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