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A Look At Love Again In Neil Simon's Play 'Chapter Two'

31/05/202631/05/2026 Linda Lokhee🏆💎🔥🦉🎭

Chapter Two Rating

★★★★★

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Chapter One of your life – if you are lucky, you may date, find your ‘person’, your one true love and live happily ever after. But what happens if that person isn’t there anymore? Do you find another True Love? Do you deserve a second chance at love? “chapter two”, written by Neil Simon and directed by Moja Band, is a fast-paced play exploring the human depth of emotional self-introspection.

Neil Simon is widely regarded as one of the most successful playwrights by his audience and peers. Over his career, he wrote more than 30 stage plays, many of which were adapted into major motion pictures - a rare achievement that highlights his influence on both theatre and film. Simon’s work earned him significant critical respect, reflected in his record for the highest combined number of Oscar and Tony nominations received by any writer in show business history. Having written comedies such as the well-known plays The Odd Couple and Biloxi Blues, I was looking forward to seeing the Hunter’s Hill Theatre’s production of “chapter two”.

When grieving widower George (Daniel Ferris) returns from an overseas trip that was meant to be healing following the loss of his beloved wife Barbara, his brother Leo (Simon Pearce) sets him up with Jennie (Laura Stead) who had gone through and come out the other side of a divorce. Though at first reluctant to return to dating, George relents and picks up the phone to call Jennie. What follows is a surprisingly strong connection between the two characters and they agree to meet that day in George’s apartment. A whirlwind romance blossoms during the first act leading to an unexpected (from the audience’s point of view) engagement after only knowing each other two weeks. Treated to the witty dialogue with the trademark one liner sharp comedic lines of Neil Simon, carried off with just the right amount of nuance and confidence by the two lead characters, I was hooked and asking myself, “where does it go from here?”.

Meanwhile, Jennie’s best friend Faye (Margareta Moir), a brassy actress unhappy in her loveless marriage, longs for attention and affection. Moir highlights Faye’s dramatic lunge into what she hopes will be a cloak and dagger affair with George’s brother Leo, a busy press agent. Pearce leans fully into the role of Leo, a smooth-talking philanderer (and proud of it!) and both he and Moir together deliver the lighter comedic scenes in contrast to some of the more complex themes his younger brother and Jennie are experiencing.

The second act sets out to explore some of these emotionally conflicting themes as George deals with his unresolved immense guilt about moving forward with his life with Jennie. I felt the weight of these heavy scenes as the actors encompass their characters.

Only two months ago, Ferris co-directed The Heartbreak Choir with Pymble Players, which I saw and loved. He quickly switched hats from director to actor onstage, with an outstanding performance playing all the complicated highs and lows of George. “chapter two” was semi-autobiographical, echoing similarities of Neil Simon’s life. Like his character, Simon was already a successful writer when his wife of twenty years passed away from cancer. He met and married his second wife just three months after she died. Drawing from his own guilt and subsequent pulling away from his second wife in the months shortly after their marriage, it is no wonder the dialogue felt so real and raw.

Jennie is left with the emotional fallout of George’s unhappiness during their honeymoon and on the return to their apartment. Stead’s performance led me to be cheering for her character to have a happy life as when we first met Jennie, she was bright, a real sweetheart and full of life. There were plants all around her apartment and from the first telephone conversation, Jennie’s optimism and sweetness was apparent. In the second act, Jennie stood up to George when he was saying some hurtful things to her, and the strength in these scenes showed us that she would fight for George because she loved him, and that she had the confidence to not be a replacement wife but be loved for who she is.

Stead delivers a commanding performance as Jennie, capturing her fierce independence, yet also her raw vulnerability. I had seen Stead some time ago performing the lead role in Hunters Hill Theatre’s “The Ballad of Maria Marten” and I remember that I was impressed by her acting then. It is to her credit that I didn’t recognise she was the same actress until I read her bio in the program, as that character was so different from the current character she was portraying; a testament to Stead’s acting.

The stage was divided into half, with each representing George and Jennie’s apartments. The lighting design by Antony Read worked well, using different types of light and strengths to highlight each. The sound design by Peter Tucker brought out the emotional moments in the play, with songs from the 1950’s lyrics delivering subtle messages to the audience. Well done to the lighting and sound operators Wayne Chee and Oliver Davies on the night I attended the play.

"chapter two” is a witty and emotionally raw masterpiece. Book your tickets to see Hunters Hill Theatre’s performance of this deeply moving play, which invites audiences to witness a story of self-reflection after tragedy and the courageous pursuit of true happiness, the second time around.

Season: 29 May 2026 – 21 June 2026
Running Time: Approx 2 hours with a 15 minute intermission
Club Ryde Ex. 728 Victoria Road, Ryde.
Tickets: www.huntershilltheatre.com.au

To book tickets to Chapter Two, please visit https://www.huntershilltheatre.com.au/.

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The Last Witch

27/05/202627/05/2026 Charlotte Dunn🌱

The Last Witch Rating

★★★★★

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A compelling blend of historical fact and supernatural mystery, Rona Munro’s The Last Witch is a fictionalised account of the last woman to be officially burned for witchcraft in Scotland. Through the fiery clashes between Janet Horne (Paula Searle) and Dornoch’s spiteful new sheriff Captain Ross (Toby Rowe), The Castle Hill Players' rendition of The Last Witch explores the dynamics of social power between men and women in the 18th century and presents a cautionary tale of what happens when two equally intemperate people with the power to cause harm refuse to back down.

Paula Searle is an electric presence onstage, capturing Janet as both woman and myth through stunning monologues and sometimes shocking interactions with other characters. She has two brilliant moments in Act I that I believe summarise her character; when Captain Ross first visits her cottage to investigate, she easily gains the upper hand in their conversation and evades his questions, acting as though she is about to deny the accusations. She then offers to read his palm and divine his past, a blatant act of witchcraft and a ridiculous escalation of the situation. Later on, in a lovely but misguided moment of emotional connection, Janet comforts Helen and her friend/neighbour Elspeth Begg (Penny Johnson) in their hunger by drugging them with a hallucinogenic herb to make them believe they have access to food. I loved this little show of Janet’s strange ways of caring, and I also loved the (perhaps accidental) nod to a popular Salem witch trials theory.
Janet’s constant contradictions make it almost impossible for the audience to form a solid opinion on her. Is she really a witch? Is she even really all that much smarter than the daughter she derides? Perhaps only Janet could give a definitive answer.

The play’s opening night brought a stunning set design of sprawling grass and weathered stone structures, polishing off the scenes with a perfect use of lighting and sound alongside an admirable commitment to Scottish accents. I particularly enjoyed the slow shifting of an aurora borealis as Janet cast her opening spells, the orange glow of the stones underneath Janet’s stake, and the simplicity of spotlights becoming a full moon for Janet’s daughter Helen (Chloe Overeem) to take her own first steps into magic.

Hidden beneath the sordid tales of seduction, ego, and the haunting presence of what could be the Devil himself, The Last Witch is a simple story of the enduring strength of everyday women. The male characters pop in and out of scenes, delivering powerful sweeping statements that completely change the lives of Janet, Helen, and Elspeth, but the relationships forged from powerlessness between these three women ultimately become powerful enough to stop Captain Ross’ path for vengeance and end the cycle of violence before it sweeps beyond Janet.

To book tickets to The Last Witch, please visit https://paviliontheatre.org.au/the-last-witch/.

Photographer: Chris Lundie

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A Whimsical, Joyful, Surprisingly Current Night Of Musical Theatre

25/05/202624/05/2026 Chantal Harrison Writer🥈🎭😂

Cinderella Rating

★★★★★

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The magic of Hills Musical Theatre Company's Cinderella began as our complimentary programme arrived with a gift voucher for the canteen (and if that isn't community theatre done right, I don't know what is).

The set up is cabaret style. You can bring your own snacks and/or purchase from the canteen. We were then shown to our table. I loved the idea of this cabaret style, but in execution it’s a bit tricky. We were seated with others, which is a lovely way to promote the community, but it means you need to be aware of each other and visibility. I recommend you get there early enough to negotiate comfort. I had to move away from the table to properly enjoy act 2.

That small logistical wrinkle aside, this show was fantastic.

The stage itself announces its ambitions immediately. Set design by Hannah Aouchan and Keith Macbeth glitters with fairy-tale intention, and as the ensemble assembles to open the show, lighting design by Max Tibbles and Jeremy Cardew at Latarka bathes the whole scene in something genuinely enchanted. Musical director Gemma Rolph's orchestra; live, warm, and present, does what only a live pit can do.

Into all of this steps Claire Polczynski as Ella, and she has the voice of an angel. Polczynski grounds this Cinderella in something more than sweetness; there's a steeliness beneath the warmth, a Cinderella who knows her own worth even when the world around her doesn't. It sets up the show's quietly progressive take on the classic.

This version leans into political satire that lands with a particular sting of relevance; a royal wedding deployed to distract from poverty and stifle revolution, an advisor with his own nefarious agenda, a prince naive to the divide between haves and have-nots. Deniz Dogan plays Prince Topher with a commanding presence that makes his ignorance sympathetic rather than infuriating, and Sebastian Barons is a convincing, credible puppet-master pulling the strings behind him. Theo Cuelho's cameos as Lord Pinkleton are enjoyable, and Lachlan Hopkins brings charisma and genuine earnestness to Jean-Michel, a revolutionary whose eye only strays from the cause long enough to find Stepsister Gabrielle's. The show's comedic MVP, however, is Josephine Pinto as Crazy Marie; and then, as the Fairy Godmother, Pinto delivers a solo to rival Disney.

Kortana Blissett as the Stepmother deserves her own paragraph. Impressively terrifying and clearly relishing every moment, Blissett finds the comedy in the menace without ever letting you feel entirely safe. Blissett and Annie Beardsley, playing Charlotte (the other Stepsister) are a fun comedic duo.

And the costuming, by Angela East and Emma Stanton, that surrounds all of this is extraordinary. The magical transformation sequences are achieved with such clever ingenuity that they serve as a reminder that community theatre, with the right hands on deck, can eclipse a big budget entirely.

Emily Taylor's choreography leans into the classic musical theatre register while giving the ensemble room to be genuinely joyful together. This is a large cast spanning a wide age range, and every performer seems to know exactly why they're there. The show's youngest scene-stealer, Mackenzie Scott, is all kinds of adorable and already very much at home on the stage (watch this space).

In the interval, the company president spoke about what Hills Musical Theatre Company means to its community, and it wasn't hard to believe. The values the show celebrates; kindness, generosity, charity, are clearly embodied by the powers that be. That spirit is woven into every corner of the evening, from the canteen voucher to the curtain call.

Cinderella is a whimsical, joyful, surprisingly current night of musical theatre. We'd have happily risked turning into a pumpkin if it had kept going.

To book tickets to Cinderella, please visit https://www.hillsmtc.com/.

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Come you Spirits' Romeo and Juliet: Immersive and Impressive

24/05/202624/05/2026 Linda Lokhee🏆💎🔥🦉🎭

Romeo & Juliet Rating

★★★★★

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Romeo and Juliet. Two starry-eyed lovers whose story ends in tragedy. This iconic and universally known play has been performed globally for centuries. The Shakespearean theatre group Come you Spirits’ performance of Romeo and Juliet onstage at the Darling Quarter Theatre, directed by Charles Mayer and Jo Mayer, was immersive.

Through the very first inclusion of the gentle tapping of a suspended gong by Charles Mayer, and the deep, beautiful sustained vibrational tones that Jo Mayer produced on the crystal singing bowl, the audience was introduced into the world of Shakespeare in a truly magical and harmonious way.

Romeo, played by Ciarán O’Riordan and Charlotte Edwards as Juliet performed the title roles. Both actors conveyed their characters’ young love with an earnestness and innocence, and in the second act, with the desperation and anguish that the characters needed. Who wouldn’t swoon with Romeo’s line, “Heaven is here, where Juliet lives.” O’Riordan aptly portrays Romeo’s intensity of his emotions, aligning Juliet with celestial skies, and taken alone without context of the whole quote, it is one romantic quote!

Edward’s delivery of one of my favourite lines was perfection –
“My only love sprung from my only hate,
Too early seen unknown, and known too late!
Prodigious birth of love is it to me
That I must love a loathed enemy.”

In one scene, Edwards was riveting as she faced the heartbreaking choice of following her father’s wishes of Juliet marrying a man he had chosen that she did not love, or face an uncertain future. Lord Capulet, played with a fierceness by Charles Mayer, had a cold stage presence which demanded obedience, or Juliet would be disowned and thrown out onto the street to survive on her own. This scene was particularly strong, and clearly conveyed as the turning point for Juliet’s future plans.

Mayer also played The Friar, the gentle well-meaning clergyman who secretly marries Romeo and Juliet in the hopes of bringing the two feuding families together, as well as being pivotal in providing the potion to Juliet. The two characters’ different personalities showcased Mayer’s acting talent.

Jo Mayer took on dual roles as Juliet’s Nurse and Tybalt. Her depiction of The Nurse was warm and nurturing, serving as a trusted confidante to Juliet. In stark contrast, Mayer brought great energy and passion to her portrayal of Tybalt, capturing their fiery temperament.

David Halgren accurately portrayed Mercutio as the lovable rogue that his character is. He captured the boisterous charm and brought a fiery zest to Mercutio, clearly shining and delivering the bawdy humour directly to the audience. His untimely demise, with the famous lines –
“A plague o’ both your houses.
They have made worms’ meat of me.”
was hard hitting and led to a chain of events that shaped Romeo’s future.

All actors’ accents and, in my opinion, difficult cadence of the Shakespearean language was performed with flawless professionalism throughout the play.

Another original touch to Come you Spirits Romeo and Juliet was the setting. Verona was set in the barren post-apocalyptic land. The characters wore bandanas and gaitors to cover the lower parts of their faces, in part to disguise who they were and to protect themselves from the tumbling dust from sandstorms and brown leaves strewn around the stage. Lighting and sound played a large part in this play, with spotlights, sirens and announcements from the unseen higher hierarchy that alluded to a chaotic environment.

Lighting Design was by Adam Applebaum and the mood he created set the play’s authenticity to bringing our attention to where he wanted us to be.

Kudos to Brandon Read, who composed and performed original music for Romeo and Juliet. Together with his sound design, it completed this magical play. The audience heard Gregorian Chanting, and Read composed the tracks to Solfreggio frequencies, which throughout the show, aligned with our seven chakras.

This was a truly original experience, different to any Romeo and Juliet play I had previously seen. The characters’ movement around the theatre, into the area where we were, and talking to the audience gathered us all together. Shakespeare would have been impressed seeing this interpretation of Romeo and Juliet through Come you Spirits eyes. And he would have left feeling peaceful and fulfilled, at a night witnessing a tale of comedy and tragedy, ending with a grounding and beautiful meditation of gratitude to people and nature. This is a gorgeous production of Romeo and Juliet, do not miss seeing this and being taken away into the world of Shakespeare.

Romeo and Juliet is showing at Darling Quarter Theatre 20 – 22 May 2026 and at the Concourse Theatre Chatswood 28-30 May 2026
Tickets: www.comeyouspirits.com/in-sydney
Running time: 2 hours with a 15 minute interval

To book tickets to Romeo & Juliet, please visit https://www.darlingquartertheatre.com.au/event/come-you-spirits-romeo-and-juliet/.

Photographer: Syl Marie Photography

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