That Theatre Life

Come on a journey to the past and be transported into a world of romance, mystery, and theatrical splendour. Anastasia the Musical (a musical based on the 1997movie) officially opened at the Regent Theatre last night and from the moment the doors opened, the evening carried a sense of occasion. The splendour of the Regent, glowing under warm lights, was the perfect setting for a production that leans fully into elegance, nostalgia, and heart.

Opening night buzzed with excitement. Gold accents shimmered throughout the venue, audiences dressed to impress, and a noticeable number of young theatre-goers arrived beaming with anticipation. There was a collective feeling that this was more than just a performance — it was an event.

The story begins in 1906 imperial Russia, introduced through a quiet, snow-dusted moment between young Anastasia Romanov and her grandmother, the Dowager Empress. This opening scene immediately establishes the emotional core of the show. Young Anastasia, played with lively charm by Lillian Kinter, shares a tender farewell with the Empress, portrayed by the ever-graceful Nancye Hayes. The gifting of the music box is simple yet deeply symbolic, anchoring the story’s themes of memory and identity.

The tone shifts dramatically as the narrative moves to 1917 and the fall of the Romanov dynasty. The production handles this historical moment with restraint and clarity, allowing the weight of loss and uncertainty to settle without overpowering the storytelling. The lingering question of Anastasia’s survival propels the story forward.

By 1927, the action relocates to a world of rumours and desperation, where imposters claim royal lineage in pursuit of wealth. Enter Anya, a street cleaner with no memory of her past, portrayed by Georgina Hopson. From her first appearance, Hopson commands attention. Her Anya is resilient, spirited, and emotionally grounded — a young woman driven by an unexplainable pull toward Paris and the hope that her past might hold meaning.

Anya’s journey intersects with Dmitry and Vlad, two men chasing opportunity through deception. Robert Tripolino’s Dmitry balances charm with sincerity, presenting a romantic lead who feels refreshingly human. Rodney Dobson’s Vlad delivers consistent humour and confidence, providing levity while never undermining the story’s emotional stakes. Their plan to pass Anya off as the lost princess leads them toward the flamboyant Countess Lily, portrayed by Rhonda Burchmore.

Meanwhile, tension builds through the presence of Gleb Vaganov, played with intensity by Joshua Robson. As an officer loyal to the new regime and the son of a Romanov executioner, Gleb’s internal struggle becomes one of the show’s most compelling threads. Robson’s powerful vocals and layered performance capture the conflict between duty, ideology, and emotion with striking clarity.

Vocally, the production is outstanding. The cast delivers a consistently high standard, with strong individual performances supported by rich harmonies and a polished orchestra. The score flows seamlessly, guiding the audience through moments of joy, longing, and hope. Every musical number feels purposeful, advancing both character and story.

Hopson anchors the production with authority, bringing emotional depth and strength to Anya’s journey of self-discovery. She is magnetic to watch, carrying the role with confidence and vulnerability in equal measure. Her chemistry with Tripolino is natural and engaging, their relationship built on trust and mutual growth rather than fairy-tale perfection.

Tripolino’s Dmitry stands out for his relatability. His performance emphasizes kindness, growth, and the desire to belong, offering a modern interpretation of the romantic hero. Together, Hopson and Tripolino invite the audience to believe in love that is earned rather than destined.

Act Two shines with the arrival of Rhonda Burchmore as Countess Lily. She sweeps onto the stage with glamour, wit, and impeccable timing, drawing laughter and applause with every appearance. Her performance is a masterclass in confidence and theatrical flair. Rodney Dobson continues to delight alongside her, their playful dynamic becoming a highlight of the evening.

Nancye Hayes brings poise and emotional authority to the Dowager Empress. Her presence adds gravitas and elegance, grounding the production and reinforcing its emotional stakes. Joshua Robson’s portrayal of Gleb crescendos powerfully in the second act, leaving a strong and lasting impression.

Visually, Anastasia is a feast. Aaron Rhyne’s projections enhance the storytelling without overwhelming it, while set pieces such as the rotating train carriage and the Neva Club dance sequence provide memorable moments of theatrical ingenuity. The choreography and staging are fluid, supporting the narrative with energy and precision.

Under the direction of Darko Tresnjak, and produced by John Frost for Crossroads Live in collaboration with Opera Australia, Anastasia arrives in Melbourne as a polished and emotionally resonant production. At its core, the musical delivers a clear and uplifting message: that identity is something we discover within ourselves, and hope is often found by trusting that inner voice.

Opening night concluded to enthusiastic applause, and rightly so. Anastasia the Musical is a beautifully crafted piece of theatre that balances history, romance, and self-belief with warmth and sophistication. It invites audiences of all ages to reflect on the past while embracing the possibility of a future shaped by courage and love.

This is a production well worth experiencing — a heartfelt and visually stunning addition to Melbourne’s theatre landscape.

Anastasia The Musical is playing at the Regent Theatre Melbourne until 20 February 2026. For tickets or more information visit anastasiathemusical.com.au

X Steph

Photos by Jeff Busby

🎄 The Great Christmas Singalong – Melbourne Recital Centre

Saturday 20 December 2025

Last night’s Great Christmas Singalong opened John Foreman’s new holiday concert series with an exuberant celebration of festive song that felt at once timeless and joyously immediate. The Melbourne Recital Centre was transformed into a warm, communal haven of holiday spirit, where familiar melodies and collective voices became the true stars of the evening.

Under the steady and genial leadership of Silvie Paladino, whose voice is nothing short of commanding and heart-lifting, the concert struck a delightful balance between polished heart felt orchestral performance and audience participation. Paladino — often described as a powerhouse voice in Australia’s musical scene — clearly relished the role of conductor-cum-cheerleader, encouraging everyone both young and old to pick up the lyric booklets and join in.

The 40-piece Australian Pops Orchestra, conducted by the ever-charismatic John Foreman, gave the familiar carols a rich orchestral backbone that was both lush and buoyant. From the opening swells to the final bows, the musicians filled the hall with glittering strings, bold brass and rhythmic vitality that never overshadowed the community-singing at hand.

What set this performance apart from your typical carol concert was the sense of camaraderie in the room. Patrons didn’t just sit back and watch — they became the show. “Silent Night” and “Joy to the World” rooted the evening in tradition, while more contemporary arrangements gave even familiar tunes a fresh feel; scattered laughter and enthusiastic applause underscored the audience’s delight in participating rather than merely observing. (A great example of this was John’s and Silvie’s take on the twelve days of Christmas in which some lucky audiance members got to go up on stage and help out with the song)

In terms of production, the Recital Centre’s acoustics and lighting were deployed with a tasteful restraint that let the music shine without overwhelming sentimentality. The only thing brighter than the stage lights was the collective glow on faces throughout the room — a reminder of why Christmas music, when done well, retains such emotional pull and dare I say it healing.

If there’s a criticism to levy, it’s that the program stuck firmly to the crowd-pleasers, offering little in the way of surprise or deeper musical exploration. Yet in a concert designed to unite voices and celebrate the season, predictability is hardly a flaw; it’s part of what invited everyone to lean in and sing with gusto.

Final Thought: The Great Christmas Singalong achieved exactly what it set out to do — it brought people together in song, spirit and shared joy. For anyone seeking the warmth of community and the timeless magic of holiday music, last night’s performance was a triumphant start to the city’s festive celebrations. And I do hope they do it again next year with a different song set lisit.

X Steph

Set during the rehearsals for Michael Jackson’s Dangerous World Tour in July 1992 MJ the Musical uses flashbacks to explore his life. This production masterfully weaves together Michael Jackson’s personal story… from his rise to fame to his many struggles and complex family and media relationships, with the timeless magic of his music. 

The show’s approach gives a detailed portrayal of Jackson’s difficult childhood and alleged abuse at the hands of his father. Rather than the serious allegations that plagued Jackson’s life and his relationships with minors (a tour producer noting that Jackson’s requests are getting out of control and a question about a family he’s bringing on tour is swiftly moved past).  And while there has been some criticism around that approach this reviewer didn’t find anything wrong with that. 

 From being hit as a child, to being publicly abused and ridiculed as a teenager going through puberty, Joe Jackson’s treatment of his son no doubt had a lifelong impact on the music icon.  However, it was beautiful to see Michael had a close relationship with his mother as seen through a heartfelt moment between the two.  Though reportedly inspired by his love of horror films, MJ the Musical even reimagines “Thriller” as Jackson attempts to stop being controlled by and escape from his father.  I found this part of the performance to be quite powerful and moving. 

Jackson himself is played by a total of six performers, who often appear on stage with each other. Brisbane-based newcomer Liam Damons (in his professional debut) plays the young Michael, struggling to establish his own identity separate from the Jackson Five, while Jackson as a child is played by Blaiyze Barksdale with William Bonner (or Cayden Dosoruth with Daniel Makunike, depending on which night you catch). In addition to tour producer Rob, Derrick Davis also portrays Joseph Jackson, Michael’s stern and abusive father. 

American actor Ilario Grant is simply incredible in the central role, and while his impersonation of Jackson’s voice and mannerisms are top notch, it’s the changeable quality he brings to the role that resonates. Liam Damons shone as Michael’s middle self, bringing infectious energy to the stage with his precise dance routines. Meanwhile young  Blaiyze Barksdale explosive performance as little MJ was outstanding, showcasing a true promise and talent. 

The ensemble, featuring standout talents like Loredo Malcolm and G Madison IV brought an electric energy to every scene, transforming the stage into a visual feast. 

The songs are absolutely incredible and as expected, the songbook here takes us through his greatest hits, from opening banger ‘Beat It’ with its sizzling Eddie Van Halen-crafted guitar solo, right through to Jackson Five classics such as ‘ABC’, ‘I Want You Back’, ‘Bad’, ‘Billie Jean’, and, of course, ‘Thriller’. 

Orchestrations and arrangements by David Holcenberg and Jason Michael Webb are clever and energetic, threading the rhythm of the music through the dialogue scenes – you hear a note from ‘Thriller’, for example, long before the actual number – and smoothing the transitions from dramatic scenes to set pieces. The set design by Derek McLane and lighting by Natasha Katz do a similarly nimble job – we got from the backstage chaos of rehearsal to the Jackson family’s working-class home and to the stage at a rapid clip – and while the dazzling lights and projections by Peter Nigrini hit the high notes, the dexterous transitions from the intimate to the epic are genuinely impressive. 

So, too, is the choreography by director Christopher Wheeldon, while the character of Jackson has a dedicated two-man team in the form of lauded choreographers Rich + Tone Talauega. Again, the flow is incredible, and the sense of motion is ever-present. We never get the sense that the show has stopped moving to drop some exposition on us; every movement is precise and meaningful, every gesture a part of the greater whole. The technical aspects of the musical are impressive, with elaborate sets, HD videos, and projections. 

Attending MJ the Musical in Melbourne was nothing short of spectacular and  is a must-see tribute that honors Michael Jackson’s legacy with stellar performances, innovative stagecraft, and a profoundly engaging narrative, especially vocally. It’s an experience that will leave you reflecting on MJ’s remarkable journey and the magic of his music, captivating both longtime fans and newcomers alike.

MJ the Musical is now playing at Her Majesty’s Theatre, Melbourne for tickets and more information visit mjthemusical.com.au 

x Steph

While most would be familiar with the 1999 Disney animated film, ‘Tarzan The Stage Musical’ is a thrilling adaption that brings the classic we all know and love to life with stunning sets and atmosphere. The wooden proscenium and green curtains effectivly transport the audiance to the jungle world, fully immersing them in the story.

Rating: 5/5 Stars 

Recommendation: Family friendly fun for all ages this production captures the Disney movie’s themes of family, identity, and belonging making it an enjoyable event for everyone. 

Highlights: 

. Strong performances: Sarah Murr shines as Kala the motherly gorilla who raised Tarzan bringing warmth and vocal power to the role. Her rendition of ‘You’ll be in my Heart’ moved me to tears. Joshua Russell delivers a commendable performance as Tarzan, balancing the character’s gorilla like qualities with human curiosity and compassion. Honorable mention to Emily Robinson who is simply delightful as Jane. 

. Choreography and movement: Michael Ralph’s choregraphy is breathtaking, particularly in the ensemble numbers that showcase the gorilla tribe’s physicality. The performers convincingly portray the apes, adding to the show’s energy and excitment. 

. Phil Collins Music: The cast perform Phil Collins’ iconic songs beautifully, with standout renditions of ‘Two Worlds’ and other beloved hits. 

. Areas for improvement:

. Aerial Acrobatic Limitations: I found the limited aerial swinging slightly disappointing, as the necessary mechanisms can slow the show down. 

. Sound Imbalance: While some might find this as a strength I also found the music occasionally overpowered the singing. 

Overall, Tarzan The Stage Musical is a captivating and heartwarming production and while there are some minior areas for improvment the show’s energy, heart and memorable music make it a must see for fans of the Disney classic. 

Tarzan The Stage Musical is now playing in Melbourne until September 14th at The National Theatre. For more imformation and ticketing visit tarzanstagemusical.com.au 

x Steph

Everyone’s favourite orphan, Annie, has arrived in Melbourne, and its recent opening night was a spectacular celebration of classic theatre, warm storytelling, and memorable performances. I mean, who can resist singing along to “Tomorrow”?

However, something I did notice is that sometimes performers’ lines were not audible, and/or microphones were left off for a split second. But hey, that’s show biz sometimes things go wrong, and I’m sure the kinks are worked out now.

Isabella Hayden shone in the title role, bringing Annie’s spirited personality and vulnerability to life with supreme confidence. Her vocals were pitch-perfect, and her charming style captured the hearts of the audience. Hayden shares the role with Dakota Chanel and Lilith McIntosh, and it’s clear that the triple casting has brought together talented young performers who can shine in this iconic role.

The seven orphan girls, played by Sophie Isaac (Duffy), Ava Kroussoratis (Tessie), Harper Pasco (Pepper), Marli Lee (Kate), Bibiana Bruden (Molly), Calliope Xintavelonis (July), and Leah Cooper (Friday), were a delight to watch. They sang and danced with infectious energy, earning thunderous applause for numbers like “It’s the Hard Knock Life” and “You’re Never Fully Dressed Without a Smile.”
The ensemble’s enthusiasm, talent, and vocal ability were evident throughout the show, and their performances were truly unforgettable. Each has a chance to shine in small character roles. It is clear how much thought, practice, and hard work have gone into it all.

Anthony Warlow, Australia’s national treasure and foremost leading man, reprised his role as Oliver “Daddy” Warlocks, bringing his signature warmth and gravitas to the character. His rich, mellifluous voice soared in “Something Was Missing,” showcasing his impressive stage presence and vocal range. Warlow’s performance was delicate, balancing the character’s gravitas with expertly judged comedy. While some might argue that Warbuck’s transformation from a cold, cut-throat businessman to a loving father figure feels somewhat static, Warlow’s gravitas, compassion, and paternal potential made the character’s journey compelling.

Debora Krizak stole the show as Miss Hannigan, the helpless orphanage matron. Her physicalised performance, sharp comic timing, and wonderfully sloshed demeanour made her a standout source of comedy throughout the show. Krizak’s “Easy Street” number was a highlight of the evening, with killer choreography by Mitchell Woodcock and dynamic performances from Keanu Gonzalez (Rooster) and Mackenzie Dunn (Lily St. Regis). The trio’s chemistry was electric, and their performances left the audience wanting more.

Amanda Lea Lavergne brought a gentle presence to the role of Grace Farrell, Warbuck’s faithful secretary. Her polished, poised performance was a perfect fit for the character. Greg Page, best known for his role as the original Yellow Wiggle, made a strong theatrical debut as President Franklin D. Roosevelt. His delicate inflection and tone brought depth to the character, and his subtle jab at contemporary America added an interesting layer to the performance.

It would be remiss of me not to mention the adorable canine performers, Bodhi and Sandy, who played Annie’s pound-bound best friend, who stole the show every time they appeared on stage. Being actual, real Dogs and not a puppet, their performances added a touching element to the show.

The set design by Kenneth Foy was a true masterpiece, incorporating dynamic projection designs by Craig Wilkinson. The transitions between scenes were seamless, creating a sense of effortless movement that flowed like clockwork. Foy’s use of colour and symbolism was effective, from the dull streets of New York City to the opulent mansion of Oliver Warbucks. The playful use of cultural artefacts to emphasise Warbucks’ wealth was a delightful touch, and the contrast between the priceless art and Annie’s humble portrait of herself and Warbucks was poignant.

The Orchestra, led by David Piper, delivered a lively Jazz-inflected score that perfectly complemented the show.

Overall, this production of Annie is a must-see, with a talented cast, stunning set design, and memorable performances. The show’s classic storyline, endearing moments, and fantastic songs make it a timeless classic that will delight audiences of all ages. So don’t miss out on this opportunity to see Annie, playing at the Princess Theatre here in Melbourne until October 26.

Annie is presented by John Frost for Crossroads Live. For Tickets and further information, visit anniemusical.com.au

x Steph

Photos by Daniel Boud

Hosanna, hey-sanna, hosanna

Andrew Lloyd Webber & Tim Rice’s cult rock/opera musical tells the story of the weeks leading up to Jesus’ crucifixion through the eyes of Judas. 

Being a ‘sung through’ musical with no dialogue, the story should still be the focus but there are many distractions that I personally felt made it hard to know what was going on. For one, the  choreography/dancing although outstanding, was a bit busy and over choreographed. For me this took away from the story itself at times. I also chatted to some other theatre goers around me who found the audio levels were set a little too loud and the vocals from the cast were peaking too high. This resulted in the lyrics being hard to understand and hear clearly at times. 

However having said that, all was not lost though as the sheer talent & emotion from the stella cast and ensemble was second to none. It’s this aspect of the production that you can’t fault and I often found my mouth open with disbelief in many moments throughout the show. 

A few standouts for me where…

Michael Paynter (Jesus) who absolutely stole the show. His rendition of Gethsemane was something to behold. It was powerful but had subtle elements that really showed the pain of the character. And his control in his upper register was mind blowing. He received a lengthy standing ovation at the end of the number (and a brief one during the number as well) and this was richly deserved. His performance of this song alone was well worth going to see the show. 

Judas played by Javon King, what can I say apart from “wow”, what an incredible Judas – with all the complex feelings of love and hate and jealousy and feeling torn between right and wrong. He was quite simply outstanding. 

I also need to mention, Graeme Isaako who plays Simon in the ensemble. There’s a moment in the piece where the character of Simon needs to deliver an incredible high note, and not only does Isaako nail  it, but he holds it for such an unbelievably long time with a fantastic strength of delivery! Pinch me, what a voice. I think Graeme (if he’s not an understudy already) could step onto the stage in a version where he plays Judas or even Jesus. 

Mahalia Barnes executed a beautiful and heartfelt version of Mary, and her take of ‘I Don’t Know How To Love Him’ was sublime. I really enjoyed it. 

Special mention to the High Priests, Annas (John O’Hara) and Caiaphas (Elliot Baker) who have voice registers deep as the ocean and their presence is chilling. The moment when they up-end their ceremonial staffs to become microphones is yet another play on power as is their demanding stage presence.  

Sadly, the show ends with the crucifixion, and with no sign of the Resurrection to come. In an odd and confusing ending the crucified and bloodied Jesus sits down with Judas at the end.

While I may be unpopular in some of my views and while it wasn’t my cup of tea, the talent as I said is out this world. But when you do choose to go along, even though it might not be your cup of tea (like me), I don’t think you’ll be disappointed.

Jesus Christ Superstar is now playing at Melbourne’s Princess Theatre until June. For tickets or more information visit https://jesuschristsuperstarmusical.com.au

X Steph 

Photos by Jeff Busby

“Simply the Best” If you’re like me and in the younger audience category and know some of Tina Turner’s songs but not necessarily her story, then this rollercoaster of a bio jukebox musical will have you feeling all the feels.

Racism, family violence, addiction, financial ruin and attempted suicide! While this show has many scenes that are raw and uncomfortable. Now knowing what this extraordinary woman went through to get to where she did… her rise to fame, finding her independence, taking a chance on herself as a solo artist, I can’t help but look back in awe at what a power house she was (not just her voice), she’s living proof that in life there are the low/challenging times in order to get to the high’s. It is however, ultimately up to you though if you let that make you or break you. And in Tina’s case it made her.

The many well known songs are amazing and probably for many the reason for coming. Let me just say you won’t be disappointed. Led by Christina Polimos this huge score is in safe hands. The musicians were fantastic bringing Tina’s hits to life. I won’t spoil anything but get ready to have a bit of a boogie. The music was faultless and carried the original sound of the songs while also balancing the modern era of the show.

The genius combination of Mark Thompson’s costumes and Campbell Young’s (Associates) wigs are an attraction in their own right, capturing the importance of each time period with theatrical style.

The Australian ensemble is really strong and often come forward to play brief characters in Tina’s journey before returning to dance up a storm in the all so flashy choreography by Anthony Van Laast.

Ruva Ngwenya was an absolute standout as Tina Turner. Vocally, she sounded so much like her in an authentic way. Honest, rich and powerful vocals that left the audience in wonderment. Her acting was also ‘on point’ performing some of the most heart wrenching scenes with sincerity and raw emotion. A flawless and powerful performance I could watch over and over again.

In what could be described as a difficult role, American actor Giovanni Adams brings authentic integrity to Ike Turner, gamely and believably leaning into the man’s worst traits.

Jayme-Lee Hanekom as Alline the devoted sister of Tina was a delight. She played multiple roles, her character differentiation and facial expressions made her one to watch. A beautiful performer.

Rishab Kern is perfect as Tina’s first love Raymond, very smoothly nailing the song ‘Let’s Stay Together’ as well as some impressively energetic moves later on. It’s evident he’s come leaps and bounds as an actor.

Special shoutout to Zoe Desmier who on opening night, won audiences with her big smile, big stage presence and soaring vocals as young Anna-Mae (young Tina)

If I’m being incredibly picky the only thing I would say is that some of the fight scenes were a little too staged. The script is very straightforward, giving the cast few opportunities to demonstrate their dramatic skills. And the timeline/story seemed really fast paced and at times it felt to me a little all over the place (like it had skipped bits). Undoubtedly necessary to cover the extent of Tina’s life.

All in all though this is a not to be missed night out. It’s immensely satisfying both musically and emotionally and you leave feeling blessed to have seen a wonderful piece of theatre with a hard pumping rock concert at the same time. Superb cast, incredible band and a whole lotta fun.

Tina, The Tina Turner Musical is now playing at Melbournes Princess Theatre. To get tickets or for more in formation visit tinamusical.com.au

x Steph

Photos by Daniel Bound

What a treat! It was Broadway’s best and Disney magic at its finest in Melbourne for opening night of this tale as old as time. Simply put Disney in any shape or form has always held a special place in my heart, as it does many.

Originally a French fairytale it has also been a book, an animated Disney movie (the finest old school hand drawn movie Disney ever made if I might add) and a Broadway musical that’s toured the world, I’m sure we are all familiar with the heart warming story that resonates with audiences of all ages.

This latest production revival is directed and choreographed by Matt West and also keeps the songs of legends Alan Mencken, Howard Ashman and Tim Rice, begins in such a sophisticated way, with narration by the late Angela Lansbury. Beauty and the Beast is a mesmerising visual spectacle, you’re truly sure to find yourself fully immersed in the enchanting world of happily ever afters. But before you see anything it’s what you hear that captivates your attention. The orchestration by Danny Troob and sound design by John Shivers completely shifts the atmosphere in each scene.

Stage technology has come leaps and bounds and this production dazzles with its combination of mechanical stage sets and computer animated projections, the line between the two often subtle, but enough to leave you in awe of the dazzling illusions.

The two main production numbers ‘Gaston’ (Did you know Gaston, Le Fou and the Ensemble clink their mugs over 821 times) ‘Be Our Guest’ see the success of the production peak and the opening night audience spellbound, jumping to a standing ovation at the conclusion of ‘Be Our Guest’ despite being mid act. Matt West (choreographer) alongside Natasha Katz, Jim Steinmeyer and Darrel Maloney (costumes, lighting and incredible effects) all deserve a trophy for their roles in making this number (and the show in general) a real wow moment.

Shubshri Kandiah as Belle carried the show and the tunes gracefully and touchingly. Showing why she is Australia’s perfect princess and Belle. Brendan Xavier as the Prince turned into a Beast is not quite as fierce and menacing as the character is made out to be in the movie/film. His voice is pleasant, his appearance is rugged but he is more rude than aggressive. Rohan Browne as Lumiere was my personal favourite of the night with his charm and charisma that glows on stage. He is a real smooth operator and impeccable dancer. Oh and did I mention his flames are real. I may not be looked upon favourably but I have to give my honest opinion Gaston (played on opening night by Rubin Matters) I thought was lacking. What I saw I thought was a more watered down version of Gaston. Jayde Westaby Mrs Potts is warm, motherly and a joy when she’s on stage. I adored her take on the number ‘Beauty And The Beast’ Gareth Jacobs delghts as Cogsworth, gaining laughs in his characterful role. Zanda Wilkinson brought cheer to teacup Chip, fully animating the lad with just his face on display.

Beauty And The Beast The Musical is an unforgettable experience for many and will delight audiences of all ages.

So what are you waiting for? Go on and Be There Guest Melbourne. Tickets are on sale for performances up until November 2024 with new performances on sale Thursday 4th July 2024 via http://www.beautyandthebeastmusical.com.au

x Steph

A Story of Love, Friendship and Acceptance. Since opening on Broadway in 2003 it’s easy to see why this beloved prequel to The Wizard of Oz, telling the Origin story of the Wicked Witch of the West and Glinda the Good is the fifth longest running Broadway show in history. 

This new Australian production is the third time in 15 years Wicked has toured this country. And now that I’ve seen it, I am totally kicking myself I hadn’t seen it until just recently. 

In terms of senses, Wicked is a feast for the eyes and ears… Walking into the Theatre you leave the real world behind and truly enter another filled with witches, wizards and flying monkeys. The sets (Eugene Lee) and costumes (Susan Hilferty) are exquisite and mesh together to create the perfect amount of theatrical glitz. 

This Australian cast shine so brightly… Making her lead role deput Sheridan Adams as Elphaba brings the house down with her commanding stage presence and soaring powerful vocals. A massive highlight for me had to be Sheridans number Defying Gravity. A pivotal moment in the musical where Elphaba embraces her true power and identity and soars above the stage in what is a breathtaking display. Courtney Monsma is as equally impressive as Glinda. Courtney is infectiously giddy, hilarious, touching, delightful and in complete control the whole time. Her number Popular is a great example of this. I was completely moved at times when Sheridan and Courtney came together for duets such as Dancing Through Life and For Good. Talk about pull on your heart strings!!! Simon Burke steps into the shoes of The Wizard and does a stupendous job of capturing the corruption and sneakiness of his character. Adam Murphy’s Doctor Dillamond even in full goat costume is able to portray deep sadness and hurt. 

Wicked is defiantly a 10 out of 10 must see production that will stay with you long after the final curtain call. 

Wicked is playing at at the Regent Theatre in Melbourne until June. For more information and Tickets visit wickedthemusical.com.au 

x Steph 

Photos by Jeff Busby