Iphigenia in Splott: Theatre Review

Iphigenia in Splott

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

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Sylvia: Presented By Hunters Hill Theatre

Sylvia

Sylvia Rating

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4

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

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

Macbeth

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/

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Summer of the Seventeenth Doll

Summer of the Seventeenth Doll

Summer of the Seventeenth Doll Rating

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3

Ray Lawler’s play Summer of the Seventeenth Doll is a cornerstone of Australian theatre. Directed by Tom Richards, the Arts Theatre Cronulla cast put their hearts and backs into this iconic story. The passion displayed onstage and the clear camaraderie of the local audience helped transport the room back to 1953, to a time of labour and love.

As you enter the charming theatre, you first see the gorgeous set. The olive walls and the sixteen beautiful Kewpie dolls scattered around the stage gave the audience a time capsule-like snapshot of the nostalgic and cosy 1950s Melbourne living room. The meticulous attention to detail simultaneously hinted at and highlighted both the charm and decay of the characters’ lives. The set became more than just a backdrop; it was a living, breathing part of the story—the eighth character, if you will.

 

Among the performances, Pearl, played by Rachel Lauren Baker, was the stand-out. Despite playing the group’s outsider, Baker’s portrayal of the outwardly strait-laced, respectable widow was captivating and made it difficult to look elsewhere when she took to the stage. Her performance unified the cast, drawing out stronger moments from the others and holding tight to the emotional core of Lawler’s work ensured that the play’s over-arching themes resonated with the audience. Pearl’s realist view of the layoff balances the over-excitement of Ally O’Brien’s Olive. The pair were cataclysmic and jarring: a blunt realist who tends to lean more on the pessimistic side and an idealist stuck in the past. The dynamic felt authentic, and the pair played off each other with admirable ease.

Peter David Allison was everything Barney was meant to be: a sloppy but loveable oaf with a wicked sense of humour. His energy was unmatched, forcing laughter from even the most stoic of audience members. Barney’s commanding presence was softened by his unassuming charm, particularly when it came to Bubba or Emma, played by Eliza Spowart and Narelle Jaeger, respectively.

The integrity of the story and the authenticity of the era shone through the costumes and the music that added texture and invaluable personality to the performance. A huge shout-out to Lesley Tinker who oversaw props and wardrobe, they were stunning.

Despite moments where the dialogue felt a little rushed, making it hard to follow on occasion, it was no different to listening to a friend who gets a little over-excited and passionate about a unique interest, which added an endearing quality to the slight confusion.

Overall, this is not a play to miss. Whether you know the story or not, the Arts Theatre in Cronulla is the place to be for the next few weeks. Head to their website to book your tickets before it’s too late! The show closes on the 22nd of March. Performances are Wednesdays, Fridays and Saturdays at 8pm, and Sundays 9 and 16 March at 2pm.

To book tickets to Summer of the Seventeenth Doll, please visit https://www.artstheatrecronulla.com.au/summeroftheseventeenthdoll

Photographer: Peter Gale – Graham West

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