Alice in Wonderland

Tea Tree Players Presents Shirley Valentine

Alice in Wonderland Rating

★★★★★

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Alice in Wonderland is not an unknown story, loved and enjoyed for its unique and unpredictable storyline. To portray the story through interactive theatre, the Tea Tree Players have assembled a spectacular collection of fluorescent sets, matching props, carefully crafted costumes, and well-considered use of the stage (and audience) to tell their story of Alice and her Wonderland friends. Be prepared to cheer on the heroes’ adventures, boo the decisions of the bad guys … and maybe even be on the receiving end of some flirtatious characters.

You can expect to see the usual characters, along with some welcome fresh faces who easily draw laughter from the crowd. After being introduced to the uptight matron of the “Home for Lost & Unwanted Girls” we follow three of the girls from the home – two of whom have surprisingly deep voices – follow the Dame Edna-esque Cook down the rabbit hole to rescue Alice, who is enchanting in her iconic blue dress as she follows the hopping white rabbit and the adventurous royal gardener. The Cheshire Cat can be seen slinking about the wings, guiding our characters with an elegant purr. The Caterpillar commands the stage while Tweedle-Dee and Tweedle-Dum encourage a sing-along. The Mad Hatter and his sidekick, the March Hare, match energy, while their friend the dormouse squeaks his way into our hearts. Every actor breathes life into their character, even the younger actors whose characters have no lines are noticeable – their costumes fitting in perfectly and their presence unmissable. When it comes to the Red Queen and her hair-raising laugh, she introduces us to the card guards who take everything a little too literally (as well as expertly changing the sets between scenes), and the kind, exposition-giving King. Each character has a memorable line or moment to take away with you after the show.

Alice In Wonderland

The pantomime is a fun-filled, happy ending story, rife with fourth wall breaks and crowd participation, of which the actors expertly encourage and roll with the heckling from the audience. The lighting matches every scene and is timed perfectly with its corresponding scenes – the fluorescent lighting adds an extra layer of Wonderland mystique, especially when you spot the fluorescent props scattered throughout. Both the lighting and music had no missed cues, but on occasion the sound overwhelmed the actors’ voices. Outside of the music trying to steal the spotlight, the actors were well spoken and mostly well heard – a few times the softer spoken actors could’ve projected a tad further, but it was also clear they knew this and were working on it. I look forward to seeing those actors again and seeing how they have improved.

The costumes were handmade, and perfectly suited for each individual character, from the overall fit to the smaller details and sequins. Through the demands of the physical slapstick style, the costumes did not fail the actors and stayed in place with nary a loose thread or zipper unzipping. To pair with the costumes, the makeup was expertly applied, particularly for those with a full face of makeup – be sure to keep your eyes peeled for some small details amongst the makeup and costumes, you won’t be disappointed!

With a well-dressed cast ready to interact with the audience, Tea Tree Players presents a fun night of adventure through Wonderland well worth the interaction.

To book tickets to Alice in Wonderland, please visit https://teatreeplayers.com/production/alice-in-wonderland/.

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St Luke’s Theatre Society’s “Sense and Sensibility”

Sense & Sensibility

Sense & Sensibility Rating

★★★★★

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St Luke’s Theatre Society presents the stage adaptation of Jane Austen’s “Sense and Sensibility”. Directed by June Balfour, the Society portrays the charming tale of the Dashwood sisters and their pursuit of love after tragedy befalls their family. After the death of their father, the Dashwoods move from the lavish family estate to a quaint cottage in the country, where they meet friends and new acquaintances who enlighten and challenge them in new ways.

The stage was set with the intention that actors could access props, costumes, and accessories with ease. Chairs placed around the edges of the stage allowed the ensemble to contribute to scenes when required, making transitions between scenes run smoothly. Lighting consisted of a white wash over the stage, with each scene accompanied by some transitional classical music that seemed melancholic in nature. While the music was enjoyable, there was a concern that some of the songs chosen were not aligned with the themes of the story. With many colourful and bright characters, I felt that the music should rise to meet them rather than creating sombre tones at odd times.

A loveseat, small table and the already available chairs complemented each scene and were adaptable to the changes in settings throughout. The costume alternation of accessories to represent different characters was a great and necessary tool and was well utilized. On occasion, a few of the ribbons or hairpieces were misplaced, but were easily resolved. The majority of the scenes utilized the limited space onstage as well as the aisle running down the centre of the room. The frequent movement and stylistic dynamics created an interesting effect that engaged the audience well.

 

 

Madelyn Scott’s depiction of Elinor was gracefully and mindfully executed. While the character struggles to resolve her emotions and prioritizes those she loves over herself, the audience could see more gradually how the burden that weighed upon her. Scott performed her dialogue seamlessly and professionally, locked in and exploring the essence of who Elinor was and aspired to be. Lillian Dowdell’s performance in the role of Marianne was also impressive, as she portrayed the longing and passionate nature of Elinor’s artistically inclined, younger sister. Immersing herself in the role, Dowdell gracefully expressed each of Marianne’s highs and lows, engaging the audience to empathize with her amidst her heartbreaks.

The male leads that were especially notable were the roles of Mr Edward Ferrars (Eamonn Clohesy) and Colonel Brandon (Jock Dunbar). Clohesy played a highly believable Edward that grew in confidence throughout the course of the show. They emulated everything that Edward was, mindfully and skillfully capturing the slightly anxious but thoughtful and sincere manner that Elinor fell in love with. Similarly, Dunbar portrayed Colonel Brandon with ease. Their ability to gradually reveal Brandon’s complex emotions as naturally as Austen’s novel would depict was highly commendable. I was very impressed by the way Dunbar was able to seamlessly portray the manner of a man in love; a character who was both stoic and integrous. His portrayal of Robert Ferrars was also highly entertaining, and the audience enjoyed it thoroughly.

The choice to use the group of Gossips to symbolize the pressure from society was a dynamic approach that added to the expression of emotional turmoil within the Dashwood sisters’ hearts and situations. The roles of John Willoughby (Lachlan Gregory Hugh), Miss Steele (Kiah Latham), Margaret Dashwood (Megan Brown), John Dashwood (Steve Pearton), Mrs Jennings (Phillipa Bowe), Thomas (Bruce Edgerton), Mrs Dashwood (Marion Jones) and Mrs Fanny Dashwood (Jessica Fletcher), were wonderfully portrayed and added a joyful and bright spirit to the story. The casting, done particularly well, urges me to look forward to the company’s next production.

To book tickets to Sense & Sensibility, please visit https://stlukestheatre.asn.au/.

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Final Two

Final Two

Final Two Rating

★★★★★

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Small theatre is always such a joy. Seeing stories created with such a deep passion across all facets of production is so unique and a far more touching experience than say a large national tour. Final Two from Reprise Theatre is no exception to this.

Written by Arthur Brown, the play follows the journey of the last remaining contestants on a Bachelor-type reality TV show who, naturally, summon a ghost of a prior contestant the night before their season finale.

Stepping into the Hayman Theatre (shoutout to all the directions and signage on the way in!) was like reverting back to the 2000s – it was pink, sparkly, and Katy Perry was blaring. While a defining era of ‘when’ the play took place was never stated, I appreciated this nostalgic tone to the show and its consistency throughout.

The five-man cast all gave committed performances earning great reactions for the small but reception audience. Phoebe Eames is well-grounded as Chloe; the unlikely reality show contestant. She bounces well off Maia Whitelaw’s Shaz, the pretty-in-pink, ditsy blonde whose every life choice has led to being on the show. Together the pair are a great yin and yang, working well to propel the story.

 

 

Marquis Tajaran was fierce as the hard-done-by Vanessa, dominating the stage with great flair and attitude. While I would’ve loved to see more of Jarrad Whitehurst’s Declan who offered who’s endearing performance (and life) was short-lived.

My personal stand out was Zachary Borthwick as Matt Maker, garnering plenty of laughs with his sass and verve. His portrayal felt quite candid comparatively to his castmates. If I was to offer any feedback, I’d be mindful of projection in such a small venue. It at times felt actors were equating emotion to volume which at times came across a little harsh.

The set was fairly simplistic with two differing room locales on opposite sides of the stage, and a turning truck inviting audiences to a third setting. Designed by Setare Mogharebin it was effective in placing scenes while still leaving the actors space to do the heavy lifting. I do however feel Chloe’s room (in part to the pink walls/bedding etc.) felt more reflective of Shaz’ character than her own, but that’s neither here nor there.

I enjoyed Adrijan Teddy Levis’ direction, particularly the use of the TV style projections/cutaways to showcase the characters’ inner monologues throughout. Pay attention to closing off the audience, as there were a few moments where actors were entirely cut off with their backs to us, losing some of the scene. His slew of masking tape props also did not go unnoticed, a small testament to the clear amount of time, preparation and love put into this production.

The 2025 Curtin Alumni have come together to present a loud, camp and fun production – with Final Two a celebratory display of the cohort’s hard work throughout their studies. Well done to all involved.

To book tickets to Final Two, please visit https://reprisetheatre.com/shows/final-two/.

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The Chairs

The Chairs

The Chairs Rating

★★★★★

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The Chairs is a creative vaudeville, circus style play about an elderly couple, simply known as the Old Man and the Old Woman presented by The Melville Theatre Company and directed by Virginia Moore Price.

Written by Eugene Ionesco in the 1950s, it is quite an absurd tale in which the elderly couple reflect on their life over the 70 years they’ve been married. This indicated that they would be in their 90s. At the beginning I struggled to understand what was happening and their conversations seemed nonsensical. A sign of the deterioration of their memories and their minds.

The couple prepare to receive guests for a lecture of some sort which never eventuates and their guest of honour, the Orator. They frantically gather chairs for the guests and dump them onto the rotating floor in a comedic fashion. The guests, however, are invisible to the audience. Whether the old couple are imagining them or whether they are actually real to the couple, left me unsure.

The couple’s fragmented recollections and contradictory chronologies evoke signs of dementia. This is particularly evident when the Old Woman recalls having a son who died when he was a child and reflecting on the grief of losing a child but the Old Man recalls the couple not being able to have any children and instead reflecting on the grief of his mother’s death.

 

 

Although it is clear they both deeply care for each other, there are moments of regret and a sense now that their lives are very soon coming to an end. Throughout the play the Old Woman continuously reminds the Old Man how he could’ve been a head general or a head comedian much to both of their despair. The Orator Raven who whilst is visible to the audience throughout the entire play as he sits on the rotating floor, is only visible to the couple towards the end perhaps signifying death.

Ionesco gives plays into the delusional state of mind of the elderly couple by having them set in a circus ring with both dressed as clowns and the Old Man performing as a mime artist.

Zane Alexander and Solanje Burns deliver a phenomenal performance as the Old Man and Old Woman holding the attention of audience for the entire play without an interval. There were moments of interaction with the audience when they both tumble off the stage and weave themselves into the audience while they continue their nonsensical dialogue.

At the heart of The Chairs is two people longing to be seen and heard, trying to make sense of the lives they have lived.

To book tickets to The Chairs, please visit https://melvilletheatrecompany.au/current-production.

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