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After Dinner

23/08/2026 Catherine Wright⭐🎭

After Dinner Rating

★★★★★

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After Dinner took us back to the 1980s with decor, fashion, black stockings and not a mobile phone in sight. The scene was set in a dining/entertainment venue with apricot tablecloths and chairs with touches of gold. With echoes of the television series, Kath and Kim and a little of The Office, the cast threw themselves into a by-gone era of dancing and romancing.

The audience first meets Gordon played by Oliver Wilson. He is a world-weary and sad man in a baggy 1980s suit recently separated from his wife. As he waits for two office colleagues, two women appear at a nearby table. Dympie played by Chantal Harrison enters with a classic 1980s side ponytail and wearing a blue satin dress and stockings. Paula, played by Noa Besser, dressed in what appears to be a genuine padded 1980s ensemble in purple is Dympie’s friend. Immediately it appears that Dympie is one of those people where her life is ‘my way or the highway’. Having no real social intelligence, she rearranges the table to suit her needs. Paula wants to be up close to the band but Dympie is having none of that and chooses a table at the back. Paula reluctantly gives in. They are absolute opposites.

Later, another colleague, Monica, played by Claire Gandy, joins as a grieving widow. At first, social etiquette tries to skirt around death with some funny moments and comments during an awkward conversation. Claire plays the role with enthusiasm and great comedic timing. We are there for her and the audience responded laughing at the intimate and embarrassing details of a mundane marriage. Her two colleagues listen in horror with Dympie shutting down the conversation only focusing on her hunger.

There are funny moments during ordering dinner as the throwback to 1980s menus and drinks is explained. All agree that they only order a carafe of white wine, either dry or not too sweet as they haven’t a clue. Claire unravels at the table with Gordon overhearing the drama. He is joined by his colleague Stephen, played convincingly by Nicholas Berthold. Stephen is looking for women and is a clichéd 1980s banker and ‘women’s man’. The outpouring of men’s issues between Gordon and Stephen is funny and revealing and acted with suitable embarrassment regarding ‘men’s talk’.

As the evening develops, in one of the best scenes of the play, Claire Gandy portrays the most genuine, angry and frustrated woman who is all pathos and suppression, seeking answers about wasting her life. She reveals all in a hilarious authentic monologue. The men become involved and with great comedic timing we see the fumbling and bumbling of both sexes.

With 1980s music reminiscent of a pub band in the background, the third male colleague never appearing and the desperate need for any of them to pair off, the conversations are both funny and bittersweet. Not one person was scrolling, trolling or texting, it was all about the language and social comments about dating, dancing and finding love.

To book tickets to After Dinner, please visit https://lanecovetheatrecompany.com.au/.

Photographer: Jim Crew, Lane Cove Creative Photography

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Midnight Murder at Hamlington Hall – Carefully Constructed Chaos!

02/08/202602/08/2026 Linda Lokhee🏆💎🦉🎭😂

Midnight Murder At Hamlington Hall Rating

★★★★★

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Midnight Murder at Hamlington Hall opens onstage to the upbeat music of Olivia Newton John’s melodious voice singing her famous song “Physical”. Phillipa Chidley, played by Emily Newberry, is warming up for an upcoming play. She is moving in that wonderfully uninhibited and free way that people dance to an 80’s song, when they think they’re alone. Newberry elicits giggles in her pink leotard as she channels Olivia, and it is a great introduction to this wacky, witty, and original play!

It is the opening night of a murder mystery play put on by an amateur theatre group named the Middling Cove Players. The writer / director / actor Shane Tweed (Michael Mulvenna) and the cast and crew are in the last hours of rehearsal when they receive news that the dreaded lurgy has hit several cast members. After a brief discussion about perhaps postponing the play’s opening night, Shane confidently declares that “The show must go on!” The hitch of this? The remaining cast will need to take on two-or-more character roles in their upcoming play. This includes roping in the tough stage manager Karen, played by Kate Kelly (involved in the Middling Cove Players because of ‘community service’ for an unknown but possibly violent crime) as well as her niece, played by Ciara Briggs.

Under the tutorage of Murray Fane’s character, they are instructed that each of their characters should speak with a different accent to differentiate the characters to the audience of the play. Thus begins the “play within a play” where the cast, donning some hilarious stereotypical costumes and accents, and moving with exaggerated bluster, begin to perform the murder mystery play. It isn’t easy acting ‘like a bad actor’ but the cast throw themselves into it and achieve their goal! Exaggerated accents appear, limps manifest and many other things add a touch of ridiculous to the play.

Mishaps, big and little, continue to plague the play – from the purposely mistimed lighting and sound effects to the outrageously long sound effect at the end (no spoilers – you’ll know what I am referring to when you see this).

Joy Sweeney’s costume design added depth to the Middling Cove Players’ onstage characters, which included a psychic named Madame Esmerelda (Kate Kelly), a movie star, a Seafarer and an elderly Lady Smythe, all three characters played by Emily Newberry. Sweeney’s clever design of Murray Fane’s costumes were spot on for Colonel Munster, Farmer Giles and the Scottsman and the audience were laughing heartily as Fane races to portray all his characters and their associated costumes, sometimes one after another. This was performed with enormous energy by Fane!

As I had previously seen and loved the work of co-writer Jamie Oxenbould’s comedy Chicken in a Biscuit and the high standard performances by Pymble Players, I had hoped that Midnight Murder at Hamlington Hall was going to be an interesting and funny night of theatre. The play was also co-written by Mark Kilmurry. I wondered if the name Hamlington was a deliberate play on words – a bit of a hidden meaning within the title – as in, they were going to “ham things up”. (They certainly did!) After the performance, I looked back on sound designer Casey Moon-Watten’s opening song “Physical” and thought what a great choice this was. Director Declan Moore’s cast was full of movement, each character portraying their own physical comedy onstage which made the audience laugh, especially throughout the second act. This ranged from a quiet nuanced eye raise, notably by Karen Sharp (played by Kate Kelly), the long, long, long descent from standing to sitting because of ‘old dodgy knees’ (Newberry’s Lady Smythe) to the full on madcap purposeful exaggerated movements of Harry Moorby’s character Doctor Freddie Ermington, as he tries to stand after slipping on water, recovering, only to keep repeatedly slipping and sliding. It was like the audience was watching one of those cartoons where a character keeps tripping and slipping, with hands flailing and legs going every which way! It was a sight to see, and the audience loved it! Mulvenna’s Detective Earnest Black’s comedic intensity as he searches for the murderer, steers the play successfully to its conclusion.

In other standout scenes, the whole cast is seen changing the set and moving props under darkened lighting. Kudos to lighting designer Sean Clarke for this, a scene where the cast are moving quickly around the stage, dodging furniture and moving to music not dis-similar to a loony tunes song. The cast toss props to each other in what looked like a mess, but was, I imagine, a very co-ordinated and polished display of physical comedic timing. If you’ve ever seen a silent movie, Charlie Chaplin style, then you can imagine the zany tone of these scenes.

This could have been a disaster, because the play was ‘full of mishaps’. Instead, Pymble Players were magicians, having produced a carefully constructed chaotic comedy with the illusion of catastrophe! The only trouble I had with this play within a play was picking a favourite character.

Don’t miss watching Midnight Murder at Hamlington Hall!

This play is dedicated to Mr Tom Sweeney OAM, director of over 40 musicals and a long-term member and Vice President of Pymble Players. Declan Moore, the director of Midnight Murder at Hamlington Hall, hopes that “this one brings a smile, Tom!”.

Season run: 31 July – 9 August 2026 at The Zenith Theatre, Chatswood.
Run time: 2 hours and 25 minutes, including a 20-minute interval
Tickets: www.pymbleplayers.com.au

To book tickets to Midnight Murder At Hamlington Hall, please visit https://pymbleplayers.com.au/tickets.

Photographer: Daniel Ferris

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A Shot In The Dark

28/07/2026 Melissa Marsh⭐

A Shot In The Dark Rating

★★★★★

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Comedy often succeeds not simply because of good jokes, but because of rhythm. Jason Spindlow’s production of A Shot in the Dark understands this well, balancing measured scenes with bursts of energetic physical comedy to create a production that remains engaging from beginning to end. Rather than maintaining a relentless pace, quieter moments allow both the characters and the humour to develop before the action accelerates, making the comic peaks land all the more effectively.

Ben Wheeler anchors the production as Paul Sevigne, presenting an examining magistrate whose fierce commitment to justice gradually collides with his growing attraction to the irrepressible Josefa Lantenay. Wheeler gives Sevigne authority from the outset, yet reveals the cracks beneath his composed exterior through excellent physical comedy. Whether shuffling papers in frustration, gently rebuking Morestan for openly staring at Josefa, or sprawling awkwardly across his desk in a futile attempt to prevent his wife from seeing his beautiful suspect, Wheeler communicates Sevigne’s increasingly impossible predicament almost entirely through body language. Importantly, the comedy never undermines the character’s integrity. Sevigne’s determination to discover the truth remains the engine that drives the play forward.

Ella Rose Titterton is captivating as Josefa Lantenay. Visually, she dominates the stage, dressed in vibrant red and black against a production otherwise defined by shades of black, white and grey. The contrast immediately establishes Josefa as the disruptive force within this ordered world. Titterton plays her as vivacious, brazen and keenly aware of the effect she has on those around her. Josefa delights in the attention she attracts and the jealousy she provokes, yet the performance avoids reducing her to a flirt. Beneath her confidence lies a woman caught in an impossible situation, forced to conceal information or risk conviction and execution for murder. Titterton gives the character warmth and nuance, ensuring Josefa remains sympathetic even as she continually complicates the investigation.

Lachlan Armstrong proves an outstanding comic foil as Morestan. Though firmly a supporting character, he arguably receives the biggest laughs of the evening through superb comic timing and wonderfully expressive reactions. His wide-eyed fascination with Josefa, mischievous grins during Sevigne’s interrogations and perfectly judged physical comedy consistently delight the audience without distracting from the central story. A second-act sequence involving the frantic concealment of a centrefold magazine is particularly well executed. Morestan is more than simply comic relief; Armstrong presents him as a genuinely capable assistant whose inability to disguise his reactions provides a perfect contrast to Sevigne’s increasingly strained professionalism.

Among the supporting cast, Aditya gives Antoinette Sevigne a calculating edge. Her concern extends beyond marital jealousy to protecting the social position that accompanies her husband’s career, making her suspicion of Josefa both understandable and, ultimately, justified. Ben Pobjie plays Benjamin Beaurevers with languid confidence, maintaining complete composure until events finally expose him, while Faith Jessel gives Dominique Beaurevers an eccentricity that skirts absurdity without tipping into caricature. Peter Phan brings quiet authority to Lablache, presenting Sevigne’s superior as meticulously controlled rather than bombastic, before demonstrating impressive versatility later in the evening with a memorable piece of broad physical comedy as the prison guard.

The production’s visual design is equally thoughtful. Abby Bishop’s set is convincing without becoming cluttered, allowing the actors ample room for the production’s physical humour. The central chair becomes almost a stage within the stage, naturally drawing attention whenever a character occupies it. Leone Sharp’s costumes establish a stylish mid-century aesthetic while reinforcing the play’s visual language through a restrained monochrome palette, broken only by Josefa’s striking red wardrobe. Together they create a world where order and disruption are immediately recognisable before a word is spoken.
By combining assured performances, intelligent direction and carefully considered design, this production captures both the wit and humanity of A Shot in the Dark. It is a polished and consistently entertaining evening of theatre, led by a strong ensemble that understands comedy is as much about character and timing as it is about laughter.

To book tickets to A Shot In The Dark, please visit https://paviliontheatre.org.au/a-shot-in-the-dark/.

Photographer: Chris Lundie

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Rebel and Riot with A Kingdom of Fools

21/07/202620/07/2026 Linda Lokhee🏆💎🦉🎭😂

A Kingdom of Fools Rating

★★★★★

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In the self-proclaimed ‘arse end of England’ there is a tavern in the village of Gotham (pronounced Go-tham, not Batman’s Gotham). Picture yourself in ye olden times of 1206, ruled by the King, the mystical wonder of knights and the clinking of mead in tankards. Lose yourself in an era where the lute and the medieval fiddle, the vielle, play in harmony with the gentle beat of the tabor and tambourine.

This is where A Kingdom of Fools, a one act comedic farce, directed and written by Ryan Atkins, begins with a burst of excitement. The tavern owner Mildreth (Meredith Welch) commands her workers, chef Simple Thomas (Alex Hutchison-Smith) and tavern wench Ethelfleda (Nala Davies) to prepare for the arrival oenf a knight, Sir Guy Ashcombe (Brendan Atkins) and nobleman Sir William Drakeford (Yarno Rohling). To present their best face in tavern hospitality, the tavern is rushed to be cleaned. The chamber pot “near to overflowing” is brought out ready to empty, a fixing of the floor near the door is attempted, Ethel practices her best bosomy sexy postures in the hope of snagging the knight, the welcome horn and the pouch of rose petals are at the ready. All these make their way back into the story later, serving as the accomplices to some hilariously comedic scenes.

Whilst waiting for the noblemen, Gerd (Lachlan Atkins) a sweet and simple miller, and Alfric (Ryan Atkins), a man with his head and both hands enclosed in a long wooden pillory arrive. Ryan’s Alfric unknowingly slams the wood into two characters, causing one to tumble outside and Gerd to become a temporary wall decoration which was one of my favourite scenes. It is difficult to describe this scene without giving away spoilers, but I’ll just say that it was so well timed and had the audience laughing and wondering how the set would recover.

Sir Ashcombe and Sir Drakeford also made a memorable entrance onto the stage. Sir Ashcombe tripped over and fell onto his back. Brendan’s portrayal of the knight, scrambling furiously and failing several times to get up off the ground because of the heavy armour was played to perfection, and reminded me of a cockroach with legs running askew!

The knight and the nobleman were at the inn to announce that King John was seizing it for himself. Everything, he says – including the tavern and the people, the animals and the flowers in the fields. The villagers are outraged at this greed, with Meredith’s Mildreth shooting the darkest and murderous looks at Sir Drakeford. Thus begins an outrageous plan of rebellion to convince the noblemen to leave and never return. Father Godric (Arnold Walsh) is brought in by the noblemen in attempt to temper the situation, but this fails and the audience most likely silently cheer as he flees.

The chaos that ensues from the villagers’ plan is all encompassing, involving the characters in non-stop scenes of utter hilarity and originality. One standout scene was when Sir Drakeford was reading the decree to Mildreth, unspooling it and reading it slowly line by line in a totally matter-of -fact way. Meanwhile, Ethel, Gerd and Simple Thomas are in the background, in their own world creating the most ridiculous skits, yet being one hundred percent true to their characters, which made it even funnier. This was one of the cleverest ways of involving a lot of the cast onstage, separate yet together to create one unforgettably funny scene. Ryan Atkin’s script was witty, fast paced and engaging, eliciting clever wordplay to capture the audience and tickle their funny bone.

The costumes were period perfect, especially their medieval tunics, brown soft sole boots and hanging coin pouches, as were the props and the set. The end scene was outrageously messy, and the physicality of Simple Thomas’ actions had the whole audience “laughing their head off” which is my way of giving a nod to the Ryan’s Aldric who spent the majority of the play with his head and hands trapped as well as something else.

Although I could see that there was no one ‘main character’ as such, as each character was written with their own flair, Lachlan’s portrayal of loveable ‘village idiot’ Gerd was a standout. He managed to deliver many not so hidden innuendos with the innocence of the young, which added to the comedy.

It was no coincidence that A Kingdom of Fools was at the Sydney Winterfest Medieval Fair on the weekend before the play’s opening week at The Eternity Playhouse. It was a strategic stroke of genius, because putting your head and hands into a pillory for a photo opportunity was perhaps the best advertisement for this play. A hilarious comedy of Monty Python-esque proportions, A Kingdom of Fools gathered the audience into a medieval time machine and stepped us back to where the little people overthrow the powerful. I’ll fill my tankard with mead and drink to that!

A Kingdom of Fools is playing at The Eternity Playhouse. 39 Burton St, Darlinghurst
90 minutes
Season: 16 July – 26 July 2026
Tickets: www.events.humanitix.com/a-kingdom-of-fools

To book tickets to A Kingdom of Fools, please visit https://events.humanitix.com/a-kingdom-of-fools.

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