Villanova Players’ opening night of The Great Divide seemed to go off without a hitch. The Ron Hurley Theatre is a great venue for live theatre, with lots of parking, comfy seats, and great acoustics. Trust Google Maps; it may feel like it is leading you astray, but it will get you there.
With great little bars and restaurants in the area, I tried “The Old Seven” before the show as it was so close to the venue and had delicious food.
With the constraints in BCC spaces, director Elizabeth Morris planned a simple but functional set. The crew helped set the mood with lighting and kept pace with the very fast scene changes.
The play deals with the politics of developer vs local and people’s perspective of what something is really worth to them. Topics are very current – lack of rentals because of Airbnb’s; the modernisation of amenities that drives up costs, which attracts wealthy people able to pay more, further widening the divide between mogul and battler.
The play is dialogue-heavy with innuendos and references the older audience members related to. Although touted as a comedy, it is slightly reminiscent in style of another Australian classic, “Black Rock.” It is layered with deceit, manipulation, vulnerability, and naivety but delivered with comedic relief.
Alex, the politician standing for mayor, was played by Carissa. She gave the character an interesting voice that suited Alex as unlikeable and cold. As a developer and investor she is only out for herself although tries to justify it with manipulation and giving false hope.
Jane Binstead and Jade Davis played a mother and daughter combo that the audience recognised. Jade, as the daughter, Rachel was sullen and pouty while taking onboard the unfolding events. Jane’s character Penny was a solo mum who ran for mayor to try and protect her way of life.
Nathan Seng, the newspaperman, reminded you of someone who lived in a small town, surfed, and wanted to only print the truth. Ken Dutt played the interviewer, dressed in the standard black pants and white shirt, making brief appearances. Troy Bullock, the councillor, helped the play to feel like you were back in the 80s with his dress and mannerisms. Victoria McCrystal’s character ‘Grace” was reminiscent of Kirsten Vangsness. Everyone could be clearly heard.
The cast moved through the very fast scene changes in fast black outs and their enthusiasm for the play was enjoyed by the audience with chuckles and comments in appropriate places.
Kudos to the director, cast, and crew for putting on an enjoyable community theatre production. It is always worth checking out the local theatre scene. Throw in a trip to one of the great bars and eateries around the suburbs, and you have a fabulous, affordable night out.
“She Kills Monsters,” is a tale of Agnes, a High School teacher who is grieving the loss of her younger sister, Tilly. When packing up her sister’s room, Agnes find a notebook that contains a DnD world of Tilly’s design. Seeking to truly understand who her sister was, she seeks the help of a goofy DM, Chuck, who leads her through this creation in the hope that they can uncover what Tilly had left behind. Secrets, friends and life lessons lead Agnes to not only learns about her sister’s creative and courageous life, but how she can honour Tilly through her own.
This production, directed by Brenna Corben and written by Qui Nguyen (2011), gives a comedic tribute to the world of role-playing, tabletop games and the people who play them. Re-set in a Queensland, fictional town, it was great to see the way the different characters were being represented and how they interacted with one another. From the costumes, simple yet classic, to the way they were presented in Tilly’s world vs “real life.”
The sound and lighting included basic but reasonably varied lighting choices, that served the purpose of each scene. While the transitions could have been smoother, overall the media and colours used added to the theatricality of the production. In particular, the audience thoroughly enjoyed the voice overs overlaying the transitions to scenes in the school setting. The Australian references were enjoyable and easily identified, while also paying tribute to memories of our schools days. Overall, the audience engagement was highly positive and jovial, laughing at each joke wholeheartedly and enjoying the musical additions when applied. For example, at the sound of the “Friends” theme song, a majority of the audience knew to clap at the end of the first line.
The stage design incorporated the fantasy theme through their use of vines and platforms decorated in a faux stone wall covering. A table was placed center stage, while three block were placed around it, two of which raised slightly higher than the block behind. While there were times where the blocks seemed under-utilized, the stage design was adequate for each scene and required minimal movement adjustments for the different scenes. It was an interesting choice to turn down the lighting between each scene, as the transitions could have been smoother without the need for a lighting change.
The use of space and dynamics were particularly interesting in the way that Chuck, the DM played by Cristian Stanic, would sometimes move in sync with what was happening in the DnD world, as though they were attempting to illuminate what was happening through true DM style. Being surrounded by the DnD characters, Lilith (Laura Renee), Kalliope (Erin Hall), Orcus (Amber Lawson), Tilly (Genevieve Whittred) and Agnes (Alyssa Byrne), this seamlessly integrated into the story. The scene with the “final boss,” was especially enjoyable, as the use of LED lights in the eyes of the dragon and the choreography added a dynamic and theatrical effect that tied the show in a neat bow.
There were moments that the use of blocking (planned positioning of actors on stage) could have used some adjustments. There were moments when an actor’s back was to the audience or one actor stood behind another, their face being obstructed from the view of the audience while giving lines. While this can sometimes be utilized for dramatic effect, it seemed out of place and unpolished in these instances. This also meant that at time, the bounds of the scene were made unclear as it related to moments that were supposedly shared by only one or two actors. Was a scene meant to be private or did it occur in front of the rest of the party?
The actors that were most notable included those in the roles of Tilly, Lilith, Miles, Orcus and Agnes. The role of Tilly (Genevieve Whittred) was a great depiction of a teen who was trying to figure life out and how she hopes to enjoy it. When following Tilly’s highs and lows throughout the play, Whittred allowed us to witness a portrayal of Tilly that depicted a free-spirited, direct and creative youth who gave her friends a means to escape their current realities. Renee’s portrayal of Tilly’s love interest, Lilith/Lilly, was especially notable as their struggles were uncovered over the course of the play. It was wonderful to see the layers of the character unfold in her depiction of Lilly and how she interacted with Agnes in the latter half of the show, to be contrasted with the blunt and beautiful, demon princess that was Lilith’s character in the DnD realm. It would have been nice to see Lilith’s character explored further through conversations with Agnes or other members of the party.
A similar note can be made about the roles of Miles (JJ Jones) and Orcus (Amber Lawson). The audience found the comedic addition of Orcus’ character thoroughly enjoyable, however did not see too much character development where he or Miles were concerned. Jones played a highly believable Miles, who challenged Agnes when they shut them out of their journey. Both actors played interesting roles that could have been explored further to uncover more emotional depths, and about Agnes’ grieving process or Tilly’s friendships. While the actors were limited to the script material, they did a commendable job in their performances.
Alyssa Byrnes’ portrayal of Agnes offered exactly what one may expect from a grieving, avoidant elder sister. Agnes’ reluctance to face her emotions, difficult truths about Tilly and her relationships were adequately expressed through Byrnes’ facial expressions and body language, which opened up more as the play continued to follow Agnes on her journey with her grief and newfound comrades. While there were times where I felt Agnes lacked the appropriate level of energy for the scene that required it, the overall portrayal was believable and ended strongly. This was especially evident in the few scenes between herself and Lilly, as well as the scene with the “final boss,” the multiple-headed dragon at the end of her quest for Tilly’s spirit.
I am interested to see how each of these crew and cast members evolve in future productions and am eager to see what worlds they venture to next.
F. Scott Fitzgerald’s The Great Gatsby has been adapted into a riveting stage play by Simon Levy, and Vivien Broadbent directed this showing by the Villanova Players.
The set, simple yet elegant, consisted of a wooden balustrade upon some theatre blocks center stage. To the right and left were chaise lounges with layers of blankets, each removed for the relevant scene. Lamps upon side tables complemented the themes well, along with the frequent use of a drinking tray wheeled in and out of scenes.
The costumes, beautifully fitting for the chosen era, made each scene more eye-catching than the last. Actors were adequately styled, pairing 20s-style makeup and hairstyles with amazing dresses, suits, and headdresses. This was especially evident in the party scenes and dance routines, where we saw a lot of movement and expression. The colours, composition, and touch of sequins add a charming flair to each moment.
The jazz singer (Emma Hodis) and short dance routines also added to the show, bringing Gatsby’s parties to life and facilitating transitions between scenes. While some of the routines could use light polishing, the choreography utilized the entirety of the space, creating shapes that engaged the audience. This can be seen in one of the early scenes when Gatsby and Nick are on a plane. Holding the shape of the plane, the dancer’s contribution added fun and flair to the scene. Similarly, they gather around Gatsby’s car in one of the garage scenes. Their use of comic relief helped the audience connect with them and eased some of the tension throughout. It was wonderful to see how the cast was brought together in such a creative and dynamic way.
For those cast in the leading roles, Hayden Parsons (Jay Gatsby), Lachlan Gregory Hugh (Nick Carraway), Hannah Kennedy (Daisy Buchanan), Oscar Kennedy (Tom Buchanan), and Isabelle Arthur (Jordan Baker) had great chemistry. Parsons’ portrayal of Jay Gatsby was highly compelling. He captured the emotional depth and yearning that one would expect from a man awaiting his Daisy—a role that some would find difficult. Parsons made it look effortless, giving a seamless performance.
Hannah Kennedy’s perspective of the girl who got away allowed the audience to see the enthused, wistful Daisy in her most raw and honest state. From her mannerisms to the tone of her voice, Hannah also gave an amazing performance, elegantly drawing focus and embracing every scene with grace and professionalism.
The roles of Jordan and Nick were notable, too. The monologues and one-on-one interactions highlighted the emotional layers and inner turmoils they both faced. Hugh’s final monologue was a favourite, elegantly highlighting Nick’s inner struggle as he mourned his friend and grappled with the moral dilemmas he had been swept up in. I am eager to see where Hugh’s career leads, should he pursue it professionally.
Oscar Kennedy’s portrayal of Tom Buchanan was impressive and appropriately conveyed the depth and building tension expected in such a character. At the show’s peak, the confrontation scene between Tom and Gatsby was especially engaging as the pair verbally sparred in front of their friends. The feelings of denial, resentment and turmoil were palpable. I was thoroughly impressed by the way Kennedy explored the highs and lows of Tom’s character and look forward to other works they pursue.
The use of PowerPoint slides proved to be a valuable tool, as the sound and media team used them to supplement scene changes and offer symbolism during monologues. The lighting was appropriately assigned to each scene, aside from what seemed like a momentary blackout during one of the final scenes (the car crash). This scene was also accompanied by sound effects, with the intent to add to the scene. The 911 call recording, however, felt somewhat out of place for the period.
A prior scene, the driving scene in Gatsby’s car, could have benefited from light engine or background sounds, within the knowledge of how loud the cars of the period tended to be. That said, perhaps the director intended the dialogue to be the focus rather than the effects. Overall, the team working behind the scenes did an amazing job and kept up well with the various demands of their roles.
A wonderful night out and a thoroughly enjoyable show that I would recommend for ages sixteen and above, noting some of the few potentially triggering moments (implications of DV, murder and suicide).
Congratulations to the Villanova Players for a fantastic show! The Great Gatsby runs for one more week with sessions:-
Villanova Players’ rendition of “My Fair Lady,” directed by Jaqueline Kerr, was a show that I looked forward to writing about. With such a diverse cast and creative set design, it was, for the most part, a pleasure to watch.
The stage was a rather limited but well-utilised space. Because of the large dancing numbers, including almost the entirety of the Chorus, opening the back curtains and allowing for slightly more space could have been to their benefit. There were also some issues regarding the security of the backdrops, as they were often seen swinging out of place, with parts of the props falling off or down on occasion. This was resolved quickly some of the time. The set design was cleverly planned, however, and involved three fold-able pillars on wheels. This assisted in the scene changes, creating a cleaner and more efficient method.
The choreography was simple but well thought out. Their use of space and shapes was reminiscent of old-school Broadway choreography, which was a joy to see. There were a few occasions when it seemed as though the Chorus required more practice or was overly nervous. Despite this, their vocals were almost always on point. Seeing how those in the Chorus were having a good time engaged the audience and allowed them to feel part of the revelry.
While the lighting and the timing of which was fairly polished, there were a few moments when the audio used throughout the show did not play at the correct moments. Or, possibly, the actors moved through the dialogue quickly enough to have a small amount of space between conversations and the beginning of the song. The cast played this off well, repeating lines and continuing on. It was good to see the actors attempting to work with the tech team. Having natural transitions and well-timed lighting and audio can make all the difference.
The casting of the lead roles brought the show together. Amelia Burton’s depiction of Eliza Dolittle was seamless and absolutely stunning. Her rendition of “I Could Have Danced All Night” can only be described as angelic and captivating. She captured the audience’s hearts from the very first note, perfectly portraying Eliza’s wit and tenacity. Andrew Alley played a highly convincing Professor Higgins, expertly portraying the emotional layers and theatricality that this role requires – and then some. His performance of “Let a Woman in Your Life” was thoroughly enjoyable and impressive.
Other notable mentions include Barry Hawarth (Col. Pickering), John Evans (Alfred Dolittle), Karen Marrinan (Mrs Pearce), Nicholas Sayers (Freddie/Chorus), and Jill Cross (Mrs Higgins). These are all admirable and charming depictions. The audience especially enjoyed Freddie’s “On the Street Where You Live” and Alfred Dolittle’s comedic stylings during the much-loved “I’m Getting Married in the Morning.” The male vocalists accompanying Dolittle’s songs were also praiseworthy and a joy to watch.
All in all, this production has a lot of potential, and I feel that with some polishing, it could be a triumph. Either way, it’s wholesome, fun, and a great evening out for all the family. I look forward to seeing where the Villanova Players go next.
The final show of the calendar year this season runs from 29 Nov – 8 Dec 2024. To book tickets to My Fair Lady, please visit https://www.villanovaplayers.com
