Posh: Presented At The Old Fitz

Posh

Posh Rating

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5

“Boys will be boys”—a phrase as old as time, and in Posh, it becomes both a celebration and a condemnation. From the moment you step into the theatre, you’re transported into the opulent, eerie calm of a private dining room in a British house. A long table is laid out for ten, gleaming with anticipation. But this isn’t any dinner party—it’s a resurrection of legacy, a night with The Riot Club.

The play, penned with sharpness and nuance, builds its tension masterfully. We wait with bated breath for the dinner to begin, as the lore of past debauchery—smashed chandeliers, demolished rooms—echoes through stories of old. This elite society of British best and brightest has long thrived on mayhem masked as tradition. But in the present, their antics have come under fire, forcing them to tread carefully. This dinner is meant to be their ‘resurrection’.

The cast is nothing short of magnetic. Each actor carves a distinct identity, from the naive newcomer brimming with excitement to finally earn his seat at the table, to the lewd over sexualised brute who arranges a prostitute as entertainment. The chemistry is palpable; the banter quick and witty. You find yourself drawn in, laughing, charmed by the absurdity, even wishing for a moment you were part of the mayhem. There’s an undeniable allure to their camaraderie—rituals that bind, jokes that exclude outsiders, a shared past that feels bigger than all of them.

But that’s where Posh truly shines—luring you into complicity before ripping away the curtain. As drinks flow and inhibitions fall, the evening spirals. A dark undercurrent emerges: a generational rage, the resentment of young aristocrats who believe they’ve been muted in modern Britain, where privilege is no longer applauded but looked down on. Their descent into violence is shocking yet all too believable. And when the inevitable consequences arrive, the final twist cuts deep—money shields, privilege prevails, and accountability is artfully dodged. A crime becomes a credential.

What makes Posh exhilarating is not just its pace or wit, but its layers. It’s a play that makes you laugh, then makes you uncomfortable for having laughed. It seduces, then indicts. Director and cast navigate these shifts with precision. The set design and costumes are elegant and old-world-like —a perfect metaphor for the world these boys inhabit, symbolic of the class system that has existed for generations. And the writing is as clever as it is cutting, never veering into caricature but instead painting a disturbingly real portrait of entitlement unchecked.

In a landscape where theatre often grapples with contemporary questions of identity and power, Posh stands out. With only two female characters, it doesn’t pretend to be balanced—it chooses to focus, with almost clinical scrutiny, on the male diaspora. It shows us men in their glory, their chaos, their fear, and their failure.

Posh is not just a play. It’s an invitation to the table, then a rude awakening.

To book tickets to Posh, please visit https://www.oldfitztheatre.com.au/posh.

Photographer: Robert Catto

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The Children’s Hour

The Children's Hour

The Children’s Hour Rating

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2

What damage can one lie do?

Can it ruin lives? Destroy relationships? Tear apart businesses? Or even cause death?

In The Children’s Hour, one girl’s lie causes all of the above.

The play, based on an actual 1810 court case in Scotland, presents a gut-wrenching and emotional story of a cruel and manipulative student who fabricates a tale of a lesbian affair between her two school mistresses. The fallout is catastrophic—lives are destroyed, trust is shattered, and a community is torn apart.

First performed in 1934, The Children’s Hour remains strikingly relevant today. Its exploration of human nature touches on themes we still face: the cruelty of a lie, the vulnerability of truth, and the devastating consequences of a malicious word.

The characters are people we have encountered at some point in our lives—from a young girl desperate for attention at any cost to a grandmother trying to spoil her grandchild and women trying to create a future for themselves, only to be cut down before they get there.

 

The strength of the play lies not just in the harrowing story but in its perfectly cast ensemble. The entire cast is extremely strong, with raw emotion and realistic portrayals bringing each character to life. Special mention would have to go to the three generations of women: the conniving Mary, played by Kim Clifton; the wronged school mistress, Martha, played by Jessica Bell; and the matriarch grandmother who unwittingly sets the lie free into the world, played by Annie Byron.

By the time the final curtain falls, the severity of the play’s message lingers in the air as you exit the safety of the theatre walls. The Children’s Hour forces the audience to confront the consequences of dishonesty and the fragility of truth. The question remains: would you ever lie again, knowing the damage it could cause?

The Children’s Hours runs until the 1st of March, this powerful production is a must-see. Don’t miss it.

To book tickets to The Children’s Hour, please visit https://www.oldfitztheatre.com.au/the-childrens-hour

Photographer: Phil Erbacher

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Old Fitz Theatre Presents: Pride and Prejudice (An Adaption)

Pride and Prejudice

Pride and Prejudice Rating

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9

Mirror mirror on the wall, who is the most eligible sister of them all?

In an uproarious reinterpretation of Jane Austen’s Pride and Prejudice, this bold and comedic staging brings the iconic family drama to life in a setting as unexpected as it is delightful—the last surviving pub theatre in Australia. The play, set against the backdrop of a family teetering on the brink of financial ruin, centres on the age-old dilemma of marrying off daughters to wealthy suitors. Yet, in a fresh and dynamic twist, every character—rather than just the heroine, Elizabeth—takes centre stage in their own right.

This production’s brilliance lies in its ensemble cast, which delivers such an impeccable balance of humour and nuance that it’s nearly impossible to pick a standout performer. Each actor shines, feeding off the energy of the others in a masterful display of comedy and wit.

Special mention must go to AJ Evans, who plays the frenzied matriarch, Mrs. Bennet. His portrayal is a riotous blend of manic energy and unfiltered desperation, offering some of the evening’s most laugh-out-loud moments. Evans’ comedic timing, coupled with his ability to morph into a character consumed by a single-minded obsession with securing the daughters’ futures, steals the show.

 

The play’s minimalistic set allows the actors to shine, while clever costume changes and seamlessly executed scene transitions keep the action flowing without missing a beat. You can’t stop laughing and smiling through the performance as it takes you through formal dances, garden appreciation walks and many formal scenes with a reverie of a “bogan” country bumpkin family attempting to snare the big kahuna.

While the dreamy Mr. Darcy remains a figure of quiet earnestness, his stoic presence is overshadowed by the relentless charm of the surrounding characters. The play cleverly balances these serious moments with a playful irreverence that breathes new life into the familiar story. Even the stiffest of characters find their moments of absurdity in this delightful reimagining.

In the end, it’s happily ever after for everyone, bars Mary, the ugly duckling of the family, and it’s impossible not to leave the theatre grinning, still chuckling in a posh English accent. It’s a joyous, uproarious ride from start to finish—one that offers a new lens through which to enjoy a beloved classic.

To book tickets to Pride and Prejudice, please visit https://www.oldfitztheatre.com.au/pride-and-prejudice

Photographer: Phil Erbacher

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Mother and Son: Presented By Hunters Hill Theatre

Mother and Son Hunters Hill Theatre

Mother and Son Hunters Hill Theatre Rating

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2

Mother and Son, a masterful stage adaptation of the beloved 1984-1994 TV show, opens in a stereotypical living room of a household that’s been lived in for 50 years.

Maggie, an elderly woman, precariously balances on a ladder, struggling to change a lightbulb. Before disaster strikes, her son Arthur returns home, reminding her with a mixture of exasperation and affection that he had already taken care of it earlier. This seemingly trivial exchange sets the tone for a play that deftly balances humor with the emotional weight of caring for a loved one with dementia.

From the outset, it’s clear that the mother and both sons casting is impeccable. The chemistry between mother and son, be it the eldest – Arthur, or youngest, Robert, and between the two brothers themselves, is nothing short of magical. The family dynamic is all too relatable, with one son being the favourite, despite never actually doing anything to help, while the other being the unsung hero, living with the mother and dealing with the every day, only to feel guilty to take some time for himself. It’s a dynamic many families will recognize, and it provides plenty of comedic moments laced with tenderness.

 

The script shines with authenticity, navigating the fine line between comedy and drama. The humor is sharp and relatable, never diminishing the emotional gravity of the situation. The everyday absurdities of caring for an elderly parent are captured brilliantly, from Arthur’s constant guilt to the quirky moments of Maggie’s fading memory. One particularly hilarious and universally relatable touch is the series of voicemail messages left by telemarketers on Maggie’s answering machine, offering everything from cheap electricity deals to vitamins — these clever scene change breaks are both funny and poignant, capturing the absurdity of modern life while highlighting the isolation of the elderly.

The direction is flawless, creating a space where the audience feels like they’re watching their own family dynamics unfold. In dealing with such a delicate subject as dementia and caregiving, the production manages to be both respectful and remarkably entertaining. The adaptation, transitioning seamlessly from television to stage, introduces the beloved characters to a new generation while allowing long-time fans to relive the magic.

As the curtain falls, you are left wanting more. Is there a sequel? I already forgot.

To book tickets to Mother and Son, please visit https://www.huntershilltheatre.com.au/

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