Mrs Warren’s Profession

Mrs Warrens Profession

Mrs Warren’s Profession Rating

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5

Mrs. Warren’s Profession, written by George Bernard Shaw in 1893, remains provocative and compelling. This latest revival at Castle Hill Pavilion Theatre breathes new life into Shaw’s critique of society and the limited choices available to women. The opening night on July 26 saw a packed house transported back in time.

The play centres around the relationship between Mrs. Warren, a former prostitute turned successful brothel owner, and her daughter, Vivie, a modern young woman, initially unaware of her mother’s past. The production cleverly places contemporary themes in a Victorian setting, making Shaw’s social commentary timeless.

Daisy Alexis delivers a standout performance as Vivie Warren, portraying her struggle to accept her mother’s choices while maintaining her own principles. The scenes between Vivie and her mother Mrs. “Kitty” Warren (portrayed by Paula Searle) crackled with tension and emotion. These performances were impressive, and I would gladly watch these two actors again.

The supporting cast is equally strong. Christopher Clark shines as Sir George Crofts, a businessman whose relationship with Mrs. Warren complicates the narrative further. Dave Went as Praed, the artist and Jem Rowe as Frank Gardner, Vivie’s charming but lazy suitor, provide moments of insight. Jeremy Johnson brings humour in his portrayal of Rev. Samuel Gardner.

The late Victorian era was effectively evoked through the set design by Maureen Cartledge and costumes by Leone Sharp. The costumes seem period-accurate and enhance the characters’ personalities and social statuses.

Lighting by Madhavi Shankarling and Mark Dawson underscores the play’s shifting moods, while sound designer George Cartledge uses period music to immerse the audience in the world of the play. These elements altogether enhance the audiences experience and provide a glimpse into the Victorian era.

Director Steve Rowe deserves praise for taking on Mrs. Warren’s Profession as his first production. Shaw’s critique of society and the exploitation of women is presented with clarity and conviction, making the audience reflect on how much—and how little—has changed since the play was written all those years ago.

The four-act theatre production is well-paced and keeps audience members engaged and entertained. The cast delivered the script beautifully, providing some laughs as well as moments of shock.

Overall, this production of Mrs. Warren’s Profession is a triumph. It is thought-provoking, engaging and beautifully executed. Although this audience demographic was older, this play can engage younger viewers and is a production that is not to be missed.

Mrs. Warren’s Profession continues to play at Castle Hill Pavilion Theatre until August 17.

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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It’s simply MARVELous: A Risque Parody

Marvel

MARVEL: A Risque Parody Rating

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6

The big energy opening number to MARVELous: A Risque Parody gave the audience a taste of what was to come. There were showgirls dressed in sexy red, white and blue outfits, high kicking, singing and dancing around a muscular square jawed Captain America, played by Luka Lea-Vestic holding up his big round shield.

It was reminiscent to a scene from Captain America named “The Star Spangled Man with a Plan” except director, creator and composer Samwise Holmes cleverly wrote a parody called “The Man with America’s Ass” with lyrics such as “Who’s got a glorious gluteus maximus? The vote for the world’s greatest bum is unanimous. A posterior that’s all class. The man with America’s Ass”!

From here I guessed that this was going to be a mix between a satirical musical, a flamboyant gathering of colourful costumes and cheeky burlesque dancing. What I didn’t foresee was another layer – one which involved not only raunchy strip dancing, but dancing in many different styles, including a ballet act, dancing using a whirlpole and a modern puppet master dance led by Scarlet Witch, played by Brea Holland. Added into the mix was a good dose of aerial and stage acrobatics, with risqué humour woven in. Listening to the audience’s reaction to the performances around the theatre, it was clear that MARVELous was hitting all the right notes!

Each performance involved a seperate Marvel character act, unique to them and was unrelated to others. There was not a storyline from start to finish, rather a series of acts where the Marvel characters embodied their character traits and special powers. They performed a particular dance, sometimes singing along to parodies of a well known scene from a movie. When they were not performing as their main Marvel character, the cast of 12 supported each other by playing other roles onstage.

One stand out performance was by Megan Wonfor, who played Black Widow. Her fight scene with two ninjas dressed head to toe in black was phenomenal. The three of them did a “dance fight” full of acrobatic tumbles and sharp acrobatic leaps, all in time to music. It was visually one of the most beautiful fight scenes I’ve ever seen!

Another performance I really enjoyed was from Fat Thor, played by Thomas Remaili, who used the pole in his routine and made climbing up it and hanging off at zig zag angles look easy, despite wearing croc slip on shoes and having his legs and arms covered, which left me wondering how he was able to grip the pole. His huge prosthetic belly didn’t hinder Fat Thor as he performed his routine, and his humour had the audience laughing and cheering him on.

Deadpool, played by Justin Wise, was the show’s sassy narrator. When he was onstage, his role as the storyteller appeared to be more of a stand up comedian and involved him bantering with the audience to bring the show to a more personal level.

The choreography of all the dance acts was so varied, and executed with precision by the actors. If all the dance routines were too similar, it would have been a lacklustre show. Choreographer Luka Lea-Vestic ensured that audiences would be treated to a mix of styles that captured our attention.

James Wallis’ lighting, in combination with the creative three-story cityscapes scaffolding set design by Dan Potra, was effective throughout the show to both elevate the vibrancy of the mood and to build the suspense in darkened scenes. In one performance Iron Woman, played by Lulani Rawson, led a multi woman lineup of Marvel characters in a dance, with each performer using her lights on her hands to create exciting paths of lights into the audience as the male performers lit them up from behind. This was a mesmerising scene.

Action Reaction Entertainment have brought a dynamic show to the Chatswood Concourse theatre for fans of the Marvel Cinematic Universe. There were cheers and laughter as they understood and appreciated the jokes and references throughout the performance. Even if you weren’t familiar with all the characters, there were acts which brought in parodies of some very well known musicals as well. Despite some opening night hiccups with the sound, the soundtrack paired with the casts’ high energy performances ensured the audience had plenty of laughs and a MARVELous night out.

MARVELous: A Risque Parody is playing at the Chatswood Concourse.
Be aware that it is an 18 + event.

Show Run: Friday 26 July – 10 August 2024
Tickets: from $59 – $125

www.marveloustheshow.com.au

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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Red Stitch Actors’ Theatre – Romeo & Julie

Romeo & Julie

Romeo & Julie Rating

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2

Red Stitch Actors’ Theatre’s Romeo & Julie is a captivating and raw modern tale of young love. Loosely inspired by the star-crossed lovers of William Shakespeare’s Romeo and Juliet, the audience is transported to Wales with a contained cast of 5.

The naturalistic dialogue and pared-back set plants the audience firmly in the present day – this is a twist on the classic play with a gritty reality that underpins each scene. Damon Baudin’s Romy and Shontane Farmer’s Julie have an undeniable chemistry (“If I was flirting with you, you wouldn’t know”), their budding romance constantly interrupted by the forces that surround them – a baby, an alcoholic mother (an impactful and comedic performance by Belinda McClory as Barb), and a looming spot at Cambridge.

This creates an immediate dramatic tension, as the audience is aware that Romy and Julie are on borrowed time. Despite the chaotic lives of the characters, moments of humour and lightness throughout add reprieve, as writer Gary Owen succeeds in nailing both the language of modern-day teenagers and the complexities of family dynamics.

The set design and lighting expertly convey the claustrophobia that Romy, and later Julie, experience – the walls of set literally begin slowly closing in. The space is cleverly used by rearranging the minimal furniture between scenes, allowing the audience to pause and absorb the high emotions. The effective visual of a beach contained in a small window symbolises both hope and entrapment, yet even in these outdoor scenes, Romy is still constrained by the bulky prop of Neve’s pram.

Back inside, the colourful baby lights reflecting around the room is a beautiful visual choice – yet it serves to capture the ever-present nature of Romy’s baby and responsibility, Neve, the thing that both brought Romy and Julie together, and might just tear them apart.

A central theme throughout the play is that love is an active choice – when presented with a choice, Romy chooses to raise baby Neve, just as Claudia Greenstone’s Kath cherishes her stepdaughter Julie, posing to her “isn’t it worse to not be in charge of your life?”, questioning the themes of fate that dictated the lives of Shakespeare’s original characters. Another fresh element of the play is the agency that Julie exhibits.

In contrast to many portrayals of the famous character, she is smart (which is contrasted with an illiterate Romy), sassy and ambitious, and Farmer excels at capturing the angst and pining of a teenage girl experiencing her first love against all common sense. In an ode to the conflict of the original play, Justin Hosking’s Col wears a royal blue coloured outfit in a nod to the Capulets as he confronts Romy, who wears the Montague’s signature red – the same red jacket that is worn by Julie as she navigates the falling out with her parents.

The play both begins and ends with Dire Straits’ classic song “Romeo and Juliet,” as impactful speeches and painful decisions leave the audience pondering the timelessness of young love and the pressures of familial expectations.

Photographer: Jodie Hutchinson

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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Anywhere Festival: Set Me On Fire

Set Me On Fire

Set Me On Fire Rating

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11

Samara Louise’s play, SET ME ON FIRE, is a deeply moving play about the ugly side of family ties, the angst of artistic temperament, and the longing for a better life.

Through the erudition and articulation of her lead female character, Samara paints a poignant portrait of a girl growing into an excellent example of an independent, free-thinking femme fatale.

The list of Samara’s achievements so far seems enormous, considering her youth. Cale Dennis, the director, is also no slouch when it comes to winning awards. I foresee they both have bright futures in theatre and probably whatever else they decide to address with their talents. All members of The Silent Sky Collective, who produced the play, are emerging artists in their own right.

Rachel McMurray, playing Eden, the lead, did a wonderful job of wrapping her lips around the lines of dialogue she had to deliver, and her transitions between a coy seventeen-year-old and a savvy twenty-something, demonstrate she’s a force to be reckoned with.

Her counterpart, Mannon Davies, as Noah, the lost love interest, gives us a delightful deep dive into the psyche of a boy burdened by a mother clinging to her child. His chemistry with Rachel was obvious, and yet deftly understated, muted by the malignance of his meddling mother.

The play begins near where it ends and then backtracks to fill in the gaps. The reminiscences replicate the back story that brought the two tumultuous teens to where they meet again at the beginning of the play, through complexities that remind us that underneath each of us are layers of human experience that can and often do scar us for life.

Cullyn Beckton and Tim James, the tech team, never missed a beat. The set, sound, and lighting all enhanced the moments that made the story work so well.

It’s a thoroughly watchable work. I’d give it 4 out of 5 stars. Go see these people play now before they get so well-known that you have to pay through the nose to see them.

The production contains very occasional strong language and young adult themes. It’s part of The Anywhere Festival and is staged inside Backdock Arts, a small hall at 103 Brunswick Street, in Fortitude Valley.

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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