Girl of the Frozen North

Girl of the Frozen North

Girl of the Frozen North Rating

Click if you liked this article

2

The Tea Tree Players, under director Barry Hill, transports the audience to the freezing Yukon for this very amusing sing-a-long melodrama full of merriment and entertainment well worth attending as Adelaide’s own wintery conditions draw to a close.

The fun begins as the MC (Tim Cousins) introduces the play and the cast as they burst into song. The story proper begins during a day in June 1890 in the lobby of a dingy hotel in the Yukon Territory owned by the story’s villain, J Harrington Cesspool (Brian Godfrey). Cesspool is ordering around his employee Nanook (Georgia Gustard) as a fur trader Klaxon (Joel Strauss) enters with a bag of furs and haggles with Cesspool about their purchase price. After Trader Klaxon leaves, Cesspool tries to grab Nanook but she screams and the story’s hero, Corporal Dashiell H Goforth (Clinton Nitschke) of the Royal Canadian Mounted Police, enters the lobby to save her. Goforth then leaves but soon returns with Nettie Neetfoot (Charlie Klose), as she tries to evade the clutches of Cesspool, she explains that she is looking for her mother who has become lost in a blizzard as they searched for her kidnapped little brother. Nettie leaves the hotel to continue her quest.

As the story progresses, hotel guests Cleopatra Pannitt (Cathie Oldfield) the self-proclaimed “America’s gift to the Shakespearean stage” and her daughter Hyacinth Klutz (Selena Britz) both stuck at the hotel because the “touring troupe went broke at the local opera house”, are introduced. Goforth re-enters with the missing Mrs Neetfoot (Elizabeth Ferguson) and later Professor Fredrik Pjoole (John Hudson) from Washington DC arrives to study the local First Nations people’s “time-reversing experiments”. Goforth is accused of theft and tries to clear his name as the search for the missing continues.

 

 

Along the way, the MC emboldens the audience to “aaw”, “ooh”, “boo” and “cheer” but often the engaged audience is ahead of his prompting. Between scenes the audience is encouraged to sing along with the classics, “My Bonnie Lies Over the Ocean”, “Roll Out the Barrell”, “Knees Up Mother Brown” and “I Do Like to Be Beside the Seaside”.

Additionally, between a scene change in Act 1, the audience is entertained by the dancing Harry the Hippy Horse (Ashlee Brown as the head and Lachlan Blackwell as the other end). In a scene change in Act 2, ballerinas Tatiana Orlovski (Lachlan Blackwood) and Olga Ripsacorsetoff (Ashlee Brown) perform “The World Famous Balloon Dance”, which is one of the hilarious highlights of the whole performance.

The production team including Beth Venning for props and set dressing, Barry Hill for set design, Damon Hill for scenic artwork, Merci Thompson for costumes and Robert Andrews and Mike Phillips for lighting and sound design and operation, are to be congratulated for producing an excellent set, costumes and a near faultless technical performance.

The cast all perform superbly, Tim Cousins is warm and enthusiastic as the MC binding the performance and the audience participation skilfully together. Brian Godfrey, with his Riff Raff like appearance, makes a first-rate villain and is outstandingly juxtaposed by the brilliantly often over-the-top performance of Clinton Nitschke. Selena Britz is also commended for her performance and her song and dance routine. The rest of the talented cast also deliver outstanding performances.

The Tea Tree Players’ Girl of the Frozen North is great fun and is full of melodrama and audience participation. Barry Hill, the cast and crew are to be congratulated for this exuberant and splendid production.

Girl from the Frozen North runs from Wednesday 13 August 2025 – Saturday 23 August 2025

Venue: Tea Tree Players Theatre

Cnr Yatala Vale Road and Hancock Road, Surrey Downs SA 5126

To book tickets to Girl of the Frozen North, please visit https://teatreeplayers.com/production/girl-of-the-frozen-north/.

Spread the word on your favourite platform!

She Works Hard For (No) Money: A Reality Delivered With Precise Hilarity

She Works Hard For (No) Money

She Works Hard For (No) Money Rating

Click if you liked this article

2

She Works Hard For (No) Money is an ode to the superheroes in our lives: the women that make magic seem real when everything is miraculously taken care of.

Handled with precise hilarity, She Works Hard For (No) Money showcases the unspoken reality of women carrying the mental load of getting things done and sacrificing themselves to keep everyone a float; while juggling everyday pressures and endless labour.

Framed within dark humour, the interactive production thrusts the audience into the throws of the play. Immediately welcomed to ‘the office’ by members of the ensemble, the audience is escorted through different checkpoints until reaching the heart of the performance area. Once seated amongst props and intriguing stage blocking, viewers become immersed in the narrative’s drama.

Through boisterous scenes that establish the satirical tone of the show, the audience are shown depictions of women and men moving through everyday events (whether in the domestic sphere or workplace). The women perform activities where the men continually showcase their intentional (or unintentional) incompetence; highlighting the extra pressure women endure daily through expected gender roles and responsibilities.

 

 

Despite the humorous atmosphere, there are moments where the audience are brought to a halt for reflection. The tone of the narrative shifts from sentimental to melancholy, as the ensemble brings to life the unfair truth of work within the workplace being legitimised, or viewed as ‘real work’, over labour within the home. The devastation of these carefully crafted scenes presents the core message of the play with a breathtaking swiftness that causes the audience to reflect on how things can, and should be, improved within their own lives.

The ensemble of She Works Hard For (No) Money were meticulous with their performance; showcasing their skills with seamless transitions between characters and scenes. The writer and producer, Samantha Hill, director, Julie Ritchey, and crew handled the sensitive nature of the play’s themes with a precision that validated the experiences of countless women. The acknowledgment of the ‘not all men’ discourse was also conducted in commendable manner that brought the conversation back to the issue at hand; that we are here to give women a voice, for it is long overdue.

Although the heavier moments of the play invoke incredible sadness and rage, it also acts as a beacon of hope. By giving a voice to the women that carry the mental load, there is a tangible sense of hope for change: whether that be by a partner stepping up and recognising they should be doing more, or by a woman reclaiming her power and deciding to put herself first by shedding the mental load instilled by others. As the play comes to a close, the audience is left with a sense of triumph and with a silent promise that life can, and will be, better.

To book tickets to She Works Hard For (No) Money, please visit https://anywhere.is/series/she-works-hard-for-no-money.

Spread the word on your favourite platform!

A Clever Tour de Force, Full Of Surprises

The Forgotten Songbook

The Forgotten Songbook Rating

Click if you liked this article

4

Stepping through a light haze in Chapel Off Chapel’s Loft, into the twilight world of The Forgotten Songbook instantly transports the audience to bygone era of music-making. The set, dressed simply but evocatively with a piano, a few furniture pieces and faded posters of long-forgotten musicals like Vienna Days and Girl Leaves Boy, conjures a smoky dive bar in the middle of nowhere and everywhere. It’s the perfect frame for a show that unearths the dazzling, almost unbelievable, fragments of composer Wilbur Weissman’s lost career.

What follows is a two-act whirlwind of longing, misfires and brilliance, pulled together by a creative team whose passion for Weissman’s story pulses through every beat.

Emerson Hurley’s compositions form the heartbeat of the show. Sitting at the piano with a relaxed command, Hurley not only plays with casual virtuosity but delivers a score that is tuneful, witty and remarkably affecting. His pastiche writing honours the Tin Pan Alley style while crafting songs that feel entirely fresh. “I’ll Never See Memphis Again” is one of the evening’s most poignant moments, unveiling emotional depths in both character and composition that stop time. Hurley may be at the beginning of his career, but The Forgotten Songbook suggests a voice with the sophistication of a modern-day Gershwin, or dare I say Weissman? Either way, he has the originality to stand on his own.

Co-writer and producer Dylan McBurney brings theatrical structure and dramaturgical clarity to this sometimes chaotic rollercoaster tale. The narrative, full of unexpected turns (a hippo attack??) never wavers in purpose. It’s comedic and poignant in equal measure, an impressive feat that speaks to the balance and restraint of McBurney’s work.

 

 

In his debut as director and choreographer, Mikey Halcrow crafts a staging full of flair and control. He uses stillness to great effect, allowing quieter moments to resonate and leans into the physicality of the performers to heighten the absurd and the powerful beats. The rapid pace never falters, but the show knows when to let a moment land and when to let the music speak for itself.

Karla Hillam gives a stellar performance. Channelling the style and swagger of a classic torch singer, she moves with elegance and sings with great versatility. Her character work is razor-sharp, shifting styles and personas with impressive precision. Her natural chemistry with co-star Jonathan Guthrie-Jones anchors the piece. Together, they deliver both belly laughs and broken hearts.

Guthrie-Jones, in turn, feels like a Hollywood leading man of yesteryear brought to life. His rich, beautifully controlled voice wraps itself around the material with ease and his performance is laced with charisma and genuine vulnerability.

Together, the cast form a dynamic double act (or trio including Hurley at the piano), effortlessly slipping between satire, drama and song. Their rendition of The House Un-American Activities Rag is a showstopper. It’s choreographically tight, musically rich and laugh-out-loud funny.

The Forgotten Songbook is more than a showcase. It is an excavation of talent, myth and memory. In a country where new musical theatre often struggles to find space, this piece deserves to travel far beyond its opening weekend. Don’t miss it and don’t miss seeing the work of any of this team in the future.

To book tickets to The Forgotten Songbook, please visit https://chapeloffchapel.com.au/show/the-forgotten-songbook/.

Photographer: Kristopher Wardhana

Spread the word on your favourite platform!

An Unlikely Couple

Waterloo

Waterloo Rating

Click if you liked this article

3

‘Waterloo’ is modern day theatre from clever performance artist, Bron Batten, a multi award-winning Australian performer, theatre-maker and producer, in collaboration with non-artists and audience members. (Outside Eye Direction by Gary Abrahams.)

From the people who created ‘Onstage Dating’, ‘Waterloo’ turns their observations inward, exposing us to Bron Batten’s ill-fated affair and deconstructing the ideological distance between right and left.

This unique show explores what happens when a self-confessed “lefty, Greens voting, almost vegan theatre artist” dates a right-wing, cigar smoking Margaret Thatcher-loving Tory soldier. Batten met this “2nd protagonist” when she was on an arts residency in Paris in 2015 – and he turned out to be a conservative, highly decorated, high-ranking UK military official. Clearly, they had different political views yet found an intense connection and their time together formed the core narrative of Waterloo.

Batten tells us this story as one would tell a friend about her unlikely romance, a couple obviously drawn to each other in ways just as unknown as the violence we bury our heads in the sand about daily. With her warmth, creativity and truthfulness, often heavy themes of love, war and politics prove easier to digest than they first sound.

Developed in Maubourguet France, with Vitalstatistix Incubator Residency in Adelaide, a creative residency at Brunswick Mechanic’s Institute, Melbourne, with an Arts House Development Award and North Melbourne Stalker Residency, and then at Melbourne Fringe in 2019, while still morphing, this edgy piece has won awards in Melbourne and Perth and won the Summerhall Edinburgh Fringe Touring Award, in 2019.

 

 

You’ll find Waterloo strangely entertaining and thought provoking. You’ll be thinking on it for days afterward, even questioning your usual beliefs. As the daughter of a Lieutenant Colonel, my beliefs seemed lonely in a room full of students and Arts workers, but Batten wrote her questions to the audience so well, I’m sure they were also surprised at some of the final audience views.

Batten said in a recent interview she “Hoped the work would provoke reflection and discussion amongst the audience and perhaps a healthy debate in the car on the way home.” I believe her hopes have become reality.

That’s the beauty of Waterloo. Moments of divisiveness lead to moments of poignant clarity, followed by moments of humanity and the realisation we are all connected and desire human connection.

This production is not only enjoyable, it’s important, giving those of us on both sides of politics a safe space to debate our differences, respectfully.

Bron’s work has toured throughout Australia, New Zealand, the USA, France, the UK, Germany, the Czech Republic, Lithuania and Romania and has been presented at festivals and venues including The Soho Theatre London, Summerhall Edinburgh, Komedia Brighton UK, The Prague Quadrennial, Performing Arts Festival Berlin, RISING, Darwin Festival, Brisbane Festival, Dark MOFO and the Edinburgh Festival Fringe.

Founded in 1979, Theatre Works is an independent theatre group with a lot to say. Check it out. Waterloo plays at Theatre Works – 14 Acland Street, St Kilda – from 8th to 12th July, 2025.

To book tickets to Waterloo, please visit http://theatreworks.org.au/2025/waterloo.

Photographer: Lucy Parakhina

Spread the word on your favourite platform!