Deal Me In’s Beautiful Chaos

Deal Me In!

Deal Me In! Rating

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6

After a brisk walk along the piers at Dawes Point with nothing to guide us but Google Maps and pink lights in the distance, we stumbled into the Rebel Theatre for the final night of Deal Me In!, a “glitzy Las-Vegas style dance cabaret featuring some of Sydney’s best variety artists!”

Under the guise of a simple game of poker, Deal Me In! follows a group of hapless players through their game as it descends into chaos, flirtation, and sleight of hand. The 90-minute cabaret effortlessly maintained a perfect balance of comedy, storyline, circus, and glamour, with hilarious moments of audience participation that kept the room engaged from beginning to end.

Walking into a lush theatre, the incredible mood lighting and show logo displayed on the curtains perfectly set the scene, alongside a killer pre-performance playlist. As the lights went down, singer Vivienne Stone (Songbird Siren) made herself known at the back of the audience, floating down the stairs towards the stage in a glittering silver corset and star headdress.

We then met Frankie St. James (Zak Vasiliou), a self-proclaimed Short King, who kept the show moving seamlessly between acts with stand-up, Pringles-themed ASMR, and more. He also ran an audience-wide competition, where poker chips were handed out based on participation with the individual holding the most chips at the end of the show receiving a prize. This really made the show stand out, and I enjoyed how it encouraged the audience to participate more without pressure.

Philipe le Scripte (Courtney Robinson) was the first solo act of the evening, dancing around the stage to “Smiling Faces Sometimes” by The Undisputed Truth in an electric red suit, with trousers that unzipped up the sides and a hidden plushie snake.

 

Following in quick order was a flirtatious swing dance between Theo Sparkes (Justin Sacco) and Daisy Fontaine (Alanna Hocking), who stunned the audience with their effortless spins and flips. Sparkling under a pink spotlight, Lola Champagne’s (Nicole Aspinall) attempt to give a reading to a member of the audience went astray when she pulled the Death card. She escaped to the stage for an incredible burlesque number that began with her spinning out of a skirt and ended in a life-sized martini glass, all under the same pink spotlight. Unfortunately for Lola, she had accidentally brought her Tarot cards to the poker table instead of playing cards, and thus was forced to fold.

Frankie returned as a masterclass of scripted improv as he skillfully and hilariously foiled a front row member’s attempt to pilfer Lola’s skirt. After the theft was averted, he took someone backstage with him while Vivienne taught everyone else a dance. Frankie returned with his audience volunteer dressed up as Elvis Presley, and I have to give her so much credit for her enthusiastic and immediate commitment to the role.

Vivienne’s solo consisted of a jazz ballad cover of Poker Face by Lady Gaga, before Theo Sparkes returned for a tap number that featured a surprise – a seventh poker player! (Cooper Cossettini)

Affectionately dubbed as “Sound Guy” by myself, Theo and the surprise cast addition engaged in friendly competition through a synchronised dance that featured canes, brooms, and a conspicuous prop that wobbled in time with their jumps and spins. This quickly devolved into a full-cast bar fight/dance number, with the cast taking turns beating up the interloper while he lunged at Theo.

Scarlett Voss (Etana Wasley) then took the spotlight for a “solo” magic act, but Sound Guy was quickly discovered as her hidden assistant. Their every attempt became increasingly disastrous, escalating until Scarlett was trapped in her own slacks during a quick-change trick. Philipe then came back on stage for a fire-eating solo, lighting his own hands, arms, and tongue on fire to keep the torches lit. After another Frankie interlude had him commentating on a game of snap, the flirtation between Theo and Daisy finally came to fruition through an incredible aerial set that received an audible “Wow!” from the audience while Vivienne sang.

The poker game came to a tense close as Scarlett decided to try and cheat the house to win the game. The final group number featured a comically large card that was tossed about between the cast as they danced and flipped and rode tables across the stage. The final surprise of Deal Me In! arrived in the form of Frankie St James’ tearaway pants as he delivered an impassioned speech on late-stage capitalism and posed in his golden hot pants.

To book tickets to Deal Me In!, please visit https://www.dealmeintheshow.com/.

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The Last Witch

The Last Witch

The Last Witch Rating

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2

A compelling blend of historical fact and supernatural mystery, Rona Munro’s The Last Witch is a fictionalised account of the last woman to be officially burned for witchcraft in Scotland. Through the fiery clashes between Janet Horne (Paula Searle) and Dornoch’s spiteful new sheriff Captain Ross (Toby Rowe), The Castle Hill Players’ rendition of The Last Witch explores the dynamics of social power between men and women in the 18th century and presents a cautionary tale of what happens when two equally intemperate people with the power to cause harm refuse to back down.

Paula Searle is an electric presence onstage, capturing Janet as both woman and myth through stunning monologues and sometimes shocking interactions with other characters. She has two brilliant moments in Act I that I believe summarise her character; when Captain Ross first visits her cottage to investigate, she easily gains the upper hand in their conversation and evades his questions, acting as though she is about to deny the accusations. She then offers to read his palm and divine his past, a blatant act of witchcraft and a ridiculous escalation of the situation. Later on, in a lovely but misguided moment of emotional connection, Janet comforts Helen and her friend/neighbour Elspeth Begg (Penny Johnson) in their hunger by drugging them with a hallucinogenic herb to make them believe they have access to food. I loved this little show of Janet’s strange ways of caring, and I also loved the (perhaps accidental) nod to a popular Salem witch trials theory.
Janet’s constant contradictions make it almost impossible for the audience to form a solid opinion on her. Is she really a witch? Is she even really all that much smarter than the daughter she derides? Perhaps only Janet could give a definitive answer.

 

 

The play’s opening night brought a stunning set design of sprawling grass and weathered stone structures, polishing off the scenes with a perfect use of lighting and sound alongside an admirable commitment to Scottish accents. I particularly enjoyed the slow shifting of an aurora borealis as Janet cast her opening spells, the orange glow of the stones underneath Janet’s stake, and the simplicity of spotlights becoming a full moon for Janet’s daughter Helen (Chloe Overeem) to take her own first steps into magic.

Hidden beneath the sordid tales of seduction, ego, and the haunting presence of what could be the Devil himself, The Last Witch is a simple story of the enduring strength of everyday women. The male characters pop in and out of scenes, delivering powerful sweeping statements that completely change the lives of Janet, Helen, and Elspeth, but the relationships forged from powerlessness between these three women ultimately become powerful enough to stop Captain Ross’ path for vengeance and end the cycle of violence before it sweeps beyond Janet.

To book tickets to The Last Witch, please visit https://paviliontheatre.org.au/the-last-witch/.

Photographer: Chris Lundie

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The Graduate

The Graduate

The Graduate Rating

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3

A comedic stage adaptation of the infamous coming-of-age story, The Graduate follows wide-eyed and woefully awkward Benjamin Braddock (Mitch Doran) as his Beat Generation ennui clashes with the exacting and often contradictory expectations of the adults around him. His search for meaning spirals out of control when he is lured into a disastrous age-gap affair with Mrs Robinson (Margareta Moir), “the most attractive of all [my] parents’ friends,” going from bad to worse when he instead falls in love with Mrs Robinson’s daughter, Elaine (Brooke Salisbury).

The production opens with a striking scene that sets the tone for the rest of the show; a young man, Benjamin, sits on what is clearly his childhood bed in a full wetsuit and snorkelling kit, breathing heavily into the snorkel as sounds of a party echo in the distance. His father, Mr. Braddock (Brendon Stone) enters and demands that Benjamin parade downstairs in the wetsuit so that all his work friends can admire the expensive graduation gift, creating an immediate and hilarious contrast between childhood and adulthood.

The wetsuit is more than just a fantastic opening joke. The costuming in this production has been carefully curated to visually demonstrate the show’s themes. Each character has been assigned a colour palette, serving as constant reminders of the power imbalances that drive the narrative. Mrs. Robinson is always seen in striking reds and glamorous blacks with pops of leopard print and glittering diamonds, while Elaine’s youth and innocence is highlighted by her palette of crisp white and classic blue with moments of green. Benjamin’s bumbling nature is demonstrated by his ill-fitting brown suit jackets, contrasting terribly with the converse shoes he dons that make him seem even younger.

 

 

The sets and lighting for this production are incredible. The stage transforms into multiple bedrooms with lush blankets and headboards, historically accurate furniture, and windows with intense orangey/yellow sunlight streaming through, alongside a hotel lobby complete with a lift, a strip club, a psychiatrist’s office, and a church. Benjamin spends his time onstage stumbling between these sets and flopping onto these beds, never resting for more than a few moments before another character comes barging into his space to command or manipulate.

I also particularly enjoyed watching the relationship between Mrs. Robinson and Elaine develop on-stage. Moir and Salisbury were able to present brief flickers of similarity between mother and daughter (beyond the obvious shared boyfriend) that shone through their notable differences, adding an interesting layer of complexity to an otherwise farcical story.

The Graduate presents the prickly awkwardness of young adulthood, showcasing Ben and Elaine’s fumbling attempts at playacting as adults despite knowing nothing of life beyond a school routine. The Castle Hill Players have taken a 1960’s fable and wonderfully applied it to a 21st-century audience, lifting a timeless and universally relatable experience of one’s early 20s from an American suburbia at the height of its conformist culture. Whether reminiscing on early adulthood or currently experiencing it, The Graduate has something for everyone.

Please be advised that this production contains partial nudity and adult themes.

To book tickets to The Graduate, please visit https://paviliontheatre.org.au/the-graduate/.

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