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Nicolas Altstaedt And Thomas Dunford

11/08/202610/08/2026 Catherine Wright🌟🔥🎭

Nicolas Altstaedt And Thomas Dunford Rating

★★★★★

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The chemistry between Nicolas Altstaedt and Thomas Dunford was evident on an empty stage on Saturday night. The audience was ready for Altstaedt’s known technical style combined with Dunford’s virtuosity and for a conversation between a cello and a lute. We were immediately transported back to the Renaissance age with Marin Marais. Somewhere in Spain, Portugal or France, silk full skirts were rustling as courtiers palms met in a measured dance in an opulent room of gold and blue. The dexterous fingers of Dunford played a bell-like melody which was answered by Altstaedt’s honeyed tones as the notes lingered in the air.

La Leclair changed the tempo as a fiery melange of fast rhythms left a crackle of passion reflecting the composer’s known volatile nature. Then the audience was left alone with Dunford’s arrangement of Bach’s Cello Suite no 1 in G major with a display of the classic intricate technical perfection demanded by a maestro.

A return to the court of Versailles with more Marais’ Fete Champêtres offering a graceful dance and then a passionate Spanish piece allowing both musicians to move through the intricate ornamentation with speed and panache. Glimpses of a palace garden party came to mind with musicians playing delicately.

After the interval, Altstaedt sat down for Bach’s Cello Suite No 5 in C Minor, a piece written especially for the cello allowing the instrument to really sing. Sombre notes and a melancholy mood were combined with nimble playing from Altstaedt. For music aficionados, research the analysis of each movement and the techniques required, for the audience, it was a time for reflection and thought.

We returned quickly to pared down harmonies with Pärt’s Spiegel Im Spiegel, followed by Duparc’s Cello Sonata in A Minor. We returned to Marais’ courtly world with Le Voix Humaines imitating the inflexions of the human voice with a sombre elegance with cello and lute weaving between tones.

Marais’ Grand Ballet was all Baroque elegance testing each instrument and musician with showy ornamentation, bold gestures and complex bowing techniques required. It is a theatrical piece designed to be grand and majestic and it was.

The finale of Le Tourbillon was in the title, a whirlwind of virtuosity with a conversation moving to a debate between the cello and lute, ending in a flourish.

The audience was treated to a post-conversation with both Altstaedt and Dunford but the music said as much and was all that was needed.

To book tickets to Nicolas Altstaedt And Thomas Dunford, please visit https://www.musicaviva.com.au/concert-season/2026/nicolas-altstaedt-thomas-dunford/.

Photographer: David Cox

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Unicorn Girl

12/08/202610/08/2026 Natalie Rees🌟🎭

Unicorn Girl Rating

★★★★★

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Madelaine Nunn’s Unicorn Girl is a quirky and heartfelt coming-of-age story exploring identity, friendship and the responsibilities that come with leadership. Under the direction of Rhiannon Thomas, John Wollaston Anglican Community School’s production embraced the humour and heart of the script, delivering an enjoyable evening of student theatre.

In the interests of transparency, I came to this production with a particularly close understanding of the material, having recently directed Unicorn Girl myself at Santa Maria College. This was, in fact, part of my interest in seeing another school’s interpretation of the work. Having worked intimately with the script, I also appreciate that Unicorn Girl is not necessarily an easy play to stage. As a relatively new ensemble work with a large cast and limited opportunities for traditional set, it asks a great deal of both director and performers—although finding inventive solutions to those limitations can also be part of the fun.

Leading the cast as Sam, Alexis Atkins gave a warm and engaging performance, bringing an endearing quality to the title character. Her strong vocal projection ensured Sam’s journey remained easy to follow.

Among the supporting cast, Victoria Moyo delivered a confident and energetic performance. Ash Ulerick also made a memorable impression as Lee, with thoughtful vocal choices—including a subtle accent—that gave the character an appropriately slimy, slightly gangster-like quality.

Lila De Sena impressed with her versatility across multiple roles, particularly as Principal Higgins and one of the office ladies. She brought a lovely, bright energy to the stage, complemented by clear diction and strong vocal projection.

One of the production’s greatest strengths was its embrace of theatricality. The inclusion of original songs, composed by Sophie Albury, was a fun and unique addition, creating opportunities to bring the ensemble together and giving this interpretation its own identity. Creative staging choices also stood out, particularly the imaginative use of ensemble members’ bodies as pieces of the set—at one point, quite literally becoming a table. These moments added visual interest while keeping the larger ensemble actively involved in the storytelling. The decision to cast Archie Richards as Mum was another playful choice that suited the production’s heightened comic style and demonstrated a willingness to have fun with the material.

There were, however, moments where confidence wavered, with some uncertainty around lines occasionally interrupting the flow. More significantly, the overall energy and momentum softened through the middle and particularly towards the latter stages of the production.

Having recently worked with the script myself, I think some acknowledgement must be given to the material here. Unicorn Girl becomes quite dialogue-heavy and, in my view, somewhat overwritten towards its conclusion. There are sections that could benefit from substantial tightening, and sustaining energy through these passages presents a genuine challenge for both young actors and their director. Greater pace and confidence through these later scenes would nevertheless have helped maintain the momentum established earlier and strengthened the production’s final impact.

Despite these moments, the cast’s commitment was evident throughout. Unicorn Girl provides an accessible vehicle for a large school ensemble, giving young performers opportunities to explore comedy, character work, physical theatre and collaboration, and this production embraced those opportunities with enthusiasm.

School theatre is about far more than delivering a perfectly polished performance. It is about building confidence, developing creativity, taking risks and giving young people the opportunity to experience the joy of making theatre together. John Wollaston Anglican Community School’s Unicorn Girl embodied that spirit. The evident enjoyment of the cast, some inventive directorial choices and a strong sense of ensemble made for an entertaining evening. The cast and student technical crew should be commended for bringing this challenging and vibrant work to the stage!

To book tickets to Unicorn Girl, please visit https://www.trybooking.com/events/landing/1553471.

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We Were Only Joking, My Dear

10/08/202610/08/2026 Virginia Gray⭐🎭

The Murder Room Rating

★★★★★

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“The Murder Room” is currently on at the New Farm Nash Theatre. This comedic farcical play is directed by Sharon White, known for her Agatha Christies productions. It was originally written in 1977 by Jack Sharkey, an American author who had over 80 plays published, a prolific catalogue of novels and articles appearing in Playboy.

Once again, the hard-working committee and members of Nash Theatre have presented us with a simple yet functional set, modestly decorated but with tricks that reveal as the play progresses. Sound effects are well used adding to the believability of a large home.

An array of costume changes for the ladies kept us guessing the era but did not distract. The gentleman gave a Great Gadsby vibe noting the smoking jacket, the knitted vest and the Bobby costume or maybe Doc Martin.

The cast all complemented each other in this farcical production that was filled with corny one-liners and comebacks. The over-the-top expressions and actions entertained the audience who rewarded the actors with constant laughter.

John Mann played two characters. Distinguishing between them with the help of a wig, a moustache and accent. Firstly, as the upper crust gentry Edgar Hollister newly married and gullible inventor to reappear as the bumbling slow-witted Bobby. Creating two funny and awkward characters.

Philippa White played Mavis Templeton. The conniving, manipulative Gold Digger. Who in the very opening scene gives the impression that she has killed her new husband, Edgar. From there we are led on a merry chase – of is he or isn’t he dead?

Philippa plays the part with great conviction, facial expressions and comedy.

The housekeeper, Lottie Malloy, played by Robyn Stumm was always chipping in, adding her two cents worth, whether it’s invited or not. The comical aspect of this was rather like a Laurel and Hardy or Charlie Chaplin character with noise.

Jonathan Knox came in as the inspector, but actually was the red herring. His tall physique and interrogational manner suited the role very well. Lulling us into a false belief of his involvement until the end. Again a talented actor with great stage presence.

When Edgar’s daughter Susan appears with her new fiancé, we are introduced to two more characters, adding further comedic opportunities. Madeline Scott played the rather ditsy, naive character, who innocently drops hints and clues as what was going to happen and how throughout the play. Her mimicking of Mavis’s facial expressions added to the comedy.

Drew Russell playing Barry Draper, had a great American accent to distant himself from suspicion as the newly engaged fiancé to Susan. A millionaire about to marry into the landed gentry. He was like a calming anchor for the play. Drew held this character together very well when all was going to pieces around him, playing the straight guy is a skill.

The play overall relied on quick comebacks with fast-paced banter. Which the cast mostly achieved. The choreography of the lights on, off scene was very well done.

The play went for two hours 10 minutes, including interval, and the church hall in New Farm is very handy to the city.

As usual the mature audience laughed and cackled, picking up on nuances that appealed to a certain era of entertainment. But speaking with audience members they very much enjoyed the comedic farce that was presented. Among the comments were ‘aren’t we lucky to have such affordable theatre, so close to us.’ And once again, community theatre is just that; affordable theatre right in your neighbourhood. So, make sure you get out and support them.

The play runs until the 29th of August. Tickets are through Trybooking .com

To book tickets to The Murder Room, please visit https://nashtheatre.com/play-3-2026/.

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The Secret Garden

10/08/202610/08/2026 Debra Campbell🥇🔥🦉🎭🎶

The Secret Garden Rating

★★★★★

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A totally delightful evening was what my friend and I had going to see THE SECRET GARDEN at the cute Beaumaris Theatre. As soon as you step inside this special community venue you know you’re in for a good night. This was where I did my very first review too!

A popular novel by Frances Hodgson Burnett, published as a book in 1911, the set in front of us includes a hidden garden, which will change from barren to beautiful, and be accompanied by very clever use of a spotlight as a tiny robin bird. Add the authentic period costuming for seven characters and an even more authentic early wheelchair for one of them, the use of everything is impressive overall from the solemn lighting dimmed in the introduction to a bright and happy end.

The friend I had with me tonight is very much a supporter of theatre and sees many professional and amateur productions, but she had not been to Beaumaris Theatre before; she was equally impressed and her quote for the evening was:
“Mary was an absolute standout, captivating stage presence”

I agree, young Winne Wilson-Phillips (who has just turned 11) playing ‘Mary’, was faultless in this lead role, with a massive amount of dialogue and in a mastered Yorkshire accent. Winnie’s character was all things; sullen, sad, mad, rude, friendly, mean, caring and entertaining! A great deal of emotions for a young actress who got involved in drama by chance only three years ago when her sister won a term class at BDC Drama that Winnie took over and has been hooked on ever since – easy to see why.

Playing ‘Colin’ is talented young actor Ben Solomon. A year 7 student, Ben also had many different emotions to display and he managed to convey both serious and comic lines within very short changing emotional intervals seamlessly. We all had a good laugh when he chastised Mrs Medlock, argued with Mary, ordered elderly gardener Ben around, and learned to move again with Dickon’s exercise help.

‘Dickon’ played by year 8 student Max Turner had an obvious strong confidence throughout. Complete with an animal (not real) on his arm or shoulder, his role was full of positivity for helping others. As I read in the program that Max has already worked professionally with Jessica Mauboy in the Australian film ‘Windcatcher’, and also enjoys screenwriting and making his own movies, I am sure there will be no limits for his bright future in the Arts.

Both Shelley Dunlop as ‘Martha’ (housemaid) and Caroline Kinnear as ‘Mrs Medlock’ (housekeeper) right from the very start were fun to watch. Splendid surprise, worry and shock were all part of their course in these characters looking after the children. I was pleased to see that Mrs Medlock was good-at-heart in the end, as Martha had told Mary in the beginning. Caroline did such a good job of keeping her stern until then and I had forgotten many details since I saw The Secret Garden as a child at the movies and read in the book when I was in school way back when…. let’s not go there, but I knew I loved the story.

I did remember in the end that there was a reunion for father and son. Simon Coles as ‘Mr Craven’ is so well suited to this role and I especially enjoyed the scene watching him return to discover the garden and Colin in good health. Every parent in the audience felt his words.

Dan Bellis as ‘Ben Weatherstaff’ was very funny, whether he was leaning over the garden wall or discussing matters of ‘rheumatics’ with the children, he got continuous laughter bursts from the audience even in unexpected moments purely from his crusty mannerism or awkward posture adjustment.

This show is all about the joy of a garden; the magic that life can bring – all happening in a magic little place in Beaumaris.

Go see and love it!

Congratulations to Director Kristina Doucouliagos, Assistant Director Alarna Summers, Stage Manager Sarah Gow, Set Designer Fred Pezzimenti, Scenic Artist Sally Fleming, Lighting Designer Joshua Gardner, Lighting Operator Sam Johnson, Spotlight Operator Hal Foxworthy, Composer Harrison Ewart-Dart and costumes by Jenni Osburn.

Thank you to Debbie Keyt, president of Beaumaris Theatre Committee, for your invitation.

More information: https://www.beaumaristheatre.com.au/

Tickets: https://www.trybooking.com/au/event/1564158 playing until 22nd August

Instagram: @beaumaristheatre

The theatre is easy to find at 82 Wells Rd Beaumaris. Parking in the street. Canteen serves free tea and coffee with biscuits at interval and you can buy the usual popular choc-tops and other yummy stuff.

Side note recommendation: we had dinner prior at nearby ‘Creative Thai & Bar’

To book tickets to The Secret Garden, please visit https://www.beaumaristheatre.com.au/the-secret-garden.

Photographer: Pietro Giordano

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