Theatregoing (Half A) Year In Review 2025

While I may not be reviewing on this blog or commenting as Perth Theatregoer anymore, I'd still like to give a shout out to productions and practitioners who caught my eye in roughly the first half of the year. 

I went along to Fringe World for the first time in a couple of years; largely released from my screenwriting duties for major funding deadlines. What struck me most was the quality of the writing in several local productions. This thrilled me no end.  

There were two revivals from the top tier of the Perth theatrical scene - Holland St Productions' What Doesn't Kill You [blah blah] Stronger with Tyler Jacob Jones and Erin Hutchinson in scintillating form, accompanied by Joe Louis Robinson; and the ten year anniversary of The Last Great Hunt's FAG/STAG with Will Bartolo and Shaun Johnston in the roles originated by creators Jeffrey Jay Fowler and Chris Isaacs. Superb writing - Jones with Robert Woods in a razor sharp musical comedy; Fowler & Isaacs with wry observational drama.  

A trio of original works impressed - The Simple Gift by Andre Victor which quietly reminded us of the power of remembering who you really are through acts of kindness; the raucous and clever Lady Macbeth Played Wing Defence by Crash Theatre Co that more than lived up to the hype with swagger to burn; and Iris Warren's adaptation of Femoid (Vixen Theatre Company) from her original 25 minute TILT piece into a full-blown hour which deepened the exploration of young women having to deal with the repugnant and dangerous Incel culture.

The next production floored me. So much so that my review started with, "I don't know how to review this show." What To Expect When You're No Longer Expecting by Roe Rowe Productions is a striking example of theatre at its most honest - raw, vital, and brave. I cried. For Roe. For a friend. For a lady nearby in tears. I cried because such generosity of spirit is also a gift. 

A quick mention to three other shows that featured sharp writing/storytelling - FootyBoy by Wallaby Blue Company with a serious message under the humour including the power of forgiveness; Sarahtonin by Sarah Bowers which engulfed the Leederville Hotel's Red Room in positive vibes; and the unexpected gem of Stand and Deliver by Thanks Tina at the Hayman Theatre. 

In the world of community theatre, I was taken with the very funny She Kills Monsters by Darlington Theatre Players which featured excellent production values; Looped at the Old Mill Theatre showcasing a stunning portrayal of real life actress Tallulah Bankhead by Kylie Isaia; and Green Day's American Idiot by Art In Motion Theatre Company for its no holds barred approach.

Speaking of stunning portrayals, Pamela Rabe could only be described as [insert every adjective here including ASTONISHING] in August: Osage County by Black Swan State Theatre Company. I can't recall seeing a better performance on a Perth stage. What I love is that Hayley McElhinney went with her as the fireworks ratcheted up in the second act.  

Another kind of performance, equally entrancing, occurred at the Richard Gill Auditorium where Gina Williams gave a powerhouse vocal display with her storytelling, sense of humour, and generosity [I'm seeing a theme here - kindness, forgiveness, generosity] truly outstanding alongside guitarist Guy Ghouse and the WAAPA Contemporary Music Students in the Kalyakoorl Ngalak Warangka (Forever We Sing) concert.  

Back to writing (and directing), Rachel McMurray made an auspicious Perth debut with her play Shadow of Doubt by Fine Comb Theatre Company at the Blue Room; a tightly constructed, supremely acted, and smartly presented work.  

In terms of presentation I thought the entire design team - Set and Costume Designer Sam Knox, Lighting Designer Peter Young, and Composer and Sound Designer Tim Collins - of the excellent Hoods by Barking Gecko Arts did an outstanding job which allowed actors Joshua Everett and Natasha Pearson to inhabit that space to great effect. 

Other performances that hooked me:

Zane Alexander in a wonderfully judged physical turn that is exacting in its repetition and pace in Endgame by the Kalamunda Dramatic Society.

Grant Malcolm whose monologue towards the end of the Henry IV (GRADS Theatre Company) as Henry catches Hal wearing the crown is worth the price of admission alone.

Paul Treasure's exhilarating descent into disenchantment and rage as Samuel Byck in Assassins by Roleystone Theatre Company.

Attending shows at WAAPA remains one of my theatrical joys so shout outs to Becca Galvin in The Watsons; Bianca Metcalf in Freaky Friday; Hank Harris in Punk Rock; Chloe Taylor in Merrily We Roll Along; and Conan O'Connell in Consent.

Mentions also to Chloe-Jean Vincent as the eponymous lead in The Diary of Anne Frank by Drew Anthony Creative; and Will O'Mahony in Black Swan's Never Have I Ever. 

Finally to director Blake Jenkins and his team at Bel Canto Performing Arts for seeing me out in style with Chicago: Teen Edition. 

Well, that's me done. No, seriously this time. I'm leaving. Walking out right now. Of my own blog. I promise... does anyone know how to get out of here? *looks around blankly* Ah, there's the exit! 

Richard ;-)

Chicago: Teen Edition - Bel Canto Performing Arts (12 July 2025)

Give 'em the ol' razzle dazzle. Bel Canto Performing Arts did exactly that with a stylish and confident production of the classic musical Chicago. Before we shimmy into any further details let's set up a little context. As this is the teen edition of what is famously a sexy and pointed satire about celebrity culture and how sensationalism trumps the truth, certain elements have been altered. It's pleasing to see a full page in the programme that respectfully and clearly explains those changes under the licensing agreement and the company's considered approach. An excerpt:

"Every creative decision, from choreography to costuming, has been made with thoughfulness and intention. Our goal has never been to sensationalise, but to present a bold, stylised and age appropriate piece of theatre that encourages growth, confidence and artistic expression."

I witnessed this care and attention to detail talking with members of the creative team before the show. Especially about the costuming which looks fabulous without being inappropriate. I did chuckle a couple of times at some of the lyric changes, however, this didn't detract from my overall enjoyment of the production. If anything, it enhanced it. Some of you will faint, I know! ;-) 

This tale contains a fabulous collection of Kander & Ebb songs presented with a sly wink and imbued with a touch of the indelible Fosse style. The performers, ranging from 15 to 21, are poised and focussed as they bring 1920s Chicago to life; a world of jazz and liquor where fame is only a gunshot and tabloid headline away.  

Iconic opening number All That Jazz clearly laid director Blake Jenkins' cards on the table. Equal emphasis on movement, vocal excellence, and capturing the swagger of the era. A simple set on two levels with three sets of stairs and a single door at the rear; along with wooden chairs in the tight wings for the ensemble to observe and adorn themselves on. Set design by George Boyd. 

Lighting design by Katharina Brieden plays with shadows and silhouettes whilst also spotlighting the feuding stars of the Cook County Jail as they vie for the attention of the media and notorious defence lawyer Billy Flynn (Jayden Adams). At times a little too much darkness for secondary characters on the periphery, however, the glitz and glamour shines through in big setpieces such as Roxie. 

Choreography by Matilda Jenkins echoes the precise moves of the Fosse style before embracing some fun flourishes of its own, especially with Amos (Calum Blakemore) in Act Two. Costuming by Matilda Jenkins and Lyn Leeder carefully treads the line between honouring the flapper era for the girls and not being too revealing, while the guys look resplendent in the predominantly black outfits the show favours. Sound design by Gordon Smith does a nice job of balancing vocals with the backing tracks and Musical Director Christie McGarrity ensures the vocal quality across the board is good indeed. 

I've already mentioned a couple of the male performers by name but, of course, Chicago is powered by a trio of female characters. Abigail Hill gives a full throated and feisty performance as the infamous Velma Kelly who is put out by the unexpected ascendancy of latest inmate Roxie Hart. Harriet Kenworthy initially plays Roxie with a disarming naivety that turns into something far more hard-edged as celebrity beckons. Hill and Kenworthy play well off each other; give interesting interpretations of wellknown songs; and sing beautifully together in first act closer My Own Best Friend and the plaintive Nowadays. Madelaine Batten is the other larger-than-life female character in the role of Matron "Mama" Morton. Batten is suitably bossy, plays up to the audience, and is an amiable presence throughout. 

Which brings us back to Jayden Adams and Calum Blakemore. Adams makes for a suave Billy Flynn who charms and cajoles in equal measure in an assured performance. Blakemore garners much audience sympathy as sad sack Amos with his work in the second act particularly affecting. Both have a highlight moment at opposite ends of the spectrum - Adams gets to literally Razzle Dazzle; Blakemore tugs at the heartstrings with Mister Cellophane. 

In the teen version, Mary Sunshine, usually a male in drag, is played by Eloise Andrew. That change does take away from the inherent flamboyance of the character yet Andrew handles the pliant report effectively. As does Matt Ballantine as the opportunistic Fred Casely and Adela Jung as the rambunctious Go-To-Hell Kitty. 

Any highlight of Chicago has to include Cell Block Tango with its anthemic "He had it coming!" refrain. Props to Hope Shepherd, Kayla Brown, Leila Zaknich, Evangeline Scali, and Holly Zaknich as five of the "merry murderesses" along with Velma. Then there's the always fun We Both Reached For The Gun which sees the whole company shine. 

Chicago is one of my favourite musicals and the movie version is a stunning adaptation. Watching the teen edition is a real pleasure. Yes, there are mandated limitations which means that if you know the full show it sometimes feels like it's pulling its punches. But to be honest, it's only a minor quibble when you see such a talented young cast on stage being so well supported by dedicated creatives from producers Katherine & Justin Freind on down. 

A glimpse at the future as you enjoy one of the legendary shows of the past. Chicago is on at the Old Mill Theatre in South Perth until 19 July. 

Photos by Outatime Pictures