Who is Veronica? Who is Susan? Is it 1973? Or is it 1935?
These and so many other questions are explored and eventually answered in the expertly written psychological thriller by American novelist Ira Levin (many of whom will be familiar with his works as the author of ‘Rosemary’s Baby’, ‘Deathtrap’, and ‘The Stepford Wives’).
Eltham Little Theatre has expertly brought this intricate play to life. Director Drew Mason has done a brilliant job at the helm, both in casting and in staging this intense story.
Veronica’s Room grabs you from the start, with so many twists and turns that will truly make you question everything that has happened. You’ll be on the edge of your seat from the opening scene right up until the very last moment of the play.
The cast of four actors navigated their challenging characters exceptionally, with powerful performances delivered across the board. Susie Sparkes plays ‘the Woman’, George Benca plays ‘The Man’, Briana Collier plays ‘The Girl’ and Joshua Massarotti plays ‘The Young Man’.
The moments of humour written into the script were integrated beautifully by all four actors, giving the audience little reprieves from the otherwise heavy nature of the play. And the character nuances were so lovely to watch, as we, the audience, were drawn into the various complexities of all the characters and their roles within the story.
The entire play is set inside Veronica’s bedroom. The stage was expertly set, with the most intricate details and beautiful furniture and props utilised. It really brought the play to life, almost acting as a character in its own right.
Veronica’s Room is a play that needs to be seen, as any further details on the story-line would just ruin it for those who are not familiar with the play. This is not a plot you want to give spoilers for; it’s just far too good!
So, whether you know the play well and would like to see a great staging of it, or you are not familiar with it and would like your curiosity piqued; you’ll just have to head out to Eltham Little Theatre and see the show for yourself!
The theatre itself is a lovely space, and patrons have the option of booking classic theatre-style rowed seating towards the front, or cabaret-styled tabled seating at the rear, where you can bring your own snacks and drinks.
From ticketing to the bar/snack station, everyone at the theatre was extremely friendly and welcoming, making for a thoroughly enjoyable night of community theatre.
Trust emerges as a standout film for this year’s St ALi’s Italian Film Festival, running nationwide at Palace Cinemas from September 18 to October 23. It invites viewers into an intricate psychological drama where love and fear dance together in a narrative that is as gripping as it is thought-provoking. Directed by the award-winning Daniele Luchetti and based on Domenico Starnone’s novel Confidenza, the film delivers an exploration of human emotion that lingers long after the credits roll.
The central figure in Trust is Pietro (Elio Germano), a well-respected teacher beloved by his students and admired by his peers. His reputation, built on his progressive pedagogical philosophy that affection trumps fear to inspire students, casts him as a pillar of his community. This idea of the “pedagogy of affection” becomes a thematic thread throughout the film, highlighting Pietro’s compassionate and encouraging nature. He’s the antithesis of the authoritarian teacher, choosing love over the fear of failure to guide his students toward their best selves. This progressive approach resonates with audiences, especially considering its relevance in the 1980s and ’90s when the film was set.
But a darker truth lies beneath Pietro’s moral righteousness and public adoration. His life takes an unexpected turn when he rekindles a relationship with a former student, Teresa (Federica Rosellini), one of the brightest minds he ever taught. After they meet again, Teresa confronts Pietro with a profound and unsettling declaration—she has always known about his affection for her, an affection he can no longer deny. Though the two begin a relationship, their dynamic becomes fraught with complexity and tension.
What starts as a seemingly genuine romance soon unravels into an obsessive and destructive bond. Teresa becomes aware of Pietro’s most closely guarded secret, a revelation that binds them together in a way that is almost stronger than love—through fear. The power of this secret is so immense that it threatens to undo the very foundation of their relationship, raising a central question that permeates the entire film: Is love more powerful than fear, or do these two emotions inevitably co-exist in a relationship built on vulnerability?
Luchetti masterfully plays with these concepts of love, fear, and honesty throughout the film. His direction ensures that the audience is never too comfortable, always wondering whether the bond between Pietro and Teresa is driven by genuine affection or by the terror of having their deepest fears exposed. The result is an exploration of how once-shared secrets can become weapons, altering the course of a relationship forever.
While Trust succeeds in exploring these weighty themes, there are moments when the film falters. Certain scenes feel unnecessarily drawn out, adding little to the overall narrative and making the film feel longer than its runtime suggests. As a thriller, Trust sometimes lacks the tension necessary to keep audiences on the edge of their seats, leaving a few key moments feeling flat. These pacing issues could have been addressed with tighter editing, which might have sharpened the film’s focus.
Despite these minor flaws, the performances are nothing short of extraordinary. Elio Germano delivers a nuanced portrayal of Pietro, a man whose inner turmoil is constantly simmering beneath his calm exterior. His ability to convey vulnerability and authority makes his character a fascinating study in contradiction. Federica Rosellini is equally impressive as Teresa, her performance embodying a mixture of longing, manipulation, and pain. Together, they create a volatile and captivating dynamic that anchors the film.
The supporting cast, including Vittoria Puccini as Nadia and Pilar Fogliati as Emma, adds further layers of complexity to the story. Isabella Ferrari’s portrayal of Tilde provides a sense of groundedness amidst the chaos of Pietro and Teresa’s relationship. Each performance enriches the film, allowing the audience to explore different facets of Trust, fear, and human interaction.
Ivan Casalgrandi’s cinematography elevates the emotional tone of the film. His use of shadows, light, and shots peering through windows door creates an atmosphere of quiet tension, echoing the characters’ internal battles. The set and costume designs also reflect the 1980s and ’90s setting, giving the film an authentic feel without distracting from the central narrative.
One of the standout aspects of Trust is Thom Yorke’s haunting score. Known for his ability to craft music that evokes deep emotion, Yorke’s contribution here is no different. His atmospheric soundscapes underscore the tension and emotional weight of the film, drawing the audience deeper into the story without overwhelming the performances. The themes of Trust are universal and timeless, making the film deeply relatable for audiences of all backgrounds. At its core, the film asks whether honesty, when laid bare, can strengthen or destroy a relationship. Can love survive when fear takes hold, or does fear inevitably erode Trust? These are the questions Luchetti leaves audiences grappling with, and their unresolvable nature is what makes Trust such an impactful film.
As the premiere film of the St ALi’s Italian Film Festival, Trust sets the tone for a fantastic lineup of Italian cinema. It challenges viewers to think deeply about the nature of human relationships, leaving them with more questions than answers, which is often the hallmark of a truly great film. Despite a few pacing issues, Trust succeeds as an emotionally resonant and visually arresting exploration of love, fear, and the secrets we hide from each other—and ourselves.
Film Review: Trust (2024) Directed by Daniele Luchetti Starring: Elio Germano, Federica Rosellini, Vittoria Puccini, Pilar Fogliati, and Isabella Ferrari Based on the novel Confidenza by Domenico Starnone Original music by Thom Yorke
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.
Once a year… it’s time for ‘Stars and the Moon Theatre’ to celebrate the stage with their intoxicating Musical Inclusical.
This year it is Wednesday and her kooky family who gather at the Alexander Theatre telling a gripping adventure with swordfights, potions, explosions, and scarier still, family dinners.
Director Lauren McKinnon, Musical Director Charlotte Greenslade, and Choreographer Benjamin Curé, together with an award-winning creative team, have brought the iconic Addams Family to life and it’s WAY better than good.
Stars and the Moon (STaM) is a unique ALL-ABILITIES theatre company. Their castmate model pairs performers with and without disabilities to support each other to make moving and accessible theatre with, not despite, their diversity. It is absolutely AMAZING! At first I did wonder “how will this work”, being on stage together as two people playing one character for all the roles in the show, but IT WORKS and dare I say it as my daughter agreed; we thought it was better than just one person.
Joining the contagious double-clap engages us immediately in the music we know so well… BA DA DA DUM… ‘click click’ and then ‘When You’re an Addams’ kicks in, I almost want to jump up to bunny hop and twist with them all giving quite the spooktacular opening.
So fantastic how they introduced all the “Ancestors” who complete the show atmosphere in strange and deranged costume sets of themes like cavemen, sailors, prisoners, clowns, ballerinas etc etc etc. Such fun and clearly this cast ensemble were loving the experience too. And the make-up, oh the make-up!
The set, the lighting and the energy from everyone on stage is so enthusiastic and who wouldn’t want to shake it with Cousin ITT – my favourite costume of seemingly bodylength dreadlocks, but can the Addam’s family be ‘normal’ for one night?
I’ve always loved the Gomez and Morticia characters. Gomez’ expression on everything is spot on, he’s so entertaining and Morticia is impeccable in her mannerisms and her unique ‘blackness’. Sometimes loving each other to bits and sometimes having a few marital issues, all four bounce off each other as if the roles were made for four people instead of two. The concept is again, genius!
The one-liners keep coming…. I’m still laughing at the hilarious mention of Scomo to Covid 19 and Morticia in the bedroom…
Wednesday as we all know has come into her own fame these days and it must’ve been a thrill to be cast as her – she is everything she should be and might be getting married… or will she? The acting by these girls is very good and they will keep you enthralled.
Pugsley took me back to watching him on The Addams Family re-runs as a kid and his electric chair face, ‘eeeek’… all he wants is for his sister to continue the torture…
The startling appearance of THING at the dining table was timed well and FULL DISCLOSURE showed off overwhelmingly impressive vocal talents – Alice, the mother of Lucas who might marry Wednesday, belting it out and standing on the table (a surprising move for her character) got applause that would’ve woken the dead!
Lurch and Uncle Fester were brilliant and could have stepped straight out of the TV series … they really have got all of this right and everyone plays their parts so well to intertwine this story of family differences.
So, will Gomez’ daughter Wednesday and Mal’s son Lucas tie the knot? Scenes throughout the show are full of comic emotion and messages about how to work things out, but if it all fails, well death is just around the corner to look forward to anyway.
This show was nothing like I expected. Yes, I knew it would be good as I had heard the STaM shows were high standard, but this? I did not expect a show where they could easily play in any theatre in Melbourne and still get a no-hesitation full-standing ovation from even the toughest critics. These people on stage are incredible, they absolutely crush the meaning of ‘all-abilities’, every single one of them – and their abilities as a group, WOW WOW WOW!!
My final note therefore are words from Grandma Addams “stop tik tokking and pick up a book” or grab a script – whoever you are – get into Theatre!
When I wrote this review there were very few tickets left and now they are SOLD OUT, so don’t miss their next show and check out INSTAGRAM @starsandthemoon_theatre or website https://www.starsandthemoon.org/
Theatre notes: Sign language is provided on the side stage with this show and the theatre caters for wheelchair access of course. Performers in wheelchairs are on stage too – remember, this is an ALL abilities show like no other!
Even though I did not personally know anyone in the show, I felt an immense sense of proudness on what this special theatre company had accomplished as they took their bows. Supporting the arts is so important, but supporting all-abilities in the arts, let’s champion these efforts.
Congratulations to the ENTIRE CAST & TEAM:
WEDNESDAY – Ruby Alford & Thanh-Tuok Autran LUCAS – Alexander Gilbert & Dimitri Gosios GOMEZ – Gabe Harari & Max Nunes Cesar MORTICIA – Aisha Sivac & Lizzie Locke UNCLE FESTER – Mark J Rintoull & Zac Parkes PUGSLEY – Kade Groves & Meg Heathcote GRANDMA – Jodi Sanders & Nixy Antmann ALICE – Ashleigh Cole & Ellie Goldenberg MAL – Bailey & Tal Ellinson LURCH – Gilbert Esse & Joseph Folwell THING – Jaimie Chapman & Viv Kane COUSIN ITT – Zac Chester & Benji Arndt
ANCESTORS – Amy Tapp, Tamara Stanton, Asher Stanton, Brendan Saffer, Michaela Sacho, Michelle Gauci, Charli Cantoni-Bud, Lyndall Peachman, Ciara Wilson, Bille Ream, Daniel Kraus, Claudia Nanovich, Hope Challis, Monique Lustig, Uri Lowinger, Alice Johnson, Mia Penso, Adam Geller, Mark Polonsky, Conor Wilson, Theodora Tran, Cameron Miller, Kahli Anquetil-Kneale, Tahli McLean, Carlia Slade, Danni Miller, Dani Filip, Devin Goralsky, Ella Dunne Riseley, Netanel Morris, William Jasper, Lexi Kelsall, Zoe Better, Cheryl Plaut, Ebony May, Sally Elliott, Amit Shahar, Kate Skinner, Ryan Wilson. Stage Manager: Ari Mosberg, Cast Manager: Tyla Manager, Front of House: Netanel Morris, Set Designer: Harry Gill, Costume Designer: Jessamine Moffett, Lighting Designer: Sidney Younger.
THE ADDAMS FAMILY book is by Marshal Brickman and Rick Elice, MUSIC & LYRICS by Andrew Lippa, BASED ON CHARACTERS CREATED by Charles Addams.
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.
I’ve taken a jockey’s view seat at the beautifully posh Como Cinema in South Yarra – a perfect place to see the new big screen preview on the life of ‘Winx’, an Australian thoroughbred mare; a champion like no other who stole the heart of our nation like a modern day ‘Phar Lap’.
‘A Horse Named Winx’ is a movie length documentary on the story we DON’T know about Winx. If there had been a reality TV show during her racing years and after her retirement, this would be it.
Winx held the power to give the chance of a lifetime to trainer Chris Waller. Chris is interviewed extensively and rests on his true emotions and love for Winx – he seems humble and thankful – a bloke who previously felt like he didn’t belong amongst the great names of horse-racing.
The documented movie follows Winx’ owners’ memories and all those who were part of Chris’ training team; those who rode and cared for her from early days on the track right through to the birth of her record-breaking $10million foal.
Whilst the hopeful story (in general terms) is one very familiar to me; having lived on a horse stud with my brother and his mates dabbling in training and racing (like many others, they would’ve loved to have lived in Chris’ boots). Hearing my own mother’s childhood stories of her family’s retired racehorse property. My former lawyer-bosses trying their hand at the prestigious ownership game (they wrote out a lot of cheques for little return). This screening of Winx’ life however enlightened me to see what it’s really like for those who take on a filly without knowing her incredible potential.
‘A Horse Named Winx’ is “real” and not “acted” – you are seeing actual footage of the races with straightforward speaking from everyone at the heart of Winx’ career and success. You will probably watch it with eager eyes not because you might get some inside information on picking a winner (I personally don’t bet on horse-racing but I’m sure many who see it might), but because you will more generously appreciate all the work and sacrifice that goes into those moments where you scream GO GO GO, dress up for the Melbourne Cup or hear about your friend winning big on a trifecta.
There’s so much more to horse-racing; SO, SO, SO much more – it’s important to recognise that all the hype and glamour is brought about by animals trying to go faster than those next to them. ‘A Horse Named Winx’ highlights those thrilling minutes, but explains the real timeline to get to them. It shows us a fine line between training and talent.
Winx’ job was to be a racehorse and was the “world’s best” in her era they say, something her buyers never thought would happen when their last bid was knocked down to originally purchase her at a mediocre price. And despite never going overseas; another factor showing her trainer and owners put priority on horse-welfare and did not succumb to invitations from around the globe and subject her to a 36hour flight. As an avid animal lover, this inclusion impressed me. These people don’t see the need to big-note themselves. They constantly praise the horse.
Two lines stood out to me:
“Who cares if she wins, is she OK?” and “What’s best for Winx?”
Mostly you are watching serious stuff and the thoughts behind difficult decisions being made, but there is some fun; apparently Winx could be a diva! You’ll find out how she got her name, and giggle at comments from the strapper “I’ll have to move to Germany” after she’s afraid Winx has hurt herself, the kind guy who broke her in “I rode her first”, and the farrier who states “no foot, no horse”. I liked these people who were also in Winx’ journey having their say and I liked seeing the veterinarian teams too being gratefully acknowledged.
Winx’ story proves anything is possible, you can be last and still come out on top. I agree with one cute race spectator’s opinion: “who wouldn’t love her?”
If you can hold back a tear on her final race ending with Hugh Bowman, you’re more stoic than me and I was watching that particular win for the first time (I now know why my mum wanted me to watch it back then).
This look into horse-racing is detailed from the opening scene to “awwww” return in the last one.
Enjoy and learn, as you should with documentaries, but remember not all racehorses are this fortunate (most are not) however highly recommended if you want to see a “real life” in-depth showing of the behind-the-scenes world of superstar equine athletes.
Exceptionally well done by Director Janine Hosking and Writer Andrew Rule who were given an opportunity of unprecedented access to develop a moving cinematic documentary; a horse-racing fairytale!
