Linda Lokhee🏆💎🦉🎭😂

Author badges: 🏆 Most Prolific Reviewer of All Time (76 reviews), 💎 Platinum Reviewer (76 reviews), 🦉 Veteran Reviewer (more than 2 years with What's The Show), 🎭 Theatre Specialist (40 qualifying reviews), 😂 Comedy Correspondent (12 qualifying reviews) Linda Lokhee is a dedicated primary school and special education teacher, a picture book author and published poet. She has written two children's books. Her debut book, The Sock Monster features a loveable but misunderstood purple sock monster named Ike. In The Night Noise, the main character is a very brave girl heroine named Quinn, as well as a loved furry Australian animal. Ike and Quinn are Linda's book babies! Her poetry book for adults is called Scattered Syllables. Linda loves experiencing all the different aspects of Australia's independent creative arts, and especially the visual and musical elements of live theatre. She enjoys being part of the Whats The Show reviewer team, writing reviews since July 2023. Her website is www.lindalokhee.com.

Shaken and Stirred – An Evening With James Bond

04/04/202504/02/2024 Linda Lokhee🏆💎🦉🎭😂

When listening to some movie soundtracks, certain iconic notes link that song to a movie and are immediately recognisable, similar to lines recited where you know precisely which Shakespeare play they hail from.

In the case of the James Bond franchise, they are the first four notes of the opening theme. You know them, that first scene – where the black camera lens swirls open, and James Bond appears, dressed in formal attire, confidently holding his weapon. These four notes are followed by a tune that places listeners in a particular era; one of intrigue, one of suave sophistication, one where the men are debonair and the women breathtakingly beautiful. The “Bond, James Bond” era.

On Saturday night, 3 February, this is exactly where everyone went in their memories inside the theatre at The Concourse Concert Hall in Chatswood. The sixty-plus musicians from the Willoughby Symphonic Orchestra (WSO) presented an evening of James Bond movie themes.

Delightfully conducted by Dr Nicholas Milton AM, the WSO took us on a musical memory journey from Dr No in 1962 to 2012’s Skyfall. The distinct sounds of the sixty decades shone through with each theme, and I immediately visualised the actor playing James Bond and the associated colourful villain in the film. After all, one doesn’t exist without the other – the hero and the villain. They seesaw much like the music’s portrayal of deception, danger and determination. Performed one after another, it was interesting to hear the recurring recognisable 007 leitmotif pop into a few different theme songs. All orchestrations were by Nic Raine.

Dr Nicholas Milton was dynamic in conducting the WSO. From the opening theme song and throughout the many changing tempos, his enthusiasm was infectious and enabled the audience to be swept along with his energy. As well as being a Concertmaster, Dr Milton showcased his skill as a musician and joined in as a pianist on one of the songs. This was only one part of a show where people on stage had dual roles. During Live and Let Die, musicians sang the backup vocals, which surprised and delighted the audience and in Another Way to Die, I interpreted the strings section performing a visual type of ‘Mexican Wave’ with their bows in the air, which I loved seeing.

This was not a show to be silent the whole time, with the audience showing their full appreciation with claps and cheers after musicians’ solos, such as when Rick Cassar and Lars Mehlan showcased their talents on their trumpets. The WSO received a standing ovation at the concert’s end, prompting an encore of two more James Bond movie songs.

Some James Bond themes are not purely instrumental, and we were fortunate enough to have been treated to the vocals of incredibly talented British singer Mary Carewe. Mary is an established and well-respected recording artist and recitalist with an extensive repertoire, including Broadway musical songs, cabaret, and jazz. She seamlessly brought her own style to the songs, and I was impressed by how she sang life into the body of the music. Certainly not surprising, as she has made a CD of The Music of James Bond with the Royal Philharmonic Orchestra. Not to be understated were Carewe’s beautiful outfits, with one in particular, a sparkling and glittering nod to the true glamour of James Bond.

The 21 songs that the Willoughby Symphonic Orchestra performed were perfectly chosen to showcase the talents of the musicians. The slow, romantic ballads of For Your Eyes Only and All Time High were sweet and earnest, whilst the stand-out song for me with the varied slow and then frenzied tempo was Live and Let Die. A perfect song to close the first half of the concert.

It was impressive that the WSO performed all except a handful of James Bond theme songs. Even if you haven’t seen these movies, this orchestra’s renditions made for a beautiful evening of classic British 007 music. It was an immersive performance, and as I left the concert hall, I knew I’d be humming those four-plus notes all night.

Running Time: 90 minutes with a 20-minute interval
The Concourse Concert Hall, Chatswood
Saturday 3 February, 7pm
Sunday 4 February, 2pm

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A Victorian Domestic Noir – Gaslight

04/04/202505/11/2023 Linda Lokhee🏆💎🦉🎭😂

Patrick Hamilton’s play Gaslight is a classic domestic noir, performed with careful consideration by the Pymble Players. The English novelist and playwright wrote Gaslight in 1938. After its popularity with the resulting plays and the 1944 Hollywood film, ‘To Gaslight’ became synonymous with the meaning of someone psychologically manipulating another for their advantage, to make them doubt their memory, perception of reality and their own sanity.

Gaslight, directed by Joy Sweeney, is set in Victorian England. It revolves around the Manninghams – Jack and Bella. From the first introduction to these characters, we see an upper-class, seemingly happy couple. They are in the drawing room, where we subtly recognise wealth in the Manningham’s furniture and locked fold-up wooden writing cabinet. This is where tea is served in dainty teacups by the servants, a place where they can engage in relaxing conversation.

However, things do not remain relaxing for long. We soon see Jack, portrayed by Nick Roberts, turn from being a supportive and loving husband into an aggressive and accusatory bully. This flip-of-a-switch was acted with such credibility that it took the audience by surprise, which is how director Joy Sweeney wanted to present this psychological abuse “to create a feeling of severity”.

Amelia Conway’s fragile portrayal of Bella is outstanding, and as she goes from being joyfully excited by the invitation from her husband to attend the theatre to having him rescind it, we witness the disintegration of her mind. When she is victimised and scorned by Jack, we flinch. When Jack abruptly leaves the room, we feel his weighty presence in Bella’s nervous disposition.

There are clear delineations of class and power in this household.

The servants have different personalities, and both play a significant supporting role with strong performances. Georgia Drewe’s Nancy is bold, teetering on defiance towards her mistress. Kate Kelly’s Elizabeth is a strong, motherly and caring woman, reminiscent of perhaps a governess in another period drama.

As the play progresses, a stranger enters and begins to unravel a twenty-year mystery involving the house and the characters within. Retired Detective Rough, portrayed with finesse by David Kirkham, brings a sense of much-needed comedic levity to balance out the sharp points in a play involving domestic abuse. When explaining his visit to Bella, David’s Detective Rough, particularly during the first act, was a guiding narrator of the unfolding past. Therefore, his script was noticeably long, and David handled this task beautifully.

Gaslight is more of a slow burn than a thriller, where the audience is exposed to the intricacies of a mystery as it is revealed. It slots into the era of Agatha Christie, where we examine each character and try to figure out motives.

The cast’s wardrobe, by director Joy Sweeney, packaged up the Victorian era and captured the upper class wholly, down to the dress ruffles, long heavy capes and expensive hats.

Sound design by Geoff Jones kept the audience’s attention and ratcheted up the uneasy atmosphere throughout the play.

Gaslight highlights the domestic abuse darkness that lives behind closed doors, and though set in London in the 1880s, it remains as relevant and prevalent in modern society today.

Running Time: Two hours and 25 minutes, including one 20-minute intermission.

Season: 1st -26th November 2023
Pymble Players – 55A Mona Vale Road, entrance via Bromley Ave

Photographer: Daniel Ferris

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The Visitors(The Play) – To Welcome or Repel

04/04/202520/10/2023 Linda Lokhee🏆💎🦉🎭😂

The Visitors, now at The Riverside Theatre, is a new production from award-winning Muruwari writer Jane Harrison. Her play first transfixed audiences at The Sydney Festival in 2020. Quandamooka director Wesley Enoch teams up once again with Harrison to create a masterful reimagining of the First Fleet’s arrival from a First Nations perspective. This contemporary version shows movement and inclusivity by welcoming two women characters into the role of leaders, whereas the previous play had an all-male cast playing elders. The use of the Dharug Dhalang language throughout the script lends authenticity to the discussions and is beautiful to hear.

The Moogahlin Performing Arts and The Sydney Theatre Company bring us back to a warm summer day in January 1788. A day that will impact the history of the Eora nation. Birds are chirping, waves are lapping. Elizabeth Gadsby designed the set so that the stage feels spacious, with mountains of shells piled on the ground and driftwood lying around. A colossal sandstone rock takes centre stage, creating a solid presence, with the gold of the stone glittering under the warm lighting. Six clan leaders and one man, an ersatz leader, gather on this escarpment at the ocean’s edge (which we now know as Sydney Cove,) looking out to sea and warily watching some fleet of giant nawi (ships) sail closer and closer.

They have seen ships come before, but they have never stayed. This time, they are told that ships with many mobs are on the way. The leaders from different clans discuss how they will respond to the strangers. Shall they be welcomed ashore, or should they turn them away and, if necessary, engage in war?

They must each present their reasons for their opinion and must make a unanimous decision. This becomes the underlying premise of The Visitors.

With Gary chairing the meeting, the Elders take turns to speak. Each story is subtly complemented by soundscape changes, thanks to sound designer Brendan Boney. We hear stories about previous encounters with the people from the nawi as each elder presents an argument justifying their opinion.

The conversations are done diplomatically, with one speaker meant to be talking at one time. However, in a vein similar to some current parliamentary meetings, when people become passionate about a stance, their voices become louder until others join in, and the meeting disintegrates into a noisy ruckus. This is not an easy decision. The audience learns there is an innate culture of welcoming people onto their land usually. They help others in need with the use of herbal medicines. However, the unknown intentions of the people on the nawi must be factored into consideration.

Enoch has gathered a magnificent cast. A standout performance was given by Aaron Pedersen, playing Gordon, who delivered a strong emotional performance throughout, particularly in his final speech. Elaine Crombie (as Jaky), Dalara Williams (as Wallace), Kyle Morrison (as Joseph), Beau Dean Riley Smith (as Albert), Guy Simon (as Gary) and Joseph Wunujaka Althouse (as Lawrence) complete this stellar cast and worked together to create some comedic lines, breaking up the tensions during the discussions. They earned a well-deserved standing ovation from the audience on the night I attended.

The timing of the opening performance at The Riverside Theatre comes just after the result of The Voice Referendum, and we leave with an echo of pre-colonisation life and questions of how different things may have been if certain events in history had changed. Jane Harrison has lent her voice, in a form common to First Nation Australian peoples – as a storyteller to fully capture our attention.

The Visitors was a thought-provoking performance that will stay with the audience long after the lights dim.

“Visitors don’t stay; that’s why they’re called visitors” – Wallace.

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Murky Historical Moments – Sydney Harbour’s True Crime Cruise

16/10/202316/10/2023 Linda Lokhee🏆💎🦉🎭😂

There is nothing quite like seeing the beauty of the Sydney Harbour Bridge and The Opera House from the ocean. I boarded our vessel for our 2 hour Sydney Harbour’s True Crime Cruise at Campbell’s Cove, not knowing what stories awaited us.

What secrets did our beautiful city ‘harbour’? (My attempt at contributing to the quips that our hosts were so good at doing throughout the cruise!)

After a few housekeeping and safety announcements by Captain Sterling, our friendly hosts, Emily and Caitlin, welcomed us. The catamaran was clean and comfortable for our group of people. There were refreshments for the guests and a toilet on board.

Under a sunny Spring sky, we sailed past the Sydney Opera House. We listened to the first true story involving a criminal event that set into motion changes to withhold future lottery winners’ identities and create anti-kidnapping laws. You could guess what that crime was about!

Dark Stories hosts Emily and Caitlin shared the microphone to regale us with true crime stories along the neighbouring suburbs that line the lush Sydney ocean shores. Stories that involved luxurious waterfront houses, greed, corruption, gangland operations and unsolved murders.

Kudos to Caitlin and Emily, who captured the audience’s interest with their animated storytelling style. They provided dates, and we were handed a booklet with photos to see who and what they were talking about.

Told with humour at just the right points when relating the stories, they turned some quite gruesome tales into ones we could stomach without using the seasickness bag!

Fortunately for us, on the Dark Stories’ maiden voyage for their first True Crime Cruise for the season, there was no need to use the seasickness bag for any other reason. This was due to the steady work of Captain Sterling. Thank you to Sarah, who looked after the guests with tea, coffee, and cookies.

We were able to head to the front of the catamaran to sit and soak up the sunshine and enjoy the views. I appreciated the moments when we stopped at a certain point, and our hosts gave us time to take photos and simply be one with the sea.

What made this cruise different from any other I’d been on was the cleverly paced and interesting stories Emily and Caitlin told, ones which I’d never heard before. I am a Sydneysider and recommend Sydney Habour’s True Crime Cruise to both locals and tourists to our beautiful city. It was a relaxing and unique experience.

Sydney Harbour’s True Crime Cruise – every Saturday from 14 October 2023 to 27 January 2024
Departs: Campbell Cove, The Rocks, Sydney
Time: 9am
Tickets: Adults $79 Child $59

Click here for more Dark Stories Theatre Reviews.

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