Dial M for Murder

Dial M for Murder

Dial M for Murder Rating

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3

The telephone rings, trilling through the darkened living room three, four, five times. The bedroom light flicks on, illuminating the telephone and the desk it rests upon. A woman appears, yawning, in her dressing gown.

She answers the phone, but no one responds. “Hello?” she says again, looking at the handset in confusion. It’s in that moment she feels fabric tightening around her neck as she is shoved onto the desk, fighting for air …

“Dial M for Murder”, presented by Galleon Theatre Group, is not only a beautiful demonstration of inner turmoil, but simplicity on stage. Everything from the set design to the costumes is simple, elegant, and beautifully complementary. The set has been expertly crafted to enhance the impact the lighting has on key moments within the story. Key moments which have also been carefully paired with a spine-tingling score to set your nerves jangling.

Not only will your nerves be frayed, but you can expect to find yourself holding your breath in anticipation more than once, wondering “how on earth will they will get away with this?”

 

 

With a small cast of five you expect the chemistry to be high-quality, and the cast from Galleon Theatre do not let down their audience for a moment. With heartfelt confessions, scheming, dastardly deeds, and inquisitive inspectors, no interaction felt unhurried or unconsidered. Each moment was carefully plotted from the facial expressions to the smooth, natural use of the entire stage.

The stage, which has a distinct air of being its own character, is deceptively simple at first glance, but after some observation has clearly been well curated, not just for the performance but also for the actors. The set feels cohesive and lived in, just like the flat of a married couple should.

Be sure to keep your eye on this married couple, for their body language and voice control are expertly maintained … until they’re not. Dressed impeccably, and with barely a hair out place, Mr. and Mrs. Wendice navigate the new twist their marriage has undertaken, while a desperate Mr. Halliday and the calculating Inspector Hubbard do their utmost to make sense of how the slimy Captain Lesgate fits into the story. Be sure to watch the costumes carefully, each one perfectly suited for their character, and even being used as a plot point … The audience will find themselves on the edge of their seat to see if the good guys will prevail and the bad guys will get what’s coming to them, with laughs, gasps, and sinking feelings along the way.

To book tickets to Dial M for Murder, please visit https://www.galleon.org.au/html/dialMForMurder.html.

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The Taming of the Shrew – The Adelaide University Theatre Guild

The Taming of the Shrew

The Taming of the Shrew Rating

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1

Review: The Taming of the Shrew – The Adelaide University Theatre Guild

The Adelaide University Theatre Guild’s new adaption of one of Shakespeare’s more problematic plays puts The Taming of the Shrew into a new realm of pop and rock music to great effect while still holding mostly true to the original text.

Dispensing with Shakespeare’s original play within a play concept, and instead of being set in the usual Padua, this version is set in Paradise which is “a powerhouse record label and the battlefield is the charts.” The play begins with Bianca (Jessica Merrick) and her band singing and dancing to her pop song, then enters Katherine (Heather Crawford), her rock chick older sister with her band and her sharp edges.

Bianca has two suitors, Gremio (Martin Penhale) and Hortensio (Macey Lawson) who wish to marry her but her mother, Minola Baptista (Deborah Walsh), will not agree to anyone marrying Bianca until her older sister Katherine is married. Lucentio (Ben Proeve) arrives with his loyal servant, Tranio (John Charles), and Lucentio also falls in love with Bianca. To try to win her love, Lucentio disguises himself as a tutor for Bianca and Hortensio disguises himself as a musician to also gain access to her to try to do the same. Tranio disguises himself as Lucentio to help convince Minola Baptista to allow Lucentio to marry Bianca.

Standing in their way however is Minola Baptista’s demands that the quarrelsome Katherine be married first. Petruchio (Tom Tassone) arrives and after hearing about Katherine he decides to court her, and he is assisted in this task by Gremio and Hortensio. Upon meeting Petruchio, Katherine resists his advances, but he is not discouraged and he sets a wedding date and so begins the taming of the shrew.

 

 

Setting the play in Paradise and revising it for a contemporary time is successful and adds a welcome fresh dimension to the play, although the audience seemed to be a little confused by Bianca and Katherine’s entry. In addition, modern music references to the original text brings many humorous elements. The limited space of the Little Theatre always adds production issues, but both levels of the theatre are skilfully utilised by Olivia Jane Parker’s first-rate direction. In addition, the music includes songs by Ben Waller and two songs by Macey Lawson.

The whole cast handles the fast-moving proceedings superbly, Tom Tassone as Petruchio, John Charles as Tranio with Macey Lawson as Hortensio are particularly impressive. Heather Crawford delivers Katherine’s long final monologue exceptionally.

This version of the thorny The Taming of the Shrew, set innovatively in the modern music scene, is outstandingly well performed and adds to the long line of exceptional productions by the Theatre Guild.

Reviewed by Rob McKinnon
Rating; 4/5

Production Details

Venue: Little Theatre, Adelaide University, The Cloisters, Adelaide SA 5005

Performance Dates:
Saturday 9 May – 3pm
Sunday 10 May – 3pm
Wednesday 13 May – 6:30pm (w/ post-show Q&A)
Thursday 14 May – 7:30pm
Friday 15 May – 7:30pm
Saturday 16 May – 3pm
Sunday 17 May – 3pm

To book tickets to The Taming of the Shrew, please visit https://tasaonline.org.au/series/the-taming-of-the-shrew/.

Photographer: Maggie Morris

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An Enemy of the People

An Enemy of the People

An Enemy of the People Rating

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1

Scene 1, Sunday afternoon. We meet the main players, namely Dr. Katherine Stockman and her family, friends, and local community members, as they gather for a casual BBQ lunch. Pay close attention to the interactions between each of the characters – they will evolve and change as the story progresses but it’s important to remember this immediate sense of community and family between them. The stage is set, the tongs being test snapped, beers cracked, and banter flowing freely. Upstage, nice and close to the audience, the cast are immediately under close scrutiny, but they react and interact with and around each other with practiced ease. Dr. Katherine shares the discovery that the local baths at the spa resort – which was her idea, and have become an important part of the towns economy – are poisoned with heavy metals.

Scenes 2 and 3 reveal Dr. Katherine’s tumultuous relationship with her brother, the mayor, and her father-in-law, as well as her warmer friendships with other members of the community. The community friendships Dr. Katherine has obviously cultivated work in her favour to help her get the word out about the poisoned bath house. But the Mayor has other plans. We are swiftly transported from Dr. Katherine’s living room to the entrance of the spa report, where we witness the Mayor marshalling the community members to oppose Dr. Katherine. The Mayor is persuasive and captivating in his speech, striking in his suit and confident in his decision. If you watch closely you can see the moment Dr. Katherine feels the rug is ripped out from underneath her.

And the lights lift for interval. The volunteers serving the refreshments on offer are so friendly, if you aren’t paying attention you may not notice when the cast make their way to the auditorium and begin mingling with the audience…

 

 

Scene 4, Dr. Katherine is addressing the town in an informal meeting. She wants the town to understand the concerns and risks at the resort spa. In this case, the town is the audience. The rest of the cast wander around and through the auditorium, not only interacting with the audience, but throwing snarky comments to Dr. Katherine. Be prepared to be exceptionally frustrated at the outstanding performance from the male cast members of shouting down a female colleague, and keep your ears open for their amusing commentary in response to Dr. Katherine’s statements.

With a simple, but elegant stage decoration and furniture, each scene is clearly set. At no point was it unclear where the characters were, and their interactions with the props outstanding. Every prop, piece of furniture, and piece of set was used to its fullest, being moved, manipulated, acted with and around naturally, nothing stood out as out of place. The lighting, and the timing of, were never out of place, the same for which can be said about the sound. The costumes and makeup were perfect for the small town aesthetic – the men all looked very striking in their suits, and the women suitably dressed for their work and station.

One thing I did notice was the first and final scenes between Dr. Katherine and the Mayor felt shakier, and less in line with their characters than the rest of their performance. But every cast member brought their characters to life with very natural interactions, amusing expressions in the background, and a compelling presence on stage. This cast melded together spectacularly, even when their characters were at odds. “An Enemy of the People” by St. Jude’s players is thoroughly enjoyable, professional, and not to be missed.

To book tickets to An Enemy of the People, please visit https://stjudesplayers.asn.au/bookings/.

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Australia Day – Therry Theatre

Australia Day

Australia Day Rating

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Australia Day is Jonathan Biggins’ satirical look at the workings of rural councils and in particular an Australia Day organising committee. While the cast do their best with the script, Biggins wrote it in 2012, it now feels worn and the characters hollow. Some of the attempted humour is offensive (which seems to be the point) but if audience members can get past that, Australia Day is funny in parts if a little passed its use by date.

Set in 2016 in the fictional rural town of Makarrata, the play begins in the town’s scout hall as the members of the local Australia Day organising committee arrive to begin the planning for the following year’s Australia Day celebrations. The committee is composed of Brian Harrigan (Stephen Bills) the town’s Mayor and Liberal party member who is also seeking pre-selection for the local federal seat and Robert Wilson (Adam Schultz) the Deputy Mayor who is Liberal leaning but not a party member. Joining them are long standing committee members, Maree Bucknell (Kristina Kidd) the President of the Country Women’s Association and bigoted Wally Stewart (Steve Kidd OAM) who is a local builder. There are also newer members of the committee, Helen McInnes (Michele Kelsey) who has relocated from the city and a member of the Greens and Chester Lee (Ollie Xu) who is an Australian-born son of Vietnamese refugees and a new schoolteacher.

 

 

As the committee meetings unfold and Australia Day approaches disagreements develop ranging from the choice of sausages for the BBQ through to just plainly intolerant views. Political power plays and personal agendas also unfold.

Local place names are substituted into the script to add a local flavour. The whole cast perform admirably, and the play is directed competently by Jude Hines, however the limits of the script only ever allows them to develop shallow caricatures. As normal for Therry Theatre, their excellent production crew do an outstanding job in bringing the production into being.

Warning: a deeply offensive name for Aboriginal people is used in the play as well as an equally offensive name for disabled people.

Therry Theatre has a long history of brilliant productions. Their production last year of Come from Away was an absolute stand out. Compared to that, Australia Day feels like a bit of a misstep (although humorous in parts) as they are capable of much greater things and we eagerly anticipate their production of Jesus Christ Superstar in July.

Reviewed by Rob McKinnon
Rating; 3/5

Production Details
Venue: The Arts Theatre, Angas Street, Adelaide
Performance Dates: to Saturday 18 April 2026.
Times: 2.00pm / 7.30pm
Tickets: https://www.trybooking.com/DHTFT

To book tickets to Australia Day, please visit https://therry.org.au/.

Photographer: Andrew Trimmings

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