Midnight Murder at Hamlington Hall

Midnight Murder at Hamlington Hall

Midnight Murder at Hamlington Hall Rating

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Arts Theatre Cronulla’s production of Mark Kilmurry and Jamie Oxenbould’s ‘Midnight Murder at Hamlington Hall’ is a delight. Susan Turner has directed a tight and skilled ensemble to deliver each joke with aplomb and endear each of the odd duck characters to the audience.

The script is whip-smart and moves along at a really enjoyable pace, featuring the highs and lows of a fictional amateur theatre company on an ill-fated opening night of a show. Despite the murder mystery tropes evoked by the name, there’s plenty more than clues and sleuths on offer here. This is a production that is finely tuned, and delivers the chaos of the show with both levity and (as evidenced by the entirely convincing comedy of errors that ensues) precision.

Angela Gibson is consistently excellent in ATC productions and this is no exception; her comic timing as Karen is stellar. Playing an amateur actor playing a role on stage for the first time is a task with considerable layers that she carries in style. Some of the biggest laughs of the first act came from her deadpan and witty delivery. Her interactions with the offstage character of her teenage niece (voiced by Arianne “Flossie” Hough) are hilarious, and Gary Clark’s sound production across the show is excellent, with one of Act Two’s biggest laughs coming from an aural gag that the actors onstage respond to.

Michael Gooley’s Shane is the heart of the show; a director and writer genuinely invested in both his cast and the play they’re attempting to pull off despite setbacks. His earnestness and timing lay the groundwork for a large number of the big laughs of the show, and does a great job at connecting us to the emotional stakes for the whole (fictional) company. Gooley’s performance also lays the groundwork for the other actors to shine; Shane’s confidence that it’s all possible regardless of all the comic mishaps is the key to the movement of the whole second act.

Phillipa is a character who sets the comedic tone for the entire show, and Ariane ‘Flossie’ Hough does a fantastic job. Her vocal and physical comedy are really strong, and Phillipa’s vanity manages to be endearing rather than alienating in her capable hands. Samuel Owen’s entry to the show was a highlight, and his Richard is a fantastic addition to the ensemble.

The set (designed by Michael Gooley) is wonderful – perfectly pitched. The joke-per-minute and joke-per-square-metre ratio of this production is excellent; there is a stack of suitcases, a painting and a door that all have their own comic moments in the sun. The costuming, similarly, is very well done.

There are opportunities at every turn for comedy to ensue; hats and pants, walking sticks and slow exits all drew laughs from the audience. This is a really enjoyable and well executed production that I would really recommend.

To book tickets to Midnight Murder at Hamlington Hall, please visit https://www.artstheatrecronulla.com.au/midnightmurderathamlingtonhall.

Photographers: Maria Franklin, Mark Phillips, Dan Binger, Graham West

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Lord Arthur Savile’s Crime: Planning the Perfect Murder Can Be Chaotic!

Lord Arthur Savile's Crimes

Lord Arthur Savile’s Crimes Rating

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Published in 1891 as a short story by Oscar Wilde, Lord Arthur Savile’s Crime was the basis of this satire adaptation by Constance Cox and presented by the Genesian Theatre Company. Although I had previously seen productions over many years at their historic 70-year venue on Kent St in Sydney’s heart of the city, this was the first time I had seen a Genesian Theatre Company’s production in 2025 in their purpose-built new theatre. Lord Arthur Savile’s Crime was performed in their new venue at Rozelle, complete with high ceilings, air conditioning, with every comfortable plush seat having an unobstructed view of the stage.

It is the late 1800’s and Aristocrat Lord Arthur Savile (Brock Cramond) is engaged to Sybil Merton (Catherine Layard), the daughter of haughty Lady Julia Merton. Lady Julia, portrayed with relish by Roslyn Hicks, clearly doesn’t approve of Lord Arthur as a suitable husband for her beloved daughter. Roslyn’s performance as Lady Julia was a standout. Her disdain towards her future son-in-law, highlighted by her finger pointing and sharp words, as well as her outrageously ostentatious white bird hat, made the audience laugh many times! With the hope of getting a dire warning and thus having an excuse to cancel the engagement, Lady Julia brings a famous cheiromantist (fortune teller) Mr Podgers (Kees Harmsen), to see Lord Arthur, who predicts the past and future by reading palms. Kees’ portrayal of a serious soothsayer was excellent, and as he loomed over Lord Arthur, cloaked in a dark suit wearing a black tophat, he created a sense of mystery and foreboding, and was reminiscent of a human grim reaper. Well done to the costume designers, Molly Haddon and Susan Carveth.

Mr Podgers predicts that Lord Arthur is going to commit a crime of the most serious nature – murder! He keeps this news from Lady Julia, and admits it only to Lord Arthur, who then decides he must complete this murder before his upcoming marriage. With the help of his loyal man servant Baines, impeccably dressed in a black suit with tails (Oliver Harcourt-Ham) Lord Arthur goes about planning to poison his dear Aunty, Lady Clementina. The circumstances surrounding this murder change as he tries to implement his plan, and the audience is left holding their breath waiting to see what happens. Lady Clementina was portrayed by Diedre Campbell, who created a character that was so likeable, it left me hoping she wasn’t going to be a victim.

The following attempts as he goes through his possible family murder victim list, conveniently given to him by an earnest and helpful Baines, involve his other Aunty, Lady Windermere (Julia Burns) and the Dean of Paddington (Christopher Hamilton). Involved with the planning and the supplier of certain possible murder items was a member of the Anarchy Society, Herr Winkelkopf, played with comical overzealousness by Sebastian Lodge. His interactions with Lord Arthur and Baines were earnest in his offer to help, and providing items of the explosive type, (that may or may not work, no spoilers) was one of the highlights of the play. The scene where he was delivering a ‘bomb’ dressed in the exact two shade colours of the wall, so as to ‘blend in’, was hilarious!

A supporting character, Maid Nellie, (Amy Silvana Thomas) added to the wealth of the Savile family. At one point, whether intentional or not, I got the impression that Nellie may be more than whom she seems with her intentions.

The playwright’s characters are quite the caricature of Britain’s high society’s wealthy people, as well as the hired help. Every character had some funny quips, which made the 2 hour, 10 min play flow at a good pace.

The music was suited to the era and emotive theme. Sound Designer Rhea Moloo set a scene of intrigue and trepidation during the introduction and interval, with classical songs, such as Palladio by Virtuoso and Ivan Dohovic, Concerto in G Minor and Flight of the Bumblebee.

Lord Arthur Savile’s Crime was masterfully directed by Molly Haddon and has all the elements of a traditional Victorian Crime – with the murder choices popular during that time, spliced with comedic drama. There is the underlying sense of social class motivations of mixed-up morality, as Lord Arthur is continually supported by ‘his people” as he desperately tries to fulfil his supposed future murder prophecy. The result is a very satisfying comedic play with unexpected twists!

To book tickets to Lord Arthur Savile’s Crimes, please visit www.genesiantheatre.com.au.

The Genesian Theatre
2B Gordon St, Rozelle
25 April – 7 June 2025
Running time: 2 hours 30 minutes (including 20 min interval)
Tickets: Full $35 / Concession, Groups 10+ $30

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Brown Women Comedy Performance: A Light Look at Being a Brown Woman

Brown Women Comedy

Brown Women Comedy Rating

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Deciding to be a comedian professionally is probably one of the bravest steps someone can take.

Some people are naturally funny, others are talented writers who have the skill to take a situation and focus in, give it a tweak and make it sound hilarious. From the many comedy acts I have been to, almost all comedians poke fun at their occupation in their set, and point out how poor they will be all their life. Brown Women Comedy, featuring four bold Indian and South Asian Australian comedians, did indeed broach this.

The first comedian, Niv Prakasam, extended this line of thinking and talked about her job as being someone who was simply carrying forward a family tradition, that of Generational Debt! I have heard other comedians talk about how disappointed their parents are, that they’re not a lawyer or a doctor earning the big bucks, but Niv swung this joke around with her Generational Debt take, and it was refreshing.

Niv spoke with the easy-going flow of a seasoned performer and was a wonderful opening act. I really enjoyed her stories about coming from a conservative country and how different Australia is from her home. She took this topic and brought a whole lot of different and amusing tales, some involving arranged marriages, what it means to hug, or hold eye contact with someone (that’s it, you’re now betrothed) and the audience reacted very well. Niv was able to incorporate the audience into her act, making them feel comfortable whilst talking to them.

Ramya Ranapriya followed and continued to make the audience laugh. In her set, she told stories about situations in her country. She talked about family (of course, the in-laws got a mention, but not even Grandma was spared!) and her dynamic views of the ever-changing world of becoming a mum reached the audience’s heart. Her stories from when she had a newborn and was bombarded by requests from everyone to meet her little one was relatable to many people – such as the endless stream of visitors (the quick look of the men visitors versus the delight of women visitors inhaling the scent of her baby) and was very funny. As was her take on how visitors brought money as gifts when they came – but I won’t spoil Ramya’s jokes by relating them.

Founder of Brown Women Comedy, Daizy Maan, followed Ramya. Her impressions of her friend’s friend made people laugh, and she cleverly circled back to this particular joke to close her set. Daizy told tales about her family, sharing some funny experiences ranging from her mum’s roti to awkward moments, which had the audience cringing in sympathy. One of the funny moments for me was something her mum said to one of Daizy’s friends, about her thighs! It is still quite an Asian thing for the older generation to comment about one’s weight, and this made the audience laugh.

To close the performance, Guneet Kaur came on, and brought another dimension to the show. She delivered her comedy set with a deadpan coolness, and this worked to bring out the joke’s meanings even more. Her stories about dating and being a racial chameleon were hilarious, as were some stories about dating, bisexuality and how lies can go wrong when making up a false family!

The four womens’ comedy acts were all different, with each comedian bringing another side of being a woman into the show. It was an all-rounded show, incorporating sexism, feminism and racism into 2025 and the modern Aussie world. If you feel like a break from the real world, a comedy show should whisk you away. Brown Women Comedy does just this – these ladies will whisk and stir up your funny bone and imagination, at least for an hour!

Brown Women Comedy was hosted at the Lennox Theatre inside Riverside Theatres in Parramatta and is part of the Sydney Comedy Festival.

Performances: 23 – 25 April 2025
Riverside Theatres. Corner Market and 353 Church St, Parramatta
Tickets: $44
www.riversideparramatta.com.au

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It’s Only A Play – Pymble Players arrive at The Zenith Theatre

It's Only A Play

It’s Only A Play Rating

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It’s evening in a New York townhouse. Plush pillows adorn the bed, and the room furniture’s white colour palette portrays understated luxury. Jazz plays as the audience is seated. I loved the director and set designer Joy Sweeney’s selection of extra-long curtains, which gave the set a high ceiling and confirmed the architecture of an upper-class Manhattan residence.
This is a room of affluence and perhaps also influence.

Terrence McNally’s It’s Only A Play could be set in any era, but it’s soon clear from the references to Broadway musicals mentioned that it’s set in the present day. We join a group of creatives (and a coat check boy) after the opening night of playwright Peter Austin’s (Nick Roberts) play named “The Golden Egg”. What “The Golden Egg” is about remains a mystery for the entirety of the play, but it doesn’t matter. What matters to these characters is how it is received by Broadway’s top theatre critics. McNally’s play shows how powerful the weight of a good or bad theatre review can affect the future of a production and the survival of some theatre venues.

This is a comedy with many big characters, oversized personalities, and even larger egos. James Wicker (played with self-centred relish by Ross Alexander) is Peter’s best friend who has come to support Peter on his big night. James had previously turned down Peter’s offer to play a character in his play, instead choosing the path of acting in a long-running series on television. Was he viewed as a sellout as he swapped over to television? It was interesting to see how Ross portrayed friendship with his character’s feelings of jealousy over casting, and the interaction between he and Peter with unfavourable comparisons being made between being a Broadway theatre actor and a television series actor.

Gus (Cameron Drake) the wannabe actor, delivers a light hearted distraction whilst everyone waits for the reviews to come in. He brings several coats into the room, ceremoniously announcing who they belong to, and dumps them on the bed, which gains a lot of laughs from the audience. Many coats have their own recognisable star factor, including coats from Les Miserables, Cats, Hamilton and Joseph and the Technicolour Coat. There’s even a musical nod to Wicked performed by Gus.

Heather Pitt’s character Virginia Noyes has a feisty ‘tell-em-how-it-is’ spunk. Virginia starred in Peter’s play that night and eagerly waits to see how her return to the stage is received. Her retelling of a certain dance onstage due to an ankle monitor was funny.

Julia Budder, played by Cassandra Gorman, is the producer of “The Golden Egg”. She decided to back Peter’s play and brings hope to the room, as well as a certain fragility. Clive Hobson’s character Ira Drew is a harsh film critic. He throws a barb at Peter: “I like you personally, it’s your play I can’t stand” is one insulting comment, amongst many others.

Tim Wotherspoon, who plays the director of “The Golden Egg” Frank Finger, is a standout. Frank Finger is a flamboyant, sensitive and dramatic character, full of hair tosses and bouts of kleptomania. His highly successful previous projects prompted a potential imposter syndrome line “I need a flop!”. The dramatics with his ‘invisible cloak’ (a nod to Harry Potter perhaps?) had the audience laughing.

Director Joy Sweeney has successfully led The Pymble Players’ first performance into their new performance theatre venue – The Zenith Theatre in Chatswood. Congratulations to The Pymble Players on their opening night.

Finally, what did the theatre critic Ben Brantley from The New York Times and other theatre critics have to say about “The Golden Egg”? No spoilers here – the second act is filled with the characters’ reactions, so you’ll have to see it to find out!

It’s Only a Play performances:

14 March 2025 – 22 March 2025.
Tickets: $35 Concession Card holders $30

To book tickets to It’s Only A Play, please visit www.pymbleplayers.com.au/its-only-a-play.

Photographer: Daniel Ferris

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