Saturday, 22 August 2026

Saplings, Australian Theatre for Young People, The Q, 22 Aug (annd subsequent touring to Penrith, Bairnsdale and Warrnambool)

 

Image by Clare Hawley from original 2024

"Saplings" looks at a mixture of young people who encounter the criminal justice system in various ways (either directly as perpetrators or as family members of people in prison). Four actors play a variety of figures on an institutional grey set, co-designed by Angela Doherty and Morgan Moroney and lit strikingly by Moroney. The scenes are linked by a hip-hop soundtrack by Michael Weir. There's strong performances across all four actors-  Sam Harmon perhaps most strikingly in a monologue that ties together Mi-Goreng noodles, family dysfunction and a sense of purposelessness, but there's also strength that comes from Malyan Blair in a scene about his fear of what comes after prison, from Danny Howard as 

This is rough-edged material, writer Hannah Belansky drawing from direct contact with young people in the system and reflecting their raw experience back in her writing - and director Abbie-lee Lewis gives it a striking, physical production with the occasional moment of beauty and warmth in among the rougher edges. There are a couple of issues with audibility here and there - not sure whether actors are simply going at too fast a pace or if they're letting authentic language clash with diction too- but for the most part  the material comes across strong and impactful, in a production that holds a lot of interest to anyone who's interested in younger voices.

Friday, 21 August 2026

I love you, you're perfect, now change, Free-Rain Theatre Company, ACT Hub, 19 Aug-5 Sep

Photo by Janelle McMenamin

"I love you, you're perfect, now change" is a series of sketches and songs - act one looks at dating leading up to a wedding, and act two deals with what comes after  - children, routines and the possibilities of divorce and widowhood. Writer Joe DiPetro's gone on since this show to write the Elvis-themed "All Shook Up",  Tony-winning "Memphis", the cult favourite "Toxic Avenger" musical, the delightful "Nice Work if you can get it", and the somewhat tacky "Diana" musical, while composer Jimmy Roberts career hasn't gone very far since this - but this is a show that's played wide and long all over the world simply by being relatable, small scale and quite entertaining. 

It's written for a small ensemble playing multiple roles, and in Free-Rain's production it's immaculately performed by six performers - Amelia Andersson-Nickson, Connor McNaught, David Pearson, Deborah O'Toole, Sam Thomson and Sarah Copley - who cover multiple roles and relationships. As a show originally from the late 90s (though rewritten slightly in this version), it's very much from the "Men are From Mars, Women are from Venus" school of gender-essentialism, but the gags mostly hold up 30 years later. In this production, it's given a stylish look on an abstracted chessboard by Janie Lawson, with some sketches somewhat localised and other sketches staying in the US context of the original material. The musical accompaniment by Leo Amadeus (who has also coached the cast in the tight vocal harmonies) and Laura Ley on violin is small but impactful, going from speedy tense rhythms to touching ballads to genre spoofs. The cast is stylishly costumed by Louise Newey in a mix of reds, whites and blacks.  

The ensemble cast play very well together, whether it be Copley and McNaught exploring alternate personas as "A Stud and A babe", Andersson-Nickson and Thompson fast-forwarding through a relationship in "Better Things to Do", or O'Toole and Pearson finding gentle resolution in "I Can Live With That", or in solo showcases like Thompson's Baby song, Copley's videodate speech, Pearson's scared-straight monologue or Andersson-Nickson's Bridesmaid's lament (aided by some clever lighting by Craig Muller). 

As we transition into spring, it's not a bad time to think of mating-and-dating rituals, and this is a fun way to celebrate it - it's not a groundbreaking show so much as a pleasantly reassuring one. But it's fun to see this ensemble in some material that gives their talents room to show off. 


 

Thursday, 6 August 2026

Diamond, Q The locals, The Q, 6-8 August


 Image: O&J Wikner Photography

Liz Lea is a 50-something showgirl, exploring post-menopause in a show that combines dance, song, video, pyrotechnics, comedy and burlesque. She's a fascinating figure and puts on a show that is visually spectacular - choreographing herself and two dance teams in a range of production numbers and moments that makes for a tight one hour of spectacle and insight.

It's difficult to pin this one down into a specific genre - it's not quite a dance show, not quite a standup routine - but part of the joy of the genre shifting is that it never becomes dull as there's always something new coming up soon . Lea is fantastically costumed (costumes by herself, Bruce Scott and Cate Clelland), stunningly lit by Karen Norris and supported by strong video elements (technical director Roni Wilkinson). Some of the writing for the stand-up portion, in all honesty, could be a little tighter - but it makes Lea relatable in her confessional nature, not too over-polished (though talking about her concussions makes me a little worried when she starts dancing again that she doesn't endanger herself!). The support of seven-member showgirl troupe High Kix and dance troupe Silver Stars gives the show added dazzle when required. 

A visual spectacle with a strong theme, this is a joyous, compelling look at aging that never stops being entertaining.