Samson

Samson

Samson Rating

Click if you liked this article

8

Samson, the stunning debut production from Luminar Theatre Company, opens with a hauntingly beautiful performance of Nick Cave’s ‘O children.’ From the very first notes, I had goosebumps over my entire body; from the first scene to the very last Samson had me utterly entranced.

Samson centres around a group of teenagers in a small seaside town, who are grieving the sudden loss of a friend they’ve known their whole life when he dies tragically and unexpectedly in an accident. Julia- Rose Lewis’ script is visceral, raw and brimming with vulnerability and emotion, masterfully brought to life with sensitivity and zeal by director Chloe Callow.

It’s difficult to believe that Samson is Chloe Callow’s debut production as a theatre director. Everything about this production, from its striking visuals to its beautifully tempered emotionality, was perfectly curated. With a debut production of this quality, I’m eager to see what Callow has in store for the future.

The cast brought boundless energy and a grounded authenticity to the characters, as well as an unexpected but welcome dose of humour. Samuel Ireland was brilliant as Sid, bringing a marvelous complexity to a character that, in the wrong hands, might have just been dismissed as a bully. Ireland’s performance was deeply moving, his moments of humour landing perfectly with spot-on comedic timing.

 

 

Ava Jones’ portrayal of Beth was perfectly delivered- her grief felt so raw and genuine, and her character’s complicated relationship with God and religion was a fascinating exploration on the theme of spirituality and faith, and the ways in which belief can be both a comfort and a weapon in times of grief.

Henry Lopez Lopez is a brilliant ball of energy as Rabbit, equal parts sparkling vivacity and striking vulnerability. His chemistry with Rhiannon Jean as Essie was perfect. Jean’s performance was deeply emotional, and her journey is, in many ways, the heart of the show. Lopez and Jean both also deserve an honourable mention as the show’s producers.

Samson is carried by spectacular performances and thoughtful direction, and the production is full of little touches that really make it sing. Max Shaw’s set design beautifully captures the essence of a small town, and his work as fight choreographer elevates the dramatic scenes beautifully. Rhiannon Jean also did some incredible work as sound designer, adding a polish and dimensionality to the show.

The most wonderful thing about Samson is how life affirming it is. It’s a story about grief, but within that, it’s a story about resilience. The experience of watching Samson was deeply affecting- I laughed, and I cried (a lot) but I left feeling uplifted. I highly recommend seeing this production as soon as possible- Samson is one not to be missed.

Samson, presented by Luminar Theatre Company, is on at The Greek Theatre in Marrickville until October 11th.

To book tickets to Samson, please visit https://www.eventbrite.com.au/e/samson-tickets-1564791747239.

Spread the word on your favourite platform!

I’ll Be Back Before Midnight

I'll Be Back Before Midnight

I’ll Be Back Before Midnight Rating

Click if you liked this article

5

I’ll Be Back Before Midnight is a tantalising play full of twists, turns and jumps that will have your heart thumping, palms sweating and your skin prickling.

This spine-tingling production is being Presented at the beautifully unique Pavilion Theatre Castle Hill by the talented Castle Hill Players and directed by Ben Freeman.

The play is set in a cosy country cottage where Greg the elusive unsupportive husband, played by Mitch Doran, has brought his wife, Jan for recovery after a long admission in a psychiatric hospital. Jessie Peak as Jan was marvellous at portraying the neurotic self-doubting wife; her fearful and frustrated emotional outbursts were impactful and harrowing.

Greg instigated trouble in his marriage by inviting his sister, Laura, who is despised by Jan, his wife. Mitch Doran is wonderfully convincing in his role as the standoffish, self-oriented husband. Mitch skillfully portrayed the unraveling of his character, unearthing closets of surprising secrets.

Meredith Blee as Laura, the sister of Greg who has come to stay with Greg and Jan at the country cottage, showed great antics and dramatics between herself and both Greg and Jan. Meredith displayed a somewhat teasing and trouble-making character and ‘dug her own grave’ for doing so.

 

 

Jonathon Burt presents our fourth character, George, the owner of the cottage who consistently drops in to spread a dash of hysteria and hysterics. Jonathon was delightfully hilarious as George, delivering witty one-liners in fantastical succession. Jonathon’s comedic delivery and depth of character were fabulously displayed.

With a production team outnumbering the acting cast near 4 to 1, it is clear how collaborative team effort developed such a wonderful theatrical stage adaption. The team seemingly spared no expense and poured endless hours of loving dedication into creating this fantastic production.

The advantageous feats the production team went to in order to make all the ‘magic’ happen—and there sure was plenty of ‘magic’ and special effects—was incredibly admirable. In pursuit of authenticity, they gained police permission to fire a real shotgun with blank bullets to create an authentic live sound and experience. It’s the ingenious creativity and attention to fine details that molded the show into a thoroughly impressive experience.

The stage construction was ingeniously designed to enhance the theatrics, such as the furiously abused kitchen serving window and the shutters which eerily flew open and closed. The artistic design of the living room where the entire play took place was creatively and effectively laid out.

The lighting was fantastic, cleverly simulating cars leaving and arriving through the stage window and the timely light dimming and spotlights accompanying the stage drama. Also notable was the fireplace explosion with smoke and lights and the several feigned power outages which were all executed masterfully.

The numerous sound effects throughout, including the cars, telephone and recordings, elevated the action superbly. The thumping, bassy heartbeats penetrated the audience into a state of unease and anticipation. Additionally, the sinister piano music illuminated the eeriness and contributed to create the perfect creepy atmosphere.

I’ll Be Back Before Midnight is a gripping play packed with a solid, talented cast and a wonderful display of special effects. It will make you laugh, jump, gasp and scream, and leave you tingling with goosebumps. Grab your tickets and enter this welcoming theatre but take heed to “be back before midnight.”

To book tickets to I’ll Be Back Before Midnight , please visit https://paviliontheatre.org.au/ill-be-back-before-midnight/.

Photographer: Chris Lundie

Spread the word on your favourite platform!

Courage and Love in The Face of Jizo

The Face of Jizo

The Face of Jizo Rating

Click if you liked this article

2

Japanese playwright Hisashi Inoue’s script must make for some tender reading. Translated by his long-time friend, Australian Roger Pulvers, The Face of Jizo is brought to life onstage inside the intimate space of the Reginald Theatre by co-director and actor Shingo Usami and Mayu Iwasaki. Omusubi Production’s The Face of Jizo delicately unravels the ache in a heart, drawing the audience in for an emotional journey for a sensitive topic.

Set in the aftermath some three years after the dropping of the atomic bomb, the story opens to a severe thunderstorm. Lightning flashes and Mitsue (Iwasaki) umbrella in hand, enters her house, (a neat shack, designed with Japanese authenticity by Tobhiyah Stone Feller) with elevated tatami mats and a small, tidy kitchen. She is terrified. Calling for her father, “Daddy, I’m scared!” her father appears and there, Takezo (Usami) calms her, and we see the first glimpse into a beautiful father and daughter relationship. He tells her, “You got your reasons for being scared and you shouldn’t be ashamed of it. Nobody blames the victim of the bomb for getting shook up over something that flashes, even if it’s just an innocent little firefly.” I loved the significance of Takezo’s reference to a firefly; it beautifully captures how even something as small and delicate as a firefly can traumatise the innocence of the victims, making their pain all the more poignant and justified.

Mitsue’s job as a librarian brings her in contact with Kinoshita, (unseen) a man who collects items related to the atom bomb. Mitsue is in possession of some items, notably the face of Jizo, the guardian of children and travellers, which is half destroyed in war. A blooming relationship appears to be growing, but as the audience hears, Mitsue’s belief in finding true happiness for herself is shadowed with self-sabotage. Iwasaki brought the barbed sharpness of survivor’s guilt pain to the stage in a raw and genuine performance that brought tears to my eyes, and I know I was not the only one in the theatre who felt this deeply.

 

 

In this performance, on the 80-year anniversary in August 2025, it felt one message was clear; an act of inhumanity affects everyone – the innocents, for years to come and this unnatural act should never occur again. Despite the tears though, The Face of Jizo is a story of hope, love and courage. Usami’s portrayal of Takezo was captivating; his blending of a wise, paternal presence with a playful, larger-than-life humour added depth, warmth and levity to some scenes.

Composer Me-Lee Hay created a backdrop to Hiroshima in the late 1940’s with some beautiful music to accompany some scenes, as did Zachary Saric’s sound design throughout the play. The lighting by Max Cox captured the horror of the atomic bomb’s flashes, conveying an unspeakable event.

The vision of co-directors David Lynch and Shingo Usami for this timely production was outstanding, with their insight enhancing the emotional impact for which it was intended.
The Face of Jizo, a Japanese / Australian production in the Seymour Centre is theatre that tenderly addresses generational trauma as well as imparting courage and resilience.

The performance I attended on opening night, August 22, was a sold-out show that concluded with a well-deserved standing ovation. I highly recommend watching The Face of Jizo, as it is sure to continue moving audiences throughout the entire run.

Seymour Centre: Corner of City Road and Cleveland St, Chippendale
Season: 21 August – 6 September 2025
Time: 80 minutes, no interval
Tickets: www.seymourcentre.com/event/the-face-of-jizo

To book tickets to The Face of Jizo, please visit https://www.seymourcentre.com/event/the-face-of-jizo/.

Photographer: Kathy Luu

Spread the word on your favourite platform!

The School For Scandal

The School For Scandal

The School For Scandal Rating

Click if you liked this article

4

Richard Brinsley Sheridan’s The School for Scandal has endured since 1777 because its satire of gossip, hypocrisy, and vanity never goes out of fashion. Lane Cove Theatre Company’s latest production, directed by Christine Firkin, embraces that timelessness with a minimalist hand — proving that sharp performances can do far more than ornate scenery.

The set never shifted: chairs and a chaise lounge with a plain backdrop lit in washes of pink, purple, green, or blue to signal a change of location. Costumes were simple but distinctive, each character marked by clear colours and silhouettes so the audience could follow the action at a glance. This pared-back aesthetic threw all attention onto Sheridan’s biting wit and the players’ performances.

And what a performance it was. Daisy Cousins stood out as Lady Teazle, bringing both uproarious comic energy and subtle facial nuance; a raised eyebrow from her could puncture a scene. Samuel Chapman’s Joseph Surface matched her precision, playing the schemer with quiet menace and expressive restraint. Together, they showed how much this production relied on nuance as well as volume.

 

 

The ensemble also shone in versatility with several performers in multiple roles. Benjamin Walsh balanced rakish charm as Charles Surface with sly gossip as Crabtree. Joyce Sharma shifted nimbly between Snake’s sycophancy, Careless’s looseness, and the reimagined Lady Elizabeth Backbite, keeping each sharply distinct. Most impressive was Phillipa Coleman, moving from the eager prattle of Mrs Candour to the sober honesty of Rowley without a hint of overlap — two utterly different figures brought vividly to life.

Trent Gardiner anchored the play as Sir Peter Teazle, sparring with Cousins in exchanges that veered between exasperation and tenderness. Ciara Briggs lent Lady Sneerwell a cool edge, while Michelle Bellany gave gravitas to the adapted Lady Olivia Surface and her disguises.

Two set-pieces defined the evening. The “auction of ancestors” became a comic highlight when portraits were played by fellow cast members holding frames and I’m wigs and hats, turning satire into playful physical theatre. Later, the famous screen scene — one of Sheridan’s great inventions — was handled with zest: Joseph frantically hiding both Sir Peter in the closet and Lady Teazle behind the screen, the deception stretched to breaking point before it inevitably collapsed.

This performance of School for Scandal shows that spectacle is optional when satire is alive. With wit, inventiveness, and a company able to juggle multiple roles without missing a beat, Sheridan’s centuries-old comedy felt as fresh as ever.

To book tickets to The School For Scandal, please visit https://www.lanecovetheatrecompany.com.au/season-2025.html.

Spread the word on your favourite platform!