A New Musical: A New Musical - 9 out of 10
T&R Productions
TICKETS: End of Season
Twelve months ago, Thomas White and Riley Mobbs set out to write a musical for their Year 11 Research Project. Fast forward a year, and their original work has just completed its pilot run to four supportive audiences, even earning standing ovations on closing night. True to their mysterious marketing, T&R Productions revealed just enough to intrigue without giving too much away. When the show opens with the most delightfully questionable rendition of Photograph you’ll ever see, it’s clear the audience is in for a fun, unpredictable night.
A New Musical: A New Musical is comedic genius
in more ways than one. With book, music, and lyrics jointly credited to White
and Mobbs, it’s fair to say the pair deserve equal praise across the board.
Together they’ve assembled a dedicated cast of now–Year 12 students (plus one
alum), who bring the story to life with energy and affection for the material.
We meet Sebastian, a theatre reviewer fed up with critiquing
lacklustre jukebox musicals. After quitting his job, he laments the lack of
originality on stage and decides to write his own musical. To preserve the
magic of future performances, I won’t spoil any more, except to say this show
deserves another run and even licensing opportunities once any adjustments are
made.
Playing Sebastian, co-writer Thomas White delivers a
committed and believable performance. His understanding of the role is evident
through his expressive mannerisms and well-timed comedic beats. At times,
microphone placement slightly hindered the clarity of his vocals, particularly
during his faster musical number, but his characterisation held strong
throughout.
Amelie Cowley shines as Grace, Sebastian’s long-suffering
wife who shoulders the financial burden as her husband chases creative
fulfilment. Cowley’s portrayal is grounded, heartfelt, and impressively mature.
Her vocals soar in “Stone” and “My Own Song,” two of the musical’s many standout
moments.
Co-creator Riley Mobbs takes on Hans, Sebastian’s former
boss and the red-herring antagonist. Mobbs is a natural showman, stealing
scenes with his larger-than-life energy. His comedic timing peaks during a tap
number with tear-away pants, and a tongue-in-cheek fourth-wall break that
hilariously references the co-creator’s own writing resulting in quick costume challenges.
Charlotte Butler gives a strong turn as the secretary and
conveniently, Sebastian’s next-door neighbour. Her character’s proximity allows
for plenty of gossip and plot-driving observations, and Butler makes the most
of every moment she’s given on stage.
Sam White delights as Blake, a charmingly desperate actor
determined to land a role in Sebastian’s new musical. White’s charisma and
comic instincts make him instantly likeable, culminating in a memorable
“Broadway debut” and an audacious kiss that earns thunderous applause. As a
first-year acting student at Flinders University, he’s clearly one to watch.
Playing Toni, Chelsey Binns impresses with her powerful
vocals and articulate delivery. Though her character doesn’t share Blake’s
Broadway fate, Binns’ poise and confidence on stage mark her as a future
standout in musical theatre.
Kyle Mobbs brings flair to Austin, the financier with hidden
motives. His physicality and fearless character work shine, particularly when
Austin unexpectedly steps into a missing cast member’s role – a clever and
hilarious moment that exemplifies this show’s meta-humour.
Rounding out the ensemble, Alex Carpenter is great as
Nikolas Valentine and several smaller characters, including the coffee shop
patron and Grace’s boss. His performance, from the opening number to the final
reveal, connects the story’s many meta threads. Carpenter’s blend of comedy and
mystery leaves a lasting impression.
Very deliberately, I’ve avoided mentioning the choreography
until now — because it truly deserves its own spotlight. Kyle Mobbs, credited
as choreographer, has done a wonderful job crafting inventive, varied routines
that perfectly complement each musical moment. His understanding that not every
song needs an elaborate dance sequence is commendable, and he balances this
restraint by infusing the many scene changes with lively, dance-driven
transitions. These moments are so dynamic and polished that they become as
entertaining as the musical numbers themselves.
In addition to co-creating this musical, Riley Mobbs takes
the helm as Director while Thomas White serves as Musical Director, ensuring
their shared vision carries seamlessly from page to stage. The meta written into this musical
was appreciated by the audience, and breaking the fourth wall to ensure this
reviewer is involved no less than three times was a fun addition, while reviewing
a musical about a reviewer no less.
As with any new production, a few technical hiccups
surfaced, particularly with microphones and lighting. However, the technical
team deserves praise for their calm professionalism and quick responses,
addressing issues in real time and keeping the show moving without losing pace
or energy.
In short, A New Musical: A New Musical is witty, self-aware, and full of heart. Thomas White and Riley Mobbs have created something original and infectiously fun – a promising first step in what could be a much bigger journey for both young writers.
- Andrew Broadbent
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