And Then There Were None – Review

Adapting a novel with a storied history, such as Agatha Christie’s “And Then There Were None,” is no small feat. The novel has sold over 100 million copies and has been adapted countless times for visual media. Pleasingly, the Sunnybank Theatre Group’s current production of this classic story is a very successful interpretation. Director Chris O’Leary has adeptly led his team of actors and crew to bring what is a faithful and engaging rendition of one of Agatha Christie’s most famous works to the stage.

Opening night provided a few nerves for the cast and crew who had unfortunately been unable to perform a planned Preview show earlier in the week.   However, a clearly well-rehearsed team on and off stage ensured there were very few bumps in both performance and production.

Standout performances were delivered by Ashlee Hermann as Vera Claythorne, Weylin Martens-Mullane as Anthony Marston (and Fred Narracott), and Diane Watson as Miss Emily Brent.  

Ashlee Hermann’s portrayal of the young Secretary was nuanced, and she skilfully conveyed the character’s inner turmoil.  Hermann’s performance peaked in the scenes where Vera reveals her secrets, with Hermann conveying the weight of the character’s burden very successfully.  Mention must be made of Hermann’s most excellent off-stage scream.  It was so terror-inducing that audience members visibly jumped in their seats!

Weylin Martens-Mullane a relative newcomer to the theatre delivered exceptional performances as both Anthony Marston and Narracott. Martens-Mullane proved his versatility, adroitly transitioning between the two characters.  His portrayal of Anthony Marston was particularly noteworthy with the audience visibly riled by the sense of entitlement and “devil-may-care” attitude he brought to the role of the young British aristocrat.

Diane Watson possesses an excellent theatrical pedigree and brought this to bear in her impressive performance as Miss Emily Brent.  Watson’s performance brought a sense of authority and poise to the character and her scenes with the other characters were particularly engaging.  Watson very skilfully delivered the character’s lack of compassion and empathy which underpinned her fanatical beliefs, however on the lighter side, Watson will have finished a cardigan by the end of the run, such were her skills with the knitting needles and wool that were integral to her scenes!

The remainder of the cast performed commendably, with each performer inhabiting their character and clearly relishing the opportunity to bring the story to life for their first audience. The set design was well-thought-out, with attention to detail that successfully transported the audience to the isolated island where the action takes place.  The lighting design was effective in heightening the tension and suspense to create an immersive experience.  

In addition to impressive production values and excellent performances, the Sunnybank Theatre Group offers a complimentary glass of sparkling wine on opening nights (served by some of the friendliest volunteer bar staff around). This generous perk certainly added an extra level of enjoyment to the evening. With standout performances, strong direction, and solid production values this production of “And Then There Were None” is not to be missed.  Highly recommended for a fun night out at the theatre to anyone who loves a good mystery. The production runs until 6 May 2023.

And Then There Were None – Sunnybank Theatre Group

  • Saturday 29 April 2023 – 2:00 PM
  • Saturday 29 April – 7:30 PM
  • Sunday 30-April 2023 – 2:00 PM
  • Friday 05-May-2023 – 7:30 PM

This review also appears in On The House

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The Improvised Superhero Movie – Review

For those attending the Melbourne Comedy Festival, you have a few more days to see the exciting and enjoyable ‘The Improvised Superhero Movie’ presented by The Improv Pit at the UBQ Basement Blackbox Theatre.

This delightful 60 minute show is unique to every performance since it is Improv comedy. For those who are unfamiliar with the live entertainment form of Improv Comedy, each show is made up completely on the spot, unscripted, by an ensemble of improvisers. Styles of Improv can be theatrical or competitive in content, and are inspired by audience suggestions. Due to the spontaneous nature of Improv, each performance is a unique one off and will never been seen ‘exactly’ that same way again.

The Improv Pit seem to perform in a style pretty notorious to Chicago, and The Improvised Superhero Movie reflects this. (Often jamming on a ‘game’ or ‘tilt’ in the scene work.) The format of the Superhero Movie unfolds in a progression of scenes, very closely resembling a format called the Harold (But not an actual Harold). Ensemble members contributing frequently and frenetically to the story line as it evolves.

The night I attended saw a Robot superhero navigate Asimov’s three laws of robotics, while seeking to vanquish a Wiccan-Eugenic Villain with their murderous pet lizard in tow. All of this unfolded in the unsuspecting suburb of Nunawading.

Most players had characters and scenes in which they could shine, and while some parts of the story became chaotic with improvisers speaking over each other, the ensemble frequently course corrected and came back to the story line.

Anybody newer to watching Improv comedy, the success of a show generally rests on the ensembles ability to listen, share and ‘yes, and’ each other. The work is elevated when improvisers fully commit to character choices and use physicality to flesh out the imaginative environment they are performing within. This was all on consistent display at the show I saw with players negotiating any blocks they had inadvertently given another in their enthusiasm.

For those attending who are concerned about being called on to provide a suggestion for the show, do not fear. Only once was the audience asked to yell out suggestions for The Improvised Superhero Movie, that being the title of that evenings movie at the top of the show. This ensemble doesn’t seem to warm up the audience prior to asking for the suggestion, so here’s a tip!

Feel free to brainstorm some fun titles of a superhero movie, that don’t already exist, prior to the show. It will give you something to yell out when asked as an audience to do so. This will avoid inducing the common audience reaction of ‘panic’ to come up with something on the spot. Leave that to the ensemble!

‘The Improvised Superhero Movie’ – UBQ Basement Blackbox Theatre

Thursday 20th April – 7.30 pm

Friday 21st April – 7.30 pm

Saturday 22nd April – 7.30 pm

Sunday 23rd April – 7.30 pm

This review also appears in On The House

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Not Finished With You Yet – Review

Not Finished With You Yet is an energetic romp through a world where governments have passed a mandatory divorce law meaning all marriages must end after 13 years. Written and Composed by Dick Gross AM, the world premiere of this new Australian musical plays at The Alex Theatre in St Kilda as part of the Melbourne International Comedy Festival.

Two hours of upbeat entertainment unfolds as the characters explore what it means for their marriages, and how to navigate the new territory the law presents them with. Most couples willingly embrace the law with overt enthusiasm and a hefty dollop of marital passive aggressiveness. While main characters Kate and Rupert march resolutely, but resentfully, towards a future that demands they separate at the cost of their love.

All this is explored and celebrated through a hefty amount of choreography and over a dozen original songs.

Nothing Has Changed
Caffeinated Conversations

Upon walking into the theatre you are struck by the incredibly imaginative and engaging set design. Very few, myself included, are immune to not snapping a quick picture before they take their seats. Once the show starts the set comes alive as it morphs and transforms.

Hidden compartments subtly swallow costume changes, panels swing centre stage that only moments before were seemingly solid. Accordion panels become walls, doors, rooms and more. The stage itself is a supporting character that allows the audience to engage in the story unfolding. It is marvellously done.

Deft use of multimedia and imagery project onto the stage in specific and intelligently blocked patterns. It captures the audience’s curiosity and is seamless in its execution.

The characters are specific and the actors play them valiantly. Costume design is subtle, but nails its task as each character is embodied in the quirks of a french tucked top, the slink of a sexy fabric across the body or the effervescence of an outfit of a stressed-out teen. We know who the characters are, and what they value, by what they wear. The specificity that went into costume design shows high attention to detail, it is very much appreciated.

The story is easy to follow, with only a few lingering questions left unanswered. It does take suspending disbelief to enjoy this world, but as with most musicals, it’s worth it.

Hit The Bottle
No Singleton Blues

The performers are obviously operating at a high level in their craft and most have a definitive moment to shine in the show. Whether it’s Alexia Brinsley as Kate’s single sister Maria navigating each scene with commitment and aplomb, or Cristina D’Agostino as Betty seemingly, effortlessly, channelling Liza Minnelli in the ‘Hit the Bottle’ number – you won’t be disappointed. The women in this show Deliver with a capital ‘D’.

While whimsical in moments, Not Finished With You Yet is not for those with delicate sensibilities. The F-bomb is dropped at a rate Gordon Ramsey would be proud of. The show crams in various subject matter, from the suggested amount of lubricant for great sex for those in menopause, strap-ons, wombs for rent, drunken sex and quite literal toilet humour – not too much is left unexplored.

Memorable flashbacks from the show include the fun and frisky ‘Urinal Lamentation’ song as performed by Matthew Hamilton, Matt Heyward and Alec Gilbert, a grounded and believable performance by Lauren Gunson as 15-year-old daughter Ella, and a beautifully moving Shakespeare’s Sonnet 116 that delicately displays the cast’s harmonies.

Not Finished With You Yet is obvious in its Australian-isms, and an enjoyable frisky afternoon or evening at the theatre.

This review also appears in On The House

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Urinal Lamentation
Not Finished With You Yet Ensemble

The Dogs Logs – Review

A brightly lit warm stage… Endless greenery… A quaint park bench… Lively music and bubbles…

This is the home of The Dog Logs, the latest production of Hunters Hill Theatre currently playing at Club Ryde. It’s impossible not to know who lives here – if the dog bowl, ruined newspapers, and the can of trash weren’t clues enough – and I anxiously wait to see just how we’ll be introduced to man’s best friend; the animal I cannot get enough of.

Of course, despite the pitch I was given to attend opening night – The Dog Logs is not just for the Dog Lover. Yes, this is a play where the only characters have four legs, but writer CJ Johnson’s script has so much heart. Structured as a string of monologues detailing the various life stories of a host of different breeds – from an Excitable Jack Russell to a pampered Chihuahua to a policing Kelpie – we are initially reeled in by the absurdity of it all, but our attention is quickly grabbed by something much deeper, much more human: the ways in which our furry companions reflect back on us.

Photographer - Dan Ferris
Maddie the Golden Retriever (Brooke Davidson)
Photographer - Dan Ferris
Sparky the Kelpie (Anthony Slaven)

It’s a daunting task and one that I think Director Maggie Scott has tackled head-on. This isn’t her first time staging this production, and it’s clear she has a nuanced understanding of the line that needs to be walked between human and canine. It’s a subtle, sophisticated approach; a scratch here, a hip swing, a limp. Bright collars and simple costume additions – take for instance, the hilarious running outfit worn by a racing Greyhound that just Can’t. Catch. That. Rabbit. Each dog is introduced by a stereotypical, rather nostalgic pop song of the early 2000s that has the audience in fits of laughter.

A bold choice – but creativity is only best when it is brave. And none are so brave then the four actors who give us these thoughts of Dog. Anthony Slaven is loveable as the larger than life and energetic breeds. Keeping the liveliness of the night high, Slaven is always warmly welcomed back on stage after the more delicate and vulnerable moments of the evening. Many of which are craftly ignited by Ross Alexander, who weaves longer tales (no pun intended) that captivate, ignite and in the case of a particular aging Labrador – pinch you right in the childhood. Kirit Chaudhary gives a highly varied performance by embracing the extremes of each of his breeds. Wittingly charming as a lazy, sleepy mongrel and terrifying as a powerful and aggressive Rottweiler; each take was dangerous and exciting.

Photographer - Dan Ferris
Blackie (Ross Alexander) and Cobber (Kirit Chaudhary)
Photographer - Dan Ferris
Polly the Toy Poodle (Brooke Davidson)

But one can’t help but think that in many ways Brooke Davidson had the biggest challenge of them all. The only woman in the play, there is only so much that can be given when her dogs are written as spoilt and pampered quote on quote ‘b*tches’ who don’t know what’s good for them. You could see Davidson’s envision of her dogs as more – complicated and decisive – and it was clear over the night her rebellion against what could have easily been a one stroke performance. All I can say is go show ‘em and well done.

Whether you are constantly questioning what your dog may be thinking or wanting a piece of theatre that doesn’t tell you what you should think, but instead invites you to join a conversation – The Dog Logs is for you. I give a huge congratulations to everyone involved in this production. A limited season ending on April 2nd – don’t miss your chance to see this moving take on love, loss, connection, and friendship all through the eyes of nature’s best friend.

The Dogs Logs – Hunters Hill Theatre

  • Friday 24 March 2023 – 7:30 PM
  • Saturday 25 March 2023 – 2:00PM AND 7:30 PM
  • Sunday 26 March 2023 – 2:00 PM
  • Friday 31 March 2023 – 7:30 PM
  • Saturday 01 April – 2:00PM AND 7:30 PM
  • Sunday 02 April – 2:00 PM

This review also appears in On The House

Photography Courteousy of Dan Ferris

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