From Smiles to Standing Ovation: Music of the Night in The Barossa

Warm humour, powerhouse vocals and theatrical drama make for a night of contrast, nostalgia and big musical moments.

Production: Music of the Night
Venue: Brenton Langbein Theatre, Barossa Arts Centre, Tanunda
Date: Saturday 12 September 2026
Reviewed by: Brett Partington, Limelight SA
Photography: Kate Needs, Limelight SA

I went into Music of the Night expecting big voices, familiar songs and plenty of spectacle. What surprised me was just how funny, relaxed and easy the night felt. The show built quietly, drew us in and kept revealing something new.

The stage itself was deliberately simple. Candelabras, blue and white lighting and a soft smoky haze created a moody atmosphere. Projected backdrops helped show which musical each song came from, with some of the imagery giving a 3D effect. Nothing felt cluttered. The focus remained exactly where it belonged: on the performers.

When did the audience become part of the show?

Pretty much the moment Joey Fimmano decided we were.

Joey crossed that imaginary border between stage and audience early, moving along the front row shaking people’s hands before sitting on one lucky woman’s lap and adding a cheeky comment that immediately loosened up the room. Part showman, part vaudeville performer and part ringmaster, Joey is also an award-winning vocalist and instrumentalist. He has an infectious smile and the sort of easy charm that makes you feel as though you have known him for years. Think of the Italian uncle everyone wants sitting at their table.

The first half became a showcase of some of musical theatre’s best-known songs, but the strength came from the variety. The three singers were very different in voice, personality and stage presence, and that contrast gave the show colour.

The audience gasped with recognition when Joseph and the Amazing Technicolor Dreamcoat began, seeming to take many straight back to their younger years. Joey then shared stories from his early television days, including his success on Pot of Gold with Bernard King and Young Talent Time, where he won his way through heats and finals. Those stories stirred a shared sense of memory where you could almost hear the room thinking, “I remember those shows.” A brief tribute to Johnny Young added a touching moment.

Across the first half, the show moved comfortably between banter, memories and increasingly powerful vocals. There were jokes with the band, some playful songs on the piano accordion and Joey happily teasing that he might, in fact, be the real star of proceedings.

It was fun.

Dexter Villahermosa brought some of the night’s strongest drama. His stage presence was confident and charismatic. When he spoke, he used deliberate pauses and a slow, measured delivery that held your attention.

The room leaned in with him.

His Miss Saigon section was one of the most emotional parts of the night for me.

What changed after interval?

The first half had been about variety and fun. The second half belonged to the drama. Opening with songs from The Phantom of the Opera immediately shifted the mood. Rather than constantly breaking the intensity with lighter material, the production allowed us to stay immersed in it. That was the right decision. Sometimes variety helps. At other times, the big songs need room to breathe.

Music of the Night was one of the evening’s standouts. Dexter displayed both range and control, holding some remarkably long notes before receiving one of the biggest and most sustained rounds of applause of the evening.

Michaela Hodgson brought plenty of light and shade to her performance across the night, moving from softer passages into powerful bursts when the music demanded it. She also seemed to arrive in a stunning new dress every few songs, adding another layer of glamour to the production.

The well-credentialled three-piece orchestra, led by musical director Michael Rohanek, combined bass guitar, drums and keyboards with programmed music to produce a full, expansive sound.

How did they send us home?

The cast finished with Mamma Mia, calling back to an earlier ABBA joke and sending the audience out on a lighter note. It gave the night a playful final lift.

After the show, I asked Joey what he hoped people would feel when they walked away from the production.

His answer was simple:

“Happiness and connection.”

Looking around the theatre throughout the night, his answer made perfect sense. People smiled. They laughed. They leaned in.

The applause said the rest.

By the final note, we were on our feet.

Limelight SA would like to say a special thank you to Cas & Nori 87.6FM, Dancing with an Italian and Joey Fimmano, cast and crew from Music of the Night for selecting us to review their show. 

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The Moment He Kicked the Fan… You Knew This Was ‘From the Jam’.

From The Jam @ The Gov 2/7/26

The guitar tech wandered on stage for the final soundcheck. One crunchy strum from a black Rickenbacker echoed around The Gov. My immediate thought? Oh yeah... this is gonna be a big night.

Then the band swaggered on stage and launched into Heat Wave. Seconds later, the cooling fan became the night's first casualty. One song in... it was booted. Game on! (See video.)

Within minutes, I stopped thinking of them as From the Jam. For one night, they simply became... The Jam.

The night was packed with standout moments. An unusually raucous That's Entertainment had the whole room singing every word in unison, Town Called Malice reminded everyone why it's still one of the greatest live songs ever written, while The Eton Rifles delivered all the swagger, punch and attitude that made it a Jam classic.

Every chord had that crunchy, aggressive edge that became The Jam's trademark. There are guitar sounds... and then there's the unmistakable snarl of a cranked Rickenbacker. Likeable frontman Russell Hastings attacked every song with loud, raw, unapologetic energy, his guitar cutting through the room with all the subtlety of a chainsaw in a library.

Standing in for Bruce Foxton is no easy task, but Gary Simons nailed that deep, throaty 'Foxton growl', his bass sitting perfectly beneath Russell's guitar. Meanwhile, drummer Mike Randon's silver sparkle Ludwig kit looked almost understated—right up until the kick drum punched you square in the chest.

Fun fact: the bass drum-mounted cowbell even had its own microphone... because let's face it, you can never have enough cowbell.

There was also a genuine warmth throughout the night. Between songs—and again after the gig—the band spoke fondly of Bruce Foxton, acknowledging how much he'd have loved to be on stage doing what he does best. It never felt forced or sentimental—just sincere. Anyone who's met Bruce knows he's one of the genuine good guys in the music industry, making those tributes even more meaningful. Bruce may not have been on stage, but he still put his stamp on the night.

After a generous five-song encore, the band left the stage and the instruments finally fell silent. But the night wasn't quite over. In a classy touch, they returned to the front of the stage for an impromptu meet and greet, happily chatting, shaking hands and posing for photos with fans. The music had stopped. My ringing ears, however, clearly hadn't received the memo.