From The Front Row

She is a woman with a keen eye for the details that others might miss. She doesn’t just watch the show—she inhabits it. With an extensive career spanning decades in media, television, and live broadcast, her perspective is informed by experience and sharpened by the spotlight itself. Once, she dabbled in the world of acting and theater—taking the stage and testing her own mettle in the most demanding of roles. But it’s not the curtain call that drives her anymore. Her insight is built on years of navigating the complexities of live production, the pulse of a newsroom, and the raw energy of the stage. But don’t expect her to tell you everything. No, her reviews leave a little room for mystery—because she knows the true nature of art is that which can’t always be pinned down. You never know, you might happen to find her sitting in the front row of your next production.

Old Fitz Theatre Presents: Pride and Prejudice (An Adaption)

19 January 2025 From The Front Row

Pride and Prejudice Rating

★★★★★

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Mirror mirror on the wall, who is the most eligible sister of them all?

In an uproarious reinterpretation of Jane Austen’s Pride and Prejudice, this bold and comedic staging brings the iconic family drama to life in a setting as unexpected as it is delightful—the last surviving pub theatre in Australia. The play, set against the backdrop of a family teetering on the brink of financial ruin, centres on the age-old dilemma of marrying off daughters to wealthy suitors. Yet, in a fresh and dynamic twist, every character—rather than just the heroine, Elizabeth—takes centre stage in their own right.

This production’s brilliance lies in its ensemble cast, which delivers such an impeccable balance of humour and nuance that it’s nearly impossible to pick a standout performer. Each actor shines, feeding off the energy of the others in a masterful display of comedy and wit.

Special mention must go to AJ Evans, who plays the frenzied matriarch, Mrs. Bennet. His portrayal is a riotous blend of manic energy and unfiltered desperation, offering some of the evening’s most laugh-out-loud moments. Evans’ comedic timing, coupled with his ability to morph into a character consumed by a single-minded obsession with securing the daughters’ futures, steals the show.

The play’s minimalistic set allows the actors to shine, while clever costume changes and seamlessly executed scene transitions keep the action flowing without missing a beat. You can’t stop laughing and smiling through the performance as it takes you through formal dances, garden appreciation walks and many formal scenes with a reverie of a “bogan” country bumpkin family attempting to snare the big kahuna.

While the dreamy Mr. Darcy remains a figure of quiet earnestness, his stoic presence is overshadowed by the relentless charm of the surrounding characters. The play cleverly balances these serious moments with a playful irreverence that breathes new life into the familiar story. Even the stiffest of characters find their moments of absurdity in this delightful reimagining.

In the end, it’s happily ever after for everyone, bars Mary, the ugly duckling of the family, and it’s impossible not to leave the theatre grinning, still chuckling in a posh English accent. It’s a joyous, uproarious ride from start to finish—one that offers a new lens through which to enjoy a beloved classic.

To book tickets to Pride and Prejudice, please visit https://www.oldfitztheatre.com.au/pride-and-prejudice

Photographer: Phil Erbacher

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.

From The Front Row

Mother and Son: Presented By Hunters Hill Theatre

23 November 2024 From The Front Row

Mother and Son Hunters Hill Theatre Rating

★★★★★

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Mother and Son, a masterful stage adaptation of the beloved 1984-1994 TV show, opens in a stereotypical living room of a household that’s been lived in for 50 years.

Maggie, an elderly woman, precariously balances on a ladder, struggling to change a lightbulb. Before disaster strikes, her son Arthur returns home, reminding her with a mixture of exasperation and affection that he had already taken care of it earlier. This seemingly trivial exchange sets the tone for a play that deftly balances humor with the emotional weight of caring for a loved one with dementia.

From the outset, it’s clear that the mother and both sons casting is impeccable. The chemistry between mother and son, be it the eldest – Arthur, or youngest, Robert, and between the two brothers themselves, is nothing short of magical. The family dynamic is all too relatable, with one son being the favourite, despite never actually doing anything to help, while the other being the unsung hero, living with the mother and dealing with the every day, only to feel guilty to take some time for himself. It’s a dynamic many families will recognize, and it provides plenty of comedic moments laced with tenderness.

The script shines with authenticity, navigating the fine line between comedy and drama. The humor is sharp and relatable, never diminishing the emotional gravity of the situation. The everyday absurdities of caring for an elderly parent are captured brilliantly, from Arthur’s constant guilt to the quirky moments of Maggie’s fading memory. One particularly hilarious and universally relatable touch is the series of voicemail messages left by telemarketers on Maggie’s answering machine, offering everything from cheap electricity deals to vitamins — these clever scene change breaks are both funny and poignant, capturing the absurdity of modern life while highlighting the isolation of the elderly.

The direction is flawless, creating a space where the audience feels like they’re watching their own family dynamics unfold. In dealing with such a delicate subject as dementia and caregiving, the production manages to be both respectful and remarkably entertaining. The adaptation, transitioning seamlessly from television to stage, introduces the beloved characters to a new generation while allowing long-time fans to relive the magic.

As the curtain falls, you are left wanting more. Is there a sequel? I already forgot.

To book tickets to Mother and Son, please visit https://www.huntershilltheatre.com.au/

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.

From The Front Row

Grand Horizons

17 November 2024 From The Front Row

Grand Horizons Rating

★★★★★

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The name “Grand Horizons” evokes an image of expansive possibilities, a bright future, and a world of untapped potential. It suggests a place where grand things await, a sense of hope and excitement about what lies ahead. In the context of the play, however, this promise is ironically deflated. The “Grand Horizon” is revealed to be not a metaphor for limitless opportunities but rather the confines of a retirement village.

From the very first curtain rise, director Jason Darlington expertly transports the audience into a space that is reminiscent of a sitcom, with musical tunes such as “Love and Marriage” from the TV show “Married with Children”, setting up the scene perfectly. The story is indeed about a married couple with children, only in this tale Nancy decides one day that she wants to divorce Bill, while their two grown up children come to the “rescue” by trying to stop the divorce from happening.

The children’s behaviour is somewhat sitcom-like, with over-the-top acting and facial expressions. Both are oblivious to their parents’ true nature: no matter how many times they ask what the reason for the divorce could possibly be, they never stop to actually let them answer and instead continue on their own trajectory.

It is deep into Act One when we finally hear from Nancy about her rather superficial marriage to Bill. Her confession of long-held desires for an old high school crush feels like a tipping point. It’s here, deep into Act One, that the play shifts gears from sitcom-style comedy to something more poignant, building toward a climactic moment where the walls of the retirement unit—quite literally—come crashing down. This marks the moment when “Grand Horizons” takes a profound turn, offering a raw and vulnerable exploration of the emotional truths that have been buried for decades.

Act Two is the standout, with Nancy’s meeting with Bill’s new girlfriend serving as an acting high point. The final confrontation between Bill and Nancy is both explosive and deeply revealing, a gut-wrenching moment where both characters come to realize how much they’ve actually known about each other’s desires all along.

In his directorial debut at the Castle Hill Pavilion, Darlington wisely lets the seasoned actors take centre stage, and it’s their performances that resonate most strongly. “Grand Horizons” blends comedy with pathos in a way that’s both funny and cringeworthy, ultimately leaving the audience with a bittersweet sense of reflection on life’s fleeting promises and the often-unspoken truths we carry with us.

Grand Horizons is running from 15 Nov – 7 Dec.

To book your tickets, please visit https://paviliontheatre.org.au/grandhorizons/

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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This Time Next Year: British Film Festival

5 November 2024 From The Front Row

This Time Next Year Rating

★★★★★

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“This Time Next Year” isn’t just your average romantic comedy; it’s a delightful romp that delivers laughs while diving deeper into the messy, complicated nature of love and life.

From the outset, we’re treated to a parade of the main protagonists unfortunate but hilarious misadventures, that will have you chuckling and cringing in equal measure, culminating in Minnie Cooper, yes you read it correctly, Minnie Cooper, being locked in a bathroom as the clock strikes midnight on New Years eve.

Enter the damsels rescuer, Quinn, played by the swoon-worthy Lucien Laviscount, whose charm and good looks sweep Minnie off her feet, igniting all those classic rom-com butterflies. But hold on! While the sparks fly, the film quickly reveals it’s not just about the surface-level romance.

Quinn, it turns out, has a backstory that adds layers to his character. He’s not just a pretty face; he’s grappling with the responsibilities of caring for his mentally ill mother, a weight that has forced him to mature in ways that have affected who he is at his core.

Meanwhile, our unlucky-in-love heroine is battling her own demons—a boyfriend who’s more of a nightmare and a business that’s gone belly-up, all while dealing with the nagging feeling that life just isn’t on her side – a destiny predicted to her at birth by her own mother. A destiny she seems to fulfill at every turn.

The film tries to cover a lot of ground, fixing friendships, unwell mothers, failed businesses and broken hearts along the way, often leaving the romantic elements simmering on the back burner for a lot of its 2 hour duration. Yet, the cast shines with a remarkable chemistry that’s impossible to ignore. Sophie Cookson (known for “Kingsman: The Secret Service”) and Laviscount (of “Emily in Paris” fame) expertly dance around their characters’ undeniable attraction, offering moments that recall the delightful awkwardness of “Bridget Jones’s Diary” in a number of scenes that leave you in stitches.

As the story unfolds, the pace may meander a bit, but it ultimately builds toward a satisfying end. Spoiler alert: there’s a fireworks-filled climax that makes the wait worthwhile.

In the end, “This Time Next Year” is a charming, if slightly slow, romantic comedy that’s worth a watch—even if it’s just for the shirtless scenes of the leading man. Whether you’re here for the laughs, the love story, or just to enjoy some eye candy, this film delivers a heartwarming experience that will leave you smiling.

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

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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