Lord of the Flies Rules Maitland

You want gore? You got it. You want action packed fight scenes? You got it. You want monologues that will move you to tears? Right here.

Reamus Theatre’s Lord of the Flies is a gripping rendition of William Golding’s classic tale. Set on a deserted island during the 1950s, a group of school children find themselves stranded after their plane goes down during an evacuation attempt. It is a cautionary tale of what mankind can become if modern democracy, rationality, and compassion are abandoned.

It was clear that a lot of consideration went into the staging of this production. There was a need to create at least six different locations within the small stage, often with all twelve cast members on stage at the same time. Thoughtful planning of levels and ramps, as well as creative stage entrances/exits, allowed multiple locations to be on stage at the one time (an aesthetically fitting bonus was that the ramp between the levels was made by creating an aeroplane wing!).

The audience was made to feel the drama quite intensely too thanks to the thrust stage, with some of the more physical fight scenes being done right in front of the first-row audience.

The success of the staging was aided greatly by thoughtful lighting choices, with spotlights helping to clearly define different locations on the stage. Red and blue lights were used symbolically throughout the performances, and lighting was also employed to shift the scene between day and night. Sound design was also used to help transition from day to night, and all sound cues in this performance were executed with perfect timing.

Furthermore a lot can be said about the costumes in this production. As the characters stayed on the island, their clothes became more and more raggedy and discolored. The costume degradation was subtle yet severe and created a very convincing illusion of time passing. The props and fake blood were also incredibly realistic leaving the audience disgustingly impressed by the actors comfort with the gore of it all.

The cast of twelve performed this play adaptation with passion, zeal and – some more than others – with an almost crazed look in their eye. The energy of the entire cast was felt by the audience, as well as their joy from performing the play.

Although each performer stood out in their own right, I do want to make a few specific mentions of great performances. Robert Joey McKinnon presented a delightfully physical Henry, who’s actions made the audience laugh even during the darker moments of the play. Jace Pickard provided a crazed determination and strong vocal projection for this production’s Jack. Likewise, Hannah Richens’ Roger was a force to be reckoned with, and Bronte Fegan delivered Piggy’s final monologues heartbreakingly. 

But the most intense and moving scene was the final.  Lead actor and co-director Thomas Henry showcased his talent through Ralph’s final moments of the play. Although I am tempted to say more about Thomas Henry’s performance during the latter half of act two, words would not do justice and I will instead encourage – no, URGE – you to experience it yourself.

This production of Lord of the Flies was an absolute pleasure to watch. Kill the pig, spill it’s blood, catch this show! With only two more sessions remaining please get buzzing and book your tickets now.

  • Friday 16 June 2023 – 8:00 PM
  • Saturday 17 June 2023 – 8:00 PM

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The Messy Truth of Reality – Consent

What I was expecting: A courtroom drama about a rape case, and the effect it has on the lawyers who are trying the case. A play that was going to be uncomfortable and confronting, but presented an important discussion into the way we think about “consent”.

What was presented: A dark comedy that looks at the breakdown of a housewife’s relationship with her husband. It was a deep and complex interrogation of the concept of truth, perspective and fidelity that had me laughing with and relating to the characters.

Although the play does follow a rape case, the case and the personal life of the barristers are quite disconnected. My two initial thoughts of how the performance would run were completely off; the barrister does not fall apart feeling guilty about getting a rapist off, nor does the play end with a guilty verdict that sets the world right again.

Instead, Consent looks at how being “technically right” through legal reasoning can work to ignore and deny the messy truth of reality. The audience is presented with everyone’s side of the story and refreshingly isn’t forced to agree with any one character’s perspective. Each is right. Each is wrong. Each is deeply flawed. Everything is thrown up in the air and allowed to settle with the audience wherever it falls.

The rape case in this performance is presented almost as a play within a play. It is used as a way to emphasise the unflinching and unmerciful reasoning of the law and the lawyers that use its logic. The lawyers hold all of the control, yet the victim Gail (performed in this production by Jessica Belle) resists their version of the truth. She refuses to become an actor in their play and demands to be heard.

In this production, the first act is performed entirely downstage, and a partition was placed in the middle of the stage and used as a “backstage” for the actors. However, lighting effects allowed the partition to become see-through at times, providing an eerie, foreboding, and ever-present reminder of the darker themes of the play.

The partition changes at the end of the first act, where Jessica Belle’s Gail tears it asunder. It’s a powerful choice of staging as Gail literally breaks that fourth wall down to get her truth across. With the partition broken, it’s as if all of the complex issues and emotional chaos that were so intensely avoided in this first act are allowed to flood in. And like a tsunami they do.

Cue act two. Every single actor came alive in this second act, revelling in their characters’ disturbed emotional states. In particular, Kitty (played by Anna Samson) became a woman unhinged. Statement costume pieces and strong sound design emphasised the power shift within the play, and Anna Samson skillfully portrayed the transformation from a doting housewife to a woman on a mission.

Another standout performance was delivered by Nic English in his portrayal of Edward. Whether he was cross-examining a rape victim, having a verbal spat with his wife, or cuddling a soft toy whilst crying like a small child, Nic English was an absolute pleasure to watch.

Outhouse Theatre Co‘s production of Consent tackles its heavy and dark themes seriously, whilst also making the audience laugh out loud as they do. The actors combined perfect line deliverance and expert timing amidst the thoughtful stagecraft making the production come together seamlessly.

This play is not as dark as the promotions and publicity might make you think, and I hope that anyone who has the opportunity to see it does. It was a thoroughly enjoyable performance from a very talented cast.

Consent runs for three more weeks Wednesday through to Saturday until the 24th of June.

This review also appears in On The House.

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Neil Simons’s Rumours – Review

Maitland Repertory Theatre’s production of Neil Simon’s “Rumours” is indeed something to talk about. Directed by Robert Comber, this production – despite involving for the characters serious bodily injury and gunshot wounds – will have you laughing the entire way through, and I had the privilege of viewing the performance on its opening night.

The play opens with a scene of panic. What was meant to be a lovely dinner party to celebrate a politician’s 10-year wedding anniversary has already been turned on its head. A reluctance for the truth to come out causes lies upon lies to be told as each character is introduced into the fold. In the end, the truth can no longer be contained! Although the audience can enjoy the dramatic irony of characters being told ridiculous stories, the real story of what occurred before the play opens remains a mystery for the whole play. As summed up perfectly by the character Ken Bevans (played by Eamonn O’Reilly), “No one has heard the real story yet. No one knows the real story.”

The stage design for Comber’s performance is a quaint and realistic living room setting, which allowed the actors to interact with each other closely and comfortably. The lighting similarly worked well for the play, providing a warm atmosphere perfect for the setting of a politician’s dinner party. Costumes were also very suited for the production and tied all the visuals on stage together nicely.

The cast was made up of 10 very keen actors with a variety of acting backgrounds. Although the play is set in New York, accents were employed in this production to portray a British setting, and the majority of the actors performed these accents flawlessly. These accents gave an “upper-class” feel to the characters and made us feel like we were peering into the secret lives of the wealthy. The script of the play is also very fast-paced, and although there were times in the performance when the pace dropped, the energy provided by the actors ensured that there was never a dull moment.

Of the 10 cast members, there were plenty of standout performances. Although some of the performances were either too melodramatic or one-dimensional, the farcical nature of the play forgave a lot of this. As such, it was easy to enjoy these performances and appreciate the energy and enthusiasm that the actors were bringing to the mayhem on the stage. The most chaotic moment in the performance was the final beat from act one, where each actor could not be faulted in their portrayal of despair, stress, confusion, and hunger.

There were, however, two performers who really shone in the opening night production. Matt Robinson (who played Leonard Cummings) created much of the humour with his expressive face, physicality, and comedic timing. His words were articulate, his lines were funny, and he played his character superbly. An absolute pleasure to watch on stage. Another standout performer was Jacqui Weston (who played PC Conklin). Her powerful body language and unbreaking eye contact created a strong stage presence. Despite having very few lines and not a great deal of stage time, her performance was compelling.

Although it may sound counterintuitive, one of my favourite moments from this performance was when one of the actors had forgotten their lines. They did not for a moment lose composure nor falter from their character, and the moment was able to be worked through with help from fellow cast mates. It was a moment of the cast becoming an ensemble, right before the audience’s eyes. A truly unique thing to experience, and a credit to the cast and director for cultivating the actor’s relationship.

“Rumours” is a gun-blazing farcical play of “tongues wagging and tales flying”. Comber’s production indeed does the play justice and, even in the face of opening night challenges, I would strongly recommend anyone to go and see it. The cast do a wonderful job at portraying the chaos that is in this play and it was an absolute treat to experience their performances.

Neil Simon’s Rumours – Maitland Repertory Theatre runs for three weekends only with the following sessions to choose from:-

  • Friday 28 April 2023 – 8:00 PM
  • Saturday 29 April – 8:00 PM
  • Friday 05 May 2023 – 8:00 PM
  • Saturday 06 May 2023 – 8:00 PM
  • Sunday 07 May 2023 – 2:00 PM Matinee Performance
  • Saturday 13 May 2023 – 8:00 PM
  • Sunday 14 May 2023 – 2:00PM Matinee Performance

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Come From Away – Civic Theatre

How do you humorously portray the horrific? Add a touch of human.

Irene Sankoff and David Hein’s hit musical Come From Away brought to you by Civic Theatre Newcastle, tells the story of a small town called Gander during the week after the 9/11 bombings. From this dark context, the play blossom into exploring what it is to be human in the face of tragedy. Through themes of love, loss, compassion, and exhaustion, the play examines what it means to be human when faced with the unimaginable.

The text of this play is a combination of script, lyrics and verbatim, resulting in an unforgettable piece of theatre. The stories told are amalgamations of real people and events, allowing us to see a snapshot of what happened in Gander in September 2001.


The cast consisted of 12 actors playing multiple characters, and every single one shone. The performers were able to showcase humanity both in the micro and the macro as we were invited into people’s homes and lives while reliving a very public tragedy.


Although each actor played multiple parts, Sarah Nairne’s portrayal of “Hannah” stood out. She portrayed the sorrow of loss and heartache that comes with losing a loved one. Simple costume changes made the transitions between the characters seamless, and the stage setting of about a dozen chairs and a couple of tables made quick scene changes effortless.

The ensemble worked together as a living organism on the stage, moving us from scene to scene with unison, clarity, and precision. They flawlessly transitioned us from scene to scene, supporting and holding space for the individual characters that emerged from the group.


The musicians provided a pulse for the immense and powerful heart of the ensemble, which guided the audience through the emotional journey of the performance. The few times they appeared on stage were a celebration of all things coming together.


Although the lighting fitted the action on the stage, my favourite part of the play was a beautiful moment where the grand lighting backdrop was stripped, and the actors took control of the lighting via torches. Their elongated shadow behind them created an eerie and foreboding effect on the drama as it played out.

Come From Away is being performed in Newcastle until the 5th of March. If the review itself did not convince you to go and see the award-winning performance, let me bluntly tell you to check it out! Upcoming show dates are:-

  • Wednesday 22 February 2023 – 1:00 PM and 7:00 PM
  • Thursday 23 February 2023 – 7:00 PM
  • Friday 24 February 2023- 7:30 PM
  • Saturday 25 February 2023 – 2:00 PM AND 7:30 PM
  • Sunday 26 February 2023 – 2:00 PM and 6:00 PM
  • Wednesday 01 March 2023 – 11:00 AM AND 7:00 PM
  • Thursday 02 March 20237:00 PM
  • Friday 03 March 20237:30 PM
  • Saturday 04 March 20232:00 PM AND 7:30 PM
  • Sunday 05 March 20232:00 PM and 6:00 PM