Eavesdrop At The Vatican – Pope 2 Pope

Hunters Hill Theatre performed the world premiere of award winning Australian playwright Melvyn Morrow’s latest play, Pope2Pope, on Friday 18 August 2023. It was a play with religious themes that treads the fine line between comedy and some difficult truths. The director Elaine Hudson and the company did so with finesse and steady balance, cleverly staying on this line.

Pope2Pope, as the name suggests, was set inside the Mother of the Church Monastery, in the Vatican Gardens. The set design was simple but effective, with a traditional large red sofa on a red luxurious carpet taking centre stage. This repetition of colour spoke to me about power play, whilst in contrast on the right of the stage there was the Vatican’s gardens, a calm green scene filled with grass, herb pots and vine walls.

This is the closest we shall ever get to being a fly on the wall overhearing the conversation between two popes – one current, one pope emeritus (a pope which has been retired) inside the Vatican. And it is a conversation the audience wanted to follow, which in time revealed the underbelly of the Vatican and the papacy and other surprising secrets.

Graham Egan, as Pope Emeritus John XXIV portrayed his character’s personality perfectly. He was visually upbeat and appeared purposefully naturally loose with his movements and speech. In opposition to this character was Pope Pius XIII, played by Christopher Brown. He presented his character well, often seated ramrod straight backed on the red sofa and cut a serious and commanding presence. Sharron Olivier played Sister Angelica and a special mention must be made to her authentic sounding Italian accent as well as some great facial expressions which conveyed her character’s innermost thoughts.

Pope2Pope also gifts the audience with a brief history lesson involving some apparitions from the past with interesting stories, their costumes adding to their authenticity. I was impressed with Anthony Hunt’s performance of a certain character from the country. In the retelling of his story, Anthony added some real heart to the play.

Throughout the performance, the flow of conversation between the characters and aptly timed body language spoke to the audience clearly. At times, I found myself nodding along and relating to the cultural symbolism portrayed and at other times I was laughing at it.

Just before you enter the theatre, there was a table with a newspaper front page, some solid hardcover books about the popes and some religious items on it. When I saw the table walking in, it served to pique my interest in the upcoming play.

When I exited the theatre doors, I paused there to read the article from The Daily Telegraph dated February 2013. The headline read, “FIRST PONTIFF TO RESIGN IN 600 YEARS. POPE QUITS”. A real piece of history to supplement this well-rounded play.

Pope2Pope is performing at the Hunter’s Hill Theatre at Club Ryde, 728 Victoria Road, Ryde between the 18th August and the 3rd September 2023.

This review also appears on It’s On The House.

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Picnic At Hanging Rock – A Dark Australian Tale

The Observatory Theatre’s latest production, Picnic at Hanging Rock brings Joan Lindsay’s haunting and iconic novel to life through Tom Wright’s reimagining of this dark, uniquely Australian tale.  Emerging artistic talent Lachlan Driscoll has created an impressive theatrical experience that successfully captures the essence of mystery and intrigue central to Lindsay’s story. 

The laser focus of Driscoll and his team in delivering a high-quality production is evident in the attention to detail accorded to the set and sound design which transports the audience straight into country Victoria in 1900 and Appleyard College, a private school for girls where we meet the students, the school mistresses, and servants.

A dark sense of foreboding swirls as we join these disparate characters who are drawn irrevocably into the eerie world of the Rock and their fate.  We feel the mid-afternoon heat, torpor, and rugged dangerous beauty of the Australian bush as the story builds towards the fateful picnic and, then the discordant, crashing horror of the aftermath.  Each scene is carefully crafted with the actors, beautifully choreographed, maintaining the energy and pace to drive the evocative narrative forward.

Tom Wright’s adaption of this story is unique.  It shines a light into the dark corners of the world inhabited by these young Australian women, constrained and constricted under the expectations of a culture fully informed by the British “motherland”; the accepted and expected way of life in the “outpost of Empire” that was pre-Federation Australia.  This jars deliciously and discordantly with the ancient and seemingly unknowable Australian landscape exemplified by the Rock. 

The wonderfully talented cast is given much to work with and they take full advantage.  Malika Savory’s nuanced execution of Sara brings the fragility of this vulnerable girl to life and her scenes with the “Headmistress from Hell”, Mrs Appleyard (adeptly portrayed by Libby Harrison) deliver a masterclass in powerful performance.

As Albert Crundall, the Coachman, Leah Fitzgerald-Quinn sets the tone for this seemingly simple yet interestingly complex character.  Albert’s common, sometimes crass but practical nature appears at odds with his bold acts of bravery and Fitzgerald-Quinn brings a laconic “Australian-ness” to deliver believability to this spectrum.

When picnic survivor Irma Leopold meets with Michael Fitzhubert, the young Englishman haunted by the girls’ fate, over a polite afternoon tea, both Jules Broun (Irma) and Téa Paige (Michael) strike the right note of poignancy and fear as Irma and Michael struggle to remember, and also to forget their experiences at Rock within this strained and constrained formal ceremony.

The Observatory Theatre’s production of Picnic at Hanging Rock is much more than a stock retelling of a well-loved tale which ponders the blurred lines between truth and fiction.  It successfully pays homage to the haunting legacy of the original story and offers new perspectives.

Balancing innovation whilst maintaining faithfulness to the source material ensures those of us still having nightmares from Peter Weir’s unsettling 1975 film adaption of the story, and those of us who are new to the tale, are equally satisfied.

Put this one on your must-see list.  With 10% off at Slipstream Brewing on presentation of your ticket you’d be mad not to enjoy the supernatural shivers, and a calming beverage afterwards. 

Performances nightly at Studio 1 Yeerongpilly on Friday 18, Saturday 19 and Sunday 20 August with 3pm Matinee performances on both Saturday and Sunday.

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Clever, Creative and Eerie – The Turn of the Screw

The Turn of the Screw, written and directed by Tooth and Sinew’s Richard Hilliar (after Henry James) was a very clever and creative production.

An eerie atmosphere was established, from the moment the audience walked into the theatre through the mist to their seats. The preshow orchestral interlude, composed by sound designer Chrysoulla Markoulli purposefully used amplification and dynamics to capture my attention and left me with an unsettled feeling.

Whilst waiting for the show to begin, I got a subtle hint of what was to come by seeing the addition of something strange growing down from the ceiling onto the walls, it was creepy. These preshow elements caught all my senses to ensure a mysterious introduction to The Turn of the Screw.

The play was an adaptation of a well-known novella by Henry James and classified as a psychological thriller. A young governess is hired to supervise and take care of two children by their Uncle and is sent to live at an isolated property in the English countryside, joining the mansion’s housekeeper Mrs Grose.

It is here in the house where the governess experiences something unsettling, and the audience is first introduced to the idea that all may not be what it seems within this family and indeed, within the house itself and the surrounding grounds.

As the story progressed, so did the suspense. The underlying tension continued to mount as strange things involving the children occurred and we are left to question if the Governess, in her attempt to protect the children, is a reliable narrator.  There were some spine-chilling supernatural moments throughout the story, complemented by the lighting, sound and acting that made me shiver!

There was an effective use of costumes, set design and props to clearly define the era without explicitly telling the audience, in the late 1800’s. The colour palette of the set and costumes added to the authenticity and the mood.

All five cast members in the ensemble successfully pulled the audience directly into the show, with in depth believable performances. Each character had their own back story to unravel, and they did this superbly!


The Turn of the Screw was approximately 2 hours with a 20 minute interval.

Tickets are now on sale and is showing at The Seymour Centre from 21 July – 12 August 2023.

ADDRESS: The Seymour Centre, Corner City Rd and Cleveland St, Chippendale

TIMES: Wednesdays to Fridays 7:30pm; Saturdays 1:30pm & 7:30pm

BOOKINGS: https://www.seymourcentre.com/event/the-turn-of-the-screw/

or (02) 9061 5344

TICKETS: Full $49 / Seniors, Groups 8+ $39 / Concession, Under 35s $35

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Every Tale has a Beginning

Pip Theatre’s latest production, produced by Moonspark Productions, of David Eldridge’s play, Beginning, is a poignant musing about two lonely people in our present day, seeking some sort of connection in inner-city London.

A real-time examination of two damaged people reaching out at the end of a party, with the woman taking the initiative. This two-hander movingly reminds us that, even in the age of social media and internet dating, creating a connection with another person remains as problematic as ever.

Laura is a 38-year-old managing director whose new north London home is where the housewarming party happened. Danny is a 42-year-old middle-management man who, having come along at the invitation of a friend, is the last man standing. They are similar in age, but in many ways, they are universes unto themselves. She is passionate, capable and, organised. He lives with his mum.

Taking place in real time over 100 minutes, the play shows them desperate for love and affection. It would be a big spoiler to reveal why they are so needy. Eldridge captures the way people’s desires rarely synchronise. Laura seems more assured, yet we sense a vacancy in her life.

Danny clearly likes her but is nervous, resisting her advances through evasion tactics, including cleaning up the detritus of the party. Eldridge shows that contrary to all the myths of our technological age and the allure of advertising, solitude is still pervasive.

The Australian premiere of the play is currently running in Brisbane at PIP Theatre, 20 Park Road, Milton. Crystal Arons and Jesse Blachut do an admirable job of bringing to life the angst of the two slightly sloshed Londoners.

The hunger animating Laura is evident, and Danny’s rugged wariness suggests a man who conceals a buried hurt. Director Heidi Gledhill has them hitting the right rhythm as both actors peel away protective layers, leaving you caring deeply about them, adding an eerie quality to present-day dating.

This is the production’s final week with only the following sessions of Beginning to choose from:-

  • Thu 27 July 7.30 pm
  • Fri 28 July 7.30 pm
  • Sat 29 July, Matinee 2 pm
  • Sun 29 July 7.30 pm
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