Behind The Headline Of The Front Page

The Front Page

The Front Page Rating

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4

Picture this. The sound of a typewriter, the keys furiously tapping, while multiple phones sound their distinctive “brrrrring!” under a cloud of cigarette smoke. This is the 1920’s, inside a crowded room full of newspaper journalists at the Criminal Courts in Chicago.

Production and Costume Designer Paris Burrows places the audience right there; the journalists wear stylish vests and ties, the women have beautiful hair and hats and the room is complete with several coloured candlestick telephones noisily vying for attention on the wooden table – those upright standing telephones with a separate mouthpiece and receiver and the round dial on the base of one hundred years ago. The set feels authentic, and the standing glass water cooler, small paper cups and the wooden roll top desk are a quiet but strong presence and used at key points during the play.

Journalists play cards and banter, waiting to report on the hanging execution of a prisoner convicted of shooting a black police officer to death, Earl Williams (played by Diego Retamales) which is set to take place at 7am the next morning.

This is The Front Page, a play by Ben Hecht and Charles Macarthur which premiered on Broadway in 1928 and has been remade into three movies in the years since then.

Director Nicholas Papademetriou’s adaption of The Front Page has cleverly kept multiple original themes clearly at the forefront, whilst changing the gender of the one of the main characters, journalist Hildy Johnson. This worked to the play’s advantage, and I truly enjoyed Rose Treloar’s performance as Hildy, the “newspaper man” as her character’s quick wit and gutsy comebacks proved she was as intelligent and competent as her male colleagues.

The Front Page has many moments that allow us to ponder how far we have come in the last century, with the play highlighting how sexism and gender bias were acceptable practice in the workplace. It is a case of art imitating life, running somewhat true to the era, as Hecht and Macarthur were themselves newspaper crime reporters in Chicago. Other issues such as corruption in politics and manipulation of facts to suit one’s agenda for their own benefit are sharp reminders that some things remain the same.

The play, despite these serious themes, is a comedy and the antics of some characters made the audience laugh, notably the overbearing character Mrs Chambers who was superbly played by Alison Grant. Mrs Chambers, or “Mother” (in law to be), stood out and seemed to be a firm favourite villain, and we winced at her snooty treatment and attitude toward her son’s fiancé Hildy. Bruce Grant is played by Michael Smith. He convincingly conveyed a bland insurance salesman who holds hope for the move to a quiet life in New York with Hildy and his mother, all three living together. Hildy is fiery, career driven and has an unstoppable need to write exciting stories, so we are left wondering if this is a good match.

This was a large cast of eighteen and all were cohesive on stage, not an easy task with the rapid-fire script and the constraints of a stage. The supporting characters easily carried the play forward, with the second act moving faster than the first. As the news breaks of William’s escape, the throng of journalists jostling and hungry for a story were reminiscent of a flock of seagulls feasting on some chips at the beach!

For the performance I attended on Friday, Jerry Mullaly stepped into the role of The Herald Examiner newspaper’s managing editor Walter Burns. Mullaly and Treloar had an understated onstage chemistry that grew the more they bantered, and hinted at perhaps a hopeful romance, even though Hildy was about to start her new life in New York.

The Front Page is a fast paced and entertaining play which is well worth seeing as a glance into the world of tabloid press.

Running time: 100 minutes, no intervals
The New Theatre, Newtown 23 April – 18 May 2024
Tickets:
Full $37
Concessions, Groups (6+) $32
New Theatre Members $25
Thrifty Thursdays $25

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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Blood Brothers The Musical

Blood Brothers

Blood Brothers Rating

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3

Ghostlight Theatre Co. is a community theatre group that enjoys pushing boundaries. Their latest offering, Blood Brothers, is a horror-tinged romp through 1960s England.

Blood Brothers is written by playwright Willy Russell, who is also the author of Educating Rita. The plot follows twin brothers, Eddie and Mickey, who split at birth and are raised in two different class spheres in the north of England, with consequences that rock their community.

The show’s main cast was mostly quite young and gaining valuable experience from the more seasoned actors in the crew- and they were clearly having a fantastic time on stage.

A standout performer with an absolutely gorgeous voice was Elissa Holswich. She merrily played the devilish narrator alongside a host of other minor roles with flair. Her voice is outstanding and such a highlight of the show.

The relationship between the neighbourhood children was both fun and well choreographed, with the show’s chorus shining in several song and dance sequences. The audience was also able to sympathise with belaboured single mum Mrs Johnston, played by Hannah Davis.

This is a long show, with a run time of almost 3 hours, including intervals. However, you’ll enjoy Blood Brothers if you enjoy musicals, especially those with some supernatural flair and 1960s themes and costumes.

It is currently showing at Theatre 102 in Redcliffe until May 4th, 2024. There is a small bar with snacks and drinks on-site, as well as plenty of parking.

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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Barracking For The Umpire – A Profound Blend of AFL and Family Drama

Barracking For The Umpire

Barracking For The Umpire Rating

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Barracking For The Umpire, presented by the Black Swan State Theatre Company, will strike a chord with every AFL fan, player, and parent. In this quintessentially Australian family drama, we’re drawn into the lives of the Williams family, posing the poignant question: what sacrifices are we prepared to make for the love of the game?

Doug Williams, celebrated as Donnybrook’s greatest footballer, is the embodiment of resilience—tough and steadfast. His loyal wife, Delveen, has stood by him through countless challenges, witnessing each impact of the game on him. As the local club prepares to present Doug with a lifetime achievement award, their children return home to celebrate. Yet, as the festivities unfold, the once reliable hands of this legendary player ominously begin to falter.

On entering the theatre, the stage transports us to Donnybrook, specifically the Williams’ family living room steeped in 1980s decor—a decade that marked the peak of Doug’s illustrious football career. The space is authentically adorned with a well-stocked bar, doorways that hint at a bustling household, and walls lined with family photos that speak volumes of shared memories. A coffee table, cozy blankets draped over a well-worn couch, and a back-wall display case cum bookshelf contribute to the room’s lived-in feel, wrapping the audience in the comforting embrace of a family home.

The production superbly uses lighting(Lucy Brikinshaw) and video effects(Michael Carmody) to facilitate smooth transitions from the family living room to the football locker room—a sacred space residing solely in Doug’s memories. As the spotlight dims on these ephemeral glimpses into the past, the stage’s ambient sounds and lighting subtly recede, reorienting the audience to the present moment where Doug, though momentarily disoriented, is prompted back into the present by a worried family member.

The cast expertly brings the characters to life, making them authentic and believable.

Ben (played by Ian Wilkes), a Noongar man, is a current-day AFL footballer dealing with all the pressures that his high profile brings and harbouring a deep secret that he never wishes to become public. Ben, away from the pressure of AFL footy, is a relaxed and laid-back character who wants to play footy and toys with the idea of revealing his secret to the family. Some family members wonder why he is single, although hints of a relationship occur. Some of his stage exits and entrances show a worried Ben trying to find out about the health of a recently concussed teammate.

Mena (played by Ebony McGuire) is a journalist who wants to make her mark in the world but chafes in the shadows of her father and brother Ben’s football careers. She is interested in telling a story to make her way up the journalistic ladder, but possibly at the expense of her brother’s wishes. One scene, in particular, highlights the dog with a bone journalist in her as she interrogates her brother about the need for a particular story to be told.

Charaine (played by Jo Morris) is the stabilising influence amongst the three siblings. However, her own life is going through a rocky patch with her recent breakup with her boyfriend. Her calm demeanour quickly changes whenever her ex-boyfriend enters the scene, as her Mother has mortifyingly invited him to visit after a family dinner. This leads to some comedic hijinks that work well to balance out the drama of the relationship.

Tom (played by Michale Abercromby) is an MC and Charaine’s recent ex-boyfriend who worships Doug and Ben, vicariously living through their football deeds, making the men somewhat uncomfortable. His devotion to the family footballers creates friction in his relationship with Charaine, which he strives to repair. Tom also brings some lighthearted comedic moments at awkward moments that relieve the tension of the family dramas at play.

Doug (played by Steve Le Marquand) skillfully plays the family patriarch, but he unfortunately experiences increasingly recurring episodes from his declining health. A famed local footballer in his day, he is highly respected by the family and community alike. When surrounded by his family, he is quick to exchange friendly barbs and banter as well as anyone else, but when left alone, he becomes lost in his surroundings.

The Coach (played by Joel Jackson) also doubles as Eckhart, an AFL football player and Ben’s teammate. These two open the play with an energetic start, as the opening tune of Up There Cazaly fades to the background, being in the locker rooms post-game and bantering about life and their just completed match. Joel spends most of the play existing as the personification of the Coach, who only exists in the recesses of Doug’s fading memory. His entrance onto the stage signifies moments where Doug loses his grip on current-day reality and relives some of the traumatic moments of his football career.

Football fans will delight in numerous lines delivered by the inspirational coach, no doubt causing them to reflect on their football careers no matter how humble. Football afficionadoes will recognise many famous football quotes that have gone into folklore, including John Kennedy Senior’s immortal lines: “Do Something. Don’t think. Don’t hope. Do.”

Costumes designed by Sara Chirichilli have been selected with great care and attention. The Coach’s costume channels Tom Hafey’s iconic style, complete with a snug Adidas T-shirt and classic short shorts, perfectly capturing the aura of 1980s football. In the opening scene, the footballers Eckhart and Ben sport authentic football guernseys that set the stage for the action. The rest of the cast’s wardrobe is thoughtfully chosen to reflect a casual, comfortable attire that one might find in any relaxed family setting. This naturalistic approach complements the home’s 1980s vibe, seamlessly integrating the characters with their environment.

Andrea Gibbs’ debut play is a beautifully crafted story that feels quintessentially Australian. With its rich themes and relatable characters, ‘Barracking for the Umpire’ is set to become a favourite among theatres across Australia for many years to come.

Director Clare Watson has selected a winning team with this cast and crew, who have all kicked winning goals here. Together, their efforts successfully showcase what is destined to be a classic Australian play. I rate this play five stars out of Five, and I highly recommend you see it while you have the chance. Don’t think—do see this show.

Barracking For The Umpire is playing at the Subiaco Arts Centre from 23rd April to 5th May. After that, the cast and crew will take this play on tour across Western Australia to the following locations and dates:-

Port Hedland – 11th May
Broome – 18th May
Karratha – 23rd & 24th May
Geraldton – 29th May
Mandurah – 1st June
Margaret River – 15th June
Albany – 6th & 7th June
Esperance – 12th June

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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A Case For The Existence of God

A Case For The Existence of God

A Case For The Existence of God Rating

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2

“A Case for the Existence of God”, presented at the Red Stitch Actors Theatre, offers an intimate and thought-provoking theatrical experience propelled by the exciting performances of Kevin Hofbauer as Keith and Darcy Kent as Ryan. Directed by Gary Abrahams, with set and costume design by Jeremy Pryles and lighting design by Sidney Younger, this production skillfully navigates complex themes of friendship, class, and the quest for meaning in a small-town Idaho setting.

The play unfolds over 75 minutes without intermission, with Hofbauer and Kent portraying the only two characters in the play, Keith and Ryan, respectively. Their performances are nothing short of mesmerising, drawing audiences into the intricate dynamics of their relationship as they navigate conversations ranging from mundane – home loans to profound – what it means to be a good parent. The Red Stitch ensemble members deliver truthful and honest portrayals, infusing each moment with raw emotion and authenticity.

Set against a minimalist backdrop of a desk, two chairs, and a few props cleverly used to indicate different locations, the production creates a sense of intimacy and immediacy. The staging, set on a platform set in water resembling an island, serves as a poignant metaphor for the isolation and connection experienced by the characters. Despite the simplicity of the set, the actors effortlessly transport the audience to various locations, showcasing the versatility of their performances.

“A Case for the Existence of God” explores themes of hope, male friendship, and coming to terms with life when it doesn’t go according to plan. Playwright Samuel D. Hunter’s script delves into the complexities of desire, such as the desire for love, connection, and to leave a legacy for our children. In an interview, Hunter shared that his desire for the play was to leave audiences with a sense of hope. This sentiment resonates deeply throughout the production.

One unusual aspect of the production was giving Ryan, a character born and raised in Idaho, a Southern accent. While executed skillfully by Kent, this decision seemed inconsistent with the character’s background and upbringing as someone who had lived for generations in Idaho. It momentarily distracted from the overall experience and otherwise immersive storytelling, highlighting a potential inconsistency in character portrayal.

Nevertheless, the strength of the performances, direction, and thematic depth of the play outweigh it. “A Case for the Existence of God” is a testament to the power of the cast and crew to provoke thought, evoke emotion, and inspire contemplation. Hunter’s poignant exploration of faith, doubt, and male friendship is brought to life with nuance and sensitivity by the talented cast.

“A Case for the Existence of God” at the Red Stitch Actors Theatre is a must-see production. With stellar performances, imaginative staging, and resonant storytelling, this play invites audiences on a journey of discovery and existential inquiry. Under Abrahams’ direction, the ensemble delivers a captivating performance that lingers. The production shows from April 13 to May 12 in East St Kilda.

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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