We review community theatre and musical ensemble performances on invitation, see our reviews below. Please contact us on info@magicantnetwork.org to request a reviewer.
‘Sweeney Todd: The Demon Barber of Fleet Street’ presented by Ghostlight Theatre Co. and KSP Theatre – 4/5
Written by Lachlan Boyes (11/11/2023)
Attend the tale of Sweeney Todd!
Ghostlight Theatre Co. and KSP Theatre have joined forces to bring Sondheim’s ‘Sweeney Todd: The Demon Barber of Fleet Street’ to Burpengary. This production is a reimagining of the iconic tale, following the legendary barber, Sweeney Todd (Johnny Sweeper), who has returned for revenge and joins in a delicious partnership with Mrs Lovett (Sarah Ashby).
Director Gary Farmer-Trickett set out to create a new version of the tale, with a modern asylum feel, scrubs and all. Farmer-Trickett has taken advantage of the intimate space of KSP, bringing the audience up close and personal with the demon barber, going as far to turn on the house lights – allowing Sweeper to offer a shave to the audience. Farmer-Trickett utilised every inch of the stage. Keeping the actors on stage allowed a glimpse into their lives when no one is around. The precise, slow movements by the actors to change from one role to another, can only be a reflection on Farmer-Trickett’s skill as a director.
Walking into the theatre, you are met with white walls – the perfect canvas for the blood of Mr T’s victims. A bookshelf full of bottles, benches stretching the walls, a desk and a chimney created a feeling of chaos – but not without reason. The set was carefully sectioned, allowing each character to retreat into their ‘home’. Benjamin Oxley had his chair; Hamish Stone had his book and crucifix; Chantelle Currie had her dimly lit bench. The layout of certain scenes could have been executed with more cohesion, as certain placements felt disjointed.
Russell Jensen has once again demonstrated his exceptional talent – paired with Richard Rubendra – light and sound were masterful. Despite a mic issue here and there, the team powered on. Jensen’s use of the lights helped differentiate between time and place, going up and down with precision. A smoother shift from track to track would have elevated on stage transitions.
Mark Mirhan has developed a cohesive and talented cast of singers. The harmonisation of Sweeper and Ashby highlights Mirhan’s skills as Musical Director. Special vocal mentions to Ashby, Tai Kane-Potaka and Farmer-Trickett who maintained their performance from beginning to end.
Jade Plaistow’s choreography added to quieter scenes and was often done with tasteful synchronised movements; several of the best ensemble moments came from Plaistow’s choreography. Despite being moments when the movement felt unnecessary and disjointed it was executed well overall.
All actors need to be commended on their characterisation and focus. Even when sitting in the dark, the actors maintained their characters and demonstrated immense professionalism. Special mentions go to Yasmin Elahi as Johanna Barker, Plaistow as Mrs Fogg and Amanda Jensen as Beggar Woman. Elahi shines in this role and delivers one of her best performances, with exceptional facial expressions and reactions. Plaistow maintained her character from start to finish, adding an extra layer of creepy, continually playing with her hair or a pair of scissors. Jensen’s character added comic relief with an element of sadness.
Special mention must also be made to the makeup of all cast members, especially Jensen with her peeling skin and bloody sores.
Chemistry is essential in a show such as this. Sweeper and Ashby, along with Elahi and Farmer-Trickett, delivered captivating duets. All eyes were on these duos.
This reimagining of Sweeney Todd saw rapturous applause and stellar audience reviews. It was difficult to walk out of the theatre without hearing a positive accolade left, right and centre. Ghostlight and KSP have once again shown the power of a co-prouction and both theatres’ should be incredibly proud of this production. If you are looking for a night of blood, craziness and talent, head over to Burpengary for the closest shave you will ever receive.
‘A Murder is Announced’ presented by New Farm Nash Theatre 4/5
Written by Naomi Warren (11/11/2023)
New Farm Nash Theatre opened their production of ‘A Murder is Announced’ with a bang.
Under the masterful direction of Sharon White, the cast performed to a full house on Saturday. How would you react to a murder being announced in your local newspaper? This Agatha Christie provides a glimpse into one such occurrence. Chipping Cleghorn will never be the same…
White’s direction of ‘A Murder is Announced’ is a shocking and masterful production. White’s direction made a small stage feel like the Manor House it is supposed to be. The decision to extend the stage added more room for the large cast but also brought the audience closer to the action. The beautiful couch and chairs invited the audience into Little Paddocks, giving them a glimpse into 1950s England. The curtains were a lovely addition.
The storytelling is compelling, with actors Susie Williams as Miss Blacklock and Caitlin Cleary as Mitzi being standout characters. William’s characterisation and Cleary’s stage presence sell the audience a tale of murder, treachery and heart break, while keeping the tone light and playful.
Philippa Dwyer and Brendan James had excellent chemistry. Drawing the audience into their experiences of the fateful night. Their naturally playful manner highlighted the experience and friendship of this cast.
Linda Morgan as Miss Marple was an audience favourite with witty lines and a delightful presence. Ellie Bickerdike as Bunny brought a playfulness to the stage. Brad Oliver as Inspector Craddock delivered the hard, stern lines, becoming the reality check many characters needed. Catherine Sturk as Philippa Haymes, Gareth Neil as Edmund Swettenham, Silvana Siliato as Mrs Swettenham and Lachlan Boyes as Rudi Scherz/Sergeant Mellors were essential in driving the story and creating the sense of mystery.
The cast on stage paint a picture of family and friends who come together during trying times to support and rely on each other, but the second act packs in a few delicious surprises. Every actor displayed wonderful professionalism and characterisation. You could see the effort, time and dedication they put into their craft, and they should be proud of the show they’ve put on. The only criticism is the speed of line delivery. There were a few lines that were said in a blink. The script is a killer and the actors are incredible, slow down and enjoy the show.
There is still time to see this magnificent production, but tickets are selling fast, visit New Farm Nash Theatre’s Facebook page to get tickets. Thankfully, the evening show starts at 7:30pm to avoid any nasty surprises.
‘The Amateurs’ presented by Ad Astra 5/5
Written by Lachlan Boyes (9/12/2023)
This weekend saw the close of Ad Astra’s latest production ‘The Amateurs’. Following a troupe of actors as they flee the horrors of the Black Plague, ‘The Amateurs’ is hysterical, sorrowful and thought-provoking. This tragicomedy, written by Jordan Harrison, invites the audience to understand not only the life of an actor but life itself. Under the masterful direction of Susan O’Toole Cridland, the cast of six are a force to be reckoned with.
Ad Astra’s intimate theatre is the perfect place to stage this production. Directors can fall into the trap of downsizing their production to fit the space, O’Toole Cridland falls into no such trap. The stage was used to perfection and no corner was left unused. The second act even saw one of the actors use the theatre entrance and a spare audience seat.
Set design by Kim Phillips, Tim Cridland and Dan Kennedy transformed the theatre into a 14th Century masterpiece. The highlight was the wooden wagon that was a centrepiece for the travelling troupe. The set on stage was kept minimal, allowing the actors to move freely on stage. The wooden floorboards, hessian skirting, and wooden furniture brings the audience into the world of a travelling theatre.
Russel Jensen is the gift that keeps on giving. In a production loaded with comedy – smooth lighting and sound transitions are key. Jensen never missed a beat. The song selection of ‘Running Up That Hill’ by Kate Bush was perfect in every sense of the word. Its references to God and message of understanding one another is poignant to the story. Jensen is the light and sound designer every production needs.
Where does one start when dressing actors for such a show? Julia Cox and O’Toole Cridland started in the 14th century, with dresses, waistcoats and dress shirts. The second act took on a more modern theatre vibe with the actors in plain black clothes, standard for present day actors. Cox demonstrated her incredible talent with the 7 Deadly Sins masks that were reminiscent of traditional commedia dell’arte masks. The faces and colours on the masks were exquisite and were a highlight of the show.
Now to the cast of this production. Three words can be used to describe these six actors. Perfect, perfect and perfect. There was not a single moment where an actor let the show down. Lines were delivered with precision. Movement was purposeful. Characterisation was flawless.
Matthew Filkins as Larking was a joy to watch. As the ‘leader’ of the troupe and self-proclaimed best actor – Larking was larger than life. Filkins oozed the arrogance of Larking but provided us with a heart-breaking moment of realisation. The duke’s residence is not the Ark he was hoping for.
Maddie Armit as Hollis was subdued in the best way. Armit didn’t have any big moments in the first act but delivered one of the best moments of the production in the second act. The audience was invited into the life of Maddie Armit and they were not disappointed.
Isaiah Harrison as The Physic delivered an incredible performance. His slow, deliberate pattern of speech created a character that was wise and worth listening to. Harrison’s character is revealed to be Jewish when he retells the story of a genocidal act in his town. The delivery of this scene was powerful and tense.
Lia Davies kicked the audience in the face with her portrayal of Rona. What a performance. The facial expressions that Davies treated the audience to kept them in fits of laughter. The sexual nature of Rona was brought to life by Davies and was perfectly paired with her moments of depression.
Max Phythian as Brom delivered some of the best moments. Phythian captivated the audience with confessions of forbidden love and hilarious moments as the duke’s messenger. The was an audible gasp in the room when Phythian removed his shirt, revealing sores from the plague.
Greg Scurr was a standout performance. His ability to not only play one of the travelling troupe but to come alive as Jordan Harrison himself was nothing short of incredible. When Scurr first starts talking as Harrison in the second act, the audience knew they were in for a spectacular treat. They way Scurr interacted with the audience was magical and brought every member into the show.
Special mention must be given to the Stage Manager, Laraine Griffiths and Production Assistant, Ella Bromback. A production like this requires an expert team backstage, Griffiths and Bromback were clearly an excellent choice.
Finding a critique of this production is like finding a needle in a haystack. If one must provide criticism, it would be asking the actors to pause for a beat longer when the audience is laughing. Let the people laugh.
If you didn’t get a chance to see ‘The Amateurs’, your loss. If you didn’t get to see six actors deliver award winning performances, your loss. If you didn’t get to see a true master of direction at work, your loss. Next time, don’t fear the title, book tickets and take a chance.
‘The War of the Worlds’ presented by New Farm Nash Theatre 5/5
Written by Kelly McQueen-O’Neil – Salty Crew Productions
Nash Theatre’s production of “War of the Worlds LUX Radio Play” took audiences on a nostalgic journey back to the 1950s, capturing the essence of classic radio dramas with a sci-fi twist. Accompanied by the bonus opening radio play, “The Day the Earth Stepped Sideways,” written by Director, Jason Nash, the evening promised a delightful blend of humor and entertainment.
The production featured a reimagining of H.G. Wells’ classic tale, “War of the Worlds,” presented in the style of a 1950s radio broadcast. The bonus opening play, “The Day the Earth Stepped Sideways,” provided a fitting prelude with its “Rick and Morty meets 50s sci-fi” vibe, setting the tone for an evening of retro-inspired fun.
The cast didn’t just perform; they teleported us straight into a vintage radio studio. While accent and voice work can be difficult, John Mann and Bruce Edgerton made it seem easy, skillfully capturing the essence of 1950s radio and sci-fi narration, channeling their inner Orson Welles with voice work so smooth you could slide down it. Petra Donnison deserves a round of applause for her accent acrobatics, flipping between English, French, cockney, and southern drawls faster than you can say “what, like it’s hard?” Her seamless transitions between accents showcased her versatility and talent.
The attention to detail in production design, including coordinating outfits and a meticulously crafted sound stage, added to the immersive experience. The interaction between the sound stage and the cast was a highlight, enhancing the authenticity of the radio play format.
The script was engaging and well-paced, paying homage to the original source material while infusing it with a modern twist. Memorable lines and witty dialogue kept the audience captivated throughout the performance.
Offering a thought-provoking exploration of timeless themes within the context of a thrilling sci-fi narrative. Beneath the alien invasion hijinks, there’s a subtle nod to human resilience and the enduring power of storytelling. It’s a reminder that no matter how many Martians drop by unannounced, humanity always finds a way to survive… and crack a few jokes along the way.
The cast’s seamless portrayal of multiple characters and their mastery of the radio play format made for a smooth and entertaining performance, Ella Bromback’s subtle facial expressions and interaction with other characters had me glued to watching her next move. Mark Corben’s comedic timing added an extra layer of enjoyment to the production, Mark had me giggling all the way through with his antics, If Doc from Back to the Future was a sound engineer on a 50s radio set, I think Mark’s performance shows us what that might be like, evoking laughter from start to finish. As a fan of radio plays and audio dramatizations, I was thoroughly impressed by the talent and dedication of the cast and crew. This show is a sassy salute to the radio plays of old, sprinkled with modern sass and interstellar charm. Bravo to the cast and crew for whisking us away on a cosmic adventure that had us reaching for the stars and beyond.
In conclusion, Nash Theatre’s “War of the Worlds LUX Radio Play” was a delightful homage to the golden age of radio, blending nostalgia with modern flair. Congratulations for delivering an entertaining and memorable theatrical experience. As a big fan of radio plays and audio dramatizations, I was left buzzing with delight by this talented troupe’s stellar showmanship.
‘Towards Zero’ presented by St Luke’s Theatre Society 4/5
Written by Lachlan Boyes
A beautiful holiday away at the home of Lady Tressilian is obviously the perfect opportunity for Neville Strange to bring his current and former wife under one roof. Will this holiday be a chance for Kay and Audrey to become friends, or a chance for a horrible murder?
After driving to Hervey Bay and back (a short 6 hour round trip), one might think it best to go home and relax, but how can you when you know there is an Agatha Christie playing! One of the most incredible things about community theatre is that it isn’t just about the production. St Luke’s Theatre Society’s venue, a church turned theatre had a pop-up stall, raffle prizes (raising money for The Fred Hollows Foundation) and tea or coffee with biscuits. Community theatre at its finest.
The night kicked off with a quick announcement from Director Sharon White, letting the audience know that leading actor Matthew Hobbs (Neville Strange) was unwell. Naturally, he would still perform and give it his best. The show must go on after all. If that is how Hobbs performs when sick, opening weekend must have been a treat indeed. Hobbs never missed a beat; he maintained his character from start to finish and had some fantastic moments.
Throughout the performance you could hear the quiet whispers of people trying to guess the murderer and the gasps when clues were brought to light. There were several big reveals, as is typical in a Christie, but they were shocking, nonetheless. There were incredibly funny moments, and the actors allowed the audience to enjoy the moment before pressing on. The audience were constantly left guessing who was going to be murdered and who was going to commit said murder.
A slow, suspenseful opening of the curtain drew the audience into the masterful set from the get-go. White, along with Brett Simpson designed the stage with such perfection, down to the smallest detail. The walls were lined with picture frames, the bookshelf was bursting, and the furniture was immaculate as always. Despite a few confusing furniture changes, the set placement allowed for easy movement and clear line of sight.
The stage belonged to the ladies. The magnificent Amy Bent (Kay Strange) and Philippa Dwyer (Audrey Strange) took over the stage from the minute they started. Bent played the perfect jealous wife, with a lovely touch of pure rage. Dwyer is no stranger to the White and Christie stage; this performance once again shows audiences why. Dwyer never misses a beat. Each line is delivered with careful precision, drawing the audience in for a spectacular show. Linda Morgan portrayed a wonderful Lady Tressilian, with the commanding presence of a lady who has lived a long life. Madelyn Scott who portrayed Mary Aldin, one of Lady Tressilian’s carers, carried herself with poise and grace, bringing a softer presence to the stage.
As a whole, the cast must be commended for the ensemble work. Despite a few line difficulties, the cast rallied together and helped one another out of trouble. Accents were clear and well maintained through the production. A special mention goes to Eddie Bruce who portrayed Matthew Treves. Bruce has an incredible stage voice that echoed around the theatre, bringing about an air of respect and authority.
The technical aspects of this production were simple, but effective. The lightning storm was done well, with brilliant arcs of light flashing across the stage. The music for this production was very effective, bringing in great dramatic tones. A point of note was the snap to black speed, it was slow at several points and left the actors stranded on stage (kudos to them for remaining frozen).
Productions like this don’t go on without a talented Stage Manager in the wings and that is exactly what Laura McIntosh is. Keeping a show running smoothly is no easy thing, add a sick cast member on top, things can easily go wrong. Thankfully under the watch of McIntosh, everything ran on time and without incident.
There was one exceptional moment in the production where there was an echo of “how lovely” throughout the audience when Audrey and Kay Strange took the stage with their dinner gowns. Whoever picked those gowns deserves a round of applause, they were stunning and showed a point of difference in the two ladies.
It would be remise of me not to mention the program, something that is rarely mentioned but takes up just as much time as everything else. A beautiful booklet, complete with some lovely bloodstains and bullseyes.
Overall, the production was an absolute joy to watch, it had great pacing, even in the quite scenes. The stage was used to perfection which is no surprise under White’s direction. White is further cemented as the Queen of Agatha Christie; she never misses a chance to leave the audience gripping their seats.
If you haven’t seen “Towards Zero”, you are in luck, there is still one more weekend of shows! If you guess “Whodunnit”, congratulations, if not, better luck next time! Thank you to the cast and crew for your hard work and dedication to your craft, it was the perfect way to spend a Friday night.
‘Tonight with Donny Stixx’ and ‘Dark Vanilla Jungle’ presented by The X Collective 5/5
Written by Andrew Fraser
On the 13th of April I attended a showing of Brisbane based X Collective’s opening show of their season. When I say opening show, it is actually a double bill of two plays by English storyteller Phillip Ridley (Tonight with Donny Stix, and Dark Vanilla Jungle) I have read one of Ridley’s previous works Leaves Of Glass, but his work is rarely performed here in Brisbane, and so I am still somewhat unfamiliar with his works, so heading into the show I was unsure of what to expect.
The plays are both one actor shows, both follow a similar storytelling element of the characters recounting their stories through a series of monologues. And honestly I was so thoroughly impressed with both productions, but more so by the performances given by each actor in their respective shows. Tonight with Donny Stix stars Ronan Mason, and Dark Vanilla Jungle stars Whitney Duff. These two actors gave very contrasting performances, and told two very different stories, but several themes were recurrent across both shows. The first being that both productions have similar narrative devices, jumping around through time and space, keeping audiences off balance by dropping little foreshadowing clues of what happened to both characters, then returning to the main storyline and letting their stories unfold.
The direction by experienced Brisbane based Director Wayne McPhee, might appear minimalist at first glance, subtle light changes and sound effects that serve to compliment the stories, but never taking centre stage, and never drawing attention away from both storytellers mesmerizing performances. The stage effects may seem minimal, but McPhee’s fingerprints as the director is very evident in these works. McPhee understood that he cast two very talented and skilled artists, and wanted to allow them to be the focus, and give them free reign to strut their stuff. You can see that he has worked closely with both performers, making sure they understand the scripts, then detailing and polishing each individual moving piece. So that the sum of the parts shine so brightly that the assembled works are quite the sight to behold!
There are some narrative imagery similarities in the two pieces, that I personally found quite fun to see them reoccur. Ten points to those who pick up the “smell of lemon’s” mentioned in both shows. The final similarity between the two shows was that both actors were so engaging, that after the five minute or so warmup for the actors to get comfortable and the audience to settle into the shows – they got you hooked they never let you go. Whilst both Mason and Duff are incredibly captivating, their way of operating was completely different.
Tonight with Donny Stixx tells the story of an aspiring magician and how he goes abouts juggling, ambition, family, and ones all-encompassing passion for their craft… or is it his passion to be famous? Right from the start Mason introduces himself to the audience, engaging with them, and inviting us all into this world that he has crafted. Mason’s energy as an actor is something not often seen. He possesses such a vulnerability and an open heart, that his energy is like a warm fluffy cloud, completely enveloping the crowd with its warm embrace. As an actor of 16 years myself, I could appreciate how in a story like this one, there is the need to project or “show” vulnerability. But McPhee and Mason both have done an incredible job, to have faith in that heart of Mason’s, that he doesn’t need to force or show anything. He just opens the door into his heart and mind, and has absolute faith in his abilities, that you will cross that threshold, take a seat, and be transfigured by what you see unfold.
Mason’s light step of foot, and soft-spoken RP accent allows him to glide through the story. Particularly impressive was when he switched characters and changed accents, whilst I personally do not possess a perfect ear for the English dialects and all the innumerable variations of them, Mason’s switches to the various accents of the different characters were spot on!
Those that are blessed with the “tism” or are somewhere on the spectrum, will have a slight chuckle to themselves as they see aspects of their more OCD-esque quirks reflected in Ridley’s writing, and Mason’s performance. The only downside I can really say about the show is, being a millennial, whose mind and attention span has been melted into mush by the constant barrage of 30-60 second Tik Tok and Youtube videos. I found my concentration waning, in the last 20 minutes of the show. The script’s length and pacing slows down in the setup for the big emotional reveal in the last twentieth of the show, but when the reveal happens. It makes that build-up oh so worth it. Those that are artists, are ambitious about their dreams, or feel like they are just a little bit different, will definitely resonate with this story being told on stage.
Dark Vanilla Jungle, whilst sharing some similarities with the first show, is a completely different kettle of fish. It tells the story of a young woman damaged by trauma and searching for that very human need to be loved, and needed, no matter what the world thinks. Duff right from the start, comes out and commands attention with her stage presence. She is confident, vulnerable, brave, and whilst Mason was like a warm cloud inviting you in, Duff is like an Amazonian who will come out and effect you so deeply to the heart, that you will sit up and pay attention. Duff is an artist who one can tell possesses no fear or judgment for her character that she plays. She plays the character of a young woman, who is fighting so desperately for a want to be loved and needed, that you can see she goes after that goal with such strength and vitality. But also possesses a heart that is so raw and vulnerable, and she paints with such a beautiful juxtaposition between innocent and naive, to calculated and determined.
I was completely hooked from start to finish with Duff’s performance and the story she told. Two moments in the show really stood out to me, one was a scene when Duff sang, the script and the performance really made this quite a poignant moment and sitting there I could feel that she had touched every member of the audience right in the deepest parts of their souls. Another is a little bit trickier to explain without giving too much of the story away but trust me you will know it when you see it. But the character is doing something that people would say is incredibly unethical, and to watch this particular scene play out on stage is definitely a rather uncomfortable moment for the audience. But I remember sitting there watching this moment, and I thought to myself “my goodness there is no trace of judgment for her character when she is doing this” which might not sound that difficult in this review. But when you see the scene, you will definitely rethink it. So, I gotta take my hat off to her for going after it with everything she had.
One nitpicky note I would say, I did notice in some of the highly emotionally charged scenes the accent dropped for a couple of lines, but she would very quickly snap back into it. As many actors would know, trying to act out a highly emotional scene in an accent is a very tricky proposition, and to the untrained might not seem that difficult, but it is very difficult indeed. So kudos to Duff for giving an absolutely red hot go, and making sure that she got out the raw emotional fuel needed for the scene. This is a really beautiful story about love, being hurt, and doing whatever it takes to find love. For those that have ever been in love, been hurt or broken by love, but still choose to fight for it. This show is for you.
I have tried to give away as little as possible in this review regarding the storylines of both of these shows, I didn’t want to be that guy at the movies who spoils the ending for everyone. But trust me, it is worth seeing both of these shows just for the performances alone. Every actor in town should make an effort to get along and see these shows. This is two people, performing two well written scripts, no fancy effects or gimmicks to hold attention, no other actors to bounce off or interact with. Just two people who are well directed, carrying the entire weight of a show off the back of their hearts, minds, and souls, and delivering an absolutely incredible night at the theatre. Both from an entertainment and technical aspect. An absolute labour of love by all creatives involved. These shows are a great example of why this artform has been around since the dawn of humanity, and with stories and performances like this, why it will continue, for a long long time to come.
‘Stage of Desire’ presented by Salty Crew Productions 3/5
Written by Lachlan Boyes
Those who dabble in the theatre world know that a Sunday matinee is a great time to watch a production. Especially if there are movie style nibbles involved! Last Sunday’s matinee production was Stage of Desire presented by emerging theatre company Salty Crew Productions, written and directed by their President, Kelly McQueen. Set in the fantastic period that was the Roaring Twenties, we see the lives of four individuals crash together – but can they control their desires?
Walking into the KSP Theatre is always a delight. This time, a red carpet was rolled out and the audience were greeted with a lavish couch, a desk and a stunning bar cart (a few audience members were keen to pinch it!). Throughout the production the audience are introduced to four main players, Maxwell Worthington, Eleanor Anderson, Victoria Grayham and Reginald Winston. Each of these characters has a desire or two that drives them to enter this world of playfulness, throwing caution to the wind and enjoying life.
Ciaran Kowold portrayed theatre owner Maxwell Worthington, providing the audience with a powerful, jealous and at times arrogant presence. Kowold had some good moments but would have benefited from greater light and shade. Melanie Pryde takes the stage next as Eleanor Anderson and the audience are instantly aware of Kowold and Pryde’s chemistry, it’s almost as if they have had practice (a little joke for those who know). Pryde brought a shy, sweet personality to complement Kowold’s larger than life persona. It was clear that Pryde has talent, and it would have been nice to see some moments fleshed out to highlight that talent. Victoria Grayham (Worthington’s leading lady), played by Izabela Wasilewska, brought a fiery energy to the stage, often leaving the audience cackling. Those who have seen Wasilewska before know that she is a theatre powerhouse that can’t be stopped. Whilst this production didn’t offer those larger moments for her, it was Wasilewska’s performance that made the show. Side note – Wasilewska, don’t shuffle your feet! The final member of the awesome foursome is Gary Farmer-Trickett who brought Eleanor’s fiancée, Reginald Winston to the stage. Farmer-Trickett had some beautiful moments in this production but once again didn’t get many opportunities to showcase his abilities.
McQueen has assembled a talented team of actors, however, the scene transitions of the production let them down. A script like this works well when the momentum is rolling, and the suspense is high. The choreographed scene changes continually broke the flow and often invalidated the emotion of the scene that occurred before a change. Whilst it is commendable that McQueen has tried to create multiple different locations within the production, it would have been more powerful to have kept it in one location or cut the scene changes in half. One of the brilliant things about the KSP stage is its mid-stage curtain, but it was under-utilised and could have helped McQueen transition from scene to scene a lot faster. The intimate nature of the script would have flourished on a smaller stage.
There were moments at the end of scenes that felt like McQueen was going for a montage or film noir style, however, the physicality – or lack of physicality – of the actors stopped it from working. It would have been interesting to have seen the montages done as a scene was evolving, speeding up the process and exploring the physicality of the characters further.
Rounding out the cast were four ensemble members. Bradley Fuller, Chantelle Currie, Elizabeth Brearley and Janelle Kerr all played their roles perfectly but felt unnecessary at times. Once again, adding an ensemble caused scene changes to drag and detracted from the story unfolding.
Russell Jensen on lighting and sound was very relaxed with simple but effective cues. The costumes were stunning and drew the audience into the era. One small thing that needs to be mentioned. If you are working with plastic that is supposed to be glass, don’t make it obvious by slamming it down!
Overall, it was a good production and a great way to spend a Sunday afternoon. It was fantastic to hear the audience laughing and having a roaring good time, because that’s what community theatre is all about!
Magic Ant Network 