Macbeth in The Lounge

Macbeth

Macbeth Rating

★★★★★

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‘Come You Spirits’ Theatre Incorporated’s production of Macbeth is being performed in the intimate and engaging space of The Lounge at the Concourse Theatre Chatswood. It creates the perfect atmosphere for delivering a truly personable Shakespearean performance.

There was a lovely welcoming message from the cast and they also concluded the performance with a heartfelt message of thanks. Although the actors were not amplified, they were heard clearly due to their perfected voice projection and the nature of the small space. I really appreciated the clarity, articulation and dramatic delivery, which ensured a well-absorbed performance. Shakespeare can often be difficult to digest, as the script is comprehensive, and sometimes players tend to rush through the complex dialogue. However, this was definitely not the case during this presentation. It was engaging and delivered in a timely, dramatic fashion, which had me – and certainly the entire audience- enthralled. The entire cast of six was of the highest professional caliber and all gave a spectacular performance.

Macbeth and Lady Macbeth were played by Charles Mayer and Jo Bloom, who portrayed a natural connection and chemistry on stage. They both brought great emotional depth in their leading role characters and delivered a solid convincing performance.

Charles Mayer displayed the overly ambitious character of Macbeth with great conviction throughout. He showed passion, ambition and then later portrayed the tortured, battered soul of his character.

Jo Bloom delivered the greatest of sincerity to the ever-goading, ruthlessly ambitious, Lady Macbeth. Jo also doubled as the Second Witch and skillfully transitioned between the two contrasting characters.

 

 

Banquo was played by David Halgren, who gave a haunting and eerie rendition of his character. He also showed great skill in his theatrical movements leaping on and off the table and in his ghost-like manoeuvres.

Ciaran O’Riordan’s performance as Macduff was heartfelt and convincing. He portrayed Macduff with all the passion the character deserves.

I really appreciated the well-projected clarity and dramatic delivery of Willa King’s portrayal of the First Witch. Her
resonating, clear vocal tones were deeply impactful.

The homage to our traditional Aboriginal custodians was beautifully and seamlessly interwoven throughout the performance. Ella Havelka, who beautifully portrays the Third Witch, is an alumnus dancer with the Bangarra Dance Theatre and honoured her heritage as a member of the Wiradjuri people by flawlessly incorporating traditional influenced movements in her portrayal as the Third Witch.

The dimly lit setting created an eerie atmosphere for the supernatural elements, which constantly wove throughout the play.
I was particularly taken with the regal, gothic themed dining room staging, complete with lit candelabras, tablecloths and goblets. Also, the staging for the infamous “Double, double, toil and trouble” witches scene, presented with a smoking cauldron and appropriate props was equally striking.

The costuming was very impressive and gave authenticity to the period. It was brought to my attention that the costuming, sets and props were all predominantly sourced second-hand. This is a credit to the Art Director Letitia Hodgkinson who passionately sourced a suitable array of fabrics and materials. Her actions are most admirable and show a great commitment to environmental sustainability, while maintaining a high standard of creativity and artistic sense.

The musical compositions by Brandon Read, music composer and producer, elevated and intensified the performance. The recorded soundtrack was impactful and creatively accompanied the dramatic themes, providing a more full bodied performance.

I would also like to mention the fantastic work of the Lighting technician Adam Applebaum. He made splendid use of spotlights and coloured lighting to enhance themes and poignant moments as well as amplify the eerie scenes.

‘Come You Spirits’’ presentation of Shakespeare’s Macbeth is brilliant and captivating. Their rendition is condensed into a fast paced 90 minute performance centered around six main characters. A highly enjoyable performance with a stupendous professional cast.

To book tickets to Macbeth , please visit https://www.theconcourse.com.au/event/macbeth-in-the-lounge/.

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Tuấn’s Party – A Look at Friendship and Politics

Tuấn’s Party

Tuấn’s Party Rating

★★★★★

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Set during the 2022 federal election, Tuấn’s Party explores the unexpected win of independent Dai Le in Fowler. This smart and emotional play looks at the personal and political tensions hidden beneath a simple housewarming.

Directed by Neda Taha, the play follows newlyweds Tuấn (Terence Nguyen) and Natalia (Sarah Gattellari) as they host their first post-pandemic dinner party in St John’s Park. Their guests — childhood friend Kevin (Nathan Niguidula), fresh off the campaign trail for Kristina Keneally, and his girlfriend Nadine (Charnel Rizk) arrive just as the electorate begins to erupt with shock and celebration.

What begins as a regular night of chatting and discussing politics soon changes. It becomes a deeper exploration of identity, class, cultural expectations, and the fragility of friendship. Skeletons emerge from closets, conversations get heated.

 

 

Each performance was compelling and engaging. Nguyenn brings vulnerability as Tuấn, while Gattellari shines as Natalia. Niguidula captures Kevin’s earnest political idealism with humour and depth, and Rizk’s Nadine delivers a slow-burn performance that builds to an unforgettable climax. Olivia Xegas makes a short but sharp appearance as Kristina. She highlights the absurdity of political optics in a so-called “safe seat.”

While the script — co-written by Kobra Sayyadi and Bina Bhattacharya with the cast — is rich in humour and naturalistic dialogue, it doesn’t shy away from hard truths. Questions of authenticity, tokenism, migration, and loyalty are raised without easy resolution. The play takes inspiration from Don’s Party. However, it tells the story in a new way, focusing on Western Sydney.

Staged simply but effectively at PYT Fairfield, the set reflects a real home in transition — not quite polished, slightly chaotic, and full of history. It’s a fitting metaphor for the characters and the community they represent.

Tuan’s Party is more than just a night of drama — it’s a mirror to a region often misunderstood and misrepresented. It’s uncomfortable in all the right ways, and essential viewing for anyone who wants to understand what’s really at stake in Australian politics and personal identity today.

To book tickets to Tuấn’s Party , please visit https://pyt.com.au/tuansparty/.

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Betrayal

Betrayal

Betrayal Rating

★★★★★

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Watching Sport for Jove’s production of Harold Pinter’s Betrayal, now playing at the Old Fitz Theatre, I ran through alternative titles for the piece in my head. Some were: The lies we tell each other and ourselves; Why do we lie to each other? And lastly, why are humans so horrible to each other? On reflection, these are probably more questions the play provokes rather than suitable titles.

Betrayal is certainly a play that will have you wondering about why we cheat on each other. While set over fifty years ago, the theme of infidelity is a timeless one. Pinter wrote the play in reverse. It opens at the end of an affair, rather than at the beginning. In the first scene, Emma and Jerry, both in their late thirties, meet for a drink at a London pub in the spring time. Their conversation soon reveals they have been clandestine lovers, with their affair ending two years before. She is married to Robert who is best friends with Jerry. Jerry is married to Judith. Both couples have children. Emma reveals to Jerry that her marriage to Robert is over, in fact, they’ve broken up the night before. More shocking to Jerry though is that Robert has now learnt about their previous affair.

Desperate to talk to his long-time friend, the second scene sees Jerry meeting with Robert at his house. Their awkward dialogue hints at a brittle friendship. When Jerry finally talks to Robert about his affair with Emma, he is shocked (again) to discover that Robert had already known about the affair at least two years before. Jerry realises Emma has lied to him. How many times has she lied to him before? In his moment of outrage, Jerry seems to forget that he’s been lying too.

From here on, each scene moves backwards in time, travelling towards the final scene in which we see where the seeds of Emma and Jerry’s affair were planted. Pinter’s use of a reverse plot structure is effective. Each scene painfully reveals more to the audience about the couples. We start to see that behind the facade of domesticity lurk secrets and lies. A particularly devastating scene is when Robert discovers Emma’s infidelity as they holiday in Venice. Pinter’s economic dialogue here is especially biting, revealing so much in what is not actually said.

 

 

Betrayal is undeniably a bleak play. Under Cristabel Sved’s direction, the performers work hard to portray the ugliness of infidelity and the pettiness we are all capable of in our relationships. Ella Scott Lynch as Emma shines on stage; a woman caught between two men she both loves. Andrew Cutcliffe playing Robert captures the pain and impotency of a man whose wife has cuckolded him with his best friend. Matt Hardie as Jerry is effective in portraying a seemingly likable man who reveals himself eventually. None of the characters are particularly likeable but I think that was Pinter’s point. He has crafted characters who are real and, at times, baffling in their behaviour.

Set and Costume Designer Melanie Liertz has created a minimalistic set that fits well with the stark nature of the story. Vertical blinds are set to good use with scene titles projected onto them as well as photos of (ironically) happy family moments. I did wonder if the choice of these blinds was some kind of metaphor for the characters’ ‘blind’-ness in their relationships? Composer Steve Toulmin uses compelling piano music as transition between scenes. Verity Hampson and Luna Ng’s lighting design adds suitable mood to each scene.

Ultimately, Betrayal never really answers why we betray each other. Perhaps what it shows instead is that there is no answer for why we behave in the ways we do.

Betrayal is now running at the Old Fitz Theatre in Woolloomooloo until August 10.

To book tickets to Betrayal, please visit https://www.oldfitztheatre.com.au/betrayal.

Photographer: Kate Williams

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Still Savouring: Castle Hill Players’ Tender and Sweet Production of ‘The Last Five Years’

The Last Five Years

The Last Five Years Rating

★★★★★

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‘The Last Five Years’ is an ambitious show to take on; a Jason Robert Brown score is no tame beast, and the intimate vulnerability required for this particular show to really fly asks a lot of its two actors. Castle Hill Players’ production, which runs from the 25th of July to August 16th, and has the pain and humour, the nuance and stillness, that this book and score deserve.

Director Julian Floriano has done a really wonderful job. The staging has to hold together story threads that are moving in opposite directions, and actors who barely have any points of physical interaction; Floriano has created spaces for the songs and actors to shine. Storytelling through character-building is the base required for this show to succeed and it is done excellently here.

Julian Badman of Your Place Architecture has designed a really beautiful and effective set; one of my personal favourites I’ve seen in a theatre recently. Gentle ripples of semi-sheer fabric hang in layered walls across the stage. At different times you can see characters or the band through them, or they are raised to reveal a scene in a new place. Cathy and Jamie (the two characters) move around each other through this mist, the curtains literally lifting to reveal moments of insight.

 

 

This show has a rotating cast, and the dates each will be performing is available at the booking link. Opening night began with Cassidy Donovan’s performance of ‘Still Hurting’ which is perhaps the song with the highest profile. Donovan is captivating from the start, and steps to the challenge of such a famous and devastating number with gentle ease. Her comedic moments are some of the highlights, and her energy is excellent.

Levi Burrows’ Jamie is goofy and ambitious, and he nails the moments where Jamie has an open flank. For much of the second act to resonate, Jamie needs to be someone the audience connects to genuinely, and Burrows catches the youthful joy and genuine love to do this.

David Catterall leads the small and mighty band excellently, and the sound mix meant the strings, played by Jade Jacobs, Heather Hinrichs and Ian Macourt, can harmonise evenly and beautifully Chris Everest’s lovely guitar playing. Catterall plays Jason Robert Brown’s intricate piano parts with a delicate touch, and Dominic Yeap-Holliday holds down the rhythm section (on bass) with aplomb. Bernard Teuben’s sound design across the entirety of this trip to the theatre was excellent; I hope the lobby playlist was curated specifically for this because it fit perfectly.

This is the only full-fledged musical on the books for the Castle Hill Players this year, and is definitely worth seeing. If you are not a fan of a the big song and dance of traditional musical theatre, this really good production of this award winning show offers a different way into the art-form. This is a very human story told with both humour and compassion by a skilled cast and band.

To book tickets to The Last Five Years, please visit https://paviliontheatre.org.au/the-last-five-years/.

Photographer: Chris Lundie

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