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Tea Tree Players Presents Shirley Valentine

10 February 2025 Emma Bennett

Tea Tree Players Presents Shirley Valentine Rating

★★★★★

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Under the direction of Robert Andrews, Shirley Valentine took centre stage at Tea Tree Players in a truly triumphant fashion. This beloved and enduring classic was brought to life with extraordinary heart and authenticity, spearheaded by the talented Theresa (Lilly) Dolman in the titular role. From the very first moment, Dolman captured the audience’s hearts with her warmth, wit, and masterful storytelling, taking them on an emotional and deeply relatable journey of self-discovery, courage, and transformation.

The play’s universal themes resonate as powerfully today as they did nearly 40 years ago. It’s a story that speaks to anyone who has ever felt trapped in the monotony of routine, longing to rediscover their passions and reclaim their own narrative. The audience was immediately swept up in Shirley’s world—her frustrations, her humour, and ultimately, her awakening. As Shirley bravely stepped out of her comfort zone, laughter rippled through the crowd at her sharp and insightful observations, only to be followed by poignant moments that prompted quiet reflection. One of the play’s most striking lines, “Some people are dead before they die,” hung in the air, leaving a lasting impact.

The set design was deceptively simple yet wonderfully effective, seamlessly transitioning between the confines of Shirley’s dreary kitchen and the liberating beauty of the Mediterranean. This striking contrast visually underscored Shirley’s own evolution, highlighting the journey from stagnation to renewal. The creative team deserves immense credit for bringing such an evocative transformation to the stage.

Dolman’s performance was sensational, she embodied Shirley Valentine with such sincerity and charisma that it felt as though she was speaking directly to each audience member, drawing them in with every word, every sigh, every knowing glance. Her comedic timing was impeccable, ensuring plenty of laughter, but it was her ability to convey Shirley’s vulnerability and strength that truly made the performance unforgettable. By the final act, the audience wasn’t just watching Shirley’s story—they were living it alongside her, feeling every ounce of her hesitation, her excitement, and ultimately, her triumph.

A packed house bore witness to this spectacular production, and judging by the applause and emotional responses, it’s safe to say Shirley Valentine at Tea Tree Players is definitely worth a visit. It was a performance that entertained, inspired, and perhaps even encouraged some to dust off their own forgotten dreams. If ever there was a play that reminds us to take that leap of faith and embrace life’s endless possibilities, this was it.

To book tickets to Tea Tree Players Presents Shirley Valentine, please visit https://teatreeplayers.com/production/shirley-valentine/

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.

Emma Bennett

The Glass Menagerie: Heartfelt and Poignant

5 December 2024 Emma Bennett

The Glass Menagerie Rating

★★★★★

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Tennessee Williams’ The Glass Menagerie is a cornerstone of American theatre, a work filled with haunting memories, fragile dreams, and deep emotional truths. The weight of such a classic can be intimidating for any director, but in his directorial debut, Clinton Nitschke has managed to navigate these challenges with finesse. Nitschke has delivered a performance that feels both fresh and deeply moving. The intimacy of the Little Theatre invites the audience into a world that resonates with timeless relevance and contemporary sensibilities.

Jessica Merrick’s portrayal of Amanda Wingfield, the mother at the centre of this emotional storm, stands out. Merrick brings elegance and charm to the role, finding the perfect balance between grace and desperation. She masterfully navigates Amanda’s dual identity: a fiercely proud woman clinging to memories of a more glamorous past while simultaneously fighting to secure a better future for her children. Merrick gives a multi-dimensional performance, capturing Amanda’s humorous, demanding nature while also revealing the vulnerability of a mother who has been abandoned by her husband and is now left to care for two grown children with uncertain futures. Her portrayal is as full of heart as it is heartbreak.

Connor Duncan’s Tom Wingfield is a masterclass in technical precision and emotional depth. Duncan skilfully conveys Tom’s internal turmoil, balancing the character’s restless, frustrated energy with moments of quiet resignation. There is an aching authenticity in his portrayal as Tom grapples with his dreams of escape and the torment of being the sole provider for his fragile family. Duncan’s performance is particularly poignant in his interactions with his sister, Laura. His moments of connection with her are understated but powerful, embodying the quiet, unspoken love and tension beneath their relationship.

Livingston-Pearce’s Laura is the perfect embodiment of fragility and innocence. Her performance is imbued with a demure, otherworldly quality that captures the essence of the character. Laura’s emotional vulnerability is beautifully showcased, especially in her interactions with her brother and, later, the gentleman caller. Livingston-Pearce brings a touching, almost ethereal presence to the stage.

The final pivotal performance comes from Liam Warmeant, who plays the gentleman caller, Jim O’Connor. O’Connor offers a wonderfully nuanced portrayal of the role, elevating the second act into something genuinely moving. Jim’s charm, warmth, and sincerity stand in contrast to the desolate world of the Wingfields, and his interactions with Laura feel honest and deeply touching. O’Connor’s portrayal infuses the character with a quiet confidence yet never undercuts the delicate fragility of the play’s emotional landscape. His scenes with Livingston-Pearce are particularly moving.

The set created by Nitschke subtly evokes the confined, suffocating space of the Wingfield apartment. At the same time, the lighting design heightens the emotions with the changing colours matching the mood, from anger and frustration to an ethereal atmosphere that highlights the play’s dreamlike qualities.

Overall, Clinton Nitschke’s version of The Glass Menagerie is sensitive, powerful, and emotionally resonant. It offers a compelling exploration of family, dreams, and the enduring struggle for something better in the face of seemingly insurmountable odds. It is a deeply human story, brought to life with immense heart and skill.

The Glass Menagerie season runs from December 4th through December 7th, with sessions at 7:30 p.m. at the Little Theatre, University of Adelaide.

To book tickets to The Glass Menagerie, please visit https://www.trybooking.com/events/landing/1192057

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.

Emma Bennett

Vegas In Concert: The Anthems Of Childhood.

1 December 2024 Emma Basc

Vegas in Concert Rating

★★★★★

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Vegas in Concert at the Astor Theatre promised an unforgettable journey through the decades of iconic performances for the seasoned Vegas veteran or those experiencing the magic for the first time. It did not disappoint! We laughed, we sang, we danced, and some cried, but everyone left with the biggest smiles. I’m pretty sure there will be some audience members with incredibly sore quads this morning who will be regretting the number of standing ovations they gave last night, they sure got their squats in! It was a great night filled with great music and awesome entertainers. I’m sure the sore quads are worth it.

First up, the MC Joe White. He had us all laughing (and then seriously questioning our moral character as we thought about what it was we were laughing at), but my goodness, was he funny. Either he is a very skilled comic who could roll with the unintended audience participation and wing it in a seamless way, or the audience plant was one of the best I’ve seen. I’m still wondering what it was he was going to tell us about his sister in the story that got interrupted!

The laughs didn’t end with the MC. All acts were consummate performers, giving so much more than just singing a couple of songs. The show opened with Vito Grillo as Neil Diamond, and he ended the set on a high note with Sweet Caroline getting the audience off and singing early. Next up, Anita Springs is paying tribute to Olivia Newton-John. There were a few audience members in my row dabbing away the tears as the video tribute to Newton-John was played, but the mood lifted quickly as the songs flowed and had the audience singing and bopping along. I do have to give a special mention to the backing singers. When Springs sang ‘Let’s Get Physical’ and started doing side stretches, the look on their faces as they gave the most pathetic attempt at a side stretch and then laughed with each other was priceless! Such good fun.

To end the first act, Greg Andrew took to the stage as Elton John in the most beautiful jacket and with a pretty amazing voice to match. By the time Andrew was finishing his set, the audience couldn’t contain themselves anymore, and they were trying to find spaces to get up and dance. The closest I came to hearing a complaint was, ‘I really wish there was a mosh pit so we had somewhere to really get up and have a dance’ (I probably would have gone with a dancefloor over a mosh pit, but same same).

Opening the second act was Anthony Mara as Billy Joel (who also had a very lovely jacket), and what a great way to get the audience back in the mood for more. So upbeat and lively. I had been a little disappointed thinking he wouldn’t play Piano Man as it would bring the vibe down, but I was wrong. It ended the set on a high. Jay Weston then played the music of Roy Orbison, and according to the whispers in the queue for the ladies’ toilets, he was an unexpected crowd favourite. When people think of Vegas, apparently Orbison doesn’t jump immediately to mind, but Weston did a brilliant job and made my mum’s night when he played her favourite song, Penny Arcade, which got everyone bopping along.

The show ended with Jack Gatto performing as Elvis. When you think of Vegas, you do think of Elvis, and the audience was not disappointed. We were up, dancing in the aisles, singing, and having a brilliant night, and the band shone in the performance of American Trilogy.

Speaking of the band, I can’t end without mentioning how much fun they were. They genuinely seemed to be having a really good time. Special mention to the lead guitarist, who was rocking out to the music and really not taking himself too seriously at all, and the drummer. As someone who has photographed live music for many years now, I know drummers are hard to photograph. They put their head down and hide behind the kit. Not this drummer! He was having a whale of a time, singing, dancing, smiling, laughing, and genuinely looking like he was loving life. Their joy was infectious.

All in all, this was a brilliant show. These songs were the anthems of my childhood. I grew up with Mum and Dad playing the LPs and EPs of all of these artists, so they are the soundtrack of my memories. The show really didn’t disappoint, AND it was a three-hour show! I was expecting maybe 90 minutes with an interval, but it was 3 hours (with interval) and honestly, time flies when you are having fun; it barely felt like any time had passed at all. Highly recommend!

To book tickets to Vegas in Concert, on their upcoming NSW and QLD stopovers, please visit https://vegasinconcert.com.au/

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.

Emma Basc

Mother and Son – A Heartfelt and Hilarious Look at Aging and Family

27 November 2024 Emma Bennett

Mother and Son The Rep Rating

★★★★★

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The Adelaide Repertory Theatre’s Mother and Son delivers a perfect blend of humor and heart, offering a touching yet funny exploration of the challenges that dementia brings to a family. Based on Geoffrey Atherden’s iconic 1980s TV series, this stage adaptation shifts the story into a contemporary setting, where aging mother Maggie (Penni Hamilton-Smith) and her devoted son Arthur (Patrick Clements) navigate the ups and downs of memory loss, family dynamics, and caregiving.

Penni Hamilton-Smith’s portrayal of Maggie is a standout—funny, vulnerable, very expressive and incredibly warm. Despite her memory lapses and confusion, Maggie’s wit and charm shine through, and by the end of the play, the audience is utterly captivated by her. Hamilton-Smith’s performance builds a deep emotional connection with the audience, a true testament to her skill in drawing the crowd in.

Arthur, played by Patrick Clements, is the long-suffering son who takes on the role of caregiver, torn between his duties to his mother and his desire to live his own life. The contrasting personalities of the two Beare brothers—Arthur, the reliable but exasperated caretaker, and Robert (Stephen Bills), the successful but largely absent dentist—add another layer of complexity to the family dynamic. The family’s comedic mishaps, from Robert’s dubious life choices to Maggie’s comically excessive admiration for him, provide plenty of laughs, but also bring attention to deeper issues of responsibility, loyalty and family dynamics.

The modernised setting introduces relatable elements—mobile phones, telemarketing, and video calls—that add a fresh twist to the play. Video interactions with the Beare family’s grandchildren, projected on a large screen, reflect the generational divide and give a humorous yet poignant glimpse into everyday family life. These technological touches also highlight the growing gap between the older and younger generations, amplifying the play’s themes of communication, disconnection, and change.

The supporting cast delivers equally strong performances, with notable appearances by Mollie Mooney as Anita, Arthur’s romantic interest, and Jessica Corrie as an Aged Care Assessor. Sandy Whitelaw’s cameo as Monica, a no-nonsense resident in an aged care home, is a hilarious high point that underscores the play’s deft handling of both humour and pathos.

Under the direction of Jude Hines, Mother and Son expertly balances light hearted moments with poignant reflections on aging, care, and family obligations. While the play provides plenty of laughs—often at the expense of Maggie’s confusion or the absurdities of caregiving—it also offers a deeply human portrayal of the emotional toll dementia takes on families. The audience is left with much to reflect on, from the fear of loneliness and institutionalisation to the everyday struggles of maintaining family bonds.

The set design cleverly evokes the atmosphere of a family home and the production’s contemporary touches, including the use of technology, ensure that Mother and Son feels fresh and relevant while staying true to the spirit of the original show.

In the end, this is a play that’s as much about the heart as it is about the laughs. With its excellent performances, sharp humour, and emotional depth, Mother and Son is a beautifully executed exploration of the challenges of family life, caregiving, and growing old. Whether you’re a fan of the original television series or coming to the story for the first time, this production is sure to leave you both laughing and thinking long after the final curtain.

To book tickets to Mother and Son, please visit https://adelaiderep.com/season-2024/mother-son

Remaining Shows
Thu 28 Nov at 7:30pm
Fri 29 Nov at 7:30pm
Sat 30 Nov at 2:00pm
Sat 30 Nov at 7:30pm

Photography by Richard Parkhill

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.

Emma Bennett

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