Rollicking Great Fun

The 39 Steps

The 39 Steps Rating

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4

Currently on at Qpac,“The 39 Steps” is originally a book written in 1915. A spy novel about a man living in London, who becomes entangled in murder and espionage. In 1935 it became a film by Alfred Hitchcock, and he was given 3 love interests. In 1996 when it was adapted for theatre it became a four -hander and this version by Patrick Barlow appeared in 2005.

Using a Film Noir stylized set characterized by a pessimistic tone, dark urban settings, stark lighting with high-contrast shadows that alone made the play impressive. Lighting and sound effects were spot on as were the scene changes and use of a cinematic backdrop. The furniture was painted in muted grey tones and white light used.

From apartments to bedrooms to trains to hotel rooms to sidewalks, the ever-changing sets were flawless. And how the audience enjoyed it – laughing, chuckling, clapping and totally engaged. All ages and a full house for opening night – a well-deserved standing ovation at the finish.

The actors had to play 130 characters between them, a whirlwind of costume and scene changes. From cops and robbers to innkeeper and bellhop, this play has it all.

The Umbilical Bros are two very talented and diverse actors. It feels wrong to separate them but such comedic powerhouses – facial expressions, voices, mimics, nuances that just kept the pace frenetic and enjoyable.

 

 

David Collins has a long list of acting credits, and he was more than capable of pulling off the multiple roles and physical chases that just kept coming – such a comical face and the voices, with trademark curly hair adding to the characterisation of mad cap farce reminiscent of Charlie Chaplin.

Shane Dundas is also a fantastic comedic actor well suited to the physical, playing his multiply roles of serious (in a comedic way) characters that meant playing madams and spy. Wearing a multitude, yes, many, hats, and a faint essence of John Cleese does come to mind.

Lisa McCune commanded the stage and her hero’s attention, from her femme fatale to a” butter couldn’t melt in her mouth” character she was mesmerizing. Her opening costume was reminiscent of the Golden days of Hollywood – only in a silver-coloured way. So good to see her stretch her wings and showcase how talented she is.

Ahh our hero – Richard, played by Ian Stenlake. Was he naïve, was he hiding something or heck does the hero get the girl in the end. Wow to be running that much and not get too breathless to speak, just fantastic.

All in all, a show not to be missed – Kudos to the director Damien Ryan and his team. This is a very clever and flawless performance.

To book tickets to The 39 Steps, please visit https://www.qpac.com.au/whats-on/2025/the-39-steps.

Photographer: Cameron Grant

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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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4

“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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Lassú: Past, Future, and Burlesque Collide

Lassu Cosmic Cabaret

Lassu Cosmic Cabaret Rating

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1

Produced by seventh-generation circus performer Merrik Ahston and creatively directed by Mitchell Woodcock, Lassú is a fusion of tradition and innovation. Their combined experience is evident in a seamless blend of circus, dance, and burlesque, delivering a cabaret that feels both fresh and timeless.

Billed as a Cosmic Cabaret, the show transports audiences into the glittering confines of the saloon with space cowboys, alien drifters, and the legendary Rodeo Sisters. Beneath the big top, transformed with bars, banquettes, private tables, and rings of chairs encircling the stage, the atmosphere captivates the audience before the first act even begins.

That anticipation was instantly rewarded when a poised aerialist strode onto the stage in boots and a high bun. To the audience’s amazement, she clipped herself onto the corde lisse (smooth rope) by her hair and soared, spinning and twisting with both grace and daring. The crowd erupted with cheers and whistles, fueling her performance even further. She later returned for a more traditional aerial routine, showcasing extraordinary artistry. For me, she was the standout performer in a show already brimming with remarkable talent.

 

 

From there, the show surged from thrill to thrill. A knife thrower had the audience holding its collective breath, his blades thudding into the board beside his assistant with precision—made all the more nerve-wracking once he donned a blindfold and relied only on her shouted commands: “Left! Right! Up! Down! THROW!” Gasps and nervous laughter rippled with each loud thunk.

A slack rope walker defied balance and logic by juggling atop a ladder and later a unicycle; a hypnotic fire act illuminated the stage with fiery beauty; feats of strength impressed with sheer power; and an unexpected clown act (IYKYK) had the audience laughing in surprise. Bringing it all together was the glamour of accomplished burlesque dancers and the soaring vocals of a powerhouse singer, ensuring the energy never faltered.

Lassú is not just a show—it’s a feast for the senses, a wild ride through the cosmic saloon where tradition, daring, and decadence collide to deliver an unforgettable night of entertainment.

To book tickets to Lassu Cosmic Cabaret, please visit https://www.lassutheshow.com.au/.

Photographer: Brooke Elizabeth Photography

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