Sir Terry Pratchett’s The Fifth Elephant

The Fifth Elephant

The Fifth Elephant Rating

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6

The Fifth Elephant, one of Terry Pratchett’s many successful fantasy novels, inspires this whimsical and spellbinding stage play from Brisbane Arts Theatre Company. This production, directed by Sarah Drew and Eleni Koutsoukis, was especially exciting to attend as I was interested to see how the themes and characters of Pratchett’s Discworld novels come to life.

While the stage design was simple, the crew used contemporary methods to convey scene changes and effective space use. In the top right corner of the stage was a black, long staircase from which characters could emerge to signify a character’s status or moods and give group scenes more varied dynamics. It was well received in each instance and an adequate expression.

Something of note was the use of lighting and projections. In the first act, the lighting crew encountered occasional timing issues a few times. Despite this, each time, they recovered quickly, and it became less of a distraction as the show went on, and their cues were more on point. The use of red flashing lights during one of the action scenes and the red lighting during one of the final scenes aligned well with what was happening and engaged viewers. Using projected images to signify scene changes was a simple but clear way to manage the design and cast movement. Instead of moving furniture between scenes and waiting for transitions, the cast could immediately focus on the next one.

 

As for the actors and actresses, I was very impressed by the amount of talent and focus they conveyed in each scene. The physical demands of the roles of those who played werewolves/wolves/talking dogs were also commendable, as they often had to move about the stage reasonably quickly during action scenes.

Especially notable mentions include the roles of Commander Vimes, Carrot, Igor (all of them), Wolfgang, Littlebottom and Skimmer. I enjoyed seeing how all of these characters interact and how the actors professionally and thoughtfully executed them. Their use of comic relief, tension, body language, and vocal tone made each scene stand out in quite a unique way. If I were to pick one scene that the audience and I seemed to have favoured and thoroughly enjoyed, it would be the final scene between Vimes and Wolfgang. The audience also enjoyed the Igor scenes; many spoke lovingly of them during intermission.

Each actor, whether in a major or minor role, did an amazing job, and I am eager to see how their skills are utilised in the next production.

The Fifth Elephant runs until the 2nd November. Book your tickets for one of the remaining performances @ https://www.artstheatre.com.au/productions/sir-terry-pratchetts-the-fifth-elephant/

Friday 25th October – 8pm
Saturday 26th October – 7pm
Sunday 27th October – 2pm
Thursday 31st October – 8pm
Friday 1st November – 8pm
Saturday 2nd November – 7pm

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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Jack And Millie

Jack and Millie

Jack and Millie Rating

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4

So, a story about cancer. A topic and illness infamously known as a big damper on pretty much everything. How does one convey a story with a sense of positivity, of movement, of life still continuing through this unpredictable time?

Enter Alain Beek, Actor and Director with Essence Productions whose story was told through Jack and Millie. And what a story it was!

Beek was joined on stage by Phil Cameron-Smith (who played Jack) and Ross Daniels (who played every other character) in this heart-touching story. Truly a loaded theatre cast!

Beek not only shared this story, but when she was on stage, I felt every one of her emotions, her eyerolls and her smiles. Beek is an inspiring story teller and the depth of her character was highly tangible to each audience member. She helped me understand this story in ways that just reading a script would not. Beeks’ character Millie felt wonderfully lived in, like a familiar coat you put on or a close friend to confide in. And that just helped to draw me in even more.

Cameron-Smith is Jack in this play and represents all the thoughts that Millie has about cancer. Some do hit home hard, but I was surprised to see how many of these thoughts were also comedic. Cameron-Smith had me laughing a lot and helped to put a more wholesome and positive spin on what should be quite a downcast story. He was funny, deadpan and at times unapologetic in his views which made for all the more riotous viewing! I would happily see a play all about Jack and his thoughts and feelings.

And filling in every other character we have Ross Daniels, and my, what stage presence! It was so easy to watch Daniels as he went between characters, especially in the Zoom scene (trust me, watch it and laugh a lot, because I have never seen anything more relatable). Daniels had this incredible focus to him, even off stage, and managed to play characters ranging from cold and informative to a supportive friend and buddy. And each one of these characters was so believable! Daniels also had these unique little movements or actions he would do to get into each character which was fascinating to observe.

As an audience member, I really enjoyed some of the choices that were made by the Director Nigel Sutton, especially props wise! The stage was only set with 2 big white boxes which were used in such simple ways and yet transported me to a restaurant or the park seamlessly. The costming for this play was also very simple, just plain whites for each character. And I think this all needed to be understated to let the story shine through which was more than successfully achieved. 

I did also want to commend the creative uses of sound effects, especially the ring tones for each character that gave such a unique insight into that character. The assumptions were handed to the audience with very little to go off and my imagination thoroughly enjoyed filling in the blanks. And other members of the audience afterwards expressed similar thoughts to me – this was a truly enjoyable experience.

So, in conclusion, please see this play if you can! This is a funny story full of life’s ups and downs, but left me feeling positive. It is said in the program of this show that this script is deeply loved by those who feature in it, and even as an audience member I was able to feel this. This was not a sad story, just an eventful one filled with delicious morsels of laughter to help you on the way. And one (I can confidently say) I would happily see again!

For further information about Essence Theatre Productions, please follow: https://www.essencetheatre.productions/

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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Feared and Revered – The Women of Shakespeare

Feared and Revered - The Women of Shakespeare

Feared and Revered – The Women of Shakespeare Rating

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1

‘Feared and Revered—the Women of Shakespeare’ at the Genesian Theatre amalgamates several of Shakespeare’s well-known characters, scenes, and plays with modern backdrops and ideologies. The play, written and directed by Tui Clark, transports its audience to a place where Shakespeare’s women are allowed to have complexities and contradictions all at once, other than the usual good/bad, married/unmarried dichotomies.

The Genesian Theatre itself added to the essence of performance. The beautiful stained-glass windows and intimate size made it easy to become part of the story, especially when actors would situate themselves in or around the audience for entrances or exits.

It was interesting to see how different soliloquies and passages were paired together to create a tapestry of womanhood and femininity of the past and present. I also loved the simplicity of the props and costuming. A tie or a feather boa was enough to symbolise a different character and the location in which these women found themselves together. I especially loved the technical elements that added to the themes of each scene. Layering voices that led into a beautiful delivery of ‘All the World’s a Stage’, from As You Like It to begin the show was a beautiful tie-in with the ‘stages’ of womanhood that followed.

The cast was an incredible collective of women who brought to life 30 women across Shakespeare’s collection of works. It was difficult at times to understand what was being said, but it made it feel more authentic, as a lot of Shakespearean language was completely made up. All audience members were in the same boat when it came to simply listening to the dialogue rather than taking in the context in which it was being said.

 

Some of the more famous monologues or characters were much easier to spot, but the lesser-known characters or plays had to be viewed in context. It’s important to remember that you’re not supposed to grasp the meaning behind each word spoken immediately, but the way the words are spoken and in which scenes they’re performed in.

Among the talented cast, Liz Grindley stood out with an exceptional stage presence and managed to capture the essence of Cleopatra (among others) in her final moments. The ease with which she moved around the stage and carried each woman in her words and body made it difficult to look away from her, even when she was not speaking.

Charlotte Bromley gave her all to each character, whether the provocative Witch from Macbeth or the hysterical and grieving Ophelia. Bromley captured the audience’s attention and gave them a performance that transcended language.

The closing monologue from Taming of the Shrew, performed by Ali Bendall, was delivered with such reverence and emotion that I had to immediately go and search it up just to read it again. Despite obviously being written by Shakespeare several hundred years ago, Bendall made it her own. In those few moments, I was completely in awe of what was coming out, and you could have told me that she wrote it herself or went off script to say what she was thinking, and I would have believed you.

I recommend grabbing a ticket for yourself and some friends and family to see this beautiful performance before the curtain closes. Even if you don’t know a lot of Shakespeare, these women bring their own elements to the timeless dialogue that draws you in and captivates.

Don’t miss out on these remaining performances – Wednesday, 23rd, and Thursday, 24th October at 7:30pm and Saturday, October 26th, at 2:30pm.

Grab your tickets from https://GENESIAN.sales.ticketsearch.com/sales/salesevent/138915

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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The Queens Nanny

The Queens Nanny

The Queens Nanny Rating

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‘The Queen’s Nanny’ opened in Wollongong on the 16th of October at the Illawarra Performing Arts Centre. Fresh from their world premiere season at Sydney’s Ensemble Theatre, ‘The Queen’s Nanny’ is a funny yet poignant story of Marion Crawford, or ‘Crawfie’ who (as the play’s title suggests) was the nanny or governess to Princesses Lilibet and Margaret Rose throughout the 20th century.

Written by Melanie Tait as “a story of class and colonialism” and directed by Priscilla Jackman, ’The Queen’s Nanny’ takes you through the spectrum of emotions. Jackman called the play “fun, artistically lyrical, provocative and playful.” I’d like to add that it is generally brilliant and creatively captivating.

Timed to perfection technical elements, unique use of the stage, minimal props and costume items to differentiate between characters or display how they’ve aged declined, or simply just changed added charm and class to the performance.

Tom Stokes was absolutely incredible. In a league of his own, his ability to transform seamlessly into each of the seven characters he portrayed in 90 minutes with limited breaks was captivating. His mannerisms and perfected accents dazzled the audience, holding their attention while somehow still allowing this to be someone else’s story.

Elizabeth Blackmore’s embodiment of Crawfie left little to be desired. Exploring every aspect of her 16 years with the royal family, and the following decades until her passing in 1988, Blackmore brought the audience into the very heart and soul of the character.

 

The emotions surrounding the trinkets and memories stored in her carpet bag, even after her employment ended, were suffocatingly genuine. It’s rare that anyone outside of the shared experience will understand the weight of the emotional value of letters, ticket stubs, a particular coin, etc., especially if there’s potentially a financial value to those items, and yet both Blackmore and Stokes captured that dynamic perfectly.

That’s not to forget the performance of Emma Palmer as the Queen Mother. It’s not easy to play a character with such polarity and complexity. Nor is it easy to capture the way responsibilities and internal torment can weigh on a person over time, but Emma Palmer managed to do just that. Initially a breath of fresh air and a beautiful comic, the Queen Mother began and ended as two very different people, as people in the public eye tend to do. As I said, it’s not easy to do, but I think somebody forgot to tell that to Emma Palmer.

Don’t miss this incredible show and group of exceptionally talented creatives. Tickets are available for the final few shows in Wollongong on the Merrigong website.

Book your tickets @ https://merrigong.com.au/shows/the-queens-nanny/

Photographer: Phil Erbacher

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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