The Many Faces Of Sherlock Holmes

A Night Of Sherlock Holmes

A Night Of Sherlock Holmes Rating

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3

Nestled in the burbs of New Farm is a church and in that church is the very vibrant Nash Theatre. Each year they produce a radio play – well, extremely well.

A simple set with actors dressed appropriately for the era (1930’s), mircrophone stands at the front of stage and the ‘On Air’ sign glowing with the “Applause” sign lighting up to remind you that you are part of a studio audience – it is marvelous.

But best of all is the live action foley – set up along the back of the stage were three foley artists and I have to say, the horses and carriage sounds – spot on. Congratulations to Mark Corben, Lara and Emma Latham who entertained us with their enthusiasm, facial expressions and creative techniques – yes, I am still giggling at the Baboon.

I often listen to the Sherlock plays on Spotify and I was pleasantly surprised to hear a new one among the mix; ‘ The case of the Blue Carbuncle ” – hilarious. With the actors playing a range of characters from the vagabond thief to the well educated Sherlock and Watson.

Presenting old time radio shows is a great way to entertain an audience without elaborate sets. The stories rely on the actors ability to react appropriately without props, and once again, director Jason Nash has produced excellent work. The American and English accents on the whole were consistent and added to the believability you truly had stepped back in time to the 1930’s.

 

 

The roles of Sherlock and Watson were shared amongst the cast which took each story to a different era and there were some interesting accents. Caleb Hocking’s Watson accent for “A Scandal in Bohemia” was definitely unexpected but very humourous and Bruce Edgerton has definitely found his niche with the different characters you find in radio plays. King of Bohemia suits you Bruce.

Radio plays have advertisements and the cast brought these to life very much reminiscent of an era where entertaining folks was simple and mixed with a good dose of humour.

The actresses on stage, Sandy Adsett, Jenny Bonney-Millett and Kiah Latham were immaculately dressed and authentic with their characters, it definitely was a more glamourous era. Bright red lips, pearls, diamonds, heels and furs, they each delivered applause worthy performances and it is a joy to go to a play where you can hear what people are saying – great diction, accents and expression.

The first story, ‘The Adventure of the Speckled Band,” was delivered with the emotion and mystery that set the actors up for a great show run, drawing in the audience and giving us all the shivers at the end. The stories were broken up by the jingles, which also offered great entertainment.

So if you are looking for good quality well priced entertainment here it is, take along a friend and enjoy the show.

Show runs until the 14 March, at Nash Theatre 52 Merthyr Road, New Farm

Tickets via Trybooking – https://www.trybooking.com/events/landing/1490448

To book tickets to A Night Of Sherlock Holmes, please visit https://nashtheatre.com/.

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The Mousetrap: A Remarkable and Marketable Mystery

The Mousetrap

The Mousetrap Rating

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A Guinness World Record holder for the world’s longest continuously running show, The Mousetrap continues to captivate, this time in the capable hands of New Farm Nash Theatre. While the Agatha Christie formula is well-worn, it is reliably fun and accessible, and an undeniable box-office draw; Opening night was a sell-out, and I’d wager the entire run will be no different.

This new rendition is tremendously paced and polished, with excellent interplay and characterisations by the dynamic ensemble cast, ensuring a great night at the theatre – even for those like me, who have already seen the play, so cannot join the fun of solving the mystery. For the uninitiated, The Mousetrap is a classic whodunnit with a twist; As is customary, we are sworn to secrecy not to tell once we know – so this review will be spoiler free. But it is safe to share the action revolves around some horrible happenings at Monkswell Manor, a guesthouse recently opened by Giles and Mollie Ralston. While awaiting the arrival of their first guests, Mollie hears radio reports about a local murder being investigated by police; Little does she know she is now in the course of danger, snowed in after a storm and a murderer about to infiltrate Monkswell Manor with their incoming guests – who won’t all make it out alive.

It is a miracle the play made it onstage at all, after an 11th hour cast member withdrawal and replacement. As Giles Ralston, Matthew Hobbs deserves great credit for filling the breach; Given his short preparation time, it is commendable Hobbs is even off-book, let alone presenting such a credible character. As his wife Mollie Ralston, Helen Barrett is a likable figure, maintaining one of the better executed accents, while showing a warm, conciliatory tone throughout the story’s chaos and mischief. Brendan James excels as the awkwardly enigmatic Christopher Wren, with signature unnerving chuckle, to boot. James captures the nuance required for this mystery well – first-time viewers are uncertain until the very end whether he is a menace or misunderstood.

 

 

John Stibbard is another standout, a perfect Mr Paravicini with a knack for enlivening even quieter moments of the script. A statuesque and dapper figure in his blue velvet suit, Stibbard receives many hearty laughs with merely an animated glance or gesture, disappearing into his character with eccentric flair and creative intuition. As Mrs Boyle, Chris Sibley is perfection, portraying a character we love to hate – a disagreeable pedant with an imperious heir and penchant for caustic comments. Sibley is like a pompous, post-war Karen, if you’ll take a slightly dated cultural reference, and her derisive dynamic makes for some humorous interaction with scene partners. Phillippa Dwyer captivates as Miss Casewell, with eye catching assurance, and deft duplicity, while Matt McNeice projects calm gravitas and grounding as Major Metcalf. Last but not least, Tyson Hargreaves is a commanding and determined Detective Inspector Trotter, moustache game on point; While his cockney accent is uneven at times, he is present and otherwise precise throughout his performance, commendably capturing Trotter’s motivations and complexity.

New Farm Nash Theatre produce the very best of Community Theatre, delivering a consistently high standard of shows with thoughtful variety, and a warm, welcoming atmosphere filled with old friends and new. The Mousetrap is another wonderful example of this, with congratulations due to Director Sharon White and the entire team, for a very enjoyable rendition of this remarkable and marketable mystery.

To book tickets to The Mousetrap, please visit https://nashtheatre.com/.

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Veronica’s Room: A Compelling And Unmissable Dark Drama

Veronica's Room

Veronica’s Room Rating

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5

As New Farm Nash Theatre’s penultimate production for 2025, Veronica’s Room invites us into an off-kilter world of imagination and manipulation, uncertain whose lens we view through, that blurs boundaries between sense and psychosis, understanding and identity. The evening begins innocently enough, after a chance meeting between a seemingly kindly older couple with a younger pair, which leads them all to Veronica’s Room. The Woman (Ellie Bickerdike) and The Man (John Stibbard) remark on an uncanny resemblance between The Girl (Al Bromback) and the late Veronica, who passed away some 35 years prior; The Girl and her date The Boy (Alex Thompson) agree to join the older couple to see a photograph of her doppelganger, ultimately agreeing to take part in a well-intended deception, where The Girl will pretend to be Veronica for the comfort of Cissie, Veronica’s elderly, bewildered and terminally-ill sister.

However, day turns to nightmare quickly thereafter, and no good deed goes unpunished as the cast guide us with deft duplicity through a complex, confronting and callous plotline; We soon learn the pretence behind the invitation is misleading, and that The Girl’s performance of Veronica is not intended for the audience she expected; We then question whether or not there is any performance, given her dates’ earnest confusion and concern, as he offers a very different ideation of their acquaintance, challenging concepts of self, sanity and subjectivity.

 

 

Al Bromback is beguiling as The Girl, bringing a natural presence, crystalline diction and an impressive inclination for accents, to a very sympathetic and fluid character portrayal. As the Woman, Ellie Bickerdike is agile and tenaciously terrifying in a character of derailed deviance, reminiscent of Kathy Bates’s iconic portrayal of Annie Wilkes in the film Misery. John Stibbard offers fine range as The Man, caustic and leering but with perhaps an ambivalent semblance of conscience, too. Alex Thompson brings nuance and skittish subtlety to his performance as The Boy, thus making his character’s ultimate revelation even more chilling.

We are unclear which side of the locked door The Man and The Boy are on; Are they complicit conspirators, or pawns to this perversity? No easy answers are given, with the fantasy maintained until the end, where the cast forgo the traditional curtain call for a final look at the audience still in character, sending us away with unbroken sense of suspense and unease.

An admittedly dark and disturbing drama, Veronica’s Room marks another creative triumph for New Farm Nash Theatre, and a most successful foray by Director Susan O’Toole Cridland away from her recent theatrical diet of comedy and farce. As a whole, the production delivers in abundance, complementing the Theatre’s thoughtful and eclectic 2025 lineup, with themes as compelling as they are creepy. A challenging, uncomfortable, unmissable experience.

To book tickets to Veronica’s Room, please visit https://nashtheatre.com/play-3-2025/.

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