Under The Table

Under the Table

Under the Table Rating

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One dinner party, one man in a chair, one book about ducks, one pair of handcuffs, and one pair of pants left around the victims ankles.

Who left the victim in such a state? The suspects – the best friend, the sister, and the lover of the victim – are being interrogated by investigators … and they’re not all recalling the night the same way. It’s up to Sergeant Melpo and Officer Thalia to figure out the truth amongst the lies, and bring the killer to justice. As long as Officer Thalia can stay focused on the case, that is.

Trigger Warnings: Under the Table has mild nudity; references and conversations relating to death and health concerns; sexual references; mature language; and the perfect amount of immature language.

There’s something to be said for a simple set. There was nothing misleading or confusing about the set or its layout, plus the interactions, flow on effect from room to room, and the use of every prop on stage was expertly carried out. Every centimetre of the set has been considered, and used for the full effect of each characters storyline. The props themselves were minimal, but each of them aided in the unravelling of the mystery, and felt well-suited for the setting. This extends to the costumes – every costume brought the character to life, was well-fitted to the performer, and (this reviewer suspects) provided some subtle clues to who the killer is, which you may not even realise until the big reveal.

 

 

As an added layer, the shows director, Alana, composed an original soundtrack for Under the Table! The music blended into the performance seamlessly, never overpowering the performance or the performers, but setting the scene as needed, keeping the audience on the edge of their seats as the mystery unfolded before us. The quality of sound was well balanced, never sounding grainy nor too quiet, with a healthy amount being added so to bolster the performance and not overwhelm it.

The only downside to the performance was the lighting and sound team being as close to the audience as they were – with their station being a part of the last few rows their conversations and movements occasionally carried to the audience. But they did an amazing job with their cues, never missing a beat and keeping everything running smoothly. Most impressive would be the timing of the door knocking – keep your eyes peeled for the accuracy between sound and actor!

With amusing one liners you’ll find yourself wanting to share with your friends, terrific delivery and on stage chemistry, Under the Table is well worth the viewing.

To book tickets to Under the Table, please visit https://www.trybooking.com/events/landing/1593214.

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The Shawshank Redemption On Stage Across Australia In 2027

Feature-The Shawshank Redemption

The celebrated stage adaptation of one of the most popular and enduring films of all time, The Shawshank Redemption, is coming to Australia. Direct from its acclaimed UK tour, The Shawshank Redemption will play in Sydney, Melbourne, Perth and Adelaide from January next year, with other cities to be revealed. Waitlist now at ShawshankLive.com.au to be first in line to purchase tickets and receive the latest news including casting announcements, exclusive behind-the-scenes content and tour updates.

The Shawshank Redemption is a powerful stage production that places you just metres from the action. Raw, intimate and deeply moving, this is theatre at its most compelling – where every moment unfolds live before your eyes. Based on Stephen King’s celebrated novella, this gripping adaptation tells an unforgettable story of hope, friendship and the resilience of the human spirit.

Wrongly convicted of the brutal murders of his wife and her lover, Andy Dufresne is sentenced to life imprisonment in the notorious Shawshank prison. As he navigates the harsh realities of incarceration, he forms an unlikely friendship with fellow inmate Red, discovering that even in the darkest of places, hope can endure. But when the corrupt Warden seeks to exploit Andy’s talents for his own gain, a quiet and daring plan begins to emerge, one that will challenge the very walls of Shawshank itself.

“Electrifying – it truly is a must see show” – The Observer
“This production has nailed it … Gripping live theatre” – Broadway World

“The Shawshank Redemption has captivated audiences around the world because it speaks to something universal, the enduring power of hope. We’re honoured to bring this extraordinary story to Australian stages and share an unforgettable theatrical experience with audiences across the country,” said producer Craig Donnell. “Great theatre doesn’t just entertain; it stays with you long after you’ve left the auditorium. The Shawshank Redemption is one of those rare stories that continues to resonate across generations, a story of hope, courage and perseverance, and I can’t think of a more important story to share with audiences today.”

Adapted for the stage by Owen O’Neill and Dave Johns, and directed by David Esbjornson who directed Angela Lansbury and James Earl Jones in the Australian tour of Driving Miss Daisy, this acclaimed production captures the emotional power and humanity that have made The Shawshank Redemption one of the world’s most enduring stories.

The 1994 film adaptation, nominated for seven Academy Awards, has become one of cinema’s most beloved classics. Now, experience a story of hope, friendship and redemption brought vividly to life in an unforgettable live theatrical event.

THE SHAWSHANK REDEMPTION
Adapted for the stage by Owen O’Neill and Dave Johns, based on the novella Rita Hayworth and Shawshank Redemption by Stephen King
Directed by David Esbjornson
Produced by Impresario Productions, by arrangement with Bill Kenwright Limited
By arrangement with Knight Hall Agency Ltd in association with Paradigm Talent Agency

SEASON DETAILS
Theatre Royal Sydney – From 2 January 2027
Playhouse, Arts Centre Melbourne – From 4 February 2027
Regal Theatre, Perth – From 12 March 2027
Her Majesty’s Theatre, Adelaide – From 1 April 2027
Other venues still to be announced

Waitlist for all cities now at ShawshankLive.com.au

 

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Comeback Reimagines The Theatre Experience

Feature-COMEBACK Festival 2026

This August, Goodwood Theatre & Studios invites audiences to experience theatre differently with the launch of COMEBACK Festival 2026, an exciting new festival where audiences are invited to see two incredible shows in one night, enjoy a home-cooked meal and drink on us, and connect through conversation in a shared theatrical experience.

Running across three curated weeks in August 2026, COMEBACK reimagines the traditional theatre-going experience as something immersive, social, and deeply human. More than simply seeing a show, audiences are encouraged to settle in for an evening of storytelling, reflection, and connection – sharing supper and drinks between performances while engaging in conversations sparked by the work.

These are productions that have already captivated audiences, award-winning works, sold-out seasons, and unforgettable performances that deserve a second life. COMEBACK exists to celebrate exceptional independent theatre and bring it back to the stage for new audiences to discover.

“COMEBACK was born from a simple idea: if a production has moved audiences, sparked conversations and demonstrated artistic excellence, why should its journey end after a single season? This festival gives artists the support to return, grow and reach new audiences.” – Simone Avramidis, Artistic Director – Goodwood Theatre & Studios

Week One: Tender, Powerful & Deeply Felt
The festival opens with an emotionally rich pairing featuring Wilde & Darling Productions Goddess Era alongside Alix Kuijpers’ i know the end.

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Goddess Era draws inspiration from women of Ancient Greek mythology in a haunting and emotionally resonant exploration of identity, power, and womanhood. Paired with I Know the End, Alix Kuijpers’ award-winning queer coming-of-age dance theatre work exploring intimacy and connection, audiences are invited into a deeply tender evening that lingers long after the curtain falls.

This is a week for feeling deeply and one audience won’t regret experiencing.

Week Two: Playful, Bold & Unexpected
Week two shifts’ gears with an energetic and immersive double bill. Danielle Lim and Sam Lau, present an adaptation of Bang On The Nerve: A Modern Asian-Australian Adaptation, originally written by Van Badman, paired with Zero Theatre’s Have Sex With Me, Please.

Expect laughter, surprise, and audience participation as the evening embraces playfulness, intimacy, and bold theatricality.

With supper and drinks shared between performances, audiences become part of the action in a vibrant and unforgettable night out.

Week Three: Experimental, Fresh & Fearlessly Honest
Closing the festival is a beautifully fresh and thought-provoking week featuring Deus Ex Femina’s All the Things I Couldn’t Say and Billie-Rose Russell in partnership with Dead Darling Theatre presenting All Grown Up (but not really).

This final week celebrates emerging voices and fearless storytelling offering audiences a moving and memorable conclusion to the COMEBACK season.

More Than Theatre
Coinciding with the SALA Festival, Goodwood Theatre & Studios will also transform into a vibrant visual arts hub, featuring works by incredible local and award-winning artists Bianca Joanna Buliga and Pat Smith, filling the venue walls with colour, story, and heart.

COMEBACK is a new way of delivering theatre, where audiences become part of the story and artists are supported to thrive. By pairing performances, creating opportunities for conversation, and fostering connection between artists and audiences, the festival creates a dynamic environment for cross-pollination, community, and cultural engagement.

Proudly supported by CreateSA, COMEBACK is an important investment in South Australia’s next generation of artistic leaders and supporting emerging companies to revisit successful work, reconnect with audiences, and continue developing brave, independent theatre.

A night of theatre, food & connection awaits.
See two shows. Share a meal. Stay for the conversation.

COMEBACK Festival
13-30 August 2026
Goodwood Theatre & Studios

 

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Sass, Frustration, And Glitter

Dracula, A Feminist Revenge Fantasy, Really

Dracula, A Feminist Revenge Fantasy, Really Rating

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CONTENT WARNINGS: This show may contain flashing lights and themes of violence, predatory or abusive behaviour, and suicide that some may find frightening or distressing.

As you walk into the Little Theatre at Adelaide University, black and red decorations adorn the front room, consisting of fake spider webs, roses, and more. Meanwhile, in the theatre, rock music, the silhouette of an imposing castle, and a handwritten version of the Lord’s Prayer are waiting.

You may agree with the opening line of the director’s note in the program: “Vampires. They’ve been done to death.” But this performance of Dracula shows that Vampires have a way of implanting themselves into our minds and evolving to slip into our culture. “Dracula, A Feminist Revenge Fantasy, Really,” is full of sass, female frustration, excellent era-appropriate outfits, great accents, and well-timed jokes.

The cast has an easy familiarity with one another, leading to complementary performances which feel natural – you won’t find any awkward deliveries, wooden lines, or mis-timed jokes in this performance. Every line is delivered with precision, consistent accents (unless they’re not meant to be), and a strong projection that reaches the back rows. The accompanying music did not overwhelm the performers, was well-suited for the performance, and found a solid balance between traditional gothic Dracula and current day music.

 

 

As this was opening night, there were a couple of hiccups with lighting cues, but all were quickly rectified and well covered – I’m not entirely convinced they were hiccups, but rather well-planned timing. Otherwise, the lighting was spot-on across the performance, with clever use of red lights, spotlights, and lanterns. The lighting team did a wonderful job playing with shadows as they were needed, and assisting in building the ambience of the show.

The stagehands deserve their own moment in the spotlight, too. They snuck on stage between scenes, cleaned, found dropped jewellery, and efficiently moved heavy-looking furniture with relative ease in the near darkness. A job well done to keep the performance moving seamlessly.

With a stage in a semi-circle, the sets were simple, with every item carefully planned and chosen for its moment on stage. The only concern I had was for the performers’ knees as they slid in and out of the bed. Not enough to distract from the performance, though. The sets are simple but telling enough that the audience don’t find themselves guessing where they are at any point, but can fill in some of the gaps for the missing parts (windows, walkways, and the like) for themselves.

Audiences are reminded and advised that Dracula is a dark story, and this performance is no different. The performance does not hold back from raw emotions; screaming and shouting are not off the table for this enthralling performance. If you choose a front row seat, don’t be surprised if your shoes have a little glitter on them as you leave.

To book tickets to Dracula, A Feminist Revenge Fantasy, Really, please visit http://www.trybooking.com/DMMKT.

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