Hansard

Hansard

Hansard Rating

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2

Hansard is a sharp, fast-paced play by English playwright Simon Woods. Lively and bitingly witty, it still delivers a devastating message that feels just as urgent today as when it is set.

The story unfolds in 1988, the year Margaret Thatcher’s controversial Section 28 legislation was passed. It was a week of national upheaval in the UK as the act sought to “prohibit the promotion of homosexuality,” in direct response to a children’s book, Jenny Lives with Eric and Martin, which introduced young readers to different kinds of families. Its introduction ignited fierce protests and unrest across the country.

The play follows Conservative MP Robin Hesketh and his liberal wife Diana, whose ideological sparring is a demonstration on how politics can invade our homes and corrode even the closest bonds. The scene is set on a summer morning. Robin returns from parliament to his Cotswold home of thirty years, where Diana, hungover from a night on the gin, greets him amid the chaos of foxes tearing up his prized lawn and garden. What begins as a razor-sharp, playful exchange quickly darkens, as Diana challenges Robin’s defence of Section 28. In minutes, their banter spirals into something raw and searing, unearthing old wounds and unleashing devastating truths.

 

 

This is a remarkable production. It’s a true marathon for its two leads, Grant Malcolm and Suzannah Churchman. Across nearly two hours without intermission, their performances never falter. Together with director Barry Park, they masterfully balance biting humour with heartbreaking vulnerability, pulling the audience from raucous laughter into hushed, breath-held silence as the play drives towards its shattering conclusion.

The set design is thoughtful, working seamlessly with the flow of the play, and the cast is supported by a great team behind the scenes. Tarek Jabado is the Stage Manager, and Andre Beidatsch is the Assistant Stage Manager. Lighting design is by Mark Nicholson, and the costume design by Merri Ford.

Hansard is currently showing at the Garrick Theatre in Guildford and runs until October 11.

To book tickets to Hansard, please visit https://www.taztix.com.au/event/garricktheatre/.

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Moments in Motion

Moments in Motion

Moments in Motion Rating

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3

Exploring the themes of love, loss, mental health and jealousy, the Roxy Lane Theatre One Acts presents ‘Moments in Motion’ across three one-act plays, ‘The Birthday’, ‘Mandy’ and ‘Flushed’. With such a broad spectrum of topics, this is one of those productions that resonates, compelling the audience to look within and draw on their own lived experiences.

In a world premiere and directed by Tim Riessen, ‘The Birthday’ kicks off the night and revolves around Mrs Little’s (Pauline Atkinson) 89th birthday. Despite the cake rustled up by a nurse (Nita Teoh), there’s little cause for celebration as Mrs Little is in a coma. As her adult children gather around her, they reminisce about their childhood, along with much speculation about whether their mum can hear them. For anyone who has sat beside a loved one in their final moments, ‘The Birthday’ hits a nerve as this touching scenario brings writer Peter Flanigan’s vision to life as Robyn (Michele Diston), Gail (Julia Webster), Phil (Ian Fraser) and Lesley (Kezia George) each share their truth.

Also written by Peter Flanigan, ‘Mandy’ explores the mental state of Mandy (Melissa Cruickshank) within the family dynamic. As Mandy comes to grips with her depression, her confused state of mind flows in ebbs and tides, throwing the family into despair. The chaos is further exasperated by her overbearing mum (Josphine Wayling) and husband (Paul Cook, who also plays her father) and misguided friend Fran (Joanne Low), with tumultuous flashbacks from Mandy’s sister (Emily Plange Korndorffer) and grandmother (Jenni Glassford). Mandy’s daughter Jodi (Tahlia Verna) seems to be the only empathetic one. Directed by Luke Heath with assistant director Rob Herfkens, ‘Mandy’ tackles the heavy issues and should come with a trigger warning for anyone dealing with mental health issues.

 

 

On a much lighter note, the final play, ‘Flushed’, invites the audience into the trials and tribulations of the dating scene. Set in the toilets during a single’s night, three women explore their jealousies and dating woes as the night dissolves into despair. Written by Ron Nicol, and directed by Sandhya Krishnan, who also plays Tara and is the cause of Meg’s (Catherine Jane) rivalry, with Jan’s (Jackie Oats) wry observations bringing humorous relief to the tension. If you’ve ever been on a girls’ night out, you’ll relate to this one.

The production crew worked tirelessly behind the scenes to bring these stories to life, including Katherine Robertson (sound and lighting design), Rob Herfkens (stage manager) and Cade Smith (assistant stage manager, who also had a cameo in ‘Mandy’).

A special mention must go to set builder Jim Chantry, who managed to create three entirely different stage sets seamlessly, along with Jim Chantry, Kirsten Halford-Bailey (who also handled the set dressing and props) and Chris Harris.

Moments in Motion runs from 18th – 21st September 2025 at the Roxy Lane Theatre, 55 Ninth Ave (cnr Roxy Lane), Maylands

To book tickets to Moments in Motion, please visit https://www.taztix.com.au/event/roxylanetheatre/.

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Letters To Lindy Review: Melville Theatre Company

Letters to Lindy

Letters to Lindy Rating

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3

Letters to Lindy, presented by Melville Theatre Company, is a profound and deeply affecting theatrical work by Alana Valentine that offers a poignant and genuine look into one of our era’s most gripping legal and human stories. The court case captivated a nation: a mother accused of murdering her child, her claim – that the baby was taken by a dingo – denied and discredited by zealous police and a flawed legal system.

The media circus, the rumours, the nation’s prejudices laid bare. And in the eye of the storm: Lindy Chamberlain-Creighton. Valentine draws on thousands of real letters sent to Lindy, along with interviews with her, to create an enthralling and long overdue dialogue between Lindy and the nation. A portrait of the wisdom and resilience of a grieving mother. Themes of national obsession, group mentality and prejudice feel uncomfortably familiar today, leaving you pondering the nature of truth, justice and humanity.

I was immediately struck not only by the sheer force of the script but also by the formidable strength and commitment of the four-woman cast; they delivered monologue after monologue with precision, nuance and emotional depth. The actresses portraying the supporting roles (referred to as the “figures”) segued between a multitude of characters with remarkable clarity and agility, often shifting tone, physicality and voice in a matter of seconds.

I was particularly impressed with the technical skill and emotional range of Ellin Sears, whose scenes resonated with quiet intensity and left a lasting impression. Her ability to convey vulnerability and determination in the same breath was extraordinary.

 

 

The minimalist set is stripped back in scenery, costumes and décor, yet makes striking use of numerous props. Boxes of letters line the backstage area like a looming archive of public opinion, and multi-purpose wooden crates are shuffled and reassembled to signify different settings and moments.

The “figures” double as stage managers, shifting the crates almost subliminally as the story progresses, and the precision of this choreography reflects impressive, well-rehearsed direction. There is no backdrop, and I did feel the addition of one could have further immersed the audience and provided clearer geographical context. All the costume changes are carried out in full view from a portable clothes rack; an interesting choice, though at times it distracted from the performances unfolding. The lighting design is harsh and intentionally so, bathing the stage in an unforgiving glare that mirrors the scrutiny surrounding the case.

This powerful play balances warmth, delicacy and moments of in-your-face dark humour, offering both emotional weight and surprising levity. Theatre critics have rightly described Valentine’s work as a “masterclass in verbatim theatre,” and this production shows why.

It handles sensitive material with care while retaining dramatic potency. Melville Theatre Company has not only done justice to “Letters to Lindy” but delivered it with conviction, heart and finely tuned craft.

To book tickets to Letters to Lindy, please visit https://melvilletheatrecompany.au/current-production.

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The Viewing Room

The Viewing Room

The Viewing Room Rating

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2

Last night I was excited to yet again to visit Wanneroo’s Limelight theatre to see their comedy The Viewing Room. I’m a huge fan of Limelight, I love the variety of productions that they put on each year and the heartfelt community that they have built.

The Viewing Room is a play by little known American playwright Mark Smith and director Tim Riessen actually staged this one back in 2020 at Joondalup Encore Theatre Society (JETS). It promised lots of laughs and an exploration into the themes of family and reconciliation and I was intrigued to see what they had up their sleeve this time.

As the curtains opened we see the set of the play – a funeral parlour viewing room in Holyoke, Massachusetts. Hats off to Set Designers Charlotte Weber and Peta Anderson and the Limelight Theatre ‘Setbusters’ who’s creativity absolutely nailed the tone and vibe of a funeral parlour – which immediately took me back to the last time I was in a viewing room!

We open on character Matthew Dumbrosky played by Doryan Kurtovic who is grieving his father’s death and the complexity’s that come with losing a parent. Kurtovic who has a passion for accents – gave the Massachusetts accent a really good go and I was impressed by his attempt. What I would say though, was that at times his articulation was unclear and hard to understand which left me missing some of the jokes at times.

Marie O’Brien as funeral director Jay Hollerback gave me a smile as soon as she came of stage. Her costuming (by Shelley McGinn) was on point and I loved everything from her gait to her matter of fact take on her character Funeral Director Jay Hollerback.

 

 

Rex Gray has been cast at the family patriarch Chester Dumbrosky who rises from the dead to torment and ‘clear things up’ with his wife and 5 grown children. Gray should be commended on his clear strong, clear and articulate voice, mixed with a great stage presence.

Chester’s wife Florence Dumbrosky is played by Julie Holmshaw and she is clearly irritated that he is back to annoy her, especially because she has just managed to get on with her life. Holmshaw gave the standout performance of the cast and handle the comedy so well. I especially loved the (on purpose) mispronunciation of words that gave a lot of laughs!

The remaining sibling – the two daughters played by Mary Angus and Diane Campbell as well as the two son’s played by Michael Balmer and Jeremy Darling were a tight knit cast, with each character being so relatable as part of every dysfunctional family we know.

This script had some great thought provoking moments about what goes unsaid when someone dies and if the damage we can do as parents is ever repairable or redeemable. I did find though, that the script probably still needed some work and had the cast working extra hard because of this.

Limelight Theatre gives a range of actors a shot up on stage – from WAAPA grads to those newer or revisiting the stage after a long hiatus – which I just love. Community theatre is ultimately about giving every one a chance to shine on stage no matter who they are or what their experience is and Limelight does just this.

Overall I would like to commend Limelight Theatre again on another solid production and I am so excited to see their next one – The Vicar of Dibley coming in November.

The Viewing Room closes September 27th of September.

To book tickets to The Viewing Room, please visit https://www.taztix.com.au/event/limelight/.

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