A review of Epiphany Arts' She Kills Monsters, a vibrant Sydney Fringe production exploring grief, sisterhood and the next generation of theatre-makers.
Epiphany Arts’ She Kills Monsters burst onto the Eternity Playhouse stage in Darlinghurst with colour, heart, humour, and talent. Presented as part of the 2026 Sydney Fringe Festival, Qui Nguyen’s Dungeons & Dragons-inspired adventure proved that youth theatre, when entrusted to ambitious creative hands, can be bold, sophisticated and enormously entertaining.
At its heart is a story of grief, sisterhood, and discovery. Holly Gallagher brought warmth, vulnerability, and conviction to Agnes, drawing us into her journey through the fantasy world left behind by her younger sister. As Tilly, Ruby Basson was exceptional. I have watched Ruby grow stronger with every performance, and here she delivered with confidence, emotional depth, and compelling stage presence.
Then there was Caspian Mitchell as Chuck. His achievement was absolutely extraordinary. After the production lost a lead player only days before opening, 12-year-old Caspian stepped into what were effectively “18-year-old shoes,” learning his lines at breathtaking speed, and his blocking during the technical rehearsal. Yet nothing about his opening-night performance felt tentative. He was assured, funny, committed, and completely present. To rise to that challenge under such pressure speaks volumes about both his undeniable talent, and professionalism.
The experienced ensemble around them was consistently strong. Jake Nelson was wonderfully engaging as the Narrator/Orcus, bringing personality and comic energy to the storytelling. Martha Tidyman made a powerful Lilith, and both her singing and acting were a highlight, while multi-talented Autumn Orwell gave Kaliope strength and presence. Perfectly cast! Tully Agostino-Morrow brought charm to Miles, and Stephanie Calia was brilliantly sharp and charismatic as Vera.
Ivy Wilkes and Astrid Macarthur Mitchell gave strong performances, revelling in the delicious wickedness of Evil Gabbi and Evil Tina, while Thomas Emery made Steve memorable and great fun. Allegra Lo Giudice brought energy and character to Farrah, and delightful Maisie Goldfinch, Luna Austin, Jamie Goodwin, and Ella Roseman contributed beautifully as an ensemble, helping create the bustling, fantastical world essential to the production.
The historic Eternity Playhouse was an inspired home, allowing the intimacy of the human story to sit comfortably beside its larger-than-life fantasy and theatrical spectacle. The result felt immediate, youthful, and alive from the moment the adventure began.
Behind this cast sits an impressive creative team. Director and producer Annie Macarthur deserves enormous recognition for shaping so many young performers into a cohesive company while navigating the inevitable demands, and last-minute surprises of live theatre. There is a generosity in a production that gives emerging artists this level of responsibility while surrounding them with the structure required to succeed.
Anna Jaques’ consistently incredible choreography gave the production momentum, wit and physical excitement, particularly through its energetic movement and fantasy sequences. Peter Mitchell’s contribution was equally immense: responsible for lighting and sound design, he took over all technical operations on opening night and delivered a seamless performance. Beyond the theatre itself, Mitchell also created the posters, flyers, and promotional trailers - a remarkable creative contribution across the entire project.
I attended with my lifelong-friend Pollyanna Clayton-Stamm, who has worked on and directed large festivals in England and Australia, curated biennales and art exhibitions for years in multiple galleries, and had a long term career as a highly productive creative. Pollyanna was also thoroughly impressed with Annie the director, the entire cast, and especially Caspian. She said he looked so comfortable, she "never would have known he stepped into a lead role at the last minute."
What makes Epiphany Arts special is not simply that young people are given a stage. They are challenged to meet it, and often with limited time, so the performers are fast and focussed in the lead-up.
That commitment continues this spring holiday, when Epiphany Arts’ youth theatre division welcomes actors aged 11–18 to its intensive theatre camp, this time celebrating Tim Curry, the legendary musical-theatre performer and unforgettable screen villain, with a playful journey through his iconic characters and worlds.
She Kills Monsters was vibrant, funny, moving, and full of possibility. More than anything, opening night demonstrated what can happen when talented young performers are treated seriously, challenged courageously and supported by experienced creatives who believe in them. Epiphany Arts creates a phenomenal training ground for a professional life in the creative world, as well as a deep appreciation for the nuance, depth, and discipline required for success in drama, dance, singing, and life in general.
An exceptional achievement from Epiphany Arts - and a wonderful celebration of the next generation of Australian theatre-makers.
Review by: Simone Waddell