A review of “The Life and Death of Harry Bennett” at The Sky Theatre, Manly.
Play Title: The Life and Death of Harry Bennett Playwright: Barbara Courtille Director: Annie Gurton Venue: The Sky Theatre, Manly. My Rating: âââ / 5
âThe Life and Death of Harry Bennettâ, by local playwright Barbara Courtille, tells the story of Harry Bennett, a celebrated investigative journalist who has spent his life trying to be the best by telling the personal stories of others. A strange encounter leads him to having to face his own story as he finds himself being led through the unknown by unsympathetic mystical beings. Whilst he is being encouraged to complete the unfinished business of a lifetime, this production provides the audience with a surreal and humorous look into the world of the beyond and the true meaning of life. On walking into the endearingly traditional proscenium-arched theatre, one is struck by the Manly Theatre Groupâs professionalism, creativity, and community warmth. Relaxation and anticipation begin immediately.
Professor Plimpt, played by Phillipa Coleman and Harry Bennett played by John Cross, opened the play with immersive energy and flare. Phillipa held us with her character believability and presence, and Johnâs commitment to role was top notch. The strength of this opening scene engaged and delighted the audience and set the tone for the unfolding of this amusing and complex tale. The Mother, Plants, Automaton and Yoga Teachers played by Liz, John, Dharma, Maureen, Sophia and Jessica, embodied their roles with presence, nuance and commitment. Working as a cohesive unit the storyâs complexities unfolded through the focus of each player in their role.
The stage of this glorious little theatre was utilised to great visual effect to create a minimal set that was successfully ambitious, fitting the space as well as the theme of the story. The strong, artistic, surreality of this story was creatively emulated through the costuming (or lack there of!) and prop design which was a delight to encounter for each character and scene; respectful nod to the designer and creator of the giant shredder and other seemingly impossible visual creations. Whether being surprised by the entrance of a fruity bike, empathising the need for tumeric-coconut chai over a speedy entrance into work or wondering at the prowess with which each performer wrangled their numerous and often bulky props the fullness of the creative design of “The Life and Death of Harry Bennett” will delight your interest.
One must also note the lighting and sound design which immersed the audience in the strangeness and clarity of this quirky tale.
Overall, this production is a viewing that will make you laugh and wonder. It is perfect for fans of comedy and the surreal and will leave you thinking about how one chooses to live their life, remind us that overwatering plants can be fatal and that maybe OH&S really is a necessity to manage lifeâs risks.
A review of “Le Chemin” at The Sky Theatre, Manly.
Play Title: âLe Cheminâ Playwright: Liz Eastland Director: Kathleen Walker Venue: The Sky Theatre, Manly. My Rating: ââââ / 5
âLe Cheminâ, written by Manly playwright Liz Eastland, tells the story of four strangers who embark on a pilgrimage to walk the Camino trails of the Pyrenees. As they journey through breath-taking landscapes and ancient villages, the physical trek becomes a voyage of spiritual self-discovery. Seemly unexplainable encounters lead to revelations and each travellersâ perception of themselves is challenged. Immediately on entering the theatre the audio-visual aesthetic sets the tone for the enticingly emotive journey that the audience will be taken on.
All seven of the actors in this play stole the show with their charismatic and believable performances as the charactersâ relationships with each other and themselves developed and blossomed. Roryâs opening as the Priest was righteous and empathetic, in equal measure. Ambreâs embodiment of the gentle and laid back Lene was absolutely compelling and we were frozen in time as she sang. Jodyâs strong, but unsure, Mallory presented truth in voice and movement. Christopheâs stoical but broken Henri was nuanced and clear. The positive outlook that oozed from Philâs Nick was polished and infused the play with joy. The Oracle was rightly fox-like thanks to Valentine Bru and Daisy performed Kathrynâs âinfluenceâ with hilarity and smooth vocal tones.
The delicately blue and white stuccoed, proscenium-arched stage of this glorious little theatre was utilised to great visual effect. The set varied and scenically clear, fitted the space as well as depicting the world of the story. The various characters and cultures depicted were gratifyingly given life through the carefully considered costuming and the choice of props and their use.
One must also make the point that the lighting and sound design engaged the senses by emotionally and physically immersing the audience in each scene, as the characters travelled through both the wilderness and the urban environment. The dynamic musical choices definitely kept the audience informed when crossing the border from France to Spain; uplifting to say the least.
Overall, this production is a must see for itâs heart-warming nature and stellar performances. It is a perfect 80 minutes (approximately) of wholesome and amusing entertainment and will leave you, quite possibly, wanting to take that journey that you have been promising yourself for far too long.
It takes innovative storytelling to script an approximate 10 minute play. In just a small sixth of an hour, there must be many elements that pool together succinctly to hold the audienceâs attention and to simply make sense. Just like a jigsaw puzzle as the minutes slide by, each piece that is put together slowly reveals more and more until, as the last couple of minutes creep up, the picture is complete and all is revealed.
The Manly Festival of Short Plays is one such puzzle, presenting twelve original Australian short plays performed by 39 actors from Manly Theatre Group. These plays are presented over a two week performance period, split into showcasing six plays in week one and six plays in week two. I watched the six plays plays in week 1 and was impressed with the tapestry of themes relatable to the modern audience.
The first play âCleared for Take Offâ was written and directed by Shelley Ross, an avian journalist. It takes us inside the cockpit of a QANTAS plane. Callum Horan, as the First Officer, is the newbie. Heâs clearly nervous about meeting the infamous Captain, played with believable super confidence by Lee Sarich. As a storm approaches when the aircraft is in the air, the First Officer is faced with life changing decisions. The First Officer is capable, we can see that, but the play focuses on his internal struggle with being able to have the bravery to question the decisions of his superior and follow his own instincts. The Captain has a strong authoritative leadership style, thanks to Leeâs commanding presence. Callumâs portrayal of the First Officerâs anxiety had me on the edge of my seat!
The second play âShred or Keepâ was written by Cassie Matheson and directed by Frank Byrne. This was a play featuring Phoebe Brian as Simone and Sophie Burton as Penny, Simoneâs mum. Set in the home office of Simoneâs deceased father, she is helping her mum sort out paperwork. Two boxes lay at their feet with the two words in the playâs title facing the audience. As they go through her fatherâs desk, Simone comes across something that shocks them both. The dialogue between mother and daughter is the key to this short play and is delivered perfectly by the actors. Sophie delivers Pennyâs pointed and not so pointed comments at her daughter in sharp barbs, and we feel Simoneâs reactions.
The third play before a twenty minute intermission was âGold Star Parentsâ written and directed by Chantal Harrison. It focuses on a ânew parentâ group, led by an overenthusiastic Barbara ( brilliantly played by Phillipa Coleman). The giant gold cardboard stars with the dangling safety pin was funny, and we laughed as she deemed some parents worthy of its status. This had a relatively large cast of six, a challenge for a 10 minute play for character development which they pulled off perfectly. Each character had their own family unit different from each other and their stories were examined in this short period. Well done to Charlotte Chandler, Claudia Limpert, Max Shadbolt, Chantal Harrison and Audrey Minami along with Phillipa, who shared the stage, as they bounced off each other to show the audience that there is no âone size fits allâ when it comes to family units and giving advice. There are messy moments and identity morphing when someone becomes a parent, and a parent group leader too!
After intermission, we saw âFaded Flowersâ written and directed by Annie Gurton. This is the story of two women, Iris, portrayed by Rowena Robinson and Rose, played by Caroline Pearce who meet through very different circumstances. This is a story of two homeless women, and the writerâs message of the social impact of homelessness in woman over fifty and the resilience of these woman was strong. Rowena played her character Irisâs positivity brightly, and Carolineâs Rose had an inner strength that shone through. I liked Irisâs cap, which was plentiful with pins. It made me think that in another life, this lady had travelled. How had it come to this, with her living in a car? Above all, the message of being kind, to each other and to have it bestowed upon you is a gift. These ladies are not faded flowers, despite the playâs title and their given names, but perhaps that is what we needed to remember.
The fifth play, âUnfolding Harryâ was written and directed by Barbara Courtille. An investigative journalist, Harry Bennett, played by Gavin Woodford sets out to uncover and expose a potential scam â that of Suzi Sock. Mina Vu portrayed Suzi with zen and mesmerising calmness, so much so, that her characterâs worldwide âSock Chiâ which earned her 50 million followers and no doubt a ton of money from her health retreats, seemed believable. This had a few exaggerated comedic moments in it, which the audience appreciated.
The last play, âLosing the Plotâ was written by Carlin Hurdis and directed by Paul Kininmonth. The originality of the story unwound itself, changed through the short ten minutes and I loved the ride! Cindy, portrayed by Angharad Thompson-Rees, first approaches Keiran, played with an innocent charm by John Cross, (an eco-cemetery manager) to enquire about a new age green burial. She feels this may well be the right final resting place for her globe-trotting, nature loving mum. The plot thickens, excuse the pun, as we come across a father and son carrying a corpse who intend to use this area to do this very same thing⊠an eco burial! With brilliant acting from Tony (the semi-retired hitman), portrayed by Jeff Parsons, Issac West as Marcus (Tonyâs reluctant son) and the return of Callum Horan to the stageâthis time as Darrell, a corpse (he previously played the First Officer in the opening play), Losing the Plotâs script delivered a fast-paced and hilarious experience!
Time flew watching these six plays, which is a testament to the skill of the playwrights. The themes were varied, and each performance was engaging and had the audienceâs attention. My two favourite plays were âCleared for Take Offâ with its suspense anxiety driven, yet comedic, script and âLosing the Plotâ. This collection of plays from the Manly Theatre Group showcases concise storytelling at its finest! Donât miss itâyouâre sure to be impressed and leave with a couple or more of your favourites too. It left me wanting to attend the second lot of six short plays.
Season run: 13 â 22 November 2025 Venue: The Sky Theatre. St Andrewâs Hall. 56 Raglan St Manly Tickets: www.manlytheatregroup.com
Two New Australian Plays (1 in 7 | The Audition Helpers) Rating
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1 in 7
Waiting rooms, particularly those of the medical variety, can be emotionally fraught places. People sit waiting for information, test results, that may possibly change their lives forever. Vivien Thomas in her first one-act play for Manly Theatre Group has chosen a hospital waiting room as the setting for an ensemble piece that focuses on a confronting statistic: one in seven Australian women will be diagnosed with breast cancer at some point in their lifetime.
While an ensemble piece, much of the focus is on the character Tina, who we soon learn can be abrupt at times. In the first few minutes of the play, Tina clashes with the clinic counsellor (played by Ella Green), finding the professionalâs demeanour too cool for her liking. It is clear that Tina is very stressed; she has been called back to the clinic because of a shadow on her mammogram. Sheâs a busy mother, evidenced by the phone calls she receives in the waiting room from her children asking âwhereâs my wetsuit?â and âwhatâs for lunch?â Tina, like so many other women, doesnât have time for cancer; too much depends on her being well.
Early on in 1 in 7, tears flow. Alongside Tina in the waiting room, is a woman distraught at the thought that her sister, who has left the room to receive her results, may have cancer. The other waiting women rally around her providing comfort in her moment of need. When her sister emerges, the news is good: she does not have cancer. After the pair leaves, the other women reflect on whether it is better to put on a brave face or to cry, letting out the distress one feels obliged to contain. Itâs a question that runs through the play. How do we deal with our emotions when confronted with our mortality?
Thomas has created a group of characters that anyone might expect to meet in any waiting room in Australia. Tina, played by Trish Donoghue, is a gutsy, salt of the earth Australian mum who is prone to rants about the cost of living and climate change. Liz Jewell plays Joan who has just retired. She and her husband have booked a trip of a lifetime to Europe. Will cancer upend her neatly planned future? Particularly poignant is Karen Pattinson as Mrs Collins. Her bombastic behaviour in the waiting room is a cover for a woman who is deeply distressed. She demands her test results, saying she does not have time to wait. We are again reminded of the life pressures so many women juggle each day. As Tina says: Be kind. We donât ever really know what another person is going through.
Manly Theatre Group’s Artistic Director Kathleen Walker, Vivien Thomas and the cast have done a great job in producing a performance that is highly topical and emotionally moving. Like a memento mori, the play is a reminder of how fragile and precious our lives are. We are reminded to support each other in our darkest moments, reaching out rather than retreating into the straitjacket of stoicism. The play is also a timely reminder of how stretched so many Australian women are by caring for others. Letâs remember to care for them too.
The Audition Helpers
Carlin Hurdisâ one-act play is a very tongue in cheek comedy that captures the back stage bitchiness of an amateur theatre group. Auditions are being held for a production of The Hound of the Baskervilles. Two unnamed âhelpersâ stand in a room coordinating the audition process. The helpers soon reveal themselves to be jaded, ânever-beenâ actors; both are on the wrong side of fifty, now relegated to behind the scene roles. Their dialogue is peppered with catty attacks masking the insecurity that so much of the acting world breeds.
The Audition Helpers might be described as meta-theatre. Certainly theatrical allusions are in plentiful supply throughout the piece. The helpers name-drop like there is no tomorrow, passive aggressively competing with each other as to who knows who in the world of (amateur) theatre. Particularly amusing is one auditioneeâs choice to perform a monologue from Edward Albeeâs satire The Goatâcue off-colour jokes about goats.
The cast clearly relish their roles in a particularly self-reflexive way. Both Gregory J. Thorsby and Frank Byrne capture the desperation of two over the hill actors determined not to be discarded. Their behind the scenes machinations lead to a particularly amusing (and sneaky) denouement. Alisan Smotlak is suitably over the top as the director who is clueless about what her helpers are getting up to. Danny Nercessian plays camp and goth perfectly doubling up as two very different auditionees. John Corrigan and Elaine de Jagger show great comedy chops also.
Hopefully we will see more of Carlin Hurdisâ clever work in the near future!
