Annie

Annie

Annie Rating

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The appropriately cast production of “Annie: The Musical” was a spectacular success last Friday night and was a delight to the audience at QPAC’s Lyrics Theatre. The charming tale of the orphan, Annie, on a mission to find her true family continues to be widely beloved and celebrated in theatres around the world. The same should be said for this particular performance.

From set designs, to costumes to vocal technique, this production was one I find very difficult to fault. The use of colour, space and choreography was seamlessly integrated with professionalism and skill.

I admired the directorial style when it came to blocking, movement and the insistence on highly polished choreography. You can see examples of this in scenes with songs such as “Hard Knock Life,” and “Little Girls,” where such expression is important in identifying the intents and purposes of the characters who are contributing to the scene.

The sets had seamless transitions from scene to scene, with the various choices in lighting allowing for the cast to complete their songs or monologues without interference.

Spotlights and low, white wash lighting were used in scenes that showed the orphanage, the streets of NYC, and the alleyways in which the orphans would play. Warmer lighting was used for more cheerful and uplifting scenes, such as those within the Warbucks mansion or President Roosevelt’s office.

The band were highly polished, accompanying scenes appropriately and with the vigour and skill that the show demanded.

Casting was especially notable and each player was quite admired. From the ensemble to the leading roles, each performer put in their all and had the audience in the palm of their hands. Each scene was highly engaging and enjoyable, capturing the essence of family, honesty and seeking hope when things seem bleak.

 

 

Now for some notable mentions. Anthony Warlow played a highly believable and entertaining role as Oliver Warbucks. He exuded the confidence and humility that the character called for with professionalism and a natural talent to capture the hearts of his audience with his wonderful, versatile voice. His performance was highly enjoyable and quite the privilege.

Debora Krizak was a wonderful Miss Hannigan and was effortlessly entertaining. Her skills in physical comedy and vocal performance create a captivating portrayal of the orphanage manager, making the role more accessible for audiences to engage with, rather than simply being a villain in Annie’s story. Amazing work.

Keanu Gonzalez played a great Rooster Hannigan who exceeded my expectations. His vocals and dancing talents are highly commendable and a joy to watch. Gonzalez makes it seem like he was born for this role; playing the sly, young con man looking to live on “Easy Street,” and making it look fun and far too easy. I look forward to seeing Gonzalez in more productions.

Amanda Lea Lavergne played the marvellous, Grace Farrell who led Annie to the Warbucks mansion. Lavergne effortlessly captured the cheerful and beautiful secretary of Mr Warbucks elegantly and without missing a beat. It was a joy to watch how she portrayed Miss Farrell with her impressive vocal talent and expressive style.

I was excited to see Greg Page return to the stage and was overjoyed to see how he brought such life to his role, President Roosevelt. His smile and enthusiasm were contagious, his charisma, cheerful contributions to scenes, as well as his highly enjoyable vocal performance, were a testament to his experience and love of the craft. Page was a wonderful choice for this role, and I hope to see him succeed in future productions.

Finally, Matilda Casey’s portrayal of the orphan, Annie, was especially uplifting. Her bright and charming voice, along with her professionalism and expanding acting ability showed the audience throughout the show that she was definitely in the right place. Casey gave a marvellous performance and captured the hearts of her audience through Annie’s optimism and cheery disposition. I hope to see her in many more productions and seeing how her skill set grows over time.

Congratulations to all the cast and crew who made this performance of “Annie,” so great. I highly recommend the show and advise viewers to get their tickets ASAP!

To book tickets to Annie, please visit https://anniemusical.com.au/.

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St Luke’s Theatre Society’s “Sense and Sensibility”

Sense & Sensibility

Sense & Sensibility Rating

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St Luke’s Theatre Society presents the stage adaptation of Jane Austen’s “Sense and Sensibility”. Directed by June Balfour, the Society portrays the charming tale of the Dashwood sisters and their pursuit of love after tragedy befalls their family. After the death of their father, the Dashwoods move from the lavish family estate to a quaint cottage in the country, where they meet friends and new acquaintances who enlighten and challenge them in new ways.

The stage was set with the intention that actors could access props, costumes, and accessories with ease. Chairs placed around the edges of the stage allowed the ensemble to contribute to scenes when required, making transitions between scenes run smoothly. Lighting consisted of a white wash over the stage, with each scene accompanied by some transitional classical music that seemed melancholic in nature. While the music was enjoyable, there was a concern that some of the songs chosen were not aligned with the themes of the story. With many colourful and bright characters, I felt that the music should rise to meet them rather than creating sombre tones at odd times.

A loveseat, small table and the already available chairs complemented each scene and were adaptable to the changes in settings throughout. The costume alternation of accessories to represent different characters was a great and necessary tool and was well utilized. On occasion, a few of the ribbons or hairpieces were misplaced, but were easily resolved. The majority of the scenes utilized the limited space onstage as well as the aisle running down the centre of the room. The frequent movement and stylistic dynamics created an interesting effect that engaged the audience well.

 

 

Madelyn Scott’s depiction of Elinor was gracefully and mindfully executed. While the character struggles to resolve her emotions and prioritizes those she loves over herself, the audience could see more gradually how the burden that weighed upon her. Scott performed her dialogue seamlessly and professionally, locked in and exploring the essence of who Elinor was and aspired to be. Lillian Dowdell’s performance in the role of Marianne was also impressive, as she portrayed the longing and passionate nature of Elinor’s artistically inclined, younger sister. Immersing herself in the role, Dowdell gracefully expressed each of Marianne’s highs and lows, engaging the audience to empathize with her amidst her heartbreaks.

The male leads that were especially notable were the roles of Mr Edward Ferrars (Eamonn Clohesy) and Colonel Brandon (Jock Dunbar). Clohesy played a highly believable Edward that grew in confidence throughout the course of the show. They emulated everything that Edward was, mindfully and skillfully capturing the slightly anxious but thoughtful and sincere manner that Elinor fell in love with. Similarly, Dunbar portrayed Colonel Brandon with ease. Their ability to gradually reveal Brandon’s complex emotions as naturally as Austen’s novel would depict was highly commendable. I was very impressed by the way Dunbar was able to seamlessly portray the manner of a man in love; a character who was both stoic and integrous. His portrayal of Robert Ferrars was also highly entertaining, and the audience enjoyed it thoroughly.

The choice to use the group of Gossips to symbolize the pressure from society was a dynamic approach that added to the expression of emotional turmoil within the Dashwood sisters’ hearts and situations. The roles of John Willoughby (Lachlan Gregory Hugh), Miss Steele (Kiah Latham), Margaret Dashwood (Megan Brown), John Dashwood (Steve Pearton), Mrs Jennings (Phillipa Bowe), Thomas (Bruce Edgerton), Mrs Dashwood (Marion Jones) and Mrs Fanny Dashwood (Jessica Fletcher), were wonderfully portrayed and added a joyful and bright spirit to the story. The casting, done particularly well, urges me to look forward to the company’s next production.

To book tickets to Sense & Sensibility, please visit https://stlukestheatre.asn.au/.

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Prehistoric

Prehistoric

Prehistoric Rating

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“Prehistoric” is a coming of age story set in the 11th year of Australia’s Bjelke- Petersen administration. In Brisbane, a group of young adults explore their relationship with themselves, their culture, families, friends, and the politics that their society is being shaped by. Deb, Pete, Rachel and Nick form a band, in an attempt to respond to the way things are and challenge the accepted norm to invoke what could be; through punk rock, tenacity and determination to discover and live out their truths.

Underground Theatre Company presents this play by Marcel Dorney, and utilises the creative direction of Tate Newman and Tim Bell. The combined sound, lighting and stage design by Hannah Page, James Ledingham, Keely Baird and Bryn Swain was notable in the ways that each costume, red/blue/white spotlight and song played by the cast was executed with precision and intentionality. The colour of the lights, placed during monologues representing internal dialogue, offered the audience opportunities to connect with the characters in a well paced and engaging way.

The stage, shaped like an X, was an interesting idea. There were moments where blocking was an issue, however given the room and stage layout it makes sense that this would occur from time to time. Often the cast would take their places in the corners of the stage, alternating the positions to allow themselves to be in full view at different times. Another interesting and dynamic idea was when interactions between characters occurred center stage, the actors walking in a circle. This allows the audience more of a 360 degree view, and attempts to utilise the space fully.

 

Casting was done fairly well in this production, as each character demanded emotional depths and development that could be explored intentionally and thoroughly. From learning and performing with their musical instruments, to the monologues, to conflicts between characters; all of the cast did remarkably well. Their movements that accentuated their personalities, the projection, use of props and facial expressions fell seamlessly into place, engaging the audience fully.

Deb, expertly played by Ava Ryan, notably encapsulated the female struggle in professional and social contexts, allowing us to see how she processed difficult emotions and developed courage. Vince Lapore, who played Pete, also portrayed their role/s with professionalism, capturing the attention of the audience on multiple occasions intentionally and as though they have been doing this for years. Rachel Woodnett plays Rachel with ease and audacity; accurately depicting the emotionally troubled and passionate lead vocalist of the band, who consistently offered social commentary on the state of things. Dylan Spokes was an impressive Nick, playing the confident and enthusiastic character who felt deeply and acted boldly. The audience was frequently amused by how Nick entered a room, and took command of the space without overshadowing the rest of the cast.

All of the cast and crew have done an amazing job here and I highly recommend this production for ages fourteen onwards. It is to be noted that there are drug and sexual references on occasion that may not suit younger audiences.

To book tickets to Prehistoric, please visit https://piptheatre.org/2025-prehistoric/.

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Thrive Productions Presents “Blackrock”

Blackrock

Blackrock Rating

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“Blackrock,” is a 1996 Australian play written by Nick Enright, and being presented this season by Thrive Productions at BackDock Arts, Fortitude Valley.

The synopsis opens up to several teenagers and their families living in the beachside town, Blackrock. A group of friends reunite after one of them, Ricko, returns from a trip. They plan to attend the birthday beach bash of their friend, Toby, doubling it as a “welcome home,” party. After a night of drinking, drugs and reckless fun, 15yr old Tracy Warner is found on the beach. Rumours swirl and questions of trust and loyalty begin to stir throughout Blackrock. The lives of Jared, Ricko and his friends are never the same.

Lighting and sound was kept simple and was handled well throughout. Different punk rock/ soft rock would play during transitions between scenes as well as when cast members were reminded of the death of their friend or the feelings attached to their loss. The lighting was a white wash and remained consistent throughout the entire play.

 

 

The cast’s use of their space was interesting, as there was no easy way to leave stage other than the door in upper stage left. The set design consisted of several black stage blocks and stools on either side for all actors to sit on while a scene played out centre stage. The cast wore actors blacks, collecting props from upper centre stage when needed, emphasising the skills of the actors over embellishments. The cast entered and exited in single file, refraining from facial expressions until they were in character. They took to creating various formations or standing in place when transitioning through each scene change. This may have been handled differently to look a bit smoother between scenes, but made sense given the floor space.

The casting was done well and was a pleasure to watch, despite the seriousness of the play’s themes. All actors performed enthusiastically in their roles and gave great representation of small town, Australian life.

Notable mentions include the roles of Jared, Ricko, Jared’s mother and Tiffany. The emotional depths the characters explored were key to capturing the fullness of their essence, which they executed almost seamlessly. It is a wonderful skill as an actor to be able to portray their characters displays of inner turmoil, how their emotions guide or affect them and whatever convictions their characters hold onto that offer them strength.

Over time, layers were peeled back to explore the headspace of characters like Jared and Ricko; once thought to be birds of a feather, but then challenged beyond what either of them ever expected. Their performances were impressive and highly engaging, making me eager and looking forward to seeing them in future productions.

I recommend this Australian Drama to audiences 15yrs onwards, as scenes contain references to sexual assault, suicide and violence that could be triggering or upsetting for some.

To book tickets to Blackrock , please visit https://buytickets.at/backdockarts/1478600.

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