Due to budget cuts or in an effort to shield the students from the harrows of castaway life, my school decided to remove Lord of the Flies from the English curriculum. So, Gold Coast Little Theatre’s production last night was the first time I’ve ever experienced the madness of William Golding’s literary classic.
If you, like me, aren’t aware of the full story of Lord Of The Flies, let me give you the cliff notes version, literally: In Lord of the Flies, British schoolboys are stranded on a tropical island. In an attempt to recreate the culture they left behind, they elect Ralph (Amelia White) to lead, with the intellectual Piggy (Mia Waldron) as a counsellor.
But Jack (Bree Paige) wants to be leader, and one by one, he lures the boys from civility and reason to the savage survivalism of primeval hunters. The disturbing tale portrays the children’s journey into turmoil and indicates that humanity’s inherent nature is barbarous.
To say that this production kept me on the edge of my seat is an understatement. The all-female cast of 13, led by Amelia White as Ralph and Bree Paige as Jack, under the direction of Joshua McCann-Thomson, worked tirelessly to bring this disturbing story and all of its themes to life in the most exciting way. Even though the actors might be young, this story and its dark motif are probably suitable for teenagers and above.
Gold Coast Little Theatre is nestled in Southport, a stone’s throw from Australia Fair, surrounded by pubs and restaurants if you want to make a night of it. It has ample off-street parking if you want to drive, but it’s just a hop, skip, and a jump from Southport South Station if you want to leave the car at home.
Seating for people with disabilities is available for all shows on request to the Box Office (until booked out). These seats can be booked by phoning the Box Office and are not available online. So, if you’re looking for an exciting night out, give Gold Coast Little Theatre’s Lord Of The Flies a go. The show runs from August 21st until September 21st.
Trust emerges as a standout film for this year’s St ALi’s Italian Film Festival, running nationwide at Palace Cinemas from September 18 to October 23. It invites viewers into an intricate psychological drama where love and fear dance together in a narrative that is as gripping as it is thought-provoking. Directed by the award-winning Daniele Luchetti and based on Domenico Starnone’s novel Confidenza, the film delivers an exploration of human emotion that lingers long after the credits roll.
The central figure in Trust is Pietro (Elio Germano), a well-respected teacher beloved by his students and admired by his peers. His reputation, built on his progressive pedagogical philosophy that affection trumps fear to inspire students, casts him as a pillar of his community. This idea of the “pedagogy of affection” becomes a thematic thread throughout the film, highlighting Pietro’s compassionate and encouraging nature. He’s the antithesis of the authoritarian teacher, choosing love over the fear of failure to guide his students toward their best selves. This progressive approach resonates with audiences, especially considering its relevance in the 1980s and ’90s when the film was set.
But a darker truth lies beneath Pietro’s moral righteousness and public adoration. His life takes an unexpected turn when he rekindles a relationship with a former student, Teresa (Federica Rosellini), one of the brightest minds he ever taught. After they meet again, Teresa confronts Pietro with a profound and unsettling declaration—she has always known about his affection for her, an affection he can no longer deny. Though the two begin a relationship, their dynamic becomes fraught with complexity and tension.
What starts as a seemingly genuine romance soon unravels into an obsessive and destructive bond. Teresa becomes aware of Pietro’s most closely guarded secret, a revelation that binds them together in a way that is almost stronger than love—through fear. The power of this secret is so immense that it threatens to undo the very foundation of their relationship, raising a central question that permeates the entire film: Is love more powerful than fear, or do these two emotions inevitably co-exist in a relationship built on vulnerability?
Luchetti masterfully plays with these concepts of love, fear, and honesty throughout the film. His direction ensures that the audience is never too comfortable, always wondering whether the bond between Pietro and Teresa is driven by genuine affection or by the terror of having their deepest fears exposed. The result is an exploration of how once-shared secrets can become weapons, altering the course of a relationship forever.
While Trust succeeds in exploring these weighty themes, there are moments when the film falters. Certain scenes feel unnecessarily drawn out, adding little to the overall narrative and making the film feel longer than its runtime suggests. As a thriller, Trust sometimes lacks the tension necessary to keep audiences on the edge of their seats, leaving a few key moments feeling flat. These pacing issues could have been addressed with tighter editing, which might have sharpened the film’s focus.
Despite these minor flaws, the performances are nothing short of extraordinary. Elio Germano delivers a nuanced portrayal of Pietro, a man whose inner turmoil is constantly simmering beneath his calm exterior. His ability to convey vulnerability and authority makes his character a fascinating study in contradiction. Federica Rosellini is equally impressive as Teresa, her performance embodying a mixture of longing, manipulation, and pain. Together, they create a volatile and captivating dynamic that anchors the film.
The supporting cast, including Vittoria Puccini as Nadia and Pilar Fogliati as Emma, adds further layers of complexity to the story. Isabella Ferrari’s portrayal of Tilde provides a sense of groundedness amidst the chaos of Pietro and Teresa’s relationship. Each performance enriches the film, allowing the audience to explore different facets of Trust, fear, and human interaction.
Ivan Casalgrandi’s cinematography elevates the emotional tone of the film. His use of shadows, light, and shots peering through windows door creates an atmosphere of quiet tension, echoing the characters’ internal battles. The set and costume designs also reflect the 1980s and ’90s setting, giving the film an authentic feel without distracting from the central narrative.
One of the standout aspects of Trust is Thom Yorke’s haunting score. Known for his ability to craft music that evokes deep emotion, Yorke’s contribution here is no different. His atmospheric soundscapes underscore the tension and emotional weight of the film, drawing the audience deeper into the story without overwhelming the performances. The themes of Trust are universal and timeless, making the film deeply relatable for audiences of all backgrounds. At its core, the film asks whether honesty, when laid bare, can strengthen or destroy a relationship. Can love survive when fear takes hold, or does fear inevitably erode Trust? These are the questions Luchetti leaves audiences grappling with, and their unresolvable nature is what makes Trust such an impactful film.
As the premiere film of the St ALi’s Italian Film Festival, Trust sets the tone for a fantastic lineup of Italian cinema. It challenges viewers to think deeply about the nature of human relationships, leaving them with more questions than answers, which is often the hallmark of a truly great film. Despite a few pacing issues, Trust succeeds as an emotionally resonant and visually arresting exploration of love, fear, and the secrets we hide from each other—and ourselves.
Film Review: Trust (2024) Directed by Daniele Luchetti Starring: Elio Germano, Federica Rosellini, Vittoria Puccini, Pilar Fogliati, and Isabella Ferrari Based on the novel Confidenza by Domenico Starnone Original music by Thom Yorke
This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.
To be honest, I am struggling to write this review. Not because it wasn’t an amazing show but because I wasn’t adequately prepared for the emotional rollercoaster that was David Lindsay-Abaire’s Kimberly Akimbo. Even though my therapist would highly approve of me writing to process my trauma, I am pretty sure that she meant it in a private journal and not in a public theatre review.
The year is 1999. Kimberly could be a typical 16-year-old if her life weren’t anything but typical. A rare medical condition means her body’s aged four times faster than it should. Grey hair, failing eyesight and forgoing body glitter for anti-wrinkle cream don’t quite make you Miss Popularity. But Kimberly’s about to make a friend. And just maybe, her life is going to change. If only her pregnant Mum could tone down the hypochondria. Hopefully, her Dad will start keeping his word. And with any luck, her aunt’s new scheme won’t blow up in their faces.
But don’t let the theatre’s fluffy synopsis fool you. This play is as heartbreaking as it is funny. But suppose you are looking for a redemptive “feel good” story about family members adapting and learning to live with someone with a chronic or terminal illness or disability, then you will probably leave impacted with plenty to think about on the trip home.
The story is less about the people in Kimberly’s life supporting her through her challenges and more about Kimberly having to tackle those obstacles entirely on her own. As someone with a chronic illness myself, some of the themes hit a little close to home for me. The show also tackles the challenging themes of addiction, family dysfunction, and mental illness, so it is better suited to audiences 16+.
Having said that, though, the entire cast brilliantly acted out the story. Kimberly is played by Naomi Thompson, who does an excellent job of playing a teenager juggling life and the symptoms of an illness in the most insane circumstances. Her parents, Patty and Buddy, are played by Cassie Baan and Rory Schiele and are joined by Patty’s eccentric sister, Debora, played by Maegan Weir. The cast is rounded out by Jeff, played by Sam Modra, a fellow student from Kimberly’s school who takes an interest in her for a school project. All of the actors put in such heartfelt performances under the fantastic direction of Kaela Gray that left me crying tears of laughter and sadness.
The whole production was extremely professional, and you could tell that everyone poured their heart and soul into bringing this story to life. Everything from the costumes to lighting, sound, and set design was thoughtfully planned and executed, making it easy to get swept up in the story. I encourage you to give Javeenbah a go and support your local community theatre artists.
Javeenbah Theatre is nestled on the corner of Steven and Ferry Street in Nerang, overlooking the Gold Coast skyline. There is ample parking onsite or on the street, and the theatre serves drinks and a small selection of snacks for patrons to enjoy before or during the show.
The theatre is on ground level, surrounded by grass and gravel, but there are no stairs to negotiate for theatre access if you use a mobility aid. The theatre is quite intimate, with excellent views of the stage from any seat in the house, comfortable chairs and ample legroom.
If you are looking for a fun evening on the Gold Coast, I highly recommend attending this show.
Kimberly Akimbo is playing at Jeveenbah Theatre, Nerang, from August 31st to September 14th, and I am excited that there will be an AUSLAN-signed performance on September 7th and a “relaxed, toned-down” matinee performance on September 14th.
Aerialicious UP LATE is a delicious adults-only sexy circus with a madcap minx as the mistress of ceremonies who won’t mince words, combining comic catchphrases with caustic wit as she introduces each of the artists to bump and grind in a glorious collection of exhibitionism.
Burlesque brought back as bold as brass, with all its tatas, posteriors, and an awesome array of acrobatic acts.
The all-female and non-binary troop was a wonder to behold. Their agility, strength, and flexibility combined to create an endearing effect on their enthusiastic audience—wild whoops and cheers, to be precise.
The aerial ring (lyra), hula hoops, aerial straps, pole dancing, hand balancing, contortionism, and even an old-fashioned fan dance were all staged inside a pole dancing gym at 2/42 Burnett Lane in Brisbane’s CBD. The audience was inches away from having a sequined bra land in their lap.
Aerialicious bills itself as innovative, and from what I saw, that’s about as accurate an assessment as you can get.
The show is part of Brisbane’s Anywhere Festival, running from 19th July to 4th August.
