Category: Reviews

Posted on by Lauren Katulka

“Swell” – Salt Tree

Folk duo Salt Tree are easing me into the weekend with their gorgeous new EP Swell. This collection of songs transports you to Tom and Nath’s hometown of Wooditup/Margaret River, a picturesque coastal town where the ocean meets the forests, or as the band’s name suggests, where the salt meets the trees.

Salt Tree take total control of their music, writing, recording, producing, and mixing it in a bedroom studio. Their hearts shine through beautiful acoustic arrangements that showcase their lyrics and artistry. They don’t reinvent the wheel, but if you love gentle acoustic guitar melodies, two-part vocal harmonies, and uplifting songs, Swell will be everything you’re looking for.

Opening track “Take My Hand” encourages you to step into Salt Tree’s musical world. “I’ll Be Here” reassures you that you’ve made the right choice. Its foot-stomping vibe reminds me of acts like Mumford & Sons and our own Pierce Brothers. The duo keeps that energy up with “We Were Young,” a nostalgic number that reminisces about the simplicity of childhood. The natural imagery of “Follow Me in the Ocean” is so compelling. From the water to the land, Salt Tree’s “Garden” sees the pair at their most romantic. This is a gorgeous song about budding love which resists the cliches. Salt Tree close out their EP on an optimistic note with “Dreaming Of a Future.” It’s a powerful reminder that even though the seas might get rocky, there’s always hope.

After visiting Wooditup/Margaret River, I told everyone who would listen that they needed to go. Listening to Swell, I’m taking back to that space that helped me unwind from the pace of my daily grind. I still maintain you should visit Wooditup/Margaret River if you can, but until you can book the trip, listening to Salt Tree’s beautiful folk EP is the next best thing. Salt Tree kick off their European tour in Germany tonight, so many sure you get out and support them if you can snap up some of the limited remaining tickets.

8 November 2024 – Jaki, Cologne (SOLD OUT)
9 November 2024 – Ponyhof, Frankfurt (SOLD OUT)
11 November 2024 – Milla, Munich (SOLD OUT)
12 November 2024 – Werkstatthaus, Stuttgart (SOLD OUT)
13 November 2024 – Exil, Zurich
14 November 2024 – ISC, Bern
16 November 2024 – B72, Vienna (SOLD OUT)
17 November 2024 – Lark, Berlin
18 November 2024 – Hebebühne, Hamburg (SOLD OUT)
19 November 2024 – Tolhuistuin Zonzij, Amsterdam (SOLD OUT)
21 November 2024 – The Waiting Room, London (SOLD OUT)
22 November 2024 – Lock 91, Manchester
23 November 2024 – Academy 2, Dublin
26 November 2024 – Club Sauvage, Barcelona
27 November 2024 – Moby Dick Club, Madrid
4 December 2024 – Bar Brooklyn, Stockholm

Images used with permission from Nettwerk Music Group

Posted on by Lauren Katulka

Cold Chisel @ Newcastle Entertainment Centre, Mulubinba/Newcastle

Like so many Australians, the music of Cold Chisel is part of my DNA. They’ve been pumping out hits since before I was born. East and Circus Animals were on regular rotation as I grew up. I don’t remember when I learned the lyrics to these songs, in much the same way I don’t know when I learned English. It just seems like I always have. So when the band announced their Big Five-0 tour, celebrating 50 years in the biz, I knew I had to be there. Dad passed, insisting he saw them enough times in local pubs and clubs that he didn’t need to brave the crowds now. But as someone who missed those heady days, who has had much more limited opportunities to see Chisel do their thing, I knew I had to be there.

Karen Lee Andrews warmed up the crowd and reminded me just how good she is. I’ve seen her perform a few times now with the Barnes family, but those sets were solo and stripped back. Normally acoustic sets are my bag, but with a full band Karen really shines. Sharing the stage with her band seemed to calm her nerves and she was more confident than I’ve seen before. Her songs are superb and she’s got such a cool, blues-rock voice. I definitely need to listen to more of her original music, because she’s exceptional.

Tickets for Chisel’s Big Five-0 tour were arguably as hot property as tickets for Coldplay or Taylor Swift, but unlike these international luminaries, there weren’t a lot of bells and whistles about the Cold Chisel experience. There were no pyrotechnics, no costume changes, not even any of those screens ensuring people near the back got a closer view of the action. Just a bunch of Aussie blokes on stage doing what they do best. The stages have gotten bigger over the decades but this band refuses to upgrade the spectacle, so the music remains the focus.

And what music it is. Cold Chisel have been mixing up the set list this tour, so you never know exactly what you’re going to get. But with such a rich catalogue, hits can come out early. “Standing on the Outside,” “Cheap Wine,” “Rising Sun,” and “My Baby” in just the first five songs? Incredible. Cold Chisel catered for all kinds of fans, those of us who flogged Chisel Gold and cranked up their tunes whenever they came on the radio and those hardcore enthusiasts who devoured each and every album. I’ve seen Chisel several times now, but I can’t recall them ever playing so many album tracks. Digging into the vault while keeping casual fans happy is a delicate balancing act, but Chisel walked that tightrope beautifully.

Chisel might not tour with the same kind of gruelling schedule that they did back in the day, but there’s such a beautiful chemistry when this band is on stage. You won’t find a tighter act around. Everyone has a crucial part to play. Jimmy attacks those vocals, performing with the sort of gusto that makes you forget he’s only just come back from hip surgery. Ian Moss blows me away each and every time I see him with his guitar skills and those warm vocals that never seem to age. After seeing so many acoustic shows in recent years, I relished seeing him rocking out. Nothing sounds quite as comforting as Don Walker on piano. Bass players never get enough credit, but Phil Small’s instrument is the glue that holds this sound together. Steve Prestwich’s loss created a hole in this band of brothers, but Charley Drayton does an admirable job stepping into his shoes. I’m sorry I missed the names of the saxophonist and harmonica player, but they were also incredible.

Don Walker teased a little “Star Hotel” during the introduction of “Breakfast at Sweethearts,” but strangely that Novocastrian rock anthem never came. It’s a minor quibble though, because this set really delivered so much. As they rocked out one final time to their traditional closer “Goodbye (Astrid Goodbye)”, after two encores, I felt well and truly satisfied. After 50 years in the business, Cold Chisel are at the top of their game. And there aren’t a lot of bands who can say that. So many shows are sold out, but if you get the opportunity to see Chisel on any of their upcoming shows, you will not be disappointed.

9 November 2024 – Red Hot Summer @ Victoria Park, Balaarat/Ballarat (SOLD OUT)
10 November 2024 – Mornington Racecourse, Bunurong Country/Mornington (SOLD OUT)
13 November 2024 – MyState Bank Arena, Nipaluna/Hobart (SOLD OUT)
16 November 2024 – Qudos Bank Arena, Eora/Sydney (SOLD OUT)
17 November 2024 – VAILO Adelaide 500 @ Adelaide Street Circuit, Tarntanya/Adelaide
22 November 2024 – Arts Centre Melbourne @ Sidney Myer Music Bowl, Naarm/Melbourne (SOLD OUT)
23 November 2024 – Arts Centre Melbourne @ Sidney Myer Music Bowl, Naarm/Melbourne (SOLD OUT)
28 November 2024 – Stage 88, Wiradjuri Country/Parkes (SOLD OUT)
30 November 2024 – Roche Estate, Wonnarua Country/Pokolbin (SOLD OUT)
4 December 2024 – Qudos Bank Arena, Eora/Sydney
18 January 2025 – Gibbston Valley Winery, Queenstown
25 January 2025 – Taupo Amphitheatre & Riverside Park, Taupo
26 January 2024 – Whitianga Waterways Arena, Whitaianga

Photo credit: own photos

Posted on by Lauren Katulka

“something new” – Belle Haven

Naarm/Melbourne band Belle Haven really impressed me with their most recent single “fauxlove.” It opens their recently released EP something new with a bang, but there’s a lot more to love on this four-track collection.

“fauxlove” hits hard, but the band aren’t all edges. The next track “lose, regret, repeat…” has more of a pop sensibility and even more vulnerable lyrics. The bittersweet contrast of the happy sound and heartbreakingly sad lyrics is so compelling. “thx” is a high-energy, angsty rock number that puts the pedal to the floor from the first note. “a hypothetical exit” rounds out this stellar collection of song. It’s Belle Haven at their most melodic and anthemic. It sounds fantastic, with massive drums, guitars, and vocals. If you love your emo music, you’re going to love this.

“‘something new’ isn’t about one specific theme or story—it’s a mix of the emotions we’ve been going through as a band,” Belle Haven’s frontman David De La Hoz explained. “We explore love, sex, heartbreak, bad habits (and breaking them), choosing yourself, and even death. It covers a lot because that’s just how life happens sometimes. Each track brings its own feeling. ‘fauxlove’ taps into something raw and intimate, ‘lose, regret, repeat…’ feels deeply sad, ‘thx’ has this angry energy, and ‘a hypothetical exit’ comes off a bit tongue-in-cheek. We didn’t plan to cover all these themes—it just naturally unfolded that way. In a way, we’re still figuring out what Belle Haven is, learning by doing. This EP is part of that journey.”

With the release of something new, Belle Haven continues to show us the depth of their artistry. Don’t you dare put this band in a box, because they’re masters at pushing the envelope and developing their sound. If you love what they do, make sure you check them out at am//pm emo night at Burdenkin Hotel in Eora/Sydney on November 30.

Images used with permission from Good Intent

Posted on by Lauren Katulka

Electric Fields with the Sydney Symphony Orchestra @ Sydney Opera House, Eora/Sydney – 19 October 2024

There was a hum of excitement around Warrung/Circular Quay yesterday as the city showcased blak excellence. DanceRites, the country’s only First Nations dance competition had taken over the Opera House forecourt. And inside the House, Electric Fields joined the Sydney Symphony for a very special show in the Concert Hall.

The Opera House and the Symphony are cultural icons, not just for this city but for this nation. But Electric Fields are quickly establishing themselves as an act that’s every bit as important for this country. Witnessing the Symphony and Electric Fields coming together in this iconic place is something I’ll forever hold close to my heart.

There was a reverence in the air as Zaachariaha Fielding, Michael Ross, and their backing vocalists took their places in front of the Symphony. It hung in the air as they opened with “Anpuru Maau Kutjpa,” an Inma in the Yankunytjatjara language passed down through generations. The idea that music is a universal language has become somewhat of a cliché. But listening to this traditional song featuring lyrics that I didn’t understand rendered so beautifully here, all I could do was feel.

It was magic, leaving us all in a bit of a dream state, until Electric Fields woke us up with “Shade Away” and encouraged us all to get on our feet. We were happy to oblige, feeling the music in a different way as we moved in time with the irresistible beats. Electric Fields know how to create a dancefloor banger and they turned the Concert Hall into a party.

We bounced between those energetic bops and more sombre moments, embracing the twists and turns. I got goosebumps listening to their beautiful rendition of Paul Kelly and Kev Carmody’s “From Little Things Big Things Grow.” As a Eurovision fan, I relished dancing along to “2000 and Whatever” and “One Milkali (One Blood).”

I marvelled at Zaachariaha Fielding’s incredible voice. I knew it was good from those recordings and live performances on TV, but sharing space with him made me appreciate its commanding beauty even more. The orchestral backing elevated this music, giving it extra gravitas. There was something so beautiful about the coming together of the Symphony, a white symbol for arts and culture, and the oldest living culture on the planet. I loved being a part of that too. Zaachariaha encouraged us to sing along, taking the time to teach us some of those Indigenous lyrics and explain their meaning. It was all just so special.

This show with Electric Fields and the Sydney Symphony Orchestra was transformative. To witness such talent on stage in such a welcoming space, to feel moved and energised in equal measures, was incredible.

Image source: own photos

Posted on by Lauren Katulka

RocKwiZ “Never Mind the Buzzers” @ The Art House, Darkinjung Country/Wyong – 15 October 2024

RocKwiZ is an Aussie institution. It’s been a part of our lives for nearly 20 years, in fits and starts on TV, but for many years as a touring franchise. It’s been one of those things I always meant to see but never quite got there, until the gang finally made their way to Darkinjung Country/Wyong this week.

I wasn’t quite sure what to expect, but we got everything I loved about the TV show and more. When I arrived at The Art House Brian Nankervis was already encouraging people to sign up to play. Those who put down their names and a few wildcards with invitations under their seat made their way to the stage to battle it out in a stripped-back version of the show. The questions came thick and fast, along with a splash of karaoke and dancing. The best of the best then prepared to face off in the main event.

Watching the night unfold, I was reminded how much I love the original format. With more time to play than Foxtel allows, we could really get to know our contestants, experience the undeniable chemistry between Julia Zemiro and Brian, and appreciate the music from the superb RocKwiz orchestra and our talented celebrity guests. I don’t want to reveal them, because that would spoil the fun for anyone who happens to see the same line-up at their show. Because gee it’s exciting to hear those “Who Can It Be Now?” clues, then get that big reveal that a favourite star is joining you! I will say that there was something for everyone among the line-up: an emerging artist generating plenty of buzz, a more established talent who’s spent plenty of time abroad, and a bona fide Aussie legend. I’ll also add that I’ve covered every one of them here on this blog, so watching them perform together and solo, a mix of their originals and some choice covers was really something special. I appreciated that this longer format allows time for more music, the very thing that brought this show together.

A night out with the RocKwiZ crew is bloody good fun. We sang along to classic songs, we laughed (a lot!), and we marvelled at the talent on stage. It’s so beautiful to see this team in action, continuing to keep this program’s legacy alive whether it’s on TV or not. If like me you’ve been thinking you should see one of their shows, but never quite gotten there, just buy the tickets. You won’t regret it. You’ll get plenty of opportunities too, with plenty of shows left on the Never Mind the Buzzers tour:

19 October 2024 – Odeon Theatre, Nipaluna/Hobart
20 October 2024 – Odeon Theatre, Nipaluna/Hobart
23 October 2024 – Riverside Theatre, Burramatugal Country/Parramatta
24 October 2024 – The Pavilion Performing Arts, Dharawal Country/Sutherland (SOLD OUT)
25 October 2024 – Shoalhaven Entertainment Centre, Yuin Country/Nowra
26 October 2024 – Anita’s Theatre, Thurrural Country/Thirroul
29 October 2024 – Townsville Civic Theatre, Wulgurukaba Country/Townsville
31 October 2024 – Cairns Performing Arts Centre, Gimuy/Cairns
5 November 2024 – Pilbeam Theatre, Darumbal Country/Rockhampton
6 November 2024 – Moncrieff Entertainment Centre, Taribelang Bunda, Gooreng Gooreng, Gurang, and Bailai Country/Bundaberg
7 November 2024 – The Events Centre, Kabi Kabi Country/Caloundra (SOLD OUT)
8 November 2024 – HOTA Theatre, Yugambeh Country/Gold Coast
9 November 2024 – Fortitude Music Hall, Meeanjin/Brisbane (Matinee)
9 November 2024 – Fortitude Music Hall, Meeanjin/Brisbane (Evening) (SOLD OUT)
10 November 2024 – Empire Theatre, Jagera, Giabal and Jarowair Country/Toowoomba
14 November 2024 – Frankston Arts Centre, Monmar/Frankston
15 November 2024 – Costa Hall, Djilang/Geelong
16 November 2024 – West Gippsland Arts Centre, Darug Country/Warragal
17 November 2024 – Gippsland Performing Arts Centre, Gunaikurnai Country/Traralgon (SOLD OUT)
20 November 2024 – Anita’s Theatre, Thurrural Country/Thirroul
21 November 2024 – Civic Theatre, Mulubinba/Newcastle
22 November 2024 – Canberra Theatre, Ngambri/Canberra
23 November 2024 – Canberra Theatre, Ngambri/Canberra
24 November 2024 – Enmore Theatre, Eora/Sydney
26 November 2024 – Albury Entertainment Centre, Bungambrawatha/Albury (SOLD OUT)
27 November 2024 – Ulumbarra Theatre, Dja Dja Wurrung Country/Bendigo
28 November 2024 – Ballarat Civic Hall, Ballaarat/Ballarat
29 November 2024 – Palais Theatre, Euroe Yroke/St Kilda
30 November 2024 – Swan Hill Soundshell, Wamba Wamba, Latji Latji, Tatti Tatti, Wadi Wadi and Barapa Barapa Country/Swan Hill
3 December 2024 – Chaffey Theatre, Naralte Country/Renmark
4 December 2024 – Northern Festival Centre, Nukunu Country/Port Pirie
5 December 2024 – Her Majesty’s Theatre, Tarntanya/Adelaide (SOLD OUT)

Image used with permission from Ferris Davies PRM

Posted on by Lauren Katulka

“Dear Evan Hansen” – Roslyn Packer Theatre, Eora/Sydney

During the pandemic, my husband and I missed musical theatre hard. So starved for that experience, we’d watch anything we could find. While scouring YouTube we came across a recording of the original Broadway cast performing Dear Evan Hansen. It was a world away from Disney+’s Hamilton pro-shot, a basic video captured by an audience member on their mobile phone. But it was enough to trigger an obsession with this show. We listened to the soundtrack with those incredible Pasek and Paul songs more times than I could count, and when an Australian production was announced, we snapped up tickets for the first performance.

I am so thrilled that Australia gets a chance to see this musical. It’s a fantastic story that explores themes of mental health, connection, growing up, and the cult of social media so beautifully. I don’t want to give too much away, but it’s so powerful and beautifully realised by our Australian cast. Beau Woodbridge is a revelation as Evan. It’s such a demanding part, both vocally and in terms of the role itself, but he excelled, making us care about him all while the character’s flaws shone through. Georgia Laga’aia was also the perfect Zoe. While I’m torn, my husband insists she was even better than the original Broadway Zoe, Laura Dreyfuss. It’s a big call, but I really appreciated what she did with the role and the gorgeous timbre of her voice. Verity Hunt-Ballard is always outstanding, but I especially loved seeing her in a grittier role after watching her all poised and polished years ago in Mary Poppins. All the adults were excellent though. After their parts were slashed so substantially in the film version, watching our cast reminded me just how pivotal they are to this story. Side note: please don’t base your opinion of Dear Evan Hansen on that dreadful film adaptation.

I’ve also got to give shout-outs to set designer Jeremy Allen, lighting designer Matt Scott, and video designer David Bergman. Normally I don’t notice what these professionals do, but the way they have elevated this production even beyond the Broadway version we watched deserves praise. They brought us into the Hansen and Murphy homes, and the spaces in between, so beautifully. The virtual world, and the fallout of events there, was perfectly realised.

This is such a gorgeous production, and so worth the wait for Dear Evan Hansen fans like myself. I’m so glad the whole creative team did this musical justice and that Aussies will finally get to see it so beautifully brought to life. If you’re a longtime fan like me, do not hesitate. Snap up all the tickets. And if you’re new to this musical, take a chance on it. I know there are plenty of known quantities out there, but please get out there and support this production. It plays at the Roslyn Packer Theatre in Eora/Sydney until December 1. It’ll be at the Playhouse Theatre in the Arts Centre in Naarm/Melbourne from December 14, Canberra Theatre Centre in Ngambri/Canberra from February 27, and finally Her Majesty’s Theatre in Tarntanya/Adelaide from April 3.

Posted on by Lauren Katulka

“222” – Renee Naccari

Renee Naccari impressed me with her cathartic pop singles “Looking For Myself” and “Perfect Storm.” She continues the trend with her breathtaking debut album 222.

It’s a concept album released at a time when those long-players are becoming increasingly rare, especially in the pop world. Don’t even be tempted to skip to the singles or hit shuffle, because you’ll miss the story that unfolds. The beautiful opening soundscape “Intro – an angel number” leads naturally into the gentle “Starlight.” It’s a beautiful jazz-infused number, romantic and peaceful. The story heats up with the steamy “Sensations.” It sounds so current it could have come from the next Arianna Grande record. It would be easy for Renee to sit in that space. It’s the music people are buying right now, after all, but there’s more of this story to tell.

The album takes a turn with “Exposed.” We’re moving from the heat to vulnerability. It’s where the real stuff is, a place where a relationship can either solidify or crumble. Once those walls come down they can really love you, but they can also hurt you. Renee explores all of that so eloquently on this track. But she’s just getting started.

“Perfect Storm” is a moment of calm as the relationship crumbles. It’s a gentle ballad, but make sure you listen to those lyrics which reveal the surrounding chaos. We sit in those feelings a little longer, as so many people do when they’re in the wrong relationship. “Sometimes I Wish” is dripping with longing, dreams unfulfilled, sadness, and ultimately a goodbye.

The final two tracks see Renee moving forward. It’s a different kind of love story now, one that sees her connecting with herself rather than someone else. The title track is an epic pop anthem, creative and experimental, and above all fierce. “Looking for Myself” is an introspective, super catchy closer. Renee’s not claiming to have all the answers. She’s still a work in progress, she’s still looking, but she’s getting there. And along the way, she might just have a dance.

“‘222’, both the number and the project, mean so much to me,” Renee said. “Rather than ending with a couple, it’s about realising that when I thought I needed a relationship, which turned toxic, I needed to love and find myself first. I had to bring my positive and negative mind together and accept it, like yin and yang coming together to form one. 1 + 1 = 2; it is duality in oneself.”

222 is such a strong debut album from an artist who refuses to play safe. With this release, Renee Naccari shows she’s a force to be reckoned with and a talent with a big future ahead.

Images used with permission from Renee Naccari

Posted on by Lauren Katulka

“Crash Test” – Gia Darcy

Listening to Crash Test, the latest EP from Eora/Sydney singer-songwriter Gia Darcy, I wondered why she’s playing tiny venues while Taylor Swift is selling out arenas. I understand that the Swift juggernaut is bigger than the music, but when I listen to the tunes Gia’s creating I think they’re every bit as good. At the risk of offending the Swifties, they might even be better.

Gia’s got a similar knack for creating vulnerable, relatable pop songs. Like Taylor, her lyrics feel like the most eloquent of diary entries, insightful yet brimming with emotions that sit right on the surface. The bittersweet happiness coupled with the uncertainty that plagues new relationships shines through the incredible opener “Nice Things” and “Make Me Wanna.” She explores heartbreak so powerfully in the title track and the closing number, “In the Next Room.” In amongst the tracks about makeups and breakups, there’s “Next Life.” This is a different kind of love song, one that celebrates platonic love. Listening to this feel-good track made me wonder why more artists don’t write songs about this steady, reliable love. Whatever the case, I’m thrilled Gia has.

Thoughts of Taylor popped into my mind several times while listening to Crash Test. Gia has a similar sweet voice and a comparable knack for lyrics and melody. But while Taylor’s released several albums of varying quality in recent years, Gia understands that sometimes less is more. Unlike those recent Taylor releases, every song on Crash Test is outstanding. Take a listen, then get out to see Gia on her Crash Test tour.

9 October 2024 – House of Strings @ Mumbo Jumbo’s, Darkinjung/Terrigal (FREE)
10 October 2024 – The Hamilton Station, Awabakal/Newcastle (FREE)
11 October 2024 – TBH Friday’s, Towradgi Beach Hotel, Dharawal/Wollongong (FREE)
2 November 2024 – Trocadero Room, Eora/Sydney

Photo credit: renata.jpg

Posted on by Lauren Katulka

David Campbell @ Belmont 16s, Awabakal Country/Belmont – 20 September 2024

This blog tells that on Friday night I saw my ninth David Campbell show. And I’m not counting seeing him in “Dream Lover” and on the bill of George Michael and Disney tribute nights. So what keeps me coming back show after show? It’s just always a great time. It’s as simple as that.

He’s such a successful TV host that I think some people forget what an incredible singer he is. As that career in front of the camera has taken more time and focus, it seems even David questions it. He said that he wondered whether people would still come to the shows. Looking around at the beaming faces in the packed suburban auditorium, I think he got his answer.

After so many years in the recording studio and on the stage, David’s got such a wide catalogue of crowd-pleasers to choose from. The hits came thick and fast, peppered with banter from this charismatic entertainer. No matter when you came to his music and no matter your favourite era, you would have left satisfied. My parents were thrilled for the Good Lovin’ songs. My dad sang enthusiastically along to “Jackie Wilson Said,” a track from his favourite singer Van Morrison. My mum was instantly transported back to being a teenager, when her eyes locked with a singer performing in Battle of the Bands, when he flawlessly sang “How Can I Be Sure.” My husband and I were thrilled his ’80s album Let’s Go, far from a commercial success, wasn’t entirely forgotten. Most of DC’s fans probably don’t remember the decade as fondly as we do, but they couldn’t begrudge us spirited covers of “Come on Eileen” and “Tainted Love.”

We learned pretty early that DC’s mind was half on the Swannies game, but it certainly didn’t show in his performance. In fact, it seemed to spur him on. He insisted that he wouldn’t leave until the game was done, and when they did win it gave a little extra excitement to “Shout.” He must have sung that Johnny O’Keefe classic hundreds of times, but never felt quite as jubilant as in that moment.

David said many times that it had been far too long since he played for us all and thanked us so warmly for our warm reception. Hopefully that means he won’t leave us waiting too long for his return. I’m definitely ready to bring my show tally into the double digits. David will wrap up his current run of Good Lovin’ & More shows when he plays Twin Towns Services Club in Bundjalung Country/Tweed Heads on November 2.

Image source: own photos

Posted on by Lauren Katulka

Sunset Boulevard @ Opera House, Eora/Sydney – 12 September 2024

I can’t remember ever feeling as apprehensive about a night at the theatre as I did heading to the Opera House last night to catch Sunset Boulevard. When Opera Australia announced it would bring theatre legend Sarah Brightman to Australia to play Norma Desmond, we were thrilled. We purchased tickets as soon as they went on sale, forking out big bucks (and let’s face it, most decent seats commanded big bucks) to see this once-in-a-lifetime talent. But it seemed almost as quickly as Sarah arrived in Naarm/Melbourne for that city’s season the bad reviews went to press. The Guardian said she was “simply not up to the task … not physically, not dramatically, and certainly not vocally.” ArtsHub called her “woefully miscast,” noting that “it’s clear she does not possess the skills to play Norma”. Members of theatre communities I’m a part of on Facebook suggested understudy Sylvie Paladino was far superior, and insisted people should try to get tickets for her performances. All the chatter made me … concerned. I braced myself for the worst. Last night I walked out pleasantly surprised and wondered why the criticism had been so loud.

I don’t pretend to be an authority on Sunset Boulevard. I knew Norma Desmond was a faded star from the golden age of Hollywood who would collaborate with a young writer on a new script to relaunch her career. I knew the famous “Mr DeMille I’m ready for my close-up” line without any context and “As If We Never Said Goodbye” has long been a favourite theatre song, although again I didn’t know where it fitted into the story. I’m glad I didn’t have any preconceptions though. It meant I couldn’t compare this production to any others, I could just get swept up by the story. And I did. More than once my mouth was hanging open, shocked at the plot twists and turns.

It also meant that I couldn’t compare Sarah’s performance to the Norma Desmonds who came before. It seems some of the criticism comes from Sarah’s unique vocals. Certainly her angelic voice is a world away from the earthier tones of a Patti Lupone or a Glenn Close. Her operatic style was also a world away from the more straightforward theatre delivery of her fellow players. But she was Norma Desmond. The greatest star of them all, as we’re repeatedly told. She should stand out on that stage. I’ve read criticisms of Sarah’s voice in some of those Melbourne reviews, but I didn’t hear anything that should be picked apart. I’m not sure if she’s simply found her groove after an extended time away from the stage or they were being ruthless, but I felt blessed to witness her talents. I was especially wowed by “As If We Never Said Goodbye,” but I honestly felt like she didn’t put a foot or a note wrong.

The criticism of Sarah’s acting also feels below the belt to me. This is absolutely a demanding role. Most of us don’t know the level of madness Sarah was attempting to capture, so it’s difficult for us to say whether she did it well or not. I felt she inhabited the character, bringing all of her age and experience to the role. At 64, with extended time away from the stage, the parallels between Sarah and Norma are evident. Norma is clearly more unhinged, delusional, and off-the-wall, but Sarah took on all of that. I believed her, and I’m not sure you can ask more of an actor than that.

Sarah is the star, and quite rightly so, but she’s supported beautifully by the rest of the cast. Tim Draxl and Robert Grubb are some of the nation’s best. Ashleigh Rubenach has taken on major roles in smaller productions, but most often she’s part of the ensemble. She showed such promise as Betty, shining every time she stepped on stage. I’ve often marvelled at the depth of talent we have here in Australia. We can bring a star like Sarah here, and it’s wonderful when we do, but we honestly don’t need to.

While I’m heaping praise on the production, it’d be remiss of me not to mention the incredible set. I haven’t seen grandeur like it. Bringing a story that began as a film to life on the stage is always a hard ask; I can’t recall a team ever doing it so well. It was immersive, impressive, and beautiful.

If you’re plugged into the theatre community like me, you may have already written Sunset Boulevard off. Don’t. I’m not sure whether it’s found its feet in Sydney or people were simply unkind, but it’s an exciting revival. Sarah Brightman is a natural Norma Desmond, but every actor plays their part to make this production so special. Go see it, and Sarah, while you can. Sunset Boulevard plays at the Opera House in Eora/Sydney until November 1.

Image source: own photo