2025 Reviews

★★★★★

“Blood and sauce – love and trauma – coexist in every family pot. Nicolazzo leans into this symbolism without overplaying it, letting imagery speak while grounding the characters in heartfelt interactions.” Scenestr

★★★★★
“A stunning adaptation of a book that so many Australians hold dear. With humour, heart, and good cooking, this play is a must-see before it closes.” Glam Adelaide

★★★★★
“A skilled and standalone theatre piece…” The Clothesline

★★★★1/2 “A fantastic work and a wonderful adaptation of the original novel, being joyous, sombre and profound in equal parts. The acting is fantastic, and the depth of the characterisation makes for a truly meaningful watch. As the question of what it means to be an Australian continues to percolate in the public consciousness, this production feels more relevant than ever and should be commended to all.” Musical Theatre.AU

★★★★ “Whether you read Marchetta’s novel growing up or are unfamiliar with the source material, this production is worth the time of any Australian who knows (or will soon know) what it’s like to navigate the tough decisions in life.”  Theatre Matters [NSW]

★★★★ “The casting of Chanella Macri in the lead role gives a fresh face to this well-known tale which eviscerates the image of Pia Miranda in her iconic performance in the film version that became an Australian classic. Macri makes the beloved role her own, while retaining the qualities that make Josie so endearing. Lucia Mastrantone’s talent is on full display as she performs dual roles that showcase her range as an actor. As Josie’s mother Christina, she radiates warmth and compassion towards her daughter while struggling as a middle-aged single mother endeavouring to recapture her own identity as her daughter moves closer to adulthood. As Josie’s best friend Sera, her delightful effervescence adds energy and maintains momentum, particularly in the tightly paced first half of the play. There’s a tonal shift after the interval, enhanced by Katie Sfetkidis’ lighting design. Darker themes including suicide and domestic abuse emerge, directed with nuance and sensitivity by Stephen Nicolazzo. Jennifer Vuletic as Nonna provides retrospection and catharsis as secrets are revealed which reframe the past and offer insights into the realities of the post-war migrant experience while celebrating strength and resilience of the Alibrandi women. This is a spirited, enjoyable performance and on a cold winter’s night, it left my heart feeling a little warmer and a little more Italian.” Sydney Arts Guide [NSW]

★★★★
“It provides a rich tapestry of perspectives that resonate with contemporary audiences both young and old and the diverse and large opening night audiences frequently laughed and silently shed tears at what unfolded on stage.” Arts Hub

“A whip-smart, heart-tugging, laugh-out-loud delight” Stage Whispers

2022 reviews

★★★★★ “Clever, funny, heartening and well-crafted” Theatre Matters

★★★★1/2 “Comical and beautifully honest…a joyous and poignant experience…a ridiculously enjoyable sunbeam of a production” Arts Hub

★★★★ “Suddenly I was that awkward teenager again, and that is what makes great story telling. The ability to transport you to another place and time. To engulf you in a world that is not your own and yet feels so familiar. That is the magic of Looking for Alibrandi. A magic that continues to warm people’s hearts thirty years after Marchetta’s pen first touched the page” The AU Review

★★★★ “A heart-warming tale whose humour, honesty, radiant social relevance and narrative longevity can survive not only novel and film incarnations, but now, I’m delighted to report, a stage play too.” Theatre Now 

“Dark and uncompromising. It will resonate with subsequent waves of migrants”  The Australian

“Buoyant and entertaining, spirited and good-humored.” The Age

“Chanella Macri is an excellent Josie, with her quality eye-rolling and ability to deliver cheeky wisecracks injecting a vibrancy to the heart of the show that made this reviewer cackle more than once. Macri is a Josie for all of us in 2022, a world that has undeniably changed since the ‘90s, when high schools (nay, the world) were divided along hard lines of “skips versus wogs”. She brings her own intersections of identity to the role. Being both a woman in a bigger body and a woman of colour with a complex cultural mix, Macri is a perfect representation of what ‘otherness’ means for us today. She brings the essence of Josie’s experience in the ‘90s straight into the heart of a Sydney in 2022, where being skinny and Italian no longer means the same thing it did when Marchetta was writing back in the late 1990s.” Time Out