Hansard is a sharp, fast-paced play by English playwright Simon Woods. Lively and bitingly witty, it still delivers a devastating message that feels just as urgent today as when it is set.
The story unfolds in 1988, the year Margaret Thatcher’s controversial Section 28 legislation was passed. It was a week of national upheaval in the UK as the act sought to “prohibit the promotion of homosexuality,” in direct response to a children’s book, Jenny Lives with Eric and Martin, which introduced young readers to different kinds of families. Its introduction ignited fierce protests and unrest across the country.
The play follows Conservative MP Robin Hesketh and his liberal wife Diana, whose ideological sparring is a demonstration on how politics can invade our homes and corrode even the closest bonds. The scene is set on a summer morning. Robin returns from parliament to his Cotswold home of thirty years, where Diana, hungover from a night on the gin, greets him amid the chaos of foxes tearing up his prized lawn and garden. What begins as a razor-sharp, playful exchange quickly darkens, as Diana challenges Robin’s defence of Section 28. In minutes, their banter spirals into something raw and searing, unearthing old wounds and unleashing devastating truths.
This is a remarkable production. It’s a true marathon for its two leads, Grant Malcolm and Suzannah Churchman. Across nearly two hours without intermission, their performances never falter. Together with director Barry Park, they masterfully balance biting humour with heartbreaking vulnerability, pulling the audience from raucous laughter into hushed, breath-held silence as the play drives towards its shattering conclusion.
The set design is thoughtful, working seamlessly with the flow of the play, and the cast is supported by a great team behind the scenes. Tarek Jabado is the Stage Manager, and Andre Beidatsch is the Assistant Stage Manager. Lighting design is by Mark Nicholson, and the costume design by Merri Ford.
Hansard is currently showing at the Garrick Theatre in Guildford and runs until October 11.
When Geoffrey Chaucer published The Canterbury Tales in the 14th century, it’s unlikely he envisioned that a wig would take on a character of its own. Considering he is the father of English literature, he probably didn’t imagine a dream dance sequence featuring the Macarena either. But that’s part of the charm when a classic is reimagined into a modern comedy.
The sheer joy of community theatre not only encourages poetic licence, but it thrives on unhinged creativity, especially when it’s a production put on by the Garrick Theatre Club, Perth’s longest-running community theatre. Directed by Gail Lusted, she carefully selected a large cast that included a mix of seasoned and up-and-coming actors. Not only does the introduction of young actors from Teens at Garrick (TAG) breathe fresh life into this centuries-old classic, but it also exposes them to the techniques of the veterans, as evident from those who have evolved into seasoned performers in this production.
This adaptation by Lindsay Price of Chaucer’s anthology roughly follows the original storyline, where a group of pilgrims travelling from London to Canterbury hold a storytelling contest to pass the time while on the road. Put aside any preconceived ideas if you made it to the end while studying this voluminous classic at school. The rules have been blissfully bent for this interpretation, and regardless of whether you’re a thespian or an audience member, it’s impossible not to delight in the unexpected during this high-energy romp.
Exploring the themes of love, greed, jealousy, patience, betrayal and death through their storytelling, the mishmash of pilgrims form a dysfunctional family as they make their arduous journey.
All seven pilgrims deliver outstanding performances and include The Prioress (Carol Young), The Miller (Jason Robert Lester), The Reeve (Kristine Lockwood), Wife of Bath/Bertha (Ali Louise), The Franklin/Allison (Paris Jenner), The Cook (Juliette Patricia Botha) and The Pardoner (Peter Neaves).
If you’re a fan of the Garrick, you might recognise some of the cast from other productions, including Poe, Dreams of Madness. As each pilgrim acts out a story, the cast’s versatility is impressive as they play multiple roles and genders, while seamlessly transforming on stage or backstage in the blink of an eye, thanks to their clever costuming, props and characterisation.
Much like a drummer in a band, Hostess Erin Shay Horrigan (almost) keeps the raucous cast in line through her cheeky narration.
The equally talented acting troupe features Angus Le Cornu-Brown (Maude/Mary), Catherine Smith (Fox/Joanne), Ender Holt (King shared with Benny/Harold], Zane Holt (Absalon/Simekin/Jacob), Will Afanasiew (Astrologer), Piper Gibson (Dame Pertelote/Allain/Aurelius), Benny Peter Jordan (King shared with Ender), Olivia Keary (Dorigen/Agnes), Kaiden Breen (Chaunticleer), James Scully (Nicholas/Knight), Freda McColgan (Queen/Eveline), Riley Thomas (Auiragus/Waitress) and Eden Flynn–Radcliffe (Hilda/Eve/Aueline).
There wouldn’t be a production without a dedicated crew working tirelessly behind the scenes, that includes Eden Flynn-Radcliffe (Assistant Director/Choreographer and Props Manager), Chelsea Knight (Mentor Stage Manager), Isabella Melbin (Trainee Stage Manager), Virginia Moore-Price (Lighting Design/Bio Box Operator), Connor Barclay (Apprentice Lighting and Sound Operator), Ricky Penrose and Ian Lusted (Stage Crew) and Evelyn Holt (Costume/Wardrobe).
Keep a special eye out for the innovative set design, which features subtle changes between scenes, thanks to Paris Jenner and her set design and construction crew, which includes Ali Louise, Jack Pinder, Breanna Cooke, Ian Lusted, Piper Gibson, Eden Flynn-Radcliffe and other TAG members.
Established in 1932, The Garrick Theatre Club continues to entertain with its year-round performances, accompanied by complimentary tipples, snacks and old-world charm.
Canterbury Tales runs August 1st, 2nd, *3rd, 8th, 9th, *10th, 14th, 15th and 16th , evening shows at 7.30pm and *matinees at 2.00pm
Tickets: under 18s $15, Members $22, Concession $23, Adult $28
Sweeney Todd: The Demon Barber of Fleet Street Rating
★★★★★
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Opening night of “Sweeney Todd: The Demon Barber of Fleet Street” burst onto the stage at the Garrick Theatre on Thursday night 5th June 2025. Well, almost. The only apparent nerves came from the bio box (aka projection box), when a fuse suddenly blew just before the opening act, plunging half the stage into darkness. “Is there an electrician in the house?” was on the minds of the crew frantically finding a temporary fix. It was a testament to the cast and crew who handled the almost disastrous situation with professional ease.
Take Two. It’s often easy to forget that you’re watching community theatre at the Garrick. And Sweeney Todd was no exception. The breadth of musical talent wouldn’t be out of place on any main stage, except I was glad that it wasn’t, as the intimate Garrick Theatre is the perfect setting for such a macabre production.
In case you’re not familiar with the story, the gripping musical thriller by Hugh Wheeler is set in 19th-century London and centres around a barber seeking retribution. He takes up residence above Mrs Lovett’s struggling pie shop, who soon becomes his accomplice, and together they embark on a grim venture. Featuring adult content, the play explores the themes of love, loss, revenge, justice and corruption.
The talented cast is led by Finley award-winning Mark Thompson (Sweeney Todd) alongside the impeccable operatic notes and wonderful characterisation from Katie Nowland as Mrs Lovett. Their bittersweet union is intertwined with desire and revenge as together they delve into the dark side of human nature.
Returning to the musical theatre stage, Jeremy Beerkens plays Anthony, who is besotted with Johanna, played by the effervescent Lily Wakeling, whose exquisite voice has featured in Les Misérables, Peter Pan and Mary Poppins.
In complete contrast to Johanna’s ethereal presence, is her creepy guardian, Judge Turpin (played by Peter ‘Pear’ Carr, who has starred in over 100 productions around Perth) and his slimy side-kick Beadle (played by Ben Anderson) will make you wonder who the true villain is.
More outstanding performances include Corban Featon (Tobias), Nera Camponovo (Adolfo), Russell Fellows (Jonas), and Grace Edwards (two-time Finley winner) as the beggar woman and Lucy, and debuting at the Garrick. The support from the ensemble further brought the story to life, including Indya Lange, Breanna Cooke, Thomas La Cava, Carly Ranger, Genevieve Del Casale, Tim Sadleir, Louise Tucker, Kieran Smith, Andrea Zencich, Nikita Nankiville, Max Leunig, and Brandon Masters.
The tiny and minimalist stage, designed by Mark Nicholson (set design and construction/lighting designer), allowed the cast to shine against a simple backdrop, further amplifying the spookiness of the historic theatre established in Guildford in 1932, making it Perth’s longest-running community theatre. If only the walls could talk – and sometimes they do if you believe the haunting rumours.
The brilliant costumes by costumier Merri Ford enhanced the visuals while conveying the atmosphere of 19th-century London, further emphasised by the historic surroundings.
As with any community theatre production, it’s all hands-on deck with the multi-talented production crew, featuring Jason Blaine (Stage Manager), Ali Louise (Assistant Stage Manager and Assistant Props), Brody Lawrence (Stagehand) and Hamish Ford (Sound Operator) working tirelessly in the background.
Musician Ben Clapton debuts his role as musical director with “Sweeney Todd,” bringing the music and lyrics of Stephen Sondheim to life through the vocals and harmonies, creating an impactful and emotive storytelling experience. Paris Jenner also took on a debut role as a lighting operator, and was in charge of photography and props, including those suspicious pies.
Up-and-coming Director Rebekah Hannah drew out layers of light and dark from the talented cast, with plenty of humour balancing out the sinister moments from the production adaptation by Christopher Bond.
Running for almost three hours, the performance was so compelling and well-paced that it didn’t feel long; instead, it left me wondering what would happen next to the characters. Although it’s unlikely a sequel is on the cards, something tells me the Garrick Theatre’s rendition of “Sweeney Todd” will have its praises sung far and wide.
Running dates: June 5, 6, 7, 8*, 12, 13**, 14, 15*, 18, 19, 20 & 21. Evening shows at 7.30pm, *matinees 2pm and a special spooky midnight performance on at 11.55pm on the 13th June.
This was my first time at The Garrick Theatre in Guildford, where patrons are warmly welcomed by the smiling front of house team.
Those of us in amateur theatre truly know it takes the assistance of many people to bring a show to life, not just those on stage; whether it’s long-standing members of the group, or the spouses and family who have been dragged along to help out. The experience of live theatre begins from the moment you enter the venue and friendly faces and enthusiastic raffle ticket sellers ensure the evening starts on the right note.
It is that hard work and determination that makes up the premise for Midnight Murder at Hamlington Hall, and the age old saying ‘the show must go on’ no matter how dire things become.
It’s opening night of a new murder mystery. Seven of the cast are down with the dreaded lurgy and local councillors will be in attendance to decide the fate of the club’s funding and future. So, the Middling Cove Players’ director, two of the remaining actors, a stage manager who is only there to serve her community service hours and her 13-year old niece band together to ensure Midnight Murder at Hamlington Hall takes to the stage as planned. Juggling nerves, props, and absurd miscasting, will they manage to pull it off? Or will everything go horribly and terribly wrong?
Bringing nearly 60 years of theatre experience between them, Kirstie Francis and Sarah House have banded together to direct this Australian farce, written by Mark Kilmurray and Jamie Oxenbould.
Act one takes us behind the scenes as the Middling Cove Players’ arrive ahead of the evening’s performance. Stage manager Karen (Jay Shaw) is hard at work trying to fix the sound system, the group’s leading lady Phillipa (Meredith Hunter) is in the middle of her lengthy warm up routine, Director Shane (Jim Brown) who is not-so-secretly in love with Phillipa, is struggling to contain his nerves, and Barney (Jarrod Buttery), who can only be described as the person in any group you try to avoid, is ready to provide unwarranted advice.
When the cast receive the news that the rest of the players won’t be making it to the show, the obvious thing to do is cancel; but with the fate of the group’s future hanging in the balance, Director Shane decides there’s only one thing to do – the remaining actors will just have to play multiple roles.
The opening night crowd at The Garrick Theatre was clearly a mix of theatre lovers, and theatre folk; with many a relatable moment of life in the world of community theatre gaining a chuckle or slight cringe from those who know the feeling all too well.
After the interval, the stage is set, and The Middling Cove Players’ production begins, following a suitably awkward front-of-stage welcome by Director Shane, where various members of the audience audition unsuccessfully to fill some remaining roles until latecomer Richard (Jack Riches) is thrown backstage and cast into the spotlight. The production starts off well enough, but soon descends into chaos with the realisation that several of the characters being played by one person are on stage at the same time. To complicate matters further the group find themselves running out of time to finish the show with Jenny’s 21st Birthday party, complete with a DJ, due to start in the hall next door any minute.
Any farce strongly relies on the comic timing of its actors and can be a challenge to get right, but this talented cast of recognisable local actors are spot on; you can feel the tension and determination of their characters to ensure that the show does go on. Juggling multiple costumes, accents, and props can be tricky at the best of times, but the degree of difficulty to make the production look like a shambles (think The Play That Goes Wrong) requires a great cast and strong direction, which The Garrick Theatre Club delivered in spades.
Most groups often joke that you could write a play about the behind-the-scenes drama of amateur theatre because nobody would believe half of what goes on. So it’s a joy to watch when someone actually does, even if it does, at times, feel a bit too close to home.
Performance Dates: March 29 at 7.30pm April 3, 4, 5, 10, 11, 12 at 7.30pm March 30 at 2pm April 5 and 6 at 2pm Tickets: Adult $28, Concession $23, Members $22. Processing fees apply. Bookings: Phone TAZ Tix 9255 3336 or BOOK ONLINE
