Danny And The Deep Blue Sea

Danny And The Deep Blue Sea

Danny And The Deep Blue Sea Rating

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Danny And The Deep Blue Sea in one word is a hurricane. It is a force of nature to be reckoned with. Set in the 1980s in the Bronx, it follows the two characters of Danny and Roberta fiercely played by JK Kazzi and Jacqui Purvis. I mean this is a masterclass on acting. You truly believed every word they were saying. Honestly two of the best performances I have seen in recent memory. Their raw unfiltered emotion, and explosive dialogue masterfully written by John Patrick Shanley. This is no holds barred dialogue at its grittiest.

We follow the Characters of Danny and Roberta from a chance meeting at a bar and the encounters that follow are a whirlwind of violence and tenderness. I do issue a warning that this play has mature themes including violence from both parties, and does mention sexual abuse and there is also use of coarse language.

The direction of this play by Nigel Turner-Carroll is very clever, using every inch of the stage as an interactive landscape absolutely delights. There is a very well thought out scene change that doesn’t break the tension of the play which is very hard to do.

 

 

At the heart of this play is two very dysfunctional people that come across very unlikable at the beginning but then throughout the course of the play you will begin to think and ponder that absolutely everyone is deserving of love and kindness, no matter their flaws.

The audience gave this play a standing ovation, and rightly so. Everything worked, from the accents, to the acting, the lighting and great use of the stage.

The Old Fitz is an intimate venue perfect for this type of play.

Theatre at it’s absolute best should leave the audience changed in some way. This play left a mark on me and gave me an insight into a world that is foreign to me. I left the theatre actually having more empathy for people that live a different life to myself, and I think that is a true testament to everyone involved in this production.

This play is a thought provoking hurricane that takes you on a roller coaster of emotion, that will ultimately leave you changed after witnessing it.

A very big congratulations to all involved and I don’t think you can ask much more of a theatre experience.

To book tickets to Danny And The Deep Blue Sea, please visit https://www.oldfitztheatre.com.au/danny-and-the-deep-blue-sea-1.

Photographer: Tony Davison

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Those Life Changing Three Little Words – Elanora Players

Three Little Words

Three Little Words Rating

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Australian Playwright Joanna Murray-Smith’s choice of “Three Little Words” for a title about two couples’ friendship is an interesting one. Initially I assumed that those three little words alluded to “I Love You”. However by the end of the play I realised that those three little words could be interpreted as to whatever the audience thinks – and this was a very clever prelude to a witty script performed by four engaging actors from the Elanora Players.

Tess (Tracey Keene) and Curtis (Paul Sheldon) have invited their long-time besties for dinner on their 20-year anniversary. After reminiscing good naturedly about the many good times and the way they met, Tess and Curtis announce a bombshell in the form of three little words, “We’re Splitting Up”. Bonnie (Karen Oughtred) and her partner Annie (Chantal Harrison) are disbelieving and shocked. The shaking up of what they thought was an unbreakable bond between the four friends sets off a split between all of them, and we are witness to the devastation that unravels.

Tess wants to explore her own identity, apart from being a daughter, wife and mother and yearns for something other than domesticity. She is highly critical of Curtis’ occupation as a teacher (“overqualified and underpaid”) and is constantly irritated by her husband’s habits. Tess is a self-centred woman who desperately wants out of the marriage to see what she could evolve into. She believes that Curtis will be there for her afterward. Tracey portrayed Tess’ selfish character that was quite unlikeable very successfully to the audience.

Initially I found myself feeling sorry for downtrodden Curtis, with his gentle manner and complacency. However, his immediate behaviour following the separation sparks some controversy, as Paul effectively expands his character’s complexity by swiftly entering the dating scene to be with a significantly younger woman. His actions suggest that an amicable separation might be unlikely, and his pointed, hurtful remarks towards Tess diminish my sympathy for him.

 

 

The split is a catalyst for Annie, a masseuse and Bonnie, a high-end art dealer, to suddenly explore their own relationship. Bonnie’s warm and younger partner Annie, who feels Bonnie’s condescending words deeply, was played with a sweet, quiet strength by Chantal.

Karen’s character Bonnie had a mix of forthrightness and vulnerability. Kudos to Karen who held the stage with convincing conviction – Bonnie was a standout character to me.

There’s a recurring reference to and even a custody battle for Tess and Curtis’ tantalus, a wooden lockable stand, which holds whiskey and is inaccessible without a key, to keep it safe from children or from servants in the old days. This heirloom is a gentle representative of how Tess feels, alluding to the Greek myth of Tantalus, who was eternally tempted by food and water just out of reach.

Director Kerrie King’s set was simple and effective, showing two living rooms side by side, their own spaces represented and separated by the use of different coloured walls and furniture. Lighting designer Wayne Chee and Lighting Operator Thomas Van der Plaat highlighted the rooms and characters well, bringing attention to where it was needed. Sound Design and Operator Walter Opdam’s choice of music brought the right atmosphere to the play, especially with his choices of songs such as George Michael’s “Freedom” as Tess was dancing and singing on the couch, and a song I’d never heard about IKEA as Tess attempted (and failed) to put together something from IKEA, after boasting to her friends that she never wanted to have anything personal again!

“Three Little Words” is a portrait of the aftermath of a breakup, of how the dissolving of one couple’s marriage affects their friends unexpectantly. How the dynamics of situations change in ways that are unpredictable because we are human. It is certainly a thought-provoking play, but not a play that is completely sad. In parts yes, but this clever script was laden with so many light moments sprinkled in, delivered by the characters’ wry and quick dialogues which made me and the audience laugh often, and quite a lot!

I loved the Elanora Players’ production of Three Little Words! Perhaps those Three Little Words from the title may have been “I See You” or Annie’s wisdom of “It’s About Kindness”. Or maybe it is meant to mean something else altogether; the audience can make up their own minds and there is creative beauty leaving it like that.

“Three Little Words” run time: approximately 90 minutes, with a 20 minute interval
Jan 9 – Jan 17 2026 at North Narrabeen Community Centre, 2-10 Woorarra Avenue, North Narrabeen
www.elanoraplayers.com.au

To book tickets to Three Little Words, please visit https://elanoraplayers.com.au/.

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Important and Deeply Moving: First Nations Theatre Not To Be Missed

Dear Son

Dear Son Rating

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Walking into Belvoir St Theatre felt like reconnecting with an old friend, one whom I have had multiple warm experiences with over the years, and Dear Son only deepened that relationship. Those who know me are aware of my self‑preservation from “spoilers”, so I walk into these situations with just the bare bones of what delight is about to unfold. I was unaware what other “old friends” would be part of this powerful experience.

When director and co‑adapter Isaac Drandic stepped onstage before the show to tell us that Luke Carroll was ill and could not perform, I was briefly disappointed, having known Luke in my youth and followed his career since. Brief is the key word, because it was announced he was being replaced by Aaron Pedersen, an actor who once showed me immense kindness when I was a wide‑eyed Melbourne wanderer in another life, and whose work I also hold in very high esteem. In other words, I already knew I was in for quite a treat before a single word was spoken.

Dear Son, based on the book by Thomas Mayo and adapted for the stage by Drandic and co‑adapter John Harvey, gathers five Indigenous men in what feels like a coastal “men’s shed” to ask, again and again, “What is it to be a man?” through letters, yarns, song and embodied storytelling. The set design by Kevin O’Brien creates warmth and place with deceptively simple means: sandy ground, a rustic wooden covering, two park tables and a glowing sunrise upstage, an inviting representation of a communal gathering space that is both specific and symbolic. It immediately feels connective, it feels personal.

 

 

Our five Indigenous actors – Jimi Bani, Waangenga Blanco, Kirk Page, Aaron Pedersen and Tibian Wyles – begin by waving reverently to the audience as words are projected behind them. Video designer Craig Wilkinson’s projections fill the upstage screen with terms like “Father”, “Son”, “Artist”, “Protector”, held by these strong, proud figures as they claim space and create warmth, before those words are undercut and complicated by others that have been used as weapons against Indigenous people for generations, ushering us into Act 1: Letters of Struggle.

The group moves between letters to fathers and sons, shared conversation, humour that is deliciously specific, and moments of song supported by composer and sound designer Wil Hughes’ evocative soundscape. They unpack the impacts of colonisation and the generational trauma wrought by acts of violence, malevolence and cruelty, while also honouring resistance, love and the everyday work of breaking cycles. Lighting designer David Walters gently shifts us through time and tone, from campfire intimacy to something closer to ceremony, with haze and shadow allowing the stories to sit in a liminal, memory‑like space.

The individual performances are powerful, moving and deeply poignant, and the ensemble work is quietly transcendent. It is hard to believe that Pedersen has entered the fold so recently; he integrates with a calm, centred presence that never pulls focus from the collective but deepens it. Wyles often anchors the musical moments with guitar and voice, Bani brings an easy charisma and storyteller’s ease, and Page moves deftly between gravitas and wry humour. Blanco, who also serves as choreographer and movement director, gives the production its physical language.

These stories unite the men in shared trauma, and a far more powerful desire to transcend it by breaking the walls of toxic masculinity down. It’s an important dialogue and unpacking for men, but they are also very clear on the importance of women in their stories and how respect for women should be centred.

There are familiar public figures and stories represented amongst the letters and the production was beautiful, emotional and powerful, but the real tear‑jerker was when each artist shared their own personal lived experience and a meaningful piece of themselves in reverence to the vulnerability they have been celebrating and advocating for throughout.

Dear Son is an important and deeply moving work of First Nations theatre that should not be missed.

To book tickets to Dear Son, please visit https://belvoir.com.au/productions/dear-son/.

Photographer: Stephen Wilson Barker

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Europa! Europa Film Festival To Open With The Testament Of Ann Lee

Feature-The Testament of Ann Lee

Europa! Europa Film Festival returns for its fifth year, screening again in Melbourne and Sydney and expanding for the first time to cinemas in Brisbane, Hobart and Auckland. For one month, from 19 February to 19 March, the festival will present an exciting line-up of European cinematic treasures, comprising 43 films from 22 countries. The festival has announced its opening night film, Mona Fastvold’s The Testament of Ann Lee, the remarkable true story of the founder of the devotional Christian sect known as the Shakers in the mid-18th century.

The third feature directed by Norwegian Mona Fastvold (co-written with her partner Brady Corbet, their follow-up to the Academy Award-winning The Brutalist), The Testament of Ann Lee is an ambitious and visually stunning musical portrait of an unconventional religious leader, who is played with reverent commitment by Amanda Seyfried, who is nominated for a Golden Globe for the role.

The film will screen on Thursday 19 February at Classic Cinemas and Lido Cinemas in Melbourne, Ritz Cinemas in Sydney, Angelika Cinemas in Brisbane, State Cinema in Hobart and Bridgeway Cinema in Auckland. In Sydney at Ritz Cinemas, the film will screen in 70mm.

“We couldn’t be more excited to open our festival with this impressive feature from Mona Fastvold that is as propulsive and passionate as its subject” said Artistic Director Spiro Economopoulos. “This film encapsulates what Europa is all about: bold filmmaking and epic storytelling that spotlights fascinating subjects and showcases European talent.”

The festival has also announced its first retrospective strand spotlighting one of the most revered and influential directors of the 20th century with Michelangelo Antonioni: Modernist Master, which includes four films from the Italian director’s artistic zenith. Collaborating with icon and muse Monica Vitti on L’Avventura, La Notte, L’Eclisse and Red Desert, Antonioni shaped a century and invented a new film language that dissected the tensions between people and their modern worlds with an elegant, eerie cool. The four films will screen throughout the festival in Melbourne and Sydney.

THE DETAILS:
OPENING NIGHT FILM – THE TESTAMENT OF ANN LEE

MELBOURNE
Classic Cinemas, Elsternwick
Thursday 19th February
6:45pm – Opening night event
7:30pm – The Testament of Ann Lee

Lido Cinemas, Hawthorn
Thursday 19th February
6:45pm – Opening night event
7:30pm – The Testament of Ann Lee
Tickets include drinks, DJ and nibbles.

SYDNEY
Ritz Cinemas, Randwick
Thursday 19th February
6:45pm – Opening night event
7:30pm – The Testament of Ann Lee in 70mm
Tickets include drinks, DJ and nibbles.

BRISBANE
Angelika Cinemas, Woolloongabba
Thursday 19th February
7:15pm – Drink on arrival
7:30pm – The Testament of Ann Lee

HOBART
State Cinema, North Hobart
Thursday 19th February
7:15pm – Drink on arrival
7:30pm – The Testament of Ann Lee

AUCKLAND
Bridgeway Cinema, Auckland
Thursday 19th February
7:15pm – Drink on arrival
7:30pm – The Testament of Ann Lee
Tickets include a drink on arrival.

FESTIVAL DATES & VENUES
MELBOURNE
Classic Cinemas, Elsternwick
Thu 19 Feb – Thu 19 Mar
Lido Cinemas, Hawthorn
Thu 19 Feb – Thu 19 Mar
Cameo Cinemas, Belgrave*
Fri 20 Feb – Mon 2 Mar

SYDNEY
Ritz Cinemas, Randwick
Thu 19 Feb – Thu 19 Mar

BRISBANE
Angelika Cinemas, Woolloongabba*
Thu 19 Feb – Sun 1 Mar

HOBART
State Cinema, Hobart*
Thu 19 Feb – Sun 1 Mar

AUCKLAND
Bridgeway Cinemas, Auckland*
Thu 19 Feb – Wed 4 Mar

*New venue

 

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