Murder Drama and Hilarity are spinning the stage in this thrilling ‘whodunit’ murder mystery directed by Jessica Gray at the Maitland Repertory Theatre. Agatha Christie’s Spider’s Web is a tangled web of delight with an abundance of hilarious moments and compellingly complex subplots, this intriguing production will have you on the edge of your seats.
I am astonished that this was Jessica’s directorial debut, as even on opening night the production felt flawless. The lighting and sound were both expertly executed enhancing the thrills, chills and mystery, along with the backstage crew, they worked together to ensure a seamless performance.
This is of course a reflection on both Jessica and the wealth of experience and fabulous teamwork from her incredible cast and production team.
The cast should all be commended on their skillful British accents and the individuality each cast member brought to their uniquely flavourful characters. The costuming by Kasia Dowie was perfectly applied to each character further enhancing their characters’ authenticity. A strong cast all around, with a pleasingly broad age range from 11-year-old Molly South who played the sweet and constantly ravenous Pippa through to 85-year-old Michael Smythe who earnestly portrayed Hugo the pious local GP.
Madeline Valentinis in the leading role as colourful Clarissa was captivating throughout and delighted the audience with her charming wit and fabulous style. Madeline’s melodramatic touches were superbly on point generating all the flair her character rightly deserved.
Commendable casting for Drew Pittman as the Inspector accompanied by Lauren Irwin as the sidekick Constable. The pair made a dynamic duo as they persisted in solving the puzzling murder and attempting to decipher facts from fictitious stories.
Aimee Cavanagh delivered a tremendous rendition of Miss Peake, the home’s resident gardener. Aimee’s seemingly dimwitted character provided the audience with continuous rounds of hysterics as did the ditzy housekeeper Elgin played by Dimity Eveleens.
The ingenious set design was almost as impressive as the fabulous cast The entire performance took place in the drawing-room of Copplestone Court, a country home in Kent England. The clever design allowed four entries/exits which in turn credited depth and dimension to the scenes and story as a whole. Particularly notable was the doorway with a staircase for the cast to travel upstairs in the ‘house’ complete with an hallway illusion in the background. I was also fascinated by the hidden bookcase door that beheld a tangled web of secrets.
Spider’s Web encompasses all the wonderful elements an audience can expect and more from a classic Agatha Christie murder mystery. Written in 1954 and still performed and loved the world over is a testament to the fantastic best selling novelist of all time. Melodrama, comedy and a tangled web of deception are boldly displayed in this highly entertaining production. Offering a strong and seasoned cast accompanied by fabulous staging, you are bound to be thoroughly impressed by this thrilling Agatha Christie classic.
Letters to Lindy, presented by Melville Theatre Company, is a profound and deeply affecting theatrical work by Alana Valentine that offers a poignant and genuine look into one of our era’s most gripping legal and human stories. The court case captivated a nation: a mother accused of murdering her child, her claim – that the baby was taken by a dingo – denied and discredited by zealous police and a flawed legal system.
The media circus, the rumours, the nation’s prejudices laid bare. And in the eye of the storm: Lindy Chamberlain-Creighton. Valentine draws on thousands of real letters sent to Lindy, along with interviews with her, to create an enthralling and long overdue dialogue between Lindy and the nation. A portrait of the wisdom and resilience of a grieving mother. Themes of national obsession, group mentality and prejudice feel uncomfortably familiar today, leaving you pondering the nature of truth, justice and humanity.
I was immediately struck not only by the sheer force of the script but also by the formidable strength and commitment of the four-woman cast; they delivered monologue after monologue with precision, nuance and emotional depth. The actresses portraying the supporting roles (referred to as the “figures”) segued between a multitude of characters with remarkable clarity and agility, often shifting tone, physicality and voice in a matter of seconds.
I was particularly impressed with the technical skill and emotional range of Ellin Sears, whose scenes resonated with quiet intensity and left a lasting impression. Her ability to convey vulnerability and determination in the same breath was extraordinary.
The minimalist set is stripped back in scenery, costumes and décor, yet makes striking use of numerous props. Boxes of letters line the backstage area like a looming archive of public opinion, and multi-purpose wooden crates are shuffled and reassembled to signify different settings and moments.
The “figures” double as stage managers, shifting the crates almost subliminally as the story progresses, and the precision of this choreography reflects impressive, well-rehearsed direction. There is no backdrop, and I did feel the addition of one could have further immersed the audience and provided clearer geographical context. All the costume changes are carried out in full view from a portable clothes rack; an interesting choice, though at times it distracted from the performances unfolding. The lighting design is harsh and intentionally so, bathing the stage in an unforgiving glare that mirrors the scrutiny surrounding the case.
This powerful play balances warmth, delicacy and moments of in-your-face dark humour, offering both emotional weight and surprising levity. Theatre critics have rightly described Valentine’s work as a “masterclass in verbatim theatre,” and this production shows why.
It handles sensitive material with care while retaining dramatic potency. Melville Theatre Company has not only done justice to “Letters to Lindy” but delivered it with conviction, heart and finely tuned craft.
An extremely long time ago I first performed on stage as a tiny 4 year old in my birthplace of Warrnambool, so when a show came up to review in my home town, I gratefully took the opportunity and my Mum for an overnight stay. We had a wonderful weekend. Warrnambool (3.5hrs drive from Melbourne) is a fantastic place (voted Australia’s most liveable regional city) and I highlight if you include in your visit their art galleries and a theatre experience, it’s an awesome artsy destination.
MY BRILLIANT CAREER was showing at the Lighthouse Theatre by Warrnambool Theatre Company, and what a company! A cast of 28 were hugely talented and entertaining. I did have a few favourites by the end of the show, their characters so enriched the play with warmth and laughter, but I could say a million positive things about everyone in the cast, truly; all amazing, worked so well together and I hope you had the best time putting on this show, because we had the best time watching it.
Great use of an inventive set design and sound/lighting throughout the show. The ‘horse and buggy’ travel adaption, very clever! The walk-on walk-off gum trees rather than still props made change of whereabouts quick and un-interrupting to the story being told. The giant book in the background where topics scribbled across digitally invited us to continue enjoying each chapter and the true sounds of the Australian bush playing as we were transported back in time was so lovely to hear.
Mia Copland playing ‘Sybylla’ is second to none I’ve seen play this role before. It’s hard to imagine that she is anything but strong willed and confident in her everyday life too; on stage Mia is full of her character tenfold. Her lead script is unforgiving and she is on stage constantly. I applaud her every word, every mannerism, action, stride and scream. She spoke with articulation of a versed poet. Standing out was her vociferation on living in Possum Gully – being a part of a family down on their luck. Sybylla, as oldest child, will remain responsible to help her family when needed. Will she succumb?
Though Sybylla’s society grandmother takes her in for a period, and a rich man shows interest in her; they are feelings of which Sybylla may be unsure whether to reciprocate. Amid the advancement of ‘Harry’ played charmingly by Elliot Cooper, there will be a call of ‘duty’ for Sybylla to repay a debt of her father’s. I could feel Sybylla’s pain as Mia brought that to the audience in devastative prospect on returning to a monotonous torturous life Sybylla thought she had managed to leave. A life where there seemed no future to do as she wished, where no one cared of her ambitions; a life where she may survive, but not thrive. A life of no career, excepting carrying babies and hopefully not dying in childbirth.
Lucy played by Angela Verspay, was a mother dealing with all the usual things a mother does and more. The baby ‘blanket’ appearing took a serious situation into comical laughter (my second time to witness labour in action on stage haha but the first blanket pulled out – who thought of that – different!). Finally, when Lucy played piano at the end, such action said 1000 words and I felt a magic moment of communication between mother and daughter, well done!
I loved Grannie Bossier played by Kate Head, delivery of her character was precise, as was Hannh Bellamy as Aunt Helen. Noteworthy were their interactions with each other. Little extra details in theatre help make every scene believable. It might be just an eyebrow raised, shoulder shrug or a glance away, a certain non-verbal tone used; things we may not consciously always notice, but subtleties that make dialogue come to life.
The character of Uncle Jay-Jay was funny and featured in Sybylla’s stint at her grandmother’s, played by Jeremy Lee – quintessential to his better life – bravo, he was my favourite! I laughed long after he delivered his line of ‘what on earth would I do in the kitchen, I don’t even know where it is’ – I daresay that would have been true for many a wealthier early-century gentleman.
Gertie played by Amelia Dumesny was a breath of fresh air in her acting, I felt she really did play opposite Sybylla beautifully in giving to her family and showing genuine sisterly love for Sybylla. Brother Horace played by Oberon Rothman also gave a compelling speech to Sybylla, and their father Richard played by Michael Hoffman was exactly rightly cast to be both a positive and negative influence on his family.
The family of Mr McSwat played by the hilarious Lachlan Turner were all excellent! Lachlan’s exaggerated persona worked his role on par as any professional (my Mum loved his antics). Little Arto playing ‘Jimmy’ was a cutie, as were Paddy and Lilibet playing cheeky ‘Tommy’ and ‘Katie’. Vivienne and Hannah playing ‘Maggie’ and ‘Rose-Jane’ were eagerly switched on in being naughty, and Ruby Nelson playing Lizer was exceptional – I noticed her in the clan even before her role took on a feature in the script. Mrs McSwat played by Anja Harley had a fantastic accent of country Aussie bush life and Alex Smith playing Peter (also taking a shine to Sybylla) was fun in his quiet shy way. We loved this rough and tumble family.
Worth mentioning too is that this play is derived from a semi-autobiographical book written more than a 100 years ago by Stella “Miles” Franklin. I wonder what Miles would think of today’s world where women can be anything they desire in majority of countries, but not all, as somewhere in the world today there are women who still live in cultures and environments struggling to be heard and educated for a better existence, the world for them today is not dissimilar to that of Sybylla’s.
MY BRILLIANT CAREER is a triumph of writing and taking that written work of yesteryear to the stage today is quite an achievement. Congratulations to Producers Penny McLeod and Matt Baker, Director Lisa Graham, Assistant Director Flo Roney, Stage Manager Warren Easley, Set Designers Claire Norman & Lyle Russell, Lighting Design Tegan Evans and all the creative team – an example of exemplary regional community theatre working at its best!
I thoroughly encourage others make the drive from surrounding areas for the Warrnambool Theatre Company’s next show ‘& JULIET’ playing 3-10 January 2026. If you live locally – go see everything this company produces – what a treat to have your theatre easy to get to, easy to park at, restaurants close walk and great bar service at interval. Not things we always get queuing up in Melbourne. Accommodation for anyone living further away too is affordable with plenty of choices.
Ticket and information link: https://www.warrnambooltheatrecompany.com/
Last night I was excited to yet again to visit Wanneroo’s Limelight theatre to see their comedy The Viewing Room. I’m a huge fan of Limelight, I love the variety of productions that they put on each year and the heartfelt community that they have built.
The Viewing Room is a play by little known American playwright Mark Smith and director Tim Riessen actually staged this one back in 2020 at Joondalup Encore Theatre Society (JETS). It promised lots of laughs and an exploration into the themes of family and reconciliation and I was intrigued to see what they had up their sleeve this time.
As the curtains opened we see the set of the play – a funeral parlour viewing room in Holyoke, Massachusetts. Hats off to Set Designers Charlotte Weber and Peta Anderson and the Limelight Theatre ‘Setbusters’ who’s creativity absolutely nailed the tone and vibe of a funeral parlour – which immediately took me back to the last time I was in a viewing room!
We open on character Matthew Dumbrosky played by Doryan Kurtovic who is grieving his father’s death and the complexity’s that come with losing a parent. Kurtovic who has a passion for accents – gave the Massachusetts accent a really good go and I was impressed by his attempt. What I would say though, was that at times his articulation was unclear and hard to understand which left me missing some of the jokes at times.
Marie O’Brien as funeral director Jay Hollerback gave me a smile as soon as she came of stage. Her costuming (by Shelley McGinn) was on point and I loved everything from her gait to her matter of fact take on her character Funeral Director Jay Hollerback.
Rex Gray has been cast at the family patriarch Chester Dumbrosky who rises from the dead to torment and ‘clear things up’ with his wife and 5 grown children. Gray should be commended on his clear strong, clear and articulate voice, mixed with a great stage presence.
Chester’s wife Florence Dumbrosky is played by Julie Holmshaw and she is clearly irritated that he is back to annoy her, especially because she has just managed to get on with her life. Holmshaw gave the standout performance of the cast and handle the comedy so well. I especially loved the (on purpose) mispronunciation of words that gave a lot of laughs!
The remaining sibling – the two daughters played by Mary Angus and Diane Campbell as well as the two son’s played by Michael Balmer and Jeremy Darling were a tight knit cast, with each character being so relatable as part of every dysfunctional family we know.
This script had some great thought provoking moments about what goes unsaid when someone dies and if the damage we can do as parents is ever repairable or redeemable. I did find though, that the script probably still needed some work and had the cast working extra hard because of this.
Limelight Theatre gives a range of actors a shot up on stage – from WAAPA grads to those newer or revisiting the stage after a long hiatus – which I just love. Community theatre is ultimately about giving every one a chance to shine on stage no matter who they are or what their experience is and Limelight does just this.
Overall I would like to commend Limelight Theatre again on another solid production and I am so excited to see their next one – The Vicar of Dibley coming in November.
The Viewing Room closes September 27th of September.
