Vegas In Concert: The Anthems Of Childhood.

Vegas in Concert

Vegas in Concert Rating

Click if you liked this article

4

Vegas in Concert at the Astor Theatre promised an unforgettable journey through the decades of iconic performances for the seasoned Vegas veteran or those experiencing the magic for the first time. It did not disappoint! We laughed, we sang, we danced, and some cried, but everyone left with the biggest smiles. I’m pretty sure there will be some audience members with incredibly sore quads this morning who will be regretting the number of standing ovations they gave last night, they sure got their squats in! It was a great night filled with great music and awesome entertainers. I’m sure the sore quads are worth it.

First up, the MC Joe White. He had us all laughing (and then seriously questioning our moral character as we thought about what it was we were laughing at), but my goodness, was he funny. Either he is a very skilled comic who could roll with the unintended audience participation and wing it in a seamless way, or the audience plant was one of the best I’ve seen. I’m still wondering what it was he was going to tell us about his sister in the story that got interrupted!

The laughs didn’t end with the MC. All acts were consummate performers, giving so much more than just singing a couple of songs. The show opened with Vito Grillo as Neil Diamond, and he ended the set on a high note with Sweet Caroline getting the audience off and singing early. Next up, Anita Springs is paying tribute to Olivia Newton-John. There were a few audience members in my row dabbing away the tears as the video tribute to Newton-John was played, but the mood lifted quickly as the songs flowed and had the audience singing and bopping along. I do have to give a special mention to the backing singers. When Springs sang ‘Let’s Get Physical’ and started doing side stretches, the look on their faces as they gave the most pathetic attempt at a side stretch and then laughed with each other was priceless! Such good fun.

To end the first act, Greg Andrew took to the stage as Elton John in the most beautiful jacket and with a pretty amazing voice to match. By the time Andrew was finishing his set, the audience couldn’t contain themselves anymore, and they were trying to find spaces to get up and dance. The closest I came to hearing a complaint was, ‘I really wish there was a mosh pit so we had somewhere to really get up and have a dance’ (I probably would have gone with a dancefloor over a mosh pit, but same same).

Opening the second act was Anthony Mara as Billy Joel (who also had a very lovely jacket), and what a great way to get the audience back in the mood for more. So upbeat and lively. I had been a little disappointed thinking he wouldn’t play Piano Man as it would bring the vibe down, but I was wrong. It ended the set on a high. Jay Weston then played the music of Roy Orbison, and according to the whispers in the queue for the ladies’ toilets, he was an unexpected crowd favourite. When people think of Vegas, apparently Orbison doesn’t jump immediately to mind, but Weston did a brilliant job and made my mum’s night when he played her favourite song, Penny Arcade, which got everyone bopping along.

The show ended with Jack Gatto performing as Elvis. When you think of Vegas, you do think of Elvis, and the audience was not disappointed. We were up, dancing in the aisles, singing, and having a brilliant night, and the band shone in the performance of American Trilogy.

Speaking of the band, I can’t end without mentioning how much fun they were. They genuinely seemed to be having a really good time. Special mention to the lead guitarist, who was rocking out to the music and really not taking himself too seriously at all, and the drummer. As someone who has photographed live music for many years now, I know drummers are hard to photograph. They put their head down and hide behind the kit. Not this drummer! He was having a whale of a time, singing, dancing, smiling, laughing, and genuinely looking like he was loving life. Their joy was infectious.

All in all, this was a brilliant show. These songs were the anthems of my childhood. I grew up with Mum and Dad playing the LPs and EPs of all of these artists, so they are the soundtrack of my memories. The show really didn’t disappoint, AND it was a three-hour show! I was expecting maybe 90 minutes with an interval, but it was 3 hours (with interval) and honestly, time flies when you are having fun; it barely felt like any time had passed at all. Highly recommend!

To book tickets to Vegas in Concert, on their upcoming NSW and QLD stopovers, please visit https://vegasinconcert.com.au/

Spread the word on your favourite platform!

Mother and Son – A Heartfelt and Hilarious Look at Aging and Family

Mother and Son The Rep

Mother and Son The Rep Rating

Click if you liked this article

2

The Adelaide Repertory Theatre’s Mother and Son delivers a perfect blend of humor and heart, offering a touching yet funny exploration of the challenges that dementia brings to a family. Based on Geoffrey Atherden’s iconic 1980s TV series, this stage adaptation shifts the story into a contemporary setting, where aging mother Maggie (Penni Hamilton-Smith) and her devoted son Arthur (Patrick Clements) navigate the ups and downs of memory loss, family dynamics, and caregiving.

Penni Hamilton-Smith’s portrayal of Maggie is a standout—funny, vulnerable, very expressive and incredibly warm. Despite her memory lapses and confusion, Maggie’s wit and charm shine through, and by the end of the play, the audience is utterly captivated by her. Hamilton-Smith’s performance builds a deep emotional connection with the audience, a true testament to her skill in drawing the crowd in.

Arthur, played by Patrick Clements, is the long-suffering son who takes on the role of caregiver, torn between his duties to his mother and his desire to live his own life. The contrasting personalities of the two Beare brothers—Arthur, the reliable but exasperated caretaker, and Robert (Stephen Bills), the successful but largely absent dentist—add another layer of complexity to the family dynamic. The family’s comedic mishaps, from Robert’s dubious life choices to Maggie’s comically excessive admiration for him, provide plenty of laughs, but also bring attention to deeper issues of responsibility, loyalty and family dynamics.

The modernised setting introduces relatable elements—mobile phones, telemarketing, and video calls—that add a fresh twist to the play. Video interactions with the Beare family’s grandchildren, projected on a large screen, reflect the generational divide and give a humorous yet poignant glimpse into everyday family life. These technological touches also highlight the growing gap between the older and younger generations, amplifying the play’s themes of communication, disconnection, and change.

The supporting cast delivers equally strong performances, with notable appearances by Mollie Mooney as Anita, Arthur’s romantic interest, and Jessica Corrie as an Aged Care Assessor. Sandy Whitelaw’s cameo as Monica, a no-nonsense resident in an aged care home, is a hilarious high point that underscores the play’s deft handling of both humour and pathos.

Under the direction of Jude Hines, Mother and Son expertly balances light hearted moments with poignant reflections on aging, care, and family obligations. While the play provides plenty of laughs—often at the expense of Maggie’s confusion or the absurdities of caregiving—it also offers a deeply human portrayal of the emotional toll dementia takes on families. The audience is left with much to reflect on, from the fear of loneliness and institutionalisation to the everyday struggles of maintaining family bonds.

The set design cleverly evokes the atmosphere of a family home and the production’s contemporary touches, including the use of technology, ensure that Mother and Son feels fresh and relevant while staying true to the spirit of the original show.

In the end, this is a play that’s as much about the heart as it is about the laughs. With its excellent performances, sharp humour, and emotional depth, Mother and Son is a beautifully executed exploration of the challenges of family life, caregiving, and growing old. Whether you’re a fan of the original television series or coming to the story for the first time, this production is sure to leave you both laughing and thinking long after the final curtain.

To book tickets to Mother and Son, please visit https://adelaiderep.com/season-2024/mother-son

Remaining Shows
Thu 28 Nov at 7:30pm
Fri 29 Nov at 7:30pm
Sat 30 Nov at 2:00pm
Sat 30 Nov at 7:30pm

Photography by Richard Parkhill

Spread the word on your favourite platform!

St Judes Players Presents: A Hard God

A Hard God

A Hard God Rating

Click if you liked this article

2

The St Judes Players give a very honest and touching performance of Peter Kenna’s ‘A Hard God’. Set in the 1940s, the play meanders through the lives of three brothers: Dan, Paddy, and Martin. They hail from an Irish Australian Catholic family. It follows their struggles to reconcile their Catholic faith with the challenges of life.

Harry Dewar’s direction of his stellar cast takes the audience on a journey through social challenges for the Catholic family, from domestic violence and gambling to homosexuality. With an injection of comedy and passive aggression from Aggie (Dan’s wife) played by April Stuart the inspection of these heavier topics are tackled with lightness. Lindsay Dunn’s portrayal of Dan Cassidy was authentic as the solid character which his brothers, look for stability.

The three portray a very convincing sibling dynamic. Jamie Black portrays the shadows from Martin’s past with a sensitivity and depth. Chris Dewar plays the younger desperate brother Paddy as he avoids and runs from his aggressive gambling wife Sophie.

Monica the wife of Martin is played by Rebecca Gardner. Rebecca Gardner is on point as Monica, a woman staunch in her religious ideals imposing her views upon Aggie and the remaining brothers. A solid synergy between the family members had the audience giggling as the dynamic played out on stage with a fantastic set design.

 

There is a very sensitive and tender portrayal of Joe and Jack as they face the dilemma of their feelings for one another with the confusion of puberty and the backdrop of their Catholic faith. The pair draw in the audience to feel their agony as they stumble poorly through difficult conversations about their feelings for each other and the demise of their friendship. The contrast between the parallel stories was executed well with the contrasting lighting and sound.

This is an important, thought-provoking play about religion and family. The St Judes Player, under the direction of Harry Dewar, has done a fabulous job of bringing this play to life.

With closing weekend already upon us, so do not waste time…be sure to grab your tickets to one of the last few remaining sessions whilst you still can @ https://stjudesplayers.asn.au/bookings/

Remaining Sessions

  • Thursday, 14th November @ 7:30pm
  • Friday, 15th November @ 7:30pm
  • Saturday, 16th November @ 2pm
Spread the word on your favourite platform!

Spread the word on your favourite platform!

Falling into Place: British Film Festival

Falling into Place

Falling into Place Rating

Click if you liked this article

1

Set against the stark backdrop of a bleak Scottish winter, “Falling into Place” invites viewers into a world where two lost souls briefly collide in a bar, igniting a day filled with fleeting joy and profound connection. Directed and written by Aylin Tenzel, who also stars as the film’s emotionally troubled protagonist, the narrative explores the depths of despair and the search for solace in unexpected places.

Tenzel’s character is an artist grappling with the aftermath of a painful breakup, her self-worth at an all-time low. She isolates herself from her family, terrified that revealing her struggles will expose her vulnerabilities. Tenzel embodies this emotional turmoil with a raw honesty that resonates deeply, showcasing her talent as an actress and storyteller.

Opposite her is Chris Fulton, known for his roles in “Outlander” and “Bridgerton,” who plays a man equally enshrouded in grief. His character battles the aftermath of his sister’s suicide attempts and a relationship that has long since soured. Together, Tenzel and Fulton create an intense chemistry that pulses through the film, offering a glimpse of hope amidst their mutual pain. Their connection is not one of idealized romance but rather a bond forged in shared suffering—a recognition of their own self-destructive tendencies.

What sets “Falling into Place” apart is its unflinching portrayal of mental health issues. The film does not shy away from presenting its protagonists in an unflattering light; rather, it embraces their flaws and struggles, allowing audiences to empathize with their journeys. This authenticity is refreshing in a genre often dominated by idealized relationships.

While the film’s pacing may feel slow at times, the emotional weight it carries makes the eventual payoff worthwhile. Tenzel’s directorial debut is a powerful commentary on the healing power of shared experiences, making it a must-watch for those who appreciate intimate, character-driven storytelling.

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

Spread the word on your favourite platform!

Spread the word on your favourite platform!