Adelaide University Theatre Guild. Little Theatre. 7 Aug 2026
Alistair’s McDowells Pomona is considered one of the new breed of horror, dystopian theatre pieces, albeit it was written in 2014. Ollie (as in Oliver, as in the boy’s name) is searching for her missing sister who she believes to be somewhere in Manchester. Through meetings with various characters, she ends up in Pomona, a seemingly abandoned concrete island in the middle of the city with one road in and out.
The mystery of Pomona is rather like the Tom Waits song What’s He Building? Except in this instance, we get to find out.
It’s a very clever script, turning circular before you realise what’s happening, light bulb moments catching you unawares. It’s a bit like a reverse engineered jigsaw puzzle as characters loop back to show how they got into their current position.
It’s gender fluid in terms of the characters; women play all the male roles bar one – Louis Bianchini plays Moe, a security guard at Pomona who craves human touch. It’s a difficult role, but he carries it off well, and the scene with him and rebellious sex worker (Fay Airlie-Jade Windle) is beautifully realised.
Macey Lawson is Zeppo, who owns half the city and tries to warn Ollie (Mia Livingston-Pierce) off. She’s a little difficult to understand at first but settles into her rhythm. Jessie Chugg’s Charlie works very hard, and with so much centred around this character, it’s a big ask which is mostly successful.
There are moments that are a bit redundant; a chorus scene adds little and much of the exposition of the close could be left behind, but that’s the script.
Lily Watkins character Keaton plays it a little darker but the follow through doesn’t really happen. Perhaps the most successful is Gale (Airlie-Jade Windle), the brothel owner who has gotten in too deep. She knows the horrors of Pomona and is terrified of becoming a victim, while at the same time being an antagonist.
The cast make a fair fist of Pomona, but it doesn’t really deliver the anxiety and angst that the play calls for. Rather than going off between their scenes, Director Thomas Midena has the actors waiting in the darkness in corners of the stage; this does deliver a sense of menace but it isn’t always reflected in the characterisations when they walk on stage. The end result is the tension is released and needs be built up again; unfortunate because the final reveal oft hinted at but still needs to pack a powerful punch.
Arna Eyers-White
When: 7 to 16 Aug
Where: Little Theatre, Adelaide University
Bookings: trybooking.com
Teen edition. Scotch College. Thebarton Theatre. 6 Aug 2026
The Broadway production of Hadestown was named Best Musical in 2019; still playing to sellout audiences in New York and on the West End stage, it also picked up eight Tony Awards. This is the ‘Teen Edition’ which is a little shorter and edited for a younger age group.
This is a musical with a difference. Based on Anais Mitchell’s 2010 concept album, Hadestown eschews the spoken word in favour of song, and while at times it can feel a little relentless, it works.
The Greek gods certainly had a right old time – when they weren’t flying around on golden chariots, they were swallowing spouses, giving birth to winged horses and chaining people to rocks while eagles ate their liver.
This story is a bit simpler and a whole lot nicer, though still with a tragic ending. Narrated by Hermes (William Jarvis), this is the age-old story of Orpheus (Sebastian Cox) and Eurydice (Sienna Turner), Hades (Tom Wetherall) and Persephone (Eleanor Driver), of love lost and won. Eurydice has been taken to the Underworld by Hades and Orpheus must rescue her. Hades wife Persephone is all for the lovers being reunited, and as she can move between the two worlds, becomes a prime mover in getting Hades to let her go.
David Lampard’s set is of two stations, above and below the earth, with the allusion informed by the rollicking and soulful Road to Hell, which sets the tone for this contemporary revisiting of the ancient tale.
Accompanied by the Hadestown Orchestra (conductor Martin Cheney) this production showcases some quite remarkable young singers under the direction of Stephanie Thompson who, along with Carla Laurendi, choreographs superbly what could have been an unwieldy troupe of performers.
The three Fates (Evie Dolling, Ashleigh Sykes, and Charlotte Venning) are almost Andrews Sister-esque in their performance, with their tight harmonies and sassy moves. And sassy personifies Persephone (in dazzling emerald green) as she romps through the drinking song Living It Up on Top, before going on down to the Underworld where she joins her husband Hades, who presides over what appears to be a mining community, a subterranean nightmare with the inhabitants toiling for Hades.
The stage is always slightly dark, as the characters try and push through to the light via miners’ headlamps or handheld lanterns. It’s highly evocative and adds to the mystery of the Underworld.
The chorus/ensemble doesn’t shy away from the big moves - a highlight of their performance is Why We Build the Wall with Hades, a moving and telling comment on contemporary society as much as it is a defence of the Underworld.
The cast were apparently workshopping and rehearsing this show for about six months, and it shows in the very professional stagework and timing of both principals and ensemble cast. With a budget that many companies would crawl over broken glass for, this is a very high-end production and one that many of these students will look back on with wonderment, that this level of theatre was available to them. It’s also a real treat for audiences; this cast is top notch – Sebastian Cox as Orpheus is just stunning – and is of a calibre one more often finds in adult professional theatre.
It should be noted that there are two principal casts; this review is of Cast One, although Sebastian Cox plays through the season.
Arna Eyers-White
Where: Thebarton Theatre
When: 6 to 9 Aug
Bookings: ticketmaster.com.au
Festival Theatre. 5 Aug 2026
What a joy to see Nancye Hayes sublime in an octogenarian prime. Can one pin her up any higher?
Anastasia the Broadway Musical is a big, big show with a tricky load of costume changes, not to mention some demanding songs for the old Dowager Empress. Not only does Nancye deliver it all with the creamy professionalism that has been the hallmark of her epic career, but in her beautiful embodiment of character she brought this hardened old critic to tears in one of the most tender and emotional scenes in musical theatre. Quite a feat.
And in a show that boasts a motherlode of stunning costumes, she parades period glamour with stately grace.
Standing ovation to Nancye Hayes AM.
And to the show itself.
I’ve been narky about a lot of standing ovations in recent years, feeling that a new generation of audiences can be more full of enthusiasm than theatrical discernment. Old school was ever sparing with the stand.
In this case, however, John Frost and his collaborators have delivered a big-deal, big show. The production values are cutting edge. There is aesthetic finesse all over the place.
Anastasia’s sets and vivid video rendering truly are a sight for sore eyes: huge palatial scenes, sets of cold bureaucracy, blossoming beauty, vast cityscapes and, oh my, the train ride to end them all.
The lighting is no mean feat either, with ghostly reiterations of the Romanovs’ lost world of Imperial Russia played out against lively Parisian decadence. And the orchestra is just so, sound-balanced impeccably against the vocals.
Then there’s the cast. Georgina Hopson brings acting skills as well as voice to the starring role of Anya, paired sweetly with the delightful Robert Tripolino as Dmitry, her evolving love interest. Rodney Dobson plays such an artful and endearing Vlad that, at times, he threatens to steal the show. Joshua Robson has one of the best voices on the stage and is the evil comrade to a tee. Then there is Rhonda Burchmore. She’s fearless and loud and funny, and proves yet again why she is so beloved by Australian audiences.
The direction is schmick. The chorus work is excellent.
There is not much to criticise, unless it be the sheer corn of the storyline. Lost princess finds her roots. You may take that two ways.
Samela Harris
When: 5 to 30 Aug
Where: Festival Theatre
Bookings: adelaidefestivalcentre.com.au
Free Agents Youth Theatre. Goodwood Theatre and Studio. 30 Jul 2026
Set In Regency London, we are first introduced to Octavia, who sits writing while a young man (later identified as Jimmy) urges her to write the story as she knows it, as she believes it happened. Before long, we’re swept into her story, where of course, she plays a primary role. I say ‘primary’ rather than ‘leading’ as this remarkable 15 strong cast almost all take a turn at being the centre of attention, and when they aren’t they’re the best support acts you could hope for.
Written and directed by Sean Riley, founder of Free Agent’s Youth Theatre, Bright is the result of three years of workshopping and collaboration with his theatre group, and their familiarity with the script shows clearly. One can’t really single out individuals so I won’t; there are simply 15 stand out performers.
The cast are comfortable, confident and very, very entertaining.
The area of Poplar, London in 1818 was a fairly seedy place; close to the docks and home to the taverns, brothels and gambling houses that tend to service seafaring communities. This is where the Pittfield family live; father Augie, mother Nancy, three sons and a daughter. Each of them has their story, and all are allowed to play them out. Billy frequents brothels, Ned is a pugilist, Polly a washerwoman. Jimmy claims to be involved in transport but really, along with his brothers, he’s a resurrectionist.
The conversations around this family table are funny, warm, friendly and loving, with a banter that is so well written you want to join in.
Orphan Octavia Nettlefield (she of the writing desk) is twin to Darius, an artist who just adores drawing hands, and it is his poor orientation skills that lead him into Poplar and to the acquaintance of Jimmy.
What follows from here just gets better and better, as we’re introduced to a Jewish refugee, a medium (who also fancies herself a soprano) and her companion, a maid who is more like the mistress, the doctor who receives the bodies from the Pittfields (since resurrectionists are actually grave robbers who steal corpses and sell them to medical teaching facilities), society friends and of course, the villains of the piece.
It’s not quite a farce yet not a melodrama, but it is bloody funny, with a script that really deserves to travel widely.
Kim Liotta’s design is wonderfully effective, with all set pieces working double time, and Stephen Durey’s lighting design quietly propels the scene changes and moods. The genteel but continual piano accompaniment from composer Reuben Fernee is icing on this cake.
Do go and see this production if you can. It’s funny, sad, surprising and joyous, and it’s such a showcase of talent, from cast and crew alike. Director Sean Riley has guided this cast of ‘bright young things’ with a firm but generous hand, and the show is clearly all the more enriched by their creative contribution.
Arna Eyers-White
Where: Goodwood Theatre and Studio
When: 30 Jul to 1 Aug
Tickets: trybooking.com
Therry Theatre. The Arts Theatre. 23 Jul 2026
Few musicals demand as much from performers as Jesus Christ Superstar. Andrew Lloyd Webber and Tim Rice’s deceptively demanding rock opera is not just a collection of iconic songs; it is a work driven by conflict, doubt and betrayal. Its success depends not only on vocal prowess, but on each performer’s ability to understand and communicate the emotional weight behind the words.
Beneath those familiar melodies lies a work that requires extraordinary precision, emotional intelligence, and dramatic clarity. The characters are complex, and the lyrics do most of the storytelling. While this cast approaches the material with enthusiasm and commitment, Therry Theatre’s production struggles to consistently move beyond performing the music into fully inhabiting the drama.
Designed and Directed by Ben Todd, with Musical Direction by Matthew Rumley and Choreography by Rebekah Stonelaitken, this is a challenging and, at times, confusing production. Occupying a space between rock concert, opera, and traditional musical theatre, Jesus Christ Superstar demands not only a technical command of the score, but the ability to make each song a revelation of character. Despite many moments of genuine ability, this production’s central challenge is that the connection between staging, direction, performance, and character is not always realised.
Nicholas Munday brings considerable vocal authority to the role of Jesus. A classically trained singer, he approaches Jesus with control and musical discipline rather than the raw rock intensity often associated with the role. It is a thoughtful interpretation, though at times the emotional conflict beneath the technical accomplishment feels more restrained than the material demands. His interpretation carries the necessary gravitas but lacks connection to the vulnerability of the man. Jesus must embody the fear and uncertainty of his unavoidable destiny. Those moments of internal struggle were not fully realised.
Daniel Hamilton’s Judas is also a performance of considerable vocal ability, but one that also struggles with his character’s dramatic progression. Judas is a man driven by frustration, conflict, and ultimately despair. Hamilton brings energy and presence to the role, but the emotional journey that leads Judas to his final act is not sufficiently developed. The tragedy of Judas lies in watching him move inexorably towards a decision he cannot escape. That moment—his suicide—seems to arrive before Hamilton has fully realised Judas’s psychological collapse.
One of the stronger character connections comes from Rebecca Pynor as Mary. Pynor brings warmth, vulnerability, and an emotional clarity to the role, creating a character who feels more grounded and human. Her vocal approach has a gentle, country-inflected sweetness that gives Mary a distinctive quality and allows moments of tenderness to emerge within the production’s darker emotional landscape.
There are also several impressive individual contributions throughout the ensemble. Michelle Davy, Ava Cannard, Seb Schulz and Liam Phillips (who also plays Peter) stand out for their precision and stage presence as dancers. Deon Martino-Williams also brings confidence and energy to Simon, with his featured number, Simon Zealotes/Poor Jerusalem, providing one of the production’s more successful musical moments.
One of the evening’s standout performances comes from Toby Strudwicke as King Herod. Herod’s song can easily become excessive, but Strudwicke understands what the moment requires. Finding the right balance between humour, theatricality and restraint, he embraces the inherent camp nature of the character without allowing it to become an empty spectacle. His is a confident and connected performance.
The production’s difficulties extend beyond individual performances. Todd’s direction often feels uncertain in its dramatic choices, with the staging frequently working against the flow of the action. The set design contributes to this sense of restriction, creating a cramped central playing space. The two raised platforms on either side of the stage provide an effective opportunity for visual hierarchy, with one used successfully to position the powerful figures above the crowd, reinforcing their authority and separation from those they influence. The second platform, however, feels less purposeful, restricting movement rather than enhancing the action.
Rebekah Stonelaitken’s choreography brings energy but also lacks consistency of purpose. The dancers themselves demonstrate considerable ability, but some choices appear disconnected from character and dramatic intention. Having Caiaphas, Annas, and at times Jesus dance seems at odds with the characters’ dramatic identity. The production also misses opportunities for moments of restraint and stillness.
Matthew Rumley’s musical direction and the band provide a strong foundation for the score. The musicians handle the complexity and demands of the material, but the balance between orchestra and performers is a significant issue on opening night. Vocal microphones were frequently too low, while the orchestra often overwhelmed the singers, making lyrics and dialogue difficult to hear.
Therry Theatre’s Jesus Christ Superstar is an ambitious undertaking, and the cast’s commitment is evident throughout. The production demonstrates the dedication and ability of those involved, but it needed a stronger connection between the music, the characters and the dramatic choices surrounding them. The season is sold out, demonstrating the enduring appeal of this much-loved musical and the strength of Therry Theatre’s following.
Paul Rodda
When: 23 Jul to 1 Aug
Where: Arts Theatre
Bookings: Sold Out