Director Mark Wickett with the University of Adelaide Theatre Guild definitely had the audience roaring with laughter. Written as a spy thriller by John Buchanan and later adapted for film by Hitchcock, this production of the 39 Steps contains all the mystery of the original story with a good measure of parody!
The fabulous cast of four included Emily Branford and Maxwell Whigham, who flawlessly played multiple roles, often in the same scenes. This rapid change of character, accent, and costume was done with great skill and tenacity! The whole production was infused with energy and laughter.
Thomas Midena’s solid portrayal of Hannay, on the run from suspicion following a murder in London, represented a steadier character, taking the audience with him on his journey to unravel the mystery and clear his name. Imogen Deller-Evans as Pamela, Annabella, and Margaret weaved in and out of Hannay’s path as potential love interests in different locations and accents with comedic effects. The pair had brilliant onstage chemistry.
The Little Theatre served as an intimate location, and the dual levels of the stage and balcony were utilised to perfection. Not to mention, Foley artist Angela Short drew the audience’s attention in multiple areas. The timing and attention to detail as Hannay turned on the light switch and opened the blind were impressive.
My favourite sound was the train carriage movement! The play was interactive, which drew the audience in. The design and costume were clever, with the ingenious portrayal of a plane, dogs, and countryside sheep having the audience roar with laughter.
Congratulations to all involved at The University of Adelaide Theatre Guild for brilliantly executing a fete of skill, stamina and comedic timing in this production of The 39 Steps.
Remaining Performance Dates Wednesday 30 October at 6:30pm – *with post-show Q&A* Thursday 31 October at 7:30pm Friday 1 November at 7:30pm Saturday 2 November at 7:30pm Sunday 3 November at 4pm
Duration:- Approximately 2 hours + interval
Venue:- Little Theatre, The Cloisters, Victoria Drive, University of Adelaide
Photographer: Nat Kelly
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.
The turned-wood bar set is visible to the audience before the show begins. Ashtrays, partially drunk pints of beer, and a vase of silk flowers accompany a selection of era-appropriate music to initiate the immersive experience of the 1960s.
Opening with the heart-wrenching hanging of Hennessy (Trevor Anderson), it establishes the underlying discourse that questions the effectiveness of capital punishment when the line between innocent and guilty is unclear. Fast-forwarding to the abolition of this practice two years later, we meet the now-retired hangman Harry Wade who was responsible for said hanging.
Played superbly by Brant Eustace, Harry is a driving force of the play and a formidable presence to his regular customers, friends, and family. In an ambitious production that required the use of Northern English accents, Eustace commands the space with confidence and consistency, with the audience hanging on every boisterous word.
Helping to run the pub is his flinty wife Alice (Rachel Dalton) and naïve teenage daughter Shirley (Finty McBain), who add dimension and colour to the ensemble of regulars who frequent it. Among them are Bill, former Hangman Doctor and very convincing sot portrayed by Steve Marvanek, and comfortably indolent Inspector Fry by Russell Slater. Greg Janzow and Leighton Vogt provide some well-timed comic relief with the hearing-impaired Arthur and earnest Charlie, respectively, who often relays jokes for the former, only for Arthur to cut through to some uncomfortable truths.
This dark comedy is intensified by the fanatical tendencies of Joshua Coldwell’s performance as Peter Mooney. Contrasting unapologetically with a loud lower-class London accent, Mooney wafts comfortably into the pub and Shirley’s life, with chilling comments and claims that are Trump-like with their grandiosity. Leaving the audience unsure whether he is telling the truth, Coldwell creates a thrilling sense of unease and unpredictability as he interacts with the timid Syd Armfield, portrayed by Jack Robbins, playing with the themes of morality and justice. This is complemented with lighter humour in the form of Tom Tassone’s persistent reporter, Derek Clegg, and Gary George’s stage-stealing performance as Albert Pierrepoint, who makes Eustace’s Harry Wade look small.
Lighting was used to great effect to highlight specific areas of the stage to reduce set changes and to distinguish the times of day, with the inclusion of evocative 60’s songs to fill the blackout scene transitions. However, the overhanging section of the bar tended to create shadows over the faces of those leaning through from behind or blocking audience viewpoints with the pillars. Attention to detail in other elements, such as set pieces, costumes, and props, was a joy as they alluded to a specific time that appeared to be much loved.
Accents were understandably a challenge in this production, particularly as this reviewer has family in Yorkshire against which to compare. While Eustace and McBain reliably kept to their chosen region of Northern England, Dalton and Slater contained occasional tinges of Geordie, Irish, Yorkshire, and elements of Lancashire, but this didn’t detract from their character’s physicality.
The blend of comedy and tragedy in Martin McDonagh’s play ‘Hangmen’ is forefront in Fagan’s direction. This fast-paced evening of not knowing what to expect next bookends the controversial dialogue on capital punishment. This South Australian premiere, in an intimate theatre space, is not to be missed.
Hubby and I rode our scooter to our local theatre, The Arts Theatre on Angas Street, Adelaide, to see Nana’s Naughty Knickers.
What happens when Bridget and her lively grandmother become roommates?
Bridget saw a unique opportunity to stay with her favourite nana in New York for the summer. She found her running an illegal boutique from her rent-controlled apartment, selling handmade lingerie to all the senior citizens of the precinct.
Will Nana get arrested or, even worse, evicted?
Adelaide ‘theatre royalty’ Cast:-
Penni Hamilton Smith – Sylvia Chris Galipo – Vera, Sylvia’s side-kick Kayla Cranfield – Sylvia’s innocent grand-daughter, Bridget Clinton Nitschke – Tom, the lovelorn police officer Frank Cwiertniak – the owner of the apartment block, Mr Schmidt Monique Millar – dominatrix Heather Van Pree Therese Hornby – Mr Schmidt’s wife, Clair Marcus Catt – the UPS delivery guy
A Katherine DiSacino play directed by Barry Hill, this piece has enough silliness to make you laugh out loud (even when you don’t want to) and forget your own troubles for just a little while.
At first, the American accents might catch you off guard, but as you become familiar with the quirky characters, they quickly become an endearing part of the experience.
The standout performance for me was Chris Galipo’s performance as the deaf, mobility-impaired best friend Vera, who had some of the best lines and delivered them to perfection. Also, Marcus Catt’s performance as the delivery guy had only a small part but made a fabulous impact.
It is a silly, uncomplicated play with quite a few plot flaws and unlikely characters. All is soon forgiven, as you find yourself just enjoying the simple pleasure of watching the actors revelling in their roles, just to make you laugh. And laugh we did, many times, the crowd broke out into spontaneous, joyous and sometimes guilty giggles.
The set design is quite simple but contains some very clever moving parts to hide the secret stash of merchandise. I personally would have preferred the ‘naughty knickers’ to be sexier to match the title of the show, but that’s me, and I do think the cast could have pulled it off.
Get out when you can, support local artists, and you’ll definitely have some fun!!
The University of Adelaide Theatre Guild have placed their production of King Lear in a post-apocalyptic dystopian setting which is set amidst the madness of a world in ruins more than reminiscent of the Mad Max series. I would not have been surprised if Dementus (Chris Hemsworth) walked in to play the old deranged king, there are a number of parallels.
Director Brant Eustice says, “There is enormous joy to be found in Shakespeare’s universal themes and a brilliance in his writing which not only allows, but also encourages theatregoers to continue exploring the depth, complexity and beauty of his stories in new styles. Due to a global calamity, civilisation as we view it has collapsed and has returned to the ways of a distant past. We find ourselves in a world which is slowly trying to rebuild itself.”
This production succeeds in most ways, but does not always achieve Eustice’s aims.
For those who don’t know the play, King Lear is based on the legend of Leir of Britain. Lear decides to divide his kingdom among his three daughters, but he is deceived by the flattery of Goneril and Regan, who turn against him, and he banishes the loyal Cordelia, who loves him. Lear becomes mad and wanders in a storm, while Cordelia returns with an army to restore him. The play ends with the deaths of Lear and his daughters.
According to the esteemed critic Frank Kermode, “the play…offers neither its good characters nor its audience any relief from its cruelty”. I disagree with Kermode in that while cruelty is more than evident, there is an abundance of humour in the play which Eustice highlights.
Every centimetre of the Little Theatre is used to advantage and thanks to Eustice’s direction, the scene changes are quick and efficient, and the characters are well developed.
His direction is complemented by Kate Prescott’s set design, Lisa Lanzi’s costume design, Richard Parkhill’s moody lighting, Sean Smith’s sound design. Michael Green’s original haunting music and Anne-Louise Smith’s hair teasing and primping.
This production features 16 performers, some playing multiple roles.
Michael Eustice joins an illustrious list of actors to play Lear; Orson Welles, Christopher Plummer, Ian McKellen, Derek Jacobi, and Glenda Jackson to name a few. Eustice’s Lear is bombastic, demanding and convincing in his decent into madness. His scene with the dead body of Cordelia is memorable.
Sharon Malujlo’s Kent holds the narrative together, especially when in disguise and provides comic relief to the more sombre sections of the play.
Robert Baulderstone’s Edgar is compelling to watch. His physicality is wonderful and his voice crystal clear. His ‘naked’ scene is a highlight of the play!
Sean Flierl’s Edmund is appropriately villain-like as he plots against his father and brother. His swordplay with Edgar is frighteningly realistic.
Geoff Revell as Fool steals every scene with carefully delivered wisdom and the occasional breaking of the fourth wall to include the audience. I loved his scene with Lear on the mezzanine level of the theatre.
As the three daughters, Georgia Stockham as Goneril, Rebecca Kemp as Regan and Rhoda Sylvester as Cordelia all deliver solid work, but there were some problems with diction and projection at times that resulted in some of the dialogue being lost when their backs were turned or voices raised.
Tracey Walker is a commanding Albany with one of the clearest Shakespearean deliveries I have heard.
Director Brant Eustice replaced Mick Young (who had to withdraw due to illness) as Gloucester gives us a moving performance, particularly in act 2 when his eyes are gouged out.
Imogen Deller-Evans, Mike Leach, Harry Passehl, Tony Sampson, Tom Tassone, and Lizzie Zeuner complete the cast playing multiple roles.
Being a long play (even with cuts), it might have been advisable to start this production at 7pm.
King Lear is one of the Bard’s greatest works and the University of Adelaide Theatre Guild’s production is well thought out and delivers some fine performances. I think the Bard would approve of the new setting!
Ticket Information $25 Full Price $20 Concession / Tertiary Student
Performance Dates Friday 16 August at 7:30pm Saturday 17 August at 7:30pm Sunday 18 August at 4pm Wednesday 21 August at 7:30pm Thursday 22 August at 7:30pm Friday 23 August at 7:30pm Saturday 24 August at 7:30pm Sunday 25 August at 4pm
Venue Little Theatre The Cloisters, Victoria Drive, University of Adelaide Please allow extra time for parking, especially when there is an event at Adelaide Oval.
Duration 2.5 hours plus interval
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.
