When she was young, Alana (she/her) would watch the 1982 film version of Annie on repeat, imagining she was playing one of the orphans. To nobody’s surprise, she grew up to be musical-obsessed. She has appeared in amateur shows in Tasmania, Victoria and New South Wales, with personal highlights including Zombie Prom, Merrily We Roll Along and Phantom of the Opera. She has also appeared on Sydney stages as her drag and burlesque and alter-egos, and produced variety shows.

Aside from being a self-confessed musical theatre tragic, Alana is a near-constant university student (or, as she calls it, “indecisive”). She has been a speech pathologist, primary school music and drama teacher, and currently works as a health librarian. Although her day job has very little to do with the arts, she enjoys employing her high-level research skills when seeing a show, often going on a deep dive afterwards to learn everything she can about the production history and forcing her new knowledge on unsuspecting friends.

Alana previously maintained a successful blog reviewing escape rooms across NSW and beyond, but eventually ran out of local rooms to visit and review. She’s always happy to give escape room recommendations (even when nobody’s asked her).

Alana McDonald

Alana McDonald

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Listings and reviews (4)

Sunset Boulevard

Sunset Boulevard

3 out of 5 stars

Your own private jet to take you around the world, perhaps to one of the many homes you own. A designer wardrobe and the latest technology to match. You spend your days being adored and your evenings at the hottest restaurants and clubs, where your every whim is catered to. These are the fantasies of stardom that most of us have indulged in at some point in our lives. Even knowing the heavy price many celebrities pay can’t tarnish the allure of such a heady dream.  Sunset Boulevard – now on at the Sydney Opera House after debuting at Melbourne's Princess Theatre in May this year – juxtaposes the idealism and dreams of youth against the mercenary nature of Hollywood, where people are used and discarded once they lose their value. In this new Opera Australia and GWB Entertainment production, Andrew Lloyd Webber’s theatrical score is deftly and beautifully handled by musical director Paul Christ and the Opera Australia orchestra; repetition of motifs is used to pull us back and forth between these two worlds. A chance meeting between struggling writer Joe Gillis (played by Tim Draxl) and forgotten silent film star Norma Desmond (Sarah Brightman) asks the question, “what happens when the spotlight fades?” Initially opportunistic, Joe quickly finds himself losing control of his life as he’s pulled further and further into Norma’s delusions and learns just how addictive fame can be.  The musical is a faithful adaptation of Billy Wilder’s iconic 1950 film, although this sometimes wo

Gaslight

Gaslight

3 out of 5 stars

It’s not uncommon to hear someone say they’re “gaslighting themselves” through negative self-talk, or to discuss “unintentionally gaslighting” someone by dismissing their feelings or telling white lies. A shorthand for a particularly nasty form of abuse, “gaslighting” has arguably become so overused that its meaning has been watered down. However, the play that gave us this term – the 1938 thriller Gaslight – is a reminder to all of us that in its true sense, gaslighting is something far more calculated and sinister. This adaptation of Patrick Hamilton’s play by respected Canadian writer/performers Johnna Wright and Patty Jamieson has arrived at Sydney’s Roslyn Packer Theatre for the final dates of an extensive national tour. The play revolves around a recently married couple living in a stately home in Victorian-era London, the highly anxious Bella (Geraldine Hakewill; Ms Fisher’s Modern Murder Mysteries) and the doting-yet-preoccupied Jack (Toby Schmitz; Boy Swallows Universe, Amadeus) – only for it to be revealed that all is not what it seems. Spoiler alert: Jack has been ruthlessly manipulating Bella for his own purposes. This dramatic reveal falls somewhat short in 2024, when audiences already know the truth from the outset, but this affords us the opportunity to view the story from a different perspective.  Gaslight is a very realistic study of the effects of emotional abuse, and the way it can take time to let yourself believe that the person you love is actively hurti

Night Songs at Coney Island

Night Songs at Coney Island

3 out of 5 stars

There is always a particular type of magic when a work of art is created specifically for the space in which it exists. For what is arguably the most unusual show in the Sydney Festival program this year, Luna Park’s Coney Island is transformed from a bright, bustling playground to a dimly-lit, abandoned relic of the past.  Night Songs at Coney Island is an immersive choral work, exploring the concepts of grief and loss juxtaposed with childhood innocence and joy. This isn’t a theatrical event with a clear narrative arc and story – rather, it weaves together different experiences and themes through music.  The space itself (a heritage-listed 1930’s fun house inside the oldest section of the amusement park) is used to great effect, with performers weaving in and around the audience. This does mean that at times it is difficult to hear the soloists, whose voices have a huge space to fill, but this also adds to the feeling that we are witnessing a private moment, rather than watching an intricately rehearsed performance. The music is beautiful and haunting... However, the experience does not begin at Luna Park – it all starts with a ferry ride accompanied by a trio of trombonists, naturally. Our ride-along musicians manage to sturdy themselves and cope admirably with the challenge of performing on a moving vessel, which makes for an entertaining feat. Despite some inevitable practical variables to navigate (on the evening we attended, rough conditions meant that the ferry was 20

The 25th Annual Putnam County Spelling Bee

The 25th Annual Putnam County Spelling Bee

4 out of 5 stars

Every theatre performer, be they amateur or professional, has a list of “dream shows” they’d love to be in. The 25th Annual Putnam County Spelling Bee has been on my list since I saw the first professional Australian production way back in 2006. Although this has so far remained an unrealised dream, the fact that we finally have a new production after a 17-year wait is every bit as satisfying. With a cast of endearing characters, who are each battling their own personal demons, Spelling Bee is irresistibly funny, with a soaring score to boot. But what really sets this musical apart is the audience interaction. Yep, this is a phrase that can strike fear into the hearts of many seasoned theatre-goers. However, this show takes an opt-in approach with four willing audience members being chosen to join the cast as additional contestants, putting their own spelling abilities to the test. This makes each performance a unique event, and watching the talented cast respond and adapt in real-time – without so much as thinking about breaking character – is half the fun. In a world where anyone who is "different" has been told to be quiet and blend in, Spelling Bee allows these differences to shine. Spelling Bee premiered on Broadway in 2005, with music and lyrics by William Finn, who is best known for Falsettos. It’s a staple of amateur theatre companies due to its small cast size, versatility, and quirky characters. Perhaps one reason to explain the dearth of professional productions in