2026: The Good Boy Game by Patrick Vermillion

 

 

The Good Boy Game by Patrick Vermillion USA).  Queanbeyan Performing Arts Centre – Drama, Q the locals. June 18-20  2026

Reviewed by Frank McKone
June 20

Creatives & Production Team
Writer: Patrick Vermillion    Director: Caitlin Baker

Cast & Characters
Alastair McKenzie as James; Giuliana Baggoley as Mary-Beth
Bruce Hardie as Sam; Elaine Noon as Judith

Running time: 100 minutes without interval

Audience advice:
Contains coarse language, references to sex, misogyny, violence, murder and other mature themes.
Also contains simulated physical and gun violence, explores mature/taboo themes and contains loud noises and flashing lights.

Recommended for ages 16+ 



The Good Boy Game is Sigmund Freud’s Oedipus Complex theory made explicit.  

In Sophocles’ original play, Oedipus Rex, Oedipus kills his father and marries his mother without knowing they were his parents.  In Vermillion’s play, taking Freud’s misinterpretation of the ancient Greek myth literally, 16-year-old James knowingly kills his father, and “marries” his mother (though not finally including incestuous sexual intercourse).

Set in modern America, the actors need to express highly complex emotional details, rapidly changing as the characters each rationalise their attitudes.  The intention behind every character’s words creates a change in direction in the other’s response.  All done at rapid pace in quite short scenes on each of the three settings, with the quick changes headlined on the upstage projection screen – the family dining room, the attic and the counsellor’s rooms.

This set design is simple, but very effective in keeping the drama moving.

All four actors, in action and in argument, drew our attention tightly to follow a highly complex examination of this young man’s avowed intention to kill as many people as he could, because of his hatred – of society, where he saw himself as being on the outer.

“How do good boys become dangerous men?”, is the central question, and asks, can an approach using reward points offered for good behaviour, with losses for bad, and ‘priced’ – just as we do with money – change the boys’ behaviour for the better?

The play’s answer is ‘No’, despite Giuliana Baggoley’s remarkable efforts as James’ mother.  Her role in the story is crucial to our understanding of toxic masculinity, online radicalization, and the manosphere, in light of the far too common ‘mass shootings’ in America; and Giuliana as an actor is crucial to the success of the drama.

Elaine Noon as the psychological counsellor Judith, who offers the points system, was precise in her professionalism in that role – absolutely believable to us.

Bruce Hardie as husband and father Sam, clear in his mind as a ‘progressive’ but conflicted in practice, and finally attacking his son, played the role very well to the point where his issues and responses could not fail to bring our own experiences to mind.

And then the awfulness of Alastair McKenzie’s James, especially in the final scene with his mother, was terrifying to watch.

But this is the point of presenting this drama – that we have to accept the truth of the motivations for killing, so basic to so many men.

Freud’s invention of the idea that ‘hysterical’ women who claimed to have been sexually attacked by their fathers had really brought that upon themselves – the Oedipus Complex – was a convenient lie which Vermillion exposes in Mary-Beth’s relationship with her son James.

It’s an important play – even though the conclusion is not promising.  I can only hope that this production of The Good Boy Game can have an extended run and travel further afield as it deserves.

 

 

©Frank McKone, Canberra

2026: Travelling North by David Williamson

 

 

Travelling North by David Williamson.  Canberra REP at Canberra REP Theatre, June 11 – 27 2026

Reviewed by Frank McKone
June 13

Creatives
Directed by Cate Clelland
Set Design: Cate Clelland
Costume Design: Clare Middleton, Darcy Abrahams, Cate Clelland
Lighting Design: Craig Muller; Sound Design: Nev Pye
Properties: Brenton Warren

Cast
Frances – Danielle Spiller; Frank – Pat Gallagher
Sophie – Margeaux Arundel-Williams; Helen – Matilda Millar-Carton
Joan – Stephanie van Lieshout; Freddy Wicks – Steven Kennedy
Saul Morgenstein – Adrian Breen
Wedding Celebrant – Kumar Kartikey Gupta
Gallery Attendant – Grace Cassidy

Though, from my past experience in companies similar to REP, I fully appreciate the effort that has gone into this presentation of Travelling North, with its thirty-three very short scenes.

Because Cate Clelland has chosen to darken the stage and move often large pieces of furniture on and off between almost all scenes, nearly half of our time in the audience is taken up in scene changes.  

Though this may seem a cheap joke, half-way through Act I the word “pedestrian” came to mind – referring to all the walking on and off; and meaning the effect as a theatrical experience, as opposed to, say, “engaging”.

I therefore cannot recommend REP’s production of Travelling North.

On the other hand, I did review the touring production done by Christine Harris and HIT Productions, presented in Canberra at the Tuggeranong Arts Centre in 2008.

I wrote then that Bruce Myles’ “direction suits this small-scale venue, bringing out qualities of character and personal relationships more successfully than I remember from early productions on larger stages where Williamson's one-liners were funny but less engaging.”

How did he do it?   Canberra REP’s stage is not exactly large, and could have used a design like this:

An AI search is informative: 
For the 2008 national touring production of David Williamson’s Travelling North—produced by HIT Productions and directed by Bruce Myles—the creative team faced a unique challenge. The play’s "filmic" structure demands rapid movement across dozens of short scenes. Furthermore, as a 14-week national tour, the set had to be physically adaptable enough to pack down and fit into 33 different metropolitan, regional, and remote venues across Australia.

To solve this, set designer Shaun Gurton and lighting designer Glenn Hughes devised a highly functional, smart, and minimalist staging environment, The Set Design Minimalist Framework: 

Shaun Gurton opted for an elegant, understated, and functional design. Rather than trying to construct multiple realistic rooms, the stage relied on clean lines and abstract spacing.

Portable Architecture: Because it was built for rigorous regional touring, the physical structures were lightweight and easily transportable. The design used simple multi-purpose spatial markers (like steps, platforms, or sparse furniture) that could easily adjust to fit varying stage sizes across Australia.

Thematic Focus: By stripping away heavy clutter, the design purposefully shifted the entire audience focus onto the spiky dialogue and personal interactions [and] avoided heavy, traditional physical set tracking or long curtain pauses. Scenes dissolved into one another with actors carrying small props or altering their positioning smoothly.(My emphasis).

The action of the play is mostly limited to three locations [with] Frank and Frances' holiday getaway positioned at stage right.

The result for HIT in 2008 was, in my review: “The audience's sustained applause on opening night expressed our appreciation not only for the skills of the director and actors but, I think, for a production which brought the best out of Williamson.  Very satisfying.”

I honestly could not write the same conclusion about the performance I saw on Saturday.

©Frank McKone, Canberra

2026: The Deep Blue Sea by Terence Rattigan

 

 

The Deep Blue Sea by Terence Rattigan.  Chaika Theatre at ACT Hub, Kingston, Canberra

June 12 - 27 2026
Reviewed by Frank McKone
June 12

Creatives

Creatives
Director: Tony Knight
Asst Director & Costume: Ylaria Rogers
Design: Michael Sparks
Artworks: Leigh Penton & Kerry Wode/Lillian Vickery & John Vickery
Light & Stage Management: Disa Swifte
Sound: Neville Pye; Composition: Paris Scharkie
Properties & Medical Consultant: Yanina Clifton
Intimacy Consultant: Jill Young

Cast
Hester – Jenna Roberts; Mrs Elton – Kate Blackhurst; Miller - Karen Vickery
Philip – Jack Shanahan; Ann – Meaghan Stewart
Sir William Collyer – Michael Sparks; Freddie Page – Sol Mason
Jackie Jackson – Blue Hyslop



Terence Rattigan’s 1950s’ play is about what it means to love someone, what it means to be loved by someone, and what it means when love fades, and life seems to no longer have any purpose.

These are the experiences of the central character: a woman, Hester, a demanding role played  with sensitivity and fine detail by Jenna Roberts, through all the vicissitudes from self-loathing to hope.

As the two men in her life, the staid successful Judge Sir William Collyer and the one-time military test pilot, adventurous Freddie Page – Michael Sparks and Sol Mason respectively – match Roberts’ acting skill, providing strength and balance in the drama’s through-line to Hester’s achievement of true independence.

And, all the other characters in her milieu – other tenants in the block of flats where Hester lives, the unit cleaning-woman, a down-graded medic, and Freddie’s air force friend – establish their status and position as they relate to her, influencing how she progresses from near suicide to taking up her artistic work in a positive frame of mind.

This Chaika production of The Deep Blue Sea is very successful first because of the quality of the directing.  Tony Knight has clearly understood the need for the style appropriate for the period and situation that Rattigan has written into the script – almost as if it were a Noel Coward witty comedy as the play begins, which then mutates into serious reality.

In addition, playing at The ACT Hub, with the audience grouped at each end, and the sitting room setting across the space between them, allows us to feel as if we are almost in the room with the characters – reminding me of that other famous intimate theatre, Ensemble Theatre in Sydney.

The careful mimimal use of external sound – the quiet piano – and lighting underdone – but just right – reinforced the sense of quality theatre on the principle of less is more.

Finally, the choice of a play about love and marriage difficulties from a time before today’s social media disaster is an important contribution to recognising the value of real-time person to person life – in a time now when youth suicide is on the increase.

A production not to be missed.

At https://en.wikipedia.org/wiki/The_Deep_Blue_Sea_(play), for further thinking about the significance of Rattigan’s theme, his personal history suggests he intended the implications of Hester’s story should apply to any love experience, not only male-female.  The important issue, it seems to me, is that we all should do our bit to support others through their natural emotional turmoils when their hopes are unfulfilled.  That’s another kind of love.


©Frank McKone, Canberra

2026: The Sapphires

 

 

The Sapphires.  Queensland Theatre Company at Canberra Theatre Centre, The Playhouse, May 30 to June 7, 2026
2 hours and 10 minutes, including interval

Reviewed by Frank McKone
May 31

Creatives
Writer Tony Briggs; Director Wesley Enoch
Musical Director Nathaniel Andrew; Choreographer Yolande Brown
Set and Costume Designer Richard Roberts; 
Lighting Designer Ben Hughes; Video Designer Craig Wilkinson
Sound Designer and Sound System Designer Isaac Ogilvie
Assistant Director Chenoa Deemal; Fight Choreographer NJ Price
Intimacy Coordinator Andrea Moor; Vocal Coach Naomi Andrew
Stage Manager Yanni Dubler; Assistant Stage Manager Lialize du Plessis
Stage Management Secondment Tara Kenn

Cast
Dave Lovelace - Jack Bannister; Cynthia McCrae - Ruby Henaway
Robby - Cameron Leonard; Kay McCrae - Aurora Liddle-Christie
Jimmy/Dance Captain - Garret Lyon; Julie McCrae - Tehya Makani
Joe - Chris Nguyen; Gail McCrae - Taeg Twist

Band
Bass - Eli Badger; Drums - Dimple Bani; Keys - James Feagai

Full Program at https://canberratheatrecentre.com.au/wp-content/uploads/2026/05/CTC_The_Sapphires_program.pdf 

The Sapphires is a truly iconic Australian theatrical wonder; and this production coming from Meanjin, Queensland, is wonderful.

In its way, it’s equivalent to Alan Seymour’s The One Day of the Year (1960), which I remember well for its contentious view that enjoying playing two-up in the pub was completely inappropriate considering the immorality of sending Australian (or anyone’s) soldiers to war.  As theatre it was strong, despite objections – and now it is iconic in the proper sense.

Sending  young Indigenous women, in 1968, to entertain Australian soldiers, sent completely inappropriately to battle in Vietnam, was worse than playing two-up, with the same intention to make warfare acceptable.

Turning this venture into a musical, on stage in 2004, and as a movie (2012) written and directed by First Nations men was a brilliant move – as significant as The One Day of the Year for its critical view, and even more entertaining.

The stage show (Melbourne Theatre Company) was directed by Wesley Enoch, and written by Tony Briggs; the movie was directed by Wayne Blair and written by Keith Thompson and Tony Briggs.  

Today’s 2026 Queensland Theatre Company production, again directed by Wesley Enoch, has the standing of a commemoration of a first nations tradition, in recognition of the first women stage actors, 
Deborah Mailman, Rachael Maza, Ursula Yovich and Lisa Flanagan; 
the movie actors, 
Deborah Mailman, Jessica Mauboy, Shari Sebbens and Miranda Tapsell;  
and now 
Ruby Henaway, Aurora Liddle-Christie, Tehya Makani and Taeg Twist.

And do these women sing, and dance, and play out their family differences – and tremendous togetherness – not just with gusto, but with clarity of characterisation that brings out the truth of their situation, while indeed succeeding in the dream of professional recognition – no longer “unseen” as women, nor as Indigenous.

They perform, too, in a closely knit team with Jack Bannister, Cameron Leonard, Garret Lyon, and Chris Nguyen who bring to life the white Australian and black American, and local Vietnamese aspects of the war.

And all perform brilliantly with a live band, and quality sound – and not forgetting quality costuming – which make this valued musical a thoroughly satisfying joy to behold.

Definitely Not To Be Missed.


©Frank McKone, Canberra

2026: 84 Charing Cross Road by Helen Hanff

 

 

 84 Charing Cross Road by Helen Hanff.  Ensemble Theatre, Sydney May 1 – June 2026.

Reviewed by Frank McKone
May 30

Creatives

Writer: Helene Hanff; Adapted for the stage by James Roose-Evans
Director: Mark Kilmurry
Movement Director: Julia Robertson; Set & Costume Designer: Nick Fry
Lighting Designer: Matt Cox; 
Composer & Sound Designer: Madeleine Picard
Dialect Coach: Linda Nicholls-Gidley
Stage Manager: Lauren Tulloh; Assistant Stage Manager: Bella Wellstead
Costume Supervisor: Judy Tanner


Cast

Helen Hanff - Blazey Best
Megan Wells / Maxine Stuart - Katie Fitchett
Cecily Farr / Mrs Todd - Angela Mahlatjie
Bill Humphries - Brian Meegan
Frank Doel - Erik Thomson

84 Charing Cross Road, adapted for stage from Helen Hanff’s memoir, is an intriguing play, and ultimately sad as the final letter tells of Frank Doel’s unexpected death.  In the intimacy of the Ensemble, where we can see each other all around the acting space, it’s almost like family as Blazey Best opens the envelope and begins to read – but it’s not from Frank himself, as it has always been for so many years.  

Just when it seems, at last, Helen may have the money to go to England to visit the bookshop and actually meet Frank.

Blazey Best’s creation of the character of the real Helen Hanff, always a risky acting task, is exactly right, except on one point.  Helen was interviewed at the time the story was launched as a movie. 

The important point is that Best has captured Helen’s mannerisms, her way of speaking, but has exaggerated her New York accent, giving her a high-pitched sharp tone of voice, which I often found made her words difficult to follow – while making the character sometimes quite unattractive.  The real Helen, at least when she was older, had a moderated and more rounded sounding NY voice.

YouTube·ThamesTv·6 Oct 2025

Maybe the harshness in Best’s presentation is right early in the play, but should be moderated as Helen ages.  I think, in comparison, that Erik Thomson as Frank achieved that kind change over time very well, with a bit more than necessary of a toff English accent when still young, making his antique book-selling a ‘thing’; but settling in to a confident corporate manager’s smooth speaking; and later becoming older – and badly affected by illness, like the ’flu, showing a touch of roughness in an ageing voice.

The design of the staging of the letters being read out as they were being “written” at Helen’s writing desk in New York and in the office at 84 Charing Cross Road in London, appearing as together simultaneously, is highly successful in creating the sense of personal connection that Helen and Frank developed in real life at a physical distance.

This design also then needed fine detail by the movement director to create the complex set of relationships in the London office instantly parallel with the details of Helen’s activities and emotional actions and reactions in sending and receiving.

The timing – as in comedy – has to be precise to a fine degree; and all the actors in this tight group got it right, becoming  fascinating to watch at every moment.  They never missed.

Which is a reason in itself for the play being Not to be Missed.

And then there’s the real reason for seeing this story of the 1950s, 60s and even later, the time before email, social media and AI – when we wrote letters.  And when we expressed our feelings for each other.

I was there, growing into adulthood alongside Helen Hanff, and I thank Blazey, Erik, Brian, Katie and Angela, and the whole Ensemble team for showing me the way. 

 

 ©Frank McKone, Canberra

 

2026: SHELTERING - Bangarra Dance Theatre

 

 

Sheltering – Bangarra Dance Theatre.  Canberra Theatre Centre, May 23, 26, 27, 2026

https://www.bangarra.com.au/news/2026-national-tour-sheltering/ 

Reviewed by Frank McKone
May 23



Sheltering is a major theatrical work of Indigenous Australian culture.

To place the importance of this work into context, if you see a top-class production of, say, Mourning Becomes Electra by Eugene O’Neill, you understand it is an expression of truth in American culture; as the Verdi opera La forza del destino is in Italian culture; or as Shakespeare’s The Tempest is in English culture.

Though you may not be American, Italian or English, such works cross cultural boundaries because they take us emotionally into experiencing universal truths which reflect our lives.  

Though, like me, you may not be an Indigenous Australian, the emotional impact of this three-part work is palpable, from the story of the people’s origin on Country – of hope and growth in Keeping Grounded – in dance form; through, on film in Brown Boys, the being “challenged by insecurities of longing and perceptions imposed on brown boys within family and social settings” in modern times; and finally in the dance work Sheoak, which symbolises the people’s “enduring cultural responsibilities” and “resilience through their enduring presence, and their scars remind us of survival and adaptation just as our ancestors did”.

Sheltering is a major work of theatre art in dance, movie, and held together by a powerful music and sound track, such that the strength of feelings of hope, of tragedy, and of elation when the whole community works in cultural harmony, left me shaken.  

And in a state of wonder at the originality of the presentation, especially of the choreography and dance skills, and the audio originating from the score created by David Duboo Page,  of a kind beyond any expectation even of ‘modern dance’.  

Frances Rings, of Wirangu and Mirning heritage, has taken up the tradition of Bangarra, from the Nunukul family of the Page brothers – Russell, David and long-time artistic director Stephen, and made a new work further establishing Australian Aboriginal culture, some 70,000 years old, in its rightful place, right now.

This work is surely one to be performed around the world.  

Ngunnawal Country
Canberra Theatre Centre
23 - 27 May 2026

Gadigal Country
Sydney Opera House
3 - 13 June 2026

Wurundjeri Country
Arts Centre Melbourne
18 - 27 June 2026

Meanjin
Queensland Performing Arts Centre
9 - 18 July 2026

Credits
Artistic Director - Frances Rings
    ____________________

SHEOAK

Choreographers:     Frances Rings
    The Dancers of Bangarra Dance Theatre
Composer:     David Page (dec.)
Set Designer:     Jacob Nash
Costume Designer:    Jennifer Irwin
Lighting Designer:     Karen Norris

KEEPING GROUNDED

Choreographers:     Glory Tuohy-Daniell
    The Dancers of Bangarra Dance Theatre

Composer:     Brendon Boney
Set Designer:     Shana O'Brien
Costume Designer:     Clair Parker
Lighting Designer:     Karen Norris
Rigging Consultant:     Katie McDonagh
Creative Mentors:     Jacob Nash, Matt Cornell

BROWN BOYS

Choreographer:     Daniel Mateo
Directors:     Cass Mortimer Eipper,     Daniel Mateo
Composer:     Leon Rodgers
Set and Costume Design:     Elizabeth Gadsby
Director of Photography:     Liam Brennan
Producer:     Michaela Le

©Frank McKone, Canberra

2026: Vanya & Sonia & Masha & Spike

 

 

Vanya and Sonia and Masha and Spike by Christopher Durang (USA).  Mockingbird Theatre Company at Belconnen Arts Centre, May 13-23 2026.  140 mins including 15 mins interval.

Reviewed by Frank McKone
May 15

Setting: Bucks County, Pennsylvania USA.  The year is 2013.

Cast:

Vanya – Chris Baldock; Sonia – Tracy Noble; Masha – Helen McFarlane
Spike – Darcy Worthy; Nina – Lily Welling: Cassandra – India Kazakoff

Production Team:
Director – Steph Evans; Asst Director – Gabrielle Purcell
Stage Manager – Gabrielle Purcell & Steph Evans
Set Design and Realisation – Chris Baldock, with Steph Evans and Gabrielle Purcell
Lighting Design – Rhiley Winnett and Steph Evans
Sound Design – Gabrielle Purcell
Costumes & Props – Chris Baldock, Steph Evans and Cast
Intimacy Director – Steph Evans
Photography – Zac Bridgman

Mockingbird’s presentation of this 21st Century highly American vision of how Anton Chekov’s late 19th Century Russian characters can make us laugh – and worry about the future – now as then, is like drinking a whole bottle of sparkling wine – superficially bubbly to start with, and a satisfying vintage by the end.

This success is because Chris Baldock has the imagination, the taste, and takes every care as the best winemakers do, working with a small, remarkably well-blended team to make sure every little detail is exactly right – from the Pennsylvania accents, to the extraordinary facial expressions by one who is speaking and everyone else in response, to the choreography, and the instant changes of attitudes and emotions.

This makes top-class comedy from Baldock himself as Vanya, the family elder (since their parents have ‘passed’); trying to live peacefully with his adopted sister Sonia, seeking more in life than just housekeeping; in massive contrast with his true sister Masha, actress in the extreme.  

Not only does Masha turn the household topsy-turvy by bringing in the amazingly beautiful sexy young man Spike, who then brings in the equally beautiful sexy young woman Nina; but it is Masha who owns the house and pays for her siblings’ living costs, since her acting roles provided the money – until now as she is growing old, but doesn’t want to face playing grandmother in the next movie.

Then, taking us way back referentially from Chekov to ancient Greek theatre (is it Sophocles?) the weekly house-cleaner is Cassandra, who predicts the future but is not treated well by the Gods.  The role is farcical, and just what is needed to make ‘normal’ life impossible – and awfully funny.

The style of acting all this is very much over-the-top, as you may imagine.  You have to see the show to see it done – and everyone of these actors are at the professional standard the play requires.

Even to the point in the final scene when they achieve the seriousness of the absurdity of our lives to open our eyes.  We may still be laughing while we applaud such great acting.  Only afterwards we may start worrying about our own futures in post-2020s.  It’s a great vintage at the end of the bottle; but we have to think about the effects of drinking so much all at once.

Another imbibement from Mockingbird not to be missed.

©Frank McKone, Canberra

2026: Rhinoceros by Eugene Ionesco

 

 

 

 Rhinoceros by Eugene Ionesco.  

Daramalan Theatre Company at Daramalan College  April 18 - 25, 2026
By arrangement with ORiGiN Theatrical, on behalf of Samuel French.
Bookings:
https://events.humanitix.com/rhinoceros-cnbc99wn 

Reviewed by Frank McKone
April 18

Directed by Joe Woodward.  Translated by Derek Prouse

OUTSTANDING THEATRE IN EDUCATION

If there’s one lesson to be taken seriously, in a world of instant communication, it has to be about the problem of going along with the crowd.  Australia is ahead of the international pack by restricting the dangers of AI, of ‘influencers’, and the bubble-power of Instagram, TikTok, Snapchat, Facebook, and YouTube, to those of us who are at least 16 years old.

“As of 10 December 2025, age-restricted social media platforms need to take reasonable steps to prevent Australians under the age of 16 from creating or keeping an account.”
https://www.esafety.gov.au/about-us/industry-regulation/social-media-age-restrictions 

Going to see live theatre, or even better taking part in performing a play like Rhinoceros, is the key to young people, their parents – in fact anyone – coming to grips with the issue of too much social conformity.  

French playwright Eugene Ionesco saw what happened when so many in his country collaborated with Nazism during World War II.  Though that was an extreme case, by the 1950s he wanted to alert people that this kind of thing can happen again -- long before what happened in 2003, when Mark Zuckerberg and Harvard University dorm room friends (all male) created "Facemash," an internet site that allowed users to rate the attractiveness of students, launched as Facebook in February 2004.  Within 24 hours, over 1,000 Harvard students signed up. By June 2004, it had expanded to over 30 universities.

The professional standing of the 19 teaching staff creatives and crew shines through this production of Rhinoceros, using humour and emphasising the satire, in a highly choreographed style involving – and so training in the practice of theatre, and educating through Ionesco’s writing – a student cast of 19, with a student backstage crew of 18.

Set up as the Daramalan Theatre Company, managed by Drama teacher Joe Woodward as director/designer, Rhinoceros represents top quality youth theatre production.

Very highly recommended for audiences young, older and even as old as octogenarians like me, because in a lively entertaining manner it raises those serious questions about individuality and social responsibility which we all must take on board, as parents and children, and simply as members of our local and national community.

The season is limited, naturally, to this coming week through to a special matinee at 1:00pm on ANZAC Day, next Saturday, April 25th.

Not to be missed.

©Frank McKone, Canberra

2026: Constellations by Nick Payne

 

 

Constellations by Nick Payne (UK).  Free Rain Theatre at The Hub, Kingston, Canberra, April 16-25, 2026.

Reviewed by Frank McKone
April 17

Cast

Marianne – Lucy Goleby        Roland – James O”Connell

The best way to describe Constellations, as I see it, is to think of a classical-style piece of music for two instruments.  I’m thinking,  as an  example, of the arrangement for piano and violin of "Softly awakes my heart": from Samson and Delilah by Camille Saint-Saëns.

Each instrument plays themes and variations of those themes, together in concert, so that though you hear and recognise the core of the themes being repeated, the music develops and maintains our interest as each of the piano and violin play different variations of their own, and the relationship between the two changes along with the interplay of each variation.

I think of Roland as the piano, which is never merely an accompaniment but a player with the violin, Marianne.  The core theme of the piano is Roland as a bee-keeper maintaining the consistency of social structure in the hives and producing honey; while for Marianne it is the wonder of the universe working so differently at the macro and micro levels, which raises the ultimate ‘if’ question – could each replay of a theme be in a different parallel universe?

This makes the play, for me, a kind of music of words, and silences, and even at one time of gestures – or a kind of poetic theatre – rather than a drama with a through-line and obvious plot.

It’s an original approach, which unexpectedly creates moments of laughter, of concern, sometimes of anger, and warmth of one-ness between the two – characters, or instruments – in a play of personalties for whom we feel empathy and with whom we can identify.

Lucy Goleby and James O’Connell play like the best of violinists and pianists, and I marvel at their dexterity as each shift in scene comes upon them.

Supporting their success is a small constellation of creatives:

Director: Kelly Somes
Stage Managers: Sue Gore and Liz Phillips
Asst Stage Manager: Lucia Morabito
Set Concept and Design: Kelly Somes and Cate Clelland
Set Realisation: Cate Clelland and Ron Abrahams
Sound Design: Neville Pye and Kelly Somes
Lighting Design: Aisan Bavinton
Lighting Consultants: Bronwyn Pringle, Craig Muller, Felix Tiornton
Lighting and Sound Operaters: Sue Gore and Liz Phillips

Acknowledgement: “Over the Sea” by Elizabeth Sarah Stringer
More available about the author online at https://en.wikipedia.org/wiki/Constellations_(play)

Very well worth the experience.

©Frank McKone, Canberra

2026: Thom Pain by Will Eno

 

 

Thom Pain (based on nothing) by Will Eno.  Mill Theatre, Dairy Road, Canberra, April 16 – 25, 2026 

Reviewed by Frank McKone
April 16

Cast
Thom Pain: Joey Minogue

Production Team
Playwright: Will Eno
Director and Mentor: Maddie Lee
Production Assistant and Acting Coach: Mark Lee
Stage Manager: Bea Grant

Co-Producers: Joey Minogue and Lexi Sekuless



In an ironic view of life, Thom Pain presents himself as a magician who can never succeed to make magic because what happens to any of us is at random chance.  The greater irony that I find is that the performer of the character succeeds very well in creating the magic of theatre.

Though theatre is an illusion, seeming to make fiction real, the success of creating an entertainment which is essentially philosophically cynical, undermines that very cynicism, because the experience we have in the theatre remains positive and memorable – it is the very magic which can be achieved by good directing and excellent acting.

Making good theatre is not an illusion, but emotional reality.

And then the question of the purpose of the play gets even more complicated.  If Will Eno meant to be cynical about trying to succeed in life, how does he live with the success of his own writing?

Or does this mean that I should be cynical about Will Eno’s intention?  Is the implied reference in his character’s name to the 18th Century Thomas Payne, who wrote The Age of Reason, a denial of the value of rational thought?

Or should I praise Will Eno for being an empiricist skeptic?

No matter how you take the meaning of the play, it is another great example of the thoughtful choice of theatre presented by Lexi Sekuless and Mill Theatre.  Suitable for grinding at The Mill, you might say.

The performance by Joey Minogue of the continual switching back and forth between the internal mental state of the Thom Pain character and his direct relationship with the audience, very much like a stand-up comedian, is fascinating to watch, to react to and even to take part in.

It’s a demanding solo performance, demanding from us great respect.

 
©Frank McKone, Canberra

2026: Julius Caesar by William Shakespeare

 

 Julius Caesar by William Shakespeare.  Bell Shakespeare at Canberra Theatre Centre, The Playhouse April 10 -18 2026
Duration: 2 hour and 35 minutes, includinginterval

Reviewed by Frank McKone
April 11 – Opening Night

By William Shakespeare
Director & Set Designer: Peter Evans
Associate Director: Jessica Tovey
Costume Designer: Simone Romaniuk
Lighting Designer: Amelia Lever-Davidson
Composer & Sound Designer: Madeleine Picard
Fight and Movement Director: Tim Dashwood
Voice Director: Jack Starkey-Gill
Draftsperson: Dallas Winspear
Intimacy Coordinator: Caroline Kaspar
Associate Dramaturg: Jeremi Campese

Cast:
Cassius – Leon Ford; Portia – Jules Billington; Casca – Peter Carroll
Julius Caesar – Septimus Caton; Metellus – Ray Chong Nee
Decius – James Lugton; Calphurnia – Ava Madon
Cinna – Ruby Maishman; Mark Antony – Mark Leonard Winter
Brutus – Brigid Zengeni; 
Understudy – Olivia Ayoub; Understudy – Oliver Crawford




“It’s been more than 450 years since a monarch ruled in Rome. But now, in the senate and the streets, the forum and the marketplace, the word ‘king’ is being whispered again.”

“Betrayal and chaos rock the republic as Rome teeters on the brink of collapse.”
https://www.bellshakespeare.com.au/julius-caesar 

It’s been 237 years since a monarch ruled in America.  But now, in protest demonstrations across the nation, the word ‘king’ is being called out again.  It’s not unreasonable, I think, to say that Trump’s USA “teeters on the brink of collapse.”

So a kind of up-market corporate modern dress, and women playing forceful roles in social change, makes for an appropriate approach to interpreting William Shakespeare’s play where, in the original production (426 years ago) – in Elizabethan Costumes as Status Symbols –  London Johns explains:

“The aim of many modern costume designers is to create a sense of realism. Plays set in a particular location and era require actors to dress in a way that communicates their characters’ time period and culture.

Elizabethan costumes were created with different goals. Instead of conveying their characters’ positions in history, costumes were primarily intended to communicate their characters’ rank in a social hierarchy. 

The anachronism of Elizabethan costumes was a product of a society obsessed with visual markers of social status, where rank determined what kind of clothes people could and could not wear.”
https://yalehistoricalreview.ghost.io/the-hatch-and-brood-of-time-18 

In fact, to re-emphasise her power, Queen Elizabeth I imposed rigid rules about costume, both by day and on stage.

Peter Evans has clearly appreciated why Shakespeare chose to stage the attempt and failure of Julius Caesar to take on absolute power as emperor, while Elizabeth had only recently succeeded (with the help of bad weather) in destroying the Spanish Armada of a challenging despot in 1588, Philip II (Felipe II), a member of the European Habsburg dynasty, who ruled a global empire that included Spain, the Netherlands, and parts of Italy and the Americas, from 1556 to 1598.

Philip was called el Prudente, but if his Armada had succeeded, he would have restored Catholicism in England; and what would have happened to Elizabeth and the Tudors’ Church of England could be anybody’s guess.

What will Donald Trump’s future be, as he ignores Constitutional restraints on the power of a President?

That’s the why?  Now for the wherefore of Bell Shakespeare’s Julius Caesar.
 
The directing and the performances are top class – among the best of Peter Evans work.  Beginning as a group of actors about to tell us a story, with a prologue including recognition of the First Nations people who have performed their stories where Canberra Theatre stands for many more thousands of years than the 2000 since Julius Caesar was murdered, we are set up in the right relationship with a modern company presenting us with Shakespeare’s play.

This allows us to accept changes to the playscript that bring out modern issues, especially the role of women as equals in status and political power as men.  Brutus is not only played by a woman actor, but is a female character, married to her wife, Portia.

At first it took me a little while to accept, because Shakespeare had men whose names, from the Latin, end in ‘us’; while his women had names ending in ‘a’.  

The change does an odd thing: the irony of the sound and meaning of his name – Brutus – when he is quite the opposite of a brute (so unlike the determined Cassius, and up-himself Caesar) is re-emphasised when she is clearly so in love with Portia, who tries so hard to keep her out of trouble, saying “You’ve ungently, Brutus, stole from my bed”, and they kiss passionately as she still decides she has to go, saying to her justifiably anxious wife:  “And by and by thy bosom shall partake the secrets of my heart”.  All played with great depth of feeling by Brigid Zengeni and Jules Billington.

When Caesar says as he is stabbed “Et tu, Brute!”, he really is astounded.

And then there’s Cassius, played so powerfully by Leon Ford as a man angered in the extreme by this self-flattering manipulative Caesar (who had to remind me, of course, of Donald Trump) not just because of the lie that his taking more power is good for Rome, but because of how Caesar looks down on him as a lower class of person.

Ford, beyond other Cassius’s, takes us into his conflicted mind, so angry that the moral concern against killing has to be overcome, but so worried about his sister and whether she will be alright if she takes on killing Caesar.  

In original history, which Shakespeare kept to, Cassius was married to Brutus’ sister Junia Tertia, but in Bell Shakespeare Brutus’s feelings for her ‘brother’ Cassius are stronger than ever.

Even Shakespeare had a problem with the play fading away in the second half, drowning a bit too much in the details of the battle at Philippi.  But here, in Bell Shakespeare Modern, we feel for and understand why Cassius and Brutus finally commit suicide – because they have failed themselves as much as having failed Rome.

Not to be missed – one of Bell Shakespeare’s best.  And I have to say the revival of Peter Carroll as Casca is just wonderful for the warmth of his comedy (for us) despite his confusion (for Casca).

And also make it clear that everyone in this complicated cast got everything right.

Photo: Brett Boardman

 ©Frank McKone, Canberra

2026: Oedipus the King - Greek Theatre Now

 

 

Oedipus the King by Sophocles.  Greek Theatre Now at Burbidge Amphitheatre, Australian National Botanic Gardens, April 2-6 2026.

Reviewed by Frank McKone
April 4

Cast & Creatives
Director/Producer: Michael J. Smith

Oedipus: Andrew Mackenzie; Jocasta: Kate Blackhurst
Creon: Owen Maycock
Ensemble/Other Roles: George Belibassakis, Roslyn Hull, Liam O’Connor, Louisa O’Brien, Jade Boyle, and Marcus Mele

Masks/Props: Ben Smith Whatley; Costumes: Priya Pandya
Classics Adviser: Elizabeth Minchin; Graphics: Emilio Park
Photography: Fuyao Liu

Since the Company is called Greek Theatre Now, I must answer the question: What makes this production as relevant today as when Sophocles presented it to the people of Athens as the tragedy Oedipus the King (original Greek title Οιδίπους τύραννος, most commonly known as Oedipus Rex) probably “in the first half of the decade 430–420 BCE”.

That’s 430 + 2000 + 26 = 2456 years ago.

The plague, in Thebes in the play, described in Oedipus Rex “could reflect an actual historical event, [comparing] it with the plague of Athens, which was described by the historian Thucydides as occurring not long before the time that Sophocles’ work appeared”.
https://pmc.ncbi.nlm.nih.gov/articles/PMC3310127 
(US National Library of Medicine National Center Biotechnology Information / PubMed Central)

Bust of Sophocles in the Colonnade of the Muses in the Achilleion, Corfu, Greece, July 2011. Photo courtesy Antonis A. Kousoulis.

Today’s population of the Australian Capital Territory is listed as 486,231 as of September 2025; Attica’s population, according to Ben Akrigg, (Population and economy in classical Athens. Cambridge; New York: Cambridge University Press, 2019) may have been 400.000 
[ https://bmcr.brynmawr.edu/2020/2020.10.40 ]

So I imagine Sophocles writing Oedipus the King for his Attica city-state community, winning second prize at the Athenian dramatic festival of the Great Dionysia, just as our ACT city-state playwright Dylan Van Den Berg recently wrote Milk, about a young Palawa man and his connection to Country, which won the NSW Premiers Award and Canberra Critics’ Circle Award.  (Currency Press, 2023)

Just as Dylan shows us the emotional effects and truths about our failure to deal with the situation of Indigenous people, for whom we, as descendants of the 18th Century invaders, are a plague; Sophocles shows his community the truth about their belief in mythical prophecies, not just  about an actual plague (which today we would not expect them to know how to treat – a bit like Covid in 2020), but more about the nature of political power and ironic comeback when trying to predict the future, which I think we have seen in Prime Minister Albanese’s over-enthusiasm – though for the right reasons – for the failed referendum to give First Nations a voice in the Constitution.

In Sophocles’ play, when Oedipus’ actual parents, Thebes’ King Laius and Queen Jocasta, have him as a baby taken into the mountains to die, their employee gives him to a shepherd who takes pity on the baby, removes the ties holding his ankles together – which causes the swelling in the name “Swollen Feet” i.e. “Oedipus”, and passes him – for the right reasons – to be taken to another city-state, Corinth, where he is adopted by King Polybus and Queen Merope, and grows up believing them – wrongly – to be his parents.

The ironic point of the play is that the mythical prophecy, despite doubts about the gods and oracles’ pronouncements, turns out to be what happens.  Even more ironic is that Oedipus forthrightly – and correctly – insists on discovering all the actual facts, and in doing so causes his own downfall.

Whether Albanese faces his own downfall, we won’t know until the next federal election.  But Sophocles says, take care to stick to the truth, but even then you can never be sure what will happen.  Maybe there is something called Fate, unknowable like the gods of old.

So, to answer my question, this production is a prime example of excellent theatre, very successfully performed in a modern manner, in our own outdoor amphitheatre, which recreates the essential style – sometimes called “Presentational” – which makes it clear to us that we are watching an acted-out drama, rather than an ordinary slice of life, with an intention to raise crucial issues in our lives – like what does it mean to say this is true, or an innocent misunderstanding, or fake news (deliberately so or not).

If this isn’t relevant to our modern technological life, I don’t know what is!

This was achieved by all the actors in their movement, voice (spoken and sung) and costumes that represented the ancient Greek, all choreographed to use the amphitheatre space simply and effectively.

It took only a little while, as one got used to the styling, to find oneself shifting out of being in Canberra to appreciating how the Athenians so long ago would have been watching, listening carefully, reacting to the evolving tragic life of Oedipus and especially of his real mother, Jocasta, and left to wonder what our own fates might be.

The directing and performing really feels like an intelligent community theatre group working for our community.  Very highly recommended.  

On a lighter side, I was amused, and wondered how their prayers were answered, as on a day that had been cloud-covered since dawn, as the Chorus prayed for help from the Gods at the end of the play at 4pm, the clouds cleared and the afternoon sun shone through.

Photos: Peter Hislop

Andrew Mackenzie as Oedipus, Owen Maycock as Creon

Kate Blackhurst as Jocasta - mother and wife to Oedipus

The Chorus praying for help (just as the sun came out)

©Frank McKone, Canberra

2026: Bette and Joan by Anton Burge

 

 

 Bette and Joan by Anton Burge.  Ensemble Theatre, Sydney  March 20 – April 25  2026

Reviewed by Frank McKone
March 27

Cast
Jeanette Cronin as Bette Davis
Lucia Mastrantone as Joan Crawford

Creatives
Director: Liesel Badorrek; Assistant Director: Jessica Fallico
Set & Costume Designer: Grace Deacon
Lighting Designer: Kelsey Lee
Composer & Sound Designer: Ross Johnston
Video Designer: Cameron Smith
Stage Manager: Krystelle Quartermain
Assistant Stage Manager: Lara Kyriazis



It’s my habit, as a reviewer, when seeing a play new to me, to not read too much about the play, and especially not to read reviews, even of previous productions, so that I can respond on the night with the immediate feelings and thoughts that arise without being influenced beforehand.

In the case of Bette Davis and Joan Crawford, whose lifetimes closely matched my parents’ who were not often film-goers, I think I never saw any of the Hollywood movies which made Bette and Joan famous, though I certainly recall their names from my younger days.  But I was never aware of the feud between them.

As I expected at Ensemble Theatre, I appreciated very much the acting skills of both Jeanette and Lucia, clearly directed precisely in creating every detail of facial expression, voice and physical action that the playscript required; and the original use of video brought to mind visually the questions the characters talk of – about acting and knowing the difference between reality and fiction.

Yet I felt there was something missing.  I got the picture, so to speak, but I found myself at Intermission hoping for something in the second half which would reveal what the playwright’s purpose would be beyond showing us these two women battling away at each other.

There were a few hints in second half when they were older, in 1962, looking back on their film-making experiences in the 1930s, 40s and 50s but nothing definite enough to make me like either of them, or to feel more empathetic towards them as personalities, apart from sympathy for the social issue of the treatment of women compared to men.

So, after the show, I wondered if I should find out whether other reviewers had doubts like mine.

Lyn Gardner in The Guardian in 2011 made this comment about the original West End production that year: But this kitsch play is not trying to be more than it is, and [Greta] Scacchi and [Anita] Dobson carry it with an alluringly wicked twinkle in their eyes...and  it is only a pity there is not more excavation of the emotional pain felt by these two icons, whose public success was matched by private disasters.
[ https://www.theguardian.com/stage/2011/may/12/bette-and-joan-review ]

Anton Burge wrote the script which is littered with references to Bette and Joan’s shows. I would have liked to see more of a resolution at the end was a comment in a review of the Brighton Little Theatre production in 2024. 
[ https://rozscott.com/bette-and-joan-by-anton-burge ] 

So, though Jeanette Cronin as Bette Davis and Lucia Mastrantone as Joan Crawford surely gave as good as those acting in the play’s first presentation, and despite Anton Burge’s claim (in the Ensemble’s program notes) that it was never my intention to create merely a catalogue of anecdotes, I find I’m not the only one to want a bit more of a resolution and excavation of the emotional pain.

Maybe, if it’s not there word for word in Burge’s script, then, as director, Liesel Badorrek could indulge in a bit of poetic licence to make it happen.

But don’t let my quibbles stop you from seeing Bette and Joan, because Jeanette and Lucia give stunning performances.


©Frank McKone, Canberra

2026: Irony Done Here - Shortis and Simpson

 

 

Irony Done Here, by Shortis and Simpson, at Smith’s Alternative, Canberra Sat/Sun March 21/22, 2026

Reviewed by Frank McKone
March 22 3pm

John Shortis and Moya Simpson have been creating a range of shows for the past 30 years.  Irony Done Here, the title derived with their nice sense of humour from a Bungendore neighbour’s “Ironing Done Here” is just typical.

Amusing word play is central to their satire, to which they add what I call song play.  Moya can turn our expectations on our heads.  I won’t forget her American Country and Western songs about the nature of love.

Despite this seeming to be their swansong, John is unable to put the keys away, and promises he is already writing a new show – an epilogue, say?

I began my review of their first show together as follows:

Shortis & Curlies John Shortis, Moya Simpson, Andrew Bissett at The School of Arts Cafe, 108 Monaro Street, Queanbeyan.  Season: Thursdays to Saturdays till June 29, 1996.  Bookings: Phone 297 6857.  Professional.

If you are a Liberal politician confident that cutting government spending is the only way to go; or a Labour politician feeling sorry for yourself after 100 days of the new [John Howard] regime; or a veterinary surgeon operating out of Woden Valley; or someone who thinks that a national gun register is not a good idea; or Princess Diana; or Jeff Kennett; or even a frozen embryo who hopes to inherit your dead father's estate: then you shouldn't see this show because you probably won't laugh.

Their, possibly, last show is a selected history of 30 years in 90 minutes, including, to use their term, ‘human’ songs as well as their iconic political satires, showing their always engaging range of lyric writing, music composing, and song making in action, which is not always about subtle ironies in our lives.  Empathetic celebration has its place on the right occasion.

They managed this even for our first Prime Minister, Edmund Barton, whose pay was so low, he had to live cheaply, more or less in his office.

But I think the best bit of irony done here is that, among the prime ministers with the least sense of humour and appreciation of satire, Tony Abbott provided the best title for one of Shortis & Simpson’s previous shows and which I now designate as the title revealing the guts of Irony Done Here – A Suppository of Wisdom.

The show is wise because it reveals the truth through incisive humour.  It is a measure of both John’s and Moya’s art and intelligence – for which the audience at the conclusion of the 3pm show on Sunday spontaneously thanked them personally.

At https://shortisandsimpson.com/about-us/ they have provided brief notes about their histories, and quotes from many reviews.  I was pleased  to see one of my own, on a projection of a past advertising poster, for The Three Scrooges - Comedy Christmas Cabaret, at The Street Theatre in 2005:

 “,,,this is a terrible show.  It’s funny, for a start.  Even worse, it’s satirical.” 

©Frank McKone, Canberra

2026: The Dear Departed - Live Radio Play. Mill Theatre

 

 

The Dear Departed: Live Radio Play originally by Stanley Houghton, adapted for radio by Bart Meehan,  Mill Theatre, Dairy Road, Canberra March 20-28 2026.

Reviewed by Frank McKone
March 20

Cast
Andrea Close: Amelia Slater; Sarah Hartley: Victoria Slater (20-21 March)
Aleksis Andreitchenko: Victoria Slater (27-28 March)
Richard Manning: Henry Slater  
Helen McFarlane: Elizabeth Jordan; Timmy Sekuless: Ben Jordan 
Graeme Rhodes: Host and Abel Merryweather 

Production Team
Playwright: Stanley Houghton
Adapted by Bart Meehan and Lexi Sekuless
Director: Lexi Sekuless
Stage Manager: Ciara Ford

Mill Theatre shows itself in a new light – light entertainment in a Live Radio Play, saying This production revives the tradition from the 1930s to the 1950s, inviting you to watch the mechanics of storytelling in real time: actors at microphones, sound effects created live, music underscoring the action — and a brand-new recording captured every night. It’s theatre, radio, and time travel all at once.

But I have some doubts, not about the performances but about the purpose of choosing this playscript and what might have been done to make this clear to the audience.

William Stanley Houghton (1881–1913) was an English playwright who wrote the original play for the stage in 1908.  The Dear Departed was amusing in its day, and remained popular, being adapted to fit within the history of BBC Radio Theatre's exploration of social issues and comedy, and broadcast on a number of occasions, in different adaptations, through the 1970s.

But in this local Canberra adaptation by ANU’s Bart Meehan and Lexi Sekuless, playing the Slater and Jordan families as old-fashioned English toffs, for we colonials to denigrate, actually loses part of the point of the play that Houghton wrote.

He was writing in parallel to the more famous (and much more substantial playwright) George Bernard Shaw who had recently written How He Lied to Her Husband and Major Barbara in 1905.  Houghton, like Shaw, was keen on presenting ordinary – i.e. working class – people while raising difficult issues, like family inheritance, in The Dear Departed.

The UK Wimbourne Drama Club, for their recent stage production, have pointed out that Houghton was a leading figure of the Manchester School of dramatists, but have published an un-named reviewer saying “Apparently rewritten to make it adaptable to any locale, Stanley Houghton’s well-known comedy, ‘The Dear Departed’, retained all the humorous situations but the dialogue – from the North Country idiom, and dialect – lost much of its impact.”
https://wimbornedramaproductions.com/productions/past/the-dear-departed/

Though I could easily laugh along last night, making fun of the English upper class made for too easily predictable jokes – including how obvious it was that Grandpa would rise from the ‘dead’ – while I can imagine doing it in Beatles’ accents (although they were from Liverpool, not Manchester), and emphasising the awfulness of the daughters’ attitudes towards their struggling working class drunkard father.  Then the laughter has a black edge which applies to us all.

I rather like to think that Shaw saw The Dear Departed, and then wrote Pygmalion (1913)  - which, of course, then was made lighter (but still funny) as a musical in My Fair Lady.

So Mill Theatre has done the good thing by going a bit off the beaten track, but I think the entertainment might have been a bit less light.

As I said, though, the performances were excellent, with changing voice modes and noises off all cleverly done.  I once saw a video of The Goon Show being live broadcast, with Peter Sellers making it even funnier for his acting colleagues in the studio,  as well as for the listeners.

The Dear Departed – Live Radio Play works very well, and you should focus especially on the Radio Presenter Graeme Rhodes, and his amazing transition into Abel Merryweather.

Highly recommended. 

©Frank McKone, Canberra

2026: Almost, Maine by John Cariani

 

 

Almost, Maine by John Cariani.  Mockingbird Theatre Company at Belconnen Arts Centre March 18 – 28, 2026.

Reviewed by Frank McKone
March 19

Cast
The production features a four-person ensemble cast portraying multiple roles: 
Alexander Wilson - Pete / Steve / Lendall / Chad / Man
Wendy Wakwella – Ginette / Sandrine / Gayle / Deena / Suzette / Rhonda
Jayde Dowhy – Glory / Waitress / Marvalyn / Shelly / Marci / Hope 
Alastair McKenzie – East / Jimmy / Randy / Phil / Dave
    
Creatives
Director: Zac Bridgman; Assistant Director: Anna Hemming
Artistic Director/Producer: Chris Baldock 
Set Design: Chris Baldock
Lighting and Sound Design: Rhiley Winnett and Zac Bridgman
Costumes and Props: Cast and Crew
Sound and Lighting Operator and Stage Manager: Rhiley Winnett
Projections: Chris Baldock
Intimacy Coordinator: Steph Evans


Good plays – and that means good performances of well-written scripts – are the hardest to write about, because what is most praiseworthy is how they directly create your emotional responses as you are watching.  It’s like listening to good music.  You don’t need to explain how you feel.

Achieving this depends on originality of design and human understanding in directing, so that actors can find fine detail in their characters and in their reactions to each other in role.

This witty American script consisting of nine unrelated short stories could easily become just enjoyably funny skits about falling in or out of love, set for no apparent reason in a small country town in Maine, north-east USA.

This presentation is so well designed, directed and acted that though the scenes are humorous, they work to create a multi-faceted image of Love, as if it were a large diamond which sparkles in different colours in different lights from different angles.  A very satisfying experience for any viewer, especially when the Prologue scene, which seemed somehow unfinished at the time, is referenced – a bit mysteriously – as an Interlogue at interval; and neatly – I could say nicely – resolved in the Epilogue at the end.

Almost, Maine is very much an American play, and it was a sensible decision to train the actors to be able to speak not only in the correct accents but in a somewhat exaggerated style which is a true feature of that culture.  All the way up to the one-time reality television host who is now President.

When John Cariani wrote Almost, Maine in 2002 he may not have thought a quarter of a century later an Australian like me would see some aspects of the play as satire about American love for their president.  Perhaps I’m going too far – but see this excellent Mockingbird Production and see what you think.

©Frank McKone, Canberra

2026 My Brilliant Career - Melbourne Theatre Company

 

 

 My Brilliant Career, adapted as a musical from the novel by Miles Franklin.  Melbourne Theatre Company at Canberra Theatre Centre, 7 – 15 March, 2026

Reviewed by Frank McKone
Opening Night March 8

CREATIVES
Director Anne-Louise Sarks
Musical Director / Additional Music Arrangements Victoria Falconer
Choreographer Amy Campbell
Set & Costume Designer Marg Horwell
Lighting Designer Matt Scott
Orchestrator / Vocal Arranger James Simpson
Sound Designer Joy Weng
Associate Director Miranda Middleton
Associate Set & Costume Designer Savanna Wegman
Assistant Musical Director Drew Livingston

CAST (alphabetical order – Collective Ensemble)
Cameron Bajraktarevic-Hayward; Melanie Bird; Lincoln Elliott
Victoria Falconer; Kala Gare; Jack Green; Raj Labade; Drew Livingston
Meg McKibbin; Ana Mitsikas; Christina O’Neill; Jarrad Payne

Key acting roles:
Kala Gare as the protagonist Sybylla Melvyn. The ensemble includes Raj Labade (Harry/Peter), Drew Livingston (Father/Uncle Jay-Jay/M’Swat), Ana Mitsikas (Grannie/Rose Jane), and Christina O'Neill (Mother/Aunt Helen/Mrs M'Swat)


The very best theatre happens when the source material is emotionally honest and the writers, directors, designers, choreographers, musicians and actors create an original way to present on stage a work both thoroughly entertaining and true to its source.

This adaptation of Miles Franklin’s My Brilliant Career as music theatre by Melbourne Theatre Company is a wonderful example.  It takes Franklin’s understanding of herself as a woman growing up in 1899, making it available for our young generation in the 21st Century through music, song and dance as the story which Sybylla Melvyn tells us is “about – me!”

In this way, Sybylla – in effect the young Miles Franklin – takes us into her confidence.  As her mother shows her, to see herself in a mirror is to see her external attributes; but it does not reveal her real self.  

Entirely appropriately for our modern concerns about, for example, the destructive effects – especially in girls and young women – of the misuse of imagery on internet social platforms, Sybylla’s search for how to find and, for herself, how to become “someone like me” – very often generating shout out loud comedy – creates for us empathetic depth.  We feel for Sybylla, for Miles, for ourselves as we react to and reflect on their experiences, and so by a kind of osmosis understanding grows.

While writing the original My Brilliant Career, Miles Franklin was what we know nowadays as a young adult, just turning 21 as her first novel was published.  Opening night at the musical was full of cheers and whistles, and sighs – not only from the young, though I admit as an octogenarian I only clapped in admiration – standing with everyone for the final ovation.  

To achieve such great theatre, all the performers work as an extraordinary ensemble company, playing out all the characters over time as musicians, dancers, singers, mimes and actors with such precision, in itself a powerful reason to not miss My Brilliant Career – the Musical.

Though, as Sybylla insists, her story will not be a romance, and has no plot, I think it is fair to say that the performances by Kala Gare and Raj Labade as Sybylla and Harry are especially memorable.

It’s exciting to watch; ironic humour abounds; thoughtful on social issues; and emotionally honest.

A brilliant career for Melbourne Theatre Company; a brilliant theatre experience here in Canberra.

Kala Gare as Sybylla 
My Brilliant Career - Melbourne Theatre Company 2026

©Frank McKone, Canberra

2026: The Taming of the Shrew by William Shakespeare

 

 

 The Taming of the Shrew adapted from William Shakespeare’s play.  Lakespeare, Canberra, February 17 to March 1, 2026. Locations: Various parks and venues across the Canberra region, including Belconnen Arts Centre, Verity Lane, Pialligo Estate, Tuggeranong Town Park, Patrick White Lawns, Glebe Park, and Haig Park.
Saturday 28 February, FREE, Haig Park
Sunday 1 March, Pialligo Estate (two shows - lunch and dinner)

Reviewed by Frank McKone
February 27 at Belconnen Arts Centre

Cast
Petruchia: Ylaria Rogers        Christopher (Kit): Michael Cooper
Lucentia: Shontae Wright    Bianco: Alastair James McKenzie
Trania: Anneka van der Velde    Grumia: Yanina Clifton
Gremia: Alice Ferguson        Baptista:Giuliana Baggoley
Biondello: Blue Hyslop        Hortensia: Claire Noack
Vincentia: Jill Young

Creatives
Director: Karen Vickery
Voice and Performance Coach: Sarah Chalmers
Costumes: Helen Wojtas        Milliner: Rachael Henson
Sound design/composer: Paris Scharkie
Jig choreography: Ylaria Rogers
Stage Manager: Disa Swifte




Lakespeare’s reinterpretation of The Taming of the Shrew turns Shakespeare on his head.  I’ve not laughed so much in many years.

I have long had doubts about The Taming of the Shrew.  In a time – in 1590 – when women were not allowed to perform in plays and women characters were played by dressed-up men, what was Will Shakespeare’s intention?  Who laughed as Petruchio starved his wife into submission?

And who got the joke as the man playing Katharina, the shrew, told women “Fie, fie! Unknit that threatening unkind brow, and dart not scornful glances from those eyes, to wound thy lord, thy king, thy governor!”

I imagine, in Shakespeare’s audience, the men laughing along with their friend acting the role, but I wonder what women – including Queen Elizabeth herself – really thought.  Could Katharina seriously be in love with Petruchio, a kind of male shrew, so they make a match?  Should I, in modern times, laugh along to the very end, or see Kate’s final speech as a serious invocation of women’s liberation – which I support? 

By turning the boys’ parts into girls – Petruchio to Petruchia – played by powerful women, and the girls’ parts into boys – Katharina (Kate) to Christopher (Kit) – played by weak men, and acting as much towards us, as in stand-up comedy, as to each other in competition for sexual prowess, the play becomes a thoroughly enjoyable laugh-out-loud highly confusing farce.

Just as it was probably meant to be in 1590, or more likely at its first recorded showing in 1594: "begininge at newing ton my Lord Admeralle men & my Lorde chamberlen men as ffolowethe [...] 11 of June 1594 Rd at the tamynge of A Shrowe."  I asked AI “What reaction did the first performance of The Taming of the Shrew in Shakespear's time have?”, and there’s plenty of history to follow up about changing approaches to this play over the centuries.  How Christopher got into the story is fascinating in itself.

In other words, when you see Lakespeare’s The Taming of the Shrew you’re seeing much more than an enjoyable romp with terrific acting, physical choreography, and wonderfully detailed emotional interactions between characters, but an interpretation which places the status of women equally – or even more than equally – up against the historical status of men.

Very highly recommended.

©Frank McKone, Canberra