The Hayes Theatre is still reeling after a two show Sugar hit this week that has left audiences in glycemic shock from the production’s one-two sucker punch of virtuosic singing and razor-sharp script delivered with the right amount of acerbic wit.
From the pen of Ro Bright and under the direction of Kitan Petkovski, this Bullet Heart Club production of Sugar is the perfect vehicle for singer Tomáš Kantor to engage an audience and shine.
The story, as told by Kantor in the first person, sees him changing his Grindr profile from very sexual Tom to Sugar, a twink who adopts the new persona in order to attract a wealthy sponsor so that he will be able to mount his first cabaret show.
After a few fumbling and nervous starts he finally hooks up with Richard, who on first appearance is the mother load of all sugar daddies, if also being somewhat square and illusive about his background.
Kantor’s Sugar is firmly smitten, if not by the person, certainly by the size and depth of his wallet.
Using pop dance standards such as Bad Romance from Lady Gaga, Overload from the Sugababes and fleshed out with songs by Kylie and Troye Sivan, One of Your Girls among others in a hit parade of dance tunes, Kantor takes us on his journey down the rabbit hole of lust and mutual exploitation.
Particularly impactful is the use of Macklemore and Ryan Lewis’ Thrift Shop, which comes in after an hilarious scene in an exclusive designer shop where Kantor adopts Kath and Kim’s Prue and Trude highly exaggerated accents for the assistant who refuses to serve Kantor.
Where Sugar doesn’t break new ground is in the arc of the narrative, which is a well trodden story of who really has the power in this relationship, and will Sugar get what he really wants.
While Richard and two of Sugar’s friends are not on stage, they are well drawn characters that take the pressure off Kantor telling a one-sided story.
Bright’s script treads on well-worn territory but they imbue it with a personal touch that gives Kantor a range of emotional deliveries to work with.
Petkovski keeps the pace tight and focused on Sugar’s journey and has him handling various instruments with ease while moving through a wide range of vocal styles from basso to high-pitched girl group falsettos.
It’s Kantor who is centre stage for seventy minutes, and he engages for every minute of it, even though the opening could have been more impactful.
Another winning element of the night belongs to sound designer Rachel Lewindon who effortlessly keeps the beats flowing.
The set from Bethany J Fellows is a simple room dotted with musical instruments and posters dedicated to Notting Hill, Eyes Wide Shut and Pretty Woman, which allows the Julia Roberts character to become his touchstone for this journey.
Lighting by Spencer Herd serves both the set and Sugar well, particularly when Sugar calls for it to be turned onto the audience so that they can experience the nervousness of his character as they prepare for assignations.
What we are witnessing is modern take on an age-old story told with wit, sass and talent, backed by a contemporary sound track that helps propel it.
From here Sugar moves to the Edinburgh Festival Fringe, where its provocative subject matter and polished delivery is sure to attract attention.
SUGAR
Hayes Theatre Co, 19 Greenknowe Avenue, Elizabeth Bay
Performance: Wednesday 18 June 2025
SUGAR will be presented at The Showroom – Arts Centre Melbourne (30 June), before playing Assembly Checkpoint – Edinburgh Festival Fringe (30 July – 24 August). For more information, visit: www.bulletheartclub.com for details.
Images: Tomáš Kantor in Sugar – photos by James Reiser
Review: John Moyle