Grand Horizons is a poignant, riotously funny portrayal of a family in crisis, after matriarch Nancy (Linda Morgan) reveals she wants to divorce Bill (Eddie Bruce), her husband of 50 years. While Bill’s initial reaction to Nancy’s news reads as indifference, their adult sons Ben (Erik de Wit) and Brian (Tyson Hargreaves) are blindsided by the revelation; Filled with misguided good intentions, they flock to their parent’s to try and restore order, with Ben’s heavily pregnant, therapist wife Jess (Catherine Sturk) in tow. What unfolds is a superbly written and identifiable comedy, amusingly confronting life’s uncomfortable truths.
Themes include ‘Grey Divorce’ as a cultural phenomenon, canvassing mature-aged characters as authentic, entertaining protagonists – rather than being resigned to ‘bit-parts’, presented as dementia-stricken tropes, or shamefully overlooked altogether. Further, there is a feminist undercurrent which is impactful without being alienating, in addition to interesting inter-generational observations and comparisons, revealing both progress and perpetuation regarding expected gender and familial roles.
Linda Morgan shines as Nancy, contrasting physically and emotionally between the resigned, unsatisfied woman she has become, the hopeful Nancy – turning her focus to what could be, and the nostalgic Nancy – reminiscing of another love, which was not meant to be.
Playing Bill, Eddie Bruce can really deliver a comedic line; Grand Horizons provides him with plenty of material to chew on in that respect. Bruce also plays his character’s introspection and inarticulation in a way that feels very authentic for man of his generation – caring and dutiful in his own way, but somewhat oblivious to emotional cues and uncomfortable sharing how he really feels.
De Wit, Hargreaves and Sturk each take command of their respective characters, showing both nuance and good connection with the script, while Gillian Simpson as Carla and Matthew Ginman as Tommy both turn in hilarious cameo appearances; Simpson’s deadpan as her retirement-aged character describes a certain plain-packaged, online purchase is priceless. Ginman gets to deliver some of the funniest lines in the entire play, and wows with the tone and timing of his delivery. The set design is another highlight to note, and you must wait to appreciate it fully.
In conclusion, Grand Horizons is a polished comedy asking thoughtful questions without providing every answer. The slick performances, timing and staging are a testament to the hard work of the cast, Director Phil Carney and his team of Creatives (John Stibbard, Jan Read, Rob Crook). A smart, well-paced and thought-provoking play – well worth the watch.
“She Kills Monsters,” is a tale of Agnes, a High School teacher who is grieving the loss of her younger sister, Tilly. When packing up her sister’s room, Agnes find a notebook that contains a DnD world of Tilly’s design. Seeking to truly understand who her sister was, she seeks the help of a goofy DM, Chuck, who leads her through this creation in the hope that they can uncover what Tilly had left behind. Secrets, friends and life lessons lead Agnes to not only learns about her sister’s creative and courageous life, but how she can honour Tilly through her own.
This production, directed by Brenna Corben and written by Qui Nguyen (2011), gives a comedic tribute to the world of role-playing, tabletop games and the people who play them. Re-set in a Queensland, fictional town, it was great to see the way the different characters were being represented and how they interacted with one another. From the costumes, simple yet classic, to the way they were presented in Tilly’s world vs “real life.”
The sound and lighting included basic but reasonably varied lighting choices, that served the purpose of each scene. While the transitions could have been smoother, overall the media and colours used added to the theatricality of the production. In particular, the audience thoroughly enjoyed the voice overs overlaying the transitions to scenes in the school setting. The Australian references were enjoyable and easily identified, while also paying tribute to memories of our schools days. Overall, the audience engagement was highly positive and jovial, laughing at each joke wholeheartedly and enjoying the musical additions when applied. For example, at the sound of the “Friends” theme song, a majority of the audience knew to clap at the end of the first line.
The stage design incorporated the fantasy theme through their use of vines and platforms decorated in a faux stone wall covering. A table was placed center stage, while three block were placed around it, two of which raised slightly higher than the block behind. While there were times where the blocks seemed under-utilized, the stage design was adequate for each scene and required minimal movement adjustments for the different scenes. It was an interesting choice to turn down the lighting between each scene, as the transitions could have been smoother without the need for a lighting change.
The use of space and dynamics were particularly interesting in the way that Chuck, the DM played by Cristian Stanic, would sometimes move in sync with what was happening in the DnD world, as though they were attempting to illuminate what was happening through true DM style. Being surrounded by the DnD characters, Lilith (Laura Renee), Kalliope (Erin Hall), Orcus (Amber Lawson), Tilly (Genevieve Whittred) and Agnes (Alyssa Byrne), this seamlessly integrated into the story. The scene with the “final boss,” was especially enjoyable, as the use of LED lights in the eyes of the dragon and the choreography added a dynamic and theatrical effect that tied the show in a neat bow.
There were moments that the use of blocking (planned positioning of actors on stage) could have used some adjustments. There were moments when an actor’s back was to the audience or one actor stood behind another, their face being obstructed from the view of the audience while giving lines. While this can sometimes be utilized for dramatic effect, it seemed out of place and unpolished in these instances. This also meant that at time, the bounds of the scene were made unclear as it related to moments that were supposedly shared by only one or two actors. Was a scene meant to be private or did it occur in front of the rest of the party?
The actors that were most notable included those in the roles of Tilly, Lilith, Miles, Orcus and Agnes. The role of Tilly (Genevieve Whittred) was a great depiction of a teen who was trying to figure life out and how she hopes to enjoy it. When following Tilly’s highs and lows throughout the play, Whittred allowed us to witness a portrayal of Tilly that depicted a free-spirited, direct and creative youth who gave her friends a means to escape their current realities. Renee’s portrayal of Tilly’s love interest, Lilith/Lilly, was especially notable as their struggles were uncovered over the course of the play. It was wonderful to see the layers of the character unfold in her depiction of Lilly and how she interacted with Agnes in the latter half of the show, to be contrasted with the blunt and beautiful, demon princess that was Lilith’s character in the DnD realm. It would have been nice to see Lilith’s character explored further through conversations with Agnes or other members of the party.
A similar note can be made about the roles of Miles (JJ Jones) and Orcus (Amber Lawson). The audience found the comedic addition of Orcus’ character thoroughly enjoyable, however did not see too much character development where he or Miles were concerned. Jones played a highly believable Miles, who challenged Agnes when they shut them out of their journey. Both actors played interesting roles that could have been explored further to uncover more emotional depths, and about Agnes’ grieving process or Tilly’s friendships. While the actors were limited to the script material, they did a commendable job in their performances.
Alyssa Byrnes’ portrayal of Agnes offered exactly what one may expect from a grieving, avoidant elder sister. Agnes’ reluctance to face her emotions, difficult truths about Tilly and her relationships were adequately expressed through Byrnes’ facial expressions and body language, which opened up more as the play continued to follow Agnes on her journey with her grief and newfound comrades. While there were times where I felt Agnes lacked the appropriate level of energy for the scene that required it, the overall portrayal was believable and ended strongly. This was especially evident in the few scenes between herself and Lilly, as well as the scene with the “final boss,” the multiple-headed dragon at the end of her quest for Tilly’s spirit.
I am interested to see how each of these crew and cast members evolve in future productions and am eager to see what worlds they venture to next.
Thrive Theatre’s latest production is an absolute hoot. Directed by Susan O’Toole Cridland, The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society Murder Mystery is a delightful play within a play that invites audiences into the chaotic opening night of Murder at Checkmate Manor, where anything that can go wrong, hilariously does.
Led by the determined Mrs Reece (Sandy Adsett), The Farndale Dramatic Society valiantly attempts to stage their murder mystery, despite countless mishaps. Her long-suffering cast includes the incorrigible Thelma (Izabela Wasilewska), the flustered Felicity (Lindi Milbourne], earnest Audrey (Claire Marchesi), the charismatic Gordon (Isaiah Harrison), together with their perpetually bewildered lighting and sound technician, the show quickly becomes a comedy of errors, plagued by collapsing sets, missing props, and forgotten lines. Yet, it’s precisely this relentless madness that results in the very best kind of chaotic nonsense.
From beginning to end, this production is laugh-out-loud funny. The cast and crew convincingly portrayed a carefully orchestrated disaster. The actors handle the dual realities with impressive comedic timing and genuine flair. Special mention must go to Isaiah Harrison, whose Inspector O’Reilly feels like the love child of Patrick Swayze and John Cleese. He would steal the show, except he couldn’t wrestle it away from the other actors.
It took balls for O’Toole Cridland to step out of her comfort zone and direct a farce, and there are certainly plenty of balls in this production. Thrive Theatre has boldly embraced farce, absurdism, musical theatre, and tennis in this production, with exceptional results.
The KSP theatre venue is delightfully nostalgic, with a relaxed atmosphere and convenient parking. One cannot fail to mention the generous cheese platters, which can be ordered upon booking.
With everything going on in the world, this joyful, light-hearted production feels exactly right—comforting, uplifting, and genuinely entertaining. It’s like chicken soup (and a cheese platter) for the soul.
The Hound of The Baskervilles is a classic Sherlock Holmes caper set at Baskerville Hall after the death of its previous owner. Unexpectedly, we follow Watson for most of the journey to collect evidence and interview suspects, working his way through the victim’s neighbours and lovers, all whilst a demon dog stalks its prey: them. Upstage Theatre’s rendition of this tale finds us in a Box Set of the sitting room in Baskerville Hall as we flit between conversations, dinner parties and occasional ventures out to the Moore.
The costuming was a real standout for this play, as every character had a uniquely curated wardrobe and style that was still accurate to the location and time of the play. It felt that much attention to detail and time was put into the design and curation, which elevated the atmosphere and created distinct differences between the characters.
There were nice moments where creative lighting assisted in the change of atmosphere, such as a flickering ‘fire’ effect over the fireplace to indicate a change of season. The use of prop candles was also well considered, with blocking helping to cover them when appropriate.
The Blocking and movement of this play was masterfully done, feeling natural and motivated at all times. At no point did characters behave in an unnatural way to meet a mark, begin needlessly pacing or start grandstanding when inappropriate; the best part of the blocking is that it didn’t feel like ‘blocking’. This is thanks to the wonderful, thoughtful direction of June Tretheway and David Bell.
High Commendations should be given to the standout of the show, Shaun King, in the role of Watson. King delivered an energetic and likeable performance with fantastic characterisation. Grant Caldwell, in the role of Henry Lewis, played well off of King to give us an engaging journey throughout the play. Virginia Gray was fantastic in the role of Mrs Franklind, providing comedic relief and a captivating spirit to the stage. As Beryl Stapleton, Emily Egan gave an endearing and earnest performance, along with Jessica Fletcher.
I would have liked to see some additional development of the sound design to further assist in building the atmosphere. The sound used was agreeable, but further consideration of this element of the production could have lifted it even more. The other aspect I would like to see evaluated would be the pacing. However, this should improve the further this production gets into its run, as opening night nerves could have been impacting this.
Overall, the Hound of the Baskerville is an enjoyable play, and the cast and crew should be commended for their efforts.
