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The Wolves present: Marooned

21 November 2024 Amanda Lee Starkey

Marooned Rating

★★★★★

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The lights go up to illuminate a minimalistic stage with clouds floating on a screen behind, as we are introduced to our cast of characters.

We are in a waiting room of sorts; perhaps it’s purgatory, or it may be a processing room, but as the scene unfolds, we eventually learn it’s a room for those that have failed at committing suicide.

As we meet our nameless characters, from our antagonist, known only as 379, to our young peacemaker 134, businessman 1620, and the only woman 786, through a series of conversations, we slowly learn what has brought each person to this space.

Whether it is a failed life, illness, divorce, sexuality, or just uncertainty, we learn about the insights of each character. Like an overripe onion, layers are slowly peeled away to reveal the deep personal pain and the lessons each character must learn.

Each character must face their demons in the hostile space that is this waiting room, deciding whether they want to live or die. They begin by being in denial of the ending of their lives, as they share their stories we see their humanity evolve, and we begin to see regret, heartbreak and pain in each person. It’s compelling to watch as we learn of the struggles of each individual.

The play delves into some very deep issues of the human psyche and explores them on a level that is thought-provoking and compelling.

As we learn of each character’s complexities it’s hard to decide how to feel about each person and their journey to this space. Each character comes from a diverse background and each has unique reasons for being in the waiting room.

The play is a powerful exploration of a serious topic and it is unafraid to explore such a complex subject. However, it is done in a manner that is provocative and emotional. Each actor brings a rawness to the performance, and all of them are exceptional in their respective roles.

Marooned is a piece of theatre that will leave you feeling a little shocked, rattled and is an exceptional piece of work that is an absolute must see for all lovers of the arts.

To book tickets to Marooned, please visit https://alextheatre.au/marooned/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Amanda Lee Starkey

Verona Takes Centre Stage in Shakespeare-In-Between: Romeo & Juliet

16 November 2024 Emelia May

Shakespeare-In-Between: Romeo & Juliet Rating

★★★★★

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Romeo and Juliet, famously, only had eyes for each other. But what about the rest of poor old Verona? Enter ‘Shakespeare-In-Between: Romeo & Juliet’. In a new play created by Scott Jackson and Sorcha Breen, the townspeople of Verona are plucked straight from the margins of Romeo and Juliet’s romance and into the spotlight, revealing the hidden tensions, messy relationships and unlikely friendships across feuding houses.

As the Bard himself would say, ‘All the world’s a stage,’ and for this show, it couldn’t be truer. Set outdoors among flowering gardens, brisk breezes and the striking silhouette of a Victorian bluestone church, ‘Shakespeare-In-Between: Romeo & Juliet’ offers a little slice of Renaissance Italy in South Melbourne. Nature plays a leading role in fair Verona’s story: golden sunsets bathe star-crossed dallies, giving way to eerie twilight skies and the darkness of nightfall as misfortune and grief take hold. In a town doomed by the narrative, the passing of day only made it all the more inevitable.

Admittedly, my ‘Romeo & Juliet’ knowledge was a bit dusty going in. High school English and a few blockbuster flicks left me with only the broad strokes (boy meets girl, mum and dad disapprove, preventable tragedy ensues). For proper buffs, following along might have been a real ‘Shakespeare in the Park’, but I found myself losing the thread here and there. Perhaps a narration of some sort could have helped us novices stay on track with the plot – though to be fair, it’s one of the most famous plays ever written, so that might be on me.

That said, I thoroughly enjoyed the characters, even when I couldn’t quite place their original roles. And there were plenty of them too! The small cast of nine took on some thirty parts, juggling a number of personalities at the drop of a velveteen doublet.

Underexplored characters flourished in ‘Shakespeare-In-Between: Romeo & Juliet’: Rosaline (Seon Williams) reclaimed her role with headstrong resolve, while Peter, the bumbling butler (Scott Middleton), provided plenty of comic relief. The Nurse (Helen Hopkins) was delightfully extra, and Paris (Oscar Morphew) hilariously daft.

Meanwhile, familiar figures like Lady Capulet (Renee Palmer), Lord Capulet (Myles Tankle), Tybalt (Jett Chudleigh), Mercutio (William Hassal), and his companion Balthazar (Wolfgang Reed) brought depth and loads of charisma to their roles, commanding attention with every appearance. Together, their portrayals offered a compelling glimpse behind the curtain of the tragic teen tryst – and the destruction left in its wake.

‘Shakespeare-In-Between: Romeo & Juliet’ brings together a versatile cast of actors, comedians, musicians – even swordfighters (seriously, I’m expecting swordfights in every play now). Their talent packed into one cohesive, dynamic ensemble made for a fantastic showcase of Melbourne’s independent theatre scene. Bravo!

Pack thy best picnic blanket and join the good people of Verona for an evening of wit, music and top-notch live theatre. ‘Shakespeare-In-Between: Romeo & Juliet’ is playing at St Kilda South Port Uniting Church until November 23 – to miss it would be a tragedy.

To book tickets, please visit https://events.humanitix.com/shakespeare-in-between-romeo-and-juliet

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Peter And The Starcatcher

15 November 2024 Rebecca Rose

Peter And The Starcatcher Rating

★★★★★

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Ever wonder how Peter Pan came to be in Neverland? Or how he got his name? Or the exact means by which Captain Hook ‘acquired’ (or perhaps I should more accurately say, ‘required’) his hook? Well, wonder no more, as ‘Peter and the Starcatcher’ gives us the prequel to Peter Pan that we never knew we needed to cover all of these questions and more.

Winner of 5 Tony awards, and written by Rick Elise, Peter and the Starcatcher is a feast for all the senses, and a production the whole family can enjoy.

Although the play is a prequel to Peter Pan, you really don’t even have to know anything about Peter Pan (but I think everyone knows the story, whether they want to admit it or not!) to enjoy this production as a stand-alone story. But of course, knowing the story and characters of Peter Pan will make the show much more enjoyable; you’ll simply get so much more out of the very clever writing and humour.

The story begins out at sea, and you’ll be forgiven for taking a bit of time to get up to speed with the characters and story, as you are thrown right into the depths of this fast-paced production from the start. But once you orient yourself with the different characters and how they relate to the well-loved classic, Peter Pan, you can sit back and enjoy the ride.

And what a ride it is! The show is a feast for the senses with beautifully crafted sets, costumes, music, and stunning puppets. There is dancing, singing, live musicians on stage, and oh, the humour and comedy!

The show is marketed for all ages, including kids 8 years and older. But I would question how much the younger kids would actually understand. It is a fast-paced show, especially in the dialogue, which is extremely well written. Almost every line seems to have some sort of joke, pun, or reference linked to it, and with the fast pace of it all, I am sure I missed some of them. So although the kids may not understand it all, there is still so much they can enjoy visually and musically from this production.

Having live music played on stage was lovely, and weaving the musicians in and out of the scenes on the rolling pianos and stages was a nice touch.

The puppets were a beautiful addition to the play, really adding a lovely magical feel. And the actors did a great job in the puppetry on stage, brining to life a variety of animals.

The different sets, lighting, and costumes were a visual smorgasbord and feast for the eyes. Talk about some impressive costumes (keep an eye out for the mermaids!).

The cast were a joy to watch together, with some very strong performances shining though.

Olivia Deeble commanded the stage and really showcased her amazing talents in acting, singing, and dancing. She really is brilliant as the leading young lady, Molly: the character who we learn turns out to be the mother of Wendy in the Peter Pan we are familiar with.

Colin Lane was another standout performance and brilliantly cast as the hilarious ‘Black Stache’, the pirate captain who we know as Captain Hook. Lane stole the show with his witty humour; at times clearly off-book with some jokes, but never allowing it to be out of line with the show or his character.

If you are looking for a show that brings you a lot of joy, magic, and laughter, Peter and the Starcatcher is just what you need. A great production to bring the whole family along to enjoy.

Peter And The Starcatcher is playing now until the 1st December.

To purchase tickets please visit https://peterandthestarcatcher.com.au/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Madwoman Monologues

13 November 2024 Amelia Williamson

Madwoman Monologues Rating

★★★★★

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The Butterfly Club has once again been set alight by brilliantly talented performers as part of the final season of Madwoman Monologues.

The show is produced by female-oriented theatre company Baggage Productions. Founded in 1999, Baggage Productions has staged Madwoman Monologues every year since 2011, bringing together actors, directors, and creatives from the Melbourne region.

Programme One of this season’s Madwoman Monologues sees six monologues encompassing loss and heartbreak as an overwhelming theme.

Opening with ‘Moll’s Wighty Task’ performed by Melina Wylie, the audience welcomes her abundant technical skill and dedication to character. Following the story of a widowed Englishwoman, Wylie explores hilariously absurd ideas with bold confidence, before slowing the monologue down toward its grief-stricken cornerstone. Between detailed costuming and carefully placed accenting Wylie’s monologue was able to leave a lingering shadow throughout the night.

‘Scrub’ written by Louise Hopewell is performed by Kate Mulqueen. The successive monologue offers an effective contrast as the audience follows the story of a millennial-aged woman beginning a new job on a construction site after losing her partner to an affair. The script offers an abundance of hilariously put profanity, with supportive use of props and stage design adding to an indulgent use of characterization. Mulqueen’s performance is heartening, relatable, and soul-bearing as she intertwines the tragic loss of family members throughout her story.

Alice Daly took to the stage next with her performance of ‘Buttered Toast’ by Isabella Gilbert. Gilbert’s stunning script paired with Alice Daly’s committed performance made for a highlight of the night. Audiences were entertained with Daly’s dictation of a hilariously awkward first date, and charmed by her commitment to numerous comedic demands.

‘Anything’s Possible’ performed by Phoebe Taylor, written by Adele Shelley earned a wave of praise from the audience. Her story follows the chaotic life of a mother wiggling her way out of an inconvenient run-in with a police officer. Taylor pools humor and lively storytelling together to create one ever-relatable monologue.

The evening was halted by a sweeping performance of ‘Hole’, written by Sarah Durickovic and performed by Melanie Madrigali. The profoundly emotional monologue featured a well-crafted representation of a woman suffering tragic loss and deep sorrow. Madrigali delivered an emotionally charged series of thoughts with utter devotion, despite the direction of the monologue being at first unclear.

Co-founder of Baggage Productions and esteemed actress Christina Costigan closed the program with ‘ICDHT’ written by Kate Rotherham. ‘ICDHT’ tells the story of a mother dealing with heartache through cold morning swims, as advised by her therapist. Her story is hilariously bold, inspiring, and gripping as she commits with total devotion to her character.

The annual Madwoman Monologues are particularly special for they are written by women and performed by women. Each monologue explores grief and loss, comedy, and the charm of small wins in the lives of everyday women. The production brings together communities of actresses, creatives, and audiences to appreciate female talent in writing and drama. Madwomen Monologues is a more than pleasant way to spend a low-key night in Melbourne CBD.

Book in now for one of the remaining session dates/times @ https://thebutterflyclub.com/show/madwomen-monologues

Remaining Shows
Wednesday 13 November 2024 7:00pm
Wednesday 13 November 2024 8:30pm
Thursday 14 November 2024 7:00pm
Thursday 14 November 2024 8:30pm
Friday 15 November 2024 7:00pm
Friday 15 November 2024 8:30pm
Saturday 16 November 2024 7:00pm
Saturday 16 November 2024 8:30pm

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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