Cover image: Tivoli Lovely. Credit Stephen Heath

Tivoli Lovely

Heath Ledger Theatre, 7 November 2025

It’s not every day a world class musical debuts in Australia. Let alone Perth.

Let alone in surrounds as intimate as State Theatre Centre’s Heath Ledger Theatre: musicals are big business, and productions the scale of Tivoli Lovely are usually reserved for the likes of Crown Theatre and their cashed-up clientele. In Perth, at least.

In fact, there’s nothing ordinary about this world premiere from Tony-nominated writer Eddie Perfect (Beetlejuice, Shane Warne: The Musical). In a homecoming success story worthy of its own stage show, Perfect’s return to WAAPA—where he graduated in 2001—is a roaring success.

And it wouldn’t be a WAAPA production if they weren’t unearthing new talent. This is where the cast and orchestra shine, particularly. Over 25 musicians and 40 actors to start with, and that’s before we get to the swathes of tech, costume and props crew. This may be the baby of former WAAPA classmates Perfect and Director Dean Bryant, but a cast of thousands (mostly students) has made it what it is today. Apologies in advance for anyone I miss.

Bashful, shy, and yet clearly Tivoli’s brightest young talent circa 1954, Kitty is formidable as performed by Stephanie Graham (remember the name!). Fittingly, she’s the star of the show alongside her ‘older’ Kitty counterpart played by the cast’s only veteran, Caroline McKenzie. Told in flashback mode by McKenzie and looking at the glory days of Australia’s unique, hilarious (and often risqué) vaudeville scene, it’s centred around Melbourne’s once-famous Tivoli Theatre (1866-1966).

The variety and skit-based style of the Tivoli’s fare leave plenty of room for cameos. Hannah Chesser’s ever-smiling Evelyn and Anabel Jamieson’s Princess (later, Queen) Elizabeth get the most laughs, while Sebastian Cruse as “Daddy” Kevin Watkins regularly owns the stage as the charismatic villain.  

The fact they all sing like angels (a real feature during a cappella sections of songs like When You’re a Kevin) makes Tivoli Lovely a total delight. Credit also to Dann Barber’s set and costume design. With rotating set pieces worthy of Broadway, the stage variously resembles a lounge room, train, hospital bed or concert hall, while some serious fun has been had with the retro outfits and wigs.

But it’s Perfect’s script that shines brightest and suggests this is the first of many Tivoli Lovelys (don’t be surprised if there’s a film in 10 years). The Australianisms, in particular, are relatable and humorous, from a Gosnells-set Emerald Gardens Aged Care to the parade of Aussie Arnott’s biscuit flavours that become a recurring joke (I’m still unhappy about the unfair admonishing of Venetians).

The success of this local production, three years in the making, deserves to be celebrated. This sort of distinctive combination—Australiana with world class writing and production values—comes around once in a blue moon, if at all.

Opening night’s wildly enthusiastic standing ovation proved there’s certainly a market for it. Here’s hoping the rest of the world gets to find out, but in the meantime, don’t miss your opportunity to see Tivoli Lovely’s short but sweet season before it ends Friday.

Tivoli Lovely runs until November 14, 2025.