The stage adaptation of one of “A Murder is Announced,” directed by Jaqueline Kerr, was performed by the Villanova Players on Friday. A wonderful portrayal of one of Agatha Christies most loved stories, brings back the beloved Mrs Marple and introduces various delightful and intriguing characters in the English Countryside. When a notification of a murder is printed in the local paper, everyone is curious to discover who and what will happen at 6:30pm that evening…
The stage was set in the sitting room of Miss Blacklock, carefully decorated with several armchairs, a loveseat and a small coffee table positioned center stage. The false walls were a sage green and were complimented by artwork hanging on the wall and two red doors. There was ample space for several actors on stage at one time, with no issues for blocking and good use of space. The furniture and props were thematically correct and welcoming.
Sound and lighting was fairly standard, involving a white light above the stage for most scenes. The scene where the announced murder occurs involved a sudden lowering of the light and a few flashes of light that sensitive viewers should be aware of. Prior to the performance, music aligning with the time period set the tone appropriately. The costumes suited each of the characters, aligning with the fashions of the time period. Makeup and hair were also notable, kept simple but gracefully complimented the female actresses.
The actors portraying Mrs Marple (Desley Nichols), Inspector Craddock (Leo Bradley) and Miss Blacklock (Phillipa Bowe) did exceptional in their roles, seamlessly committing to the dialogue and motivations of their characters. It was highly enjoyable to watch as they three of them interacted with one another as well as with characters such as Bunny (Lorraine Fox), Mitzi (Robyn Stumm), Patrick (Reece Milne), Julia (Isabella Stone), Edmund (Steven Eggington), Clara (Jill Cross) and Phillipa (Sioban Evans). The role of Rudy Shertz and Sgt. Mellors (John Evans) was also a good addition to the ensemble.
The style of dialogue, articulation and gradual defining of relationships between each of the characters seemed more than natural to each actor, making it very easy to apply praise for their great work in this production. Each scene cleverly directed and increasingly engaging to the audience. Many in the crowd audibly oohed and aahed at each new development, as a new secret was revealed and the plot thickened.
Because of their rousing performances (along with the director’s attempt to engage the audience with an opportunity to guess the murderer prior to Act 1), it was a thoroughly enjoyable evening for all who attended. All in all, a highly recommended whodunit that will keep you guessing until the end!
The Tony Award-winning Parade: The Musical returns to Brisbane at the Ron Hurley Theatre in Seven Hills, recounting the true and tragic story of Leo Frank (Michael Lewis), a Jewish factory manager in Atlanta, Georgia, who was wrongfully accused and convicted of the murder of 13-year-old factory employee Mary Phagan (Mabel Tamone).
The case—and its aftermath—exposed deep-rooted antisemitism, stark regional divisions, and widespread injustice in early 20th-century America. This pivotal moment in U.S. history not only intensified the rift between North and South but also helped fuel the resurgence of the Ku Klux Klan.
Directed by Johnny Peek, this Bump In Productions staging features a cast that seamlessly blends professional and community talent.
Real-life couple Michael and Belinda Lewis lead the production as Leo and Lucille Frank, lending a powerful intimacy to their performances, particularly in the show’s later scenes. Michael gives a deeply sincere portrayal of Leo, the Brooklyn-educated businessman who moved to Georgia after marrying Lucille and took over management of her uncle’s factory. His involvement in the local Jewish community becomes a focal point in the courtroom scene, and his emotional depth in the final act—after conviction and while awaiting sentencing—is both compelling and heart-wrenching.
Belinda Lewis delivers a sublime performance as Lucille. Her disbelief and frustration over the injustice done to her husband drives her to take control (“Do It Alone”) and persuade the Governor to re-open the case (“This Is Not Over Yet”). When Leo is moved to a prison farm, she visits him with a picnic—this tender scene was, for me, the highlight of the show. Their connection during “All the Wasted Time” was palpable, holding the audience in rapt silence.
Jay Monck gives a commanding performance as the ambitious District Attorney Hugh Dorsey, whose political ambitions hinge on a conviction—regardless of the truth.
Mabel Tamone is exceptional as Mary Phagan, imbuing the role with a childlike innocence and warmth. She is perfectly matched by Casey Martin as Frankie Epps (“The Picture Show”), a rising triple-threat performer. Both Tamone and Martin are talents to watch.
The ensemble is strong across the board, with standout moments in group numbers like “There Is a Fountain” and “It Don’t Make Sense.” Matthew McKenzie is magnetic as Jim Conley, especially during the gripping chain gang number, “Feel the Rain Fall.”
Musical Director Michael Keen brings Jason Robert Brown’s score vividly to life with the support of an accomplished live orchestra positioned offstage. Maureen Bowra’s choreography plays to the cast’s strengths, with intricate staging that immerses the audience in key moments.
Overall, Parade is an extraordinary and moving production—not to be missed.
Parade: The Musical runs through 3 August at the Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD 4170.
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.
