Get ready to dive into the captivating world of The Dictionary of Lost Words with our guest today, who brings the endearing character Harry Nicoll to life on stage! This talented actor has a passion for storytelling and a knack for connecting with audiences. We’ll delve into their role, the essence of the show, and what makes the upcoming performances at the Illawarra Performing Arts Centre unmissable.
About Johnny Nasser
Why do you want to be an actor?
Because I love stories and storytelling.
What do you enjoy most about acting?
I love getting to play with other actors and creatives, and connecting with audiences.
What has been your favourite role so far in your career?
I had a lovely chicken & salad roll yester……oh…role…yes. Obviously, Harry Nicoll in ‘The Dictionary of Lost Words’. He has a big heart and adores his daughter Esme.
What do you think makes a performance most believable?
I think if there are behaviours and truths that are recognisable, an audience will tend to find a performance convincing.
How do you maintain your physical and emotional health while working on demanding projects?
A bit of exercise. Rest. Good food. Laughter.
Is there anything else you’d like to add?
Come and see The Dictionary of Lost Words at the Illawarra Performing Arts Centre this May and June! It’s a beautiful show.
Where can patrons purchase tickets to this production?
Thank you so much for sharing your insights and laughter with us! Wishing you all the best for your show at the Illawarra Performing Arts Centre this coming May and June – break a leg!
Two spotlights. One long wooden bench. That’s all that occupies the simple stage. Yet from this minimal set emerges a richly layered, emotionally textured piece of theatre. Heaven is a quietly compelling two-hander that rests entirely on the shoulders of its actors, and both carry it with grace, depth, and humour.
In alternating monologues, Mairead (Lucy Miller) and Mal (Noel Hodda) each tell their side of a shared story. They never speak directly to one another, yet the interplay of their perspectives – tender, funny, and heartbreaking – creates a powerful sense of connection. The chemistry is in the contrast: Mairead is fiery, frustrated, and yearning for affection; Mal is warm, wry, and wrestling with a long-buried truth.
Set in a rural Irish town on the night of a mutual friend’s wedding, Heaven captures a pivotal moment in two lives quietly unravelling. Mairead, long disconnected from both her husband and daughter, finds herself tempted by an old flame. Mal, equally starved for intimacy, reveals his lifelong but unacknowledged attraction to young men – something he has kept hidden behind the veil of domesticity. His quip about fantasising over “Jesus” as a young altar boy is one of several unexpected, laugh-out-loud themes that punctuate the play’s poignant revelations.
Director Kate Gaul describes the couple as “great friends, warm to each other,” but with “huge parts of themselves they haven’t revealed.” That observation anchors the emotional core of Heaven. Each character has settled into a life that looks fine from the outside but feels hollow within. On this one night, their reflections hint at the fragile possibility of change – of choosing not comfort, but truth.
O’Brien’s writing is lyrical and intimate. There’s an authenticity in both characters that feels deeply human – flawed, funny, searching. If the title Heaven seems elusive at first, it may be because both characters are chasing their own vision of it, hoping to escape the quiet despair of lives not fully lived.
Performed in the intimate amphitheatre-style space of The Loading Dock Theatre at Qtopia Sydney, the production’s closeness intensifies its impact. Every line lands clearly, every expression matters. With only subtle musical cues, the emotional texture is carried entirely by the strength of the performances – and both Miller and Hodda deliver. Both are Australian yet their Irish accents sound authentic!
The venue itself is worth a visit. Located in the heritage-listed former Darlinghurst Police Station, Qtopia is the largest museum and cultural centre dedicated to queer history and culture in the world. With four buildings on site, it’s worth arriving early or staying after the show to explore. A bar onsite offers refreshments, and the audience – an even mix of ages and genders – added to the warm, community feel.
Presented by Bitchin Wolf, a theatre and film company devoted to bold, magical storytelling, Heaven runs until 31 May. The performance lasts 90 minutes without interval. Tickets are $45 general admission and $35 concession.
A moving, quietly radical meditation on love, regret, and identity, Heaven proves that even the simplest staging can hold a world of complexity.
Written by Eugene O’Brien | Directed by Kate Gaul | Presented by Bitchin Wolf at The Loading Dock Theatre, Qtopia Sydney
Arts Theatre Cronulla’s production of Mark Kilmurry and Jamie Oxenbould’s ‘Midnight Murder at Hamlington Hall’ is a delight. Susan Turner has directed a tight and skilled ensemble to deliver each joke with aplomb and endear each of the odd duck characters to the audience.
The script is whip-smart and moves along at a really enjoyable pace, featuring the highs and lows of a fictional amateur theatre company on an ill-fated opening night of a show. Despite the murder mystery tropes evoked by the name, there’s plenty more than clues and sleuths on offer here. This is a production that is finely tuned, and delivers the chaos of the show with both levity and (as evidenced by the entirely convincing comedy of errors that ensues) precision.
Angela Gibson is consistently excellent in ATC productions and this is no exception; her comic timing as Karen is stellar. Playing an amateur actor playing a role on stage for the first time is a task with considerable layers that she carries in style. Some of the biggest laughs of the first act came from her deadpan and witty delivery. Her interactions with the offstage character of her teenage niece (voiced by Arianne “Flossie” Hough) are hilarious, and Gary Clark’s sound production across the show is excellent, with one of Act Two’s biggest laughs coming from an aural gag that the actors onstage respond to.
Michael Gooley’s Shane is the heart of the show; a director and writer genuinely invested in both his cast and the play they’re attempting to pull off despite setbacks. His earnestness and timing lay the groundwork for a large number of the big laughs of the show, and does a great job at connecting us to the emotional stakes for the whole (fictional) company. Gooley’s performance also lays the groundwork for the other actors to shine; Shane’s confidence that it’s all possible regardless of all the comic mishaps is the key to the movement of the whole second act.
Phillipa is a character who sets the comedic tone for the entire show, and Ariane ‘Flossie’ Hough does a fantastic job. Her vocal and physical comedy are really strong, and Phillipa’s vanity manages to be endearing rather than alienating in her capable hands. Samuel Owen’s entry to the show was a highlight, and his Richard is a fantastic addition to the ensemble.
Brendan Jones’ Barney has the most costume changes of any track in the show, which is saying something. Jones nails the difficult task of the proud Barney’s attempts at accents, and nails the timing on a number of jokes that rely on extended pauses. Jones’ physicality is a stand-out, and the pace of his changes matched with the volume of lines he covers in the show within the show are skilfully handled.
The set (designed by Michael Gooley) is wonderful – perfectly pitched. The joke-per-minute and joke-per-square-metre ratio of this production is excellent; there is a stack of suitcases, a painting and a door that all have their own comic moments in the sun. The costuming, similarly, is very well done.
There are opportunities at every turn for comedy to ensue; hats and pants, walking sticks and slow exits all drew laughs from the audience. This is a really enjoyable and well executed production that I would really recommend.
This heartwarming film is a beautiful reminder of the goodness in humanity and the power of unlikely friendships (and books!).
Based on the novel of the same name by Carston Henn, the story follows Carl, an older gentleman. Carl’s job involves walking around the town (in Aachen, Germany), delivering books to a variety of interesting people.
Carl is an awkward, shy, but kind man, drenched in loneliness, and obsessed by books. So much so, that he refers to his regular clients by the nicknames he has (sometimes not so secretly) ascribed to them; based on fictional book characters, who each have their own quirks.
Nine-year-old Schascha has just moved to the town. In dealing with her own sadness in losing her mother, she also finds solace in books and reading.
Schascha begins to follow Carl on his daily book delivery, and an unlikely friendship develops. The two main characters end up working together to make some big, positive changes in the lives of the people Carl delivers his books to. As well as for themselves.
This enchanting story is full of themes of friendship, community, and embracing differences. It highlights the importance of kindness in humanity and community, and is a great reminder of the power of books and reading.
This is a wonderful film that the whole family will enjoy! The acting is brilliant from the entire cast. The cinematography is stunning for what is in essence quite a simple but powerful story of humanity.
Note that the film is in German, with subtitles in English.
The German Film Festival runs from 30 April to 28 May. To book tickets to The Door-to-Door Bookstore, or to any other films in the festival, please visit https://germanfilmfestival.com.au/.
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