Lies And Macaroons – Who Is The Real Hero?

A Dolls House

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The Mercury Theatre in Wynnum performs in the lovely old Manly-Lota RSL Memorial Hall at 184 Melville Terrace, Manly QLD 4179. Their current production – “A Doll’s House” ends this weekend.

You are greeted by a warm glowing hall with a multi-level stage set with a Victorian styled parlour, a study, a piano and the Letterbox. The FOH staff are helpful and welcoming, and the barmen are humorous.

“A Doll’s House” is a three-act play written by Norwegian playwright Henrik Ibsen. It premiered at the Royal Danish Theatre in Copenhagen, Denmark, on 21 December 1879 and Ibsen was forced to write an alternative ending because his initial ending was considered scandalous for the Victorian era. It has been considered ahead of its time, because of the themes of male and female inequalities helping it to hold a modern appeal.

This version of the play has 6 characters:
Nora – the protagonist – petulant, self-indulgent yet still symbolic of a good Victorian wife – pretty, obedient to her husband, head of the household and a loving mother but has a secret.
Torvald – the antihero- breadwinner, domineering, respectable.
Krogstad – the antagonist – a lawyer, blackmailer, bully, desperate man with a secret
Mrs Linde – the Hero -a widow, humble, hardworking, morally sound
Dr Rank – the romantic interest – terminally ill, besotted with Nora, friend of the family.
Nanny – symbol of lower class, forced to give up her children to work for the family.

 

 

Elaina Mullins played Nora, the central character, a symbol of the time with a tendency to tell petty lies, until it is revealed that she has committed a crime of fraud. Pushed to this by a society that prevented married women taking control of their financial affairs. Elaina made good use of the stage, her costume was pretty, a Victorian-esque blouse and a pale pink overskirt. She was the wife a Banker and mother, with a weakness for macaroons.

Torvald, played by Derick Yearnsmith was the husband of Nora. An emotionless character, domineering and focused on work. The multi-level staging worked well – giving this character his own identifiable space.

Trevor Sammon played Krogstad, a believable villain, with a big physical presence that lent itself well to the character. Which he played emotionally detached from the business of blackmail.

Hugo Fong was Dr Rank, making good use of a walking stick to give characterization of an unwell man. His gentleness was a good contrast to the other male characters.

Helen Goleby, the Nanny popped in and out and gave believability to there being children in the household, dressed appropriately this character added a dimension as the servant.

But the real hero was Janet Palmer as Mrs Linde. Superb characterization, good range of emotion, her character was totally believable. Playing a childless widow (therefore unwanted by any man in that era) she must work to support herself. She rescues Nora, first by mending the skirt, then by listening to her problems. She helps Nora to face what she has done.

You can sit and watch this play and see a different version of the same play. The beauty of life theatre is that the longer the season, the likelihood of more layers being added, more discoveries made by the actors.

This is the last weekend so don’t miss out. It is a good solid play and the direction, tech and staging are delightful. The costumes were also on point helping to solidify the era.

Shows start at 7pm and 2pm
https://www.trybooking.com/DEOHJ

To book tickets to A Dolls House, please visit https://www.trybooking.com/events/landing/1450887.

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The Mousetrap: A Remarkable and Marketable Mystery

The Mousetrap

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A Guinness World Record holder for the world’s longest continuously running show, The Mousetrap continues to captivate, this time in the capable hands of New Farm Nash Theatre. While the Agatha Christie formula is well-worn, it is reliably fun and accessible, and an undeniable box-office draw; Opening night was a sell-out, and I’d wager the entire run will be no different.

This new rendition is tremendously paced and polished, with excellent interplay and characterisations by the dynamic ensemble cast, ensuring a great night at the theatre – even for those like me, who have already seen the play, so cannot join the fun of solving the mystery. For the uninitiated, The Mousetrap is a classic whodunnit with a twist; As is customary, we are sworn to secrecy not to tell once we know – so this review will be spoiler free. But it is safe to share the action revolves around some horrible happenings at Monkswell Manor, a guesthouse recently opened by Giles and Mollie Ralston. While awaiting the arrival of their first guests, Mollie hears radio reports about a local murder being investigated by police; Little does she know she is now in the course of danger, snowed in after a storm and a murderer about to infiltrate Monkswell Manor with their incoming guests – who won’t all make it out alive.

It is a miracle the play made it onstage at all, after an 11th hour cast member withdrawal and replacement. As Giles Ralston, Matthew Hobbs deserves great credit for filling the breach; Given his short preparation time, it is commendable Hobbs is even off-book, let alone presenting such a credible character. As his wife Mollie Ralston, Helen Barrett is a likable figure, maintaining one of the better executed accents, while showing a warm, conciliatory tone throughout the story’s chaos and mischief. Brendan James excels as the awkwardly enigmatic Christopher Wren, with signature unnerving chuckle, to boot. James captures the nuance required for this mystery well – first-time viewers are uncertain until the very end whether he is a menace or misunderstood.

 

 

John Stibbard is another standout, a perfect Mr Paravicini with a knack for enlivening even quieter moments of the script. A statuesque and dapper figure in his blue velvet suit, Stibbard receives many hearty laughs with merely an animated glance or gesture, disappearing into his character with eccentric flair and creative intuition. As Mrs Boyle, Chris Sibley is perfection, portraying a character we love to hate – a disagreeable pedant with an imperious heir and penchant for caustic comments. Sibley is like a pompous, post-war Karen, if you’ll take a slightly dated cultural reference, and her derisive dynamic makes for some humorous interaction with scene partners. Phillippa Dwyer captivates as Miss Casewell, with eye catching assurance, and deft duplicity, while Matt McNeice projects calm gravitas and grounding as Major Metcalf. Last but not least, Tyson Hargreaves is a commanding and determined Detective Inspector Trotter, moustache game on point; While his cockney accent is uneven at times, he is present and otherwise precise throughout his performance, commendably capturing Trotter’s motivations and complexity.

New Farm Nash Theatre produce the very best of Community Theatre, delivering a consistently high standard of shows with thoughtful variety, and a warm, welcoming atmosphere filled with old friends and new. The Mousetrap is another wonderful example of this, with congratulations due to Director Sharon White and the entire team, for a very enjoyable rendition of this remarkable and marketable mystery.

To book tickets to The Mousetrap, please visit https://nashtheatre.com/.

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St Luke’s Theatre Society’s “Sense and Sensibility”

Sense & Sensibility

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St Luke’s Theatre Society presents the stage adaptation of Jane Austen’s “Sense and Sensibility”. Directed by June Balfour, the Society portrays the charming tale of the Dashwood sisters and their pursuit of love after tragedy befalls their family. After the death of their father, the Dashwoods move from the lavish family estate to a quaint cottage in the country, where they meet friends and new acquaintances who enlighten and challenge them in new ways.

The stage was set with the intention that actors could access props, costumes, and accessories with ease. Chairs placed around the edges of the stage allowed the ensemble to contribute to scenes when required, making transitions between scenes run smoothly. Lighting consisted of a white wash over the stage, with each scene accompanied by some transitional classical music that seemed melancholic in nature. While the music was enjoyable, there was a concern that some of the songs chosen were not aligned with the themes of the story. With many colourful and bright characters, I felt that the music should rise to meet them rather than creating sombre tones at odd times.

A loveseat, small table and the already available chairs complemented each scene and were adaptable to the changes in settings throughout. The costume alternation of accessories to represent different characters was a great and necessary tool and was well utilized. On occasion, a few of the ribbons or hairpieces were misplaced, but were easily resolved. The majority of the scenes utilized the limited space onstage as well as the aisle running down the centre of the room. The frequent movement and stylistic dynamics created an interesting effect that engaged the audience well.

 

 

Madelyn Scott’s depiction of Elinor was gracefully and mindfully executed. While the character struggles to resolve her emotions and prioritizes those she loves over herself, the audience could see more gradually how the burden that weighed upon her. Scott performed her dialogue seamlessly and professionally, locked in and exploring the essence of who Elinor was and aspired to be. Lillian Dowdell’s performance in the role of Marianne was also impressive, as she portrayed the longing and passionate nature of Elinor’s artistically inclined, younger sister. Immersing herself in the role, Dowdell gracefully expressed each of Marianne’s highs and lows, engaging the audience to empathize with her amidst her heartbreaks.

The male leads that were especially notable were the roles of Mr Edward Ferrars (Eamonn Clohesy) and Colonel Brandon (Jock Dunbar). Clohesy played a highly believable Edward that grew in confidence throughout the course of the show. They emulated everything that Edward was, mindfully and skillfully capturing the slightly anxious but thoughtful and sincere manner that Elinor fell in love with. Similarly, Dunbar portrayed Colonel Brandon with ease. Their ability to gradually reveal Brandon’s complex emotions as naturally as Austen’s novel would depict was highly commendable. I was very impressed by the way Dunbar was able to seamlessly portray the manner of a man in love; a character who was both stoic and integrous. His portrayal of Robert Ferrars was also highly entertaining, and the audience enjoyed it thoroughly.

The choice to use the group of Gossips to symbolize the pressure from society was a dynamic approach that added to the expression of emotional turmoil within the Dashwood sisters’ hearts and situations. The roles of John Willoughby (Lachlan Gregory Hugh), Miss Steele (Kiah Latham), Margaret Dashwood (Megan Brown), John Dashwood (Steve Pearton), Mrs Jennings (Phillipa Bowe), Thomas (Bruce Edgerton), Mrs Dashwood (Marion Jones) and Mrs Fanny Dashwood (Jessica Fletcher), were wonderfully portrayed and added a joyful and bright spirit to the story. The casting, done particularly well, urges me to look forward to the company’s next production.

To book tickets to Sense & Sensibility, please visit https://stlukestheatre.asn.au/.

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Final Tickets Now On Sale For The 40th Anniversary Tour Of Cats In Brisbane

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Final tickets have been released for the Brisbane season of the 40th Anniversary Australian tour of Andrew Lloyd Webber’s musical CATS which will play at the Lyric Theatre, QPAC for two weeks only from 6 to 22 February. Tickets have been released on pre-sale today with general public sales from Friday 21 November. Due to huge demand, one extra final performance has been added to the Brisbane season, on Tuesday 10 February at 7pm, and it is on sale now. The record-breaking, iconic production is currently playing in Perth after rapturous audience response and rave reviews in Sydney and Adelaide. ★★★★★ “Fun, energetic and nostalgic – CATS is the purrfect night at the theatre” – GlamAdelaide “Inexplicably magical” – First Class Magazine “Bursting with talent” – Stagenoise “This fresh production is a great way to celebrate 40 years” – AUReview “An immersive spectacle” – Sydney Morning Herald “Electrifying. A spectacle of transformation” – Theatre Thoughts

The coveted role of Grizabella, the former “glamour cat”, is played by Gabriyel Thomas (“Gabriyel Thomas’s rendition of Memory is so hauntingly beautiful it sends shivers down the spine” – Theatre Thoughts), while audience favourite Todd McKenney plays the dual roles of Bustopher Jones and Asparagus the Theatre Cat (“Todd McKenney has the audience in his paw thanks to his comic timing” – Adelaide Advertiser), and classical performer Mark Vincent returns to the musical theatre stage as Old Deuteronomy, the patriarch of the Jellicle tribe (“Mark Vincent brought sonorous gravitas” – Sydney Morning Herald). Recently seen as Roxie Hart in the sold-out national tour of Chicago, Lucy Maunder has taken on the role of Jellylorum, while the rebellious cat Rum Tum Tugger is Des Flanagan. WAPPA graduate Jarrod Draper plays Munkustrap, and returning to CATS after many years is Leigh Archer as the motherly character Jennyanydots, also known among the tribe as the “Gumbie Cat”.

The remainder of the company includes Sarah Bourke (playing Tantomile), Olivia Carniato (Demeter), Mia Dabkowski-Chandler (Bombalurina), Tom Davis (Skimbleshanks), Ella Fitzpatrick (Jemima), Charlie Follows (Bill Bailey), Joshua Gordon (Coricopat), Chaska Halliday (Cassandra), Dominique Hamilton (swing), Tim Haskayne (Mr Mistoffelees), Claudia Hastings (Victoria/ White Cat), Aimee Jones (swing), Savannah Lind (Rumpleteazer), Joe Miller (swing), Jake O’Brien (Mungojerrie), Xavier Pellin (swing), Guy Pik (Carbuckety), Rania Potaka-Osborne (Alonzo), Edward Smith (Admetus/ Macavity), Thalia Smith (swing) and Tod Strike (swing).

“I’m thrilled to bring this 40th Anniversary Australian tour of CATS to Brisbane with the most fabulous cast,” said producer John Frost for Crossroads Live. “CATS was revolutionary when it began 40 years ago and Australia has an enduring love for the show. Now it’s time to let the memory live again. Melbourne, queue up to grab your tickets before they sell out as it’s only in town for five weeks!”

Based on T. S. Eliot’s Old Possum’s Book of Practical Cats and set to music by Andrew Lloyd Webber, CATS has been captivating audiences around the globe since it opened at the New London Theatre (now known as the Gillian Lynne) in 1981, where it played for 21 record-breaking years and almost 9,000 performances, winning both the Olivier and Evening Standard Awards for Best Musical. Since then, CATS has been presented in over 50 countries, translated into 23 languages and has been seen by over 81 million people world-wide. On Broadway, CATS played for 18 years and won seven Tony Awards including Best Musical.

The musical tells the story of the Jellicle cat tribe. On just one special night of the year, all Jellicle cats meet at the Jellicle Ball where Old Deuteronomy, their wise and benevolent leader, makes the Jellicle choice and announces which of them will go up to “The Heaviside Layer” and be reborn into a whole new Jellicle life.

The timeless musical score includes the hit song Memory, which has been recorded by more than 150 artists including Celine Dion, Barbra Streisand, Nicole Scherzinger, Johnny Mathis, Liberace and Barry Manilow. With “timeless music, spectacular sets and a superb cast” (Daily Mirror), breathtaking choreography and of course the unforgettable Memory, CATS is a magical musical like no other.

Get your tickets now for this iconic musical at catsthemusical.com.au and let the memory live again.

BRISBANE SEASON
Venue: Lyric Theatre, QPAC
Season: 6 – 22 February
Performance Times: Tues-Thurs 7pm, Fri-Sat 7.30pm, Wed 1pm, Sat 2pm, Sun 1pm & 6pm
Bookings: catsthemusical.com.au

PERTH SEASON
Venue: Crown Theatre
Season: To 6 December
Performance Times: Tues-Sat 7.30pm, Sat 2pm, Sun 1pm & 6pm (schedule varies weekly)
Bookings: catsthemusical.com.au

MELBOURNE SEASON
Venue: Hamer Hall, Arts Centre Melbourne
Season: 21 December – 31 January
Performance Times: Tues-Thurs 7pm, Fri-Sat 7.30pm, Wed 1pm, Sat 2pm, Sun 1pm & 6pm (schedule varies weekly)
Bookings: catsthemusical.com.au

 

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