The Stars Come Out To Play

Celebrity Theatresports

Celebrity Theatresports Rating

★★★★★

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1

We were warmed up and welcomed by “Jeremy” the twin of Celebrity Theatresports host Jeromaia Detto, at least that’s what Jeremy would have us believe. The theme of the day would be the circus. Jeremy had us practise our crowd hype including our circus animal noises. It was a very effective way to liven the excitement and energy in the room. The fun and passion was contagious and we were ready to be entertained, especially when Benny Davis from Axis of Awesome began to give the atmosphere a soundtrack, and we were introduced to our esteemed judges, hosts and the teams themselves.

I have a passion for Theatresports and I have done quite a few classes with our hosts, Impro Australia. It has been many years but I was excited to see, among the standout celebrities, were people that have celebrity status in my own heart and memories.

The six teams competing for the coveted Theatresports Celebrity Cup were:
The Greatest Show-Ponies (Adam Spencer, Rob Mills, James Galea and Jacqui Bramwell);
The Fairy Flossers (Steve Lynch, Kate Coates, Susan Prior and John Knowles);
Socceroo Sideshow (David Callan, Andrew Redmayne, Amy Tustian and Yarno Rohling);
The Big Top Guns (Ryan Atkins, Charlie Papps, Genevieve Hegney and Jack Scott);
Bunch of Clowns (Sophie Douglas, Daniel Cordeaux, Gary Eck, Felix Williamson and Sophea Op);
and Panda-monium (Linette Voller, Joji Malani, Murray Fahey and Scott Hall-Watson).

Round 1:
The first team was The Big Top Guns, who won my vote for best costumes (fully dressed to the theme). They also had the uber talented Genevieve Hegney, so they were at an advantage. The first game was Expert Double Figures where one player talks and the other lends their arms. The title they were given was “Teaching Tigers To Knit” and it was as hilarious as it sounds, especially Charlie Papps’ quick-thinking as their arms became the centre story.

Next up were The Greatest Show-Ponies taking on Genre Rollercoaster with audience suggestion of “Cleaning Out The Garage”: the genre having to be changed throughout. This team did a great job of keeping the story on track throughout the genre shifts. This was a standout in terms of technique.

Then the Fairy Flossers in all their dazzling pinkness had to take on the Animal Kingdom, which they all embodied well with the scene stealer being an exceptional meerkat played by John Knowles. Notable mention was the brilliant closing line at the end of all the mayhem from Kate Coates that the elephant (played comically by Steve Lynch) “Will never forget that!”

Number 4 was Panda-monium in all their Panda glory, including one Red Panda. They took on a fave of my own, Emotional Replay with the prompt of “Choosing a coffin”. This was a fun ride, culminating in “ecstasy” which was especially well embodied by Joji Malani’s impressive Vogue skills.

Number 5 was A Bunch of Clowns having to create a song entitled “Pickle Ball Is My Passion”, which hit the right notes with a catchy chorus. What some lacked in melody they made up for with hard-hitting lyrics, and Felix Williamson brought it all home with a brilliant finish.

Last, but not least was Socceroo Sideshow (with actual Socceroo Andrew Redmayne) who had the Sit, Stand, Kneel, Lie challenge at the airport. The characterisation with this physical challenge was impressive and it was chaotic fun watching them keep up with each other’s changing positions.

 

Round 2 was audio challenges from celebrities who were unable to be there.

Panda-monium had a request from Andrew Denton to see a scene with a lion and lion tamer who were afraid of each other. The team responded to this challenge by putting forward that they would do it with the team’s combined knowledge of High School French. It was tres impressive.

The Big Top Guns had a request from James O’Loghlin that they do a scene where someone can’t say the thing they desperately want to say. The team responded by having one character only able to speak in phrases from an audience member’s text message thread. Thus began a very clever family saga with a twist.

The Greatest Show-Ponies received their request from Rove McManus to see a scene in which somebody or something is being saved. The setting given was a Villain’s Lair. The team responded with Number Words, having host Jane Simmons shout out the number of words allowed in each line. With anything from 1 to 27, this was as hilariously challenging as you’d imagine.

Bunch of Clowns received their challenge from Kitty Flanagan, which was a scene where a farmer wants his son to take over, but his son wants to join the circus. The team responded with an American high school soap opera. This one showcased some wonderful teamwork as ideas were quickly thrown about and responded to.

Socceroo Sideshow got their challenge from the Umbilical Brothers which was an under the sea story called Raiders of The Last Air Bubble and they responded with Stunt Doubles, where two players enact the story and then have to swap over with their “stunt double” as dictated by the host and the stunt doubles play it out in slow motion. This was great fun with a special cameo from Millzy (Rob Mills) as the seahorse.

The Fairy Flossers got their challenge from Jonesy and Amanda in the form of two co-workers getting in trouble with a motorbike involved. They responded with a “Sing About It”. They came up with some catchy tunes, highlight being the Ballad of the Bike.

We then had some moving stories from the Canteen representatives, and we were all very emotional after learning more about how much this organisation means for cancer victims and their families.

Round 3 kicked off with The Hat Of Fate.

Fairy Flossers pulled out the prompt “In A Bank Vault” and were challenged to a Character Swap with a plot twist. Steve Lynch stole the show as a petulant teenage girl.

Big Top Guns pulled out “Taylor Swift Fan Club” and were challenged to an Off Broadway musical. It exposed the Swifties and those who drew a Blank Space when it came to her tunes.

Bunch of Clowns pulled “At A Fashion Show” and were challenged to a Shakespeare theme. They did doth handle that well.

The Greatest Show-Ponies pulled “At A Craft Brewery” and were challenged to an Opera, giving Millzy his real moment in the sun. It was a crafty little love story in song.

Panda-monium got “Top Deck on a Tour Bus” and were challenged to the audience providing the sound effects. This got the energy going and was a fun ride for all.

Socceroos got “Group Therapy” and were challenged to a ballet, which was actually rather beautiful.

The two teams revealed for the final round were Panda-monium and Socceroo Sideshow.

Panda-monium decided to use “Epic Quest” as their theme for the final round, and they were challenged to include a bum bag. They worked beautifully as a team and took us on a wonderful, wacky journey with other members of the other teams joining them along the way.

Socceroos decided to use “Film Noir with puppets” with the suggestion of a missing Pikachu. David Callan invited his students on stage to be the puppeteers and they did a fabulous job of following the prompts and uplifting the narrative.

Socceroo Sideshow were the winners overall and all the creatives were invited to the stage. John Knowles then delivered a moving tribute to Michael and Julie, the heart and soul of Impro Australia.

It was a wonderful Sunday afternoon of humour and heart. We all left with big smiles on our faces.

To find out more about Theatresports shows, classes and corporate events, visit www.improaustralia.com.au 

Photography by Stephen Reinhardt

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They Did Indeed Kicketh Much A**

She Kills Monsters

She Kills Monsters Rating

★★★★★

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She Kills Monsters is one of those productions I find quite intriguing as a youth theatre director. It’s a tough piece to work with, but it’s quite beloved, and I was excited to see how Epiphany Arts would handle its complexity.

There was a warm welcome as we entered Eternity Playhouse, with its old school cinema vibes. The atmosphere is already set from that first entry, building with 90s bangers before you look around the room and notice cloaked figures either side that seem to have appeared out of nowhere. The D&D setup is on the stage, and we move into ominous music as the ensemble slowly fill the space, engaging us from the start. Then the rock cranks and the chaos begins.

We meet Agnes, played by Holly Gallagher, and her boyfriend and best friend who are trying to connect with her in the wake of losing her sister. Agnes needs to understand who Tilly actually was, beyond the sibling rivalry that kept them apart. She follows Tilly’s diary trail, which leads her to Dungeon Master Chuck, brought to roaring life by Caspian Macarthur Mitchell, who hits every comic beat with a natural ease and is endearing enough of a douche that it’s genuinely hilarious. As the youngest cast member, it’s quite a feat.

 

From there, Agnes must take on the Quest for the Lost Soul of Athens, and along the way we meet some very colourful characters indeed. Jake Nelson as Narrator/Orcus is a real asset; professional dungeon master in real life, his command of the storyteller role grounds the whole adventure with warmth and wit. Martha Tidyman as Lilith alongside evil duo Ivy Wilkes as Evil Gabbi and Astrid Macarthur Mitchell as Evil Tina are fully committed and entertaining, with Astrid clearly relishing her role as the iconic antagonist for the third time. The ensemble, including Maisie Goldfinch, Ella Roseman, Jamie Callum, Luna Austin, Stephanie Calia and Autumn Orwell, bring high energy and great commitment to character throughout.

Holly is an engaging Agnes, with lovely light and shade and a beautiful voice. Ruby Elane’s Tilly is the emotional core of the piece; a lost soul who didn’t get to realise her dreams but created a vivid and fulfilling dream world. It’s a deep, layered performance. The choreography by Anna Jaques, who co-directs alongside director Annie Macarthur, does a great job of creating that connected ensemble energy, keeping the 90s dance numbers tight and the fight sequences genuinely thrilling. Stage combat advisor Vincent Chung’s influence is felt too.

The use of screen helps with some of the more complicated elements of the piece, and the props and costume department absolutely slayed (see what I did there?). There were a couple of technical hiccups, which I have noticed before in this space, and I hope that’s an opening night snafu they iron out, because this show really is very well done.
The highlight was a powerful, transcendent performance of Uninvited with incredible harmonies that got me right in my 90s inner teen.

It’s campy, chaotic, and everything you want from this show. Epiphany Arts have nailed it again. To quote She Kills Monsters “They did indeed kicketh much ass!”

To book tickets to She Kills Monsters, please visit https://sydneyfringe.com/events/she-kills-monsters/.

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After Dinner

After Dinner

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 clichĂ©d 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!

Midnight Murder At Hamlington Hall

Midnight Murder At Hamlington Hall Rating

★★★★★

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3

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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