We Are Not Wagging Our Finger At You… Yet

'Scenes from the Climate Era' by David Finnigan

‘Scenes from the Climate Era’ by David Finnigan Rating

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Last night I attended Underground Theatre Co’s production of “Scenes from the Climate Era”, written by climate activist and theatre maker David Finnigan.

I went in cold; I didn’t know anything about it. I recognized a few of the actors, I knew the venue and I expected it to be heavy and probably depressing.

It was heavy and intense. Most I agreed with, some scenarios just annoyed me, but the important and impressive thing is I was invested and reacting with my thoughts and emotions.

This play is about past climate crises and possible future crises. Giving scenarios in first person from actual events or possible events. Cyclones, fires, heat waves and human reactions. Climate change is complex, chaotic and not a quick fix.

The Geoffrey Rush Studio is under the old Schonell Theatre – closed since 2021 while UQ work out what they do with it. But luckily for UTC the studio is available to them and is an intimate space with tiered seating and ample room for a flat or raised stage.

The set was kept simple – white and black chairs lined up at the edge of the stage, a white and black table to be both table and raised podium, a backdrop that was back lit to create imagery from the actors and atmospheric conditions.

 

 

The lighting was simple but used well to set up different scenarios, as was the use of sound. With such a simple set and no costume changes the use of these could have been even more predominant without overpowering the actors or storyline.
You could tell the creatives were all passionate about this play and all gave an emotive performance.

The 8-member cast of Cullyn Beckton, Ava Kozlovskis, Lara-Kate Anderson, Abigail Thomas, Loretta Melit, Miller Braithwaite, Ruby Gleeson and Georgie Falting are all to be congratulated along with 12 creatives led by director Jai Bofinger rehearsed and brought this to production in only 7 weeks. There are 65 scenes to cover a range of human emotions and experiences.

This is a journey that invites you to listen to the danger of climate change from sharing and witnessing experiences with the actors on stage.

It runs for 90 minutes, and an interval would have given the audience a reprieve from the intensity and a chance to catch up with all the information. In saying that the actors were totally committed and an interval may have derailed the emotions and pace of the play.

Did I enjoy it you may ask. I often question my choices when thinking of the effects on the climate. My recent Shein purchases, takeaway plastic containers – this play set out to remind me that we are all part of the solution. But did I enjoy it.
YES – because I like being challenged and i was entertained. This play would not have been on my radar but as I had never seen or heard of it or the playwright, i was curious, and i was not disappointed. For further research and information look up the writer, David Finnigan, he is an interesting character himself.

It runs until the 25 April, tickets on Trybooking.com $20-$35

To book tickets to ‘Scenes from the Climate Era’ by David Finnigan, please visit https://www.trybooking.com/events/landing/1560499.

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Romeo & Juliet – An 80s Reimagining!

Romeo & Juliet

Romeo & Juliet Rating

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St Luke’s Theatre Society’s adaptation of Romeo and Juliet reimagines this timeless Shakespeare tragedy with an 80s backdrop: the iconic decade that shocked our senses with a mixtape of neon colours and bold prints, leg warmers, lycra, big hair and rebellious youth culture.

Assuming not all are familiar with the storyline, Romeo and Juliet fall deeply in love despite their feuding families. Their secret relationship and plans go awry and lead to an untimely tragedy that finally compels the two families to reconcile.

If you’ve not had the luxury of surviving this decade, the question arises: why the 80s? The rebellious pop culture and emotionally defiant spirit of this decade echo Romeo and Juliet’s determination to follow their love despite social rules. U2’s song ‘With or Without You’ is just one example of a music transition used to reflect the pain of loving someone in impossible circumstances.

The Director-June Balfour takes us on this 80s inspired journey transitioning scenes with aptly chosen songs, often tongue-in-cheek, revisiting music icons such as Tears for Fears, Madonna, INXS, and Queen.

Nestled in the grounds of St Luke’s community church is a modern performance space. Sound production effectively delivers the dense prose often found in Shakespeare plays. A central revolving platform was used to alternate between Juliet’s bedroom and other locations including Romeo’s quarters. Utilising the centre aisle and steps as an entry and exit point for actors, cleverly extended the performance space creating a more intimate and immersive experience.

 

 

The portrayal of Romeo was delivered strongly by Lachlan Gregory Hugh, his mastery of the Shakespeare script effortlessly showing light and shade. Romeo’s footy-loving cousin Benvolio (Giorgio Impiccini) played his role with gusto and high levels of energy, bringing the scene to life wherever he went. Madelyn Scott’s commitment to the role of Romeo’s friend Mercutio brought clarity and meaning to the witty wordplay of Shakespeare.

Lillian Dowdell earnestly portrays Juliet bringing a quiet confidence to the role. The dynamic between Juliet and her Nurse was engaging and playful, their banter evoking much laughter from the audience. Ellie Bickerdike, as the bawdy touchy-feely nurse, leans into the role so much it’s bordering on cringeworthy.

The costuming showcased the hyper-coloured boldness of 80s fashion. Using set props like a Walkman and a gremlin plushie were fitting nods to the decade. I particularly liked the inclusion of Juliet’s drop-waist wedding dress!

While well-intentioned, the 80s tracks to transition scenes sometimes disrupted the mood, creating a disconnect with the story. The attempt to blend upbeat 80s music as light humour with the emotional volatility of the play occasionally interrupted the momentum, ultimately causing certain moments to fall flat.

Overall, the production succeeded in highlighting the timelessness of Shakespeare’s story. While it made bold use of 80s fashion and music, the theme was more decorative than immersive, still offering enjoyable relatability and engagement with the audience. This connection was further enhanced by creative staging and strong performances.

Romeo and Juliet is showing at St Luke’s Theatre Society, Brisbane until the 28th March. For tickets go to:
https://stlukestheatre.asn.au/

To book tickets to Romeo & Juliet, please visit https://stlukestheatre.asn.au/.

Photographer: carpediam.ink

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The Many Faces Of Sherlock Holmes

A Night Of Sherlock Holmes

A Night Of Sherlock Holmes Rating

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Nestled in the burbs of New Farm is a church and in that church is the very vibrant Nash Theatre. Each year they produce a radio play – well, extremely well.

A simple set with actors dressed appropriately for the era (1930’s), mircrophone stands at the front of stage and the ‘On Air’ sign glowing with the “Applause” sign lighting up to remind you that you are part of a studio audience – it is marvelous.

But best of all is the live action foley – set up along the back of the stage were three foley artists and I have to say, the horses and carriage sounds – spot on. Congratulations to Mark Corben, Lara and Emma Latham who entertained us with their enthusiasm, facial expressions and creative techniques – yes, I am still giggling at the Baboon.

I often listen to the Sherlock plays on Spotify and I was pleasantly surprised to hear a new one among the mix; ‘ The case of the Blue Carbuncle ” – hilarious. With the actors playing a range of characters from the vagabond thief to the well educated Sherlock and Watson.

Presenting old time radio shows is a great way to entertain an audience without elaborate sets. The stories rely on the actors ability to react appropriately without props, and once again, director Jason Nash has produced excellent work. The American and English accents on the whole were consistent and added to the believability you truly had stepped back in time to the 1930’s.

 

 

The roles of Sherlock and Watson were shared amongst the cast which took each story to a different era and there were some interesting accents. Caleb Hocking’s Watson accent for “A Scandal in Bohemia” was definitely unexpected but very humourous and Bruce Edgerton has definitely found his niche with the different characters you find in radio plays. King of Bohemia suits you Bruce.

Radio plays have advertisements and the cast brought these to life very much reminiscent of an era where entertaining folks was simple and mixed with a good dose of humour.

The actresses on stage, Sandy Adsett, Jenny Bonney-Millett and Kiah Latham were immaculately dressed and authentic with their characters, it definitely was a more glamourous era. Bright red lips, pearls, diamonds, heels and furs, they each delivered applause worthy performances and it is a joy to go to a play where you can hear what people are saying – great diction, accents and expression.

The first story, ‘The Adventure of the Speckled Band,” was delivered with the emotion and mystery that set the actors up for a great show run, drawing in the audience and giving us all the shivers at the end. The stories were broken up by the jingles, which also offered great entertainment.

So if you are looking for good quality well priced entertainment here it is, take along a friend and enjoy the show.

Show runs until the 14 March, at Nash Theatre 52 Merthyr Road, New Farm

Tickets via Trybooking – https://www.trybooking.com/events/landing/1490448

To book tickets to A Night Of Sherlock Holmes, please visit https://nashtheatre.com/.

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Murder Incorporated: An Unfailingly Entertaining and Giddy Good Time

Murder Incorporated

Murder Incorporated Rating

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Murder Incorporated is a rib-tickling revival from Mayhem Theatre Australia, following the exploits of two newly minted assassins who lied about their criminal credentials to pocket a paycheck, and the hijinks ensuing when their deceit is detected and they are forced to accept an ultimatum.

This fast-paced farce is written and directed by Amanda Harrison, an award-winning comedic playwright, who employs clever wordplay and frequently breaks the fourth wall with meta commentary and intentional production ‘mistakes’, in a true comedy of errors. While light-hearted, this comedy is carefully crafted; I especially enjoy how the show’s pacing and audience’s perspectives are manipulated in creative ways for a heightened, dizzying, almost drunken effect – which is enhanced on my account due to mild oxygen deprivation from laughing so much.

The engaging ensemble cast each make their own colourful contribution; Sean Wilson struts his stuff as Sacha Von Stabbington, a role he reprises from the original production. Wilson has excellent comedic instincts, and posture for parody. Stephanie Collins is a delight as Chad Der Villian, showing fine characterisation and range, as a performer also known for playing ingénue roles in musical theatre. As an aside to the main narrative, Collins gives us a couple of bars of Schubert, which are sensational. Wilson and Collins show nice connection and synchronicity together, with sharply timed delivery and natural interplay.

 

 

Sam Hoepner brings commanding voice, bearing, and some brut as Markus Murder Jr, which lend well to his characters slightly inept villainy, nicely embodying both the sinister and slapstick. In the Swing Role, Dylan Clevens is hilarious, assuming multiple personas with fierce physicality and deft adaptability, while Ridley Paulsen is well utilised as the Stagehand, self-deprecating and wryly humorous, while taking on the very practical role of keeping the ‘splatter zone’ protected for cast and audience alike.

Mention is also due to Gaige Harrison, for his creditable work in stage and tech management.

In conclusion, Murder Incorporated is a successful spoof that comically creates an unpretentious and intoxicating theatre experience. The play’s sensibility is silliness, but it is done in the absolute best way; I do not remember the last time I laughed so much, a response reflected by the audience members around me. While the Pip Theatre Studio’s columns cause minor sightline obstructions, the compact venue was an otherwise effective space that added immediacy and helped to highlight the madcap and chaotic tenor of the tale, which is itself an unfailingly entertaining and giddy good time. Highly Recommended.

To book tickets to Murder Incorporated , please visit https://piptheatre.org/murder-incorporated/.

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