Behind The Headline Of The Front Page

The Front Page

The Front Page Rating

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4

Picture this. The sound of a typewriter, the keys furiously tapping, while multiple phones sound their distinctive “brrrrring!” under a cloud of cigarette smoke. This is the 1920’s, inside a crowded room full of newspaper journalists at the Criminal Courts in Chicago.

Production and Costume Designer Paris Burrows places the audience right there; the journalists wear stylish vests and ties, the women have beautiful hair and hats and the room is complete with several coloured candlestick telephones noisily vying for attention on the wooden table – those upright standing telephones with a separate mouthpiece and receiver and the round dial on the base of one hundred years ago. The set feels authentic, and the standing glass water cooler, small paper cups and the wooden roll top desk are a quiet but strong presence and used at key points during the play.

Journalists play cards and banter, waiting to report on the hanging execution of a prisoner convicted of shooting a black police officer to death, Earl Williams (played by Diego Retamales) which is set to take place at 7am the next morning.

This is The Front Page, a play by Ben Hecht and Charles Macarthur which premiered on Broadway in 1928 and has been remade into three movies in the years since then.

Director Nicholas Papademetriou’s adaption of The Front Page has cleverly kept multiple original themes clearly at the forefront, whilst changing the gender of the one of the main characters, journalist Hildy Johnson. This worked to the play’s advantage, and I truly enjoyed Rose Treloar’s performance as Hildy, the “newspaper man” as her character’s quick wit and gutsy comebacks proved she was as intelligent and competent as her male colleagues.

The Front Page has many moments that allow us to ponder how far we have come in the last century, with the play highlighting how sexism and gender bias were acceptable practice in the workplace. It is a case of art imitating life, running somewhat true to the era, as Hecht and Macarthur were themselves newspaper crime reporters in Chicago. Other issues such as corruption in politics and manipulation of facts to suit one’s agenda for their own benefit are sharp reminders that some things remain the same.

The play, despite these serious themes, is a comedy and the antics of some characters made the audience laugh, notably the overbearing character Mrs Chambers who was superbly played by Alison Grant. Mrs Chambers, or “Mother” (in law to be), stood out and seemed to be a firm favourite villain, and we winced at her snooty treatment and attitude toward her son’s fiancé Hildy. Bruce Grant is played by Michael Smith. He convincingly conveyed a bland insurance salesman who holds hope for the move to a quiet life in New York with Hildy and his mother, all three living together. Hildy is fiery, career driven and has an unstoppable need to write exciting stories, so we are left wondering if this is a good match.

This was a large cast of eighteen and all were cohesive on stage, not an easy task with the rapid-fire script and the constraints of a stage. The supporting characters easily carried the play forward, with the second act moving faster than the first. As the news breaks of William’s escape, the throng of journalists jostling and hungry for a story were reminiscent of a flock of seagulls feasting on some chips at the beach!

For the performance I attended on Friday, Jerry Mullaly stepped into the role of The Herald Examiner newspaper’s managing editor Walter Burns. Mullaly and Treloar had an understated onstage chemistry that grew the more they bantered, and hinted at perhaps a hopeful romance, even though Hildy was about to start her new life in New York.

The Front Page is a fast paced and entertaining play which is well worth seeing as a glance into the world of tabloid press.

Running time: 100 minutes, no intervals
The New Theatre, Newtown 23 April – 18 May 2024
Tickets:
Full $37
Concessions, Groups (6+) $32
New Theatre Members $25
Thrifty Thursdays $25

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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360 ALLSTARS Circle Back For Another Round

360 ALLSTARS

360 ALLSTARS Rating

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The 360 ALLSTARS are celebrating the anniversary of their first performance in 2013 by taking their phenomenal show on the road across a four-continent world tour. Their tour landed at The Riverside Theatre in Parramatta just in time for the school holidays. There were plenty of kids in the audience for this permission.

As 360 ALLSTARS suggests, the theme of this urban street circus is all about the 360 degrees of rotation. World Champion and World Record-holding artists were sourced from countries all over the world for their skills in this area. Director and producer Gene Peterson envisioned creating a contemporary urban circus, where the more traditional acts were updated with an urban performance style for a street, edgy feel.

The Ringmaster is now a live looping rap artist (Vida Sunshyne) whose original and fast-paced words accompany the artists on stage, musically narrating whilst they are performing their speciality act. Set alongside Vida Sunshyne was Jordan, the drummer, behind an impressively large drum kit set up, which he clearly knew how to make sing during the show and during his remarkable drum solo.

Instead of a unicyclist for their circus, the 360 ALLSTARS featured an extraordinary BMX Flatlander Pereira, who wows the audiences with his balance and absolute control of a spinning BMX bike. I could almost hear the kids in the audience thinking, “Tomorrow—I’m going to try that!”

The cast worked together to present a ‘video game’ to showcase the Breakdancing Freestyling duo, BBoy Jack and BBoy Alejandro, the show’s version of acrobats. This was done in such an original way, with the screen showing their strengths/ health in a bar format, much like in a video game, while they battled it out on stage, breakdancing. Both dancers had so much style and coolness in their breakdancing, which included spinning atop their heads, hands-free!

A juggler usually entertains the crowd at the circus, but in 360 ALLSTARS, they had Fume executing the most difficult tricks with his basketballs. He spun and moved them around his body with absolute ease. He involved the audience in a ‘game show’ where the audience chanted “Press it! Press it”, referring to a big red button with the words “Do Not Press” on the wall. As each red button was pressed, another basketball appeared for Fume to spin and balance. He made juggling four basketballs and balancing two spinning basketballs on top of each other look easy.

For me, Curtis’s Cyr Wheel was a firm favourite. He spun it rapidly and then hopped inside. This showcased a continuously spinning human who used his body to do many tricks while travelling around the stage. The audience was left wondering how, when he hopped off the Cyr Wheel, Curtis was able to walk in a straight line.

It may not be a traditional circus under the big top, but the energetic 360 ALLSTARS assure us that it’s time for a new tradition – it is time to flip the big top upside down and spin it around.

360 ALLSTARS is an hour-long play suitable for people of all ages. It will perform at The Riverside Theatre on April 20th and 22nd, 2024, before moving on to other theatres in Australia, New Zealand, and North America.

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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Tempo Tumbles into The Riverside!

Tempo

Tempo Rating

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1

Tempo opens with the Flying Fruit Fly Circus ensemble spilling out of the body of a grand piano and executing a precise and impressive flurry of floor acrobatic athleticism. Each tumble, jump, air, somersault and roll (to name a few) were set to music, and, thanks to Musical Director Ania Reynolds and Director Jake Silvestro, it was an impressive beginning to the show.

This story begins with a conductor ready to start a performance but quickly realising that the orchestra hasn’t turned up, so acrobats arrive to fill their place. The white grand piano is central to the show, and it encompasses not only the entertainers inside its belly but also acts as a stage where performers lift off from the closed lid to do acts such as aerial silk, aerial hoop, and hanging strap acrobatics.

These young Australians, aged twelve to eighteen, attend Australia’s National Youth Circus in Albury, NSW. Tempo showcased their skills in multiple areas – each person played instruments as well as performing in their act.

The ensemble sustained their energy and smiles onstage throughout. As well as acrobatics, the Flying Fruit Fly Circus rounded out their show with a touch of traditional stage magic of the most famous audience tricks, such as the shrinking and growing magic wand and the three overturned cups with disappearing balls. The children in the audience would have loved these magical illusions.

Other acts called for strength and balance, such as the upside-down handstand on pedestals and the tower of three people standing on each other’s shoulders. Juggling was one highlight for me, with as many as four from the ensemble tossing their juggling pins between them as they moved – a well-choreographed act.

In another scene, the performers used everyday home objects to create sound percussion, such as metal spoons clanking, an upside-down cooking pot as a drum, a filing tub lid and even a broom to hit the floor with. This type of percussion was a nod to the good ole days when toddlers used whatever they could to create sound. It was a clever trip down memory lane for me.

The performers always smoothly transitioned into the next act. They conveyed humour to the audience not verbally but through body language, such as raising eyebrows and miming at the right time. They were all multiskilled and cheeky performers with great showmanship.

As there was a lot of floor acrobatics, everyone’s movement around the stage was very well coordinated as they worked together to create a ‘chaotic’ dance with physical feats such as helping their performers launch off their hands to do several air somersaults, bouncing off the seesaw platform to fly through the air and other flowing movements.

True to its name, Tempo, this show was all about combining music and movement together, so they complemented each other. Whether it be using shaker eggs in time to an electric guitar or showcasing diabolo skills in time to the music or unicycling, the acrobatic athleticism of these kids showed why they study under the masterful tutelage of lead trainers Bec Neill and Ben Lewis.

Tempo is currently touring Australia. Performance time: 60 minutes. Tickets: $38- $44.50

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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Venture Down the Rabbit Hole with Alice in Wonderland

Alice In Wonderland

Alice In Wonderland Rating

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4

Under a sunny and exceptionally warm Autumn Saturday, families with young children arrive at the Pioneer Gardens expecting to see beloved characters from Alice in Wonderland. They were soon introduced to the White Rabbit (Stella Coppola), who bounded amongst the picnic blankets, announcing she was late, late, late!

So begins this outdoor performance in the Pioneer Garden by The Australian Shakespeare Company. It’s always a challenge to entertain children in the younger age bracket, as their attention span can be limited at times. I wondered how the company would capture their attention for the 80-minute show.

It was a clever move to have a “children’s only” space in front of the brightly coloured set; no adults were allowed. This enabled the kids to be a captive audience and, therefore, able to be directly talked to by the characters. The regular encouragement of audience participation engaged the little people, as they were able to yell out answers and sing chants.

The director, Dennis Manahan (also acting in the show as Bill the Lizard and The Mad Hatter), has put together an entertaining show, giving the actors opportunities to explore their character quirks with dancing, singing and merriment. Alice (Madeline Calder) led the storyline. There was clever staging as she encountered the various characters, particularly the huge caterpillar played by Ross Daniels. With various parts of this rather large caterpillar spilling out of different windows, with the head above the roof and the bottom half on the floor, the magnitude of this caterpillar was clearly achieved.

Another imaginative part showed that Alice had grown to giant proportions. Oversized inflatable arms extended from the open windows and flapped around, almost squashing the other characters. This made for a funny scene where the children laughed uncontrollably.

Original songs carried on the storyline, combined with some catchy dancing that added to the light-heartedness of the show. The silliness of Tweedle Dee and Tweedle Dum’s song and dance was very amusing to watch.

The make-up and costumes of all characters were carefully constructed to make them believable. Even Humpty Dumpty made an appearance as a face on a high wall with puppet arms and legs, which I found quite endearing.

The involvement of adults who they asked to be a part of the volunteer ‘card deck march’ would have been a highlight for kids to see. The giant cards slipped over the adults’ heads sandwich board style, which was a clever way to involve the audience in a game on the grass. The caterpillars (the children) entered a caterpillar crawling race, finding their way from the start to the finish line whilst avoiding the card adults’ legs!

At the end of the show, The Mad Hatter invited children to have a cast photo with them. This was a lovely gesture to complete the Alice in Wonderland performance. The Australian Shakespeare Company showcased a lovely afternoon’s entertainment for children and their accompanying adults, which included grandparents as well. Children aged around 3 -5 would love this show.

Alice in Wonderland is playing at The Pioneer Gardens at the Royal Botanical Gardens Sydney from 13 -28 April 2024. Tickets range from $25 in the off-peak period to $30 in peak time. A group of 4 admission tickets are $110. Children under 12 months are admitted free.

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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