There are parody musicals, and then there is Stranger Sings! A neon-bright, synth-kissed joyride that proves how thrilling youth theatre can be when imagination, discipline, and heart collide. From the first downbeat, this production radiates confidence and craft. It’s cheeky, affectionate, and downright INCREDIBLE! Powered by a young ensemble who perform with the polish of seasoned professionals, and the fearlessness of emerging artists hungry to make their mark.
Direction & Choreography
Director/producer Annie Macarthur shapes the evening with a sure hand and a big heart. She understands that parody only works if the storytelling underneath is clear and truthful, and she makes it so. Transitions are crisp, jokes are placed like music cues, and the tender beats: friendship, bravery, and loyalty are given room to bloom. Annie who lives and breathes drama and theatre, brings her unwavering, highly skilled, and deeply committed guidance to her young cast. She ensures that they rise to the occasion, embracing bold choices with confidence.
Co-director and choreographer Anna Jaques infuses the show with innovative movement that’s witty, character-driven, and deceptively sophisticated. Her choreography delights in detail: a sly shoulder pop here, a razor-clean formation there, a comic ripple that travels the line like an electrical current. Numbers expand and contract with cinematic flow, and the cast hits them with precision beyond their years. Anna is one of the best choreographers I have ever witnessed in her field, successfully stretching dancers and non - dancers to their respective heights with an ease that is truly unbelievable.
The Band
Musically, the production is electric. Under the direction of Mitch Brown, the band plays with punch and polish, giving the score its irresistible ’80s shimmer while keeping the vocals front and centre. Tim Doubinski (guitar), Ted Krabman (bass), and Ruben Aung Thien (drums) lock together like a studio rhythm section tight grooves, confident dynamics, and just the right amount of sparkle. Their sound wonderfully supports and propels the story throughout.
The Cast
The principals are a parade of standouts. Raven Swinkels’ Eleven is fierce and fragile, with vocals that cut cleanly through the texture. Anouk Macarthur Mitchell delivers a beautifully crafted Will Byers, full of innocence and vulnerability. Julian Daher’s Dustin is a comic cannonball whose warmth never feels put-on. Ruben Aguilera brings natural ease and open-hearted animated sincerity to Mike, and his captivating focus and light on stage was next level, while Jahzara Mariasson’s Lucas crackles with rhythmic bite and energy. Courtney Joubert shines as the love interest in a double role as Nancy Wheeler and Erica Sinclair, flipping from resolute determination to razor-sharp sass. Holly Gallagher imbues Joyce Byers with eccentric sparkle and authentic heart, while Tully Agostino-Morrow as Jim Hopper balances rumpled charisma with surprising tenderness. Tyler Denning brings impressive versatility as Jonathan Byers and Steve Harrington, moving seamlessly from awkward intensity to magnetic swagger.
Annabelle Doubleday is gloriously aggrieved and vocally radiant as audience favourite Barb Holland, and Ruby Basson consistently dazzles in her quick-change whirlwind as Max Mayfield and Powell.
Michaela Chung brings sly glamour to Karen Wheeler and striking poise as Eight.
Autumn Orwell is a joy in multiple roles Robin Buckley, Officer Callahan, Bully, and Ensemble always crisp in timing and bright in tone. Cooper Singleton gives menace and athletic physicality to the Demogorgon and One. Ellacoco Hammer McIver is chameleonic and hilarious as the Radio Announcer, Suzie, and Flo. Ivy Wilkes relishes the role of Dr. Martin Brenner/Papa with deliciously hilarious over-the-top villainy. Maisie Goldfinch and Mia Gray complete the ensemble with focus, versatility, and strong vocals and presence as Scientists and ensemble players. There is not a weak link in sight, every cast member contributes to a rising tide of youthful brilliance.
Production & Impact
Design choices are clever and nimble. Costumes wink at the 1980s without becoming cosplay; lighting slides from eerie basement glow to prom-night neon; props morph with magician’s economy. The creative team constantly asks: how do we turn limited resources into maximum delight? And answers with ingenuity at every turn.
What ultimately makes this Stranger Sings! special is the way the youthful ensemble channels parody into purpose. They don’t simply poke fun at Hawkins; they reveal why we cared in the first place. The friendships feel lived-in, the stakes feel real, and the punchlines land because the performers commit with courage and trust. This show is also a testament to youthful work ethic. These are performers still at the beginning of their journeys, yet they approached this complex, demanding piece with the dedication of seasoned professionals. Their discipline, stamina, and unity transformed a parody into a triumph.
As the curtain call erupts, the audience realises they have witnessed something much bigger than a musical spoof. They have seen a generation of young performers proving their potential in stunning fashion. Stranger Sings! sends audiences home buzzing, humming, and grinning, reminded that theatre is alive, urgent, and brimming with new voices ready to lead.
One notable aspect of the evening was that the show ran as a non-stop production without an interval. This decision amplified the sense of urgency and energy, keeping the audience fully immersed from beginning to end. The momentum never flagged, and the young cast carried the demanding pace with stamina and focus.
If there were any gentle criticism to note, it would be regarding the classification of the production. While advertised as PG, the inclusion of swearing and sexual innuendo suggests that a stronger rating may have been more accurate. This in no way diminishes the artistic quality of the show, but a clearer content guide would help audiences make informed choices, particularly families with younger children.
Epiphany Arts are incredible, and have earned the right to be on any stage in the world, with any production they ever present. The drive and commitment by Annie MacArthur, the director is rare and top tier, and Sydney Fringe Festival made a 100% correct decision showcasing this exceptional cast for the 2025 Festival, effectively determining the best trajectory for young Australian talent in the performing arts.
Reviewed by: Simone Waddell