Breaking The Code

Breaking The Code

Breaking The Code Rating

★★★★★

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8

“Rules are only important in cricket, and the scholarly editing of ancient texts.”

St. Jude’s players present “Breaking the Code”, a performance with excitable monologues, an engaging Alan Turing, and mathematical equations and theories. Add in a sprinkling of the still unanswered question of the use of artificial intelligence having human emotions, and you have a performance that spans decades. The focus of the story is not on solving the enigma for the World War II effort, but on Turing’s life before and after, offering glimpses of his home life, his love interests, and his struggles.

Brant Eustice shines as Alan Turing, with an expressive face, presence and passion on stage that brought Turing to life in the most positive, and almost reverent way. Jamie Black and Peter Davies are imposing in their roles of law enforcement, driven by the law and encouraging Turing to do what is right by it. David Lockwood is amusing and engaging as Dillwyn Knox – his humour and delivery both well-timed and enjoyable. Rhonda Grill and Tianna Cooper are both elegant and loving as Mrs Turing and Pat Green, respectively, bringing the women in Turing’s inner circle to life in a considered and respectful manner. Sebastian Hollingsworth and Nicholas Koulioubus bring their own variations of explosive passion to both the stage and Turing’s life – along with fun, impeccable wardrobes. Together, this cast is a perfectly balanced equation.

 

The stage is simple, but every inch has been meticulously set up, blocked out, and lit up in the most flattering and effective way to tell each chapter of the story … because each scene in “Breaking the Code” is a change of year and location, playing out like chapters. If you are not intimately familiar with the story of Alan Turing, I highly recommend picking up a program so you can follow along with the time jumps with more ease. You will have no problems knowing which location the scene is set at, with the visual aids on the back wall paired with the well-thought-out set layouts. Together with the simple lighting and minimalistic music which work seamlessly to set the tone, St. Jude’s players present a vibrant retelling of Alan Turing’s story.

For anyone worried they wouldn’t be able to follow along with the mathematics, there is nothing to worry about, because Turing does all the equations, and explains anything that is story-related on stage.

“Breaking the Code” is interesting, funny, and thought-provoking, even if you have already found yourself questioning artificial intelligence and human relations. You may even find yourself asking the same question as Turing did: Was God a mathematician?

To book tickets to Breaking The Code, please visit https://stjudesplayers.asn.au/.

Photographer: Tim Stoeckel

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Pomona

Pomona

Pomona Rating

★★★★★

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4

Content Warnings: Coarse language, adult themes, references to sexual assault, and suicide.

Science fiction, Dungeons and Dragons, and a missing sister. Pomona has it all.

With a well-oiled cast who together bring the desolate Blade Runner-esque world to life, the audience is sucked into the mystery of the missing sister.

“Ollie? Like, Oliver? Like, a boy’s name?”

We follow the stories of multiple characters in Manchester; as they manoeuvre through the story the characters watch one another’s performances from the stairs and behind the audience in the cloisters. Are they judging each other? Observing from afar? Making a point of the interconnections between the characters? You decide.

The jagged, raw emotions from each character as they navigate their lives, their connections, and their mistakes is palpable, and flows naturally from the performers. The stress, fear, and love emanate from the stage – no performer holds back, fully immersing themselves and their audience in their character’s storyline.

 

The costumes bring a balanced mix of dreary and science fiction, looking natural on the performers while adding to the worldbuilding of this alternate Manchester. Each costume appeared carefully considered and tailored for the character, while managing to encapsulate the atmosphere of the alternate Manchester and the performance. There are few costume changes, and each of them were smooth, blending into the story seamlessly.

The same can be said for the set design and the set changes – well-chosen pieces that showcase the ambience of Manchester, and seamless changes undertaken by the performers. The set changes were efficient, and elegantly doubled as an opportunity for the performers to drape themselves in their next observation location for the scene. The pieces doubled as a backdrop for the city, never straying far from the stage, and some contained multiple uses, changing from a bed to a desk and back again – a very tasteful use of the pieces at hand without overwhelming the performers or audience.

The audience was enraptured from the first lowering of the lights – LED strip lighting lined the stage and emitted a soft glow of anticipation. With torches being used by the performers as well as the lighting team, there was no shortage of creative use. This extends to the use of sound, as they work hand-in-hand with the lighting team to not only set the scene, but fully immerse the audience.

Pomona jumps forward and back in time to tell the story, with the mystery of the missing sister unfolding as the characters’ connections and personal gripes unfold. Be prepared to walk away with questions, and maybe even a desire to play Dungeons and Dragons.

To book tickets to Pomona, please visit https://www.trybooking.com/events/landing/1476481.

Photographer: Sophie Livingston-Pearce & Alice Smith

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Jesus Christ Superstar – Therry Theatre

Jesus Christ Superstar

Jesus Christ Superstar Rating

★★★★★

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1

Review: Jesus Christ Superstar – Therry Theatre

Therry Theatre has produced a joyous and excellent version of Jesus Christ Superstar receiving a standing ovation on the opening night adding to their outstanding history of superb musical productions – the whole season is sold out but beg, borrow or steal a ticket if you can!

Arguably Jesus Christ Superstar is Andrew Lloyd Webber and Tim Rice’s best musical/rock opera and the third they had written together, but not being able to find financial backing they initially were forced to release it as a concept album in 1970 which featured Murray Head, Ian Gillian and Yvonne Elliman. After the success of the album, it debuted on Broadway in 1971 then it ran for over eight years in its West End production holding the record for the longest running musical until it was overtaken by Cats in 1989. It has also travelled the world including highly successful Australian versions and was revived in the West End this year. If the Therry Theatre felt any pressure from this huge past success, they shouldn’t have because they have done an impressive job of the material.

Well past the point of worrying about spoilers of this story, after the Overture, Act 1 begins with Judas (Daniel Hamilton) concerned about followers of Jesus (Nicholas Munday) getting out of hand and threatening the establishment with the song ‘Heaven on Their Minds’. The apostles ask Jesus about his plans, but he tells them not to worry with ‘What’s the Buzz’. Judas reproaches Jesus about his relationship with Mary (Rebecca Pynor) ‘Strange Thing, Mystifying’. Caiaphas (Chris Coulter) and Annas (Parisya Mosel) and the High Priests plot Jesus’ downfall with ‘This Jesus Must Die’. This leads to one of the best songs of the musical/rock opera of ‘Everything’s Alright’. Then as Act 1 progresses another highlight of ‘I Don’t Know How to Love Him’ is wonderfully performed by Pynor.

 

 

Act 2 leads through Judas’s betrayal of Jesus, his trial then an absolutely brilliant version of ‘King Herod’s Song’ with Herod (Toby Strudwicke) and his courtiers dressed as clowns and tap dancing. The act then moves through to a glorious version of ‘Superstar’ and a respectfully handled crucifixion.

The set design by Ben Todd and the construction crew have produced a very useful and versatile space which easily switches from outdoor meeting places to indoor palaces. The Musical Director, Matthew Rumley and the band are to be commended for a great performance, if there were any missed notes they went unnoticed. Rebeka Stonelaitken’s choreography fits the production perfectly as well as the mix of old and new costumes.

Ben Todd’s direction has led to a magnificent production. In the leads, Hamilton, Munday and Pynor are stellar along with the rest of the spectacular cast.

As a testament to what audiences knew Therry Theatre would produce with this production of Jesus Christ Superstar, the whole season was sold out well before the opening night.

Reviewed by Rob McKinnon
Rating; 5/5

Jesus Christ Superstar runs 23 JULY – 1 AUGUST 2026
Venue: Arts Theatre, 53 Angas Street, Adelaide
Tickets: Sold Out

To book tickets to Jesus Christ Superstar, please visit https://therry.org.au/.

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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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