Potted Potter – The Unauthorised Harry Experience

Potted Potter

Potted Potter Rating

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Every now and again a show comes along that is simply just good fun. Potted Potter is one of these shows. It is child-like (in the best possible way), hysterical and does not depend on a deep knowledge of the seven Harry Potter books.

The Playhouse, normally home to the State Theatre Company of SA, was packed with eager children of all ages, some dressed as their heroes, accompanied by apprehensive parents. The atmosphere was palpable.

The stage is shrouded with mysterious objects covered with sheets, a study corner with a desk standing on a pile of books, ominous shadows and eerie music. A perfect setting for horror story, but this production is everything but that!

Written by Daniel Clarkson and Jefferson Turner, with direction by Richard Hurst, set by Simon Scullion, lighting by Tim Mascall, video by Tom Hillenbrand and music by Phil Innes, Potted Potter was ‘born’ in 2005 as a 5-minute street show, and has evolved since then, travelling around the world, into the current 70-minute spectacle.

Featuring the comedic talents of Scott Hoatson and Jacob Jackson, the production rockets along and includes, puppets, quidditch, fast costume changes, quidditch, audience participation, quidditch, topical references and yes, of course, quidditch!

At roughly 10 minutes per book, this is no mean feat for Scott and Jacob, however, they handle the task with ease and never allow the pace or the humour to drop, complete with numerous ad libs and in jokes.

Hoatson plays the wizard himself, complete with the trademark glasses and more than a passing resemblance. Jackson plays all the other characters (except the golden snitch). Individually and together, they are masters of their art with enough material to interest children and adults alike. The rapport between them is amazing, particularly when using physical humour.

If you are a Harry Potter purist, be prepared to suspend your devotion to perfection for 70 minutes and embrace your inner child. There are references to Lord of the Rings, Jurassic Park, Australian political figures and more!

At times it is hard to determine where the script ends and the ad libs begin as the performers work at rocket pace daring us to keep up. The direction (Richard Hurst) is flawless and we could be forgiven for believing the boys are ‘making it up as they go along as the banter is completely natural.

Highlights for me include – Voldemort wearing bright red horns (a parody of Maleficent?), the final battle between Harry and the dark lord staged as a sing off to ‘I Will Survive’ and the terrifying (or is it?) Norwegian Ridgeback dragon battle with Harry.

As wonderful as these highlights are, the climax of the evening is the game of Quidditch with two lucky members of the audience as ‘keepers’. Blow up globes of the Earth bounce through the audience in search of the lifebuoy goals in the auditorium and the golden snitch is spotted and captured to win the game. Hoatson, as the snitch, in an amazing golden costume that defies my description, was lucky to survive the keepers in this performance.

Potted Potter – The unauthorised Harry experience – a Parody by Dan and Jeff is a joyous 70 minutes packed with hilarity, audience participation and downright good fun. It is sure to cast a spell on those who are young, and those us who wish we still were! A must see!

Dunstan Playhouse – Adelaide Festival Centre. May 10-12

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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Mr Bailey’s Minder

Mr Baileys Minder

Mr Bailey’s Minder Rating

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7

Debra Oswald’s dramedy, Mr Bailey’s Minder, is a funny, life-enhancing, and deeply moving play about the ugly side of artistic temperament, friendship, family, and the longing for a better life.

Through her characters, playwright Debra Oswald paints a poignant portrait of what we need for forgiveness. Bristling in the beginning with what some might call caustic humour, the play builds through complexities that fiendishly remind us that underneath our veneers, there are rich layers of human experience, revealing a luminous inner beauty found in folks who’ve been scarred for life by life.

Leo Bailey, reputedly one of Australia’s greatest living artists, battles the ravages of alcohol abuse and indulgent misbehaviour, leading to self-loathing and cynicism, culminating in him needing round-the-clock care. His daughter Margo, the only one of his many children prepared to help, does so by staying aloof. She has been through a string of minders for her father.

Therese, fresh out of jail, desperate for a home and job, down to her last option, accepts the challenge to be Leo’s live-in minder. Determined to succeed, even if it means going head-to-head with her cantankerous charge, she battles bravely, seeking some sort of redemption.

Karl, an obliging handyman tasked with the removal of a valuable mural, sees the good in Leo and is a little keen on Therese. He returns repeatedly, offering practical friendship.

The production contains strong language and adult themes. Ironically, it is staged inside a beautifully appointed church hall at 52 Merthyr Road, New Farm, by Nash Theatre. Director Phil Carney does a marvellous job with his cast, keeping the energy high without hurry, exploiting the comedy of awkward moments, and allowing the shift into pathos. The final moments mix excruciating irony with a glimpse of forgiveness.

John Stibbard, as Leo, enters down the stairs of his dilapidated house, oozing poison and malignancy. Despite all he says, does, and has done, we empathise. Stibbard brings warmth to the role, first through humour and then deep pathos when he sees for the first time in decades his favourite of the many pictures he’s painted.

Leo bathed his subjects in luminosity and himself in fame. However, he wasn’t so good as a husband and father. The role of Margo, his daughter, is tricky. But Linda Morgan blends the requisite primness with resentment. Therese, played by Susan O’Toole Cridland, is down to Earth, forthright, and courageous in sharing a strong bond with Leo: shame about their pasts. The play demands a burgeoning chemistry between Therese and Leo, and they achieve that as their characters let down their guards.

Gary Farmer-Trickett plays two roles: Gavin, a despicable minor character for a few moments, and Karl, whose burgeoning interest in Therese is well-understated.

The production should succeed by virtue of word of mouth alone. Here’s my two cents worth. See it for yourselves. You’ll find the experience valuable. Performances are on Friday and Saturday nights: 17, 18, 24, 25, 31 May, and 1 June. Matinee 18 May.

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 Addams Family

The Addams Family

The Addams Family Rating

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9

There is so much to love about the Addams Family Musical comedy presented by the Metropolitan Theatre Company of SA Inc., which was originally formed in 1958 as the ‘Metropolitan Light Opera Company’. Performances first took place at the Unley and Norwood Town Halls before moving to the Arts Theatre in 1964, where the Company has remained.

I love that it was performed three streets from my house in a gorgeous little old theatre in Adelaide, The Arts Theatre.

I love that we left home a little bit too late to race there in my high heels, so hubby and I jumped on our scooter and it took us three minutes to scoot there, longer in fact to chain the scooter up outside.

I love that I could pull this old dress out of the wardrobe and nobody batted and eyelid. In fact, I don’t think I’ve been complimented on my outfit so much that I might wear it again!?!

I love that everybody was chatting in the foyer before entry, like a bunch of old friends.

I love that you could stand outside the stage door after the show to chat to the artists, if you could recognise them that is, as they left to celebrate their opening night.

Even my husband who gets dragged along to these things, and he loved it, which is a really really big compliment coming from him.

But now to the important thing, the performance

Fans of the Addams Family you will discover and love these actors and their characters immediately.

The show is brilliantly cast :

Ben Todd (Young Frankenstein, Spamalot,Guys & Dolls) playing Gomez Adams.

Selena Britz (One Touch of Venus, All That Jazz, Snow White & The Seven Dwarfs) Morticia Adams.

Vanessa Crouch (The King & I, Thoroughly Modern Millie, Hello Dolly!) Wednesday.

John McKay (Jack The Ripper, Jesus Christ Superstar, Pirates of Penzance) Uncle Fester.

Elizabeth Lee (characters such as The Beggar Woman, Hedy La Rue, Mrs Higgins) Grandma.

Tom Sheldon (Winnie The Pooh, The Sound of Music, Hairspray) Lucas Beineke.

Krystal Dally (Annie, Nice Work If You Can Get It) Alice Beineke.

Andrew Mayer (The Boyfriend, Fiddler on the Roof, Pirates of Penzance) Mel Beineke.

Jason Clark (Le Mis, Grease) is Lurch.

Pugsley shared between 14-year-old Phoebe Clark and 11-year-old Elijah Proctor.

And also a cast of 15 ancestors who were absolutely perfect support to the story.

Each main cast member had their time to shine with their song. As each cast member sang, I thought, this is the show stealer, until the next one, and I thought, this is the show stealer, and the next one, and I thought, this is the show stealer!!

If I really had to choose, I would say Vanessa. Wednesday was mesmerising, and you couldn’t take your eyes off her. Vanessa appeared in her first show at age five, and her state experience is evident.

The storyline is fabulous, giving each of the actors their moment in the sun.

It has a great message about the importance of family, mother-daughter struggles, long-term husband-and-wife dynamics, and the trials and tribulations of bringing new members into families.

Which coincidentally coincided with the first time that our eldest daughter brought her partner home to our house to meet us and her four siblings for a movie night tonight, so that aspect of the story was particularly relevant to my husband and I.

It was a long show, but it was so much fun that you didn’t feel it was too long.

A bonus was that during the break, we could order some lattes on an app, and my husband walked down to the On The Run on the corner, arriving back just in time for act two with some nice hot coffees.

The production team consisted of Caroline Adams, Director, Jane Feast, Musical Director, and Jacinta Vistolli, Choreographer. They should all be very proud of what they have created.

The only disappointment of the night was that I would’ve loved to have seen more guests in the house.

If you can get out and see this show, support our local talent, support our local venues, remember that these guys do this for the love of it and do a spectacular job, so let’s get behind them.

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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Dear Diary

Dear Diary

Dear Diary Rating

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‘Dear Diary’, written by Kay Proudlove and directed by Leland Kean, opened last night at the Illawarra Performing Arts Centre. The one-woman show, starring Proudlove, is a balanced mix of nostalgia, self-deprecation, and musical comedy.

The show’s premise arose from a fateful day in Kay’s life when she was summoned to her parent’s house to clean out her childhood bedroom. The layout of the stage represented said bedroom, which felt both homey and oddly clinical, as she slowly removed the sense of comfort that comes from a safe space like a bedroom as the story progressed. Certain moments were punctuated with clothes being removed from the racks and piled up downstage, symbolising moving on and growing up.

The casual tone and delivery of the interwoven collection of stories made the performance feel like old friends catching up over coffee or a bottle of Moscato. The fourth wall was delicately danced around, with Proudlove referring to her writing process for the show and providing sidenotes and commentary on her memories and diary entries.

Kay’s generational humour and songs crafted from extracts of her teenage self’s diary had the audience in stitches. The stories of her high school crushes on both celebrities and boys she went to school with were hilarious and authentically awkward.

The selective use of a screen to show images and blow-up pages from her diary assisted in comedic timing and context and authenticating the words being read from the diary. It was wonderful to see her growth as a musician and a songwriter, as she has moved past her one verse and one chorus songs with a catalogue of beautiful, powerful, and reflective songs, as well as the majority of songs in ‘Dear Diary’ that are upbeat and lyrically diarised.

Growing up as a theatre kid and having big dreams like fame and going on a world tour are formative in the way young artists identify and shape their perspective on themselves and their environment. Her moment of realisation of her replaceability within her musical space struck a chord with me, who also put together performances and had big dreams of fame as a pre-teen. A sad part of growing up is looking back at all the plans your younger self had made, often with absolutely no understanding of the world and the inner workings of adulthood. Kay captured this beautifully with such raw emotion and simplicity.

If you grew up in the Illawarra and are looking for a healthy dose of nostalgia, this is the show for you. Grab yourself a ticket on the Merrigong Theatre Company website. ‘Dear Diary’ runs until Saturday, 11 May, at the Illawarra Performing Arts Centre before continuing her national tour in Tasmania.

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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