Thrive Productions Presents “Blackrock”

Blackrock

Blackrock Rating

★★★★★

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“Blackrock,” is a 1996 Australian play written by Nick Enright, and being presented this season by Thrive Productions at BackDock Arts, Fortitude Valley.

The synopsis opens up to several teenagers and their families living in the beachside town, Blackrock. A group of friends reunite after one of them, Ricko, returns from a trip. They plan to attend the birthday beach bash of their friend, Toby, doubling it as a “welcome home,” party. After a night of drinking, drugs and reckless fun, 15yr old Tracy Warner is found on the beach. Rumours swirl and questions of trust and loyalty begin to stir throughout Blackrock. The lives of Jared, Ricko and his friends are never the same.

Lighting and sound was kept simple and was handled well throughout. Different punk rock/ soft rock would play during transitions between scenes as well as when cast members were reminded of the death of their friend or the feelings attached to their loss. The lighting was a white wash and remained consistent throughout the entire play.

 

 

The cast’s use of their space was interesting, as there was no easy way to leave stage other than the door in upper stage left. The set design consisted of several black stage blocks and stools on either side for all actors to sit on while a scene played out centre stage. The cast wore actors blacks, collecting props from upper centre stage when needed, emphasising the skills of the actors over embellishments. The cast entered and exited in single file, refraining from facial expressions until they were in character. They took to creating various formations or standing in place when transitioning through each scene change. This may have been handled differently to look a bit smoother between scenes, but made sense given the floor space.

The casting was done well and was a pleasure to watch, despite the seriousness of the play’s themes. All actors performed enthusiastically in their roles and gave great representation of small town, Australian life.

Notable mentions include the roles of Jared, Ricko, Jared’s mother and Tiffany. The emotional depths the characters explored were key to capturing the fullness of their essence, which they executed almost seamlessly. It is a wonderful skill as an actor to be able to portray their characters displays of inner turmoil, how their emotions guide or affect them and whatever convictions their characters hold onto that offer them strength.

Over time, layers were peeled back to explore the headspace of characters like Jared and Ricko; once thought to be birds of a feather, but then challenged beyond what either of them ever expected. Their performances were impressive and highly engaging, making me eager and looking forward to seeing them in future productions.

I recommend this Australian Drama to audiences 15yrs onwards, as scenes contain references to sexual assault, suicide and violence that could be triggering or upsetting for some.

To book tickets to Blackrock , please visit https://buytickets.at/backdockarts/1478600.

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Not a Fairytale Love Story

Blue

Blue Rating

★★★★★

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5

“Blue” is a new work written and directed by Claire Yorston. Currently showing at Pip Theatre in Milton in the intimate Level 1 Studio, a black box theatre until October 4th.

The storyline was given as a romantic drama with a dark twist and came with content warnings of abuse – physical and verbal.
This opened on Friday night the 26th and the audience were privileged to an intimate setting to feel like privileged onlookers as the story unfolded.

Let’s start with the set. With double columns this could have been a very awkward space, but instead Claire designed a set where you could look and visualise the personal spaces of the characters. Designed to portray a working café, a bedroom, a lounge room and a beach, the furniture, props were enhanced by an ambitious soundscape that complimented this. And kudos to the talented light and sound tech operator Carter Firmager who managed that side very professionally, there were a lot of cues, and it all went very well. Lighting designed by Claire and sound and music by Hannah Page.

Reagan Warner, a well-known actor around Brisbane played the man. Reagan has a presence and holds the audience with the beginning monologue. His voice is rich, and the dulcet tones lulled the audience into a false sense of a fairytale romance.

Hayden Parsons played the boy – Elias who works at the coffee shop, and Laura Renee, the girl – Annette who is on the corporate ladder.

Both talented actors and well-cast for these roles.

 

 

Boy falls in love with girl, girl seems to take a while to warm up to him and then the whirlwind of romance sweeps them to marriage – the cracks appear straight away.

I don’t want to give the full plot away – I want you as the audience to experience the sudden twist like we all did on Friday night – when it happened there was a stomach drop – I could feel the hum of peoples brains trying to recalculate and compute as we moved away from the society norm of DV to what was unfolding before us.

Laura plays Annette with the coolness of someone focused on getting ahead, who warms to Elias’s charms and gentle way. Costuming is simple but suggestive of status.

Elias is that loveable scruffy kid who grew up with slightly alternative family and Hayden played him as gentle and kind.

Try to see new works, especially this one. Serious new drama must work harder to attract an audience, and this deserves to play to a full house. It is an honest portrayal of a relationship that shimmers on the outside but a toxic lava on the inside.

Not all love stories are fairy tales.

To book tickets to Blue, please visit https://piptheatre.org/2025-blue/.

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Agatha Christie’s “A Murder is Announced” by the Villanova Players

A Murder Is Announced

A Murder Is Announced Rating

★★★★★

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6

Agatha Christie’s “A Murder is Announced”

The stage adaptation of one of “A Murder is Announced,” directed by Jaqueline Kerr, was performed by the Villanova Players on Friday. A wonderful portrayal of one of Agatha Christies most loved stories, brings back the beloved Mrs Marple and introduces various delightful and intriguing characters in the English Countryside. When a notification of a murder is printed in the local paper, everyone is curious to discover who and what will happen at 6:30pm that evening…

The stage was set in the sitting room of Miss Blacklock, carefully decorated with several armchairs, a loveseat and a small coffee table positioned center stage. The false walls were a sage green and were complimented by artwork hanging on the wall and two red doors. There was ample space for several actors on stage at one time, with no issues for blocking and good use of space. The furniture and props were thematically correct and welcoming.

Sound and lighting was fairly standard, involving a white light above the stage for most scenes. The scene where the announced murder occurs involved a sudden lowering of the light and a few flashes of light that sensitive viewers should be aware of. Prior to the performance, music aligning with the time period set the tone appropriately. The costumes suited each of the characters, aligning with the fashions of the time period. Makeup and hair were also notable, kept simple but gracefully complimented the female actresses.

 

 

The actors portraying Mrs Marple (Desley Nichols), Inspector Craddock (Leo Bradley) and Miss Blacklock (Phillipa Bowe) did exceptional in their roles, seamlessly committing to the dialogue and motivations of their characters. It was highly enjoyable to watch as they three of them interacted with one another as well as with characters such as Bunny (Lorraine Fox), Mitzi (Robyn Stumm), Patrick (Reece Milne), Julia (Isabella Stone), Edmund (Steven Eggington), Clara (Jill Cross) and Phillipa (Sioban Evans). The role of Rudy Shertz and Sgt. Mellors (John Evans) was also a good addition to the ensemble.

The style of dialogue, articulation and gradual defining of relationships between each of the characters seemed more than natural to each actor, making it very easy to apply praise for their great work in this production. Each scene cleverly directed and increasingly engaging to the audience. Many in the crowd audibly oohed and aahed at each new development, as a new secret was revealed and the plot thickened.

Because of their rousing performances (along with the director’s attempt to engage the audience with an opportunity to guess the murderer prior to Act 1), it was a thoroughly enjoyable evening for all who attended. All in all, a highly recommended whodunit that will keep you guessing until the end!

To book tickets to A Murder Is Announced, please visit https://www.villanovaplayers.com/plays/a-murder-is-announced.

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Veronica’s Room: A Compelling And Unmissable Dark Drama

Veronica's Room

Veronica’s Room Rating

★★★★★

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5

As New Farm Nash Theatre’s penultimate production for 2025, Veronica’s Room invites us into an off-kilter world of imagination and manipulation, uncertain whose lens we view through, that blurs boundaries between sense and psychosis, understanding and identity. The evening begins innocently enough, after a chance meeting between a seemingly kindly older couple with a younger pair, which leads them all to Veronica’s Room. The Woman (Ellie Bickerdike) and The Man (John Stibbard) remark on an uncanny resemblance between The Girl (Al Bromback) and the late Veronica, who passed away some 35 years prior; The Girl and her date The Boy (Alex Thompson) agree to join the older couple to see a photograph of her doppelganger, ultimately agreeing to take part in a well-intended deception, where The Girl will pretend to be Veronica for the comfort of Cissie, Veronica’s elderly, bewildered and terminally-ill sister.

However, day turns to nightmare quickly thereafter, and no good deed goes unpunished as the cast guide us with deft duplicity through a complex, confronting and callous plotline; We soon learn the pretence behind the invitation is misleading, and that The Girl’s performance of Veronica is not intended for the audience she expected; We then question whether or not there is any performance, given her dates’ earnest confusion and concern, as he offers a very different ideation of their acquaintance, challenging concepts of self, sanity and subjectivity.

 

 

Al Bromback is beguiling as The Girl, bringing a natural presence, crystalline diction and an impressive inclination for accents, to a very sympathetic and fluid character portrayal. As the Woman, Ellie Bickerdike is agile and tenaciously terrifying in a character of derailed deviance, reminiscent of Kathy Bates’s iconic portrayal of Annie Wilkes in the film Misery. John Stibbard offers fine range as The Man, caustic and leering but with perhaps an ambivalent semblance of conscience, too. Alex Thompson brings nuance and skittish subtlety to his performance as The Boy, thus making his character’s ultimate revelation even more chilling.

We are unclear which side of the locked door The Man and The Boy are on; Are they complicit conspirators, or pawns to this perversity? No easy answers are given, with the fantasy maintained until the end, where the cast forgo the traditional curtain call for a final look at the audience still in character, sending us away with unbroken sense of suspense and unease.

An admittedly dark and disturbing drama, Veronica’s Room marks another creative triumph for New Farm Nash Theatre, and a most successful foray by Director Susan O’Toole Cridland away from her recent theatrical diet of comedy and farce. As a whole, the production delivers in abundance, complementing the Theatre’s thoughtful and eclectic 2025 lineup, with themes as compelling as they are creepy. A challenging, uncomfortable, unmissable experience.

To book tickets to Veronica’s Room, please visit https://nashtheatre.com/play-3-2025/.

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