Type – Bluegrass, Time-Bending, Star Crossed Romance
If you liked – Folk Music, Once (Hayes Theatre), Actor/Musician Shows
Bright Star: A musical that is as slick and professional as those on the main stage. It’s a must-see!
Bright Star marks Sport for Jove’s first musical – and hopefully not their last. With a book and music by actor and musician Steve Martin (yes, that Steve Martin) and singer-songwriter Edie Brickell (music and lyrics), this bluegrass musical is a sweeping tale of the persistence of love and of lost family.
Spanning two separate stories in time between 1946 and 1923, we start with young Billy Cane (Cameron Bajraktarevic-Hayward) returning from the war to North Carolina. His aspirations of being a published writer takes him to The Asheville Southern Journal where the older Alice (Hannah McInerney) runs the literary journal with a Miranda Priestly-esque air of respect. From here, we jump between Alice’s past and Billy’s present, intersecting similar notions of the courage it takes to build your own story.
The design elements of Bright Star and how they’re perfected
Co-Directors, Damien Ryan and Miranda Middleton work in tandem to bring a level of elegance and sophistication to the production. In lesser hands, the mixed timelines could become muddled for an audience to follow and the melodramatic moments fall flat. Instead, Isabel Hudson’s set has a polished feel to it that feels both vast and intimate at the same time. The wooden pentagonal shape surrounded by country grass, ladders, boxes and suitcases gives the piece a malleability to shift in both location and time. Equally, James Wallis’ lighting evokes time and space, creating small suggestions as we change locations and eras. It’s theatrically understated: never dull and always exquisite.
As always, the Hayes has excelled in bringing a large-scale musical into a small space, and Bright Star is all the better for it; this is a musical that flourishes in its intimacy. Musical director Alec Steedman has transposed the music’s broadway level construction and given Bright Star the “Actor Muso” treatment. Shannon Burns’ choreography is meticulous in its crafting, giving the production a visceral heartbeat throughout as the cast moves in tandem, each an extension of the one body.
The cast of quadruple threats imbue the energy of Bright Star with bluegrass instruments from the banjo, to fiddle, hand percussion, accordion and a moving piano. Together, Vicky Falconer’s musical supervision, Jarrad Payne’s sound design and Em-Jay Dwyer’s sound engineering create a steady balance so that no singular part is drowned out. Instead, the music comes together in synchronous harmony that is as thrilling as it joyous.
Melodrama and Honesty: How the ensemble balance the two
Martin and Brickell’s music and book feels too heavy in its first act, in some places it has dire need of a pair theatrical scissors. However, it’s the true story foundations that helps to leap over the obvious ending as the vibrancy of the cast and the bluegrass score lands the piece with tangible emotions.
As the piece moves into its melodrama, we start to delve into the darker elements of Bright Star of which the 16-strong cast handle with a level of integrity and honesty. McInerney’s Alice feels the weight of a time where a single mother was ruled by fathers and religion, where persecution was not too far away from a single misstep, the consequences of which were deadly.
As McInerney utters the first line in ‘If you knew my story’, you know you’re in safe hands. Her Northern Carolina accent melts into her smooth vocals, like a cool breeze in the summer night. Her presence is central to the piece without stealing the position as the brightest star. Playing opposite Kaya Byrne’s Jimmy Ray, there’s a tangible chemistry to the pair that defies time as the pair reunite in the later moments. Byrne’s representation of masculinity is fresh and engaging. He gifts Jimmy Ray with true emotion, opposing the stoic men around him.
Bright Star is also not without its sense of humour. Jack Green’s Daryl lands comedic punch after punch of his line delivery, instilling energy in moments where the flow of the piece could veer in monotony. Genevieve Goldman’s Margo is instantly loveable as the lovelorn bookshop owner swept away by Billy Cane’s return. Deirdre Khoo’s Lucy exudes presence and professionalism, giving biting one liners and soaring movements in Burns’ choreography.
Is Bright Star Worth Seeing in Sydney?
Bright Star is the slickest musical I’ve seen this year outside of the mainstages of Sydney. It’s a beautiful surprise that continues the Hayes Theatre’s trend of actor/musician ensemble pieces and is led by a steady pairing of directors in Middleton and Ryan. It almost begs you to take a chance on something lesser known.
This is a cathartic breath in the darkness overtaking the news headlines. It’s a reminder of the power humans have for change and the love that crosses time in the most unbelievable of stories.
Tickets and Practical Info for Bright Star in Sydney 🎟️
Presented by Sport For Jove Theatre Company in association with Hayes Theatre Co
Hayes Theatre, Potts Point
Until 5th October, 2025
Tickets: https://hayestheatre.com.au/event/bright-star/
CAST
Hannah McInerney (she/her) – Alice Murphy
Deirdre Khoo (she/her) – Lucy
Seán van Doornum (he/him) – Mayor
Alec Steedman (he/him/they/them) – Ensemble/Band
Molly Margaret Stewart (she/her) – Edna/Cover
Kaya Byrne (he/him) – Jimmy Ray
Genevieve Goldman (she/her) – Margo
Katrina Retallick (she/her) – Mama Murphy
Victoria Falconer (she/her) – Ensemble/Band
Olivia Tajer (she/her) – Florence/Cover
Cameron Bajraktarevic-Hayward (he/they) – Billy Cane
Jack Green Daddy Cane/Daryl
Rupert Reid – Daddy Murphy
Jarrad Payne (he/him) – Ensemble/Band
Felix Staas (he/him) – Max/Cover
Dom Cabusi (He/Him) – Bassist
CREATIVES
Miranda Middleton (she/her) – Co-Director
Damien Ryan (he/him) – Co-Director
Alec Steedman (he/him/they/them) -Musical Director
James Wallis (he/him) – Lighting Designer
Shannon Burns (she/her) – Choreographer
Isabel Hudson (she/her) – Set Designer
Mia MacCormick (she/her) – Set Design Intern
Lily Mateljan (she/her) – costume designer
Vicky Falconer (she/her) – Music Supervisor
Jarrad Payne (he/him) – Sound Designer
Em-Jay Dwyer (they/she) – Sound Engineer
Amy Lawler (she/her) – Stage Manager
Jemima Owen (she/her) – Assistant Stage Manager
Laura Farrell (she/her) – Accent Coach
Bernadette Ryan (she/her) – Wardrobe Manager
Chloë Dallimore (she/her) – Intimacy Coordinator
Chris Tomkinson (he/him) -Creative Producer
Isabella Milkovitsch (she/her) – Producer
David Soncin (he/him) – Marketing Manager
