Eavesdrop At The Vatican – Pope 2 Pope

Hunters Hill Theatre performed the world premiere of award winning Australian playwright Melvyn Morrow’s latest play, Pope2Pope, on Friday 18 August 2023. It was a play with religious themes that treads the fine line between comedy and some difficult truths. The director Elaine Hudson and the company did so with finesse and steady balance, cleverly staying on this line.

Pope2Pope, as the name suggests, was set inside the Mother of the Church Monastery, in the Vatican Gardens. The set design was simple but effective, with a traditional large red sofa on a red luxurious carpet taking centre stage. This repetition of colour spoke to me about power play, whilst in contrast on the right of the stage there was the Vatican’s gardens, a calm green scene filled with grass, herb pots and vine walls.

This is the closest we shall ever get to being a fly on the wall overhearing the conversation between two popes – one current, one pope emeritus (a pope which has been retired) inside the Vatican. And it is a conversation the audience wanted to follow, which in time revealed the underbelly of the Vatican and the papacy and other surprising secrets.

Graham Egan, as Pope Emeritus John XXIV portrayed his character’s personality perfectly. He was visually upbeat and appeared purposefully naturally loose with his movements and speech. In opposition to this character was Pope Pius XIII, played by Christopher Brown. He presented his character well, often seated ramrod straight backed on the red sofa and cut a serious and commanding presence. Sharron Olivier played Sister Angelica and a special mention must be made to her authentic sounding Italian accent as well as some great facial expressions which conveyed her character’s innermost thoughts.

Pope2Pope also gifts the audience with a brief history lesson involving some apparitions from the past with interesting stories, their costumes adding to their authenticity. I was impressed with Anthony Hunt’s performance of a certain character from the country. In the retelling of his story, Anthony added some real heart to the play.

Throughout the performance, the flow of conversation between the characters and aptly timed body language spoke to the audience clearly. At times, I found myself nodding along and relating to the cultural symbolism portrayed and at other times I was laughing at it.

Just before you enter the theatre, there was a table with a newspaper front page, some solid hardcover books about the popes and some religious items on it. When I saw the table walking in, it served to pique my interest in the upcoming play.

When I exited the theatre doors, I paused there to read the article from The Daily Telegraph dated February 2013. The headline read, “FIRST PONTIFF TO RESIGN IN 600 YEARS. POPE QUITS”. A real piece of history to supplement this well-rounded play.

Pope2Pope is performing at the Hunter’s Hill Theatre at Club Ryde, 728 Victoria Road, Ryde between the 18th August and the 3rd September 2023.

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

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Not Finished With You Yet – Review

Not Finished With You Yet is an energetic romp through a world where governments have passed a mandatory divorce law meaning all marriages must end after 13 years. Written and Composed by Dick Gross AM, the world premiere of this new Australian musical plays at The Alex Theatre in St Kilda as part of the Melbourne International Comedy Festival.

Two hours of upbeat entertainment unfolds as the characters explore what it means for their marriages, and how to navigate the new territory the law presents them with. Most couples willingly embrace the law with overt enthusiasm and a hefty dollop of marital passive aggressiveness. While main characters Kate and Rupert march resolutely, but resentfully, towards a future that demands they separate at the cost of their love.

All this is explored and celebrated through a hefty amount of choreography and over a dozen original songs.

Upon walking into the theatre you are struck by the incredibly imaginative and engaging set design. Very few, myself included, are immune to not snapping a quick picture before they take their seats. Once the show starts the set comes alive as it morphs and transforms.

Hidden compartments subtly swallow costume changes, panels swing centre stage that only moments before were seemingly solid. Accordion panels become walls, doors, rooms and more. The stage itself is a supporting character that allows the audience to engage in the story unfolding. It is marvellously done.

Deft use of multimedia and imagery project onto the stage in specific and intelligently blocked patterns. It captures the audience’s curiosity and is seamless in its execution.

The characters are specific and the actors play them valiantly. Costume design is subtle, but nails its task as each character is embodied in the quirks of a french tucked top, the slink of a sexy fabric across the body or the effervescence of an outfit of a stressed-out teen. We know who the characters are, and what they value, by what they wear. The specificity that went into costume design shows high attention to detail, it is very much appreciated.

The story is easy to follow, with only a few lingering questions left unanswered. It does take suspending disbelief to enjoy this world, but as with most musicals, it’s worth it.

The performers are obviously operating at a high level in their craft and most have a definitive moment to shine in the show. Whether it’s Alexia Brinsley as Kate’s single sister Maria navigating each scene with commitment and aplomb, or Cristina D’Agostino as Betty seemingly, effortlessly, channelling Liza Minnelli in the ‘Hit the Bottle’ number – you won’t be disappointed. The women in this show Deliver with a capital ‘D’.

While whimsical in moments, Not Finished With You Yet is not for those with delicate sensibilities. The F-bomb is dropped at a rate Gordon Ramsey would be proud of. The show crams in various subject matter, from the suggested amount of lubricant for great sex for those in menopause, strap-ons, wombs for rent, drunken sex and quite literal toilet humour – not too much is left unexplored.

Memorable flashbacks from the show include the fun and frisky ‘Urinal Lamentation’ song as performed by Matthew Hamilton, Matt Heyward and Alec Gilbert, a grounded and believable performance by Lauren Gunson as 15-year-old daughter Ella, and a beautifully moving Shakespeare’s Sonnet 116 that delicately displays the cast’s harmonies.

Not Finished With You Yet is obvious in its Australian-isms, and an enjoyable frisky afternoon or evening at the theatre.

This review also appears in On The House

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