Tag Archives: Alexander Andrews


“Remember those sweet words, ’till death do us part…’”

Revenge is a dish best served sizzling and this femme fatale is cooking with gas… From doting housewife to murderous seductress, join our lethal lady on a high-speed joyride through the thrilling twists and turns of a classic film noir mystery – only this time through her eyes, not private eyes. Watch the plot unravel at the hands of this manipulative, malevolent, man-eating mastermind.

MURDER, SHE SANG stars emerging musical theatre performer Caitlin Rose. Caitlin has previously delighted Sydney audiences in Little Triangle’s critically acclaimed productions of Sunday in the Park with George and Merrily We Roll Along. She featured in ATYP’s award-winning production of Spring Awakening and was a 2018 Semi-Finalist in the Rob Guest Endowment Awards. In September, Caitlin will feature in Little Triangle’s Nine as Carla Albanese.

Established in early 2017, Little Triangle aims to present underperformed theatrical productions that challenge audiences and performers alike at a low price point – in the hopes to expand, educate and diversify the music theatre audience base, especially amongst young people.

MURDER, SHE SANG: A Lethal Cabaret Starring Caitlin Rose
Conceived by Alexander Andrews & Caitlin Rose
Written by Hayden Rodgers
Directed & Designed by Alexander Andrews
Music Directed & Accompanied by Harry Collins
Produced by Rose McClelland
Photography by Shakira Wilson

Doors 7pm for a 7:30pm show.

$25+bf online
$30 on the door (if any left)


13 June, 7:30PM & 14 June, 7:30pm at the Newsagency, 74-75 Pyrmont Bridge Road, Glebe.

For more about Murder, She Sang, visit http://www.thenewsagencyvenue.com/shows/murdershesang
Find us on: YouTube | Facebook


Production photos: Clare Hawley

Little Triangle’s THE WILD PARTY has all the quality we expect of this emerging musical theatre company but with an added extra. There’s evident hard work in the mounting of the production, energy and commitment, excellent musicality and obvious drive to deliver exciting and interesting work to Sydney audiences. What’s different in this offering is the channelling of all that excellence into a focused theatrically in the movement and in the telling of stories.

And the story at the heart of this 2000 musical, music and lyrics by Michael J LaChiusa and book by George C. Wolfe is an interesting one. Set in the twenties, Queenie is the ultimate flapper, carefree and wild, despite a disillusionment with her boyfriend Burrs. His bad boy was once a magnet, now an increasing worry as his behaviours worsen. Looking to escape, the party to end all parties is called for and a bunch of misfit miscreants assemble for gin and dancing and other assorted abandonments. Continue reading THE WILD PARTY: STYLISH MOVEMENT AND PRODUCTION FROM LITTLE TRIANGLE


This image: The Cast of A Little Cabaret
Featured image: Siobhan Clifford, Olivia Vasquez, Denise Devlin, & Embla Bishop
Production images: Christopher Starnawski (Omnes Photography)

A LITTLE CABARET is a fundraiser for Little Triangle’s November production of Michael John LaChiusa & George C. Wolfe’s THE WILD PARTY and its short run at the Sydney Fringe is pretty much sold out. With good reason.  There’s a commitment to excellence inside this little company that spills over the footlights in all their work. Staged or simply sung. Here we have seven gorgeous voices performing songs chosen with care to be interesting and unusual.  Celebrating the unsung is the publicity tagline and what a great program it turns out to be.

It’s just a lovely night to share with lovers of musical theatre as some songs ooze with familiarity and others are go-home-and-google offerings.  Directed by Alexander Andrews and accompanied by Conrad Hamill there are brief introductions “another woman sits at another bar alone” … “ A young wife has a secret.” Continue reading A LITTLE CABARET OF SELDOM HEARD TREASURES


“Order. Design. Composition. Balance. Light. … Harmony.”

The two year process has not been easy. Relationships are strained and the pinpoint vision of the eponymous artist has blurred. Yet he creates, before our eyes, his masterpiece. A Sunday Afternoon on the Island of La Grande Jatte arrives fully realised as the first act finale of Stephen Sondheim and James Lapine’s SUNDAY IN THE PARK WITH GEORGE.

When I saw the original version on Broadway in 1984 my heart stopped at this sequence. Georges Seurat’s painting flew in as a scrim to be magically framed by staging. It was breathtaking and transformative. I’m not the only one who reveres the show either. A quick search on YouTube shows how many people still engage with and comment on those grainy videos of the original.

So, how do you reinvent a legend? If Sondheim can seamlessly transport one art form to another then surely an up-and-coming Theatre Company like Little Triangle can mount a fully realised reimagining even on an odd shaped stage in a revamped military shed on reclaimed swampland with a rich indigenous and community heritage as part of the Sydney Fringe. They sure can! And the painting is created with as much power and integrity as that seminal production.

Director, Alexander Andrews and Musical Director Conrad Hamill have made new art from old. They have a cohesive vision which is evident in every moment of this fine production. This is an unpretentious, unfussy, accessible, skilled and joyful rendering of a revered work. With love at its heart. Continue reading SUNDAY IN THE PARK WITH GEORGE : LITTLE TRIANGLE PRESENT A MEMORABLE PRODUCTION

A Little Night Music @ The Seymour Centre

Louise Flynn as Desiree and Stuart Bryan as Fredrik in the Sydney University Music Ensemble's production of Stephen Sondheim's classic, A LITTLE  NIGHT MUSIC
Inset pic- Louise Flynn as Desiree and Stuart Bryan as Fredrik . Featured pic- The cast of A LITTLE NIGHT MUSIC in the Sydney University Music Ensemble’s production of Stephen Sondheim’s classic, A LITTLE NIGHT MUSIC

The setting for A LITTLE NIGHT MUSIC at the Everest Theatre is simple. Black risers upstage on the right. On the left, a large, bare branch artfully suspended parallel to the floor above a grand piano. But this is not indicative of stripped back production. There are rich and detailed aspects to this The University Of Sydney Musical Theatre Ensemble (MUSE) production of the Sondheim classic.

Rather, the branch is just a branch. Recognizable for what it is despite its lack of leaves. What lies under what the world sees, is the metaphor.

Fredrik Egerman, a middle aged lawyer, in Sweden in the early 1900s appears to have exactly what other men desire. But he has a reluctant 18 year old bride on his hands. Anne remains a virgin eleven months after their marriage and Fredrik is drawn back to a former lover, Desiree Armfield, formerly a noted actress who is reduced to playing small towns in rep. Continue reading A Little Night Music @ The Seymour Centre

Anyone Can Whistle


Production photos care of nickandnickphotography

Sydney University Musical Theatre Ensemble’s (MUSE) production of Stephen Sondheim’s ANYONE CAN WHISTLE is performed by a group of talented and highly energetic and committed performers. The show is, in part, a social satire and a sharp critique of modern society, breaking the fourth wall, acknowledging itself as theatre and sometimes not following a logical, linear structure.

This Sondheim play is also partly a musical romantic comedy, complete with love songs and happily ever after scenarios for the hero, the heroine and even the villains.

The town in ANYONE CAN WHISTLE is in serious financial trouble and needs a miracle. The scheming Comptroller has a solution and supported by Mayoress Cora creates a water spouting rock and calls it a miracle. Yet when Nurse Fay Apple brings her ‘cookies’ from the local mental institution, the Cookie Jar, to cure themselves, chaos ensues as patients and residents become mixed up. From there the plot twists and turns till all is well – well almost – at the end. Continue reading Anyone Can Whistle


Natasha Crane's 'Swingdancin'
Natasha Crane’s ‘Swingdancin’

Company C of Short+Sweet dance continues the exciting season with twelve more short works. Overall there was some very interesting work, but I found several of the pieces unclear and perhaps in  need of more development and polishing .

The opening work however Joseph Simon’s ‘String ‘ was magnificent , a short black and white film where Simon’s is caught in string. He uses angular yet liquid movement to stretch and try and escape but is still tied. How does string affect the body?  Facial expression and tiny subtle changes in skin texture and layers are important.