Villanova Players Present: The Great Gatsby

The Great Gatsby

The Great Gatsby Rating

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1

F. Scott Fitzgerald’s The Great Gatsby has been adapted into a riveting stage play by Simon Levy, and Vivien Broadbent directed this showing by the Villanova Players.

The set, simple yet elegant, consisted of a wooden balustrade upon some theatre blocks center stage. To the right and left were chaise lounges with layers of blankets, each removed for the relevant scene. Lamps upon side tables complemented the themes well, along with the frequent use of a drinking tray wheeled in and out of scenes.

The costumes, beautifully fitting for the chosen era, made each scene more eye-catching than the last. Actors were adequately styled, pairing 20s-style makeup and hairstyles with amazing dresses, suits, and headdresses. This was especially evident in the party scenes and dance routines, where we saw a lot of movement and expression. The colours, composition, and touch of sequins add a charming flair to each moment.

The jazz singer (Emma Hodis) and short dance routines also added to the show, bringing Gatsby’s parties to life and facilitating transitions between scenes. While some of the routines could use light polishing, the choreography utilized the entirety of the space, creating shapes that engaged the audience. This can be seen in one of the early scenes when Gatsby and Nick are on a plane. Holding the shape of the plane, the dancer’s contribution added fun and flair to the scene. Similarly, they gather around Gatsby’s car in one of the garage scenes. Their use of comic relief helped the audience connect with them and eased some of the tension throughout. It was wonderful to see how the cast was brought together in such a creative and dynamic way.

For those cast in the leading roles, Hayden Parsons (Jay Gatsby), Lachlan Gregory Hugh (Nick Carraway), Hannah Kennedy (Daisy Buchanan), Oscar Kennedy (Tom Buchanan), and Isabelle Arthur (Jordan Baker) had great chemistry. Parsons’ portrayal of Jay Gatsby was highly compelling. He captured the emotional depth and yearning that one would expect from a man awaiting his Daisy—a role that some would find difficult. Parsons made it look effortless, giving a seamless performance.

Hannah Kennedy’s perspective of the girl who got away allowed the audience to see the enthused, wistful Daisy in her most raw and honest state. From her mannerisms to the tone of her voice, Hannah also gave an amazing performance, elegantly drawing focus and embracing every scene with grace and professionalism.

The roles of Jordan and Nick were notable, too. The monologues and one-on-one interactions highlighted the emotional layers and inner turmoils they both faced. Hugh’s final monologue was a favourite, elegantly highlighting Nick’s inner struggle as he mourned his friend and grappled with the moral dilemmas he had been swept up in. I am eager to see where Hugh’s career leads, should he pursue it professionally.

Oscar Kennedy’s portrayal of Tom Buchanan was impressive and appropriately conveyed the depth and building tension expected in such a character. At the show’s peak, the confrontation scene between Tom and Gatsby was especially engaging as the pair verbally sparred in front of their friends. The feelings of denial, resentment and turmoil were palpable. I was thoroughly impressed by the way Kennedy explored the highs and lows of Tom’s character and look forward to other works they pursue.

The use of PowerPoint slides proved to be a valuable tool, as the sound and media team used them to supplement scene changes and offer symbolism during monologues. The lighting was appropriately assigned to each scene, aside from what seemed like a momentary blackout during one of the final scenes (the car crash). This scene was also accompanied by sound effects, with the intent to add to the scene. The 911 call recording, however, felt somewhat out of place for the period.

A prior scene, the driving scene in Gatsby’s car, could have benefited from light engine or background sounds, within the knowledge of how loud the cars of the period tended to be. That said, perhaps the director intended the dialogue to be the focus rather than the effects. Overall, the team working behind the scenes did an amazing job and kept up well with the various demands of their roles.

A wonderful night out and a thoroughly enjoyable show that I would recommend for ages sixteen and above, noting some of the few potentially triggering moments (implications of DV, murder and suicide).

Congratulations to the Villanova Players for a fantastic show! The Great Gatsby runs for one more week with sessions:-

  • Fri 21st Mar @ 7:30pm
  • Sat 22nd Mar @ 2pm
  • Sat 22nd Mar @ 7:30pm
  • Sun 23rd Mar @ 2pm

To book tickets to The Great Gatsby, please visit https://www.villanovaplayers.com/plays/the-great-gatsby.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Popcorn Popped Off!

Popcorn

Popcorn Rating

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Popcorn is a satirical black comedy by Ben Elton that proudly makes social commentary while generating many laughs. Directed by Aaron Evans, this production elevated the cynical lens through which we view Hollywood, with inclusions that maximised the laugh factor.

Set in the 90s, we follow the Mall murderers Wayne and Scout as they commit a home invasion of a famous director whose movies mirror their crimes. Tensions escalate and the debate is had, who is responsible for inciting violence, is it the movies that aggrandise it in the first place? With a 90s video rental store inspired set, and soundtrack to match we are easily transported back in time.

Masterful direction meant that the sexual content and violence was handled in a mature and modest way that did not compromise the meaning of the play, or cause extra discomfort for the audience. However, this was in no way an easy ride with tough questions being asked and moments of shock surprising all.

Brittany Bell played the leading role of Scout, the ditzy fun-loving killer girlfriend of the crime couple. Her performance shone through, bringing moments of vulnerability and heartbreak when Wayne (Her Boyfriend) manipulated and controlled her. She also displayed fantastic range, showing us her viciousness when taking control of the situation, and also often providing comedic relief. Bell’s performance was the stand out of the production and she should be highly commended.

Jack Barret brought much energy to the stage in the role of Wayne, commanding the room with intensity. Jack’s take on the character was more aloof and angry than menacing but had great commitment to the role. Michael Civitano played Bruce Delamitri, a Quentin Tarantino like director. Michael brought large amounts of enthusiasm to the stage, often conveying the incredible frustration felt by being the ‘man in the spotlight’. Jason Nash and Robin Vary played well off the cast and had fantastic characterisation in their supporting roles.

Vicki Dwyer breezed through her role as Farrah, the drug-addled soon ex-wife of Bruce. She was excellent, and had great energy which was all channeled into upholding the drunken and selfish personality of her character. The cast generally had a very energetic performance, and great characterisation.

The use of lighting was fantastic, allowing us to flow in and out of news reports, tv segments and drug fueled raves in the mansion with creative use of spots, RGB and blackout. The costume design should be commended for really individualizing each character with a unique style while remaining period accurate.

Overall the performance was well polished and the enthusiasm from the cast was palpable. In the future it would be lovely to see a push for character depth over archetypes in the staging of more black comedies at Ipswich Little Theatre, and the continuity of focus on comedy as this was done well. The entire cast and crew should be commended on a successful show.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Playthings: by Sun and Wine Arts Company

Playthings

Playthings Rating

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2

“Ah, high school—the land of hovering hormones, questionable life choices, and the endless pursuit of social status”.

Brisbane-based Sun and Wine Arts Company recently showcased “Playthings” by Perth-based writer and director Scott McArdle. Raw and unapologetic, Playthings is the story of young teens Lucy and Arnold as they navigate the turbulent reckoning of adolescence. Director and producer Hamish Chappell ensures the heavy subject matter is handled with sensitivity and authenticity.

Rose Swanepoel as Lucy and Dylan Komoff as Arnold play starkly different personalities, yet their vulnerabilities forge an unlikely friendship as they navigate high school and home life.

Rose’s Lucy was endearingly abrasive—her irreverent outbursts morphing seamlessly into moments of unexpected comic relief. She swaggered around the stage with such boldness, you could almost feel her inner turmoil stifling her.

In contrast, Dylan fully inhabits Arnold’s awkward, nerdy persona. His hunched posture, fidgety mannerisms and shuffling stance captured the essence of a teen desperate to have his moment to break loose and hold his ground.

The undeniable connection between the two was very evident to the audience as their shared vulnerabilities brought them together in moments of brutal honesty.

Supporting actors Laura Renee, as teacher Miss Richards and Ben Kasper as Stepfather Rhys, gave context to the story, anchoring it in the structure of school and home life. Yet they each carried their own struggles and past experiences, which added depth to the narrative and complemented the main cast beautifully.

Laura brought a grounded energy to her role as Miss Richards, grappling with her past while showing compassion and kindness towards Arnold, guiding him through an emotional experience. Ben’s Rhys was exceptional as the stepdad eager to connect and trying his utmost to alleviate his strained relationship with Lucy.

Visually, the production used simple sets and subtle lighting switches. This kept the focus on Lucy and Arnold’s stories while also adding a sense of intimacy to the play.

A standout moment for me and a line that loops back to a theme expressed earlier in the play: “Life sucks, Arnold, and people are f#@ked, but you don’t suck!” Resonating with the audience, this statement served to pare back the connection and unspoken understanding between Lucy and Arnold.

Playthings unapologetically peels back the layers of adolescence, the chaos, struggles and the unlikely friendships that make it all bearable.

To learn more about Sun And Wine Arts please visit https://sunwinearts.wixsite.com/sun-and-wine-arts-co

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Australian Open

Angus Camerons Australian Open

Angus Cameron’s Australian Open Rating

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8

The Australian Open is a modern Comedy written by Angus Cameron and directed by Hayden Burke. It explores the dysfunctional and interconnected relationship between a queer couple (Felix and Lucas), and Felix’s family. It incorporates mild social commentary with quick witted humour, creating a character driven story that hits highs and lows in high frequency.

Act One was a riotous time that culminates in the drama of ‘Family Christmas Lunch’. The pacing was excellent, building consistently to this titular moment. The versatility of Sandro Colarelli and Lisa Hickey’s performances must be commended, as they play the bigoted parents who evolve throughout the play. They show much range during their performance, with complete commitment to beats of physical comedy as well as dramatic intensity.

Act two does a tremendous job at showing the effects of the events from earlier in the play, and how each character responds to them. Whilst we get so much diversity and growth from everyone’s characters, they are very human remaining still flawed at the core. The story ends with intrigue and moments of reconciliation which leave the audience feeling uplifted. The comedic timing and tone were excellent throughout.

What this play did exceptionally well was the balance of tension and comedy. There were many moments of drama that built tension, that the audience was left to sit with for a satisfying length before comedic relief burst through. This is a standout take-away, giving the audience a rollercoaster ride of ups and downs, but all wrapped up and delivered as entertainment. This is due to the collaboration between talented actors, a fantastic script and great direction. The set was fairly minimalistic due to the intimate setting but was used most effectively, transitions were covered well never leaving the audience waiting for long. The set design was inventive, using a tennis net as a billboard with lights. I also appreciated the further ceiling lights made to look like tennis balls.

Australian Open is a wonderful character driven comedy that explores queer relationships, self discovery and the merits of eskies. I was overjoyed to see fun and positive representation of many things including BDSM elements and open relationships. The only thing I would’ve liked to see would have been a romantic and uplifting kiss between Felix and Lucas at the resolution of their story, to really drive home the rewarding pay off for those invested in their journey. The Cast and Crew should be commended for a hilarious and sometimes too accurate play. Audiences will have a delightful and engaging time, and shouldn’t miss Angus Cameron’s Australian Open.

Australian Open runs for two more weekends only. To book tickets to Angus Cameron’s Australian Open, please visit https://piptheatre.org/australian-open/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.