Review: Legends - A New Musical & The ATF Cabaret Celebrated Australian Talent at The Green Room 42

There are few things more quintessentially Australian than taking some of the country’s most legendary figures, turning them into outrageous characters, and then gleefully poking fun at them. That’s precisely what writers and brothers Daniel and James Cullen have done with Legends, an entertaining new musical that received a one-night-only concert presentation Saturday night at The Green Room 42 as part of the Australian Theatre Festival NYC’s seventh season.

Reimagining Australian history, folklore, sporting legends, and cultural icons, Legends is clever and unmistakably Australian. At its heart is a young woman, played by Heather Makalani, preparing to take the Australian Citizenship Test. But rather than studying alone, she receives some unexpected assistance from legendary figures from Australia’s past who "appear" to help her understand what it means to be Australian.

Utilizing the screen positioned stage left at The Green Room 42 to enhance the storytelling, the concert presentation moved briskly from one Australian icon to another, with a cast that clearly relished every opportunity to embrace the humor. The terrific band for the night featured Emma Ford on drums, Max Jacobs on bass, Linus Held on guitar, and Nick Navari, who also served as Music Director and pianist.

First up was the incomparable Kaye Tuckerman, whose extraordinary gift for character work was on full display as a drunken William Bligh, the infamous British naval officer associated with the Mutiny on the Bounty and later the Rum Rebellion of 1808. Tuckerman immediately established the irreverent tone of the evening. Next up was Ben McHugh as Reverend William Bedford, whose sermon is interrupted by a rather memorable protest. Three women–Tuckerman, Jennifer Reed, and Makalani– represented the 300 women who, according to the song (and history), protested his lecturing by turning their backs to the pulpit, lifting their skirts, and delivering a rather emphatic response with their derrieres. It was quintessentially "cheeky" Australian humor–get it?

Then came Captain Cook, played by the pearly-white-smiling Daniel Assetta. If you don't know what happened to Captain Cook, the song helpfully explains that he “got cooked.” While the number was certainly played for laughs, the musical’s use of a generalized “islander” accent and a broad “calypso” musical feel felt less successful, flattening the rich and distinct cultures of the Caribbean and Pacific Islands into a single theatrical trope. Assetta himself, however, was a standout. Broadway audiences may recognize him from & Juliet, where he has appeared as Shakespeare, and in a clever casting decision, he later returned to join Makalani in a delightful duet referencing Romeo & Juliet.

Tuckerman returned as the Jolly Swagman, alongside Reed as Australian Prime Minister Harold Holt, who famously went swimming one day and never came back. Tuckerman and Reed possess powerhouse voices, and this combination was a particular hit with the audience. Then Assetta and McHugh donned cowboy hats for a gloriously tongue-in-cheek, Brokeback Mountain-esque take on explorers Burke and Wills. This reviewer laughed so hard during this number that she actually snorted–surely the highest possible praise for a comedy song.

Another highlight was Tuckerman as the Dog on the Tuckerbox, based on the tale attached to the famous Australian statue located in Gundagai, New South Wales. A wild chase through the audience had the room in stitches and demonstrated just how much fun a concert presentation can be when the performers are willing to get out from behind the microphones.

One of the evening’s funniest songs belonged to McHugh, who took on Australian cricketer David Boon. While Boon was undoubtedly an accomplished sportsman, his legendary status in the Australian imagination may have more to do with the story that he drank 52 beers on a flight from Australia to England in 1989. McHugh milked every comic moment.

Reed then brought the room to a much quieter place with a radiant and deeply moving number inspired by Australia's Saint Mary MacKillop. Her angelic vocals provided a lovely contrast to the raucous comedy that surrounded it.

And just when you thought the show had exhausted its supply of Australian cultural references, Makalani got her rap on with “Raygun: A Thesis Defense,” complete with green-and-gold cap. It was an inspired nod to Australian breakdancer Rachael “Raygun” Gunn who infamously scored zero points at the Paris Olympics in 2024. The concert then culminated in the rousing “What It Means to Be Australian,” a finale that may have brought a tear to this Aussie-born reviewer’s eye. With whip-smart lyrics, memorable tunes, and a cast packed with formidable performers, Legends feels like a musical that deserves the opportunity to grow beyond its concert presentation. One hopes this is not the last we see of the Cullen brothers celebration, and gentle roasting, of Australian history.

Following Legends, America Josh, otherwise known as Josh Pugh, hosted the ATF Community Party. The event brought together Australians attending Legends and the evening’s following event, The ATF Cabaret: Ultimate Australian Playlist, to celebrate being Australian in New York City. This reviewer even walked away with a prize pack from the raffle. Naturally, Vegemite was included. It would hardly have been an Australian party without it! Then it was time for the aforementioned ATF Cabaret, hosted by Courtney Monsma, who has played Glinda in Wicked more than 700 times in Australia. Monsma made quite an entrance, appearing in an inflatable horse-and-rider costume, cork hat, and mullet wig launching into “The Horses,” a song made famous by Australian singer Daryl Braithwaite back in 1990. She had the audience singing, clapping, and laughing from the outset, promising a night of “ultimate bangers." 

Doron Chester entered next with the band vamping behind him as he shared the story of discovering the next song on Instagram. “Eastern Rosellas,” written by a young boy, was a funny, sweet and endearing number delivered with gusto by Chester.

Making her ATF debut, Josephine Hawley tackled the 2014 pop-rock hit “She Looks So Perfect” by Australian band 5 Seconds of Summer. While the song may have sat more comfortably in a different key for Hawley’s voice, she still delivered a spirited and rocking performance. The band, led by Music Director Harry Collins, was on fire throughout the evening.

Monsma then gave insight into Australia’s Tall Poppy Syndrome. In Australia, celebrating your own success can sometimes be met with the metaphorical shears–you're cut down to size rather than encouraged to stand tall. In America, by contrast, people are often expected to promote themselves and are celebrated for their achievements. It’s one of those cultural differences many Australians discover only after moving to the United States.

Morgan Cowling then sparkled, quite literally, in a sequined dress, as she performed Bachelor Girl’s “Permission to Shine.” But Cowling hardly needs the sequins. Her radiant voice and natural stage presence light up any boards she treads.

Scott Anderson Morris followed with perhaps the most unique and delicious arrangements of the evening. A pared-back treatment of Men at Work’s “Down Under” offered a fresh perspective on the Australian classic, while a jazz-infused version of Kylie Minogue’s “Better the Devil You Know” brought the house down, complete with disco ball.

Hawley returned with a sweet rendition of “Hopelessly Devoted to You,” made famous by Australia’s beloved Olivia Newton-John. Unfortunately, the moment was slightly diminished by audience members seated nearby who seemed to believe that being in a cabaret lounge meant that talking loudly throughout the performance was acceptable. It wasn't.

Chester returned to deliver a rousing “Never Tear Us Apart” by INXS before Marika Aubrey took the stage with her crystalline vocals for John Farnham’s “Burn for You.” Aubrey, who made her Broadway debut during COVID when she was whisked from the Come From Away tour back to New York to cover Beverly Bass, delivered a performance that left more than a few audience members reaching for tissues. Naturally, Farnham treatment wasn’t finished with us yet. “You’re the Voice,” Australia’s unofficial anthem, followed, giving the audience another opportunity to sing along.

Monsma then returned with a pensive and beautiful rendition of “I Honestly Love You” from The Boy from Oz before welcoming the full cast back to the stage for one final Farnham classic, “That’s Freedom.”

Living 11,627 miles, or 18,712 kilometres, from the native homeland, a night like this is more than entertainment. For Australians who have made New York City their home, hearing familiar songs, seeing familiar faces, and laughing at jokes that require absolutely no explanation is a particular kind of joy. And seeing so much Australian talent onstage made this reviewer–an Aussie-born New Yorker herself–feel enormously proud to come from the Land Down Under.

A huge congratulations to Mark Barford and Connor Delves, Co-Artistic and Executive Directors of the Australian Theatre Festival NYC, on another highly successful season. From Legends to the ATF Cabaret, the seventh season offered a wonderful showcase of Australian talent, creativity, humor, and heart.

This reviewer is already looking forward to next year.

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Learn more about ATF on their website at www.australiantheatrefestival.com

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