”* Read the full review [here](https://thescoop.au/review-into-the-woods-dives-deep-and-delivers-big/). **And that concludes an incredibly long list of musicals!** **Be sure to check out our next instalment – Favourite Shows of 2025 Part Two: Plays.** [Read our Favourite Shows of 2025 Part Two: Plays](https://thescoop.au/the-scoop-favourite-shows-of-2025-part-two-plays/) Hero image photo credit: Javon King and the cast of *Back To The Future*. Photo by Daniel Boud **Categories:** Features --- ### [Announcing 2025 Sydney Theatre Awards Nominations](https://thescoop.au/announcing-2025-sydney-theatre-awards-nominations/) **Published:** December 22, 2025 **Author:** Newsroom **Content:** ![The Scoop Grief Is The Thing With Feathers Belvoir St Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/08/BELVOIR_GriefIsTheThingWithFeathers_Production_PhotoBrettBoardman_0096952_Fraser-Morrison-Toby-Schmitz-Philip-Lynch-941x628.jpg "Grief Is The Thing With Feathers Belvoir St Theatre Sydney • The Scoop")Nominations were announced today for the **2025 Sydney Theatre Awards**, which will be presented at an industry gala ceremony on **Monday 19 January 2026** at the **York Theatre, Seymour Centre**. Nominations in the 28 categories were spread across 56 different productions, which played on Sydney stages during 2025. (Full list can be found below.) Leading the list with nine nominations is *The Edit* (Unlikely Productions, Legit Theatre Company and 25A), while *[Grief is the Thing with Feathers](https://thescoop.au/review-grief-is-the-thing-with-feathers/)* (Belvoir and Andrew Henry Presents) and *Sistren* (Green Door Theatre in association with Griffin Theatre Company) received eight. *[Phar Lap: The Electro-Swing Musical ](https://thescoop.au/review-phar-lap-the-electro-swing-musical-is-one-for-the-history-books/)*(Hayes Theatre Co) received seven nominations, and *[The Player Kings](https://thescoop.au/review-sport-for-joves-the-player-kings-part-1-2/)* (Sport for Jove) and *[Bright Star ](https://thescoop.au/review-bright-star-shines-with-music-memory-and-hope/)*(Sport for Jove in association with Hayes Theatre Co) both received six. The nominees for Best Mainstage Production are *Grief is the Thing with Feathers* (Belvoir and Andrew Henry Presents), *Jacky* (Belvoir), *[Picnic at Hanging Rock ](https://thescoop.au/review-picnic-at-hanging-rock-a-powerful-descent-into-the-abyss/)*(Sydney Theatre Company) and *The Player Kings* (Sport for Jove). The nominees for Best Independent Production are *Cruise* (Fruit Box Theatre), *The Edit* (Unlikely Productions, Legit Theatre Company and 25A), *Fewer Emergencies* (The Company Theatre) and *Sistren* (Green Door Theatre in association with Griffin Theatre Company). Vying for Best Production of a Musical are *Bright Star* (Sport for Jove in association with Hayes Theatre Co), *[Hadestown ](https://thescoop.au/review-melbourne-welcomes-hadestown-with-a-thunderous-heartbeat/)*(Jones Theatrical and Opera Australia), *Phar Lap: The Electro-Swing Musical* (Hayes Theatre Co) and *The Producers* (Joshua Robson Productions in association with Hayes Theatre Co). ![The Scoop Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney](https://thescoop.au/wp-content/uploads/2025/10/Nat-Jobe-Manon-Gunderson-Briggs-Amy-Hack-Justin-Smith-Phar-Lap-c-John-McCrae-942x628.jpg "Phar Lap The Electro-Swing Musical Hayes Theatre Co Sydney • The Scoop")Phar Lap The Electro Swing Musical Photo by John McCrae**Cassie Tongue**, who regularly reviews for The Guardian, Sydney Morning Herald and the Saturday Paper, said: “*Despite a financial crisis in the arts, Sydney’s theatre scene continues to keep live performance alive across all corners of the city — offering entertainment, insight and community to all of us who love to sit in dark rooms and experience a group of artists hold up mirrors and show us hundreds of different ways to be human, working through big feelings and big ideas that remind us that we are not alone.* *Bright, ambitious and honest gems abound in the list of nominations, even in a year where making any work at all feels like a small miracle: this is a sector of which we can all be immensely proud*.” **Justin Clark**, Editor of Theatre Thoughts added: “*Across 2025 there was a desire to expand the richness and diversity of storytelling we see in Sydney’s independent theatres*. *Through creatives across the sector facing the challenges arising from the rising cost of living, we saw breakout solo performances, gripping two-handers and compelling narratives told in new and exciting ways.* *Alongside the revisiting of contemporary plays, there was a large focus on making new and original works with diverse voices at the forefront. Ultimately, the independent artists and creatives showed once more that they’re the true backbone of the arts industry in Australia*.” ![The Scoop Picnic at Hanging Rock Sydney Theatre Company Daniel Boud](https://thescoop.au/wp-content/uploads/2025/02/Picnic-at-Hanging-Rock_Drama-Theatre_credit_Daniel-Boud_023-941x628.jpg "Picnic at Hanging Rock • The Scoop")Still from Picnic At Hanging Rock Photo by Daniel BoudThe Sydney Theatre Awards was founded in 2005 by a group of Sydney’s leading theatre critics to celebrate the strength and diversity of Sydney’s theatre artists and productions. Judging panels include prominent industry specialists and theatre critics who see all eligible productions in their sector and vote on the nominations. The Sydney Theatre Awards gratefully thanks their major sponsor, the **Seaborn, Broughton & Walford Foundation**, without which the Awards would not be possible. The Seaborn, Broughton & Walford Foundation is a charity founded to assist the performing arts and, following the wishes of founding President Dr Rodney Seaborn AO OBE, proudly supports a wide variety of performing arts initiatives through funding, attending performances and preserving precious theatrical records for education and research, as well as providing accessible and affordable space for rehearsals and small performances. **Peter Lowry AM**, President of the Seaborn, Broughton & Walford Foundation, said: “*As avid theatre goers, many of us have attended the shows and seen the performances that will be honoured at the 2025 Sydney Theatre Awards. We congratulate all nominees, and we commend the Board and Judging Panels responsible for the Awards, now in its 21st year*.” The other sponsors of the Sydney Theatre Awards are **The William Fletcher Foundation**, **Showcast**, **Currency Press**, **Ticketmaster**, **Actors Benevolent Fund**, **JPJ Audio**, **LL Co Creative**, **HereWeAre!** and **Seymour Centre**. **The 2025 Sydney Theatre Awards will be presented on Monday 19 January 2026 at the York Theatre, Seymour Centre.** Website: <https://www.sydneytheatreawards.com/> Socials: <https://www.instagram.com/sydneytheatreawards/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image credit: Still from *Grief Is The Thing With Feathers*. Photo by Brett Boardman **2025 SYDNEY THEATRE AWARDS NOMINATIONS** **BEST MAINSTAGE PRODUCTION** Grief is the Thing with Feathers (Belvoir and Andrew Henry Presents) Jacky (Belvoir) Picnic at Hanging Rock (Sydney Theatre Company) The Player Kings (Sport for Jove) **BEST INDEPENDENT PRODUCTION** Cruise (Fruit Box Theatre) The Edit (Unlikely Productions, Legit Theatre Company and 25A) Fewer Emergencies (The Company Theatre) Sistren (Green Door Theatre in association with Griffin Theatre Company) **BEST DIRECTION OF A MAINSTAGE PRODUCTION** Sarah Goodes (The Talented Mr Ripley) Ian Michael (Picnic at Hanging Rock) Simon Phillips (Grief is the Thing with Feathers) Damien Ryan (The Player Kings) **BEST DIRECTION OF AN INDEPENDENT PRODUCTION** Sean Landis (Cruise) Ian Michael (Sistren) Gabrielle Scawthorn (The Edit) Nigel Turner-Carroll (Port) **BEST PERFORMANCE IN A LEADING ROLE IN A MAINSTAGE PRODUCTION** Joseph Althouse (Whitefella Yella Tree) Will McDonald (The Talented Mr Ripley) Albert Mwangi (Primary Trust) Toby Schmitz (Grief is the Thing with Feathers) Guy Simon (Jacky) Kat Stewart (Who’s Afraid of Virginia Woolf) **BEST PERFORMANCE IN A LEADING ROLE IN AN INDEPENDENT PRODUCTION** Janet Anderson (Sistren) Meg Clarke (Iphigenia in Splott) Iolanthe (The Edit) Sharon Millerchip (Born on a Thursday) Fraser Morrison (Cruise) Matilda Ridgway (The Edit) **BEST PERFORMANCE IN A SUPPORTING ROLE IN A MAINSTAGE PRODUCTION** Danny Howard (Jacky) Phillip Lynch (Grief is the Thing with Feathers) Angela Mahlatjie (Primary Trust) Greg Stone (Jacky) Megan Wilding (Big Girls Don’t Cry) Shirong Wu (4000 Miles) **BEST PERFORMANCE IN A SUPPORTING ROLE IN AN INDEPENDENT PRODUCTION** Deborah Galanos (Saints of Damour) Julian Garner (Furious Mattress) Faisal Hamza (Dear Elena Sergeevna) James Lugton (Born on a Thursday) Tim McGarry (The Seagull) Mây Trần (These Youths) **BEST STAGE DESIGN OF A MAINSTAGE PRODUCTION** Jeremy Allen (The Shiralee) Kate Beere (The Player Kings) Nick Schlieper and Simon Phillips with Craig Wilkinson and Jon Weber (Grief is the Thing with Feathers) Anna Tregloan (Henry 5) **BEST STAGE DESIGN OF AN INDEPENDENT PRODUCTION** Soham Apte (Mary Jane) Ruby Jenkins (The Edit) Hannah Tayler and Paris Bell (Lost & Finding) Emma White (Sistren) **BEST COSTUME DESIGN OF A MAINSTAGE PRODUCTION** Dann Barber (Meow Meow’s The Red Shoes) Kate Beere, Ruby Jenkins and Lily Moody (The Player Kings) Ella Butler and Hailley Hunt (Orlando) Emma White (The Talented Mr Ripley) **BEST COSTUME DESIGN OF AN INDEPENDENT PRODUCTION** Kate Beere (Eureka Day) Lily Mateljan (IRL) Emelia Simcox (Cowbois) Helen Wojtas and Mitchell Bourke (Taming of the Shrew) **BEST LIGHTING DESIGN OF A MAINSTAGE PRODUCTION** Damien Cooper (The Talented Mr Ripley) Matt Cox (The Player Kings) Matthew Marshall (The 39 Steps) Nick Schlieper (Grief is the Thing with Feathers) **BEST LIGHTING DESIGN OF AN INDEPENDENT PRODUCTION** Kelsey Lee (Sistren) Topaz Marlay-Cole (IRL) Ryan McDonald (Furious Mattress) Phoebe Pilcher (The Edit) **BEST SOUND DESIGN AND COMPOSITION OF A MAINSTAGE PRODUCTION** Sabyasachi (Rahul) Bhattacharya and Steve Francis (The Wrong Gods) Steve Francis (The Talented Mr Ripley) Daniel Herten and Freya Schack-Arnott (Grief is the Thing with Feathers) Jethro Woodward (Henry 5) **BEST SOUND DESIGN AND COMPOSITION OF AN INDEPENDENT PRODUCTION** Alyx Dennison (The Edit) Daniel Herten (Sistren) Tom Hogan (Birdsong of Tomorrow) Chelsea Wheatley (Cruise) **BEST NEW AUSTRALIAN WORK** The Edit (Gabrielle Scawthorn) Grief is the Thing with Feathers (Simon Phillips, Nick Schlieper & Toby Schmitz) Phar Lap: The Electro-Swing Musical (Steven Kramer) The Seagull (Saro Lusty-Cavallari) Sistren (Iolanthe) **BEST NEWCOMER** Alexandra Cashmere (The Producers) Danny Howard (Jacky / Whitefella Yella Tree) Iolanthe (Sistren / The Edit) Heather Jeong (Koreaboo) Aliyah Knight (Snakeface) **BEST ENSEMBLE** Bright Star (Sport for Jove) Eureka Day (Outhouse Theatre Company) Picnic at Hanging Rock (Sydney Theatre Company) The Player Kings (Sport for Jove) **BEST PRODUCTION OF A MUSICAL** Bright Star (Sport for Jove and Hayes Theatre Co) Hadestown (Jones Theatrical and Opera Australia) Phar Lap: The Electro-Swing Musical (Hayes Theatre Co) The Producers (Joshua Robson Productions and Hayes Theatre Co) **BEST DIRECTION OF A MUSICAL** Alexander Berlage (Women on the Verge of a Nervous Breakdown) Sheridan Harbridge (Phar Lap: The Electro-Swing Musical) Julia Robertson (The Producers) Damien Ryan and Miranda Middleton (Bright Star) **BEST PERFORMANCE IN A LEADING ROLE IN A MUSICAL** Joel Granger (Phar Lap: The Electro-Swing Musical) Amy Hack (Women on the Verge of a Nervous Breakdown) Hannah McInerney (Bright Star) Seann Miley Moore (Hedwig And The Angry Inch) Lyndon Watts (Candide) **BEST PERFORMANCE IN A SUPPORTING ROLE IN A MUSICAL** Alexandra Cashmere (The Producers) Calista Nelmes (Rent) Elenoa Rokobaro (Hadestown) Tom Struik (The Book of Mormon) Adrian Tamburini (Hadestown) **BEST MUSICAL DIRECTION OF A MUSICAL** David Butler (Ghost Quartet) David Gardos (Phar Lap: The Electro-Swing Musical) Guy Simpson (Guys and Dolls) Alec Steedman (Bright Star) **BEST CHOREOGRAPHY OF A MUSICAL** Kelley Abbey (Guys and Dolls) Chiara Assetta (Women on the Verge of a Nervous Breakdown) Shannon Burns (The Producers) Ellen Simpson (Phar Lap: The Electro-Swing Musical) **BEST DESIGN IN A MUSICAL** Dann Barber (Set and Costume Design, Candide) Mason Browne (Costume Design, Phar Lap: The Electro-Swing Musical) Isabel Hudson (Set Design, Bright Star) Hailley Hunt (Set Design, Women on the Verge of a Nervous Breakdown) Nicol & Ford (Costume Design, Hedwig And The Angry Inch) **BEST PRODUCTION FOR CHILDREN** Moss Piglet (Windmill Theatre Company and Sydney Opera House) Where Is The Green Sheep? (Monkey Baa, QPAC’s Out of the Box and Sydney Opera House) Where to Hide a Star (Australian Chamber Orchestra) Wolfgang in the Stars (Circa and Riverside Theatres) **BEST PRODUCTION FOR YOUNG PEOPLE** Converted (ATYP) Daytime Deewane (Riverside’s National Theatre of Parramatta) Detention (Monkey Baa) Work But Like You Mean It (Canberra Youth Theatre) **LIFETIME ACHIEVEMENT AWARD** To be announced at the ceremony **Categories:** News --- ### [Film Review: The Housemaid Proves The Most Terrifying Secrets Are Hidden In Plain Sight](https://thescoop.au/film-review-the-housemaid-proves-the-most-terrifying-secrets-are-hidden-in-plain-sight/) **Published:** December 21, 2025 **Author:** Amy Hyde **Content:** ![The Scoop The Housemaid Feature Film](https://thescoop.au/wp-content/uploads/2025/12/housemaid-unit-250206-00133rc5-942x628.jpg "The Housemaid Feature Film • The Scoop")Known for delivering outrageous comedies, director Paul Feig takes a surprising detour into psychological thriller territory with *The Housemaid.* Based on Freida McFadden’s best-selling novel of the same name, Feig’s adaptation manages to translate the book’s mystery and suspense onto the big screen. *The Housemaid* follows Millie Calloway, played by Sydney Sweeney, a young woman with a chequered past who jumps at the opportunity to work as a live-in housemaid for the seemingly perfect Winchester family. At the helm of the family is Nina Winchester, played by Amanda Seyfried, whose initial polished exterior crumbles into a ruthless determination to destroy Millie’s life. The freshly hired housemaid’s situation is further complicated by her mutual attraction to Nina’s charming husband, Andrew, played by Brandon Sklenar. As the film continues, dark secrets begin to unravel. It isn’t until the third act that the pieces finally fall into place, and the true nature of the Winchester household is revealed. ![The Scoop The Housemaid film Sydney Sweeney Amanda Seyfried](https://thescoop.au/wp-content/uploads/2025/12/housemaid-unit-250131-00327rc3-942x628.jpg "The Housemaid film Sydney Sweeney Amanda Seyfried • The Scoop")Sydney Sweeney is a young woman with a chequered past who works as a live in housemaidFeig showcases an excellent grasp of the suspense genre by allowing the narrative to unfold with deliberate restraint rather than relying on the shock factor. Rebecca Sonnenshine’s screenplay allows *The Housemaid* to foreshadow future events with subtle references and clues that all pay off in both satisfying and unsettling ways as the film reaches its conclusion. There are times when Sonnenshine assumes that the audience is familiar with McFadden’s *The Housemaid*. However, if you’re like me and didn’t get the chance to read McFadden’s award-winning source material prior to watching, don’t worry, there’s still plenty to appreciate as the film is able to stand confidently on its own. Like many page-to-screen adaptations, *The Housemaid* often struggles with its pacing. The emphasis on developing a slow-burn tension means certain sequences linger much longer than they should. Nevertheless, the film’s oppressive tone remains one of *The Housemaid’s* strongest assets, with the mood being able to engage the audience even when the narrative stumbles on familiar ground. ![The Scoop The Housemaid film Sydney Sweeney Amanda Seyfried](https://thescoop.au/wp-content/uploads/2025/12/housemaid-unit-250108-00109rc-942x628.jpg "The Housemaid film Sydney Sweeney Amanda Seyfried • The Scoop")Seyfried and Sklenar bring a layered complexity to their roles that elevate the mystery It’s hard to find the words to praise Seyfried and Sklenar’s compelling performances without giving too much away. Both actors bring a layered complexity to their roles that elevates the mystery and intrigue that lies at the heart of the film. Much of the unease that is felt throughout the film comes from Feig’s ability to create a carefully controlled atmosphere within the Winchester home. The opening scene establishes the idyllic floor plan as somewhat of an oasis. However, as the suspense builds, the space feels increasingly claustrophobic rather than comforting. Seyfried and Sklenar are particularly effective within this environment. Through the subtle shifts in body language and overall tone, the tension that Feig builds is able to escalate to new heights without ever entering melodramatic territory. I can’t say too much else without spoiling the captivating twists and turns that are bound to keep audiences on the edge of their seats. Whether you fancy a night out with the girls or a movie night at home, *The Housemaid* is a must-watch this Summer. **THE HOUSEMAID opens on 26 December at participating cinemas around Australia.** Search for a cinema near you at the website. Website: <https://thehousemaidmovie.com.au/> Socials: <https://www.instagram.com/housemaidmovie/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Housemaid Director: Paul Feig Cast: Sydney Sweeney Amanda Seyfried Brandon Sklenar Country of Origin: USA Duration: 131 mins **Categories:** Film --- ### [Review: A Very Naughty Christmas Goes Harder & Filthier Than Ever](https://thescoop.au/review-a-very-naughty-christmas-goes-harder-filthier-than-ever/) **Published:** December 20, 2025 **Author:** Regan Baker **Content:** ![The Scoop A Very Naughty Christmas Woodward Productions Brisbane](https://thescoop.au/wp-content/uploads/2025/12/AVNC-Show2025-1543-942x628.jpg "A Very Naughty Christmas Woodward Productions Brisbane • The Scoop")Some Christmas shows sneak up on you. Others announce themselves loudly, swear a lot, and grab you by the tinsel the moment you walk in. *A Very Naughty Christmas* very much belongs in the second category. This is my fifth year seeing Woodward Productions’ festive filth-fest, and I can safely say this was the strongest version yet. It’s a show that could easily ring in audiences year after year, relying on the same jokes and festive debauchery, but not this year. This year felt more rounded and well put-together, while also feeling more unhinged than ever before. A solid part of that comes down to the cast. There is a firm core of familiar faces who clearly understand the rhythm of the show and how to ride an audience. That sense of comfort gives the whole thing a strong backbone. Add in a handful of new performers, and suddenly everything feels a little fresher. The jokes land differently. The energy lifts. It’s like requesting the same Christmas cocktail each year, but 2025 is the year someone decided they wanted to get grandpa drunk and threw in an extra shot. If you’re expecting a show full of festive Christmas cheer, this ain’t it. *A Very Naughty Christmas* leans hard into the naughty side of Santa’s list. Very hard. It takes well-known Christmas carols and twists them like a festive garland, sounding more like they were written by a mischievous Christmas elf who should have stopped drinking eggnog hours earlier than those written by our favourite artists. The parodies come thick and fast. *Santa Claus is Coming* sets the tone early, keeping the original title, but absolutely not the original innocence. Similarly, *When I Think About You, I Touch My Elf* leaves no room for misunderstanding as Nina Carcione plays naughty with her Christmas elf, Anthony Craig, because contractually, she can’t touch the audience member she’s directing the lyrics at. And a chaotic *12 Days of Christmas* brings sex toys, innuendo, and plenty of audience participation into the mix. It escalates quickly and gleefully. ![The Scoop A Very Naughty Christmas Woodward Productions Brisbane](https://thescoop.au/wp-content/uploads/2025/12/AVNC-Show2025-8758-942x628.jpg "A Very Naughty Christmas Woodward Productions Brisbane • The Scoop")*A Very Naughty Christmas* leans hard into the naughty side of Santas list Photo by Joel DevereuxThere are moments where the show just throws subtlety out the window and commits fully. *Don’t Be A C\*\*\* On Christmas* is one of those songs. Yes, that word is used. Repeatedly. If that makes you uncomfortable, you have fair warning. Other highlights include *Santa’s Lost A Ho* and a surprisingly topical number about Santa being blocked from entering Australia because the borders are shut and he does not have the correct paperwork. It hits close to home and gets big laughs. Casting-wise, Stephen Hirst reprises his role as naughty Santa, and thank Father Christmas for that! Change what you want in the show, but lose Hirst, and you lose the hook that is keeping all of the Christmas lights on the house. He is relaxed, confident, and clearly comfortable pushing the jokes as far as they will go. The audience immediately responds to his filthy wit, and the energy exchange between performer and viewer is infectious. His ability to be crude without losing his charm is a skill worth bottling. Simply, Stephen Hirst is a Santa I would let stuff my stocking any day of the year. Anthony Craig is back as the elf everyone should want on their shelf. As a long-time cast regular, he is completely at ease with the material. Nothing feels forced. He plays with the audience, reacts in the moment, and keeps things moving effortlessly. You can tell he knows this show inside out, and that confidence pays off. Vocally, the show continues to surprise. Aurélie Roque’s *I’m Dreaming of a White Christmas*, which is very much about snow (just not the kind that falls from the sky), is one of the night’s standouts. She has such a beautiful and controlled voice and can sell us on absolute filth while still sounding genuinely gorgeous. Year after year, she brings a real sense of polish to the chaos. ![The Scoop A Very Naughty Christmas Woodward Productions Brisbane](https://thescoop.au/wp-content/uploads/2025/12/AVNC-Show2025-0519-942x628.jpg "A Very Naughty Christmas Woodward Productions Brisbane • The Scoop")*A Very Naughty Christmas* still feels like catching up with a friend who somehow keeps getting funnier Photo by Joel DevereuxThis year also introduced some excellent new faces. Olivia Horne, a recent graduate of the Queensland Academy of Excellence in Musical Theatre, joins fellow alum Croft Phillips (standing in for Lachlan Greenland), Lara Trevor and Nina Carcione as the new presents under the tree. All are strong singers and slide straight into the ensemble without missing a beat. There is no awkward new cast member energy here. They fit right in alongside the established *Naughty Christmas* regulars. The biggest standout of the night, though, is Sam Ward. His voice is powerful, rich, and frankly dangerous in this context. Recently seen in *[American Psycho](https://thescoop.au/review-american-psycho-has-killer-tunes-and-bloody-good-fun/)* and having performed with The Ten Tenors, he is an absolute weapon of a casting choice. One would think that Bing Crosby’s classic, *Winter Wonderland* is untouchable. But not for *A Very Naughty Christmas.* And certainly not for Ward. Parodied as *Walking Round in Women’s Underwear*, Ward’s showstopper is by far the highlight of the evening. The vocals are flawless, the comic timing is perfect, and yes, holy crap, this man is ripped. I am fairly certain there were a few happy little elves in the audience after this number! The reason this show still lands year after year is pretty simple. It does not try to be clever about being filthy. It just commits. Fully. There is no polish slapped over the top to make it more respectable. It is loud, rude, and happy to be exactly that. What saves it from becoming a mess is the talent behind it. The cast can really sing, and the show is paced well enough that it never drags or runs itself into the ground. Five years in, *A Very Naughty Christmas* still feels like catching up with a friend who somehow keeps getting funnier. If you like your Christmas entertainment rude, ridiculous, and very much for adults only, this is as good as festive theatre gets in Brisbane right now. ***A Very Naughty Christmas* is presented by Woodward Productions and runs to 21 December 2025. Twelfth Night Theatre, 4 Cintra Road Bowen Hills Qld 4006.** Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=NAUXMAS25> Website: <https://www.averynaughtychristmas.com/> Socials: <https://www.instagram.com/averynaughtychristmas/> [Read more of our Latest Reviews!](https://thescoop.au/latest/) Photo credits: Joel Devereux **Categories:** Brisbane, Theatre --- ### [Moonlight Cinema Celebrates 30 Years With People's Program](https://thescoop.au/moonlight-cinema-celebrates-30-years-with-peoples-program/) **Published:** November 10, 2025 **Author:** Newsroom **Content:** ![The Scoop Moonlight Cinema](https://thescoop.au/wp-content/uploads/2025/11/MoonlightCinema_BRIS_1_LR_presentedbyYoui-942x628.jpg "Moonlight Cinema • The Scoop")***Moonlight Cinema***, Australia’s favourite outdoor cinema, celebrates its 30th birthday season with *The People’s Program*; a nationwide vote to shape this season’s line-up. The cinema returns from **21 November** for a summer of new releases, family favourites and Christmas classics under the starry night sky. Tickets for the November and December program of ***Moonlight Cinema presented by Youi*** are on sale at <https://moonlight.com.au/> Since opening with a screening of *Pulp Fiction* in 1995, ***Moonlight Cinema*** has become a cherished part of the Australian summer. From first dates to proposals, celebrity attendees like Margot Robbie and Chris Hemsworth to pampered pooches (with their own treats and dog beds), ***Moonlight Cinema*** is an experience unlike any other. More than 5 million people have attended in the three decades since gates opened, with *Love Actually*, *Dirty Dancing* and *10 Things I Hate About You* drawing the biggest crowds . As part of ***Moonlight Cinema’***s 30th birthday celebrations, audiences are invited to vote for their nostalgic film favourites, to determine which will return to the big screen. The top-voted titles in each city will be screened from January through to March, as part of ***The People’s Program**,* turning this summer’s season into a shared celebration of three decades of movie magic under the stars. Everyone who votes will receive a 30% discount on General Admission tickets to *The People’s Program* sessions, plus entry into the draw to win a Double Season Pass and other prizes. Voting is open now at the [website](https://moonlight.com.au/), with a curated list of classics, sing-alongs, and cult favourites including ***Shrek, Dirty Dancing, The Castle*** and ***Jurassic Park*** up for the running. **John Boero**, General Manager of Entertainment Operations, EVT said: *“For three decades, Moonlight Cinema has been a quintessential summer ritual for millions of Australians.* *To mark this milestone, we wanted to do something special for the audiences who’ve made us part of their summer traditions. The People’s Program gives fans the chance to help shape the season and enjoy their most-loved films – under the stars, where Moonlight magic happens.”* ![The Scoop Moonlight Cinema](https://thescoop.au/wp-content/uploads/2025/02/Moonlight-Cinema-Sydney-Hero-Image-3-LoRes-942x628.jpg "Moonlight Cinema Sydney - Hero Image 3 - LoRes • The Scoop")Moonlight Cinema has become a cherished part of the Australian summerKicking off the summer season in style, the November and December program for ***Moonlight Cinema presented by Youi*** is packed with festive cheer, fresh releases and family fun. From **9 – 23 December**, the beloved outdoor cinema channels the festive spirit for two weeks of *Christmas Favourites*, featuring timeless crowd-pleasers like ***Love Actually*, *Elf, Home Alone*** and ***The Holiday*.** Beyond the festive season, audiences can enjoy summer blockbusters like ***Wicked: For Good**,* a special preview screening of ***E******ternity*, *Springsteen: Deliver Me From Nowhere*** and an exciting mix of family flicks including ***Zootopia 2*** and some of this year’s biggest hits with screenings of ***Moana 2*** and ***How to Train Your Dragon***. **Dates and locations** Sydney Belvedere Amphitheatre, Centennial Parklands, **21 November 2025 – 5 April 2026** Melbourne Central Lawn, Royal Botanic Gardens Victoria, **3 December 2025 – 5 April 2026** Adelaide Botanic Park Adelaide, **27 November 2025 – 15 February 2026** Brisbane The Amphitheatre, Roma Street Parklands, **26 November 2025 – 15 February 2026** Perth May Drive Parkland, Kings Park, **4 December 2025 – Sunday 29 Mar 2026** Voting is open for The People’s Program until 15 December at the [website](https://moonlight.com.au/). Everyone who votes online is eligible for a 30% discount for General Admission tickets for any of The People’s Program Screenings and be entered into the prize draw to win a major prize of a Double Season Pass or other prizes such as 10 x Singapore Airlines Gold Grass double passes. The People’s Program screenings featuring the top-voted films will take place from late January until the end of season. ![The Scoop Moonlight Cinema Perth Paddington in Peru](https://thescoop.au/wp-content/uploads/2025/03/Moonlight-Cinema-Perth-Hero-Image-2-WIP_HR-1191x628.jpg "Moonlight Cinema Perth • The Scoop")Voting is open for the Peoples Program until 15 December Vote at the website**Christmas Favourites** Die Hard **5 December** (*Brisbane, Adelaide*) The Holiday **9 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) Last Christmas (2019) **10 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide)* Elf **11 December** (*Sydney*)*,* **13 December** (*Melbourne, Brisbane, Perth, Adelaide*), **22 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) Home Alone **12 December** (*Melbourne, Brisbane, Perth, Adelaide*), **13 December** (*Sydney*), **18 December** (*Melbourne, Brisbane, Perth, Adelaide*), **19 December** (*Sydney*) Love Actually **4 December** (*Sydney, Melbourne*)*,* **11 December** (*Melbourne, Brisbane, Perth, Adelaide*), **12 December** (*Sydney*), **18 December** (*Sydney*), **19 December** (*Melbourne, Brisbane, Perth, Adelaide*), **23 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) How the Grinch Stole Christmas **14 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) Nightmare Before Christmas **16 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) The Polar Express **17 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) The Grinch (2018) **21 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) Home Alone 2 **20 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) **Family Flicks** A Minecraft Movie **22 November** (*Sydney*) How to Train Your Dragon **30 November** (*Brisbane*), **7 December** (*Sydney, Adelaide*) Moana 2 **28 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) Zootopia 2 **26 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) **Hollywood Blockbusters and New Releases** A Big Bold Beautiful Journey **21 November** (*Sydney*) Freakier Friday **23 November** (*Sydney*) Good Fortune **25 November** (*Sydney*) Springsteen: Deliver Me From Nowhere **26 November** (*Sydney*, *Adelaide*), **5 December** *(Melbourne, Sydney)* Superman (2025) **25 November** (*Brisbane*) The Materialists **27 November (***Sydney, Brisbane*) Regretting You **28 November** (*Sydney, Brisbane, Adelaide*), **7 December** (*Melbourne, Perth*) F1 The Movie **29 November** (*Sydney, Brisbane, Adelaide*), **5 December** (*Perth*) The Naked Gun **26 November** (*Brisbane*), **30 November** (*Sydney, Adelaide*) Bugonia **2 December** (*Sydney*) Mission: Impossible The Final Reckoning **2 December** (*Brisbane, Adelaide*) Eternity (Preview) **3 December** (*Sydney, Melbourne, Brisbane, Adelaide*) Eternity (Day of Release) **4 December** (*Perth*) Jurassic World: Rebirth **4 December** (*Brisbane, Adelaide*) Wicked (2024) **6 December** (*Sydney, Melbourne, Perth, Adelaide*), **7 December** (*Brisbane*) Regretting You **7 December** (*Melbourne, Perth*) Wicked: For Good **27 December** (*Sydney, Melbourne, Brisbane, Perth, Adelaide*) ![The Scoop Moonlight Cinema](https://thescoop.au/wp-content/uploads/2025/11/Moonlight-Cinema-Sunset-2-SYD-942x628.png "Moonlight Cinema • The Scoop")Tickets for films running to 30 December are on sale now**What’s On At Moonlight Cinema Presented by Youi** Under balmy summer night skies, each Moonlight Cinema presented by Youi location will come to life signature on-site activations, kitchens, bars and the comfiest bean beds for humans, and even one for their four-legged friends!^ **Singapore Airlines Gold Grass** Sit back and soak up the magic of the pre-movie atmosphere with Singapore Airlines Gold Grass. Enjoy uninterrupted ease with prime viewing, express entry and food and drinks ordered via QR code and delivered straight to your seat. **Connoisseur Lounge** Enjoy guaranteed comfort with The Connoisseur Lounge at Moonlight. Your ticket includes a bean bed in a reserved area with great views, plus a delicious Connoisseur Gourmet Ice Cream to enjoy during the film. **General Admission** Settle in under the stars and make the evening your own. Bring your favourite people, a picnic rug and your preferred snacks, and enjoy the freedom of Moonlight your way. As always guests can also prepare their own picnics, bring along refreshments and enjoy one of Australia’s quintessential summer experiences\*. **Lyka (Sydney, Melbourne, Adelaide, Brisbane)** Treat your pup to a Lyka Doggie Bag with a fresh Kangaroo meal, lick mat and dental chew in a cooler bag. Just $17 only available on-site at Moonlight Cinema (RRP $55). The first few purchases each night score complimentary doggie bean bed hire, so don’t miss out! *\*Moonlight Cinema is BYO at all locations except Brisbane.* *^Moonlight Cinema is dog-friendly at all locations except Perth.* ***Moonlight Cinema presented by Youi* returns this year from Friday 21 November 2025 to Sunday 5 April 2026. Location-specific dates are available below.** Tickets for the Moonlight Cinema November / December program, running to 30 December, are now on sale at the website. Website: <https://moonlight.com.au/> Socials: <https://www.instagram.com/moonlightcinema/> [January Program at Moonlight Cinema](https://thescoop.au/moonlight-cinema-in-january-shrek-ahead-for-peoples-program/) Images supplied. **Categories:** News --- ### [Saturday Night Fever Comes To Melbourne This January](https://thescoop.au/saturday-night-fever-comes-to-melbourne-this-january/) **Published:** October 28, 2025 **Author:** Newsroom **Content:** ![The Scoop Saturday Night Fever Melbourne cast 2026](https://thescoop.au/wp-content/uploads/2025/12/SNF-Full-Cast-942x628.jpg "Saturday Night Fever Melbourne cast 2026 • The Scoop")Award-winning **Drew Anthony Creative** will bring the smash hit musical ***Saturday Night Fever*** to Melbourne, direct from a highly successful Perth season. The show is set to take over the historic **Athenaeum Theatre** in Melbourne from **8 January 2026.** This marks the return of **Drew Anthony**, one of Australia’s most celebrated directors and choreographers, to Melbourne’s stages after nearly two decades. This spectacularly reimagined version of the show will have audiences grabbing their boogie shoes and dancing in the aisles bringing all the explosive energy, sensational dancing and vocal performances, that is synonymous with *Saturday Night Fever*. In this beloved ’70s throwback, Tony Manero, a nineteen-year-old Brooklynite paint store clerk, spends his weekends moonlighting at a local disco, as the king of the dance floor. When he and mesmerising dancer Stephanie enter a dance competition, the pair’s professional partnership blossoms into a deep friendship. It challenges them both to reflect on what’s important in life, amidst rising social tensions and disillusionment. Based on the revolutionary 1977 cult film, *Saturday Night Fever* which became a cultural milestone, that reshaped music, fashion and film in the 1970s, featuring an Academy award nominated John Travolta. The timeless soundtrack, packed with disco classics including The Bee Gees’ hits *Stayin’ Alive, How Deep Is Your Love, Night Fever, Tragedy* and *More Than A Woman*, has sold more than 45 million copies ranking amongst the best-selling albums in history. Drew Anthony’s production is a brilliant new version of this much-loved classic filled with breathtaking choreography, costumes and explores the complexities of human connection. The show cleverly examines the underlying themes of this hit show including escapism, social aspiration, and working-class identity, as Tony uses the allure of the dance floor as a place to escape from his dead-end life. Audiences will be propelled into the gritty streets of downtown Brooklyn, thanks to a modern new set featuring stunning high-definition digital scenery that incorporates iconic scenes from the hit film. The 2024 Perth production, celebrated for its excellence, garnered **BroadwayWorld Awards Perth 2024** for *Best Direction, Best Scenic Design, and Best Performer*. ![The Scoop Saturday Night Fever Drew Anthony Creative Melbourne](https://thescoop.au/wp-content/uploads/2025/10/SNF-hero-shot.jpg "Saturday Night Fever Drew Anthony Creative Melbourne • The Scoop")Saturday Night Fever arrives in Melbourne this January after a highly successful Perth seasonDirector **Drew Anthony** said: “*I am thrilled to be returning to Melbourne stages next year with this fabulous show! Saturday Night Fever is a brilliant production that cleverly uses music and dancing to explore its characters’ search for identity and a place in the world.* *The cast we have assembled for this show is phenomenal and they have rightfully earned their place after a huge audition process. There is nowhere else I would rather be taking this show right now than Melbourne and I can’t wait for audiences to see it!”* Drew Anthony has had an extensive career in the creative and performing arts, both in Australia and internationally. He started as a musical theatre performer and later became a Creative Director, Event Director/Choreographer, and Producer. His experience spans arts and cultural festivals, corporate and civic events, national and international ceremonies, live broadcast, professional theatre productions, and major concert events. His creative work includes producing, directing, and choreographing numerous musical theatre productions including *Little Shop of Horrors, Footloose the Musical, The Wedding Singer, Saturday Night Fever, A Chorus Line, and Strictly Ballroom the Musical*. He has also served as a Senior Creative for large-scale events like the Sydney 2000 Olympic Closing Ceremony, Winter Olympics Vancouver, Rugby World Cup 2011, *White Night Melbourne and Ballarat, State of Origin, World Handball Championships and the Asian Games Doha 2006*. As a performer, he has appeared in musical theatre productions such as *Hot Shoe Shuffle, 42nd Street, Cats, and Me and My Girl*, touring internationally. He was also a motion capture actor/choreographer for the feature film, *Happy Feet*. Drew has received several awards including Finley Awards for Best Choreographer and Best Director for *42nd Street* (2022). He received BroadwayWorld Australia awards for Best Musical and Best Direction of a Musical for *Strictly Ballroom* (2023), and multiple awards for *Saturday Night Fever* (2024) and *The Wedding Singer* (2024). *Saturday Night Fever* will play at the **Athenaeum Theatre** from 8 – 25 January 2026, and is a must see this summer! Directed by Drew Anthony with choreography by Jamie & Suzi Rolton and music direction by Daniel Puckey, this new production of *Saturday Night Fever* thrusts this cult classic to dazzling new heights bringing the amazing disco soundtrack to life! Tickets are on sale from 10am on Tuesday 28 October via [www.ticketmaster.com.au](https://www.ticketmaster.com.au/). ***Saturday Night Fever* runs from 8 – 25 January 2026 at the Athenaeum Theatre Melbourne.** Tickets: <https://www.ticketmaster.com.au/saturday-night-fever-tickets/artist/844061> Website: <https://www.drewanthonycreative.com.au/> Socials: <https://www.instagram.com/drewanthonycreative/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Melbourne cast of Saturday Night Live. Photo by Natalie Edge **Cast** Tony Manero – **Ethan Churchill** Stephanie Mangano – **Regan Barber** Annette – **Izzi Green** Flo Manero – **Chelsea Plumley** Frank Manero – **George Kapiniaris** Frank Jnr – **Matthew Casamento** Linda Manero – **Amileya Moro** Linda Manero – **Charis Morabito** Bobby C – **Sam Hamilton** Double J – **Dimitri Raptis** Joey – **Ewan Herdman** Nightclub Singers – **Clara Harrison**, **Bianca Baykara**, **Thalia Oseguda-Santos** Male Ensemble – **Joshua Kobeck, Julian Seguna, Anthony Garcia, Ayril Borce** Female Ensemble – **Ruby Voss, Sophia Katos, Lily Baulderstone, Hannah Cañon** Swing/Dance Captain – **Katrina Bickerton** **Creatives** Producer **Drew Anthony Creative.** Associate Producer **Rachel Burgess.** Director **Drew Anthony.** Musical Director **Daniel Puckey**. Production Design **Drew Anthony & Aquixel Studios**. Choreographers **Jamie & Suzi Rolton**. Costume Design **Dani Paxton**. **Categories:** News --- ### [Film Review: DJ Ahmet Captures Small Lives, Big Landscapes & Quiet Longing](https://thescoop.au/film-review-dj-ahmet-captures-small-lives-big-landscapes-quiet-longing/) **Published:** December 18, 2025 **Author:** Cody Fullbrook **Content:** ![The Scoop DJ Ahmet Feature Film Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/0136_DJ-AHMET-942x628.jpg "DJ Ahmet Feature Film Perth Festival • The Scoop")In DJ Ahmet, writer-director Georgi M. Unkovski delivers a gentle, observant coming-of-age story set far from dance floors and spotlights. Rooted in rural Macedonia, the film is less concerned with musical transformation than with the quiet rhythms of adolescence, responsibility, and the tentative pull of freedom in a tightly bound community. Ahmet ([Arif Jakup](https://www.imdb.com/name/nm16818026/?ref_=tt_cst_t_1)), son of a shepherd in Macedonia, is pulled out of school to assist with the demands of the farm. Joined by his quiet, younger brother, Naim ([Agush Agushev](https://www.imdb.com/name/nm16818027/?ref_=tt_cst_t_2)) and strict father ([Aksel Mehmet](https://www.imdb.com/name/nm4531731/?ref_=tt_cst_t_4)), Ahmet learns the importance of standing up for yourself and keeping an eye on your sheep. Despite what the title may suggest, Ahmet doesn’t become a DJ. Instead, music plays a prominent role in the film. Ahmet’s first scene finds him listening to music on shared earphones, and the film’s most physically energetic scene, in which he sprints after a car, is accompanied by a lively instrumentation including a trombone and tuba. A small but thematically vital moment occurs as Ahmet stumbles into a rave, bumps into a tall, imposing man, only for him to smile and flicker Ahmet’s flashlight like a strobe. However, DJ Ahmet is not about the magical healing power of music, and it’s only when Ahmet meets local girl, Aya ([Dora Akan Zlatanova](https://www.imdb.com/name/nm16855425/?ref_=tt_cst_t_3)), that a clearer story starts to take form. ![The Scoop DJ Ahmet Feature Film Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/DJ-Ahmet-2-1116x628.jpeg "DJ Ahmet Feature Film Perth Festival • The Scoop")Arif Jakup plays Ahmet with an effortless haplessness suitable for a modern teenager in a conservative townThe film’s best moments are between Ahmet and Aya, as quiet, natural scenes develop the blossoming of a unique relationship that’s part romance, part friendship. This culminates in a beautiful climax that perfectly sums up the story’s themes of freedom and resilience. Which, of course, is instigated with music. Arif Jakup plays Ahmet with an effortless haplessness suitable for a modern teenager in a conservative town. Dora Akan Slatanova gives Aya a perfect combination of sweetness with a slight snark and backbone. Whether intentional or not, Ahmet’s family drama is overshadowed by this teenage coming-of-age story. So much so that when Naim finally speaks up, which he does twice in the whole movie, it happens so unceremoniously that the audience, who had been chuckling and even repeating lines out loud, had no reaction. For the most part, DJ Ahmet is an introspective slice of life story. It’s only during the last half that the story gathers some momentum as Aya begins her arranged marriage ceremony. There is no obvious buildup to a finale, like the audition in *Billy Elliot*, or prom dance in *Footloose*. But it’s easy to get absorbed into the slow life of Macedonian farmers, only recently learning about music speakers and modern dancing. ![The Scoop DJ Ahmet Feature Film Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/Screenshot-2025-12-16-at-12937-pm-1116x628.png "DJ Ahmet Feature Film Perth Festival • The Scoop")The enormous vistas of Eastern Europe steal the showThe comical highlight of the story was when a local religious man, played charmingly by [Atila Klince](https://www.imdb.com/name/nm0459580/?ref_=tt_cst_t_6), asks Ahmet about creating a password that wouldn’t be construed as blasphemous. The enormous vistas of Eastern Europe steal the show. Many shots display the beautiful, rolling hills, sparsely peppered with small towns and individual characters. While not possessing the most creative cinematography, Naum Doksevski makes full use of the scenery, with people and objects often shoved to the edges of the frame. Though it resists melodrama and largely avoids conventional narrative payoffs, *DJ Ahmet* is quietly assured in what it chooses to observe. Its restraint may feel dry to viewers expecting emotional crescendos or cathartic release. But that understatement is also its strength. Georgi M. Unkovski’s film finds dignity in small gestures, fleeting connections and the rhythms of everyday life. You won’t leave energised or elated, but you may leave more attentive. To music, to community, and to the unremarkable moments that quietly shape who we become. ***DJ Ahmet* runs from 29 December – 4 January** **as part of Lotterywest Films and Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Tickets: <https://www.perthfestival.com.au/program/season-2026/dj-ahmet> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read more of our Film Reviews](https://thescoop.au/category/film/) Watch the trailer here: **Film details:** Title: DJ Ahmet Director: Georgi M Unkovsk Cast: Arif Jakup, Agush Agushev, Dora Akan Zlatanova, Aksel Mehmet, Selpin Kerim, Atila Klince Country of Origin: North Macedonia, Czech Republic, Serbia, Croatia Duration: 99 mins Rating: 15+ **Categories:** Film --- ### [Film Review: Kokuhō Is A Beautiful, Brutal Portrait Of Art & Inheritance](https://thescoop.au/film-review-kokuho-is-a-beautiful-brutal-portrait-of-art-inheritance/) **Published:** December 17, 2025 **Author:** James Murphy **Content:** ![The Scoop KOKUHO feature film Japan Palace Cinemas](https://thescoop.au/wp-content/uploads/2025/12/KOKUHO_02_RyoYoshizawa_©PalaceFilms-942x628.jpg "KOKUHO feature film Japan Palace Cinemas • The Scoop")Snow falls. Wisteria sways. Faces are painted ghost-white, stitched costumes catching the light as if they carry memory in their seams. In *Kokuhō*, Sang-il Lee’s operatic play within a film, adapting a novel about the world of kabuki, the stage is never just a stage. It is a proving ground, a battleground, and finally a mirror, reflecting the cost of lineage, discipline and devotion when art and life become indistinguishable. Clocking in at over three hours and spanning roughly fifty years, *Kokuhō* adapts Shuichi Yoshida’s novel with an unapologetic sense of scale. It opens like a yakuza slasher: violent, blunt, almost pulp, before revealing something even more cut-throat: the closed, hereditary world of kabuki theatre, where succession is sacred, failure is public, and love is often expressed through cruelty. At its centre is Kikuo (Ryō Yoshizawa), the son of a gang boss who is absorbed into a kabuki family and trained as an onnagata, a male performer of female roles. Lee has described Yoshizawa as the spine of the film, and he backbends his vertebrae in service to the role. Watching him learn kabuki is not just watching technique accrue, but watching a body slowly rewired by discipline, humiliation and longing. ![The Scoop KOKUHO feature film Japan Palace Cinemas](https://thescoop.au/wp-content/uploads/2025/12/KOKUHO_13_RyoYoshizawa_©PalaceFilms-942x628.jpg "KOKUHO feature film Japan Palace Cinemas • The Scoop")As Kikuo Ryō Yoshizawa is the spine of the film and he backbends his vertebrae in service to the roleKikuo’s bond with Shunsuke (Ryusei Yokohama) provides the film’s emotional yin and yang. Their rivalry and communion unfold through extended kabuki sequences that deliberately echo their off-stage lives. A father lion pushes his son from a cliff to teach resilience. Jealous rivals transform into snakes. Succession is contested, affection withheld, favouritism weaponised. These aren’t decorative interludes; they are the grammar of the film. You will come out of *Kokuhō* knowing more about kabuki than most, but more importantly, understanding how its myths are designed to bruise real people into shape. Ken Watanabe’s mentor figure embodies this brutal pedagogy. He beats both son and apprentice, favouring the less gifted child in the hope of sparking greatness. It’s an approach that raises uncomfortable questions: is artistry inherited or earned through suffering? Can someone outside the bloodline ever truly belong? The film lands squarely in contemporary debates about nepotism, class systems and merit, while refusing to offer easy answers. Egalitarian instincts collide head-on with a culture built on succession and sacrifice. Lee is careful not to romanticise this world. The film’s women: wives, mistresses, silent supporters, are often collateral damage, their treatment exposing the misogyny embedded in both tradition and genius culture. ![The Scoop KOKUHO feature film Japan Palace Cinemas](https://thescoop.au/wp-content/uploads/2025/12/KOKUHO_04_SoyaKurokawa_KeitatsuKoshiyama_©PalaceFilms-942x628.jpg "KOKUHO feature film Japan Palace Cinemas • The Scoop")The film is breathtaking with Cinematographer Sofian El Fani lingering on falling snowflakes trembling branches and close ups of facesGender itself remains a subtextual pressure point: the androgyny of onnagata, their unexpected sensuality, and the way rigid gender norms coexist with radical performance illusion. Visually, *Kokuhō* is breathtaking. Cinematographer Sofian El Fani lingers on falling snowflakes, trembling branches, and close-ups of faces held in stillness just long enough to unsettle. There are moments when the kabuki scenes feel too long, when time jumps rush past deaths or turning points off-screen, and when you think, more than once, that the film has already reached its climax. But when the final dance of the heron arrives, those doubts melt like snow. It could not have ended any other way. How beautiful. With the recent success of *Shōgun* priming audiences for Japanese-language drama that takes culture seriously, *Kokuhō* feels timely and uncompromising. It refuses to separate art from artist, or stage from life. Actions offstage bleed back into performance; flaws are neither excused nor neatly punished. The characters are not heroes or villains so much as figures caught in cycles of rivalry, reconciliation, failure and redemption. *Kokuhō* asks whether greatness demands deals with the devil and leaves you sitting with the discomfort long after the credits roll. ***Kokuhō*** **is playing in cinemas nationally for a two week season and runs until 24 December 2025.** Tickets are [on sale](https://www.palacefilms.com.au/kokuho) now! Website: <https://www.palacefilms.com.au/kokuho> Socials: <https://www.instagram.com/palacecinemas/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer now: **Film details:** Title: Kokuhō Director: Lee Sang-il Cast: Ryō Yoshizawa, Ryūsei Yokohama, Soya Kurokawa, Keitatsu Koshiyama, and Ken Watanabe Country of Origin: Japan Duration: 174 mins Rating: M Showing at cinemas around the country: **Sydney:** Palace Central, Palace Norton Street, Palace Moore Park, Hayden Orpheum Cremorne **Melbourne:** Palace Balwyn, Palace Brighton Bay, Cinema Como, Palace Pentridge, Cinema Nova, The Kino, Regent Cinema Ballarat **Adelaide:** Palace Nova Eastend **Brisbane:** Palace Barracks & Palace James St Cinemas, HOTA Gold Coast Home of the Arts **Byron Bay:** Palace Byron Bay **Canberra:** Palace Electric **Perth:** Palace Raine Square, Luna Leederville **Hobart:** State Cinema **Categories:** Adelaide, Film --- ### [Announcing New Musical Any Moment For PIP Theatre In January](https://thescoop.au/announcing-new-musical-any-moment-for-pip-theatre-in-january/) **Published:** December 17, 2025 **Author:** Newsroom **Content:** ![The Scoop Any Given Moment Musical Bradley McCaw PIP Theatre](https://thescoop.au/wp-content/uploads/2025/12/ANY-MOMENT_HERO-copy-942x628.png "Any Moment Musical Bradley McCaw PIP Theatre • The Scoop")A brand new musical by Bradley McCaw, ***Any Moment***, is coming to Brisbane’s PIP Theatre next month from **21 – 24 January 2026**. Inspired by John Lennon’s famous observation that “life is what happens while you’re busy making other plans,” *Any Moment* turns its attention to the fleeting, often unnoticed fragments that shape our lives. Set on New Year’s Eve and unfolding in real time as the clock counts down to midnight, the work asks what might happen in the gaps between intention and reality. Through a collage of songs about football, dogs named Rover, shopping trips, love, loss, death and everything in between, *Any Moment* captures the ordinary and the profound as they collide. The songs serve to remind us that possibility exists in even the smallest of moments. Producer **Bradley McCaw** said: *“Any Moment has been in development for 6+ years. I started it naively as a song cycle that featured songs I’d cut from other shows. But as I started to develop the idea… an actual concept for a show took shape. I ended up throwing out all of those old songs and writing 20+ more.* *The work explores themes of reflection and humanity. I hope it brings us all closer together by musicalising songs about everyday life. It’s heartfelt and funny and some of my best music to date.”* Developed as a profit-share pilot production, *Any Moment* has been created to forge a genuine pathway forward for both the work itself and its emerging creative team. The project champions local artists and recent graduates from the **Griffith University Musical Theatre** program. It offers a platform for new voices at a formative point in their careers. *“I’ve been calling this a pathways production because it is an opportunity for everyone involved. Yes, this is the first time the work will be staged in a theatre. I hope it will go on to find audiences around the world. But this process is also providing opportunities for local emerging artists to develop their craft and build their careers.* *We have created several intern / associate positions for cast and crew inside the project so they can explore other aspects of the industry and creative process, in a low pressure space.* *We have an incredible creative team of industry leaders and I’m extremely proud to say we have 20 artists that have come together to mount this production. PIP THEATRE is making all of this possible and we wouldn’t be attempting this without them.”* ![The Scoop Any Moment Musical Bradley McCaw PIP Theatre](https://thescoop.au/wp-content/uploads/2025/12/Any-Moment-cast-624x628.png "Any Moment Musical Bradley McCaw PIP Theatre • The Scoop")The cast features **Chloe Flanagan, Connor Chadwick, Croft Phillips, Ella Rose Harding, Lulu Miskin, Lucy Ross, Madeleine Ford, Niamh Cadoo-Dagley, Orlando Vella, Sam Henderson** and **William Kasper**, with musical accompaniment by **William Martineau**. Together, they bring warmth, humour and immediacy to a piece that thrives on ensemble energy and shared storytelling. *Any Moment* also holds a special place in Australian musical theatre history. It was the first musical developed at the Australian Musical Theatre Festival in 2019. Audiences can further explore the work by listening to *[Any Moment: The Concept Cast Recording](https://bradleymccawmakesmusicals.com/any-moment)*, available online. ***Any Moment* is presented by Bradley McCaw and runs from 21 – 24 January 2026 at PIP Theatre. 20 Park Road Milton Qld 4064.** Tickets: <https://piptheatre.org/any-moment/> Website: <https://bradleymccawmakesmusicals.com/any-moment> Socials: <http://instagram.com/anymomentmusical/> and <http://instagram.com/bradleymcccawmakesmusicals> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credit: JHAC Images **Categories:** News --- ### [Announcing Alan Menken Coming To Australia in 2026](https://thescoop.au/announcing-alan-menken-coming-to-australia-in-2026/) **Published:** December 17, 2025 **Author:** Newsroom **Content:** ![The Scoop A Whole New World of Alan Menken Australia 2026](https://thescoop.au/wp-content/uploads/2025/12/Alan-Menken-6-Credit-Patrick-Gunning-942x628.jpg "A Whole New World of Alan Menken Australia 2026 • The Scoop")Melbourne and Sydney audiences are in for a once-in-a-lifetime experience, with legendary composer **Alan Menken** confirming one-night-only performances of ***A Whole New World of Alan Menken*** in **May 2026**. The celebrated musical genius behind Disney classics *The Little Mermaid, Beauty and the Beast, Aladdin, Pocahontas* and *The Hunchback of Notre Dame*, as well as Broadway favourites *Little Shop of Horrors, Sister Act* and *Newsies*, Menken has shaped generations with songs that have become woven into the cultural fabric. He is one of only 21 people ever to achieve EGOT status and holds more Academy Awards than any living individual, cementing his place as one of the most awarded and influential composers of our time. Taking to the piano for his first ever public performance in Australia, *A Whole New World of Alan Menken* brings his extraordinary career to life, featuring chart-topping hits including *Beauty and the Beast, A Whole New World, Colors of the Wind* and *Go the Distance*, and many more. Providing the backdrop to Alan Menken, seated centre stage at the piano, is projected archival photos and rarely seen footage that will bring audiences inside his creative world, revealing the inspiration, stories, and behind-the-scenes moments that shaped some of the most iconic songs of all time. The evening offers an intimate look at his legendary collaborations, especially with the late lyricist Howard Ashman, whose partnership helped define the Disney Renaissance. ![The Scoop A Whole New World of Alan Menken Australia 2026](https://thescoop.au/wp-content/uploads/2025/12/Alan-Menken-2-Credit-Patrick-Gunning-942x628.jpg "A Whole New World of Alan Menken Australia 2026 • The Scoop")Alan Menken is coming to Australia for one night only in Sydney and Melbourne Photo by Patrick GunningFollowing acclaimed seasons in Japan, London, multiple US cities and with engagements to come in Dublin and Toronto early 2026, *A Whole New World of Alan Menken* arrives in Australia with rave reviews in tow. BroadwayWorld described it as “absolutely magical,” praising Menken’s “truly incredible voice” in a glowing 5-star review. Menken holds more Academy Awards than any living individual, earning 8 Oscars®, 11Grammy® Awards, 7 Golden Globes®, Daytime Emmy® Award, A Tony Award®, as well as the Olivier Award®, Evening Standard Award, 3 Outer Critics Circle Awards, 2 Drama Desk Awards, a Billboard #1 soundtrack with *Pocahontas*, and the Max Steiner Award. *A Whole New World of Alan Menken* offers a nostalgic, joyful and immersive journey through one of the most influential musical careers of our time, creating an unforgettable night with a true master storyteller. Tickets for Melbourne [on sale](https://www.ticketmaster.com.au/event/1300638CA8297C52?did=promoter) Thursday 18 December. [Waitlist now](https://www.wholenewworldalanmenken.au/sydney-waitlist) for Sydney! ***A Whole New World of Alan Menken* will play at Melbourne’s Palais Theatre on Wednesday 6 May, and the Sydney Event Centre on Friday 8 May 2026.** Website: <https://www.wholenewworldalanmenken.au/> Socials: [https://www.instagram.com/wholenewworldaus\_alanmenken/](https://www.instagram.com/wholenewworldaus_alanmenken/) [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image photo credit: Patrick Gunning ![The Scoop A Whole New World of Alan Menken Australia 2026](https://thescoop.au/wp-content/uploads/2025/12/1920x1080_FULL-1116x628.jpg "A Whole New World of Alan Menken Australia 2026 • The Scoop") **Categories:** News --- ### [Film Review: My Brother's Band Finds Harmony Against The Odds](https://thescoop.au/film-review-my-brothers-band-finds-harmony-against-the-odds/) **Published:** December 15, 2025 **Author:** Ronson Blake **Content:** ![The Scoop My Brother's Band feature film Palace Cinemas](https://thescoop.au/wp-content/uploads/2025/12/MY-BROTHERS-BAND-01-PierreLottin_BenjaminLavernhe_-©Thibault-Grabherr-1121x628.jpg "My Brother's Band feature film Palace Cinemas • The Scoop")From award-winning Writer/Director Emmanuel Courcol comes *My Brother’s Band* (also released as *En fanfare* or *The Marching Band*), a French take on the path well-trodden by English films such as *Brassed Off* and *The Full Monty*, though without the former’s depth or the latter’s full-throated comic appeal. *My Brother’s Band* instead treads a middle ground, committing more to the resonances of personal relationships mediated through a love of music, whilst set against a background of socio-economic inequalities and the role chance plays in determining one’s opportunities in life. The film opens with a spine-tingling orchestral practice session led by Thibaut (Benjamin Lavernhe), a renowned, globe-trotting conductor. Thibaut’s privileged world is shattered when he receives a diagnosis of leukemia requiring a bone marrow transplant. An unintended consequence of DNA testing uncovers both his adoption as a child and the existence of a brother, Jimmy (Pierre Lottin), who lives in a northern French town, Walincourt. Jimmy’s life is modest and uncomplicated, working as a kitchen hand and playing in the local marching band, and the brothers, on the face of it, have little in common. Their initial interactions are awkward, if not prickly, but ease somewhat as Thibaut discovers his brother’s instinctive musical talent and resolves to foster it. ![The Scoop MY BROTHERS BAND Feature Film Palace Cinemas](https://thescoop.au/wp-content/uploads/2025/12/MY-BROTHERS-BAND-05-ensemble_-©PalaceFilms-1117x628.jpg "MY BROTHERS BAND Feature Film Palace Cinemas • The Scoop")Film festival audiences everywhere have loved *My Brothers Band* it has won a number of Audience AwardsThis setup is economically done – perhaps a little too much so – as we only get a glimpse of Thibaut’s back story. The circumstances of his adoption are a little confusing. Jimmy provides the bone marrow, we get a bit more back story, and within 20 minutes or so, the main game of the film’s screenplay – the brothers’ emotional journeys – is arrived at. From there, the film traces a fairly predictable arc anchored by excellent performances particularly from Lavernhe, Lottin, and Sarah Suco as Sabrina, Jimmy’s band partner and prospective love interest. *My Brother’s Band* has a good heart, but it is also slight. One gets the sense there’s a larger story in the editing room. At the same time Courcol’s direction is somewhat metronomic, so that it feels a wee bit longer than it is. Much depends on the two leads, and Lavernhe is especially good. In a role that easily might have manifested as condescension, it’s largely through Lavernhe’s skill that this is avoided. He exudes compassion, understanding and warmth. And not a little musical talent. As Jimmy, Lottin’s ice-blue eyes are always averted, rarely engaging anyone directly, underscoring Jimmy’s self-consciousness and lack of self-belief. Though I feel Lottin overplays this emotional inhibition. ![The Scoop MY BROTHERS BAND Feature Film Palace Cinemas](https://thescoop.au/wp-content/uploads/2025/12/MY-BROTHERS-BAND-02-BenjaminLavernhe_-©PalaceFilms-1117x628.jpg "MY BROTHERS BAND Feature Film Palace Cinemas • The Scoop")The films soundtrack provides both an emotional core and the narratives connective tissue Jimmy has the heart of a poet and is just as musically gifted as his brother; however, without the opportunities afforded to Thibaut, his obvious talent hasn’t been nurtured. Courcol mines this personal disadvantage to comment more broadly on wealth and opportunity disparities in France, and the effect of industry closures on small towns. These issues, though, are always secondary to the personal and collective sustaining power of music. And one thing Courcol gets absolutely right is the music. From the stirring orchestral arrangements to the jazz of Miles Davis and Charles Aznavour’s crooning, the film’s soundtrack provides both an emotional core and the narrative’s connective tissue. It’s truly wonderful. Walincourt itself is populated with the typical cast of loveable characters all bonded by their shared joy of playing in the local band. The factories might be closing, but the band plays stoically and endearingly on. The, let’s be fair, probably *unlikely* ending will have you moist-eyed even as you know you’re being shamelessly manipulated (which to this point Courcol has admirably eschewed). Film festival audiences everywhere have loved *My Brother’s Band* – it has won a number of Audience Awards – and you probably will too. Goodness knows we need a little love. ***My Brother’s Band* opens in cinemas nationally from 26 December 2025.** Tickets are [on sale](https://www.palacefilms.com.au/my-brothers-band) now! Website: <https://www.palacefilms.com.au/my-brothers-band> Socials: <https://www.instagram.com/palacecinemas/> [Read more of our Film Reviews](https://thescoop.au/category/film/) Hero image courtesy of Thibault Grabherr. Watch the trailer here: Film Details: Title: My Brother’s Band Director: Emmanuel Courcol Cast: Benjamin Lavernhe, Pierre Lottin, Sarah Suco Country of Origin: France Rating: M Duration: 103 mins Showing at Cinemas around the country: **Sydney:** Palace Central, Palace Norton Street, Palace Moore Park, Hayden Orpheum Cremorne, Roseville Cinemas, United Avalon Cinema, also screening at Gala Cinema Warrawong, Tower Cinemas Newcastle, and Westpac Open Air Cinema Sydney (Jan 24) **Melbourne:** Palace Balwyn, Palace Brighton Bay, Cinema Como, Palace Westgarth, Palace Pentridge, Palace Penny Lane Cinema, Cinema Nova, The Kino, Cameo Cinemas Belgrave, and Palace Regent Cinema Ballarat **Adelaide:** Palace Nova Eastend & Prospect **Brisbane:** Palace Barracks & Palace James St Cinemas, Regal Cinema Graceville **Byron Bay:** Palace Byron Bay **Canberra:** Palace Electric **Perth:** Palace Raine Square, Luna Leederville, Luna On SX, The Windsor **Hobart:** State Cinema **Categories:** Film --- ### [Film Review: Home Alone At Moonlight Cinema Sydney](https://thescoop.au/film-review-home-alone-at-moonlight-cinema-sydney/) **Published:** December 15, 2025 **Author:** Jasmine Joyan **Content:** ![The Scoop Moonlight Cinema presented by Youi Sydney](https://thescoop.au/wp-content/uploads/2025/12/MoonlightCinema_SYD_2_LR_presentedbyYoui-942x628.jpg "Moonlight Cinema presented by Youi Sydney • The Scoop")Summer in Sydney comes hand-in-hand with longer days, festive cheer, and of course, Moonlight Cinema’s outdoor cinematic experience. A classic end-of-year treat, this event is an ideal summer outing for everyone! Sydney’s Moonlight Cinema is located in the lofty and luscious terrain of Centennial Park. Although our chosen film started at 8:30pm, we arrived early to explore this self-funded public parkland. With free parking available near the outdoor cinema, there was no rush or hassle of having to find or move carparks during the evening, making for a relaxed start to the experience. The team at Moonlight created a great atmosphere from the outset. Christmas lights decorated the cinema’s entry, bean bags and blankets were available for hire and purchase. And, of course, pet beds for any furry guests. The staff at Moonlight were warm and accommodating from the very beginning, welcoming us and providing some of Moonlight’s premium offerings. We were guided to our Singapore Airlines Gold Grass seating and given ice-creams, popcorn and drinks. The combination of Moonlight’s QR menu system and waiter service also meant that we were able to comfortably order more food and snacks up until the film began. Despite the drizzle, the warm weather, good food and sounds of chatter and laughter helped to enhance the buzz and excitement of watching *Home Alone*, a Christmas classic. Be sure to check the weather before heading out though, as we did not come prepared for the rain. It did make our viewing experience a little rough (but at no fault of Moonlight!). Moonlight Cinema is running not only in Sydney but in Brisbane, Melbourne, Adelaide and Perth. This classic summer event is the perfect way to soak up the season with fresh air, festive spirits and great films! ![The Scoop Lost Worlds Cinema South Bank Brisbane International Film Festival](https://thescoop.au/wp-content/uploads/2025/12/HOME-ALONE-962x628.png "Lost Worlds Cinema South Bank Brisbane International Film Festival • The Scoop")Home Alone is a Christmas classic and runs at Moonlight Cinema this Thursday 18 December Screening in Melbourne Brisbane Adelaide and PerthAbout the film *Home Alone* is a classic, and in my opinion, mandatory Christmas viewing. For those who have been unlucky as to have never watched this film, it stars Macaulay Culkin as Kevin McCallister, an eight-year-old accidentally left behind when his family rushes off on a Christmas vacation to Paris. What follows is a festive misadventure that blends comedy and heart as Kevin learns to live alone while defending his home against the Wet Bandits, played by Joe Pesci and Daniel Stern. Directed by Chris Columbus, the film, alongside John Williams’ nostalgic score, is a recipe for a good time. The suburban Chicago setting is decorated in Christmas lights and snow, which really emphasises the quintessential cosy, white Christmas experience. However, it is the performance and charm of Culkin with the slapstick humour of Pesci and Stern that make for great and engaging viewing for all ages. The actors blend warmth and chaos in a firework of hilarious turmoil, which has enshrined *Home Alone* as a timeless holiday favourite. *Home Alone* is an enduring film because of how it wraps warmth and emotional sincerity into outrageous traps and caricature-like villains. It is the film that captures the magic, madness and comfort of Christmas, making it a heartfelt experience to watch and re-watch! ***Home Alone* runs on 18 December at Moonlight Cinema in Brisbane, Adelaide, Perth and Melbourne.** **Check website for city specific session times.** Website: <https://moonlight.com.au/> Socials: <https://www.instagram.com/moonlightcinema/> [Read about the January Cinema Program](https://thescoop.au/moonlight-cinema-in-january-shrek-ahead-for-peoples-program/) Images supplied. **Moonlight Cinema locations** Sydney Belvedere Amphitheatre, Centennial Parklands Melbourne Central Lawn, Royal Botanic Gardens Victoria Adelaide Botanic Park Adelaide Brisbane The Amphitheatre, Roma Street Parklands Perth May Drive Parkland, Kings Park **Categories:** Film --- ### [The Little Mermaid Set To Enchant Young Audiences](https://thescoop.au/the-little-mermaid-set-to-enchant-young-audiences/) **Published:** December 15, 2025 **Author:** Newsroom **Content:** ![The Scoop Academy of Queensland Ballet The Little Mermaid](https://thescoop.au/wp-content/uploads/2025/12/Queensland-Ballet-The-Little-Mermaid-Photo-David-KellyA19I8015-small-942x628.jpg "Academy of Queensland Ballet The Little Mermaid • The Scoop")***The Little Mermaid*** is set to enchant audiences this week when the pre-Professional dancers from the **Academy of Queensland Ballet** present Paul Boyd’s reimagining of the beloved fairytale by Hans Christian Anderson. A perfect holiday celebration, the ballet runs at the Thomas Dixon Centre from **18 – 23 December 2025**. Guided by narrator, Sarah McIntosh, who helps younger audiences follow the story and performed to music by Jean Sibelius, *The Little Mermaid* bring the underwater world to life through Zoe Griffiths’ inventive costumes. Resident choreographer Paul Boyd is delighted to welcome his 2023 production of *The Little Mermaid* back to the stage as part of Queensland Ballet’s *My First Ballet* series. The work was created especially to introduce young audiences to the magic of ballet. *“From the courageous, feisty and determined Little Mermaid, the charming Prince to the wicked male Sea Witch and his slippery sidekicks, these creatures add humour and drama to the story, keeping young audiences engaged from start to finish.”* – Paul Boyd After choosing to ground the production in Hans Christian Andersen’s beloved fairytale, Boyd says he shaped the story through “delightful segments connected to new and adventurous characters.” This results in a narrative that will feel familiar yet freshly imagined. Music became the next crucial step. Wanting to honour the story’s Scandinavian roots, Boyd turned to the work of Finnish composer Jean Sibelius. He embraces what he describes as an “old-world charm” by setting the ballet in a magical, faraway Scandinavia. At the heart of the production is a reimagined heroine designed to reflect the values Boyd hopes to inspire in young people. This Little Mermaid is determined, honest, feisty and compassionate; a character who fights for what she believes in. It is this courage, Boyd notes, that ultimately captures the Prince’s heart. Recognising the importance of accessibility for first-time ballet-goers, Boyd also introduced narration as a guiding element. ‘The Spirit of the Sea’ character leads audiences through the story, gently navigating younger viewers through the world of ballet. ![The Scoop Academy of Queensland Ballet The Little Mermaid](https://thescoop.au/wp-content/uploads/2025/12/Queensland-Ballet-The-Little-Mermaid-Photo-David-KellyA19I8037-942x628.jpg "Academy of Queensland Ballet The Little Mermaid • The Scoop")The Little Mermaid ballet is guided by narrator Sarah McIntosh who helps younger audiences follow the story Photo by David Kelly*“If this is your first entry into the world of ballet, I hope these characters lead you on a path that you may want to return to.”* Boyd is quick to acknowledge the collaborative effort behind the production. He extends heartfelt thanks to the costume, set, production, audio visual and lighting teams, whose imagination and skill helped bring the underwater world to life. Special recognition goes to narrator Sarah McIntosh, whose vocal work animates the story’s many characters. Boyd also acknowledges the dancers themselves, whose versatility and commitment shaped the characters with honesty, humility, humour, and charm. Their dedication and artistic integrity, he says, are central to the spirit and success of this enchanting production. Artistic Director, **Ivan Gil-Ortega**, said Queensland Ballet is proud to bring back *The Little Mermaid:* *“The production proved a hit with audiences of all ages when we premiered it in 2023. Part of our My First Ballet series, The Little Mermaid is the perfect introduction to ballet and a fantastic day out for the family.”* ***The Little Mermaid* is presented by Queensland Ballet Academy and runs from 18 – 23 December. Thomas Dixon Centre. 406 Montague Road West End Qld 4101.** Tickets are available [here](https://purchase.queenslandballet.com.au/overview/2794?_gl=1%2A1w7d37z%2A_gcl_au%2AMTMyOTY4NjQ0Mi4xNzYyMjM1NjAx%2A_ga%2AMjA3NDkxMzg2Ny4xNzU0NDUxNTM3%2A_ga_LT0V5545Y5%2AczE3NjMzNjM0MDYkbzE3MyRnMSR0MTc2MzM2MzQwNyRqNTkkbDAkaDE4MzIxNzYzMjE.). Website: [https://www.queenslandballet.com.au/](https://www.queenslandballet.com.au/performances/2025/kenneth-macmillan-s-romeo-and-juliet) Socials: <https://www.instagram.com/qldballet/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: David Kelly **Categories:** News --- ### [Review: A Chinese Christmas Finds Theatre Magic In Cultural Heritage](https://thescoop.au/review-a-chinese-christmas-finds-theatre-magic-in-cultural-heritage/) **Published:** December 14, 2025 **Author:** Leo Manson **Content:** ![The Scoop A Chinese Christmas](https://thescoop.au/wp-content/uploads/2025/12/Dai-1110x628.png "A Chinese Christmas • The Scoop")Multiculturalism is often said to be a major part of Australia’s national identity. This isn’t often reflected in Australian society. *A Chinese Christmas*, written, produced by, and starring Trent Foo shows us what a multicultural Australia should actually look like. The show is presented by FooFrame Productions in association with bAKEHOUSE Theatre Co. It tells the heartfelt tale of Heepa, who enters yōudū (the Chinese underworld) after a fight with his grandmother. With his magic book and the advice of his Ancestors, Heepa hopes to win back his Paw Paw and return Christmas to normal. As Heepa, Trent Foo has such a wonderful stage presence. His melodramatic monologues contrast with the quieter roles played by Tiang Nim and Jolin Jiang. Though this does not in any way detract from either’s performance. Nim’s toned-down acting allows audiences to feel for Paw Paw as if she were one’s own grandmother. Her role in the story reflects the grandparents out there just trying to do right by their family. This is a really nice storyline to be included in a Christmas show. ![The Scoop A Chinese Christmas](https://thescoop.au/wp-content/uploads/2025/12/Heepa_Smile-967x628.jpg "A Chinese Christmas • The Scoop")Trent Foos writing is self aware and genuine and reflects the roles of different age groups in a family Photo by Robert MiniterThe play is deeply funny through its relatability. The story of illegal rock fishing, in particular, is a stark example of Foo’s ability to capture these nostalgic experiences. His use of gesture brings audiences into these snippets of childhood failings. He captures how the wisdom and patience of family can be so easily overlooked in one’s youth. This well-acted youthfulness explores gaps of understanding between young people and their elders. This can be seen in Heepa’s fear of confrontation and refusal to admit his wrongs. Despite this, the show never feels like it’s talking down to Gen Z audiences. Foo’s writing is self-aware and genuine. It reflects the roles of different age groups in a family. How they change and how people grow. This perspective is refreshingly contemporary and often hard to capture, yet Foo makes it look easy. Foo masterfully handles a diverse audience with the show resonating across cultural backgrounds. There were many moments where the entire opening night audience gasped or laughed. This is supported by the staging of the intimate KXT on Broadway theatre. Despite the audience being split on either side of the room, Monica Sayers’ directing ensures that no actor faces away for too long. ![The Scoop A Chinese Christmas](https://thescoop.au/wp-content/uploads/2025/12/Pawpaw_letter-1120x628.png "A Chinese Christmas • The Scoop")Tiang Nims role in the story reflects the grandparents out there just trying to do right by their family Photo by Robert MiniterThe props are well-crafted. I found the symbolism of the mahjong tile towards the end of the show powerful. The unlit piece hung on the tree foreshadowed the fight well, so when it was finally lit, it felt complete. It also felt specific, like it was a real family tale that audiences were privy to. These elements are supported through the stellar lighting and sound design by Cat Mai and Cameron Smith respectively. The timing of both elements is consistent and supports Foo’s distinct and fluid dialogue. Jolin Jiang doubles as both actor and live musician and it is an excellent creative choice. Not to mention, her guqin playing is simply gorgeous. The show starts with Jiang alone, creating an otherworldly atmosphere perfect for the intended setting. It draws tension and creates a quiet speculation amongst the audience. *A Chinese Christmas* is a lot of firsts. First time directing for Sayers, first time writing for Foo and the very first play of the company. This just proves the crew of *A Chinese Christmas* is one to keep your eye on. ***A Chinese Christmas* is presented by FooFrame Productions in association with bAKEHOUSE Theatre Co and runs to 20 December. KXT on Broadway 181 Broadway Ultimo NSW 2007.** Tickets: <https://events.humanitix.com/a-chinese-christmas> Website: <https://www.kingsxtheatre.com/a-chinese-christmas> Socials: [https://www.instagram.com/kxt\_bakehouse/](https://www.instagram.com/kxt_bakehouse/) and <https://www.instagram.com/fooframeproductions/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Robert Miniter **Categories:** Sydney, Theatre --- ### [Moonlight Cinema In January: Shrek Ahead For People's Program](https://thescoop.au/moonlight-cinema-in-january-shrek-ahead-for-peoples-program/) **Published:** December 13, 2025 **Author:** Newsroom **Content:** ![The Scoop Moonlight Cinema](https://thescoop.au/wp-content/uploads/2025/12/MoonlightCinema_BRIS_2_LR_presentedbyYoui-942x628.jpg "Moonlight Cinema • The Scoop")***Moonlight Cinema,*** Australia’s favourite outdoor cinema, has today released its **January program**, with a blockbuster line up perfect for summer evenings under the stars. Audiences across Sydney, Melbourne, Brisbane, Perth and Adelaide can look forward to new releases, family favourites and must-see moments, including the return of fan-favourite ***Shrek*** as part of this summer’s ***People’s Program***. Tickets for the January program of ***Moonlight Cinema presented by Youi*** are on sale at the Moonlight Cinema website. January brings a mix of films for every movie fan. Big summer titles like ***Wicked: For Good**, **Zootopia 2*** and ***Anaconda*** lead the program, alongside preview screenings of upcoming films including ***Song Sung Blue***, ***Hamnet*** and global phenomenon ***Six the Musical***. Families can look forward to fun filled favourites such as ***SpongeBob: Search for SquarePants*** and ***The Parent Trap*** over the summer holidays. As part of ***Moonlight Cinema’s*** 30th birthday celebrations, audiences have been invited to vote for the classic films they want to see back on the big screen, with **voting open until 15 December**. Almost 6,500 movie lovers have already had their say, with early results placing ***Shrek*** at number one in every city and chosen by more than one third of all respondents. *T**he Greatest Showman*** is holding strong in the runner up position nationwide, while local quirks are emerging, including Melbourne and Adelaide’s big desire for a ***Mamma Mia*** sing-along, and Perth and Brisbane rallying behind ***Dirty Dancing*** and ***Jurassic Park***. Voting is open for The People’s Program until 15 December at the [website](https://moonlight.com.au/). When voting closes, each city’s top films will return as part of ***The People’s Program*** this season, with ***Shrek***, ***The Greatest Showman*** and ***The Parent Trap*** all set to feature in the January lineup. **Dates and locations** Sydney Belvedere Amphitheatre, Centennial Parklands, **21 November 2025 – 5 April 2026** Melbourne Central Lawn, Royal Botanic Gardens Victoria, **3 December 2025 – 5 April 2026** Adelaide Botanic Park Adelaide, **27 November 2025 – 15 February 2026** Brisbane The Amphitheatre, Roma Street Parklands, **26 November 2025 – 15 February 2026** Perth May Drive Parkland, Kings Park, **4 December 2025 – Sunday 29 Mar 2026** ![The Scoop Moonlight Cinema](https://thescoop.au/wp-content/uploads/2025/12/MoonlightCinema_BRIS_3_LR_presentedbyYoui-942x628.jpg "Moonlight Cinema • The Scoop")Moonlight Cinema Brisbane is located in the Roma Street Parklands**The People’s Program** The Parent Trap **13 January** The Greatest Showman **21 January** Shrek **31 January** **Preview Screenings** Song Sung Blue **30 December** (Preview), **30 January** Six the Musical (Preview) **3 January** Hamnet (Preview) **14 January** Primate (Preview) **18 January** Is This Thing On (Preview) **23 January** (*Sydney and Brisbane*) **Hollywood Blockbusters and New Releases** The Housemaid **1 January, 10 January, 27 January** Wicked: For Good **4 January, 9 January, 15 January** Zootopia 2 **2 January** (*All cities*) Roofman **6 January** Five Nights at Freddy’s **2 – 7 January** Ella McCay **8 January** F1: The Movie **11 January** (*Sydney, Melbourne, Brisbane and Adelaide*) SpongeBob: Search for SquarePants **16 January** Anaconda **17 January** and **24 January** The Deb **20 January** The Choral **22 January** (*Sydney and Melbourne*) Avatar: Fire & Ash **23 January** (*Melbourne, Perth and Adelaide*) Back to the Future **25 January** Rental Family **28 January** ![The Scoop Moonlight Cinema](https://thescoop.au/wp-content/uploads/2025/12/Moonlight-Cinema-Family-539x628.jpg "Moonlight Cinema • The Scoop")**What’s On At Moonlight Cinema Presented by Youi** Under balmy summer night skies, each Moonlight Cinema presented by Youi location will come to life signature on-site activations, kitchens, bars and the comfiest bean beds for humans, and even one for their four-legged friends!^ **Singapore Airlines Gold Grass** Sit back and soak up the magic of the pre-movie atmosphere with Singapore Airlines Gold Grass. Enjoy uninterrupted ease with prime viewing, express entry and food and drinks ordered via QR code and delivered straight to your seat. **Connoisseur Lounge** Enjoy guaranteed comfort with The Connoisseur Lounge at Moonlight. Your ticket includes a bean bed in a reserved area with great views, plus a delicious Connoisseur Gourmet Ice Cream to enjoy during the film. **General Admission** Settle in under the stars and make the evening your own. Bring your favourite people, a picnic rug and your preferred snacks, and enjoy the freedom of Moonlight your way. As always guests can also prepare their own picnics, bring along refreshments and enjoy one of Australia’s quintessential summer experiences\*. **Lyka (Sydney, Melbourne, Adelaide, Brisbane)** Treat your pup to a Lyka Doggie Bag with a fresh Kangaroo meal, lick mat and dental chew in a cooler bag. Just $17 only available on-site at Moonlight Cinema (RRP $55). The first few purchases each night score complimentary doggie bean bed hire, so don’t miss out! *\*Moonlight Cinema is BYO at all locations except Brisbane.* *^Moonlight Cinema is dog-friendly at all locations except Perth.* ***Moonlight Cinema presented by Youi* runs until Sunday 5 April 2026. Tickets are on sale for films until 31 January 2026 at the website.** Website: <https://moonlight.com.au/> Socials: <https://www.instagram.com/moonlightcinema/> [December Program Here at Moonlight Cinema](https://thescoop.au/moonlight-cinema-celebrates-30-years-with-peoples-program/) Hero image: Moonlight Cinema Brisbane **Categories:** News --- ### [Review: Sweet Charity Is Stylish, Simple & Bursting With Soul](https://thescoop.au/review-sweet-charity-is-stylish-simple-bursting-with-soul/) **Published:** December 12, 2025 **Author:** Sarah Skubala **Content:** ![The Scoop Sweet Charity Musical Prospero Arts Brisbane QPAC](https://thescoop.au/wp-content/uploads/2025/12/PA_SweetC-13-942x628.jpg "Sweet Charity Musical Prospero Arts Brisbane QPAC • The Scoop")To close out their 2025 Concert Series, Prospero Arts and QPAC present *Sweet Charity*, a hopelessly romantic musical delivered in a semi-staged concert format for a very limited season. Featuring a tuneful mid-1960s score by Cy Coleman, lyrics by Dorothy Fields, and book by Neil Simon, this production revisits the classic that was originally conceived and choreographed on Broadway by the legendary Bob Fosse. Inspired by Fellini’s 1957 film *Nights of Cabiria*, the musical *Sweet Charity* follows the optimistic but luckless Charity Hope Valentine. A New York City dance-hall hostess searching for love and a better life, Charity clings to hope even when the odds are stacked against her. First brought to Broadway by Fosse in 1966, the musical earned nine Tony nominations and a win for Best Choreography. In 1969, Fosse adapted the musical in a film debut, with Shirley MacLaine starring alongside Chita Rivera, Sammy Davis Jr and Ben Vereen. Prospero Arts and QPAC have been presenting concert-style performances of some of the biggest musical theatre hits since 2022. With reduced sets, lighting and costumes, the focus is on the story, score and vocal talent of the cast. Musical Director Mitchell Tyack leads the live, 16-piece orchestra on the Concert Hall stage, while the performers dance in front and above the musicians. This is the second performance I’ve seen using this format, the first being *[Dusty](https://thescoop.au/review-dusty-the-musical-brings-the-legend-back-to-life/)* earlier this year. And it totally works. Craig Wilkinson’s video projections help inform the story and fill in the gaps where sets usually would. A subway, an elevator, and a Coney Island amusement park ride are all created with clever projection work on a giant overhead screen. ![The Scoop Sweet Charity Musical Prospero Arts Brisbane QPAC](https://thescoop.au/wp-content/uploads/2025/12/PA_SweetC-3-942x628.jpg "Sweet Charity Musical Prospero Arts Brisbane QPAC • The Scoop")The iconic song Big Spender is an Act One highlight and features a delightful mix of colourful characters Photo by Brit MobbsThis technique is effectively paired with Josh McIntosh’s set design, which sees a handful of items brought on and off the stage to allow brisk scene changes. Director and Choreographer Cameron Mitchell brings out the best from his cast. Together, they delivering a high-energy and engaging show from start to finish. Loren Hunter plays Charity with a playful energy and huge trademark smile. She wins the audience over instantly and we can’t help but love her scrappy, genuine character. Many broken fourth-wall moments draw us in even further; she has us rooting for her all the way. Her Act One highlight song, *If My Friends Could See Me Now*, is joyous and energetic. It’s guaranteed to be stuck in your head after the show too. Hunter is also fabulous in her duets and trio numbers. Particularly, *There’s Gotta Be Something Better Than This*, performed with Kristina McNamara and Angelina Thomson who play pals Nickie and Helene. The show’s pivotal marriage proposal scene, opposite Jake Speer as Oscar Lindqvist, is so endearing it will rip your heart out. Bring tissues. The subsequent number, *I’m A Brass Band*, is an absolute show stealer. Hunter holds nothing back. The supporting cast is uniformly strong. As Italian film star Vittoria Vidal, Simon Burke raises the roof with his big number, *Too Many Tomorrows*. He also brings laughs as Herman, the dodgy Fandango Ballroom owner. Jake Speer hits all the comedic beats as the straight-laced tax accountant and love interest, Oscar. He balances humour with the right amount of pathos, making him human. ![The Scoop Sweet Charity Musical Prospero Arts Brisbane QPAC](https://thescoop.au/wp-content/uploads/2025/12/PA_SweetC-15-942x628.jpg "Sweet Charity Musical Prospero Arts Brisbane QPAC • The Scoop")Loren Hunter holds nothing back in the big Act Two number Im A Brass Band Photo by Brit MobbsCharity’s dance hall co-workers are a delightful mix of world-weary characters and shine as a colourful collective in the iconic Act One number, *Big Spender*. Josh McIntosh’s costumes come into their own here, featuring a kaleidoscope of neon hues. The cast dazzles in the big group numbers, including *Rhythm Of Life*, led by Sean Sinclair as Daddy, and Charity’s farewell number, *I Love To Cry At Weddings*. What keeps this story relevant in 2025, and perhaps made it a little ahead of its time, is the ‘hopefully ever after’ ending\*. Without providing spoilers, as this reviewer was completely new to the story, the ending may surprise and divide audiences. We are still mostly used to having stories wrapped up in a comforting bow. But this musical doesn’t provide that. And one might argue, in 2025, that’s exactly how it should be. Hopefully ever after endings aside, *Sweet Charity* is a wildly entertaining production and a fitting finale to Prospero Arts and QPAC’s 2025 Concert Series. It is smartly staged, beautifully performed and proves that simplicity, done well, is its own kind of magic. ***Sweet Charity* is presented by Prospero Arts and QPAC runs to 14 December at the Concert Hall, Queensland Performing Arts Centre.** Tickets: <https://www.qpac.com.au/whats-on/2025/sweet-charity> Website: <https://prosperoarts.com.au/project/sweet-charity/> Socials: <https://www.instagram.com/atqpac/> and <https://www.instagram.com/prosperoarts/> [Read more of our Musical Theatre Reviews](https://thescoop.au/musical-theatre-reviews/) Photo credits: B’rit Mobbs \*The original film does have an alternate happy ending floating around on YouTube. But Fosse stuck to his guns and ran with a Fellini inspired ending for his film. The alternate happy ending is more aligned with the producers’ preferences. **Categories:** Brisbane, Musical Theatre --- ### [Review: Where Death & Co Goes, The Party Follows](https://thescoop.au/review-where-death-co-goes-the-party-follows/) **Published:** December 5, 2025 **Author:** Regan Baker **Content:** ![The Scoop Death & Co Brisbane Launch](https://thescoop.au/wp-content/uploads/2025/12/RS_DeathCo_Dec25_20-942x628.jpg "Death & Co Brisbane Launch • The Scoop")Tucked beneath the historic Regatta Hotel, the newly opened Death & Co feels like a complete reinvention of a space many Brisbane locals once knew well. The former Walrus Club, a haunt I frequented far too often in my younger days, has been stripped back and rebuilt into something purposeful, polished and deeply considered. Where it once leaned into rustic whisky-den energy, it now stands as Brisbane’s most confident attempt yet at a true New York–style cocktail institution. And honestly, this is exactly what happens when a theatre reviewer gets unleashed inside a bar built on dramaturgy-level detail: every corner feels like a set, every drink like a leading actor. Death & Co is more than just another bar opening; it’s the Australian expansion of one of the world’s most respected cocktail brands. Born in New York and synonymous with precision mixology, the Death & Co name carries weight in the international bar scene. Bringing that legacy to Queensland was never going to be a casual undertaking. Their Bar Manager and Venue Manager spent two weeks in New York training with the original team, drilling into the fine mechanics and philosophy behind the brand’s cocktail craft. Here, that training translates clearly. Every drink is intentional, every flavour layered, every menu choice considered. Last night’s grand opening was the culmination of six months of hard work, and that energy hums throughout the space. The backstory behind how Death & Co even ended up in Australia is actually pretty wholesome. The founder first visited Australia when he was seven and apparently never quite got over it. Then he came back about five years ago with a group of mates and, somewhere between the travel and whatever bars he wandered into, he decided he wanted to bring the brand here. ![The Scoop Death & Co Brisbane Launch](https://thescoop.au/wp-content/uploads/2025/12/RS_DeathCo_Dec25_95-942x628.jpg "Death & Co Brisbane Launch • The Scoop")Tucked beneath the historic Regatta Hotel the newly opened Death Co feels like a complete reinventionThe plan at that point was to do pop-ups around the major cities, but that idea evolved into something way more permanent. Two full venues: one in Melbourne, one in Brisbane. Getting inside is a bit of a funny experience because you honestly wouldn’t expect much from that little staircase tucked behind the Regatta. It looks almost too plain to lead anywhere interesting. But once you head down, the whole vibe shifts. The noise from Coro Drive disappears way faster than you’d think, and suddenly it feels like you’ve walked into this completely different part of Brisbane that no one told you about. The lighting is low but not in that “squint at the menu” way; just enough to make everything feel warm. A few ceiling lights, candles scattered around, and the glow bouncing off the old brick walls give the place this really relaxed, lived-in mood. It gives underground jazz-bar kind of vibes, and yes, that may be a slight ‘nod’ at future things to come. Nothing about it screams for attention; it just feels comfortable straight away. And then the cocktails. My god. The cocktails. Death & Co has a reputation for taking cocktails seriously, and the Brisbane menu leans into that completely. It’s not flashy, just thoughtful. Every drink feels like it’s been tinkered with more times than anyone will admit. I ended up trying nine, some of them twice. Partly because I’m committed to a thorough review, partly because they were just that good. ![The Scoop Death & Co Brisbane](https://thescoop.au/wp-content/uploads/2025/12/RS_DeathCo_Dec25_191-942x628.jpg "Death & Co Brisbane • The Scoop")Death Co has a reputation for taking cocktails seriously and the Brisbane menu leans into that completelyI lean towards anything strong or smoky or generally capable of putting hair on your chest, so my first love of the night was the *I Against I*. It’s this mix of blended Scotch, aged Jamaican rum, honey, Jerk & Peychaud’s bitters. Sounds intense, but the honey softens it out without turning it into a dessert. It’s one of those drinks that makes you properly stop and appreciate it. *Sound & Fury* was my other notable mention. Blanco tequila, raspberry, red capsicum, ancho chile and lime. On paper, it looks as though a pastry chef sneezed and dropped all the wrong ingredients into a mixer, but hey, it works. Think spicy marg, but with raspberry bringing a brightness you don’t expect. Not sweet, just balanced. Big fan. My partner, Georgia’s, taste sits on the other end of the spectrum: floral, light, fruity. Her top pick was the *Guns of Brixton*. Sparkling wine as the base, with Armagnac giving it some backbone, and bergamot doing its citrusy thing at the end. She also loved the *Straw Dog*, which starts strong thanks to the Scotch but then shifts into this fresh, fruit-forward finish with the grapefruit, strawberry and lemon. A little sweet, but not in a way that gets tired. And look, the staff deserve a whole paragraph of their own. Sam, the Venue Manager, has that really calm, steady presence that anchors the whole space. And Sarah, who looked after us, was honestly one of the highlights of the night. She clearly knows the menu inside-out without making it weirdly formal and was more than capable of nailing recommendations one after the other. They both made the whole experience feel easy. Death & Co is one of those places that’ll nudge Brisbane’s nightlife up a notch just by existing, without needing to shout for attention. It’s the kind of bar you end up in if you like your drinks made properly and your lighting on the darker side. It doesn’t feel like Brisbane, but in a good way; more like a little hideaway you stumble into and immediately decide you’re staying for one more. And yes, I’m already planning my next visit. Probably tonight after my next theatre review. **Death & Co is now open in Brisbane at 543 Coronation Drive Toowong Qld 4065.** **It is also open in Melbourne at 87 Flinders Lane.** Bookings can be made [here](https://www.sevenrooms.com/explore/deathandcobris/reservations/create/search?_gl=1%2Ah8ell0%2A_gcl_au%2AMTkyNjcxNTYuMTc2NDkxMjAxMA..%2A_ga%2AMTI3ODA2NjY4OS4xNzY0OTEyMDEx%2A_ga_FMGEKEKVXS%2AczE3NjQ5MTIwMTEkbzEkZzEkdDE3NjQ5MTIxNjgkajYwJGwwJGgxNzg5NDM5NjA0%2A_ga_8FYMLWY3X9%2AczE3NjQ5MTIwMTAkbzEkZzEkdDE3NjQ5MTIxNjgkajYwJGwwJGgxMjY2Mjg1Mzc4&tracking=death-brisbane-widget&venues=deathandcobris). Website: <https://deathandcompanybrisbane.com.au/> Socials: <https://www.instagram.com/deathandcompanyaus/> and <https://www.facebook.com/deathandcompanyaus> [Read more of our Latest Reviews!](https://thescoop.au/latest/) Images supplied. Opening hours: Sunday to Wednesday 6pm – 1am Thursday to Saturday 4pm – 2am **Categories:** Brisbane, Theatre --- ### [Film Review: The Blue Trail Shines In A World That Forgets Its Elders](https://thescoop.au/film-review-the-blue-trail-shines-in-a-world-that-forgets-its-elders/) **Published:** December 11, 2025 **Author:** Tiffany Barton **Content:** ![The Scoop The Blue Trail Lotterywest Films Somerville Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/TheBlueTrail_HeroImages-914x628.jpg "The Blue Trail Lotterywest Films Somerville Perth Festival • The Scoop")What does it mean to be ‘honoured’ by a state that wants you out of sight? The Brazilian film *The Blue Trail* asks a question that feels alarmingly urgent in our era of performative politics and social neglect. Tereza is 77 years old and lives in a small industrial town on the Amazon. She arrives home from work one day to discover that a wreath has been placed over her door. Someone explains that she’s being honoured as a living national heritage. “Since when is growing old an honour?” she replies wryly. Soon after, she’s tracked down by the ‘wrinkle wagon,’ which rounds up older people and takes them to ‘The Colonies,’ from which it’s rumoured people never return. Tereza has other plans. She decides she wants to fly in a plane for the first time before they ship her off. But when she tries to buy a plane ticket, she’s told she’s now under the custody of her daughter, who must approve the purchase. As the state’s grip tightens, she embarks on a bid for freedom and autonomy that takes her on a grand adventure down the Amazon River. ![The Scoop The Blue Trail Lotterywest Films Somerville Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/THE-BLUE-TRAIL_01_DeniseWeinberg_©Guillermo_Garza_Desvia-915x628.jpg "The Blue Trail Lotterywest Films Somerville Perth Festival • The Scoop")The cinematography turns the Amazon into a lush living character that stays under your skin*The Blue Trail* combines social relevance with emotional and cinematic power. It’s beautifully shot by Guillermo Garza, whose every river bend, jungle shadow, and rippling current becomes a vivid witness to Tereza’s journey. His cinematography turns the Amazon into a lush, living character that stays under your skin. As Tereza travels the Amazon, she is also travelling through her inner terrain, exploring what it means to be alive. Director Gabriel Mascaro is known for combining social realism with lush visual imagery. The dystopian premise behind *The Blue Trail* could be brutal and heavy-handed, but its treatment of state fascism is subtle and poetic. The government oppression is cloaked in artificial concern and propaganda. People appear to behave with respect and kindness toward the elderly, but it’s clear they are being stripped of their dignity and autonomy. Tereza cannot even buy food without presenting her papers and being refused service. While people are sympathetic to her plight, they also fear getting into trouble with the authorities if they help her. ![The Scoop Lotterywest Films UWA Somerville Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/129-PF-Summer-Films-191125-JWyld-942x628.jpg "Lotterywest Films UWA Somerville Perth Festival • The Scoop")The Blue Trail runs from 15 to 21 December at Lotterywest Films at Somerville as part of Perth FestivalAs Tereza, Denise Weinberg gives a rich, emotionally layered performance. It’s a delight to witness her journey from a disempowered and undervalued older woman to a fully realised character living her best life, pursuing her wildest dreams, and demonstrating an ever-increasing sense of power, identity, and agency. Weinberg exhibits groundedness, depth, and authenticity in the role. As we navigate societies in which we valorise youth and beauty over age and wisdom, shunt our older people off to nursing homes, and struggle within capitalist systems that value profit over people, *The Blue Trail* is a quiet and poetic piece of resistance. It urges us to question bureaucratic overreach and reset our values away from corporate greed toward humanity and dignity. This is a quietly beautiful film that deserves the accolades it received at this year’s Berlin Film Festival, including the Grand Jury Silver Bear Award. A quietly devastating allegory, this is a film that lingers in both mind and heart. ***The Blue Trail* runs from 15 – 21 December 2025 as part of Lotterywest Films and Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Tickets: <https://www.perthfestival.com.au/program/season-2026/the-blue-trail> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: The Blue Trail Director: Gabriel Mascaro Cast: Denise Weinberg, Rodrigo Santoro, Miriam Socarrás, Adanilo Costa Country of Origin: Brazil Duration: 86 mins Rating: M **Categories:** Film --- ### [BIFF Presents Lost Worlds Cinema This Christmas](https://thescoop.au/biff-presents-lost-worlds-cinema-this-christmas/) **Published:** December 9, 2025 **Author:** Newsroom **Content:** ![The Scoop Lost World Cinema South Bank Brisbane BIFF](https://thescoop.au/wp-content/uploads/2025/12/Screenshot-2025-12-09-at-91612-pm-e1765279255430-923x628.png "Lost World Cinema South Bank Brisbane BIFF • The Scoop")**The Brisbane International Film Festival (BIFF)**, in partnership with South Bank Corporation invite you to step away from your festive streaming watch list and immerse yourself in a once-in-the-holiday experience at South Bank’s Rainforest Green, via its unique outdoor cinema program **Lost Worlds Cinema: The Most Wonderful Time**. This specially curated Christmas film program is designed for families and viewers ready to come along for something truly unique this festive season. Running from **15 to 23 December**, this cinematic sleigh-ride delivers a hearty fill of festive cheer and something a little extra. It’s a perfect blend of heartfelt nostalgia and seasonal fun. This year’s line-up plays the season in a higher key, sending Christmas spinning between childhood memories and festive comedy to chaos, with **6pm** and **8pm sessions** for family-friendly and adult-only options. The Scoop is **giving away a double pass** **to see one of the films!** Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow and comment ‘Scoop’ under the post. ![The Scoop Lost Worlds Cinema South Bank Brisbane International Film Festival](https://thescoop.au/wp-content/uploads/2025/12/Screenshot-2025-12-09-at-92839-pm-1117x628.png "Lost Worlds Cinema South Bank Brisbane International Film Festival • The Scoop")Muppet Christmas Carol is screening at Lost Worlds Cinema this festive season*White Christmas* drifts in on a butter-soft haze while *Black Christmas* slips down the chimney with a scream, and *Muppets Christmas Carol* finds its glow just steps away from the bittersweet cynicism of *The Apartment*. Mischief reigns after dark as *Gremlins* stirs up suburban carnage and *The Family Stone* dissects social gatherings with acerbic wit. *Edward Scissorhands* and *Tangerine* remind us that even in the loneliest season, connection has a funny way of cutting through. And with *Batman Returns* and *Bell, Book and Candle* prowling through December with glamour, danger and a little holiday hexing, this is Christmas cinema with bite. It’s a festive feast for viewers wanting more than the same-old candy-cane version of events. ![The Scoop Lost Worlds Cinema South Bank Brisbane International Film Festival](https://thescoop.au/wp-content/uploads/2025/12/HOME-ALONE-962x628.png "Lost Worlds Cinema South Bank Brisbane International Film Festival • The Scoop")It wouldnt be Christmas with a screening of Home Alone Showing at Lost Worlds Cinema this festive season**Sophie Mathisen**, Executive Director, BIFF, said the season is tailor-made for viewers craving a fresh serve on holiday tradition. *“Christmas films often arrive pre-packaged in the same sentimental glow. However, this program celebrates the traditional tinsel as something far more interesting shines through.* *These films are warm, wild, unruly and unexpectedly moving. They are the perfect treat for anyone who feels Christmas should come with a bit more adventure, excitement and diversity.”* Ms Mathisen added that local programmers had curated the season’s screening sessions. *“This cinema program has not been built by another bot. Really talented locals have chosen films that will appeal to our local audience, while also showcasing two Australian Premieres.”* **Lost Worlds Cinema is presented by Brisbane International Film Festival in partnership with South Bank Corporation. It runs from 15 – 23 December 2025 at South Bank.** Tickets: <https://tix.lostworldscinema.com/events/> Website: <https://lostworldscinema.com/> Socials: <https://www.instagram.com/bnefilmfest/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Lotterywest Films Brings Summer Of Cinema For Perth Festival](https://thescoop.au/lotterywest-films-brings-summer-of-cinema-for-perth-festival/) **Published:** December 10, 2025 **Author:** Newsroom **Content:** ![The Scoop Perth Festival 2026](https://thescoop.au/wp-content/uploads/2025/10/LWFilms_BrochHero_CrMilesNoelPhotography_MinRes-944x628.jpg "Perth Festival 2026 • The Scoop")For 18 balmy weeks beneath the Somerville pines, **Lotterywest Films** will roll out a hand-picked lineup curated from the world’s major film festivals including Cannes and Venice. Adventures! Pulse-quickening thrillers. Eye opening documentaries. Spicy rom coms and emotion-soaked dramas ensure there’s something to excite, inspire, shock, entertain, move and amuse all cinema lovers. The program will take audiences across the globe and introduce them to new faces and places, offering access to the insights and imaginations of the world’s best filmmakers. From the streets of 1960s Paris and the mountain villages of Italy to the coastlines of Brazil and the towns of the American south, these weekly and one-off screenings will continue the long-cherished summer tradition that has been at the heart of Perth Festival since 1953. Perth Festival Film Curator **Madeline Bates** says: *“This year’s program is a kaleidoscope of themes and places that make up the world and the human experience, reflecting the depth and diversity of international cinema and its continuing capacity to thrill, contemplate and inform.* *Courageously revealing stories beyond the simple headlines. Evoking, and celebrating, the wonders of the everyday. The range of films is as vibrant as the stories they shed light on. I hope they bring people together in the magical shared space of Somerville auditorium for a summer of immersive cinema.”* ![The Scoop Lotterywest Films UWA Somerville Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/129-PF-Summer-Films-191125-JWyld-942x628.jpg "Lotterywest Films UWA Somerville Perth Festival • The Scoop")This years program is set to transport audiences around the world all while enjoying an iconic experience under the stars Photo by J WyldThe season opens with Richard Linklater’s ***Nouvelle Vague***. The iconic and Oscar-nominated director brings 1960s Paris to life in his meticulous and affectionate portrait of the making of Jean-Luc Godard’s legendary feature debut *Breathless*. A love letter to Godard’s genius and the French New Wave, this season opener is a film no cinephile should miss. ***The Mastermind*** from the USA, directed by indie icon Kelly Reichardt, follows an unemployed carpenter turned amateur art thief who plans his first big heist. When things go haywire, his life unravels. Josh O’Connor stars in this offbeat, wryly funny Cannes Competition highlight. From the UK/Ireland, director Harry Lighton’s ***Pillion*** follows a timid man swept from his dreary suburban life by a handsome, enigmatic biker (Alexander Skarsgård), who takes him on as his submissive. Sensitively directed with captivating performances, this sexy and tender debut is a surprisingly funny film audiences will gladly submit to. From Spain, is director Eva Libertad’s ***Deaf* .** The Berlinale Panorama Audience Award winner takes a refreshingly honest look at motherhood and the love between a deaf and hearing couple expecting their first child. Cannes Grand Prix winner ***Sentimental Value*** comes from Denmark/Norway, directed by Joachim Trier. An intimate and moving exploration of family, memories, and the reconciliatory power of art, it follows two sisters as they navigate their relationship with their estranged father. From France/Iran, Palme d’Or-winning director Jafar Panahi’s ***It Was Just An Accident*** is a powerful revenge drama and a real-world triumph against authoritarian oppression. Combining moral dilemmas, comic moments, and shocking revelations, the cast delivers a story that resonates long after the credits roll. The winner of three major awards at Cannes, Kleber Mendonça Filho’s ***The Secret Agent*** is heralded as one of the year’s best films. This genre-bending slow-burn thriller is filled with hypnotic tension and set against a colour-saturated backdrop of ’70s Recife, Brazilian carnival, and political corruption. ![The Scoop Lotterywest Films UWA Somerville Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/LAgentSecret_BrochHero_MinRes-942x628.jpg "Lotterywest Films UWA Somerville Perth Festival • The Scoop")The Secret Agent won three major awards at Cannes Film Festival and is heralded as one of the years best filmsThe Cannes Caméra d’Or winner ***The President’s Cake***, directed by Hasan Hadi, is a rare film from Iraq and a humorous yet poignant debut. Beautifully shot and acted, this playful fable tells a timely and bittersweet story of life under Saddam Hussein’s dictatorship through the eyes of a child. The Venice 2024 Grand Jury Prize winner, ***The Mountain Bride Vermiglio***, directed by Maura Delpero, is an intimate portrait of a family in a remote Italian Alps village during the final days of WWII. Drawing on the director’s own family history, this breathtaking film is made to be experienced on the big screen. Matthew McConaughey stars in ***The Rivals of Amziah King,*** a boisterous ballad of the deep south from director Andrew Patterson. Playing a banjo-strumming professor of bees who reunites with his former foster daughter, McConaughey leads a charismatic crime caper blending Coen Brothers-style hijinks with charming musical interludes. It’s a touching tale about what makes a place a home. Lotterywest Acting CEO **Lorna Pritchard** said Lotterywest is proud to support Perth Festival each year to showcase local talent and bring unique arts experiences to Western Australians. *“A record-breaking Lotterywest grant of $9.6 million is supporting the Festival this year, which includes Lotterywest Films, delighting WA audiences with diverse and inspiring local and international cinema. This year’s program is set to transport audiences around the world, all while enjoying an iconic experience under the stars.”* **Lotterywest Films at UWA Somerville runs to 29 March 2026. The full program of films can be found at the Perth Festival website.** Website: <https://www.perthfestival.com.au/> Socials: <https://www.instagram.com/perthfest/> [Read our Film Reviews](https://thescoop.au/category/film/) Hero image by Miles Noel Photography. **Categories:** News --- ### [Review: DIVA Is A Glittering Celebration Of Iconic Reinvention](https://thescoop.au/review-diva-is-a-glittering-celebration-of-iconic-reinvention/) **Published:** December 10, 2025 **Author:** Wendy Samantha **Content:** ![The Scoop DIVA Exhibition Melbourne](https://thescoop.au/wp-content/uploads/2025/12/DIVA_Exhibition_Image_Photo_Astrid-Mulder_13_WEB-942x628.jpg "DIVA Exhibition Melbourne • The Scoop")YES! The DIVA Exhibition has landed, and it’s glitz, glam, poise, power and stories that will absolutely inspire all. Everyone knows the saying: “It’s all in the eye of the beholder.” And this is true for anyone’s perception of their own unique version of reality. But, there is also an incredible difference between seeing something in print or on a screen to actually experiencing it in real life. Tomorrow, the wonderfully exciting new DIVA Exhibition will open at the Australian Museum of Performing Arts (AMPA). You will be able to witness every mind-blowing detail on beloved costumes and items from world-renowned icons that have brought to life the most amount of DIVAdom! Standing right in front of electrifying creativity, where you can see the stitching and the sequins, the delicacy of the fabrics and the perfection in immaculately well-thought-out designs is an incredible, surreal feeling. There is thought in every thread that’s been looped, and you can sense a magnetic charge left in the clothing that was worn by each performer. It’s like an echo of what was so grand, a special aura circling around every displayed item. It charges you. Walking around the exhibit, you are exposed to the true meaning of DIVA: what it takes to have courage. To embody your individuality. To be true to yourself and to be fully aware of the message you are sending to the world. This is how you truly impact others, not just now, but for the future. The word *diva* has had many meanings over the years. But looking deeply at the drive for forward movement, DIVA speaks volumes on collaborative success and fine-tuning it all to have your own spin on it. ![The Scoop DIVA Exhibition Australian Museum of Performing Arts Centre Melbourne](https://thescoop.au/wp-content/uploads/2025/12/DIVA_72_-Kate-Miller-Heidke-Costume-942x628.jpg "DIVA Exhibition Australian Museum of Performing Arts Centre Melbourne • The Scoop")Kate Miller Heidke 2019 Eurovision Australia Decides costume Photo by Nicole Cleary*“What I have with my voice is a hybrid beast… I draw on elements of my classical training but, ultimately, I sing the way I want to sing.”* – Kate Miller Heidke Again, this is all part of DIVAdom. You work together, learn together, then stand up strong to present the shine that comes from your unique self. As “art is essential to life,” we understand the power of creativity. The force of DIVA has all derived from the early 1800s, where sculptors were inspired by the gods and goddesses of ancient Greece and Rome. At this memorable exhibition, we travel from the Victorian drama queens, the silent stars of wordless films, dancers and showgirls, voices of opera and the blues, to the Hollywood divas, right through to the present. This global collection, which also includes Australian artists, is here for a short time before it moves on to Japan and tours the world. Pushing the boundaries across radio, film, pop forums and more, we look at the attributes, expression, reinventions, and game changers including the likes of Cher, Prince, Tina Turner, Elton John, Dame Nellie Melba, Joan Crawford, Madonna, Rihanna, Lady Gaga, Pink, Bette Midler, Kate Blanchett, Billie Eilish, Liza Minelli, Whitney Houston, Tina Arena, Jessica Mauboy and many more. ![The Scoop DIVA Exhibition Melbourne](https://thescoop.au/wp-content/uploads/2025/12/DIVA_Exhibition_Image_Photo_Astrid-Mulder_04_WEB-942x628.jpg "DIVA Exhibition Melbourne • The Scoop") The wonderfully exciting new DIVA Exhibition will open at the Australian Museum of Performing Arts from 11 December Photo by Astrid MulderMany items in this collection will make you pause to soak in the sparkle. Olivia Newton-John’s Steinway baby blue grand piano and her rhinestone-encrusted jacket. The nightgown worn by Joan Sutherland in *Lucia di Lammermoor*. Kylie Minogue’s fancy dresses. Timeless pieces from Isadora Duncan. Grand items from Beyoncé and Rihanna. Precious parts of history that include Ellen Terry’s ‘Triumphant Women’ speech book. Designs for Clara Bow and her makeup kit. And the 1971 original musical score to *Diamonds Are Forever*. The message behind this celebration of some of history’s most powerful divas who have shaped cultural imagination is clear. And it’s absolutely worth being a part of. *“It would be lovely if, by being who I am, that gives others permission to be themselves.”* -Reuben Kaye **DIVA runs from 11 December 2025 – 26 April 2026 at the Australian Museum of Performing Arts, Hamer Hall, Arts Centre Melbourne.** **Presented by Arts Centre Melbourne and Victoria and Albert Museum (V&A), London**. Tickets are available [here](https://tickets.artscentremelbourne.com.au/en/ampa/buyingflow/tickets/32/). Website: <https://www.artscentremelbourne.com.au/ampa/exhibitions/diva> Socials: <https://www.instagram.com/artscentremelbourne/> [Read more about the DIVA Collection!](https://thescoop.au/announcing-diva-exhibition-for-australian-museum-of-performing-arts-melbourne/) Hero image: Astrid Mulder **Categories:** Melbourne, Theatre --- ### [Review: Here You Come Again Hits Adelaide With Pure Dolly Joy](https://thescoop.au/review-here-you-come-again-hits-adelaide-with-pure-dolly-joy/) **Published:** December 10, 2025 **Author:** Genevieve Hudson **Content:** ![The Scoop Here You Come Again Polly Darton Musical Melbourne 2025](https://thescoop.au/wp-content/uploads/2025/07/Here-You-Come-Again-cast-credit-Cameron-Grant-copy-941x628.jpg "Here You Come Again Dolly Parton Musical Melbourne 2025 • The Scoop")Energetic, colourful, and fun are just a few words to describe the wholesome experience that is *Here You Come Again*, the Dolly Parton musical. Incorporating many of the best hits of Parton’s music, this juke-box musical comedy is packed with glitz, drama, sing-alongs. It also asks the age-old question: ‘What Would Dolly Do?’ Specifically adapted for Australian audiences by Fiona Harris and Mike McLeish after great success in the US and UK, Gabriel Barre’s direction of Bruce Vilanch and Tricia Paoluccio’s feel-good musical is sure to bring smiles and laughter to audiences of all ages. Invited into a chaotically colourful attic, we are introduced to aspiring comic Kevin (Dash Kruck), who has moved back to live with his parents in Bendigo during the COVID pandemic. Struggling with his many rolls of toilet paper and his uncertain purpose in life, Kevin turns to his teenage posters of Dolly Parton for advice. ![The Scoop Here You Come Again Perth Dolly Parton](https://thescoop.au/wp-content/uploads/2025/08/Tricia-Paoluccio-Dash-Kruck-and-cast-credit-Cameron-Grant-copy-943x628.jpg "Tricia Paoluccio Here You Come Again Perth • The Scoop")Energetic colourful and fun are just a few words to describe the wholesome musical experience Photo by Cameron GrantAs a representative of his inner voice, Dolly Parton (Tricia Paoluccio) helps to guide Kevin on finding some perspective and self-confidence through song and conversation. Materialising through posters, bathrooms and other apertures, Dolly’s presence is simply magical as she encourages everyone to: “stop looking in mirrors and start looking out windows.” The camaraderie of the cast is evident through the effortless transitions between the dialogue and music, and the flexibility of the ensemble around the leads. Paoluccio’s Dolly is warm and wonderful. She gives the impression that we are experiencing an evening with Dolly Parton as she shares little snippets of her life within the story. Her Fairy Godmother-like dynamic with Kevin is a delight to witness. ![The Scoop Here You Come Again Dolly Parton Musical Melbourne 2025](https://thescoop.au/wp-content/uploads/2025/07/Tricia-Paoluccio-and-Dash-Kruck-credit-Cameron-Grant-copy-942x628.jpg "Here You Come Again Dolly Parton Musical Melbourne 2025 • The Scoop")As Dolly Paoluccio is warm and wonderful giving the impression that we are experiencing an evening with Dolly Parton Photo by Cameron GrantKruck’s range in emotional energy and timing is marvellous and a striking contrast to Paoluccio’s calm presence. The versatility of Kelli Rode, Bailey Dunnage, and Laura Joy Bunting as various dancers, musicians, and minor characters adds colour and aids in expanding the boundaries of the world on stage. Rounding out the performance are the brilliant live musicians, often moving around with their instruments to suit the song. Led by Musical Director Andrew Worboys on piano, Ash Murdica on Guitar, Tina Harris on Bass, and Luke Herbert on Drums, they fantastically facilitate taking the audience back in time to the many familiar tunes. Full of stage magic and music, *Here You Come Again* presents a relatable story of life’s paths diverging and new avenues opening just when they’re least expected but most needed. With Dolly-inspiring dress encouraged, expect a joyful and touching theatrical experience. ***Here You Come Again* runs to 14 December at the Her Majesty’s Theatre. 58 Grote Street Adelaide SA 5000.** Tickets: <https://premier.ticketek.com.au/shows/show.aspx?sh=HEREYOU25> Website: <https://hereyoucomeagain.com.au/> Socials: <https://www.instagram.com/hereyoucomeagainaustralia/> [Read our review of the Melbourne Season!](https://thescoop.au/review-the-spirit-of-dolly-sparkles-in-here-you-come-again/) Photo credits: Cameron Grant **Categories:** Adelaide, Musical Theatre --- ### [Review: Harry Potter The Exhibition After Hours Melbourne](https://thescoop.au/review-harry-potter-the-exhibition-after-hours-melbourne/) **Published:** December 9, 2025 **Author:** Jesse Oey **Content:** ![The Scoop Harry Potter The Exhibition After Hours Event Melbourne](https://thescoop.au/wp-content/uploads/2025/12/KAS_7942_FinalEdit-942x628.jpg "Harry Potter The Exhibition After Hours Event Melbourne • The Scoop")Picture this: a tragic lifelong Potterhead, giddy with excitement at the entrance to Melbourne’s Fever Exhibition and Experience Centre, squealing at the sight of the iconic Platform 9 ¾ sign towering over the gate. That was exactly how I kicked off my *Harry Potter: The Exhibition – After Hours* experience, on a balmy Monday night this week. Touted as an interactive, immersive spectacle, this global touring exhibition is an absolute treasure trove. The brilliant brainchild of Imagine Exhibitions in partnership with Warner Bros Discovery, it boasts an abundance of authentic props, costumes and memorabilia spanning the franchise’s many incarnations. With *After Hours* curated for adults and missing its usual crowds, the evening was a subdued, intimate affair. The charming wonders of the Potterverse came alive with such precision and warmth. I took my time revelling in all its breathtaking sights and sounds that felt both surreal and familiar. Every part of its design encourages play, exploration and marvel. I explored Hagrid’s Hut and sat on his giant chair, I attended a Herbology class and pulled out a screaming Mandrake from its pot. I cast a few spells, looked into a crystal ball, and brewed a potion. And even came face-to-face with a dragon! ![The Scoop Harry Potter Exhibition After Hours Melbourne](https://thescoop.au/wp-content/uploads/2025/12/Harry-Potter-Exhibit-_-Franklin-Institute-_-Philadelphia-PA-_-Contigo-Photos-Films6962-942x628.jpg "Harry Potter Exhibition After Hours Melbourne • The Scoop")With *After Hours* curated for adults and missing its usual crowds the evening was a subdued intimate affair From getting sorted to one of the iconic Hogwarts Houses (Slytherin for me), traversing along the wizarding school’s corridors with its moving paintings, playing a game of Quidditch, to exploring the Forbidden Forest, it was impossible not to be overcome with childlike amazement. Faithful recreations of notable sets, like Harry’s cupboard under the stairs, the Chamber of Secrets vault complete with intertwining serpents, the green fireplace that leads to the Ministry of Magic, and Professor Dumbledore’s Pensieve, makes the experience tangibly authentic. Seeing the Deathly Hallows in real life was a definite highlight. The way in which the Invisibility Cloak was supposedly set up ‘on display’ right next to the Elder Wand and Resurrection Stone – albeit totally invisible – made me chuckle. Behind-the-scenes details peppered throughout the exhibits about real costumes, set pieces and other memorabilia from the franchise’s core movies and its spin-offs (the *Harry Potter and the Cursed Child* stage play and the *Fantastic Beasts* series) were the icing on the cake. ![The Scoop Harry Potter The Exhibition After Hours Melbourne](https://thescoop.au/wp-content/uploads/2025/12/HP_Muc_ThirdSelection-24_edited_FinalEdit-942x628.jpg "Harry Potter The Exhibition After Hours Melbourne • The Scoop")The quieter relaxed nature of the *After Hours* format complete with Potter themed cocktails allowed me to savour each momentThe quieter, relaxed nature of the *After Hours* 18+ format, complete with Potter-themed cocktails, allowed me to fully savour each moment. This was more than just an exhibition. For a fan like me, it was an opportunity to relive Harry Potter’s magical adventures through adult eyes, reuniting with the beloved characters and stories I grew up wishing I was a part of. Which felt bittersweet, given its creator’s increasingly complicated, controversial views on socio-political issues in the public sphere. Still, as I walked out of the venue, I couldn’t shake off that euphoric feeling of having witnessed pure magic. *Harry Potter: The Exhibition* was heartfelt, nostalgic, and deeply moving. It was a vivid reminder of why Harry Potter and his expansive universe continue to resonate across generations. An utterly bewitching experience. **Harry Potter: The Exhibition After Hours event ran on 8 December 2025 at Fever Exhibition and Experience Centre. 62 Dawson Street Brunswick Vic 3056. The exhibition is open until 1 February 2026.** Check the website for details of future events. Tickets are available [here](https://feverup.com/m/313020?cp_landing=cta_tickets&cp_landing_term=cta_tickets&cp_landing_source=melbourne.harrypotterexhibition&utm_source=direct&thm=2774). Website: <https://melbourne.harrypotterexhibition.com/> Socials: [https://www.instagram.com/harrypotter\_exhibition/](https://www.instagram.com/harrypotter_exhibition/) [Read more of our Latest Reviews!](https://thescoop.au/latest/) Images supplied. **Categories:** Melbourne, Theatre --- ### [Review: The Christmas Spectacular Delivers Joy, Wonder & Wow](https://thescoop.au/review-the-christmas-spectacular-delivers-joy-wonder-wow/) **Published:** December 7, 2025 **Author:** Wendy Samantha **Content:** ![The Scoop The Christmas Spectacular Michael Boyd and Prinnie Stevens](https://thescoop.au/wp-content/uploads/2025/12/Christmas-Spectacular_HR-89400-1-copy-942x628.jpg "The Christmas Spectacular Michael Boyd and Prinnie Stevens • The Scoop")Christmas was ablaze last night at the Palais Theatre in Melbourne, and what a night to remember it was! There truly was no better way to celebrate 2025 than under the stunning stage lights with Prinnie Stevens and Michael Boyd in *The Christmas Spectacular*. There’s always an air of magic in December as the festive season creeps upon us. We know what’s in store. Summer and ice cream, sandy beaches, yummy food, wrapping presents, seeing Santa, and spending time with those we love. Last night, a sea of excited families hustled around the edges of the iconic venue in St Kilda more than an hour before the event commenced. Decorated in elf ears, Christmas hats and all the bells and whistles, there was a surge of energy, noting brightly that the silly season was here. Whispers amongst the children were all about the big man making an appearance. Parents were all smiles knowing they were about to witness something special. But the happiest buzz of all was the joy in everyone’s step, knowing that they were going to witness magic and carols. And you definitely couldn’t ask for anything more! ![The Scoop The Christmas Spectacular Michael Boyd and Prinnie Stevens](https://thescoop.au/wp-content/uploads/2025/12/Christmas-Spectacular_HR-89187-copy-942x628.jpg "The Christmas Spectacular Michael Boyd and Prinnie Stevens • The Scoop")With flair and precision Prinnie encouraged the crowd and they clapped and sang alongWith the fabulous dancers leading the way, Prinnie Stevens made her entrance as the lights went up and the applause awakened every neighbouring suburb. She was divine in her vocals, which rang across the sky like the tinkling jingle of a sleigh. She brought such emotion and heartfelt words, all expressed so gracefully. With flair and precision, Prinnie encouraged the crowd, and they clapped and sang along. My eldest daughter actually noted at that point, “Mum, she’s like Mariah Carey!” Every year around this time I always blast out that Merry Christmas album, so I can tell you there was no better compliment! We then entered the story of *The Nutcracker*, but this was magical in a way that had never been done before. We had all sorts of tricks and illusions taking place. There were vanishing acts and surprises in boxes as the magnificent Michael Boyd took us on an entertaining journey. With the help of a princess friend from the crowd, Boyd was masterful in making you question what you were seeing, and tested your understanding of gravity, disappearance and the summoning of snow. The shape that you make with your mouth as you smile, stunned at what you have witnessed, is the ‘ow’ in the word wow! Hats off to Mr Boyd for giving that magical hope out to all the young families in the audience last night. There’s nothing more special than the gift of allowing one to believe dreams can come true. Especially during this time of year. ![The Scoop The Christmas Spectacular with Michael Boyd and Prinnie Stevens](https://thescoop.au/wp-content/uploads/2025/12/Christmas-Spectacular_HR-89738-copy-942x628.jpg "The Christmas Spectacular with Michael Boyd and Prinnie Stevens • The Scoop")There is nothing more special than the gift of allowing one to believe dreams can come true Hats off to Mr Boyd for giving that magical hope Heightening the show was the miraculous hula hoop act, for which every child in the audience will now request as a toy when they write out their Dear Santa letter! The hoops flew every which way with a luminous and glowing effect, as well as the slinky tricks. It was an absolute highlight. For a moment, my daughters and I felt we were in the land of the trolls, disco partying! “It’s just so creative, isn’t it?” my youngest daughter turned to me and said, beyond excited, during the fanned feather numbers. I’m sure I’m going to need to ask Santa for one of those as well. The show also features lyrapole spinning, swinging, and dangling. The entire audience at one point creates a sea of lights. It is the key to everything you wish for at Christmas time, with music for everyone and classic tunes you’ll walk out humming. *The Christmas Spectacular*, like its name, is a spectacular evening and a highlight event for families to enjoy together. What a way to start December! ***The Christmas Spectacular* ran for two shows only on 6 December at the Palais Theatre, Melbourne. It is now touring the country. See dates below.** Tickets are available at the website link. Website: <https://thechristmasspectacular.com.au/> Socials: [https://www.instagram.com/the\_christmas\_spectacular/](https://www.instagram.com/the_christmas_spectacular/) [Read more of our Theatre Reviews!](https://thescoop.au/theatre-reviews/) Images supplied. 2025 Australian Tour Dates: Newcastle 10 December, The Civic Theatre Brisbane 13 – 14 December, The Fortitude Music Hall Adelaide 17 December, Thebarton Theatre Sydney 19 – 21 December, State Theatre Canberra 22 – 23 December, Canberra Theatre Centre **Categories:** Melbourne, Theatre --- ### [Review: As You Like It Serves Magic, Music & Mischief](https://thescoop.au/review-as-you-like-it-serves-magic-music-mischief/) **Published:** December 9, 2025 **Author:** Jack Bengough **Content:** ![The Scoop As You Like It Melbourne Shakespeare Company](https://thescoop.au/wp-content/uploads/2025/12/As-You-Like-It-Photographer_-Nick-Robertson-2-941x628.jpeg "As You Like It Melbourne Shakespeare Company • The Scoop")This December, Melbourne Shakespeare Company brings its production of *As You Like It* to the rose garden in St Kilda Botanical Gardens. With a short run time and several jukebox musical numbers, this production has a clear aim to be accessible for younger audiences and those unfamiliar with Shakespeare. While still maintaining the original language and being backed by a strong cast and superb production design, *As You Like It* is a show for everyone. Entering the rose garden, the cast of *As You Like It* greet and banter with the audience through the pre-show. Some strum away on acoustic guitars and play percussion instruments. The environment is immediately very whimsical. When the show begins, the entire cast bursts into song. They first performed *Roam* by The B-52s (which is still stuck in my head as I write this) and *Material Girl* by Madonna. This is, of course, rather surprising if you are walking in blind to a production by Shakespeare. But working these contemporary songs into the performance is all part of the goal: making it as accessible to as broad an audience as possible. Earlier this year, when Melbourne Shakespeare Company put up an adaptation of *Othello*, it was a show aimed at audiences already familiar with the text, diving deeply into the themes to generate new perspectives and ideas. Comparatively, *As You Like It,* directed by Annabelle Tudor, effectively does the opposite, truncating the original text into a 90-minute production. It strips away most of the subplots and abridges some scenes with musical numbers to give the audience a telling of the original that is as focused and direct as possible. ![The Scoop As You Like It Melbourne Shakespeare Company](https://thescoop.au/wp-content/uploads/2025/12/As-You-Like-It-Photographer_-Nick-Robertson-1-943x628.jpeg "As You Like It Melbourne Shakespeare Company • The Scoop")The entire ensemble is incredibly strong and the fun they have on stage is shared with the audience Photo by Nick RobertsonThe decision to adapt the story in this way certainly pays off, because *As You Like It* shapes up to be quite the entertaining romp. These musical segments are even some of the best parts of the very entertaining show. The entire cast flexes their musical skills, even taking up instruments such as guitars, flutes and saxophones. Getting properly into the show, we are introduced to the world of *As You Like It*, where the Duke Frederick (Emma Woods) has banished their sibling Duke Senior (also played by Emma Woods) from the kingdom. Senior’s daughter, Rosalind (Kirby Lunn), is allowed to stay in the kingdom as she is best friends with Frederick’s daughter Celia (Luisa Scrofani). Rosalind meets Orlando (Harley Dasey), and they fall in love at first sight. But an enraged Frederik banishes Rosalind from the kingdom. Now in the forest, Rosalind disguises herself as a man, and she and Celia are joined with the fool Touchstone (Jamie Garner) as they journey to find Rosalind’s mother. Little do they know that Orlando is also in pursuit of them, determined to find his love. What ensues from here is a farcical comedy of lost lovers attempting to find their betrotheds as Rosalind and co encounter various colourful characters in the forest. ![The Scoop As You Like It Melbourne Shakespeare Company](https://thescoop.au/wp-content/uploads/2025/12/As-You-Like-It-Photographer-Nick-Robertson-941x628.jpeg "As You Like It Melbourne Shakespeare Company • The Scoop")The outdoor staging suits this production perfectly as the audience is fully immersed in the forest setting Photo by Nick RobertsonSpecial mention must go to the supporting cast. They include Emma Austin, Gareth Isaac, Imogen Rabbitte, Sebastian Li, Sonya Suares, Yuan Lu and Corey Saylor-Brunskill. Most of these performers play multiple roles throughout the show. The entire ensemble is incredibly strong, and the fun they have on stage is shared with the audience. Staging the show outdoors in the St Kilda Botanical Gardens is hardly a choice treated as a second thought, either. The set, designed by Ishan Vivekanantham, fits itself around the garden and the pavilion in its centre. There’s a slick set change in the middle of the show to differentiate the kingdom setting from the forest setting. The space is well utilised by the performers as well. During the scenes taking place on the main stage, the audience can see the other performers still in character moving through the rose garden in the background. This adds a layer of depth and texture to the performance. The outdoor staging suits this production perfectly, as the audience is fully immersed in the forest setting. For the 7pm show, the entire performance is naturally lit, with the last bits of sunlight disappearing just as the cast take their final bows. With a thoughtful consideration towards the young and uninitiated, Melbourne Shakespeare Company’s *As You Like It* is a perfect choice for a night out with friends and family. Bring along snacks and drinks and enjoy the show regardless of your familiarity with Shakespeare. ***As You Like It* is presented by Melbourne Shakespeare Company and runs to 21 December in the St Kilda Botanic Gardens. Enter the Rose Garden via Corner Tennyson and Blessington Streets, St Kilda Vic 3182.** Tickets: <https://www.trybooking.com/events/landing/1485432?> Website: <https://www.melbourneshakespeare.com/as-you-like-it> Socials: <https://www.instagram.com/melbourneshakespeare/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Nick Robertson **Categories:** Melbourne, Theatre --- ### [Review: Born On A Thursday Finds Grace In The Everyday](https://thescoop.au/review-born-on-a-thursday-finds-grace-in-the-everyday/) **Published:** December 4, 2025 **Author:** Lisa Parsons **Content:** ![The Scoop Born on a Thursday Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2025/12/A2A2754-942x628.jpg "Born on a Thursday Old Fitz Theatre • The Scoop")Thursday’s child has far to go, and sometimes, that means coming full circle back to your family home. New Ghosts Theatre Company’s latest production, *Born On A Thursday*, offers a window into the pain and joy of ordinary life amidst tragedy, homecoming, and multiple pots of tea. The play tells the story of a broken ballerina’s return to her mother’s house after four years abroad. The home she left behind is, at once, unchanged and yet completely different. Her brother’s football accident has left him with a traumatic brain injury. Her estranged mother has doubled down on what she does best – doggedly pushing through and keeping on. Sharon Millerchip lives and breathes the role of Ingrid, the tough but dedicated mother. Her unrelenting energy, pace and emotional range take the audience on a journey that leaves its imprint long after the closing bows. Through her, we get an insight into the reality of caring for a child with a disability. It’s both heartbreaking and beautiful to watch the ups and downs of their relationship as her son lives a different life from what she’d imagined for him. ![The Scoop Born on a Thursday Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2025/12/A2A3881-942x628.jpg "Born on a Thursday Old Fitz Theatre • The Scoop")Sharon Millerchip lives and breathes the role of Ingrid the tough but dedicated mother Photo by Phil ErbacherJames Lugton plays the down-to-earth and tragic-in-his-own-right neighbour, Howard, with authenticity and warmth. Howard is clearly more emotionally involved in Ingrid and her children’s lives than he wants to admit. Lugton’s calm, natural energy on stage and the clear chemistry between Ingrid and Howard have you rooting for him from start to finish. Sofia Nolan takes on the role of April, the repressed and broken ballerina. Owen Hasluck creates a believable and loveable Isaac. Deborah Galanos brings some wine-fuelled comic relief as Ingrid’s mate, Estelle. Each character is trapped in a prison of their own repression. Words unsaid, desires unadmitted, dreams unrealised, and futures uncertain. As the play progresses, the truth is squeezed out of each of them until they all reach a better place within themselves and with each other. ![The Scoop Born on a Thursday Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2025/12/A2A2553-942x628.jpg "Born on a Thursday Old Fitz Theatre • The Scoop")Each character is trapped in a prison of their own repression Photo by Phil ErbacherVery cleverly staged and directed by Lucy Clements, the action takes place in a kitchen and dining room with a view into the garden. Jack Kearney’s evocative script is authentically grounded in Australian language and references from the late ’90s. While the action did move a bit slowly at times, and the script and dramatic pauses could perhaps use some tightening, it does effectively take you back in time to a familiar and nostalgic landscape. Over the course of two acts, this domestic drama celebrates resilience, the small things in life, and the leathery durability of unconditional love. *Born On A Thursday* is a production worth seeing to understand that a life doesn’t need to be flashy or famous to matter. Every person experiences their own pain, no matter how big or small. And in their world and to their loved ones, it matters. ***Born On A Thursday* is presented by New Ghosts Theatre Company and runs to 21 December at Old Fitz Theatre. 129 Dowling Street Woolloomooloo NSW 2011.** Tickets: <https://www.oldfitztheatre.com.au/book-now> Website: <https://www.oldfitztheatre.com.au/born-on-a-thursday> Socials: <https://www.instagram.com/oldfitztheatre/> and <https://www.instagram.com/newghoststheatrecompany/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Phil Erbacher **Categories:** Sydney, Theatre --- ### [Review: Beautiful Thing Breaks & Heals In The Same Breath](https://thescoop.au/review-beautiful-thing-breaks-heals-in-the-same-breath/) **Published:** December 8, 2025 **Author:** Caitlin Green **Content:** ![The Scoop Beautiful Thing Company of Dramatic Arts CODA Qtopia](https://thescoop.au/wp-content/uploads/2025/12/W3A7043-942x628.jpg "Beautiful Thing Company of Dramatic Arts CODA Qtopia • The Scoop")Jonathan Harvey’s Beautiful Thing, presented by Company of Dramatic Arts (CODA), is a story of love, love that prevails against all odds. Set in a rundown London housing estate, we glimpse the lives of five people fighting for themselves and for each other. Jamie is shy and struggles at school. His best friend, Leah, was expelled and now drifts through life with a mother who barely acknowledges her existence. The boy next door, Ste, is beaten black and blue at home, and Sandra, Jamie’s mother, is just doing her best. This is a challenging play with deeply sensitive subject matter, and director Finn Stannard captains it all with a gentle, loving hold. The cast delivers grounded and heartfelt work across the board. Poppy Cozens as Leah is a hurricane of energy that fills every corner of the room. Willa King adds razor-sharp comedic timing and a fully realised complexity to Sandra. ![The Scoop Beautiful Thing Company of Dramatic Arts CODA Qtopia](https://thescoop.au/wp-content/uploads/2025/12/IMG_0275-942x628.jpg "Beautiful Thing Company of Dramatic Arts CODA Qtopia • The Scoop")The cast delivers grounded and heartfelt work across the board Photo by Alexandra TiernanMichael Hogg offers a gentle and grounding presence as Tony. Max Dÿkstra is understated and brilliant. His Ste is a well of grief, resilience and eventually love. And at the centre of it all, Jake Walker is extraordinary. His Jamie is so innocent and tender that you feel every inch of him. All his fear and longing and hope. The chemistry between Max and Jake is off the charts. Their quiet two-handers in Jamie’s bedroom provide moments of reprieve from the harshness of the world outside. Stannard honours the masterful writing of Jonathan Harvey by giving these moments space to breathe. Against all odds, the boys become each other’s lifeline. It’s the universal, uncorrupted feeling of first love that feels somehow nostalgic. It reminds you of what love is before the world complicates it, or maybe because the world complicates it. ![The Scoop Beautiful Thing Company of Dramatic Arts CODA Qtopia](https://thescoop.au/wp-content/uploads/2025/12/IMG_0341-942x628.jpg "Beautiful Thing Company of Dramatic Arts CODA Qtopia • The Scoop")The play reminds you of what love is before the world complicates it Photo by Alexandra TiernanQtopia is the perfect home for a work like this. It is a venue dedicated to championing queer stories, a living archive of queer history. Walking through its exhibits before entering the theatre enriches the experience and grounds the story in lived reality. *Beautiful Thing* was written more than 30 years ago. Watching it now gives some perspective on how far we have come in terms of queer rights in such a short period of time. It is also devastating to realise how recently it was that two men couldn’t marry. *Beautiful* Thing holds both hope and heartbreak in equal measure. It is already close to selling out, so get in fast. ***Beautiful Thing* is presented by Company of Dramatic Arts and runs to 13 December at The Loading Dock Theatre, Qtopia. 301 Forbes Street Darlinghurst NSW 2010.** Tickets: <https://events.humanitix.com/beautiful-thing> Website: <https://www.companyofdramaticarts.com/> Socials: [https://www.instagram.com/qtopia\_sydney/](https://www.instagram.com/qtopia_sydney/) and <https://www.instagram.com/companyofdramaticarts/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Alexandra Tiernan **Categories:** Sydney, Theatre --- ### [Review: The Jackson Mack Big Band & Millie Sarah](https://thescoop.au/review-the-jackson-mack-big-band-millie-sarah/) **Published:** December 7, 2025 **Author:** Amy Hyde **Content:** ![The Scoop The Jackson Mack Big Band Millie Sarah Christmas](https://thescoop.au/wp-content/uploads/2025/12/Jackson-Mack-Christmas-Party-Group-5-941x628.jpg "The Jackson Mack Big Band Millie Sarah Christmas • The Scoop")For the second consecutive year, The Jackson Mack Big Band and award-winning vocalist Millie Sarah joined forces, this time to deliver a truly magical Christmas celebration. For one show only last night, the Norwood Hotel was decked in tinsel and lights that set the festive scene. Jackson Mack arranged an incredible program that included 17 of Adelaide’s finest musicians, which was heavily influenced by jazz greats like Thad Jones, Billy May, and Duke Ellington. Millie’s soulful voice and dynamic stage presence added a captivating layer to the evening that was able to bring both classic and reimagined Christmas tunes to life. With such creativity, skill, and energy on display, it is clear that the future is bright for the South Australian music industry. The Jackson Mack Big Band opened the show with a reimagined version of Duke Ellington’s *Nutcracker Suite* that effortlessly blended classical music with jazz. Jackson introduced each song with a witty back story that allowed him to build an easy rapport with the audience. During the performance, instrumental solos from Lachlan McGargill on Clarinet, Harrison Smith on Trumpet, and Thomas Pulford on Saxophone were chill-inducing. Each one offered a moment to highlight the remarkable talent within the band. The first set ended with an electrifying cover of Duke Ellington’s *Arabesque Cookie* that left the crowd buzzing with excitement for what was to come. ![The Scoop The Jackson Mack Big Band Millie Sarah Christmas](https://thescoop.au/wp-content/uploads/2025/12/Jackson-Mack-Christmas-Party-Group-23-942x628.jpg "The Jackson Mack Big Band Millie Sarah Christmas • The Scoop")For the second consecutive year The Jackson Mack Big Band and award winning vocalist Millie Sarah joined forcesThe energy from the first set continued well into the second as Jackson welcomed Millie Sarah on stage to perform a collection of Christmas classics as well as a fresh take on some familiar tracks. The audience was transfixed by the beautiful way in which Millie’s voice complemented the band. Her ability to effortlessly hold notes and shift her tone to perfectly fit each song’s mood was extraordinary. I am unashamed to admit that her entrancing delivery of *Have Yourself a Merry Little Christmas* brought a tear to my eye. A personal highlight of the night was the imaginative performance of *Christmas is a Girl’s Best Friend*, a festive revision of Carol Channing’s *Diamonds are a Girl’s Best Friend*. The playful and witty lyrics had the audience laughing along. Judging by the smiles on every face in the room, it was obvious just how much fun everyone was having. As Jackson thanked Millie, the band, and everyone in the room for making the night possible, the crowd cheered for an encore. It was here that they were given the biggest surprise of the night. Christmas crackers were brought on stage for the band to pull for a chance to win a solo in the final song. As the first notes of *Jingle Bells* played, we knew we were in for a treat. Once Millie rounded out the first chorus, the winners stood to deliver an entrancing set of improvisations that brought the night to a joyful close. I look forward to seeing what they have in store for next year’s concert. **The Jackson Mack Big Band and Millie Sarah performed for one night only on 6 December 2025 at The Norwood Hotel.** Keep an eye out for future performances on their socials. Socials: <https://www.instagram.com/jacksonmack0/> Socials: <https://www.instagram.com/milliesarahmusic/> [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Photo credits: Vipop Productions **Categories:** Adelaide, Concerts --- ### [How Back To The Future Turned Axel Duffy Into A Leading Man & A True Crowd Favourite](https://thescoop.au/how-back-to-the-future-turned-axel-duffy-into-a-leading-man-a-true-crowd-favourite/) **Published:** December 7, 2025 **Author:** Sarah Skubala **Content:** ![The Scoop Back to the Future Axel Duffy](https://thescoop.au/wp-content/uploads/2025/12/Back-to-the-Future-The-Musical_credit_Daniel-Boud_080_JZedit-941x628.jpg "Back to the Future Axel Duffy • The Scoop")*Back To The Future* was one of the most exciting musicals to hit the Australian stage in 2025. It gathered rave [reviews](https://thescoop.au/review-back-to-the-future-brings-gigawatt-energy-to-australia/) after opening in Sydney in October, and has been embraced as one of the most visually spectacular productions to ever hit the stage across the world. Last month though, it was [announced](https://limelight-arts.com.au/news/back-to-the-future-to-close-early-plans-for-national-tour-scrapped/) that the show will not be touring in 2026 as originally hoped, and will now close on 25 January. High operating costs and softer than expected ticket sales were the reasons cited. As the production heads into its final months, The Scoop sat down with Axel Duffy, who plays the time travelling teen, Marty McFly. Axel talks all things *Back To The Future*, including the power the musical has had to bring in new audiences and the joy of working with Roger Bart. Read the full interview below. **Have you had time to reflect on the experience of playing Marty in the Australian premiere of *Back To The Future?*** It’s been pretty busy, so I don’t think I’ve quite hit reflection yet. But I do get a few ‘pinch me’ moments every night, which is cool. Whether that be doing something in the car that I never imagined I would do on a stage, or being opposite Roger Bart when he is giving an acting masterclass, when he has an audience in the palm of his hand. So there are a few what I would call ‘pinch me’ moments that I’m really glad I get to soak up every night. I think when this is over, and I get to properly sit down and catch my breath a little bit, they’re the things I’ll reflect on. **What was your connection to the show or the original film?** It’s my dad’s favourite movie. He shared it with me when I was about 12 years old and I loved it. It’s always been on my list of Top Five movies. When I first saw it, I was so obsessed with Michael J. Fox and just how cool he was. Every morning for about two weeks after seeing it, I’d get up and get ready for school, and as we got into the car, I would run towards it and try to slide over the bonnet. And my Dad would say, “Don’t do it!” So it was a cool, full-circle moment when my parents came to see the show, and my dad got to see me slide over the DeLorean. ![The Scoop BACK TO THE FUTURE The Musical Sydney](https://thescoop.au/wp-content/uploads/2025/10/BTF_ProductionPhoto_credit_Daniel-Boud_198-964x628.jpg "BACK TO THE FUTURE The Musical Sydney • The Scoop")Roger Bart and Axel Duffy as Doc Brown and Marty McFly Photo by Daniel Boud**I love that. One of the elements of the story is the intergenerational friendship and mentor relationship between a young man, Marty, and a scientist. Have there been any of those moments offstage as well, working opposite Roger Bart? He has played Doc Brown on the West End and Broadway and I expect he brings a lot of experience with him**. Oh, constantly. I think ‘mentor’ is a great way to put it. He’s been so, so generous with me. He came out for the entire rehearsal period. So often, an international who’s done the show a thousand times won’t come out and rehearse a show they know back to front. But he made the effort because he wanted to build a relationship with me and build our version of the show. And that kind of generosity has continued. I could not put into words how much that man has taught me, directly or indirectly. Just getting to watch what he does, because he’s a master of the craft, he’s a legend for a reason. This is possibly the best bit. I’ve never met anyone who has so quickly understood the best places to eat in a city, and he will share that so freely. I love a lot of the 70s and 80s rock music that we get to experience in the show. And I’ve been trying to delve a little deeper into that. He’s an absolute dictionary on 70s and 80s rock music. Almost every night, he’ll come into my dressing room before the show and say, “I found another song you probably haven’t heard of yet. It was on the B side of this vinyl I bought, but this was one of my favourite songs.” So he’s always playful. But I think he’s just really passionate about sharing what he knows, whether that be on stage or off. And it’s really beautiful. ![The Scoop BACK TO THE FUTURE The Musical Australian Premiere Sydney](https://thescoop.au/wp-content/uploads/2025/10/Back-to-the-Future-The-Musical_credit_Daniel-Boud_173_JZEdit-941x628.jpg "BACK TO THE FUTURE The Musical Australian Premiere Sydney • The Scoop")Axel Duffy as Marty McFly Photo by Daniel Boud**I love hearing that. Let’s talk a little bit about the audiences and what they’ve been like. Have you had any stage door moments or fan encounters that you can share?** I’ve never been a part of a show that people have been so outwardly passionate about. There will be 8, 9 and 10 year olds dressed up as Marty, and their parents will be dressed up as well. It’s been a beautiful experience to see how the movie has spanned generations and brought people together. Theatre can seem quite exclusive or daunting for those who haven’t gone before or aren’t really familiar with it. A show like this allows people to take a risk and to feel a little safer coming along. That’s been really cool to see: people experiencing that magic for the first time. **You are a WAAPA graduate, and we are at that time of year when auditionees are receiving their drama school offers. Not everyone, of course, will receive an offer. I wondered if you have any advice for people doing the audition circuit who might be facing next year with no firm plans?** This one pops up quite often at our matinee Q&As, and what I always like to say is, yes, I went to drama school. I needed three years, and then, to be honest, a little bit more time to figure out what I was doing. But I’ve got so many friends and colleagues who came about being in theatre in a different way. Obviously, drama school is a full-time course and a great way to train and practice the craft. But it’s not the only way. I think the biggest thing I got from uni was that I got to see more theatre. That, to me, is the best training ground. Obviously I needed to practice my singing, I needed to learn how to dance. It’s great to study acting. But the best thing I got from my time at uni was an opinion on theatre. ![The Scoop Back to the Future Axel Duffy](https://thescoop.au/wp-content/uploads/2025/12/fcce5d69-f6b4-4aed-b888-c379e3bdcdff-cp-502x628.jpg "Back to the Future Axel Duffy • The Scoop")Axel DuffyAnd the great thing is, that’s not exclusive to a drama school, you can do that anywhere. You can be putting on independent theatre. You can be doing readings of plays and musicals in your living room with friends. It doesn’t matter what school you go to. I think there are really successful people who have come out of all of them. And that shows that it’s not necessarily the school you go to, it’s the work you’re willing to put in while you’re there. The last thing I’ll say is, the most important thing about theatre is to be passionate about it. Because it’s really hard to do. You talk about people looking towards next year and maybe not having anything lined up. Well, I’m the same. That part doesn’t change. So it’s got to be something you are passionate about. And you have to keep that alive as much as you can. A lot of us have done professional theatre that we probably weren’t passionate about. And it’s a hard situation, because you’re not doing your best work. So as much as you can, stay excited and curious about it, and I think you’ll succeed no matter what route it takes to get there. **That is such beautiful advice. I’d like to end with something we ask everyone we talk to. Are there any shows or roles on your bucket list?** Marty McFly was pretty high up on that bucket list. I love *The Outsiders*, I’ve loved the movie, I’ve loved the novel. I haven’t seen a full version of the musical yet. But from everything I’ve listened to, it’s a really cool adaptation of that. So that’s on the bucket list. I’ve also always wanted to do *West Side Story*. What kind of scares me, and I think it’s exciting as well is, I’d love to do a two-person play. Coming into this show, I get a lot of scenes with one other character, and I’d love the chance to just sit in those moments for a little bit longer doing something like that. ***Back To The Future: The Musical* runs to 25 January 2026 at the Lyric Theatre Sydney.** **55 Pirama Road Pyrmont NSW** **2009.** Tickets: <https://backtothefuturemusical.com.au/tickets/sydney/> Website: <https://backtothefuturemusical.com.au/> Socials:<https://www.instagram.com/bttfmusicalau/> [Read our review of Back To The Future](https://thescoop.au/review-back-to-the-future-brings-gigawatt-energy-to-australia/) Photo credits: Daniel Boud **Categories:** Features --- ### [Anastasia Musical Announced For Adelaide In August 2026](https://thescoop.au/anastasia-musical-announced-for-adelaide-in-august-2026/) **Published:** December 7, 2025 **Author:** Newsroom **Content:** ![The Scoop Anastasia Musical Australian Premiere Georgina Hopson](https://thescoop.au/wp-content/uploads/2025/08/A7309760-942x628.jpg "Anastasia Musical Australian Premiere Georgina Hopson • The Scoop")Producers John Frost for Crossroads Live and Opera Australia are delighted to announce that Broadway musical **ANASTASIA** will premiere at the Festival Theatre in **Adelaide** from **August 2026**. The highly anticipated musical makes its Australian debut this month at Melbourne’s glorious Regent Theatre before travelling to Crown Theatre Perth in March and Sydney’s Lyric Theatre in April 2026. The cast for this eagerly-awaited musical includes **Georgina Hopson** as Anya, **Robert Tripolino** as charming con artist Dmitry, **Joshua Robson** in the role of antagonist Gleb, **Rodney Dobson** as Vlad, th emuch-loved **Rhonda Burchmore** as Countess Lily and theatre icon **Nancye Hayes** **AM** in the role of the Dowager Empress. **Georgina Hopson** said: *“I just can’t wait to share the magic of **ANASTASIA** with Adelaide audiences. It’s a beautiful story to be immersed in, accompanied by iconic songs that invoke a nostalgic feeling of our shared childhood including Once Upon a December and Journey to the Past.”* **Watch our first look performance with Georgina Hopson as Anya [here](https://www.instagram.com/p/DR6-M_Vkvv4/)!** The ensemble cast members include Sophia Bae, Elliot Baker, Billy Bourchier, Nicholas Cunningham, Davis Giotopoulos Moore, Todd Goddard, Stephanie Kurlow, Keian Langdon, Bella Minniti, Nathan Stafford, Alexis Van Maanen, Annie Wilson, Deone Zanotto, and Andrea Zappacosta. The Swings team features Manon Gunderson-Briggs, Iosefa Laga’aia, Nathan Pinnell and Emma Russell. Inspired by the mysterious tale of Grand Duchess Anastasia Romanov’s rumoured escape in the dawning days of the Russian Revolution, the story comes to life with intrigue and wonder. Based on the 1997 Oscar-nominated animated film of the same name, it brings that beloved world to the stage. ANASTASIA has been brought to life by the Tony Award-winning creative team of Terrence McNally, Stephen Flaherty and Lynn Ahrens. **ANASTASIA** is a lavish musical for all ages. It transports audiences from the twilight years of the Imperial rule to the euphoria and exuberance of Paris in the 1920s. The story sees a brave young woman named Anya setting out to discover the mystery of her past. Pursued by an army officer determined to silence her, she enlists the aid of a dashing conman and a loveable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family. Directed by Tony Award winning director Darko Tresnjak**, ANASTASIA** premiered on Broadway in March 2017. It received a Tony Award nomination for Best Costume Design in a Musical. It also won more than 15 major international awards including Best Musical awards in Germany, the Netherlands and Spain. The book for **ANASTASIA** was written by the late five-time Tony Award-winning writer Terrence McNally. His credits include *Love! Valour! Compassion!, Master Class, Kiss of the Spider Woman* and *Ragtime.* Music and lyrics for **ANASTASIA** were written by the renowned writing team of Stephen Flaherty and Lynn Ahrens. They have been referred to as “one of the greatest songwriting teams in Broadway history.” (*Chicago Tribune*). **ANASTASIA premieres at the Regent Theatre, Melbourne from 20 December 2025.** **It will transfer to the Crown Theatre [Perth](https://anastasiathemusical.com.au/tickets/perth/) from March, the Lyric Theatre [Sydney](https://anastasiathemusical.com.au/tickets/sydney/) from April and the Festival Theatre from August 2026.** Tickets: <https://anastasiathemusical.com.au/tickets/adelaide/> Website: <https://anastasiathemusical.com.au/> Socials: <https://www.instagram.com/anastasiathemusicalau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. Watch our first look performance with Georgina Hopson as Anya [here](https://www.instagram.com/p/DR6-M_Vkvv4/)! **Categories:** News --- ### [Review: The Nutcracker Ends Its Era In A Flurry Of Festive Magic](https://thescoop.au/review-the-nutcracker-ends-its-era-in-a-flurry-of-festive-magic/) **Published:** December 6, 2025 **Author:** Isabella Visser **Content:** ![The Scoop The Nutcracker Queensland Ballet 2025 Lyric Theatre QPAC](https://thescoop.au/wp-content/uploads/2025/12/Neneka-Yoshida-Snow-QueenEdison-Manuel-Snow-Prince-photo-David-Kelly013A4091-942x628.jpg "The Nutcracker Queensland Ballet 2025 Lyric Theatre QPAC • The Scoop")Queensland Ballet is welcoming in the festive season with a dreamy sense of whimsy and wonder in *The Nutcracker*. Join Clara on her fantastical adventure across the Lemonade Sea to the Kingdom of Sweets. Enjoy meeting her magical new friends as they entertain with spectacular performances set to Tchaikovsky’s timeless score. This legendary show, choreographed by the incredible Ben Stevenson OBE, has been a Christmas staple at Queensland Ballet since 2013. The company is reimagining *The Nutcracker* for the 2026 season with new choreography by Derek Deane OBE, so this year will be the final chance to see Stevenson’s epic vision come to life. *The Nutcracker* inspires awe from its opening scenes at the Stahlbaum’s Christmas Eve Party. The gorgeous set design by Thomas Boyd is vibrant and glows with the cosiness of a classic winter Christmas. It’s easy to follow the amusing and familiar customs of a family get-together, even without the verbal cues. From the childish fights and the annoyed parents to the hilariously excitable grandparents getting into mischief. With so many charming intimate moments happening all at once, the scene is busy with fun and festive cheer. On opening night, Jessica Stratton-Smith portrayed Clara with immense enthusiasm that perfectly captured the playfulness and innocence of a childhood Christmas. ![The Scoop Queensland Ballet The Nutcracker 2025 Lyric Theatre QPAC](https://thescoop.au/wp-content/uploads/2025/12/Vito-Bernasconi-Dr-Drosselmeyer-Jessica-Stratton-Smith-as-Clara-Photo-David-Kelly-013A3769-855x628.jpg "Queensland Ballet Nutcracker 2025 Lyric Theatre QPAC • The Scoop")Jessica Stratton Smith alongside Vito Bernasconi as Clara and Dr Drosselmeyer Photo by David KellyAfter the mysterious magician Dr Drosselmeyer gifts Clara a wooden Nutcracker, she gracefully leaps across the stage holding the toy up in the air with a delightful eagerness. As Drosselmeyer, Vito Bernasconi’s confident and intimidating approach commands the audience’s attention through his sharp and swift movements. Clara awakes at midnight to giant mice attacking her but is rescued by her valiant Nutcracker and his soldiers in an exciting dance battle. He duels with the frightening Rat King in an intense clash of swords alongside a corps de ballet of giant rodents. Meanwhile, toy soldiers echo their movements in the background. This surprisingly funny scene is an unexpected highlight. The real showstopper is the Land of Snow sequence, which stars Neneka Yoshida and Edison Manuel as the Snow Queen and Prince. The stage transforms into a glistening winter wonderland with snow-covered pine trees and delicate snowflakes covering the ground. Yoshida and Edison move with a mesmerising and purposeful elegance; their smooth jumps land like the softness of snowfall. Joined by the beautiful Snowflake dancers in their flowing tulle skirts, it feels like stepping into a fairytale. It’s the perfect ending to Act I. The snowy magic even sprinkles down into the audience. It’s in Act II that the Queensland Symphony Orchestra, led by Music Arranger and Conductor Nigel Gaynor, really shine with Tchaikovsky’s intricate score. Upon arriving at the Kingdom of Sweets, Clara is treated to desserts and beautiful performances. ![The Scoop Queensland Ballet The Nutcracker 2025 Lyric Theatre QPAC](https://thescoop.au/wp-content/uploads/2025/12/Ryan-Thomson-King-Rat-Photo-David-Kelly-013A4026-806x628.jpg "Queensland Ballet The Nutcracker 2025 Lyric Theatre QPAC • The Scoop")The exciting dance battle with the Rat King is an unexpected highlight Photo by David KellyStratton-Smith eagerly skips around the towering Mother Ginger alongside the children that stream from the lady’s impressively large skirt in a jolly display of energy. The audience erupted in bewildered laughter when the skirt opened to reveal Mother Ginger on pointe in crimson ballet slippers. It is an incredible display brought to life by the genius Costume Designer Desmond Heeley. The Waltz of the Flowers is a gorgeous sequence of synchronicity and elevation. The dancers are a twirling bouquet of spring colours and layered tulle in this magnificent performance featuring many impressive feats of balance. The show’s epic conclusion, which includes the Dance of the Sugar Plum Fairy, is simply stunning. The ethereal pas de deux between Chiara Gonzalez as the Sugar Plum Fairy and Edison Manuel as the Nutcracker Prince is a spectacular display of skill and talent. Filled with magic and cheer, Queensland Ballet’s *The Nutcracker* is the best way to start the festive season. This classic Christmas tale is a gift to the senses, with enchanting music, gorgeous costumes, and dazzling dances all packaged into a heartwarming story. ***The Nutcracker* is presented by Queensland Ballet and runs to 13 December at the Lyric Theatre, QPAC.** Tickets: <https://queenslandballet.n.qtix.com.au/tickets/series/qbthenutcracker25> Website: <https://www.queenslandballet.com.au/performances/2025/the-nutcracker> Socials: <https://www.instagram.com/qldballet/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Photo credits: David Kelly Sign the petition to help Queensland Ballet receive funding parity from the Australian government: <https://www.megaphone.org.au/petitions/parity-is-the-pointe> **Categories:** Brisbane, Dance --- ### [Review: Dial M For Murder Crackles With Hitchcockian Tension](https://thescoop.au/review-dial-m-for-murder-crackles-with-hitchcockian-tension/) **Published:** December 6, 2025 **Author:** Benjamin Webb **Content:** ![The Scoop Dial M For Murder Ensemble Theatre](https://thescoop.au/wp-content/uploads/2025/12/DIAL_M_FOR_MURDER_Anna-Samson-and-Garth-Holcombe_A2A6273-942x628.jpg "Dial M For Murder Ensemble Theatre • The Scoop")The strangest thing about thrillers is the way they turn us into amateur detectives the moment the lights go down. In Ensemble Theatre’s *Dial M For Murder*, I found myself leaning forward before a single word was spoken, bracing for the inevitable twist I knew was coming, just not when or how. Frederick Knott’s *Dial M for Murder* premiered on BBC Television in 1952 before moving to the West End, where its intricate ‘inverted mystery’ structure quickly made it a hit. Just two years later, Alfred Hitchcock immortalised it on film, introducing Grace Kelly to the world and cementing the play as a masterclass in suspense. Knott would go on to write only a handful of works, *Wait Until Dark* among them, before retiring on the proceeds of his perfectly constructed thriller. Jeffrey Hatcher’s 2014 adaptation breathed new life into the piece, most notably by transforming the lover character Max into Maxine, adding complexity and urgency to Margot’s desire – and risk. Tony Wendice has a plan. A meticulous, cold-blooded plan. His wife Margot’s staggering inheritance is too tempting, and her secret affair with Maxine gives him all the leverage he needs. But when the ‘perfect murder’ goes spectacularly wrong, Tony must scramble to rewrite the narrative, outsmart the authorities, and keep his freedom intact. To reveal anything more would be a crime in itself. ![The Scoop Dial M For Murder Ensemble Theatre](https://thescoop.au/wp-content/uploads/2025/12/DIAL_M_FOR_MURDER_David-Soncin-and-Garth-Holcombe_A2A5810-942x628.jpg "Dial M For Murder Ensemble Theatre • The Scoop")Ensemble Theatres production is a delicious pressure cooker of charm deceit and elegant dread Photo by Phil ErbacherThe first thing that strikes you about Mark Kilmurry’s production is how fun it all is. Not frivolous fun. Wicked fun. The kind that creeps up the spine. It’s a delicious pressure-cooker of charm, deceit, and elegant dread. I left the theatre grinning, astonished by how such a familiar story could still deliver fresh jolts of surprise and suspense. Director Mark Kilmurry delivers a razor-sharp staging that honours Knott’s flawless mechanics while embracing Hatcher’s modernised dynamics. In particular, the gender swapped lover reorients the emotional turmoil in glorious fashion, and Kilmurry leans into this with precision and empathy. Anna Samson is superb as Margot Wendice, grounding the entire production with intelligence, vulnerability, and steel. The stakes of her affair with Maxine feel urgent and dangerous in ways that deepen the original play. Madeleine Jones is a luminous Maxine Hadley. She is warm, self-assured, and quietly formidable. The scenes between the two of them are sweet and endearing. ![The Scoop Dial M For Murder Ensemble Theatre](https://thescoop.au/wp-content/uploads/2025/12/DIAL_M_FOR_MURDER_Garth-Holcombe-Anna-Samson-and-Kenneth-Moraleda_A2A6737-942x628.jpg "Dial M For Murder Ensemble Theatre • The Scoop")*Dial M for Murder* is everything you want from a thriller It is elegant engrossing and wickedly clever Photo by Phil ErbacherAs Tony Wendice, Garth Holcombe is charming enough to seduce and sinister enough to terrify. Each act ends with just his reaction to the events that unfold, and he plays both moments beautifully. Kenneth Moraleda brings wit and grounded authority to Inspector Hubbard. David Soncin gives Lesgate a seedy yearning that makes his brief but pivotal stage time compelling. Nick Fry’s set and costume design evoke 1950s Mayfair with sophisticated, sleek lines and rich textures. Matt Cox’s lighting sculpts the room into a noir dreamscape, sharpening tension with shadows and silhouettes. Madeleine Picard’s sound and composition enhance the thriller atmosphere beautifully. It is tight, eerie, and never overstated. Ensemble Theatre’s *Dial M for Murder* is everything you want from a thriller: it is elegant, engrossing, and wickedly clever. If you’re looking for theatre that crackles with intelligence and suspense, this is a masterfully crafted night out, and a perfectly wound trap that snaps shut with exhilarating satisfaction. ***Dial M For Murder* runs at Ensemble Theatre until 11 January.** **78 McDougall Street Kirribilli NSW 2061.** Tickets are available [here](https://boxoffice.ensemble.com.au/WebPages/EntaWebShow/ShowPerformance.aspx). Website: <https://www.ensemble.com.au/> Socials: <https://www.instagram.com/ensembletheatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Phil Erbacher **Categories:** Sydney, Theatre --- ### [Film Review: The Mastermind Is A Thoughtful Twist On The Heist Genre](https://thescoop.au/film-review-the-mastermind-is-a-thoughtful-twist-on-the-heist-genre/) **Published:** December 5, 2025 **Author:** Tiffany Barton **Content:** ![The Scoop The Mastermind Perth Festival Lotterywest Films Somerville](https://thescoop.au/wp-content/uploads/2025/12/TheMastermind_BrochHero_MinRes-1116x628.jpg "The Mastermind Perth Festival Lotterywest Films Somerville • The Scoop")Kelly Reichardt, the director of *The Mastermind,* is best known for her minimalist, character-driven films that explore everyday struggles. Interesting then, that she chose to make a heist movie in *The Mastermind.* The heist trope usually contains slick characters, sharp clothes, a glamorous crew of experts, witty dialogue, intricate and intelligent planning and tense action scenes. Reichardt instead tells the story of an incompetent protagonist, a rushed and amateur heist, and a focus on the humiliation and fallout of the crime. Her pace is slow and her characters ordinary. The ironically titled *The Mastermind* becomes a meditation on failure, rather than an entertaining action film that emphasises the glamour of crime. In essence, she strips away spectacle in order to reveal deeper truths about human fragility and fallibility. The main character in *The Mastermind* is James Blaine (JB) Mooney, a failed architect turned carpenter played by Josh O’Connor, who, struggling to support his family, plans an art heist on a small-town gallery in his town in 70s Massachusetts. He hires a couple of small-time petty crooks to execute the heist of three obscure paintings by a little-known artist. The central tenet of his ill-conceived plan centres around the fact that the security guard is often asleep. ![The Scoop The Mastermind at Somerville Lotterywest Films Perth Festival](https://thescoop.au/wp-content/uploads/2025/12/Screenshot-2025-12-05-at-11719-pm-982x628.png "The Mastermind at Somerville Lotterywest Films Perth Festival • The Scoop")The main character in *The Mastermind* is a failed architect turned carpenter played by Josh OConnorHe drives the getaway car, and his incompetent employees do the heist in broad daylight, wearing pantyhose on their heads, clumsily dealing with a school child that stumbles across their heist, and hilariously bumbling past the security guards at the entrance. James imagines himself as a creative genius, but his poor planning and incompetence highlight the gap between his self-image and reality. Reichardt grounds the film in Mooney’s domestic life. His wife, children and relatives embody the ordinary responsibilities that he neglects. His crime isn’t just about stolen art. It’s about the collapse of his family’s stability under the weight of his delusion. His arrest during a Vietnam War protest, which he has no interest in, situates his crime against the weight of genuine social struggle. He becomes part of history by accident, highlighting how personal ambitions can be dwarfed by collective moments. Instead of a glamorous downfall, JB’s failure is almost absurd. His attempts to hide the paintings in barns and suburban spaces emphasise the ridiculousness of his ‘master plan.’ Reichardt uses humour and irony to strip away the romance of crime. The theft reflects JB’s desire for wealth and status. He fancies himself as an intelligent, glamorous crim (George Clooney in *Ocean’s Eleven*). But in fact, the movie points to the fact that this kind of ambition is hollow and soulless. ![The Scoop Perth Festival Lotterywest Films Somerville](https://thescoop.au/wp-content/uploads/2025/12/Lotterywest-Film-Opening-Perth-Fest-print-5057-941x628.jpg "Perth Festival Lotterywest Films Somerville • The Scoop")The Mastermind is one of the films running at Somerville with Lotterywest Films all Summer as part of Perth FestivalThe performances are subtle and restrained. Although the quietness and ordinariness of Josh O’Connor’s performance is at times so restrained it becomes boring. Without the charisma and wit of a typical anti-hero, his character seems insipid and inconsequential. His selfishness and ego are annoying, his disinterest in his children and his self-delusion are irritating, and without the dramatic punch of a traditional heist movie, the whole film feels slow and drawn out. One questions whether one cares enough about the central protagonist to be invested in his story of quiet desperation and failure. The film is marketed as a comedy. But the laughs coming from the audience were thin on the ground the night this reviewer attended. Reichardt asks audiences to reflect on our own egotistical ambitions and the emptiness of the myths capitalism feeds us about crime, money, and success. These are noble, important questions, grounded in deep insight into human nature. There’s no denying the integrity and intelligence of Reichardt’s filmmaking. Yet cinema at its best marries intellectual rigour with emotional engagement. *The Mastermind* offers sharp observations. But too often it sacrifices momentum and humour, leaving viewers admiring its ideas more than enjoying its execution. With a touch more levity and narrative drive, the film might have transcended its austerity to become not just thought-provoking, but unforgettable. ***The Mastermind* runs to 7 December 2025 as part of Perth Festival. Somerville Auditorium, The University of Western Australia, 35 Stirling Hwy, Godroo / Crawley WA 6009.** Tickets: <https://www.perthfestival.com.au/program/season-2026/the-mastermind> Website: <https://www.perthfestival.com.au/program/season-2026/lotterywest-films> Socials: <https://www.instagram.com/perthfest/> and <https://www.instagram.com/lotterywest/> [Read more of our Film Reviews](https://thescoop.au/category/film/) Watch the trailer here: **Film details:** Title: The Mastermind Director: Kelly Reichardt Cast: Josh O’Connor, Bill Camp, Hope Davis, Sterling Thompson, Alana Haim, Gaby Hoffmann, Eli Gelb, Jasper Thompson, Cole Doman, John Magaro Country of Origin: USA Duration: 110 mins Rating: M **Categories:** Film --- ### [Announcing The Mythic Double Bill Orpheus and Eurydice This Adelaide Fringe](https://thescoop.au/announcing-the-mythic-double-bill-orpheus-and-eurydice-this-adelaide-fringe/) **Published:** December 4, 2025 **Author:** Newsroom **Content:** ![The Scoop Orpheus and Eurydice Adelaide Fringe](https://thescoop.au/wp-content/uploads/2025/12/Orpheus-Hong-Kong-Credit-Mau-Seghetto-941x628.jpg "Orpheus and Eurydice Adelaide Fringe • The Scoop")This Adelaide Fringe, multi award winning storytellers Wright&Grainger celebrate 10 years of touring their internationally acclaimed ***ORPHEUS*** by presenting a special double bill of ***ORPHEUS*** and ***EURYDICE***, performed with a live string quartet and vocal ensemble alongside their signature heart-stopping spoken word and soaring live music. Running from **19 February to 22 March 2026**, the two shows can be experienced together or on their own. Wright&Grainger are known for telling Greek myths as if they were unfolding today. This season they bring their celebrated storytelling to the Mortlock Wing of the State Library of South Australia, recently named the second most beautiful library in the world. ***ORPHEUS*** is Wright&Grainger’s internationally acclaimed wild retelling of the Orpheus myth, like you have never seen it before. Dave is single and stood at the bar. Eurydice is a tree nymph. Bruce Springsteen is on the jukebox. It is a story of side streets, dive bars and how far you would go for the person you love. Since its creation in 2016 ORPHEUS has played more than 650 shows around the world in festivals, cafes, gardens, railway arches, bars, tents, churches, yoga studios, boats, record shops, breweries, loft apartments and very occasionally a theatre. It has won multiple awards including Best Theatre at Adelaide Fringe in 2023. ***EURYDICE*** tells the same story, but from Eurydice’s point of view, giving agency to a voice that has so often been passive and silent. Eurydice is given the choice and agency the Greeks never let her express. Leni is 5 years old and holding a Superman costume. Eurydice is 5 years into the rest of her life. It is a story about leaping into freefall and being a daily superhero. A story about this world and the next one. A story about how things change because things always change. Wound from live electronica, soaring spoken word, and now restaged with string quartet and vocal ensemble, ***EURYDICE*** is lyrical, gloriously effective, infectious and profound and won Adelaide Fringe’s Best Theatre award in 2019. ![The Scoop Orpheus and Eurydice Adelaide Fringe](https://thescoop.au/wp-content/uploads/2025/12/WG-Wall-Credit-David-Lindsay-941x628.jpg "Orpheus and Eurydice Adelaide Fringe • The Scoop")Al and Phil of Wright and Grainger Photo by David LindsayWright&Grainger are Al and Phil, two pals from the fields and lanes of rural North Yorkshire who have spent more than twenty years touring the world with their wild retellings of ancient stories. Their work has taken them across the UK, Australia, New Zealand, Bali, India and Off Broadway, with performances everywhere from the Sydney Opera House to a 600-year-old castle in Yorkshire. They’ve been invited into the exquisite Mortlock chamber of the State Library of South Australia by daring venue partners, the Courtyard of Curiosities. This epic will be produced in partnership with Parrot Ox, Tom Oliver Productions and Joanne Hartstone. **Wright & Grainger** said: *“ORPHEUS and EURYDICE have travelled with us around the world, but performing them in the historic Mortlock Wing, a place built for storytelling, will be unforgettable. We’re so excited to perform in such a beautiful venue.”* ***ORPHEUS* and *EURYDICE* will both be playing at the Mortlock wing – State Library South Australia from 19 February 2026 as part of Adelaide Fringe.** Orpheus tickets: <http://adelaidefringe.com.au/fringetix/wright-grainger-s-orpheus-af2026> Eurydice tickets: <https://adelaidefringe.com.au/fringetix/wright-grainger-s-eurydice-af2026> Website: <https://www.wrightandgrainger.com/> Socials: [https://www.instagram.com/wright\_and\_grainger/](https://www.instagram.com/wright_and_grainger/) [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image photo credit: Orpheus Hong Kong. Photo by Mau Seghetto **Categories:** News --- ### [Gasworks Turns 40 In 2026 With A Bold New Vision Under Sam Strong](https://thescoop.au/gasworks-turns-40-in-2026-with-a-bold-new-vision-under-sam-strong/) **Published:** December 4, 2025 **Author:** Newsroom **Content:** ![The Scoop Gasworks Melbourne 40th anniversary Sam Strong](https://thescoop.au/wp-content/uploads/2025/12/Danish-Sheikh_c-Tom-Noble-891x628.jpg "Gasworks Melbourne 40th anniversary Sam Strong • The Scoop")Ahead of the creative precinct’s **40th birthday in 2026**, new Creative Director and CEO **Sam Strong** has unveiled a fresh vision for **Gasworks** as a home for creativity. Complete with park upgrade, a new brand, and a renovated foyer, Gasworks will now be curated in quarterly instalments, with the first season, ***Summer @ Gasworks***, being launched on **6 December 2025.** ***Summer @ Gasworks*** (and subsequent quarterly seasons) will be unveiled through a new program of signature free events: ***Seasons in the Glade***. On the first Saturday of Spring, Summer, Autumn, and Winter, Gasworks will host a celebration of creativity, connection and community. Events will feature live music, art and craft markets, food trucks, kid’s workshops, light shows, interactive exhibitions, open artist studios and more. This will commence on 6 December with **Summer in the Glade**, including bringing Christmas Carols back to Gasworks through a partnership with Lakeside Community Events. Gasworks is distinct in its showcasing of multiple art forms. ***Summer @ Gasworks*** will see the next generation of queer storytellers programmed as part of Midsumma. This includes full productions of two previous winners of the Queer Playwriting Award, Tom Ballard’s ***A Comprehensive & Profoundly Queer Accounting Of The Brief (Yet Glorious!) History Of The Gay & Lesbian Kingdom Of The Coral Sea***, and Danish Sheikh’s ***Much To Do With Law, But More To Do With Love***. Other highlights include the next edition of the Queer Playwriting Award and ***Queer Reckoning*** by Scotty So, Lux Newman and Xanthe Dobbie, and ***Queer Reclamation*** by Ayman Kaake and Elyas Alavi. 2026 will also see a range of new partnerships, including one with **Sorrento Writers Festival** and **Avenue Bookstore**, adding literature and ideas to the Gasworks season. Sorrento Writers Festival Director Corrie Perkin will curate a series of events showcasing the finest writers and thinkers. This kicks off in February with an Australian exclusive in conversation with Geoffrey Robertson AO KC on his new book, ***World of War Crimes***. Gasworks has always been a vital part of Melbourne’s independent arts landscape. In 2026 this support will be expanded with the groundbreaking **Open Studio**. The program will see Gasworks giving over the Studio Theatre to the independent artists of Melbourne for free on the last Monday of each month. **Sam Strong** said: *“We’re celebrating the milestone of turning 40 by connecting our groundbreaking past to an even* *more ambitious future. Gasworks has always been unique as a home for multiple artforms, a champion of the* *independent arts, and a space where everyone from the community can engage in creativity.* *To kick off our next 40 years, we’re kicking it up a gear. On 6 December 2025, we’ll launch a new vision, a new park, a* *new foyer, a new brand, new quarterly seasons, new art forms, new partnerships, and new initiatives to support* *Melbourne’s independent artists.* *And we’ll do it all at the first of our new blockbuster Seasons in the Glade free events.”* ![The Scoop Sam Strong Gasworks CEO and Creative Director](https://thescoop.au/wp-content/uploads/2025/12/Sam-headshot-419x628.jpg "Sam Strong Gasworks CEO and Creative Director • The Scoop")Sam StrongLocated in Albert Park on the former South Melbourne Gas Plant site, **Gasworks** combines four hectares of parkland with three galleries, two theatres, artist studios, workshops, function spaces, and a café. On the third Saturday of each month, the famous Gasworks Farmers’ Market features fresh local produce direct from Victorian growers and makers. Each year, over 100,000 community members engage with creativity through 200 performing arts events, 30 visual art exhibitions, 15 artist studios, 12 farmers’ markets, over 300 classes and workshops, professional development pathways, access to spaces, and family and school holiday programs. One of Australia’s pre-eminent arts leaders, **Sam Strong** has held leadership positions around Australia. These include Executive Director of Creative Industries at Creative Victoria and Chair of Melbourne Fringe and Circa. As an Artistic Director he transformed Queensland Theatre and Griffin Theatre Company, programming seven consecutive season of subscriber growth between the two companies and setting all-time box-office records for shows and annual seasons. An award-winning theatre director, Sam has recently directed acclaimed, sold-out productions of Joanna Murray-Smith’s *Honour* for Red Stitch and *Trent Dalton’s Love Stories* for Brisbane and Adelaide festivals and a [national tour](https://thescoop.au/review-trent-daltons-love-stories-is-intimate-uplifting-and-unforgettable/). Other credits include *Boy Swallows Universe* (Queensland Theatre/Brisbane Festival/QPAC), *Cassandra/Echo & Narcissus* (Victorian Opera), *Jasper Jones, Private Lives* and Working Dog’s *The Speechmaker* (Melbourne Theatre Company), and *The Boys* (Griffin). **Summer in the Glade** is the first of Gasworks’ new quarterly celebrations of creativity, connection, and community. Join in on 6 December in the newly upgraded Gasworks Park for Christmas Carols (with Lakeside Community Events), Arts and Craft Markets (with Rose Street Artists Market), Food Trucks, Kids Activities, and Open Artist Studios. Bring friends, family, and picnic rugs to celebrate the start of the season and the launch of the future of Gasworks. **Summer in the Glade runs from 5 – 9:30pm on 6 December 2025 at Gasworks Arts Park. 21 Graham Street Albert Park VIC 3206.** For further details on *Summer @ Gasworks*, visit the website. Website: <https://gasworks.org.au/whats-on/> Socials: <https://www.instagram.com/gasworkscreativeprecinct/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Danish Sheikh. Photo by Tom Noble Look out for future Seasons in the Glade: Autumn in the Glade – Saturday 7 March 2026 Winter in the Glade – Saturday 6 June 2026 Spring in the Glade – Saturday 5 September 2026 Summer in the Glade – Saturday 5 December 2026 **Categories:** News --- ### [Review: Christmas Actually Is A Joyous, Festive Singalong](https://thescoop.au/review-christmas-actually-is-a-joyous-festive-singalong/) **Published:** December 3, 2025 **Author:** Regan Baker **Content:** ![The Scoop Christmas Actually Little Red Co](https://thescoop.au/wp-content/uploads/2025/12/Production_Highlights_35-942x628.jpg "Christmas Actually Little Red Co • The Scoop")Christmas in Brisbane has its familiar markers. The lighting of the King George Square Christmas Tree, the unbearable humidity, and more NSW number plates driving up the Gold Coast Highway. And every year, without fail, The Little Red Co rolls out *Christmas Actually*, this year, at the Brisbane Powerhouse. At this point, it is as much a tradition as fresh prawns and a glazed ham. This is the show’s eighth year, and somehow it still feels just as warm and charming as the first time I saw it. This was my fifth visit, and it has not lost an inch of its magic. Part of that comes down to its cast. Three of them are, to my understanding, originals from the very first season. Naomi Price, Luke Kennedy and Tom Oliver are joined again by Irena Lysiuk, who has essentially become part of the show’s DNA over the years. There is a real comfort in seeing them back together. Like old friends slipping into something they know inside out, the chemistry between them is absolutely effortless. For anyone who has never seen it, *Christmas Actually* is exactly what the name suggests. It is all the music from the film *Love Actually* performed by an all-star cast of Australian favourites. The soundtrack swings wildly from the Sugababes to Dido to Kelly Clarkson, and somehow this team makes each shift in style feel completely natural. It is a jukebox of early 2000s nostalgia wrapped in a Christmas bow and blasted into the crowd with absolute joy. ![The Scoop Christmas Actually Little Red Company Naomi Price](https://thescoop.au/wp-content/uploads/2025/12/Production_Highlights_43-942x628.jpg "Christmas Actually Little Red Company Naomi Price • The Scoop")What really makes Naomi Prices performance land is her ability to thread in comedy with zero effort Photo by Cassidy CloupetNaomi Price, as always, is the glue. She steps out as host and unofficial conductor of the chaos and immediately has the room in her hands. Her vocals are outrageous, although that is hardly a surprise anymore. What really makes her performances land is her ability to thread in comedy with zero effort. It never feels scripted, even though we all know there is a tight engine running underneath. She steers the party the way only she can. She also brings out the famous flash card scene each year, and her updated cards are some of the biggest laughs in the show. This year, she worked in everything from Katy Perry’s very short adventure into space to that chaotic Kiss Cam incident that blew up online. It is the perfect Christmas cocktail of tongue-in-cheek nostalgia and very current silliness. Tom Oliver is just… Tom Oliver. His White Christmas is one of those moments you know is coming, and you still settle in for it. He keeps the heart of the song the same, but he always shapes it just enough to feel like his. Nothing flashy. Nothing trying too hard. Just a little twist here and there that gives it that Tom flavour. It is warm, it is easy, and it works every single time. And then he comes back later as the lobster. The first lobster. The one everyone quotes from the movie. The second that costume appears, the room cracks up. It is silly, and it knows it is silly, and Tom leans right into that. At this point, it is basically the show’s secret encore. No one pretends otherwise. It gets the same reaction every year, and honestly, that is half the fun. Luke Kennedy continues to be one of the smoothest men alive. There is a section every year where he recreates the British Prime Minister’s dance down the stairs from the movie. Even though I have seen it so many times, I still smile from ear to ear each year. He commits to it with full sincerity, which is what makes it work. Luke is also one of those singers who can do pretty much anything. He slides between pop, acoustic and big belting moments with ease. The show would feel unfinished without him. ![The Scoop Christmas Actually Little Red Company Naomi Price](https://thescoop.au/wp-content/uploads/2025/12/Production_Highlights_37-942x628.jpg "Christmas Actually Little Red Company Naomi Price • The Scoop")One of the biggest highlights this year is the Christmas Carol remix toward the end of the show Photo by Cassidy CloupetIrena Lysiuk is a whole thing on her own. Every time she opens her mouth, Pure gold leaks out. Her voice is so clean and controlled that you almost miss how hard what she’s doing actually is. She does not hide behind riffs or big gestures. She just sings, and it hits straight away. In a show that jumps between comedy and chaos, she’s the one who can pull everything into focus for a minute. Any time she takes on the more emotional numbers, you can feel the audience lean in a little closer. One of the biggest highlights this year is the Christmas Carol remix toward the end of the show, which I feel was the longest one yet! The four of them rotate through impersonations of famous Australian and international singers, including Marina Prior, Human Nature and The Veronicas. It’s chaotic in the best way. The kind of silly, festive nonsense that reminds you why this show works so well. What continues to surprise me is how fresh the show feels year after year, without hesitation. The structure stays familiar, but the personality of it shifts just enough to keep it fun. Little Red Co have built something that people return to because it captures the parts of the season that actually matter. Not the commercial noise. Not the forced cheer. The bit where you sit in a room with strangers and let yourself enjoy something without thinking too hard about it. *Christmas Actually* still delivers that. Big voices. Good jokes. A few heartfelt moments. A cast that genuinely enjoys performing together. And a final lobster cameo that sends everyone out into the warm Brisbane night with a grin. Eight years in, the show still feels like a neatly wrapped little Christmas gift. ***Christmas Actually* runs to 14 December at the Brisbane Powerhouse. 119 Lamington Street New Farm Qld 4006.** It then tours South East Queensland, see dates below. Tickets: <https://brisbanepowerhouse.org/events/christmas-actually/> Website: <https://www.christmasactually.com/> Socials: <https://www.instagram.com/thelittleredco/> [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Photo credits: Cassidy Cloupet Christmas Actually Tour Dates: Caloundra 12 December, The Events Centre Logan 13 December, Entertainment Centre Gold Coast 19 December, HOTA (Home of the Arts) Cleveland 20 December, Redland Performing Arts Centre Naomi Price performs in Brisbane. Libby O’Donovan performs in all remaining cities. **Categories:** Brisbane, Concerts --- ### [Review: Maho Magic Bar Mixes Miracles With Mischief](https://thescoop.au/review-maho-magic-bar-mixes-miracles-with-mischief/) **Published:** December 3, 2025 **Author:** Wendy Samantha **Content:** ![The Scoop MAHO MAGIC BAR Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2025/12/MAHO-MAGIC-BAR-photo-Jeff-Busby_489-942x628.jpg "MAHO MAGIC BAR Spiegel Haus Melbourne • The Scoop")It’s Tuesday evening and the vibe is electric hitting the Maho Magic Bar in Melbourne’s funky new and exciting entertainment split-level venue, the Spiegel Haus. There’s a warmth in the fresh summer air, and the energy is a mix of fun-filled anticipation and a dusting of Shichimi Togarashi. The neon lights rock a trendy modern prosperity, and as you enter the venue, you are then surrounded by a pathway of traditional Japanese lanterns. You’ve entered Tokyo at its highest mischief-making point, so you take to a bar table and await the magic! Even the swivel chairs get your adrenaline pumped, as you swing around to view the full house. Everyone is smiling as the players for this evening’s action-packed performance are announced. Jonathan is our ringmaster, and he rises the air into a feverish fist pumping as he entices the crowd to enjoy the next spell-binding hour. Participation is the key, and you’ll need to be ready for anything! There are five stations set up across the room, plus the drinks bar, which is used as a central location for group numbers and special menu items that include an audience member or two. ![The Scoop](https://thescoop.au/wp-content/uploads/2025/12/MAHO-MAGIC-BAR-photo-Jeff-Busby_139-942x628.jpg "MAHO MAGIC BAR photo Jeff Busby_139 • The Scoop")The experience is like being at a table with the high rollers and winning every hand and none at all Photo by Jeff Busby‘Axe’ is spinning out the deliciously chilled cocktails full of sparkling juices and delightful zests. He’s got the flair for flavour and the wow when it comes to the mixing, pouring and the presenting! Lights appear with the click of fingers, flaming drinks and the fantastique. Blink, and you’ll miss a moment. Breathe in with the intensifying air, and you are alive with a mystifying electricity. Shirayuri is all charm as he pulls out his deck of wonder. He’s handsomely winning over every audience member as his quick hands glide across card trickery and awe-inspiring magic. You sit rethinking what you have just witnessed. Dazed slightly by his magnetism and draw, you are confused and in disbelief with an outcome you didn’t see coming. Jonathan is not only our host for the evening, but he charismatically flexes the pack of cards when he hits the table. Swapping and switching numbers and suits till they are no longer and appear elsewhere! He’s storytelling, weaving ideas, assisting the illusions and even juggling all night. He is the glide in the clouds that makes them move with enchantment. Kaori Kitazawa knows all the moves as she graces centre stage to play with the 52. Clearly clever with paper, her box of marvels has you guessing at every flip as she gently persuades you to believe that the impossible can be achieved. Her cheekiness is applauded by the crowd and her precise slides are delightfully entertaining. ![The Scoop MAHO MAGIC BAR Spiegel Haus Melbourne](https://thescoop.au/wp-content/uploads/2025/12/MAHO-MAGIC-BAR-photo-Jeff-Busby_470-942x628.jpg "MAHO MAGIC BAR Spiegel Haus Melbourne • The Scoop")Wambi is an expert and his confidence pulls you into his acts that will leave you horrified and overjoyed Photo by Jeff Busby Wambi is full of spunk as he uses all of his five senses to devour the cards into a play that makes your jaw drop. You laugh, you cry, you cringe and jump to the front of your seat. All whilst feeling the need to use the little rolled up hand towels sitting on the table that look like peppermints. He is an expert here. His confidence pulls you into his different acts that will leave you stunned and horrified, thrilled and overjoyed with his unique and humorous creativity. E.O. Lee is the jokester of the troupe, playing out pranks with a hilarity that you will absolutely adore. With the biggest smiles, he gives you the greatest grins, and you enjoy every kooky moment he provides. His personality is part of what makes him magical, he is his own neon light full of entertainment. If you took the plug out of the wall, he’d still be buzzing and be able to keep you brightly charged for hours. Maho Magic Bar is on until February, and it’s got all the summer lovin’ you need, plus the thrills, chillaxing and funteristic vibin’! There’s nothing else that can truly beat magic tricks that use decks of cards, cuffs, rings, bananas and even Cheezels. The talent draws you in as a bestie, and it’s all giggles and good times. This entire experience is like being at a table with the high rollers and winning every hand and none at all – but you absolutely love it. It’s knowing you’re being played the whole time with no control – but you are happily willing to let it all go. The flip is mind-blowing, an illusion and a new slice of reality. It’s all just super magical! **Maho Magic Bar runs to 15 February 2026 at Spiegel Haus Melbourne. 217 Lonsdale Street.** Tickets are available at the website. Website: <https://www.mahomagicbar.com/melbourne> Socials: <https://www.instagram.com/mahomagicbar/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Jeff Busby **Categories:** Melbourne, Theatre --- ### [Announcing Canberra Theatre Centre 2026 Program: Their Biggest Year Yet](https://thescoop.au/announcing-canberra-theatre-centre-2026-their-biggest-year-yet/) **Published:** December 2, 2025 **Author:** Newsroom **Content:** ![The Scoop Canberra Theatre Centre 2026 Season Bangarra Dance Theatre](https://thescoop.au/wp-content/uploads/2025/12/Photo-Credit_-Daniel-Boud-844x628.jpg "Canberra Theatre Centre 2026 Season Bangarra Dance Theatre • The Scoop")Expect big moments, bold new shows and even bigger rewards in 2026, as **Canberra Theatre Centre** unveils a blockbuster year of entertainment alongside its inaugural **membership program**. Audiences attending in 2026 will have the opportunity to unlock membership benefits simply by purchasing tickets. Anyone who buys tickets to three shows in the lineup will become a member. Every ticket purchased counts toward membership, giving theatre-goers the flexibility to choose the experiences that suit them. Membership benefits include priority access to presales, flexible ticketing options, invitations to exclusive events, discounts at the Link Bar, and special offers at nearby restaurants. These benefits are designed to enhance the theatre experience throughout the year. Canberra Theatre Centre Executive Producer, **Lisa Freshwater**, said: “*It’s with great delight that we launch our very first membership at Canberra Theatre Centre. What starts in an artist’s imagination only becomes real when our audiences experience it. So, we’ve built a membership program that not only provides access to some of the best Australian work and international tours but includes added extras to turn every visit into an extraordinary experience*.” ![The Scoop Canberra Theatre Centre 2026 Season Pride and Prejudice* (*Sort of)](https://thescoop.au/wp-content/uploads/2025/12/PrideandPrejudiceSortOf2024-image-by-Mihaela-Bodlovic-117-942x628.jpg "Canberra Theatre Centre 2026 Season Pride and Prejudice* (*Sort of) • The Scoop")Pride and Prejudice Sort Of joins the lineup of big touring musicals Photo credit Mihaela Bodlovic2026 kicks off with the spectacular ***Cirque Alice*** (22 – 31 January) featuring extraordinary international acts in the gravity-defying circus reimaging of Lewis Carroll’s classic adventure. Canberra will play host to some of the country’s biggest touring musicals in 2026 including ***My Brilliant Career*** (7 – 15 March), ***The Sapphires*** (20 May – 7 June), ***Heathers The Musical*** (14 – 23 August) and ***Pride and Prejudice\* (\*sort of)*** (16 – 27 September). The Wharf Revue’s Jonathan Biggins returns with ***The Gospel According to Paul*** (15 – 20 September) alongside a string of other reimagined and original theatre works including ***Trophy Boys***, ***Animal Farm***, ***Autotune***, ***The Jungle and the Sea*** and ***Helios + Selene*** as well as Canberra favourite **Bell Shakespeare** returning with ***Julius Caesar*** (10 – 18 April). **Bangarra Dance Theatre** will debut its national tour of ***Sheltering*** in Canberra from 23 – 27 May. Audiences can join the corroboree in participatory dance work ***Garabari*** by Joel Blak Dance from 19 – 20 February. Other dance highlights in 2026 include ***Mountain*** by Melanie Lane featuring members of Canberra Symphony Orchestra, ***All In***, Victorian State Ballet with ***Aladdin*** and BIG Live’s ***The Great Gatsby: A Jazz Ballet Odyssey****.* Looking for laugh? Audiences will be left in stiches as the **Canberra Comedy Festival** returns from 11 – 22 March with ***Dave Hughes***, ***Melanie Bracewell*** and ***The Umbilical Brothers*** among the big names appearing at the Canberra Theatre Centre next year. Other heavy hitters taking to the stage in 2026 include ***Jimeoin***, ***Tom Gleeson***, ***Lano & Woodley*** and the UK’s ***Daniel Sloss***. ![The Scoop Canberra Theatre Centre 2026 Season](https://thescoop.au/wp-content/uploads/2025/12/NoworNever24_Mountain_2504-942x628.jpg "Canberra Theatre Centre 2026 Season • The Scoop")Mountain by Melanie Lane will feature members of Canberra Symphony OrchestraMusic fans also have plenty to look forward to in 2026 with some of the country’s most beloved acts making their way to Canberra, including genre-defying Aussie artist ***Meg Washington***, art-rock royalty ***Bleak Squad***, New Zealand pop sensation ***Bic Runga, Lisa Simone*** singing the songs of her mother Nina Simone, ***The Whitlams with Canberra Symphony Orchestra*** and favourites including ***Bernard Fanning***, and Tim Campbell and Paulini with ***Electrifying 80s***. Sci-fi and action fans are in for a treat as the centre hosts a screening of ***Terminator 2*** from 18 – 19 March with an all-new score performed live and synced to a laser-light show. ***Luminous Ideas*** will bring conversation, laughter and discovery to the stage through a series of podcasts presented live during next year’s Enlighten festival. They haven’t forgotten about the kids (and their adults) either, hosting some of the biggest names in children’s entertainment including Playschool regular ***Zindzi****,* ***Spot***, ***Where Is The Green Sheep?*** and, of course, ***Bluey’s Big Play The Stage Show***. **Tickets are on sale now for select shows, with the remaining shows on sale over the coming weeks. Check the Canberra Theatre Centre website for details.** Website: <https://canberratheatrecentre.com.au/> Socials: <https://www.instagram.com/canberratheatrecentre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: *Sheltering* by Bangarra Dance Theatre. Photo by Daniel Boud **Categories:** News --- ### [Review: Melbourne's Christmas Wonderland Is A Magic Experience](https://thescoop.au/review-melbournes-christmas-wonderland-is-a-magic-experience/) **Published:** November 30, 2025 **Author:** Wendy Samantha **Content:** ![The Scoop Melbourne's Christmas Wonderland](https://thescoop.au/wp-content/uploads/2025/11/Screenshot-2025-11-30-at-42308-pm-944x628.png "Melbourne's Christmas Wonderland • The Scoop")There’s no other wish more special for a child than wanting to visit Santa in his magical North Pole at Christmas time. And as my 10-year-old daughter gazed around the giant circus dome at Melbourne’s Christmas Wonderland with starry eyes, she told me it was a dream come true! On a typical Melbourne eve after the weather had given us every season in one day, the Caulfield Racecourse was filled with happiness. The elves had clearly worked incredibly hard with their decorations and festivities to bring together an event that is sure delight all families. No matter how old you are, as you enter, there is a joyous lift of excitement as the sparkling lights are all a twinkle and carols hit you with a smile. Enchanting at every step, it’s as if you have walked through the cupboard in Narnia because everything seems absolutely wondrous, with a special glowing warmth. Despite it being the Christmas theme of winter, it feels like you’re surrounded by fabulous sunshine. ![The Scoop Melbourne's Christmas Wonderland](https://thescoop.au/wp-content/uploads/2025/12/DSC_8821-942x628.jpg "Melbourne's Christmas Wonderland • The Scoop")Christmas Wonderland is part toyland part beautiful lights display and there are games and activities galorePart giant toyland, part beautiful lights display, there are games and activities galore. You will meet all the fun holiday characters, including the Grinch. He clearly stole Christmas because he’s the crowd favourite here and, funnily enough, very much adored by all! There’s a rollerskating rink, Rudolph and his friends, a gingerbread house decorating factory, and giant Care Bears in every direction. Mrs Claus is pouring out her love as she meets and greets delighted children, and there are inflatables that allow you to bounce around with endless giggles. You can win a prize with the carnival games, take home some incredibly cool merch, and grab the best poppin’ good snacks. You can even post your Santa letter at the North Pole whilst assuring you stay on the nice side of the naughty. ![The Scoop Melbourne's Christmas Wonderland](https://thescoop.au/wp-content/uploads/2025/12/DSC_8804-942x628.jpg "Melbourne's Christmas Wonderland • The Scoop")One of the greatest parts of this experience is the live showThe first thing my daughters did was jump onto the Teacup Ride as they loved the spin. There’s also a mini carousel and a little train ride. If you are a fan of selfies, this is absolutely the place to be as there are golden opportunities galore. One of the greatest parts of this experience is the live show. Featuring many charming and cheerful characters, it includes the Care Bears, Mrs Claus, the happy elves, amazing juggling acts, and an incredible aerial silks and lyra performance. And of course, there’s a visit from the man himself – Santa! If you wish loud enough, you might also make it snow. Each session at Melbourne’s Christmas Wonderland lasts for three hours, and you can book for the morning, afternoon or evening. The last session runs on the morning of Christmas Eve, and it is a truly magical experience that young children will remember fondly. If you love seeing the kids dash to the tree to open presents on Christmas morning, Melbourne’s Christmas Wonderland provides that feeling. And it is pretty wonderful. **Melbourne’s Christmas Wonderland runs to 24 December at Caulfield Racecourse. Big Top at Station Street, Caulfield East, Vic 3145.** Tickets are available [here](https://www.ticketmaster.com.au/melbourne-s-christmas-wonderland-tickets/artist/2898885). Website: <https://www.melbourneschristmaswonderland.com.au/> Socials: [http://instagram.com/melbournes\_christmaswonderland/](http://instagram.com/melbournes_christmaswonderland/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Images supplied. **Categories:** Melbourne, Theatre --- ### [Announcing SIX The Musical For 2026 & 2027](https://thescoop.au/announcing-six-the-musical-for-2026-2027/) **Published:** December 2, 2025 **Author:** Newsroom **Content:** ![The Scoop SIX the Musical 2026](https://thescoop.au/wp-content/uploads/2025/12/SIX-2024-25-Australasia-Tour-Cast-01-PHOTO-JAMES-D-MORGAN-GETTY-IMAGES-942x628.jpg "SIX the Musical 2026 • The Scoop")After triumphantly taking the West End, Broadway, and stages across the globe by storm, the international smash-hit phenomenon ***SIX the Musical*** will make its royal return to Australia in 2026. Seasons are confirmed at **Melbourne’s Comedy Theatre** from **July 2026**, **Theatre Royal Sydney** from **October 2026** and **Queensland Performing Arts Centre** (**QPAC**)’s Playhouse Theatre in Brisbane from **January 2027**. While continuing to reign on global stages, *SIX* is preparing its return to Australia, delivering a fresh opportunity for fans — and newcomers — to experience the show’s irresistible blend of history, humour, and high-octane pop. From Tudor Queens to Pop Princesses, **Catherine of Aragon**, **Anne Boleyn**, **Jane Seymour**, **Anna of Cleves**, **Katherine Howard** and **Catherine Parr** will turn up the mics remixing five hundred years of history into an 80-minute electrifying pop-concert musical that has become a global cultural phenomenon. Producer **Louise Withers** said: *“We are thrilled to be bringing the smash-hit musical SIX back to Australia in 2026. We couldn’t ignore the roar of the Queendom. SIX has become a cultural force here, and there is incredible demand from fans who want to keep reliving the magic.* *Since we first brought SIX to Australian shores, this trailblazing pop-concert musical has broken records and played to packed houses. It also earned widespread critical acclaim for its electrifying performances, witty storytelling, and empowering celebration of the six Tudor queens who rewrite their history on their own terms.”* *Australian audiences have embraced the Queens with such passion and enthusiasm, and we can’t wait to share this next chapter of the show’s journey with them.”* *SIX* tells the extraordinary story of the six wives of King Henry VIII who step out of the shadow of their infamous husband and reclaim their own narratives. Written by **Toby Marlow** and **Lucy Moss**, this modern pop-inspired musical brings these historical figures to life, portraying them as fierce and influential pop stars in their own right. With its innovative and empowering take on history, and redefining of the modern musical, *SIX* has amassed a huge global community of all ages experiencing this fresh, clever, uplifting and intoxicating show. *SIX* is the winner of 38 major international awards. These include two Tony Awards® and a Grammy® nomination. The soundtrack has amassed over 5.2 billion stream. The production attracts more than 3.5 million fans annually. The show has now played in over 15 countries, proving the Queens’ reign is far from over. ![The Scoop SIX The Musical 2026](https://thescoop.au/wp-content/uploads/2025/12/SIX-2024-25-Australasia-Tour-Cast-02-PHOTO-JAMES-D-MORGAN-GETTY-IMAGES-942x628.jpg "SIX The Musical 2026 • The Scoop")Cast of SIX The Musical Australian Tour 2024 and 2025 Photo by James D MorganSince its debut at the Edinburgh Festival Fringe in 2017, *SIX* has received widespread critical acclaim, leaving audiences enthralled by its infectious energy, catchy tunes, and empowering message. It swiftly moved to the West End and Broadway and continued to garner international recognition. Productions have run in Australia, Canada, the United States, Europe and South Korea, Singapore, the Philippines, Japan and China. In January 2026, **Australian audiences** will also have the opportunity to head to **cinema screens** to see ***SIX the Musical Live!*** Filmed live at London’s Vaudeville Theatre, it will star the original West End cast of *SIX*. The UK cinema release earlier this year broke the record for the highest opening day figure in the UK for a stage to big-screen musical film EVER. Australian audiences will be the first to see the film outside of the UK and Ireland for a limited time only at select cinemas from **8 January.** What sets *SIX* apart is its ability to resonate with diverse audiences and breathe new life into historical storytelling. With its cleverly crafted lyrics and contemporary sound, the musical effortlessly bridges the gap between the past and the present. It appeals to both theatre enthusiasts and those new to the genre. *SIX* has become a cultural touchstone, inspiring fans to embrace their own strength and celebrate the triumphs and struggles of these remarkable women. Moreover, *SIX* has made a significant impact in the digital realm. It has created a vibrant online community of devoted fans, lovingly referred to as the ‘Queendom’. Its infectious songs and empowering themes have sparked viral trends on platforms like TikTok and YouTube. Fans have passionately shared their love for the show through fan art, cover performances, and heartfelt discussions. Created by a brilliant original creative team – ***SIX the Musical*** has book, lyrics and music by **Toby Marlow** and **Lucy Moss**. It is directed by **Lucy Moss** and **Jamie Armitage** and choregraphed by **Carrie-Anne Ingrouille**. Set Design is by **Emma Bailey**. Costume Design is by **Gabriella Slade**. Lighting Design is by **Tim Deiling**. Sound Design is by **Paul Gatehouse**. The Orchestrator is **Tom Curran** and Musical Supervisor is **Joe Beighton**. Australian Cast and Creatives are to be announced. Originally Produced by **Kenny Wax**, **Wendy & Andy Barnes**, and **George Stiles**. Produced in Australia by **Louise Withers**, **Michael Coppel** and **Linda Bewick**. Join the waitlist now! For Brisbane audiences, QPAC pre-sale access is via [qpac.com.au](https://email.streem.com.au/c/eJwszs1uwyAQBOCngRsWLGuwDxxy8WtEwK5rVJMfQ5I-fuWq1280mqGAcV5JcjDeoQO04OQW5oQWRk_espmzxYSjpVlPKxEnGydZgpuBtU_eu5zM1cCKiBOY0WByAnUrxN_lqWosOx9NjatzlL3PpKYGHYczkHvYen80YS8CFgHL5_MZno-Yh3yvQ3ydssXe1P0mYAENXsDSyo_qG6v6aiXHXVamEtXBO8fGqlD4g-s_CHuxbsRRHqFvXGMvN-Ya33wTqL_OE-eWbP1grmd7RqOtNUbFNGmFzk9qJvTKO8orrZwcafkO8BsAAP__jxVgcw). Website: <https://sixthemusical.com.au/> Socials: <https://www.instagram.com/sixthemusicalau/> [Read our review of the 2025 Season!](https://thescoop.au/review-six-the-musical-brings-queen-energy-in-spades/) Photo credits: James D Morgan **Categories:** News --- ### [Review: A Christmas Carol Is A Radiant Reminder Of Hope](https://thescoop.au/review-a-christmas-carol-is-a-radiant-reminder-of-hope/) **Published:** December 1, 2025 **Author:** Jessica Flynn **Content:** ![The Scoop A CHRISTMAS CAROL Melbourne 2025](https://thescoop.au/wp-content/uploads/2025/12/4-The-2025-production-of-A-Christmas-Carol-at-the-Comedy-Theatre-Photo-by-Michelle-Hunder-942x628.jpg "A CHRISTMAS CAROL Melbourne 2025 • The Scoop")Stepping into the Comedy Theatre for *A Christmas Carol* feels like being wrapped in a warm, festive glow. The classic story is brought to life with charm and theatrical magic, bringing in the holiday season with a resounding ‘Bah, Humbug’! From the moment the lights dim, the atmosphere is rich in Victorian textures, candlelit shadows, and a musical score that sweeps you straight into Dickens’ London. Directed by Matthew Warchus, Old Vic’s production of *A Christmas Carol* feels familiar and newly alive, like revisiting a cherished Christmas ornament that gleams brighter than you remember. At the heart of the show is Ebenezer Scrooge, played by acclaimed actor Lachy Hulme. He describes Scrooge as “a dried apricot seed…rotting inside” that grows into a “new apricot tree full of beautiful fruit for everyone to share.” Hulme carries his journey from bitter isolation to rediscovered joy with emotional depth, making his final transformation feel truly earned. The supporting ensemble layers the story with warmth and a sense of community that makes the theatre feel as though we’re all huddled together around a shared hearth. ![The Scoop A CHRISTMAS CAROL Melbourne 2025](https://thescoop.au/wp-content/uploads/2025/12/7-The-2025-production-of-A-Christmas-Carol-at-the-Comedy-Theatre-Photo-by-Michelle-Hunder-944x628.jpg "A CHRISTMAS CAROL Melbourne 2025 • The Scoop")The atmosphere is rich in Victorian textures candlelit shadows and a score that sweeps you straight into Dickens LondonThe ghosts are a standout, each crafted with their own theatrical flair and signature. Tony Cogin is absolutely chilling and morose as the ghost of Jacob Marley (and equally scary as Scrooge’s father). Natasha Herbert, as the Ghost of Christmas Past, has a knack for carrying the eerie nostalgia and bright youthfulness of her character. Samantha Morley, as the Ghost of Christmas Present, leans into some of the tongue-in-cheek moments shared with Scrooge as he fights to keep his eyes shut to the injustices he has caused. Little Fan, played by Emily Robinson, is sweet and hopeful as Scrooge’s sister, guiding Scrooge through the implications of his decisions. The transitions between past, present, and future are executed with a fluidity that keeps the momentum and curiosity alive. The rest of the cast continues to create a tapestry of humanity that contrasts Scrooge’s isolation and misanthropy. Andrew Coshan as Fred / Nephew brings folly and lightness to the stage as he attempts to uplift his uncle’s cynicism. Clare Warrillow brings quick wit and a wisdom beyond her years to her role as Belle. The Cratchit family, in particular, bring a tenderness and authenticity that lift some of the story’s quieter moments. Their scenes are beautifully grounded, offering a reminder of the resilience and love that sit at the soul of Dickens’s work. ![The Scoop A CHRISTMAS CAROL Melbourne 2025](https://thescoop.au/wp-content/uploads/2025/12/2-The-2025-production-of-A-Christmas-Carol-at-the-Comedy-Theatre-Photo-by-Michelle-Hunder-944x628.jpg "A CHRISTMAS CAROL Melbourne 2025 • The Scoop")Old Vics production lets Dickens original text shine through yet still contains surprises Photo by Michelle HunderThe staging by Rob Howell is striking and versatile. Candlelit hues warm the stage, basking the story in a soft, nostalgic glow. This is juxtaposed with cold chains draped across the backdrop of the stage, reminding us that this tale is not all Christmas cheer. I enjoyed Howell’s use of hollow doors and walls to symbolise how Scrooge was captive in his own home, by his own doing. The lighting by Hugh Vanstone only emphasised the state of Scrooge’s mind throughout the play, with a special mention to the gorgeous hanging lanterns swirling through the stage. Old Vic’s production lets Dickens’ original text shine through, yet still contains surprises. There are bursts of audience engagement and completely over-the-top gags that make the show fresh and fun. It captures the spirit of the season through a genuineness that inspires audiences to reconsider their 21st-century apathy and turn towards helping one another. *A Christmas Carol* is the kind of show that reminds you why this story has lasted centuries. It leaves you walking back out onto Exhibition Street feeling lighter and just a touch more generous. ***A Christmas Carol* runs to 24 December at the Comedy Theatre. 240 Exhibition Street Melbourne Vic 3000.** Tickets available [here](https://premier.ticketek.com.au/shows/show.aspx?sh=CHRISCAR25). Website: <https://christmascarolaustralia.com.au/> Socials: <https://www.instagram.com/christmascarolau/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Michelle Hunder **Categories:** Melbourne, Theatre --- ### [Review: Cirque Du Sleigh At Wynnum Wonderland](https://thescoop.au/review-cirque-du-sleigh-at-wynnum-wonderland/) **Published:** November 30, 2025 **Author:** Regan Baker **Content:** ![The Scoop Cirque Du Sleigh Wynnum Wonderland](https://thescoop.au/wp-content/uploads/2025/12/7C7A23DA-2D44-4EA2-BE11-A0809CA7AA27.JPG "Cirque Du Sleigh Wynnum Wonderland • The Scoop")I knew I wasn’t in for a standard Christmas show the second I walked up to the Augathella Spiegeltent. It has that slightly worn-in charm that immediately tells you something odd or brilliant is about to happen. Even with that in mind, *Cirque Du Sleigh* still caught me off guard. This is not a gentle, mulled-wine-and-snowflakes sort of night, and it’s certainly not for anyone who shies away from a low-cut top or anyone who thinks the Nativity should remain unbothered by innuendo. This is Christmas after someone took four shots of tequila, shook the snow globe too hard, and all the tiny elves got dizzy and decided to take their clothes off. Frankly, it’s wonderful. Before the carnage began, though, I had one of those moments where you sit back and go, “Damn, Wynnum has come a long way!” Because thanks to Tom Oliver, Wynnum is quietly turning into a real arts pocket. Not the kind where someone paints a laneway, and suddenly everyone pretends it’s the next West End. Actual arts. Shows. A tent. A whole vibe. Oliver has managed to install a Spiegel tent like it’s the most normal thing in the world to plonk near the bay in an empty lot, and now it’s hosting circus, cabaret, drag and whatever unholy hybrid this Christmas beast was. He is genuinely reshaping the area, and I don’t think we are fully appreciating just how crazy that is. Our MC for the evening (Mrs Claus, that is) was the incomparable Tash York, who wandered onstage looking like a festive fever dream you’d happily follow into disaster. With her seductive red lingerie poking out of her Christmas suit, York looked as though Santa had run off with one of his elves and had created an OnlyFans to fill her now empty present sack. She is one of those performers who could read the instructions from a box of tampons and still make it feel like an event. ![The Scoop Cirque Du Sleigh Wynnum Wonderland](https://thescoop.au/wp-content/uploads/2025/12/LCM-_HFA-Xmas-Show_-Nov-2025-15-942x628.jpg "Cirque Du Sleigh Wynnum Wonderland • The Scoop")This show is very much for people who like their Christmas with a wink a wine and maybe a questionable life choice or twoAnd of course, with Trigger Happy alongside her, it felt a little like the chaos and ensuing lawsuits of *Shreklesue* followed us in. If those two ever get a cease-and-desist framed, it should be sold as art. One of the fun quirks of *Cirque Du Sleigh* is its rotating guest lineup. Our opening night tickets gave us Memphis Mae and Diesel Darling, two performers who could not be more different if they tried, which honestly kept the pace from ever settling. Mae’s balloon routine was utterly ridiculous in the best way. Oversized balloon boobs wobbling everywhere, followed by a balloon swallowing trick that had both my partner, Georgia, and me laughing so hard I’m pretty sure the people behind me questioned their life choices. Darling, though, came at the night from the complete opposite angle. Less comedy, more temptation. Her act was smooth, confident, almost hypnotic. Not the “what the hell is happening?” kind of fun, but the “I suddenly understand why sailors wrote poetry about strangers in windows” type of allure. She didn’t try to outdo Mae, thank God. She just carved out her own lane and left a trail of water in her wake. AJ Salta, Tom Gorham and Liam Dummer were next in the mix. I swear every time I see these three in a show, I think I know what I’m in for… and then they pull something cheekier, or riskier, or just plain stupider. They each did their own thing first, which was fun enough, but it was when they piled on together that the room really lost it. It wasn’t clean, it wasn’t pretty, and that was the charm. You could tell they were having an absolute blast, and the audience just rode the wave. There were moments where I genuinely wasn’t sure if something was part of the act or if one of them had improvised out of sheer panic, but that unpredictability is half the joy of watching them. You don’t just get circus tricks; you get the personalities behind them leaking through. ![The Scoop Cirque Du Sleigh Wynnum Wonderland](https://thescoop.au/wp-content/uploads/2025/11/CDS-502x628.jpg "Cirque Du Sleigh Wynnum Wonderland • The Scoop")One of the fun quirks of *Cirque Du Sleigh* is its rotating guest lineupChelsea Angell’s routine basically reminded everyone that yes, you can be a phenomenal circus artist and yes, you can absolutely weaponise that at the same time. Her hoop work was fast and fierce, and her contortion… let’s just say I’m sure a lot of the men in the room were glad the bar was well-stocked with ice. Jess Robins followed with the kind of aerial work that just feels comfortable in this setting now. She’s becoming one of those names that you see on a cabaret lineup and think, “Yep. Good. We’re in safe hands.” She floats. She drops. She spins. And the crowd loves her every time. Cal Harris was the unexpected surprise of the night. A new name for me, and easily one of the strangest, funniest, most impressive single tricks I’ve seen in a cabaret this year. And I’ve seen close to thirty at this point, so the bar is not low. I refuse to spoil it. Walking out of the tent afterwards, I had that strange feeling you get after a night that went off the rails in a good way. The kind of Christmas thing you definitely don’t mention to your boss on Monday. Bits of it were totally unhinged. Bits were ridiculously clever. And some of it had me laughing so hard I forgot I was supposed to be reviewing anything at all. And look, don’t take your (adult) kids. Or your overly wholesome grandparents (like one of the girls sitting opposite us in the front row). Or anyone who still gets upset about bare ankles. This is very much for people who like their Christmas with a wink, a wine and maybe a questionable life choice or two. If that’s your vibe, then you’ll have a stupidly good time. *Cirque Du Sleigh* isn’t the ‘sit quietly and clap politely’ sort of festive outing. It’s the chaotic, sparkly, slightly grubby one you talk about later with a grin. ***Cirque Du Sleigh* runs to 22 December as part of** **Wynnum Wonderland. The Augethella Spiegeltent, 166 Bay Terrace Wynnum Qld 4178.** Tickets are available [here](https://splash.wynnumwonderland.com/?event=cirque-du-sleigh&_gl=1%2Adycanl%2A_gcl_au%2AMTA5NTIxNTgzNi4xNzYzNzA1OTY4%2A_ga%2AMTgzMzAzNjM0Mi4xNzYzNDIxMjM2%2A_ga_V25S6FHEJ9%2AczE3NjQ1MDI0NjAkbzIkZzAkdDE3NjQ1MDI0ODEkajM5JGwwJGgw). Website: <https://wynnumwonderland.com/> Socials: <https://www.instagram.com/wynnumwonderland/> Read more of our Circus Reviews! Images supplied. **Categories:** Brisbane, Circus --- ### [Film Review: Careless Reveals The Truth About Ageing](https://thescoop.au/film-review-careless-reveals-the-truth-about-ageing/) **Published:** November 29, 2025 **Author:** James Murphy **Content:** ![The Scoop Careless Feature Documentary](https://thescoop.au/wp-content/uploads/2025/11/Careless_1-1116x628.jpg "Careless Feature Documentary • The Scoop")Australia has a habit of treating ageing as something taboo, to segregate away. *Careless*, directed by award-winning filmmaker Sue Thomson, refuses that framing. The film premiered at the 2025 Melbourne International Film Festival where it won the Audience Award. It lands with humour, anger and something more tender; a reminder that ageing is not a future abstraction. It is all of us, sooner than we think. Thomson builds the documentary around her mother, Margaret, who is 89, sharp, funny and increasingly wary of the institutional landscape waiting at the end of the road. The camera never turns her into a symbol. She’s a person who wants to live at home and stay part of her neighbourhood. Her daughter asks questions during sections of the film, alongside other families trying to keep their parents safe, connected, and human. *Careless* follows several older Australians determined to age in place. Some are coping. Some are lonely. Others have lost partners and feel the world shrinking around them. Thomson keeps these strands tight and personal. She avoids the trap of a broad ‘issue’ documentary. The people come first. The policy critique emerges from their days, not the other way around. ![The Scoop Careless Feature Documentary](https://thescoop.au/wp-content/uploads/2025/11/Careless_6-1116x628.jpg "Careless Feature Documentary The Backlot Films • The Scoop")The film is a reminder that ageing is not a future abstraction It is all of us sooner than we thinkStill, when the system appears, it is absurd. One sequence shows a character navigating MyAgedCare. Thomson stretches the single phone call across a full morning. The call continues as she leaves the house, drives, and shops. A spritely Benny Hill-style score underlines the comic horror. It is funny. It is also recognisable to anyone who has tried to help an older parent through the maze of aged-care bureaucracy. A welcome surprise is the trio of schoolchildren who deliver ‘show and tell’ segments explaining aged care and serve as narrators. They’re bright, blunt and entirely unbothered by adult euphemisms. It’s more than a gimmick. Thomson uses them to argue that the next generation needs to learn about ageing and death early, not so they fear it, but so they can meet it with empathy. The contrast between these kids and our current political class is painful. The film’s history sits just below the surface. Thomson doesn’t lecture, but the documentary makes clear that the system’s failures are bipartisan. The Keating-era reforms, Howard’s expansion of private markets, and later governments under Rudd, Gillard, Morrison, and Albanese all amplified a model that treats older people as a commodity, rather than a part of the community. Journalist Rick Morton and other experts appear to give context and are used well. *Careless* blends observational footage, interviews, and stylised sequences. Thomson inserts archival photos of her subjects as young people: sunburnt on beaches, laughing in swimsuits, dancing at parties. These images hit harder than any statistic. They close the empathy gap that often swallows aged-care conversations. It’s hard to ‘other’ someone when you’ve just seen them at twenty. ![The Scoop Careless Feature Documentary The Backlot Films](https://thescoop.au/wp-content/uploads/2025/11/Careless_3-1116x628.jpg "Careless Feature Documentary The Backlot Films • The Scoop")The clear message is that older Australians want independence choice connection and the ability to age in place and they are not getting itThe film also includes stories from CALD communities, including Italian families, and from First Nations elders, whose experiences with ageing carry a different cultural weight. These moments broaden the documentary and prevent it from defaulting to a single cultural lens. The inclusion of dementia stories is also handled with care; honest but not voyeuristic. At around 90 minutes, the pacing works. The humour keeps the film buoyant. The grief is real but never punishing. If anything is missing, it’s an international comparison. Countries like Denmark, Japan and the Netherlands have home-based ageing models that outperform ours. A short sequence on that would have strengthened the film’s argument. But it’s a minor point in a documentary that already carries significant weight. There’s a clear message: older Australians want independence, choice, connection, and the ability to age in place. They are not getting it. Yet Thomson doesn’t fall into despair. She shows families, neighbours and care navigators who do get it right. *Careless* understands the power of local community and intergenerational connection: dancing, cooking, learning and living together is the antidote to isolation. ***Careless* opens in select cinemas nationally on 4 December 2025.** Website: <https://backlot-films.webflow.io/films/careless> and <https://www.carelessfilm.com/> Socials: <https://www.instagram.com/thebacklotfilms/> [Read more of our Film Reviews](https://thescoop.au/category/film/) Photo credits Ben Bryan. Watch the trailer here: **Film details:** Title: Careless Director: Sue Thomson Cast: Told through the stories of older Australians Country of Origin: Australia Rating: PG Duration: 88 mins **Categories:** Film --- ### [Review: Congratulations, Get Rich! Sings A Story Of Love, Legacy & Ghosts](https://thescoop.au/review-congratulations-get-rich-sings-a-story-of-love-legacy-ghosts/) **Published:** November 30, 2025 **Author:** Sophie Cornett **Content:** ![The Scoop Congratulations, Get Rich! Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2025/11/CongratulationsGetRich_STC_ImageCredit_PrudenceUpton_346-942x628.jpg "Congratulations, Get Rich! Sydney Theatre Company • The Scoop")*Congratulations, Get Rich!* is the latest triumph to hit the Sydney Theatre Company stage. A co-production with La Boite Theatre in Brisbane and the Singapore Repertory Theatre, this phenomenal production is a beautiful tribute to the power of love, legacy and song. The story begins on the opening night of Mandy’s brand-new karaoke bar, Money Money Karaoke. The evening is off to a slow start, with a dire absence of patrons sending Mandy into a despair that even her supportive partner Xavier cannot seem to break her from. Everything changes, though, when two mysterious women appear. The stakes are raised when Mandy realises they are her mother and grandmother, now returned as hungry ghosts. As secrets are revealed and loyalties are tested, the three women explore how it truly feels to live with the weight of family history. Playwright and performer Merlynn Tong has crafted a stunning narrative, told with the perfect blend of comedy, poignant emotional beats and rich character work. Her words are beautifully brought to life by director Courtney Stewart. She has blended the characterisation and setting together seamlessly to carry audiences through the emotional journey. ![The Scoop Congratulations, Get Rich! Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2025/11/CongratulationsGetRich_STC_ImageCredit_PrudenceUpton_681-942x628.jpg "Congratulations, Get Rich! Sydney Theatre Company • The Scoop")Playwright and performer Merlynn Tong has crafted a stunning narrative Photo by Prudence UptonFrom the very moment you step in the theatre, the incredible set and lighting design by James Lew and Gabriel Chan immediately transports you into the vibrant karaoke bar. In particular, the television set into the back of the space has been imbued with a reflective quality that is used to tremendous haunting effect. The dynamic lighting changes facilitate the delightfully shocking transitions between the bar and surreal liminal spaces. Music is a vital part of the storytelling in this performance. Composer & sound designer Guy Webster and music director Alex Van Den Broek have perfectly captured the karaoke bar energy while honing the powerful narrative beats of each song. I loved the background and insight these moments provided. The choreography alongside these songs is beautifully stylish, polished and attuned to the emotional needs of the story. In every scene, the cast demonstrates their deep commitment to the story, enrapturing the audience with their performances. Writer Merlynn Tong performs as Mandy, and you can feel her deep personal and emotional connection to the story, from every line to every choice in physicality. She is truly delightful to watch, not only how she owns her power when alone on stage, but also how she becomes the tether point between the other players. ![The Scoop Congratulations, Get Rich! Sydney Theatre Company](https://thescoop.au/wp-content/uploads/2025/11/CongratulationsGetRich_STC_ImageCredit_PrudenceUpton_145b-942x628.jpg "Congratulations, Get Rich! Sydney Theatre Company • The Scoop")The stunning visuals vocals and emotional pull make this performance a transformative experience Photo by Prudence UptonMandy’s partner, Xavier, is played by Zac Boulton, and he is the perfect supportive and charming counterpart. His comedic timing and earnestness perfectly contrast and complement the other characters. Mandy’s mum and grandma (or Gma) are played by Seong Hui Xuan and Kimie Tsukakoshi, respectively. Independently, each has made beautifully rich character choices in emphasising the nuances of their relationship with both Mandy and each other. It is beautiful to see the two discover that while they are mothers, they are also human and comprised of the same complex emotions and histories. Together, their physicality as hungry ghosts is amazing, a tremendously entertaining combination of humorous and haunting. *Congratulations, Get Rich!* is an incredible narrative of discovering how to carry your family’s past while moving forward to define your own future. The stunning visuals, vocals and emotional pull make this performance a transformative experience. I highly recommend making the time to see this show while it haunts the Sydney Theatre Company stage! ***Congratulations, Get Rich!* is presented by Sydney Theatre Company, La Boite Theatre and Singapore Repertory Theatre. It runs to 14 December at the Wharf 1 Theatre, Wharf 4/5 Walsh Bay, Sydney.** Tickets: <https://www.sydneytheatre.com.au/whats-on/productions/2025/congratulations-get-rich> Website: <https://www.sydneytheatre.com.au/> Socials: <https://www.instagram.com/sydneytheatreco/> and [https://www.instagram.com/laboitetheatre/](Socials:%20https://www.instagram.com/laboitetheatre/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Prudence Upton **Categories:** Sydney, Theatre --- ### [Film Review: A Life Illuminated 2025 Brisbane International Film Festival](https://thescoop.au/film-review-a-life-illuminated-2025-brisbane-international-film-festival/) **Published:** November 30, 2025 **Author:** Sophie Humbert **Content:** ![The Scoop A Life Illuminated Tasha Van Zandt Edie Widder Brisbane International Film Festival](https://thescoop.au/wp-content/uploads/2025/11/Screenshot-2025-11-30-at-23928-pm-1200x597.png "A Life Illuminated Tasha Van Zandt Edie Widder Brisbane International Film Festival • The Scoop")Last night, Brisbane’s Star Casino Leisure Deck was transformed into a mystical sanctuary of technicolour. All ages were welcomed to bask in the magnificence of deep-sea exploration for the Australian premiere of *A Life Illuminated* as part of the 2025 Brisbane International Film Festival. In 2012, the film’s Director Tasha Van Zandt recalls seeing an incredible video of a giant squid discovery, which absolutely transformed her worldview. This ultimately led her to the woman who made the groundbreaking discovery: scientist Edie Widder. “I had been exposed to a reality that I thought everyone should know about, and they didn’t,” she says. *A Life Illuminated* is a documentary that explores Edie Widder’s magnificent career as an oceanographer and marine biologist. The film follows her exploration to the deepest depths of the ocean, particularly in search of capturing bioluminescence on camera. It is an engaging account of Edie’s journey of discovery, with her passion for the environment seeping throughout the narrative. The film begins with ominous shots of the rolling sea, overlayed with Edie’s voice and a suspenseful soundtrack, welcoming audiences to embark on an expedition alongside Edie. The film blends cinematic footage with archival video to demonstrate the global impact of Edie’s work and evolution of her career. Tasha describes Edie as a pioneer in her field and a trailblazer in making space for other women in marine biology. The beginning of the film prioritises connecting audiences with our main character, Edie Widder, through depicting her struggles as a woman in her field. Particularly during her first expedition in 1982, where Edie was consistently subject to reminders of how women are ‘bad luck’ at sea. “I think a lot of women lose interest in science when they don’t have role models,” Edie says. ![The Scoop A Life Illuminated Tasha Van Zandt Edie Widder Brisbane International Film Festival](https://thescoop.au/wp-content/uploads/2025/11/Screenshot-2025-11-30-at-23906-pm-1200x567.png "A Life Illuminated Tasha Van Zandt Edie Widder Brisbane International Film Festival • The Scoop")The film establishes mood through thoughtful use of music and video Shots frame the deep blue sea as this mysterious entityThe film segues into exploring Edie’s childhood, where she was raised by mathematician parents, and spent plenty of time travelling. A glimpse into her past allows audiences to understand how Edie developed an unwavering love and fascination for marine biology. The film establishes mood consistently through thoughtful use of music and video. Some shots frame the deep blue sea as this ‘mysterious entity.’ When Edie is fearful, we are fearful. Through lingering the camera on Edie’s face, depicting a wide grin as she sits in a submersible with a backdrop of the ocean to complement, audiences are welcomed to view the sea through Edie’s eyes. When Edie is fascinated, we are fascinated. In 1985, Edie and her team developed a SPLAT screen which stimulates bioluminescence and measures light output, as sea creatures bump against the submerged screen. Capturing bioluminescence on camera is something Edie consistently strived for throughout her career. Film producer Sebastian Zeck says the creation of *A Life Illuminated* required the use of submersibles. Tasha and Sebastian joined Edie in her deep-sea exploration to film this bioluminescent phenomenon and share its magnificence on screen. “It’s a huge technical challenge filming the deep sea, and bioluminescence has rarely been filmed, requiring a very sensitive light camera,” Sebastian says. ![The Scoop A Life Illuminated Tasha Van Zandt Edie Widder Brisbane International Film Festival](https://thescoop.au/wp-content/uploads/2025/11/Screenshot-2025-11-30-at-23941-pm-1200x574.png "A Life Illuminated Tasha Van Zandt Edie Widder Brisbane International Film Festival • The Scoop")Capturing bioluminescence on camera is something Edie consistently strived for throughout her career Edie is an expert in the flashback phenomenon, occurring as a submersible flashes light and bioluminescent creatures flash back. The film concludes with stunning footage of bioluminescent creatures twinkling to form a stunning light show; a heartfelt and visually marvellous way of depicting Edie’s journey of discovery, with an orchestral soundtrack to harmoniously connect music with visuals. *A Life Illuminated* highlights Edie’s marvellous career progression and enthralling expeditions into a world untouched by man. The film challenges more frightening depictions of the ocean and its creatures, finding beauty in its mystery. Through the expert lens of the filmmakers, audiences can revel in Edie’s relationship with the deep sea. The film concludes with an inspiring call to action. Edie expresses a need for more explorers and describes deep-sea exploration as an important new way of looking at life on Earth. As the credits roll, magnificent footage is overlayed, showing a final glimpse of bioluminescent creatures found on the deep-sea; a sublime conclusion to complement Edie’s final testimony: “That’s why I fell in love with bioluminescence, it illuminates life.” ***A Life Illuminated* screens tonight at Palace Barracks as part of the 2025 Brisbane International Film Festival.** Tickets: <https://tix.biff.com.au/Events/A-Life-Illuminated-Q-A> Website: <https://biff.com.au/> and <https://www.alifeilluminated.com/> Socials: <https://www.instagram.com/bnefilmfest/> and <https://www.instagram.com/alifeilluminatedfilm/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Images supplied. Watch the trailer here: **Film details:** Title: A Life Illuminated Director: Tasha Van Zandt Cast: Edith Widder Country of Origin: United States Duration: 89 mins **Categories:** Film --- ### [Announcing Principal Cast For The Lion King](https://thescoop.au/announcing-principal-cast-for-the-lion-king/) **Published:** November 30, 2025 **Author:** Newsroom **Content:** ![The Scoop The Lion King Sydney 2026](https://thescoop.au/wp-content/uploads/2025/11/1-The-Lion-King-Sydney-2026-941x628.jpg "The Lion King Sydney 2026 • The Scoop")Disney today announced the principal performers that will lead **THE LION KING** cast when the global phenomenon returns to Australia next year. Opening at the **Capitol Theatre in Sydney from April 2026**, THE LION KING is the world’s #1 musical and has been seen by more than 124 million worldwide. Following a competitive audition process, this cast represents the very best talent from Australia, New Zealand and around the world, whose artistry will bring the beloved characters of this epic theatrical masterpiece to life. Returning to lead the cast as Rafiki will be **Buyi Zama**. Stepping into this iconic role for a third time here, having also played Rafiki in the 2003 and 2013 tours. Originally from South Africa, she loved performing here so much that Australia has now become her home. Zama has been part of THE LION KING around the world, including with productions in Australia, North America, China, London, and on Broadway. Zama will be joined on stage by another alumni member of THE LION KING global family. New Zealander **Nick Afoa** made his theatre debut twelve years ago as Simba before going on to perform the role on London’s West End. Afoa will now return to play the next generation and continue the circle of life by stepping into the role of Mufasa. Completing the principal cast will be a mix of new talent and familiar faces, including **Benn Welford** (Australia) as Zazu, **Jamie McGregor** (Aotearoa/New Zealand) as Timon, **Rutene Spooner** (Aotearoa/New Zealand) as Pumbaa, **Aphiwe Nyezi** (South Africa) as Simba, **Emily Nkomo** (Zimbabwe/Australia) as Nala, **Winston Hillyer** (Philippines/Aotearoa/New Zealand) as Banzai, **Ezra Williams** (Australia) as Shenzi and **Mat Verevis** (Australia) as Ed. THE LION KING will be the ninth production from Disney Theatrical Group to play in Sydney over the past thirty years, following an impressive list of smash-hits that include recent national tours of Beauty and the Beast, Aladdin, Mary Poppins and Frozen. Now in its fourth decade as a theatrical producer, Disney Theatrical is headed by Managing Director Andrew Flatt and Executive Producer Anne Quart. **Anne Quart**, Executive Producer, Disney Theatrical Group, said: *“We are thrilled that THE LION KING is returning to Australia with a world class group of artists to once again engage with your wonderfully welcoming audiences. Together with Julie Taymor we have assembled a thrilling cast, and we can’t wait to welcome new audiences, joining the 10 million our Disney Theatrical productions have entertained to date.”* Further casting information will be announced at a later date. THE LION KING has been critically acclaimed around the world, with The New York Times proclaiming that ‘there is simply nothing else like it’. Previously, the 2013 Sydney season of THE LION KING was celebrated by both audiences and critics. **[THE LION KING](https://thescoop.au/announcing-disneys-the-lion-king-for-sydney-2026/) runs from 18 April 2026 at the Capitol Theatre, Sydney.** Tickets are [on sale now](https://thelionkingmusical.com.au/tickets/?city=sydney)! Website: <https://thelionkingmusical.com.au/> Socials: <https://www.instagram.com/thelionkingau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. The Australian premiere of Disney’s *The Lion King* is proudly supported by the NSW Government through its tourism and major events agency Destination NSW. **Categories:** News --- ### [Announcing Yirra Yaakin Theatre Company 2026 Season](https://thescoop.au/announcing-yirra-yaakin-theatre-company-2026-season/) **Published:** November 29, 2025 **Author:** Newsroom **Content:** ![The Scoop Yirra Yaakin 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/2026-Season-Hero-Image-Season-Actors-Shaquita-and-Derek-Nannup-Photo-credit-Frances-Andrijich-jpg-1047x628.jpeg "Yirra Yaakin 2026 Season • The Scoop")In 2026, **Yirra Yaakin Theatre Company** dives deep into the themes that connect us all – family, identity, and legacy – brought to life with honesty, wit and joyful laughter. Artistic Director **Maitland Schnaars** believes that 2026 will see the continued growth and development of Yirra Yaakin as a significant theatre company with its ongoing and deep commitment to telling Aboriginal stories their way, and creating opportunities for Aboriginal artists both on and off stage. Schnaars is excited to announce that the 2026 Season features three amazing, contemporary and powerful mainstage productions: *“These productions speak to who we are, where we come from, and where we’re going. These stories are all WA premieres that deserve to be seen, shared, and celebrated. They explore themes as varied as Father/Daughter relationships, tick a box Blackfullas and Black exploitation.”* Opening the year is **Katie Beckett**’s *[Which Way Home](https://yirrayaakin.com.au/?post_type=production&p=5582&preview=true)*, a heartfelt journey of love, legacy, and belonging. It is a beautiful Father/Daughter road trip, based on Beckett’s own memories of growing up with her single Aboriginal father. It is infused with humour and heart as the pair reconnect on the drive back to Country. *Which Way Home* features real life father and daughter and much-loved Yirra Yaakin performers **Derek** and **Shaquita Nannup**. This personal story offers profound insight into father-daughter relationships and challenges traditional ideas of parenthood. The season runs from **28 April to 9 May** in The Studio space at Subiaco Arts Centre. *[At What Cost?](https://yirrayaakin.com.au/?post_type=production&p=5583&preview=true)* by **Nathan Maynard** is the second production of the year and is set in Tasmania. The play raises the issues of ‘tick-a-box blacks’ and asks what it is to be Aboriginal? Every year, more people turn up claiming to be Palawa. Where have they been all this time? Are they genuine? Or just ticking a box? Who gets to decide who is Aboriginal or not? What happens when your identity is up for debate? Maynard’s bold an unflinching play asks these urgent questions. *At What Cost?* is presented in the main auditorium at Subiaco Arts Centre from **17 July to 1 August**. Yirra Yaakin finishes the year with *[Jacky](https://yirrayaakin.com.au/?post_type=production&p=5580&preview=true)* by **Declan Furber Gillick**, a co-production with **Black Swan State Theatre Company**. *Jacky* is a razor-sharp tale about the cost of keeping it all together. Jacky is a smart, enterprising young Aboriginal man making a life for himself in the city. He’s skilfully navigating the gig economy, skipping neatly from office internships to cultural performances to sex work. But when his little brother Keith shows up unannounced, Jacky’s carefully compartmentalised lives are thrown into chaos. This funny and unflinching play about family, work and culture explores the compromises we are prepared to make to survive as Aboriginal people. *Jacky* runs from **23 October to 8 November** in the main auditorium at Subiaco Arts Centre. ![The Scoop Yirra Yaakin Theatre Company 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/2026-Season-Hero-Image-Which-Way-Home-887x628.jpeg "Yirra Yaakin Theatre Company 2026 Season • The Scoop")Shaquita and Derek Nannup will perform in Which Way Home Photo by Frances AndrijichTo complement the year, Yirra Yaakin will continue to run Community, Young Artists’, Education, and Emerging Storytellers’ programs. The year commences with their popular **Family Picnic** in the beautiful grounds of Subiaco Arts Centre. This FREE family event is about their commitment to and giving back to the local community. Yirra Yaakin’s continued commitment to Noongar language will be seen through the metropolitan and regional primary school tours of their education work **Djinda Kaatijin** (to learn about the stars) and the **Ngalaka Daa** program in partnership with **West Australian Youth Theatre Company** (WAYTCo). **Yirra Yaarnz**, their playwriting program for First Nations emerging and established playwrights, will also return with live readings at WA Museum Boola Bardip. In 2026, Yirra Yaakin will continue their commitment to regional WA. ***The* *7 Stages Of Grieving*** by Wesley Enoch and Deborah Mailman, is scheduled (subject to funding), for a regional tour reaching as far north as Karratha and as south as Margaret River. The company is also providing the Best Value opportunity to experience First Nations’ storytelling at its finest and unforgettable performances with its **Koodjal+ two plays or more shows. Sign up to** **Koodjal+ packages** and receive up to **20% off** **full-price tickets**and enjoy a host of other benefits. **New in 2026 is the introduction $30Under30.** If you’re under 30, they’d love for you to enjoy some deadly Aboriginal storytelling at Subiaco Arts Centre for a special price all year round. Tix are just **$30** – so grab your besties and catch a Yirra Yaakin show in 2026. For Aboriginal or Torres Strait patrons, **Mob TIX** are available at every performance at the discounted rate of $25! *“Don’t look at us and what we do on stage. But through us and what we do, and at yourself, your world, not ours.”* **For more information about the 2026 Season, please visit the Yirra Yaakin Theatre Company website.** Website: [www.yirrayaakin.com.au](http://www.yirrayaakin.com.au/) Socials: [https://www.instagram.com/yirra\_yaakin/](https://www.instagram.com/yirra_yaakin/) [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image photo credit: Frances Andrijich **Categories:** News --- ### [Review: Queensland Theatre's A Few Good Men Is A Triumph](https://thescoop.au/review-queensland-theatres-a-few-good-men-is-a-triumph/) **Published:** November 28, 2025 **Author:** Regan Baker **Content:** ![The Scoop A Few Good Men Queensland Theatre](https://thescoop.au/wp-content/uploads/2025/11/Courtney-Cavallaro-Doron-Chester-and-George-Pullar-Photo-by-Stephen-Henry-904x628.jpg "A Few Good Men Queensland Theatre • The Scoop")Let’s begin with a confession. I’ve never seen *A Few Good Men*. I know. A film graduate who has managed to dodge one of the most quoted courtroom dramas on the planet. In my defence, I’m not alone – because neither had a lot of the younger cast! And it’s not because I dislike courtroom stories or military thrillers. I actually love both. My blind spot is Tom Cruise. I cannot explain it. Something in me just taps out the moment I see him sprinting on screen. So, walking into QPAC for Queensland Theatre’s take on Aaron Sorkin’s play, staged as part of QPAC’s 40th anniversary celebrations, I only knew five words of the entire script. And yes, it is the exact five words you are thinking of. Somehow, I had managed to hold off on watching the film for years, so having this powerhouse Brisbane season land in front of me felt like a blessing. It was a strange lead-up to opening night. My girlfriend, Georgia, had zero interest in seeing the show. She made this clear. Repeatedly. So, I figured I would take my mum instead, a fellow Tom Cruise avoider. Then life decided it would rewrite the plan, and my aunty ended up in hospital. Mum rushed off to Lismore, and suddenly Georgia found herself as my unwilling theatre date after all. I only mention this, as she walked out in complete awe. She was literally going to stay home and work, but walked out saying, “… (It was) without a doubt the best play I have seen in years.” Truthfully, she isn’t wrong. There is so much to praise about this unbelievable production that it’s hard to know where to begin. But we have to start somewhere, and the technical elements of the show are what pushed *A Few Good Men* from being ‘good’ theatre into being something completely gripping. Daniel Evans has delivered direction that feels razor sharp. He takes what could so easily fall into the rhythm of a static, stiff courtroom drama and shoots it forward with an energy that never lets up. ![The Scoop A FEW GOOD MEN Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2025/11/The-company-of-A-FEW-GOOD-MEN-3-Photo-by-Stephen-Henry-1029x628.jpg "A FEW GOOD MEN Queensland Theatre Company • The Scoop")Every single performer deserves serious praise It feels like the company has been assembled with absolute precisionMike Willmett’s composition and sound design are extraordinary. That is not hyperbole. I have never heard a score in a courtroom play like this. Pulsing chants, heavy beats, and a kind of marching heartbeat between scenes propel the story in a way that makes you sit forward and lock in. It creates power, intimacy and tension in equal measure. It flicks from atmospheric to confrontational. It wraps around the actors and makes the world feel alive. It is, in my opinion, one of the defining achievements of the production. Then there is the lighting. Honestly, what is a Brisbane production without Ben Hughes at the helm. The design is harsh, bold and stunning. Hughes uses beams that carve the stage into isolated pockets, underlining the loneliness of Gitmo and the moral isolation of the characters trapped there. Above the stage, lighting racks glide up and down like living machinery. They hang, rise, sink and shift in ways that turn them into silent characters. The environments they create are intimidating, beautiful and sometimes even frightening. The combination of Willmett’s score and Hughes’ lighting, guided by Evans’ Matilda Award-winning eye, forms the spine of the entire night. If someone asked me what makes this show special, I would point straight to that trio. The performances match the technical mastery. I do not have the word count to individually name everyone, but every single performer deserves serious praise. It is a rare thing to watch a cast where there is not a single weak link. It feels like the company has been assembled with absolute precision. George Pullar’s take on Lt j.g. Daniel Kaffee feels so natural that you almost forget you’re watching someone act. He strolls on like he’s wandered in from a completely different play and somehow still owns the space. There’s this mix of charm and smug cleverness about him, but Pullar never pushes it too hard. He lets Kaffee’s wit sit under the surface, like he’s constantly two steps ahead but pretending he isn’t. ![The Scoop A FEW GOOD MEN Queensland Theatre Company](https://thescoop.au/wp-content/uploads/2025/11/Hayden-Spencer-Photo-by-Stephen-Henry-935x628.jpg "A FEW GOOD MEN Queensland Theatre Company • The Scoop")Nobody will ever outdo Jack Nicholson on those famous words but Spencer gets close Very closeAt first, he seems almost too relaxed, almost casual to a fault, and then the story tightens around him, and suddenly he’s laser-focused. That shift catches you off guard in the best way. It’s the moment where you realise just how good he is. Hayden Spencer delivers an incredible performance as Lt. Col. Nathan Jessep. And by that, I mean he is so easy to hate. Spencer embodies Jessep with a fierce, bone-deep belief in the Marines. The posture, the voice, the stillness, the explosive moments of control. All of it works. His “protect the border at any cost” attitude radiates through the theatre. Nobody will ever outdo Jack Nicholson on those famous words, but Spencer gets close. Very close. He is magnetic, terrifying and impossible to look away from. Courtney Cavallaro stands strong as the only woman in a sea of men. She holds her ground with confidence and clarity, and every moment she spends opposite Pullar crackles. And Donne Ngabo, in one of his first major theatre credits, is outstanding as Lance Cpl. Harold Dawson. His precision, stillness and emotional depth hit exactly where they need to. There are so many others worthy of mention and praise, and it speaks volumes that you walk away feeling like every performer has delivered something significant. Queensland Theatre Company’s *A Few Good Men* is powerful, thrilling and incredibly well crafted. It takes a story that is familiar to many and presents it with boldness and clarity. It is by far one of Queensland Theatre Company’s strongest productions in years, a technical and performance masterclass. If this is QPAC’s idea of marking a big anniversary, then honestly, they should start inventing a few more reasons to celebrate. I had no idea this was the version of *A Few Good Men* I’d been holding out for, but here we are. And seeing it live before ever touching the film feels like a win. Take that, Tom Cruise! ***A Few Good Men* is presented by Queensland Theatre Company and runs to 7 December at The Playhouse, QPAC.** Tickets: <https://qpac.n.qtix.com.au/tickets/series/qtafewgoodmen25> Website: <https://queenslandtheatre.com.au/> Socials: <https://www.instagram.com/qldtheatreco/> [Read more of our Theatre Reviews!](https://thescoop.au/theatre-reviews/) Photo credits: Stephen Henry **Categories:** Brisbane, Theatre --- ### [Review: Carol Is An Homage To The Carnage Of Christmas](https://thescoop.au/review-carol-is-an-homage-to-the-carnage-of-christmas/) **Published:** November 28, 2025 **Author:** Greta Rule **Content:** ![The Scoop Carol Black Swan Theatre Perth](https://thescoop.au/wp-content/uploads/2025/11/Carol-Production-2025-9506-941x628.jpg "Carol Black Swan Theatre Perth • The Scoop")If you’re looking for a Christmas show filled with emotional depth, quirky radio quizzes, dry Australian humour and a triumphant ending, Andrea Gibbs’ *Carol*, presented by the Black Swan Theatre Company, delivers just that. The Christmas season is often painted as one of joyous family reunions and festive celebrations. But for many, a harsher reality lies underneath the tinsel and pavlova. The festive season often brings with it financial stress, family obligations and grief. *Carol*, Andrea Gibbs’ new play, brings those hidden struggles to the stage, spotlighting an often-invisible demographic. Centring on a woman in her sixties and narrated by a quintessential Australian Santa, it is a hilarious and heart-warming depiction of the Aussie Christmas experience and the perseverance of a grieving woman. I was struck by the statistic that women over fifty-five are the fastest-growing group facing housing insecurity in Australia – a consequence of historical financial disadvantage. In her writer’s note, Andrea Gibbs explains wanting to write a play about a woman in her sixties, and have her story seen. Gibbs, having spoken to many women living through the reality of insecure housing, successfully captures their intelligence, resilience and humanity in *Carol*. The story follows Carol, a widow in her sixties who is about to spend her first Christmas without her husband (whose ashes she stores in a freezer container). Narrated by a larrikin Santa with golden plastic guns riding a tinsel-covered bicycle, Carol’s world unravels when she realises her husband has left her financially vulnerable. She is at risk of losing everything, just weeks before Christmas. ![The Scoop Carol Black Swan Theatre Perth](https://thescoop.au/wp-content/uploads/2025/11/Carol-Production-2025-9729-941x628.jpg "Carol Black Swan Theatre Perth • The Scoop")Carol is a hilarious and heart warming depiction of the Aussie Christmas experience and the perseverance of a grieving womanThe audience roots for Carol as she navigates a disordered grief group, her bratty son’s demands to ‘save’ Christmas, and an armed robbery in the Morley Galleria car park. Desperate to be seen, Carol finds unlikely solace in Santa, decked out in board shorts and thongs, who has a fitting Christmas song parody for every occasion. It is no secret that our society often dismisses women as they age. This makes it all the more refreshing to see an older female character given a compelling narrative. Gibbs weaves together the familiar Christmas motif of being naughty or nice with the undeniable reality that misfortune does not discriminate. In the process, she captures the nuance of what it means to be human. The audience is offered a relatable glimpse into the darker side of Christmas with stark commentary on the current property market and cost of living in Australia, whilst also making us laugh out loud. With a cast of six under the direction of Adam Mitchell, *Carol* brings to life an array of hilarious Australian characters. Each represents a part of ourselves or someone we know. Mark Storen is a stand-out as Santa, or ‘Sack Daddy’ as he cheekily calls himself, growing more mischievous as the story unfolds. Storen’s breaking of the fourth wall with irreverent humour – describing himself as the ‘original overnight delivery service’ and lamenting being assaulted by Mariah and Bublé – showcases the witty writing and attuned direction of the creative team. Sally-Anne Upton’s portrayal of Carol is layered and moving. Witty in her delivery of her unguarded character, Upton draws the audience in with humour and tenderness as she confronts her grief. Upton embodies the unapologetic honesty and eccentric charm that often comes with age. ![The Scoop Carol Black Swan Theatre Perth](https://thescoop.au/wp-content/uploads/2025/11/Carol-Production-2025-9889-941x628.jpg "Carol Black Swan Theatre Perth • The Scoop")Carol finds unlikely solace in Santa decked out in board shorts and thongs Photo by Daniel J GrantBruce Denny, Isaac Diamond and Ruby Henaway play diverse Australian characters, displaying their range and skills as actors, every performer equally vital to the show. Jackson Harper Griggs is a terrific addition on the keyboard. Bruce McKinven’s set captures the spirit of a low-key Australian Christmas. A decorated tree stands alongside a keyboard and drum kit, with live music adding warmth and intimacy. The life-sized blue Kombi van, its own character, sits on dollies so it can be manoeuvred across the stage. Stage managers, dressed as Santa’s elves, shift props and set pieces, enhancing the playful atmosphere. From costume to set to choreographed movement, each detail has a purpose and is cleverly integrated into the narrative. Beyond being a widow and a mother, the character of Carol is an amalgamation of all the wives and mothers whose quiet work and strength go unnoticed. It is a homage to their stories and a delicate reminder that there would be no Christmas without women like *Carol*. Black Swan Theatre Company’s show had me laughing out loud and crying real tears. It reminds us that Christmas, despite its reputation for joy, does not erase debt, grief, or family pressures. I hope to see more stories like Carol’s on stage and more spotlight given to the perspectives of older women. This production proves that the demographic brims with wisdom, resilience and personality. A triumphant piece, *Carol* is a must-see this December. ***Carol* is presented by Black Swan State Theatre Company and runs to 14 December at Heath Ledger Theatre.** ****State Theatre Centre of Western Australia, 174 – 176 William Street Perth WA 6000.**** Tickets: <https://blackswantheatre.com.au/season-2025/carol> Website: <https://blackswantheatre.com.au/> Socials: <https://www.instagram.com/blackswanstc/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Daniel J Grant **Categories:** Perth, Theatre --- ### [Review: Medea In Exile Strikes With Youthful Fury & Ancient Grief](https://thescoop.au/review-medea-in-exile-strikes-with-youthful-fury-ancient-grief/) **Published:** November 27, 2025 **Author:** Genevieve Hudson **Content:** ![The Scoop Medea In Exile Flinders Drama Centre](https://thescoop.au/wp-content/uploads/2025/11/FDC2025-MedeaInExile-A-269-942x628.jpg "Medea In Exile Flinders Drama Centre • The Scoop")Set within varied locations around the Bedford Park campus, Flinders University Drama Centre brings to life *Medea In Exile*. The work is an imagined continuation of Medea’s story, which is traditionally only glimpsed in various plays in Greek mythology. Students from Flinders Drama Centre’s Bachelor of Performance courses in Acting, Directing, and Theatre Making, have joined together to develop a triptych of performances. This format allows the complexities of Medea’s character to be vividly explored outside of the confines of the classics. With three different directors and styles, three different Medeas, venues, and a supporting cast that crosses over in various roles, *Medea in Exile*, written by Tom Holloway and Dr Emma Cole, is certainly an evening to remember. Part One, directed by Hannah Smith, focuses on Medea’s struggles with the pressure of her surveillance and confinement in Korinth, and further judgment from others as an outcast. Noella Grace Akimana portrays Medea as strong-willed yet gentle as she wars with herself and others in their perception of her ‘monstrously’ stained hands and presence as a woman. Akimana displays great dynamics in vocal quality and physicality as she pushes against her husband’s betrayal and the king’s patience. Jaxon O’Neill’s performance as Jason stands out with fantastic emotional range, moving through cutting cynicism to later anguished heartbreak in comparison to Medea’s cold composition. ![The Scoop Medea In Exile Flinders Drama Centre](https://thescoop.au/wp-content/uploads/2025/11/FDC2025-MedeaInExile-A-141-942x628.jpg "Medea In Exile Flinders Drama Centre • The Scoop")The production features three different directors and styles and three different Medeas and venuesA supporting Greek chorus assists in moving the story along through unison in speech and movement, creating a sense of unease in and around narration. Set in the middle of a bare box theatre with audience along opposite sides, the stage served as a blank canvas, with props being pushed around to tell a story. With low lighting and soundscapes, the imagery and movement are cleverly choreographed to highlight meaning in some of the wordier monologues. Dr Renato Musolino directed the second part of the triptych in the dance studio, involving an immersive semi-circle and balcony levels to invite the audience into Herakles’ house and its surrounds. Connecting as a sequel to the first part, Siena Itropico Noble appears as a bedraggled and exhausted Medea seeking asylum from her journey, only to be denied entry by a terrified Woman at the Gate, played powerfully by Anna Fleur Symonds. Noble’s performance is magnetic as her intensity rises and falls with moments of vulnerability and strength. This part differs from the first largely due to the use of gestures instead of words, and silence as effective punctuation in places of suspense. The use of the balcony allows the audience to experience the looming presence of Herakles’ house, made more ominous by the beating of war drums and shadowed silhouettes in this intimate experience. ![The Scoop Medea In Exile Flinders Drama Centre](https://thescoop.au/wp-content/uploads/2025/11/FDC2025-MedeaInExile-B-398-942x628.jpg "Medea In Exile Flinders Drama Centre • The Scoop")Students from Bachelor of Performance courses in Acting Directing and Theatre Making have all joined togetherThe third part, directed by Kiara Skene, is set surrounding an outdoor courtyard with plastic seating, blankets, and insect repellent. Star Thomas portrays Medea as initially comfortable with her new life in Athens before familiar insecurities begin to creep in and she slips into old habits, much to the detriment of her hard-won relationships. While momentum is initially slow as it was unclear who was whom to start, Thomas’s performance is captivating as her suspicions begin to overtake Medea’s hard-earned peace. Karma Duffield’s Aegeus and Sarah-Jane Smith’s Kalkiope contrast Medea’s frantic suspicion with calm confidence, while ensemble members surrounding and interspersed with the audience round them out as meek stall holders. As someone who knows of Greek myths, I was able to follow along and make connections between and during each part. For those with no knowledge of those original stories, it may be more difficult to reconcile some of the niche references with these modern representations. The terrace was an interesting space for theatre, yet one wonders what the contingency plans are should it begin to rain. All three Medeas hold up their performances with aplomb, and their castmates add colour, light and shade to each part. Connecting each of the sections together, the themes of struggling as a woman in a man’s world and being doomed to repeat mistakes are prevalent. While lengthy in running time, *Medea In Exile* comprises innovative pieces of theatre that are fiercely engaging from start to finish. ***Medea In Exile* is presented by the Bachelor of Performance students at Flinders Drama Centre. It runs to 29 November at Flinders University Drama Centre, Rehearsal Room, Humanities Road (free parking at Carpark 5) Bedford Park SA 5042.** Tickets are available [here](https://www.eventbrite.com.au/e/medea-in-exile-tickets-1867506414959?aff=oddtdtcreator). Website: <https://events.flinders.edu.au/events/medea-in-exile/> Socials: <https://www.instagram.com/flindersdramacentre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Images supplied. **Categories:** Adelaide, Theatre --- ### [Review: BIG Live's The Nutcracker Shines With Seasonal Charm](https://thescoop.au/review-big-lives-the-nutcracker-shines-with-seasonal-charm/) **Published:** November 27, 2025 **Author:** James Murphy **Content:** ![The Scoop The Nutcracker BIG Live](https://thescoop.au/wp-content/uploads/2025/11/The-Nutcracker-Braeden-OConnor-942x628.jpg "The Nutcracker BIG Live Braeden OConnor • The Scoop")Tchaikovsky’s *The Nutcracker* has been danced, re-danced, reinvented and fiercely protected since its 1892 premiere at the Imperial Mariinsky Theatre. Australian audiences have seen everything from the grand, gilded Russian interpretations to streamlined contemporary versions. BIG Live, an emerging company, takes the classicist route. Clean lines. Faithful storytelling. Plush Victorian nostalgia. With a work this iconic, a young company doesn’t have the licence to deconstruct it. They don’t try to. The result is a warm *Nutcracker* with flashes of youthful charm and room to grow. The production opens with a lively Act I. The party scene is often where energy drifts, but here it moves well. Children fling teddy bears. Fritz throws tantrums. Parents bustle with real purpose. It feels lived-in. William Cheung makes Fritz cheeky without tipping into caricature. As Clara, Mia Zanardo brings sweetness and grace. She is more of a spectator than an active protagonist, but this fits the traditional Mariinsky mould where Clara mainly witnesses the unfolding magic. Charles Herkes plays Drosselmeyer. He is young, handsome, and carries himself almost like a prince, not the older character actor we usually see. His cloak of black and gold gives him mystery, but the performance is warm rather than eerie. It softens the darker edges of Act I and will work well for younger audiences. ![The Scoop The Nutcracker BIG Live Ballet International Gala](https://thescoop.au/wp-content/uploads/2025/11/Adelaide-TheNutcracker-En-Pointe-Productions-1130x628.png "The Nutcracker BIG Live Ballet International Gala • The Scoop")The party scene is lively and feels lived in Photo by En Pointe ProductionsThe tree transformation is the moment that usually divides productions. Here, the tree grows upward by roughly a third. The transition from home to forest is smooth, with clean stagecraft and no awkward pauses. It works, but it doesn’t shift the atmosphere the way lighting or projection could have. The battle scene is tight and clear. You always know who is fighting whom. The mice costumes steal the sequence. One mouse even whacks a soldier with its tail, which earned a laugh. Ethan Mirmacovski makes a strong Nutcracker, and his surprise entrance from behind a line of dancers works well. The snow scene is traditionally the first major artistic test. BIG Live delivers a shimmering, if not transcendent, version. Blue lighting casts a cold glow. The snow effect is lovely, while the surrounding set pieces are static and could be more vivid. The Snowflakes, led by dancers such as Rose Maloney, Summer Duyvestyn, Bella Collishaw, Maria Zagidullina and Abbey Hansen, dance with good musicality and cohesion. Act II brings colour, structure and more confidence. The set resembles a palace rather than a mythical land, but it is clean and elegant. Some costumes could be fitted better for strong silhouettes, but movement quality is sound. The Spanish and Russian/Trepak variations get the crowd’s energy up. Timur Dymchikov tears into both with commitment and crisp choreography. ![The Scoop](https://thescoop.au/wp-content/uploads/2025/11/TheNutcracker-2025-Ervin-Z-Braeden-OConnor-1116x628.jpg "TheNutcracker 2025 - Ervin Z Braeden OConnor • The Scoop")The set resembles a palace rather than a mythical land but it is clean and elegant Photo by Braeden OConnorThe Chinese variation is gentler than many traditional versions. The dancers bow frequently and hold prayer-like poses. It avoids most dated stereotypes, and one of the performers is Chinese, which gives the moment grounding rather than pastiche. The Arabian variation, danced by Charles Herkes and Giselle Osborne, is one of the night’s standouts. Herkes dances bare-chested, and the audience definitely noticed. His partner moves with serpentine control. The duet is sensual without tipping into parody. A genuine highlight. The role that must land is the Sugar Plum Fairy, danced by Abbey Hansen. She is excellent. Clean technique. Controlled balances. Soft arms. Confident turns. She carries the Grand Pas with ease, and her connection with the Prince, danced by Ervin Zagidullin, has a Disney-couple glow. Their partnering is secure, and transitions are smooth. Tchaikovsky’s music loses warmth and depth without a live orchestra. Layers flatten. Accents blend. For a production of this scale, however, a recorded score is understandable. Ballet, like opera, is one of the most demanding and resource-intensive art forms, and for many young dancers, the career pathway can be brutally narrow. BIG Live is creating something rare and urgently needed: a new route forward, with more opportunities for artists to develop and be seen. That is a contribution worth celebrating. For a company at this stage of its journey, that’s more than enough. ***The Nutcracker* is presented by BIG Live and runs in Adelaide until 28 November at Her Majesty’s Theatre as part of a national tour.** **58 Grote Street Adelaide SA 5000.** See tour dates below. Tickets: <https://www.adelaidefestivalcentre.com.au/whats-on/the-nutcracker-2025> Website: <https://www.bigliveco.com/the-nutcracker> Socials: <https://www.instagram.com/balletinternationalgala/> [Read more of our Dance Reviews](https://thescoop.au/dance-reviews/) Hero image photo credit: Braeden O’Connor The Nutcracker 2026 Remaining Tour Dates: Sydney 29 November – 3 December, 26 – 28 December, State Theatre [Tickets](https://www.ticketmaster.com.au/the-nutcracker-tickets/artist/804130?brand=statetheatre&venueId=155858) Singapore 16 – 20 December, Esplanade Theatre [Tickets](https://www.sistic.com.sg/events/nutcracker1225) Melbourne 11 – 23 December, 29 – 31 December, Princess Theatre [Tickets](https://premier.ticketek.com.au/shows/Show.aspx?sh=NUTPRI25) **Categories:** Adelaide, Dance --- ### [Geelong Arts Centre Announces Its Most Ambitious Season 2026](https://thescoop.au/geelong-arts-centre-announces-its-most-ambitious-season-2026/) **Published:** November 27, 2025 **Author:** Newsroom **Content:** ![The Scoop Geelong Arts Centre Season 2026](https://thescoop.au/wp-content/uploads/2025/11/Geelong-Arts-Centre-Facade-942x628.jpg "Geelong Arts Centre Season 2026 • The Scoop")Last night, **Geelong Arts Centre** unveiled its **SEASON 2026** to a diverse crowd in an exciting Season Launch event entitled *Worlds Open Up*, hosted by Gillian Cosgriff. In 2026, audiences are invited to step through the door into a year of world premieres, Victorian exclusives and stories that open new worlds, right in the heart of Geelong. This year’s season is full of stories of powerful women from Geelong, Australia and around the world. Building on the record-breaking success of 2025, Geelong Arts Centre will host over **32 shows across 86 performances**, in addition to a huge mix of theatre, dance, family entertainment, local productions, iconic live music gigs and the biggest comedy acts in the country. CEO and Creative Director Geelong Arts Centre, **Rhys Holden** said: *“You can really feel the energy building across Geelong right now. Our stages have never been busier, our audiences are growing, and we’re seeing more and more artists wanting to develop or premiere their work here.* *Next year, we see Geelong stepping into its next chapter as a cultural leader – a place where world-class art and everyday life meet. From world premieres to Victorian exclusives, SEASON 2026 speaks directly to the bold, creative, vibrant and deeply connected community we’re proud to serve.”* ![The Scoop Geelong Arts Centre Season 2026](https://thescoop.au/wp-content/uploads/2025/11/Geelong-Arts-Centre-942x628.jpg "Geelong Arts Centre Season 2026 • The Scoop")From the resilience of Ruth Bader Ginsburg in **Sydney Theatre Company**’s *RBG: Of Many, One*, to the raw energy of Geelong-born **Chrissy Amphlett** of The Divinyls fame in Amplified: The Exquisite Rock and Rage of Chrissy Amphlett, 2026 sees iconic women at the forefront. Making its Victorian premiere, award-winning playwright **Suzie Miller**’s *Strong is the New Pretty* tells the story of the power breaking birth of women’s footy and the trailblazing women rewriting the rules of the game. Australian acting royalty **Noni Hazlehurst** will star in Daniel Keene’s *The Lark*, a poignant solo work about memory, change and holding on. **Alison Whyte** will perform in **Melbourne Theatre Company**’s anticipated production of *The Glass Menagerie*. In addition, **ILBIJERRI Theatre Company**’s *Gunawarra Re-creation*, directed by **Rachael Maza**, honours Taungurung stories and celebrates Black women’s strength and healing. For those seeking the unexpected, REWIRE fills our theatres with bold, daring and unconventional work. From **Connor Morel**’s heartfelt musical *Good Man* about masculinity and meeting your dad for the first time; and **Karma Dance Inc**.’s visually stunning *Temple of Desire* to *I Am in a Parasocial Relationship with Britney Spears*, a world premiere by Geelong’s internationally celebrated **Back to Back Theatre**. ![The Scoop Geelong Arts Centre Season 2026](https://thescoop.au/wp-content/uploads/2025/11/Gunnawarra_Re-Creation_Photo_by_Tiffany_Garvie_09231-944x628.jpg "Geelong Arts Centre Season 2026 • The Scoop")ILBIJERRI Theatre Companys *Gunawarra Re creation* will be directed by Rachael Maza Add **Gillian Cosgriff**’s sharp musical wit, **Joel Bray**’s *Swallow*, and **re:group performance collective**’s cinematic *POV*, and you have a program that challenges, provokes and reminds you what it feels like to be truly moved. Rounding out the season are the joyful daytime performances of **Delightful Days & Matinees,** with favourites such as Heart & Music starring **Simon Gleeson** and **Natalie O’Donnell**, **Denis Walter** singing his all-time favourites; *James Bond Classics* and *Bernadette Robinson: They Sang at Carnegie Hall*. For young audiences, **Family Magic** invites children and their grown-ups to discover worlds of imagination through *Robot Song*, *Where is the Green Sheep?*, *Moss Piglet*, *Alphabet of Awesome Science*, *Room on the Broom* and *Wolfgang in the Stars*. And the ever popular **Geelong Wonder Children’s Festival** will be back to take over the Geelong Little Malop Street precinct. Minister for Creative Industries, **Colin Brooks** said: *“It’s fantastic to see the Labor Government’s $180 million infrastructure investment come to life, with a season packed with shows and creative opportunities for all tastes and ages – all to be experienced in what is one of the very best performing arts venues in the country.”* Whether it’s a first visit or a lifelong love affair, Geelong Arts Centre invites everyone to open a door to new worlds in 2026. You don’t have to know what to expect – you just have to step inside. **Tickets to Geelong Art Centre’s SEASON 2026 go on sale from 1 December 2025. To see the full line-up visit the website.** Website: <https://geelongartscentre.org.au/> Socials: <https://www.instagram.com/geelongartscentre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: The Seagull Is Chekhov Reborn With Sharp Contemporary Bite](https://thescoop.au/review-the-seagull-is-chekhov-reborn-with-sharp-contemporary-bite/) **Published:** November 27, 2025 **Author:** Benjamin Webb **Content:** ![The Scoop The Seagull Montague Basement KXT on Broadway](https://thescoop.au/wp-content/uploads/2025/11/Shan-Ree-Tan-Deborah-Jones-Alexandra-Travers-Brendan-Miles-Saro-Lepejian-944x628.jpg "The Seagull Montague Basement KXT on Broadway • The Scoop")There are some opening nights where you feel you are watching a slice of the city’s theatre history forming in real time. Sitting at KXT for Montague Basement’s *The Seagull*, I had that rare feeling. Maybe it was the sight of 120 props arranged with chaotic precision. Maybe it was the gentle creak of the Kings Cross stage. Or maybe it was the simple fact that Chekhov, reimagined through the lens of March 2020, suddenly felt far too familiar for comfort. The audience laughed uproariously, snickered uncomfortably and collectively gasped in recognition of how this production masterfully defined those early pandemic days. Chekhov’s *The Seagull* premiered in 1896 and famously flopped. It took a remount by the Moscow Art Theatre in 1898 to reveal its brilliance. Since then, it has become one of the most produced plays in modern drama, with countless adaptations, translations and reinventions. Many great actors have sharpened their craft in their roles, and theatre students around the world have weathered productions of varying quality. Montague Basement now joins this long tradition, taking a classic and bending it sharply toward the world we have just lived through. The plot of *The Seagull* remains intact, though filtered through a COVID-era lens. Irene Nicholson, an Australian stage icon, retreats to her family’s property with her son Constantine, and her new partner Alex as lockdown begins. ![The Scoop The Seagull Montague Basement KXT on Broadway](https://thescoop.au/wp-content/uploads/2025/11/Brendan-Miles-Tim-McGarry-Jason-Jefferies-944x628.jpg "The Seagull Montague Basement KXT on Broadway • The Scoop")The sense of confinement is immediate The staging captures the clutter and domestic rituals of March 2020 Photo by Robert MiniterWhat follows is a swirl of boredom, fracturing relationships, artistic despair, and painfully funny attempts at backyard theatre. Nina appears, bright-eyed and ambitious. Love triangles bloom and implode. As in Chekhov’s original, dreams collide with reality, and the characters face outcomes they cannot control. The sense of confinement is immediate. The staging captures the clutter, repetition and strange domestic rituals of March 2020 to June 2022. The play, very pointedly, even bitingly at times, speaks to the current state of Australian theatre, and its satire cuts close without ever feeling cruel. Writer and director Saro Lusty-Cavallari leads the production with assurance, blending respect for Chekhov with a modern, irreverent spirit. Kate Beere’s set and costumes place us instantly in a North Coast holiday home: mismatched furniture, faded fabrics, and the tell-tale domestic sprawl of too many people stuck together for too long. The sheer number of props gives the stage a frantic lived-in texture, and the transitions – guided with precision by stage manager Jemima Owen – become their own kind of choreography. Aron Murray’s lighting and video design carries the shifts in tone with clarity, marking changes in mood, memory and meltdown with clean, confident choices. ![The Scoop The Seagull Montague Basement KXT on Broadway](https://thescoop.au/wp-content/uploads/2025/11/Brendan-Miles-942x628.jpg "The Seagull Montague Basement KXT on Broadway • The Scoop")The ensemble is uniformly strong The lighting and video design carries the shifts in tone with clarity Photo by Robert MiniterThe ensemble is uniformly strong. Deborah Jones anchors the play as Irene Nicholson, capturing both performer’s pride and the cracking edges beneath it. Saro Lepejian brings vulnerability and frustration to Constantine. Talia Benatar gives Maddie a sharp mix of longing and spice, while Kath Gordon is affable and sympathetic as Polly. Jason Jefferies makes Marty’s earnestness disarming. Shan-Ree Tan is compelling as Alex, grounding the character with stillness. Brendan Miles offers a dry, steady Dr Dorn. Tim McGarry gives Peter a weary, comic charm. Alexandra Travers shines as Nina, moving from giddy excitement to devastation with genuine clarity. This is not the *Seagull* you did in drama school. It is sharper, stranger, funnier, and much more urgent. At its best, the production feels like a plea for the future of Australian theatre: generous, self-aware, deeply local, and brimming with possibility. Montague Basement’s *The Seagull* is a bold and heartfelt reimagining of a classic, and essential viewing for anyone who cares about the future of our stages. ***The Seagull* is presented by Montague Basement and runs to 6 December at KXT on Broadway. 181 Broadway Ultimo NSW 2007.** Tickets: <https://events.humanitix.com/the-seagull-2025> Website: <https://www.montaguebasement.com/> Socials: <https://www.instagram.com/montaguebasement/> and [https://www.instagram.com/kxt\_bakehouse/](https://www.instagram.com/kxt_bakehouse/) [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Robert Miniter **Categories:** Sydney, Theatre --- ### [Holden Street Theatres Unveils A Thrilling 2026 Season](https://thescoop.au/holden-street-theatres-unveils-a-thrilling-2026-season/) **Published:** November 26, 2025 **Author:** Newsroom **Content:** ![The Scoop Holden Street Theatres 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/20190630_133759-e1764072687222-983x628.jpg "Holden Street Theatres 2026 Season • The Scoop")**Holden Street Theatres** (HST) proudly launches its **2026 Season**, a bold, exhilarating program that champions exceptional storytelling, celebrates local and national talent, puts 19 actors on stage, creates jobs for arts workers and cements HST’s reputation as one of Australia’s leading independent theatre producers. The 2026 Season marks the **first official season launch for HST** and welcomes a new era for the iconic South Australian theatre hub. The season features four mainstage productions and a thrilling line-up of premieres, world firsts and Australian and South Australian debuts. According to Holden Street Theatres Artistic Director Martha Lott, the 2026 Season is one of the boldest on record for the venue and an opportunity for theatre lovers to experience some of the most ambitious theatre under the direction of HST’s new Director in Residence, **Nick Fagan**. *“This season marks a new chapter for Holden Street Theatres — full of premieres, extraordinary performers, and stories that demand to be told. We are delighted to officially welcome Nick Fagan as our new Director in Residence. Nick’s appointment is a major coup with his adventurous programming and a reputation as one of the most exciting directorial forces in South Australia.”* – Martha Lott Of his appointment **Nick Fagan** said: *“HST has always punched above its weight. I’m honoured to join a company that backs artists so fiercely and brings audiences work that is honest, provocative and beautifully crafted.”* ![The Scoop Holden Street Theatres 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/The-Debate-Web-tile-1-1116x628.png "Holden Street Theatres 2026 Season • The Scoop")The season opens with the world premiere of *The Debate*, a new Australian work emerging from HST’s new writing program. The first teaser of HST’s 2026 Adelaide Fringe line-up this original play featuring Artistic Director **Martha Lott** and the Fringe debut of **Amelia Lott-Watson** tackles generational divide, conviction, courage, and the fragile state of discourse. *The Debate* tackles generational divide, conviction, courage, and the fragile state of modern discourse. This world premiere marks a major moment in HST’s ongoing commitment to original Australian theatre. Audiences will experience the South Australian premiere of *Till The Stars Come Down* by British playwright Beth Steel. This tense, emotionally rich, romantic drama about family, loyalty and the consequences of choices that linger for generations will feature a leading South Australian cast including **Brant Eustice, Martha Lott, Krystal Cave** and additional cast announcements to follow. *Till The Stars Come Down* features a powerhouse of South Australian talent and promises a captivating, deeply moving theatrical experience. Originally premiered at London’s National Theatre in 2024. It subsequently transferred to the Theatre Royal Haymarket in London’s West End in 2025. The production was nominated for two 2024 Lawrence Olivier Awards, including Best New Play. This is the first granting of performance rights outside of the UK. ![The Scoop Holden Street Theatres 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/Till-The-Stars-Come-Down-Web-tile-1-1116x628.png "Holden Street Theatres 2026 Season • The Scoop")Leading South Australian actress **Michelle Nightingale** will star in Adam Rapp’s Tony nominated psychological thriller *The Sound Inside*. In its South Australian premiere audiences will be enthralled by the story of novelist and college professor Bella and her volatile student, Christopher — a bond that draws them into a dark, life-altering pact. *The Sound Inside* is elegant, unsettling, and unforgettable. The play premiered at the Williamstown Theatre Festival in 2018. The production was directed by David Cromer and starred Mary-Louise Parker and Will Hochman. The play premiered on Broadway at Studio 54 with the same cast and creative team, premiering in previews on 14 September 2019 and officially on 17 October. It closed on 12 January 2020. The play received six Tony Award nominations, including for Best Play. Parker won the Tony Award for Best Actress in a Play. ![The Scoop Holden Street Theatres 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/The-Sound-Inside-Web-tile-2-1116x628.png "Holden Street Theatres 2026 Season • The Scoop")The season closes with Conor McPherson’s celebrated modern classic *The Weir*, set in a rural Irish pub. The celebrated modern classic arrives at HST in a fresh, haunting and profoundly human production. Starring **Brant Eustice** and **Martha Lott**, *The Weir* explores stories of ghosts, memory and vulnerability in a play that has taken the world by storm. *The Weir* was written in 1997. It was first produced at The Royal Court Theatre Upstairs in London, England, on 4 July 1997. It opened on Broadway at the Walter Kerr Theatre on 1 April 1999. As well as several other locations in the UK and the US, the play has been performed in Ireland, Germany, the Czech Republic, Slovenia, Australia and Canada. With additional artists and creative teams soon to be revealed, the 2026 Season is only just beginning to show its scope. Holden Street Theatres will continue to unveil further casting announcements in the coming months. ![The Scoop Holden Street Theatres 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/The-Weir-Web-Tile-1116x628.png "Holden Street Theatres 2026 Season • The Scoop") The Season launch also marks the announcement of a newly created Board for HST who, according to Martha Lott, will help shape HST’s future direction. *“I am pleased to also reveal HST’s new Board, chaired by Natalie Morely and a group of passionate and highly skilled members who will help guide HST’s future vision.”* Members of the newly formed board include: Natalie Morely (Chair), Olesia Armstrong (Treasurer), Toni Briggs-Brown (Secretary) and members Josh Fanning, Maria Panagiotidis, Mark Taylor, Martha Lott, and Ella Huisman. Remaining board members are to be announced. Holden Street Theatres will also announce its 2026 Adelaide Fringe program in December in what will open a blockbuster year for the internationally acclaimed venue. **Tickets for the 2026** **Season and further information are available now via the website.** **Tickets for *The Debate* will be released on December 5, 2025.** Website: <https://www.holdenstreettheatres.com/> Socials: <https://www.instagram.com/holdenstreettheatres/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. **Categories:** News --- ### [Review: When It Rains, An Elizabeth Stonebridge Mystery Leaves You Guessing](https://thescoop.au/review-when-it-rains-an-elizabeth-stonebridge-mystery-leaves-you-guessing/) **Published:** November 26, 2025 **Author:** Leo Manson **Content:** ![The Scoop When It Rains UTS Backstage Flight Path Theatre](https://thescoop.au/wp-content/uploads/2025/11/IMAG3410-832x628.jpeg "When It Rains UTS Backstage Flight Path Theatre • The Scoop")*When It Rains*, presented by UTS Backstage, is an original murder mystery play with an artfully constructed winding narrative. This is a show that takes you for a ride that will leave you constantly wondering what will happen next. The period piece is written and produced by James Neiro and directed by Connor Crick. Inspired by Agatha Christie novels, this play tells the tale of a recently widowed Lady Thorncroft. During a visit from her dear friend, Elizabeth Stonebridge, a powerful storm arrives. This forces a group of young wedding attendees out of their cars and into the Thorncroft Manor. From there? You’ll need to find out for yourself. Upon entering the quaint theatre, I was blown away by the detail put into the stage. From the luxurious lounge to the photo frames on the dresser, every detail feels fine-tuned to fit the 1900s setting. You can certainly tell Lady Thorncroft is wealthy. Despite being a murder mystery, the show never feels too heavy. Neiro does an excellent job transitioning from sullen, emotional moments to light-hearted, comedic ones. This is supported by the fantastic cast. A comedic highlight is undoubtedly Jess Campbell as Victor. Campbell’s physical acting is priceless as she hobbles around the stage. The character’s appearance as a comedic relief is carefully written into the script. Victor never intrudes on serious scenes and comes right back when the show needs him most. ![The Scoop When It Rains UTS Backstage Flight Path Theatre](https://thescoop.au/wp-content/uploads/2025/11/IMAG3347-scaled-e1764122185923-992x628.jpeg "When It Rains UTS Backstage Flight Path Theatre • The Scoop")*When It Rains* presented by UTS Backstage is an original murder mystery play with an artfully constructed winding narrative Scenes with the entire cast on stage never feel overcrowded; each actor’s expressions and reactions to the expanding plot are captivating. However, it’s when you’re left with just two or three characters that the show really shines. Dynamics shift when certain characters leave the room, leaving you yearning to find out what happened before the manor. In particular, the back-and-forth between Bill and Mary is absolutely enticing. This can be credited to the stellar acting from Harvey Withford-Cave and Sabrina Turner. In particular, Turner’s expressions and body language are incredibly precise. She really sells that ‘troubled past’ trope. Character relationships are built into every aspect of this show. This can be seen in the little things, like the continued distance between Bill and Mary. It’s also in the trust between female characters, which ultimately drives the show. Savindi Tillekeratne as Elizabeth Stonebridge is amazing. The character is matter-of-fact without being too callous. It’s also lovely to see a show driven by female friendship; Tillekeratne and Jo Hirsch (who plays Lady Thorncroft) feel like long-time friends. No character is two-dimensional; they all feel like real people with real pasts and motivations. ![The Scoop When It Rains UTS Backstage Flight Path Theatre](https://thescoop.au/wp-content/uploads/2025/11/IMG_7639-scaled-e1764122292559-875x628.jpeg "When It Rains UTS Backstage Flight Path Theatre • The Scoop")If youre keen for a night of fun filled drama *When It Rains* is a delightful way to spend your evening The chemistry of the whole cast is nothing to be attested. Which is then driven further through the archaic language and delightful accents that sell the piece. Though credit must be given to Cam Grivas and Kiani Braund for their excellent job portraying a recently married couple, Harry and Henrietta. Braund’s acting is so strong, I couldn’t even tell she played two roles. The sound design is very crafty. The continued rain ambience never grows tiring. It really sells the claustrophobia of the storm. This is then juxtaposed nicely as the play concludes with the bird song as the storm clears. Additionally, Scullery Maid Green, played by Guzi Li, is an excellent way to split up the show. The transition to the intermission feels very natural, and the fourth wall break makes her character endearing. If you’re keen for a night of fun-filled drama, *When It Rains* is a delightful way to spend your evening. ***When It Rains* is presented by UTS Backstage and runs from 26 – 29 November at Flight Path Theatre.** **142 Addison Road Marrickville NSW 2204.** Tickets: <https://events.humanitix.com/utsbackstagewir> Website: <https://www.flightpaththeatre.org/whats-on/when-it-rains-presented-by-uts-backstage> Socials: <https://www.instagram.com/utsbackstage/> and <https://www.instagram.com/flightpaththeatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Images supplied. **Categories:** Sydney, Theatre --- ### [Film Review: Moss & Freud 2025 Russell Hobbs British Film Festival](https://thescoop.au/film-review-moss-freud-2025-russell-hobbs-british-film-festival/) **Published:** November 25, 2025 **Author:** Nick Dale **Content:** ![The Scoop Moss & Freud 2025 British Film Festival](https://thescoop.au/wp-content/uploads/2025/11/Moss-Freud_1-1116x628.jpeg "Moss & Freud 2025 British Film Festival • The Scoop")The glitzy zone of fast fashion meets the hermetic, brooding art world in the film *Moss & Freud*, written and directed by James Lucas. It’s an irresistible prospect for fashionistas and art lovers alike: Kate Moss and Lucien Freud, an insight into an unlikely pairing. Now screening at the Russell Hobbs British Film Festival, *Moss & Freud* merges the worlds of art and fashion in a clash of glamour and obsession. In 2002, iconic supermodel Kate Moss and prominent portrait artist Lucien Freud spent nine months together as he painted her Naked Portrait. Unlike his usual works of unknown sitters, Freud was drawn to paint Moss at the height of her fame. The film chronicles this time, boldly attempting to bridge two vastly different worlds that, in reality, feed into each other more than we often care to admit. On paper, it has all the allure you’d expect: the high-gloss, ephemeral realm of a supermodel meeting the quiet, obsessive, earthy world of a contemporary painter. Kate Moss, who rose to fame in the early ’90s, became iconic for her “heroin chic” grunge aesthetic. Lucien Freud, grandson of Sigmund Freud, was a prominent British portrait artist known for his obsessive work ethic. The film promises an intriguing insight behind the tabloids and flashlights, but doesn’t quite hit the emotional notes. It plunges us into Kate’s frenetic, glamorous world with sharp, head-spinning cuts that resemble a hectic photoshoot. We hurtle from the fast lane of fashion as Kate zooms along in her Bentley to the quiet, reflective zone of the art world, with iconic London landmarks like Trafalgar Square and the National Gallery on display. ![The Scoop Moss & Freud 2025 Russell Hobbs British Film Festival](https://thescoop.au/wp-content/uploads/2025/11/Moss-Freud-2-1200x543.png "Moss & Freud 2025 Russell Hobbs British Film Festival • The Scoop")Cinematography is one of the films strongest assets with shifts in light and framing to contrast the flashy world of fashion with the interior world of an artistDirector of Photography Maria Ines Manchego cleverly uses a long tracking shot, following Kate like Alice in Wonderland, as she walks wide-eyed through the National Gallery before it opens to the public. Like quick snaps for a fashion magazine, there are close-ups of classical paintings: women in various poses of vulnerability, pale skin, mouths agape, helpless and subdued. It quietly asks: What does it mean to be gazed at? To be a muse? Is there more to a muse than inspiration? The London landmarks and interior art shots pull us into the promise of a story that might truly bridge the art and fashion worlds. Yet that promise never quite finds its footing. Ellie Bamber is vibrant and charismatic, capturing Moss’s effervescence, cheeky charm, and sensuality. There are fleeting moments where she scratches beneath the surface, but she isn’t really given the space to go deeper. For fans of Derek Jacobi, the film is worth seeing. Jacobi, who played another iconic painter, Francis Bacon, in 1998’s *Love Is the Devil*, immerses himself in the physicality and psyche of Freud. His embodiment of Lucien Freud is striking, with a soft, German accent, scowling face, stubborn discipline and a fading mind. He completely immerses in the role, unafraid to put off the audience. ![The Scoop I Am Martin Parr 2025 Russell Hobbs British Film Festival](https://thescoop.au/wp-content/uploads/2025/10/BFF25_Landscape_1920x1080-1116x628.jpg "I Am Martin Parr 2025 Russell Hobbs British Film Festival • The Scoop") Jasmine Blackborow is quietly intriguing as Bella Freud, Lucien’s daughter, longing for a deeper connection with her father. She conveys pained insecurity and vulnerability, but the familial fracture is left underexplored and doesn’t fully land emotionally. Cinematography is one of the film’s strongest assets. Manchego uses shifts in light and framing to contrast the flashy world of fashion with the slower, interior world of an artist. Editor Nick Carew shapes *Moss & Freud* with pace and rhythm that suit the dizzy, glamorous life Moss inhabits. Carew nails the spin and rush, keeping the pace intoxicating. The film hints at intimacy in the sittings as Freud slowly paints Kate’s naked figure. Yet the deeper connection the two forged in real life never fully translates through the script or performances. Given more scope, Bamber and Jacobi could have explored a more layered, nuanced bond. Moments suggest the story wants to go deeper, but the film opts for fast-paced shifts, with a stronger focus on Kate’s wild, neon-lit nightlife. The script leans more toward a glossy-magazine overview of the fashion world. There’s plenty of cocaine, parties, fleeting relationships, but only tentative brushstrokes that dip into the psyche of a passion-fuelled artist. *Moss & Freud* is a visually thrilling canvas that attempts to explore the struggle behind the facade of art and fame. Yet the heart of the story doesn’t quite pierce the gleaming, glossy surface and reach in a way that impacts. For lovers of London, fashion and art, it’s a visual feast, even better consumed with a glass of Bollinger, of course. ***Moss & Freud* is on now in cinemas nationally as part of the Russell Hobbs 2025 British Film Festival.** Tickets: <https://britishfilmfestival.com.au/films/bff25-moss-and-freud> Website: <https://britishfilmfestival.com.au/> Socials: <https://www.instagram.com/britishfilmfest/> [Read more of our British Film Festival Reviews](https://thescoop.au/?s=british+film+festival) Watch an interview with Writer / Director James Lucas: **Film details:** Title: Moss & Freud Director: James Lucas Cast: Anna Chancellor, Daniel Mays, Derek Jacobi, Ellie Bamber Country of Origin: United Kingdom Duration: 100 mins Rating: MA15+ **Categories:** Film --- ### [Review: The True History Of The Life And Death Of King Lear & His Three Daughters](https://thescoop.au/review-the-true-history-of-the-life-and-death-of-king-lear-his-three-daughters/) **Published:** November 22, 2025 **Author:** Benjamin Webb **Content:** ![The Scoop The True History of the Life and Death of King Lear & His Three Daughters](https://thescoop.au/wp-content/uploads/2025/11/BELVOIR_KingLear_PhotoBrettBoardman_009822_Colin-Friels-Peter-Carroll-941x628.jpg "The True History of the Life and Death of King Lear & His Three Daughters Belvoir St Theatre Sydney • The Scoop")Colin Friels’ King Lear stepped onto the bare square stage, chalk in hand, and drew a perfect circle at its centre. It was a simple gesture, but it set the tone for the play: a world drawn in plain sight, full of rules we recognise but struggle to obey. That circle becomes one of the most powerful images in Belvoir St Theatre’s *The True History of the Life and Death of King Lear & His Three Daughters*. It is both a boundary and an invitation, marking out a space where truth, cruelty and madness can take shape. *King Lear* has been challenging audiences since its first recorded performance in 1606. Famous Lears have included the likes of Sir Ian McKellen, James Earl Jones and many others. Each has confronted the same impossible task: how to play a king whose downfall exposes the bones of a broken world. The story follows Lear’s decision to divide his kingdom among his daughters. Goneril and Regan flatter him. Cordelia refuses. Chaos follows. Alliances fracture, storms rise, and the family tears itself apart. At the same time, the Gloucester subplot unfolds, as Edmund betrays his father – now mother in this production – and brother. By the end, the stage is littered with bodies, and the country lies in ruin. ![The Scoop The True History of the Life and Death of King Lear & His Three Daughters Belvoir St Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/11/BELVOIR_KingLear_PhotoBrettBoardman_010385_Tom-Conroy-Peter-Carroll-941x628.jpg "The True History of the Life and Death of King Lear & His Three Daughters Belvoir St Theatre Sydney • The Scoop")The movement in Act One is striking while the violence in Act Two is brutal and convincing Photo by Brett BoardmanThis three-hour epic interpretation feels immediately alive. The movement in the first act is striking, with characters positioned at the corners of the square stage like pieces in a tense standoff. The chalk circle is avoided by most characters and crossed only in moments of revelation or rule-breaking. This dynamic created constant visual tension. In both intermissions, I was left thinking about how carefully the ensemble had built physical storytelling into every beat. Colin Friels delivers a Lear of real weight. He has built up to this role throughout his career, and it is evident in how he gives everything in his performance. Tom Conroy’s Edgar provides the production with heart, shifting from innocence to clarity. Raj Labade’s Edmund stands apart both physically and musically, accentuated by an electric guitar in contrast to the drum motifs that follow other characters. Alyson Whyte brings dignity and quiet strength to Gloucester, grounding the subplot with honesty. Charlotte Friels brings sharp, almost-entitled control to Goneril (she’s also Colin’s actual daughter), while Jana Zvedeniuk’s Regan balances charm with malice. Ahunim Abebe offers a clear, steady counterbalance as the third daughter Cordelia, whose calm presence gives the tragedy its emotional anchor. Peter Carroll’s Fool is one of the most distinctive elements of the night. Accompanied by a modern piano recorder, he dances and sings to give Lear counsel with both humour and sting. ![The Scoop The True History of the Life and Death of King Lear & His Three Daughters Belvoir St Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/11/BELVOIR_KingLear_PhotoBrettBoardman_007994_Charlotte-Friels-Jana-Zvedeniuk-941x628.jpg "The True History of the Life and Death of King Lear & His Three Daughters Belvoir St Theatre Sydney • The Scoop")Belvoir St Theatres three hour epic feels immediately alive Photo by Brett BoardmanBob Cousins’ set places focus on the actors, while James Stibilj’s costumes suggest class and hierarchy through jeans, suits and worn boots. Morgan Moroney’s lighting moves between warm orange and cool blue, shifting the mood with precision. The storm sequence is especially effective, using drop-down lights and pounding drums to create a truly immersive moment. The violence in Act Two is brutal and convincing, with Nigel Poulton’s fight direction and blood packs used to confronting effect. The live band, led by co-composers Steve Francis and Arjunan Puveendran, drives intensity throughout, blending Carnatic drumming and singing and sharp electric guitar. Belvoir St Theatre’s *The True History of the Life and Death of King Lear & His Three Daughters* is bold, grounded and unafraid of contradiction. It is a tragedy of sound, sweat and chalk dust, and a fierce and unforgettable vision of Shakespeare’s darkest world. ***The True History of the Life and Death of King Lear & His Three Daughters* runs to 21 December at Belvoir St Theatre.** **Upstairs Theatre, 25 Belvoir St Surrey Hills NSW 2010.** Tickets: <https://my.belvoir.com.au/overview/13845> Website: <https://belvoir.com.au/productions/king-lear/> Socials: <https://www.instagram.com/belvoirst/> [Read our interview with Raj Labade!](https://thescoop.au/raj-labade-brings-new-fire-to-edmund-in-belvoirs-king-lear/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Review: RED Paints A Captivating Canvas Of Contradictions](https://thescoop.au/review-red-paints-a-captivating-canvas-of-contradictions/) **Published:** November 24, 2025 **Author:** Jessica Flynn **Content:** ![The Scoop RED Little Life Productions Fortyfivedownstairs Melbourne](https://thescoop.au/wp-content/uploads/2025/11/RED_RushGallery_Screen-10-942x628.jpg "RED Little Life Productions Fortyfivedownstairs Melbourne • The Scoop")Directed by Iain Sinclair, Little Life Productions’ and Company 16’s staging of RED is a masterpiece. The Tony Award-winning show examines Mark Rothko’s relentless pursuit of artistic purity and intensity. Written by John Logan, it expands on true events: Rothko’s commission to paint a series of murals for the Four Seasons restaurant in New York’s Seagram building. Logan introduces the fictional character of Ken as a foil to tease out Rothko’s values and struggles as he feverishly fights his ego and insecurities. There could not be a more fitting venue for this show. Walking into fortyfivedownstairs, you first move through its art gallery before descending into the theatre, where you’re immediately confronted by a large Rothko print. It’s an invitation into the world you’re about to enter. The backdrop evokes a New York loft, and at its centre sits Dylan Smith as Mark Rothko surveying the audience. The stage is in the centre with the audience surrounding it in an intimate semi-circle. We gradually realise that we, too, are being observed as we represent the unfinished art on the wall. It is a powerful device that sets a tone of introspection, inviting us to confront ourselves through their gaze. ![The Scoop Red Little Life Productions Fortyfivedownstairs Melbourne](https://thescoop.au/wp-content/uploads/2025/11/RED_RushGallery_Screen-15-942x628.jpg "Red Little Life Productions Fortyfivedownstairs Melbourne • The Scoop")Beneath the intellectual bravado of the towering monologues lies a meditation on impatience Photo by Olivia MorisonCanadian actor Dylan Smith takes control of the stage the moment he bellows: “What do you see?” His deep, resonant delivery and natural ease on the stage make for a captivating performance. Newcomer Jordan Briggs is equally compelling as poignant Ken. As his character finds his voice, Briggs rises to meet him. His climactic monologue builds to a confident crescendo that electrifies the room. The pair work fantastically together on the stage. In a meta way, it is wonderful to see a seasoned performer like Smith mentor Briggs both within the world of the play and, one suspects, beyond it. Together they carry a demanding 90-minute two-hander with impressive stamina and grace. Bianca Pardo’s set design makes full use of the small space, transporting the audience into Rothko’s paint-splattered studio. The colour red appears in unexpected places throughout the production, a subtle yet persistent echo of the play’s title. Her costume design smartly incorporates colour too. Watch for how she uses red and white paint splatters on their clothes. We also visually track Ken’s absorption of Rothko’s influence as their styles blend together. Natalia Velasco Moreno’s lighting design deepens this immersion, evolving with the emotional landscape and guiding us seamlessly through the story’s shifts. ![The Scoop Red Little Life Productions Fortyfivedownstairs Melbourne](https://thescoop.au/wp-content/uploads/2025/11/RED_RushGallery_Screen-6-942x628.jpg "Red Little Life Productions Fortyfivedownstairs Melbourne • The Scoop")The set design makes full use of the small space and transports the audience into Rothkos paint splattered studioAt its core, RED is a study in hypocrisy. We see Rothko denounce his contemporaries for “selling out” even as he paints a mural destined for a “temple of consumerism.” He condemns his friend Jackson Pollock for indulging in his “Bohemian” hedonism as we watch him pour himself drink after drink. His towering monologues feed our craving for insight, and perhaps our vanity, yet his contradictions push us to examine the distance between our ideals and our behaviour. Beneath the intellectual bravado lies a meditation on impatience. We are a culture increasingly unable to sit with our thoughts. RED asks us to do exactly that and let the stillness wrap around us. We are asked to move beyond likability and go towards what is real, no matter how painful that may be. RED is both introspective and energising. Rothko and Ken’s story will linger long after the lights fade. Catch the show during its limited season and sit for a moment with the black and the red. **RED is presented by Little Life Productions and Company 16 and runs to 30 November at Fortyfivedownstairs.** **45 Flinders Lane Melbourne Vic 3000.** Tickets: <https://fortyfivedownstairs.sales.ticketsearch.com/sales/salesevent/149578> Website: <https://fortyfivedownstairs.com/event/red/> Socials: <https://www.instagram.com/littlelifeproductions/> and <https://www.instagram.com/company16theatre/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Olivia Morison **Categories:** Melbourne, Theatre --- ### [Announcing Steel Magnolias National Tour In 2026](https://thescoop.au/announcing-steel-magnolias-national-tour-in-2026/) **Published:** November 24, 2025 **Author:** Newsroom **Content:** ![The Scoop STEEL MAGNOLIAS Australian Tour 2026](https://thescoop.au/wp-content/uploads/2025/11/STELL-MAGNOLIAS-image-1200x512.jpg "STEEL MAGNOLIAS Australian Tour 2026 • The Scoop")The iconic story that made us laugh, cry, and fall in love with six extraordinary women is back — live on stage in a dazzling new Australian production. Written by Robert Harling, the timeless tale of **STEEL MAGNOLIAS** will come alive under the direction of Lee Lewis and a cast of six powerhouse actors. STEEL MAGNOLIAS will tour to QPAC, **Brisbane from April 2026**, T**heatre Royal Sydney in May 2026**, **Wollongong** and **Canberra in June 2026**, His Majesty’s Theatre, **Perth in July 2026** and **Melbourne**’s Athenaeum Theatre from **July 2026**. Step inside Truvy’s beauty salon, the heart of a small Southern town, where local women share their joys, struggles and a little neighbourly gossip. From weddings and babies to divorces and funerals, they face life’s highs and lows with humour, courage and impeccably styled hair. When tragedy strikes, it’s in these familiar walls that they find comfort, support and the unbreakable bonds of friendship that carry them through. **Neil Gooding** and **Alex Woodword** said: “*Following our recent tours of The Woman in Black, Shirley Valentine and The 39 Steps, we’re thrilled to bring STEEL MAGNOLIAS to Australian audiences*. *The fierce, funny and resilient friendships in the story have always inspired us. It’s a privilege to work with Lee Lewis again, whose direction of Shirley Valentine we so admired, and to bring the heart, humour and spirit of STEEL MAGNOLIAS to the stage with a stellar ensemble of Australia’s most exceptional talent*.” STEEL MAGNOLIAS originally opened in Australia at the York Theatre at Sydney’s Seymour Centre in May 1988 and toured to Melbourne’s Athenaeum Theatre, featuring a cast which included Maggie Dence, Nancye Hayes, Melissa Jaffer, Genevieve Lemon, Pat McDonald and Nicole Kidman making her professional stage debut. **The 2026 Australian tour cast will be announced in coming months.** **STEEL MAGNOLIAS** is written by Robert Harling and directed by Lee Lewis. Composer & Sound Designer will be Brady Watkins. Produced by Neil Gooding Productions and Woodward Productions by Arrangement with ORiGiN Theatrical, on behalf of Samuel French Ltd, A Concord Theatricals Company. Bursting with sass, warmth and Southern charm, STEEL MAGNOLIAS delivers laughter, love and unforgettable heart. **STEEL MAGNOLIAS runs from 30 April at the Playhouse, QPAC and then tours nationally. See details below.** Tickets for Brisbane are on sale from 9am today. See website for all other cities. Tickets: <https://www.steelmagnoliasplay.com/tickets> Website: <http://www.steelmagnoliasplay.com.au/> Socials: <https://www.instagram.com/steelmagnoliasau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. 2026 Australian Tour Brisbane 30 April – 10 May, Playhouse QPAC Sydney 13 – 31 May, Theatre Royal Wollongong 3 – 11 June, Illawarra Performing Arts Centre Canberra 17 – 21 June, Canberra Theatre Centre Perth 7 – 18 July, His Majesty’s Theatre Melbourne 23 July – 9 August Athenaeum Theatre **Categories:** News --- ### [Review: Jaws In Concert Thrills In A Short Season With A Big Bite](https://thescoop.au/review-jaws-in-concert-thrills-in-a-short-season-with-a-big-bite/) **Published:** November 23, 2025 **Author:** Erika Hepple **Content:** ![The Scoop Jaws in Concert QPAC](https://thescoop.au/wp-content/uploads/2025/11/2074_00004C-1047x628.jpeg "Jaws in Concert QPAC • The Scoop")The Metropolitan Orchestra Brisbane gave a riveting performance of the JAWS score live as the movie screened at QPAC on Saturday. *JAWS in Concert* opened in Brisbane with a relaxed feel as the audience, many wearing JAWS T-shirts and some with shark-themed caps, took their seats in the packed Concert Hall. The younger than usual concert audience included teenagers and family groups as well as older enthusiasts. Before taking up her baton, Sarah-Grace Williams, Chief Conductor of The Metropolitan Orchestra Brisbane, encouraged everyone to get involved, interact with the orchestra and “dive into the depths of JAWS.” We did. The film opens with a beach party and a young woman taking an evening dip in the ocean. She has no idea what is coming. We watch her swim happily, hear the water splashing. Then comes eerie, unsettling music, with the strings insinuating the two-note shark motif. The killer shark is lurking nearby unseen. Our hearts race, but it is too late. She screams. We see her struggling and being pulled under the water. The music stops. The shark has its first victim. The actions and music interweaving together have already brought the audience to the edge of our seats. ![The Scoop Jaws in Concert QPAC](https://thescoop.au/wp-content/uploads/2025/11/Jaws_Still-1200x508.jpeg "Jaws in Concert QPAC • The Scoop")The Metropolitan Orchestra Brisbane performed the JAWS score live as the film screened at the QPAC Concert HallIn her opening words, Sarah-Grace Williams promised us “a unique experience.” She kept her promise. Under her accomplished leadership, The Metropolitan Orchestra Brisbane thrilled the audience with their dynamic and cohesive playing, keeping us at the peak of suspense and emotion. Watching the orchestra playing live also highlighted their discipline and skill in performing the music precisely synched to the unfolding events on the big screen. In the first half of the performance, the storyline focuses on the American beach community of Amity as they respond to lethal attacks by a white shark. There are moments with no music, where the actions and dialogue carry the story. The orchestra remain motionless. Then, with a movement of Sarah-Grace Williams’ baton, they all seamlessly and simultaneously create the musical narrative together on cue. This is both impressive and exciting for the audience. After the intermission, our attention is on the unfolding drama at sea aboard *The Orca*, where the local police chief, a marine biologist and a shark fisherman try, against the odds, to hunt down and destroy the rogue shark. ![The Scoop Jaws in Concert QPAC](https://thescoop.au/wp-content/uploads/2025/11/2074_00459H-948x628.jpg "Jaws in Concert QPAC • The Scoop")Many of the films outstanding features arose in trying to overcome technical difficulties As the men and the shark battle it out, the orchestra unleash the full force of John Williams’ symphonic score. The clarity of the sound and the vitality of the musicians’ live performance take the experience to the next level. JAWS first thrilled and terrified audiences on 20 June 1975. The blockbuster movie garnered Academy Awards for director Steven Spielberg and composer John Williams. Many of the film’s outstanding features arose in trying to overcome technical difficulties. The mechanical shark kept breaking down. Instead, Spielberg showed the shark’s power in other ways – having a landing stage ripped off and propelled through the water. John Williams shaped his musical score to create the shark’s presence and cue the audience to expect terrifying events. When Williams first played the two-note signature theme, Spielberg thought he was joking. He asked Williams to play it again and realised its emotional force. As Williams himself has said, this simple theme *“is grinding away at you, just as a shark would do, instinctual, relentless, unstoppable.”* Attending *JAWS in Concert*, I am pleased to be celebrating the 50th anniversary year of this outstanding film. I consider myself lucky to have experienced The Metropolitan Orchestra Brisbane, guided by Sarah-Grace Williams, performing this world-class movie live in Brisbane. It was clear from the outset that we were in the hands of seasoned professionals. I look forward to my next opportunity to experience this dynamic orchestra in concert. ***Jaws In Concert* ran at the Concert Hall, QPAC for two shows only on 22 November 2025. The season has now ended.** Website: <https://www.qpac.com.au/whats-on/2025/jaws-in-concert> Socials: <https://www.instagram.com/atqpac/> and <https://www.instagram.com/themetorchestra/> Read more of our Concert Reviews Images supplied. **Categories:** Brisbane, Concerts --- ### [S,B&W Foundation Announces Grants & Winner of RS Playwright Award](https://thescoop.au/sbw-foundation-announces-grants-winner-of-rs-playwright-award/) **Published:** November 23, 2025 **Author:** Newsroom **Content:** ![The Scoop Diana Simmonds with Playright Award winner Elaine Acworth and SBWF grant recipients Nicholas Paine and Claire Styles from Dead Puppets Society](https://thescoop.au/wp-content/uploads/2025/11/Diana-Simmonds-with-Playright-Award-winner-Elaine-Acworth-and-SBWF-grant-recipients-Nicholas-Paine-and-Claire-Styles-from-Dead-Puppets-Society-883x628.jpeg "Seaborn Broughton and Walford Foundation • The Scoop")As it approaches its 40th Anniversary year, the **Seaborn, Broughton & Walford (S,B&W) Foundation**, a charity established to assist the performing arts in Australia, announced substantial Grants for 2026 and a significant playwright’s award to a packed gathering of theatre practitioners and supporters at the S,B&W Foundation’s annual Christmas celebration, in the Seaborn Library at their Neutral Bay headquarters on Thursday evening. As the S,B&W Foundation’s President Peter Lowry AM was temporarily indisposed, the eagerly-awaited announcements were made by Simon Moore OAM assisted by Peter Poole, both announcers from radio station 2MBSFM 102.5 FINE MUSIC where the S,B&W Foundation is a sponsor of two popular performing arts programs, *Stage & Screen* and *In Conversation.* Attendees appreciated the opportunity to meet and converse with other performing arts practitioners and welcomed the ample recognition of puppetry in the list of Grants recipients. There was also great interest in the wide spread of successful applicants, many coming from interstate, in line with the expressed wishes of S,B&W Foundation founder, the late Dr Rodney Seaborn AO OBE, whose intention was to assist the performing arts throughout Australia. From 88 applications, double last year’s number, the S,B&W Foundation’s Grants Panel chose 17 winners with approximately equal numbers of applications from companies and individuals, and a subsidiary category of President’s Discretionary Grants were added to reflect the founder’s interests. The successful Grants Applicants were: Dead Puppet Society (QLD): *Echo* (development) received the largest grant of $35,000 Polyglot Theatre (VIC): *Forest* – site specific immersive theatre for children Simon Abrahams (VIC): Curatorial Secondment (Theatre of the World Festival) Sandra Long (VIC): *The Engineer in the Snow –* vocal-visual theatre work Louise Howlett (VIC): *Secret of the Raft* Felicity Wilcox (NSW): Contemporary Opera – *Emergenc/y* Chloë Sobek (VIC): Dialogues Across Time (professional development) Cecilia Martin (QLD): Dance/Theatre – *Steam* Bangarra Dance Theatre (NSW): International Canada tour Spare Parts Puppet Theatre Inc (WA): Puppetry – *Wandabaa Gaay Guwaali* Sydney Philharmonia Choirs: (NSW) International (UK) Choral tour Sydney Youth Orchestra (NSW): International tour Australian Plays Transform (NSW): Mid-Career Playwrights Development Kate Millett (VIC): Internship @ Finnish National Opera & Ballet Fleur Murphy (VIC): Theatre writer- *Never Always Ever Was* Andrée Greenwell (NSW): Music Theatre composition – Professional Development The Last Great Hunt (WA): Theatre – *New Owner* & *Alvin Sputnik* tour USA ![The Scoop Seaborn Broughton and Walford Foundation](https://thescoop.au/wp-content/uploads/2025/11/Diana-Simmonds-Chair-of-Rodney-Seaborn-Playwrights-Award-Trustees-Panel-with-RSPA-winner-Brisbane-Playwright-Elaine-Acworth-956x628.jpeg "• The Scoop")Diana Simmonds Chair of Rodney Seaborn Playwrights Award Trustees Panel with RSPA winner Brisbane Playwright Elaine AcworthIn addition, to celebrate the forthcoming 40th Anniversary, 11 extra President’s Discretionary Grants were passed by the Foundation Board: Horizons Theatre Company (Maddy Slabacu): *Treasures,* a new children’s puppet production David Spicer Productions: premiere of musical *Woman’s Best Friend* by Geraldine Turner at Bondi Pavilion Theatre Ensemble Theatre: Ed Elevate Program – free tickets for disadvantaged students, mentorship of young theatre-makers and In-School Workshops Griffin Theatre Company: Develop and workshop *Into the Light,* a new play by Alex Broun and Ian Roberts – last year’s co-winner of the RSPA Poetry in Action: Rehearsal partner program – training, employment, touring Bell Shakespeare: Western Sydney (Schools) Access Program Sydney Symphony Orchestra: to expand *Ready, Set Listen!* (2024) for young children New Ghosts – Three New Australian Plays Performing Lines – preserving PL archives and making them accessible Co B LTD (Belvoir St Theatre): recreating novel *Runt,* with a theme of resilience, especially for younger audiences (directed by Neil Armfield) Sydney Theatre Company: HSC Staged Play Readings to support high school students The final announcement of the evening, the winner of the $20,000 Rodney Seaborn Playwrights Award (RSPA), was made by Diana Simmonds, Chair of the RSPA Trustees Panel. She revealed that the number of entries had doubled this year and exceeded 50 entries. She thanked Terence Clarke AM, prime reader of the Panel, and announced the **2025 winner**: award-winning Brisbane playwright, researcher, theatre producer, teacher and mentor Elaine Acworth for her new play *Rowan’s Story*. Elaine has taught in both specialist workshops and class environments, mentored emerging playwrights and adjudicated eisteddfods. In accepting the award, she explained that the ecology of theatre practice means we support everyone, at every level, who wants to create work. Dedicated to pursuing her commitment to the next generation of practitioners and to the changing nature of her craft, she displayed emotion as she assured the audience of her confidence in the younger generation with whom she had conducted workshops during the evolution of her play, exploring themes of partner violence and gender equity. Past winners of the RSPA include Katherine Thomson, Dylan Van Den Berg, Steve Rodgers, Mary Rachel Brown, Campion Decent, Reg Cribb, Finegan Kruckemeyer, Debra Oswald, Katie Pollock, Alana Valentine and Maxine Mellor. **To learn more about the Seaborn, Broughton & Walford Foundation, visit their website.** Website: <https://www.sbwfoundation.com/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Diana Simmonds, Chair of the Rodney Seaborn Playwrights Award Trustees Panel with 2025 winner of the RS Playwrights Award, Brisbane playwright Elaine Acworth, and Grant recipients Nicholas Paine and Claire Styles from Dead Puppets Society. **Categories:** News --- ### [Review: Bell Shakespeare's Romeo & Juliet Has A Steady Hand & Strong Heart](https://thescoop.au/review-bell-shakespeares-romeo-juliet-has-a-steady-hand-strong-heart/) **Published:** November 22, 2025 **Author:** Benjamin Webb **Content:** ![The Scoop Romeo & Juliet Bell Shakespeare Company](https://thescoop.au/wp-content/uploads/2025/11/BELLSHAKESPEARE_RomeoJuliet_PhotoBrettBoardman_002288-941x628.jpg "Romeo & Juliet Bell Shakespeare Company • The Scoop")Shakespeare wrote *Romeo & Juliet* in the mid-1590s. It has been staged in almost every style imaginable: corseted Victorians, gritty street gangs, full-tilt modern realism, even futuristic neon worlds. Bell Shakespeare first performed the play in 1992 during its founding year, establishing the company’s commitment to rigorous, actor-focused interpretations of Shakespeare’s most loved texts. They produced it again in 2023 at their headquarters in the Neilson Nutshell, and now, in 2025, have toured that production around the country, landing the plane at the Sydney Opera House. Director Peter Evans understands the value of Shakespeare’s language and trusts the actors to carry it. There is no clutter. There is no noise. The story speaks clearly. And yet, he finds simple ways to draw out the symmetry of the story. Even the choice to place the interval between the marriage and the death that changes the play makes it feel like two separate entities: Act 1, a happily ever after, Act 2, what actually happens when love meets hate. The performances, the direction and the design work together with a sense of purpose. Madeline Li’s Juliet is a standout. When she joined the company last year, it was clear big things were coming with her. She brings intelligence, quick humour and startling emotional range to each scene. Her performance of the playful banter in the Balcony scene lands with clarity and quiet power. ![The Scoop Romeo & Juliet Bell Shakespeare Company](https://thescoop.au/wp-content/uploads/2025/11/BELLSHAKESPEARE_RomeoJuliet_PhotoBrettBoardman_013753-941x628.jpg "Romeo & Juliet Bell Shakespeare Company • The Scoop")Together Madeline Li and Ryan Hodson form a partnership marked by curiosity and trust Photo by Brett BoardmanRyan Hodson offers a thoughtful, sincere Romeo whose energy balances Juliet’s fire. Together, they form a partnership marked by curiosity and trust rather than cliché. Merridy Eastman’s Nurse gives warmth and grounded comic skill before shifting into deep sorrow. Brittany Santariga’s Mercutio moves with sharp physical detail and electric timing. Tom Matthews brings dangerous precision to Tybalt. Michael Wahr’s Lord Capulet shifts from pride to rage with unsettling speed. He is taking some notes from the 2023 Lord Capulet, James Evans, but inserting his own twist on them. Each actor delivers work shaped by respect for the text and trust in Peter Evans’ direction. The production team builds a world that feels both ancient and modern. Anna Tregloan’s costumes use clean lines and muted textures to focus attention on the actors. Her set with a faded mirror reminded me of *Black Swan* and serves a similar metatextual purpose of reflecting the darkest parts within the characters. ![The Scoop Romeo & Juliet Bell Shakespeare Company](https://thescoop.au/wp-content/uploads/2025/11/BELLSHAKESPEARE_RomeoJuliet_PhotoBrettBoardman_006306-941x628.jpg "Romeo & Juliet Bell Shakespeare Company • The Scoop")The costumes use clean lines and muted textures to focus attention on the actors Photo by Brett BoardmanBenjamin Cisterne’s lighting, from sparse to vivid, cold to warm, invites the audience in. It holds them, then pushes them away, and finally challenges them to *go hence and talk more of these sad things*. Max Lyandvert’s composition and sound design frame the tragedy with quiet tension. Simone Sault’s choreography and Tom Royce-Hampton’s fight direction give the movement sharp meaning without excess. Bell Shakespeare Company’s *Romeo & Juliet* offers a clear, steady and moving take on a play too often weighed down by concept. Evans, in his post-show speech said: “It’s really good writing and we shouldn’t take that for granted.” He has proven once again that strong direction is also worth celebrating and not taken for granted. *Romeo & Juliet* is an honest, vivid and powerful telling of a timeless play. ***Romeo & Juliet* is presented by Bell Shakespeare Company and runs to 7 December 2025 at the Playhouse, Sydney Opera House. Bennelong Point Sydney 2000.** Read a 5 minute refresher guide to the play [here](https://www.bellshakespeare.com.au/blog/the-wild-wonderful-world-of-romeo-and-juliet-your-5-minute-guide). Tickets: <https://www.sydneyoperahouse.com/bell-shakespeare/2025-season/romeo-juliet> Website: <https://www.bellshakespeare.com.au/romeo-and-juliet> Socials: <https://www.instagram.com/bellshakespeare/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Brett Boardman **Categories:** Sydney, Theatre --- ### [Olympics Themed Comedy 8 More Years To Debut At Toucan Club Festival](https://thescoop.au/olympics-themed-comedy-8-more-years-to-debut-at-toucan-club-festival/) **Published:** November 22, 2025 **Author:** Newsroom **Content:** ![The Scoop 8 More Years Toucan Club Festival PIP Theatre](https://thescoop.au/wp-content/uploads/2025/11/CoachandJason_HaydenBurke_SamHerbertson-942x628.jpeg "8 More Years Toucan Club Festival PIP Theatre • The Scoop")Brisbane’s upcoming Olympic Games has inspired a new Australian play, *8 More Years*, premiering at PIP Theatre’s annual Toucan Club Festival this December. ***8 More Years***, written by Amelia Slatter, is a quintessentially Australian comedy with relatable flavour. It centres around the classic suburban family with all its petty dramas and is set against the backdrop of the Olympic countdown. Tracey Baxter is p\*ssed. Brisbane’s going Olympic, her favourite park’s getting bulldozed, her brother’s training for the Games AND her mum’s got a thing for his swim coach. Set in 2024, in the eight-year lead-up to the Games, *8 More Years* splashes through chaos and pure Aussie absurdity. Between red frogs, swim meets, and big changes, one feisty little girl is determined to keep up with the madness and shake up her family, her city, and everyone in between. Playwright **Amelia Slatter** said she wanted the piece to be a conversation starter. “I wanted to tell a story from a local and timely perspective. Something relatable, funny and silly, but also one that looks at how the upcoming Olympics will change Brisbane. News stories kept popping up about Queensland gearing up for the Games, with large scale developments on the cards. Specifically, the new Olympic stadium being built at Victoria Park and locals protesting the development. Public transport, congestion, cost of living, and housing affordability are all things that will change how we live in the lead up to the games. Back in 2024, it got me thinking, what would Brisbane be like in 8 years’ time?” ![The Scoop 8 More Years Toucan Club Festival PIP Theatre](https://thescoop.au/wp-content/uploads/2025/11/Poster-8MY-423x628.jpg "8 More Years Toucan Club Festival PIP Theatre • The Scoop")Slatter said the play isn’t intended to be a political stab. *“I’m not opposed to the Olympics. It’s intended to hold up a cheeky mirror to our home, our habits and the hilarious chaos that ensues with change. It is intended to spark a conversation about navigating change, not only socially and economically, but within a family unit.* *The play touches on some very real challenges faced by everyday Australian families, set against the backdrop of a fundamental part of our national identity – sporting culture. It begs the question; how do we navigate progress and change?”* Slatter will also star in the production as Tracy Baxter, the precocious 8-year-old. **Sam Herbertson** (*Spectre*) will star as the 14-year-old Olympic potential Jay-sun Baxter. **Hayden Burke** will star as Coach and **Meryn Cooper** will star as Mum. Award winning actor, theatre maker and puppeteer **Calum Johnston** will direct the production, with lighting design by **Noah Milne**, and sound by **Cam Cahill**. *8 More Years* runs as part of PIP Theatre’s annual Toucan Club Festival which is on now until 13 December. Toucan Club Festival features more than 30 different productions, blending the best of local talent with selects acts from across the nation. Explore the full program [here](https://piptheatre.org/toucanclub/). Single [tickets](https://piptheatre.org/2025-8-more-years/) start at $33, with a two-show deal available for $60. ***8 More Years* runs from 10 – 12 December as part of Toucan Club Festival. PIP Theatre, 20 Park Road Milton Qld 4064.** Tickets: <https://piptheatre.sales.ticketsearch.com/sales/salesevent/153837> Website: <https://piptheatre.org/2025-8-more-years/> Socials: <https://www.instagram.com/8moreyears/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Harrison Allen **Categories:** News --- ### [Review: Much Ado About Nothing Melbourne Theatre Company](https://thescoop.au/review-much-ado-about-nothing-melbourne-theatre-company/) **Published:** November 22, 2025 **Author:** Jack Bengough **Content:** ![The Scoop Much Ado About Nothing Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2025/11/Alison-Bell-Fayssal-Bazzi-Photo-by-Gregory-Lorenzutti-941x628.jpg "Much Ado About Nothing Melbourne Theatre Company • The Scoop")The opening night of Melbourne Theatre Company’s *Much Ado About Nothing* was a night of glamorous spectacle. A full house packed into the Sumner Theatre to witness the latest offering from the state’s premier theatre company. The comedy at the centre of *Much Ado About Nothing* is very farcical and melodramatic, but director Mark Wilson has taken great care to shine a focus on themes that have taken greater shape over the centuries since the play was written. *Much Ado About Nothing,* at its heart, is a romantic comedy, as two couples struggle through scandal and gossip to ultimately find love with each other. While the Prince (John Shearman) and his followers stay in Leonato’s (Syd Brisbane) villa, Claudio (Remy Heremaia) and Hero (Miela Anich) meet and fall for each other and prepare to be wed. But thanks to a scheme hatched by the Bastard (Chanella Macri) and her follower Borachio (also Miela Anich), they struggle to tie the knot. Meanwhile, the Prince hatches a scheme of his own to trick Benedick (Fayssal Bazzi) and Beatrice (Alison Ball), who have long hated each other, into falling in love. As an ensemble, these performers share fantastic chemistry as they fall in love and fight with each other. In particular, Alison Ball and Fayssal Bazzi are a superb on-stage couple, perfectly playing into the ‘will they won’t they’ antics that carry through the show. Special mention must go out to Julie Forsyth, who plays the maid Ursula, the constable Dogberry, as well as a handful of ensemble parts. ![The Scoop Much Ado About Nothing Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2025/11/John-Shearman-Miela-Anich-Photo-by-Gregory-Lorenzutti-942x628.jpg "Much Ado About Nothing Melbourne Theatre Company • The Scoop")As an ensemble these performers share fantastic chemistry as they fall in love and fight with each other Photo by Gregory LorenzuttiIn a cast as talented across the board as this, it’s really something that Forsyth still manages to stand above the rest. Forsyth has a wickedly powerful sense of comedic timing, teamed with a physicality that is beyond description. Whenever she was on stage, the audience was either howling with laughter or poised to do so. The original play features over a dozen characters, but this cast of eight effortlessly slips between roles to the production’s advantage. It is hilarious to see Miela Anich go from the elegant gowns of Hero to the cargo shorts, XL black t-shirt and mullet of Borachio, sometimes even pulling this transition off live on stage. Moments like this make the constrained cast and the need for them to multitask a great strength. Entering the Sumner Theatre during the pre-show, the audience is immediately struck by Anna Cordingley’s grand approach to set design. The entire set is open and exposed. The audience is invited to see into the wings: the props tables, the costume racks, the rear doors leading further into the Sumner’s depths. At the centre of the stage stands a house featuring a mural of Pamela Anderson’s face on its front. It’s a reference to former football player and television presenter Sam Newman’s home in St Kilda. This, along with a painting inspired by Botticelli’s *The Birth of Venus* that is bubble wrapped and carried off stage at the start of the production, is a clear nod to central themes about the treatment of women. Throughout the show, women are treated like property; things to be exchanged between men to enhance their own wealth and status. These themes are handled with a delicate, often humorous touch; this is, after all, a comedy. We see the men run around in traditional Shakespearean costumes with the addition of inbuilt erections. Beatrice lounges on a sun bed while reading *The Second Sex*. ![The Scoop Much Ado About Nothing Melbourne Theatre Company](https://thescoop.au/wp-content/uploads/2025/11/Alison-Bell-Fayssal-Bazzi-Photo-by-Gregory-Lorenzutti-1-909x628.jpg "Much Ado About Nothing Melbourne Theatre Company • The Scoop")Alison Ball and Fayssal Bazzi are a superb on stage couple Photo by Gregory LorenzuttiMoments like these are what makes this interpretation of *Much Ado About Nothing* special. The reverence for the text and its meanings are clear and present, but it never gets overly wrapped up in those themes. It is still determined first and foremost to be an entertaining show. Costuming by Karine Larché is a mix of modern attire with a splash of more traditional styles. When the Prince and his friends arrive in Messina, they are dressed in camouflage army fatigues, while Dogberry and the other members of the guard are dressed like Australian police officers. The rest of the cast wears modern fashion, save for moments like the masquerade ball, where they don more traditional Shakespearean costumes (featuring the aforementioned erections). Joe Paradise Lui delivers a strong, traditionally inspired soundtrack that perfectly underscores the production. The booming motif that plays whenever the Bastard unexpectedly enters the scene always got a rise out of the crowd. Additions like these and Katie Sfetkidis’ strong but largely subtle approach to lighting design round out this high-budget production by lifting up the more core focal points of the show. Melbourne Theatre Company’s *Much Ado About Nothing* is a fantastic adaptation of a classic text, thanks to a hilarious cast and a thoughtful approach to interpreting its themes. It is well worth a look and a fantastic ending to a successful 2025 season. ***Much Ado About Nothing* runs to 19 December 2025 at the Southbank Theatre, The Sumner. 140 Southbank Boulevard, Southbank Vic 3006.** Tickets: <https://tickets.mtc.com.au/production/18875> Website: <https://www.mtc.com.au/plays-and-tickets/whats-on/season-2025/much-ado-about-nothing/> Socials: <https://www.instagram.com/melbtheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Gregory Lorenzutti **Categories:** Melbourne, Theatre --- ### [Announcing Waitress For Melbourne In May 2026](https://thescoop.au/announcing-waitress-for-melbourne-in-may-2026/) **Published:** November 22, 2025 **Author:** Newsroom **Content:** ![The Scoop WAITRESS Musical Sydney 2026](https://thescoop.au/wp-content/uploads/2025/10/Canadian-company-of-WAITRESS-c-Marie-Andree-Lemire_0125_1349-1-min-2-797x628.jpg "WAITRESS Musical Sydney 2026 • The Scoop")Producer John Frost for Crossroads Live today announced that Broadway’s smash-hit musical **WAITRESS** will be baking its way to **Melbourne in 2026.** The inspiring musical from pop sensation Sara Bareilles will open at **Her Majesty’s Theatre in May**, prior to a season at the **Sydney Lyric Theatre from August 2026.** Waitlist now to be first in line to buy tickets for the Melbourne season at [WaitresstheMusical.com.au](http://waitressthemusical.com.au/). Inspired by Adrienne Shelly’s beloved film, and brought to life by a trailblazing female-led creative team, including a book by acclaimed screenwriter Jessie Nelson, an original, uplifting score by Grammy® winner Sara Bareilles *(Love Song*, *Brave*) and direction by Tony® winner Diane Paulus, WAITRESS is the irresistible Broadway hit about resilience, friendship and hope that has captured hearts worldwide.​ This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. ​When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined.​ **Sara Bareilles** said: “*It’s been a dream of mine to see WAITRESS (finally) find its way to Australia*.*This story is about dreams, friendship and the courage needed to learn to love oneself, which feels so universal, and so timely.* *Over the years we have witnessed such an incredible embrace of this show. I’m so proud to be a part of the team that is bringing you something so full of heart and soul. I’m so excited for Melbourne and Sydney audiences to experience WAITRESS*.” Producer **John Frost** For Crossroads Live said: “*I’m thrilled to be this original and inspiring production to Australia*. *WAITRESS became a massive hit on Broadway where it played for almost four years, receiving four Tony nominations and six Drama Desk nominations, as well as many other awards and nominations.* *It had a return season on Broadway, played the West End from 2019, toured the US three times, and was a huge hit in many countries across the world. WAITRESS has become a ‘must see’ musical, with its memorable music by Sara Bareilles and universal themes of hope and resilience*.” WAITRESS made history on Broadway with the four top creative spots in a show being filled by women. With Sara Bareilles (music and lyrics), Jessie Nelson (book), Lorin Latarro (choreography) and Diane Paulus (direction). It opened on Broadway in April 2016 at the Brooks Atkinson Theatre, where it ran until January 2020. WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. Sweet, sassy and soul-stirring, WAITRESS is “*a little slice of heaven*” (Entertainment Weekly) and “*made from the finest ingredients*” (Time Out). It’s a feel-good celebration of second chances, and the magic of a well-made pie. If only life were as easy as pie… **WAITRESS premieres in Australia in May 2026 at Her Majesty’s Theatre. 219 Exhibition Street Melbourne Vic 3000.** It runs in Sydney from 1 August 2026. Waitlist for tickets [here](https://waitressthemusical.com.au/#waitlist). Website: <https://waitressthemusical.com.au/> Socials: <https://www.instagram.com/waitressau/> [Back to the Newsroom](https://thescoop.au/newsroom/) Hero image: Canadian company of WAITRESS. Photo by Marie-Andrée **Categories:** News --- ### [Win Tickets To The Whoop Dee Doo Revue At Melbourne Spiegel Haus](https://thescoop.au/win-tickets-to-the-whoop-dee-do-revue-at-melbourne-spiegel-haus/) **Published:** November 21, 2025 **Author:** Newsroom **Content:** ![The Scoop Whoop Dee Do Revue Melbourne Spiegel Haus](https://thescoop.au/wp-content/uploads/2025/11/Whoop-Hero-879x628.jpeg "Whoop Dee Do Revue Melbourne Spiegel Haus • The Scoop")Step back in time with some Late Night Jazz at **Whoop Dee Doo Revue**. The spirit of the golden age of mid-century burlesque clubs comes alive in a glamorous display of striptease and live music at the **Melbourne Spiegel Haus** for one night only on **27 November 2025!** The Scoop is **giving away 4 double passes** **to see the show!** Head to our [Instagram page](https://www.instagram.com/thescoop.au/) or our [Facebook page](https://www.facebook.com/profile.php?id=61571663300956) to enter the competition. Simply give us a follow and comment ‘Scoop’ under the post. Specially arranged for their classic midcentury-style burlesque revue, the band’s repertoire features a rich blend of jazz standards, smoky blues, and swing-era favourites alongside a few unexpected numbers that have been cleverly reimagined to fit the band’s five-piece lineup. From quintessential classics to unconventional choices, each track has been reworked to capture the glamour and cheek of burlesque by the talented musicians to remain true to the show’s vintage soul. This isn’t background music. It’s a dynamic and playful soundtrack where every beat is timed to a glove peel, the snap of a garter, or a strut across the stage. With a brassy top line, velvety bass, and percussion that pulses with anticipation, the band doesn’t just follow the performers, they flirt with them. This is live music that swings, crafted for an audience that appreciates both a killer arrangement and a killer reveal. ***Whoop Dee Doo Revue* runs for one night only at 10pm on 27 November 2025 at Melbourne Spiegel Haus, 217 Lonsdale Street.** Tickets: <https://www.spiegelhausmelb.com/events/whoop-dee-doo-revue> Website: <https://www.spiegelhausmelb.com/> Socials: <https://www.instagram.com/spiegelhausmelb/> and <https://www.instagram.com/whoop.dee.doo.revue/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. **Categories:** News --- ### [Brisbane Rolls Out The Red Carpet For A Blockbuster Four Days Of World Class Cinema](https://thescoop.au/brisbane-rolls-out-the-red-carpet-for-a-blockbuster-four-days-of-world-class-cinema/) **Published:** November 21, 2025 **Author:** Newsroom **Content:** ![The Scoop Brisbane International Film Festival BIFF 2025](https://thescoop.au/wp-content/uploads/2025/11/BIFF-2025.png "Brisbane International Film Festival BIFF 2025 • The Scoop")Brisbane is rolling out the red carpet (and the riverfront, rooftops and piazza) for four spectacular days of world-class cinema as the **Brisbane International Film Festival** (BIFF) makes its highly anticipated return next week from **Thursday 27** to **Sunday 30 November** **2025.** This year’s reimagined program of 60+ films, including 29 Australian premieres, opens a window on a world of experiences and perspectives inviting audiences on a journey through the hearts and minds of the world’s best filmmakers and Australia’s most exciting screen storytellers. BIFF presents a thoughtfully curated collection of First Nations cinema, led by programmer **Maria Lewis**, spotlighting powerful storytelling from Aboriginal and Torres Strait Islander artists and Indigenous filmmakers from across the world. An impressive lineup of special guests will be in attendance, including Hollywood director **Peyton Reed** *(Ant-Man, Bring It On)*, Academy Award winner **George Miller** *(Mad Max, Happy Feet)* and Italian filmmaker **Giulio Bertelli** for his directorial debut and the Australian premiere of *Agon*. Here’s a peek at some of the headline events running across the four evenings: Australian premiere of *Agon* with Director Giulio Bertelli **What:** Black tie gala featuring the award-winning film, *Agon*, followed by a discussion with five-time Olympian Natalie Cook. **When:** Thursday 27 November from 5pm **Where:** Felon’s Barrel Hall, Howard Smith Wharves **Cost:** $190 Tickets are available [here](https://tix.biff.com.au/Events/AGON-Launch-Gala). ![The Scoop Brisbane International Film Festival BIFF 2025](https://thescoop.au/wp-content/uploads/2025/11/1-AGON_©AGON-1116x628.jpg "Brisbane International Film Festival BIFF 2025 • The Scoop")*Bring It On!* with Director Peyton Reed **What:** 25-year anniversary screening of *Bring It On* featuring open-air cinema, cocktails and live cheerleaders bringing the heat. **When:** Friday 28 November, 6pm **Where:** Star Leisure Deck **Cost:** From $35 Tickets are available [here](https://tix.biff.com.au/Events/Bring-it-On-Special-Event). Australian premiere of *A Life Illuminated* + Glow Rave **What:** Documentary profiling marine biologist Dr. Edie Widder followed by all-ages glow rave with The Dead Puppet Society. **When:** Saturday 29 November, 6pm **Where:** Star Leisure Deck **Cost:** From $22 Tickets are available [here](https://tix.biff.com.au/Events/A-Life-Illuminated). It’s Never Over, Jeff Buckley **What:** Screening of award-winning documentary, followed by a live, track by track performance of Grace brought to life by a stellar lineup of Brisbane’s finest. **When:** Sunday 30 November, 6pm **Where:** Southbank Piazza **Cost:** From $95 Tickets are available [here](https://tix.biff.com.au/Events/It-s-Never-Over-Jeff-Buckley). ![The Scoop Brisbane International Film Festival BIFF 2025](https://thescoop.au/wp-content/uploads/2025/11/It_s-Never-Over-Jeff-Buckley-897x628.jpg "Brisbane International Film Festival BIFF 2025 • The Scoop")Beyond its headline events, BIFF’s 2025 program features 60+ films, including 29 Australian premieres. They are all curated to evoke one of six core emotions: Be Delighted, Be Moved, Be Afraid, Be Ignited, Be Challenged and Be Surprised. With its bold programming, spectacular event experiences and the return of George Miller, one of Australia’s most celebrated filmmakers as Patron, BIFF 2025 signals a confident new direction that cements Brisbane’s status as a city of stories and a hub of cinematic imagination. The Festival runs at venues across Brisbane including *Palace Centro*, *Palace Barracks, New Farm Cinemas, Elizabeth Street Picture House, The Star Brisbane, Streets Beach* and *South Bank Piazza*. Six-film Festival Passes are $119, with special event prices varying. **Brisbane International Film Festival 2025 runs 27 – 30 November.** **Explore the full program and book your experience at the website link below.** Tickets: <https://tix.biff.com.au/events> Website: <https://biff.com.au/> Socials: <https://www.instagram.com/bnefilmfest/> [Read more about the Festival here!](https://thescoop.au/brisbane-international-film-festival-returns-for-a-bold-new-era/) Images supplied. **Categories:** News --- ### [Review: The Glass Menagerie Still Cuts Like Shards](https://thescoop.au/review-the-glass-menagerie-still-cuts-like-shards/) **Published:** November 20, 2025 **Author:** James Murphy **Content:** ![The Scoop The Glass Menagerie State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2025/11/Ksenja-Logos_GLASS_MENAGERIE_stills_by_MATT_BYRNE-07034-942x628.jpg "The Glass Menagerie State Theatre Company South Australia • The Scoop")Tennessee Williams wrote *The Glass Menagerie* in 1944. It was his breakout play, a memory-story that still cuts like shards eighty years later. Its themes never date. Hope, failure, guilt, fantasy, and the fragility of family bonds. State Theatre Company South Australia leans into that fragility with a production directed by Shannon Rush that is haunting, claustrophobic, and often tender. Rush makes a note in the program that her approach was to treat the script as if it were “a new text.” She emphasises hope. Yet this production sits closer to the raw nerves underneath that hope. The result is a version that swings between soft dream and harsh reality. You feel the memory-play structure, but you also feel the walls closing in. Laurence Boxhall plays Tom Wingfield as a man trapped inside his own regret. It’s a guilty, haunted performance. He watches the family drama unfold from the elevated terrace above the stage or from behind the curtain that semi-conceals the kitchen. He also writes what we witness, adding another layer to the self-inflicted torment. At times, he flashes a wry smile or lands a joke. Those moments raise the question: should we laugh? Or is that laughter another coping mechanism from a man who never escaped the shadow of his choices? Boxhall sits in that ambiguity well. A giant image of the absent father is projected onto the curtain. A large empty gold frame hangs to its right. That visual choice stings. One man dominates the home through his absence. Another can never leave without becoming him. Fate repeats itself. Or maybe it just waits for us to walk into it. Ksenja Logos delivers a fierce Amanda Wingfield. There is no soft Southern nostalgia here. No gentle mourning for what could have been. Her emotional violence is right in the open. Cupboards slam. Tables rattle. ![The Scoop The Glass Menagerie State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2025/11/Kathryn-Adams_Laurence-Boxhall_Ksenja-Logos_Jono-DarbyGLASS_MENAGERIE_stills_by_MATT_BYRNE-09723-1110x628.jpg "The Glass Menagerie State Theatre Company South Australia • The Scoop")State Theatre Company South Australia leans into the fragility with a production that is haunting claustrophobic and often tenderHer transformation when the Gentleman Caller arrives is cringey in exactly the way it should be. The puffy yellow dress. The twirls. The way she luxuriates in Tom’s friend’s attention. Amanda claims she wants a husband for Laura. You wonder if she really wants to relive her own youth instead. The terror beneath her bluster is less obvious than the toxicity, but you sense it in the edges. You feel trapped in her presence. It’s uncomfortable. That’s the point. You also see why Tom and Laura are terrified of making the “mistakes” she insists she made. But what are mistakes? No one can see the future. Amanda’s seventeen gentleman callers looked like choices once. All we ever do is choose with the knowledge we have. Attempts to control fate only push it further away: effort creates resistance. Kathryn (Kitty) Adams is the highlight of the production as Laura. Her physicality is subtle and precise. Adams lives with chronic illness, which brings a quiet authenticity to a character whose disability is often overplayed in other productions. Here, Laura doesn’t limp constantly. The effort only shows on the stairs. That choice matters. Not all disabilities are visible. Laura is gentle but not fragile. Withdrawn but not empty. And her bond with Tom is the emotional anchor. Their shared comfort makes the final separation hit even harder. Set designer Mark Thompson constructs a cluttered, lived-in apartment. It looks real. A column of glass animals hangs on stage left. They glow whenever spoken of. They look like raindrops. Or teardrops. Or tiny shards of hope suspended in mid-air. When Laura speaks to them, they seem alive. When they are threatened, you feel how easily they could fall. Maybe all our hopes fall like glass across our lives. One break at a time. ![The Scoop The Glass Menagerie State Theatre Company South Australia](https://thescoop.au/wp-content/uploads/2025/11/Jono-Darby_Kathryn-Adams_GLASS_MENAGERIE_stills_by_MATT_BYRNE-09906-952x628.jpg "The Glass Menagerie State Theatre Company South Australia • The Scoop")The dance scene is slow glowing suspended and its heartbreaking Photo by Matt ByrneThe lighting, designed by Gavin Norris, shifts the play between memory and reality. Soft blues and violets echo Williams’ preferred palette. The house dulls when Tom narrates, then snaps back into a naturalistic present. At times, the sky turns red. Maybe evening. Maybe a warning. Jamie Hornsby’s recurring lilting piano motif feels like someone remembering their life from a distance. Then there is the Gentleman Caller scene. Jim O’Connor, played with warm charisma by Jono Darby, lifts the whole show. It’s the most genuine moment of the night. Jim sees Laura. Or maybe he sees the reflection of his own past glory. Those are not the same thing. Darby plays that line beautifully. The staging explodes into memory-magic here. Smoke machines soften the edges. A disco ball drops. Large lit letters appear in the background. The living room becomes the dance hall across the road. So close. So far. Laura listens to the world she wishes she could join. The world she never will. The dance is slow, glowing, suspended. It’s heartbreaking. Amanda wants the future to obey her. Tom wants adventure. Jim wants the high school version of himself back. Laura wants the world to stop hurting. All of them live in hope. And all of them feel the weight of that glass unicorn when it breaks. There are moments when lines feel rushed. Amanda’s line: *you are the only young man who ignores the fact that the future becomes the present, the present becomes the past, and the past turns into everlasting regret* could have landed harder with a longer pause. But the emotional core stays intact. Gender norms have shifted since 1944. Social mobility has changed. But the fragility of hope, the ache of unfulfilled ambition, the terror of disappointing our families, and the sting of unrequited love are eternal. *The Glass Menagerie* endures because all of us, at some point, have lived inside a memory we can’t escape. ***The Glass Menagerie* is presented by State Theatre Company South Australian and runs to 7 December 2025 at the Odeon Theatre. 57a Queen Street Norwood SA 5067.** Tickets: <https://my.statetheatrecompany.com.au/overview/the-glass-menagerie> Website: <https://statetheatrecompany.com.au/shows/the-glass-menagerie/> Socials: <https://www.instagram.com/statetheatresa/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Matt Byrne **Categories:** Adelaide, Theatre --- ### [Review: A Night At The Musicals Brisbane Presents Disney: In Concert](https://thescoop.au/review-a-night-at-the-musicals-brisbane-presents-disney-in-concert/) **Published:** November 17, 2025 **Author:** Isabella Visser **Content:** ![The Scoop A Night At The Musicals Disney: in Concert Brisbane](https://thescoop.au/wp-content/uploads/2025/11/Disney_37-942x628.jpg "A Night At The Musicals Disney: in Concert Brisbane • The Scoop")A Night at the Musicals Brisbane enchanted audiences over the weekend with their magical production of *Disney: In Concert*. For three shows only, this epic showcase of Disney’s classic melodies ran at the incredible Thomas Dixon Centre. After a spectacular year with three amazing productions including a tour, *Disney: In Concert* was the final mainstage show of 2025. A Night at the Musicals is a brilliant local not-for-profit organisation that celebrates the creative ingenuity of musical theatre. *Disney: In Concert* sparkled with something other than just splendour and sophistication: childhood wonder. The emotional highs and lows of the repertoire could be felt in a stunning display of talent. It was all brought to life by thirteen of the city’s finest professional soloists, a powerhouse ensemble and a live orchestra. Producer Sophora Cliff and Director Alex Watson put together a stellar lineup of Brisbane’s best vocal talent. And it was some of the most impressive live singing performances that I have ever seen. With each number, the expectation for greatness grew, and yet they exceeded it every single time. Musical Director and Conductor Michael Keen created orchestral magic with a wave of his wand. Keen brought new life to these classic tunes that swum with theatrical exuberance. ![The Scoop A Night At The Musicals Disney: in Concert Brisbane](https://thescoop.au/wp-content/uploads/2025/11/Disney_33-942x628.jpg "A Night At The Musicals Disney: in Concert Brisbane • The Scoop")Disney In Concert featured some of the most impressive live singing I have ever seen Photo by Megan Birdy Peacock*Disney: In Concert* amazed from the opening song, *Be Our Guest*, where Liam J O’Byrne took the lead as Lumière with a fiery liveliness. Midway through the song, he was joined by the rest of the featured vocalists in a breathtaking display of beauty. All dressed to the nines, it was as if they’d just stepped out of Cinderella’s carriage and were making their way to the ball. Yet it was not just the glamorous costuming that made it impossible to look away from the stage. It was the otherworldly singing that rang across the theatre. When the company’s voices aligned in perfect harmony, it felt momentous. In all the full company songs, including *Can You Feel the Love Tonight*, *The Bells of Notre Dame*, and the *Let it Go* encore, there was an impressed astonishment that left goosebumps. Featured soloist Sean Sinclair gave a strong and charged performance in *Go the Distance* from Hercules. His impressive vocal skills were best appreciated in the song’s final note, which he held onto perfectly. Timothy Aaron Cooper, Cody Arthur, Liam J O’Byrne, and Jordan Koulos got the adrenaline pumping in *I’ll Make a Man Out of You*. It was a fun and exciting song that was made all the more enjoyable by their comical choreography and characterisations. ![The Scoop A Night At The Musicals Disney: in Concert Brisbane](https://thescoop.au/wp-content/uploads/2025/11/Jal-Wicked_51-942x628.jpg "A Night At The Musicals Disney: in Concert Brisbane • The Scoop")The orchestral magic brought new life to these classic Disney tunes Photo by Megan Birdy PeacockA personal favourite was the mesmerising Princess Waltz performed by Chloe Rose Taylor, Vivien Emsworth and Carly Bettinson. With a princess-like grace, they sang the famous *Once Upon A Dream* melody that felt like a spell cast from a storybook. Jo-Anne Jackson and Cody Arthur delivered a stunning and profound rendition of *Beauty and the Beast*. Their sincerity and connection while performing was magnetic. Jackson had a voice that soared straight to the heart and, in this particular song, straight to the tear ducts as well. From the humour and fun of *Bare Necessities* and *Mother Knows Best* to the heartfelt *Remember Me*, *Disney: In Concert* successfully illuminated the magic of the screen to the stage. A Night at the Musicals brought fairytale wishes and unimaginable dreams to life in *Disney: In Concert*. This dazzling production swept its audience into a world of spectacular singing, exquisite style, and effortless showmanship. It was a reminder of why these stories endure, and how thrilling they can be when rediscovered in a sparkling new light. **A Night At The Musicals presented *Disney: In Concert* from 15 – 16 November at the Talbot Theatre. Thomas Dixon Centre, 406 Montague Road West End Qld 4101.** The season has now ended. Details of their next tour can be found [here](http://thescoop.au/a-night-at-the-musicals-heads-on-tour-this-summer/). Socials: <https://www.facebook.com/anatmbris/> Socials: <https://www.instagram.com/anatmbris/> [Read more of our Concert Reviews](https://thescoop.au/concert-reviews/) Photo credits: Megan Birdy Peacock **Categories:** Brisbane, Concerts --- ### [A Night At The Musicals Heads On Tour This Summer](https://thescoop.au/a-night-at-the-musicals-heads-on-tour-this-summer/) **Published:** November 21, 2025 **Author:** Newsroom **Content:** ![The Scoop A Night At The Musicals On Tour](https://thescoop.au/wp-content/uploads/2025/11/ON-TOUR-879x628.jpeg "A Night At The Musicals On Tour • The Scoop")**A Night At The Musicals Inc.** is taking its celebrated concert series on the road in 2026, bringing the magic of musical theatre to audiences across South East Queensland. Following a string of sold-out performances in Brisbane, the company will perform **three exclusive shows** in **Toowoomba, Caloundra, and Ipswich** this January and February. Audiences can expect a spectacular evening celebrating the best of Broadway and the West End, featuring unforgettable songs from *Les Misérables*, *Hamilton*, *Wicked*, *Hairspray*, *The Phantom of the Opera*, *Funny Girl*, and more. With powerful vocals, rich arrangements, and a live four-piece band, ***A Night At The Musicals On Tour*** promises to deliver the same dazzling energy and heart that has made the series a Brisbane favourite. The 2026 touring cast features a powerhouse ensemble of local stars. They include **Alex Watson** (*The Lord Mayor’s Christmas Carols, Priscilla, Queen Of The Desert, Merrily We Roll Along*), **Paige McKay** (*Margaret Fulton*), **Sophora Cliff** (*A Night At The Musicals*), **Liam J O’Byrne** (*A Night At The Musicals, Merrily We Roll Along, Priscilla, Queen Of The Desert*), and **Cody Arthur** (*A Night At The Musicals, Les Misérables*). Joining them will be **Henry Kafoa** (*The Sunshine Club, Once On This Island*), **Heidi Enchelmaier** (*Into The Woods, The 7 Sopranos*), **Nathan Kneen** (*The Phantom Of The Opera, The Ten Tenors*), **Nykita O’Keeffe** (*Head Over Heels, Tick Tick Boom*), **Vivien Emsworth** (*Miss Saigon, The King & I*), **Finlay Underwood** (*Mamma Mia, Legally Blonde*), and **Asabi Goodman** (*Chicago, Hairspray, Once On This Island*). Producer **Sophora Cliff** said: *“This tour is all about celebrating Queensland talent and bringing world-class musical theatre experiences to regional audiences at accessible prices. We’re thrilled to share a slice of Broadway with communities across the SEQ region – performed by local artists who call Queensland home.”* Audiences can look forward to show-stopping highlights including *The Winner Takes It All* (*Mamma Mia!*), *She Used To Be Mine* (*Waitress*), *You’ll Be Back* (*Hamilton*), *Bring Him Home* (*Les Misérables*), and *Defying Gravity* (*Wicked*). Praised by critics as “some of the most impressive live singing performances I have ever seen” ([The Scoop](https://thescoop.au/review-a-night-at-the-musicals-brisbane-presents-disney-in-concert/)), *A Night At The Musicals* continues to cement its reputation as Queensland’s premier musical theatre concert event. A Night At The Musicals Inc. is a not-for-profit organisation specialising in staged concert celebrations of musical theatre. Since 2021, the company has produced high-quality, artist-focused productions across Queensland, providing professional performance opportunities for local talent while delighting audiences with the artistry, variety, and joy of musical theatre. ***A Night At The Musicals On Tour* runs from 30 January – 1 February 2026. Full details below.** This event is suitable for all ages and ideal for both lifelong fans and newcomers to musical theatre. Socials: <https://www.facebook.com/anatmbris/> Socials: <https://www.instagram.com/anatmbris/> [Back to the Newsroom](https://thescoop.au/newsroom/) 2026 Tour Details: **Toowoomba** Thursday 30 January 2026, Empire Theatre [Tickets available here](https://empiretheatre.com.au/whats-on/a-night-at-the-musicals-on-tour) **Caloundra** Friday 31 January 2026, The Events Centre [Tickets available here](https://theeventscentre.com.au/event/a-night-at-the-musicals/) **Ipswich** Saturday 1 February 2026, Ipswich Civic Centre [Tickets available here](https://www.ipswichciviccentre.com.au/event/a-night-at-the-musicals-on-tour-2026/) **Categories:** News --- ### [NIDA Partners With Australians In Film To Provide Pathways For Students & Alumni](https://thescoop.au/nida-partners-with-australians-in-film-to-provide-pathways-for-students-alumni/) **Published:** November 20, 2025 **Author:** Newsroom **Content:** ![The Scoop NIDA Partners With Australians in Film](https://thescoop.au/wp-content/uploads/2025/11/NIDA-Acting_Class-of-2025_Photo-by-Phil-Erbacher_lowres-942x628.jpg "NIDA Partners With Australians in Film • The Scoop")**The National institute of Dramatic Art** (NIDA) is proud to announce a new supporting partnership with **Australians in Film** (AiF) in Los Angeles. The AiF partnership launches as NIDA’s graduating actors take to the stage and screen in the 2025 Bachelor of Fine Arts Acting Showcase for industry. The partnership will offer professional development and support for students and alumni looking to explore screen careers in Hollywood and beyond. Providing industry pathways, opportunities to network and connections for students and alumni is a priority for NIDA. The partnership with AiF will open doors and offer support for NIDA graduates when they look to apply their craft in the US. As part of the partnership, NIDA will have access to space at AiF’s West Hollywood studio lot office to take meetings, as well as professional development, access to AiF’s programs and personalised support. This includes one-on-one meetings prior to or upon their arrival in Los Angeles. The partnership will provide NIDA with networking opportunities including introductions to AiF’s extensive business and creative network. This partnership will not only benefit NIDA’s 2025 Acting graduates but graduates and alumni across all NIDA disciplines. These include Design for Performance, Dramatic Writing, Directing, Costume, Specialist Make-up, Props and Effects, Cultural Leadership, Set Construction, and Technical Theatre and Stage Management who are looking to pursue careers in the United States. Established in 2001, Australians in Film is a Los Angeles based non-profit film, television and digital content foundation. Their mission is to increase the quality and growth of Australian creativity globally by opening doors in Hollywood, via professional accelerator programs, screenings, networking and industry sessions, both in person and online. NIDA CEO **Liz Hughes** said: *“NIDA’s reputation in Hollywood has been established over decades. We are keen to ensure that NIDA students and alumni have direct pathways into key global industry hubs. We are delighted to be working with AiF to support the NIDA community who are either working in LA or aspiring to do so*.*“* AiF Executive Director **Peter Ritchie** said: *“We are genuinely excited about this partnership with NIDA. Our missions are closely aligned, and we share a deep commitment to supporting Australia’s finest creative talent on the global stage. As AiF enters a new chapter focused on creating more strategic and meaningful international professional pathways, this collaboration offers an ideal platform for NIDA graduates and alumni to thrive.”* **For more information, visit NIDA and** [Australians in Film](https://australiansinfilm.org/). Website: <https://www.nida.edu.au/> Socials: <https://www.instagram.com/nidacommunity/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credit: Phil Erbacher **Categories:** News --- ### [Review: Don't Panic! (It's Happened Before) Old Fitz Theatre](https://thescoop.au/review-dont-panic-its-happened-before/) **Published:** November 20, 2025 **Author:** Leo Manson **Content:** ![The Scoop Don't Panic! (It's Happened Before) Sam Bowden Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2025/11/DontPanic_Landscape_SansText-1-1116x628.png "Don't Panic! (It's Happened Before) Sam Bowden Old Fitz Theatre • The Scoop")Watching *Don’t Panic! (It’s Happened Before)*, written and performed by Sam Bowden, feels like a drunk conversation with friends. Bowden turns pop culture references, conspiracy theories and ‘impolite descriptions of the English’ into a wonderful tale of hope. The one-man show first graced stages at the Sydney Fringe Festival in 2023. In 2024, it toured Australia. Finally in 2025, it makes its theatre debut. The show (led by just three people) proves that in terms of cast, it’s definitely about quality, not quantity. Bowden is a weapon with shock value. He jumps from Christopher Columbus to Charlie Kirk with ease. He revels in both historical and contemporary controversies and doesn’t let any topic go undiscussed. With captivating stage presence and hilarious accents, he pulls audiences into elaborate explanations of historical events. Then, with his quick tongue, he pulls you out of it with something absurd, yet remarkably mostly true. Perhaps the most insightful example of this is his revelation that the world needs a martyr. He suggests that without a martyr like Joan of Arc, nothing can change. The conversation ends with proposing Greta Thunberg as the best option. When this happens, you can’t just laugh at the outrage, but wonder if there’s a brutal truth behind it. While jumping from country to country and century to century, Bowden grounds the show with a refreshing use of colloquial language. The show is deeply Australian. German soldiers aren’t just compared to meth heads, they’re ones you’d see at Potts Point McDonald’s. ![The Scoop Don't Panic! (It's Happened Before) Sam Bowden Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2025/11/2-942x628.jpeg "Don't Panic! (It's Happened Before) Sam Bowden Old Fitz Theatre • The Scoop")Bowden turns pop culture references conspiracy theories and impolite descriptions of the English into a wonderful tale of hopeThese descriptions are often matched with exaggerated, repetitive acting that never overstays its welcome. The cohesion is no doubt thanks to the masterful direction and production by Artie Gallagher. Every aspect of this show is imbued with love; nothing goes unthought of. From stage design to the way Bowden moves from topic to topic, Gallagher’s direction must be commended. Not to mention, the comedic timing in this show is one to be reckoned with. It doesn’t let you fret about history repeating, because the show doesn’t want audiences to mope. It wants audiences to move, to take action with their lives. As you’re pulled to this revelation, the lighting, with impeccable timing throughout from Izzy Morrisey, dims. Bowden moves and joins the audience, offering a deeply personal perspective. The use of the projection is clever and minimal. When audience attention is drawn to the images, it breaks up the show in a way that feels natural. This allows the final words from Bowden to leave a greater impact than if the show had kept a fast pace throughout. If the state of the world stresses you out, *Don’t Panic! (It’s Happened Before)* is an excellent solution. With its witty writing and beautifully optimistic outlook, this show isn’t one to miss. ***Don’t Panic! (It’s Happened Before)* runs to 21 November at the Old Fitz Theatre. 129 Dowling Street Woolloomooloo NSW 2011.** Tickets: <https://www.oldfitztheatre.com.au/book-now> Website: <https://www.oldfitztheatre.com.au/dont-panic> Socials: <https://www.instagram.com/sambowdencomic/> and <https://www.instagram.com/dontpanictheshow/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Images supplied. **Categories:** Sydney, Theatre --- ### [Film Review: Christmas Karma Is Messy, Musical & Surprisingly Moving](https://thescoop.au/film-review-christmas-karma-is-messy-musical-surprisingly-moving/) **Published:** November 19, 2025 **Author:** James Murphy **Content:** ![The Scoop Christmas Karma Film Gurinder Chadha](https://thescoop.au/wp-content/uploads/2025/11/CKSTILL023-1200x503.jpg "Christmas Karma Film Gurinder Chadha • The Scoop")Gurinder Chadha has never been shy about mixing tones, cultures, or politics, and *Christmas Karma* may be her most full-throated collision yet: Dickens by way of Bollywood, pantomime, pop musical, and Brexit-era satire. The result is uneven, bold and occasionally baffling. But if you’re willing to surrender to its maximalism, it’s far more enjoyable than the early dismissals suggest. Chadha reframes *A Christmas Carol* around Mr Eshaan Sood (Kunal Nayyar), a contemporary Scrooge modelled on a now-forgotten generation of Indian conservatives in British politics. She even told Parliament in 2024 that: “My Scrooge is an Indian Tory who hates refugees,” and the film takes that mission statement literally. Sood begins the film railing against asylum seekers, dismissing the neighbours he deems beneath him, and snapping at his long-suffering assistant Bob Crachit (Leo Suter), before three ghosts drag him through a reckoning that stretches from colonial India to modern Britain. ![The Scoop Christmas Karma Film Gurinder Chadha](https://thescoop.au/wp-content/uploads/2025/11/CKSTILL078-1200x503.jpg "Christmas Karma Film Gurinder Chadha • The Scoop")If you are willing to surrender to maximalism of the film it is far more enjoyable than the early dismissals suggestThe political sharpness won’t please everyone. Chadha folds racism, skinhead violence, border anxiety, British colonial fallout, and the Expulsion of Indians from Uganda into a festive musical. It’s deliberately provocative, but Dickens was political long before Chadha was. The difference is simply that the stakes have globalised; industrial-era inequality has metastasised into worldwide wealth divides, and *Christmas Karma* wants that acknowledged. Whether the campy tone always supports the message is another question. The film’s first half leans heavily into Bollywood spectacle: bright fabrics, sweeping dance lines, melodic refrains, and bursts of colour that lunge at the screen. The score, featuring music from Gary Barlow, Shaznay Lewis and Nitin Sawhney, jumps between rap, pop balladry, and Bollywood orchestration, sometimes in the same scene. Billy Porter, as the Ghost of Christmas Present, gets the best numbers by a mile; he treats each appearance as a mini showstopper. ![The Scoop Christmas Karma Film Gurinder Chadha](https://thescoop.au/wp-content/uploads/2025/11/CKSTILL024-1200x503.jpg "Christmas Karma Film Gurinder Chadha • The Scoop")The ensemble leans into Chadhas tone with commitment especially in the musical set piecesBoy George, playing the Ghost of Christmas Future, is more of a presence than a singer; his scenes work because of his silhouette and theatrical stillness rather than vocal fireworks. Eva Longoria, on the other hand, is one of the film’s odder choices: a Mexican Day of the Dead aesthetic intruding into a narrative otherwise grounded in British and Indian histories. Her section isn’t poorly executed, but it feels imported from a different film entirely. As Sood, Nayyar is the film’s biggest gamble, and the place where *Christmas Karma* wobbles most. Known for broad sitcom comedy, he plays the role with a single gear in each phase. It’s unmodulated fury early on, unmodulated cheer after the transformation. Chadha’s Scrooge is a caricature, deliberately, but Nayyar never finds the layers Bill Murray discovered in the 80s classic *Scrooged*. The parody of Rishi Sunak and other Indian Tories would have landed more sharply a few years ago. Today it feels like a political reference already fading from memory. ![The Scoop Christmas Karma film Gurinder Chadha](https://thescoop.au/wp-content/uploads/2025/11/CKSTILL021-1200x503.jpg "Christmas Karma film Gurinder Chadha • The Scoop")Christmas Karma is spirited messy musical and entirely sincere about giving Dickens a cultural remixImportantly, during these polarised political times, *Christmas Karma* even finds compassion for the wealthy elites by seeing the “boys inside the men, the wound behind the wicked.” Still, Leo Suter brings a grounded warmth to Bob Crachit, Pixie Lott charms as Mary, and Hugh Bonneville makes a crisply effective Marley. The ensemble leans into Chadha’s tone with commitment, especially in the musical-set pieces, which are polished and ironically joyous even when the lyrics are diagnosing Britain’s political fractures. *Christmas Karma* is not perfect. It’s not subtle. But it’s spirited, messy, musical, and entirely sincere about giving Dickens a cultural remix. Like any remix, you need to be open to the experiment. Those who are will find plenty to enjoy. Those who aren’t will likely wish Chadha had stuck to one genre instead of three. ***Christmas Karma* opens in cinemas nationally on 27 November 2025.** Website: <https://rialtodistribution.com/film/christmas-karma/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read more of our Film Reviews](https://thescoop.au/category/film/) See the trailer below: **Film details:** Title: Christmas Karma Director: Gurinder Chadha Cast: Kunal Nayyar, Leo Suter, Charithra Chandran, Hugh Bonneville, Eva Longoria, Billy Porter, Boy George, Pixie Lott Country of Origin: UK Duration: 110 mins **Categories:** Film --- ### [Film Review: The North 2025 Russell Hobbs British Film Festival](https://thescoop.au/film-review-the-north-2025-russell-hobbs-british-film-festival/) **Published:** November 19, 2025 **Author:** Nick Dale **Content:** ![The Scoop The North Bart Schrijver British Film Festival](https://thescoop.au/wp-content/uploads/2025/11/The-North_1-1200x502.jpg "The North Bart Schrijver British Film Festival • The Scoop")*The North* is a meditation on how nature shakes us awake, forces truth, and reconnects us. Showing now at the Russell Hobbs British Film Festival, it’s a film of surprising power that lets the vast Scottish Highlands take the lead. With subtle, unobtrusive direction, director Bart Schrijver invites us into the stunning landscape of the Highlands and the interior world of his characters. Shot on the West Highland Way and Cape Wrath Trail, the film follows two best friends, Chris and Lluis, as they reconnect on the 600-kilometre journey. Faced with the immensity of the untouched landscape, there’s nowhere left to hide from themselves. The men are in their 30s and navigating different paths. Chris (Bart Harder), distracted by life back home, wants to stick to the hiking plan. Lluis (Carles Pulido), a creative feeling lost in life, craves to go off-grid and lose himself in the adventure. The Highlands offer silence and solitude, but along with it, some tough love as their own truths bubble to the surface. Obviously a lover of the outdoors, Schrijver’s first film, *Human Nature*, follows a woman’s solo journey through the Arctic region of Norway. He continues the theme with *The North*, creating a visceral immersion in the power of nature. Nature leads early on with sweeping landscapes and amplified rain and wind pulling you into the film’s world. Shrijver wants us to breathe, observe and get curious. There are long tracking shots and plenty of quiet moments. The actors are not front and centre; the landscape is. ![The Scoop The North Bart Schrijver British Film Festival](https://thescoop.au/wp-content/uploads/2025/11/Screenshot-2025-11-18-at-74840-pm-1200x578.png "The North Bart Schrijver British Film Festival • The Scoop")The Scottish Highlands landscape is front and centre in The NorthThe director took these guys on a real hiking journey, where they dealt with everything in real time. We get it all, the midges, the wind and rain, the mountains, and the isolation. It’s documentary-style mixed with method, but follows a narrative that feels organic. *The North* brings to mind films like Sean Penn’s *Into the Wild* or the documentary *Touching the Void*. Stories that show how nature confronts us, roughs us up, but also heals and transforms. The Highlands are wild, unpredictable and unforgiving. Schrijver, who also wrote the film, leans into the wildness, willing to abandon his script when needed. The tiny crew of six took the entire journey with the actors, sleeping in tents and battling with the elements. Plans were abandoned, such as when midges decide to hijack a dialogue scene. The organic, improvised approach helps us feel like we’re taking the journey with the actors. Naturally, the cinematography is a defining aspect of the film. What works so well is the way Director of Photography, Twan Peters, allows the landscape and the characters to guide the visuals. Long tracking shots and long-held takes with no dialogue gradually invite us beyond the surface. It feels like a kind of exercise in mindfulness. ![The Scoop The North Bart Schrijver British Film Festival](https://thescoop.au/wp-content/uploads/2025/11/Screenshot-2025-11-18-at-74804-pm-1200x574.png "The North Bart Schrijver British Film Festival • The Scoop")The performances feel like non acting with gentle direction giving the actors space to unravel The sound design is distinctive and serves to build the emotional story. We feel like we’re there, the downpour drenching us, the waves overcoming us. At times, the ultra-realism feels tedious. But Fraser Allan’s sound, together with Peters’ cinematography, serves to reveal the harsh beauty of the landscape and take us deeper into the characters’ inner lives. I don’t think I’ve seen a film that uses sound this powerfully. The performances feel almost like non-acting, with gentle direction giving the actors space to unravel. Pulido beautifully plays a man struggling with his place in the world and desperate to lose himself in the void of nature. Both actors have heartbreaking, private moments when everything comes to the surface. The emotional overflow is palpable and powerfully relatable. The film deals with male vulnerability and tenderly captures the way men tend to avoid deeper emotional connections with each other. There’s something deeply satisfying in the way the Highlands serve to break down the men’s stoic masks and help them get to their truths. *The North* explores friendship and what’s left unsaid. Chris and Lluis stubbornly hold things back. Bart Schrijver builds this restraint, making the audience long for a breakthrough. In a time of 5-second dopamine hits and constant swiping and scrolling, *The North* asks us to slow down, observe and feel. It’s a timely film, and a much-needed story in our current climate. If you surrender to the journey, it will hit you in the gut, in the best way possible. ***The North* is on now in cinemas nationally as part of the Russell Hobbs 2025 British Film Festival.** Tickets: <https://britishfilmfestival.com.au/films/bff25-the-north> Website: <https://britishfilmfestival.com.au/> Socials: <https://www.instagram.com/britishfilmfest/> [Read more of our British Film Festival Reviews](https://thescoop.au/?s=british+film+festival) It can be streamed outside of Australia and New Zealand at [Tuesday Film](https://tuesdayfilm.com/the-north/). Watch the trailer: **Film details:** Title: The North Director: Bart Schrijver Cast: Carles Pulido, Bart Harder Country of Origin: United Kingdom Duration: 131 mins **Categories:** Film --- ### [Review: Twelfth Night, Or Whatever Presented by Bar'd Work](https://thescoop.au/review-twelfth-night-or-whatever-presented-by-bard-work/) **Published:** October 31, 2025 **Author:** Christian Claye Edwards **Content:** ![The Scoop Twelfth Night, Or Whatever by Bar'd Work](https://thescoop.au/wp-content/uploads/2025/10/Bardwork-3-942x628.jpg "Twelfth Night, Or Whatever by Bar'd Work • The Scoop")It’s nothing less than a tribute to the genius of this troubled nation that I spent Thursday night in a lovely Sydney pub, quaffing beers and watching some very beautiful Shakespeare in the form of *Twelfth Night, Or Whatever*. That I drank, ate and laughed my arse off is more practically a tribute to The Scoop’s omnipresent Editor, who misses nothing and knows everything. “Good news. Shakesbeer is a thing.” Sigh. No, it’s not. “Company’s called Bar’d Work. They tour Sydney pubs, did a sell-out *Much Ado* and are back with *Twelfth Night*. So put on some pants and get thee to the pubbery,” she said. And so I did… **The Ultimate Question** …little suspecting that upstairs at the Balmain Hotel would be the answer to the greatest theatrical question of the 21st century. Since the dawn of civilisation – or at least since the Czech god of hospitality, Radegast, invented beer – man has wondered: can an Aussie pub really host Shakespeare’s most intimate and emotional poetry? Fact is, the Big Bard might’ve written for the drinking masses in the yards of plague-free Elizabethan inns, but they never had punting or pokies. The bawdy-messy-funny hijinks amount to little unless it’s offset by the tragic-sublime-poetic. Can it be done? Oh my God, yes. And bring more beer. Not only does B’ard Work’s sweetened, condensed cast milk and bottle 90 minutes of intensely generous hilarity and laughter, but to my mind, they whip up all the demanding emotional nuances Shakey asks of them in his most melancholy comedy. Within ten minutes, we’ve laughed, cried and happily joined in on acoustic covers of AC/DC and Chumbawumba. There’s sight gags, slapstick, gross-out, satire, surrealism, a baggie of crack and a pack of Burger Rings as a substitute for an engagement. And yet, as the work settles into a cracking, lathery, laugh-riddled rhythm, it’s apparent that cloaked beneath the half-price pints and the comic carnage lies an unmistakable Shakespearean scholarship and an equally taut theatrical discipline. Anyone remotely familiar with the work of the Balmain Tigers knows damn well that there’ll be no spinning of the magic unless the hard work’s been done up front first. The right to play expansive footy is not universal. And it would appear that Bar’d Director Chris Huntly-Turner is a footy fan. All the fireworks are set off at once in what looks like an improv’d free-for-all. Instead, it’s just a terrifyingly well-constructed firestorm. Yes, these guys are funny, but no, they’re not just messing about. ![The Scoop The Shakesbeer Seassions Twelfth Night, Or Whatever by Bar'd Work](https://thescoop.au/wp-content/uploads/2025/10/Bard-Work-The-Shakesbeer-Sessions-Twelfth-Night-419x628.jpg "Bar'd Work The Shakesbeer Sessions Twelfth Night • The Scoop")The songs are brilliant and the energy is through the roof **Giggles and grief in Balmain** Kicking off with a storm and a shipwreck, *Twelfth Night, Or What You Will* (or in this case, *Twelfth Night, Or Whatever*) is among the easier of Shakespeare’s plays to totally screw up. It’s haunted by a host of lost souls and from the start divides already parentless twins, Viola and Sebastian (played by Olivia Xegas and Mark Barry). Each thinks the other half dead – an unfathomable loss ripe with a PTSD-rich blowback, unresolved until the final moments. They wash up on enemy territory dominated by a similarly grieving (sister and daughter), the Countess Olivia (Naomi Belet), as well as an emotionally infantile fascist, the Duke Orsino (Philippe Klaus), himself in love with the grief of Olivia’s rejection. So, bawdy mayhem aside, there’s a fast-moving undercurrent of grief and guilt in every atom of *Twelfth Night*. And to everyone’s delight, midweek in a Balmain pub, these guys absolutely nail it. Every cast member rocks. Alfie Gledhill is brilliantly deployed as Feste the Fool, but his function is as Alfie the guide/trickster. The special mention is for Mark Barry as Sebastian. Wonderful, incredible. Enormous. The songs are brilliant. The energy is through the roof. And the poetry is hypnotic. Also, there’s beer. ![The Scoop Twelfth Night, Or Whatever by Bar'd Work](https://thescoop.au/wp-content/uploads/2025/10/ShakesbeerSessions_poster_2025_V1-444x628.png "Twelfth Night, Or Whatever by Bar'd Work • The Scoop")Twelfth Night Or Whatever runs at various pubs around Sydney**Cheers and beers for not ignoring the tears and fears** What raises the play and this improbable production so high is that it’s peopled by a cacophony of characters who’ve the courage to go hard for the happiest joys despite living inside the deepest sorrows. As Keats would later say, after the benefit of a few centuries of hindsight: *Aye, in the very temple of delight; Veiled melancholy has her sovereign shrine* What marks this play as f\*%king incredible for me is that moments after losing her brother, Viola chooses to just cast away her own life, slap on a moustache and head straight for the mouth of danger by disguising herself as a man (Cesario). Just to win the Countess’ love for the Duke. Theatrically, yes, it ensures we have tonnes of fab mistaken identity and gender upheaval. But psychologically, it’s hundreds of years before Sigmund Freud. Yet Shakey has his Viola make an extraordinary albeit clinically accurate decision in the face of losing her twin broham. Viola creates Cesario to not only compensate for the death of her brother – perpetuating and yes, embiggening – her state of grief. But more importantly for Freud et al, by becoming Cesario she effectively redeems Sebastian. It’s a breathlessly selfless call; sacrificing her own identity just to sustain an image, a shadow of him, alive. And Viola never hesitates in this or in any other of the play’s myriad choices. And that’s why we love her. **The Poverty and the Passion** I’d hazard it takes years of single-minded passion, poverty and patience to understand when and where a gag, an extra beat or a sexy aside (and there are many of these, and they are wonderful) can survive without dragging the entire theatrical construct into the sports bar. And yet, despite being surrounded by a joyous crowd, the constant chorus of laughter, the cheers, the beers, the tears and fears and the stunned punters looking for the dunny, the company bring it all home. As for me, I know it’s been a great night at the theatre, same way as I know it’s been a great night at the pub: you’re high as a kite but feel like you’ve made a bunch of great friends. Bar’d Work meanwhile, will head off to a new pub on the morrow, where they grab a pint, scan the digs for where a play might work and get stuck in. This is noble work. Sublime, even. **The Shakesbeer Sessions presents *Twelfth Night, Or Whatever* is by Bar’d Work. It runs at various pubs around Sydney until 16 November 2025.** Check the website for dates and locations. Tickets: <https://bardwork.com/tickets/> Website: <https://bardwork.com/> Socials: <https://www.instagram.com/bardwork/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Images supplied. **Categories:** Sydney, Theatre --- ### [Gasp Inducing Orpheus & Eurydice Set To Be A Thrilling Night Out](https://thescoop.au/gasp-inducing-orpheus-eurydice-set-to-be-a-thrilling-night-out/) **Published:** November 18, 2025 **Author:** Newsroom **Content:** ![The Scoop Orpheus & Eurydice Opera Australia Circa](https://thescoop.au/wp-content/uploads/2025/11/53990931741_bd4c7b66c9_k-1046x628.jpg "Orpheus & Eurydice Opera Australia Circa • The Scoop")A thrilling production of Gluck’s ***Orpheus & Eurydice*** will stun audiences in **Melbourne** from **2-5 December**, when the acclaimed production arrives at the **Regent Theatre** following critical acclaim and sold-out shows at Edinburgh International Festival earlier this year. **Opera Australia** and **Edinburgh International Festival** present **Opera Queensland**’s five star production in association with **Circa**. In a feat of virtuosity, awe-inspiring acrobatics and sublime music create an other-worldly telling of the famous Greek myth, recently popularised by hit musical *Hadestown*. Fresh from a celebrated run in Edinburgh, Australian soprano Samantha Clarke and British countertenor Iestyn Davies will once again join forces with the brilliant performers of Circa in an evening of contemporary circus and opera that promises audible gasps from the audience. Both the Amore and Eurydice roles are sung by Clarke, who is quickly establishing herself as one of the world’s most exciting singers, with Davies singing Orfeo. A countertenor voice is the highest male voice in opera, known for its distinctive, ethereal sound and Davies is widely regarded as one of the world’s best. ![The Scoop Orpheus & Eurydice Opera Australia Circa Melbourne](https://thescoop.au/wp-content/uploads/2025/11/53990037507_7f58e2fa5c_k-1101x628.jpg "Orpheus & Eurydice Opera Australia Circa Melbourne • The Scoop")Awe inspiring acrobatics and sublime music create an other worldly telling of the famous Greek myth Photo by Keith SaundersCirca is known internationally for its unique productions and excellence in storytelling by some of the best circus-performing talent in the country. Notably, this production features four graduates of Melbourne’s National Institute of Circus Arts, including Lachlan Suckroo, Rosa Mordaunt, Zachary Stephens and Billie Wilson Coffey. *Orpheus & Eurydice* will be conducted by Australian Dane Lam, leading Orchestra Victoria and the world-renowned Opera Australia Chorus in this powerful production. Filled with vocal and physical acrobatics, Director and Set Designer Yaron Lifschitz has created a visually stunning, genre-busting display of brilliance. **Opera Australia and Edinburgh International Festival present Opera Queensland’s production of *Orpheus & Eurydice* in association with Circa. 2 – 5 December 2025 at the Regent Theatre, 191 Collins Street Melbourne Vic 3000.** Tickets: <https://opera.org.au/productions/orpheus-eurydice-melbourne/> Website: <https://opera.org.au/> Socials: <https://www.instagram.com/operaaustralia/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Keith Saunders Running time: approximately 80 minutes with no interval. Performed in Italian with English surtitles. **Categories:** News --- ### [Wynnum Wonderland Promises Pure Joy Wrapped Up With A Big Bayside Bow](https://thescoop.au/wynnum-wonderland-promises-pure-joy-wrapped-up-with-a-big-bayside-bow/) **Published:** November 18, 2025 **Author:** Newsroom **Content:** ![The Scoop Wynnum Wonderland](https://thescoop.au/wp-content/uploads/2025/11/WF2023-sat18-021-942x628.jpg "Wynnum Wonderland • The Scoop")Brisbane’s bayside is set to sparkle a little brighter this Christmas with the arrival of **Wynnum Wonderland.** A brand-new celebration of music, comedy, cabaret and circus will transform Bay Terrace into a joyful hub of festive entertainment from **28 November to 22 December** **2025**. From **Tom Oliver Productions,** founder of Wynnum Fringe, in partnership with **Trigger Happy Productions** and **Head First Acrobats,** Wynnum Wonderland serves up the same trademark mix of world-class talent and local charm that has made the bayside one of Queensland’s most exciting cultural destinations. The beating heart of Wynnum Wonderland is the iconic Augathella Spiegeltent, a 380-seat revitalised performance tent proudly positioned on Bay Terrace. Designed by the world-renowned Klessens family and relocated 750 kilometres from Augathella to Wynnum, the tent is a masterful fusion of traditional Belgian craftsmanship and the raw, nostalgic aesthetic of an Australian shearing shed. Producer **Tom Oliver** said Wynnum Wonderland was a gift to local audiences, offering festive fun with a uniquely Queensland twist. *“We like to do things our own way here in the bayside and Christmas is no exception. After six incredible years of Wynnum Fringe, we know audiences love this kind of feel-good, all-in entertainment. What better time to celebrate than the silly season?”* From cheeky cabaret to family fun, the Wynnum Wonderland program twinkles with the full spectrum of festive delight. **Cirque Du Sleigh**, running from 28 November – 22 December, promises a cheeky, adults-only comedy cabaret bursting with acrobatics, wit and festive spirit. Australian comedy icon **Dave “Hughesy” Hughes** headlines an unmissable night of stand-up hilarity with his acclaimed show *WTF* on 10 December. Families can delight in the award-winning **Bubble Show in Space**, running from 13 – 21 December. It’s a whimsical journey of shadow puppetry, shimmering smoke-filled bubbles and a rocket that really blasts off. They can also marvel at the high-flying antics of **All Star Circus** from 3 – 21 December, a spectacular showcase of acrobatics and aerial artistry for all ages. For something explosively different, the science-fuelled spectacular **KABOOM: Christmas Chaos Edition**, running from 14 – 21 December, returns after sell-out seasons across Australia and the UK with a brand-new festive twist. It’s bigger, louder and more dazzling than ever. No Christmas celebration would be complete without carols, and **Carols in the Spiegeltent** on 17 December promises to fill the tent with festive favourites. This is followed by the community-led **Wynnum Wonderland Choir** on 18 December, inviting locals to join Tom Oliver for a joyous singalong featuring a new rendition of *Winter Wonderland* rewritten just for the bayside. Rounding out the season is **The Guides** on 21 December, a groove-heavy live music experience for fans of Sting, Jamiroquai and Stevie Wonder. It’s the perfect feel-good finale to a month of merriment. Trigger Happy Productions’ **Ben Trigger** said the event marks a full-circle moment. *“We’ve been part of the Wynnum Fringe story since day one and the energy here just keeps growing. Bayside audiences are something else – open, generous and always up for a good time. We can’t wait to light up the Augathella Spiegeltent again with a brand-new season of festive fun.”* Head First Acrobats’ **Thomas Gorham** said audiences can expect a high-energy mix of world-class artistry, cheeky humour and Christmas chaos. *“Wynnum Wonderland’s line-up is as packed as Santa’s sack, overflowing with world-class acts and holiday cheer. Bring your mates, bring your festive spirit and get ready for a month of mischief, mayhem and unforgettable moments under the Spiegeltent.”* With its dazzling line-up, iconic setting and unmistakable Queensland personality, Wynnum Wonderland is poised to become one of Brisbane’s must-do holiday events and a sparkling new tradition on the city’s festive calendar. **Wynnum Wonderland runs from 28 November – 22 December 2025. The Augethella Spiegeltent, 166 Bay Terrace Wynnum Qld 4178.** Tickets are available at the website. Website: <https://wynnumwonderland.com/> Socials: <https://www.instagram.com/wynnumwonderland/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. **Categories:** News --- ### [Afterglow To Receive Its Australian Premiere In Melbourne & Sydney](https://thescoop.au/afterglow-to-receive-its-australian-premiere-in-melbourne-sydney/) **Published:** November 18, 2025 **Author:** Newsroom **Content:** ![The Scoop Afterglow](https://thescoop.au/wp-content/uploads/2025/11/Brandon-Haagenson-and-Patrick-Reilly-in-AFTERGLOW-New-York-production-c-Mati-Gelman-942x628.jpg "Afterglow Matthew Predny • The Scoop")S. Asher Gelman’s international hit play **AFTERGLOW** is heading down under for its highly anticipated Australian premiere! AFTERGLOW will play at Melbourne’s Chapel off Chapel from **30 January** and at the Eternity Playhouse, Sydney from **26 February** **2026**. The stellar cast of three comprises **Julian Curtis** (*Gaslight, Cock, Dance Academy*), gold medal winning Olympic diver **Matthew Mitcham** (*Strangers in Between, Jock Night, The Pool*) and **Matthew Predny** (*Titanique, Avenue Q, Kinky Boots*). When Josh and Alex, a married couple in an open relationship, invite Darius to share their bed for a night, a new and intimate connection is ignited. As all three men come to terms with their individual definitions of love, loyalty, and trust, relationships are challenged and futures are shaken. AFTERGLOW is a raw, funny and sensual exploration of polyamory, commitment, and modern love. Writer / Director **S. Asher Gelman** said: “*I couldn’t be more excited to be bringing AFTERGLOW to Australia! What began as an attempt to make sense of a painful chapter involving my own experience with loving more than one person has fundamentally altered the course of my life, and continues to do so.* *AFTERGLOW doesn’t provide any answers. Instead it asks questions about both our individual and collective relationships to love, loyalty and trust. I truly cannot wait for Aussie audiences to experience this labour of love, now nine years in the making*.” After its critical success Off-Broadway and a season which ran for 18 months, and productions around the globe, AFTERGLOW now brings its modern, intimate exploration of desire, honesty and connection to Australian audiences! **AFTERGLOW runs in Melbourne from 30 January – 21 February at Chapel Off Chapel. Little Chapel Street Prahran Vic 3181.** It then runs in Sydney from 26 February – 22 March at Eternity Playhouse. Burton Street Darlinghurst NSW 2010. Tickets are available at the website. Website: <https://www.afterglowplay.com/australia> Socials: <https://www.instagram.com/afterglowtheplay/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credit: Brandon Haagenson and Patrick Reilly in AFTERGLOW the New York production. Photo by Mati Gelman. **Categories:** News --- ### [Review: So Young Takes A Riveting Look At Starting Over](https://thescoop.au/review-so-young-takes-a-riveting-look-at-starting-over/) **Published:** November 16, 2025 **Author:** Benjamin Webb **Content:** ![The Scoop So Young Outhouse Theatre Co Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2025/11/201A0516w-873x628.jpg "So Young Outhouse Theatre Co Old Fitz Theatre • The Scoop")*So Young* starts with the strange shock of seeing old friends reunite after a tough year. It then drops you straight into the tension of a man trying to rebuild a life that has broken in too many places. The play arrives in Sydney at the Old Fitz Theatre with an impressive history. Douglas Maxwell premiered *So Young* at the Traverse Theatre during the 2024 Edinburgh Fringe. The production won a Fringe First, the Hector Macmillan Award for Best Play, and later Best Play at the Critics’ Awards Scotland 2025. Outhouse Theatre Co now presents its Australian premiere, adding it to a strong list of sharp, contemporary titles, including *[Eureka Day](https://thescoop.au/review-eureka-day-goes-viral-with-an-outbreak-of-opinions/)*, *Ulster American* and *Consent*. Three months after the death of his wife, Milo invites two long-time friends to his home. They plan to drink wine, listen to music, and remember earlier days. Milo then introduces someone new: Greta. His new, twenty-year-old girlfriend, whom he met online. She believes their connection is real. His friends do not. What follows is a night that tests loyalty, grief, fear, and the belief that people can begin again. ![The Scoop So Young Outhouse Theatre Co Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2025/11/201A0075w-1005x628.jpg "So Young Outhouse Theatre Co Old Fitz Theatre • The Scoop")Director Sam OSullivan shapes the production with care while the cast deliver strong and detailed work Photo by Richard FarlandMaxwell’s honest writing knows how people speak. People talking over each other, losing their place and going back, contradicting themselves and talking circles around it. The story feels charged from the start, stays grounded throughout and avoids easy answers. Director Sam O’Sullivan shapes the production with care. He keeps the pace tight and draws sharp contrasts between silence and conflict. Nothing feels rushed. Nothing feels forced. His choices honour the note he shares in the program: “The story cares about all four characters and advocates for each point of view passionately. None of them are faultless, but none of them are beyond redemption either.” This balance impressed me most. I left the theatre thinking about how easy it is to judge others and how hard it is to admit our own mistakes. The cast delivers strong and detailed work. Henry Nixon creates a fragile and unpredictable Milo who holds the room with small shifts in mood. Ainslie McGlynn gives Liane a dry edge that hides deep hurt. ![The Scoop So Young Outhouse Theatre Co Old Fitz Theatre](https://thescoop.au/wp-content/uploads/2025/11/201A0681w-977x628.jpg "So Young Outhouse Theatre Co Old Fitz Theatre • The Scoop")So Young asks hard questions without judging the answers It is honest sharp and full of feeling Photo by Richard FarlandJeremy Waters brings humour and weight to Davie while also serving as producer for Outhouse Theatre Co. Aisha Aidara’s Greta is open, hopeful, and unflinching. She never turns the role into a joke, which makes the tension even sharper. The design team builds a clear and lived-in world. Kate Beere’s set and costumes create a neat but tired home marked by recent loss. Aron Murray’s lighting moves the story from comfort to unease with clean changes of colour and intensity. Johnny Yang’s sound design supports the shifts in tone while his music adds a quiet sense of longing. Dialect coach Linda Nicholls-Gidley ensures each character’s Scottish accent remains consistent and grounded. *So Young* offers a close look at grief, renewal, and friendship at the breaking point. It asks hard questions without judging the answers. It is honest, sharp, and full of feeling. This is thoughtful and gripping theatre that deserves a full house. I recommend it without hesitation. ***So Young* is presented by Outhouse Theatre Co and runs to 22 November at the Old Fitz Theatre. 129 Dowling Street Woolloomooloo NSW 2011.** Tickets: <https://www.oldfitztheatre.com.au/book-now> Website: <https://www.oldfitztheatre.com.au/so-young> Socials: <https://www.instagram.com/outhousetheatreco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Richard Farland **Categories:** Sydney, Theatre --- ### [The Wind In The Willows Returns To The Royal Botanic Gardens Melbourne](https://thescoop.au/the-wind-in-the-willows-returns-to-the-royal-botanic-gardens-melbourne/) **Published:** November 16, 2025 **Author:** Newsroom **Content:** ![The Scoop The Wind in the Willows Australian Shakespeare Company](https://thescoop.au/wp-content/uploads/2025/11/WITW-pic-2-copy-942x628.jpg "The Wind in the Willows Australian Shakespeare Company • The Scoop")This summer, Melbourne’s Royal Botanic Gardens will once again host families at its riverside setting when **The Australian Shakespeare Company** presents Glenn Elston’s production of ***The Wind in the Willows***. Now in its 39th consecutive year, the beloved outdoor theatre tradition runs from **19 December 2025 to 25 January 2026.** Featuring Kenneth Grahame’s unforgettable characters—Ratty, Mole, Badger, Otter, Portly, and the ever-daring Mr Toad, this critically acclaimed production promises laughter, music, and delight for audiences of all ages. The Australian Shakespeare Company founder and Artistic Director, **Glenn Elston OAM** said: *“The Wind in the Willows has been delighting families in Melbourne for nearly four decades, and each year it feels just as magical. Seeing eyes light up, hearing their laughter echo through the gardens, and sharing that experience with audiences of all ages — it’s why we do what we do.* *This summer, we can’t wait to welcome everyone back for adventure, music, and a truly unforgettable outdoor theatre experience.”* A cherished family event, *The Wind in the Willows* is packed with surprises, transforming young audience members into honorary “rabbits” with just a wiggle of the ears. Led by the Head Chief Rabbit, the young rabbits are encouraged to sing along, shout out, and dive fully into the story’s adventure. Families can look forward to a lively, interactive performance that captures the magic of outdoor theatre, with a few playful surprises reserved just for adults. Celebrating over three decades in Melbourne, this production has become a staple of affordable family entertainment in Australia. Blending storytelling, music, and audience participation, The Wind in the Willows has captivated generations and remains a must-see summer event. Audience members are encouraged to bring picnic blankets, favourite snacks, and drinks to enjoy a relaxed, picnic-style event. The performance will move between various scenic spots within the gardens, making it an adventure for the whole family and a unique way to experience theatre under the Melbourne skies. ***The Wind In The Willows* runs from** **19 December 2025 to 25 January 2026** **at the Royal Botanic Gardens, Oak Lawn Gate.** **Corner Birdwood Avenue and Dallas Brooks Drive.** Tickets are available [here](https://tickets.shakespeareaustralia.com.au/sales/performances/family-theatre/willows-melbourne). Website: <https://www.shakespeareaustralia.com.au/> Socials: <https://www.instagram.com/shakespeareaust/> [Back to the Newsroom](https://thescoop.au/newsroom/) Image supplied. **Categories:** News --- ### [Announcing 2026 Season For Australasian Dance Collective](https://thescoop.au/announcing-2026-season-for-australasian-dance-collective/) **Published:** November 16, 2025 **Author:** Newsroom **Content:** ![The Scoop Australasian Dance Collective 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/THREE_Supporting-1_Photography-by-David-Kelly-942x628.jpg "Australasian Dance Collective 2026 Season • The Scoop")**Australasian Dance Collective** (ADC) has announced an exciting **2026 Season** featuring world premieres, an international tour, and the highly anticipated return of two beloved programs. At the heart of the season, *THREE* is back for its fourth iteration, showing at Brisbane Powerhouse in July. The triple bill will feature two new commissions from celebrated Australian choreographers **Amber McCartney** and **Joel Bray** and brings **Harrison Ritchie-Jones**’ acclaimed duet *CUDDLE* to Queensland for the first time. The platform, which premiered in 2021, has been described as a show which will remind you what it feels like to be human – to be alive. It has become a highlight of ADC’s biennial programming, celebrated for giving rise to distinct artistic voices. ADC Artistic Director & CEO **Amy Hollingsworth** says she is delighted to present a bold new edition of *THREE*. *“I am so proud of this platform and the opportunity it gives audiences to experience the breadth of artistic voices in Australia’s contemporary dance landscape.* *THREE brings together a myriad of perspectives in a single program. It showcases the creativity, skill, and versatility of our Company Artists, while giving each choreographer space to share their distinctive voice.* *I am thrilled to be returning to the Powerhouse with another exceptional line-up of talent to share with Brisbane audiences.”* *THREE* is showing at Brisbane Powerhouse from **15 – 18 July 2026**. ![The Scoop Australasian Dance Collective 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/THREE_Hero_Photography-David-Kelly-942x628.jpg "Australasian Dance Collective 2026 Season • The Scoop")THREE is back for its fourth iteration and is at the heart of the 2026 Season Photo by David KellyAudiences can also anticipate an epic new site-specific work choreographed by **Jack Lister** and **Amy Hollingsworth**. After the success of *[Relic](https://thescoop.au/review-relic-races-towards-new-ground-for-australasian-dance-collective/)* in March 2025, which saw the Collective take over the storied UAP Foundry, ADC will premiere a new immersive experience in early 2026. Returning for one night only — as it did in its original season — *Assembly Vol. 2* will once again deliver an electrifying fusion of music and dance in 2026. For its second volume, the program will bring together three live music acts and a dance work by **Alisdair Macindoe**, continuing ADC’s cultivation of interdisciplinary collaborations and imaginative partnerships. The year will culminate in an exhilarating international tour, taking ADC’s acclaimed repertoire to audiences across the globe, and cementing the company’s reputation as one of Australia’s leading voices in contemporary dance. With **more to be announced**, ADC’s 2026 season will continue to champion bold artistic voices and innovative co-creations, inviting audiences to experience contemporary dance in new and unexpected ways. ***THREE* is showing at Powerhouse Theatre, Brisbane Powerhouse, 15 – 18 July 2026. Tickets go on sale 9 December 2025.** Website: <https://australasiandancecollective.com/> Socials: <https://www.instagram.com/australasiandancecollective/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: David Kelly **Categories:** News --- ### [Review: Stewart Dominates In A Ferocious Virginia Woolf That Refuses To Let You Breathe](https://thescoop.au/review-stewart-dominates-in-a-ferocious-virginia-woolf-that-refuses-to-let-you-breathe/) **Published:** November 15, 2025 **Author:** Lisa Parsons **Content:** ![The Scoop Who's Afraid of Virginia Woolf? Sydney Theatre Company Kat Stewart](https://thescoop.au/wp-content/uploads/2025/11/WhosAfraidOfVirginiaWoolf_STC_ImageCredit_PrudenceUpton_409-942x628.jpg "Who's Afraid of Virginia Woolf? Sydney Theatre Company Kat Stewart • The Scoop")Edward Albee’s most famous and notorious play, *Who’s Afraid of Virginia Woolf?*, has opened at the Sydney Theatre Company, and it hits you like a drink thrown in your face. Kat Stewart (*Underbelly, Offspring*), making her debut on the Roslyn Packer stage, unfalteringly leads the cast of four in this unnerving, vicious and, at times, heartfelt comedy of manners. The three-act, three-hour play takes you on a booze-fuelled ride through the pain and torment of people living with one foot in reality and the other in illusion. George and Martha are a middle-aged 1960s couple whose tempestuous years together have seen disappointments fester to create a swamp of bitterness, snark and co-dependency. After a faculty event, Martha invites an unwitting young couple, Honey and Nick, over for drinks, even though the night should well and truly be over by then. What ensues is a series of cruel and embarrassing social ‘games’ where painful truths are exposed and exorcised – not only in George and Martha’s relationship, but between the Midwestern ‘innocents’ as well. ![The Scoop Who's Afraid of Virginia Woolf? Sydney Theatre Company Kat Stewart](https://thescoop.au/wp-content/uploads/2025/11/WhosAfraidOfVirginiaWoolf_STC_ImageCredit_PrudenceUpton_573-942x628.jpg "Who's Afraid of Virginia Woolf? Sydney Theatre Company Kat Stewart • The Scoop")The four characters take turns in having their truths exposed which draws the audience in Photo by Prudence UptonAward-winning director Sarah Goodes orchestrates the cast to perfection so that the true rhythm and musicality of Albee’s prose can be seen and felt in every beat. The four characters take turns in having their truths exposed, and the eye and heart are drawn in to witness their moments of vulnerability. Albee doesn’t give you a chance to take a centring breath, though. Any moment of calm is quickly dissolved into another of chaos and bile. David Whitely brings the passive-aggressive George to life as the unsuccessful (in his wife’s eyes) lecturer who didn’t live up to Martha or her father’s expectations. Whitely’s George is at once charming and prickly, toying with his wife and guests with his witty and cutting repartee. Harvey Zielinski so naturally plays the increasingly outraged and incensed Nick, whose true colours begin to be exposed at the prodding and goading of George. ![The Scoop Who's Afraid of Virginia Woolf? Sydney Theatre Company Kat Stewart](https://thescoop.au/wp-content/uploads/2025/11/WhosAfraidOfVirginiaWoolf_STC_ImageCredit_PrudenceUpton_595-942x628.jpg "Who's Afraid of Virginia Woolf? Sydney Theatre Company Kat Stewart • The Scoop")Kat Stewart is a force to be reckoned with as Martha Photo by Prudence UptonEmily Goddard brilliantly portrays the naive, drunken Honey. She provides key moments of comedic relief to break the tension and give the audience a much-needed, albeit slightly uncomfortable, laugh. And Kat Stewart is a force to be reckoned with as Martha. Ferocious, delusional, desperately unhappy, and unwittingly fragile, she dominates the stage as she does the people on it. Three hours may seem a long time to sit in a theatre, especially in this day and age of bite-sized content and Netflix specials. However, when the script, direction and flawlessly captivating acting come together, they transport you to another place. Sometimes you get so swept up in the story that you find yourself balling your fists at the rising tension and breathing a cathartic sigh of release when the characters finally admit to the raw, honest truth of their lives. If you want to see theatre that hits you in the gut with its power, takes you on a journey, and haunts you for days after, don’t miss Sydney Theatre Company’s fantastic production of *Who’s Afraid of Virginia Woolf?*. ***Edward Albee’s Who’s Afraid of Virginia Woolf?* runs to 14 December at the Roslyn Packer Theatre. 22 Hickson Road, Millers Point NSW 2000**. Tickets are available [here](https://www.sydneytheatre.com.au/whats-on/productions/2025/edward-albees-whos-afraid-of-virginia-woolf). Website: <https://www.sydneytheatre.com.au/> Socials: <https://www.instagram.com/sydneytheatreco/> [Read about the new Rosyln Packer bar Folio](https://thescoop.au/edward-albees-whos-afraid-of-virginia-woolf-to-open-alongside-new-bar-folio/) Photo credits: Prudence Upton **Categories:** Sydney, Theatre --- ### [Review: Cats Pounces On Perth With Pure Purr-fection](https://thescoop.au/review-cats-pounces-on-perth-with-pure-purr-fection/) **Published:** November 14, 2025 **Author:** Nanci Nott **Content:** ![The Scoop CATS the Musical Sydney](https://thescoop.au/wp-content/uploads/2025/06/Gabriyel-Thomas-and-the-cast-of-CATS-c-Daniel-Boud_057-942x628.jpg "CATS the Musical Australian Tour 2025 • The Scoop")If you like your cast cat-like, your kicks high, and your fourth wall broken, you won’t want to miss CATS. Andrew Lloyd Webber’s beloved musical has been seen by 81 million people since it opened in 1981. Now, its 40th Anniversary Australian tour – starring Gabriyel Thomas, Todd McKenney, Mark Vincent and Lucy Maunder – is playing at Crown Theatre Perth. With a score inspired by T.S. Eliot’s *Old Possum’s Book of Practical Cats*, CATS tells the story of the Jellicle cat tribe. On one night a year at the Jellicle Ball, their leader, Old Deuteronomy (Mark Vincent), announces which of them will go up to The Heaviside Layer to be reborn. This is less of a plot and more of a premise; CATS doesn’t follow a traditional plot structure as much as it invites you into a moonlit alley and robs you of your boredom. Through a series of connected vignettes, the story unfolds like a vivid dream held together by the strength of its fourth-wall-breaking ensemble. The entirety of the production takes place in an eclectic alleyway/junkyard set, with a prominent full moon overlooking discarded cars, white goods, hubcaps, number plates, rags, and tyres. Attention is given to dimension – there are multiple levels for the cats to climb on (and in), whilst leaving plenty of room for dancing. And just because the set is stationary doesn’t mean it can’t transform. CATS begins with its infamous overture, an evolving light display, and cats pouncing their way through the aisles to the stage. From the very first line, questions like: “Can you see in the dark?” are directed towards the audience, pulling them into the Jellicle world with expository rhyme, dramatic music and cat-like choreography. The structure of CATS, is in seven steps: 1\. Surreal and intriguing weirdness 2\. Cats chanting in unison 3\. Back-to-back songs about various characters 4\. A kidnapping! 5\. A rescue! 6\. Ascension 7\. Applause ![The Scoop CATS Musical Perth](https://thescoop.au/wp-content/uploads/2025/11/Des-Flanagan-and-the-cast-of-CATS-c-Daniel-Boud_148-942x628.jpg "CATS Musical Perth • The Scoop")Both Des Flanagan and Gabriyel Thomas are electric from their feline physical to their vocal prowess Photo by Daniel BoudThe majority of the show occurs in Step 3 (back-to-back songs about various characters), which sounds like odd pacing, because it is. CATS really is like no other musical. It makes its own rules, which has probably contributed to its remarkable longevity. The order in which the cats are introduced is interesting. For example, Rum Tum Tugger (Des Flanagan) is a contrary cat, whose thrusting flamboyance is beloved by all. His song precedes the appearance of Grizella the Glamour Cat (Gabriyel Thomas), who is hated by all, presumably because she is no longer glamorous. The contrast between the other cats’ reactions to these two characters emphasises their differences, strengthening the impact of both songs. Neither Thomas nor Flanagan needs help in the song-strengthening department, to be clear. Both performers are electric, from their feline physicality to their vocal prowess. Todd McKenney is brilliant as both Bustopher Jones and Asparagus the Theatre Cat. As the former, his distinguished rotundity elicits deference from the other cats. As Asparagus – accompanied by the talented Lucy Maunder as Jellylorum – McKenney’s countenance transforms by decades as he regales other cats with tales from his distant youth. Unlike Grizabella, Asparagus is not hated for failing to remain the cat he once was. But like Grizabella, Asparagus lives in the past. Neither have let go of the life they no longer have, but neither do they embrace their current existence outside the lens of what once was. Macavity the Mystery Cat’s dramatic appearance incorporates the illusion of teleportation, with threatening laughter and ominous lighting underlining his villainous nature. Accompanied by Demeter (Olivia Carniato) and Bombalurina (Mia Dabkowski-Chandler), this jazzy song shines under the light of its compositional quality and the ability of the cast. Enter Tim Haskayne as the Magical Mr Mistoffelees – dramatic lighting, a massive shadow, and a costume of glittering stars set this clear crowd favourite apart from the rest. ![The Scoop CATS Musical Perth](https://thescoop.au/wp-content/uploads/2025/11/Savannh-Lind-Jake-OBrien-in-CATS-c-Daniel-Boud_029-942x628.jpg "CATS Musical Perth • The Scoop")Cats is visually spectacular and showcases the impressive talents of the cast and crew Photo by Daniel BoudThe lighting design distinguishes him by soaking the stage in purples and greens, as opposed to the cool blues and warm orange-reds of other scenes. Misdirection, a red piece of cloth, and an everlasting series of spins are the multiple cherries on top of this choreographic treat. Just before dawn, it’s time for *that* song. The entire emotional weight of CATS hangs on the execution of *Memory*, and Gabriyel Thomas does it justice. Her hauntingly powerful vocals bring emotional complexity to this iconic ballad about change, nostalgia, and new beginnings. It’s not a mystery how CATS made history. The entire production is worth seeing just for this song alone. The most important takeaways from this musical are: how to address a cat (or, for the exemplary costume department, how to dress one) and to say a cat is not a dog. Perhaps the message here is to define something by what it isn’t, instead of what it is, as in the case of Grizella the Glamour Cat? Or maybe there is no deeper message. Maybe CATS is all in the spirit of fun, which is reason enough in itself. CATS might not be the deepest musical ever to grace the stage, but it delights audiences, is visually spectacular, and showcases the impressive talents of cast and crew alike. The music, choreography, lighting, costumes, and set design combine to create the kind of magic that explains why this musical has had a 40-year run (so far). So how should one address these cats? With thunderous applause, of course! ***CATS the Musical* runs in Perth until 6 December at Crown Theatre, Great Eastern Highway, Burswood WA 6100.** It then tours to Melbourne and Brisbane. Tickets: <https://catsthemusical.com.au/tickets/perth/> Website: <https://catsthemusical.com.au/> Socials: <https://www.instagram.com/catsthemusicalau/> [Read our Interview with Lucy Maunder](https://thescoop.au/coffee-cats-conversation-a-chat-with-lucy-maunder/) Photo credits: Daniel Boud **Categories:** Musical Theatre, Perth --- ### [Review: Present Laughter Delivers Ego, Elegance & Excess](https://thescoop.au/review-present-laughter-delivers-ego-elegance-excess/) **Published:** November 14, 2025 **Author:** Nick Dale **Content:** ![The Scoop Present Laughter New Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/11/2025-NEW-Present-Laughter-5839-942x628.jpg "Present Laughter New Theatre Sydney • The Scoop")‘Poppycock,’ ‘timorous,’ and ‘dead as a doornail.’ Who wouldn’t relish saying such phrases? Even better to hear them delivered by an uber-talented cast in *Pleasant Laughter* for the final season of 2025 at the New Theatre. A classic from the multi-talented, cultural icon Noël Coward, *Present Laughter* was written in the throes of World War II in 1939 and first produced in 1942. Successful British actor Gary Essendine is charming, self-obsessed, and grappling with a midlife crisis. From the start, we’re posed with the question: Who is the real Gary Essendine? His many admirers, ex-lovers and assistants poke and probe for more, while he attempts to get some peace in the lead up to his tour of Africa. Each obsessed fan causes chaos with their conflicting needs. Gary’s almost-ex-wife, his manager and assistant wrangle with the carousel of enthusiastic characters, trying to save him from…himself. A semi-autobiographical piece, Coward wrote the play as a showcase for himself as Gary Essendine, performing it in the UK, US and Paris during the war. Coward’s world is flamboyant, upper-class camp with dramatic head turns, razor-sharp retorts, lounging and gleaming cushions setting the scene. The cast is a talented bunch of charismatic, playful performers. Lib Campbell, Emily Weare and Reuben Solomon particularly ignite the stage in top-level form. ![The Scoop Present Laughter New Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/11/2025-NEW-Present-Laughter-5081-942x628.jpg "Present Laughter New Theatre Sydney • The Scoop")The cast is a talented bunch of charismatic playful performers They embody their characters with full blooded commitmentLarissa Turton smacks us awake, bursting onto the stage as Daphne Stillington, claiming undying love for Gary. Her striking musical theatre presence and booming voice shine in the second act, particularly in her hilarious mini-performance. Peter Eyers as Gary Essendine fits into the role with charming, life-weary ease. He gets some of the best lines put to stage, such as: ‘I’ve always found you rather tiresome.’ Who wouldn’t love to say that to someone?? WAAPA-trained stage veteran Emily Weare is brilliant as Gary’s assistant Monica, winning the audience over with her piercing sideswipes, glances and perfect timing. Molly Haddon as Liz Essendine is grounded, smooth, cheeky and charismatic. She centres the story, relaxing into the sofa, looking completely at home in the era and circumstances. The play amps up as Lib Campbell hits the stage, sparking off the other actors with her boldly original Joanna Lyppiatt. Her take on Joanna is strikingly risqué, electric and full of guile beneath a charming exterior. She had me sitting up in my seat, with her brazen mannerisms and fluid mood switches. Campbell reminded me of the vicious chaos of Amanda Plummer mixed with the quirky Jennifer Tilly. Watching Weare, Campbell and Haddon battle it out in the second act as the climax builds is excellent theatre. Reuben Solomon as Morris Dixon and Luke Vesentin as Roland Maule are actors to look out for. Solomon’s Morris, Gary’s theatrical manager, is a bundle of man-child-like emotion, his emotions fluid-like through voice and gesture. Luke Vestin’s Roland mirrors Lyppiatt’s character in quirky boldness, keeping the audience engaged. ![The Scoop Present Laughter New Theatre Sydney](https://thescoop.au/wp-content/uploads/2025/11/2025-NEW-Present-Laughter-5581-942x628.jpg "Present Laughter New Theatre Sydney • The Scoop")Louise Fischers confident generous direction gives the cast ample room to explore and craft distinct idiosyncratic characters All actors embody their characters with full-blooded commitment, relishing Coward’s witty banter. Amid the word-fire, moments of genuine stillness and authentic interaction ground the heightened story in humanity. Louise Fletcher directs some quiet scenes with tenderness, such as the gentle moment between Gary and Miss Hamilton, beautifully portrayed by Liz Grindley. Fischer’s confident, generous direction gives the cast ample room to explore and craft distinct, idiosyncratic characters. She does so while also anchoring them in the story, so their desperation fuels the comedic build to the climactic mess. Tom Bannerman’s simple, effective staging, combined with Michael Schell’s lighting and sound, absorbs us in late 30s upper-class England. The cheeky set changes done by cast members are playful and charming. *Present Laughter* is utterly satisfying theatregoing. The actors get to deliver jabs at each other in ways we’d all love to do in our daily lives. With Coward’s precision-cut phrasing and a formidable cast, *Pleasant Laughter* is a night of hilarity and chaos. It was a winning opening night and a promising final season for New Theatre. ***Present Laughter* runs to 13 December at New Theatre,** **542 King Street Newtown NSW 2081.** Tickets: <https://aunewtheatre.sales.ticketsearch.com/sales/salesevent/143748> Website: <https://newtheatre.org.au/present-laughter/> Socials: <https://www.instagram.com/newtheatresydney/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Images supplied. **Categories:** Sydney, Theatre --- ### [Announcing Cast For Barbra: The Greatest Star At Hayes Theatre Co](https://thescoop.au/announcing-cast-for-barbra-the-greatest-star-at-hayes-theatre-co/) **Published:** November 14, 2025 **Author:** Newsroom **Content:** ![The Scoop Barbra: The Greatest Star Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2025/11/01-Barbra-The-Greatest-Star-879x628.jpeg "Barbra: The Greatest Star Hayes Theatre Co • The Scoop")Hello, gorgeous – the cast of ***Barbra: The Greatest Star*** is assembled! Kicking off the much-anticipated 2026 season at **Hayes Theatre Co** is this dazzling concert event, a heartfelt tribute to the incomparable **Barbra Streisand**. With lush arrangements, bold voices and new perspectives on the songs you know and love, four remarkable performers will bring the heart, wit and sheer scale of Streisand’s artistry to the Hayes stage. Artist. Icon. Force of nature. Hayes are marching their band out and beating their drum with this world-premiere concert event honouring a trailblazing musical storyteller, and the music that’s shaped generations. Barbra Streisand is a uniquely luminous, uncompromising, and boundary-breaking talent. *Barbra: The Greatest Star* celebrates her peerless repertoire, legendary humour, and ground-breaking impact on music and culture, with the same fearlessness she’s shown on stage and screen for over sixty years. More than just a tribute to “the way we were,” this concert offers audiences an invigorating new journey through the legacy of a true superstar, led by some of Australia’s most exciting contemporary voices. ![The Scoop Barbra: The Greatest Star Hayes Theatre Co](https://thescoop.au/wp-content/uploads/2025/11/BTGS26_sm_CastAnnouncement-502x628.png "Barbra: The Greatest Star Hayes Theatre Co • The Scoop")Director and performer **Brittanie Shipway** returns to the Hayes to both helm and star in the show. This comes after acclaimed appearances in *The Pirates of Penzance*, *The Lovers*, and *Big Fish*, and directing *Once On This Island* and *The Witches of Eastwick* earlier this year. Joining Brittanie in this stunning bouquet of voices are **Tana Lagaʻaia**, returning to the Hayes after his breakout debut in *The 25th Annual Putnam County Spelling Bee* and most recently seen touring nationally in *Jesus Christ Superstar* and *RENT*. **Laura Murphy**, writer of *Zombie! The Musical* and *The Lovers*, with performance credits including *Muriel’s Wedding the Musical*, *Cry-Baby*, and *You’re A Good Man, Charlie Brown*, will bring her celebrated artistic range to the stage. **Stellar Perry**, completes the quartet following her electrifying performances in *The Lovers*, *The Rocky Horror Picture Show* and *Jesus Christ Superstar*, and appearances on *The Voice*, *X Factor* and *Australian Idol*. With a live three-piece band backing these four powerhouse performers, this production promises to be much more than a tribute show. It is an illuminating journey through the legacy of a superstar. Expect an invigorating mix of soaring ballads, brassy anthems and intimate moments that evoke the heart of Barbra’s unmatched artistry. ***Barbra: The Greatest Star* runs from 21 January – 14 February 2026 at Hayes Theatre Co. 19 Greenknowe Avenue Potts Point NSW 2011.** Tickets: <https://hayestheatre.com.au/event/barbra/> Website: <https://hayestheatre.com.au/> Socials: [https://www.instagram.com/hayestheatreco\_official/](https://www.instagram.com/hayestheatreco_official/) [Back to the Newsroom](https://thescoop.au/newsroom/) **Categories:** News --- ### [Hamlet Camp Returns To Carriageworks This January](https://thescoop.au/hamlet-camp-returns-to-carriageworks-this-january/) **Published:** November 14, 2025 **Author:** Newsroom **Content:** ![The Scoop Hamlet Camp Carriageworks Brendan Cowell](https://thescoop.au/wp-content/uploads/2025/11/Hamlet-Camp-Main-Image-Photo-Brook-Rushton-1080x628.jpg "Hamlet Camp Carriageworks Brendan Cowell • The Scoop")Get thee to a funnery! After a sold-out world premiere, ***Hamlet Camp***, written by and starring **Brendan Cowell, Ewen Leslie** and **Toby Schmitz**, returns to **Carriageworks** for a strictly limited season from **7 – 25 January 2026**. A darkly comic fever dream, *Hamlet Camp* unites three (former) Princes of Australian theatre in a genre-defying mashup of Shakespeare, satire and slay – where three Hamlets who cannot quite let go of the part wake up in a rehab for Hamlets. Each of these thespians has scaled the Shakespearean summit (it’s been a while now) to go head-to-skull with poor Yorick in the most coveted acting role in the business, and now audiences can bear witness to the lifelong curse of playing the most sought-after role in theatre history. Celebrated as “a wildly inventive take on the Bard” and “a masterclass in blending the old with the irreverently new,” this brilliant beast of a piece provides gut-wrenching gags, poignant and pithy insights, and an avalanche of physical absurdity. It’s a *Black Mirror* style rehab…but for Hamlets…in a kingdom setting within the walls of Carriageworks. *“If you missed it the first time, here’s your chance to truly miss it!”* – Brendan Cowell *“There’s a twist at the end that you will definitely see coming.”* – Ewen Leslie *“What are the dates again?”* – Toby Schmitz ![The Scoop Hamlet Camp Carriageworks Brendan Cowell](https://thescoop.au/wp-content/uploads/2025/11/Hamlet-Camp-Secondary-Image-Photo-Brook-Rushton-831x628.jpg "Hamlet Camp Carriageworks Brendan Cowell • The Scoop")Hamlet Camp reunites three former Princes of Australian theatre in a genre defying mash up Photo by Brooke RushtonTo be there or not?! For this radical reunion of three of Australia’s best-loved actors, each fresh from acclaimed performances on stage and screen. Cowell recently starred alongside Alicia Vikander and Andrew Lincoln in *The Lady from the Sea* at London’s Bridge Theatre; Schmitz captivated audiences in Belvoir St Theatre’s five-star production of *[Grief is the Thing with Feathers](https://thescoop.au/review-grief-is-the-thing-with-feathers/)*; and Leslie lit up screens in the award-winning television drama *The Twelve*. Prepare for a thought-provoking evening of laughs, tears and bewilderment as Cowell, Leslie and Schmitz lay bare an actor’s life of friendship, passion, cruelty, glory and chaos in *Hamlet Camp*. ***Hamlet Camp*** **is presented by MODERN CONVICTS and Carriageworks and** **runs from 7 – 25 January 2026. Bay 20, Carriageworks, 245 Wilson Street Eveleigh NSW 2015.** Tickets are [on sale now](https://my.carriageworks.com.au/overview/2179?_gl=1%2A1vlse11%2A_gcl_au%2AMTY3NzM2ODgwLjE3NjMwNzQ0ODg.)! Website: <https://carriageworks.com.au/events/hamlet-camp-2026/> Socials: <https://www.instagram.com/carriageworks/> [Back to the Newsroom](https://thescoop.au/newsroom/) Photo credits: Brooke Rushton Run time: Approx. 90 minutes (no interval). Content warnings: Coarse language, strobe and references to violence and self-harm. **Categories:** News --- ### [Review: Adrift In New York Brings Turn Of The Century To Life](https://thescoop.au/review-adrift-in-new-york-brings-turn-of-the-century-to-life/) **Published:** November 14, 2025 **Author:** James Murphy **Content:** ![The Scoop Adrift in New York Adelaide Repertory Theatre](https://thescoop.au/wp-content/uploads/2025/11/IMG_7070-1082x628.jpg "Adrift in New York Adelaide Repertory Theatre • The Scoop")It’s been more than a century since melodrama ruled the stage, but there’s still something satisfying about seeing good triumph over evil while the audience boos lustily from the stalls. *Adrift in New York (or Her First False Step)*, written by Addison Aulger and directed by Rose Vallen for the Adelaide Repertory Theatre, leans into that old-fashioned pleasure with gusto. The result is a time capsule of theatre history that still crackles with life if you surrender to its rules. The story itself, farm-girl Nellie tempted to New York by a scoundrel and later redeemed through love and loyalty, isn’t the point. What matters is the form. Melodrama demands exaggeration, visible morality, and audience complicity. Vallen’s direction understands those conventions completely. Every hand pressed to a forehead, every gasp, every piano sting lands exactly where it should. The tone winks at the audience without tipping into mockery. Teagan (TJ) Baker’s Nellie and Luke Foale’s heroic Jack look as though they’ve stepped straight from a silent film frame, all open faces and noble postures. Dylan Haar’s villainous Sir Francis “Desperate” Desmond twirls his moustache, flaps his cape and bumps his belly with such enthusiasm that the boos come naturally. ![The Scoop Adrift in New York Adelaide Repertory Theatre](https://thescoop.au/wp-content/uploads/2025/11/IMG_7064-879x628.jpg "Adrift in New York Adelaide Repertory Theatre • The Scoop")The show is a time capsule of theatre history that still crackles with life if you surrender to its rules Photo by Richard ParkhillVeterans Jude Hines, Lindy Le Cornu, and Penni Hamilton-Smith work the crowd like vaudeville pros. Le Cornu’s comic Balloon Dance with Mike Leach almost steals the show. A few of the male supporting players turn their dials slightly too high or too low, but that’s part of the genre’s wild charm rather than a flaw of effort. The atmosphere begins before the curtain rises. The Adelaide Hills Ukulele Collective warms the crowd with old favourites. Sandy McMenamin’s piano keeps the action underscored with period jingles and dramatic flourishes. Lyrics in the program invite sing-alongs, which is closer to a Massaoke night than traditional theatre, and the audience obliges. One older couple near me embodied the mood: he shouted a cheeky remark at the villain, she rapped him playfully on the head, and his eyes crinkled through the next scene. That shared mischief is the show’s real success. ![The Scoop Adrift in New York Adelaide Repertory Theatre](https://thescoop.au/wp-content/uploads/2025/11/IMG_7066-879x628.jpg "Adrift in New York Adelaide Repertory Theatre • The Scoop")The show reminds us that sometimes its healthy to boo the bad guy and sing along with strangers Photo by Richard ParkhillDesign is simple but effective: painted flats evoke the ‘Old Homestead’ and the Bowery honky-tonk, while costumes drawn from the Rep’s storied wardrobe sparkle with authenticity. Is it dated? Of course. But soap operas, reality cooking shows, professional wrestling, and modern politics are each a descendant of this same form. Melodrama distils life into pure black and white: virtue versus villainy, purity versus corruption. In an era of online outrage and moral grandstanding, that simplicity feels oddly familiar and, perhaps, cleansing. *Adrift in New York* isn’t an intellectual workout. It’s theatre as communal play, a reminder that sometimes it’s healthy to boo the bad guy, cheer the hero, and sing along with strangers. For anyone curious about where popular entertainment came from, or just craving an evening of unashamed fun, this lovingly staged relic more than delivers. ***Adrift In New York* is presented by Adelaide Repertory Theatre and runs to 22 November at The Arts Theatre. 53 Angas Street Adelaide SA 5000.** Tickets: <https://artstheatresa.sales.ticketsearch.com/sales/salesevent/142696> Website: <https://adelaiderep.com/> Socials: <https://www.instagram.com/theadelaiderep/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Photo credits: Richard Parkhill **Categories:** Adelaide, Theatre --- ### [Review: Crows Takes Flight Through The Darkness](https://thescoop.au/review-crows-takes-flight-through-the-darkness/) **Published:** November 13, 2025 **Author:** Jack Bengough **Content:** ![The Scoop Crows Motley Bauhaus Melbourne Ryan Enniss](https://thescoop.au/wp-content/uploads/2025/11/original-E95683FC-9F95-407E-802D-A093EBF47BFB-879x628.jpeg "Crows Motley Bauhaus Melbourne Ryan Enniss • The Scoop")Local hotbed for independent theatre, The Motley Bauhaus, this week brings us *Crows* from The Persona Collective. Written by Robert Lewis and Ryan Enniss, and directed by Callum Bodman, *Crows* presents a tale of eight Melbournians whose lives interweave with each other in unexpected ways. Entering the theatre at the back of the Motely Bauhaus, the stage is set with four chairs in front of a telephone pole, with four thick black wires hanging down to the floor. When the cast takes the stage, they are each adorned with a large crow mask on their heads. This initial image, created by designer Georgia Mason, is incredibly striking and sets a fantastic tone for the show. *Crows* is made up of a series of eight monologues performed by a cast of four actors: Annaliese Cartwright, Ben Goss, Chloe McKeon and Jalen Ong. These individual monologues come together to form an intricate tapestry of events as the characters impact each other’s lives in unexpected ways. The narrative is thematically rich. Characters reckon with toxic masculinity, social anxiety, and the unescapable traumas of their past. The production manages to explore these ideas while maintaining a darkly comedic tone. The prose-like structure of the script regularly dishes out cleverly worded remarks in the face of unusual, awkward, and sometimes terrifying situations. ![The Scoop Crows Motley Bauhaus Melbourne Ryan Enniss](https://thescoop.au/wp-content/uploads/2025/11/original-4C01A123-448B-42BE-9D00-71609AEAD6C4-879x628.jpeg "Crows Motley Bauhaus Melbourne Ryan Enniss • The Scoop")The cast wield the sharp and wordy script incredibly well On opening night, some cast members struggled with the wordy script, with some lines dropped or fumbled. These moments broke up a script that has an incredibly addictive flow to it, but should be less common as the season proceeds. Aside from this, the cast wield the sharp, wordy script incredibly well. Ben Goss’s opening monologue fully grounds the audience in the world of *Crows* as his character navigates his crippling anxiety. Jalen Ong has a light-hearted touch to his monologues, exploring familial trauma and toxic masculinity. Chloe McKeon’s turns are the most harrowing, exploring sexual assault and domestic abuse. Annaliese Cartwright’s performances leaned heavily on broken relationships and social paranoia. All this subject matter is incredibly complex and heavy. The audience is always able to laugh along, though, thanks to how well the topics are handled. While not performing a monologue, the other three cast members haunt the speaking actor in their crow masks. This effect lends to the show’s distinct atmosphere without completely distracting from the performance. The script for *Crows* would probably be a fantastic read. By its nature as a series of monologues, however, there are certain unique challenges apparent in adapting it to the stage. Halfway through the show, when the performers began their second round of monologues, it wasn’t immediately clear that they weren’t playing the same characters as previously. ![The Scoop Crows Motley Bauhaus Melbourne Ryan Enniss](https://thescoop.au/wp-content/uploads/2025/11/original-ACE8C9DD-370A-4BF2-9A31-F96923C1D2EC-879x628.jpeg "Crows Motley Bauhaus Melbourne Ryan Enniss • The Scoop")Crows is a thoroughly entertaining dark comedy brimming with sharp and witty prose Costume design is minimalist, which places more emphasis on the performers to distinguish their dual roles. At times, the differences in physicality or speech are subtle, leaving it to the writing to signal a new character. With the eight-monologue structure, teamed with such a minimalist design, the narrative becomes difficult to follow as it jumps through multiple perspectives at different times. One moment we are in the Collingwood Bunnings paint aisle. The next we are at the Melbourne Zoo. And at the end we are in a forest in the middle of the night. There are moments throughout where there is a sudden and beautiful clarity where one story intersects with others, and the larger tapestry becomes visible. At times though, the narrative is dizzying and disorienting, and the audience doesn’t really know where or when they are in relation to the rest of the story. There may be a greater message or climactic moment to *Crows* that is buried beneath the confusion. *Crows* is a thoroughly entertaining dark comedy brimming with sharp and witty prose. At its strongest, it delivers a raw tale of people dealing with inner demons and traumatic pasts with a humorous yet delicate touch. At other times, it trips over itself as it struggles to communicate its complex and thoughtful narrative. ***Crows* runs to 15 November at The Motley Bauhaus.** **118 Elgin Street, Carlton Vic 3053.** Tickets: <https://www.eventfinda.com.au/2025/crows/melbourne/carlton> Website: <https://www.themotley.com.au/> Socials: <https://www.instagram.com/themotleybauhaus/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Images supplied. **Categories:** Melbourne, Theatre --- ### [Review: Gaslight Sonata Burns Bright & Plays Loud In The Theatre Of The Absurd](https://thescoop.au/review-gaslight-sonata-burns-bright-plays-loud-in-the-theatre-of-the-absurd/) **Published:** November 13, 2025 **Author:** Leo Manson **Content:** ![The Scoop Gaslight Sonata Theatre Visage Qtopia Sydney](https://thescoop.au/wp-content/uploads/2025/11/attOGXlssk3NeSYQjtqCcfSyy07BPIJ_ihczOMkG6PnxD0-890x628.jpeg "Gaslight Sonata Theatre Visage Qtopia Sydney • The Scoop")Illawara-based Theatre Visage’s *Gaslight Sonata* originated as a 15-minute play called *Sedition*. This was inspired by the Australian liberal government’s introduction of sedition laws. Since then, the play has evolved into an absolutely eccentric commentary on our contemporary world. The absurdist dark comedy is directed and written by Steen. It follows an accumulating cast of characters as they navigate their place in the end of the world. The show begins with Female, played by Natesha Ham. Who is quickly followed by Male, played by Jonathon Nicola. Their compelling back-and-forth is disrupted, however, when a series of unwanted guests asks for entrance to their liminal bunker. The first of these is the Priest played by the captivating Zachary Hanlon. The minimalist mise en scène allows Hanlon’s comedic talent to shine. Their incredible stage presence sways audiences from laughter to making genuine considerations of the relationship between religion and art. Not to mention that Priest’s spiel explaining and defending their Shakespearean religion is simply hilarious. While the mise en scène is simple, it’d be wrong to diminish its creativity. The stage is lined with candles that are turned on by Male early into the show. The soft lighting adds to the foreboding paranoia that looms over the characters’ every word. Steen’s fast-paced writing creates a sense of utter discombobulation. Characters use archaic language. They’ll seamlessly jump from Catholicism to Pokémon, and it’s all delivered in a manner that feels natural. The pacing leaves no time for you to wonder, ‘Did they really just say that?’ and it works. ![The Scoop Gaslight Sonata Theatre Visage Qtopia Sydney](https://thescoop.au/wp-content/uploads/2025/11/att5xIiXOcx_JG_n39SxI6YdXMeRm4S76Z_49mcaX_W8Gw-1065x628.jpeg "Gaslight Sonata Theatre Visage Qtopia Sydney • The Scoop")Gaslight Sonata is an absolutely eccentric commentary on our contemporary world This is what makes the play, despite its contemporary references, feel timeless. It creates a sense that what the audience is seeing is a concentrated version of reality and history spliced into one bunker. With each new character, the show redefines itself. In doing so, it offers audiences new questions on the state of our world. The addition of the characters Officer and Clown (played by Damon Bishop and Thomas Roberts, respectively) fit like puzzle pieces. They create a complete picture of what earlier scenes give a preview of. Male and Female contrast each other in a debate of naivety vs the hypercritical. As Priest enters the stage, this dynamic shifts in a new form as they argue over how the Shakespearean religion proposed by the priest fits into their understandings of freedom. The Officer and Clown transition the show into its more serious, final act. After spending the beginning smiling at the musings of Male and Female, the final scenes hit hard. Debate becomes reality as Officer brings his authoritarian rulebook into action. Roberts’ acting in the last scenes is phenomenal. I felt my heart drop as the character screamed. I became uncomfortable as I realised I could no longer laugh, but reflect on reality. Nudity is used sparingly to show the brutal reality of dehumanisation. In saying this, credit must be given to their intimacy coordinator, Nick Kilpatrick. The version of *Gaslight Sonata* I saw was a preview. Therefore, technical factors such as lighting were still being tweaked. Yet even despite this, *Gaslight Sonata* says a lot. It’s an experience well worth going to see for yourself in its finalised form. ***Gaslight Sonata* is presented by Theatre Visage and runs to 15 November at The Substation at Qtopia. 136 Oxford St, Darlinghurst NSW 2010.** Tickets: <https://events.humanitix.com/gaslight-sonata/tickets> Socials: <https://www.instagram.com/theatrevisageco/> [Read more of our Theatre Reviews](https://thescoop.au/theatre-reviews/) Images supplied. **Categories:** Sydney, Theatre --- ### [Film Review: Diabolic Turns Faith Into Fear In A Haunting Baptism of Shadows](https://thescoop.au/film-review-diabolic-turns-faith-into-fear-in-a-haunting-baptism-of-shadows/) **Published:** November 13, 2025 **Author:** James Murphy **Content:** ![The Scoop Diabolic film Monster Fest](https://thescoop.au/wp-content/uploads/2025/11/5-Diabolic_ir_150824_Sc62_0197-941x628.jpg "Diabolic film Monster Fest • The Scoop")When a group of young seekers sets up camp outside a derelict ‘baptism house’ deep in the Utah woods, you already feel the chill. *Diabolic* isn’t a baptism of fire. With slow early stages, it soon becomes a hallucinatory descent where faith, trauma, and possession blur until they are indistinguishable. Writer-director Daniel J. Phillips splices the DNA of *The Exorcist* and *The Blair Witch Project*, filtering it through the modern obsessions of psychedelic healing and religious extremism. What happens when you drink ayahuasca not to meet your demons but to expel the witch living inside you? The answer, it seems, depends on whether that witch was protecting you all along. At the film’s centre is Elise, played with fragile conviction by Elizabeth Cullen, a woman piecing together memories fractured by years of Mormon excommunication and repression. Her blackouts and lapses in recall make her both protagonist and unreliable witness. As Elise’s mind clears, the audience regains fragments beside her. It’s an elegant structure: each recovered memory feels like light breaking through a forest canopy. ![The Scoop Diabolic Film Daniel J Phillips Monster Pictures](https://thescoop.au/wp-content/uploads/2025/11/23-Diabolic_ir_KeyArt_0003-942x628.jpg "Diabolic Film Daniel J Phillips Monster Pictures • The Scoop")Each face catches firelight the way Polanski once caught candle glow Innocence meeting corruption mid framePhillips’ direction leans on sensory disorientation rather than jump scares. Will Spartalis’ spooky choral score rattles like distant chains. The palette of browns and bruised blues evokes a baptismal murk, the water never quite clean. All four leads – Cullen, John Kim (as Elise’s boyfriend Adam), Mia Challis (as a new age friend Gwen), and Luca Asta Sardelis (as Clara, a cloudy memory in Elise’s mind) could anchor their own films. Each face catches firelight the way Polanski once caught candle-glow: innocence meeting corruption mid-frame. Veterans Dennis Coard and Genevieve Mooy bring a deliciously deranged energy as a mother-son duo out of *Psycho* by way of Salt Lake City. Their scenes give the film its pulpy heartbeat, grounding the metaphysical horror in a recognisable family madness. ![The Scoop Diabolic film Monster Fest](https://thescoop.au/wp-content/uploads/2025/11/6-Diabolic_ir_150824_Sc62_0348-941x628.jpg "Diabolic film Monster Fest • The Scoop")Diabolic leaves you uneasy not because of its demons but because it understands faiths craving in themThe final quarter finally lets the real horror off its chain. Practical effects: compound fractures, a spray of cranial matter, land with satisfying weight, proof that low-budget filmmaking still thrives on craftsmanship over CGI. Yes, the film takes its time getting there, and yes, a higher budget might have delivered more bodies on the floor, but when violence arrives, it means something. Like many modern horror debuts, *Diabolic* hints at a franchise. The story stops a breath before catharsis, as if saving revelations for *Diabolic 2* (or 20). Yet what’s here already earns its place: a meditation on belief, repression, and the dangerous wish to purify oneself completely. Phillips reminds us that horror works best when it’s about what people do to themselves in the name of light. *Diabolic* leaves you uneasy, not because of its demons, but because it understands faith’s craving for them. ***Diabolic* will play at Special Event screenings from 20 November 2025.** Website: <https://www.monsterfest.com.au/events/diabolic/> Socials: <https://www.instagram.com/rialtodistributionau/> [Read more of our Film Reviews](https://thescoop.au/film-reviews/) Watch the trailer here: **Film details:** Title: Diabolic Director: Daniel J. Phillips Cast: Elisabeth Cullen, John Kim, Mia Challis, Luca Asta Sardelis Country of Origin: Australia Rating: MA 15+ Duration: 95 mins Participating Cinemas: **NSW** [Event Cinemas Bondi Event Cinemas Burwood Event Cinemas Campbelltown Event Cinemas Ed Square Event Cinemas George Street Event Cinemas Glendale Event Cinemas Macquarie Event Cinemas Tuggerah](https://www.eventcinemas.com.au/Movie/Diabolic) **NT** [Alice Springs Cinema](https://www.alicespringscinema.com.au/) [Birch, Carroll & Coyle Casuarina](https://www.eventcinemas.com.au/Movie/Diabolic) [Katherine Cinema](https://www.katherinecinema3.com/) **QLD** [Birch, Carroll & Coyle Maroochydore Birch, Carroll & Coyle Toowoomba Strand Event Cinemas Cairns Central Event Cinemas Chermside Event Cinemas Indooroopilly Event Cinemas Loganholme Event Cinemas Mt. Gravatt Event Cinemas Robina](https://www.eventcinemas.com.au/Movie/Diabolic) **SA** [Oatmill Cinema Mt Gambier](https://www.oatmill.com.au/oatmill) [Wallis Cinemas Mitcham](https://wallis.com.au/films/diabolic/) [Wallis Cinemas Mt Barker](https://wallis.com.au/films/diabolic/) [Wallis Cinemas Noarlunga](https://wallis.com.au/films/diabolic/) **VIC** [Wallis Cinemas Mildura](https://wallis.com.au/films/diabolic/) **WA** [Event Cinemas Whitford](https://www.eventcinemas.com.au/Movie/Diabolic) **Categories:** Film --- ### [Film Review: The Glendronach Whisky Meets Film Experience](https://thescoop.au/film-review-the-glendronach-whisky-meets-film-experience/) **Published:** November 12, 2025 **Author:** Jessica Flynn **Content:** ![The Scoop The Great Gatsby The Glendronach Whisky Film Experience](https://thescoop.au/wp-content/uploads/2025/11/Screenshot-2025-11-11-at-82637-pm-1101x628.png "The Great Gatsby The Glendronach Whisky Film Experience • The Scoop")Elegance, glamour, and class are the first things that come to mind when stepping into the Palace Cinema at the Como for an exclusive whisky pairing evening. Bringing whisky and cinema together is genius and makes for an elevated evening that steps you out of the ordinary movie night slump. For the next three nights, a different film and whisky pairing will be highlighted based on its flavour profile. I had the pleasure of viewing Baz Luhrmann’s 2013 *The Great Gatsby*, accompanied by The Glendronach’s signature 12-Year-Old single malt. As someone who usually leans more towards wine than whisky, I had my doubts about how much I would enjoy the evening’s tipple selection. Clearly, I hadn’t met the real stuff before. I also hadn’t had a glass handed to me by dedicated white-gloved ‘whisky butlers’ before, and that certainly helped! Our host for the evening, Linus L Schaxmann, walked us through our welcome tasting, the signature 12-Year-Old single malt and The Glendronach Masters Anthology – Ode to the Valley. He gave us a background of The Glendronach, its history and process, with ease, humour, and knowledge. He taught us how to use all our senses to maximise our enjoyment. Did you know you should smell spirits with your mouth open to avoid that harsh ethanol sting? This really made the evening for me because he was able to invite beginners and experts alike into the conversation and kept the mood playful. ![The Scoop The Great Gatsby Glendronach Whisky Film Experience](https://thescoop.au/wp-content/uploads/2025/11/The-Glendronach-Luxury-Cinema_7-942x628.jpg "The Great Gatsby Glendronach Whisky Film Experience • The Scoop")Elegance glamour and class are the first things that come to mind when stepping into Palace Cinema Como*The Great Gatsby*’s depiction of the highs and lows of the 1920s is the perfect choice for a paired whisky evening – smooth, a bit raucous, and the epitome of class. Sipping on a whisky dripping in raisin and ginger flavours as Leonardo DiCaprio’s Gatsby raises a glass suddenly seems the only appropriate way to watch the movie. As the scenes rolled by, our attention turned to another star of the evening: the food. This was a definite highlight for me. Palace Cinema has completely outdone itself with reimagining what classic cinema tidbits can look like. We started with a serving of their signature sea salt and olive oil popcorn with a generous serving of caviar. My hot tip is to scoop the caviar directly onto the kernel to really mesh the flavours together. Next up, the decadence continues with a Spanish charcuterie box inspired by The Glendronach’s Andalusian sherry casks, accompanied by a Bramble Sour cocktail. Each part of this was delightful and made for a wonderful graze throughout the film. It was clear the ingredients had been chosen for their quality and freshness. The cocktail, in particular, was delicious and lemon-y, very fitting given I sipped on it during a particularly ‘tarty’ party scene in the film. ![The Scoop The Great Gatsby Glendronach Whisky Film Experience](https://thescoop.au/wp-content/uploads/2025/11/The-Glendronach-Luxury-Cinema_3-942x628.jpg "The Great Gatsby Glendronach Whisky Film Experience • The Scoop")Palace Cinema has completely outdone itself with what classic cinema food can look likeOf course, it wouldn’t be the movies without a choc top, and this one came on a silver platter. Every detail of the evening was top-notch and polished. We finished with a group *slàinte* with a tasting of the ultra-rare 30-Year-Old single malt worth over $2,000! Peppery and full in flavour, it was the perfect way to end the evening. Palace Cinemas is the ideal venue. Surrounded by luxurious leather seats and top-notch service, they really make this event feel extra special. This partnership makes for a fantastic night out for movie fanatics, whisky lovers, and doubters. Prepare to be converted like I was! Here’s hoping whisky and film nights become a permanent fixture in Palace Cinemas’ repertoire because once you’ve sipped, swirled, and watched like this, there is no going back to Maltesers and Coke. **The Glendronach Whisky-Meets-Film Experience runs at Palace Cinema Como from 12 – 14 November 2025.** **The Como Centre, Level 1/299 Toorak Rd, South Yarra VIC 3141.** Guests are invited to arrive from 6:30pm for a guided pre-film whisky tasting. Screenings commencing at 7:00pm each evening. Tickets are available [here](https://www.eventbrite.com/e/a-luxury-cinema-experience-presented-by-the-glendronach-tickets-1836551588239?aff=oddtdtcreator). Website: <https://www.glendronachdistillery.com/most-luxurious-cinema/> Socials: <https://www.instagram.com/theglendronachofficial/> and <https://www.instagram.com/palacecinemas/> [Read more about the experience here!](https://thescoop.au/palace-cinema-como-to-host-the-glendronach-whisky-meets-film-experience/) Images supplied. Film & Whisky Pairings: **Wednesday 12 November** – The Glendronach 12-Year-Old x *The Great Gatsby (2013)* Coincidentally released 12 years ago, this lavish reimagining of Fitzgerald’s classic is an ode to opulence. The film is a perfect match for the 12-Year-Old’s decadent notes of chocolate praline, gingerbread and sun-dried raisin. Both the whisky and the film celebrate indulgence and nostalgia, tipping a hat to the past while embracing the modern age of luxury. **Thursday 13 November** – The Glendronach 15-Year-Old x *Y Tu Mamá También (2001)* Acknowledging The Glendronach’s Spanish Pedro Ximénez and Oloroso sherry casks from Andalucía, this coming-of-age masterpiece from Alfonso Cuarón captures the same warmth and complexity as the 15-Year-Old’s layers of maraschino cherry, honeyed fig and dark chocolate mint. Both are bold, sensual and unafraid to linger on life’s most intoxicating moments. **Friday 14 November** – The Glendronach 18-Year-Old x *The Godfather (1972)* Dark, complex and enduringly powerful, *The Godfather* mirrors the 18-Year-Old’s balance of sweetness and spice – rich notes of fudge, fruit compote and toasted walnut that echo the film’s themes of legacy, loyalty and quiet ambition. Both reward patience, reflection and appreciation for craftsmanship passed down through generations. **Categories:** Film --- ### [La Boite Theatre Launches Its Fiery And Funny 2026 Season](https://thescoop.au/la-boite-theatre-launches-its-fiery-and-funny-2026-season/) **Published:** November 12, 2025 **Author:** Newsroom **Content:** ![The Scoop La Boite Theatre 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/SEASON_landscape-1-1116x628.jpg "La Boite Theatre 2026 Season • The Scoop")**La Boite Theatre** takes a stand in 2026, unveiling a compelling program of mainstage works that promise resistance, rebirth and belonging. Australia’s oldest and boldest theatre company turned 100 in 2025. It strides confidently into its next century with a **2026 Season** grounded in big ideas and dreams, fuelled by fearlessness and filled with moments of profound beauty and understanding. Playing La Boite’s iconic Roundhouse Theatre in 2026 are a modern reimagining of the Greek myth, *Antigone*, an apocalyptic buddy adventure with bite, *Eat Slay Zombie*, an out-of-this-world reflection on climate responsibility, *Second Coming*, and a search for identity and family in *Koreaboo*. La Boite Artistic Director and CEO **Courtney Stewart** said the 2026 Season takes a fresh and exciting approach to addressing some of the complex, knotty issues facing the world today: power, politics, the environment, family, race and community. *“We want to have those conversations with our audiences in a way that holds on to the humanity, heart and even humour of what’s going on in the world.* *Humour is not used in a way to undercut or take the heat out of the conversations but rather, it is akin to hope. If anything’s going to help us hold onto hope, to find the answers that we need to make meaningful change, we need to have that shared humanity and laughter to help us take in what’s happening, digest it, synthesise it, understand it and then act on it.”* The 2026 Season sparks to life with a dynamic retelling of Sophocles’ tragic ***Antigone*** from 5 to 21 March. It’s a story of protest and defiance with an iconic heroine – played by **Maddison Burridge** – who dares to stand up for what she believes is fair and just. **Stewart** is adapting the classic text and co-directing with **Nigel Poulton**, an acclaimed fight choreographer making his main-stage directing debut. *“I’m really excited to strip back the text and see Nigel bring some of those big scenes to life physically. Having Antigone as a scrappy, tough, bolshy, young woman will keep the fire burning in a classic play that scrutinises the fine line we tread between democracy and dictatorship.”* – Courtney Stewart ![The Scoop La Boite Theatre 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/EAT_SLAY_landscape-1-1116x628.jpg "La Boite Theatre 2026 Season • The Scoop")Eat Slay Zombie is a new work about friendship and finding your way in an inhospitable world***Eat Slay Zombie***, from 14 to 30 May, is a new work about friendship and finding your way in an inhospitable world. It is written by emerging Queensland playwright **Alinta McGrady**, who is directing alongside **Lisa Fa’alafi**. Stewart said the re-developed work uses a fictional zombie apocalypse to address real-world issues such as colonisation, community and state occupation. *“La Boite is continuing to invest in contemporary First Nations voices, asking artists what stories they want to tell and how they want to tell them. There’s a big theme of resistance that runs through Eat Slay Zombie. But this beautiful story of friendship and found family sits at the forefront.”* ![The Scoop La Boite Theatre 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/SECOND_landscape-1-1116x628.jpg "La Boite Theatre 2026 Season • The Scoop")Second Coming is the third instalment in Kathryn Marquets eco feminist triptych***Second Coming***, from 6 to 22 August, is the third instalment in Queensland playwright **Kathryn Marquet**’s eco-feminist triptych. It follows acclaimed La Boite seasons of *Pale Blue Dot* and *The Dead Devils of Cockle Creek*. Starring **Ash Lollback** and **Anthony Standish**, *Second Coming* follows geneticist Evie and her geologist husband Aiden as they attempt to set up a sanctuary on Mars in the face of Earth’s environmental collapse. *“I’m excited about the conversations that this will spark around what right we have to take our problems elsewhere. Kathryn’s perspective on the climate crisis will pose some challenging questions and touch on our human need to hold on to things. It is exciting, horrifying, terrifying, larger-than-life and very funny.”* – Courtney Stewart ![The Scoop La Boite Theatre 2026 Season](https://thescoop.au/wp-content/uploads/2025/11/KOREABOO_landscape-1-1116x628.jpg "La Boite Theatre 2026 Season • The Scoop")Koreaboo sees Michelle Lim Davidson make her writing debutThe 2026 Season ends with the Queensland premiere of ***Koreaboo***, from 2 to 19 September. It’s a search for family and identity that mirrors the experience of acclaimed Australian performer **Michelle Lim Davidson**, making her writing debut. *“Koreaboo is a work of fiction but steeped in lived experience. Michelle has been quite open in her journey as an intercountry adoptee and has since made trips back to South Korea to try to connect with her birth mother. This play came out of that very personal line of inquiry.”* – Courtney Stewart La Boite continues its dedication to artists and audience development in 2026 with the return of its Assembly program and its education initiatives. ***Assembly*** is a six-month skills development program that supports emerging writers, directors and actors in creating a brand-new short work for the stage. La Boite will also run an extensive program of in-school and in-theatre workshops, post-show Q&As and ***Stage Secrets***, an initiative that pulls back the curtain to expose students to the myriad pathways into the theatre industry, from stage management to set design. **View La Boite Theatre’s full 2026 Season program and purchase tickets at the website.** Website: <https://laboite.com.au/> Socials: <https://www.instagram.com/laboitetheatre/> [Back to the Newsroom](https://thescoop.au/newsroom/) Images supplied. *Second Coming* is presented in partnership with PlayLab with support from Creative Australia. *Koreaboo* is a Griffin Theatre Company production. **Categories:** News --- ### [Win Movie Tickets To See John Cleese Packs It In Opening This Month](https://thescoop.au/win-movie-tickets-to-see-john-cleese-packs-it-in-opening-this-month/) **Published:** November 10, 2025 **Author:** Newsroom **Content:** ![The Scoop](https://thescoop.au/wp-content/uploads/2025/11/John-Cleese-001-942x628.png "John Cleese Packs It In • The Scoop")Legendary British comedian **John Cleese**, one of the minds behind celebrated works such as *Monty Python* and *Fawlty Towers*, is inviting audiences to take a behind-the-scenes look at life on the road as an 85-year-old touring comedian, as he visits 16 European cities and performs 23 shows across 6 weeks. In ***John Cleese Packs It In***, join Cleese as he embarks on what may be his final European tour. This 90-minute feature documentary, which will be screened in over 80 cinemas across Australia, captures an unfiltered Cleese as he battles various ailments, encounters chaotic travel and grapples with his own stubborn refusal to stop. Over the course of six weeks, the film captures Cleese reflecting on his career, which began in 1963, as well as life, fame, and growing older in the public eye. Unique and intimate in its access to Cleese, *John Cleese Packs It In* explores legacy, laughter and bowing out. The Scoop is **giving away 2 double passes** **to see the film!** Head to