Once Upon a Grimm Night: Interactive Theatre

Once Upon a Grimm Night

Once Upon a Grimm Night Rating

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4

An interactive theatre experience is not a seated and static theatre show. Nor is it one where you are pulled onto stage to become a part of the show, like in a stage hypnotist’s performance.

The ‘theatre’ setting for Once Upon a Grimm Night was a beautiful heritage house, Lindesay House, with lush green landscaped gardens that overlooked Sydney Harbour. Odyssey Theatre has chosen the perfect setting in Lindesay House for their Otherworld meets Ourworld theatre experience.

When we arrived for our 5:30 p.m. session, we were greeted by the impressively large house, with warm lights emanating from the windows, giving it a welcoming glow. Dusky twilight oranges and pinks painted the background of the house and the huge tree in front of it, where we waited for the show to begin.

Our group was soon welcomed by The Narrator (Jared Gerschwitz) with his infectious enthusiasm. It is a credit to Jared, who outlined the storyline, clarified our quest for the night, and made our adventure into the house enjoyable while maintaining a wicked sense of humour. Other characters we met initially as we were swept into the story included Cly (Phoebe Lumley Tow), the earnest maiden, and Grimm Volkov (Harlee Timms).

Along with the heritage house, the details put into the costume design and hair styling stood out for me. The Maiden Cly’s hair was fairytale perfect, complete with the flowers in her half-up/down wavy hair. I noted the jewellery worn by The Narrator, Grimm and the Witch, who we soon met, all added to the idea of what a fairytale character would feel comfortable wearing. Look closely, to peek at some cleverly hidden clues in their costume and jewellery design!

The fourth character, the Witch (Emily McKendry), had her own back storyline, as did all the characters. One fun part of this interactive theatre involved the audience helping her brew a magic potion to help further their quest. The way that Emily guided this particular scene down in the basement of the house in the deep, cold, stone kitchen was highly entertaining.

Throughout the play, the audience was given several puzzles to solve that immersed them deeper into the storyline. Everyone had to work together to come up with the answer. The group I went through with were all good sports, and we had an opportunity to discuss what certain clues meant to try and figure out the answers. If you were someone who would rather observe than participate, I am sure that the cast wouldn’t have made you do anything.

All four characters appeared to be able to read the room, with their mannerisms tailored to the audience. Odyssey Theatre’s director and writer, Emily McKendry, creatively handmade the clue props, which stood out as original and made for interesting puzzles to solve.

The storyline would suit all ages, as a fairytale does not need to be just for children. I recommend Once Upon A Grimm Night for anyone who would like an hour of doing something different.

It was an interactive theatrical experience that was quite original and uncommon. We became part of the story, and there was something satisfying about it. I could see this experience fitting into a family night out, a unique first date, and everything in between.

All characters presented the story with humour, and their quick-witted quips felt spontaneous and fresh. Once Upon a Grimm Night plays three sessions every Thursday and Friday night throughout July.

Tickets: $49
Venue: Lindesay House
1 Carthona Ave, Darling Point NSW 2027
Season run: Thursday 4 July – Friday 26 July 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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Hay Fever: 100 Years Of Fun

Hay Fever

Hay Fever Rating

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It’s been 100 years since Noel Coward wrote his absurd comedy Hay Fever, and it’s played in theatres worldwide. Told in three acts, it follows a weekend in the Bliss family home, each of which has invited a guest over for the weekend without informing the others. When the guests arrive, the eccentric family’s theatrics and bickering cause plenty of absurdity and laughs.

Jason Darlington makes his directorial debut at the Genesian Theatre on Kent Street in Sydney, keeping the play set in the 1920s as originally written. Even in a modernised contemporary setting, this story would still make a testament to the timelessness of Coward’s writing, but it was fitting to go back to the decadence, style, and vocalisation of the 1920s when it was originally written.

The set design and associated props were spot-on and drew me into the Bliss household. The little details, such as the bookcase, staircase, picture frames, and period-correct china and tea set, really help draw the audience into the world. The 1920s costumes provide a strong sense of time and place, and my favourites were Sorel’s evening dress and Myra’s Flapper outfits.

The play has a large cast, including four members of the Bliss family, their housekeeper, and four guests. The performances from the cast were thoroughly enjoyable, as were the haughty and snobbish upper-class British accents. Maintaining the humour and timing of the dialogue is challenging, especially on opening nights, but the ensemble accomplished an excellent job.

Each character gets plenty of stage time, with the second act broken down into several sequences where a successive pair of actors dominate the stage. The jokes, the timing, and the energy all work well, with Zoe Wilson as Sorel Bliss and Elizabeth MacGregor as the matriarch Judith Bliss being especially noteworthy. Judith is a retired actress, and her subsequent theatrics were a lot of fun.

The story itself is quite soft and situational, and it’s not trying to be anything more than an absurd little romp. Much of it seems outlandish, like how quickly the characters seem to fall in love with each other, but given the theatrical and creative background of the Bliss family, it suits the characters and makes enough sense to be fun. The audience enjoyed many laughs, especially towards the end of the second act.

Despite some opening night quirks, Hay Fever is an energetic, fun, and worthwhile experience at the Genesian Theatre. Its lively performances make it a production worth your time.

Hay Fever runs from 22nd June to 27th July, with sessions running on Friday and Saturday nights at 7.30 pm and a Sunday matinee at 4.30 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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Highway of Lost Hearts: Heart, Soul, and the Open Road.

Highway of Lost Hearts

Highway of Lost Hearts Rating

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‘Highway of Lost Hearts’. What a beautiful title for a beautiful play. A captivating blend of gritty road trip realism and magical storytelling that explores an individual’s search for a soul and need for redemption. Mary Anne Butler’s superbly adapted novel is a True Blue, One Woman, Aussie travelling tale, where red earth meets fire, flood and drought, and ancient mountains loom over spirit-stirring waters. Our paths are both uniquely our own and universally relatable. Wherever the open road takes you, your own thoughts, dreams, and demons will be right there in the passenger seat, refusing to be left behind.

Mot is a remarkable woman whose once-unbreakable spirit is now weathered and worn. Detached from her sense of purpose, identity, and relationships, she is lost in a sea of meaninglessness, longing for peace while hungering for connection. At this crossroads in life, she’s grappling with the questions all women of a certain age face when they finally shed society’s expectations. But the spark that once drove her has flickered out.

This is a uniquely female pilgrimage and point of view. Mot is not afraid to entrust us with insights into the delicate balance between desire and defence. She is resilient in the face of uncertainty as she propels down a long and lonely 1000km stretch of relentless highway.

Director Adam Deusien optimises a pared-down and intuitive approach to these epic themes. He uses a luminous lighting design (Becky Russell), and simplistic, streamlined set (Annemaree Dalziel) which utilises forced perspective with long drops of sheer drapes. This evokes a never-ending thoroughfare where horizons expand, hopes arise, and possibilities are boundless.

Smith tackles the role of Mot, a formidable challenge of what is effectively a 70-minute monologue and (fittingly) solo performance. It’s a feat of focused endurance. Accompanied by her faithful imaginary canine companion, she matter-of-factly envisions a kaleidoscope of encounters with new people and old memories, blurring the lines between reality and reflection. With just a few basic props, a ‘she’ll be right’ laconic tone and her physicality, Smith slowly weaves a winding narrative tapestry. It’s a deeply intimate story experience shared through mind, body and immense heart.

Sophie Jones and Abby Smith imbue the beats of Mot’s story with an original and hauntingly beautiful vocal and instrumental soundscape of guitar, keyboard, harmonica and percussion. They could have sung acapella because both were strong singers who created a rich and full sound. At times the mike amplification level was a little overpowering. When it was more subdued, their lovely harmonies resonated with a melancholic depth and sacredness that echoed the emotional terrain of Mot’s odyssey of grief and growth.

Only 10 years old and on the HSC drama list, ‘Highway of Lost Hearts’ is already a distinctly Australian classic for a reason. It’s a reminder that the roads we travel are not just physical, but also emotional and spiritual. Anyone who roams solo will innately understand Mot, the fragility of her heart and the transformative power of travel. After all, the true purpose of a road trip is to connect with something greater. The rest may ponder the challenge of self-discovery and how we are all called to take this journey.

Like Mot, Arts on Tour and ‘Highway of Lost Hearts’ has ventured far and wide, concluding its performances in the Land of the Dharug People at the Riverside Theatre. The next time it revives and swings by this part of town, make sure you join the road to inner wisdom and delight in discovering more about yourself along the way. The trip will not always be what you expect, but you’ll leave more enlightened.

For future Arts On Tour performances, see: https://artsontour.com.au/what-we-do-and-why/

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.

Photography by Hannah Groggan

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The Ballad of Maria Marten – Giving Voice to the Victim

The Ballad of Maria Marten

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1

“It’s been a year since I died, and still nobody has found me.”

A shadow emerges from a barn. It’s a figure in britches, and so begins a tale which captured the mass attention of people in 1827 – the murder of young mum Maria Marten. This true crime occurred in the village Polstead, Essex in England and newspapers sensationalized the case and the subsequent trial, dubbing it The Red Barn Murder. The Ballad of Maria Marten, written by Beth Flintoff, focuses on Maria’s life and of those who loved her, rather than the gruesome details of her death.

In the powerful opening scene, Maria (Laura Stead), her face lit effectively from underneath, giving her a haunting appearance, introduces us to her untimely death. Set and lighting designer Wayne Chee achieved dramatic visual effects such as this throughout the play, and notably when lighting the barn, where Maria is cruelly hidden for a year after her murder.

Maria is the narrator of her own story, and throughout the play, Laura seamlessly switches from telling the story to melting into a scene. By Maria narrating the play, I felt as though the author was honouring her and giving her the power to take charge of her own story, whereas, in real life, the real Maria didn’t have a voice in the newspaper articles.

We are introduced to Maria’s close friends, Phoebe (Chiara Helena Arata), Lucy (Kimberlea Smith), Theresa (Genevieve Sky) and Sarah (Jacqui Wilson), as they circle close to Maria for an effective costume change. When they move away, Maria is transformed into modest clothing as the 10-year-old daughter of a mole catcher, wearing a cotton skirt, apron, and shirt commonly worn at the time. It is here that we see the carefree, playful, and kind side to Maria, and the bonds of her friendship she has with her girlfriends. (She’s the ringleader for the Hazard Club, a secret club where they get up to numerous adventures together.) It is these strong bonds that remain a constant theme.

Music connects the audience to the 1800’s time period. The group of girls happily sing chants and dance, showing undisguised notes of joy in their own type of freedom. Violinist Chris Porteous adds depth to the story onstage. Costumes by JAS Enterprises were effective in portraying the characters believably.

Maria meets her new stepmum Ann (Madeleine Lawson) when she bounds back into her home one day. Ann is nervous and genuinely cares about making a good impression on Maria, otherwise Maria’s dad may send her away to a workhouse. This highlights how dependant women were on men for their happiness and wellbeing during this period. As time goes on, Madeleine successfully portrays the character development of Ann from a self-deprecating young stepmum to a strong protector who loves Maria.

Director Jennifer Willison put together a solid all-female cast and an intriguing story. Of course, the play has male characters, including the slimy Thomas Corder (Cee Egan) and Maria’s first love Peter Mathews (Niamh McKervey). Peter and his sister Lady Cooke (Jade Rodrigues) are from a well-to-do family, and it is through these characters where we see the strong divide between the working class and the wealthy upper class. The prejudice was clear from Lady Cooke, who initially showed kindness towards Maria and then cooled as she realised her brother was interested in Maria. This divide has echoes of truth, even now.

After the 20-minute interval, the second act takes a darker turn as we witness the disintegration of Maria’s mind after she comes under the influence of William Corder. She slowly becomes dependant on him as the audience bear witness to hearing the terrible deeds of this faceless character.

“Am I being tested for lunacy?” a dishevelled, distressed Maria with messed up hair cries. I noted that her beautifully styled hair in previous scenes had been an underlying focus, reflecting her own beauty and perhaps confidence.

It was powerful storytelling to see Maria relate her unravelling as she becomes the target of coercive control and domestic violence, yet she cannot see it, and in parallel, we also cannot see this character on stage. He remains a perceived threat to all. Sadly, the examples Maria uses are strikingly similar to the stories women who have been through this experience tell, almost two hundred years later. This is a story which spans time and must be told with the hope that change comes.

Rising amongst the darker themes in this story is the power of love and strength between friends. This is a moving tale which captured my interest for the whole play. Congratulations to The Hunters Hill Theatre on a strong opening night performance.

The Hunters Hill Theatre present The Ballad of Maria Marten, performing at Club Ryde.
Running time: 130 minutes (including interval)
June 7 – June 24, 2024
Tickets: $32 concession and groups of 10, $35 adults
www.huntershilltheatre.com.au

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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