The historic Sydney Town Hall has been spectacularly transformed for this year's Sydney festival, its ornate Centennial Hall now housing a full-scale roller derby rink. This is the vibrant, unconventional setting for the premiere of 'Mama Does Derby', a new family dramedy that is as ambitious in its staging as it is warm in its storytelling.
A Town Hall Transformed
Festival-goers have grown accustomed to seeing Sydney's grand civic spaces reimagined. In recent years, the Town Hall has morphed into a tennis court and a beach. For 2023, it's the turn of roller derby. An oval flat track now dominates the space, flanked by stadium seating, with a live band providing a pulsating soundtrack. The production runs at the Sydney festival until 22 January, before heading to the Adelaide festival for a season beginning 27 February.
There is an undeniable thrill in experiencing art in such an unexpected venue. This trend of repurposing familiar landmarks lies at the heart of modern city festivals, offering a potent, communal live experience that counters the isolation of daily life. As the audience settled in on opening night, skaters from the Sydney Roller Derby League were already weaving around the track, offering a dynamic prelude to the drama.
A Mother-Daughter Story with Heart and Humour
Directed by Clare Watson and written by the acclaimed Virginia Gay, the show is inspired by Watson's own life. It centres on the Gilmore Girls-esque duo of Maxine (Max), played with comic brilliance by Amber McMahon, and her teenage daughter Billie, portrayed by Elvy-Lee Quici. Max is a free-spirited, chaotic single mother, while Billie is her anxious, overly responsible counterpart.
Their globetrotting life halts when they inherit a dilapidated house in regional Victoria. Forced to stay put, their personal demons surface. Over 90 minutes, we watch them build a new community. Billie navigates school and driving lessons, while Max finds an unexpected outlet and tribe in a local roller derby league.
The supporting cast is uniformly excellent, bringing to life an eccentric neighbour, a meticulous therapist, and potential love interests. A scene-stealing highlight is Benjamin Hancock as Nathan, a spandex-clad demon whose physical comedy is a constant delight. Virginia Gay's script excels in her signature style: generous, fourth-wall-breaking theatre that blends relatable comedy with genuine vulnerability.
Ambition and Warmth on Wheels
The production is ingeniously staged. Skaters double as stagehands, smoothly moving props and large set pieces—like therapy couches and a makeshift car—around the track during scene transitions. The integration of the live band and the kinetic energy of the skaters keeps the pace lively, punctuated by witty banter and playful pop culture references.
While the show is a mother-daughter tale at its core, its heart truly belongs to Billie. It thoughtfully engages with the anxiety of her generation, growing up in a world of climate crisis, social instability, and rising gender-based violence. Her journey from fear to finding her own strength is movingly portrayed.
As with many new works, the momentum occasionally lags. The music breaks are frequent and some skating sequences feel slow, meaning the roller derby element of the narrative takes a while to fully engage. Trimming around 15 minutes could tighten the focus without losing the story's essence.
However, these are minor quibbles for a show of such scope and heart. Mama Does Derby is an ambitious, entertaining, and irresistibly warm production. It speaks not just to parents and teens, but to the broader idea of community—the village needed to raise the young and sustain everyone else. It is a big, heartfelt hug of a show, perfectly capturing the thrilling spirit of festival theatre.
