REVIEW: Antidote
- Molly Parker
- 1 day ago
- 4 min read
Phoenix Ensemble
28–29 November
By Rhona Bechaz & Molly Parker
Friends to lovers? Check.
Love triangles? Check.
Bisexual awakening? Check.
If you've ever been on a date with a secret racist or endured a Level Three dating emergency, Antidote will feel painfully (and hilariously) relatable.
Though framed as a romantic comedy, this new Australian musical offers far more than jokes and charm. Writers Kristina Redwood and Louella Baldwin weave a warm, layered story exploring identity, sexuality, and the beautiful chaos of relationships. Supported by Alex Smith’s textured, playful score, Antidote is sincere, witty, and emotionally grounded.
"We see a lot of musicals and new works that are 'high stakes', high concepts; fantasies...Antidote is a story about real people. [The audience] know someone in this show. They've experienced the situations. I think that's why people connect with it. It's intimate, and they'll feel like spending a night with friends." - Dominic Bradley, Co-Director
Character-driven and energetically paced, Antidote follows eight interconnected characters whose messy decisions and tender connections keep the plot engaging. Even with a generous runtime, and a surprise half-hour storm delay on the day we viewed, the show rarely loses momentum. Standout sequences include Darcy’s accidental 'double date' and the high-stakes wedding scene.
The musical numbers generally land well, though the wedding moment where Zoe and Austin wait for Ubers felt like a missed musical opportunity; Darcy’s emotional confrontations were ripe for a song.
A promising thread left largely untouched was Darcy’s sincere conflict about loving two people simultaneously. Polyamory is mentioned jokingly but never explored seriously, which felt reductive given the show’s otherwise thoughtful handling of identity and relationships.
Alex Smith’s score shines: clever, contemporary, and rich with recurring motifs (listen for the Pachelbel’s Canon Easter egg). His blend of rock-pop and musical-theatre styles gives the show a modern, heartfelt backbone.
Under the expertise of Music Director Rhea Basha, cast tackled ambitious vocal lines with enthusiasm, though some struggled in the low femme ranges or with upper-register consistency. Blending was occasionally challenged by diverse vocal timbres, but there were many moments of beautiful harmony and expressive storytelling. A live band in future productions would help balance and enrich the already strong musical landscape.
"I think my favourite song to write was 'Chill', it's a really fun one - I never got sick of it. And in terms of songs I want people to see, I love 'More Than Words', it always makes me cry - they do such a good job! It's so sweet." Alex Smith, Composer and Assistant Musical Director
Directors Dominic Bradley and Hannah Martin craft a unified, character-focused production with clever transitions and grounded emotional beats. Rachael King’s choreography suits the show’s earthy tone, particularly in the dreamlike title number Antidote and the vibrant act-two opener 5-6-7-WAIT!.
'I'm good buddies with Kiki and Lou, and it's so wonderful to see their vision come to life... and Antidote is the sweetest song - the sisterly bond of the characters and also the sisterly bond of those two, themselves." - Hannah Martin, Co-Director
The minimalist set effectively reflects the duality of Darcy and Olive’s worlds, while the lighting, bathed in their signature green and purple, marks emotional and tonal shifts with clarity. Sound was mostly well balanced, and stage management kept the performance remarkably tight. Considering this was Antidote’s first tech rehearsal, sound operation by Tess Marinelli-Clark was impressively smooth, with minimal clipped lines. Stage Manager Ren Gerry and Assistant Stage Manager Karis Leung ensured seamless coordination across sound, lighting, and stagecraft; so much so that it was easy to forget we were watching a rehearsal.
The cast’s strong bond made the relationships the true heart of the show. Their comfort with one another allowed for safe, confident risk-taking and bold choices that enriched the narrative. Intimacy, guided by Tammy Linde, was handled with care; romantic without ever pushing the bounds of the production’s tone. And yes, the kisses were absolutely Notebook-worthy.
"I think Cafe Chaos is probably my favourite number of the show, with all the ensemble work that happens." - Rachael King, Choreographer
Louella Baldwin brings joyful chaos to Darcy. Her journey through identity, responsibility, and bisexual awakening is handled with warmth and sincerity. The moments of self-discovery are both funny and poignant, never losing touch with the real confusion many experience.
As our other protagonist, Olive, Kristina Redwood delivers a gentle, nuanced performance with beautifully understated humour. Her portrayal of Olive’s hesitant, shifting feelings, especially toward a close friend, feels deeply authentic. As both writer and actor, she clearly understands the character’s emotional landscape.
Reagan Warner gives a compelling, heartfelt performance as the quietly yearning Connor. His balance of frustration, patience, and gentle devotion echoes a modern-day Mr Darcy; subtle, believable, and moving.
Hannah Macri turns Miles from a potential caricature into a show-stealing presence. As the multitasking “everyman,” their comic timing, reactions, and vocal performance (especially in Tough Love) bring welcome depth and exuberance to every scene.
Together, Christopher Batkin (Spencer) and Priya Shah (Brittany) elevate their initially archetypal couple into something grounded and heartfelt. Batkin’s performance of More Than Words is tender and affecting, while Shah shines in After Tonight with a stunning vocal performance and deeply human portrayal of Brittany’s more vulnerable side.
A standout vocalist, Kaitlin Evans brings warmth, clarity, and poise to Zoe. Their expressive control and balanced tone enrich every scene they appear in, anchoring the character’s sincerity. Their scenes with Baldwin feel natural, with sparks flying from the beginning.
Daniel Lelic delivers a confident, charismatic performance as Austin with strong chemistry opposite Baldwin. His calming, intimate comfort scene with Darcy is beautifully paced and emotionally resonant.
Antidote is heartfelt, funny, and full of promise; a new musical with strong creative bones and a cast whose chemistry elevates every moment. Even in its tech rehearsal form, it was charming, engaging, and deeply sincere. With continued refinement, especially around vocal blend and deeper exploration of its romantic complexities, Antidote has the potential to be a reflective piece of contemporary Australian musical theatre.
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