A Step Back in Time – The Secrets of Carmichael Manor

The Secrets of Carmichael Manor

When Shakespeare wrote, “All the world’s a stage…” he could not have more accurately described a Dark Stories interactive theatre experience. The Secrets of Carmichael Manor does not occur on a singular stage, where the audience sits still, watching a play. As with their previous theatre performances, Dark Stories unfolds in the real world and, in this case, inside several rooms inside the historic Experiment Farm Cottage in Harris Farm, Sydney. The audience moves from room to room alongside the characters.

The Secrets of Carmichael Manor was written and directed by award-winning actress Kate Jirelle, who takes on one of the lead roles as the bride-to-be Elspeth Carmichael in the play. Kate brought depth to her headstrong character.

Gary Leonard Belshaw, who played the role of Elspeth’s domineering father, George Carmichael, was a standout in the show. In contrast to brutish George was his gentle wife, Mrs Ada Carmichael, played by Erica Nelson. In some scenes, these three characters argue over family issues and the audience is made uncomfortable, as though we were intruding on a family squabble. However, witnessing this in the same room was a testament to their believable acting.

Set in 1919 and led by Father Patrick, played by Ben Durham, the audience is initially briefed on the mystery to be investigated outside the bungalow, built in 1835 and thought to be one of Australia’s oldest standing properties. I loved having the opportunity to enter this cottage in the evening. It was the perfect setting for the time period.

Entering the cottage, the Australian colonial furniture and beautifully polished wood floors transported us back in time to just after World War 1. Combined with the scent of wood and the steady ticking of the grandfather clock, one of the rooms created a 4D experience for the performance. Though at first, we were observers, this transitioned into us being integrated into the story.

The cast is joined by the Carmichaels’ servant, Mr Peter Schmidt, played by Matthew McDonald-Kearns. The costumes and hairstyling added to the authenticity of the 1900’s, and Mr Schmidt’s costume was one that particularly stood out to me with the authentic colour shade of his shirt and braces.

Father Patrick is our host and guides the audience through the house, propelling the story forward in a Miss Marple type style. There appeared to be a definite nod to Agatha Christie in this script, and at one point, a character asks who that is. (She had not yet released her first novel, which was due to come out in 1920.)

Amongst the seriousness of unfolding events, Father Patrick brings a comedic levity to the experience.

One unique aspect of the Dark Stories theatre is that it is immersive and unlike any other play currently showing. The characters interact directly with the audience, and we become part of the performance by helping to solve a puzzle or participating directly by asking questions or commenting. All of the cast were able to incorporate audience participant comments and adapt their character to respond with interjections and responses.

I imagine that no two performances of The Secret of Carmichael Manor are the same! I can’t give away anything about the plot because of spoilers, but it was an entertaining experience. It was fun to be a part of the play. Step back in time to help solve this mystery and unravel The Secrets of Carmichael Manor.

The Secrets of Carmichael Manor is showing at Experiment Farm, 9 Ruse St Harris Park.

Performances: Fridays, Saturdays, and Sundays from Friday, 13 October 2023 – Sunday, 22 October 2023.

Show times: 5.30pm, 7pm and 8.30pm.

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Venus and Adonis – a Play Within a Play of the Sonnet

Venus and Adonis

Venus and Adonis was filled with such strong performances; it came as no surprise to learn that the cast from Sport for Jove Theatre Company had previously been involved in the world of Shakespeare’s plays. Their delivery of various sonnets scattered throughout Venus and Adonis showcased their skills of navigating and steering the linguistics in a way that enthralled the audience.

I was particularly impressed with Anthony Gooley’s portrayal of William Shakespeare and how he coincided with the creation of sonnets in his mind by performing them aloud as the words appeared on the wall behind him as he spoke. This was a wonderfully original piece of visual theatre.

Venus and Adonis was written and directed by award-winner Damien Ryan, who has directed over 40 productions with Sport for Jove Theatre. I was at the opening night world premiere at The Seymour Centre for the play three years after the feature film of the same name was released in 2020. Many of the cast reprised their roles for this live performance.

Venus and Adonis

It is a bold story of the woman rival to Shakespeare, his secrets, intertwining his wife Agnes Hathaway (Bernadette Ryan) and a personal family tragedy into an engrossing stage production. Bernadette garnered my sympathy as Will’s wife and put in a powerful performance with lines that cut.

The play begins dramatically, introducing us to William Shakespeare and his mistress, Aemilia Lanyer, played by Adele Querol, who also performs the role of Venus. Adele’s solid performance as both Aemilia and Venus stood out as both characters were strong women, with Aemilia (Millie) having a voice essential to the play’s theme.

Damien Ryan brought Millie into the story as a talented poetess and stage actor during the late 1500s when women were not as valued as men and not allowed to perform on stage or be published. (Aemilia Lanyer was the first Englishwoman poet to publish a volume of original verse in 1611).

Adele brought depth when she was portraying Aemelia, who played Venus in a private performance for Queen Elizabeth I. Belinda Giblin’s version of Queen Elizabeth I was both commanding and regal, showcasing a distinct no-nonsense intelligence and sharp humour, especially toward the second half of the play.

Alongside Venus in this play for the Queen was Adonis, performed by Jerome Meyer. In the sonnet, this character was ‘hunt obsessed’ and fairly bland but was brought to life colourfully as Jerome’s portrayal of Nathaniel (Nate) Field, who took on the challenge of playing a male. Nate was previously only performing female roles.

The supporting cast in the ‘play within a play’ was outstanding, with all cast members eliciting laughs consistently. The production and careful costume design by Bernadette Ryan firmly placed us in the Tudor period.

The stage was cleverly lit, with lighting designer Sophie Parker using mirrors and shadows to create atmosphere throughout the play. This was particularly poignant during an emotional scene with Hamnet Shakespeare, played by Liv Rey Laaksonen.

The use of music, composed by Jay Cameron and played whilst the characters spoke, provided the feel of a dramatic cinematic layer.

Venus and Adonis is an original stage production that I recommend for both Shakespeare fans and those who aren’t very keen on sonnets – who knows, after seeing this play, you may find yourself falling in love with the beauty of poetry.

Venus and Adonis is playing in the Reginald Theatre at The Seymour Centre, on the corner of City Rd and Cleveland St, Chippendale, between 29 September – 21 October 2023.

Duration: 165 minutes (including interval)

Tickets:

  • Full $54
  • Concession (Pensioner, Veteran, Full-time Student, Senior) $42
  • Under 35/ Groups of 8+ $39

This review also appears on It’s On The House.

Venus and Adonis
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The Hen House – A Storytelling Comedic Rock Concert

When there is an interesting story to be told, why deliver it only in words when you can rock sing it out? The Hen House, directed by Sydney Theatre Award- winner Anthea Williams and presented by PYT Fairfield and Wild Company, had their world premiere performance on Thursday, 7 September 2023, at the Riverside Theatre. This is a story of friendship between migrant women working in a chicken processing factory. It is not presented as a traditional stage play or a theatre musical but more as a storytelling comedic rock concert – and it works!

Four musicians kept the audience company as we were seated, and the upcoming play’s era is clearly communicated through their music. 1970s music has a distinct funky sound and was created by a lead guitar (Gwyneth Jansen), an electric base (Sarah Homeh), a keyboard (Sil Jin) and drums (Hayley Chan) that made my feet tap! Along with the smoky atmosphere and the audience preshow chatter, you could think you’re in a club!

However, when we are introduced to the characters Mila and Pavica, recent migrants from a village in Croatia, all thoughts of a nightclub are gone, and we are immediately placed in the moments travelling alongside these women for the rest of the play. The story they tell paints a picture of two very different women facing the same terrible conditions at the chicken processing factory and how they deal with issues in their own way. They simply draw strength from different places.

Mila (co-creator Mara Knezevic) is a feisty firecracker of a woman who hates her job. In stark contrast, her friend Pavica (co-creator Josipa Draisma) adores her job at the factory as a forewoman, proud to be a working Mum, and both are endearing in their own way.

Being a two-woman play (with some interaction with the musicians onstage behind them), the actresses portray their characters with comedic flair, changing their body language and accents to share other character’s dialogues. Their mannerism, facial expression and Aussie accent captured their sexist and arrogant manager well, whom they refer to as “Mr Getty Boss Man” – the quick change into this character had the audience in laughter, as did the portrayal of fellow factory worker Joy, who used to work in a jam factory and liked to let people know.

The Hen House was performed on a small stage, with no costume changes and very few props, but the audience were able to use their imaginations as Mila and Pavica told their story through powerful songs and physical comedy.

Sime Knezevic co-wrote The Hen House alongside his sisters Josipa Draisma and Mara Knezevic, and was almost three years in the making. The songs were composed by musical director Zeljko Papic and were full of life and fun.

The Hen House is a powerful story, a retelling of the way how women were unfairly treated in the workplace and a time capsule showing Australia’s social and economic history during the 1970’s. It is an ode to migrant women and their working contribution to Australia, giving them a sense of self-respect and pride. It runs for 90 minutes with no interval.

World Premiere – Riverside Theatre 7-9 September 2023

Camden Civic Centre 13-14 September 2023

Orange Civic Centre – 16 September 2023

The Art House Wyong – 20 September 2023

The Concourse Pavilion Chatswood – 22 September 2023

This review also appears on It’s On The House.

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Monument – A Play to Remember

Red Stitch’s production of Monument, penned by Emily Sheehan and directed by Ella Caldwell, is a masterful work that intricately balances humour and poignancy.  It’s hard to find any fault in this production, especially in Sheehan’s writing; as soon as the show ended, I was lining up at the box office to purchase a copy of this hilarious yet profound script.

The story of Monument takes place in real time over ninety minutes. It focuses on the dynamic relationship between two very different women: Edith Aldridge, the youngest woman ever to be elected leader of her country, and Rosie, a twenty-year-old makeup artist who works at David Jones.  Sheehan has referred to Monument as a “Trojan horse of a play,” a fitting description for a deeply profound narrative packaged up in a seemingly uncomplicated premise. This is also an apt reflection on one of the main topics of this play: makeup and beauty.

Before the actors took the stage and the house lights dimmed, we admired the astonishing set design by Sophie Woodward. Bold, vivid, and elegant, Woodward’s circular stage design could not have been more perfect for this story.  Woodward created an intimate, glamorous, and a little bit intimidating space, a perfect reflection of the presidential hotel suite that is Monument’s setting.

The lighting and sound design, orchestrated by Amelia Lever-Davidson and Danni Esposito, respectively, enhance the production’s emotional impact. The subtle changes in lighting and well-timed sound cues seamlessly guide the audience through the shifts in tone.

Sarah Sutherland and Julia Hanna are both nothing short of captivating in their respective roles as Edith and Rosie.  As you watch Sutherland and Hanna breathe life into Sheehan’s brilliantly written characters, you can tell they are experts in their craft.  As solo artists, they both gave mesmerising performances that radiated authenticity, but their synergy and harmony are truly remarkable as a duo.  I couldn’t look away for even one second. 

It’s not an easy task for a play to evoke hilarity, introspection, and empathy all at once, but the team behind Monument has accomplished this flawlessly.  If you want an evening of guaranteed laughs as well as a heartfelt and emotional story, then this is a show you do not want to miss.

Performances of Monument are running until the 3rd of September at Red Stitch Actor’s Theatre.

This review also appears on It’s On The House.

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