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Deathtrap – Review

29 April 2023 Aurora White

A visit to Malvern Theatre is surprisingly exquisite as I arrive to watch their latest in the 2023 season lineup, Deathtrap.

The venue is well appointed, the theatre itself is just adorable, very accessible, and offers a comfortable evening out. The volunteer staff are approachable and attentive. As I find my seat I realize there is simply no bad view within the theatre of the stage.

Nestled in my spot I notice many framed season brochures and photographs adorning the walls and made notes to explore these during intermission. The theatre’s history is on proud display and very inviting. I find myself excited as the lights go down to watch this comic thriller of a show, it feels like a treat!

Lights up and the set has been dressed in intimate detail. We are definitely in the 1970s, but not nauseatingly so. We are in the writing and living space of Sidney Bruhl, a once-successful writer of Broadway thrillers. Various paraphernalia hangs on the walls, weapons of all kinds – collectables and memorabilia from his past successful shows. There is a small fire in the fireplace, double doors leading to a porch and an entryway behind the prominent sofa centre stage. It’s cozy, and just a little captivating as the story unfolds in this one-room setting.

The leading character Sydney Bruhl, played by actor Brett Whittingham, offers a very nuanced performance. As we follow his character arc throughout the show, the actor deftly reveals aspects to Sidney in such a way that draws you in. You can’t help but watch this actor.

Bruhl’s wife Myra, played by Helen Ellis, convincingly portrays a woman very quickly concerned with the lengths to which her husband may imminently be willing to go to, to get what he wants. Walking the line between ‘will he, won’t he’, the character of Myra has a load of emotional heavy lifting to navigate.

Travis Handcock, portraying student Clifford Anderson, shifts and morphs throughout the story and in mere moments convincingly portrays a new aspect to the character that is increasingly multifaceted. From innocent to vengeful, supportive to calculating. It is restrained, and very convincing.

The story uncoils as Sidney recognizes that his student Clifford has a script that is a potential Broadway smash hit. With financial problems and a few failures piled up behind him in recent years, Sidney weighs in on collaborating with the student, or simply eliminating him entirely to claim the script as his own.

The tale develops in sometimes predictable ways, and sometimes unpredictable ways. Regardless, it is enjoyable. Witticisms in the script will make you smile or give a tiny chuckle when you catch them.

At the end of Act One enters the amusing character of Helga ten Dorp, hilariously portrayed by Glenda May. The actor performs with glee, is appealing to watch and doesn’t miss a beat of writer, Ira Levin’s, masterfully written comedic relief. It is the palate cleanser exactly as required and the audience is won over in mere moments.

It speaks to Levin’s legacy that the longevity of his plays is evident, that decades later they still deliver delightful entertainment.

At the onset of Act Two the cast is rounded out with Porter Milgrim, a lawyer played by Greg Barison. The character feeds us necessary exposition that serves to keep the story evolving and progressing forward.

At no point is Deathtrap eerie, but it definitely has its jump-scare moments. Simply, it is a methodically well-written thriller, a crime story with an adventure!

Deathtrap at Malvern Theatre offers a lovely night out and is a reminder of why supporting the Arts in your community is such an important thing to do. What these smaller-sized theatres offer is an exceptional experience, with high-level entertainment and hospitality. A welcome and evening on par with a visit to a good friend or neighbour.

From the complimentary tea, coffee and biscuits served at intermission, to exploring the theatre’s history across its walls, to walking away into the night having thoroughly enjoyed the effort put into the show – it is pleasant and pleasurable entertainment.

Whether you’re a fan of the crime genre or not, Deathtrap has just enough comedy in it that will appeal to many ages and audiences alike. Keep artists employed, and Arts venues supported, by attending shows such as this in your community. You will be very happily rewarded.

Deathtrap – Malvern Theatre

Saturday April 29^th – 8 pm

Sunday April 30^th – 8 pm

Wednesday May 3^rd – 8 pm

Thursday May 4^th – 8 pm

Friday May 5^th – 8 pm

Saturday May 6^th – 2 pm

Sunday May 6^th – 8 pm

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The Improvised Superhero Movie – Review

23 April 202320 April 2023 Aurora White

For those attending the Melbourne Comedy Festival, you have a few more days to see the exciting and enjoyable ‘The Improvised Superhero Movie’ presented by The Improv Pit at the UBQ Basement Blackbox Theatre.

This delightful 60 minute show is unique to every performance since it is Improv comedy. For those who are unfamiliar with the live entertainment form of Improv Comedy, each show is made up completely on the spot, unscripted, by an ensemble of improvisers. Styles of Improv can be theatrical or competitive in content, and are inspired by audience suggestions. Due to the spontaneous nature of Improv, each performance is a unique one off and will never been seen ‘exactly’ that same way again.

The Improv Pit seem to perform in a style pretty notorious to Chicago, and The Improvised Superhero Movie reflects this. (Often jamming on a ‘game’ or ‘tilt’ in the scene work.) The format of the Superhero Movie unfolds in a progression of scenes, very closely resembling a format called the Harold (But not an actual Harold). Ensemble members contributing frequently and frenetically to the story line as it evolves.

The night I attended saw a Robot superhero navigate Asimov’s three laws of robotics, while seeking to vanquish a Wiccan-Eugenic Villain with their murderous pet lizard in tow. All of this unfolded in the unsuspecting suburb of Nunawading.

Most players had characters and scenes in which they could shine, and while some parts of the story became chaotic with improvisers speaking over each other, the ensemble frequently course corrected and came back to the story line.

Anybody newer to watching Improv comedy, the success of a show generally rests on the ensembles ability to listen, share and ‘yes, and’ each other. The work is elevated when improvisers fully commit to character choices and use physicality to flesh out the imaginative environment they are performing within. This was all on consistent display at the show I saw with players negotiating any blocks they had inadvertently given another in their enthusiasm.

For those attending who are concerned about being called on to provide a suggestion for the show, do not fear. Only once was the audience asked to yell out suggestions for The Improvised Superhero Movie, that being the title of that evenings movie at the top of the show. This ensemble doesn’t seem to warm up the audience prior to asking for the suggestion, so here’s a tip!

Feel free to brainstorm some fun titles of a superhero movie, that don’t already exist, prior to the show. It will give you something to yell out when asked as an audience to do so. This will avoid inducing the common audience reaction of ‘panic’ to come up with something on the spot. Leave that to the ensemble!

‘The Improvised Superhero Movie’ – UBQ Basement Blackbox Theatre

Thursday 20^th April – 7.30 pm

Friday 21^st April – 7.30 pm

Saturday 22^nd April – 7.30 pm

Sunday 23^rd April – 7.30 pm

This review also appears in On The House

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Not Finished With You Yet – Review

17 April 2023 Aurora White

Not Finished With You Yet is an energetic romp through a world where governments have passed a mandatory divorce law meaning all marriages must end after 13 years. Written and Composed by Dick Gross AM, the world premiere of this new Australian musical plays at The Alex Theatre in St Kilda as part of the Melbourne International Comedy Festival.

Two hours of upbeat entertainment unfolds as the characters explore what it means for their marriages, and how to navigate the new territory the law presents them with. Most couples willingly embrace the law with overt enthusiasm and a hefty dollop of marital passive aggressiveness. While main characters Kate and Rupert march resolutely, but resentfully, towards a future that demands they separate at the cost of their love.

All this is explored and celebrated through a hefty amount of choreography and over a dozen original songs.

Upon walking into the theatre you are struck by the incredibly imaginative and engaging set design. Very few, myself included, are immune to not snapping a quick picture before they take their seats. Once the show starts the set comes alive as it morphs and transforms.

Hidden compartments subtly swallow costume changes, panels swing centre stage that only moments before were seemingly solid. Accordion panels become walls, doors, rooms and more. The stage itself is a supporting character that allows the audience to engage in the story unfolding. It is marvellously done.

Deft use of multimedia and imagery project onto the stage in specific and intelligently blocked patterns. It captures the audience’s curiosity and is seamless in its execution.

The characters are specific and the actors play them valiantly. Costume design is subtle, but nails its task as each character is embodied in the quirks of a french tucked top, the slink of a sexy fabric across the body or the effervescence of an outfit of a stressed-out teen. We know who the characters are, and what they value, by what they wear. The specificity that went into costume design shows high attention to detail, it is very much appreciated.

The story is easy to follow, with only a few lingering questions left unanswered. It does take suspending disbelief to enjoy this world, but as with most musicals, it’s worth it.

The performers are obviously operating at a high level in their craft and most have a definitive moment to shine in the show. Whether it’s Alexia Brinsley as Kate’s single sister Maria navigating each scene with commitment and aplomb, or Cristina D’Agostino as Betty seemingly, effortlessly, channelling Liza Minnelli in the ‘Hit the Bottle’ number – you won’t be disappointed. The women in this show Deliver with a capital ‘D’.

While whimsical in moments, Not Finished With You Yet is not for those with delicate sensibilities. The F-bomb is dropped at a rate Gordon Ramsey would be proud of. The show crams in various subject matter, from the suggested amount of lubricant for great sex for those in menopause, strap-ons, wombs for rent, drunken sex and quite literal toilet humour – not too much is left unexplored.

Memorable flashbacks from the show include the fun and frisky ‘Urinal Lamentation’ song as performed by Matthew Hamilton, Matt Heyward and Alec Gilbert, a grounded and believable performance by Lauren Gunson as 15-year-old daughter Ella, and a beautifully moving Shakespeare’s Sonnet 116 that delicately displays the cast’s harmonies.

Not Finished With You Yet is obvious in its Australian-isms, and an enjoyable frisky afternoon or evening at the theatre.

This review also appears in On The House

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