Melbourne theatre and musicals in January

Golden Blood is now playing at Arts Centre Melbourne as part of Melbourne Theatre Company's 2024 season. Read on for our critic's review of the recent Sydney season.

Girl (played by Merlynn Tong, who is also the playwright) is 14. She dreams of moving to Australia. She wants to be a veterinarian, and to help all the marsupials she’s read about. The plush koala she clings to is a salve and a symbol of her ambitions. 

Boy (Charles Wu, Miss Peony) is 21. He dreams of wealth – vast wealth. He wants to be a gangster. Maybe he already is one. He wants to attain the respect he’s seen his fellow criminals command. His father’s parang (a large knife, not unlike a machete) is a salve and a symbol of his ambitions.

To be clear, Girl and Boy are siblings. Their alcoholic mother’s death has brought them back together, Boy having left the family home years ago for reasons we’ll later learn. Boy promises to protect Girl. In his way, he does – but being dirt poor in Singapore’s criminal demimonde is a tough row to hoe. 

Bringing with it a strong sense of self, place, and culture... it’s a remarkable work.

Golden Blood comes to Melbourne Theatre Company after a Sydney Theatre Company season and an acclaimed indie premiere season with Griffin Theatre (the company behind the winner of Best Play in the inaugural Time Out Sydney Arts & Culture Awards) in 2022, bringing with it a strong sense of self, place, and culture. 

It’s a remarkable work. Over the course of its brisk 90 minutes, we follow Boy and Girl across several years; time jumps are demarcated by flashes of red digital numerals depicting the siblings’ ages on designer Michael Hankin’s sparse, utilitarian stage. While the wider world is communicated through Tong’s sharp, frequently laugh-out-loud hilarious dialogue, the play is a two-hander. And why wouldn’t it be? The dynamic between Girl and Boy, and their shared past, is all that really matters here. The trouble is, however, that each of them has a very different understanding of that past.

Tong and Wu’s strong, agile performances carry the day. We see Tong’s Girl change from a naïve, somewhat sheltered tween to a wild teen, to a woman grasping her position in the world and how she relates to both it and the brother who has suddenly come back into her life. By contrast, Wu’s Boy is in a state of arrested development; for much of the running time, he’s a cocky youth pantomiming masculinity and success, a glad-hander and a fast talker who believes he can fake it until he makes it – and if he doesn’t make it, he’ll just keep faking it. His moment of self-realisation, when it finally arrives, is abrupt, but hard earned.

It might sound self-serious, but Golden Blood pulses with life. Rapid quips and brisk scene transitions take us across the span of years at breakneck pace. The pulsing score designed and composed by Rainbow Chan (an innovative artist whose reputation precedes her – you can check out her visual art practice in the MCA’s 33rd edition of Primavera), combined with Fausto Brusamolino’s bold lighting design, immerses the audience in the hedonism of Singapore’s nightclubs with nary a change in set dressing. A switch to the minimalistic by Brusamolino (a stark bar of light set across a character’s eyes on an otherwise dark stage) also serves to indicate when the play is veering into more metaphysical territory. Maybe it's magical realism, maybe it's an expression of intergenerational trauma, maybe both. 

What really impresses is the way Golden Blood is able to deal with such heavy themes without tripping over itself or getting bogged down. Deft direction by Tessa Leong ensures that neither we nor the characters are left to stew in our own juices or descend into morbidity – the world moves too quickly, and life is too short for that. Even when Boy and Girl are confronting long-ignored truths about themselves and their departed mother, the work crackles with energy. 

It’s readily apparent that Merlynn Tong (who based the play partly on her own experiences) is an exciting new talent and, given that Sydney Theatre Company has already committed to mounting her upcoming work Congratulations, Get Rich! at the tail end of its 2025 season, she has much more to say. We should count ourselves lucky.

Golden Blood is playing at Arts Centre Melbourne until November 30 and tickets are available over here.

For more theatrical brilliance, check out the best productions in Melbourne this month.

Praise be! Bonafide showgirl and one of Australia’s most-loved musical theatre stars, Rhonda Burchmore, has been confirmed to join Casey Donovan and Genevieve Lemon in this heavenly musical hit. Rhonda will star as Sister Mary Lazarus in the Melbourne premiere of Sister Act. 

If you're not already familiar with national treasure Rhonda Burchmore, it's time for an education – the flame-haired beauty is essentially Australia's number one glamazon. The 63-year-old has popped up in various films, television shows, stage productions and national tours over the decades. Long before she arrived in the South African jungle for I'm A Celebrity Get Me Out of Here, she was seen on the West End stage with Mickey Rooney. Burchmore has appeared wearing a nun's habit in a video shared across social media, and in it she says: "I have been performing for 42 years, and this is the most comfy I have ever been." We're sure this showgirl is gonna be a delight to watch. Get it, Rhonda! 

After collecting five Tony Award nominations on Broadway, Sister Act will open at Melbourne’s Regent Theatre from November (all after a triumphant return to London’s West End earlier this year).

In the biggest role of her career to date, Casey Donovan is confirmed to lead the cast of this divine musical comedy. The legendary casting doesn’t stop there, though – joining Donovan in donning the habit is the much-loved Genevieve Lemon in the role of Mother Superior. 

Donovan will be stepping into the sparkly shoes of the quick-witted disco diva Deloris (played by Whoopi Goldberg in the iconic 1992 film that inspired the stage show) whose life takes a surprising turn when she witnesses a murder. Placed under protective custody, she is hidden in the one place she shouldn’t be found – a convent. Encouraged to help the struggling choir, she empowers the sisters to find their true voices as she unexpectedly rediscovers her own. With songs inspired by Motown, soul and disco, this feel-good show features original music by Tony and Oscar Award-winner Alan Menken (Disney’s Aladdin, Enchanted, and The Little Mermaid).

Appearing on our screens from the age of 16, Casey Donovan has come a long way since she was named the youngest winner of Australian Idol (and we’re not just talking about when she was crowned “Queen of the Jungle” in I’m A Celebrity Get Me Out Of Here). As one of Australia’s most versatile entertainers, Casey is an epic and sought after musical theatre performer, most recently stealing the show in & Juliet (which is playing in Sydney through June). 

Meanwhile, if you haven’t seen Genevieve Lemon’s multi-award-winning face somewhere, you must’ve been living under a rock for the better part of her 40-plus year career. She has appeared in a number of Australian television series, international films (including frequent collaborations with legendary filmmaker Jane Campion), and many premiere stage productions both here and abroad. You catch her in the Stan Original series Population 11 and the upcoming feature film Runt.

Sister Act is brought to the Aussie stage by John Frost for Crossroads Live. Further casting announcements will be made in the coming months, and tickets are on sale now at the show's website.

Stay in the loop: sign up for our free Time Out Melbourne newsletter for the best of the city, straight to your inbox. 

For shows you can see right now, check out our list of the best theatre and musicals in Melbourne.

Tina Turner was the bread and butter of our household TV screen. She belted alongside Mick Jagger at Live Aid, leather-clad and big hair, raced her supercharged engine across Coober Pedy in Mad Max: Beyond Thunderdome and assured the world that everything would be alright as David Bowie slipped out of the shadows during her Private Dancer Tour. She was one of music’s indomitable icons, a powerhouse; she was the Queen of Rock‘n’Roll.

When Tina – The Tina Turner Musical finally rolled into Melbourne’s Princess Theatre after its West End debut and national run, it arrived with sky-high expectations. Having stacked up Tony and Olivier nominations as well as praise from Rolling Stone for its ability to simultaneously “entertain and enlighten”, I’m relieved to say that this Melbourne production did not disappoint.

Leather, shoulder pads and sequins that would make Tina herself proud, danced across the red carpet on opening night with hundreds, including local Australian stars, paying homage. For someone like me, who never experienced Tina live beyond the glow of a television screen, the energy certainly made it feel like the real deal. 

The musical, written by Katori Hall alongside Frank Ketelaar and Kees Prins, and directed by Phyllida Lloyd, stays true to Tina’s journey – thanks, in part, to Tina herself. From her early days in Nutbush, Tennessee, with gospel choirs and dusty churches, to the St. Louis blues scene where she met Ike Turner, across the globe to the soggy streets of London where she made her comeback alongside the synths of the 1980s – the musical traces every gritty, glittering step of her rise to stardom. It’s jam-packed, so buckle in. 

In the Australian production, filling Tina Turner’s megawatt heels or Adrienne Warren’s – who played the original Tina – for that matter, was no small feat. But Ruva Ngwenya more than delivered, her ferocious vocals gliding from crystalline to raspy in the same breath. Special mention to Zoe Desmier as young Tina, whose magnetic performance surely caught the eye of Roger Davies, hilariously portrayed by Mat Verevis. 

The first act is exhilarating, with quick, often violent transitions, poodle skirts and vintage soul. It’s the Ike and Tina Turner Revue era, with gospel tracks like ‘Proud Mary’ (1971) and ‘A Fool in Love’ (1960), set against the backdrop of the civil rights movement. Giovanni Adams' chilling portrayal of Ike Turner serves as a dark counterpoint to the dizzying highs of Tina’s early career. Jayme-Lee Hanekom, as Tina’s sharp-tongued sister Alline, keeps the energy bouncy and fast-paced.

After intermission, it’s straight into the neon-hued, leopard-print ’80s. London, baby. With Mark Thompson’s simplistic set, paired with dynamic projections (Jeff Sugg) and lighting design (Bruno Poet), the era shift is seamless – fish tanks, projections and digitised synthesisers signal Tina’s comeback. While the second act doesn’t quite match the high-octane debauchery of the first, it goes deep into Tina’s battle with single motherhood, loss and a male-dominated music industry. Plus, there’s still a surprising amount of comedy and, of course, the music. ‘What’s Love Got to Do with It’ (1984) and ‘Better Be Good to Me’ (1984) build towards the grand finale where ‘The Best’ – an anthem that, thanks to its NRL promotion in Australia, had the local crowd swaying, teary-eyed and showered in confetti.

This is far more than a jukebox musical – it’s a euphoric tribute to resilience, triumph and the power of music, and I daresay one of the most joyful productions in recent memory. So, whether you’re a die-hard Tina fan or just in search of a top-tier theatrical experience, throw on your sequins. The show’s infectious energy is hard not to love. 

Tina – The Tina Turner Musical is playing at the Princess Theatre until January 2025. Find out more and get tickets here. 

Stay in the loop: sign up for our free Time Out Melbourne newsletter for the best of the city, straight to your inbox.

Want more? Discover the best of Melbourne theatre and musicals this month.

This November, an acclaimed two-hander written by Oscar nominee and Obie Award-winning playwright José Rivera is showing at St Kilda’s Red Stitch Actors’ Theatre, and it’s guaranteed to make you think harder about the role of artificial intelligence in our lives. Set in New York’s not-too-distant future, Your Name Means Dream is a meditation on the future of elder care in a society where the line between human and machine continues to blur.

What does it mean to get older in our tech-heavy world? With direction from multiple Green Room Award and Matilda Award nominee Kat Henry, this 100-minute play dives right into the big questions as it introduces us to Aislin and Stacy. The former is an elderly woman who finds herself in an increasingly alien world, while the latter is perfect, ageless and also a robot. As Aislin faces the indignities of age, Stacy questions what she’s missing out on when it comes to truly living. 

This Australian premiere stars long-time Red Stitch ensemble member Caroline Lee, alongside rising star Lucy Ansell (Harry Potter and the Cursed Child). Performances continue until November 24 and tickets are available now via the company website.

Stay in the loop: sign up for our free Time Out Melbourne newsletter for the best of the city, straight to your inbox.

Want more? Discover the best of Melbourne theatre and musicals this month.

The AFL has been in existence since 1896, yet there’s long been an elephant in the room (or should we say, league?). While rumours have come and gone, the mens division of the Australian Football League has never had an openly gay player. As the years march on, it’s a fact that becomes more and more noteworthy.

One Day in September is a new Australian musical that tackles this very issue by simply asking what if? And given the pressure cooker environment of professional football, what obstacles would a player face if they did decide to come out?

The musical, which we’re told has been five years in the making, traces the fictional story of a player coming to grips with his public and private lives. We’re promised a story of self-discovery and sacrifice that asks whether it’s really possible to have it all in today’s society. 

You can catch this Perryman Theatre Company production at the Athenaeum’s smaller space, Athenaeum Two, from November 28-30. The cast reads like a list of the next generation of Aussie musical theatre stars, including Keanu Gonzalez (Grease), Ashleigh Rubenach (Sunset Boulevard), Lorinda May Merrypor (& Juliet), Des Flanagan (Moulin Rouge! The Musical) and Yashith Fernando (& Juliet). 

With only four shows scheduled, we highly recommend booking early to secure your chance to see this daring new work.

Calendar looking empty? Here's the best theatre and musicals happening in Melbourne this month.

Having earned five Tony Awards and secured its position as a Broadway smash hit, Peter and the Starcatcher – a Peter Pan spin-off that tells the magical story of the birth of Neverland – is hitting Australian stages for the first time in late 2024. After making its Australian debut at Canberra Theatre Centre in October, the fantastical show will arrive at Arts Centre Melbourne from November 8. 

Telling the story of Neverland before it became what we know it as now, Peter and the Starcatcher is a whimsical exploration of imagination and nostalgia, described by the New York Times as “a blissful exercise in the make believe”.

The stellar cast has now been announced and will include stars of both the screen and stage. Comedian and TV personality Pete Helliar will take on the role of Smee and Otis Dhanji (Aquaman, The Unlisted) will play Boy/Peter. Colin Lane of Lano and Woodley has been cast as Black Stache and Olivia Deeble (Home and Away) will play Molly. 

Rounding out the impressive cast are Alison Whyte (Groundhog Day the Musical), Paul Capsis (The Rocky Horror Show), Ryan Gonzalez (Moulin Rouge! The Musical), Hugh Parker (The Family Law) and Morgan Francis (Boy, Lost). 

Originally written by the mind behind Jersey Boys and Adams Family, and developed by Disney Theatrical Group, the all-new production has been reimagined with direction from Australian David Morton. His award-winning theatre company Dead Puppet Society has been tasked with bringing the show to life for an Australian audience and, with their track record of creating visually astounding worlds, we expect they’ll do a pretty incredible job.

"The initial production of Peter and the Starcatcher was a passion project – just a great group of artists and high expectations. To see the play come to life over and over again around the world is a joy I never expected," says playwright Rick Elice. "And to witness the marriage of this humble piece with the vast imagination and ingenuity of Dead Puppet Society is more than a joy, it’s a privilege – and, for this playwright, an inspiration."

Peter and the Starcatcher’s national tour will see it hit Melbourne in November, before travelling to Sydney and Brisbane in 2025. Tickets are available now via Ticketek.

Time Out tip: Though Neverland is all about never growing up, this production is suited for viewers aged ten years and above.

Love the ol'razzle dazzle? Check out the best theatre and musicals in Melbourne this month.

Experience an evening of allure, pure extravagance and exciting dance numbers at Shimmery Couture’s production of Shimmery Burlesque. Showing to audiences for just one weekend at the end of November, the intricate show has been developing in production for more than half a dozen years.

According to the team at Shimmery, the show includes thousands of shining rhinestones, more than a hundred costumes and fun Burlesque routines brought to life by a chorus of fabulous performers – all in the one place. The production follows the life of Lady Shimmery, a chic Parisian who is inspired by the city of love and entranced by the art of burlesque.

As a costume maker by trade, Lady Shimmery designs and creates intricate pieces for the Cabaret from her glittering work room. Let the story guide you through sparkling dressing rooms, romantic sewing stations reminiscent of traditional Parisian design and finally into a glorious French garden scene complete with park benches, fountains and artists.

Indulge in a showstopping night of entertainment at one of Shimmery Couture’s four  Melbourne shows. Reserve tickets at the official site before they sell out.

Can't wait? Here are the best shows and musicals happening in Melbourne this month.

From the moment the curtain rises, it’s clear this is a large-scale musical with all the belles, whistles and big bucks. Visual splendour is the MO here – think kaleidoscopic costumes, gasp-inducing illusions and spectacular lighting – and it’s easy to see why this show broke box office records at Brisbane’s QPAC. Read more.