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Bleak Expectations: Presented by Limelight Theatre

19 September 202416 September 2024 Breanna Redhead

Bleak Expectations Rating

★★★★★

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Adapted from a series of BBC radio plays, ‘Bleak Expectations’ puts a fun twist on Charles Dickens’s classic tale. It is well-staged and performed by the team at Limelight Theatre.

Narrated by a grown-up Pip Bin, we look back on his coming of age as a young man in a life full of twists, turns, and slapstick English humour.

Gordon Park guides our story as the older Pip, with a commanding stage presence that fills the stage. Jack Riches, who brings a refreshing, happy-go-lucky nature to the central role, portrays his younger counterpart with naivety.

Natalie Wiles and Mary Del Casale round out the trio of Bin children as Pip’s sisters, the strong-willed, ambitious Pippa and spritely Poppy. Del Casale particularly shines as the cheeky youngest sister and later brings humour to the pining Ripley.

Peter Giles and Shayla Brown complete the family as mum and dad, with Brown to be commended for embracing her character’s rather bizarre arc with full force.

Tomas Kinshela is a stand-out as best friend Harry Biscuit, who brings a certain candidness to the character that is a pleasure to watch. Some of his finer moments play out when he is not the focus of a scene, with excellent nuisances and mannerisms if you’re lucky to catch them.

Also a highlight is Jason Pearce, who is comedic gold in his smorgasbord of roles—the Act 2 courtroom scene is a particularly memorable moment.

And what is a show without its villain – Mr Benevolent – which Gareth Bishop brings great life to. Across the board, the cast is to be commended for the high energy on-stage from start to finish.

The set for this production is rather impressive. The design team—led by Roger Oakes—created a single multi-level piece that largely serves as the family home and is used well throughout, with simple added dressings to help establish different locations.

Bold and colourful costumes from Julie Clark also help to transport us back to the 1800s.

All in all, this comedy is exactly that—a laugh-a-minute show that serves as a great escape from reality for an evening. Director Barry Lefort has put together a solid production lifted by a cast that looks like they are having an absolute ball on stage.

For Bookings, phone TAZ Tix at 9255 3336 or book online @ https://www.taztix.com.au/limelight/

Venue: Limelight Theatre
Civic Drive, Wanneroo

Performance Dates: September 12, 13, 14, 19, 20, 21, 22*, 26, 27, 28

Times: Evenings at 7.30pm, *Matinees at 2pm

Tickets: $27 Adult, $22 Concession (seniors/students),
$20 Member, Groups 20+ $22 each
processing fees apply

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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The Guy Who Didn’t Like Musicals

8 September 2024 Breanna Redhead

The Guy Who Didn’t Like Musicals Rating

★★★★★

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Picture this: a meteor has crashed and landed in your peaceful town, and a horrible illness is slowly infecting the townsfolk, causing them to face one of life’s greatest horrors – singing and dancing as if they were in a musical.

This is the basis of StarKid Productions’ ‘The Guy Who Didn’t Like Musicals’ – brought to life for the very first time in Western Australia by Art In Motion Theatre Company.

Joshua Hollander is the titular ‘Guy’ – also known as Paul Matthews – with the remaining cast work to bring to life a sea of characters as he navigates this world-ending disaster. By his side is the equally normal Emma Perkins, portrayed by Escher Roe. The pair work well as the show ‘simpletons’ in contrast to the other more exuberant characters.

Among the other ever-changing roles, Brittany Isaia shines as Paul’s co-worker Charlotte in a hilarious performance. A WA Starkid veteran, she has certainly found her niche. She’s coupled well against Blair Price-Morgan as Ted, a great young talent whom I look forward to seeing more of in the future.

Attempting to cure the mysterious disease is Artorius Emanuel as Professor Hidgens, whose ‘show-stopping number’ was a crowd favorite.

Clayton van Dijk brings nervous energy to Bill Woodward, with Georgia McGivern rounding out the group in a number of smaller roles and bringing great energy to the stage.

A personal highlight was Mathew Leak’s performance as both Mr Davidson and Sam Sweetly. Not only was his vocal performance strong, but Leak’s pure enthusiasm and joy simply radiated from the stage, and I couldn’t help but smile whenever he entered a scene.

On the note of enthusiasm, the amount of passion in the room—both on stage and in the audience—was really special. It’s no secret that StarKid has a cult following, and it was duly noted how captivated audience members were to finally see this show in person for the first time locally.

Also to be commended is the band, who are note perfect under the guidance of Zac Skelton. Extremely well executed they seamlessly fit in with the show so smoothly they almost go unnoticed. The music is partnered with trade-mark theater choreography, from Keri Baker, and performed with an appropriate level of cheesiness.

While diction and pacing in some areas could be improved – this production makes for a fun night out whether you’re a serial fan or a first-time viewer. Director Micheal Carroll has delivered a solid show that was clearly well-received by audiences.

With only 3 shows remaining in the season, you best book your tickets quickly @ https://drpac.sales.ticketsearch.com/sales/salesevent/135674

Remaining Sessions:-

13th Sep – 7:30 pm
14th Sep – 7:30 pm
15th Sep – 2 pm

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Same Time Next Week

1 September 202431 August 2024 Breanna Redhead

Same Time Next Week Rating

★★★★★

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Every time I see a show with puppets, I’m reminded just how much I love puppets, and how there should be more shows with puppets – and Same Time Next Week is no exception.

In its global premiere – this production delights audiences with its immersive and completely encapsulating world.

We follow a group of friends as they cope with their friend Mark’s leukaemia diagnosis – whose final wish is to play Dungeons and Dragons. As someone who knows only vaguely about the world of D and D I was apprehensive going in that I would not be able to fully appreciate the story but boy was I wrong.

At the centre of the show is Mark – portrayed by Nick Pages-Oliver – who navigates his diagnosis with sincerity. He brings grace and leadership to the wise bird Vincenzo the Magnificent.

Amberly Cull is a driving force as dungeon master Drew – who also serves as a few key campaign players in the likes of Freya the bar keep and villain Lady Morinyth. An all-round talent, her vocal performance is a highlight, with a bright tone that makes for easy listening. Her solo ‘What’s So Good About Being Good’ a particular high point.

A personal favourite for this reviewer was Courtney Henri as Liz. Maybe it was her relatability as someone new to the world of D and D, but she quickly embraces her fierce character, Ophelia Backbrace, and is a joy to watch.

Tristan McInnes brings the laughs as D and D super fan Digby, whose Detective Smoked Meats is a treat. While Daniel Buckle nicely rounds out the story in a few fun cameo appearances.

Jackson Grigg’s original score really completes this show – with the folky whimsical themes helping transport audiences into a fantasy realm from the second, the lights go down. The catchy tunes are accompanied by fun lyrics from writer/director Scott McArdle with harmonies expertly executed under the guidance of Grace Johnson. A huge shout-out must go to the trio of musicians who also served as backing vocalists – a feat that did not go unnoticed.

The simple yet versatile set from Bryan Woltjen was effective in aiding the jump between fantasy and reality, with the added help of choice lighting cues by Kristie Smith.

And finally, we cannot go without mentioning the stars of the show – the charming puppets (also by Woltjen). Gorgeously crafted and mastered well by the actors (thanks to the direction of Cull and Pages-Oliver), they are the cherry on top of this musical cake that, once again, perfectly bridges the gap between the two worlds in which the show takes place. A pleasant surprise for (on the night of this performance) some unsuspecting patrons.

A short but sweet run – I can’t wait to see more from McArdle, who offers a smorgasbord of all the best bits of live theatre with’ Same Time Next Week’.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Hands On A Hardbody

28 June 202428 June 2024 Breanna Redhead

Hands On A Hardbody Rating

★★★★★

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It’s always a pleasure when theatre companies step away from big-name shows to bring local audiences more unique (and often fantastic) shows. Limelight Theatre is the latest in this endeavour – giving Hands On A Hardbody an exceptional Australian debut with excellent production values.

Based on the 1997 documentary of the same name, Hands On A Hardbody is the unexpectedly heartwarming story of competitors vying to win a pick-up truck by being the last person to keep their hands on the vehicle.

Spanning over nearly four days, we meet a pool of characters and learn why they’ve come to take part in the competition and how the win would change their lives. The hardbody in question is a thoughtfully designed piece that anchors the show, offering actors versatility in their abilities to interact with it and each other.

Designed by Mal Anderson, the rest of the set is equally impressive. It helps to bring the ageing car dealership to life, with a lack of side stage curtains creating an outdoor feel to the auditorium. Effective lighting and sound design add to the ambience while assisting in showing the passing of time.

A strong ensemble cast—Breeahn Carter is simply captivating as Heather Stovall, with great spunk and confidence, while Lukas Perez brings an infectious energy to Norma Valverde. Phil Bedworth gives great depth to previous champion Benny Perkins, and Rodrigo Goncalves de Azevado is compelling as Jesus Pena.

Helen Carey and Brad Beckett are utterly endearing, as are Janis and Don Curtis, and are well-balanced in the tense relationship of J.D. Drew and his wife Virginia (Chris McCafferty and Gillian Binks).

Amber Wilson leads the competition as Cindy Barnes, who is the perfect balance of sweet and stern against Ben Mullings’ slimy Mike Ferris. Jacob Anderson is a ball of energy as radio host Frank Nugent. The cast is rounded out by a small ensemble and brief appearances from the competition’s early bow-outs, including a crowd-pleasing Christian Dichiera.

Vocally, audiences are treated to a suite of talent, with slick ensemble singing and harmony work under Sean Davis’s leadership. However, occasional imbalances in sound mixing left soloists momentarily overpowered by the chorus.

Individual stand-outs include Brittany Isaia and Joshua Hollander’s ‘I’m Gone’ – showing off the pair’s palpable chemistry and lovely vocal tone. Riley Merigan also displays his powerful vocal chops in ‘Stronger.’

With performers limited in their movements to stay in the competition, Jane Anderson’s choreography is to be commended – thinking outside the box to create engaging numbers with ‘Joy of the Lord’ a particular high point.

Co-directors David Nelson and Jane Anderson have put together a fun-filled, cohesive production deserving of full-house crowds. It’s a definite recommendation to anyone into a ‘human drama kind of thing.’

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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