Why Can't Women Be Like Men?
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Date Reviewed: 14/11/2025
Love. Loss. Religion. Sexuality. Pleasure. Pain.
These themes pulse at the centre of Why Can’t Women Be Like Men?, a sharply observed and emotionally textured play written by counselling psychologist and creative writer Grazia Marin. Drawing upon her many years of clinical practice, Marin crafts a fictionalised yet deeply authentic portrait of women—across generations—whose intimate lives have been shaped, constrained and complicated by the men around them.
At the heart of the story is Felicity (Rosie Ochtman), who has invited her two closest friends and closest aunt to celebrate her birthday. Moments before they arrive, a brutal phone call leaves Felicity reeling: Michael, the boyfriend we never see, has ended their relationship without ceremony or remorse. Raised in a religious household and perceived as uptight, Felicity scrambles to plaster on a smile as the doorbell rings. But when an unexpected message is accidentally played aloud to the group, the carefully managed façade begins to crack.
The celebration soon spirals into confession, confrontation and unexpected vulnerability. Each woman slowly sheds her armour. Where often in reality this happens in the nick of time, and so too here.
Phyllis (Lisa Sharpe), recently widowed, has been harbouring a decades-long secret beneath her polished, old-world charm.
Gioia (Piera Dennerstein), a gifted singer who once made a pact to prioritise her husband’s promising legal career over her own, time and again, finds her marriage stagnating. As do we.
And Prudence (Veronicka Devlin)—the unapologetic wild child of the group—has entangled herself in a decidedly unconventional relationship that puts her at odds with the conservative Felicity.
What unites these four women is a shared realisation: their lives have been shaped, often dictated, by the expectations and needs of men. Yawn. Have they ever allowed their best selves to shine?
The play suggests the answer is a resounding no—at least, not yet.
Under Stephanie Lee’s assured direction, the piece unfolds over a brisk and engaging hour and 10 minutes, punctuated by curveballs, humour and moments of heartbreaking candour. The production leans into its exaggerated slice-of-life style, eliciting an appreciative response from the audience even amid the occasional opening-night tremors.
Ochtman brings a deliberate stiffness to Felicity that effectively communicates her internal knots of faith, shame and longing. Sharpe’s Phyllis is delivered with sharp comedic timing and a trove of charmingly old-fashioned references, a warm and likeable character, reminiscent of a family member most of us may have.
Dennerstein’s arc—from stifled wife to woman finally ready to speak or more so sing her truth—is compelling. Her role punctuated by several musical surprises, which could have been made into one or two more supremely magical moments, that appeared from nowhere and disappeared just as suddenly leaving the audience wanting a little more. Perhaps a signal of the underlying feeling of all the characters in this story.
Devlin, meanwhile, revels in the free-spirited chaos of Prudence, offering some of the night’s most unpredictable and delightful moments. A fun character delivered brilliantly.
While clearly centred on women’s experiences, the play holds up a mirror to men as well—an invitation, or perhaps a challenge, to reflect on the roles they play in shaping the emotional landscapes of the women around them.
Ultimately, Why Can’t Women Be Like Men? is both an entertaining night out and a piece that cuts close to the bone. It navigates disappointment, frustration and anger with warmth, pathos and humour.
A confident debut for playwright Grazia Marin and a testament to the power of stories rooted in lived experience.
Reviewed by Vivien Lynch