Brisbane Theatre

Howlin’ for Baskervilles – Hound of the Baskervilles UpStage Theatre

Sherlock Holmes: Hound of the Baskervilles

Sherlock Holmes: Hound of the Baskervilles Rating

★★★★★

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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.

 

Sherlock Holmes: Hound of the Baskervilles
Sherlock Holmes: Hound of the Baskervilles
Sherlock Holmes: Hound of the Baskervilles
Sherlock Holmes: Hound of the Baskervilles
Sherlock Holmes: Hound of the Baskervilles

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.

To book tickets to Sherlock Holmes: Hound of the Baskervilles, please visit https://www.trybooking.com/events/landing/1335625.

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Close, But No Cigar: A Polished And Playful Production

Close, But No Cigar

Close, But No Cigar Rating

★★★★★

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“Close, But No Cigar” is a comedic, well-paced murder mystery, featuring a vibrant, young ensemble cast – a perfect elixir on a wet Autumn evening, with a gin and tonic from the well-stocked BackDock Arts bar. Originally adapted from a QUT Bachelor of Fine Arts graduating piece, “Close, but no Cigar” transforms the stage into a living noir film; The makeup, costumes and lighting achieve this in creative, unexpected ways, with evocative and elemental splashes of red contrasting the clever black and white aesthetic.

As noted in the program, playwright Samara Louise took a collaborative approach to developing this piece, asking the cast to create characters they were passionate about playing, developing those character’s backgrounds, subtext and context, and then building a storyline around them. Instead of a broad narrative, the play focuses largely on the character’s individual lives, which intersect at a Private Investigator’s office in the wake of the murder of Senator A. Williams. These characters are enveloped in their own lives, each with their own amusing idiosyncrasies and secrets.

Close, But No Cigar
Close, But No Cigar

Borrowing liberally from the archetypes of old detective films, the cast adopt New York accents to consistently good standard, their physical spacing and shapes mostly well-utilising the compact space they gather in. The cast of Cullyn Beckton as Dick Clark, Mitch Guyatt as Dr Graves, Caleb Hockings as Arthur Blackbird, Claudia Lyons as Odette Blair, and Lucy Wilding as Viviene Fareweather, all perform with aplomb. Their timing and interplay is slick, and all shine individually and together in a script that gives them each fairly equal attention and work to do. Director Cale Dennis weaves a golden thread through this production, cohesively combining the separate elements into an entertaining whole, elevated far above the sum of its parts.

For me, the script works best when played with a wink; Beckton and Hockings deliver this beautifully, showing dynamic movement, fine physical comedy, and the best-developed characterizations of the cast – receiving hearty laughter from a near-capacity audience. A couples of times I thought cast could have leaned more into the campy elements of the play; Wilding has beautifully graphic, dark eyes, and I’d like to see her use them more as story-telling weapons, especially in a role with scope to be extra. I wonder if physically repositioning the cast to deliver monologues more to the audience, rather than the upstage cast, may further aid audience connection and audibility. The addition of musical effects reminiscent of a pulpy, radio-play would also be a fun addition, which would further clarify the play’s identity.

That said, I can enthusiastically recommend “Close, But No Cigar” as a polished and playful production with further potential that left me with sore cheeks and a smile on my face.

To book tickets to “Close, But No Cigar”, please visit https://www.tickettailor.com/events/backdockarts/1528759?.

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Villanova Players Present: The Great Gatsby

The Great Gatsby

The Great Gatsby Rating

★★★★★

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F. Scott Fitzgerald’s The Great Gatsby has been adapted into a riveting stage play by Simon Levy, and Vivien Broadbent directed this showing by the Villanova Players.

The set, simple yet elegant, consisted of a wooden balustrade upon some theatre blocks center stage. To the right and left were chaise lounges with layers of blankets, each removed for the relevant scene. Lamps upon side tables complemented the themes well, along with the frequent use of a drinking tray wheeled in and out of scenes.

The costumes, beautifully fitting for the chosen era, made each scene more eye-catching than the last. Actors were adequately styled, pairing 20s-style makeup and hairstyles with amazing dresses, suits, and headdresses. This was especially evident in the party scenes and dance routines, where we saw a lot of movement and expression. The colours, composition, and touch of sequins add a charming flair to each moment.

The jazz singer (Emma Hodis) and short dance routines also added to the show, bringing Gatsby’s parties to life and facilitating transitions between scenes. While some of the routines could use light polishing, the choreography utilized the entirety of the space, creating shapes that engaged the audience. This can be seen in one of the early scenes when Gatsby and Nick are on a plane. Holding the shape of the plane, the dancer’s contribution added fun and flair to the scene. Similarly, they gather around Gatsby’s car in one of the garage scenes. Their use of comic relief helped the audience connect with them and eased some of the tension throughout. It was wonderful to see how the cast was brought together in such a creative and dynamic way.

For those cast in the leading roles, Hayden Parsons (Jay Gatsby), Lachlan Gregory Hugh (Nick Carraway), Hannah Kennedy (Daisy Buchanan), Oscar Kennedy (Tom Buchanan), and Isabelle Arthur (Jordan Baker) had great chemistry. Parsons’ portrayal of Jay Gatsby was highly compelling. He captured the emotional depth and yearning that one would expect from a man awaiting his Daisy—a role that some would find difficult. Parsons made it look effortless, giving a seamless performance.

The Great Gatsby
The Great Gatsby
The Great Gatsby

Hannah Kennedy’s perspective of the girl who got away allowed the audience to see the enthused, wistful Daisy in her most raw and honest state. From her mannerisms to the tone of her voice, Hannah also gave an amazing performance, elegantly drawing focus and embracing every scene with grace and professionalism.

The roles of Jordan and Nick were notable, too. The monologues and one-on-one interactions highlighted the emotional layers and inner turmoils they both faced. Hugh’s final monologue was a favourite, elegantly highlighting Nick’s inner struggle as he mourned his friend and grappled with the moral dilemmas he had been swept up in. I am eager to see where Hugh’s career leads, should he pursue it professionally.

Oscar Kennedy’s portrayal of Tom Buchanan was impressive and appropriately conveyed the depth and building tension expected in such a character. At the show’s peak, the confrontation scene between Tom and Gatsby was especially engaging as the pair verbally sparred in front of their friends. The feelings of denial, resentment and turmoil were palpable. I was thoroughly impressed by the way Kennedy explored the highs and lows of Tom’s character and look forward to other works they pursue.

The Great Gatsby
The Great Gatsby
The Great Gatsby

The use of PowerPoint slides proved to be a valuable tool, as the sound and media team used them to supplement scene changes and offer symbolism during monologues. The lighting was appropriately assigned to each scene, aside from what seemed like a momentary blackout during one of the final scenes (the car crash). This scene was also accompanied by sound effects, with the intent to add to the scene. The 911 call recording, however, felt somewhat out of place for the period.

A prior scene, the driving scene in Gatsby’s car, could have benefited from light engine or background sounds, within the knowledge of how loud the cars of the period tended to be. That said, perhaps the director intended the dialogue to be the focus rather than the effects. Overall, the team working behind the scenes did an amazing job and kept up well with the various demands of their roles.

A wonderful night out and a thoroughly enjoyable show that I would recommend for ages sixteen and above, noting some of the few potentially triggering moments (implications of DV, murder and suicide).

Congratulations to the Villanova Players for a fantastic show! The Great Gatsby runs for one more week with sessions:-

  • Fri 21st Mar @ 7:30pm
  • Sat 22nd Mar @ 2pm
  • Sat 22nd Mar @ 7:30pm
  • Sun 23rd Mar @ 2pm

To book tickets to The Great Gatsby, please visit https://www.villanovaplayers.com/plays/the-great-gatsby.

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Popcorn Popped Off!

Popcorn

Popcorn Rating

★★★★★

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Popcorn is a satirical black comedy by Ben Elton that proudly makes social commentary while generating many laughs. Directed by Aaron Evans, this production elevated the cynical lens through which we view Hollywood, with inclusions that maximised the laugh factor.

Set in the 90s, we follow the Mall murderers Wayne and Scout as they commit a home invasion of a famous director whose movies mirror their crimes. Tensions escalate and the debate is had, who is responsible for inciting violence, is it the movies that aggrandise it in the first place? With a 90s video rental store inspired set, and soundtrack to match we are easily transported back in time.

Masterful direction meant that the sexual content and violence was handled in a mature and modest way that did not compromise the meaning of the play, or cause extra discomfort for the audience. However, this was in no way an easy ride with tough questions being asked and moments of shock surprising all.

Brittany Bell played the leading role of Scout, the ditzy fun-loving killer girlfriend of the crime couple. Her performance shone through, bringing moments of vulnerability and heartbreak when Wayne (Her Boyfriend) manipulated and controlled her. She also displayed fantastic range, showing us her viciousness when taking control of the situation, and also often providing comedic relief. Bell’s performance was the stand out of the production and she should be highly commended.

Popcorn
Popcorn

Jack Barret brought much energy to the stage in the role of Wayne, commanding the room with intensity. Jack’s take on the character was more aloof and angry than menacing but had great commitment to the role. Michael Civitano played Bruce Delamitri, a Quentin Tarantino like director. Michael brought large amounts of enthusiasm to the stage, often conveying the incredible frustration felt by being the ‘man in the spotlight’. Jason Nash and Robin Vary played well off the cast and had fantastic characterisation in their supporting roles.

Vicki Dwyer breezed through her role as Farrah, the drug-addled soon ex-wife of Bruce. She was excellent, and had great energy which was all channeled into upholding the drunken and selfish personality of her character. The cast generally had a very energetic performance, and great characterisation.

The use of lighting was fantastic, allowing us to flow in and out of news reports, tv segments and drug fueled raves in the mansion with creative use of spots, RGB and blackout. The costume design should be commended for really individualizing each character with a unique style while remaining period accurate.

Overall the performance was well polished and the enthusiasm from the cast was palpable. In the future it would be lovely to see a push for character depth over archetypes in the staging of more black comedies at Ipswich Little Theatre, and the continuity of focus on comedy as this was done well. The entire cast and crew should be commended on a successful show.

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