Tag Archives: Casula Powerhouse Arts Centre


Casula Powerhouse Arts Centre launched its 2018 season in raucous style last night  with BURLESKO BIZARRO.

After spending time with CPAC’s wonderful current visual arts exhibitions (featured previously in the Sydney arts Guide) , the full house of supporters was ushered into the theatre to be greeted by Hostess Glitta Supernova in full pink poodle mode.   The Burlesque we were to see was back-to-its-roots Performance Art she explained… satire and parody of sex and sexuality. Continue reading CASULA POWERHOUSE ARTS CENTRE: LAUNCHES 2018 IN STYLE


This Image: Katsushika Hokusai
Banner Image:  Locust Jones, Michael Jackson’s Heart Attack and the Tehren Riots

Casula Powerhouse Arts Centre will kick off 2018 with a massive launch day unveiling three brand new exhibitions showcasing Japanese Manga across the centuries, powerful political commentary and popular culture critique. Continue reading 3 MAJOR EXHIBITIONS TO BEGIN THE YEAR AT CASULA


Richard Beynon’s classic Aussie play  SIMPSON J. 202 depicts the  early life and tragic death of John Simpson – the man with the donkey at Gallipoli.

John ‘Jack’ Simpson-Kirkpatrick, a young man who grew up caring more for his pets and the local strays than he did for school work, desperately wanted to follow his father’s footsteps and become a merchant seaman. Due to his lack of interest and attendance at school, he was forced to leave his education and work as a milk delivery boy and donkey attendant.

Tragedy strikes the family home with the loss of his father. Two days after the burial, Jack surprises his family by announcing that he will be leaving home in order to go to sea. He then boards a ship heading to Western Australia and plans to stay for a year to provide for his family and have the adventure of a lifetime, but ends up travelling around Australia, just trying to make enough money to return home. He documents his adventures through letters sent home to his mother Sarah and sister Annie, who are anxious for him to return.

With a lack of funds for his return, Jack thinks his luck has changed when war is declared in Europe, and Australia starts sending men to England for training. Known as a “larrikin,” Jack decides to change his name to John Simpson in order to avoid detection, and hops a ship. Unfortunately, that ship did not return to England but instead was diverted to a camp set up in Egypt, where John was assigned the role of stretcher-bearer.

Simpson and his comrades find themselves on the beaches of Gallipoli. The rest, as they say, is part of Australia’s history.

This latest revival of Beynon’s play is directed by Rosie Daly and the cast comprises Michael Giglio, Charlotte Robertson, Micky Rose, Don Ezard, David Preston, Stephen Wheatley and Charu Ahluwalia.

SEASON : 24th to 27th May, 2017 at the Casula Powerhouse Arts Centre.

Wednesday 24th May – 11.00am [Preview]
Wednesday 24th May – 7.30pm** [Opening Night]
Thursday 25th May – 11.00am
Friday 26th May – 11.00am
Friday 26th May – 7.30pm
Saturday 27th May – 2.00pm [Closing Show]

Opening Night Tickets** – $30
Adult – $30
Concession – $22 (Senior, Pension, Student, MEAA Member)
Child – $20 (12 & under)
Family x 4 – $80 (max. 2 adults)
Family x 5 – $98 (max. 2 adults)
Group – $20 (10+)
School Bookings: Students – $18 (Teachers Complimentary)
** Opening Night includes an After-Show Supper with the creative team and cast. No concessions are available on opening night. **

For Bookings, visit the Casula Powerhouse Arts Centre website or phone 02 9824 1121.

For more about Simpson J. 202 by Richard Beynon, visit http://www.casulapowerhouse.com/whats-on/theatre2/2017-theatre/simpson-j.-202

Find us on: YouTube | Facebook


On Wednesday night I had the opportunity to appreciate SECRET BRIDESMAID’S BUSINESS by Elizabeth Coleman at the Casula Powerhouse Arts Centre. This wonderful Australian classic comedy tells the story of Meg Bacon, her mum, and girlfriends as they come together in a hotel suite to have some girlie fun before Meg’s wedding the following day.

The current production, directed by Jonathon Brown, had many valuable insights for the interpretation of the characters .

Melissa Kathryn Rose portrays the main character Meg well, giving us a first class performance from the beginning until the end, showing us the dream of every woman on her wedding day.

Besides her appears Colleen Bacon (mother of the bride) played by Allison Brown, in her character who prepares all the details for the wedding of her beloved daughter, she is a perfectionists who has a good eye for details, she kept a good chemistry with the protagonist. 

The Bridesmaids, Meg’s best friends, interpreted by Katherine Babatzanis and Christine Graf, keep us in suspense as to whether they will or will not let Meg know the news that they have leaned that Meg’s fiance has been unfaithful.

Elizabeth Coleman’s play is a seriously funny play about life. It has a lot to say about about honesty, friendship and loyalty in today’s difficult world. Recommended, the production has one remaining performance tonight at 8 pm.

The cast : Katharine Babatzanis, Allison Brown, Christine Graf, Samantha Sullivan, Michael Lundberg and Melissa Kathryn Rose.

http://www. casulapowerhouse.com



Camilla Ah Kin, David Roberts and Tony Llewellyn-Jones. Pic Dragana Novakovic
Camilla Ah Kin, David Roberts and Tony Llewellyn-Jones. Pic Dragana Novakovic

THE HANSARD MONOLOGUES, a verbatim play by Katie Pollock and Paul Daley from an original concept by Peter Fray, provides us with a look at the state of Australian politics by the most direct route possible, chosen extracts from  the recently completed 43rd Parliament.

The surprising thing, for me at-least, was that our politicians did not fare too badly from such close analysis. The play even ends on an optimistic note quoting Anthony Albanese wishing everyone well till the first sitting of the new Parliament.

Essentially, THE HANSARD MONOLOGUES  works as a highlights and lowlights reel/record  of the last Parliament with a lot of time allocated to the major issues that dominated the term including the plight of Asylum Seekers and the continuing Australian involvement in the war in Afghanistan.

Each issue was dealt with with independently and then the play would move. A lot of ground was covered over the night. One of the play’s highlights was that we not only heard from the major political figures such as Gillard and Abbott but also from much less well known MP’s who made significant contributions to the relevant debate.

Just three actors, and great actors they were too, David Roberts, Camilla Ah Kin and Tony Llewellyn Jones, said the words of a wide range of pollies, each using a lectern. A large multi-media screen behind verified the name of the politician they were playing. This screen was also used for other dramatic purposes including the posting, one by one, of the names of the Aussie soldiers who have died in Afghanistan.

With the effect of adding emphasis, occasionally through the play, use was made of snippets of radio recordings of Parliament where one actually got to hear the authentic speaker.

At  the play’s beginning, the actors endeavoured to play the pollies neutrally however this did not last for very long and by play’s  end the trio were having a  lot of fun with their characters.

THE HANSARD MONOLOGUES  was an interesting and different night in the theatre. Peter Fray advised that he intended to produce further handard monologue pieces for future parliaments. Such nights can only add to the weight of political debate coming up to the next election.

A co-production of the Seymour Centre, the Merrigong Theatre Company and the Casula Powerhouse Arts Centre, the HANSARD MONOLOGUES played in Sydney at thbe York theatre, Seymour Centre on July 23 and ran until July 27, 2013.