Failure: A Love Story by the Villanova Players

Failure: A Love Story by the Villanova Players

Failure: A Love Story by the Villanova Players Rating

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3

Failure: A Love Story is a Dramedy that also explores the use of music in the 1920s-themed Character-centric play. We follow ‘Mortimer Mortimer’ played by the delightful Lachlan Gregory Hugh, on his ill-fated courtship of no fewer than three women of the ‘Fail Family’ and the journey of his life until death. The story is delivered uniquely, where the characters take turns offering narrations in the third person, flitting in and out of the story.

The play competently and creatively incorporates the use of projections to help transport us to the very many various locations in the play. The Projections often provide us with unique family portraits, some hilariously photoshopped.

Other unique aspects of this production include using puppetry to bring to life a pet snake and the smooth vocals of Milton Scully, who plays a personified Gramophone. Although Milton excels vocally, they are raw on-stage with no backing track provided, which could have elevated the Jazz vibes of his performance. He still gives it his all, showing us masterful carrying of tune, pitch and tone.

Another odd aspect is the appearance of a dog played by Shane Fell, whose end-of-life euthanasia is played for laughs. This sounds shocking, but Shane’s bold choice and comedic performance make this a stand-out comedic moment.

The main stand-out performances belong to Lachlan Gregory Hugh and Sabrina Fu, who play Mortimer Mortimer and Nelly Fail, respectively. They bring vibrancy and energy to the stage, appearing confident and collected in their performances. Erin Hall and Sophie Morrison bring consistency and grounding to their performances as the other ‘fail’ sisters. Nathan Seng excels in his role, convincingly playing the shy and awkward adopted ‘fail’ brother.

All actors were well-spoken, projecting to the entirety of the theatre throughout. Nathan Seng has a great voice in the snippet of singing we get from his character, and the chorus singing moments sound great. Although once again backing tracks, and more upbeat dance choreography could have lifted the energy in these scenes to support the actors’ performances. We are delivered very clean and precise blocking throughout the performance, showing this cast could’ve competently handled more energetic or elaborate configurations.

This production was crafted with care and talent in the prop department, showcasing amazing handmade pieces. From a clockwork coffin to a Gramophone-themed megaphone, the props used were excellent. The lighting once again plays it safe, only being incorporated occasionally as a story-telling device, but all actors are well-lit. The pacing seemed to be the greatest difficulty in this production, with narrations often dragging and struggling to support the story in building to its climactic points of drama.

Unfortunately, this impedes some of the comedic timing at points and makes the third act, as we travel towards the ending, feel quite long. There is, at times, masking from the cast as they wait in limbo to jump in for their section of narration. However, the jokes that do land delight the audience and keep us invested in the journey of Mortimer Mortimer. Lachlan really does bring a great surge of vitality to the stage with his performance, and he should be commended.

Failure: A Love Story provides us with a cozy journey. It is funny while fated to tragedy and intimately explores a person’s journey through love. The cast should be commended on their successful performance and efforts.

With only two nights remaining, book your tickets to Failure: A Love Story @ https://www.villanovaplayers.com/coming-soon

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.

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Sir Terry Pratchett’s The Fifth Elephant

The Fifth Elephant

The Fifth Elephant Rating

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6

The Fifth Elephant, one of Terry Pratchett’s many successful fantasy novels, inspires this whimsical and spellbinding stage play from Brisbane Arts Theatre Company. This production, directed by Sarah Drew and Eleni Koutsoukis, was especially exciting to attend as I was interested to see how the themes and characters of Pratchett’s Discworld novels come to life.

While the stage design was simple, the crew used contemporary methods to convey scene changes and effective space use. In the top right corner of the stage was a black, long staircase from which characters could emerge to signify a character’s status or moods and give group scenes more varied dynamics. It was well received in each instance and an adequate expression.

Something of note was the use of lighting and projections. In the first act, the lighting crew encountered occasional timing issues a few times. Despite this, each time, they recovered quickly, and it became less of a distraction as the show went on, and their cues were more on point. The use of red flashing lights during one of the action scenes and the red lighting during one of the final scenes aligned well with what was happening and engaged viewers. Using projected images to signify scene changes was a simple but clear way to manage the design and cast movement. Instead of moving furniture between scenes and waiting for transitions, the cast could immediately focus on the next one.

 

As for the actors and actresses, I was very impressed by the amount of talent and focus they conveyed in each scene. The physical demands of the roles of those who played werewolves/wolves/talking dogs were also commendable, as they often had to move about the stage reasonably quickly during action scenes.

Especially notable mentions include the roles of Commander Vimes, Carrot, Igor (all of them), Wolfgang, Littlebottom and Skimmer. I enjoyed seeing how all of these characters interact and how the actors professionally and thoughtfully executed them. Their use of comic relief, tension, body language, and vocal tone made each scene stand out in quite a unique way. If I were to pick one scene that the audience and I seemed to have favoured and thoroughly enjoyed, it would be the final scene between Vimes and Wolfgang. The audience also enjoyed the Igor scenes; many spoke lovingly of them during intermission.

Each actor, whether in a major or minor role, did an amazing job, and I am eager to see how their skills are utilised in the next production.

The Fifth Elephant runs until the 2nd November. Book your tickets for one of the remaining performances @ https://www.artstheatre.com.au/productions/sir-terry-pratchetts-the-fifth-elephant/

Friday 25th October – 8pm
Saturday 26th October – 7pm
Sunday 27th October – 2pm
Thursday 31st October – 8pm
Friday 1st November – 8pm
Saturday 2nd November – 7pm

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.

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Redcliffe Musical Theatre Presents The Lovely Bones

The Lovely Bones

The Lovely Bones Rating

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1

Redcliffe Musical Theatre’s interpretation of “The Lovely Bones” is a spellbinding, tragic tale of the Salmon family as they navigate the grief and the investigation behind the murder of their daughter and sister Susie. Watching from her place in the heavens, Susie attempts to interact with and process the scenes that play out in the world she has since left. Based on the book by Alice Sebold, this play was adapted for the stage by Bryony Lavery and directed by local theatre professional Sandra Harman.

One of the first things I noticed was how well the actors took advantage of the space. The set design gave them a white backdrop, using varying heights and whitewash lighting to create a dynamic that clearly defined each scene. To distinguish the spiritual realm from the earthly, they used stairs and a small platform for scenes where Susie (Zoe Hitchcock) would struggle and bargain with the laws and limitations of her personal heaven. When challenging those limitations, Susie would come to centre stage to interact with other actors or deliver emotionally gripping monologues. Whereas, the Salmon family would mainly have their scenes stage right, either seated or around the family dining table. The left of the stage was often utilized in the scenes outside of the family home.

Contemporary theatre techniques, such as the use of music and multi-media were, for the most part, appropriately applied to complement scenes. While there were times they were used to accompany some comical relief, it was otherwise used to portray emotional moments, memorials or memories Susie relived. The simple backdrop allowed the audience to focus in on the actor’s performance, allowing actors to pull focus when needed. As there were a lot of emotional and psychological layers to the characters and plot, I felt that they each portrayed their roles quite well.

Jack and Abigail Salmon (Jonny Sweeper & Dee Heath) were especially commendable in their roles as they portrayed an accurate depiction of grieving parents, trying to keep the family from falling to pieces while still having their personal struggles. The actors playing multiple roles (Rachel Albrecht & Nikki Glowacki) gave impressive performances as Franny, the Sargent, the heavenly counsellor and Grandma Lynn. Minor roles such as Ray (Cobe Robbins), Ruth (Sarina Brener), Lindsey (Rory Argyles) Buckley (Lyds Dunne), Holiday the dog (Tylah-Jay Foster) and Detective Fenerman (Tim Albrecht) were colorful and confident in their depictions, adding the warmth and sentimentality required to paint Susie’s life as it was.

The character of George Harvey (Adrian Mackay) was appropriately executed and especially notable for their subtle ferocity and calmness in the face of conflict. I would have liked more complex scenes for this actor to explore the character further and see more of the actor’s skillset.

The role of Susie Salmon seemed to require a lot of emotional depth and the ability to explore that through multiple, heart-wrenching monologues, all of which actress Zoe Hitchcock executed effortlessly. Stepping into such a demanding role could be daunting for most, but it was quite clear that they were up to the task. I am eager to see their success as they grow in their skills as performers.

While there were occasions where nerves were apparent, I admire the cast for their commitment and professionalism within their roles. If there is any feedback, it would be with the volume and quality of the musical transitions. There were times when the music was too loud or did not seem to line up with the emotion of the scenes. Other times, the music felt too abrupt and distracting, seemingly taking away from the scene. It may put the audience at ease if there were a gentle fade-in or similar approach when playing music to enhance the show.

All in all, I highly recommend “The Lovely Bones”, and I am eager to see what the cast and crew of Redcliffe Musical Theatre do next.

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.

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Lord Of The Flies: Presented by the Gold Coast Little Theatre

Lord of The Flies

Lord Of The Flies Rating

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3

Due to budget cuts or in an effort to shield the students from the harrows of castaway life, my school decided to remove Lord of the Flies from the English curriculum. So, Gold Coast Little Theatre’s production last night was the first time I’ve ever experienced the madness of William Golding’s literary classic.

If you, like me, aren’t aware of the full story of Lord Of The Flies, let me give you the cliff notes version, literally:
In Lord of the Flies, British schoolboys are stranded on a tropical island. In an attempt to recreate the culture they left behind, they elect Ralph (Amelia White) to lead, with the intellectual Piggy (Mia Waldron) as a counsellor.

But Jack (Bree Paige) wants to be leader, and one by one, he lures the boys from civility and reason to the savage survivalism of primeval hunters. The disturbing tale portrays the children’s journey into turmoil and indicates that humanity’s inherent nature is barbarous.

To say that this production kept me on the edge of my seat is an understatement. The all-female cast of 13, led by Amelia White as Ralph and Bree Paige as Jack, under the direction of Joshua McCann-Thomson, worked tirelessly to bring this disturbing story and all of its themes to life in the most exciting way. Even though the actors might be young, this story and its dark motif are probably suitable for teenagers and above.

 

Gold Coast Little Theatre is nestled in Southport, a stone’s throw from Australia Fair, surrounded by pubs and restaurants if you want to make a night of it. It has ample off-street parking if you want to drive, but it’s just a hop, skip, and a jump from Southport South Station if you want to leave the car at home.

Seating for people with disabilities is available for all shows on request to the Box Office (until booked out). These seats can be booked by phoning the Box Office and are not available online. So, if you’re looking for an exciting night out, give Gold Coast Little Theatre’s Lord Of The Flies a go. The show runs from August 21st until September 21st.

Book your tickets for any one of the six remaining shows @ https://gclt.com.au/lord-of-the-flies/

Remaining Sessions
Friday 13 September, 7.30 pm
Saturday 14 September, 7.30 pm
Sunday 15 September, 2 pm

Thursday 19 September, 7.30 pm
Friday 20 September, 7.30 pm
Saturday 21 September, 7.30 pm (Closing Night)

Photographer: TTL Photography

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.

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