The Goat, Or Who Is Sylvia: Chookas Entertainment

The Goat, Or Who Is Sylvia

The Goat, Or Who Is Sylvia Rating

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1

Presented by Chookas Entertainment & Insight Acting is undoubtedly a ‘one of a kind’ dark comedy performance. The production was expertly directed by Tim Kemp and produced by Jodie Miller. “The Goat, or Who is Sylvia?” was written by Edward Albee and was the Winner of the 2002 Tony Award for Best Play.

The performance was held at the Civic Playhouse which naturally lends itself to an intimate environment for audience participation and tonight’s performance definitely had the audience engaged, receptive and most definitely gobsmacked.

The cast of four actors displayed utmost skill and seasoned professionalism. They all shone in their own right portraying great conviction and dedication to their characters.

Tony Jozef played the lead role of Martin who has unquestionably become deranged in his newfound sexual desires. Martin is at the peak of an existential crisis as he endeavours to explain his unimaginable love affair between himself and his lover Sylvia – a goat! His unfathomable lust for Sylvia is definitely very unsettling. Tony’s ability to create empathy for his character’s grave misgivings is indeed commendable.

Joel Stibbard gave a solid performance as Ross, the long time best friend of Martin. He portrayed great comradery between himself and Martin and delivered the perfect amount of flair for a TV presenter.

Seventeen year old Billy is played by Clio Vellis who gave a wonderful rendition of a hormonal, confused teenager. Billy is struggling to comprehend newly learnt tragic information regarding his father which leaves him utterly perturbed.

Angela Robertson delivered first class acting in her role as Stevie, the loyal and dutiful wife of Martin. Angela showed unwavering commitment to her role and achieved great audience connection and sympathy to her character.

The lighting by Riordan Munnoch was simple, effective and poignant. The blackouts at the end of each scene were powerful and equally notable was the utilisation of subtle coloured lighting techniques to enhance and mirror the dramatic moments being portrayed on stage.

“The Goat, or Who is Sylvia?” is recommended for mature audiences and for theatre goers who have an appreciation for morbid humour.

It is a deeply disturbing, highly unconventional and controversial play. It explores taboo topics and themes of bestiality and incest that will definitely leave the audiences shocked, perhaps disgusted and definitely talking about it for some time.

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The Drowsy Chaperone: Presented by UON Musos

The Drowsy Chaperone

The Drowsy Chaperone Rating

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4

The Drowsy Chaperone presented by UON MUSOS at the Civic Theatre Playhouse Newcastle “does what it’s supposed to do and takes you to another world.” The entertaining musical satire was Directed by Louise Barcan and the Production Manager/Music Director was Dean Selem.

The Drowsy Chaperone is set in 1928 and is a parody of 1920s musical theatre. It has a completely nonsensical plot filled with oodles of drama and slapstick comedy. The opening night audience lapped up every comedic line and gave accolades of warm appreciation.

The Choreography by Lilly Grant was perfectly on theme, with great inclusion of famous 1920s dance moves, including the energetic Charleston and plenty of jazzy hands.

To my great delight there was 1920s inspired tap dancing choreography for the musical number “Cold Feets”, which starred Joshua Davies who played ‘the groom to hopefully be,’ Robert Martin. He delighted the audience with his enthusiastic and vivacious tap dancing, as well as his highly entertaining blindfolded roller-blading.

The lighting throughout the performance was timed meticulously and showed great creativity by Michael Conry. It was melodramatic in itself mirroring elements in the musical. The lighting provided cohesion to the plot utilising simple effective techniques for full and elaborate lighting on the ‘imagined musical parts’ and then centring spotlights on Eamon Mahon who performed marvellously as ‘The Man In The Chair.’

Eamon’s acting was absolutely astounding and unwavering throughout, he performed with the greatest of sincerity and pure honesty to his character. His steadfast natural presence and dry comedic responses elevated and unified the entire show.

Vocal director (Rachael Sebastian) produced wonderful harmonies with the ensemble and gave great direction to the lead vocalists as well. A particularly commendable job on the final number “I Do I Do In The Sky,” with a special mention to Trinity Young for her strong melodic vocals.

The leading lady character Janet Van De Graff was delightfully portrayed by Shanaya Budden who rocked the stage with her sultry tunes and dance performances throughout the entire show. I especially loved her vocal performance in “Bride’s Lament.”

 

Olivia Leathley danced and sang with great finesse as the “Laissez faire” Drowsy Chaperone character. She gave a very enjoyable and admirable performance and portrayed great comedic acting skills. Olivia’s romantic scenes with Aldolpho were definitely some of the highlights of the production. Raphael Teixeira displayed an absolutely hilarious rendition of his zany, romantic character Aldolpho. Raphael showed wonderful comedic acting skills and vocal delivery in his solo number “I Am Aldolpho.”

The quote from the musical “I just want to be entertained, and that’s the point, isn’t it?” is perfectly fitting for The Drowsy Chaperone musical. The abundance of adult humour and witty one-liners, combined with all the flair of the 1920s, ensure an enjoyable evening for all theatre goers.

To book tickets to The Drowsy Chaperone , please visit https://tickets.civictheatrenewcastle.com.au/WEBPAGES/EntaWebShow/ShowPerformance.aspx.

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Karma Kafe: A Big Hearted Show

Karma Kafe

Karma Kafe Rating

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3

Karma Cafe is a new indie musical set in Newcastle, but it could be any town in Australia that faces the barrage of constant change and development. Written and directed by local playwright Carl Caulfield, with music by Gareth Hudson, this is a big-hearted production with a simple message about the power of community.

Cafe owner Rewa has created a sanctuary in the heart of Newcastle, where her family of staff serve the regulars, the not-so-regulars and the downright irregulars. It’s a place that welcomes Joe, the mute bongo drummer, gives glasses of water to tired passers-by and has a bearded barista and opera-singing Scottish chef.

But there’s trouble brewing in the form of a skeezy developer with big plans for Darby Street with his mantra of the New New Newy. With the help of The Fixer, he’s going to demolish the old buildings and build a new multiplex.

What these ‘visionaries’ fail to realise is that the Karma Kafe is not just a place to get coffee and smashed avo on toast; it’s a meeting place for people trying to find connection in a complicated world.

There’s the writer who’s working on his first novel and also trying to work up the courage to ask out the waitress, Millie. Then there’s a young man trying to cope with his anxiety, who never wants to leave the security of the cafe. There’s the aggressive dog owner who sticks her nose in where it’s not wanted (but perhaps where it’s needed). And the old dancer who can only get about now with the assistance of his walking frame.

Karma Kafe

 As the developers close in with their nefarious plans, the community must come together to save their haven.

This is very much a Newcastle show, and the Novocastrians in the audience were delighted with the local touches – the writer’s crime novel features a murder in Carrington, and there are frequent allusions to money being moved around in brown paper bags (an embarrassingly true part of Newcastle’s recent political past). But with a little adaptation, this could easily be translated to Wollongong, Toowoomba or any mid-sized city in Australia. Themes of corruption are, unfortunately, all too common. Fortunately, so is community, love and the power of a local gathering place.

A highlight of Karma Kafe is the terrific set, which establishes the location in a simple and universal way. Anyone in the world would recognise the homely, comfortable cafe. The musical numbers gave each performer the opportunity to shine. Having a live band on set is a fantastic treat in a venue of this size and the musicians and singers worked well together. There were quite a few laugh-out-loud moments and a strong sense that we, the audience, were on the side of Karma Kafe and its ragtag collection of staff and locals.

Overall, some of the story threads didn’t resolve, but with a cast of more than 15 characters, that’s perhaps to be expected. If you don’t interrogate the storyline too closely, this is a fun evening of karma, community and coffee that will surely be a crowd-pleaser.

For more information and to book tickets, please visit https://www.carlcaulfieldstraydogs.com/

Remaining Sessions:-
Tuesday 08 October 2024 @ 7:30 pm
Wednesday 09 October 2024 @ 7:30 pm
Thursday 10 October 2024 @ 7:30 pm
Friday 11 October 2024 @ 7:30 pm
Saturday 12 October 2024@ 2:00 pm and 7:30 pm

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Annie: Presented by Chookas Entertainment

Annie

Annie Rating

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13

“You’re Never Fully Dressed Without A Smile” and attending the Chookas Entertainment production of Annie definitely added infinite smiles to myself and every other person who attended last night’s performance. The Civic Theatre Playhouse venue allowed a personable, intimate performance and encouraged oodles of interaction and accolades from the audience.

For those unaware the story is set in New York City during the 1930s Great Depression. The musical production is based on Harold Gray’s daily comic strip “Little Orphan Annie” which debuted in 1924 in the New York Daily News. The engulfing theme is ‘hope’ in a trialing time of widespread poverty and hope for little abandoned Annie in her overly optimistic search for her parents. There is an overriding feeling that hope promises tomorrow “The sun will come out.”

Annie was played by Sage Brooks and she lit up the stage and the hearts of the audience. Her character delivery of Annie was sublime. Sage delivered Annie’s unwavering hope and optimism divinely. I was amazed at her unfaltering dedication to her character depth and the sheer amount of talent this young star beholds. She is a perfect candidate for Hollywood’s next movie remake of Annie.

Nicolette Black delivered a fabulous portrayal of the drunken, conniving Miss Hannigan with outstanding acting and vocal skills. Her impeccable comedic timing and subtle expressions were also thoroughly impressive.

DJ Konz was perfectly cast as Oliver Warbucks, providing a splendid portrayal of the self-discovering billionaire. DJ Konz showed a natural warmth in his stage presence and showcased his musical lustrous vocal abilities.

 

James Walker who brilliantly played Franklin Roosevelt has one of those warm, rich, melodic tones reminiscent of Christmas. My heart felt joyous every time he opened his mouth to sing.

I feel compelled to make a special mention of the character Molly performed by a seemingly very young Olivia King. What a superstar in the making! A triple threat singer, dancer and actor that stole the stage whenever she graced it.

All of the children in the ensemble gave a fabulous performance and their New York accents were ‘on point.’ Newcastle definitely has plenty of up and coming incredible talent.

The adult ensemble also delivered an energetic and vibrant performance. I particularly enjoyed the inclusion of tap dancing. The ensemble harmonies were ethereal especially in the finale number of “Tomorrow.”

The Music Director, Mathew Gallimore should be highly commended for his vocal and musical instruction. I thoroughly appreciated the unwavering, authentic character depictions throughout the vocal performances.

Music, sound and lighting were without fault and perfectly cued throughout. There was an excellent balance to the vocals and backing which I was overjoyed to hear.

Set designs and costuming were equally impressive, in particular the orphan costumes, down to their footwear, were perfectly authentic to the period. I found the set design of the beds to street doors conversion highly effective.

Congratulations to the director Danny Folpp, Maddie Watts (Choreographer and assistant Director) and Jody Miller (Producer) you should be beaming with pride at your brilliant achievement in bringing this fabulous production of “Annie” to Newcastle. ‘Chookas’ to the remaining of your performances.

Chookas’ “Annie” production will continue to run in the Civic Playhouse until the 14th of September, with multiple shows and times to suit. It is very reasonably priced at only $59 for adults and $39 for children. I urge you to get your tickets now if there are any remaining. Chookas’ production of “Annie” will guarantee you a night filled with joyous, heartfelt moments and plentiful laughs.

For tickets, please visit https://www.chookasentertainment.com/annie

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