Can two people with very different tastes make it work? That’s one of the questions behind David Williamson’s rom-com Rhinestone Rex and Miss Monica, now making its Brisbane premiere at Queensland Theatre.
Monica loves classical music. She used to play violin for the Sydney Symphony Orchestra, but a repetitive strain injury has sidelined her. Though her position is technically being held, she knows deep down she won’t return. And it’s breaking her.
Gary loves country music. He’s a local radio DJ and (allegedly) a Golden Guitar Award winner from the Tamworth Country Music Festival. These days, he renovates kitchens and bathrooms as an ‘architectural consultant.’ When Gary agrees to redo Monica’s kitchen, sparks, and arguments, fly.
Georgie Parker and Glenn Hazeldine originated these roles in 2010 at Ensemble Theatre. They return with many of the original creatives, including director Mark Kilmurry, following the play’s successful 2023 revival in Sydney.
Kilmurry’s direction strikes a delicate balance between heart and humour, allowing the play’s emotional truths to shine without ever veering into sentimentality.
Williamson’s script has been updated for 2025 with Brisbane references that drew delighted reactions from the opening night crowd. Nods to Paddington, Red Hill, and the Normanby Hotel landed especially well. As did references to current TV shows.
The writing is sharp, the pacing brisk, and the laughs genuine. Running for around two hours, the play zips along and the opening night audience was along for the ride every step of the way.
Parker and Hazeldine share a natural chemistry that translates beautifully on stage. Hazeldine’s dry wit and impeccable comic timing make Gary instantly likeable. Parker delivers a standout performance in a hilarious Act Two bar scene, where a few glasses of wine lower Monica’s walls in spectacular fashion.
Together the pair epitomise the phrase ‘opposites attract.’ Gary wears his heart on his sleeve, while Monica has buried her emotions. There is a hollowness in Monica, best epitomised in the scene where she finally lets her guard down to reveal her pain. And it’s harrowing to watch.
Despite their differences and their flaws, you’ll find yourself rooting for Monica and Gary to get together. The ending is gentle, sweet, and hopeful, with just the right amount of sentiment.
The music underscores the emotional beats beautifully. Classical and country feature most prominently, but a bit of jazz and pop sneak in too. Composer and sound designer Daryl Wallis deserves praise for weaving the soundtrack so seamlessly into the action. Here’s hoping for an official Spotify playlist – the music nerds would be most grateful!
Véronique Benett’s clever set design gives us a believable inner-city apartment with sightlines into the titular kitchen. Watching the space transform through the partially opened doorway is a satisfying visual echo of the characters’ own transformation.
Opening night brought a special treat: David Williamson himself was in the audience, beaming with pride. My guest even caught him wiping away a joyful tear. This play is one of his personal favourites.
Don’t let the characters’ middle-aged status fool you. Rhinestone Rex and Miss Monica is a delight for all ages. My Gen Z guest laughed all night and left pleasantly surprised by how much she enjoyed it. Judging by the laughter and heartfelt applause throughout, the rest of the audience was just as charmed.
Beneath the banter and the musical clashes, Rhinestone Rex and Miss Monica reminds us that connection often hides in the most surprising corners. It’s funny, tender, and full of heart — a charming celebration of second chances that will leave you smiling as you head out of the theatre. And it’s sure to be another hit for Queensland Theatre who are delivering a stellar 2025 season.
Queensland Theatre’s Rhinestone Rex and Miss Monica runs to 21 June at the Bille Brown Theatre, 78 Montague Road South Brisbane 4101.
Tickets are on sale now!
Website: https://queenslandtheatre.com.au/
Socials: https://www.instagram.com/qld_theatre/
Photo credits: Jade Ellis
