Two Churchill Plays: Presented by Melville Theatre Company

Escaped Alone and What If If Only

Escaped Alone and What If If Only Rating

Click if you liked this article

1

Melville Theatre has brought two thought-provoking performances to the stage in their latest double-bill offering, Escaped Alone and What If/If Only.

Both written by British playwright Caryl Churchill; each brings to the table deep themes of the human experience – that being catastrophe and grief.

Starting the night with Escaped Alone – director Lucy Eyre has brought together a strong group of four women whose chemistry excels on stage. Set over an afternoon tea, each woman reveals and grapples with their own personal form of catastrophe, leaning on each other to navigate their struggles.

Susan Lynch leads the group as Mrs Jarrett – dealing with PTSD as a survivor of a natural disaster. Her emotive asides are a driving force of the piece, and it’s evident she is pulling from raw emotion to bring the scripts to life.

Having later discovered that these scripts feature no punctuation, Lynch is to be commended for letting the actors really make it their own.

In her Melville Theatre debut, Caroline McDonnell is another standout as Vi, providing a raw authenticity to the role as she navigates family troubles.

Natalie Burbage and Suzannah Churchman nicely round out the group as Lena and Sally, respectively, bringing some light-hearted comedy to the show’s more serious tone.

With strong performances and a solid foundation, my only real qualm with this production was more a matter of the writing than this particular performance itself. Mrs Jarrett’s alluded trauma felt rather ambiguous and left both myself and my friend feeling a little lost at times, though we were still able to enjoy the show regardless.

 

What If/If Only was much more my speed. It offered a poignant 20-minute look into human grief and the spectrum of emotions that come with it.

The immediate clinical feel of the box-like set by Lars Jensen – mimicking the small acrylic box at the front of the stage – creates a strong impression, soon filled with the tableau of the characters within to make it feel as if we are watching some kind of study in a lab.

The stark black-and-white costuming provided by the cast further contributed to this idea.

Lucy Eyre is an anchor as the central nameless character who has experienced the loss of a loved one to suicide. She does well to simultaneously appear vacant in her grief-stricken state while also amplifying the range of emotions, questions and ‘what ifs’ people ask themselves when grappling with suicide in real-time.

Personifying said ‘what ifs’ is Jarrod Buttery as the flamboyant future, Clare Talbot as the spunky and matter-of-fact present, and Tanisha Mavunduse as the hopeful yet starkly realistic child future.

Props must go to both Lucy Eyre and Natalie Burbage for pulling together and executing two insightful performances that leave audiences questioning their own battles with emotion and looking internally to reflect on their own experiences.

To book tickets to Escaped Alone and What If If Only, please visit https://melvilletheatrecompany.au/current-production.

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.

Comedy Carousel

Comedy Carousel

Comedy Carousel Rating

Click if you liked this article

5

Three one-act plays, one charming theatre and oodles of talent. The Garrick Theatre’s latest stage production, the Comedy Carousel delivers ridiculous hilarity and maybe a murder or two.

Have you ever wondered what goes on behind the scenes of a stage production? ‘All I Really Need to Know I Learned by Being in a Bad Murder Mystery’ offers plenty of insight into the pandemonium when dealing with a bunch of actors rehearsing for a murder mystery play. Throw in a script written by Agatha Christie knock-off Magetha Misty, a loopy director and an indecipherable accent coach, and you (and the cast) are left wondering whodunit and what was done to whom.

The actual director, Ali Louise, did a fantastic job of herding the high-energy cast by encouraging them to be as wacky as the show within the show. Among the tantrums, over-the-top death scenes and butchering of Shakespearian references, this tight-knit troupe delivers cohesive chaos with many laugh-out-loud moments. Narrated by Erin Shay Horrigan with Julia Webster playing the director role and Cambren Price playing the frustrated stage manager, the actors include Rebekah Hannah, Samantha Cashford, Paris Romano Jenner, Aaron Wilkes, Kirsty Plews, Quentin Mitchell, Jason Robert Lester and Steve Moloney, who perform as only thespians can in theatre blacks adorned with madcap props.

The second one-act play, Therapy Go Round, centres around a traumatic break-up that sends Brooke spiralling and into therapy. When she arrives at Dr Marita Welsh’s clinic and is greeted by assistant Janine, Brooke soon wonders who is shrinking who. If only her eccentric therapist had paid attention to the details and Janine wasn’t so absent-minded?

 

Written by playwright Sean Guy and directed by Carly Ranger, Therapy Go Round is performed by an all-female cast of Lis Hoffmann (Dr Marita Welsh), Kylie Calwell (Janine) and Casey Smith as Brooke. The simple set of ‘All I Really Need to Know I Learned by Being in a Bad Murder Mystery’ was miraculously transformed in moments into a clinic with soft pink lighting, a desk and two chairs – had there been a couch, no doubt Brooke would have needed a good lie-down and cry after her session.

Soon enough, a couch appears on stage for the final one-act play titled The Heist, brilliantly performed in New York accents by Colleen Johnson (Muriel), Karin Staflund (Camila), Marsha Holt (Ingrid) and Julie Holmshaw (Delia). Set in an apartment in NYC’s gritty Bronx, as the four ladies settle into their game of Bridge, there’s a sudden knock on the door. Gangster Lenny (played by Andreas Petalas) barges in full of misguided attitude but soon loses control of the situation as the ladies mess with his head as only a bunch of New Yorker broads can.

Directed by Lynne Devenish and written by actor and playwright Shirley Toohey (with script assistant Christine Offringa), strong characterisation creates an evocative sense of place and poignant storytelling to the background soundtrack of the borough’s sirens as Guildford’s trains and planes thunder by.

The ticket price of $15 is incredible value for three one-act plays and the calibre of talent from the cast and crew, including stage managers Sarah Durack and Jason Blaine, Don Allen (Lighting Designer) and sound designer Geoff Holt. Established in 1932 and situated in the heart of historic Guildford, the Garrick Theatre is one of the longest-running community theatres in Perth and always welcomes new members for ongoing discounts, events, news and auditions.

Performance dates: February 6th, 7th , 8th , 9th*, 13th, 14th & 15th February

All evening shows begin at 7.30pm, * denotes the matinee show at 2pm

To book tickets to Comedy Carousel, please visit TAZ Tix.

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 Watched Someone Die On TikTok

I Watched Someone Die on Tik Tok

I Watched Someone Die on TikTok Rating

Click if you liked this article

1

With the show’s title, ‘I Watched Someone Die on TikTok,’ I had no idea what to expect from this show. All I knew was that it would be a one-person show. Sometimes these can be the best sorts of shows without any preconceived ideas.

As part of the Perth Fringe Festival, WAAPA alumnus Charlotte Otton delivers a quirky, commentary-style and partial biographical performance involving her relationship with the internet and social media.

Although the performance is delivered in a humorous manner, it touches on serious topical issues such as social media addiction, minors on social media, cyber-bullying and the multitude of disturbing content found on the internet.

Charlotte takes the audience on a journey from the early stages of the internet in the early 90s to the colossal digital platform it now is.

She makes a point of how the internet is filled with so much dark content and how easily accessible this content is to any person of any age. This content she refers to includes people dying in hospitals, beheadings and people being beaten to death. In the early internet days, it may have been a bit tricky, but certainly not impossible, to access such content, but nowadays, videos, regardless of whether they are age-appropriate or not, so easily pop up in social media feeds.

The strong grip social media has on people’s lives is real, and Charlotte brings this to focus. In one segment, the absurdity of some of the TikTok challenges is brought to life as she playfully takes up the challenge that the audience selects for her.

Any person who is guilty of doom-scrolling will relate to Charlotte’s commentary.

I found this show immensely entertaining and Charlotte to be an outstanding solo performer. I never knew which way the show would go or what Charlotte would do next. Mirroring much of how Tik Tok operates, she performs multiple segments in the show at a fast pace—keeping the attention of the audience glued to the stage.

To book tickets to I Watched Someone Die on TikTok, please visit https://fringeworld.com.au/whats_on/i-watched-someone-die-on-tiktok-fw2025

This year’s Fringeworld Festival Perth runs from 17 January to 16 February. For more information, please visit https://fringeworld.com.au.

Photographer: Sophie Minissale

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.

Othello: Presented by The Actors Hub

Othello

Othello Rating

Click if you liked this article

5

Taking on any play by William Shakespeare is no easy feat, especially in theatre, where actors are required to memorise heavy and complicated dialogue. Amanda Crewes, through the talented cast at The Actors Hub, has done a tremendous job bringing Othello to life.

Although the play is set in what appears to be the present time, this is evident from the clothing worn by the cast, Amanda has remained true to Shakespear’s words.

For those who are not big fans or accustomed to Shakespearean talk, you should not be put off. Extra concentration may be needed (as in any Shakespeare story) to follow every interaction between the characters. However, you should still be able to understand the essence of the play and the storyline.

The protagonist and title character Othello, who, despite his ethnicity, has risen through the ranks of a white society to become a General in Venice and marry a white woman, the noble Desdemona. Roderigo, a wealthy man, longs for Desdemona. He is heartbroken upon learning the news of Desdemona’s marriage to Othello.

Trouble ensues when Lago, who serves under Othello, is overlooked for the position of lieutenant in favour of a less experienced soldier, Michael Cassio. Filled with bitterness and resentment, Lago devises a web of lies in his plot to bring down Othello as revenge for this perceived injustice. On his path to destroy Othello, he manipulates those around him, cunningly convincing Othello of Desmonda being unfaithful, which leads to devasting consequences.

Amanda cleverly uses a giant chess board as the central focus of the stage, with the characters performing in and around the board. Every move Lago makes on the chess board is matched with a move he makes in destroying Othello.

The play is long, which makes me applaud the amazing cast, which never misses a beat. Leo Rimmer, Bernard Bolum, Kayla Merritt, Jayk Thomas, and Jet Fairlie are exceptional in portraying their characters.

Even if you are not a Shakespeare fan, the play is worth viewing to see these rising young actors.

To book tickets to Othello, please visit https://actorshubperth.com.au/productions/

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.