Come From Away

Come From Away

Come From Away Rating

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Therry Theatre have ‘hit the jackpot’ with their latest production of Come From Away!

It is not so much a musical as an experience in compassion, simply but powerfully done.

Come From Away takes place during the days following 11th September 2001, when 38 planes carrying 7,000 air passengers were diverted to the town of Gander in Newfoundland. This small town, with a population of just 11,000, opened its doors to passengers from all over the world, providing shelter, food, and most importantly, kindness.

It is an amalgamation of hundreds of real-life stories from the people of Gander and those stranded there during the events of 9/11.

The creators, Irene Sankoff and David Hein, visited Newfoundland on the 10th anniversary of 9/11 to meet the locals and passengers who experienced this first-hand. These interviews and stories became the foundation of the musical, turning it into a genuine celebration of the kindness that emerged in those challenging days.

Therry Theatre and respected director David Sinclair have risen to the task of such a complex show and had the audience ‘on their feet’ at the conclusion of opening night. While the musical is based in a unit set with trees (Mark Rogers), some tables, chairs, and the orchestra lurking in the sides of the stage, it is the multiple characters and the ensemble (or ‘family’) nature of the piece that makes it challenging.

Sinclair knows the Arts Theatre stage (with its notorious sight lines) and has used every centimetre available to its best advantage. His characters are ‘real’ and we identify with their stories. His vision had many of the audience in tears at the conclusion of the piece.

 

 

He is ably assisted by Associate Director and Choreographer Linda Williams whose choreography is clever, and drives the piece along, particularly the opening and closing numbers.

Musical Director Peter Johns’ band hits all the right notes and includes the little heard bodhran (an Irish frame drum). Johns also plays the piano accordion and keyboards, no mean feat!

Lighting plays an important role in any musical and Mark Oakley’s lighting matches the emotions of each scene. There were a few late cues but these will disappear as the production continues. Allpro Audios’ sound adds clarity to the balance of singers and band.

In an ensemble (or family) production each cast member is of vital importance and it would be remiss of me not to name everyone –

Trevor Anderson – (Kevin J and a brilliant portrayal of Ali) gives the performance of a lifetime alternating a gay boyfriend with a Muslim Master Chef.

Kate Anolak – (Beulah and others) give her character depth with her compassionate performance. Her scenes with Hannah are heart breaking.

Michael Denholm – (Nick and others) adds a touch of comedy and romance as a frustrated Englishman who befriends and eventually marries Michelle Nightingale – (Diane and others). Watching their romance develop is a highlight.

Dee Farnell – (Beverley and others) shines as the pilot of the plane and its passengers that are the focus of the musical. She nails every scene, every note and is a standout. Her ‘Me and the Sky’ is a joy!

David Gauci – (Claude and others) as the Mayor of Gander is a lesson in acting, especially when he changes characters, literally at the ‘drop of a hat’.

Josh Kerr – (Oz and others) is an audience favourite, particularly his Italian character complete with long flowing hair!

Brady Lloyd – (Kevin T and others) adds a tender touch as one of the two ‘Kevins’ whose relationship breaks up over the Gander tradition of ‘kissing the fish’, or perhaps it was destined to breakup anyway?

Claire McEvoy – (Bonnie and others) gives a touching portrayal of the ‘keeper’ of the animals on the flight. Her last scene is tear-jerking.

Eloise Quinn-Valentine – (Janice and others) adds depth to the villagers and the passengers on the plane.

Lisa Simonetti – (Hannah and others) gives us a portrayal that any mother can identify with. Her ‘I am Here” is beautifully and emotionally sung.

Stephen Tongun – (Bob and others) – gives us an important viewpoint of the way people of colour are sometimes till treated in our society.

The cast also includes Shelley Crooks, Daniel Hamilton, Dominic Hodges, Michelle Tan, Katie Packer and who are not only swings but villagers as well.

Come From Away is an emotional roller coaster that is moving from start to finish, and adds vital dimension to 9/11 and the lives it affected. Bravo Therry Theatre for a superb evening!

To book tickets to Come From Away, please visit https://therry.org.au/.

Photographer: Andrew Trimmings

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Shakespeare In Hollywood

Shakespeare In Hollywood

Shakespeare In Hollywood Rating

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“Playwright Ken Ludwig is to contemporary domestic stage comedy what Arthur Miller was to the dramatic theatre of his time.”— Contra Costa Times

The Adelaide Repertory Company brings Shakespeare to the masses with their latest production of Ken Ludwig’s Shakespeare in Hollywood.

Commissioned by the Royal Shakespeare Company, and winner of The Helen Hayes Award for Best New Play of the Year (the MacArthur Award), Shakespeare in Hollywood combines one of the bard’s greatest works with Hollywood royalty of the 30s and 40s

Set in1934, Shakespeare’s most famous fairies, Oberon and Puck, have magically appeared on the set of the Warner Brothers movie of A Midsummer Night’s Dream. Overcome by the glitz and glamour of show biz, the two are cast to play (who else?) themselves. With a little help from a magical flower, a blonde actress and a movie mogul, the results are hysterical.

Director Jude Hines is no stranger to comedy having directed the bitter sweet new version of Mother and Son last year and the highly successful Jersey Boys for Therry Theatre in 2024.

Hines has gathered a talented, highly enthusiastic cast of sixteen, many who play multiple roles. Her blocking is meticulous and the production is ‘slick’ with particularly well-rehearsed scene changes. Her knowledge of the 30s Hollywood period is detailed as is her knowledge of A Midsummer’s Night Dream; essential if they are to be seamlessly blended.

Her vision is enhanced by Gary Anderson’s set design dominated by a large tree that could have come straight out of Camelot or Brigadoon, Ian Barge’s lighting with its beautiful contrast of a brightly coloured fairydom complete with magical smoke, the more austere studio lighting and the striking downlights for the phone call scenes and Sandy Whitelaw’s evocative costumes. (special mention to Oberon’s crown by John Duval and Ushmo Prem and Bottom’s head by Aryahna Tyree).

 

 

Stephen Bill’s Oberon is everything we would want the king of the Fairies to be, mysterious and with immaculate diction. He is the lynch pin to the production and carries the mantle of leading actor with ease.

Emily Burns’ Puck is mischievous, bold, and a worthy accomplice to Oberon. I loved her repetitive exit line, straight from Shakespeare.

Ben Todd’s Jack Warner is suitably boisterous and demanding and a great foil to his assistant Daryl and Max Reinhardt. He commands the stage in all of his scenes.

Sam Wiseman’s Max Reinhardt reminds us of the conflict in Germany during the 30s and strikes more than a comparison to the current head of the USA. I loved his scenes with Will Hays.

Adam Schultz’s Will Hays is narrow minded, pedantic and the enemy of Hollywood film of the time. His scene when becoming the ass from Pyramus and Thisbe is hysterical.

Leah Lowe’s Olivia Darnell is a character we can all sympathise with, a young star who is uncertain of her talent. Her scenes when she falls in love with Oberon are moving.

Jasmine Duggan’s Lydia Lansing steals anything not nailed down with her over the top performance as the blond actor with more determination than talent. She is a pleasure to watch.

Penni Hamilton-Smith’s Louella Parsons is suitably loud and pushy all wrapped in gorgeous gowns.

Malcolm Watson nails every laugh as Joe E. Brown/Groucho Marx and Harry Warner. His version of Thisbe brought the house down.

The cast is completed by Kieran Drost as the bumbling Daryl, Matthew Thompson as Dick Powell, Tom Adams as Jimmy Cagney/Sam Warner, Nicholas Elborough as Tarzan/Albert Warner/ensemble and Mike Leach, Esther Burnett and Wendy Peecock making up the hard-working ensemble.

My only slight reservation with this fun-filled production is the length of some of the blackouts of which there are many. Devising some business to cover the changes would have kept the pace at a consistent level.

Shakespeare in Hollywood is a welcome escape from the woes of modern day and makes Shakespeare easy to understand for the novice. This is a large cast play and a credit to Jude Hines, her cast and crew and the Adelaide Repertory!

Photo Credit – Richard Parkhill

To book tickets to Shakespeare In Hollywood, please visit https://adelaiderep.com/season-2025/shakespeare-in-hollywood.

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Comedy With A Heart!

Spanish Film Festival – Babies Don’t Come With Instructions Rating

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Babies Don’t Come with Instructions is a 2024 Spanish comedy-drama film directed by Marina Seresesky and written by Marta Sánchez and Irene Niubó, based on the 2013 Mexican film Instructions Not Included.

Leo is a carefree womaniser, living a self-centred life in a small coastal town in the Canary Islands. His world is turned upside down when a woman from a brief, casual affair shows up, drops off their daughter, and leaves, making him responsible for her.

At first, Leo intends to return the girl to her mother, but his attempts fail. Forced to raise her, little by little, he learns how to be a father, and his values and priorities shift in unexpected ways. Years pass, filled with happiness, until the mother reappears intending to reclaim her daughter. Will he give her up easily, especially with a mystery illness?

Director Marina Seresesky has pulled out all stops to extract every nuance of Sanchez and Niubo’s script and given us a taste of the Canary Islands in all its scenic wonder.

The characters are well drawn, and the action is well paced. I particularly enjoyed the developing relationship between Leo and his ‘daughter’ Alba. It tugs at the heart strings and a tear or two!

Paco Leon’s Leo is vulnerable and takes us on a journey from a unexpected father to a devoted parent who cannot live without his daughter and wants to enjoy his little girl before time runs out! The scenes when he is climbing up buildings are beautifully photographed.

Maia Zaitegi’s Alba is everything a little girl should be – innocent, naïve, idealistic and devoted to her father. The scene when she returns to Leo after being taken to Munich by her biological mother is charged with emotion.

Silvia Alonso’s Julia has the difficult role of the mother who abandons her child and returns to get her eight years later. This could have resulted in a performance that creates a disagreeable character, but not so Alonso’s portrayal. One can see her viewpoint and we feel for her.

Malcolm Treviño-Sitté’s Modu is the best friend we all wish we had. He is loyal to his wife, but equally loyal to Leo and supportive especially when he learns of his life-threatening illness.

The remaining cast give solid performances that enhance the main characters and storyline.

It is interesting that the décor Alba’s bedroom grows as her relationship with her father grows. It is every little girl’s paradise with a swing, a slide from her bunk bed to the floor, toys everywhere and an immense picture wall of her and her father.

Babies Don’t Come With Instructions is a heart-warming comedy that is sure to please any theatre goer who is a parent or simply enjoys a good story with a message. It is a cinematic gem and definitely worth a watch!

To book tickets to Spanish Film Festival – Babies Don’t Come With Instructions, please visit https://spanishfilmfestival.com/films/spa25-babies-dont-come-with-instructions.

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The Bubbles Festival: Two hours of bliss!

The Bubbles Festival

The Bubbles Festival Rating

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Who doesn’t like champagne, surely there can’t be anyone? The Bubbles Festival is currently touring around Australia spreading champagne love and we’re glad they are!

Devised by founder Natalie Pickett who created the idea during a meditation and so “divinely inspired”, it is a must for all lovers of the heavenly grape.

The event is an initiative of the Bubbles Review, supported by The Heart and Soul Group and is for people who like champagne and other bubbles! The Bubbles Review debunks the myths of champagne and makes the art of drinking champagne accessible.

The Festival is held at the iconic National Wine Centre, Adelaide which has the necessary ambience for a perfect two hours of education, tasting, giveaways and specials for the canny buyer.

The event begins with an introduction by Natalie Pickett herself who gives us an insight into tasting– picking the right glassware and how to taste (how the bubbles sound, the colour, the ‘nose’ or smell, the taste or where the champagne lands on the palate, and how it makes the consumer feel).

We also learn about the different methods of blending and the history of champagne. Natalie is the doyen of champagne and is a font of knowledge. I must confess, it took me all my strength not to taste the first offering before me on the table. I lasted till the tasting, some others didn’t!

We are then let loose to taste for ourselves, armed with tasting notes and our Riedel tasting glass, which we can take home as part of our ticket to the event.

There are representatives from six wineries scattered in the tasting room – George’s Folly, Goldings, Babo, Levrier, Kaeslar Wines and Champagne Abele 1757. The pace of tasting is just right, the representatives friendly and eager to share their stories (and wine) and the room is not too crowded.

The wines come from the Barossa Valley, the Adelaide Hills, Eden Hills, the Fleurieu, Italy and France. It is a world of wine for the discerning taster!

As well as the amazing selection of sparkling wines, there are canapes to encourage responsible drinking and to accentuate the flavour of the wines. The canapes are 5 star in presentation and taste and has something for every food group (great vegetarian options).

This was my first Bubbles Festival and it certainly won’t be my last! I increased my knowledge of champagne and tasting, met some fellow champagne lovers, enjoyed pairing restaurant quality food with wine and met the founder of the event, all packaged in the perfect venue for tasting!

The Bubbles Festival is a must for any lover of the grape. It is a heavenly two hours enjoying amazing wines. As Natalie says, it is a ‘Divinely inspired” event!

To book tickets to The Bubbles Festival next stop, please visit https://thebubblesreview.com/the-bubbles-festival/

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