The best of Melbourne theatre and musicals this month

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. 

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

It takes a lot to keep a gloriously body-positive, anarchically queer feminist cabaret queen down. Tragically, a lot, in this instance, is a particularly heinous blast of pneumonia that ripped through the entire cast of outré creative company Fat Fruit. With the illness hitting Sarah Ward hardest, she’s had to temporarily pull out of F Christmas, the dashingly irreverent and indecently undressed seasonal hullaballoo she penned and planned to perform in.

Powerhouse director Susie Dee (Runt) – who co-created the work with musical director Bec Matthews, Ward’s partner in life and stagecraft – announces the bin-able news next to a skip at the edge of the Malthouse’s Merlyn Theatre. Designer Romanie Harper has transformed the space into a slightly skew-whiff Santa’s grotto set ablaze by Monique Aucher’s blood-red lighting. Torn wrapping paper ribbons adorn a gigantic, stage-spanning garland that utterly dwarfs Dee. It takes her a couple of coughs – hopefully not lurgy-related – to grab everyone’s attention, announcing that the magnificent Milo Hartill will step in.

The show must go on, and unfortunate theatrical mishaps have a funny way of working out way more than okay. Despite having less than a week to rehearse, Harthill, the glorious mind behind button-pushing solo show Black, Fat and F**gy, is glitter dust personified in a gold-sequinned dress. She brings an extra spicy tickle to her role as Geraldine, playing on the trope that any generic woman will do to host a dazzlingly white and pretty sexist Australian commercial TV station’s annual Christmas carol concert. 

Cheekily effervescent Filipino-Australian performer John Marc Desengano depicts Geraldine’s sassy co-host Andrew, tartly underlining that the pair would be unlikely to get a go on a network show like this. That his sparkly black tuxedo jacket gapes louchely open at the back, held together by hair clips, signals that the mayhem about to unfold will burst all the seams.

I say about to, but in truth, the show begins before we’re seated. The Fat Fruit ensemble works the Malthouse foyer in their dollar shop-inspired attire conjured up by costumers Zoë Rouse, Jo Foley, Jodi Hope and Nathan Burmeister. There’s a cranberry saucy Santa photo op and some romp-a-pom-pom drummer girl joy. Circus star Seth Sladen stands out not just because he’s sporting a skintight red PVC elf on the shelf lewk, but also because he never breaks from a deliberately creepy dead-behind-the-eyes performance that makes him look for all the world like M3GAN’s artificial intelligence doll gone murderously awry.

It’s down to irrepressible Bad Boy star Nicci Wilks to officially start the show, haltingly and hilariously descending from the rafters on a rope tucked around her calf muscles, wearing an enormous blonde fuzzy wig that gets stuck in the garland and almost flies free. She delivers a content warning of sorts – if you’ve come this far, it’s probably too late to run. The salient point is made that punching up may require the privileged to cushion thyself with a sense of humour. And just why is it that rich kids get more presents, she asks?

What follows includes Harthill in a Mrs Claus dress, spinning through a Busby Berkeley-style number, Jess Love drunk-diving into sparkly hula-hoops, circus star and Kamilaroi man Dale Woodbridge-Brown’s baton-twirling and aerial swirling from Sladen, who regularly appears around the edges of F Christmas flopped in a sherry-drunk pose on the oversized toy train set that rings the stage. Wai-Zea Man and choreographer Gabi Barton join a side-splitting Salvation Army spoof set to a seminal Electric Six banger, with dancing funeral celebrant Joh Fairley also in the show’s fruit and nut mix.

As corralled by Dee, set to Matthews’ band and led by Hartill and Desengano, it’s gloriously gay in every meaning of the word, whipping an alternative Christmas message into a creamy anti-capitalism lather. A bedazzlingly blasphemous reenactment of a nativity play punches three very unwise men where it hurts, attracting the biggest laugh of the night. But in amongst all the tinsel-twisted silliness, there are starker moments designed to rip us out of our roaring reverie, like Hartill’s aching elegy for a polar bear rapidly losing its habitat all thanks to our monstrous consumption of this planet’s dwindling resources. 

Clothing also rapidly dwindles in this show, so if you’re easily off-put by actual pubic hair, best clutch your pearls at home. This one’s for the ho ho hos.

F Christmas is playing from November 27 to December 15 with tickets ranging from $35 to $69. Get yours here. 

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

Take a deep breath, music theatre fans, because Dear Evan Hansen is making its Melbourne premiere in December 2024. This musical tracing the story of an anxious high schooler forced into the spotlight has six Tony Awards under its belt and is known for being a raw, moving reflection on contemporary life.

Last year, Sydney Theatre Company announced that it would bring Dear Evan Hansen to Australia for the first time ever, in a co-production with major musical producer Michael Cassel Group. Adding to this momentous news was the fact that this is the first original staging of the musical to be licensed since it was originated. Dear Evan Hansen will have its Australian premiere in Sydney in October, and now we can finally confirm that it's also going on tour. The exact details are still under wraps, but what we do know is that the show will move audiences at Arts Centre Melbourne's Playhouse Theatre in December. 

Multiple award-winning performer Verity Hunt-Ballard, who first won hearts as the world’s favourite nanny in the original Australian production of Mary Poppins, will play Evan’s mother Heidi Hansen. Music theatre icon Natalie O’Donnell, who starred as Donna in Mamma Mia! before joining the Australian company of Come From Away, will star as Cynthia Murphy; while legendary theatre star Martin Crewes plays her husband Larry Murphy. 

Newcomer Georgia Laga’aia steps into the role of Zoe Murphy – and yes, that name looks familiar because she is one of the eight children of Jay Laga’aia (legend of the stage, and also of Play School) – her sister Catherine’s name has also been in the news recently as she just landed the lead role in Disney’s live-action version of Moana. Talk about a talented family!

Meanwhile, Carmel Rodrigues plays the role of Alana Beck, following her critically acclaimed turn as Tracy Turnblad in Hairspray. Harry Targett also joins the cast as Connor Murphy, and Jacob Rozario is Jared Kleinman. Rounding out the cast are Lawrence Hawkins, Jessica Kok and Ariyan Sharma. 

While the lion's share of the Dear Evan Hansen cast was announced in June, one crucial role was still yet to be confirmed – and that would be *the* Evan Hansen, the character originated by Broadway legend Ben Platt. Well, the wait is over. Rising star Beau Woodbridge has finally been announced as the lead in the upcoming tour. An Aussie boy, Woodbridge began his career at a young age, playing key roles in mainstage musicals before moving to London to study Musical Theatre at the prestigious Royal Academy of Music, where he has recently performed the role of Melchior in Spring Awakening. As a kid, Woodbridge played Gustave in Love Never Dies, Michael Banks in Mary Poppins for the New Zealand tour, Jeremy in Chitty Chitty Bang Bang, and Louis in The King And I. 

Speaking about the exciting announcement, Beau said: “Evan has been a dream role of mine since I was lucky enough to see the original Broadway production when I was 14. I was just in awe of the show because you feel so connected to the characters in this story and I can’t wait to bring that experience to audiences in Australia with our company."

Word to the wise, if you haven’t watched the 2021 screen adaptation of Dear Evan Hansen yet – don’t do it. Platt reprised his role for the movie, but the general consensus from critics is that the actor had aged out of convincingly playing a teenager by the time they got around to making the film. It goes down as one of the many screen-to-stage adaptations that don’t quite capture the magic of the original. 

So, how lucky are we to experience Dear Evan Hansen live in this original new staging? With Dean Bryant at the helm – the same director behind STC and MTC’s incredible co-production of Fun Home, the Tony Award-winning musical based on Alison Bechdel’s queer graphic memoir – this raw tale of teen angst and tragedy is in safe hands. 

“I'm thrilled with the cast we've assembled to bring a brand new production of Dear Evan Hansen to life,” said Bryant. “A combination of the country's best singing actors will join the most electric new talent we've got, selected from the thousands of passionate young performers we saw during the casting process. An incredible mix of heartbreaking drama and pounding rock musical, I can't wait for the public to experience the show across Australia over the next year."

Tickets for the Melbourne season of Dear Evan Hansen are now on sale over here.

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Cant wait until December? Check out the best of Melbourne theatre and musicals this month

Dickens' A Christmas Carol is returning to the Melbourne stage. Set for a pre-Christmas season from November 22 to December 29, the smash hit staging of the timeless holiday story will be playing at the Comedy Theatre. 

A Christmas Carol was the most-awarded play of 2021, sweeping the Tonys with five award wins. Two Tony Award winners themselves created the magical rendition: director Matthew Warchus (Matilda the Musical) and playwright Jack Thorne (Harry Potter and the Cursed Child). The production delivers striking staging, moving storytelling and 12 traditional Christmas carols, including ‘Joy to the World’ and ‘Silent Night’.

The cast announced for 2024 stars Erik Thomson as Ebenezer Scrooge, alongside an exceptional cast of sixteen performers including Tim Wright and Alison Whyte.

'A Christmas Carol' is showing at the Comedy Theatre until December 29, 2024. For more information and to book your tickets, head to the website.

Read our four-star review of the 2023 production here:

One of the defining aspects of Christmas that delights and frustrates, depending on your inclination, is its inexorability; it comes around again and again, like the white horse on a carousal. Maybe this will also be the case with the Old Vic production of Dickens’ A Christmas Carol, which proved a great success last year and is back to spread its Yuletide cheer around the Comedy Theatre once more.

The central change – in fact, the only significant change – is the casting of the villain who becomes a hero. Last year it was David Wenham playing Ebenezer Scrooge; this year it’s Welsh character actor and Game of Thrones alumnus Owen Teale.

In some ways, Teale (who only last year played Scrooge in London) slots effortlessly into the role, the cogs around him clicking pleasingly into place. He’s a natural fit, with an irascible visage and weary gait. He’s the right age and temperament. It’s almost too easy.

But Teale’s performance, as solid and affecting as it is, pales when compared with Wenham’s – who brought an unexpected emotional intensity and mercurial physicality to the role – which in turn shifts the focus of the show onto the ensemble. With Teale playing a more quintessential Scrooge, one we recognise and expect, the production as a whole better achieves its aim, which is to charm and delight. I miss Wenham’s swirling morbidity and keening tragic mien, but Teale’s moody old Grinch works perfectly well.

Adapted by Jack Thorne (who co-wrote Harry Potter and the Cursed Child) and directed by Matthew Warchus (whose Groundhog Day is coming to Melbourne next year), A Christmas Carol is a sterling example of commercial English theatre, slick and seamless. That can sometimes feel a little soulless – but far from overwhelming the actors, or worse making them seem redundant, the set and costume design (Rob Howell) here gives them plenty of space for play.

On a simple wooden-slatted set, overhung with winking lanterns (Hugh Vanstone’s glorious lighting is a production highlight) that contrast beautifully with the deep blacks of the backgrounds, Ebenezer Scrooge establishes himself as a miserable, miserly blight on mid-nineteenth century London society. He’s cruel to his employee Bob Cratchit (Bernard Curry), dismissive of his nephew Fred (a bright, beaming Andrew Coshan) and hilariously ill-disposed to the carollers at the door. His philosophy is one of grim capitalist self-interest: the poor are merely a “surplus population” rather than people in need, and Christmas is a time to call in debt. He’s clearly in for a reckoning.

When his former business partner Jacob Marley (Anthony Harkin) appears from beyond the grave to warn him about the imminent visitation of three spirits, Scrooge is dismissive. What could they teach him, whose life choices have fortified him from compassion and empathy? Quite a lot, it turns out. The first ghost, that of Christmas Past (Debra Lawrance), takes him back to his childhood, which gives Thorne an excuse – and a compelling narrative opportunity – to deepen the character’s psychology and motivation.

We meet Fezziwig the funeral director (Grant Piro) and his daughter Belle (Sarah Morrison), as well as Scrooge’s own father (Harkin, again) and sister Fan (an excellent Aisha Aidara). These scenes reveal the adaptation’s moral perspective, its belief in the central character as a damaged soul rather than a rotten one. Dickens sees Scrooge as inherently mean and avaricious, but Thorne prefers to see a man whose principles blind him to what really matters. 

The rest of the story falls out as we’d expect, as Scrooge is shown the error of his ways and eventually makes amends. One of the aspects of A Christmas Carol that makes it so irresistible is the way it leans into hope, when it could so easily tilt into tragedy. Imagine a Scrooge who repents only to find people rejecting him anyway: it would be unbearable, like something out of Hardy or Wharton, perhaps. Dickens is the ultimate sentimentalist, and who doesn’t want that at Christmas time?

Essentially, Scrooge is a secular St Paul whose conversion on the road to Damascus takes place entirely in his own bedroom. Warchus and Thorne try very hard to bleach the tale of any hint of religiosity – although Christ gets a couple of mentions very late in the piece via the hymns sung by the capable cast – but it’s curious how little Teale makes of this epiphany. His Scrooge has a profound realisation, but not the transfiguration Dickens was hinting at and that Wenham nailed. There is a deeper spiritual point to be made from A Christmas Carol, even if nobody involved here wants to make it. Never mind; maybe next year.

'A Christmas Carol' is showing at the Comedy Theatre until December 29, 2024. For more information and to book your tickets, head to the website.

After more must-see shows? We’ve rounded up the best of Melbourne theatre and musicals this month.

Christmas celebrations are built on wholesome memories and family-friendly fun, but who's to say that the silly season shouldn't include something special just for the big kids? If you love a cheeky twist on tradition, this new adults-only festive comedy cabaret will be right up your alley. 

After successful seasons in Brisbane and Melbourne last year, A Very Naughty Christmas is heading back to town this December, and is encouraging everyone to let loose with some raunchy fun. No matter whether you're on Santa's naughty or nice list (if it wasn't obvious, being naughty is encouraged), this interactive show promises to inspire a festive spirit, but not as you know it. 

The musical production features a live band and an ensemble of energetic performers who'll deliver your favourite Christmas carols as you've never heard them before – and will probably never hear them the same way again. Stay tuned for a full cast announcement.

If you're in need of some silliness and laughter in your life, this show is the perfect festive night out to offset the awkward family gatherings and stressful gift shopping. Performances will run from December 5 to 21 at the Alex Theatre in St Kilda. To grab a ticket, head to the website here.

Want more theatrics? Here are the best shows happening this month.

Pardon a moment’s naval-gazing here, but beyond the sparkly Instagram pics from glittering opening nights, the freelance writing gig can be tough. Despite powering through with optimism and encouraging others to follow their passions, I almost gave it all up this week. Or at least I thought about it.

But I won’t. I can’t. 

This life chose me. Writing’s inextricably bound up in my identity. I don’t know what else I could do. Even as the stress of making ends meet drives me to distraction, I know this is the calling I’ll die (perhaps in penury) on the hill for. 

All of which brings me to Sybylla Melvyn, listlessly ranging round the parched-yellow grass of her family’s failing dairy farm, Possum Gully. It’s 1899, and she is a headstrong young woman with grand ambitions of becoming a writer at a time when society has no other expectations of her than being married off to a wealthier man. 

The hero of Stella Maria Sarah Miles Franklin’s beloved debut novel, My Brilliant Career, published in 1901, the 15-year-old is a remarkable figure, a frustrated feminist who hasn’t quite figured it all out yet, but is innately unlike most other girls she knows, including her younger sister Gertie and her harried mother. In truth, Sybylla most closely resembles her author, sharing obvious similarities with the woman whose name would one day lend itself to our most prestigious literary prize, the Miles Franklin Award, plus the Stella Prize for best writing by an Australian woman. Together, they dreamed of emancipation by dashing all their whirling thoughts on the page.

Fans of Gillian Armstrong’s glorious big-screen adaptation will recognise the inimitable Judy Davis as this gutsy girl who is not to be distracted by the romantic longings of wealthy neighbour Harry Beecham (Sam Neill). But for a new generation, she is now, without question, Kala Gare. Also depicting the herstory-correcting magnificence of Anne Boleyn in not entirely dissimilar smash hit show Six, powerhouse Gare is the perfect all-singing, all-dancing, piano-playing frontwoman of Melbourne Theatre Company’s barnstorming new musical, My Brilliant Career.

Speaking of brilliant careers, MTC head Anne-Louise Sarks directs this (literal) tub-thumping show from a book by Sheridan Harbridge and Dean Bryant, with the latter also contributing the music alongside Mathew Frank. As we filter into Southbank Theatre’s auditorium, our players, who double as both the ensemble and the orchestra, set toes a-tapping as the band gathers on Marg Horwell’s simple but arresting set that conveys economically just how impoverished the Melvyn clan is, thanks to her alcoholic father’s (Drew Livingston) unfortunate choice to resettle them here in the middle of a drought.  

Breaking the fourth wall from the off, Gare’s Sybylla tells us directly that this is not a romantic story, nor the place for sentimentality. But here’s the thing that’s all too commonly misunderstood by most folks who place so much emphasis on being in a relationship: love is a spectrum. Just because independent spirit Sybylla doesn’t want to be married off – especially not to fabulously camp Frank (a scene-stealing Cameron Bajraktarevic-Hayward, who should win some sort of medal for being able to act, sing, dance, cartwheel and play cello) – this doesn’t mean she is unable to fall in love.

One of the glorious aspects of having the whole cast on stage, trebling as musicians, swinging dancers and assuming multiple parts, is that key roles can be hidden in plain sight. Raj Labade, who hangs back in the mix strumming his guitar, is unveiled as Harry not long before the close of Act One. Gare and Labade share a remarkable chemistry, with Harry clearly besotted with Sybylla. She haltingly reciprocates, not quite sure this is the path she wants to follow. Theirs is one of the great literary pairings, shining on the silver screen and now on the stage precisely because it’s effervescently unpredictable and refuses to conform. Even when Sybylla suspects Harry has fallen for her sister Gertie (HaNy Lee), she’s big enough to stand aside and centre her literary dreams.

From Gare’s rabble-rousing opening number on, My Brilliant Career is tacked with fantastic numbers that run the gamut from Six-like power pop to beer-soaked country pub rock and on to torch songs including ‘Someone Like Me’ and ‘In the Wrong Key’. Amy Campbell’s nimble choreography laces the players from one part to another, decked out in Horwell’s lightning-fast costume changes by backstage crew sassily smashing the fourth wall, too. 

Christina O’Neill and Ana Mitsikas are both particularly brilliant as Sybylla’s fretful mum and nit-picking granny, but everyone shines in this rousing story of holding onto high hopes. It’s a boisterous and ebullient act that dances lightly through life’s biggest questions, from self-determination to adoration of family, mates and the maybe mores, political and social justice, feminist footings and career ambition. Brimming with abundant heart and soul, it provoked the rowdiest MTC audience I’ve heard in quite some time to hoot and holler and stomp in and out of their seats to an astounding new musical that’s surely destined to travel the world. And if Franklin and Sybylla can sing out loud and proud with the hope that tough breaks won’t hold them down, then this writer can, too. 

My career might never be brilliant, but it’s mine and well worth fighting for.  

If you’ve ever wanted to divide a room, just bring up the 2003 romcom Love Actually. Literally everyone either loves it or hates it and there’s a high chance they’re passionate about why. 

If you’re looking for something a little different to your standard annual re-watch (or hate-watch), you’re in for a festive treat this year. After becoming an off-Broadway favourite, Love Actually? A Musical Parody is having its Aussie premiere this Christmas season at Melbourne’s Athenaeum Theatre. 

Whether you’re a sucker for the most unlikely of love stories or simply love the nostalgia, we bet you’ll be laughing out loud to songs like ‘The Prime Minister of Rom Coms’ and ‘Keira Knightley, Actually’. 

A solid 21 years after the film’s release, it’s safe to say that certain plot points and jokes have aged like milk. But that’s exactly what parodies are for, right? In fact, with nine quirkier-than-ever couples, extra-awkward meet-cutes and grand gestures that are somehow even more over-the-top than usual, we reckon you could enjoy the riot even if you’ve never seen the film.

Love Actually? A Musical Parody is running from December 6-23 and is recommended for ages eight and above. Tickets start from $69 and you can get yours here.

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

The weather might be incredibly unpredictable these days, but summer in Melbourne still means a few reliable things. It means the Boxing Day Test at the ‘G, British backpackers causing a ruckus on St Kilda Beach, and for Melbourne’s kids, it means The Wind in the Willows at the Royal Botanic Gardens.

The Australian Shakespeare Company's production of The Wind in the Willows has been playing in the same spot since 1987, and Melburnians who saw it as children are now bringing their own kids along to enjoy the timeless classic. The 2024-25 season marks the 38th time the charming outdoor production will bring the whimsy of Kenneth Grahame’s immortal story to Royal Botanic Gardens, making for a perfect family tradition that can live on through future generations. 

This affordable, interactive show is tailored to keep the kids engaged, with Head Chief Rabbit teaching young attendees how to become rabbits themselves by waggling their ears and wiggling their noses. There are singalong songs and participation aplenty in this panto-style comedy, so even the smallest theatregoers will be enraptured. 

Attendees are encouraged to bring along a picnic blanket, drinks and their snacks of choice for a relaxed theatrical experience. Find out more about the production or purchase your tickets at the website. 

Feeling thrifty? Here's how to get cheap theatre tickets in Melbourne.

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.

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

We’re struggling to think of a nicer way to spend a summer evening than relaxing in the Rose Garden within St Kilda Botanical Gardens, taking in a classic Shakespearean romcom updated for the 21st century. Add in a glass of rosé and a light sea breeze and you’d be forgiven for dropping your other pre-Christmas plans to get over there.

If that situation sounds as good to you as it does to us, you’ll be happy to know that Melbourne Shakespeare Company is staging Twelfth Night in the aforementioned Rose Garden from December 6-22. 

Fans of the Bard will already be well across the mistaken identity moments, pranks and general tomfoolery of the much-loved romcom, but we’ve got the perfect way to bring you up to speed if you’ve got no idea. You know how the early 2000s cinematic masterpiece She’s the Man is based on Shakespeare? Twelfth Night is that play.  

Now, if your tastes run a little more towards spectacular songs than sad sonnets, don’t worry. This version of Twelfth Night is a brand new musical adaptation. It’s also an abridged 90-minute version with no intermission. 

Expect fast-paced shenanigans, a love triangle and tunes from the likes of Backstreet Boys and Bruno Mars. This is one to make you laugh and remind you that sometimes love does conquer all… eventually. 

Take a moment to stop and literally smell the roses (or, you know, enjoy some theatre) this December by grabbing a ticket to Twelfth Night. They’re on sale now over here and at just $20-35, we reckon they’re a bargain, too.

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.