Reviewed by JOHN SHAND at the Sydney Morning Herald:

"MUSICAL THEATRE
BRIGHT STAR
Hayes Theatre, September 11
Until October 5
Reviewed by JOHN SHAND
★★★★
Don’t necessarily judge a musical by its soundtrack. The original Broadway cast recording of Bright Star suggested I was in for a long night. The music and lyrics, by Steve Martin and Edie Brickell, are in a bluegrass/country vein, evoking the setting in North Carolina’s Blue Ridge Mountains. The songs sounded samey, the singing ordinary, and perhaps there was a good reason why nobody had penned a bluegrass musical before.
But that didn’t allow for Steve Martin’s book, with its sharply drawn characters, wit and poignancy – as well as unabashed melodrama – melodrama having kept country ballads simmering since folks first donned cowboy boots.

It also didn’t allow for the Broadway album’s singing being completely outgunned in a production devised, improbably, by leading Shakespeare company, Sport for Jove. Why, I’d wondered, would Sport for Jove lower the bar to hick musical theatre? Now I understand.
Although this is the company’s first musical, music has long been key to its Shakespeare productions, and Bright Star burnishes rather than clouds its reputation. Directors Miranda Middleton and Damien Ryan and musical director Alec Steedman have assembled a 16-person ensemble, almost all of whom act, sing, dance and play. It seemed only three band members didn’t have a character to play, and only one cast member didn’t play an instrument.
That was Hannah McInerney in the pivotal role of Alice Murphy. She has two especially potent songs, Please Don’t Take Him and At Long Last, and they would test the ability of any female singer not to become shrill while squeezing out the show’s emotional marrow. McInerney was superlative – and also acted her socks off as a literary magazine editor whose newborn babe was ripped from her arms 23 years before.
The show zigzags between 1946 and 1923 with an abruptness that initially teases, but we get our heads around it, and learn to trust Martin’s storytelling and invest in his detailed characters. In an ensemble of co-leads, the expert actors included Cameron Bajraktarevic-Hayward, Kaya Byrne, Jack Green, Sean van Doornum, Katrina Retallick and Rupert Reid.
Special mentions must go to Deirdre Khoo, who maximises the minor role of Lucy most entertainingly, and Genevieve Goldman (Margo), who has an ideal voice for the material, and who, upon learning that her love interest, Billy, is being published by Alice’s magazine, performs a little dance of exquisite ecstasy.
The lively choreography by Shannon Burns dovetails with the whip-crack directing, including such joy as a door held up to be knocked on, which, upon being opened, magically becomes a dining table. Designer Isabel Hudson cunningly implied the prevailing rusticity while accommodating 16 performers on the tight stage.
Yes, the melodrama undid certain moments, and the redemptive storyline was predictable, yet all was animated by the music’s high energy under Steedman’s direction and Victoria Falconer’s onstage supervision.

REVIEWED by FAITH IN THEATRES:

​Small-town life hides big emotions, and Bright Star knows exactly how to uncover them. This musical gem surprises and captivates, sneaking up on you to reveal the hidden depth behind the ordinary with playful precision. From the first chord, you are carried along in a current of story that pulses through every performer.
Bright Star is written and composed by the one and only Steve Martin, along with the acclaimed screenwriter, playwright, and singer-songwriter Edie Brickell. Set in North Carolina between 1923 and 1946, it follows Alice Murphy (Hannah McInerney), a literary editor, whose encounter with Billy, a young soldier home from World War II (played by a layered and engaging Cameron Bajraktarevic-Hayward), stirs a longing for the child she lost years earlier with her first love, Jimmy Ray (Kaya Byrne).  Driven by this connection, Alice embarks on a search to uncover her past and the secrets surrounding her baby. 
Sport For Jove’s distinctive flavour;  inventive staging, and intimate yet adventurous storytelling make every moment feel immediate, alive, and uniquely theatrical. The narrative moves fluidly between past and present, balancing tender emotional vignettes with whimsical, energetic moments that bring the world vividly to life.

The fabulous bluegrass-infused score, masterfully crafted by musical director Alec Steedman, lies at the heart of Bright Star and gives voice to its unmistakably Southern soul. The twangy, earthy textures, acoustic warmth, and intricate harmonies ground the North Carolina setting, together with lively rhythms and spirited melodies that evoke the full spectrum of human connection.
The large cast of actor-musicians is simply astounding. They not only act, sing, and dance, but also perform a vast array of instruments while seamlessly navigating multiple characters, supporting roles, and scene changes. Their skill and versatility make them the heartbeat of the production, carrying the story and its emotional weight with energy and finesse.
Isabel Hudson’s set design uses every square inch of The Hayes limited space, from the raised platform to carefully chosen props, to create an environment that feels both intimate and expansive, perfectly framing the emotional landscape of the show. Lighting designer James Wallis complements this with subtle shifts in tone and evocative texture that guide the audience through time and pathos.
The story is well-paced, with moments of darkness that hit with real emotional weight. Towards the end of Act 1, “Please, Don’t Take Him,” when Alice is forced to give up her newborn, brims with fear and angst, and “A Man’s Gotta Do,” performed by a sinister Seán van Doornum as the Mayor, concludes in a morally wrenching climax. In Act 2, the show really takes off, soaring with irresistible momentum and an exhilarating mix of song and feeling.
Kaya Byrne and Hannah McInerney play the leading lovers, charting a beautiful journey from innocent first love through heartbreak to eventual reconciliation. Their performances capture the delicate balance of longing and hope, and their well-matched voices reach a luminous high point in the duet “I Had a Vision,” while McInerney’s scenes with her Mama (the wonderful Katrina Retallick) in “Sun’s Gonna Shine” perfectly convey the enduring promise of healing and quiet conviction.

The comedic moments and the broad appeal of the ensemble as eclectic town folk provide a delightful counterbalance. Their quirky, memorable performances capture the vivacity and eccentricity of small-town life, adding levity while highlighting the humanity of the community.
Genevieve Goldman sparkles as Margo, the lovable, goofy local bookseller and Alice’s friend, opposite Cameron Bajraktarevic-Hayward. Their mischievous romance glows in “Always Will,” where song and comedy fuse with effortless charm. Deirdre Khoo as Lucy and Jack Green as Daryl deliver delightful performances, turning everyday office antics at the Asheville Southern Journal into well-delivered banter and brilliant one-liners.
This show constantly kicks up a bluegrass storm. Khoo’s featured number, “Another Round,” is a standout, showcasing the ensemble’s sharp timing and fantastic vaudeville flair while the grand number ‘The Picnic Dance’ bursts with infectious energy and sheer joy. Choreographer Shannon Burns’s inventive staging and dynamic movement capture the characters’ quirks and exuberance, pulling everyone straight into its lively heartbeat.
Bright Star may not be widely known, but it tells a story that feels familiar  – the journey of a life shaped by love, loss, and resilience. What makes it truly unforgettable is a stellar cast, bold and creative direction, and rich, vibrant musical arrangements that generate a completely infectious energy. Not even the torrential weather of Sydney’s last hurrah of winter could dampen the audience’s opening night spirits. Go and see it. You’ll walk out feeling uplifted, moved, and swept up in its magic.
Bright Star plays until 5 Oct at The Hayes Theatre. For further details see : https://hayestheatre.com.au/event/bright-star/
From bluegrass ballads to standing ovations —stay connected with the soul of the stage. Follow Faith in Theatres on Facebook and Instagram. Because theatre need Faith.

Reviewed by Bill Stephens OAM at the Australian Arts Review:

"The perfect musical for the TikTok generation, SIX The Musical was originally written by a couple of University student friends, Lucy Moss and Toby Marlow, for a Cambridge University student production for presentation at the 2017 Edinburgh Fringe Festival.
Experimenting with possibilities for a different form to traditional musical theatre they hit upon the idea of telling the story of the six wives of Henry VIII as it might have been communicated by an all-girl vocal group at a pop-concert.
Little could they have imagined that this concept would morph into a global phenomenon spawning a soundtrack achieving a ridiculous 32 million views on TikTok, and which, after two previous Covid-interrupted sold-out seasons in the Sydney Opera House, and a national tour, would be returning to Sydney for a season in the Theatre Royal, which judging from the response of the first-night audience, is set for its third sold-out Sydney season.
Not only is SIX brilliantly conceived and impressively mounted, it is also performed by, and a stunning showcase for, the talents of six prodigiously talented, triple-threat performers who play the wives with arresting solos, superb group harmonies and  flawless execution of Carrie-Anne Ingrouille’s arresting choreography.
As Henry’s six wives, they compete for the position of the band’s leader by trying to prove which of them had the worst experience at the hands of Henry.
Their competition all takes place in a brilliantly lit Tudor-inspired setting designed by Emma Bailey, and accompanied by a classy, all-female band consisting of Claire Healy (Keyboards), Kathryn Stammers (Drums), Danielle Colligan (Guitar) and Ann Metry (Bass).
Every member of the cast is on stage for the full duration of the show, costumed in glittering futuristic steam-punk-with-a-Tudor-twist outfits designed by Gabriella Slade and modelled on those of modern-day pop princesses, among them Beyonce, Sia, Adele, Rihanna and even Celine Dion.
Each costume holds clues to the status of the various wives. Anne Boleyn and Katherine Howard wear chokers to signify their beheading. Jane Seymour’s black and white corset alludes to half-timbered houses. Anne Boleyn wears a green costume to reference the myth that Henry VIII composed Greensleeves which becomes a recurring motif throughout the show.

Of the original Sydney cast only Loren Hunter remains, reprising her original role as Jane Seymour. Hunter brings a warm voice and natural elegance to the role which makes her pensive solo, Heart of Stone, a stand-out.
Deirdre Khoo is a delight as Anne Boleyn determined not to let anyone forget she was the first wife to lose her head. Kimberley Hodgson is a defiant Catherine of Aragon capturing the attention of the audience with the first of the wive’s stories with her blazing rendition of No Way.
Flaunting a striking red pony-tail, Zelia Rose Kitoko makes good use of the multi-faceted skills honed as an Internationally acclaimed burlesque artist for her portrayal of Anna of Cleaves lighting up the room with her solo Get Down, while Chelsea Dawson as Henry’s fifth and perhaps least relevant wife, Katherine Howard, provides a cheeky account of her many romantic encounters with All You Wanna Do before she too is beheaded.
Finally it is Giorgia Kennedy as the empowering Catherine Parr, who, fed up with all the arguing, questions the point of the competition by recounting her accomplishments independent of Henry with I Don’t Need Your Love.
Inspired by Catherine’s argument, the wives realise they didn’t need Henry’s validation and band together for the rousing finale Six in which the re-invent history to tell how their stories would have turned out if Henry hadn’t been involved.
This intelligent, high octane, tightly choreographed ensemble show in which every member of the exceptional cast, as well as the band, are on stage for the entire playing time. It is thoroughly entertaining, even informative for those not into history.
With superb production values and electrifying performances, SIX is thoroughly entertaining production which can be enjoyed on many levels. In fact, depending on your interest in Tudor history, you might even find it informative.

By Stephi Wild from BroadwayWorld

SIX the Musical, the global phenomenon which has taken the world by storm, has announced seasons at The Civic in Auckland and Newcastle’s Civic Theatre in 2025. The Tony Award-winning electrifying musical captivates audiences with its innovative and empowering take on history, redefining the boundaries of musical theatre and engaging audiences of all ages. The Australasian production is currently playing at Melbourne’s Comedy Theatre, before making its way to Sydney, Brisbane and Auckland from February 27 2025 and then to Newcastle from April 10 2025. In Auckland the production will headline the Te Ahurei Toi o Tāmaki Auckland Arts Festival.

Tickets go on sale September 26.

Producer, Louise Withers, said they were thrilled to be bringing this innovative and influential musical to Auckland and Newcastle.

By Jesse Chaffey from https://scenestr.com.au/

A musical. . . A pop show. . . A celebration of female empowerment. Whatever you call it, ‘SIX’ is a thrilling theatrical experience, and one unlike any other.

By now, ‘SIX’ has a huge following globally, and it’s not difficult to see why.

This 80-minute firecracker of a production is so much fun – it’s easy to digest, has a short but sweet soundtrack of total bangers, and a talented cast to bring it all to life.

If you’re more of a pop music lover than a musical theatre nut, ‘SIX’ is definitely the show for you. There’s a real sweet-spot of a balance between the two, providing audiences with narrative context and enough information about each character, only before it bursts into toe-tapping tunes which belong on radio.

Interactions with the crowd are reminiscent of pop girls in arenas, bringing the audience in on the show a lot more than your average night at the theatre and totally shattering the fourth wall which usually exists in this space.

My favourites from the night are Deirdre Khoo as Anne Boleyn, and Zelia Rose Kitoko as Anna Of Cleves. Deirdre’s song ‘Don’t Lose Ur Head’ is perfectly quirky and sassy, and Zelia Rose’s track is like a fusion of ‘Fancy’ by Charli xcx and Iggy Azalea, and ‘Worth It’ by Fifth Harmony. . . Making it a complete ear worm which is delivered with a delicious helping of attitude.

While I had my favourites, there’s no denying all six of these performers are absolutely fantastic. Their on-stage chemistry as a group makes all the difference – sharp quips shared between them as they fight for their place in the band are hilarious, natural and biting. . . Prompting visceral audience responses like ‘oooooooh’. . . ‘awwwww’. . . And of course, shrieks of laughter.

In the current political climate, a show like ‘SIX’, which sees women coming together to make something beautiful from their trauma, feels incredibly necessary and appreciated. While it’s obviously historical parody to the most camp degree, its messaging is grounded in real female camaraderie and the positive impact that can have when harnessed.

‘SIX’ is equal parts fun, silly, and important. With catchy songs and a slick, considered script, it’s an 80-minute joyride through herstory and female power.

By Andrew Bistak from impulsegamer.com

The globally acclaimed SIX the Musical returns to Melbourne and is currently playing at the Comedy Theatre in Exhibition Street. For the uninitiated, SIX the Musical is written by Toby Marlow and Lucy Moss and follows the story of the tyrannical King Henry VIII’s lesser known wives. Stepping out of the shadows of this “mad” king, we see his wives become pop stars as the audience is taken on a musical rollercoaster that puts a unique twist on these historical figures.

Selfies? Dating apps? It’s all part of the show, so don’t expect the words of William Shakespeare turned to music but rather, SIX melds Tudor history (or her story) with modernity that is laced with social commentary, including themes such as misogyny and infidelity which was rife during the time of Henry VIII. The wives even give us an informative and thoroughly entertaining snapshot into their stint as Queens but what makes this performance so great is the onset chemistry among the cast.
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The wives of Henry VIII are played spectacularly by Kimberley Hodgson (Catherine of Aragon), Deirdre Khoo (Anne Boleyn), Loren Hunter (Jane Seymour), Zelia Rose Kitoko (Anna of Cleves), Chelsea Dawson (Katherine Howard) and Giorgia Kennedy (Catherine Parr) who bring their real-world counterparts to life in a truly astonishing performance. Also supporting their performances are the amazing costumes and lighting that creates this true rock atmosphere of the Tudor era. As a result, it’s quite an empowering performance with its strong feminine energy.

There’s also a live female band who are equally as impressive and really blast the music throughout the Comedy Theatre, particularly the different styles that accompany the songs. And the songs? Combining history, social commentary to music works particularly well for SIX the Musical and the majority of numbers resonated well with the audience, especially Deirdre Khoo’s number Don’t Lose Ur Head which was quite infectious and very hilarious. In terms of pacing, each Queen has their own unique song with the vocal backing from the other Queens as they tell their story to the audience as we learn who was…
Divorced
Beheaded
Died
Divorced
Beheaded… with the above taken from the first song, Ex-Wives.

As to a favourite performer? That is a really tough question because all six performers were fantastic but each had a different emotion and personality that they brought to their characters which made them shine. However the cheekiness and sassiness of Deirdre Khoo cannot be beaten. Vocally, the six cannot be faulted. Additionally the choreography once again made this musical more concert than musical which suited the story very well, especially with the different styles.

Although the sets are limited, the lighting really makes up for this, especially the song performed by Zelia Rose Kitoko with an amalgamation of Daft Punk meets the German homeland of Anna of Cleves, including a hilarious swipe left, swipe right moment.


While some aspects of SIX the Musical are dark, the story merges humour to help tone down these themes and more importantly, the Queens get their Happily Ever After… well 5-minutes worth! With hoots and shouts from the audience, the opening night of SIX the Musical was a success at the Comedy Theatre with the show ending with a standing ovation.
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Final Thoughts?
It’s easy to see why SIX the Musical has become a global phenomenon that has been seen by over 3.5 million people worldwide that also has a string of awards as well. With clever lyrics and phenomenal performances, SIX the Musical is definitely a must see performance!

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SIX the Musical, the global phenomenon which has taken the world by storm has today confirmed its new Australian cast! The Tony Award-winning electrifying musical enjoyed record-breaking seasons across the country and now, following huge demand and anticipation SIX will reign again at Melbourne’s Comedy Theatre from 2nd August 2024, the Theatre Royal Sydney from 25th October 2024 and at QPAC’s Playhouse in Brisbane from 2nd January 2025.
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SIX tells the extraordinary story of the six wives of King Henry VIII who step out of the shadow of their infamous husband and reclaim their own narratives. Written by Toby Marlow and Lucy Moss, this modern pop-inspired musical brings these historical figures to life, portraying them as fierce and influential pop stars in their own right. Audiences are taken on a journey through the lives of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard, and Catherine Parr, each telling their own story and reclaiming their own narrative.

Taking on the role of Henry VIII’s first wife, the sassy Catherine of Aragon, will be Kimberley Hodgson fresh from playing the iconic role of Anita in Handa’s West Side Story. Kimberley has also graced stages in recent Australian productions of Miss Saigon, Mary Poppins and Frozen.

Joining the cast as the rule breaking second wife Anne Boleyn will be WAAPA graduate Deirdre Khoo who has just completed the acclaimed 50th Anniversary Australian Tour of The Rocky Horror Show playing Janet Weiss.

Loren Hunter returns to the role of the loyal third wife Jane Seymour having blown audiences away across Australia in previous tours. SIX has enhanced her unfaltering musical theatre career including roles in Strictly Ballroom the Musical and King Kong the Musical.

The independent Anna of Cleves will be played by Zelia Rose Kitoko. Zelia is a multifaceted actor, singer, dancer, and solo creative artist having toured worldwide with Dita Von Teese’s acclaimed touring review and made her musical theatre debut in the Australian production of Hamilton in 2020.

The role of the playful fifth wife, Katherine Howard will once again be played by Chelsea Dawson. Chelsea made an incredible impact in the role on the most recent tour of SIX across Australia and has since understudied the lead role of Sophie in the Australian tour of MAMMA MIA! the Musical.

Giorgia Kennedy joins the cast in the role of the empowering Catherine Parr. Giorgia’s previous musical theatre roles include understudying the lead role of Juliet in & Juliet and also understudying the lead role of Frankie in Jagged Little Pill.

Joining the SIX Australian Queens are the extremely talented swings made up of Gabriella Boumford, Thalia Smith, and returning Dance Captain/Swing Chiara Assetta and Resident Choreographer/ Assistant to the Director/ Alternate Swing Cristina D’Agostino. Also supported by the SIX on stage band including Music Director / Keys Claire Healy, Assistant Music Director / Keys Heidi Maguire, Kathryn Stammers on Drums, Danielle Colligan on Guitar and Ann Metry on Bass.

In crowning the new Queens, producer Lousie Withers said:

The smash-hit musical, SIX, continues its unstoppable journey as it captivates audiences around the globe with its innovative and empowering take on history. Since its premiere in 2017, SIX has become a cultural phenomenon, redefining the boundaries of musical theatre and engaging audiences of all ages.
Since its debut at the Edinburgh Festival Fringe, SIX has received widespread critical acclaim, leaving audiences enthralled by its infectious energy, catchy tunes, and empowering message. It swiftly moved to the West End, taking London by storm, and has continued to garner international recognition with productions in Australia, Canada, the United States, Europe and South Korea.

Each year SIX is seen by over 3.5 million people worldwide and currently has over 1.5 million followers on social media across the world. The show has received over 32 million views on TikTok alone, and the original Studio Cast Recording has been certified gold and been streamed over 600 million times. SIX has won 35 major international awards, including two Tony Awards for Best Original Score and Best Costume Design, and a Grammy nomination for Best Musical Theatre Album. Notably SIX author and Co-Director Lucy Moss is the youngest female-identifying person to direct a Broadway musical in over 40 years.
What sets SIX apart is its ability to resonate with diverse audiences and breathe new life into historical storytelling. With its cleverly crafted lyrics and contemporary sound, the musical effortlessly bridges the gap between the past and the present, appealing to both theatre enthusiasts and those new to the genre. It has become a cultural touchstone, inspiring fans to embrace their own strength and celebrate the triumphs and struggles of these remarkable women.

Moreover, SIX has made a significant impact in the digital realm, creating a vibrant online community of devoted fans, lovingly referred to as the ‘Queendom’. Its infectious songs and empowering themes have sparked viral trends on platforms like TikTok and YouTube, with fans passionately sharing their love for the show through fan art, cover performances, and heartfelt discussions.

As SIX continues its global journey, it cements its place as a groundbreaking musical that pushes boundaries and inspires audiences of all ages. It’s a high-octane, fun-filled 80 minutes of mega-watt entertainment.

MELBOURNE – COMEDY THEATRE
From August 2024

SYDNEY –THEATRE ROYAL SYDNEY
From October 2024

BRISBANE – PLAYHOUSE THEATRE, QPAC
From January 2025
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TICKETS ON SALE MARCH 2024 WWW.SIXTHEMUSICAL.COM.AU

​Taken from AussieTheatre

From @PerformingArtistsCompany​

We can’t wait to have the amazing DEIRDRE KHOO join us in July to polish vocals within our upcoming @capezio Young Industry Project production of A CHORUS LINE: Teen Edition 🤩🤩

Deirdre is currently touring with the 50th Anniversary Tour of THE ROCKY HORROR SHOW in the leading role of JANET WEISS! ❤️‍🔥

The 50th Anniversary production of iconic Rock ‘n’ Roll musical The Rocky Horror Show has kicked off global celebrations at Theatre Royal Sydney thrilling audiences and critics alike, and in an Australian first, will be broadcast live from the stage of Theatre Royal Sydney into cinemas across the country for ONE NIGHT ONLY on Thursday 30 March.