Film Review: Diving Into The Darkness

Diving into the Darkness

Diving Into The Darkness Rating

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Diving into the Darkness is a captivating and immersive documentary featuring Dr. Jill Heinerth and her deep sea and cave diving expeditions. Directed by Nays Baghai, it shows footage of various underwater adventures undertaken by Dr Heinerth and explores the dangers, wonders, and beauty of nature in its raw state.

While identifying the dangers involved in her role, Dr. Heinerth gives honest and thoughtful narration that encompasses the spirit of an explorer. Her tenacity, resilience, and eloquent storytelling set the scene, alongside the engaging, atmospheric soundtrack and the well-adjusted lighting and camera angles.

It was also interesting to see the animation design throughout the film as Dr. Heinerth recalled memories that shaped her journey. During this, the themes of personal growth and courage were well portrayed. It seemed that she was giving viewers a call to action, to question how our fears direct our lives. Having completed over fifty expeditions across multiple continents, the message is one that she seems more than qualified to speak on.

As the themes and content of the film seemed to be the focus, it made sense to see the cast wear denim or navy shirts instead of elaborate ensembles. They maintained a clean and professional presentation that did not detract from their intended purpose and removed the possibility of distraction.

The photography was high quality and was complimented by the slow scans across the various landscapes. Given the biome that the crew were filming in and the difficulty of diving with such equipment, it is impressive to see each shot recorded underwater have the right amount of lighting and clarity. This quality and style of filming brings the viewer along for the ride and allows them to engage more fully in the content, which I am glad to say I was.

The soundtrack was theatrically appropriate, offering suspenseful moments as well as gentle, reflective ones throughout. Paired with the great film quality, the soundtrack pulled me in from the first scene. It felt like there was something to explore and be inspired by. I appreciated the atmospheric composition, as it was a large part of the storytelling experience.

From Mexico to Antarctica, Dr Heinerth and her colleagues (Dr Bill Stone, Brian Kakuk, and Natalie Gibbs) strived to paint a clearer picture of climate change, water health, and the vital role that cave divers play in exploring our world. This documentary thoroughly impressed me, and I look forward to seeing what they do next.

For a deeper dive and behind-the-scenes content, please visit https://divingintothedarkness.com/.

This film premieres at the Hayden Orpheum Picture Palace on the 1st of October through to the 7th of October.

Tickets are available now @ https://www.orpheum.com.au/movie/diving-into-the-darkness.

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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Murder by the Book – A Delightfully Dark Murder Mystery

Murder by the Book

Murder by the Book Rating

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1

A well thought out murder has always been the premise for a juicy plot. A traditional whodunnit which has red herrings and hidden clues, complete with an eccentric detective. This is what the main character, author and critic Selwyn, excels at with his best selling novels. We begin the play being introduced to the self inflated, egotistical Selwn, played with relish by Ross Alexander wearing a sports coat, a pocket handkerchief and a fancy silk neckerchief scarf – a nice touch by the costume designer Cettina Lahiri to convey the success of his career.

Selwyn and his assistant Christine, played by Fabiola Pellegrino, are discussing his latest review of a rival’s novel, which he essentially deems as rubbish and takes great delight in taking it apart! The dripping venom and confidence in Selwyn’s words is a key factor in this story as he is someone who likes to be in charge; to lead the story.

When something happens to Selwyn, the next door neighbour Peter Fletcher guides us through his own theories of what he thinks has led up to this murder. Rawdon Waller, as Peter Fletcher, gives us a delightful performance as the amateur sleuth, who excitedly tries to solve the mystery. Dressed flamboyantly in a fancy dressing gown, he is a fan of Selwyn’s murder mystery novels and Rawdon’s portrayal of Peter’s enthusiasm for being in a real life murder mystery was very amusing. His lines and physical comedy had the audience laughing many times over.

 

There are the ‘usual suspects’ in this story – Christine the devoted secretary, Imogen the wife who wants a divorce, and the publisher, who also happens to be Imogen’s lover, John. When faced with accusations, Brian May’s John appears helplessly out of his depth and this is communicated in both action and speech in a way which made me laugh and feel sorry for the poor man.

Imogen, played by Julie Mathers, was sassy and confident, complete with big hair and an 80’s sequinned top. Julie Mathers and Ross Alexander had their characters at the top of their form in a believable love/ hate marriage relationship. They were arguing, throwing insults and pointed remarks at each other and quickly bouncing back for more. It was a like watching a succinct tennis match with clever and witty dialogue as the ball.

The play, written by Duncan Greenwood and Robert King, had its strength in the script which was full of dark one liners and clever twists and turns. It was quite a wordy play, but the Hunters Hill Theatre’s strong cast, led by director Margaret Olive, didn’t let Murder by the Book drag.

The setting of 1980’s London meant we had a living room on stage with a traditional rolled armed couch, a wooden writing desk, record player (which was used to musically enhance a scene) typewriter and a dial handset telephone. These props by Coralie Fraser all added to the authenticity of the era. Wayne Chee’s set design ensured the living room had an open and spacious feel, where the audience could view the actors clearly. I noticed that there was a clever addition of something behind the couch which I won’t give away, would have made Selwyn feel more comfortable for some of the scenes!

If you are a fan of the clever whodunnit genre, come along to see the Hunters Hill Theatre’s performance of Murder by the Book. You’ll be guessing the Who, What, Why all throughout the play, not just at the end!

Running Time: Two hours, including a 20 minutes interval

Season: 7 -31 September 2024
Hunters Hill Theatre at Club Ryde
728 Victoria Rd, Ryde
Tickets from $32

www.huntershilltheatre.com.au

Photographer: Kris Egan

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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Jurrungu Ngan-ga – Straight Talk

Jurrungu Ngan-ga - Straight Talk

Jurrungu Ngan-ga – Straight Talk Rating

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Jurrungu Ngan-ga [Straight Talk] opened at the Illawarra Performing Arts Centre last night with a powerful and soul-gazing performance.

The amalgamation of dance, music and drama created a haunting and devastatingly beautiful expression of culture and identity. The show was quite confronting, and despite the blurb of the performance, I had no idea what to expect. It was utterly confronting in the best way possible, and the raw talent that pushed the audience out of their comfort zone and check their privilege was deliciously intimidating.

The technical aspects of the performance were absolutely incredible. The persistent soundscape that shifted between beautiful natural sounds of animals and the outdoors, to harsh clanks of metal doors and voices that depicted life in a cell, heightened the senses and the emotions in each scene it transcended. The use of the chandeliers in scenes with more ballet-like movements was incredibly symbolic, especially when paired with others being stuck watching in cells.

There were a few mishaps in terms of quick costume changes not being entirely smooth, but the performers handled those so professionally that it could have almost been on purpose. Each individual performer was so captivating that even blinking for too long felt like I would miss something crucial.

In group scenes, there was so much to take in. Each of the dancers were incredible to watch and I am in complete awe of the strength and technique that they displayed throughout the show. Czack (Ses) Bero, Wimiya Woodley, Taj Pilgram, Luke Currie-Richardson, Mosatafa ‘Moz’ Azimitabar, Gusta Mara, Bhenji Ra, Feras Shaheen and Ashleigh Musk poured their hearts and souls into the performance, and it was such an honour to be invited into their space to have all of these important and heart-breaking stories told in such an engaging manner.

I really commend the seamless insertion of current events and the use of modern allusions like ‘This is Australia’ which I believe is a parody of the Childish Gambino song ‘This is America’, to show that this irrational fear of difference and ignorantly ‘unknown’ is still occurring in many parts of the world, and for some reason, hate and fear are still so prominent.

To the performers, and the entire creative team that have worked on Jurrungu Ngan-ga since its inception in 2016, thankyou for sharing your stories and the stories of those who came before that are not able to speak. It was an honour and a privilege to share a room with your heart, soul and unbreakable joy.

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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Murder On The Nile: An Agatha Christie Whodunnit

Murder On The Nile

Murder on the Nile Rating

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2

Agatha Christie’s mysteries are a staple of the page, stage, and screen, but once we know ‘whodunnit,’ why do we watch them again? The great attraction of a mystery is, after-all, the mystery.

Murder on the Nile is Agatha Christie’s stage adaptation of her own novel, Death on the Nile, and many people would have experienced the story in the past, likely through one of the thirteen billion BBC adaptations. But don’t let that stop you from enjoying it again.

When a beautiful and wealthy heiress and her new Husband join a luxurious paddle steamer on the River Nile, they run into past acquaintances seemingly by coincidence. Joined by an eccentric old crone, an emotionally volatile doctor, and a communist aristocrat, rising tensions on the claustrophobic steamer in the Egyptian heat eventually leads to murder. With no one able to leave, the murderer must still be on board. Can they find the killer before they kill again?

The current production at the Genesian Theatre attempts to be a fresh take on this old classic, keeping the story engaging even if you know the outcome. Staying true to the original setting and plot, solid direction by Theo Hatzistergos along with an energetic cast really balances the mystery, drama, danger, and humour in equal measure.

Embedding comedic relief within the most dramatic moments, rather than drawing attention to themselves, was the right choice. It kept the play from becoming too serious while maintaining suspense. I particularly enjoyed Miss Ffoliot-ffoukes’ self-centred reaction to the news of a murder in the room adjacent to hers; ‘but they could have murdered me!’ The role was played wonderfully by Sandra Bass.

The rest of the cast was also superb and everyone seemed well-suited to their character. David Stewart-Hunter as Canon Pennefather commanded the stage with a perfect mixture of scoundrel, advisor, and detective. There were a few moments where the cast seemed to forget a line, but their ability to improvise and roll along until they got back on track was respectable and never caused me to fall out of the story. I doubt most people in the audience even noticed.

The set was a simple but grand depiction of the steamboat’s public parlour, with the ever-present statue of Anubis, God of the Underworld, watching over the cast whilst foreshadowing murder. The audience had a good chuckle as a pot-plant was pulled along in the background to signify the paddle steamer was on its way down the Nile, which I asume was intentionally fun.

The feeling of ‘cabin fever’ intended by Mr Hatzistergos by limiting the set to the public parlour worked well, and also saved the story from losing momentum during a potentially lengthy scene change. The sound design added atmosphere, from the crowds of Cairo to the engine of a steamer on the water. Gunshots and light effects literally made the audience jump out of their seats in fright. Much to their delight. The costumes too, were suitable for the 1950s time period and social standing of the characters.

The audience around me were totally hooked. Those who didn’t know the story were constantly whispering to each other about who they thought was going to be murdered, and then who did the inevitable murdering. You can’t help but appreciate encouraging this kind of engagement. Those who already knew the story enjoyed the strong performances and cheeky humour, along with Agatha Christie’s wonderful dialogue, making this journey down the Nile just as much fun as the destination.

Even if you know whodunnit, you’ll still enjoy this classic tale of jealousy, conspiracy, and murder. Murder on the Nile is currently playing at the Genesian Theatre in Sydney until the 21st of September.

Season: 10th August – 21st Sept 2024
Preview night 9th August
Friday and Saturday nights at 7.30pm
Sunday matinée at 4.30pm

Running Time: 2hrs 15mins including 20min interval

https://www.genesiantheatre.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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