Brink Productions: Looking for Alibrandi - Review by Selina Wong

Brink Productions’ staging of Looking for Alibrandi, adapted for the stage by Vidya Rajan, is a nostalgic, high-energy, and deeply moving journey that honours the heart of Melina Marchetta’s beloved novel while breathing fresh theatrical life into its characters.

Set in Sydney’s Inner West during the 1990s, the story follows 17-year-old Josephine Alibrandi — a smart, fiery, and determined teen navigating the pressure of the HSC, complex friendships, first love, and the ever-present expectations of her conservative Italian-Australian family.

From the moment the lights went up, the production had me in its grip. This beautiful and compelling adaptation transported me back to my own high school years in the 90s. Having attended an all-girls Catholic school myself, I laughed out loud at the pitch-perfect depiction of Josie’s world — sneaking cigarettes, smuggling alcohol into school events, and clashing with classmates in ways that were both hilarious and painfully real.

Chanella Macri delivered a powerhouse performance as Josie, capturing the complexities of a girl caught between culture, tradition and generations. Her stage presence was magnetic, and her characterisation — from defiant outbursts to quiet moments of vulnerability — felt incredibly authentic. She addressed schoolyard racism head on, but with wit.  When Macri delivered the line about “how important it is to match your bg with your xenophobia”, I was in stitches. When Macri delivered the line about “how important it is to match your bg with your xenophobia,” I was in stitches — a moment that perfectly balanced humour with sharp social commentary.

Lucia Mastrantone was my absolute favourite actress. Not only did she deliver an iconic Italian mother stuck between the cultural expectations of Nonna and the freedom of her daughter, she nailed the character of Sarah, Josie’s wild, promiscuous best friend. Mcgregor’s ability to transform so quickly reflected her amazing talent. Jennifer Vuletic, who played Nonna, Sister Bernadette, and Margaret Throsby was equally as talented. She brought to life an Italian nonna, keeping to Italian heritage and struggling with Christina and Josie’s pain. Vuletic’s Italian dialogue peppered with a handful of English words and hauntingly beautiful vocals fused chemistry between all three stoic and strong women. 

Riley Warney’s energetic performance as the carefree and charismatic Jacob Coote made my heart skip a beat. His entrance — gliding effortlessly on stage atop a mechanic’s creeper — perfectly captured Jacob’s laid-back charm and Warney’s full commitment to the role. Chris Asimos was a standout as Michael Andretti; his casting felt spot-on. Watching his character evolve and reconnect with the Alibrandi women added emotional depth and a welcome tenderness to the production. Ashton Malcolm was utterly captivating in the dual roles of John Barton and Ivy. Her seamless transitions between characters were nothing short of remarkable. As Barton, Malcolm portrayed a loyal and thoughtful friend, whose internal struggles and family pressures mirrored Josie’s in poignant ways.

Kate Davis’ set design was detailed and the beauty of it was that it never changed.  Surrounded with crates of tomatoes, the set was designed as Nonna’s place where the Alibrandi’s were making their tomato passata sauce. The handful of few plastic chairs, a table and the smoking barrel where the passata sauce was created, was all that was needed. Under Rosa Voto’s direction, the set was used for numerous scenes and took the audience to St Martha’s Catholic College, the streets of Sydney’s Inner West, a car garage and Christina’s home. Katie’s Sfetkidis’ clever use of lighting and Daniel Nixons’ sound added depth to the scene transitions in the audience’s imagination. Director Stephen Nicolazzo’s inclusion of inner monologue and fourth-wall breaks meant the one set didn’t hinder the story telling. Rajan’s adaptation is sharp, contemporary, and respectful of its source material. The migrant experience, generational trauma, and the struggle to belong are handled with sensitivity and humour.

Brink’s Looking for Alibrandi is a triumph of adaptation — funny, heartfelt, and completely honest. It’s a powerful reminder of how timeless Marchetta’s novel remains, especially for those who grew up with cultural expectations and identities. Whether you’re a long-time fan of the book or encountering Josie for the first time, this production leaves a lasting impression. An absolute must watch!