I found myself back at the wonderful Javeenbah theatre, nestled away in Nerang, on Saturday night to absorb their production of John Cariani’s play “Almost, Maine.”
This magical play is set in Almost Maine, a place so far north that it’s almost not in the United States. It’s almost in Canada. And it’s not quite a town because its residents never got around to getting organized. Does it even exist?
I am slightly biased, as this is one of my favourite plays, and this production, directed by Kaela Gray and Jake Goodall, was a beautiful interpretation. The play follows strangers, friends, and lovers navigating the ups and downs of love and relationships under the glistening northern lights.
I am always blown away by the quality and professionalism of Javeenbah theatre, and Almost, Maine is no exception. The cast and production are of the highest quality, and they will not disappoint. This play will have you laugh and cry as you follow the goofy and lovable characters through 10 minutes of their lives on a cold, clear winter night. Knees are bruised. Hearts are broken. But the bruises heal, and the hearts almost mend in this delightful midwinter night’s dream.
Javeenbah Theatre is nestled on the corner of Steven and Ferry Street in Nerang, overlooking the Gold Coast skyline. There is ample parking onsite or on the street, and the theatre serves drinks and a small selection of snacks for patrons to enjoy before or during the show.
The theatre is on ground level, surrounded by grass and gravel, but there are no stairs to negotiate for theatre access if you use a mobility aid. The theatre is quite intimate, with excellent views of the stage from any seat in the house, comfortable chairs and ample legroom.
If you are looking for a fun evening on the Gold Coast, I highly recommend attending this show.
The season for Almost, Maine runs out on the 30th of November, the calendar’s official date of the last day of spring. Please do not miss this show.
The Collector is a harrowing tale about an emotionally stunted and lonely young man who abducts a young woman and keeps her locked in his basement. In this modified version of Mark Healy’s stage play, adapted from John Fowles’s 1963 novel of the same name, Frederick Clegg, an amateur entomologist, wins the lottery and uses his new wealth to buy an old country house a few hours from Sydney.
In the basement, he imprisons Miranda Grey, a young art student he stalks and then kidnaps after forming an obsession. Frederick plans to spend time with Miranda so she gets to know him and falls in love, but what follows is a haunting exploration of power, obsession, fear, loneliness, and dangerous delusion.
As I entered the tiny theatre in Redfern, I wasn’t sure what to expect. The stage stretches from wall to wall and takes up most of the room while the audience looks down on the set as if trapped in the basement along with the characters. This sense of immersion and intimacy worked to the play’s advantage. I was sitting in the front row, and several times, the performers almost stepped on my feet. Tigran Tovmasian, who plays Frederick, often stared me right in the eyes as he delivered his monologue just a meter away, which was both unsettling and intensely immersive. Frederick, not Tigran, was trying to make me understand.
Tigran was, without hyperbole, sensational. I was genuinely impressed by his embodiment of Frederick, from the tone of his voice to his body language. He almost had me feeling sympathetic. I couldn’t help but appreciate the tiny character details, such as nervously picking at his nails, picking at the table, slumped shoulders, and even his trembling lips during the intensely emotional moments. Underneath the awkward nervousness and polite frustration was a real sense of danger, and you fear what Frederick might be capable of.
This fear was convincingly embodied by AJ, playing Miranda Grey. Her performance carefully balanced Miranda’s complex emotional journey, moving between terror and isolation to anger and violence and the desperate attempts to manipulate Frederick into letting her go.
Ruby Busuttil’s direction wisely gave us several moments of laughter despite the heavy themes, with small jokes and absurd moments lifting the tension at the right moments without sacrificing the integrity of the drama or being disrespectful to the story. While bad directing is obvious, great directing isn’t usually noticeable because you get sucked into the narrative and everything just works. That’s what happened. It wasn’t super-flashy or overly dramatic or trying to show off. It just worked. Ruby also produced the play, bringing together a solid team that supported the performances.
Adrien Stark’s set design was impeccable, and his experience shows. The set itself represents three different spaces without needing a single set change, and it worked convincingly. Despite the theatre being tiny there was still plenty of room for the action to take place. Making use of the theatre’s own walls and pillars, Frederick’s basement was utterly convincing and didn’t look like a cheap theatre set. Everything from the furniture and set dressing to the props used by the characters were detailed and convincing. Supporting this fantastic set design and Alice Chao’s solid stage management was the impressive lighting and AV.
The lighting was beautifully crafted to represent the various spaces and time of day without being overbearing. It wasn’t stage lighting. It was film lighting, with the character’s faces often beautifully lit as if I was watching a movie. Isobel Rabbidge should be commended for their ability to create a truly immersive experience without drawing attention to the technical components of the play, including the correct balance of additional audio effects to support the changes in scenery. This can often be hard to achieve.
The accompanying music composed by Roger Ly generally worked well, although I felt it was a bit heavy-handed in the earlier monologues and distracted me from the performance. But part from this the music was a strong addition to the emotional content and tension of the performance.
The only real weakness of the entire production was the script. It does drag a little from time to time, repeating itself or not diving deep enough into the darker emotional journeys from the novel. But that has nothing to do with this production or its team.
All in all, The Collector is the best produced play I’ve seen this year, and I highly recommend you ‘catch it’ before it’s gone.
The Collector is showing at the Playhouse Theatre, inside The Actors Pulse in Redfern, Sydney, for a limited run until December 1st.
Mother and Son, a masterful stage adaptation of the beloved 1984-1994 TV show, opens in a stereotypical living room of a household that’s been lived in for 50 years.
Maggie, an elderly woman, precariously balances on a ladder, struggling to change a lightbulb. Before disaster strikes, her son Arthur returns home, reminding her with a mixture of exasperation and affection that he had already taken care of it earlier. This seemingly trivial exchange sets the tone for a play that deftly balances humor with the emotional weight of caring for a loved one with dementia.
From the outset, it’s clear that the mother and both sons casting is impeccable. The chemistry between mother and son, be it the eldest – Arthur, or youngest, Robert, and between the two brothers themselves, is nothing short of magical. The family dynamic is all too relatable, with one son being the favourite, despite never actually doing anything to help, while the other being the unsung hero, living with the mother and dealing with the every day, only to feel guilty to take some time for himself. It’s a dynamic many families will recognize, and it provides plenty of comedic moments laced with tenderness.
The script shines with authenticity, navigating the fine line between comedy and drama. The humor is sharp and relatable, never diminishing the emotional gravity of the situation. The everyday absurdities of caring for an elderly parent are captured brilliantly, from Arthur’s constant guilt to the quirky moments of Maggie’s fading memory. One particularly hilarious and universally relatable touch is the series of voicemail messages left by telemarketers on Maggie’s answering machine, offering everything from cheap electricity deals to vitamins — these clever scene change breaks are both funny and poignant, capturing the absurdity of modern life while highlighting the isolation of the elderly.
The direction is flawless, creating a space where the audience feels like they’re watching their own family dynamics unfold. In dealing with such a delicate subject as dementia and caregiving, the production manages to be both respectful and remarkably entertaining. The adaptation, transitioning seamlessly from television to stage, introduces the beloved characters to a new generation while allowing long-time fans to relive the magic.
As the curtain falls, you are left wanting more. Is there a sequel? I already forgot.
First Things First…. I loved the play. Maitland Repertory Theatre has brought to the stage an enthralling comedic performance with a group of very talented actors.
The stage was set as a comfortable living room, practical and well dispersed for audience interaction. The audience is immersed into the crazy antics of the night’s unfolding drama, which all takes place in the living room of Pete and Sarah’s home.
The idiom “Oh, What a tangled web we weave, when first we practice to deceive“ rings loud, clear and undeniably true as the predominant theme in “First Things First.” We witness the very anxious, escalating to frantic main character, Pete, played by Matt Scoles, squirming his way through lie after lie in a very sticky delicate dilemma. How does one handle their supposedly dead wife spontaneously returning when you have recently remarried a new wife, who knows nothing of the previous marriage?
Well…our main character Pete handles it deplorably! Matt Scoles gave a fabulous expressive character portrayal with top notch comedic timing. He had the audience in his hands the entire night willing him to confess and put an end to the spiraling chaos. Louise Cowan gave a splendid portrayal of Sarah, Pete’s ‘new wife,’ She was ‘on key’ for the role of a timid, attention-seeking, needy wife.
The gorgeous long lost wife of Pete, Jessica, who is responsible for creating all the mayhem and chaos was performed tremendously by Jessica Gray. Jessica brings her own unfolding drama, mystery and surprises to the stage.
Devoted and loyal to Pete’s side and to his ludicrous spinning web of lies, is his best friend George played by Tez Tywal. This is the second time I’ve had the pleasure of watching Tez Tywal perform and I love the natural humorous energy and vibrance he brings to the stage.
A solid and perfectly composed professional performance by Jane Johns who played Margot, the doting and ever inquisitive mother of Sarah. Her skepticism towards her son in law is unwavering and rightly so.
And then there was Alan… who entered in the 2nd half at a time when we thought things couldn’t possibly get any more complicated. But they certainly did! A very enjoyable performance by Matt Robinson who plays the hilarious role of Jessica’s secret French lover. Matt skillfully had the audience in hysterics.
First Things First was a highly engaging and very enjoyable performance from a group of impressive skilled actors. Thoroughly recommended for couples and friends who are after a night full of laughter and great entertainment.
First Things First is running at the Maitland Repertory Theatre from November 20 to December 8, 2024.
