Type – Comedy, Pastiche Musical, Queer Identity
If you liked – Ride the Cyclone, Heathers, Glee
NAILS The Musical in Concert: a queer, coming-of-age satirical hit where heart and humour collide.
Nails the Musical In Concert is a home-grown Australian work that exemplifies what can result when new creative works are supported and nurtured with developmental, financial and industry support. Written by Soph Davis and Laura McDonald, Nails follows rising-star netballer, whose picture-perfect, premeditated future gets a shake up when a handful of (unashamedly unmanicured) queer players join her netball team.
Supported by Fruit Box Theatre’s RIPE Development Program, raw readings of the work were presented during the WorldPride Festival in 2023 (performers singing from behind music stands accompanied by keyboard and a drum). The creative team partnered with Survivors of Sexual Orientation & Gender Identity Change Efforts (SOGICE) to ensure the satire around conversion therapy was handled with necessary care and worked with netballers from the Australian national team. In 2024 and 2025 it was further developed and refined through involvement in Hayes Theatre’s Festival of New Works, Home Grown at Chapel Off Chapel & Qtopia, as well as receiving major development support from Creative Australia, Create NSW and the Major Festivals Initiative.
With five years of development and refinement under its’ belt, Nails has grown from an idea between classmates at NIDA, to a full-length concert production that just had a sell-out run during PrideFest 2026.
Directed by Manali Datar, the latest iteration came together after a whirlwind 8-day rehearsal period and presents an alternative to the classic concert format. Led by Steven Kramer from the piano, the stage sees a five-piece band set up along the back of the stage, with narrator (Vidya Makin) seated side of stage. There are netball posters hanging on the back black curtained wall and a netball hoop made of fairy lights hanging above, as well as two bench seats made from milk crates and a whiteboard on wheels. With scripts in hand and only a few minor costume changes, the dream team sweep the audience into their vivid and detailed, relatable world in this semi-staged concert format.
When the star centre player of the North Netball Institute’s Numbats suffers a career-ending injury, the fight to play that position becomes a test of sportswomanship, rivalry and competitiveness. The writing sees a trio of high ponytailed, perfectly manicured, colour-coordinated netball girl stereotypes interrupted when a tomboyish lesbian, a non-binary goalkeeper and a new team physio join the crew.
Natalie Abbott is charming and so loveable as the central character Bec. The warmth and vulnerability in her character is palpable and is matched by her lush and richly resonant vocals. As Crofty, Kala Gare is the larrikin lesbian who’s here for the sport. Her vocals are grounded in a raw, spoken word, true-toned style and she brings such an authentic and realistic feel while seamlessly transitioning from text to song. It’s an iconic pairing; Abbott’s Disney princess vocals against Gare’s rock-queen power make for the most electric and engaging chemistry.
Nead Cristaudo brings great warmth and discovery to the introspective, non-binary character Delilah. Delivering tender and compelling vocals, their impeccable comedic timing carries the double entendre filled text in such a relatable and readable way as they begin to question what they thought they already knew. Lincoln Elliott portrays Casey the team physio who’s the only one not caught up in the team politics. Elliott’s endearing and gentle characterisation is grounded by his has folky, narrative-driven singing.
Chelsea Dawson plays the antagonistic, rule-loving Maddison. Blinded by ambition, her physical comedy shines in the role, particularly in the heavily satirical ensemble number ‘No Contact’. As the ditzy sidekick whose desire for belonging is constantly overlooked, Madeliene Wighton is captivating and hilarious, regularly stealing laughs with just her deadpan reactions and physical characterisation. Gracie Rowland’s Miss Centre pulls on the heartstrings as the star player gets injured early on and she returns in other roles throughout. Clipboard carrying and visor wearing, Laura Murphy is diabolically funny as the insufferable mumager Coach Judith.
Harry Collins’ high-octane musical score matches the captivating and fast paced text. Embodying an early 2000s vibe overall, the score utilises multiple genres for the different characters. The work includes sounds of 80s synthe-pop, retro-electronic music, acoustic, indie/folky sounds, pop-rock grittiness and I even heard some a capella Latin hymnal singing at the start. A number of the ensemble pieces are very polyphonic (combining multiple independent melodies concurrently) which sounds great but is hard to follow at times. And parts of the spoken text are also difficult to follow, oftentimes leaving me wishing they had surtitles. Regardless, I was pleased to hear it delivered it in a local accent, even if our Aussie inflections don’t embody much annunciation or articulation.
Is Nails: The Musical In Concert Worth Seeing in Sydney?
Celebrating coming out, loving and accepting yourself for who you are, and how team sport brings (forces) people together, Nails is a powerful new work that platforms underrepresented female queer stories. Having just finished a sold-out 2026 PrideFest run, this razor-sharp, home grown, pastiche musical exemplifies the local talent we have in Australia and most definitely deserves a place on Sydney’s mainstage.
Tickets and Practical Info for Nails: The Musical In Concert in Sydney 🎟️
Presented by Little Triangle. Book & Lyrics by Sophie Davis & Laura McDonald. Music by Harry Collins
CREATIVES
Book & Lyrics: Sophie Davis (she/her) & Laura McDonald (she/her)
Composer / Music Supervisor / Orchestrator: Harry Collins (he/him)
Director: Manali Datar (she/her)
Choreographer: Ryan González (they/them)
Producer: Rose McClelland (she/her)
Stage Manager: Anastasia Mowen (they/she)
Production Design: Chris Davis (they/them) & Isobel Sanby (she/her)
Intimacy Coordinator: Cristabel Sved
Sound Engineer: Em-Jay Dwyer (they/she)
Graphic Designer: Alexander Andrews (he/him)
BAND
Piano / Conductor: Steven Kramer (he/him)
Keys: Nicholas Till (he/him)
Bass Guitar: Sam Blackburn (he/him)
Guitar: Nathan Barraclough (he/him)
Drums: Jarrad Payne (he/him)
CAST
Bec – Natalie Abbott (she/her)
Maddison – Chelsea Dawson (she/her)
Allegra – Madeleine Wighton (she/her)
Crofty – Kala Gare (she/her)
Casey – Lincoln Elliott (he/him)
Delilah – Néad Cristaudo (they/them)
Judith – Laura Murphy (she/her)
Miss Centre/Ensemble – Gracie Rowland (she/her)
Narrator – Vidya Makan (she/her)
