Review: Pelican Productions MTC 2026 – Rise Up

Pelican Productions has truly perfected the art of large-scale youth musical theatre, and MTC Rise Up is yet another triumphant showcase of what can be achieved when passion, discipline and opportunity collide. Each year, approximately 200 students from across South Australia give up two weeks of their summer holidays to immerse themselves in musical theatre, and the results are nothing short of extraordinary.

In actual fact, the rehearsals span just 10 days, so park that thought as you read on…

With an exceptional team of instructors and mentors at the helm, Pelican Productions directors Jen Frith and Kylie Green bring carefully curated excerpts from some of the most loved contemporary and classic musicals to the stage. This approach allows performers to stretch their skills across acting, singing and dance, and Rise Up delivers on every level.

With multiple casts performing, I had the pleasure of watching West End, and from the opening moments it was clear just how much growth had taken place over the fortnight. The production moved seamlessly between senior and junior groups, maintaining a strong pace and keeping the audience fully engaged throughout. Ensemble numbers were energetic and polished, featuring confident harmonies, dynamic choreography and a strong sense of storytelling. Costumes and staging were vibrant and thoughtfully designed, elevating each set and giving every musical its own distinct world.

The show opened with a commanding Hamilton set, instantly setting the bar high. Charlie O’Hanlon led with focus and intensity as Hamilton, delivering crisp lyrics and emotional drive, while Will Fleming brought restraint and quiet authority to Aaron Burr. Maddie McNicol, Annabelle Fleming and Amy Trethewey sparkled as the Schuyler sisters, blending beautifully both vocally and dramatically, and capturing the wit and strength that define their roles.

The junior performers followed with an Oliver! medley full of heart and character. The ensemble worked cohesively, with clear storytelling and infectious energy throughout. Eliza Brumby and Mimi Broomhall were standouts as the Dodger and Fagin, commanding the stage with confidence, strong vocals and a wonderfully cheeky presence that delighted the audience.

Boop brought a burst of colour and contemporary flair to the program. Featuring excellent choreography and eye-catching costumes, this set felt polished and playful. The Colour of Love was delivered with clarity and confidence, anchored by impressive vocals from Ella Burgess in the title role, who balanced strength with charm and held the audience’s attention throughout. This young performer is ready for the professional stage.

Closing Act One were the juniors with The Rocky Horror Show, and it proved to be an inspired choice. From the opening beats of The Time Warp, the audience was completely on board, clapping along and ultimately rising to their feet. The cast embraced the fun and theatricality of the number, finishing the act on an undeniable high. Excellent work from Hunter Walsh (Brad), Poppy Saleeba (Janet), Abbie Klingberg (Magenta) and Grace Nagesh (Columbia).

Act Two opened with the bombshell of Legally Blonde. Whipped Into Shape was a standout, bursting with athletic choreography and razor-sharp timing. Matilda Binetti shone as Elle Woods, delivering confidence, humour and vocal strength, while Ava Roxas impressed as Brooke Wyndham, meeting the physical demands of the number with poise and precision. Together, they completely stole the show.

The momentum continued with Something Rotten!, where Joel Howis shone as the Minstrel in Welcome to the Renaissance.
Hard to Be the Bard followed, performed with flair and confidence. Harrison Thomas was fabulous as Shakespeare, leaning into the comedy with swagger and assured character choices, supported by a cohesive and enthusiastic group of manservants that kept the number buoyant and entertaining.

A personal highlight from this set was A Musical, led brilliantly by Nikolas Karagianis as Nostradamus and Ben Sutton as Nick. The number encapsulated everything audiences love about musicals in a delightfully theatrical and tongue-in-cheek fashion.

The Hairspray set brought warmth, joy and a powerful sense of ensemble to the stage. Good Morning Baltimore was bright and optimistic, setting the tone beautifully, while You Can’t Stop the Beat became a full-company celebration. Scarlett Rynne was fabulous as Tracy Turnblad, radiating confidence, heart and infectious energy as she led the cast through a rousing and uplifting sequence. Special mention must go to Eva Astachnowicz as Amber and Grace Christou as Penny.

The show closed with a brilliant set from Britney Spears’ Once Upon A One More Time, offering a contemporary twist to the finale. Cinderella’s Soliloquy gave Maddy Schroeter the opportunity to shine, delivering a grounded and expressive performance as Cinderella. The princesses lamenting Prince Charming in …Baby One More Time flowed seamlessly into Circus, featuring a chorus of young princes, bringing playful choreography, strong ensemble work and a sense of spectacle to the stage. Aidan Salmon was an entertaining Prince Charming, rounding out the production with charisma and confidence.

MTC Rise Up is not only a showcase of talent, but a testament to the importance of nurturing young performers in a supportive, professional environment. Adelaide is incredibly fortunate to have an organisation so deeply committed to developing the next generation of musical theatre artists, and if this show is anything to go by, the future is exceptionally bright.

4.5 stars

Lia Loves.