We Aren’t Kids Anymore
A theatrical song cycle
By: Drew Gasparini
Featuring a poem by Keith White
Orchestrations and Vocal Arrangements: Justin Goldner and Drew Gasparini
14 - 30 August, 2026 at The Loading Dock Theatre
"There’s a lot that I liked about being a kid...
No stress about taxes or death"
Following the viral concept album of the same name, Drew Gasparini’s jaw-droppingly gorgeous music comes to life in this brand new theatrical song cycle that explores the deeply human experience of never truly feeling grown up.
Through a collection of joyous, captivating and heartfelt songs, We Aren't Kids Anymore tells the story of five artists forging their creative paths and navigating the world at large, offering empathy and hope to everyone doing the same.
Featuring stunning performances and Gasparini's signature lyrical blend of wit and vulnerability, this production by The Little Big Theatre Co is a must-see celebration of being alive.
Don’t miss the first Australian production of a show that will leave you both laughing and moved to your core.
Team
Producer: The Little Big Theatre Co
Director: Sarah Campbell
Musical Director: Renae Goodman
Production Manager: Megan Robinson
Ast. Production Manager: Brea Macey
Stage Manager: Alice Chao
Lighting: Holly Nesbitt
Sound: Peter Miller
Choreo consultant: Danielle Lorzano
Marketing: Jake Severino
Set design: Sarah Campbell
Costume design: Megan Robinson
Cast
Sam Hamilton as Colton
Meg Robinson as Bonnie
Andrew Topinio as Ray
Wolfe Black as Lilli
Jim Williams as Nick
Mo Lovegrove as On-stage Swing
Katie Green as On-stage Swing
Band
Keys: Mitch Brown
Guitar 1: Will Hunt
Guitar 2: Chris Everest
Bass: Ben James
Drums: Matina Chang
Reviews for We Aren’t Kids Anymore
⭐️⭐️⭐️⭐️⭐️ - Sydney Arts Guide
“LittleBig Theatre Co’s We Aren’t Kids Anymore, presented at Qtopia, is nothing short of a breathtaking journey” - Fourth Wall Reviews
“We are gifted seven huge hearts on stage here… Their brave, no-holds barred approach, individuality, inspiring energy and huge, nuanced voices bring the beautiful songs and some familiar, hard topics home.“ - Sydney Arts Guide
“From the moment I entered the space, I was completely enveloped into a world that felt at once raw, honest, and achingly real… This production doesn’t just tell a story, it breathes it” - Fourth Wall Reviews
“These souls are expertly directed by Sarah Campbell to shift around the stage with layered integrity.” - Sydney Arts Guide
“I can only attribute this strong feeling to Sarah Campbell’s insightfully clever vision, being both bold and deeply empathetic and guiding the production with a keen understanding of its emotional core. Their direction brought out the raw vulnerability and complexity of the characters, allowing each actor to shine in moments of intense intimacy as well as charged group dynamics. Every scene felt intentional and charged with meaning, crafted to draw the audience into the characters’ inner worlds without ever feeling too heavy-handed. The director’s ability to create a space where honesty and emotional risk could flourish was evident throughout, resulting in a powerful and resonant production. This is definitely not an easy thing to do as well given that it is both a song cycle and a sensitive point of conversation so Campbell should be extremely proud of the work that both they and their team have done.” - Fourth Wall Reviews
“Catch the big issues presented by this little, growing theatre company heading for very big things”- Sydney Arts Guide
“the septet of powerhouse singers… simply sing the hell out of these songs… in this tightly written piece, here effectively produced for Sydney audiences. - Sydney Arts Guide
“Sarah Campbell’s set design for We Aren’t Kids Anymorewas a true masterclass, perfectly complementing the emotional landscape of the play whilst still grounding it within the bounds of the real world. Every piece, from the working piano and kettle to the jam-packed notice board, felt deliberate and truly created a space for art to be made and to follow the storyline clearly. The clever use of space allowed the actors to move freely with props, especially in a space as tight as Qtopia.” - Fourth Wall Reviews
