Northanger Abbey – An Austen Classic, Reborn

Jane Austen's Northanger Abbey

Jane Austen’s Northanger Abbey Rating

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5

Sallyanne Scotton Moonga has delivered an innovative adaptation of Jane Austen’s Northanger Abbey to Warners Bay Theatre.

Sallyanne, the writer/director expertly produced an original play based on Northanger Abbey with a sagacious amalgamation of The Mysteries Of Udolpho. She has created an ingenious addition of the female protagonist from Mysteries Of Udolpho, Emily St Aubert–essentially an imaginary character seen and spoken to by the main Northanger Abbey character, Catherine Morland. Catherine Morland has become so completely consumed in her Mysteries Of Udolpho novels that she has conjured Emily St Aubert to help guide and encourage her in her day to day life and dramas.

The main character Catherine Morland was played by Isabella O’Brien who delivered a phenomenal performance. Isabella beautifully captured the essence of Jane Austen in her role and transported the audience into the British Regency era. Catherine has an easy listening clear tone that perfectly executed the challenging period dialogue.

Lilly Dougherty burst onto the stage as the energetic and zany Emily St Aubert. Her vivacious and dynamic presence infused the performance with wonderful comedy delivered through an incredible array of dramatic expressions.

Tracey Gordon cleverly doubled as both Mrs Allen and Mrs Morland. Tracy’s acting was flawless, providing utmost authenticity to both of her characters. Alongside Tracy was Peter Vernon who played her husband Mr Allen as well as General Tilney. A wonderful feat by Peter who accomplished a fabulous portrayal of two very contrasting characters: Mr Allen, a sincere and devoted husband, versus General Tilney, stiff, uncompassionate and domineering. With dominating stage presence and an immaculate British accent, Peter Vernon’s presence was a highlight throughout.

Catherine Morland’s dear friends Isabella Thorpe and Eleanor Tilney were both portrayed by Jamahla Barron. Jamahla displayed admirable skill in her smooth transitions between her roles and showed great dedication to her characters.

 

 

A charming performance by Joel Latham who delivered the roles of Henry Tilney and James Morland. Joel was ever fast in his commitment to his characters and gave a solid performance.

Will Cesista was charismatic and entertaining in his roles of John Thorpe and Captain Tilney. He showed great devotion and diversity throughout and in particular I enjoyed his comedic carriage scene with Catherine Morland.

The Costumes by Peta-Elliotte Green were perfectly appropriate to the era accompanied by the ladies’ gorgeous hair styles by Ralf Jorg. Ralf has once again dazzled the audience with his creative brilliance.

The play featured original music composed by Rob Scotton which provided a pleasing background accompaniment. The sound effects were also skillfully and appropriately utilised throughout the performance.

The use of Shadow Puppetry by Ricky Moonga and Sallyanne Scotton Moonga was an enjoyable addition and provided some light hearted comedy. It was unique, playful and pertinent to the show’s content and period.

The Lighting Design by Lyndon Buckley was fitting to the moments of mystery and eeriness and then bright and bold for the vivacious scenes. In particular the candles and lanterns strewn about the stage set a pleasant ambience.

Sallyanne Scotton Moonga’s creative retelling of Jane Austen’s Northanger Abbey is immensely entertaining and remains perfectly attuned to the style of Jane Austen. By masterfully breathing fresh new life into this lesser-known classic novel, Sallyanne and her incredibly talented cast have delivered a thoroughly enjoyable and memorable performance.

To book tickets to Jane Austen’s Northanger Abbey, please visit https://www.eventbrite.com.au/e/jane-austens-northanger-abbey-tickets-1584693724589.

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The Bogong’s Song: A Call To Country

The Bogong’s Song: A Call To Country

The Bogong’s Song: A Call To Country Rating

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3

The Bogong’s Song: A Call To Country at Bangarra Dance Theatre is an ingenious new production developed by Yolande Brown and Chenoa Deemal. It is sure to be another award-winning success following their previous highly acclaimed work Waru – Journey Of The Small Turtle which engaged thousands of children last year. The Bogong’s Song presents a truly unique, culturally significant and entertaining performance.

The inclusion of puppets and shadow puppets was captivating and worked seamlessly with Justin Harrison’s fabulous video designs and projected images. Vanessa Ellis excelled as the puppet master and maker; her expertise elevated and transformed the performance into something unique and magical.

The music by Brendon Boney and Yolande Brown, who was also the songwriter and composer, was atmospheric and illuminating. It perfectly complemented the dance choreography with First Nations cultural influences interwoven beautifully throughout. I immensely appreciated the inclusion of Australian bush sounds and animals and First Nations instruments such as tapping sticks and the didgeridoo. These intricate details highlighted and celebrated the cultural significance of the performance.

The lighting by Ben Hughes and Eben Love allowed the audience to transcend into the dreaming experience with mystical effects and timely poignant moments. Particularly impressive was the green lighting for the grass and the beautiful starry scattered lighting.

 

 

The performers Benjin Maza and Tjilala Brown-Roberts delivered a majestic performance. They both showcased exquisite artistry in their dancing, acting and singing. They showcased the artistic choreography by Yolande Brown which was an eclectic fusion of First Nations influence combined with hip hop and contemporary dance. Benjin wowed the audience with fabulous strength in his acrobatic tricks and tight, clean movements throughout. Tjilala likewise delivered a flawless performance with soft smooth elegance. Benjin and Tijala both excelled in engaging audience participation and in delivering meaningful heartfelt messages and raising awareness to pressing community issues.

The story highlights environmental concerns of Australia’s endangered Bogong Moth. It interweaves fascinating information which will hopefully inspire discussions and awareness to save this admirable insect. The content also delves into unsettling concerns of juvenile detainment and spreads awareness that children as young as ten years old are being imprisoned. This is heartbreaking and our nation can and should do better by our children. There are infinitely superior ways to help children grow and learn to be respectful and responsible future adults.

The performance also highlights our younger generation’s phone addiction and how they are sadly spending less time being at one with the outdoors and nature. They discuss how essential it is to one’s health and well-being to feel grounded to the earth and mother nature.

The Bogong’s Song at Bangarra Dance Theatre is a thoroughly entertaining cultural experience to be enjoyed by all ages.
They beautifully capture First Nations culture in the past, present and future and take the audience on a remarkable dreaming experience. The Bogong’s Song is a meaningful and rewarding performance not to be missed.

To book tickets to The Bogong’s Song: A Call To Country, please visit https://www.bangarra.com.au/productions/the-bogongs-song/.

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I’ll Be Back Before Midnight

I'll Be Back Before Midnight

I’ll Be Back Before Midnight Rating

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5

I’ll Be Back Before Midnight is a tantalising play full of twists, turns and jumps that will have your heart thumping, palms sweating and your skin prickling.

This spine-tingling production is being Presented at the beautifully unique Pavilion Theatre Castle Hill by the talented Castle Hill Players and directed by Ben Freeman.

The play is set in a cosy country cottage where Greg the elusive unsupportive husband, played by Mitch Doran, has brought his wife, Jan for recovery after a long admission in a psychiatric hospital. Jessie Peak as Jan was marvellous at portraying the neurotic self-doubting wife; her fearful and frustrated emotional outbursts were impactful and harrowing.

Greg instigated trouble in his marriage by inviting his sister, Laura, who is despised by Jan, his wife. Mitch Doran is wonderfully convincing in his role as the standoffish, self-oriented husband. Mitch skillfully portrayed the unraveling of his character, unearthing closets of surprising secrets.

Meredith Blee as Laura, the sister of Greg who has come to stay with Greg and Jan at the country cottage, showed great antics and dramatics between herself and both Greg and Jan. Meredith displayed a somewhat teasing and trouble-making character and ‘dug her own grave’ for doing so.

 

 

Jonathon Burt presents our fourth character, George, the owner of the cottage who consistently drops in to spread a dash of hysteria and hysterics. Jonathon was delightfully hilarious as George, delivering witty one-liners in fantastical succession. Jonathon’s comedic delivery and depth of character were fabulously displayed.

With a production team outnumbering the acting cast near 4 to 1, it is clear how collaborative team effort developed such a wonderful theatrical stage adaption. The team seemingly spared no expense and poured endless hours of loving dedication into creating this fantastic production.

The advantageous feats the production team went to in order to make all the ‘magic’ happen—and there sure was plenty of ‘magic’ and special effects—was incredibly admirable. In pursuit of authenticity, they gained police permission to fire a real shotgun with blank bullets to create an authentic live sound and experience. It’s the ingenious creativity and attention to fine details that molded the show into a thoroughly impressive experience.

The stage construction was ingeniously designed to enhance the theatrics, such as the furiously abused kitchen serving window and the shutters which eerily flew open and closed. The artistic design of the living room where the entire play took place was creatively and effectively laid out.

The lighting was fantastic, cleverly simulating cars leaving and arriving through the stage window and the timely light dimming and spotlights accompanying the stage drama. Also notable was the fireplace explosion with smoke and lights and the several feigned power outages which were all executed masterfully.

The numerous sound effects throughout, including the cars, telephone and recordings, elevated the action superbly. The thumping, bassy heartbeats penetrated the audience into a state of unease and anticipation. Additionally, the sinister piano music illuminated the eeriness and contributed to create the perfect creepy atmosphere.

I’ll Be Back Before Midnight is a gripping play packed with a solid, talented cast and a wonderful display of special effects. It will make you laugh, jump, gasp and scream, and leave you tingling with goosebumps. Grab your tickets and enter this welcoming theatre but take heed to “be back before midnight.”

To book tickets to I’ll Be Back Before Midnight , please visit https://paviliontheatre.org.au/ill-be-back-before-midnight/.

Photographer: Chris Lundie

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Macbeth in The Lounge

Macbeth

Macbeth Rating

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1

‘Come You Spirits’ Theatre Incorporated’s production of Macbeth is being performed in the intimate and engaging space of The Lounge at the Concourse Theatre Chatswood. It creates the perfect atmosphere for delivering a truly personable Shakespearean performance.

There was a lovely welcoming message from the cast and they also concluded the performance with a heartfelt message of thanks. Although the actors were not amplified, they were heard clearly due to their perfected voice projection and the nature of the small space. I really appreciated the clarity, articulation and dramatic delivery, which ensured a well-absorbed performance. Shakespeare can often be difficult to digest, as the script is comprehensive, and sometimes players tend to rush through the complex dialogue. However, this was definitely not the case during this presentation. It was engaging and delivered in a timely, dramatic fashion, which had me – and certainly the entire audience- enthralled. The entire cast of six was of the highest professional caliber and all gave a spectacular performance.

Macbeth and Lady Macbeth were played by Charles Mayer and Jo Bloom, who portrayed a natural connection and chemistry on stage. They both brought great emotional depth in their leading role characters and delivered a solid convincing performance.

Charles Mayer displayed the overly ambitious character of Macbeth with great conviction throughout. He showed passion, ambition and then later portrayed the tortured, battered soul of his character.

Jo Bloom delivered the greatest of sincerity to the ever-goading, ruthlessly ambitious, Lady Macbeth. Jo also doubled as the Second Witch and skillfully transitioned between the two contrasting characters.

 

 

Banquo was played by David Halgren, who gave a haunting and eerie rendition of his character. He also showed great skill in his theatrical movements leaping on and off the table and in his ghost-like manoeuvres.

Ciaran O’Riordan’s performance as Macduff was heartfelt and convincing. He portrayed Macduff with all the passion the character deserves.

I really appreciated the well-projected clarity and dramatic delivery of Willa King’s portrayal of the First Witch. Her
resonating, clear vocal tones were deeply impactful.

The homage to our traditional Aboriginal custodians was beautifully and seamlessly interwoven throughout the performance. Ella Havelka, who beautifully portrays the Third Witch, is an alumnus dancer with the Bangarra Dance Theatre and honoured her heritage as a member of the Wiradjuri people by flawlessly incorporating traditional influenced movements in her portrayal as the Third Witch.

The dimly lit setting created an eerie atmosphere for the supernatural elements, which constantly wove throughout the play.
I was particularly taken with the regal, gothic themed dining room staging, complete with lit candelabras, tablecloths and goblets. Also, the staging for the infamous “Double, double, toil and trouble” witches scene, presented with a smoking cauldron and appropriate props was equally striking.

The costuming was very impressive and gave authenticity to the period. It was brought to my attention that the costuming, sets and props were all predominantly sourced second-hand. This is a credit to the Art Director Letitia Hodgkinson who passionately sourced a suitable array of fabrics and materials. Her actions are most admirable and show a great commitment to environmental sustainability, while maintaining a high standard of creativity and artistic sense.

The musical compositions by Brandon Read, music composer and producer, elevated and intensified the performance. The recorded soundtrack was impactful and creatively accompanied the dramatic themes, providing a more full bodied performance.

I would also like to mention the fantastic work of the Lighting technician Adam Applebaum. He made splendid use of spotlights and coloured lighting to enhance themes and poignant moments as well as amplify the eerie scenes.

‘Come You Spirits’’ presentation of Shakespeare’s Macbeth is brilliant and captivating. Their rendition is condensed into a fast paced 90 minute performance centered around six main characters. A highly enjoyable performance with a stupendous professional cast.

To book tickets to Macbeth , please visit https://www.theconcourse.com.au/event/macbeth-in-the-lounge/.

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