Presented by Chookas Entertainment & Insight Acting is undoubtedly a ‘one of a kind’ dark comedy performance. The production was expertly directed by Tim Kemp and produced by Jodie Miller. “The Goat, or Who is Sylvia?” was written by Edward Albee and was the Winner of the 2002 Tony Award for Best Play.
The performance was held at the Civic Playhouse which naturally lends itself to an intimate environment for audience participation and tonight’s performance definitely had the audience engaged, receptive and most definitely gobsmacked.
The cast of four actors displayed utmost skill and seasoned professionalism. They all shone in their own right portraying great conviction and dedication to their characters.
Tony Jozef played the lead role of Martin who has unquestionably become deranged in his newfound sexual desires. Martin is at the peak of an existential crisis as he endeavours to explain his unimaginable love affair between himself and his lover Sylvia – a goat! His unfathomable lust for Sylvia is definitely very unsettling. Tony’s ability to create empathy for his character’s grave misgivings is indeed commendable.
Joel Stibbard gave a solid performance as Ross, the long time best friend of Martin. He portrayed great comradery between himself and Martin and delivered the perfect amount of flair for a TV presenter.
Seventeen year old Billy is played by Clio Vellis who gave a wonderful rendition of a hormonal, confused teenager. Billy is struggling to comprehend newly learnt tragic information regarding his father which leaves him utterly perturbed.
Angela Robertson delivered first class acting in her role as Stevie, the loyal and dutiful wife of Martin. Angela showed unwavering commitment to her role and achieved great audience connection and sympathy to her character.
The lighting by Riordan Munnoch was simple, effective and poignant. The blackouts at the end of each scene were powerful and equally notable was the utilisation of subtle coloured lighting techniques to enhance and mirror the dramatic moments being portrayed on stage.
“The Goat, or Who is Sylvia?” is recommended for mature audiences and for theatre goers who have an appreciation for morbid humour.
It is a deeply disturbing, highly unconventional and controversial play. It explores taboo topics and themes of bestiality and incest that will definitely leave the audiences shocked, perhaps disgusted and definitely talking about it for some time.
The Drowsy Chaperone presented by UON MUSOS at the Civic Theatre Playhouse Newcastle “does what it’s supposed to do and takes you to another world.” The entertaining musical satire was Directed by Louise Barcan and the Production Manager/Music Director was Dean Selem.
The Drowsy Chaperone is set in 1928 and is a parody of 1920s musical theatre. It has a completely nonsensical plot filled with oodles of drama and slapstick comedy. The opening night audience lapped up every comedic line and gave accolades of warm appreciation.
The Choreography by Lilly Grant was perfectly on theme, with great inclusion of famous 1920s dance moves, including the energetic Charleston and plenty of jazzy hands.
To my great delight there was 1920s inspired tap dancing choreography for the musical number “Cold Feets”, which starred Joshua Davies who played ‘the groom to hopefully be,’ Robert Martin. He delighted the audience with his enthusiastic and vivacious tap dancing, as well as his highly entertaining blindfolded roller-blading.
The lighting throughout the performance was timed meticulously and showed great creativity by Michael Conry. It was melodramatic in itself mirroring elements in the musical. The lighting provided cohesion to the plot utilising simple effective techniques for full and elaborate lighting on the ‘imagined musical parts’ and then centring spotlights on Eamon Mahon who performed marvellously as ‘The Man In The Chair.’
Eamon’s acting was absolutely astounding and unwavering throughout, he performed with the greatest of sincerity and pure honesty to his character. His steadfast natural presence and dry comedic responses elevated and unified the entire show.
Vocal director (Rachael Sebastian) produced wonderful harmonies with the ensemble and gave great direction to the lead vocalists as well. A particularly commendable job on the final number “I Do I Do In The Sky,” with a special mention to Trinity Young for her strong melodic vocals.
The leading lady character Janet Van De Graff was delightfully portrayed by Shanaya Budden who rocked the stage with her sultry tunes and dance performances throughout the entire show. I especially loved her vocal performance in “Bride’s Lament.”
Olivia Leathley danced and sang with great finesse as the “Laissez faire” Drowsy Chaperone character. She gave a very enjoyable and admirable performance and portrayed great comedic acting skills. Olivia’s romantic scenes with Aldolpho were definitely some of the highlights of the production. Raphael Teixeira displayed an absolutely hilarious rendition of his zany, romantic character Aldolpho. Raphael showed wonderful comedic acting skills and vocal delivery in his solo number “I Am Aldolpho.”
The quote from the musical “I just want to be entertained, and that’s the point, isn’t it?” is perfectly fitting for The Drowsy Chaperone musical. The abundance of adult humour and witty one-liners, combined with all the flair of the 1920s, ensure an enjoyable evening for all theatre goers.
The Australian backdrop, twisted characters, and a gothic tone. The Hanging, written by Angela Betzien and directed by Aimée Cavanagh is one that all thriller-lovers would hate to miss.
Discover the secrets that surround teenage Iris, her boarding school English teacher, and the detective in charge of finding Iris’ two missing friends. Watch as the characters evolve before your eyes, listen to the dynamic changes in cadence, and experience the horror of the devolving mystery.
With unique stage design, simple lighting cues, and basic sound changes, the actors use little aside from their voices and realistic characterisation to immerse you in their world, leaving you no choice but to focus on the very parts of the play that you may not wish to see.
If forced, I would be hard pressed to choose a star of the show, with all actors giving their very best to the roles given to them, and working together to surprise the audience as they examine the human condition and all that is ugly to witness, yet captivating to see.
With an homage to the classic Australian text ‘Picnic at Hanging Rock’, The Hanging is a play that, while short, is one I can see becoming one for the ages, and the cast and crew at Maitland Repertory Theatre Company did a spectacular job bringing it to life.
Warnings: contains references to drug use, child abuse, suicide, pregnancy, termination, descriptions of gore, and coarse language.
Joining us today is Director Zippie Tiffenright, the creative force behind a wild, post-apocalyptic dive into Renaissance rebirth. Their upcoming show is an original work that blends chaos, beauty and raw imagination. Let’s pull back the curtain and meet the mind behind the madness.
About Cosa Vedranno: What Will They See?
What is this Production about?
‘A post-apocalyptic Renaissance, where young artists rediscover the human condition. The maladjusted reincarnations of Leonardo da Vinci, Michelangelo and those theoried to have been The Mona Lisa, are forced to teach themselves reality, language and creation, with beautiful and terrible results.’
What character are you playing, and what can you share with us about them?
Being a director always feels like playing a role in the show; sewing together the pieces and smoothing it out- guiding the movements and words. It’s a truly beautiful experience; you get to see everything. Making sure the best and worse colours of all the characters get showcased feels so important, in order to achieve that sense of nuance necessary for this play to capture the mind and soul.
What’s challenging about bringing this script to life?
Having written the script also, choosing which parts of the writing process to remember and forget feels vital, and is challenging- what sections of the world must carry through to the stage? What can fall away? How can we still ensure the artistry comes through? We’re thinking of it like an exercise in immersion- submerging ourselves in this world and only coming up for air when it’s absolutely necessary. The venue is an art gallery, the stage feels like an arena that the audience is a part of; the nine circles of hell, hanging on the walls, are the watchers. It’s been about creating an environment for the show, through Renaissance music and sound, cloth textures, air, breath, and voices.
Why did you want to be involved in this production?
The cast have said the strong draw-point for them auditioning for the production is the artfulness of it all. The profound impact such a concept can have just in a sentence, of rediscovery, reversion, and the spark of imagination.
What sort of person is going to love this show?
Any art, drama or language nerds. It started as my Extension 2 English Major Work in high-school, so it’s infused with that desperation and motivation I had to produce something that will last beyond my HSC, and that I could continue developing. I’ve grown up in such an artsy house, revisiting the Renaissance, Vasari’s ‘Lives of The Artists’, Dante’s ‘The Divine Comedy’, artworks, paint and books everywhere; I’m so fortunate that this love for creation has been cultivated within me my whole life. Really anyone who loves creation, freshness, rebirth will love this show. And big thanks to my Italian teacher at school for helping with translations haha.
What will the audience be thinking about in the car as they drive home after this show?
Probably ‘I have to think about this for a bit’. I hope it stays with people, and that they’re able to rediscover new parts each time they recall something from the show. For me, the world of this new Florence (“Floorants” haha) becomes more complex with each passing thought, unravelling and reweaving, like it’s alive itself. I hope audiences can take away the values of the show and overall experience of learning these characters.
What’s going to surprise people about this show?
How young the cast are- they’re so raw and real, it’s like looking through glass at a painting of humanity. The characters they play are barely developed people and they make so many mistakes. Watching these young people leading themselves astray is just such an interesting observative experience, that I hope adolescents can see parts of themselves reflected in, and that adults can be provided with an insight into the developing mind.
How is this production bringing something new to this story?
Being an original work, the play is still undefined, which is thrilling! Bringing a fresh insight to the Renaissance, however, has been fascinating; modernising and mixing, through incorporations of local artist’s work on the set, and face art of natural, beautiful things, along with singing in Italian and English, really brings together the vision of reimagining the Renaissance in a destructive and uncertain world.
Call someone out by name: who must come see this production?
The Medici family: be like them, support the arts haha.
Who has the best costume?
Probably Piper- theirs has turned out really specific to Lisa. She’s embroidered patterns on Lisa’s vest like the character would, and matches the way Lisa’s so uniquely herself, uninfluenced by anyone. We’ve had a really good time making sure each costume reflects the character’s style, and merges old and new world elements.
Who in the show is most like their character?
Alex probably haha, he’s such a sweetheart in real life and we all think it comes through in the show too. Allira is also such a breath of fresh air when she’s onstage; we joke about Isla being the whimsical forest girl that brings a fresh bit of spice to the play.
Who’s the least?
Mackenzie (we hope haha), and additonally, having a woman play the teenage boy version of Leonardo da Vinci is wonderful- the insight she brings to him, while embodying his energy and undeterrable drive is wonderful to see.
Is there anything else you’d like to add?
Thank you for reading! We’re so excited to share this show and can’t wait for opening night (Wed 30th April, 7:30pm).
Where can patrons purchase tickets to this production?
Show Sessions run from Wednesday 30 April 2025 to Saturday 3 May 2025 at The Show Room – Owens Collective, 101 Maitland Road, Newcastle.
Thank you so much for sharing your incredible journey with us. We can’t wait to see the magic you and your talented cast have woven together in ‘Cosa Vedranno: What Will They See?’ Break a leg, and may your show captivate every heart and mind in the audience!
