Genesian Theatre

Jane Eyre: Brings The House Down

Jane Eyre

Jane Eyre Rating

★★★★★

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Genesian Theatre is going out with a bang with this endearing production of Jane Eyre. Like its titular character, the show is small and mighty, brimming with confidence, and is a fine send off before the theatre relocates to its new premises.

I’m not an easy critic when it comes to Jane Eyre. The novel by Charlotte Bronte is one of my childhood favourites, and I was fortunate enough to catch Sally Cookson’s tremendous adaptation at the Bristol Old Vic ten years ago. But writer/director Ali Bendall’s version, brought to life here, is an honest and enjoyable romp through Jane’s life, which steers away from the more dire moments and instead concentrates on the protagonist’s wit and resilience.

Orphaned Jane, played by the spirited Kyra Belford-Thomas, manages to escape her nasty aunt’s home by getting herself sent to school at Lowood. There, she transforms into an educated young lady, but teaching at the school still feels like a trap. Jane longs to escape her cage and sets off to become a governess at Thornfield Hall, where she soon falls in love with the enigmatic Mr Rochester, played with bristling charm by Vincent Andriano. The play is backed by a strong supporting cast, who occasionally do double duty as schoolgirls (regardless of age or gender).

 

Jane Eyre
Jane Eyre
Jane Eyre
Jane Eyre
Jane Eyre

The set makes full use of the Genesian’s unique layout, with the stained glass on magnificent display and secret doors and windows creaking open. There’s a great deal of stuff on stage, knickknacks and bric-a-brac, which are brought out to serve as tables, chairs, library books, or whatever else is needed. The multiple levels and entrances give the small stage a lovely sense of dynamics and movement.

Brendall notes in her forward that this version aims to highlight Jane’s wit, and so our heroine frequently breaks the fourth wall to address the audience. This is meant to be a parallel to the way Jane conveys her story in the novel (“dear reader”), but for me it didn’t quite work. Scenes that should be full of tension, a long look between Jane and Rochester, for example, are broken by Jane turning to us and explaining what she’s feeling. Instead of frisson, the moment fizzles out. It’s an injustice to the actors that we don’t get to ascend those heights of feeling with them.

That aside, it’s a highly enjoyable adaptation. I can understand why certain narrative cuts were made, and they don’t detract from the overall arc. Jane’s love for Rochester feels rushed, but we can forgive a few shortcuts in the name of romance.

This was my first time visiting the Genesian, and I’m disappointed not to have caught more shows here before it moves on to its new premises. Jane Eyre is a high-calibre, thoughtful, and spirited production that is a delight, whether you’re a fan of the novel or not.

For Jane Eyre tickets, please book at Genesian Theatre

Season: 5th Oct – 10th Nov 2024
Friday and Saturday nights at 7.30pm
Sunday matinée at 4.30pm

Running Time: 3hrs 5mins including 20min interval

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Murder On The Nile: An Agatha Christie Whodunnit

Murder On The Nile

Murder on the Nile Rating

★★★★★

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2

Agatha Christie’s mysteries are a staple of the page, stage, and screen, but once we know ‘whodunnit,’ why do we watch them again? The great attraction of a mystery is, after-all, the mystery.

Murder on the Nile is Agatha Christie’s stage adaptation of her own novel, Death on the Nile, and many people would have experienced the story in the past, likely through one of the thirteen billion BBC adaptations. But don’t let that stop you from enjoying it again.

When a beautiful and wealthy heiress and her new Husband join a luxurious paddle steamer on the River Nile, they run into past acquaintances seemingly by coincidence. Joined by an eccentric old crone, an emotionally volatile doctor, and a communist aristocrat, rising tensions on the claustrophobic steamer in the Egyptian heat eventually leads to murder. With no one able to leave, the murderer must still be on board. Can they find the killer before they kill again?

The current production at the Genesian Theatre attempts to be a fresh take on this old classic, keeping the story engaging even if you know the outcome. Staying true to the original setting and plot, solid direction by Theo Hatzistergos along with an energetic cast really balances the mystery, drama, danger, and humour in equal measure.

Embedding comedic relief within the most dramatic moments, rather than drawing attention to themselves, was the right choice. It kept the play from becoming too serious while maintaining suspense. I particularly enjoyed Miss Ffoliot-ffoukes’ self-centred reaction to the news of a murder in the room adjacent to hers; ‘but they could have murdered me!’ The role was played wonderfully by Sandra Bass.

The rest of the cast was also superb and everyone seemed well-suited to their character. David Stewart-Hunter as Canon Pennefather commanded the stage with a perfect mixture of scoundrel, advisor, and detective. There were a few moments where the cast seemed to forget a line, but their ability to improvise and roll along until they got back on track was respectable and never caused me to fall out of the story. I doubt most people in the audience even noticed.

Murder on the Nile
Murder on the Nile
Murder on the Nile

The set was a simple but grand depiction of the steamboat’s public parlour, with the ever-present statue of Anubis, God of the Underworld, watching over the cast whilst foreshadowing murder. The audience had a good chuckle as a pot-plant was pulled along in the background to signify the paddle steamer was on its way down the Nile, which I asume was intentionally fun.

The feeling of ‘cabin fever’ intended by Mr Hatzistergos by limiting the set to the public parlour worked well, and also saved the story from losing momentum during a potentially lengthy scene change. The sound design added atmosphere, from the crowds of Cairo to the engine of a steamer on the water. Gunshots and light effects literally made the audience jump out of their seats in fright. Much to their delight. The costumes too, were suitable for the 1950s time period and social standing of the characters.

The audience around me were totally hooked. Those who didn’t know the story were constantly whispering to each other about who they thought was going to be murdered, and then who did the inevitable murdering. You can’t help but appreciate encouraging this kind of engagement. Those who already knew the story enjoyed the strong performances and cheeky humour, along with Agatha Christie’s wonderful dialogue, making this journey down the Nile just as much fun as the destination.

Even if you know whodunnit, you’ll still enjoy this classic tale of jealousy, conspiracy, and murder. Murder on the Nile is currently playing at the Genesian Theatre in Sydney until the 21st of September.

Season: 10th August – 21st Sept 2024
Preview night 9th August
Friday and Saturday nights at 7.30pm
Sunday matinée at 4.30pm

Running Time: 2hrs 15mins including 20min interval

https://www.genesiantheatre.com.au

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Hay Fever: 100 Years Of Fun

Hay Fever

Hay Fever Rating

★★★★★

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It’s been 100 years since Noel Coward wrote his absurd comedy Hay Fever, and it’s played in theatres worldwide. Told in three acts, it follows a weekend in the Bliss family home, each of which has invited a guest over for the weekend without informing the others. When the guests arrive, the eccentric family’s theatrics and bickering cause plenty of absurdity and laughs.

Jason Darlington makes his directorial debut at the Genesian Theatre on Kent Street in Sydney, keeping the play set in the 1920s as originally written. Even in a modernised contemporary setting, this story would still make a testament to the timelessness of Coward’s writing, but it was fitting to go back to the decadence, style, and vocalisation of the 1920s when it was originally written.

The set design and associated props were spot-on and drew me into the Bliss household. The little details, such as the bookcase, staircase, picture frames, and period-correct china and tea set, really help draw the audience into the world. The 1920s costumes provide a strong sense of time and place, and my favourites were Sorel’s evening dress and Myra’s Flapper outfits.

The play has a large cast, including four members of the Bliss family, their housekeeper, and four guests. The performances from the cast were thoroughly enjoyable, as were the haughty and snobbish upper-class British accents. Maintaining the humour and timing of the dialogue is challenging, especially on opening nights, but the ensemble accomplished an excellent job.

Hay Fever
Hay Fever

Each character gets plenty of stage time, with the second act broken down into several sequences where a successive pair of actors dominate the stage. The jokes, the timing, and the energy all work well, with Zoe Wilson as Sorel Bliss and Elizabeth MacGregor as the matriarch Judith Bliss being especially noteworthy. Judith is a retired actress, and her subsequent theatrics were a lot of fun.

The story itself is quite soft and situational, and it’s not trying to be anything more than an absurd little romp. Much of it seems outlandish, like how quickly the characters seem to fall in love with each other, but given the theatrical and creative background of the Bliss family, it suits the characters and makes enough sense to be fun. The audience enjoyed many laughs, especially towards the end of the second act.

Despite some opening night quirks, Hay Fever is an energetic, fun, and worthwhile experience at the Genesian Theatre. Its lively performances make it a production worth your time.

Hay Fever runs from 22nd June to 27th July, with sessions running on Friday and Saturday nights at 7.30 pm and a Sunday matinee at 4.30 pm.

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Let’s Kill Agatha Christie – Plotting and Suspects in a Grey Room

Lets Kill Agatha Christie

Let’s Kill Agatha Christie Rating

★★★★★

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3

I didn’t know what to expect with a title such as this one, ‘Let’s Kill Agatha Christie’. Murder? Mystery? Plot twists, a curious and confident detective, and the Big Reveal at the end? Ms Agatha Christie serves as the contemporary writing adversary to the main character, Prudence Sykes (flamboyantly played by Caitlyn Clancy).

Although Agatha Christie does not appear in this play, her presence is felt – she is in the room, the aptly named Grey Room. Thanks to the director and set designer Gregory George, everything in this room, including the flowers and the fireplace, is grey. We are told that other rooms in the house are all painted different colours. Perhaps the reason the sitting room in this grand English mansion is grey could be because it reflects how Prudence feels inside, her insecurities, or maybe because it provides the backdrop and accentuates the characters’ colourful personalities.

Prudence, a prolific author of many novels (27, not 28 as one was rejected by her publisher) craves success as her crime novels have not reached the popularity of Agatha Christie. She desperately wants recognition and to be respected as a writer. Prudence hatches a plan. She invites three of her known enemies to her house and plants a script for them to find, giving each of them a reason to kill her.

The genre of the murder mystery thriller is explored, and The Genesian Theatre Company kept the audience guessing as to what was going to happen next. Michael Schell, who created the lighting and sound design, made full use of creating a dark atmosphere, especially with the music that played to open both the first and second act.

As each character was announced into the sitting room by the sardonic butler Tombs (played by Peter J Donnelly) I was already wondering who going to be the murderer.

Let's Kill Agatha Christie
Let's Kill Agatha Christie

Prudence’s guests were all successful – a self-made millionaire named Sir Frederick Belting, a successful poetess named Marjorie Field and a famous actor John Hartley – Miles. Theo Hatzistergos appeared to have fun portraying a pompous and arrogant Frederick, ordering Tombs to get his luggage from his car, (a Rolls Royce,) which he drops into the conversation several times. Natalie Reid returns to The Genesian Theatre to play Marjorie, who tries multiple times to recite her poetry aloud, despite the protestations of the other guests, which made the audience laugh. Bryan Smith brings the actor John to life in the play, giving him a nervous yet quite kind disposition.

A few more characters completed the cast, with Denise Kitching (Montgomery) as Angela Teal, Prudence’s PA, Andrea Blight as the shuffling and stooped Gladys the housemaid, who drew quite a few laughs due to her character’s personality, Brendan Layton as Inspector Murray and Harry Lewis as PC Crockett. Their accents were believably British for most of the performance and the costumes for all characters by Susan Carveth were convincing of the time period.

This play had a comedic element which ran all the way through. Veiled insults thrown at each other and clever quips were woven into the dialogue. Other times the comedy was physical – the top step tripping up the characters became a running theme, and it was funny watching how different characters dealt with this tiresome step.

‘Let’s Kill Agatha Christie’ was written by Anthony Hinds after he retired from making horror movies and published in 1990. It was an entertaining homage to the mystery murder genre and to Agatha Christie.

I watched the opening night’s performance on Saturday May 4 and it ran for 2 hours with a 20 minute interval. It is playing on Fridays, Saturdays and Sundays until the 8 June 2024.

The Genesian Theatre 420 Kent St, Sydney. Tickets from $30

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