Spider’s Web

Agatha Christie's Spider's Web

Agatha Christie’s Spider’s Web Rating

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7

With an impressive 68 years of community theatre under their belt, Pymble Players continue to prove that dedication and passion for the arts only improve with time. From their modest beginnings in a church hall to the professional stage of the Zenith Theatre, it is a delight to see the growth of this theatre association. Their latest production, Spider’s Web by Agatha Christie, is a sparkling reminder of why they remain a vital part of the local arts scene.

Unlike other more straightforward “whodunnits,” Spider’s Web plays with the form. Yes, there is a dead body. Yes, there is a confession. But nothing is ever quite what it seems. And at the heart of this delightfully convoluted tale is Mrs Clarissa Hailsham-Brown, played with charm and verve by the magnetic Chloe Callow. Her performance anchors the entire production, capturing the character’s wit, eccentricity, and emotional depth in equal measure.

Clarissa is the kind of role that demands both comic timing and emotional resonance, and Callow delivers both with ease. She effortlessly draws the audience into her world of half-truths, noble lies, and sharp humour. You believe in her motives, root for her decisions, and delight in her cleverness. Her chemistry with the rest of the cast is natural, lively, and essential to keeping the audience engaged through the play’s layered twists and turns.

The supporting ensemble is equally strong. Each actor brings nuance and personality to their roles. Whether they are allies, suspects, or comic relief, the cast meets the challenge of the play’s rapid tonal shifts — from light-hearted to thriller to heartfelt drama — with impressive dexterity.

Visually, the production benefits from the Zenith Theatre’s intimate yet polished setting. The set design cleverly evokes the classic English country house, complete with secret passageways and hidden compartments, which become almost characters in their own right as the plot unfolds.

Agatha Christie’s script — her second most successful play after The Mousetrap — is as mischievous as it is mysterious. The audience is constantly being led in one direction, only to have the rug pulled out from under them in the next scene. Yet amid the red herrings and clever misdirections, there’s also genuine warmth and humour that keeps the story grounded.

In the end, Spider’s Web is a triumph of style and substance. Pymble Players have once again delivered a production that is professional in quality and generous in spirit. For anyone who loves a classic mystery with a twist, this production is an absolute must.

To book tickets to Agatha Christie’s Spider’s Web, please visit https://pymbleplayers.com.au/tickets-info-now-open.

Photographer: Daniel Ferris

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The Lady Vanishes

The Lady Vanishes

The Lady Vanishes Rating

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3

Celebrating its 80th year in style and in a brand-new theatre space, the Genesian Theatre Company presents – The Lady Vanishes, adapted by Derek Webb from the novel on which the Alfred Hitchcock’s classic 1938 film was based.

This production is a nostalgic and atmospheric journey back to a time of intrigue and stiff upper lips – all aboard a European train where one woman vanishes and everyone seems to be hiding something.

The ingenuity of the staging cannot be overstated. The design team masterfully evokes the confined, shifting world of a train carriage through clever use of sliding compartment doors and evocative soundscapes. Seamlessly moving the action from the dining car to corridor to first class, the production invites the audience to feel like passengers themselves, peering down corridors and eavesdropping on hushed conversations. This immersive approach is one of the production’s strongest assets, providing a dynamic sense of movement and urgency.

 

 

The story itself remains a compelling whodunit, as Iris Carr – on her journey home – becomes increasingly frantic when a fellow passenger, the governess Miss Froy, mysteriously disappears. What follows is a delightful unraveling of truth and deception, as each character’s potential motive for denial (or deceit) is revealed. The play cleverly engages the audience, turning us into sleuths trying to piece together the puzzle.

Tonally, however, the production feels somewhat uneven. Some actors leaned heavily into broad caricature, while others remained grounded in more traditional realism. This dichotomy occasionally pulled focus from the central tension of the plot.

That said, several performances stood out. The sister duo Evelyn and Rose brought genuine laughs with their dry wit and impeccable timing, while Mrs Barnes was a wonderfully nervous delight. In the central role, Iris Carr shone brightest when allowed to play her role with sincerity and emotional depth.

The Lady Vanishes is a joy to watch and the Genesian’s new theatre space is a fitting stage for this lively, imaginative production – a celebration of the company’s legacy and a testament to the enduring power of classic storytelling. Here is to 80 more years to come!

To book tickets to The Lady Vanishes, please visit https://www.genesiantheatre.com.au/.

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Spanish Film Festival: El 47

El 47

El 47 Rating

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1

The timing of the Spanish Film Festival could not be better, as Sydney plunges into winter, the warmth of the stories, the sun drenched cinematography, and the hot stories from Spain, are truly what the soul needs.

One of the stand outs of the program is the critically acclaimed, multi award winning film about a humble bus driver in charge of route 47 in Barcelona. Little did I expect to be so emotionally moved by a story about a bus driver! But what Manolo stands for is much more than his job, his bus route or career. He comes from a suburb on the outskirts of Barcelona, where each house was built by hand, brick by brick, by Spanish refugees escaping the impoverished and corrupt Andalusian and Extremaduran communities.

Even though the locals bought the land in the Torre Baro district with their own money, they have lived for years as second class citizens of Barcelona, with barely any access to running water, paved roads or political representation.

When Manolo, driving for the city Transport Services, sees the neighbourhood losing its young people, with his own home beginning to crumble away and his wife begging to move away, he decides on one last act of rebellion. After all other politically correct avenues fail – he decides to hijack his bus and take it up to the suburb which politicians labelled unreachable.

The beautiful subtlety of the main actor tugs on the heart strings as you witness what one man’s act of rebellion can achieve. Too often we are told one ‘man’ cannot achieve anything against the ‘greater machine’ but in this true story, that one man’s act of rebellion changes everything!

I stand with Manolo! I want to hijack my own proverbial bus and make a change for the better.

Follow this link to book tickets to El 47 or any other Spanish Films Festival showings @ https://spanishfilmfestival.com/.

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The Anarchy 1138-53

The Anarchy 1138-53 Rating

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3

The Anarchy 1138-53, presented in KXT on Broadway, is like walking into a narrated RPG walkthrough that spans levels of anarchy, death and destruction!

The stage is a mirrored walkway where the mirror is at once a reflection in water as you travel through the oceans on an imaginary boat before becoming the beach where you are shipwrecked, as enemies swoop in, dragons fly and various characters aim to destroy you.

The imaginary RPG campaign you find yourself in is set in Britain, or another dystopia where anarchy prevails and suffering is a plenty – this is the ‘Crossworlds Universe’, narrated by two hyper-verbal guides whose stamina is as relentless as their script.

While in regular theatre productions the actors play out the scenes, in this play it is mostly just narrated, with moments of re-enactment and audience interaction being a much needed respite from the tyranny of the spoken words that flow out of both actors at astronomical speed.

As the story progresses you from the ‘tutorial’ and through the myriad of ‘levels’, it becomes one level too many, and this 135 minute no interval play, begins to resemble a notoriously long boss fight—technically impressive but emotionally numbing.

Though the dark, punk world the play creates is intriguing and the production is inventive and daring, the overall experience is somewhat languished and the script feels a little too self indulgent.

Sometimes some levels are best left sans walkthrough, for the gamer to navigate, even if that means dying and respawning a few times.

To book tickets to The Anarchy 1138-53, please visit https://events.humanitix.com/the-anarchy-1138-53.

Photographer: Skye Gellman

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