Melbourne Theatre - Whats The Show

A Case For The Existence of God

21 April 2024 Megan Davis

A Case For The Existence of God Rating

★★★★★

Click if you liked this article

“A Case for the Existence of God”, presented at the Red Stitch Actors Theatre, offers an intimate and thought-provoking theatrical experience propelled by the exciting performances of Kevin Hofbauer as Keith and Darcy Kent as Ryan. Directed by Gary Abrahams, with set and costume design by Jeremy Pryles and lighting design by Sidney Younger, this production skillfully navigates complex themes of friendship, class, and the quest for meaning in a small-town Idaho setting.

The play unfolds over 75 minutes without intermission, with Hofbauer and Kent portraying the only two characters in the play, Keith and Ryan, respectively. Their performances are nothing short of mesmerising, drawing audiences into the intricate dynamics of their relationship as they navigate conversations ranging from mundane – home loans to profound – what it means to be a good parent. The Red Stitch ensemble members deliver truthful and honest portrayals, infusing each moment with raw emotion and authenticity.

Set against a minimalist backdrop of a desk, two chairs, and a few props cleverly used to indicate different locations, the production creates a sense of intimacy and immediacy. The staging, set on a platform set in water resembling an island, serves as a poignant metaphor for the isolation and connection experienced by the characters. Despite the simplicity of the set, the actors effortlessly transport the audience to various locations, showcasing the versatility of their performances.

“A Case for the Existence of God” explores themes of hope, male friendship, and coming to terms with life when it doesn’t go according to plan. Playwright Samuel D. Hunter’s script delves into the complexities of desire, such as the desire for love, connection, and to leave a legacy for our children. In an interview, Hunter shared that his desire for the play was to leave audiences with a sense of hope. This sentiment resonates deeply throughout the production.

One unusual aspect of the production was giving Ryan, a character born and raised in Idaho, a Southern accent. While executed skillfully by Kent, this decision seemed inconsistent with the character’s background and upbringing as someone who had lived for generations in Idaho. It momentarily distracted from the overall experience and otherwise immersive storytelling, highlighting a potential inconsistency in character portrayal.

Nevertheless, the strength of the performances, direction, and thematic depth of the play outweigh it. “A Case for the Existence of God” is a testament to the power of the cast and crew to provoke thought, evoke emotion, and inspire contemplation. Hunter’s poignant exploration of faith, doubt, and male friendship is brought to life with nuance and sensitivity by the talented cast.

“A Case for the Existence of God” at the Red Stitch Actors Theatre is a must-see production. With stellar performances, imaginative staging, and resonant storytelling, this play invites audiences on a journey of discovery and existential inquiry. Under Abrahams’ direction, the ensemble delivers a captivating performance that lingers. The production shows from April 13 to May 12 in East St Kilda.

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.

Spread the word on your favourite platform!

Murder Village: An Improvised Whodunnit

28 March 2024 Karen Yee

Enter a world of mystery and intrigue where the classic tales of Agatha Christie come to life in unexpected ways. This thrilling new show is back by popular demand and promises to keep you on the edge of your seat with all new improvised tales of murder and mayhem in response to audience cues.

Each performance is a unique puzzle crafted live before your eyes. It’s up to you to piece together the clues and guess the murderer before the amateur sleuth does. With an ever-changing storyline and an unpredictable cast of characters, this show will keep you guessing until the end.

So, do you want to visit the quaint little post-war English town called Murder Village? It’s open to you and 75 other tourists for an hour every night except Mondays for the next four weeks until April 21 for the duration of the Melbourne International Comedy Festival. Will someone die? Will they have been… um… murdered? With a candlestick or a rope? Will they have been at the centre of an intriguing conflict involving several suspects who all have a motive? Will the detective be assisted by an amateur sleuth who solves the mystery despite the red herring?

I would say probably not a candlestick or a rope (sorry, Cluedo fans) because you and the 75 other tourists will actually get to suggest the weapon in question, and I’m sure you are all much more imaginative than that. Take your phone because if you scan the QR code provided, you can also virtually vote on who the victim and the murderer will be (you have a choice of four) and can suggest the nature of the village event (is it always a fundraiser?) preceding the murder, as well as the clue that the case rests upon.

So, let me tell you a bit about my excursion to the village on opening night. As I climbed the many stairs and entered deeper and higher into the iconic venue, which is the Butterfly Club, for the first time, I found myself waiting alongside the other tourists in a dimly lit narrow lounge filled with knick-knacks, portraits, small flickering TV, mirror – the quirky otherness was the perfect transition from reality to the escapism that is Murder Village. The narrow theatre worked perfectly, with tiers that ensured there were no bad views.

Tonight’s host was Miss Artemis Martin (Louise Fitzhardinge), our shrewd whodunnit novelist (Agatha?) and our MC/narrator/unimaginative police officer was Detective Inspector Owen Gullet (David Massingham). We were introduced to Lady Clarissa Spalding (Candice D’Arcy), an excessively wealthy widow and best friend of Marion Kind (Amanda Buckley), a boisterous wartime entertainer.

Eddy (not Teddy) Brewster (Rik Brown), an Earl of Wooster, has bought the rights to Marion’s songs so that only he will profit whenever she performs, leaving her destitute. His respectable butler, Eames Chair (Rhys Auteri), has tarred feathered himself and picked up broken glass with his bare hands to serve his master. Eddy dies on a serving platter with a sharp edge that accidentally, on purpose, severs his carotid in a hilarious death scene. True to the genre, all three suspects are hiding something, but Artemis’s intellect uncovers Lady Clarissa as the murderer, and we are privy to her confession enacted as a flashback.

The population of Murder Village was 84, but now that Eddy is dead and Lady Clarissa is put away, there are now 82 possible people left to entertain you when you visit. So, the plot will be completely different based on your input. If you are like me, you will be so carried away by the fun energy of the performances you’ll have to remind yourself that the actors didn’t know the details of the plot beforehand – it all just unfolds before them, as it does for us. Musician Terrence Mudwater Junior (Jaron Why) improvised the background music on the keyboard (piano/strings sound). This underscored the action so well without drawing undue attention to itself that I had to remind myself someone was playing.

So, enjoy your excursion to Murder Village! I know I did.

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.

Spread the word on your favourite platform!

OZ Acts As You Like it

25 March 2024 Jessie Fitzpatrick

OZActs’ rendition of William Shakespeare’s “As You Like It” at the Williamstown Botanic Gardens provided an accessible and high-quality theatrical experience.

Despite rain earlier in the day, the setting of the Botanic Gardens provided a perfect backdrop. The atmosphere outside the performance space was immediately immersive, with people dressed in period costumes milling about, playing music, and interacting with the audience before the show commenced.

One of the highlights of the production was Rosalind’s portrayal, whose expressive movements and charismatic presence captivated the audience from the start. Touchstone (the court Jester) also stood out, entertaining the crowd before the show and during intervals with his witty antics. He even indulged in playful banter with the audience, encouraging them to throw fruit at him.

Despite the inherent complexity of Shakespearean language, the play was easy to follow, pleasing the wide audience, which included many family members of the cast (which Touchstone pointed out to the audience) and children. Song interludes helped set the scenes, and classic lines such as “all the world’s a stage” were delivered poignantly, resonating with the audience.

The chemistry between cousins Rosalind and Celia was another standout aspect of the performance, particularly in scenes involving scheming and plotting. The actors delivered every line with confidence, and the quick costume changes between characters were executed impressively, adding to the dynamic nature of the production (noting that the whole production was outdoors – so there was no traditional dressing room!).

The side and background characters added layers of comedy to the play, contributing to its light-hearted and comic tone. Despite this, the production skillfully balanced the humour with the darker subject matter, reminding the audience of the characters’ banishment by the Duke.

The outdoor setting was utilized to its fullest potential, with the production cleverly using the space. For example, during a scene where a character hangs love poems about Rosalind, blank scrolls are hung on tree branches, enhancing the immersive experience.

The costumes were exemplary period pieces, with each outfit contributing to the characters’ disguises and identities. From the intricate details to the versatility of accents and mannerisms, the costumes added depth to the characters and the overall narrative.

The production maintained a high energy level throughout despite the challenges of staging an outdoor play in unpredictable weather conditions. Moments such as Rosalind fainting and needing to be carried (“Counterfeit, I assure you”) provided memorable highlights, showcasing the actors’ commitment to their roles.

Overall, OZActs’ “As You Like It” production at Williamstown Botanic Gardens was a delightful rendition of Shakespeare’s timeless classic.

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.

Spread the word on your favourite platform!

Comedy Roulette – Take The Gamble

21 March 2024 Jessie Fitzpatrick

Down one of Melbourne’s scenic laneways on a mellow Wednesday night in Theory bar, Comedy Roulette was about to begin. Hanging plants and disco balls adorned the booked-out show, which was filled with enthusiastic first-time attendees.

The premise was simple and clever – as our two bubbly, enigmatic hosts, Kru Harale and Olga Loitsenko, explained to us – behind the comedians on stage, a large spinning wheel was to be projected, containing a wide variety of prompts from “what Sydney hates about Melbourne”’ (which Hannah Sainty nailed – the good-looking people, and the good coffee) to “self-help titles that won’t sell”.

The wheel would begin to spin when the audience chanted, “Spin…that…wheel!”. The line-up of comedians rotates per show (much like the wheel itself), with this show featuring Suren Jayemanne, Diana Nguyen, Charlie Lewin, Hannah Sainty, Henry Yan, Zach Riley, Chris Nguyen, Aarti Vincent, Oliver Coleman, and the two fabulous hosts. A callout of “Who in the audience likes gambling?!” was met with a chuckle, and the games had begun – with the wheel’s prompts being a surprise to the comedians.

The show kicked off with Olga bantering with the front row and introducing the audience to a winning Estonian Eurovision song (and hilariously noting how widely Eurovision had been expanded for Australia even to be included).

Oliver then made the audience giggle with his ‘enlightened’ persona, complaining about people meditating in public in Coburg. The laughs of the audience were magnified at various times throughout the night when jokes featured familiar Melbourne locations and tropes – later, the famously unclean Flinders Street Railway Station toilets would be the butt of a joke.

The comics employed various ways of engaging with the audience to spin the supposedly “voice-activated” wheel throughout the night, including stating “, We are a cult, and we must chant!”. Charlie didn’t miss a beat when the wheel had a momentary technical delay – he casually bantered with the audience like they were old friends, giving some sage words of wisdom – when your boomer Dad cracks it at one of your siblings – take that as an opportunity to add in your own personal crises to the mix.

After a quick drink break, the comedy took a more introspective turn, with topics ranging from Hannah’s reflections on the absurdities of health food shops to Suren’s thoughts on the complexities of religion, family dynamics, and the true crime genre (which Chris noted he loved listening to, but not partaking in). I laughed particularly hard at Zach’s recollection of a horrible past job in an unsanitary pub kitchen and when an audience member asked Aarti about her ‘worst Tinder date’, as she dryly explained that she was married before Tinder was even invented.

Henry charmed the audience with his awkward and endearing persona and stories. Diana’s candid anecdote about her mother’s horrified reaction to a previous comedy show entitled ‘Naked’ ended Comedy Roulette on a high, leaving the audience in stitches with her unabashed humour.

Throughout the night, each of the 11 comedians delivered an audience-engaging set of observant, clever, and witty jokes—the perfect mix of pre-prepared stand-up material and fast-paced improvisation. Comedy Roulette is a gateway drug to the upcoming Melbourne International Comedy Festival, in which many of the aforementioned comics will be performing. Take a gamble if you dare, as this is a room full of comedians to watch.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Connect Online