Thought Provoking Journey into the Heart of Darkness

The Goodwill Club, nestled in the historic Rechabite Hall, once a symbol of an international temperance movement, served as the backdrop for an intriguing performance during the Perth Comedy Festival. Could stand-up comedian Anthony Locascio deliver on a show titled Heart of Darkness? On arrival, one came with a sense of wonder, anticipation and curiosity.

Anthony, the comedian, welcomed the audience with open arms, exuding an inviting and vibrant energy that made us feel instantly at ease. With his likable persona, he delved into some challenging and controversial topics, navigating them with finesse and skill.

Addressing sensitive subjects is no easy feat, akin to a circus performer embarking on a highwire tightrope walk without a safety net. However, Anthony succeeded, showcasing his profound understanding of how to approach such material in a manner that both entertained and engaged without causing offence.

The slippery slope is real, yet it was evident that Anthony had invested considerable thought into his performance, crafting his delivery to ensure the material was not only funny but also thought-provoking. As an audience member, I admired the risks he took and the expertise with which he set the stage.

Anthony Locascio – The Thinking Man’s Comedian

“Heart of Darkness,” the show’s centrepiece, invites audiences to explore their own inner depths with Anthony fearlessly leading the charge as he launches into his personal journey into his own heart of darkness, sharing deep and personal accounts with the audience. Yet, even within the darkness, he skillfully finds moments of levity, seamlessly weaving laughter into his narratives.

While many comedians rely on whimsical and absurd scenarios for laughs, Anthony fearlessly embraces the heart of darkness and delivers an enjoyable performance that leaves a lasting impact. It was refreshing to witness a comedian who not only entertained but also provoked introspection long after the curtain fell.

Anthony embodies the thinking man’s comedian, prepared to traverse the publicly taboo and unexplored recesses of the human psyche. I genuinely hope he continues to nurture this distinct aspect of his comedy, as it serves as a genuine point of differentiation, allowing him to stand out amongst his peers.

In conclusion, Anthony’s thought-provoking journey into the heart of darkness successfully engaged the audience, leaving us with a delightful blend of laughter and contemplation on our own hearts of darkness.

Keep an eye out for Anthony Locascio for all upcoming shows to find out when he is next sharing a dark, funny, introspective journey to your town.

This review also appears in On The House

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A Heartwarming Journey of Resilience and Hope

Driftwood The Musical takes us on an emotive and profound journey of 6 characters, immersed in the shadows of the Holocaust. Inspired by Eva de Jong-Duldig’s memoir “Driftwood – Escape and Survival through Art,” this theatre production by Tania de Jong AM weaves a captivating narrative centred around the extraordinary life of her grandmother, Slawa Horowitz-Duldig. It is a story of unwavering resilience, love, and determination, as displaced families float away like driftwood, from one country to another, fighting against the relentless challenges to stay together.

Slawa, (Tania de Jong AM) a talented artist lives with her husband, a sculptor Karl (Anton Berezin) and daughter Eva, (Bridget Costello). The story unfolds as Eva opens a gift from her father, a box of cherished memories – containing documents, letters and photographs, on her 18th birthday. Eva serves as a narrator sparking a quest for answers about her family’s history. The timelines seamlessly intertwine, transporting us between 1950s Australia and 1930s Austria, where Eva’s parents, navigate a life filled with art, love, and the shadows of impending darkness.

In 1938, Eva’s parents, the gifted artists, Karl and Slawa, basked in the joys of their creative pursuits in the vibrant city of Vienna. Their lives are enriched by the close bonds they share with Slawa’s sister, an actress, Rella, (Michaela Burger) and Karl’s brother, Ignaz. (Nelson Gardner). Amidst the blossoming of their talents, Slawa’s invention of the folding umbrella becomes a cause for celebration and excitement.

However, as the dark clouds of Nazi oppression loom over Europe, Karl seeks solace in Switzerland through his passion for tennis, hoping to escape. The family’s fate takes an unexpected turn as they are forced to flee to the distant shores of Singapore and eventually a camp in Victoria, separated from the world they once knew. The performances in Driftwood are nothing short of exceptional. The talented cast brings these complex and relatable characters to life with depth and authenticity. Bridget Costello’s portrayal of Eva is endearing, capturing the character’s growth and transformation with grace and emotional nuance. Anton Berezin delivers a captivating performance as Karl Duldig, conveying both the vulnerability and the unwavering determination of his character.

Tania de Jong AM’s portrayal of her grandmother – Slawa Horowitz-Duldig is deeply moving, showcasing her remarkable vocal talent and heartfelt connection to the character. Michaela Burger shines as Rella, displaying a profound emotional depth and radiating warmth that lights up the stage. Nelson Gardner’s versatility in multiple roles is awe-inspiring, thus showcasing his immense talent and ability to seamlessly transform into different characters. The entire ensemble shines with their passionate performances, creating a harmonious and emotionally charged experience.

Under the masterful direction of Gary Abrahams, Driftwood unfolds with seamless precision, striking a delicate balance of joy and heartache. The enchanting music, composed by Anthony Barnhill, provides a rich and emotional backdrop to the story. The set design by Jacob Battista is evocative and versatile, transporting us to different times and places with ease. The use of projections on a large screen, shaped like a torn paper, adds a visual dimension, immersing the audience in the historical context of the story.

Driftwood the Musical is more than just a show; it is a powerful and poignant journey that lingers long after the final applause. It reminds us of the invincible human spirit, the importance of preserving our stories, and the resilience that can be found in the darkest of times. This production is a testament to the transformative power of theatre and the enduring impact of a well-crafted and deeply emotive story.

Whether you’re a fan of musical theatre or simply seeking an unforgettable and thought-provoking experience, Driftwood is a must-see production that will leave you moved, inspired and filled with renewed hope, as you hold a melody in your heart.

Driftwood The Musical is playing in Prahran at the Chapel Off Chapel till 20th May, followed by seasons in Sydney.

For more information visit https://driftwoodthemusical.com.au/

This review also appears in On The House

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Deathtrap – Review

A visit to Malvern Theatre is surprisingly exquisite as I arrive to watch their latest in the 2023 season lineup, Deathtrap.

The venue is well appointed, the theatre itself is just adorable, very accessible, and offers a comfortable evening out. The volunteer staff are approachable and attentive. As I find my seat I realize there is simply no bad view within the theatre of the stage.

Nestled in my spot I notice many framed season brochures and photographs adorning the walls and made notes to explore these during intermission. The theatre’s history is on proud display and very inviting. I find myself excited as the lights go down to watch this comic thriller of a show, it feels like a treat!

Lights up and the set has been dressed in intimate detail. We are definitely in the 1970s, but not nauseatingly so. We are in the writing and living space of Sidney Bruhl, a once-successful writer of Broadway thrillers. Various paraphernalia hangs on the walls, weapons of all kinds – collectables and memorabilia from his past successful shows. There is a small fire in the fireplace, double doors leading to a porch and an entryway behind the prominent sofa centre stage. It’s cozy, and just a little captivating as the story unfolds in this one-room setting.

The leading character Sydney Bruhl, played by actor Brett Whittingham, offers a very nuanced performance. As we follow his character arc throughout the show, the actor deftly reveals aspects to Sidney in such a way that draws you in. You can’t help but watch this actor.

Bruhl’s wife Myra, played by Helen Ellis, convincingly portrays a woman very quickly concerned with the lengths to which her husband may imminently be willing to go to, to get what he wants. Walking the line between ‘will he, won’t he’, the character of Myra has a load of emotional heavy lifting to navigate.

Travis Handcock, portraying student Clifford Anderson, shifts and morphs throughout the story and in mere moments convincingly portrays a new aspect to the character that is increasingly multifaceted. From innocent to vengeful, supportive to calculating. It is restrained, and very convincing.

The story uncoils as Sidney recognizes that his student Clifford has a script that is a potential Broadway smash hit. With financial problems and a few failures piled up behind him in recent years, Sidney weighs in on collaborating with the student, or simply eliminating him entirely to claim the script as his own.

The tale develops in sometimes predictable ways, and sometimes unpredictable ways. Regardless, it is enjoyable. Witticisms in the script will make you smile or give a tiny chuckle when you catch them.

At the end of Act One enters the amusing character of Helga ten Dorp, hilariously portrayed by Glenda May. The actor performs with glee, is appealing to watch and doesn’t miss a beat of writer, Ira Levin’s, masterfully written comedic relief. It is the palate cleanser exactly as required and the audience is won over in mere moments.

It speaks to Levin’s legacy that the longevity of his plays is evident, that decades later they still deliver delightful entertainment.

At the onset of Act Two the cast is rounded out with Porter Milgrim, a lawyer played by Greg Barison. The character feeds us necessary exposition that serves to keep the story evolving and progressing forward.

At no point is Deathtrap eerie, but it definitely has its jump-scare moments. Simply, it is a methodically well-written thriller, a crime story with an adventure!

Deathtrap at Malvern Theatre offers a lovely night out and is a reminder of why supporting the Arts in your community is such an important thing to do. What these smaller-sized theatres offer is an exceptional experience, with high-level entertainment and hospitality. A welcome and evening on par with a visit to a good friend or neighbour.

From the complimentary tea, coffee and biscuits served at intermission, to exploring the theatre’s history across its walls, to walking away into the night having thoroughly enjoyed the effort put into the show – it is pleasant and pleasurable entertainment.

Whether you’re a fan of the crime genre or not, Deathtrap has just enough comedy in it that will appeal to many ages and audiences alike. Keep artists employed, and Arts venues supported, by attending shows such as this in your community. You will be very happily rewarded.

Deathtrap – Malvern Theatre

Saturday April 29th – 8 pm

Sunday April 30th – 8 pm

Wednesday May 3rd – 8 pm

Thursday May 4th – 8 pm

Friday May 5th – 8 pm

Saturday May 6th – 2 pm

Sunday May 6th – 8 pm

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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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