Midnight Murder at Hamlington Hall

Midnight Murder at Hamlington Hall

Midnight Murder at Hamlington Hall Rating

Click if you liked this article

Arts Theatre Cronulla’s production of Mark Kilmurry and Jamie Oxenbould’s ‘Midnight Murder at Hamlington Hall’ is a delight. Susan Turner has directed a tight and skilled ensemble to deliver each joke with aplomb and endear each of the odd duck characters to the audience.

The script is whip-smart and moves along at a really enjoyable pace, featuring the highs and lows of a fictional amateur theatre company on an ill-fated opening night of a show. Despite the murder mystery tropes evoked by the name, there’s plenty more than clues and sleuths on offer here. This is a production that is finely tuned, and delivers the chaos of the show with both levity and (as evidenced by the entirely convincing comedy of errors that ensues) precision.

Angela Gibson is consistently excellent in ATC productions and this is no exception; her comic timing as Karen is stellar. Playing an amateur actor playing a role on stage for the first time is a task with considerable layers that she carries in style. Some of the biggest laughs of the first act came from her deadpan and witty delivery. Her interactions with the offstage character of her teenage niece (voiced by Maryellen George) are hilarious, and Gary Clark’s sound production across the show is excellent, with one of Act Two’s biggest laughs coming from an aural gag that the actors onstage respond to.

Michael Gooley’s Shane is the heart of the show; a director and writer genuinely invested in both his cast and the play they’re attempting to pull off despite setbacks. His earnestness and timing lay the groundwork for a large number of the big laughs of the show, and does a great job at connecting us to the emotional stakes for the whole (fictional) company. Gooley’s performance also lays the groundwork for the other actors to shine; Shane’s confidence that it’s all possible regardless of all the comic mishaps is the key to the movement of the whole second act.

Phillipa is a character who sets the comedic tone for the entire show, and Ariane ‘Flossie’ Hough does a fantastic job. Her vocal and physical comedy are really strong, and Phillipa’s vanity manages to be endearing rather than alienating in her capable hands. Samuel Owen’s entry to the show was a highlight, and his Richard is a fantastic addition to the ensemble.

The set (designed by Michael Gooley) is wonderful – perfectly pitched. The joke-per-minute and joke-per-square-metre ratio of this production is excellent; there is a stack of suitcases, a painting and a door that all have their own comic moments in the sun. The costuming, similarly, is very well done.

There are opportunities at every turn for comedy to ensue; hats and pants, walking sticks and slow exits all drew laughs from the audience. This is a really enjoyable and well executed production that I would really recommend.

To book tickets to Midnight Murder at Hamlington Hall, please visit https://www.artstheatrecronulla.com.au/midnightmurderathamlingtonhall.

Photographers: Maria Franklin, Mark Phillips, Dan Binger, Graham West

Spread the word on your favourite platform!

Love: A Tour De Force Of Pain And Tenderness

Love

Love Rating

Click if you liked this article

1

LOVE is a tough and beautiful play about the fragility of people in tough circumstances trying their best to both survive and care for each other. The play itself is extraordinary, with Patricia Cornelius’s dialogue feeling so real that there are moments it almost feels like an intrusion to be listening to these characters having these conversations. The best of theatre opens doors for empathy, and this production achieves this, without preaching and without voyeurism around the characters’ suffering. This production closes at the end of this week and is exemplary.

In New Ghosts Theatre Company’s production, playing at the Old Fitz Theatre until the 21st of March, there is a solid, unmoving square setpiece with multiple stepped levels, one being a double bed, all in asphalt grey, taking up most of the stage. This stark and simple set is brought to life, and illustrates the power dynamics in constant flux between the three central characters. There are several moments where the audience held their breath, several big laughs – this show is enthralling, and moves at the pace of relational change, which ranges from tooth-pulling slowness and lightning pace. Director Megan Sampson has done a fantastic job in drawing first-class performances out of a talented cast and in building a window into a world that is both poetic and raw.

Georgia-Paige Theodos is a revelation as Tanya, the tough, butch lover who we first meet when she and Annie are in prison together. Tanya’s opening monologue about when she knew she loved Annie grounds the rest of the show. More than chemistry, the cast draws us into the strange, chaotic connection that these three characters have; the kinship of addicts, the warmth that love charges people with, the protective intensity of people committed to surviving the odds. Everyone in the show is in danger of getting hurt, and has been hurt already; the threat of pain is ever-present.

Rhys Johnson does an excellent job at imbuing Lenny, a character who could have been a caricature-ish villain, with so much humanity and humour. Through Lenny’s explanation of how love has moved him in ways nothing else has, the selfishness mixed with genuine emotion is moving and challenging. Producer and actor Izzy Williams is transporting as Annie, and the explorations the show does of gender, and the particular dangers for femmes in a violent world are prodded, particularly through her performance, with a raw and painful hopefulness. Her moments alone onstage are some of the most transcendent in the show.

One of the strongest threads of this production is how we are drawn to hope with these characters; despite the dead-end quality of their circumstances and paltriness of the tools they have to face them with, when they speak of the future it’s with this energy and drive that has us rooting for them. The blatant refusal, voiced by Tanya in the play, to be pitied, is both a mantra and challenge to the audience.

Sex work, drug use, and the difficulties of life post-incarceration are central to the play, and by dealing with them with honesty and humanity, each of the characters is shown to be a whole human being, not just a stereotype of people living alongside these things. This production does an excellent job of underscoring how deeply people from all walks of life want to be both cared for and needed, and the moments of disintegration into violence and struggle are all the more heartbreaking for it. LOVE is a show (and a force in our lives) that is worth the wrestle and pain it entails.

To book tickets to Love, please visit https://www.oldfitztheatre.com.au/love.

Photographer: Patrick Phillips

Spread the word on your favourite platform!

Sylvia: Presented By Hunters Hill Theatre

Sylvia

Sylvia Rating

Click if you liked this article

4

The performances of all four actors in the cast are a real strength of Hunters Hill Theatre’s really enjoyable production of A.R. Gurney’s ‘Sylvia’, with each of them finding their moments of comedy and genuine humanity. The premise of the show is an odd one, but the opening night audience was won over by the warmth and skill of the cast, and a production that invites you to look in the apartment window to the funny and very human way people navigate changing and aging.

Justin Corcoran and Brooke Davidson play Greg and Kate, whose marriage is the central site of both comedy and conflict throughout the show. Both of them bring a gentleness to their characters; Greg remains a sympathetic figure despite the oddities in his choices throughout the show, and Davidson makes Brooke both warm and wry as well as exasperated.

Margareta Moir has perhaps the biggest challenge of the show, playing the titular (canine) character, but she does extremely well at the physical comedy and energetic contribution to the ensemble that her role requires. Richard Littlehales plays three characters across the show and embodies each with their own physicality that both drew some of the show’s biggest laughs and allows the core trio to shine. Leslie, the therapist who appears in the second act, is a real highlight, and Littlehales brings both life and humour to the arc of Tom, Greg’s dog park friend.

Wayne Chee’s set design is smart and sleek; a mulit-part sofa tells the arc of the story on its own, and the way the set interacts with the particular theatre at Club Ryde allows the audience to feel as if we’re in the apartment with the characters. The musical choices in some scene transitions were a lovely addition.

This is Moja Band’s first production with Hunters Hill Theatre, and it’s skilfully done; the play moves at a gentle clip, and there is an intimacy to the apartment world where most of the play takes place. The humanity in how embarrassing we all become when we’re in a period of flux is a thread that Band’s direction clearly finds; each character is funny and sympathetic.

In line with this, the costuming and prop work is really well done, everything feels real and recognisable, which is part of what allows the comic device of Sylvia being played by a grown human woman to work so well. The very normal world we see is interrupted by an enthusiastic whirlwind of a character, and the journey through what that means for a marriage and home is really fun, sweet and off-kilter.

To book tickets to Sylvia, please visit https://www.huntershilltheatre.com.au/whats-on.html

Photographer: Amin Heidari

Spread the word on your favourite platform!

Improbable Fiction: A Comedic Delight

Improbable Fiction

Improbable Fiction Rating

Click if you liked this article

There’s something specifically delightful about a farce with a lot of heart. Castle Hill Player’s production of Alan Ayckbourn’s ’Improbable Fiction’ has a charming ensemble cast, a Shakespearean change-maker of a storm, and several comic surprises that had the house in stitches.

Jem Rowe is warm and funny as our anchoring host Arnold Hassock. The characters he welcomes to the house he shares with his aging mother bemuse and enthral him (and the audience) in turn. This is a show for you if you’re interested in writing and the oddball folks who do it.

Abby Bishop’s set, in concert with Mark Dawson’s lighting design, is incredibly effective and is the key support for good actors working with a good script. They’ve created a little world that it was a delight to fall into for the night, and Alan Ayckbourn’s skill with words is shepherded effectively by director Dave Went.

Leone Sharp’s costume design is excellent, and the pace of some of the changes was very impressive. Each detail gave richness to the whirl of the second act. Some of the prop work drew gasps and cheers from the audience and facilitatedsome of the big surprises and delights across the show.

 

The second act swings at quite a different pace to the first and gives the ensemble more space to stretch their muscles. Anthea Brown is a comic highlight throughout, and the whole cast embodies Gina Willison’s choreography with verve. Brendan Iddles enters last in the first act, and has some of the stand-out moments in the second; his transformations are some of the most striking. Will Shipp drew out some of the most vocal audience responses, and Lauren Asten-Smith’s characters (and late second act reveal) were all some of the strongest emotionally connected moments in the scheme of the comedy of the show.

George Cartledge’s sound design is, like the set, effective and integrated, with musical moments and audio gags all landing. The storm he created was one of the key elements of the plot, and the design and delivery was seamless. The mood-setting musical moments were effective enough to situate you instantly without feeling repetitious, and Jem Rowe was particularly good at working with them to carry the audience along through all the different twists and turns of the show.

 

For this reviewer, the second act was the highlight, but all the threads that ran through from first-act conversations really did add to the story. There’s a lot to love and laugh along with in this show, and the cast and crew have put on a lovely production of a fun piece. There is more wordplay the more you look, and plenty of clowning and character comedy besides, so I would recommend catching this show while it’s on.

To book tickets to Improbable Fiction, please visit https://paviliontheatre.org.au/improbable-fiction/

Spread the word on your favourite platform!