I Will Never Look At Another Grey Nomad Convoy The Same

Caravan

Caravan Rating

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‘Caravan ” by Donald Macdonald, an Australian writer, was first published in 1984 and reworked in 2000. After a wet week in sunny Brisbane, it was ironic that Nash Theatre opened with a play about a caravan holiday that hits a purple patch.

Firstly, a special mention of the set – wow, every barbie doll owner’s dream – the inside of a full-size caravan with bunk beds, double bed, sink and table and bench seats that took up the whole stage. It really was impressive, a great design that allowed the actors to be in a caravan, brilliant concept. Well done to the design and construction team led by director Phil Carney.

What could possibly ruin a rain-soaked caravan holiday with friends at a nudist beach? The mostly matured audience lapped it up as the high jinks and low spots of 3 couples were played out in the caravan of the Robinsons. Penny and Parkes (who had left the children at home) were joined by childless couple and long-time friends Monica and Rodney and “the Man about town” Pierce, with his latest, younger girlfriend, Gwendolyn.

What starts as a holiday with friends soon gets very complicated as it transpires there are friends and then there are friends with benefits, yup the good old running off with your best friend’s husband plot. The clumsiness of the affairs, the revelations of further affairs are all brought to the surface in this funny tongue in cheek look at the swinging side of caravan life.

Penny aka Phillipa Bowe was the unlikely adulteress and with an air of Mrs Bouquet had the audience chuckling away with her dowdy dress sense, it was at times like watching Susan Boyle flirting with Simon Cowell, very comical and funny to watch.

 

 

But with a husband like Parkes, played by James Hogan no wonder she is looking further afield. The aloof Parkes couldn’t seem to look anyone in the eye as he fussed about his precious caravan, and wanting to run things his way or the highway it did not take much to stir him up.

Gemma Keliher played Monica, mother to 2 fur babies, a sort of Kim character from ‘Kath and Kim” and she played it well. Great bogan voice, stylish dress sense and a downtrodden husband. Her experience as a performer did give her character a very polished edge and she was very entertaining to watch on stage, with mannerisms and interactions with the other characters that led to some very funny moments.

Nathan Seng as Rodney was the most unlikely to have an affair, but what would we know. What transpired was a rather nerdish Casanova adding to the hilarity of the awkward situations the lovers created.

And what group of friends wouldn’t be complete without a good looking rogue which was played by the rather loveable Hayden Sullivan as Pierce. With younger girlfriend in tow, he too harboured secret desires and his youthful and swashbuckling charm suited the character. This is his first appearance with Nash and he fitted right in.

Samantha Herde played a naive Gwendolyn with a sweetness that added a dynamic of youth to the middle age spread of actors. With traits such as twirling her hair and enthusiasm she brought a believability to her character with the audience on her side when the others were giving her a hard time.

Overall, this was a fun way to spend a Friday night – very well received by an audience that may have lived that holiday themselves tsk tsk. Again, congratulations to Phil Carney and team.

Make sure you catch it before it ends on the 6th of June. This friendly community theatre is tucked away in the leafy suburb of New Farm in the Merthyr Road Uniting Church. Lovely area with popular eateries nearby

To book tickets to Caravan, please visit https://nashtheatre.com/.

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Witness For The Prosecution: A Compulsive Courtroom Caper

Witness for the Prosecution by Agatha Christie

Witness for the Prosecution by Agatha Christie Rating

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First staged in 1953, Witness for the Prosecution is an enduring thriller from the Queen of Crime, Agatha Christie, following prisoner Leonard Vole (Reagan Warner) as he stands accused of murdering the wealthy widow Emily French, shortly after being made the primary beneficiary in her will. His fate turns on the testimony of his wife Romaine Heilger (Sandy Adsett) who hatches a plan which sends the proceedings into disarray, perplexing the prisoner’s barrister, Sir Wilfrid Robarts (David Hill) and audience alike; In typical Christie style, suspense ascends certainty, the solution is shrouded until the very end – and we are in for entertaining evening, piecing the puzzle together.

Reagan Warner is animated and layered as Leonard, showing appealing restraint in the role, effectively embodying his character’s very English sensibilities. Leonard is portrayed as familiar, respectable and at least superficially decent – however the audience question their trust in his true character and motivation, with cause for our reservations remaining throughout. David Hill has some fine moments as Sir Wilfrid Robarts, capturing suitable ambivalence with nice rhythm in the witness examination scenes; While Hill strains for his lines occasionally on preview night, his portrayal is nonetheless sympathetic, with the bearing and gravitas required for an esteemed man of the law.

 

 

As Romaine Heilger, Sandy Adsett is enigmatic, eye-catching and thoroughly enjoyable, as we wonder whether she is duplicitous or dedicated. Liz Hull as Janet Mackenzie is another highlight, creating a memorable characterisation, paying fabulous attention to small details such as gait and gesture, turning her supporting role into a scene-stealer. As Greta, Kailan Tyler-Moss is sweetly naïve, bringing some levity to the plot’s more serious business.

Elsewhere, Luke Friedman is a lively study as Mr Myers KC – showing deft comedic flourishes, serving side-eye and sanctimony as he huffily adjusts his horsehair wig. Toby Chittenden is a memorable and commanding Inspector Hearne, David Scholes provides an unflappable and determined Dr Wyatt, with John Grey an assiduous Mr Carter. Wayne Hinton as The Judge, Paul Hynes as Mr Mayhew, Kip Jeffree as Court Clerk and Marisa Bucolo as The Woman each make an impression in their smaller roles.

The costumes look wonderful, the set and sound design are simple, yet effective. Unfortunately, the timing of sound effects is off in parts – i.e., a collective gasp from the jury, which lands about 2 seconds late. I think the jury sound effects could be dispensed with altogether, but if they are retained then tighter timing and smoother fadeouts would benefit. However, such critique is minor as overall Vox Productions have delivered a riveting revival of this compulsive courtroom caper. Hearty congratulations to Director/Producer Nicky Whichelow and the entire Vox Productions team.

To book tickets to Witness for the Prosecution by Agatha Christie, please visit https://www.metroarts.com.au/event/witness-for-the-prosecution/.

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I Can See You, I Can Hear You – But You Are Not Real

Anthropology by Lauren Gunderson

Anthropology by Lauren Gunderson Rating

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What happens when AI and humans combine, who/what is controlling the other.

Anthropology is an ancient science that investigates human diversity, evolution, and social life to understand the “big picture” of what it means to be human.

While theoretical foundations and ideas regarding “thinking machines” existed earlier, the term “Artificial Intelligence” was coined and adopted during a workshop at Dartmouth College in the summer of 1956.

Lauren Gunderson’s Anthropology first premiered September 2023 in Hampstead, England. The American Playwright has a string of popular plays doing the rounds including comedies The Book of Will and The Revolutionists. This however is not a comedy.

When we think of AI we are all familiar with the imagery we can create, and chatbots that interact with us (some even make sense). We watch CSI and Bones; we marvel at the technology they expose us to.

But what about creating a program to mimic loved ones so you can still talk to them and they talk back. Even when they are gone.

 

 

This is a play about a tech genius, a missing presumed dead sister, an ex-girlfriend and an emotionally absent mother. It is full of twists and turns, teetering on the brink of despair and then a landslide back to reality.

Firstly, let me say the set was tremendous and deserves the Matilda this year – designed by Freddy Komp who also brought the computer screens to life. The surreal set had a large corner desk with “working screens” and a functional living room space. The giant screen that seemed to dominate over the room played an important role in bringing the character Angie to life. Simple entrances via the black curtains at the side allowed the actors to enter and exit as if a doorway did exist.

Caroline Sparrow played the tech savvy older sister Merril, of missing teen Angie played by Rose Traynor-Boyland. A tense, distraught character whose grip on reality was slipping. Caroline was able to make this character both vulnerable and strong. The interaction between the onscreen Angie and the distraught Merril was heartbreaking to watch. Angie taunted Merril playing on her emotions while presenting as an AI Chatbot. The switching of characterizations by Rose was seamless. The ex-girlfriend, Raquel played by Vivien Whittle was a perfect choice as the warm voice of reason and human touch to ease Merril away from technology and back to a type of normality and this interplay also gave the audience a break from the tension. Sherri Smith, as the mother gave a believable version of an erratic reformed addict who was emotionally unstable.

The director Nicky Whichelow has brought together an excellent cast and certainly created an excellent piece of theatre. The production was slick, with a marvellous set that complemented the talented cast.

The crew of Zoe Power- sound, Geoff Squires- lights and Hazel Evans as SM, are also to be congratulated for the behind scenes work that helped give this show polish.

While this drama/mystery will appeal to a wide audience if you are a fan of any of the American Missing person/Crime TV shows you will certainly appreciate this work of live theatre.

Running at PIP Theatre, Milton until 2nd May, tickets https://piptheatre.org/2026-anthropology

To book tickets to Anthropology by Lauren Gunderson, please visit https://piptheatre.org/2026-anthropology/.

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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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