Light Up The Stage Musical Review

Light Up The Stage

Light Up The Stage Rating

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NOW Productions continue to demonstrate their commitment to developing the next generation of theatre stars—both on stage and behind the scenes! This time, they took on a brand-new challenge a full-blown Musical Revue. Thoroughly entertaining and a fantastic way to spend an evening watching the young cast do what they love.

What a brilliant way to let young performers and tech crews shine by giving them the creative freedom to bring some of the most iconic musicals to life. With such a selection of incredible musicals to choose from, it must’ve been a challenge to narrow it down, the selection allowed for a mix of large ensemble numbers and solo performances, which gave those with more experience and/or confidence, the opportunity to showcase their talents, whilst making it a safe and enjoyable show for those that are perhaps just stepping out.

Split into two acts featuring four musicals each, the show was the result of months of hard work. The show was put together in a relatively short intense rehearsal period, with rehearsals lasting little over a month, demonstrating the commitment and hard work to execute such an outstanding show.

The cast was a fantastic mix of ages and experience levels, and their energy was absolutely contagious! Everyone gave it their all, and the enthusiasm was undeniable. There were some standout performances, of course, but every single performer brought something special to the stage. With just a little more refinement in mic work and vocal blending, those already impressive group numbers will be even stronger in the future.

 

The costumes and props were simple yet effective, and you could tell the cast was having an absolute blast stepping into such a variety of roles. The show was cleverly structured so that each “Item” featured a selection of songs from a particular musical, with every performer taking on multiple roles throughout the night.

Act I kicked things off with numbers from Matilda the Musical, The Pirates of Penzance, Dear Evan Hansen, and Mary Poppins.

Act II brought even more magic with Come From Away, The Sound of Music, Into the Woods, and Les Misérables. And oh, that finale—One Day More from Les Misérables was breathtaking, showcasing the sheer talent and passion of this group. It was a goosebumps-inducing, heart-soaring moment!

So often, curtain calls feel like an afterthought, but not here. The cast came out in their respective musical groups, each with a uniquely choreographed moment that gave the audience a final glimpse of the show’s incredible range. It was such a clever way to ensure that all cast members were given their moment to receive applause.

With effective lighting, a well-planned (and quick-changing!) set, and a cast that clearly loved every second of being on stage, this Musical Revue was an absolute triumph. Bravo to all involved.

For more information about NOW Productions, please visit https://nowproductionssa.weebly.com/.

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Adelaide Fringe Festival: Holden Street Theatre Collection

Holden Street Theatre Collection

Holden Street Theatre Collection Rating

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The Holden Street Theatre is in full swing, hosting numerous shows in this year’s Adelaide Fringe(running from 21st Feb to 23rd March), and we were very privileged to be granted the opportunity to review three distinct but high-quality shows in one day.

Shellshocked
Shellshocked has its Australian Premiere at Holden Street Theatre for the Adelaide Fringe 2025. This play is by Phillip Stokes, an award-winning playwright from Leeds. The British Library recognises him as a culturally significant playwright of the 21st Century.

This production stars Jack Stokes and Lee Bainbridge as Wesley and Mr. Lupin (Sir). It opens with Mr. Lupin on stage, staring at a blank canvas on a large easel. The rest of the settings are a desk, a table, a solitary chair, a coat stand, a carafe of whisky, and two glasses.

Wesley has returned from serving in the military in WW2 and needs a job to support his single mum and three sisters. So, he applies to the local portrait painter for an apprenticeship, and his mother delivers his portfolio.

Wesley suffers from PTSD, but he is happy to get the position at a very decent wage. As Wesley gets to know Mr. Lupin, or Sir as he sometimes likes to be called, you start to notice that something is not right in their relationship. You sense that Mr. Lupin, who had polio as a young lad, feels that he has been deprived of the war experience and all it entails.

Wesley is taunted by Sir quite a few times through the course of the play. We begin to see why there is a blank canvas on stage and no other completed artwork. And we begin to wonder who the better artist is.

It becomes evident that Lupin is a bully. Slowly, this story builds up to an interesting climax, which you need to see to know the outcome. Jack Stokes as Welsey is brilliant; his character development is intense. He is certain to be an actor to watch out for in the future. He is cast well against Lee Bainbridge, who is a very accomplished actor.

This show is a must-see at the Adelaide Fringe before it goes to Broadway. A 4.5 out of 5 stars.

Dear Diary
For about 75 minutes, Kay Proudlove entertains us with a collection of stories and a few well-crafted songs. This entertaining production is a look at Kay’s adolescent life. It starts with Kay being called back to the family home to empty her childhood bedroom, as her mother wants a sewing room. This is well represented with three costume racks filled with her clothes.

A key element is the diary from which her memories spring. Here, we hear her stories of being a teenager and all the issues that entails. It starts with Kay having a night off from work and a gig being cancelled, and therefore, she is at her family home going through the detritus of teenage years.

The delivery is nice and gentle—it is like chatting with an old friend. Kay draws the audience in with her humour in her stories and songs. We hear about boyfriends, girl power, and lost music gigs. The whole story is very relatable to the audience.

The audience appreciated this show’s gentle storytelling approach, effectively conveying the narrative without being overly forceful.

So, join the journey of self-discovery, and you will enjoy the show.

4.5 out of 5

Why I Stuck a Flare Up My Arse For England
This rollicking production well portrays the decline of a footy (round ball) fan. Alex Hill plays Billy and is directed by Sean Turner. Alex uses the full stage at Holden Street. Alex plays multiple characters, with Billy being the main one.

This is a very physical one-man show that leads us through the story of Billy, a shy, introverted lad who is introduced to football.

Football helps him overcome his shyness and takes his mind off his job. His interest in football leads him to a gang of football hooligans. This is all set against the Euro 2020 competition at Wembley, and for the first time in a long time, England is in the comps with a chance to win.

The title of the production is based on a true incident that involved a flare and someone’s posterior. His life becomes more aggressive as he follows the gang of football fans. He feels he is fitting in and belongs to a crowd of like-minded people.

He becomes intoxicated by the stupid stunts and violence that is part of the culture of football thugs. He is introduced to cocaine, and that releases him from his cocoon, and he meets a girl. Now he must juggle a more complex lifestyle, between a girlfriend or football and mates. There is a theme of fascism in the football gang as you are expected to join in, whether you like it or not.

This production gives you an insight into the football hooligan mentality but in a wonderfully humorous way. It is a worthwhile production. Alex is an amazing talent. He holds your attention for over 75 minutes, leaving the audience feeling nearly as exhausted as Alex. 5 out of 5 stars from me.

These shows alone are well worth getting out to see, but by all means, we recommend getting down to see as many Adelaide Fringe shows as you can. To book tickets to any of the upcoming Adelaide Fringe shows at the Holden Street Theatres, please visit:- https://www.holdenstreettheatres.com/

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Tea Tree Players Presents Shirley Valentine

Tea Tree Players Presents Shirley Valentine

Tea Tree Players Presents Shirley Valentine Rating

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Under the direction of Robert Andrews, Shirley Valentine took centre stage at Tea Tree Players in a truly triumphant fashion. This beloved and enduring classic was brought to life with extraordinary heart and authenticity, spearheaded by the talented Theresa (Lilly) Dolman in the titular role. From the very first moment, Dolman captured the audience’s hearts with her warmth, wit, and masterful storytelling, taking them on an emotional and deeply relatable journey of self-discovery, courage, and transformation.

The play’s universal themes resonate as powerfully today as they did nearly 40 years ago. It’s a story that speaks to anyone who has ever felt trapped in the monotony of routine, longing to rediscover their passions and reclaim their own narrative. The audience was immediately swept up in Shirley’s world—her frustrations, her humour, and ultimately, her awakening. As Shirley bravely stepped out of her comfort zone, laughter rippled through the crowd at her sharp and insightful observations, only to be followed by poignant moments that prompted quiet reflection. One of the play’s most striking lines, “Some people are dead before they die,” hung in the air, leaving a lasting impact.

The set design was deceptively simple yet wonderfully effective, seamlessly transitioning between the confines of Shirley’s dreary kitchen and the liberating beauty of the Mediterranean. This striking contrast visually underscored Shirley’s own evolution, highlighting the journey from stagnation to renewal. The creative team deserves immense credit for bringing such an evocative transformation to the stage.

 

Dolman’s performance was sensational, she embodied Shirley Valentine with such sincerity and charisma that it felt as though she was speaking directly to each audience member, drawing them in with every word, every sigh, every knowing glance. Her comedic timing was impeccable, ensuring plenty of laughter, but it was her ability to convey Shirley’s vulnerability and strength that truly made the performance unforgettable. By the final act, the audience wasn’t just watching Shirley’s story—they were living it alongside her, feeling every ounce of her hesitation, her excitement, and ultimately, her triumph.

A packed house bore witness to this spectacular production, and judging by the applause and emotional responses, it’s safe to say Shirley Valentine at Tea Tree Players is definitely worth a visit. It was a performance that entertained, inspired, and perhaps even encouraged some to dust off their own forgotten dreams. If ever there was a play that reminds us to take that leap of faith and embrace life’s endless possibilities, this was it.

To book tickets to Tea Tree Players Presents Shirley Valentine, please visit https://teatreeplayers.com/production/shirley-valentine/

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The Glass Menagerie: Heartfelt and Poignant

The Glass Menagerie

The Glass Menagerie Rating

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Tennessee Williams’ The Glass Menagerie is a cornerstone of American theatre, a work filled with haunting memories, fragile dreams, and deep emotional truths. The weight of such a classic can be intimidating for any director, but in his directorial debut, Clinton Nitschke has managed to navigate these challenges with finesse. Nitschke has delivered a performance that feels both fresh and deeply moving. The intimacy of the Little Theatre invites the audience into a world that resonates with timeless relevance and contemporary sensibilities.

Jessica Merrick’s portrayal of Amanda Wingfield, the mother at the centre of this emotional storm, stands out. Merrick brings elegance and charm to the role, finding the perfect balance between grace and desperation. She masterfully navigates Amanda’s dual identity: a fiercely proud woman clinging to memories of a more glamorous past while simultaneously fighting to secure a better future for her children. Merrick gives a multi-dimensional performance, capturing Amanda’s humorous, demanding nature while also revealing the vulnerability of a mother who has been abandoned by her husband and is now left to care for two grown children with uncertain futures. Her portrayal is as full of heart as it is heartbreak.

Connor Duncan’s Tom Wingfield is a masterclass in technical precision and emotional depth. Duncan skilfully conveys Tom’s internal turmoil, balancing the character’s restless, frustrated energy with moments of quiet resignation. There is an aching authenticity in his portrayal as Tom grapples with his dreams of escape and the torment of being the sole provider for his fragile family. Duncan’s performance is particularly poignant in his interactions with his sister, Laura. His moments of connection with her are understated but powerful, embodying the quiet, unspoken love and tension beneath their relationship.

Livingston-Pearce’s Laura is the perfect embodiment of fragility and innocence. Her performance is imbued with a demure, otherworldly quality that captures the essence of the character. Laura’s emotional vulnerability is beautifully showcased, especially in her interactions with her brother and, later, the gentleman caller. Livingston-Pearce brings a touching, almost ethereal presence to the stage.

The final pivotal performance comes from Liam Warmeant, who plays the gentleman caller, Jim O’Connor. O’Connor offers a wonderfully nuanced portrayal of the role, elevating the second act into something genuinely moving. Jim’s charm, warmth, and sincerity stand in contrast to the desolate world of the Wingfields, and his interactions with Laura feel honest and deeply touching. O’Connor’s portrayal infuses the character with a quiet confidence yet never undercuts the delicate fragility of the play’s emotional landscape. His scenes with Livingston-Pearce are particularly moving.

The set created by Nitschke subtly evokes the confined, suffocating space of the Wingfield apartment. At the same time, the lighting design heightens the emotions with the changing colours matching the mood, from anger and frustration to an ethereal atmosphere that highlights the play’s dreamlike qualities.

Overall, Clinton Nitschke’s version of The Glass Menagerie is sensitive, powerful, and emotionally resonant. It offers a compelling exploration of family, dreams, and the enduring struggle for something better in the face of seemingly insurmountable odds. It is a deeply human story, brought to life with immense heart and skill.

The Glass Menagerie season runs from December 4th through December 7th, with sessions at 7:30 p.m. at the Little Theatre, University of Adelaide.

To book tickets to The Glass Menagerie, please visit https://www.trybooking.com/events/landing/1192057

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