Tea Tree Players Presents Doctor In The House

Doctor In The House

Doctor In The House Rating

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It became clear walking into the Tea Tree Players Theatre that this is a well-supported community theatre company. This quaint little theatre came to fruition when a dedicated group, led by Diane and the late Robert Lamerton, ventured to establish the first live theatre within the City of Tea Tree Gully.

In 1977, this resulted in the construction of a stage, curtain, and wood-panelled wall, marking the official beginning of Tea Tree Players’ theatrical journey. Over the years, the stage has been enlarged, a new front curtain installed, the audio and lighting box repositioned, new seating fitted, and a foyer area constructed, amongst other continuous improvements, making viewing a production at this sweet little theatre a real treat.

Doctor in the House, written by Richard Gordon and Ted Willis is a classic British zany comedy based on Richard Gordon’s novel that sees the fictitious St Swithin’s medical students Tony, Simon and John balance the demands of medical school with the antics of their manic social life consisting of much frivolity, drinking and partying hard!

Kyle McCarthy plays the lovable John Evans, a somewhat dedicated student who clearly enjoys the lifestyle that college life offers. McCarthy is believable in the role bringing a warmth and likeability to his portrayal of this character. Clinton Nitschke, a seasoned performer, brought a wonderful sense of innocence and naivety to his characterisation of Simon Sparrow, a dedicated student who walked a comically slippery slope between studious dedication and drunken debauchery – a fun, credible and convincing interpretation.

Rebecca Mason’s embodiment of the sassy and seductive Vera complimented the predominantly male cast, while Charlie Klose made the audience belly laugh with her hilarious performance within the performance of a play written by Tony, one of the med students. Mike Phillips as Bromley, Barry Hill OAM as Sir Lancelot Spratt, Emily Sharland as Janet and Kate Readon as the matronly Matron completed a well-rehearsed cast expertly directed by Brian Godfrey. The set and costuming were fabulous, with only subtle changes made throughout the play to depict time jumps, which was all that was needed.

Standout performance credit must go to Ben Proeve, who confidently, convincingly, and professionally portrayed Tony Grimsdyke, a medical student who clearly influences the foolishness and creates hilarious moments, breaking the fourth wall without breaking character. Proeve was perfectly cast as this cheeky character and carried much of this production, acting in part as both the storytelling narrator and fun-loving med student.

Congratulations to the director, cast and crew of Doctor in the House – a good, fun production performed by a polished cast.

To book tickets to Doctor In The House, please visit https://teatreeplayers.com/production/doctor-in-the-house/.

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End Game: A Thought-Provoking Theatre Journey

End Game

End Game Rating

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Katie Reddin-Clancy’s Australian premiere of End Game is a bold and original dramedy that seamlessly blends theatre, comedy, and philosophical musings into an engaging experience at Adelaide Fringe in Victoria Park.

With her wit, impeccable accent work, and commanding stage presence, Reddin-Clancy takes audiences on an introspective yet often humorous journey through the afterlife, asking big existential questions: Why are we here? What truly matters in life?

At the heart of End Game is Joanie, an eccentric cabaret performer who arrives in the afterlife for her soul review. The stakes? Determining whether she’s learned the lessons of Earth School or simply gotten lost along the way. But the real mystery revolves around Eva—an unknown woman whose life was profoundly shaped by Joanie’s choices.

Reddin-Clancy, a seasoned global voiceover artist, brings each character to life with remarkable authenticity. While some British cultural references seemed to fly over the heads of the Australian audience, her commitment to character and storytelling kept the crowd engaged.

 

The script is cleverly written, balancing humour with deeper reflections on the ripple effects of our choices.

That said, End Game did face some external challenges. The venue’s lack of a microphone, combined with intrusive background noise from traffic and sirens, occasionally made it difficult to catch every word. Despite this, Reddin-Clancy’s stage presence remained captivating, and her storytelling prowess ensured that the emotional weight of the narrative was not lost.

Overall, End Game is a compelling and imaginative piece of theatre that invites audiences to reflect on their own life choices while being thoroughly entertained. As the show continues through the season, it may find an even more receptive audience ready to dive into its mix of humour, drama, and existential exploration.

To book tickets to End Game, please visit https://adelaidefringe.com.au/fringetix/end-game-af2025

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Tea Tree Players Presents Shirley Valentine

Tea Tree Players Presents Shirley Valentine

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/

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The Glass Menagerie: Heartfelt and Poignant

The Glass Menagerie

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

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