Nothing is secure in life other than the bumps that, sooner or later, we have to encounter along our journey. Teenage musicals have a lesson to teach from inspiring tales of finding your place in the world that seems inaccessible. There are several aspects to praise about THE MAD ONES where the plot and writing is a mite skittish, but one interesting premise shows strength from the beginning, depicting a struggle in making choices that determine the future. The overall vibe of the play has legs in its efforts to deliver a voice of its own for the themes it explores.
Penned by Kait Kerrigan and Bree Lowdermilk, the score offers a considerable list of memorable tunes-notwithstanding the distinctive flavour of some of the numbers that tickle with originality and resourcefulness in its lyrics that display a variance of craftsmanship. Musicals can lack for subtext and subtlety but this show’s subjects are handled in an interesting manner, although the cliches could be toned down considering the angst and hope on this road trip-themed musical. There’s plenty of truthfulness and introspection that resonates with the audience, although some scenes seem diluted being too safe and a tad superfluous.
As for production values, THE MAD ONES shines with more strength than it does on paper. Directed by Sarah Campbell, her staging is a definite high point—beautifully complemented by Holly Nesbitt’s lighting, creating a compelling, evocative and visually stimulating atmosphere, considering the limitation of the QTopia’s Loading Dock confined performedspace.
The cast rejoice in terms of vocals, arguably the strongest trait of their performances, their commitment to their roles, refreshingly palpable, exuding energy that’s infectious and galvanising. The only fault, is that the script doesn’t allow for their chemistry to solidify, projecting a slight detachment from each other. However their acting and delivery was faultless.
Driving down decision lane, THE MAD ONES flaunts a robust engine for a poignantly, uplifting and thought-provoking spectacle. It takes a lot for the audience to imagine the ride’s calamitous end because for the entire ride, it remains parked in the same spot where it started, but lighting and the headlights make movement felt.
The plot is clever. 18-year old Samantha Brown sits in a hand-me-down car with the key clutched in her hand. Caught between a yearning for the unknown and feeling bound by expectation, she telescopes back to a time before her world had fallen apart.
As she relives her senior year, we meet Sam’s well intentional helicopter-mom, Bev and her high school sweetheart of a boyfriend, Adam. But its her painfully alive best friend, Kelly that haunts her. Kelly was everything Sam is not—impetuous and daring— pushing Sam to break rules and do the unexpected.
When Kelly is killed in a car crash, Sam loses, not only her best friend, but also part of herself that was learning to be brave. Sam’s ultimate decision is between following her mom’s dreams for her, or summon the courage to drive away from her friends and family into a future that she can’t imagine.
Its refreshing to see such an experimental structure in a musical, jumping around in time while playing fast and loose. The format allows the creatives for more scope, each scene informing the narrative. The score is beautifully crafted, compelling and memorable, veering between soaring, heartfelt ballads and quirky comedy. The singing is stratospheric. Its a fun show with honest messages about being your own person.
The cast are wow, the definite highlight of the show. Meg Robinson is absolutely stunning as Samantha. Robinson has an incredible voice and delivers a nuanced performance taking the audience through every emotion from the highs of good times to the lows of her paralysing grief.
Teo Vergara as Kelly is a tour de force in this show. She delivers phenomenal vocals and its easy to see why Sam, the shy, retiring person, is drawn to her vivacious personality. There is great chemistry between the two. The show lights up when they share the stage.
Rounding up the cast are Tisha R. Kelemen as Sam’s mother, Beverley whose comedic skills and singing are wonderful and Ethan Malacaria as boyfriend, Adam, both offering some great comic relief but shine as supporting characters in Sam and Kelly’s story.
Tisha’s witty one-liners and a show-stopping number Miles to Go, a beautiful ode to the challenges of life as a woman and her dreams for her daughter, stole my heart.
Malacaria has a beautiful voice but has the weakest material because Kelly is so strong, and this diminishes his role. His solo in Run Away with Me shows his mettle, wonderfully.
Loved THE MAD ONES.
The Little Big Theatre Co’s production of THE MAD ONES by Kait Kerrigan and Bree Lowdermilk based on an idea by Zadi Altman and Bree Lowdermilk is playing the Loading Dock theatre, 301 Forbes Street, Darlinghurst until 16th May 2026. Performances are Wednesdays to Saturdays at 7pm.
https://tickets.qtopiasydney.com.au/Events/The-Mad-Ones
