LittleBig Theatre Co: We Aren’t Kids Anymore - Review by Benjamin Olivera
- danielconway0
- Aug 27
- 6 min read
LittleBig Theatre Co’s We Aren’t Kids Anymore, presented at Qtopia, is nothing short of a breathtaking journey through the tumultuous landscape of youth, identity, and the fragile journey into adulthood. From the moment I entered the space, I was completely enveloped into a world that felt at once raw, honest, and achingly real, with characters on the floor even before the audience enetered. This production doesn’t just tell a story, it breathes it, pulling you deep into the characters’ lives with a fierce tenderness that lingers long after the final scene. We Aren’t Kids Anymore is more than a song cycle… it’s a mirror held up to the soul, reflecting the fears and hopes we all carry as we step into the unknown that is adulthood. It’s a reminder that growing up doesn’t mean losing ourselves, but rather finding new, sometimes uncomfortable, ways to be whole. I left the theatre feeling profoundly moved, reflective, and grateful for this beautiful, unvarnished exploration of what it truly means to grow.
I can only attribute this strong feeling to Sarah Campbell’s insightfully clever vision, being both bold and deeply empathetic and guiding the production with a keen understanding of its emotional core. Their direction brought out the raw vulnerability and complexity of the characters, allowing each actor to shine in moments of intense intimacy as well as charged group dynamics. Every scene felt intentional and charged with meaning, crafted to draw the audience into the characters’ inner worlds without ever feeling too heavy-handed. The director’s ability to create a space where honesty and emotional risk could flourish was evident throughout, resulting in a powerful and resonant production. This is definitely not an easy thing to do as well given that it is both a song cycle and a sensitive point of conversation so Campbell should be extremely proud of the work that both they and their team have done.
Safe to say, however, that a director is only as good as the cast that they have to work with, and this cast delivered performances of extraordinary depth and vulnerability filled to the brim with talent. Each actor embodied their role with such a strong authenticity that you could clearly feel from the audience.
Megan Robinson and Wolfe Black are first up in our cast, in the roles of Bonnie and Lilli respectively. Robinson absolutely commands the stage with their strong mix-belt, beautiful ability emote through song and caring soul that exudes from their heart onstage. Black has these beautifully coloured vocals that pierce through the necessary emotional beats that come with the ‘older’ character of Lilli. These two also had one of my favourite stand out moments from the show, with the song “On and On and On”. This one had my eyes welled up with tears as their voices contrast and compliment each other so well at the same time and it is genuinely such a joy to hear these two make such a beautiful sound whilst telling such a moving story.
Sam Hamilton plays Colton, one of the younger characters in the show, and does it with SUCH nuance and control whist aging himself and his voice beautifully as the show goes on. He has a voice that is so calculated and agile, and has you wrapped around his finger from the first note. Hamilton had another one of my favourite performances, being the song “Little Sister”. This is truly a showcase of his incredible skill and story-telling abilities; a true rising star in the Australian theatre scene.
Andrew Topinio & Jim Williams play the roles of Ray and Nick respectively. Topinio is able to navigate his falsetto and belt with ease as they sings both heartfelt emotional numbers, and then switching to powerful passionate ballads. His acting should also be commended as his character is one that experiences quite a lot of the grunt of the new experiences in adulthood and he does so with a charming subtlety. Williamsas the quietly-spoken Ray is such a challenging role and yet he does it in a way that only someone with his plethora of experience could. He is able to command both the cast and the audience with his physicalised nature and delivery of dialogue whilst also having a strong force of a voice which clearly conveys the pent up emotions within him.
Super swings Mo Lovegrove & Katie Green were, I believe, pivotal to this story and vision of the show. Their harmonies were on point, helping to aid the overall sound and balance of a musically complicated score, storylines strong and coherent as well as representing a key part of the story. Set in a therapy group room, these two don’t necessarily have solo songs, and don’t share a lot with the audience. However, I believe that this reflects what our world looks like. Sometimes you will meet people in these groups who are illusive, don’t talk much and yet still help you to feel just as comforted in what you feel. Swings always deserve their flowers, and Lovegrove & Green are no exception to this. Legends!
Responsible for all of these complex harmonies and beautiful musical moments is Renae Goodman. Her teaching and execution of the music in this deeply complicated song cycle is clearly aligned with that of Campbell’s, as she has clearly precisely rehearsed every aspect of this show to a tee. The score beautifully captured the bittersweet tension of youth; the exhilaration, the confusion, the heartbreak. This complemented the actors’ performances with melodies that lingered in the heart long after the final note. Goodman’snuanced touch in both vocal ability and conducting brought a richness and emotional resonance to the play that made the experience unforgettable.
Sarah Campbell’s set design for We Aren’t Kids Anymorewas a true masterclass, perfectly complementing the emotional landscape of the play whilst still grounding it within the bounds of the real world. Every piece, from the working piano and kettle to the jam-packed notice board, felt deliberate and truly created a space for art to be made and to follow the storyline clearly. The clever use of space allowed the actors to move freely with props, especially in a space as tight as Qtopia. The set’s design invited the audience to focus on the raw emotions and relationships at the heart of the production, making it a quietly powerful component of the overall experience.
The choreography in We Aren’t Kids Anymore, created by Danielle Lorzano added a dynamic and expressive layer that beautifully complimented and amplified the story’s emotional depth. Through carefully crafted movement and physical storytelling, they captured the restless energy and vulnerability of youth, translating complex feelings into gestures and moments that spoke louder than words. The choreography flowed seamlessly with the narrative, enhancing key scenes with fluidity and intensity without ever feeling forced or distracting.
The lighting design, designed and executed by Holly Nesbittin We Aren’t Kids Anymore was nothing short of exceptional, skillfully shaping the mood and emotional tone throughout the production. With a nuanced palette of warm and cool huesaccording to each character, the lighting subtly mirrored thesecharacters’ shifting inner worlds, casting soft, intimate glows during moments of vulnerability and sharp, stark contrasts in scenes charged with tension or conflict. The creative use of shadows and spotlights not only enhanced the visual storytelling but also added a poetic dimension, highlighting the show’s themes of growth, uncertainty, and self-discovery.
The sound design in We Aren’t Kids Anymore enriched the storytelling with depth and atmosphere. From subtle ambient noises that grounded the scenes in a realistic world to carefully timed sound effects that heightened emotional moments, the soundscape was crafted with great attention to detail. The interplay between the band mix and sound effects created a layered auditory experience that supported the narrative’s shifts in tone. Peter Miller should be commended on his hard work on this production.
LittleBig Theatre Co has crafted a masterpiece that speaks to anyone who has ever felt caught between childhood and the endless possibilities and challenges of what comes next. The struggle you face when life is at it’s best and its worst; and most importantly, the importance of community and the need to connect and grow from and with each other. This is storytelling at its most potent, and I can’t recommend it highly enough to all audiences.
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