It has been a difficult week for Australian theatre. With Waitress now set to close in Melbourne on July 19th and its Sydney season cancelled, following the early closure of Beetlejuice, the fragility of the commercial theatre landscape has been laid bare once again. Behind every cancelled season are performers, musicians, creatives, crew, front-of-house staff, and countless others whose livelihoods depend on these shows going ahead. As tax time arrives, it is hard not to wonder whether the arts sector is due more than a few deductions; perhaps a serious credit for the cultural and economic value it continues to deliver. In this week’s column, we look at current shows, catch up on news from Broadway, share new interviews, and celebrate the people who keep showing up for this industry, even when the spotlight feels uncertain.
Adelaide
Big mistake? Huge – missing this one, that is. Pretty Woman: The Musical is currently charming Adelaide audiences, with its final performance on July 5th before heading to Melbourne, where it opens on July 14th. This Australian production brings homegrown talent, big-stage glamour, and plenty of heart to the story of Vivian and Edward, with a local cast delivering the romance, humour and sparkle audiences know and love. Expect big laughs, big emotions, a little Hollywood magic and a whole lot of Aussie stage power.
Official Website: https://prettywomanthemusical.com.au
Brisbane
Current – Beetlejuice the Musical
Brisbane, Brisbane, Brisbane… this is your final call. Beetlejuice the Musical closes this weekend, with performances only until Sunday, July 5th. Tim Burton’s cult classic has been brought to life in a wildly irreverent, high-energy Broadway hit, complete with an original score by Australia’s own Eddie Perfect. Strange, spectacular, and seriously fun, this is one last chance to say his name before the ghost-with-the-most disappears from Brisbane.
Official Website: https://beetlejuicethemusical.com.au
Melbourne
Current – Pride and Prejudice (*sort of)
Pride & Prejudice (*sort of) is currently showing at Melbourne’s Athenaeum Theatre, bringing the five-star West End comedy sensation to Australian audiences. The Olivier Award-winning comedy is an irreverent but affectionate retelling of one of literature’s most beloved romances, where men, money and microphones collide in glorious chaos. The Australian tour continues at the Athenaeum Theatre until July 11th, before travelling to the Sydney Opera House from July 16th to August 30th, Wollongong’s IPAC from September 2nd to 13th, Canberra Theatre Centre from September 16th to 27th, and QPAC Brisbane from September 30th to October 11th. More information and bookings are available through the official website: https://prideandprejudicesortof.com.au
Current – The Book of Mormon
Turn it off? Not a chance! However, Melbourne only has until July 19th. The Book of Mormon continues to spread its hilariously inappropriate gospel, bringing the outrageously funny, multi-Tony Award-winning Broadway satire from the creators of South Park to audiences before moving on to Brisbane. Bold, cheeky, and definitely not for the easily offended, this musical comedy remains one of Broadway’s biggest crowd-pleasers, proving that sometimes the best advice really is to clap along and pretend everything is fine.
Official Website: https://thebookofmormonmusical.com.au/
Current – Waitress the Musical
Waitress will now finish its Melbourne season on July 19th, with the previously announced Sydney season no longer going ahead. It is disappointing news for everyone who was looking forward to seeing the show, and especially for the many artists, musicians, crew, and theatre workers connected to the production. For those in Melbourne, there is still time to support this heartfelt, much-loved musical before it takes its final bow.
Official Website: https://waitressthemusical.com.au/
Sydney
Current – Anastasia
Playing through July 18th at the Sydney Lyric Theatre, Anastasia is inviting audiences to take a journey to the past, travelling from imperial Russia to the sparkle and romance of 1920s Paris. This sweeping Broadway adventure follows a young woman searching for home, identity, and belonging, with plenty of heart, mystery, and music along the way. Whether you are dreaming of “Once Upon a December” or ready to be swept “In a Crowd of Thousands,” this is a grand theatrical escape with one question at its centre: where do we truly belong?
Official Website: https://anastasiathemusical.com.au/
Current – Mackenzie
Double, double, toil, and tween stardom. Mackenzie is a world-premiere Bell Shakespeare production now playing in Sydney at The Neilson Nutshell until July 18th, 2026, before transferring to Arts Centre Melbourne from July 23rd. Created by Yve Blake, the award-winning writer behind FANGIRLS, this new play with songs is a camp, dark and gloriously deranged reimagining of Macbeth that dares to ask: what if Macbeth was a 13-year-old child star? The story follows Mackenzie, a young performer who books her first tiny television role, only for a strange prophecy to send her spiralling into a ruthless quest for superstardom.
Sydney Tickets: https://www.bellshakespeare.com.au/mackenzie
Current – The Lion King
Playing at Sydney’s Capitol Theatre for a strictly limited season, The Lion King is ready to make audiences feel the love tonight. Disney’s visually stunning Broadway phenomenon roars to life with world-class puppetry, breathtaking staging and iconic music by Elton John and Tim Rice. From the opening “Circle of Life” to the magic of Pride Rock rising before your eyes, this beloved musical remains a theatrical event that reminds audiences there is so much more to see than can ever be seen.
Official Website: https://thelionkingmusical.com.au/
Current – Hair
Let the sunshine in; but only until Sunday, July 12th. Hair is bringing peace, love, rebellion, and a whole lot of rock-musical energy to Sydney in a major professional tour presented by the Australian Shakespeare Company and directed by Glenn Elston OAM. With a fully professional cast, crew and live band, this production promises big voices, big hair, and even bigger flower-power spirit. Expect a celebration of youth, protest, freedom, and music that still has plenty to say.
Official Website: https://shakespeareaustralia.com.au/productions/hair-sydney
Perth
Current – MJ The Musical
Thrilling audiences at Crown Theatre until Sunday, July 19th, MJ The Musical is in Perth for its final Australian tour stop. This explosive Broadway musical celebrates the life, artistry, and iconic moves of Michael Jackson, bringing the music, precision, and showmanship of a pop legend to the stage. In honour of a certain Tuesday morning dance class I have the privilege of teacher-aiding for, consider this your gentle reminder: it is close to midnight for Perth audiences to catch it before it disappears from the Australian stage.
Official Website: https://mjthemusical.com.au/
Treading the Boards…
Kerrigan, Curry, and Camelot: Spamalot Goes Straight to the Pool Room
Always look on the bright side of casting news. Comedy legend Stephen Curry is stepping into the very sensible, not-at-all-ridiculous shoes of King Arthur for the east coast season of Monty Python’s Spamalot, marking his musical theatre debut. Yes, Dale Kerrigan is now King of the Castle and honestly, that feels like excellent national planning. The star-studded production will also feature Jaz Flowers as The Lady of the Lake for the Melbourne season, Marney McQueen taking on the role in Sydney, and Nick White bringing his sharp comic chaos to Man of Many Characters. Expect tap-dancing knights, glorious nonsense, big vocals, and the kind of medieval mayhem that suggests Camelot may need both a sword and a group chat. Spamalot plays Melbourne’s Athenaeum Theatre from September 16th to October 4th, then heads to Sydney Event Centre at The Star from October 15th to 18th, before transferring to the Coliseum Theatre in Western Sydney from October 22nd to 25th, 2026.
CAST ANNOUNCEMENT: WE ARE THE TIGERS
Aren’t you just dying to be a Tiger?
Cheers Productions, in association with Hayes Theatre Co, is thrilled to announce the cast of We Are The Tigers, coming to Hayes Theatre Co from October 9th to November 8th, 2026. With book, music and lyrics by Preston Max Allen, this pop-rock murder mystery follows the Giles Corey High cheerleading squad as their annual sleepover spirals from pizza and team bonding into full-blown chaos; with a killer on the loose.
Joining the squad are: Artemis Alfonzetti as Farrah, AJ Betts as Kate, Brianna Bishop as Riley, Pippin Carroll as Clarke, Chelsea Dawson as Chess, Jenny Guigayoma as Mattie, Anabel Jamieson as Annileigh, Caitlin McCallig as Reese, Millie Seeto as Eva, Ollivia Vásquez as Cairo, Carla Venezia as Swing / Dance Captain, and Jake Tyler as Clarke Cover
Directed and choreographed by Chiara Assetta, with assistant director/choreographer Zoe Ioannou, We Are The Tigers is an ensemble-driven whodunit where cheer meets fear and team spirit might just become the spirit of their dead teammates. Tickets are available at https://hayestheatre.com.au/event/we-are-the-tigers/
Aussies Abroad
Romy Vuksan
A little Broadway-adjacent Aussie joy: choreographer Romy Vuksan helped get the Australian Consulate-General in New York moving for Gay Day 2026, leading the team down Fifth Avenue at the NYC Pride March to Vanessa Amorosi’s “Absolutely Everybody.” Because apparently the most Australian thing you can do in Manhattan is form a diplomatic dance troupe, add Qantas, crank up a national karaoke anthem, and make New Yorkers wonder if this is foreign policy or a very well-rehearsed flash mob. Romy, that one deserves jazz hands, a standing ovation and at least one official hydration break before the next chorus.
Samantha Dodemaide
Dorothy has followed the red-brick, slightly sparkly, can-can-filled road all the way back to the Moulin Rouge. A huge congratulations to Australian performer Samantha Dodemaide, who has returned to Broadway as Nini in Moulin Rouge! The Musical. It is a wonderful Aussie-on-Broadway moment and a well-deserved celebration for a performer whose talent, versatility and stage presence continue to shine with just the right amount of feathers, fire, and red windmill glamour.
In the Green Room with … Kerrie Anne Greenland
This week we chat with Kerrie Anne Greenland, an award-winning Australian musical theatre performer best known to many audiences for her acclaimed performance as Éponine in Les Misérables. Now part of the wonderfully chaotic world of Beetlejuice, Kerrie Anne is working as an offstage cover, staying ready for multiple roles including Barbara, Delia, Miss Argentina, and Maxine/Juno- which I had the pleasure of seeing her perform this week. It is a job that requires serious skill, nerves of steel and an exceptionally good sense of humour. Kerrie Anne talks theatre habits, career advice, life backstage, the art of waiting, and why Beetlejuice can still make her laugh and cry even after hundreds of performances.
What is your name, what do you do in MT, and what is one theatre habit you have that would confuse people outside the industry?
My name is Kerrie Anne Greenland, and I am a performer. One habit that has definitely confused people outside the industry is going over lines out loud. I have had people look at me very strangely while I am talking through a script by myself, and some have even tried to respond; maybe they thought I was talking to them.
What is one piece of advice you wish someone had given you earlier in your MT journey?
It is an oldie but a goodie, and I was possibly told this before, but it has taken a while to really sink in: your journey will be completely different to everyone else’s. You cannot judge your success against someone else’s experience of the industry.
What is one thing from your area of MT that you think everyone should try at least once?
A dance class. It is great fun, great exercise, and so good to move your body.
What is your go-to beverage order and what does it say about you?
A Chardonnay. I hope it says I have matured a bit.
After a big rehearsal, show, or production week, how do you unwind without accidentally still thinking about theatre?
I have four kids, so it is remarkably easy to not think about theatre.
What is your dream role, job, or creative opportunity in MT?
I would love to do Les Misérables again. It was such a special show, and I would love to step back onto that barricade.
What is the hardest part about playing your character?
My job within the Beetlejuice company is actually as an offstage cover. I learn the roles of Barbara, Delia, Miss Argentina, and Maxine/Juno, and if they need me to go on for one of those parts, I do. Otherwise, I spend my time backstage, which is probably the hardest part- the waiting. That said, I am quite good at filling my time. I knit, sew, read, and enjoy watching the performances of the actors on stage each night.
How did you prepare for the physical or emotional demands?
As a cover, I think the biggest thing is managing the nerves. You need nerves of steel. The job is all about being ready to perform a role you do not do every day and maybe one you have not done for quite a while; while still staying calm, collected and precise. It is actually a lot of fun.
What message do you hope the audience takes away from this performance?
I hope people have a really good belly laugh and many chuckles. I know I still do both, even after watching this show literally hundreds of times but I also still shed a tear, because the heart of this show is so stunning and moving. I am certain audiences will love it.
WRITER
Stage Door Matters is written by Nic Conolly (she/they) for Theatre Matters, an Australian-based theatre publication. By day, Nic works as a Teacher Aide; by night, they can usually be found loitering in a theatre foyer, pretending this is a personality trait and not a lifestyle choice. Nic’s background includes performing in a travelling Australian circus, teaching circus arts, and being involved in local productions- which explains the dramatic flair and lack of inside voice. They saw their first show, Cats under the Big Top, and have been in a committed relationship with theatre ever since.
