Sydney Theatre - Whats The Show

Love: A Tour De Force Of Pain And Tenderness

21 March 202520 March 2025 Isobel Knight

Love Rating

★★★★★

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LOVE is a tough and beautiful play about the fragility of people in tough circumstances trying their best to both survive and care for each other. The play itself is extraordinary, with Patricia Cornelius’s dialogue feeling so real that there are moments it almost feels like an intrusion to be listening to these characters having these conversations. The best of theatre opens doors for empathy, and this production achieves this, without preaching and without voyeurism around the characters’ suffering. This production closes at the end of this week and is exemplary.

In New Ghosts Theatre Company’s production, playing at the Old Fitz Theatre until the 21st of March, there is a solid, unmoving square setpiece with multiple stepped levels, one being a double bed, all in asphalt grey, taking up most of the stage. This stark and simple set is brought to life, and illustrates the power dynamics in constant flux between the three central characters. There are several moments where the audience held their breath, several big laughs – this show is enthralling, and moves at the pace of relational change, which ranges from tooth-pulling slowness and lightning pace. Director Megan Sampson has done a fantastic job in drawing first-class performances out of a talented cast and in building a window into a world that is both poetic and raw.

Georgia-Paige Theodos is a revelation as Tanya, the tough, butch lover who we first meet when she and Annie are in prison together. Tanya’s opening monologue about when she knew she loved Annie grounds the rest of the show. More than chemistry, the cast draws us into the strange, chaotic connection that these three characters have; the kinship of addicts, the warmth that love charges people with, the protective intensity of people committed to surviving the odds. Everyone in the show is in danger of getting hurt, and has been hurt already; the threat of pain is ever-present.

Rhys Johnson does an excellent job at imbuing Lenny, a character who could have been a caricature-ish villain, with so much humanity and humour. Through Lenny’s explanation of how love has moved him in ways nothing else has, the selfishness mixed with genuine emotion is moving and challenging. Producer and actor Izzy Williams is transporting as Annie, and the explorations the show does of gender, and the particular dangers for femmes in a violent world are prodded, particularly through her performance, with a raw and painful hopefulness. Her moments alone onstage are some of the most transcendent in the show.

One of the strongest threads of this production is how we are drawn to hope with these characters; despite the dead-end quality of their circumstances and paltriness of the tools they have to face them with, when they speak of the future it’s with this energy and drive that has us rooting for them. The blatant refusal, voiced by Tanya in the play, to be pitied, is both a mantra and challenge to the audience.

Sex work, drug use, and the difficulties of life post-incarceration are central to the play, and by dealing with them with honesty and humanity, each of the characters is shown to be a whole human being, not just a stereotype of people living alongside these things. This production does an excellent job of underscoring how deeply people from all walks of life want to be both cared for and needed, and the moments of disintegration into violence and struggle are all the more heartbreaking for it. LOVE is a show (and a force in our lives) that is worth the wrestle and pain it entails.

To book tickets to Love, please visit https://www.oldfitztheatre.com.au/love.

Photographer: Patrick Phillips

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Isobel Knight

Iphigenia in Splott: Theatre Review

14 March 2025 Steve Willems

Iphigenia in Splott Rating

★★★★★

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The Old Fitz is a small and intimate theatre in the basement of the charming Old Fitzroy Hotel in Woolloomooloo, providing the perfect setting for this powerful, modern Greek tragedy. Gary Owen’s one-woman monologue was first performed in 2015 and has gone on to become a classic staple of international theatre that’s remained just as important and relevant today as it was ten years ago.

Effie is a tough, spirited and crass young woman from Cardiff, Wales, who is proud of her rebellious nature and life of clubbing, drinking, and sleeping around. When society looks on women like Effie, dressed in their tracksuit pants and sneakers, smoking and drinking and swearing, they can be quick to judge. And this initial judgement of others and its impact sits at the very heart of the play.

Meg Clarke brought Effie to life with a heart-felt and powerful performance. She’s a natural storyteller, never faltering or losing her accent. There was just one moment, near the end, where the emotions seemed to overpower her and she needed a discreet moment to get composed. More power to her, I say, for being that deeply invested in the character.

At first, I wondered where the monologue was going and why this play is considered a ‘must see.’ Why should I care about Effie’s humorous hijinks, drinking prowess, and day to day life. Obviously, this was all establishing her character and circumstances.

As the narrative developed, and the stakes were raised, it was captivating. Looking around the audience, everyone was sitting forward in their seats, absolutely engrossed in the performance, eager to find out what was going to happen next. There were real moments of shock, tension, humour, beauty, and tragedy that we can all relate to in some way or another, leading to a powerful and tragic climax that will have some people reconsidering how they view others in society. About the many hidden sacrifices that go unacknowledged. Unappreciated. About how we are all human. And I guess that’s what makes this story so captivating. It’s so REAL.

Lucy Clements’ direction was fantastic, making the most of the sparse set and limited space. The timing, the pacing, the humour and tragedy, were all perfectly crafted to keep the audience deeply enthralled. There were no distractions from the story. The entire production team, working invisibly behind the scenes to support Meg’s performance, should be commended.

Everything from the costume, sets, lighting and sound helped build the world that Effie travelled through; from the nightclubs to hospitals to suburban streets. After Effie delivered her final, powerful monologue I felt drained and empty. There was a moment of real reflection that was hard to snap out of. And then, as the lights came up to reveal Meg Clarke bowing to the audience, they couldn’t help but give her a standing ovation. And I think that speaks for itself.

Iphigenia in Splott is currently playing at the Old Fitz Theatre in Woolloomooloo, Sydney until March 22.

To book tickets to Iphigenia in Splott, please visit https://www.oldfitztheatre.com.au/iphigenia-in-splott.

Photographer: Phil Erbacher

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Steve Willems

Sylvia: Presented By Hunters Hill Theatre

11 March 2025 Isobel Knight

Sylvia Rating

★★★★★

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The performances of all four actors in the cast are a real strength of Hunters Hill Theatre’s really enjoyable production of A.R. Gurney’s ‘Sylvia’, with each of them finding their moments of comedy and genuine humanity. The premise of the show is an odd one, but the opening night audience was won over by the warmth and skill of the cast, and a production that invites you to look in the apartment window to the funny and very human way people navigate changing and aging.

Justin Corcoran and Brooke Davidson play Greg and Kate, whose marriage is the central site of both comedy and conflict throughout the show. Both of them bring a gentleness to their characters; Greg remains a sympathetic figure despite the oddities in his choices throughout the show, and Davidson makes Brooke both warm and wry as well as exasperated.

Margareta Moir has perhaps the biggest challenge of the show, playing the titular (canine) character, but she does extremely well at the physical comedy and energetic contribution to the ensemble that her role requires. Richard Littlehales plays three characters across the show and embodies each with their own physicality that both drew some of the show’s biggest laughs and allows the core trio to shine. Leslie, the therapist who appears in the second act, is a real highlight, and Littlehales brings both life and humour to the arc of Tom, Greg’s dog park friend.

Wayne Chee’s set design is smart and sleek; a mulit-part sofa tells the arc of the story on its own, and the way the set interacts with the particular theatre at Club Ryde allows the audience to feel as if we’re in the apartment with the characters. The musical choices in some scene transitions were a lovely addition.

This is Moja Band’s first production with Hunters Hill Theatre, and it’s skilfully done; the play moves at a gentle clip, and there is an intimacy to the apartment world where most of the play takes place. The humanity in how embarrassing we all become when we’re in a period of flux is a thread that Band’s direction clearly finds; each character is funny and sympathetic.

In line with this, the costuming and prop work is really well done, everything feels real and recognisable, which is part of what allows the comic device of Sylvia being played by a grown human woman to work so well. The very normal world we see is interrupted by an enthusiastic whirlwind of a character, and the journey through what that means for a marriage and home is really fun, sweet and off-kilter.

To book tickets to Sylvia, please visit https://www.huntershilltheatre.com.au/whats-on.html

Photographer: Amin Heidari

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Isobel Knight

Witches, Daggers, And Dark Ambition: Macbeth Takes The Stage

9 March 2025 Donna Portland

Macbeth Rating

★★★★★

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Director John Grinston delivers a compelling interpretation of Shakespeare’s shortest tragedy, Macbeth, which follows the dark and ambitious rise of a Scottish general who murders his way to the throne, spurred on by his equally ruthless wife.

The production’s minimalist set – featuring a cloudy backdrop and simple, unchanging props – places the focus squarely on the actors and the power of Shakespeare’s words. While this approach demands strong performances to maintain audience engagement, the cast largely succeeded in bringing energy and verve to their roles.

Shakespearean dialogue, with its dense 11th-century language, can be notoriously difficult to render fluently. However, several actors navigated it with skill, making the text feel natural and immersive. Dimitri Armatas (Banquo) was particularly outstanding, delivering a consistently engaging and authentic performance. A standout moment came from Micah Doughty as Seyton, who stumbled in from a drunken night, weaving through the audience before joining his companions onstage. His delivery, in full Shakespearean fluency, was both amusing and believable, offering a rare moment of levity in the otherwise dark narrative.

As Macbeth, Jack Taylor handled the immense demands of the role well, especially considering this was his first Shakespearean performance. He had moments of true greatness, portraying Macbeth’s descent into tyranny with conviction.

Yvette Gillies played Lady Macbeth with admirable command, though her casting opposite a much younger Macbeth was an interesting choice. Indeed, some productions have depicted Lady Macbeth as older, emphasising her ambition, influence, and almost maternal guidance over her husband. Gillies’ Scottish accent was a welcome addition, lending authenticity to her portrayal, though it did contrast sharply with the rest of the cast, who spoke in more neutral tones.

Veteran actors David Stewart-Hunter (King Duncan) and John Benjamin (Doctor) added a seasoned presence to the production, bringing gravitas to their roles. Meanwhile, the trio of witches – Jasna Mars, Poppy Cozens, and Julie Burns – delivered some of the most engaging scenes of the night. Their cauldron scene, revealing the fateful prophecy that “no man born of woman can defeat him,” was particularly well-executed, creating an eerie, mystical atmosphere that resonated with the audience.

The Audience and Venue:
Opening night drew a predominantly older crowd, with more than half of attendees appearing to be over 50 or 60 – perhaps due to the presence of the actors’ families and longtime Genesian patrons. Shakespearean theatre may have a stronger appeal to older audiences, but productions like this have the potential to engage younger viewers as well.

More young people should experience Shakespearean theatre, as Macbeth remains strikingly relevant. While language and idioms have evolved, human nature has not, and the themes of unchecked ambition, moral corruption, and fate still captivate modern audiences. For students studying Macbeth, seeing it performed live provides an invaluable perspective on the play’s intricate dynamics.

The Genesian Theatre, at 2B Gordon Street, Rozelle, offers a viewing experience with well-tiered seating ensuring clear sightlines. The venue is air-conditioned (with two split systems), making for a pleasant atmosphere, as long as they remain on. The bathroom facilities are well-maintained, and the bar is excellent. Parking in the surrounding streets can be challenging, so allow extra time to find a spot.

Final Verdict:
This Macbeth was an enjoyable and well-executed production with a commendable cast and crew. While some moments could have benefited from greater consistency in fluency and intensity, the strong performances – particularly from Banquo, Lady Macbeth, and the witches – made for an engaging evening of theatre. Grinston’s direction, combined with Shakespeare’s enduring themes, ensured that Macbeth still has the power to thrill and unsettle, centuries after it was first performed.

To book tickets to Macbeth, please visit https://genesiantheatre.com/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Donna Portland

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