The Goat, Or Who Is Sylvia: Chookas Entertainment

The Goat, Or Who Is Sylvia

The Goat, Or Who Is Sylvia Rating

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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.

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The Drowsy Chaperone: Presented by UON Musos

The Drowsy Chaperone

The Drowsy Chaperone Rating

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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.

To book tickets to The Drowsy Chaperone , please visit https://tickets.civictheatrenewcastle.com.au/WEBPAGES/EntaWebShow/ShowPerformance.aspx.

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The Hanging: Maitland Repertory Theatre

The Hanging

The Hanging Rating

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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.

Performance times:

Evenings at 8:00pm:
May: Wednesday 7, Friday 9, Saturday 10, Friday 16, Saturday 17, Friday 23

Matinees at 2:00pm:
May: Sunday 18, Saturday 24, Sunday 25

To book tickets to The Hanging, please visit https://www.mrt.org.au/2025-plays/the-hanging/.

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Cosa Vedranno: What Will They See?

Cosa Vedranno: What Will They See?

Cosa Vedranno: What Will They See? Rating

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‘Cosa Vedranno’ is a Bearfoot Theatre original production and with the first three performances completely SOLD OUT, it is clearly evident that people are intrigued and hotly discussing this new original and thought provoking play. Bearfoot Theatre specialises in original productions and is the leading queer theatre company in the Hunter Region. They are a not for profit company with a mission for producing relevant theatre productions that challenge their audiences.

‘Cosa Vedranno’ was written, produced, directed, and choreographed by the extremely multi-talented Zippie Tiffenright. It is Zippie’s first full-length play and certainly a successful beginning to a long and rewarding career. I greatly anticipate Zippie’s future productions.

‘Cosa Vedranno’ was performed in an immersive art space – The Owens Collective. Upon entering, I was captivated by the incredible and plentiful artworks, displayed on every wall in the quaint, cosy space. This perfectly sets the mood and scene for what the audience is about to behold and experience. I greatly appreciated the immense talent and effort that contributed to these fabulous artworks, including portraits of the four main characters: Lisa, Vinnie, Angelo and Isla.

It was commendable acting for all four of the young actors who were thrown into multi-faceted challenging roles. Lisa, played by Piper Graham, acted superbly and I appreciated their clear, easy to listen to, resonating tone. Vinnie (Mackenzie Thomson) played a complex and evasive character and delivered a solid emotive performance. Alex Giles delivered a powerful performance as the character Angelo and showed the skilful ability to portray numerous perspectives of their complicated character. Isla’s character (Allira Carter) provided a delightful contrast of light and hope in a world of melancholy and anguish and Allira Carter executed this splendidly.

The show utilised a pre-recorded soundtrack which was very professional sounding and poignant. It encompassed some distorted renaissance music and also some original music. The impressive music compositions were by Mackenzie Thomson and Zippie Tiffenright. Daniel Smith accompanied the soundtrack performing live percussion which felt deeply impactful and elevated one’s senses.

‘Cosa Vedranno’ centres around a post-apocalyptic renaissance set in Florence, Italy. New faiths and new ways of life have arisen from a broken world which has been forced to reconstruct itself. It is a homage to the great artists of the renaissance and to the importance of bestilling art appreciation into future generations.

The props were minimal yet meaningful. There was an effective use of cloth fabrics throughout the show cleverly symbolising power, control and submission. The face painting of the main characters was another medium for incorporating art into the show.

Art was the core and essence of the play and at the Q&A Zippie and the cast discussed the importance of art touching multiple mediums of the performance. Interpretive dance, cloth fabrics, communication, visual arts and music were all effectively utilised to create a holistic artistic performance. The venue itself, an art gallery, was a perfect residence to exhibit this truly artistic production.

‘Cosa Vedranno’ is purposefully ambiguous and interpretive, allowing the individual to relate to the work in an individual and personal way. It is a true reflection of art. I was rendered perplexed, wondering and knee-deep in thoughtful discussions about individual interpretations. Is that not the true essence of art?

To book tickets to Cosa Vedranno: What Will They See?, please visit https://www.trybooking.com/events/landing/1357578.

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