Month: July 2023

Hauntingly Beautiful – Children of the Black Skirt

If you’re looking for a hauntingly beautiful Australian classic, Angela Betzien’s Children of the Black Skirt is an absolute must-see. This production was first performed 20 years ago by a group of young art graduates after approaching the Queensland Art Council, proposing a way to tell real Australian stories.

Time has not aged this piece as it’s just as relevant today. It’s being performed at The Curators Theatre at Milton’s Christ Church, by the Lost Child Ensemble, right under the wing of Suncorp Stadium. The team has fought pandemics, fires, and floods to put this performance together. It runs for 60 minutes with a 15-minute Q&A with the cast and crew at the end.

Five young children find an abandoned orphanage, and the spirits stuck inside possess them as vessels to tell their long-lost stories in hopes of finally being free. Throughout the play, four children are under the ever-watching eye of the Black Skirt, Emily Greenant (Lisa Hickey), cycling through the stories of different spirits who had suffered in her charge.

The talented Mikeal Bobart, Shahnee Hunter, Malika Savoury, and Vivien Whittle play the four children. Choosing anyone as a stand-out performer is nearly impossible as they all put on incredible performances.

The soundscape is unnerving, with children’s songs and bird calls mixed with reverse clips of children playing. It sets the scene perfectly and sits comfortably with the gothic quality of the Church.

Bill Haycock and Peter Goodwin worked incredibly well together on the set and sound, but one cannot give enough praise to Helen Strube for bringing it all together in the end. Props must also be given to the church for hosting such a harsh critique of institutional abuse in Australia’s history.

If you have the time for a Gothic fairytale, Children of the Black Skirt cannot be recommended highly enough.

With the production running for just one more week, be sure to get tickets for any one of the following sessions at The Curators Theatre:-

  • Wed 19 July, Matinee 12.30 pm
  • Wed 19 July, Evening 7.30 pm
  • Thurs 20 July, Matinee 12.30 pm
  • Thurs 20 July Evening 7.30 pm
  • Fri 21 July Matinee 12.30 pm
  • Fri 21 July Evening 7.30 pm
  • Sat 22 July, Matinee 12.30 pm
  • Sun 23 July Twilight 5.30 pm
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All My Sons

Maitland Repertory Theatre’s production of Arthur Miller’s All My Sons dives deep into its dark themes, leaving the audience feeling for every flawed and human character. What starts as a leisurely look at a suburban family accelerates into a philosophical examination of duty, trauma and grief, and we are invited into the family backyard to watch in awe as the play’s events transpire before us.

It is a personal love of mine when actors perform pre-show or during intermission. As you walk into the playhouse for MRT’s production of All My Sons, all the characters are already on the stage. The idealised American Dream is set by actors sitting on green, green grass in front of bright blue walls, staring off into the horizon while a sepia-coloured home video plays in the background.

This production uses a bare-slanted stage, which does several clever things. First, it allows the actors to be seated on the ground in a way that is still very visible to the audience. Second, the audience feels like they are in the space with the characters, as if the backyard’s grassy knoll is extended to us. And third, it helps to create the illusion of the horizon as the actors stare over us and into the distance.

Despite the bare stage, the costumes and accents help to set the play in the right time and place. There is no confusion that we are in America in the aftermath of WWI.

Many of the characters in All My Sons give heartfelt and emotional monologues that reveal the depths of their trauma. Aimee Cavanagh, Richard Rae, and especially Carl Caulfield did a fantastic job with their pieces. Real sweat, tears, and authentic connection to the words and themes resulted in the audience feeling for and with the characters of Kate, Chris, and Joe (respectively).

Although it was hard to look away from Carl Caulfield’s powerful presence, the standout performance in this production was Richard Rae’s portrayal of Chris Keller. Rae’s connection with every cast member was clear, and he was the weaving that threaded the production together.

An absolute treat for the audience was the scene between Chris Keller and Joe Keller, where truths are revealed and philosophies grappled with. This was the only scene that mainly used music or lighting, creating a warped sense of reality. Their world was collapsing right before our eyes, and the audience could only watch with awe.

Maitland Repertory Theatre’s All My Sons remarkably brings Miller’s play and its characters to life. Although this review emphasises the darker elements of the play, it should be noted that the performance includes some light-hearted moments and witty interactions, which were an absolute joy to watch as well.

The production runs for Friday, Saturday and Sunday performances from 14th July through to the 23rd July.

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Terry Pratchett’s The Truth – A Delight for Discworld Fans

As a longtime fan of the Discworld series, I had the pleasure of experiencing the stage adaptation of Terry Pratchett’s The Truth. The production, presented by Roleystone Theatre at the Don Russell Performing Arts Centre, successfully brings the vibrant world of Ankh-Morpok to life.

The storyline revolves around William de Worde’s bold steps into the role of Discworld’s first investigative journalist. And it is a baptism of fire as scandalous charges of attempted murder and embezzlement against the esteemed leader of Ankh-Morpok, Lord Havelock Vetinari, emerges.

The cast is large, with highlight performances from Lord Vetinari(Lilly Litchfield), Gangsters Mr Pin(Aaron O’Neill) and Mr Tulip(Peter Carr), William De Worde(William Darlington) himself. However, due to the large ensemble, keeping up with the frequent scene changes can take a lot of work, and every cast member gets their chance to shine.

For avid Terry Pratchett fans, this stage adaptation is an absolute treat. It encapsulates the unique humour and charm that Pratchett’s writing is known for. However, those unfamiliar with his work or who have yet to read The Truth might sometimes find the storyline a bit demanding to follow.

The production stays faithful to Pratchett’s style and includes his signature quirky commentary on contemporary life through the lens of Discworld’s foray into journalism. William’s frustrations with the public’s blind acceptance of information and reluctance to believe the truth resonate strongly in today’s society. The play cleverly satirises the willingness of some individuals to believe falsehoods while rejecting the truth.

Roleystone Theatre deserves commendation for taking on this ambitious endeavour. The adaptation captures Terry Pratchett’s brand of humour and seamlessly weaves it into the narrative.

In conclusion, Terry Pratchett’s The Truth on stage is a must-see for fans of his Discworld series. The production effectively brings Pratchett’s beloved world to life with solid performances, creative staging, and the infusion of his distinctive humour. While it may be slightly challenging for newcomers to grasp the storyline fully, the overall experience is a delightful tribute to Pratchett’s legacy and satirical take on truth and journalism.

Terry Pratchett’s The Truth only has three sessions remaining. Book a session for Friday at 7:30 pm 7th, July or Saturday at 2 pm/7:30 pm 8th July.

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