Genesian Theatre

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.

Lord Arthur Savile's Crimes
Lord Arthur Savile's Crimes

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!

Lord Arthur Savile's Crimes
Lord Arthur Savile's Crimes

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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Witches, Daggers, And Dark Ambition: Macbeth Takes The Stage

Macbeth

Macbeth Rating

★★★★★

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Director John Grinston delivers a compelling interpretation of Shakespeare’s shortest tragedy, Macbeth, which follows the dark and ambitious rise of a Scottish general who murders his way to the throne, spurred on by his equally ruthless wife.

The production’s minimalist set – featuring a cloudy backdrop and simple, unchanging props – places the focus squarely on the actors and the power of Shakespeare’s words. While this approach demands strong performances to maintain audience engagement, the cast largely succeeded in bringing energy and verve to their roles.

Shakespearean dialogue, with its dense 11th-century language, can be notoriously difficult to render fluently. However, several actors navigated it with skill, making the text feel natural and immersive. Dimitri Armatas (Banquo) was particularly outstanding, delivering a consistently engaging and authentic performance. A standout moment came from Micah Doughty as Seyton, who stumbled in from a drunken night, weaving through the audience before joining his companions onstage. His delivery, in full Shakespearean fluency, was both amusing and believable, offering a rare moment of levity in the otherwise dark narrative.

 

As Macbeth, Jack Taylor handled the immense demands of the role well, especially considering this was his first Shakespearean performance. He had moments of true greatness, portraying Macbeth’s descent into tyranny with conviction.

Yvette Gillies played Lady Macbeth with admirable command, though her casting opposite a much younger Macbeth was an interesting choice. Indeed, some productions have depicted Lady Macbeth as older, emphasising her ambition, influence, and almost maternal guidance over her husband. Gillies’ Scottish accent was a welcome addition, lending authenticity to her portrayal, though it did contrast sharply with the rest of the cast, who spoke in more neutral tones.

Veteran actors David Stewart-Hunter (King Duncan) and John Benjamin (Doctor) added a seasoned presence to the production, bringing gravitas to their roles. Meanwhile, the trio of witches – Jasna Mars, Poppy Cozens, and Julie Burns – delivered some of the most engaging scenes of the night. Their cauldron scene, revealing the fateful prophecy that “no man born of woman can defeat him,” was particularly well-executed, creating an eerie, mystical atmosphere that resonated with the audience.

The Audience and Venue:
Opening night drew a predominantly older crowd, with more than half of attendees appearing to be over 50 or 60 – perhaps due to the presence of the actors’ families and longtime Genesian patrons. Shakespearean theatre may have a stronger appeal to older audiences, but productions like this have the potential to engage younger viewers as well.

 

More young people should experience Shakespearean theatre, as Macbeth remains strikingly relevant. While language and idioms have evolved, human nature has not, and the themes of unchecked ambition, moral corruption, and fate still captivate modern audiences. For students studying Macbeth, seeing it performed live provides an invaluable perspective on the play’s intricate dynamics.

The Genesian Theatre, at 2B Gordon Street, Rozelle, offers a viewing experience with well-tiered seating ensuring clear sightlines. The venue is air-conditioned (with two split systems), making for a pleasant atmosphere, as long as they remain on. The bathroom facilities are well-maintained, and the bar is excellent. Parking in the surrounding streets can be challenging, so allow extra time to find a spot.

Final Verdict:
This Macbeth was an enjoyable and well-executed production with a commendable cast and crew. While some moments could have benefited from greater consistency in fluency and intensity, the strong performances – particularly from Banquo, Lady Macbeth, and the witches – made for an engaging evening of theatre. Grinston’s direction, combined with Shakespeare’s enduring themes, ensured that Macbeth still has the power to thrill and unsettle, centuries after it was first performed.

To book tickets to Macbeth, please visit https://genesiantheatre.com/

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A Riveting Journey of Power, Pride, and Consequences

An Inspector Calls

An Inspector Calls Rating

★★★★★

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With its first twist, An Inspector Calls locks the audience into an intriguing labyrinth where the seven sins are put on trial and the reckoning begins. Playwright J.B. Priestley elevates what appears to be a straightforward police inquiry into a searing social critique, urging us to examine not just the corrupt elite, but our own part in the drama.

In the midst of their self-satisfied revelry, the Birlings receive an unexpected visit from an enigmatic inspector. A typical inquiry into a young woman’s suicide transforms into a scathing indictment of the far-reaching consequences of individual actions as he methodically unravels a web of arrogance, elitism, and social injustice. It’s a chilling reminder that no one escapes accountability—not even the seemingly untouchable.

While the script can feel wordy at times, with recurring motifs, the pacing unwinds steadily, allowing the tension to build. The choice to divide the play into three acts proves effective, with each act ending on a cliffhanger. The seven-member ensemble is finely tuned, expertly portraying their characters’ flaws and fatuities, ensuring the story remains engaging from start to finish.

Vincent Andriano, as Inspector Goole, serves as Priestley’s mouthpiece, evolving from a cheery, cordial demeanor into an imposing, omnipotent figure and ultimately an avenging angel. As Goole’s forceful nature emerges, his moral authority becomes both gripping and thought-provoking. Andriano’s expert use of pauses and knowing glances heightens the atmosphere most effectively.

Annabel Cotton and David M. Bond portray the Birling patriarch and matriarch, Arthur and Sybil, exuding an undeniable sense of arrogance and entitlement. Both share a striking similarity in their imperious natures, displaying an unyielding superiority that is both aggravating and all-too-recognisable. A distinctly nonchalant coldness.The audience is both repelled and riveted by their haughty hypocrisy.

 

An Inspector Calls
An Inspector Calls
An Inspector Calls

Thanks to the Inspector’s timely arrival, the younger generation has a chance to break free. Here there is hope. Eric and Sheila Birling both grapple with guilt, slowly awakening to self-awareness and truth-telling. Harry Charlesworth delivers a beautifully nuanced portrayal of Eric, a young man burdened with the weight of his family’s decayed legacy, offering a marked juxtaposition to his parents awful indifference.

Rebecca Liquorish delivers a commanding and layered performance as Sheila, capturing her transformation from naive arrogance to sharp moral clarity, a liberating journey from ignorance to self-expression. Authentic and compelling, Liquorish makes Sheila’s evolution both believable and redemptive.

Meredith Blee portrays Edna, the servant, with quiet dignity, reinforcing the sharp class divide and the Birlings’ indifference to those beneath them. Simon Pearce plays Gerald Croft, Sheila’s fiancé, highlighting how Croft’s seemingly benign demeanor and moral ambiguity mask deeper and more dangerous complacency. He embodies moral convenience, offering just enough charm to deflect scrutiny while remaining complicit in the darker actions of those around him.

An Inspector Calls is the perfect choice to inaugurate the Genesian’s new Rozelle premises. This lovely space effortlessly blends art deco with modern comfort and cutting-edge technology. The production’s Edwardian elegance shines through a rich colour palette and refined set design, with deep, opulent hues capturing the grandeur of the era. Family portraits, more than mere decoration, serve as proud emblems of the Birling dynasty, while Susan Carveth’s sumptuous costumes subtly underscore the social hierarchy.

Co-directors Ali Bendall and Mark Bull have crafted a tightly woven slow-burn, infused with a hint of the supernatural. The conflict between resistance and realisation is what truly holds our attention. We long for each characters’ moment of capitulation, as they squirm beneath the Inspector’s steady gaze and probing words.

This fascinating premise invites us to imagine a world where an inspector holds everyone responsible whereby our actions are judged, with no escape. As Goole states, “We don’t live alone. We are members of one body. We are responsible for each other.” Ultimately, we are all faced with an uncomfortable truth: accountability isn’t reserved for the wealthy, no matter how much we deny it. And one day, it may very well come calling.

For more details on this production, visit https://www.genesiantheatre.com.au/

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Feared and Revered – The Women of Shakespeare

Feared and Revered - The Women of Shakespeare

Feared and Revered – The Women of Shakespeare Rating

★★★★★

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‘Feared and Revered—the Women of Shakespeare’ at the Genesian Theatre amalgamates several of Shakespeare’s well-known characters, scenes, and plays with modern backdrops and ideologies. The play, written and directed by Tui Clark, transports its audience to a place where Shakespeare’s women are allowed to have complexities and contradictions all at once, other than the usual good/bad, married/unmarried dichotomies.

The Genesian Theatre itself added to the essence of performance. The beautiful stained-glass windows and intimate size made it easy to become part of the story, especially when actors would situate themselves in or around the audience for entrances or exits.

It was interesting to see how different soliloquies and passages were paired together to create a tapestry of womanhood and femininity of the past and present. I also loved the simplicity of the props and costuming. A tie or a feather boa was enough to symbolise a different character and the location in which these women found themselves together. I especially loved the technical elements that added to the themes of each scene. Layering voices that led into a beautiful delivery of ‘All the World’s a Stage’, from As You Like It to begin the show was a beautiful tie-in with the ‘stages’ of womanhood that followed.

The cast was an incredible collective of women who brought to life 30 women across Shakespeare’s collection of works. It was difficult at times to understand what was being said, but it made it feel more authentic, as a lot of Shakespearean language was completely made up. All audience members were in the same boat when it came to simply listening to the dialogue rather than taking in the context in which it was being said.

 

Feared and Revered - The Women of Shakespeare
Feared and Revered - The Women of Shakespeare

Some of the more famous monologues or characters were much easier to spot, but the lesser-known characters or plays had to be viewed in context. It’s important to remember that you’re not supposed to grasp the meaning behind each word spoken immediately, but the way the words are spoken and in which scenes they’re performed in.

Among the talented cast, Liz Grindley stood out with an exceptional stage presence and managed to capture the essence of Cleopatra (among others) in her final moments. The ease with which she moved around the stage and carried each woman in her words and body made it difficult to look away from her, even when she was not speaking.

Charlotte Bromley gave her all to each character, whether the provocative Witch from Macbeth or the hysterical and grieving Ophelia. Bromley captured the audience’s attention and gave them a performance that transcended language.

The closing monologue from Taming of the Shrew, performed by Ali Bendall, was delivered with such reverence and emotion that I had to immediately go and search it up just to read it again. Despite obviously being written by Shakespeare several hundred years ago, Bendall made it her own. In those few moments, I was completely in awe of what was coming out, and you could have told me that she wrote it herself or went off script to say what she was thinking, and I would have believed you.

I recommend grabbing a ticket for yourself and some friends and family to see this beautiful performance before the curtain closes. Even if you don’t know a lot of Shakespeare, these women bring their own elements to the timeless dialogue that draws you in and captivates.

Don’t miss out on these remaining performances – Wednesday, 23rd, and Thursday, 24th October at 7:30pm and Saturday, October 26th, at 2:30pm.

Grab your tickets from https://GENESIAN.sales.ticketsearch.com/sales/salesevent/138915

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