Thrive Productions Presents “Blackrock”

Blackrock

Blackrock Rating

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“Blackrock,” is a 1996 Australian play written by Nick Enright, and being presented this season by Thrive Productions at BackDock Arts, Fortitude Valley.

The synopsis opens up to several teenagers and their families living in the beachside town, Blackrock. A group of friends reunite after one of them, Ricko, returns from a trip. They plan to attend the birthday beach bash of their friend, Toby, doubling it as a “welcome home,” party. After a night of drinking, drugs and reckless fun, 15yr old Tracy Warner is found on the beach. Rumours swirl and questions of trust and loyalty begin to stir throughout Blackrock. The lives of Jared, Ricko and his friends are never the same.

Lighting and sound was kept simple and was handled well throughout. Different punk rock/ soft rock would play during transitions between scenes as well as when cast members were reminded of the death of their friend or the feelings attached to their loss. The lighting was a white wash and remained consistent throughout the entire play.

 

 

The cast’s use of their space was interesting, as there was no easy way to leave stage other than the door in upper stage left. The set design consisted of several black stage blocks and stools on either side for all actors to sit on while a scene played out centre stage. The cast wore actors blacks, collecting props from upper centre stage when needed, emphasising the skills of the actors over embellishments. The cast entered and exited in single file, refraining from facial expressions until they were in character. They took to creating various formations or standing in place when transitioning through each scene change. This may have been handled differently to look a bit smoother between scenes, but made sense given the floor space.

The casting was done well and was a pleasure to watch, despite the seriousness of the play’s themes. All actors performed enthusiastically in their roles and gave great representation of small town, Australian life.

Notable mentions include the roles of Jared, Ricko, Jared’s mother and Tiffany. The emotional depths the characters explored were key to capturing the fullness of their essence, which they executed almost seamlessly. It is a wonderful skill as an actor to be able to portray their characters displays of inner turmoil, how their emotions guide or affect them and whatever convictions their characters hold onto that offer them strength.

Over time, layers were peeled back to explore the headspace of characters like Jared and Ricko; once thought to be birds of a feather, but then challenged beyond what either of them ever expected. Their performances were impressive and highly engaging, making me eager and looking forward to seeing them in future productions.

I recommend this Australian Drama to audiences 15yrs onwards, as scenes contain references to sexual assault, suicide and violence that could be triggering or upsetting for some.

To book tickets to Blackrock , please visit https://buytickets.at/backdockarts/1478600.

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Close, But No Cigar: A Polished And Playful Production

Close, But No Cigar

Close, But No Cigar Rating

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3

“Close, But No Cigar” is a comedic, well-paced murder mystery, featuring a vibrant, young ensemble cast – a perfect elixir on a wet Autumn evening, with a gin and tonic from the well-stocked BackDock Arts bar. Originally adapted from a QUT Bachelor of Fine Arts graduating piece, “Close, but no Cigar” transforms the stage into a living noir film; The makeup, costumes and lighting achieve this in creative, unexpected ways, with evocative and elemental splashes of red contrasting the clever black and white aesthetic.

As noted in the program, playwright Samara Louise took a collaborative approach to developing this piece, asking the cast to create characters they were passionate about playing, developing those character’s backgrounds, subtext and context, and then building a storyline around them. Instead of a broad narrative, the play focuses largely on the character’s individual lives, which intersect at a Private Investigator’s office in the wake of the murder of Senator A. Williams. These characters are enveloped in their own lives, each with their own amusing idiosyncrasies and secrets.

Borrowing liberally from the archetypes of old detective films, the cast adopt New York accents to consistently good standard, their physical spacing and shapes mostly well-utilising the compact space they gather in. The cast of Cullyn Beckton as Dick Clark, Mitch Guyatt as Dr Graves, Caleb Hockings as Arthur Blackbird, Claudia Lyons as Odette Blair, and Lucy Wilding as Viviene Fareweather, all perform with aplomb. Their timing and interplay is slick, and all shine individually and together in a script that gives them each fairly equal attention and work to do. Director Cale Dennis weaves a golden thread through this production, cohesively combining the separate elements into an entertaining whole, elevated far above the sum of its parts.

For me, the script works best when played with a wink; Beckton and Hockings deliver this beautifully, showing dynamic movement, fine physical comedy, and the best-developed characterizations of the cast – receiving hearty laughter from a near-capacity audience. A couples of times I thought cast could have leaned more into the campy elements of the play; Wilding has beautifully graphic, dark eyes, and I’d like to see her use them more as story-telling weapons, especially in a role with scope to be extra. I wonder if physically repositioning the cast to deliver monologues more to the audience, rather than the upstage cast, may further aid audience connection and audibility. The addition of musical effects reminiscent of a pulpy, radio-play would also be a fun addition, which would further clarify the play’s identity.

That said, I can enthusiastically recommend “Close, But No Cigar” as a polished and playful production with further potential that left me with sore cheeks and a smile on my face.

To book tickets to “Close, But No Cigar”, please visit https://www.tickettailor.com/events/backdockarts/1528759?.

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Anywhere Festival: Set Me On Fire

Set Me On Fire

Set Me On Fire Rating

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11

Samara Louise’s play, SET ME ON FIRE, is a deeply moving play about the ugly side of family ties, the angst of artistic temperament, and the longing for a better life.

Through the erudition and articulation of her lead female character, Samara paints a poignant portrait of a girl growing into an excellent example of an independent, free-thinking femme fatale.

The list of Samara’s achievements so far seems enormous, considering her youth. Cale Dennis, the director, is also no slouch when it comes to winning awards. I foresee they both have bright futures in theatre and probably whatever else they decide to address with their talents. All members of The Silent Sky Collective, who produced the play, are emerging artists in their own right.

Rachel McMurray, playing Eden, the lead, did a wonderful job of wrapping her lips around the lines of dialogue she had to deliver, and her transitions between a coy seventeen-year-old and a savvy twenty-something, demonstrate she’s a force to be reckoned with.

Her counterpart, Mannon Davies, as Noah, the lost love interest, gives us a delightful deep dive into the psyche of a boy burdened by a mother clinging to her child. His chemistry with Rachel was obvious, and yet deftly understated, muted by the malignance of his meddling mother.

The play begins near where it ends and then backtracks to fill in the gaps. The reminiscences replicate the back story that brought the two tumultuous teens to where they meet again at the beginning of the play, through complexities that remind us that underneath each of us are layers of human experience that can and often do scar us for life.

Cullyn Beckton and Tim James, the tech team, never missed a beat. The set, sound, and lighting all enhanced the moments that made the story work so well.

It’s a thoroughly watchable work. I’d give it 4 out of 5 stars. Go see these people play now before they get so well-known that you have to pay through the nose to see them.

The production contains very occasional strong language and young adult themes. It’s part of The Anywhere Festival and is staged inside Backdock Arts, a small hall at 103 Brunswick Street, in Fortitude Valley.

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