The Butler Did It!

The Butler Did It!

The Butler Did It! Rating

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The Butler Did It!

Or did he?

The Covington family are expecting their long-time friend and famous mystery novelist, Edwina Corry, over for dinner. What they didn’t expect was their neighbour and the local priest inviting themselves over … and becoming mixed up in a classic whodunnit. With a full house, everyone is a suspect, and everyone knows the classic trope – the butler always does it.

The mystery unfolds in the lush living room of the Covington’s mansion; the beautifully crafted and well-considered set provides ample room for the characters to dramatically point fingers at one another without stabbing (too many) backs. Even the exits through the doorways leading offstage have their own backdrop, which is a wonderful and thoughtful addition from the designer. The set has been well-considered, with no space left unused, and the fireplace the only space that is covered by furniture (but that’s not a drawback since anyone who stands near it during the investigation is certainly tall enough to be seen).

With lighting that plays with the space of the set and timing of the investigation it is consistent, doesn’t overwhelm the stage or performers, and is perfectly apt for the mood of the play. The only comment would be that seeing more of the red spotlight would’ve been a welcome addition to the dialogue.

 

 

As the curtain rises, and through the opening scene, a rain track plays in the background; this masks some of the performers’ lines until the rain subsides. Beyond this scene, the performers’ voices are clear, projecting their lines through the audience brilliantly, and interacting with one another very naturally. Accents are a tricky thing to maintain, and the cast showcases their skills – there are some inconsistencies, but a whole lot of work and obvious passion. The music expertly blends with the rest of the scenes, and adds to a fun layer of emphasis at key moments in the investigation.

Director Brian Godfrey and the production team show their clear passion for the theatre with every detail, from the chandelier on the set ceiling to each character’s aptly-chosen shoes; joy seeps from every pore of this production, even from Gram – the surprise performer who is sure to add some amusement to every scene she is in.

With well-timed Dad jokes, amusing miscommunication moments, a cast that clearly gets along on and off the stage, The Butler Did It! is a fun whodunnit which may not have such a predictable ending as the title suggests … bring along your deerstalker hat, watch and listen closely for clues, and see if you can figure out who the killer is!

To book tickets to The Butler Did It!, please visit https://teatreeplayers.com/production/the-butler-did-it/.

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Machinal – Red Phoenix Theatre

Machinal

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Review: Machinal – Red Phoenix Theatre

Following their exceptionally good A Promenade of Shorts – Season 3 in January, Red Phoenix Theatre returns to the Goodwood Theatre with another absorbing production with Machinal, highlighted by outstanding performances by the cast and particularly Kate van der Horst who is superb in the lead role.

Machinal was written in 1928 by journalist and playwright Sophie Treadwell who, like everyone else at the time, was fascinated by the trial of Ruth Snyder with her lover Judd Gray who murdered her husband in their New York home in Queens on their seventh attempt. The courthouse was packed with journalists and celebrities, and every detail of the crime was picked at by the masses. Treadwell’s response to what would drive someone to commit such a crime is the central theme of Machinal, that of a person crushed by the grind of modernity, work, expectations of marriage, and motherhood on a young woman.

Machinal, takes place over nine scenes (or episodes), Episode One, ‘To Business’ begins with the sounds of office machines, typewriters, adding machines, and other noises and the routine of the office unfolding with the Adding Clerk (Trevor Anderson) speaking in numbers, the Telephone Girl’s (Laura Antoniazzi) bright greetings and the rest of the circular activity and gossip of the office workers (James Grosser, Lisa Lanzi, Sophie Livingston-Pearce, Stuart Pearce and Leighton Vogt). Their boss, Jones (Matt Houston) enters and the office snaps to attention, Jones enquires about Miss A., who is late again to work, as he wants her to take a letter, but he really has other intentions for her. When the Young Woman/Helen (Kate van der Horst) arrives she sees Jones, but she can’t do his letter because her “machine’s not working”. The episode concludes with a skilful monologue by the Young Woman/Helen about Mr Jones wanting to marry her and other imposing thoughts about her situation.

 

 

Episode Two, ‘At Home’, centres on the Young Woman/Helen’s discussions with her mother (Sharon Malujlo) intermingled with the sounds of the radio and voices in the street, about her unsureness of marriage and the weight of expectations on her which all feeds into the events of the later episodes.

The production of the play is impressive, the modular minimalist set transforms easily between an office, an apartment, a hotel room, a court room, etc. Light design by Richard Parkhill also adds to the shadow and brightness pressing in on the Young Woman/Helen. Sean Smith’s outstanding sound design is additionally crucial to the tremendous success of the play. The whole production moves adeptly around under Michael Eustice’s direction.

The cast as a whole are brilliant. Kate van der Horst’s mastery of the role of the Young Woman/Helen is formidable as she tackles the many difficult monologues and swings of the role.

Bringing Machinal to South Australia for the first time is a resounding triumph for Red Phoenix Theatre, continuing their line of excellent productions.

Reviewed by Rob McKinnon

Rating; 5/5

Production Details

Thursday 21 May 2026 – Saturday 30 May 2026 (UTC+09:30)

Goodwood Theatre
166 Goodwood Road, Goodwood SA 5034

Tickets

https://www.trybooking.com/events/landing/1419884

To book tickets to Machinal, please visit https://www.redphoenixtheatre.com/nextplay/.

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Dial M for Murder

Dial M for Murder

Dial M for Murder Rating

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3

The telephone rings, trilling through the darkened living room three, four, five times. The bedroom light flicks on, illuminating the telephone and the desk it rests upon. A woman appears, yawning, in her dressing gown.

She answers the phone, but no one responds. “Hello?” she says again, looking at the handset in confusion. It’s in that moment she feels fabric tightening around her neck as she is shoved onto the desk, fighting for air …

“Dial M for Murder”, presented by Galleon Theatre Group, is not only a beautiful demonstration of inner turmoil, but simplicity on stage. Everything from the set design to the costumes is simple, elegant, and beautifully complementary. The set has been expertly crafted to enhance the impact the lighting has on key moments within the story. Key moments which have also been carefully paired with a spine-tingling score to set your nerves jangling.

Not only will your nerves be frayed, but you can expect to find yourself holding your breath in anticipation more than once, wondering “how on earth will they will get away with this?”

 

 

With a small cast of five you expect the chemistry to be high-quality, and the cast from Galleon Theatre do not let down their audience for a moment. With heartfelt confessions, scheming, dastardly deeds, and inquisitive inspectors, no interaction felt unhurried or unconsidered. Each moment was carefully plotted from the facial expressions to the smooth, natural use of the entire stage.

The stage, which has a distinct air of being its own character, is deceptively simple at first glance, but after some observation has clearly been well curated, not just for the performance but also for the actors. The set feels cohesive and lived in, just like the flat of a married couple should.

Be sure to keep your eye on this married couple, for their body language and voice control are expertly maintained … until they’re not. Dressed impeccably, and with barely a hair out place, Mr. and Mrs. Wendice navigate the new twist their marriage has undertaken, while a desperate Mr. Halliday and the calculating Inspector Hubbard do their utmost to make sense of how the slimy Captain Lesgate fits into the story. Be sure to watch the costumes carefully, each one perfectly suited for their character, and even being used as a plot point … The audience will find themselves on the edge of their seat to see if the good guys will prevail and the bad guys will get what’s coming to them, with laughs, gasps, and sinking feelings along the way.

To book tickets to Dial M for Murder, please visit https://www.galleon.org.au/html/dialMForMurder.html.

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The Taming of the Shrew – The Adelaide University Theatre Guild

The Taming of the Shrew

The Taming of the Shrew Rating

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Review: The Taming of the Shrew – The Adelaide University Theatre Guild

The Adelaide University Theatre Guild’s new adaption of one of Shakespeare’s more problematic plays puts The Taming of the Shrew into a new realm of pop and rock music to great effect while still holding mostly true to the original text.

Dispensing with Shakespeare’s original play within a play concept, and instead of being set in the usual Padua, this version is set in Paradise which is “a powerhouse record label and the battlefield is the charts.” The play begins with Bianca (Jessica Merrick) and her band singing and dancing to her pop song, then enters Katherine (Heather Crawford), her rock chick older sister with her band and her sharp edges.

Bianca has two suitors, Gremio (Martin Penhale) and Hortensio (Macey Lawson) who wish to marry her but her mother, Minola Baptista (Deborah Walsh), will not agree to anyone marrying Bianca until her older sister Katherine is married. Lucentio (Ben Proeve) arrives with his loyal servant, Tranio (John Charles), and Lucentio also falls in love with Bianca. To try to win her love, Lucentio disguises himself as a tutor for Bianca and Hortensio disguises himself as a musician to also gain access to her to try to do the same. Tranio disguises himself as Lucentio to help convince Minola Baptista to allow Lucentio to marry Bianca.

Standing in their way however is Minola Baptista’s demands that the quarrelsome Katherine be married first. Petruchio (Tom Tassone) arrives and after hearing about Katherine he decides to court her, and he is assisted in this task by Gremio and Hortensio. Upon meeting Petruchio, Katherine resists his advances, but he is not discouraged and he sets a wedding date and so begins the taming of the shrew.

 

 

Setting the play in Paradise and revising it for a contemporary time is successful and adds a welcome fresh dimension to the play, although the audience seemed to be a little confused by Bianca and Katherine’s entry. In addition, modern music references to the original text brings many humorous elements. The limited space of the Little Theatre always adds production issues, but both levels of the theatre are skilfully utilised by Olivia Jane Parker’s first-rate direction. In addition, the music includes songs by Ben Waller and two songs by Macey Lawson.

The whole cast handles the fast-moving proceedings superbly, Tom Tassone as Petruchio, John Charles as Tranio with Macey Lawson as Hortensio are particularly impressive. Heather Crawford delivers Katherine’s long final monologue exceptionally.

This version of the thorny The Taming of the Shrew, set innovatively in the modern music scene, is outstandingly well performed and adds to the long line of exceptional productions by the Theatre Guild.

Reviewed by Rob McKinnon
Rating; 4/5

Production Details

Venue: Little Theatre, Adelaide University, The Cloisters, Adelaide SA 5005

Performance Dates:
Saturday 9 May – 3pm
Sunday 10 May – 3pm
Wednesday 13 May – 6:30pm (w/ post-show Q&A)
Thursday 14 May – 7:30pm
Friday 15 May – 7:30pm
Saturday 16 May – 3pm
Sunday 17 May – 3pm

To book tickets to The Taming of the Shrew, please visit https://tasaonline.org.au/series/the-taming-of-the-shrew/.

Photographer: Maggie Morris

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