Unforgettable Passion: A Review of No Regrets: The Edith Piaf Story

No Regrets: The Edith Piaf StoryNo Regrets: The Edith Piaf Story

No Regrets: The Edith Piaf StoryNo Regrets: The Edith Piaf Story Rating

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The Home of the Arts is a remarkable venue, most famously regarded for its shows, exhibitions, and live events. With a variety of performance spaces, HOTA hosts a diverse collection of performances year-round, catering to all audiences, interests, and passions.

Located in the intimate setting of the basement, with an exclusive show on April the 4th only… talented Australian artist Nikki Nouveau presents ‘No Regrets: The Edith Piaf Story’. Nikki has many years of experience as an entertainer, which is evident in her most recent cabaret performance.

In No Regrets: The Edith Piaf Story, Nikki Nouveau offers a captivating and heartfelt journey of the legendary French singer, Edith Piaf. The audience is immersed in the essence of Piaf’s life and music within the first five minutes of the performance, through emotional delivery. Nikki transports the audience to the heart of Paris, with her deep connection to Piaf’s legacy.

The emotional resonance of Piaf’s story is enhanced by Nikki’s ability to speak both French and English seamlessly. Angelic vocals evoke the profound emotional connection between Nikki, Piaf, and the audience. The show begins slow, as Piaf’s life begins quite sad but ends with joy and passion – taking the audience on an emotional rollercoaster.

Nikki incorporated costume changes and accessories into her show, as a visual element of character development. The show began with Nikki wearing a black dress, to represent her femininity. In the second act Nikki wears a suit to portray the dominance and strength that Edith Piaf has adopted by this point in her life. A top hat was worn for a small sequence of songs as a character change – singing about Edith Piaf’s close friend Marlene Dietrich.

Each of these costumes were black, so they were timeless, sophisticated, and dark to represent the somewhat depressing story she was telling. The room was in relative darkness, and the stage was framed by red curtains and a stark white spotlight. Throughout the performance, Nikki performed flowy, elegant arm movements to match the music.

A standout was one of Piaf’s most notorious songs, La Vie en Rose, which coveys the bittersweet emotions that come with love. Nikki’s exceptional delivery aroused strong feelings of nostalgia and romance. Along with Nikki’s impressive vocals, there are moments where the music takes centre stage, with creative yet dramatic instrumental scores.

The changing dynamics in the music enhanced the atmosphere and highlighted the raw emotions tied to Piaf’s iconic and timeless songs. The music is an integral part of the storytelling, and Nikki moves to the side so the instruments are featured. John Reeves is an exceptional pianist and accordion player who deserves much recognition for his talent and musical ability.

Although the show started off deliberately slow to match Edith’s early years, it gathers pace, leading to the whole audience clapping along towards the end. Overall, this was a wonderful performance from Nikki and her musicians, full of passion, soul and music.

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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.

 

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

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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.

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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No Love Songs: Poignant And Impactful

No Love Songs

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“No Love Songs” was my first visit to the newly opened Foundry Theatre located inside The Star Casino’s glamorous building. The quaint size and layout of the theatre creates an immersive and intimate experience for the audience and I look forward to spectating many more shows in this fabulous new venue. The acoustics and viewing would be fantastic from any seat in the theatre which makes it, in my opinion, a very inviting theatre. 

The “No Love Songs” musical is based on the book written by Laura Wilde and Johnny McKnight which was inspired by real-life experiences of Kyle Falconer and his partner Laura Wilde. The featured songs are written by the musician Kyle Falconer.

The musical stars the incredible Keegan Joyce and Lucy Maunder and is co-directed by Andrew Panton and Tashi Gore. Music direction is expertly provided by Mark Chamberlain.

“No Love Songs” is a harmonious Yin and Yang balance of grief and joy, sublimely written to strike the audience with the juxtaposition of tears and laughter. The script is superbly written with natural flowing dialogue and a generous sprinkle of witty comedic gags, all of which were delivered impeccably by the stars Lucy Maunder and Keegan Joyce. 

The script delves deeply into themes of depression, loneliness and relationships. It highlights the importance of bringing light to the hardships of parenting and in particular post natal depression. Shedding light on these ‘once unspoken’ topics, yet still not spoken enough about, is vital for urging more conversations, actions and reassurance. 

The writer has truly achieved a very natural realistic depiction of struggling young parents in their personal relationship together and with their child. I’m certain most can relate to the struggles couples face: keeping in combined rhythm, picking up the missed beats for each other and being cautious not to drop the drumsticks altogether into a fathomless pit of no return. 

It was a stellar performance by Lucy Maunder and Keegan Joyce, two immensely talented industry professionals. The acting diversity of both is applaudable and easy to understand their great successes to date and undoubtedly in the future. They delivered unfaltering honest character portrayals coupled with brilliant vocals and musicianship. Neither could be faulted in their brilliant hard hitting performance. Their casting was a commendable choice and they admirably portrayed a convincing real-life couple. 

Staging, costumes and props were minimal which felt authentic to the script. Unnecessary props and elaborate staging would have likely depreciated the poignant impactful themes. The music may not leave you singing as you leave the theatre or asking Google to play the soundtrack but I don’t feel like that was the intention. The obvious intentions of the “No Love Songs” musical is to be conversation striking, thought provoking and impactful and these intentions are mastered to perfection. 

No Love Songs is on tour around the country. For date/time sessions for your local area and to book tickets to No Love Songs, please visit https://www.nolovesongs.com.au/.

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