Review: Homegrown: What We See From Here at Norwood Live

There’s something beautifully full-circle about watching the next generation of musical theatre artists take the stage. Wide-eyed, fearless, and ready to show us exactly what they see from here. Homegrown Musicals Australia, together with the third-year graduating cohort of ECMT, delivered just that; a heartfelt, vibrant, and joyously unpolished celebration of Australian storytelling and student artistry.

From the very first note, the night felt authentic – a reminder that musical theatre at its best isn’t just about high kicks and big notes, but connection. Under the guidance of the Homegrown Musicals team of Ben Nicholson and Nick Hedger, the showcase gave each performer space to shine, and shine they did, performing original Australian songs from Australian composers.

Joey Haenen’s performance of ‘Isolated’ from Tragic was a standout moment. Raw, introspective, and emotionally anchored, Haenen sang with a vulnerability that cut straight through. No showy tricks, no overreach – just truth. It was the kind of performance that makes you stop fidgeting in your seat and really listen.

Then came Ellie Esdene McMahon, giving us her take on Julia Gillard in ‘Fruit Bowl’ written by Carmel Dean from Well-Behaved Women – and what a treat it was. Sharp, witty, and filled with that particular Aussie blend of satire and sincerity, McMahon captured both the humour and heart behind the number. She leaned into Gillard’s iconic voice without slipping into parody, and her comic timing was pure gold. The audience adored her.

Bella Thomas brought the house down in a completely different way with ‘I’ll Hold On’ from Miracle City by famed Australian lyricist and playwright Nick Enright. Her stillness, her control, and that crystal-clear tone – it was mesmerising. Thomas didn’t just sing the song; she lived it. Every phrase felt grounded, every note connected to something real. It was one of those quietly powerful moments that linger long after the final chord fades.

Injecting a burst of chaotic fun into the night was ‘Say My Name’ from Beetlejuice, performed by Phoebe Rodger, Ryan Murphy, Amelia Chapman and Kaemon Wilcox. Their energy was electric, a perfect mix of comedy, precision, and sheer theatrical joy. The chemistry between the four was palpable, their timing razor-sharp, and the vocals full of punch and personality. It was one of those ensemble moments that had the audience grinning from ear to ear, reminding everyone why musical theatre is such a deliciously collaborative art form.

Beyond the solos and showstoppers, the ensemble of fresh graduates worked beautifully together – generous, cohesive, and clearly cheering one another on from the wings. There was an infectious sense of camaraderie that pulsed through the evening. A few rough edges here and there only added to the charm; this was theatre in its truest form; alive, present, and joyfully human.

What We See From Here is more than a showcase. It’s a love letter to where Australian musical theatre is heading – bold, honest, and brimming with fresh voices ready to take up space.

Here’s to the Class of 2025 – if this is what you see from here, we can’t wait to see where you go from there.

Lia Loves.