9 TO 5 (THEATRE)
In recent years I have watched Queanbeyan Players cement its place as one of the leading musical theatre producers in the ACT and Queanbeyan. 9 to 5 The Musical is no exception. It is assisted by Dolly Parton’s lively music and lyrics and Patricia Resnick’s fun filled book of moments of hilarity and tongue in cheek satire. It’s no earth-shaker of a musical but it is based on a trailblazer of a film that gave voice to women and exposed the injustice of rampant sexism. More than that 9 to 5 The Musical is a showcase of the remarkable talent that continues to bring high quality amateur musical theatre productions to the community. Director Sarah Hull keeps the action rollicking along in a tightly directed work. She is assisted by Lauren Chapman whose chorography is stylish slick and diverse and can make every performer look good on the stage. The cream on the top of this cherry pie production is Jenna Hinton’s musical direction and the professionalism of an orchestra that is musically excellent and imbues the spirit of the show. Hull, Chapman and Hinton have cast an amateur cast that in this production are not only fabulous singers but also terrific actors.
Eisenberg is the long-time employee of the company, Violet, constantly overlooked for promotion by the misogynistic Hart. Copley’s naïve and innocent newcomer is a delight to watch on stage as Judy grows in strength and confidence, supported by her rebellious sisters in arms. Curnow brings a touch of Dolly to the trio and proves that Doralee is a force to be reckoned with. O’Mara’s Hart oozes sleazy sexism but in the end Pat Gallagher’s chairman of the board is no fool and it is inevitable in every good story that the villain should get his just desserts.
In a company as talented as this there are standouts. None more so than Shennia Spillane in the role of the devoted lackey, Roz Keith. Writer Resnick has cleverly drawn a character to contrast with the feisty trio. In a knockout number Heart To Hart, Spillane burns with unrequited love as her devotion to the lecherous Hart reaches orgasmic longings. As Violet’s lovelorn admirer, Joe, Dave Collins’s fine voice is layered with sentiment in his duet Let Love Grow with Violet. Copley show Judy’s strength when she asserts her independence from a fickle ex-husband in Get Out and Stay Out.
My only criticism of this finely staged production of 9 to 5 The Musical is that the sound levels on Opening Night robbed the production of clarity of lyrics in the ensemble numbers and the subtlety of the show might have been enhanced by more sensitive modulation. This is an opening night issue and is easily fixed so that each number in the show is a unique rendition of Parton’s original numbers. This was less of a problem in the dialogue scenes and individual numbers such as I Just Might with Judy, Doralee and Violet or One of The Boys with Violet and the Boys.
In a rousing Finale of Working 9 to 5 Queanbeyan Players hit the high note of a fun filled night at The Q. However, it is worth noting the 9 To 5 The Musical is no flibbertygibbit night of froth and bubble. The 1980 film with Jane Fonda, Lily Tomlin and Dolly Parton hit the screens almost fifty years ago. Australian society has come a long way since then with more women occupying CEO positions and the Chairs of important organizations. But what of the working woman, their working conditions and attitudes that prevent Violet’s demands of respect, integrity and dignity. Queanbeyan Players’ excellent production continues to blaze a trail for change as well as providing a night of first-rate entertainment.
The Orchestra: Conductor Jen Hinton, Guitars 1 and 3, Christopher Bennie and Lindsay Hunt, Bass Liz Collier, Reeds 1 and 2 Sarah Pfeiffer, Kirsten Nillson/Casey Paige Magnussen Trombone Maddy Upfold/James Harding. Percussion Tim Cole. Drums Stephen Barrat. Keys 1 and 2 Brigid Cummins and Lauren Duffy. Trumpets 1 and 2 Andrew Terracini and Chris Cutting. Pit Singers Hannah Miller, Luke Ferdinands, Rachel Baker, Hannah Osbourne.
~ Peter Wilkins
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CHAOS PROJECT (THEATRE)
The term Main Character Energy emerged from social media trends and is the theme of this year’s Chaos Project, presented by QL2. Three alumni returned to QL2 to create the works alongside artistic director Alice Lee Holland, for the dancers, aged between seven and 16. Together, they explored themes of good versus evil, superheroes and villains, the co-existence of self confidence and self focus in each person and portrayals of these ideas in fairytales.
Opening with Once upon a Time, the dancers crossed the stage in typically-seen superhero poses and danced holding apples, referencing the Snow White story. This led into choreographer Ruby Ballantyne’s The Sidekick Revolt! – a fun theme and age appropriate, nine young sidekick dancers, completely committed to their characters, audition for the next Capital superhero. They acted out and mouthed the words to their voice-overs and gave plenty of energy, enthusiasm, personality and confidence, as only children can, wearing white leggings with superhero undies over the top. This definitely put a smile on everyone’s face. Set to music that called to mind ’80s TV shows, the moral message at the end took the edge off the light-heartedness that was being enjoyed.
Red light, strobes, darkness and instrumental music by Nine Inch Nails set the scene for Jack Ziesing’s work Goblin Market, with the senior dancers clad in black with textured black gilets. Horror movies, the dark side of Spiderman, creeping black ooze, and an army of evil facing off against a young superhero were conjured up as dancers slink across the stage, morphing, marching and transforming in bursts of movement and static. One of the dancers performed a walking backbend which was impressive and the long, sharp black fingernails worn by the dancers were fun.
Magic Mirror by Olivia Wikner was appealingly lit and costumed, with all dancers in a combination of black and white. The style of dance was balletic and graceful and referenced classic Disney animations and fairytales and characters Snow White and Evil Queens. Like Water, created by Alice Lee Holland also had pretty costumes and lighting, with the dancers wearing shimmery pinafores. Set to calm music including harp and concluding with drumming, the fluid, graceful choreography called to mind meditative movements of martial arts and movies like House of Flying Daggers but a check of the notes explained this piece was based on characters including Yoda, Master Oogway (from Kung Fu Panda) and Mr Miyagi.
There appeared to be many new dancers in this year’s Chaos Project. The dancers were given moments to showcase individual skills and overall the choreography focused very much on hand movements, such as utilising apples, and continued thematically and on sweeping or dramatic arm movements and poses. The finale saw a flurry of dancers fill the stage as the lyrics Rescue Me played out, allowing the girls to play the damsel in distress (albeit very light-hearted distress), followed by some temporary choking on apples and a humorous conclusion that might have the crew still searching for a few prop apples after the show.
~ Samara Purnell
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LOVE ON THE SPECTRUM (TELEVISION)
Australians are increasingly diagnosed with a condition many don’t understand, and there are gaps in the inclusion of neurodiverse people.
In 2022, over 290,000 Australians were identified as having autism. That’s a 41.8% increase since 2018, which the Australian Bureau of Statistics attributes to increased awareness, improved diagnostic criteria and better access to services.
“I want society to realise that people with disabilities deserve to be seen, heard, and valued,” Ronan said, “Because they have so much to offer if given the chance.” “Different isn’t less, different is necessary.” From a young age, Ronan has sought to live authentically and encourage others to do the same. “I always like to be my authentic self, and I hope it inspires others to give things a try and live their best lives ever,” Ronan said.
This approach guided him when he appeared on Love on the Spectrum, experiencing his first date on television.“Going on the show was such an amazing experience for me because I had never been on a date before, so I thought, ‘why not give it a try?’” Ronan said.
Meeting Katie, someone he describes as “so caring, lovable, and such a nice person,” was transformative. “It is so powerful to connect with someone special,” Ronan said. “I hope by being on the show I have helped the public to have a better understanding of autism and to show that autistic people want and deserve love just like anyone else.” Beyond dating (Ronan’s still with Katie), Ronan finds grounding in hobbies like karate, music and motorsports, and encourages people with autism to find skills that give them structure and purpose. “Karate helps with anxiety,” Ronan said.Making schools an inclusive environment also helps students with autism settle in much quicker.
“Throughout [primary] school I only knew my brother,” Ronan said. “By the time I moved to high school, it was like starting all over again [but] one day some of the older students asked me to sit with them and they took me under their wing. “They were giving me so much encouragement, on how to build friendships and make social connections as well. “By the time the older students graduated from high school, I began to feel a lot more comfortable with other people at high school and they began to understand about what my wants and needs were.”
Through his advocacy Ronan wants to be a role model for inclusion, confidence, and authenticity, telling people “to believe in themselves and approach challenges with positivity”.
~ Laura Bennett
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BIG NAME, NO BLANKETS (THEATRE)
Sheer joyfulness is the only way to describe Ilbijerra Theatre Company’s rollicking and uplifting production of Big Names No Blankets. And what a fantastic celebration of Naidoc Week. Big Name, No Blankets is a tribute rock musical to the late Warumpi Band founder Sammy Tjapanangka Butcher. As a salute to the name of the band’s first album Big Names No Blankets is big, blak, proud and strong. Ninety minutes of exhilaration track the origins of Warumpi Band from the Dreaming of the Honey Ant of the Red Desert to the towns of the bush, the city and eventually the world. From the very opening welcome to country it is obvious that this show is a statement from the heart, sincere, truthful and spoken with the voice of reconciliation. Rock and gospel, folk and ballad sing the praises of My Island Home, affirm the struggle in We Gotta Be Strong and cry out for unity and tolerance in Blackfella/Whitefella.. Warumpi sounds the clarion call of hope and of a better future for generations to come.
The show tells the story of Warumpi Band’s journey from when Sammy (played with appealing engagement by Baykali Ganambarr) accidentally tripped over a guitar on the ground to the band’s emergence as Australia’s foremost iconic indigenous band, singing proudly in the Lurritja Yolgnu Matha languages of the Central Desert. It is a story told in the spirit of childlike joy and laughter by a company of favbulous performers and musicians. Central to the explosive impact of the production is the charismatic performance of as the lead singer, George (Googoorewon Knox). He has the audience standing and stomping to the rock rhythm of his song including a celebration of identity and power in Stand Up And Be Counted. The auditorium pulsed with the power of total liberation. Brothers and sisters were united in the spirit of compatriotism.
~ Peter Wilkins
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BRING HER BACK (FILM)
Some horror films linger with us, haunting our thoughts for days, weeks, even months after watching. A classic example is the unforgettable scene in The Ring where Katie Embry’s distorted face is suddenly revealed, searing itself into memory. While not every film has a single moment that sticks, a well crafted narrative can still validate a horror film’s impact. Occasionally, though rarely, it’s the performance within a horror film that becomes its most striking feature. But it’s exceptional when a horror film manages to deliver all three: a chilling moment, a strong story, and outstanding acting.
Danny and Michael Philippou’s Bring Her Back is a rare and masterful blend, a horror film that also functions as a deeply resonant and emotionally grounded drama. Not relatable in the literal sense of possession and violence, but in its themes of family, sacrifice, and the desperate pursuit of truth in the face of disbelief.
Sally Hawkins is astonishing as Laura, a mother, caregiver, and quietly formidable force. Her portrayal is simultaneously tender and unsettling, capturing grief, resilience and quiet manipulation with uncanny authenticity. Young talents Sora Wong, Billy Barrett, and Jonah Wren Phillips offer performances filled with emotional nuance and unexpected maturity, adding depth to the film’s emotional core.
For those who aren’t typically drawn to horror but appreciate great drama, Bring Her Back is worth your time. For those seeking that one unforgettable horror moment, it delivers… and for those who love both… this horror film is a true gem.
~ Daniel Widdowson
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MJ THE MUSICAL (THEATRE)
MJ The Musical opens in a grungy rehearsal room in Los Angeles in 1992. Dancers are perfecting Beat It in the final days of rehearsal for the Dangerous world tour.
When Michael Jackson (Roman Banks) appears there are spontaneous cheers from the audience. And the tingles set in.
From the book by Lynn Nottage, the narrative of MJ loosely hangs on the scenario of fictional MTV journalist Rachel (Penny McNamee) and her bumbling videographer who have been granted permission to unobtrusively observe Michael in rehearsal. Nottage was drawn to the dichotomy of an uncompromising perfectionist, generous philanthropist and self destructive recluse. The perfectionism Michael kindly but firmly demands from everyone involved, the budget blow-outs and his anxiety around press conferences and the media are portrayed.
Renowned choreographer Christopher Wheeldon directs and choreographs the mammoth undertaking that is MJ The Musical, years in the making. Opening on Broadway, MJ The Musical won multiple Tony Awards in 2022. He and Nottage have constructed a show that unfolds as memories, vignettes, highlights and heartbreaks from Michael Jackson’s childhood and early career. With a myriad of iconic songs to choose from, they deliberated, painstakingly, to select ones that would propel the story forward, with a couple of non-negotiables included.
Banks does a remarkable job portraying one of the most iconic musical artists to have lived. The voice, his pronunciation and intonations and laugh are all exceptionally accurate. He does appear notably shorter than Michael Jackson. After a couple of particularly rigorous dance numbers the performers are slightly breathless. One thing that particularly stood out in seeing Michael Jackson perform live in Sydney was how incredibly fit he was and how he never seemed out of breath at all.
As Michael, earmarked as a star from childhood, yearns to be a successful African American artist, he attempts to find a balance between family obligations and loyalty and forging his own creative path and identity. Showcased in colourful Motown and Soul numbers from The Jackson 5 – Blame It On The Boogie is brilliant, with Soul Train and TV appearances morphing into Studio 54 and the influence of their dance moves on the local club scene, including a young Michael’s popularisation of the “Robot Dance”. Costumes are changed at warp speed and sets (designed by Derek McLane) seamlessly appear and recede, in a dazzling montage.
Liam Damons as young Michael has just the right physique for the role. He sings confidently and portrays the frustration and angst of a young man navigating his way through fame, the music industry and all the pitfalls that come with it, producers, friendships and a demanding family. William Bonner as little Michael sings sweetly and dances joyously and at only 11 has the vulnerability and innocence to make the numbers sung with his mother (powerhouse singer Josslynn Hlenti Afoa) convincing and poignant. I’ll Be There between little Michael and his mother ends up with MJ harmonising with them.
Clearly affected by his father Joe’s (Derrick Davis) brutal management of the family and band, philandering and constant reminders of the challenges he will face as a Black man, when MJ “remembers” these and engages in duets with his younger self it’s as if he is acknowledging and healing a wounded child. These were sad and lovely moments in the show.
Growing up in a Jehovah’s Witnesses family where birthdays were not celebrated, his desire as an adult to make everything lighthearted and fun seems a counterpoint. He exhibited a child-like humour and playfulness throughout his life and amused himself with practical jokes, playing them on Rachel, who almost becomes a confidant by the end of her time with him.
Rachel notices and enquires about his pill addiction in the aftermath of a serious burn he suffered during filming of a Pepsi commercial, but to no avail. Cleverly choreographed and staged montages of Michael winning a plethora of awards, and creating ground-breaking film-clips and dances follows. It’s like watching a tape in fast forward.
Michael’s ambitious, even fantastical ideas are leading to a path of financial ruin, much to the despair of his manager and accountant. Unwilling to compromise or give in, or even look at facts and reality, Michael implores his team to just make it happen, even if it means he could lose Neverland. His quest for authenticity means he is not satisfied with a song, a routine, an idea, until he can “feel it” in every sense – emotionally, creatively and in his body. This leads to him moving constantly, throwing out small movements as he speaks, almost comically.
And when the instantly recognisable notes of Thriller are heard, the anticipation is palpable. In a wonderfully dramatic, extended number and the highlight of the first act, a stunning set, inspired by the artwork on the Dangerous album, fills the stage, flooded with red lighting and elaborate costumes. It’s overwhelming and exhilarating. It was intentional not to include a photo of this number in the review so as the impact remains a surprise for those who see the show!
As the show reaches its conclusion, the timeless anthem of Man In the Mirroris sung by the cast. The finale and curtain call had the audience on their feet singing along.
~ Samara Purnell
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WYONG WRITES (THEATRE)
