Every Single Sydney Theatre Award Should Go To…

The Elevator

The Elevator Rating

★★★★★

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The Elevator by Eloise Snape
At the Ensemble Theatre

“Margot’s back from mat leave — and she’s not messing around. Before nappies and sleepless nights, Eco Engines was spiralling through a PR meltdown, tanking faster than you can say “carbon footprint.” Now she’s back in the CEO chair, ready to rally her team of corporate eco-warriors and clean up the mess. But her comeback hits a snag when she gets stuck in the office lift. As tensions rise, Margot’s cool starts melting faster than the polar ice caps. THE ELEVATOR is a sharp, funny and fearless dark comedy that’s anything but clean. Green washing, corporate spin and tangled lies — playwright Eloise Snape delivers a whirlwind of laughs and truth bombs in this new Australian play.”

The Elevator by Eloise Snape is one of the best new plays I have seen in a long time. If you want to be in the arts you have to have something to say, and Eloise Snape has it in spades. This is a play that every emerging playwright should see and study. It is a perfect balance of situational circumstances, comedy, drama and emotional gravitas.

I don’t often say this, but this is a perfectly cast show.

Shirong Wu as Alison is a master of comic timing. At first, I thought her breathy, broken voice would be annoying throughout the play but quickly realised it was a planned out character choice that was masterful. She eats the scenery and makes the most of every amazing one liner that Eloise Snape has craftily given her. I would see her in anything she is in.

 

Di Adams as Ollie is so grounded and delivers the amazing twist at the end with so much passion and skill, you don’t see it coming. I have enjoyed everything I have seen that she has been in, so I knew I was in safe hands when she was in the cast.

Leeanna Walsman as Margot probably has the most challenging role in the show but pulls it off brilliantly. Playing a CEO of a company that she is trying to save from disaster, while being one day postpartum of her first born daughter and stuck in a lift with two people she clearly can’t stand. I think if this had been given to anyone else they might have fumbled but Leeanna delivers one of the best performances of career to date in this role.

You can tell this must have been a joyous play to create in the rehearsal room. You can tell that director, Anthea Williams, let the cast have a huge sense of play. Certain accepts would have had to have been set but it is joyous to watch actors being let to do what they do best.

The set, lighting and costumes were stunning. Both Kelsey Lee and Keerthi Subramanyam, deserved a standing ovation alone.

It is also joyous to see an almost entirely cast and creative team of women working at the highest standard. There should be more of this, and I hope this team creates more impactful work like this together in the future.

I felt honoured to be able to experience this shows opening night and world premiere. Any time that a project of Eloise Snape’s is on I will be there.

Bolt as fast as you can to this glorious production and experience its magic.

The Elevator runs at the Ensemble Theatre until October 18th.

To book tickets to The Elevator, please visit https://www.ensemble.com.au/shows/the-elevator/.

Photographer: Prudence Upton

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Top Silk, Top Class

Top Silk

Top Silk Rating

★★★★★

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David Williamson and Sydney’s Ensemble Theatre love each other. Whenever, Williamson pens a new play, he usually showcases it at the Ensemble. This time the Kirribilli-based theatre company, have resurrected a 1980s play, ‘Top Silk’. Interestingly a star from the 1989 production at Seymour Centre, Tina Bursill, was in the opening night audience. The playwright himself, David Williamson, was also in-attendance. I saw the original production, so felt a buzz of expectation as I entered the auditorium.

Jane Fredericks (Rachel Gordon) is a passionate legal aid solicitor who finds herself in a potentially tricky situation when she agrees to help an old flame from school days, Eddie (Jeremy Waters). Jane and Eddie grew up in Albury, but have taken much different paths. Jane’s father was determined for her to pursue a legal career in Sydney, whilst Eddie still has Albury connections. When Jane and Eddie meet again, it’s an awkward reunion. Jane is embarrassed by her once-snobbishness towards her former boyfriend and wants to make amends. Eddie is a small-time drug dealer, but is a facing a big gaol sentence. If Jane does get involved, there are immediate repercussions for her career and marriage to flashy barrister, Trevor (Nicholas Brown), who is intent on entering politics. Trevor Fredericks is a champagne socialist. We learn that he oversaw the eviction of housing commission tenants from a prime harbourside location, so the developers could move in. Trevor doesn’t want that issue to gain traction, as he seeks to be the Labor Party’s next Premier. An influential right-wing, media-mogul, Paul Bradley (Thomas Campbell), can give Trevor political expediency.

 

The growing chasm between the Fredericks is further tested by their differing parenting styles. Their son, Mark (Samir Nasser) is struggling academically, despite being at a posh private school. Trevor keeps paying for relentless bouts of tutoring sessions for Mark, but nothing seems to click. Jane, just wants her son to be happy and pursue his own dreams. Mark wears his Greenpeace t-shirt, to show that he is focused on the planet, not himself.

In typical Williamsonesque-style, as Trevor’s political aspirations reach full throttle, Jane’s association with Eddie, attracts the attention of power-broker, Tony Turner (Jamie Oxenbould). Turner threatens to expose Jane’s association with Eddie, as a way of derailing Trevor’s ambitions. However, Jane has a secret of her own to expose. After a brief affair with Turner, he pressured her to have an abortion. A stance that is in direct contradiction to his pro-life platform.

The play certainly gathers momentum in the second act. As the judge (Thomas Campbell) presides over Eddie’s case, the audience feels like they have been transported into a Downing Centre courtroom. The scene ends on a high (pun intended), as Eddie faces his fate. Jane and Trevor also face the fate of their marriage.

This 2026 staging of ‘Top Silk’, is a slick production. Mark Kilmurry being a devotee of David Williamson, has directed this play with obvious enthusiasm. Rachel Gordon is beguiling as Jane Fredericks. Gordon brings such warmth and likeability to the role. Nicholas Brown is utterly believable as the self-absorbed, Trevor Fredericks. He is in full bluster as the play reaches its climax. Samir Nasser as Mark brings authenticity. Samir has that star-is-born aura about him. Thomas Campbell relishes his role as the smug media mogul and is equally convincing as the experienced judge. Jamie Oxenbould brings a devilish quality to the shifty power-broker, Tony Turner. Laurence Coy rounds out the cast and is particularly adept as the crusty prosecutor. Williamson plays often sell-out at Ensemble, so book early!

To book tickets to Top Silk, please visit https://www.ensemble.com.au/shows/top-silk/.

Photographer: Prudence Upton

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Bet You Laugh Out Loud

The Dapto Chaser

The Dapto Chaser Rating

★★★★★

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Yes, The Dapto Chaser, is about greyhound racing, but there are many other themes at its core. Mary Rachel Brown’s black comedy studies the intimate dynamics of family relationships and explores the ramifications of risk-taking.

The play opens with Errol (Peter Carroll), the patriarch of the Sinclair family, sitting in his lounge chair and wrestling with a scratchy, portable radio. (He’s attempting to listen to the dog races at Dapto.) Cigarettes, beers and an oxygen tank are close-by. Fiddling with the form guide in the newspaper, Errol announces he has Stage 4 lung cancer and that there’s no Stage 5! Carroll relishes his sardonic, sarcastic dialogue with exquisite coming timing. On opening night, the mainly actor-filled audience were in hysterics.

Errol fits the stereotype of an Aussie battler, living in a humble home, surrounded by bland furniture. He’s not despondent about his plight because there’s a belief a big win is just around the corner. His two sons, Cess, played with edge-of-the-seat intensity by Justin Rosniak and Jimmy, a character given a convincing edginess by Andre de Vanny, are constantly at war with each other. Cess has his own greyhound called, Boy Named Sue (an obvious reference to the Cash classic) and Jimmy works at the track as a dogs’ lure driver. Arnold (Marco Chiappi) is a bookmaker/ trainer who is always lurking. Chiappi plays the role of smooth sleazebag with aplomb. The Sinclairs’ lives are fully wound up with Arnold’s power plays, which always riled Errol.

We sense that greyhound racing is full of eccentrics. Brown is playful with the greyhound names. ‘Mum’s Bunion’, extracted lots of giggles from the audience. Having video projections of greyhound races, complete with commentary, adds to the whole experience. The high energy nature of gambling is felt.

 

 

When Errol dies, there’s an immediate sense of panic between the brothers. The funeral costs amount to nine thousand-plus dollars. The figure is problematic. A get-rich-quick scheme is needed. Cess decides to sell his dog, to offset the debts. The dog is worth fourteen thousand dollars, but Arnold will only pay ten thousand. Even so, the figure is accepted. Cess boasts that there’s money left-over for fancy sandwiches and Jimmy can get ham/ pineapple pizza.

Cess will not leave the greyhound world, but Jimmy decides to flee to the Gold Coast. (Cess hands him a hundred dollar note for petrol.) One senses that the brothers may never see each other again.

Ensemble Theatre’s production of The Dapto Chaser , is brilliantly performed. Director, Anna Houston, has the cast performing at the peak of their powers. Peter Carroll (if he was acting in England, he’d be knighted), Marco Chiappi (can do it all from Shakespeare to the TV Show, Wentworth), Andre De Vanny (extensive TV credits including Wicked Science) and Justin Rosniak (who made the transition ftom child actor to seasoned professional, decades ago, but I still fondly remember him from Eggshells with Garry McDonald and Rebecca Smart.)

Simone Romaniuk’s set design perfectly captures the mood of this working class family. Matt Cox lighting design, Madeleine Picard, composer and sound design and Aron Murray on video design, all work to make this is a thoroughly immersive experience.

Interestingly, I noticed actors from Griffin’s Theatre’s 2015 production of The Dapto Chaser, in the audience. Noel Hodda and Jamie Oxenbould, certainly enjoyed this performance. I bet you will too! On opening night, there was a standing ovation.

To book tickets to The Dapto Chaser, please visit https://www.ensemble.com.au/shows/the-dapto-chaser/.

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The Roommate

The Roommate

The Roommate Rating

★★★★★

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We are taken to the Mid-West of the USA with a very tidy kitchen setting where everything has its place and would for the next umpteen years. Enter Sharon, wonderfully played by Lucy Bell with great comedic timing. Dressed in conservative jeans and the right blouse, her restlessness is evident. Her life is about to be turned inside out and upside down by someone who will reflect the questions she has started to ask herself. Who is she? Like water in a kettle the steam has to be released.

Jen Silverman’s dialogue is vital and clever highlighting one person’s search for freedom and another person demonstrating the price we may pay. The audience was in for a ride.

Robyn, her new roommate, a dry, sardonic and New York weary woman, shows up with obvious secrets trailing behind her. Wonderfully played with a great New York accent, she slowly reveals who she is as Sharon bluntly asks all the wrong questions. In hip New York clothing and announcing that she is alternative, two states and personalities meet. Boxes with Robyn’s hidden past pile up in the neat kitchen stirring Sharon’s curiosity propelling her forward to unleash her inner self. Even the milk has to change as Sharon is introduced to a different way of living and being.

 

 

The actors immediately present an uneasy chemistry between the two women revealing to Sharon that her learning French, pretending that she may go to Paris is all about seeking freedom but there is a price to pay. Sharon reflects all that Robyn isn’t and the audience senses that she is seeking the opposite. Searching for a conservative community and escaping her past life, she collides with Sharon and the two set off on a venture and adventure.

As Sharon moves forward and Robyn goes backwards, the kitchen unravels, rubbish is on the floor and boxes and memories are unpacked. Sharon reveals her personality and the audience laughs with her, not at her, and there is a sense of ‘go girl’ as she reveals her alter ego. At the same time, the audience observes with sympathy and empathy as Robyn is focusing on containing her previous way of life but is drawn to Sharon’s exuberant movement in to a new way of being and thinking.

The acting convinces the audience how Robyn is perfect as the foil to Sharon and the repartee between them is fast, funny and poignant at the same time. Distant children only visible on the phone add some sense of both women’s history and issues. Without giving the ending away, both move forward and there is a wonderful twist at the end.

To book tickets to The Roommate, please visit https://www.ensemble.com.au/shows/the-roommate/.

Photographer: Brett Boardman

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