“It’s a hilarious, high-octane, and gloriously gruesome production that revels in relevant revoltingness. Kids adore it.”
Fiona Hallenan-Barker
5 Eye popping grunts
Playhouse, Sydney Opera House
Presented by Shake and Stir
Wednesday 7 July 2025
Shake & Stir’s The Twits, adapted by Nelle Lee and Nick Skubij, takes a bold and brilliantly bonkers leap from page to stage, plunging audiences into a chaotic carnival of cruelty, magic, and mischief. Drawing inspiration from a single line in Roald Dahl‘s novel that Mr. and Mrs. Twit were once monkey trainers in a circus, the entire production unfolds within a twisted big top, where circus nostalgia meets Dahl’s signature grotesquery amongst bright lights and a pumping soundtrack.
Set against the glittering backdrop of Sydney Harbour, with Luna Park’s grin winking across the water, the show immediately frames itself as a journey into the grotesque. Director Ross Balbuziente keeps this tight 55 minute piece barrelling along with an even pace and just enough madness to delight young audiences without terrifying them.
What makes this adaptation sing, in this return season, is its commitment to theatre magic. From shadow puppetry to sleight of hand glass eyes flying through the air. The tone is both funny and revolting in equal measure. It’s a masterclass in using circus tricks and old-school theatricality to engage children, all while nodding to Australia’s own cultural landscape through sly references to local kids’ television and literature.
The ensemble of five actors is uniformly excellent, each embodying multiple roles with flair and precision. Judy Hainsworth and Kieran McGrath are gleefully grotesque as Mrs. and Mr. Twit, bringing unrelenting energy, richly textured vocals, and a cartoonish nastiness that has kids squealing with laughter and disgust. McGrath is particularly memorable as repellent Mr Twit with a voice that echoes long after the curtain call.
The carnival is kept spinning by Ryan Hodson’s charming ringmaster, whose “greatest showman” energy sets the tone in the opening moments. He’s joined by Billy Fogarty as the nimble contortionist Claudette and Johnny Balbuziente as Rex the strongman. The trio weaves in and out of the action, transforming into a dazzling array of side characters with the aid of clever costume and prop items, precise timing, and a whizzing revolve.
Design elements shine throughout. Jason Glenwright’s lighting is technically dazzling, especially impressive for a touring show, and contributes significantly to the immersive experience, with effects that extend into the auditorium. The sound design and musical elements are tightly structured, heightening suspense and amplifying the absurdity.
Set and costume design by Josh McIntosh and Bianca Bulley bring carnival colour and Dahlian disgust to life. A particular highlight is the Roly-Poly Bird, realised ingeniously with feathers and a tricycle, who helps the oppressed animals escape the Twits’ clutches.
In true Dahl fashion, the play doesn’t shy away from moral lessons wrapped in gruesome packages. There’s no sanitising his worldview: good thoughts shine through, bad thoughts warp you from the inside out. And while some of the language and imagery may jar more sensitive adult viewers, it remains faithful to the original text, and to Dahl’s belief that children are capable of handling dark humour.
A few missed opportunities in the venue were notably the under-utilised foyer space that could have become a winter playground. But this doesn’t dull the shine of what’s achieved on stage. The merchandise table is well-stocked, and the scent of popcorn wafting through the Western Foyers only adds to the sensory delight.
Ultimately, The Twits is less Cirque du Soleil and more “pick-your-nose-and-eat-it-with-glee.” And that’s exactly as it should be. It’s a hilarious, high-octane, and gloriously gruesome production that revels in relevant revoltingness. Kids adore it.
Highly recommended.
Photo credit : Katje Ford
Fiona Hallenan-Barker, Theatre Now
