The Old Fitz Presents: The Female Of The Species

The Female of the Species

The Female of the Species Rating

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7

Arriving at the Old Fitz for the play, your night is already off to a great start. As the only surviving pub theatre in Australia, this atmospheric venue is a perfect setting for a play loosely inspired by a true Australian story of a feminist writer held hostage at gunpoint by a disgruntled student.

Upon entering the theatre space, the audience is immediately enveloped in the sounds of the Australian bush—chirping birds and buzzing cicadas—creating a vivid backdrop for the intimate setting of writer Margot Mason’s home. The stage is adorned with an eclectic array of books, hinting at the intellectual battles to unfold.

 

Lucy Miller delivers a standout performance as Margot, a revered feminist writer grappling with debilitating writer’s block. Her character embodies the struggle to stay relevant in a rapidly changing landscape of female representation and sexuality. Her latest book needs a new hook, but what new angle is there to explore on female sexuality?

Enter Jade Fuda as Molly Rivers, the fervent student whose admiration for Margot quickly reveals a darker undercurrent. Initially praising and fanatical, Molly’s obsession morphs into a chilling mission: to kill the woman whose work she holds responsible for her mother’s abandonment and subsequent suicide.

The dialogue shifts deftly between humour and tension as the play explores the evolving definitions of womanhood through the years. Margot and Molly’s banter serves as a comedic dissection of feminist ideals, questioning what it means to be an “ideal” woman—be it a nurturing homemaker, an ambitious careerist, or a childless self-improver. Margot is blamed for altering the “ideal” by swapping and changing the parameters in her every book, a relatable observation into the ever-shifting opinion of our own generation.

 

With the arrival of Molly’s exhausted homemaker daughter, Tess Thornton, who has disappointed Molly as she chose to dedicate herself to motherhood instead of a career, the three women represent polar opposites on the feminist scale. Who is the most “correct woman” you ask yourself as the story continues with the arrival of three men, equally as polarising and almost caricature like, leaving the audience reflecting on the complexities of female identity and the intersections of admiration and resentment.

The Female of the Species is not just a play but a thought-provoking exploration of feminism wrapped in sharp wit and dark humour.

Overall, with its strong performances, engaging script, and the Old Fitz’s charming ambience, this production is a must-see for anyone interested in the ongoing dialogue about womanhood in modern society.

The Female Of The Species season runs November 1 – 23, with session times as follows: 7pm Tuesday through Friday, 2pm and 7 pm Saturday, and 5 pm Sunday.

For tickets, please book @ https://www.oldfitztheatre.com.au/the-female-of-the-species

Photographer: Noni Carroll Photography

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.

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The Kingdom of Eucalypts: The Enigma of Miles Franklin

The Kingdom of Eucalypts: The Enigma of Miles Franklin

The Kingdom of Eucalypts: The Enigma of Miles Franklin Rating

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1

Thursday night’s rainy Halloween seemed a fitting time to see a play about the ageing, once-successful Australian writer and activist Miles Franklin, who is haunted by her past.

Moira Blumenthal directs The Kingdom of Eucalypts: The Enigma of Miles Franklin, a play by Australian-Hungarian playwright and psychologist Alice Spigelman, currently being performed at the Bondi Pavilion Theatre in Sydney. Spigelman has written an intriguing examination of a period of Miles Franklin’s life perhaps not all that well known.

While researching at the State Library of New South Wales for another project, Spigelman discovered that Franklin had curiously written some of her diaries in code. Spigelman wondered why a woman in her fifties needed to resort to such a habit, leading the playwright to find out why. The play goes some way in providing answers.

After decades spent overseas, a middle-aged Miles has returned to live in very straitened circumstances with her elderly mother, Susannah, in suburban Sydney. They are struggling so much that in one scene, Miles shamefully reveals they’re living off mouldy bread. The once-lauded writer, who had early success in her twenties with the novel My Brilliant Career, now finds herself ignored by the literary establishment.

Despite her years away from Australia, she sees that not much has changed in sexist attitudes towards female writers. In another scene, Miles rails against the fact that she still needs to adopt a male name in order to be published. Her choice of the nom de plume ‘Captain Bligh’ elicited chuckles from the audience.

 

It is through her friendship with Australian editor and publisher Percy ‘Inky’ Stephensen that Miles hopes to resurrect her flailing writing career. Miles, however, finds herself increasingly drawn into Inky’s political organising.

Spigelman has taken a clever approach to representing the bifurcated self that we see in the character of Miles. Two actors, Beth Daly and Sarah Greenwood, play the old and young Miles, respectively. This device allows us to see the impact of time on the writer’s psyche. Daly does an admirable job in portraying the now frustrated Miles, who at once seems world-weary but also still harbours hopes for a different future.

Greenwood plays the young Miles with a youthful energy, heightening our pity for her older self. Lloyd Allison-Young is excellent as the bombastic and eventually bitter Inky Stephensen, and James Coetzee very competently plays Edwin, Miles’ suitor in her youth. A highlight is Alice Livingstone’s portrayal of Susannah Franklin. Livingstone beautifully captures the elderly woman’s fussiness and also her deep love for her daughter.

The Kingdom of Eucalypts season runs from 30 Oct to 17 Nov. To book your tickets please go to https://www.moirablumenthalproductions.com.au/thekingdomofeucalypts

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.

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Pymble Players: The 39 Steps

Pymble Players 39 Steps

Pymble Players 39 Steps Rating

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8

For their final production, before they move to Chatswood, the Pymble Players present The 39 Steps. David Allsopp directed Patrick Barlow’s 2005 play, which was adapted from John Buchan’s 1915 novel and, of course, Alfred Hitchcock’s 1935 film.

If you are not already familiar with the story, let me assure you that you already know it even if you have yet to see it. The 39 Steps is easily where we get the plot of every spy thriller ever written. There is a beautiful woman with a mysterious accent who drags a hapless Englishman into a wild caper involving secret plans and hidden agents, which leads to a madcap chase across the Scottish moors. What is offered is a delightfully self-aware parody that the audience is invited to be a part of, and all of this is done by a stellar cast of only four actors.

Leading the cast and leading us through the story is Daniel Ferris as Richard Hannay. Richard, an average Englishman who was reluctantly dragged into the plot. At his side is Cassandra Gorman as Annabella, Margaret and Pamela, all of whom are very distinct from each other. The highlight of the evening, however, are Mitch Doran and Faith Jessel as our two clowns, playing at least 100 characters between them.

This rapid-fire performance required rapid costume changes, sometimes even on stage in the middle of dialogue, and all were done flawlessly without disrupting the comedic timing. If Ferris and Gorman form the structure of the play, Doran and Jessel are very much the energy.

Allsopp’s minimalist production design means the focus is almost entirely on our actors. I say “almost” because it is quite cheeky to see the stage managers directly interact with our cast, whether it’s a hand taking a prop or even two of them visible onstage with a fog machine and a pedestal fan.

The sound design brings richness to the performance, but even that is not above having a joke with us. When the phone keeps ringing after the character picks it up, was that deliberate or an opening night flub? I don’t care; either way, I’m laughing.

 

But I think what I admired the most was the real intimacy of the production, all the more emphasised by Pymble Players’ being in a small theatre. The action is not confined to the stage; the actors come through the audience and play part of the scene even directly in front of where I was sitting.

In the end, I think I enjoyed the play far more than I enjoyed watching Hitchcock’s film. Much has happened in the almost ninety years since the film first appeared. And while back then, Hitchcock played it completely seriously; now we can all have a lot of fun being part of the joke.

There are not many productions that can purport themselves to be “Hitchcock meets Monty Python” and can actually deliver on that promise. If you’d like to see it, I suggest you get in quickly as tickets are selling rapidly and it is easy to see why.

The season is almost SOLD OUT.

For a chance to purchase tickets to Pymble Players The 39 Steps please get to this link urgently @ https://pymbleplayers.com.au/the-39-steps

Session Dates/Times
November 1 Friday at – 8:00 PM
November 2 Saturday at – 3.00 PM
November 3 Sunday at – 3.00 PM
November 8 Friday at – 8:00 PM
November 9 Saturday at – 3:00 PM
November 10 Sunday at – 3.00 PM
November 13 Wednesday at – 8:00 PM
November 14 Thursday at – 8:00 PM
November 15 Friday at – 8:00 PM
November 16 Saturday at – 3:00 PM
November 17 Sunday at – 3:00 PM
November 22 Friday at – 8:00 PM
November 23 Saturday at – 3:00 PM
November 23 Saturday at – 8.00 PM

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.

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The Crying Room: Exhumed

The Crying Room: Exhumed

The Crying Room: Exhumed Rating

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6

As we walk into a space with furniture covered with material, it feels like visiting an old mansion where memories are preserved from the passage of time under dust cloths. We become, inadvertently, part of the story. Exhuming the dead.

With the brilliant use of staging, technology and a mesmerizing live score, performer Marcus McKenzie takes us on a journey where death is treated more like a joke, with humorous anecdotes of various ways to die and fun interaction with the audience, where McKenzie finds the commonality between us and him, the fact that we all will eventually die. As we laugh and come up with future scenarios, our naivety is interrupted by phone calls from McKenzie’s brother, who we find out has passed away a while ago.

These real-time phone calls make us question the linearity of time. What is the present, and what is in the past? Through this technique, we are suddenly face to face with laptop screens, where McKenzie retells the story of when he found out about his brother’s passing. Prolonging the inevitable, he was fighting a battle between wanting to keep normality and finding the right time to face the inevitable.

 

Through this clever use of technology and screens, it suddenly feels like the play is no longer in a theatre but a one-on-one conversation, almost like stumbling upon a video diary, where you become privy to a very personal story of loss and broken dreams. 

By the end of the play, all that is left is a shrine to both McKenzie’s and possibly your personal trauma, the memories you thought you buried long ago but that have been exhumed. As you leave the theatre, the smiles and laughter that you shared only a moment ago are replaced by longing for the past, the illusive memory of your own life before you felt that sadness and hurt that you now share with McKenzie.

It is a captivating performance that will keep you thinking long after you leave the auditorium. On for four more nights only, don’t miss out on this incredible production.

This production is part of the Liveworks Festival 2024, which will be hosted at The Carriageworks Performance Space from 23rd to 27th October.

Follow the link to book in for this or any other shows during the festival @ https://carriageworks.com.au/events/liveworks-festival-2024/

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.

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