Theatre - Whats The Show

The Wolves present: Marooned

21 November 2024 Amanda Lee Starkey

Marooned Rating

★★★★★

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The lights go up to illuminate a minimalistic stage with clouds floating on a screen behind, as we are introduced to our cast of characters.

We are in a waiting room of sorts; perhaps it’s purgatory, or it may be a processing room, but as the scene unfolds, we eventually learn it’s a room for those that have failed at committing suicide.

As we meet our nameless characters, from our antagonist, known only as 379, to our young peacemaker 134, businessman 1620, and the only woman 786, through a series of conversations, we slowly learn what has brought each person to this space.

Whether it is a failed life, illness, divorce, sexuality, or just uncertainty, we learn about the insights of each character. Like an overripe onion, layers are slowly peeled away to reveal the deep personal pain and the lessons each character must learn.

Each character must face their demons in the hostile space that is this waiting room, deciding whether they want to live or die. They begin by being in denial of the ending of their lives, as they share their stories we see their humanity evolve, and we begin to see regret, heartbreak and pain in each person. It’s compelling to watch as we learn of the struggles of each individual.

The play delves into some very deep issues of the human psyche and explores them on a level that is thought-provoking and compelling.

As we learn of each character’s complexities it’s hard to decide how to feel about each person and their journey to this space. Each character comes from a diverse background and each has unique reasons for being in the waiting room.

The play is a powerful exploration of a serious topic and it is unafraid to explore such a complex subject. However, it is done in a manner that is provocative and emotional. Each actor brings a rawness to the performance, and all of them are exceptional in their respective roles.

Marooned is a piece of theatre that will leave you feeling a little shocked, rattled and is an exceptional piece of work that is an absolute must see for all lovers of the arts.

To book tickets to Marooned, please visit https://alextheatre.au/marooned/

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.

Amanda Lee Starkey

Crimson Gully

21 November 2024 Manuela Kacomanolis

Crimson Gully Rating

★★★★★

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Powerful and engrossing, Crimson Gully is a brilliantly written play by Sreekanth Gopalakrishnan.

Set in the 1990s, the story centres on a brothel within the fictitious town of Chandapur in India.

Crimson Gully, which translates to Red Light Street, shines a light on the prostitution industry, forcing the audience to look beyond the societal labels associated with the women in the brothel and see them as individuals with complex lives, aspirations and personal battles.

The play opens with the young and popular worker, Muskaan, performing a traditional South Asian dance known as Mujra to the clients.

Having born and grown up in the brothel, Muskaan accepted her fate and circumstances long ago but she does not see herself as a victim but rather a person who unlike the other girls, has chosen to remain in the brothel. However, deep inside she longs for another life but does not believe she is worthy of it.

Then there is Champa, who did all the things that society expected of her as a woman. She met a man, got married and had a child but lost it all when her husband died and she was left cleaning up the destruction and financial mess he left behind. Without any education or qualifications, she finds herself in the brothel, the only way she knows how to make a living.

The young and innocent Mansi, from a seemingly good family, shows the viewers how girls like her end up in the brothel through no choice of her own. Much like Champa’s situation, it also proves that marriage is not always the answer to a attaining a better life.

Jamuna, the eldest, having spent most of her life in the brothel, now just serves as the caretaker and cook.

Taai is the madam of the brothel. Initially, viewers may think of her as a villain but as the story evolves it’s clear that she is as much of a victim as the rest of the women, trapped in her circumstances and in many ways acts as their protector.

It is the few people at the top driven by greed and power, in this instance all men, that keep the women trapped in their unfortunate circumstances and other men in line. The simmering tensions build up to a dramatic climax that does not disappoint.

Gopalakrishnan, who also designed and directed Crimson Gully, does not shy away from bringing to the forefront weighty topics such as political corruption, human trafficking, misogyny, and poverty and how they are all interconnected.

Inspired by the DW documentary India’s Prostitution Village, Gopalakrishnan provides a realistic account of the industry. It is a story which could take place in any culture and in any country but the elements of greed and corruption remain the same. Crimson Gully provides an insight into how corruption from the top can trickle down and poison society as a whole.

The Great Indian Theatre Company brings the story to life, with all cast members delivering solid and powerful performances. Crimson Gully is not to be missed.

Photographer: Albert Antony Roy

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.

Manuela Kacomanolis

Grand Horizons

17 November 2024 From The Front Row

Grand Horizons Rating

★★★★★

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The name “Grand Horizons” evokes an image of expansive possibilities, a bright future, and a world of untapped potential. It suggests a place where grand things await, a sense of hope and excitement about what lies ahead. In the context of the play, however, this promise is ironically deflated. The “Grand Horizon” is revealed to be not a metaphor for limitless opportunities but rather the confines of a retirement village.

From the very first curtain rise, director Jason Darlington expertly transports the audience into a space that is reminiscent of a sitcom, with musical tunes such as “Love and Marriage” from the TV show “Married with Children”, setting up the scene perfectly. The story is indeed about a married couple with children, only in this tale Nancy decides one day that she wants to divorce Bill, while their two grown up children come to the “rescue” by trying to stop the divorce from happening.

The children’s behaviour is somewhat sitcom-like, with over-the-top acting and facial expressions. Both are oblivious to their parents’ true nature: no matter how many times they ask what the reason for the divorce could possibly be, they never stop to actually let them answer and instead continue on their own trajectory.

It is deep into Act One when we finally hear from Nancy about her rather superficial marriage to Bill. Her confession of long-held desires for an old high school crush feels like a tipping point. It’s here, deep into Act One, that the play shifts gears from sitcom-style comedy to something more poignant, building toward a climactic moment where the walls of the retirement unit—quite literally—come crashing down. This marks the moment when “Grand Horizons” takes a profound turn, offering a raw and vulnerable exploration of the emotional truths that have been buried for decades.

Act Two is the standout, with Nancy’s meeting with Bill’s new girlfriend serving as an acting high point. The final confrontation between Bill and Nancy is both explosive and deeply revealing, a gut-wrenching moment where both characters come to realize how much they’ve actually known about each other’s desires all along.

In his directorial debut at the Castle Hill Pavilion, Darlington wisely lets the seasoned actors take centre stage, and it’s their performances that resonate most strongly. “Grand Horizons” blends comedy with pathos in a way that’s both funny and cringeworthy, ultimately leaving the audience with a bittersweet sense of reflection on life’s fleeting promises and the often-unspoken truths we carry with us.

Grand Horizons is running from 15 Nov – 7 Dec.

To book your tickets, please visit https://paviliontheatre.org.au/grandhorizons/

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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Put Some ‘DO RE MI’ Into Your Life!

17 November 202416 November 2024 Katherine De Vere

The Sound of Music – Melville Theatre Company Rating

★★★★★

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The Sound of Music at the Melville Theatre Company revisits the famous story of a novice sent to work for a widowed naval captain and his seven children. It is set against the backdrop of the Austrian ‘Anschluss’ during World War II.

Director and musical theatre devotee, Neroli Sweetman has accomplished a grand feat, in wrangling a sizeable cast and crew to bring this ambitious production to fruition.

As might be expected, there’s a plethora of singing postulants—read: nuns. The four-hander between Sisters Bertha (Lily Wakeling), Margaretta (Ebony MacFarlane), Sophia (Parish Findlay), and the Mother Abbess is particularly charming, All four of these actors bring genuine nuance to their characters.

Wimples-off to Eilish Marie Blackmore as the Mother Abbess. Though perhaps a tad young for the role, she delivers a soaring rendition of ‘Climb Every Mountain’ that could rival a West End performance.

WAAPA graduate Hannah Charlotte, playing Maria, starts a little nervously but warms to the lead. By the play’s end, her performance is truly endearing—with a touch of the Kate Winslet. And that’s high praise.

The Von Trapp children are utterly delightful from start to finish. Played respectively by Escher Roe, Leon Brand, Aurelia Turley, John Bell, Quin Dally, Halle McDonald, and Jasmine Dally (with doubles Charlotte Theodorsen and Bowie Silvay). As soon as they appeared, the stage-wattage went up and their renditions of “Do Re Mi’ and ‘So Long Farewell’ had the audience enraptured.

The weak link in this production was Captain Von Trapp, stiffly played by Nigel Goodwin. He comments, “I’ve never been called exciting before” and unfortunately, in terms of a lead performance, never a truer word has been spoken. Given that the love story is a central premise to the script, credibility, passion and even ‘Edelweiss’ went south here.

Similarly, Max, played by (Daren Goodison) looked the part but struggled with both timing and showmanship. What might have been witty three-handers between the Baroness, Max and the Captain became about as wooden as anything you’d find at IKEA. It may be that the lovely Baroness (Erin Sirle) struggled to find her form given the incumbent lumber.

Antagonist, Admiral Von Schrieber ( Kieran Smith) doesn’t cut the mustard either, lacking both age and authority. Less gravy and more gravitas? Weaker scenes aside, the costumes were impeccable and deserve special mention, as does the ensemble cast, who were consistently impressive in both character work and harmonies.

Supporting actors Peter Shaw (Franz the Butler), Imogen Porter (Frau Schmidt), and Zac Porter (Herr Zeller), leaned into their Teutonic accents channelling an entertaining ‘Allo ‘Allo vibe. That being said, the he old stage wisdom – either everyone in the cast does accents, or no one does – might have been more effective than a Smith’s Variety Pack approach.

Rolf (David Bell) and Liesl (Escher Roe) both show promise and it will be interesting to watch where these young performers go, as did newcomer, Michael Smith as Baron Elberfield.

The set design suffered from a case of indecision-itus, wavering between realism, minimalism and kitsch; the plastic greenery being a low blow ( or low brow?) On the other hand, the wedding and final scenes were both visual and musical delights.

This is community theatre, and as such, it deserves support and appreciation. It runs on the goodwill and tireless efforts of so many talented contributors. A standout, special ‘Alleluia’ to Nick Navarra and team for their spirited (and spiritual) musical direction – and the choreography. You’ll likely find yourself humming a tune on the car ride home.

Who among us couldn’t use a bit more ‘Do-Re-Mi’ in our lives?

The Sound Of Music runs to November 30th. To book tickets, please visit https://melvilletheatrecompany.au/

Session Dates/Times:-
Performance Dates:
Evening
November 15, 16, 17, 21, 22, 23, 24, 28, 29, 30

Matinees
November 17, 24
Times: All evening shows at 7.30 pm
Sunday Matinees – November 17, 24 @ 5 pm

Photography: Curtain Call Creatives

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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