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.

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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The Old Fitz Presents: The Female Of The Species

4 November 2024 From The Front Row

The Female of the Species Rating

★★★★★

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Arriving at the Old Fitz for the play, your night is already off to a great start. As the only surviving pub theatre in Australia, this atmospheric venue is a perfect setting for a play loosely inspired by a true Australian story of a feminist writer held hostage at gunpoint by a disgruntled student.

Upon entering the theatre space, the audience is immediately enveloped in the sounds of the Australian bush—chirping birds and buzzing cicadas—creating a vivid backdrop for the intimate setting of writer Margot Mason’s home. The stage is adorned with an eclectic array of books, hinting at the intellectual battles to unfold.

Lucy Miller delivers a standout performance as Margot, a revered feminist writer grappling with debilitating writer’s block. Her character embodies the struggle to stay relevant in a rapidly changing landscape of female representation and sexuality. Her latest book needs a new hook, but what new angle is there to explore on female sexuality?

Enter Jade Fuda as Molly Rivers, the fervent student whose admiration for Margot quickly reveals a darker undercurrent. Initially praising and fanatical, Molly’s obsession morphs into a chilling mission: to kill the woman whose work she holds responsible for her mother’s abandonment and subsequent suicide.

The dialogue shifts deftly between humour and tension as the play explores the evolving definitions of womanhood through the years. Margot and Molly’s banter serves as a comedic dissection of feminist ideals, questioning what it means to be an “ideal” woman—be it a nurturing homemaker, an ambitious careerist, or a childless self-improver. Margot is blamed for altering the “ideal” by swapping and changing the parameters in her every book, a relatable observation into the ever-shifting opinion of our own generation.

With the arrival of Molly’s exhausted homemaker daughter, Tess Thornton, who has disappointed Molly as she chose to dedicate herself to motherhood instead of a career, the three women represent polar opposites on the feminist scale. Who is the most “correct woman” you ask yourself as the story continues with the arrival of three men, equally as polarising and almost caricature like, leaving the audience reflecting on the complexities of female identity and the intersections of admiration and resentment.

The Female of the Species is not just a play but a thought-provoking exploration of feminism wrapped in sharp wit and dark humour.

Overall, with its strong performances, engaging script, and the Old Fitz’s charming ambience, this production is a must-see for anyone interested in the ongoing dialogue about womanhood in modern society.

The Female Of The Species season runs November 1 – 23, with session times as follows: 7pm Tuesday through Friday, 2pm and 7 pm Saturday, and 5 pm Sunday.

For tickets, please book @ https://www.oldfitztheatre.com.au/the-female-of-the-species

Photographer: Noni Carroll Photography

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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