Tag: Civic Theatre

Posted on by Lauren Katulka

Richard Marx @ Civic Theatre, Mulubinba/Newcastle – 22 April 2026

Richard Marx is one of those artists who keeps me coming back tour after tour. He always delivers with solid vocals and oodles of charisma. No matter what album he’s promoting, every show features the hits that encourage you to sing along. While I appreciate his dependability, shaking things up a little with his After Hours tour made my fifth Richard Marx show last night in Mulubinba/Newcastle my favourite.

Richard started the show in his usual radio-friendly pop-rock space. Songs like “Take This Heart” and “The Way She Loves Me” have become classics, and I can’t imagine ever tiring of singing along while Richard does his thing. It clearly fills him with joy watching us sing those lyrics back to him. He joked that he goes to concerts too; he knows what it’s like to wait to hear your favourites, so he’ll always deliver those big singles. But he wanted to share with us some of the material from his new After Hours album, a collection of standards from the Great American Songbook and his own contributions modelled after these timeless hits. His voice brought a fresh energy to treasured classics like “The Way You Look Tonight” and “Fly Me to the Moon.” These songs have stood the test of time, but they sit naturally against original efforts like “All I Ever Needed” and “Magic Hour.”

After playing acoustic shows around the United States, Richard decided to bring a little of that stripped-back magic to our shores. He seemed even more relaxed as he encouraged us to request our favourites. I loved hearing “Hold On to the Nights,” “Keep Coming Back,” and “Now and Forever” performed so simply, beautifully. During this intimate portion of the show, Richard shared stories of his friendship with John Farnham, including some footage of them spending time together in the ‘80s. His reverence for one of the best voices our country has ever produced was evident as he treated us to covers of “That’s Freedom” and “Burn For You.”

Richard’s set was peppered with sing-along hits, but he saved some of his biggest for the encore. Hearing “Hazard,” “Should’ve Known Better,” and “Right Here Waiting” back-to-back was a fantastic way to end this nostalgic show. A self-proclaimed honorary Aussie, Richard says he loves being on our shores and it shows. He’s such a giving performer who only seems to be getting better as the years pass. Richard has almost wrapped up his Aussie tour, but if you’re in Naarm/Melbourne you can catch him at Margaret Court Arena on April 24 before he heads back to the United States.

Photo credit: Lyn Foreman (the venue said there would be no photos, but Mum got bold after spotting many people flouting the rules and whipped her iPhone out. The photos aren’t as clear as I get on my camera, but they’re certainly better than nothing!)

Posted on by Lauren Katulka

The Whitlams with the Sydney Philharmonic Orchestra @ Civic Theatre, Mulubinba/Newcastle – 14 March 2026

I still rate a 2009 Whitlams concert with the Sydney Symphony Orchestra as one of the best shows I’ve ever seen, so when the band announced a run of dates with local orchestras I snapped up a couple of tickets, hoping to recapture the experience. Of course, concerts are like snowflakes, and one can never replicate another, but Saturday’s show with the Sydney Philharmonic Orchestra certainly had a magic that scratched the itch.

The Whitlams’ rich back catalogue keeps me coming back. It also ensures a symphony show makes so much sense. The set list leaned more towards their introspective numbers which might get lost at a rowdy pub gig. How incredible to hear all Charlie songs in order. How special to hear an extended version of “Out the Back,” complete with a five-minute orchestral interlude arranged by the late, great Peter Sculthorpe. How brilliant to hear the way strings elevated lesser-known tracks like “Fondness Makes the Heart Grow Absent” and “The Ease of the Midnight Visit.”

Not that this show totally sidestepped the hits. I’m sure Tim and his mates know they have an obligation to play “No Aphrodisiac” and “Blow Up the Pokies” at every show until the end of time. They always hit, but I took greater joy in the singles that I didn’t expect. “Thank You,” “Gough,” and “Sounds Like Louis Burdett” turned the Civic Theatre into party central. Just when we thought we couldn’t smile any wider, Tim said he’d try to play one that he hadn’t played this tour. It took a few notes to settle into the groove, but once he was there, “I Make Hamburgers” was just a joy.

I’ve seen Tim Freedman play countless times over the years, with The Whitlams, The Black Stump Band, solo, and the very best shows are always those where he can vibe with exceptionally talented musicians and an attentive audience. His joy jamming with other talents is palpable, and it takes familiar songs to another gear. His appreciation for fans who love what they do is evident, and he gives to them so selflessly. If you get a chance to see The Whitlams on their symphony run, do not hesitate. Tickets are on sale now via the links for the remaining shows.

10 April 2026 – Festival Theatre, Tarntanya/Adelaide (with the Adelaide Symphony Orchestra)
11 April 2026 – Festival Theatre, Tarntanya/Adelaide (with the Adelaide Symphony Orchestra)
2 May 2026 – Coliseum Theatre, Dharug Country/Rooty Hill (with the Sydney Philharmonic Orchestra)
8 May 2026 – Canberra Theatre, Ngambri/Canberra (with the Canberra Symphony Orchestra)
9 May 2026 – Canberra Theatre, Ngambri/Canberra (with the Canberra Symphony Orchestra)
6 June 2026 – Empire Theatre, Giabal and Jarowair Country/Toowoomba (with the Toowoomba Concert Orchestra)
13 June 2026 – Riverside Theatre, Boorloo/Perth (with the West Australian Symphony Orchestra)

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Fanning Dempsey National Park @ Civic Theatre, Mulubinba/Newcastle – 16 May 2025

The release of The Deluge by Fanning Dempsey National Park was one of the unexpected joys of 2024. The coming together of Bernard Fanning and Paul Dempsey, two of the country’s most respected singer-songwriters, on original ’80s-inspired music was heaven. So I was thrilled to see them bring this album to life, and so much more, at the Civic Theatre on Friday night.

Local singer-songwriter Jen Buxton warmed up the crowd with her incredible songs. To say she was unassuming was an understatement. She introduced herself only as Jen – I had to do a bit of Googling to figure out exactly who to follow on the socials! Her songs were punctuated by self-deprecating humour. But I was transfixed. Her lyrics were incredible, and her rich, seasoned voice drew me in. When you can captivate an audience with only an acoustic guitar, you’re doing something right.

The Fanning Dempsey National Park set was everything I’d hoped for and then some. Recording this music together seems to have reinvigorated these artists. From the title track that opened their show, they seemed in high spirits. Songs like “Strangers” and “Disconnect,” which both came early in the set, have such a party vibe and you could feel that energy coursing through the room.

It was a night for celebrating the music Bernard and Paul make together, but also one for looking back fondly on the past. Something for Kate’s biggest hits “Ramona Was a Waitress” and “Monsters,” Bernard’s smash “Wish You Well” and his Powderfinger anthem “Pick You Up” all made the set. The latter track was especially electric, so it’s a shame that the Civic security wouldn’t allow us to feel the music and enjoy a little dance. While we complied with their request to sit down then, they were powerless when the whole floor stood to enjoy a rousing cover of “Under Pressure.” What a time! It also gave me the opportunity to bend the rules and snap a few cheeky photos for you.  

While they didn’t make this set, I noticed that Fanning Dempsey National Park have dropped a few new tracks this year. Hopefully it’s a sign that this pairing may have a few more albums and tours left in them. But just in case they don’t. I’d urge you to see them while you can. Limited tickets are available for the remaining shows on Fanning Dempsey National Park’s regional tour.

22 May 2025 – Powerhouse, Jagera, Giabal and Jarowair Country/Toowoomba
23 May 2025 – Venue 114, Gubbi Gubbi Country/Sunshine Coast
24 May 2025 – HOTA, Yugambeh Country/Gold Coast

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Rocky Horror Show 50th Anniversary @ Civic Theatre, Mulubinba/Newcastle – 13 January 2024

I first saw the Rocky Horror Picture Show when I was around 7 or 8. It was love at first viewing. I bought the soundtrack on cassette and spent hours in my bedroom looking up the lyrics that I didn’t understand in my dictionary (what an education!). I’ve seen the stage show a few times over the years, but when I heard Jason Donovan was starring in the latest iteration, I knew I had to do the Time Warp again.

The 50th Anniversary production of Rocky Horror Show only opened in the Civic Theatre on Friday, but it’s already become the venue’s highest selling musical, beating the record set by Come From Away last year. Given all the antici … pation, I expected to see more than the lone guy in fishnets wandering the foyer. Maybe the 2 pm session coincided with the usual nap times of the audience in attendance, but they didn’t seem as enthusiastic as I imagined they would be so early in the season. There were only a handful of people who got up to dance the Time Warp at the end! I really hope the night time shows are a little livelier. The performers gave it their all, and they deserve an audience that’s not quite so flat.

Sleepy crowds aside, there was a lot to like about the show. The cast embraced their roles, giving themselves over to the campy silliness of it all. Stella Perry, who came to fame in The Voice, brought more of a rock edge to Magenta than previous actresses, and I appreciated that. I also thought Henry Rollo, who plays Riff Raff, showed incredible vocal chops. Brad has always faded into the background for me, but Blake Bowden brought him out of the shadows. Myf Warhurst seemed a little out of her element as the narrator, but she bantered well with the audience. I suspect if I saw her later in the season she’d shine a lot brighter. The ultimate praise must go to Jason Donovan as Frank-N-Furter though. He first played Frank in the UK in 1998, and he makes slipping back into the role look easy. Clearly he was influenced by Tim Curry, but he does just enough to make it his own. He’s fabulous naughty and natural and he gave us a masterclass on Saturday. Honestly, watching him on stage was worth the price of admission alone.

Rocky Horror is one of those shows that keeps coming back every few years. If you’re a fan, and perhaps even if you’re not, you’ll have likely seen several productions. I know I have. But this might just the best. If you’ve been on the fence, make sure you snap up your tickets. The 50th Anniversary production of Rocky Horror Show plays the Civic Theatre in Mulubinba/Newcastle until February 4. It then heads to the Athenaeum Theatre in Naarm/Melbourne from February 9 to March 17 before heading back to New South Wales for shows at the Theatre Royal in Eora/Sydney from March 31 to April 28.

Posted on by Lauren Katulka

Chess @ Civic Theatre, Newcastle – 27 February 2021

Last weekend marked one year since my pre-pandemic concerts. I stayed over in Sydney and caught Conchita Wurst and Jonathan Van Ness’s shows without a care in the world. Coronavirus must have been bubbling overseas, but we were oblivious to it as we filed into packed inner-city venues. Last weekend marked the first time I really felt like the world was returning to that level of normal, for most people anyway. If not for the QR codes checking in to the Civic Theatre and an announcement that masks were recommended, we might have forgotten the pandemic existed. Outside my party, I didn’t spot anyone heeding the Civic’s suggestions, even while crowding into the theatre. While the Art House left vacant rows down the front when I saw Rent, it seemed like a full house. Certainly, people weren’t afraid to whoop and cheer loudly when the curtain went up for this production of Chess.

I went into Chess blindly, tagging along with my eager parents simply because I didn’t want to be left out. However, I was quickly swept up in this story of international chess rivals and the woman they both loved. Silvie Paladino was a revelation for me. I knew she had vocal chops through her annual performances at carols, but I wasn’t prepared for her charisma and command of the role. I didn’t know much about David Harris, who local talent who splits his time between Sydney and New York, but he can see why he’s in demand on Broadway. What a voice. Australian Idol alum Marty Worrall definitely held his own playing opposite the people with their faces on the poster. He’s so captivating and cool, the perfect Freddie Trumper.

This was the biggest production I’ve seen since the pandemic hit. While Rent’s major characters are supported by a relatively small ensemble, Chess’s cast was backed by a massive choir. An orchestra on stage was inspired. I’ve never seen that before, but I’d love to see more of it. What the band does is so crucial to a musical, the players deserve better than being hidden away. But it did make for a lot of bodies on stage, another hint that Australia is feeling more relaxed.

This production was originally scheduled for late March 2020, so it was a long time coming. I won’t say Chess was my favourite musical, but for a couple of hours, it let me forget what the world had gone through in the last 12 months. International travel is off the table until who knows when, but this production transported me to Italy, to the Soviet Union … we even got a night in Bangkok. It was colourful, romantic, and above all entertaining.

Posted on by Lauren Katulka

David Campbell @ Civic Theatre, Newcastle – 21 April 2012

Last week David Campbell took me back to my childhood when his Let’s Go tour touched down in Newcastle. I expected big things from the show. I knew I’d be treated to songs from my favourite decade of music, and I’ve never left a DC show without a big smile on my face. Predictably he didn’t let me down.

As the lights came up we were instantly transported back to the 80s. The band wore more neon than I’ve seen for years, and the lights were straight out of the period. It was perfect. He opened with the title track, “Let’s Go” and barely took his foot from the throttle as he treated us to songs from the album and other 80s favourites. As a child of the 80s those unexpected gems were some of the night’s highlights for me. His stripped back version of “Every Time You Go Away,” beginning with an a capella section, was breathtaking. His take on “Knew You Were Waiting,” with back-up singer Josie Lane stepping into Aretha Franklin’s shoes was so much fun. And his version of “Power of Love” was even more awesome after hearing his story of performing it as a teen beginning his journey as a musician. Those tales really made the night for me, the reminiscing about buying Smash Hits magazine and recording songs from the radio using the old two-fingered method. They were probably lost on certain sections of the audience, but as a 30-something I was right there with him.

I’ve always loved seeing shows at Newcastle’s Civic Theatre. It’s such a beautiful venue, so intimate and so well appointed. But it may not have been the best place to see David Campbell. I spent so much of the night dancing in my chair, dying to do more. As he started “Goody Two Shoes” it all got too much and Mum and I jumped out and found a quiet corner to dance. The theatre’s not really the place to do that, but who can sit down with that sort of music?

The show was brilliant but it probably wasn’t the right venue. Thankfully David’s announced some more dates later this year. I think I might have to go back for a second helping!

Image source: Stephen Katulka

Posted on by Lauren Katulka

Eddie Vedder @ Civic Theatre, Newcastle – March 16, 2011

I’ve got a fairly crowded concert calendar, but the show I was most excited about was Eddie Vedder at Newcastle’s Civic Theatre. The chance to see one of my childhood heroes, the lead singer of Pearl Jam, at such a small, intimate venue was just too thrilling to pass up.

But before the man himself stepped onto the stage we got to see what expats Evil J & Saint Cecilia, otherwise known as Eliza Jane Barnes and Ceci Herbert had to offer. As my dinner ran overtime I missed about half of their set, but sadly I don’t think I missed too much. The songs seemed to run together into one dreary, dull tune. The talent was definitely there. Their voices were sweet and harmonized beautifully, and they could certainly play, but I think their songs let them down. I’m interested to see how they develop though; there’s definitely potential there.

I certainly lifted once Eddie took the stage though. He kept the house lights on as he treated us to an acoustic rendition of one of my favourite Pearl Jam tracks, “Elderly Woman Behind the Counter in a Small Town.” Those lines “I just want to scream hello, my god it’s been so long, never dreamed you’d return,” definitely had increased poignancy as I looked at this man who’d created so many songs that got me through those difficult teenage years.

He treated me to many of them last night, but this certainly wasn’t a Pearl Jam concert. Instead it was an opportunity for us to appreciate the full depth and breadth of Eddie Vedder’s career, including his notable contributions to film soundtracks and collaborations with other artists. You’d have to be a dedicated fan to know all the songs he played, but Eddie is the kind of performer whose tunes can really stand alone. You don’t need to sing along; you just need to experience them. And experience them we did up close and personal, stripped back and played with single instruments: acoustic and electric guitars, a mandolin, a ukulele. This music doesn’t need a lot of frills, and in this raw intimate mode we really got to the heart of it.

It wasn’t a perfect show by any means. Eddie forgot his lyrics several times, although his earnest apologies certainly made me forgive those mistakes. A few bad apples in the crowd also spoilt things in a few places. Honestly folks, you don’t need to yell out everything that pops into your head. When an artist has to chastise you because he’s trying to talk, it’s well past time to pipe down. Just because the man tells you he’s created the set list around requests doesn’t mean he wants to hear every one of yours. That goes double for the twit who wanted to hear Neil Young. I’m also all for people standing up and dancing around, so long as everyone else is. If you’re the only person grooving, and you ignore the pleas from people behind you, you’re also a jerk.

But those minor annoyances certainly faded as we all stood up to revel in the final song, “Hard Sun.” Eddie was joined by local legend and friend Mark Richards, and his support act Evil J & Saint Cecilia, for those final celebratory moments. That exultation and atmosphere is what live music is all about. It wasn’t perfect Eddie, but I hope we do it all again real soon.

Image source: Metal Chris @ Wikimedia Commons

Posted on by Lauren Katulka

The Waifs @ Civic Theatre, Newcastle – 27 February 2011

Western Australian music royalty came together last night for one amazing show at Newcastle’s Civic Theatre. This grand old theatre was made for the intimate music of artists like The Waifs and Mama Kin, and the attentive crowd lapped it up.

I put Mama Kin together with The Waifs in my introduction because her set never felt like mere support. I’m used to crowds chattering away as support acts desperately try to capture the attention of someone in the audience, but not last night. All eyes were transfixed on this spirited performer, who so effortlessly fused blues, roots, folk, and soul. The crowd even complained when she announced her last song. She cheekily told the audience they needn’t pretend they were there to see her. A fair call perhaps, but that doesn’t mean they weren’t savouring her every moment on stage. I know I was; hanging onto every lyric, singing and clapping to the beat when she encouraged us to, laughing at the stories that punctuated the songs. Mama Kin definitely made a few new fans last night, and I’m amongst them.

As The Waifs began their set I was again struck by how attentive and receptive this Newcastle crowd was. Just as Mama Kin was supported, so were The Waifs’ new songs. Their set drew heavily from their soon-to-be-released new album Temptation, but the audience didn’t seem to mind one bit. Of course songs like “Lighthouse” and “London Still” received a rapturous reception, but the crowd patiently waited until they came, content to let the new material wash over them.

Of course, all credit can’t be given to the crowd. The Waifs’ new material also stacks up against their familiar hits nicely. The songs tell stories which suck you in, compelling you to listen even if you don’t know the words. Add in the vivacious personalities and exquisite harmonies of sisters Donna and Vikki, and the gorgeous meshing of the band’s instruments, and you’ve got an act that you’d happily hear perform anything they desired.

The Waifs are one of those bands I’d always meant to see but never quite gotten there. After enjoying a night in their company I can see why their fans are so passionate, and why they return for each and every tour. Next time I’m sure I’ll join them.

Image used with permission from Stephen Green Consulting

Posted on by Lauren Katulka

Tori Amos @ Civic Theatre, Newcastle – 18 September 2008

Last night American songstress Tori Amos brought her breathtaking American Doll Posse Tour to Newcastle. Each show is divided into two distinct and unique parts. The first brings one of the American Dolls, made famous by her latest album, to life. Tori appears as one of the five unique characters which represent facets of the artist, and indeed all women.

In Newcastle, the sensual Santa made a dramatic entrance with a platinum blonde wig, stunning white minidress, and an explosive performance of “Body and Soul.” With Santa on show, the first portion of the concerts drew heavily from ‘her’ songs on American Doll Posse, including “Dragon,” “Secret Spell,” and “You Can Bring Your Dog.” Yet she still found time to ‘cover’ one of Tori Amos’ classics, “Sugar.”

I was awestruck watching Santa’s passionate set. While American Doll Posse was conceived as five separate voices, with Tori Amos as the mouthpiece for all the characters tend to blur. The theatrical element of the live show gave me a new appreciation of who Santa really is, and her part in the quintet. I only wish I could see more shows this tour to have the same understanding of the other dolls.

A spectacular light show and “Professional Widow” over the PA marked the end of the first act. Then Tori emerged, her long red hair clashing delightfully with a garish red sequined jumpsuit. She began with “Big Wheel,” then launched into “Black Dove” which seemed to assure us we’d get to hear more than the new album.

Tori is a woman of few words. As a matter of fact, the only time she actually spoke was to introduce the band. Yet what she fails to say verbally, she makes up for with her impassioned performance. She’s strong, driven, feminine, blissful, tender, outrageous, and so many other positive adjectives. Her set managed to satisfy both casual fans and the more dedicated. I attended the show with my sisters, and they were thrilled to hear the hits “Cornflake Girl” and “God.” Personally my biggest delights came when she played the tracks I didn’t expect.

“Honey” was the first of these, a B-side the “Cornflake Girl” single. My heart soared when she began “Northern Lad,” one of my very favourite Tori songs, and “Tear In Your Hand” was so joyous I couldn’t help but grin ear to ear.

We were spoilt with not one but two encores. Every time she stood to leave the crowd rose to give this rare talent the standing ovation she deserved. Perhaps that’s why she kept coming back. Watching the awestruck crowd rise for the last time, as the closing strains of “Hotel” faded, I knew every person in that room was as moved as I was.

Image source: own photo