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RizzieReviews, 880 Hunter St, Newcastle (2026)

13/06/2026

Joseph and the Amazing Technicolor Dreamcoat
presented by Camden Musical Society

Director: Alfie Walker
Musical Director: Michael Jiear
Choreographer: Amy Fitzpatrick

Camden Musical Society did themselves proud on their opening night of Joseph and the Amazing Technicolor Dreamcoat at the Camden Civic Centre.

The interpretation of this story of Joseph from the bible's Book of Genesis took on an interesting spin. This production has three narrators telling the story of Joseph, who is the favourite son of Jacob. To show his love, Jacob gives Joseph a multicoloured coat. This infuriates his jealous brothers who try to kill him then change their minds and sell him as a slave. The story continues, told entirely through song, telling the adventures of Joseph and his family.

The creatives involved in bringing this story to life, including Creative Director Kerrie Jiear, cleverly sets this biblical story in the 1970's. This is evident from the beginning as you enter the auditorium. The stage is set with children in tie dyed T-shirts and flared jeans. As you take your seat and wait for the curtain to open, the children are in front of the curtain, playing familiar childhood games like hopscotch and elastics. Immediately the audience feels included, part of the fun, drawn in by the happy smiling children enjoying themselves.

From the moment the curtain opens the energy and joy of the cast fills the room. The three narrators dressed in 70's trouser suits are cleverly cast, setting the scene, telling the story and guiding the audience through this ancient biblical tale. These three powerhouse singers, Rowena Michael, Emily Boardman and Nicole Cini not only set the scene they also set the bar for the entertainment to follow. These ladies can sing! Each of them is unique in character and style. Through beautiful songs, engaging personalities, many gorgeous costumes and individual performances, their storytelling invites and involves the audience to come along on Joseph's journey and to become part of his story.

Once the audience meets Joseph it is easy to believe in him. The young actor Yacoub Hanania is outstanding. His voice, like his coat, is truly amazing! This is one of those rare moments when you can truly believe that an actor was born to play this role. His voice is perfect and his versions of Any Dream Will Do and Close Every Door are truly special. Hanania brings Joseph's character to life in a way that the audience can believe in and feel his pain and sorrow.

The comic flare and energy of David Gordon and Cameron Anderson in various roles cannot be ignored. Without giving too much away, they mix biblical characters with icons of the 70's making cameo appearances during the show!

The large ensemble cast is fabulous. Each and every member developed their own character and personality. By the end of the show the audience feels as if they know them all and have partnered with them as they share Joseph's story.

A huge shout out to Charlotte Skinner. Her enthusiasm and joy was infectious! The energy and passion of all of the children was fabulous, their singing and dancing was engaging, with the audience clapping and toe tapping along at every opportunity.

A huge part of the experience was the brilliant costumes. They were vibrant and full of creativity and colour. Each character was dressed to showcase their character and impress the audience. The amazing technicolor coat was stunning, cleverly designed and literally lit up the stage. Truly the leader of the wardrobe pack!

Congratulations to the director Alfie Walker and the choreographer Amy Fitzpatrick. Together they created their own version of the show, mentored and inspired an amazing cast transporting the audience to another place and time. The cast excelled under this leadership, despite the difficulties with the sound in the second act. It was a testament to all that the cast maintained professionalism continuing with the show, projecting their voices and not once letting technical issues spoil or interfere with the show.

Add to this the simple, yet effective set and you were truly transported back to the 70's, yet with the feel of ancient biblical times. A minimalist set was utilised encouraging the imagination and bringing to life the spirit of the show. A truly clever accomplishment!

All of this was enhanced by one of the stars of the show-the lighting. So seemingly simple, yet so effective. The lighting helped create the atmosphere and mood, highlighting the energy and joy of the characters and also bringing to life the dark despair of Joseph's lowest moments.

No musical show can go on and triumph without the Musical Director and their talented musicians. Hats off to Michael Jiear whose direction of all musicians, solo artists and big chorus numbers was impressive.

This theatrical offering was a refreshing and entertaining experience with a unique interpretation of a well loved story. What particularly resonated was the inclusive and diverse cast, adding to the joy and fun of the night. So, invite your friends and family to the newly renovated Camden Civic Centre to enjoy this show and to feel the warmth of a time gone by.

Joseph and the Amazing Technicolor Dreamcoat is showing until 21 June so get your own coats on and buy your tickets to this must see production

Donna Shevlin
RizzieReviews

14/05/2026

Consent
Written by Nina Raine
Presented by Rational Animals
Newcastle CBD

Directed by Tim Kemp

Consent is a razor-sharp examination of morality, justice and emotional hypocrisy, placing audiences uncomfortably close to the personal devastation left behind when people manipulate truth, language and intimacy for their own advantage. Set amongst a group of barristers who prosecute and defend sexual assault cases, the play constantly blurs the boundaries between legal arguments and private relationships, forcing its characters — and audience — to confront difficult questions about power, accountability and empathy.

The Rational Animal’s production conceived a set that is uncomplicated yet remarkably flexible, with scene transitions performed by the actors with the same urgency and emotional volatility that drives the narrative. The stage space is utilised exceptionally well, with several scenes unfolding almost invasively close to the audience, forcing us to witness the emotional distress before us without escape or comfort. The stage direction by Tim Kemp Director is flawless and it is evident he trusted his actors completely, allowing them to move fluidly in and out of scenes and across the stage as naturally as transitions and movements occur in real life. The lighting is equally well conceived, subtly shifting with the mood and psychological tension of each confrontation.

At the centre of the production is Ed and Kitty- a married couple with a new baby together for ten years. Benjamin Louttit plays Ed, the perpetually guilty adulterer who insists he only strayed “once” yet remains trapped in the consequences five years later. In a play so deeply concerned with self-justification and moral blindness, Louttit’s performance is extraordinary. He embraces a huge emotional range with deep authenticity, moving seamlessly from arrogant and heated debate to a blubbering puddle of guilt and desperation. His dialogue delivery is electrifying and utterly immersive, creating a portrayal that lingers long after the final act.

Playing Kitty, Ed’s wife is Samantha Lambert who is a tour de force on the stage. As the emotional fractures within the marriages and friendships deepen, Lambert’s emotional reactions, comic timing and carefully crafted dialogue delivery become increasingly compelling. Her ability to extend both emotion and intention beyond the confines of individual scenes gives the character a palpable emotional history and reveals an actor of remarkable depth and precision.

Liz Vassilacos as Rachel provides one of the production’s most intriguing performances. With beautifully restrained sarcasm and impeccable comic timing, Vassilacos portrays a wronged woman who resists collapsing into emotional chaos. In a play grappling with consent, perception and competing truths, Rachel’s willingness to question the allegations of other women adds a deliberately uncomfortable complexity to the narrative. Her commanding stage presence offers an effective contrast to the more visibly distressed characters surrounding her.

Zac Smith as Jake embodies the quintessential everyman — if every man is a shameless philanderer. Smith’s understated comedic timing and hapless facial expressions make Jake strangely endearing despite his astonishing obliviousness to the consequences of his behaviour. Smith’s performance cleverly reflects one of the play’s central ideas: the ease with which otherwise ordinary people rationalise selfishness and betrayal.

As Tim, Aoife Gregory delivers a study in calm, calculated precision. Gregory’s grounded and reserved energy becomes a compelling counterpoint to the emotional volatility surrounding her. The careful and measured line delivery, deliberately juxtaposed against the heightened emotionality of the other characters, allows her to quietly command the stage whenever she speaks. The performance carries enormous gravitas and reinforces the play’s fascination with authority, control and intellectual dominance.

Amber Wilkes as Zara provides moments of welcome relief amidst the relentless legal and emotional sparring. Her initially bubbly and refreshing portrayal gradually transforms into that of an angry jilted lover, revealing impressive emotional range and reminding audiences how quickly affection and vulnerability can curdle into resentment within relationships built on imbalance and dishonesty.

Nat Newman moves seamlessly through a range of minor roles, including a r**e victim and court counsellor, demonstrating striking versatility and reinforcing the broader social landscape surrounding the central characters and their moral failings.

This production is slick, fast paced and exceptionally well acted, with overlapping and interwoven dialogue during ensemble scenes adding enormously to the authenticity of the legal and domestic confrontations alike. Consent refuses simplistic answers or moral certainty. Instead, it exposes the contradictions embedded within modern relationships and the justice system itself, leaving audiences to wrestle with uncomfortable ambiguities long after the lights fade.

If this is a debut production for Rational Animals then their future is assured. This was a well crafted and intense production that audiences will thoroughly appreciate.

“Consent” is on until 23 May.

25/04/2026

Gruesome Playground Injuries
Written by Rajiv Joseph

Presented by Unorthodox Productions

Directed by Brea Macey

At Tap Gallery, the venue for tonight’s performance, the quirky inner-city space enhances the experience, allowing the small audience to become fully immersed in the intimate and often fraught relationship between Doug and Kayleen. The proximity strips away any sense of distance, drawing viewers directly into the emotional core of the piece.

Doug and Kayleen share eight pivotal moments across their lives, each encounter marked by injury or hospitalisation. Doug’s wounds are external—visible, immediate, and often the result of his reckless, thrill-seeking behaviour—while Kayleen’s are internal, shaped by deep emotional turmoil and the lasting impact of a dysfunctional upbringing. Doug is bold, loud and impulsive, suggestive of a personality that thrives on risk, while Kayleen carries her pain more quietly, though no less powerfully, literally bearing the scars of loss and instability.

Kayleen, played by Darya Miroshnikova, is portrayed with gutsy emotional depth. Her internal turmoil is ever-present, underscored by a longing for security and belonging that manifests in self-destructive tendencies. Miroshnikova navigates the role’s emotional peaks and troughs with finesse, revealing a character deeply connected to Doug yet more often pushing him away. She conveys both fragility and flashes of anger with striking authenticity.

Doug, played by Chris Stamoulos, is a compelling study in hyperactivity and emotional volatility. Stamoulos commands the stage with a strong physical presence, every heightened feeling vividly expressed through both face and body. His performance captures a man whose emotions frequently overwhelm him, yet whose vulnerability remains palpable throughout.

The scene transitions are clever and swift, with a subtle nod to Bertolt Brecht’s conventions, openly revealing costume and makeup changes and reinforcing the theatricality of the piece. The pace is cracking, never sacrificing the more poignant, reflective moments that give the play its emotional weight.

The choice of music enhances the storytelling, underscoring the emotional shifts with sensitivity, while the gentle fading of each scene leaves a lingering sense that we are not privy to everything that has occurred—an effective device that deepens the play’s sense of fragmentation and unresolved connection.

This is a raw and stripped-back production, allowing the characters to dominate and their story to remain firmly at the forefront. Director Brea Macey has packed an impressive amount of emotion and movement into a very small space, creating an almost uncomfortable intimacy that makes the audience feel as though they are an integral part of the drama for every encounter. These directorial choices greatly enhance the sense of immersion.

A very engaging and thought-provoking offering in a unique and distinctive venue.

Gruesome Playground Injuries is on until 3 May at Tap Gallery, 259 Riley St, Surry Hills, Sydney.

Photos by Simon Pierce

11/04/2026

Review: Away
Written by Michael Gow
Presented by The Theatre on Chester, Epping

Directed by Carla Moore

Away by Michael Gow is a powerful Australian drama set during the summer of 1967. It follows three families whose lives intersect during a seaside holiday, exploring grief, love, class and emotional healing. A school production of A Midsummer Night’s Dream is woven through the narrative, reflecting the characters’ emotional journeys and transformation.

At the centre of the story is Tom, a thoughtful young man facing an uncertain future, whose presence quietly impacts those around him. Alongside him are Roy and Coral, grieving the loss of their son in the Vietnam War, and Harry and Vic, a suburban “ten pound pom” couple navigating tension, secrecy and resilience.

Lucas Dockrill carries the emotional heart of the play with sensitivity and quiet assurance as Tom. His portrayal balances youthful charm with the profound awareness of a young man confronting his mortality. The performance brings warmth and dignity to the role, allowing Tom’s wisdom and compassion to gently influence the characters around him. 🌊

Tara Bishop as Meg portrays the emerging strong feminine independence of the era. It is a terrific, grounded and authentic performance of a teenager navigating the fractured marriage of her parents, capturing both youthful optimism and emotional uncertainty with convincing sincerity.

Martin Bell as Roy is a consummate performer as the 1960s headmaster dressed in the ever-present high-waisted shorts and brown striped tie. His portrayal of a man struggling to support a deeply fragile wife while managing his own grief unfolds with quiet dignity, the emotional toll expressed with moving restraint. His secondary role as the head of the campsite grievance committee is hilarious and highlights his versatility and range as a performer.

Karen Pattinson portrays the complicated character of Coral with great sensitivity, conviction and a depth not often seen in community theatre. Her performance charts Coral’s painful journey through grief with remarkable nuance and emotional honesty. Coral’s mental fragility was conveyed with incredible skill and empathy.

We all knew a Gwen back in the day, and Anna Desjardins conveys Gwen perfectly. Her brilliant delivery is direct evidence of confident stagecraft, capturing the sharp edges and social pretensions of the character while engaging the audience with assured comic timing. She provides many laugh-out moments throughout the story, yet also captures the aftermath of her character’s epiphany with sincere acknowledgement and emotional depth.

Cam Ralph as Gwen’s long-suffering husband Jim is instantly recognisable as everyone’s dad — cracking jokes while quietly managing his wife’s anger and anxiety. He provides a strong and reassuring stage presence, particularly in contrast to the internalized tension driving his wife’s character, creating a believable portrait of a man holding his family together with patience and gentle humour.

Ian Boland’s portrayal of Harry shows us a man carrying a terrible burden who nevertheless finds joy in his life and his marriage. His sensitivity and emotional intelligence are highlighted in a beautiful monologue with Jim in Act 2 that left the audience emotionally wrought and deeply admiring this actor for revealing who Harry is as a husband, father and friend.

Tracey Okeby Lucan’s Vic complements Harry beautifully, revealing both the pressures and protective instincts of a mother determined to keep her family safe. Her performance captures the anxiety and fierce love beneath Vic’s tightly controlled exterior, while still allowing moments of vulnerability to surface. Together with Boland she creates a believable and deeply human marriage that balances the heightened emotional currents of the other families. She conveys a joy in life despite the dark shadows gathering.

These incredibly talented leads are ably supported by a small yet tight ensemble that completes each scene, adding a level of realism that beautifully complements this finely constructed script.

Director Carla Moore demonstrates a depth of experience and a keen eye for detail when staging such a classic Australian work. The simple yet evocative set utilises all parts of the stage, while the stunning lighting design and seamless transitions reveal a director with a clear and confident vision. Even the costumes are carefully chosen to authentically represent late 1960s Australia further grounding the production in its distinctive era and culture. There were some memorable moments in this production including the proverbial “tempest” which was done with flair and creativity. It is clear Moore grounded her cast in a deep understanding of their characters. She is to be congratulated on a high quality production.

Away by The Theatre on Chester is an excellent production that should not be missed. Don’t stay AWAY from this one! 🎭

Away is on until 2 May at The Theatre on Chester in Epping

10/04/2026

Review: The Admirable Crichton
Presented by The Genesian Theatre

Directed by Steven Hopley

The Admirable Crichton by J. M. Barrie remains a sharp social satire that gently mocks the rigid class structures of Edwardian England. Barrie’s script explores what happens when fate intervenes and those hierarchies are unexpectedly overturned, revealing both the absurdity and the persistence of social conventions.

The set design embraced a simple and sparing aesthetic which suited the deserted island setting well. While this minimalism effectively conveyed the isolation of the beach environment, the drawing room scenes might have benefited from greater richness to evoke the grandeur expected of a Lord’s household. The lighting design was consistently interesting and effective, complementing the changing moods of the story and supporting the visual storytelling throughout the production.

Costumes were largely very accurate to the period and the variations seen across the drawing room scenes added visual interest and helped define the characters’ social standing. The island costumes, while functional, felt somewhat less authentic by comparison.

Barrie’s writing cleverly reflects the farcical rigidity of the social hierarchy of the time while playfully challenging those conventions once the characters find themselves stranded and traditional roles are reversed. Although the script contains considerable wit, not all of the embedded humour fully landed on this occasion.

The cast clearly embraced both the style of the period and the archetypal nature of their characters. At times the ensemble energy could have been more dynamic, and some of the dialogue delivery — often rapid and with limited projection — meant that elements of the story were occasionally lost to the audience. As this was a preview performance, these elements will likely continue to develop as the run progresses.

Amy Tustian as Lady Mary, Brook Taylor-Moore as Lady Agatha, and Hannah Heading as Lady Catherine formed a delightful trio of sisters, at times reminiscent of the comic excess of the proverbial ugly step-sisters. Tustian in particular demonstrated beautifully expressive facial acting that conveyed the emotional conflict within Mary as her journey unfolds.

Jono Lukins skillfully portrayed Ernest Woolley, capturing perfectly the manner of a spoiled, privileged and delightfully useless young man.

Andrew Eddey, in the titular role of Crichton, delivered the quintessential butler with admirable control and precision. His measured delivery and composed stage presence never faltered, anchoring both the ensemble and the narrative with sincerity and conviction.

One of the most memorable moments of the evening arrived in the second act with the appearance of Liz Grindley as Lady Brocklehurst. Her ability to capture Barrie’s intended humour was commendable and provided a welcome lift to the climactic moments of the action.

Director Steven Hopley created several striking tableau moments in this production, marking his maiden voyage on the Genesian stage with thoughtful visual compositions.

The Admirable Crichton is playing at Genesian Theatre until 16 May. 🎭

21/03/2026

Radium Girls
presented by Wyong Drama Group

Directed by Daryl Kirkness

Radium Girls, written by D.W. Gregory, is a powerful historical drama based on the true story of young factory workers who painted luminous watch dials with radium in the early twentieth century. What begins as a fashionable and well-paid job soon becomes a devastating fight for justice as the women discover the terrible consequences of radium poisoning. Set primarily in Orange, New Jersey in the 1920s, the play follows Grace Fryer, a dial painter who becomes determined to hold the radium company accountable as she and her fellow workers fall mysteriously ill. Facing denial from the company and dismissal from medical professionals, Grace refuses to give up. Her pursuit of justice exposes corporate negligence and contributes to the growing movement for workplace safety and workers’ rights.

Courtney-Jade Buckley, as the central protagonist Grace Fryer, is a standout. She delivers a performance of wide emotional range, charting Grace’s journey with clarity and conviction. Buckley is in the moment every moment, bringing remarkable depth and authenticity to her plight. Her character’s physical deterioration is palpable, yet she ensures an inner strength shines through even in the most desperate circumstances. Her performance is unforgettable.

Yasmin Ling gives a memorable performance as Kathryn Shaub delivering her dialogue with accuracy and clarity while capturing the more playful and quirky elements of Kathryn's personality. Her sharp decline in health is keenly conveyed and deeply affecting.

As Arthur Roeder, Raif Colbert Smith creates an anxious and increasingly agitated plant manager, forever focused on the bottom line even as the reality of his female workers’ failing health becomes impossible to ignore. Smith finds his rhythm in Act 2 effectively conveying the mounting tension and pressure surrounding the company’s growing crisis.

The principal characters share the stage with a nimble and engaging ensemble, many of whom take on multiple roles. Marc Caldwell demonstrates a strong stage presence with delightful character differentiation. Tina Findlay shines as Grace's mother, while Sara Brown and Fleur Ram deliver memorable cameo appearances in their respective roles. Andy Kabanoff as Professor von Sochocky provides a sobering portrayal of the man who introduced radium to the American market and then too late realises its terrible legacy and the guilt and regret is evident in his last scene. The performance of Billy Crick, as Tom, Grace's boyfriend is marked by subtle sincerity, offering warmth and emotional grounding against the unfolding tragedy of Grace's all consuming illness. Mention must also be made of Jake Cain-Roser and Samara Dawson as the competing newspaper reporters, whose rapid-fire exchanges provide moments of sharp humour and lively commentary amidst the developing tragedy.

Scene transitions are masterfully executed to a beautiful original score by Andrew Warboys, accompanied by tight ensemble choreography that maintains the momentum of the storyline. The set is simple but impressive and, together with the atmospheric lighting and well-crafted period costumes, effectively transports the audience to the early 20th century.

From the opening moments, the clever direction by Daryl Kirkness and strong production values are evident, resulting in a compelling and thoughtfully realised staging of this important story.

This is a play that radiates talent both on the stage and behind the scenes and should not be missed.

Radium Girls is playing at Red Tree Theatre until 28 March 2026

14/03/2026

Australian Premiere of new musical!

“18 Eden Avenue”

Co-Written by Roger Gimblett (Book) & Sally Bodkin-Allen (Music)

Directed by Roger Gimblett

Musical Direction by Christine Firkin

Set inside a slightly timeworn but well-loved house, 18 Eden Avenue is a warm and engaging musical that explores family, generational change and the unexpected turns life can take. The story centres on three women sharing the same home — the mischievous matriarch Honoria, her practical daughter Sophie, and Sophie’s spirited daughter Poppy. Their carefully balanced routines are gently disrupted with the arrival of the charming boarder Gilford, whose presence brings humour, romance and a touch of chaos to the household.

Act 1 introduces the audience to all the residents of 18 Eden Avenue, including the new boarder. Opening night nerves and the gravity of presenting this musical’s Australian premiere may have been the reason that Act 1 was lacking some energy and dynamic drive, although it set up the storylines effectively. Jokes occasionally failed to land, dialogue felt rushed at times, and while the harmonies were delightful, several solo moments were a little pitchy.

Act 2, however, proved to be an absolute revelation. The humour flowed more freely, the singing strengthened, and heartfelt emotional moments emerged with confidence. The energy that seemed tentative in the first half blossomed into a joyful and engaging second act, with the audience clearly invested in the characters and their stories.

Jenny Jacobs as Honoria is the heart of the home — the straight speaking and loving matriarch who anchors the household. Jacobs provides a masterclass in dialogue delivery and comic timing, drawing consistent laughter from the audience. Her beautiful reminiscing in the song “When I Dream” establishes her limitless capacity for emotional storytelling, revealing both the humour and vulnerability at the centre of the character.

As Sophie, Isabella Rodrigues carries much of the emotional weight of the story. Portraying a woman burdened by a secret she has carried for many years and impending financial ruin Rodrigues brings a strong stage presence and vocal assurance that gives the role emotional gravitas. Her sense of comedy shines through the tentativeness and gentle sensibilities of the male characters, endearing her to the audience and firmly positioning Sophie as the one holding the household together despite adversity.

Sophie Laurantus portrays Poppy as a joyful, intelligent and confident teenager navigating life within a very unconventional household. Laurantus is convincing as a young woman on the cusp of adulthood, searching for her place in the world. Her harmonising voice blends beautifully with the other performers, and her lovely solo vocals shine, adding warmth and brightness to the musical’s ensemble moments.

Together, Jacobs, Rodrigues and Laurantus create a wonderfully believable family unit. The three women feel effortlessly connected — familiar, occasionally bickering, but utterly devoted to one another. That dynamic becomes one of the production’s greatest strengths, grounding the story in warmth and authenticity.

Among the supporting roles, Greg Thornton gives Arthur a thoughtful characterisation as a quiet, socially reserved man whose fascination with the plant world has come at the expense of human relationships. In Act 1, greater emotional investment is needed when he decides to reveal his secret during his argument with Sophie, giving a hint of his ultimate and unexpected decision in Act 2. In the second act, Thornton bursts onto the stage as though we are meeting an entirely new person — a newly revived Arthur hell-bent on living life. His reprise of “Someone in the Greenhouse” is beautifully engaging and genuinely moving, showcasing a resonant voice that proves a delight to listen to.

Jasper Barnard as Simon finds his rhythm in Act 2, delivering some beautiful solo moments as he attempts to convince Poppy he is much more than simply the boy next door. These moments reveal greater depth in the character and allow Barnard’s musicality to shine.

As Gilford, Jack Taylor appears comfortably at ease on stage, landing his comic lines well and offering subtle hints of the character’s hidden desires. His solo work is strong, and he shares a particularly engaging duet with Thornton in “At Least You Tried,” a moment that balances humour with the plight of both men.

The musical’s score is gorgeous, filled with memorable refrains and beautiful harmonies that linger well beyond the final curtain. The lyrics are thoughtfully composed, rich with meaning, and help flesh out the storyline while revealing the characters’ feelings, fears and hidden longings.

Visually, the production adopts a simple but effective design. The set allows the focus to remain firmly on the characters and their relationships, while lighting and sound subtly shape the emotional tone of each scene. Costumes feel carefully chosen and character-driven, reinforcing both the personalities of the residents and the sense of place within this unconventional household.

Roger Gimblett, as playwright, lyricist and director, should be delighted to see his musical on the Genesian stage, which takes its place proudly among the other musicals the Genesian Theatre Company has successfully undertaken.

With its engaging characters, melodic score and affectionate observation of family life, 18 Eden Avenue ultimately delivers a heartfelt and entertaining evening of musical theatre. By the final curtain, the audience is left celebrating the warmth of the household and the idea that home is shaped not by walls, but by the people who share it. 🎭✨

18 Eden Avenue is on for a limited season until 28 March - at The Genesian Theatre Rozelle - make sure you catch this delightful new musical offering

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