MENOPAUSE THE MUSICAL at STATE THEATRE – 19 SEPTEMBER until 05 OCTOBER 2025

Joyful, Uproarious, and Deeply Affirming Ode to Sisterhood, “MENOPAUSE THE MUSICAL” is a Triumph. In the grand, opulent embrace of Sydney’s State Theatre, beneath its celestial dome and amidst the baroque splendour, something revolutionary is happening, and its power is undeniable. The sound of unfettered, communal laughter, of the kind that comes from a place of deep recognition, shared experience, and profound relief. This is the home, for two glorious weeks, of the brand-new production of MENOPAUSE THE MUSICAL, and is nothing short of a theatrical phenomenon. More than a musical; it is a celebration, a catharsis, and a long-overdue embrace of a natural life stage, transformed into a glittering, hilarious, and deeply moving night, at a live theatre event.

From the moment the lights dim, the production establishes its intent, this is never ever a medical seminar, nor a sombre lecture on the trials of “The Change.” A party to which every woman, and any man brave and enlightened enough to join, is invited. The premise is elegantly simple, a stroke of genius that provides the perfect framework for its comedy and heart. Four women, archetypes we all recognise, meet by chance at a MYER sale in Sydney CBD. They are strangers, initially united only by their frantic desire for a black lace bra. But as they navigate the aisles, their superficial differences melt away, revealing a common thread binding them together, because they are all experiencing the myriad symptoms of menopause.

What follows is a breathtakingly clever and relentlessly funny journey through this shared experience, told almost entirely through parody lyrics set to the greatest pop anthems of the 1960s, 1970s, and 1980s. The genius of the concept, conceived by Jeanie Linders, is its accessibility and its subversive wit. These are songs etched into our collective memory, songs of youth, romance, and rebellion. To hear them repurposed into anthems about hot flushes, night sweats, memory loss, and fluctuating libidos is not just funny; it is liberating. Reclaiming a narrative, that has been whispered in doctor’s offices and behind closed doors, for generations and blasts it from the rooftops with orchestra and four-part harmony.

The new Australian production is electrified by a quartet of performers so perfectly cast, so individually brilliant and collectively sublime, that they elevate the material into pure theatrical gold. This is not just a touring company, this is a gathering of four queens of Australian musical theatre, each bringing their unique royalty to the stage.

As the Professional Woman, Tara Morice is an absolute delight. Forever etched in our national psyche as Fran from Strictly Ballroom, Morice brings that same endearing vulnerability and comedic timing to this role. She is the heart of the group, the everywoman whose initial bewilderment and embarrassment at her changing body morph into a beautiful self-acceptance. Her performance is nuanced and heartfelt; when she sings of her struggles, you feel the genuine emotion behind the laughter. She is our anchor, the relatable soul who guides us into this world.

Countering her is the formidable presence of Erika Heynatz as the Soap Star. Heynatz, known to the nation as a glamorous host of Australia’s Next Top Model and for her role on Home and Away, is perfectly cast. She is all sharp angles, designer clothes, and a carefully constructed facade of ageless perfection. Heynatz plays the vanity and desperation with a hilarious precision that never tips into caricature. We laugh at her attempts to fight Father Time with every cream and procedure, but we also see the vulnerability beneath the veneer. Her comic timing is impeccable, and her voice, a strong and clear instrument, adds a gorgeous layer to the group’s harmonies.

Providing the raw, earthy energy is Cherine Peck as the Earth Mother. With an impressive pedigree including The Lion King and Mary Poppins, Peck brings a powerful, soulful voice and a vibrant, infectious energy to the stage. She is the character who seeks natural remedies and embraces a more holistic path, but this is no stereotype. Peck infuses her with a sassy, knowing wisdom and a powerhouse vocal ability that threatens to blow the roof off the State Theatre. Her performance is a masterclass in comedic expression and vocal power, bringing the house down with her bigger-than-life delivery.

And then there is Melissa Langton as the Country Housewife. A veteran of productions like Les Misérables and Jesus Christ Superstar, Langton is the engine room of this production as the Power Businesswoman. She is all sharp suits, sharper tongue, and a no-nonsense attitude that masks her own internal chaos. Langton is a force of nature. Her stage presence is magnetic, her comedic chops are razor-sharp, and her voice is a phenomenal instrument of power and control. She delivers her parodies with the ferocity and commitment of a Broadway diva, earning some of the biggest laughs of the night with her sheer audacity and talent.

Together, these four women are not just a cast, because they are a constellation. Their chemistry is palpable, their harmonies are tight and thrilling, and their ability to play off one another speaks to a deep and shared understanding of the material. They move as one, a unified sisterhood on stage, and their individual journeys towards bonding feel utterly authentic. We believe in their initial friction, their gradual discovery of common ground, and their ultimate, joyous solidarity.

Juke-box musical, but not sung through musical, with duration of 85 minutes. The musical numbers are the undeniable stars of the show. It is a testament to the strength of the original songs and the cleverness of the parodies that they remain so side-splittingly funny and relevant, years after the show’s debut. The audience roared with recognition as The Bee Gees’ “Stayin’ Alive” became “Stayin’ Awake,” a lament for chronic insomnia. The iconic “The Great Pretender” by Queen was transformed into “The Great Pretender,” a soulful admission of faking well-being through the brain fog. One of the show-stopping highlights is the transformation of Tina Turner’s “Proud Mary” into “Proud Lady,” a rollicking, hip-shaking celebration of surviving the change and keeping on rolling—a number that had the entire audience clapping along in ecstatic unison.

Perhaps most brilliantly, “Good Vibrations” by The Beach Boys is repurposed into a hilariously frank discussion about the urgent need for, well, good vibrations to combat vaginal dryness. The number is both outrageously funny and profoundly important, tackling a subject that has been taboo for far too long and dissolving that taboo in a wave of laughter and shared understanding. The show’s secret weapon, always using humour not to mock, but to heal. Taking the most frustrating, embarrassing, and isolating symptoms and, by singing about them together, strips them of their power to shame.

The production values within the State Theatre are first-rate. The set cleverly evokes the various departments of a grand department store, from lingerie to cosmetics, allowing for seamless transitions. The costumes are a character in themselves, brilliantly defining each woman’s personality before they even speak, and culminating in a fabulous, unified finale that is pure glamour. The lighting design shifts effortlessly from the bright fluorescents of the shop floor to the more introspective, dramatic hues of the musical numbers, enhancing the emotional journey. The sound mix is perfect, ensuring every witty lyric is heard clearly over the excellent live band that brings these iconic tunes to vibrant life.

But to merely catalogue the jokes and the songs, is to miss the profound point of MENOPAUSE THE MUSICAL Its true magic lies in the atmosphere it creates within the auditorium. This is not a show where the audience sits in silent, passive observation. It is a communal event. Throughout the performance, the air is filled with the sounds of laughter—not polite titters, but great, gusty, heartfelt guffaws of “Oh my god, that’s me!” There are nods of agreement, elbows nudging neighbours, and waves of empathetic applause that break out mid-song. The woman next to you isn’t a stranger; she’s a sister in arms.

This shared experience culminates in a finale that is less a traditional curtain call and more a collective uprising. The cast invites the entire audience to its feet, turning the majestic State Theatre into the world’s largest dance party. It is a moment of pure, unadulterated joy. Women of all ages—those who have been through it, those going through it, and those who will one day go through it—are dancing, singing, and celebrating together. It is a powerful visual representation of the show’s core message: you are not alone.

MENOPAUSE THE MUSICAL is a vital piece of musical theatre. Vital because it gives voice to an experience shared by half the world’s population, but so rarely centred in our cultural discourse. It is vital because it replaces stigma with support, and isolation with community. It is vital because it is a roaring success on its own terms: as a spectacularly entertaining, brilliantly performed, and hilariously written night out.

This show understands that laughter is, the best medicine, and that sisterhood is the strongest support system, and that a woman’s value, her humour, her passion, and her power, are not diminished by menopause but are in fact refined, strengthened, and celebrated by it. This new production, led by its four impeccable leading ladies, is a triumph. It is a joyful, uproarious, and deeply affirming ode to every woman who has ever felt invisible, confused, or frustrated by this natural transition. It looks her in the eye, hands her a microphone set to a tune she knows by heart, and tells her to sing her heart out. And in that singing, there is freedom. Don’t just see this show. Experience it. Celebrate it. You will leave not just with sore ribs from laughing, but with a full heart and a renewed sense of joy and connection. Brava.

WEBSITE – https://menopausethemusical.com.au/