Lord Arthur Savile’s Crime: Planning the Perfect Murder Can Be Chaotic!

Lord Arthur Savile's Crimes

Lord Arthur Savile’s Crimes Rating

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Published in 1891 as a short story by Oscar Wilde, Lord Arthur Savile’s Crime was the basis of this satire adaptation by Constance Cox and presented by the Genesian Theatre Company. Although I had previously seen productions over many years at their historic 70-year venue on Kent St in Sydney’s heart of the city, this was the first time I had seen a Genesian Theatre Company’s production in 2025 in their purpose-built new theatre. Lord Arthur Savile’s Crime was performed in their new venue at Rozelle, complete with high ceilings, air conditioning, with every comfortable plush seat having an unobstructed view of the stage.

It is the late 1800’s and Aristocrat Lord Arthur Savile (Brock Cramond) is engaged to Sybil Merton (Catherine Layard), the daughter of haughty Lady Julia Merton. Lady Julia, portrayed with relish by Roslyn Hicks, clearly doesn’t approve of Lord Arthur as a suitable husband for her beloved daughter. Roslyn’s performance as Lady Julia was a standout. Her disdain towards her future son-in-law, highlighted by her finger pointing and sharp words, as well as her outrageously ostentatious white bird hat, made the audience laugh many times! With the hope of getting a dire warning and thus having an excuse to cancel the engagement, Lady Julia brings a famous cheiromantist (fortune teller) Mr Podgers (Kees Harmsen), to see Lord Arthur, who predicts the past and future by reading palms. Kees’ portrayal of a serious soothsayer was excellent, and as he loomed over Lord Arthur, cloaked in a dark suit wearing a black tophat, he created a sense of mystery and foreboding, and was reminiscent of a human grim reaper. Well done to the costume designers, Molly Haddon and Susan Carveth.

Mr Podgers predicts that Lord Arthur is going to commit a crime of the most serious nature – murder! He keeps this news from Lady Julia, and admits it only to Lord Arthur, who then decides he must complete this murder before his upcoming marriage. With the help of his loyal man servant Baines, impeccably dressed in a black suit with tails (Oliver Harcourt-Ham) Lord Arthur goes about planning to poison his dear Aunty, Lady Clementina. The circumstances surrounding this murder change as he tries to implement his plan, and the audience is left holding their breath waiting to see what happens. Lady Clementina was portrayed by Diedre Campbell, who created a character that was so likeable, it left me hoping she wasn’t going to be a victim.

The following attempts as he goes through his possible family murder victim list, conveniently given to him by an earnest and helpful Baines, involve his other Aunty, Lady Windermere (Julia Burns) and the Dean of Paddington (Christopher Hamilton). Involved with the planning and the supplier of certain possible murder items was a member of the Anarchy Society, Herr Winkelkopf, played with comical overzealousness by Sebastian Lodge. His interactions with Lord Arthur and Baines were earnest in his offer to help, and providing items of the explosive type, (that may or may not work, no spoilers) was one of the highlights of the play. The scene where he was delivering a ‘bomb’ dressed in the exact two shade colours of the wall, so as to ‘blend in’, was hilarious!

A supporting character, Maid Nellie, (Amy Silvana Thomas) added to the wealth of the Savile family. At one point, whether intentional or not, I got the impression that Nellie may be more than whom she seems with her intentions.

The playwright’s characters are quite the caricature of Britain’s high society’s wealthy people, as well as the hired help. Every character had some funny quips, which made the 2 hour, 10 min play flow at a good pace.

The music was suited to the era and emotive theme. Sound Designer Rhea Moloo set a scene of intrigue and trepidation during the introduction and interval, with classical songs, such as Palladio by Virtuoso and Ivan Dohovic, Concerto in G Minor and Flight of the Bumblebee.

Lord Arthur Savile’s Crime was masterfully directed by Molly Haddon and has all the elements of a traditional Victorian Crime – with the murder choices popular during that time, spliced with comedic drama. There is the underlying sense of social class motivations of mixed-up morality, as Lord Arthur is continually supported by ‘his people” as he desperately tries to fulfil his supposed future murder prophecy. The result is a very satisfying comedic play with unexpected twists!

To book tickets to Lord Arthur Savile’s Crimes, please visit www.genesiantheatre.com.au.

The Genesian Theatre
2B Gordon St, Rozelle
25 April – 7 June 2025
Running time: 2 hours 30 minutes (including 20 min interval)
Tickets: Full $35 / Concession, Groups 10+ $30

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Brown Women Comedy Performance: A Light Look at Being a Brown Woman

Brown Women Comedy

Brown Women Comedy Rating

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Deciding to be a comedian professionally is probably one of the bravest steps someone can take.

Some people are naturally funny, others are talented writers who have the skill to take a situation and focus in, give it a tweak and make it sound hilarious. From the many comedy acts I have been to, almost all comedians poke fun at their occupation in their set, and point out how poor they will be all their life. Brown Women Comedy, featuring four bold Indian and South Asian Australian comedians, did indeed broach this.

The first comedian, Niv Prakasam, extended this line of thinking and talked about her job as being someone who was simply carrying forward a family tradition, that of Generational Debt! I have heard other comedians talk about how disappointed their parents are, that they’re not a lawyer or a doctor earning the big bucks, but Niv swung this joke around with her Generational Debt take, and it was refreshing.

Niv spoke with the easy-going flow of a seasoned performer and was a wonderful opening act. I really enjoyed her stories about coming from a conservative country and how different Australia is from her home. She took this topic and brought a whole lot of different and amusing tales, some involving arranged marriages, what it means to hug, or hold eye contact with someone (that’s it, you’re now betrothed) and the audience reacted very well. Niv was able to incorporate the audience into her act, making them feel comfortable whilst talking to them.

Ramya Ranapriya followed and continued to make the audience laugh. In her set, she told stories about situations in her country. She talked about family (of course, the in-laws got a mention, but not even Grandma was spared!) and her dynamic views of the ever-changing world of becoming a mum reached the audience’s heart. Her stories from when she had a newborn and was bombarded by requests from everyone to meet her little one was relatable to many people – such as the endless stream of visitors (the quick look of the men visitors versus the delight of women visitors inhaling the scent of her baby) and was very funny. As was her take on how visitors brought money as gifts when they came – but I won’t spoil Ramya’s jokes by relating them.

Founder of Brown Women Comedy, Daizy Maan, followed Ramya. Her impressions of her friend’s friend made people laugh, and she cleverly circled back to this particular joke to close her set. Daizy told tales about her family, sharing some funny experiences ranging from her mum’s roti to awkward moments, which had the audience cringing in sympathy. One of the funny moments for me was something her mum said to one of Daizy’s friends, about her thighs! It is still quite an Asian thing for the older generation to comment about one’s weight, and this made the audience laugh.

To close the performance, Guneet Kaur came on, and brought another dimension to the show. She delivered her comedy set with a deadpan coolness, and this worked to bring out the joke’s meanings even more. Her stories about dating and being a racial chameleon were hilarious, as were some stories about dating, bisexuality and how lies can go wrong when making up a false family!

The four womens’ comedy acts were all different, with each comedian bringing another side of being a woman into the show. It was an all-rounded show, incorporating sexism, feminism and racism into 2025 and the modern Aussie world. If you feel like a break from the real world, a comedy show should whisk you away. Brown Women Comedy does just this – these ladies will whisk and stir up your funny bone and imagination, at least for an hour!

Brown Women Comedy was hosted at the Lennox Theatre inside Riverside Theatres in Parramatta and is part of the Sydney Comedy Festival.

Performances: 23 – 25 April 2025
Riverside Theatres. Corner Market and 353 Church St, Parramatta
Tickets: $44
www.riversideparramatta.com.au

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Yeah Nah Pavlova: The Laughs Keep Coming

Yeah Na Pavlova

Yeah Nah Pavlova Rating

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As the audience arrive into the cosy yet intimate venue that is Club Voltaire in North Melbourne, we are handed an ANZAC biscuit and asked to pick a side. Who invented the pavlova is the ultimate question.

Comedy duo Loud Jess (Jess Loudon) and Sandra Pace are immediately likeable, and the show hasn’t even started.

For one hour, they cover everything from politics to men, moving to New Zealand, rugby and the friendship between the two nations.

The main theme tying this show together is the age-old question: Who invented the Pavlova?

With audience participation that makes the show engaging, the duo are quick with their retorts, snappy one-liners, and they bounce off each other with incredible energy.

The women have great banter with each other, reminiscent of a young Gina Riley and Jane Turner ( Kath and Kim), and they’re incredibly comfortable in front of an audience. There’s no forced interactions, these two are naturally funny.

The show is dotted with dark humour. The subject of politics is candidly explored, and they look back on the era of Covid lockdowns, amongst other things, while talking about their lives in New Zealand – affectionately known as ‘ Across the ditch’.

The two have great energy, which is important in any comedy duo, but having a strong theme helps to tie the show all together, so it’s not just two loud girls rambling. It’s thought out, well-written and leaves just enough breathing room for improv and unplanned moments.

As for whether pavlova was invented in New Zealand or Australia, not to give away the ending, but we do get an answer as promised.

The comedy festival is wrapping up for another season, and before it goes, make sure to get down and have a laugh with Sandra and Jess. Their show is an hour of light-hearted comedy that never takes itself too seriously and is a refreshing reminder on why Australians and Kiwis love to give each other a hard time.

Yeah Nah Pavlova will be showing until April 20 at Club Voltaire in North Melbourne.

To book tickets to Yeah Nah Pavlova, please visit https://www.comedyfestival.com.au/browse-shows/yeah-nah-pavlova/.

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Maren May reads between no lines

Maren May Reads Between No Lines

Maren May Reads Between No Lines Rating

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On a Monday night at Tasma Terrace, the after-work crowd could be seen getting ready for a night of comedy and laughs.

German comedian Maren May immediately captured the audience’s attention by introducing herself as the ‘unsure German’ – a character she has been told she plays very well (maybe….. because she isn’t playing a character at all, but just being herself). Reflecting on her most recent comedy shows, she was told by an audience member that he could offer her a free autism diagnosis as he was a psychiatrist.

Thus, set up the central premise of “reading between no lines”. May recounts pondering for days what is meant when a relative says to her “that’s a summery dress” at a wedding, before realising the relative meant that the dress wasn’t appropriate for a church. Later, she asks ChatGPT what this could possibly mean. The audience cracks up, agreeing with May – why can’t people just say what they actually mean?

May cleverly noted that although when navigating everyday life, she felt as though she was missing a script that everyone else had, she liked stand-up comedy as it meant she had a script to go off.

Throughout the show, May reflected on her family, love life, job, and interests with an endearing and joyful spin on even the most awkward stories. Her delightfully literal interpretations and neurodivergent lens were not only hilarious but refreshingly honest. Her stories touched on a cheating ex-boyfriend, an awkward date that felt like a scene straight out of Seinfeld, and weird habits her family has.

There was something uniquely charming about how May navigated her world— overthinking eye contact, and uploading her diary entries to Chat GPT (it’s less awkward than confiding in a therapist, who you may run into in person – whereas “ChatGPT doesn’t even own a bike!”). With just the right mix of awkwardness, wit, and heart, May’s set felt both deeply personal and universally relatable.

May delivered an audience-engaging set of observant and witty jokes, with clever call backs to earlier stories that tied in well together (such as mishearing the lyrics to the classic ABBA song Dancing Queen – “why are you kicking her?”). The show finished with a surprise guest appearance by someone we all know – ChatGPT.

Amidst the hustle and bustle of the Melbourne International Comedy Festival, Maren May delivered a delightful night of witty anecdotes and laugh-out-loud jokes. Make sure to check out this show and check out the many other comedians performing during the festival.

To book tickets to Maren May Reads Between No Lines, please visit https://www.comedyfestival.com.au/browse-shows/maren-may-reads-between-no-lines/.

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