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Carlotta: The Party’s Over

2 March 20242 March 2024 Linda Lokhee

Part of the lure of seeing an entertainer, the self-proclaimed and well-earned title of the ‘Aussie living legend’ Carlotta AM, is the hope that the show will be fabulous. And that plenty of sequins, feathers and bright costumes will adorn her – and Carlotta did not disappoint.

She burst onto the stage to thunderous applause and cheering from the audience, wearing a black outfit covered in dazzling diamantes and dark feathers for her show, The Party’s Over.

It seemed this title implied Carlotta would retire, yet in her own words, she would perform until the day she can’t, as retirement would be too boring. Carlotta has had a long and varied career, and it seems she isn’t going to quietly exit showbusiness to drink cups of camomile tea and knit!

The musical director, Helpman Award winner Michael Griffiths, accompanied Carlotta on the piano, singing some songs alongside her. Michael brought a polished charm to the stage. Also on the set were two talented musicians playing the bass guitar and drums.

The Hayes Theatre is a small venue that allowed Carlotta an evening that seemed an intimate performance, and at times, she exuded warmth and felt like she was friends with everyone in the audience. Indeed, she did have some friends in the audience, and she kindly gave a shout-out to her one-hundred-year-old friend and another friend in the biz with whom she had previously worked.

Carlotta has a quick sense of humour and injected a lot of levity into her show. No one was safe from her witty remarks, especially not the front row, who traditionally were targets for a comedy show! No topics and no people were off limits, even the ex-PMs, a certain broadcasting studio whose security was exceptionally high, “millenniums”, and even her own self, making light of her age and that it was a “hideous age” she was currently at.

She made everyone laugh when alluding to keeping up with the demands of performing standing up for long periods when she was in her eighties and feeling too hot in her costumes. (She had three costume changes, each as captivating and fabulously outrageous as the last, complete with tall, sparkly headpieces and gigantic feather fans).

Carlotta’s singing voice was strong and robust, and she sang classics such as I Write the Songs, My Way, and I Still Call Australia Home. She had the audience singing along, clapping, and swaying in their seats.

Scattered throughout her show, Carlotta reminisced about different parts of her life. She had performed in Les Girls in Kings Cross for almost 30 years, followed by a career in television. She gave a condensed version of the history of Kings Cross and how lovely it used to be, with a good reputation where people from overseas wanted to come to dine at the Bourbon and Beefsteak pub and see shows at the Les Girls nightclub.

Carlotta is a seasoned performer comfortable in her own skin. She is an advocate for the LGBTIQ+ community, leaving the audience with a message to always be yourself and not be silenced on your thoughts because – “darlings, life is too short.”

Running Time: 75 minutes, no interval
Performances: 28 Feb -3 March 2024
Hayes Theatre 19 Greenknowe Ave, Potts Point

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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Shaken and Stirred – An Evening With James Bond

24 March 20244 February 2024 Linda Lokhee

When listening to some movie soundtracks, certain iconic notes link that song to a movie and are immediately recognisable, similar to lines recited where you know precisely which Shakespeare play they hail from.

In the case of the James Bond franchise, they are the first four notes of the opening theme. You know them, that first scene – where the black camera lens swirls open, and James Bond appears, dressed in formal attire, confidently holding his weapon. These four notes are followed by a tune that places listeners in a particular era; one of intrigue, one of suave sophistication, one where the men are debonair and the women breathtakingly beautiful. The “Bond, James Bond” era.

On Saturday night, 3 February, this is exactly where everyone went in their memories inside the theatre at The Concourse Concert Hall in Chatswood. The sixty-plus musicians from the Willoughby Symphonic Orchestra (WSO) presented an evening of James Bond movie themes.

Delightfully conducted by Dr Nicholas Milton AM, the WSO took us on a musical memory journey from Dr No in 1962 to 2012’s Skyfall. The distinct sounds of the sixty decades shone through with each theme, and I immediately visualised the actor playing James Bond and the associated colourful villain in the film. After all, one doesn’t exist without the other – the hero and the villain. They seesaw much like the music’s portrayal of deception, danger and determination. Performed one after another, it was interesting to hear the recurring recognisable 007 leitmotif pop into a few different theme songs. All orchestrations were by Nic Raine.

Dr Nicholas Milton was dynamic in conducting the WSO. From the opening theme song and throughout the many changing tempos, his enthusiasm was infectious and enabled the audience to be swept along with his energy. As well as being a Concertmaster, Dr Milton showcased his skill as a musician and joined in as a pianist on one of the songs. This was only one part of a show where people on stage had dual roles. During Live and Let Die, musicians sang the backup vocals, which surprised and delighted the audience and in Another Way to Die, I interpreted the strings section performing a visual type of ‘Mexican Wave’ with their bows in the air, which I loved seeing.

This was not a show to be silent the whole time, with the audience showing their full appreciation with claps and cheers after musicians’ solos, such as when Rick Cassar and Lars Mehlan showcased their talents on their trumpets. The WSO received a standing ovation at the concert’s end, prompting an encore of two more James Bond movie songs.

Some James Bond themes are not purely instrumental, and we were fortunate enough to have been treated to the vocals of incredibly talented British singer Mary Carewe. Mary is an established and well-respected recording artist and recitalist with an extensive repertoire, including Broadway musical songs, cabaret, and jazz. She seamlessly brought her own style to the songs, and I was impressed by how she sang life into the body of the music. Certainly not surprising, as she has made a CD of The Music of James Bond with the Royal Philharmonic Orchestra. Not to be understated were Carewe’s beautiful outfits, with one in particular, a sparkling and glittering nod to the true glamour of James Bond.

The 21 songs that the Willoughby Symphonic Orchestra performed were perfectly chosen to showcase the talents of the musicians. The slow, romantic ballads of For Your Eyes Only and All Time High were sweet and earnest, whilst the stand-out song for me with the varied slow and then frenzied tempo was Live and Let Die. A perfect song to close the first half of the concert.

It was impressive that the WSO performed all except a handful of James Bond theme songs. Even if you haven’t seen these movies, this orchestra’s renditions made for a beautiful evening of classic British 007 music. It was an immersive performance, and as I left the concert hall, I knew I’d be humming those four-plus notes all night.

Running Time: 90 minutes with a 20-minute interval
The Concourse Concert Hall, Chatswood
Saturday 3 February, 7pm
Sunday 4 February, 2pm

This review also appears on It’s On The House and with more reviews at Dark Stories Theatre Reviews to see what else is on in your town.

A Victorian Domestic Noir – Gaslight

6 November 20235 November 2023 Linda Lokhee

Patrick Hamilton’s play Gaslight is a classic domestic noir, performed with careful consideration by the Pymble Players. The English novelist and playwright wrote Gaslight in 1938. After its popularity with the resulting plays and the 1944 Hollywood film, ‘To Gaslight’ became synonymous with the meaning of someone psychologically manipulating another for their advantage, to make them doubt their memory, perception of reality and their own sanity.

Gaslight, directed by Joy Sweeney, is set in Victorian England. It revolves around the Manninghams – Jack and Bella. From the first introduction to these characters, we see an upper-class, seemingly happy couple. They are in the drawing room, where we subtly recognise wealth in the Manningham’s furniture and locked fold-up wooden writing cabinet. This is where tea is served in dainty teacups by the servants, a place where they can engage in relaxing conversation.

However, things do not remain relaxing for long. We soon see Jack, portrayed by Nick Roberts, turn from being a supportive and loving husband into an aggressive and accusatory bully. This flip-of-a-switch was acted with such credibility that it took the audience by surprise, which is how director Joy Sweeney wanted to present this psychological abuse “to create a feeling of severity”.

Amelia Conway’s fragile portrayal of Bella is outstanding, and as she goes from being joyfully excited by the invitation from her husband to attend the theatre to having him rescind it, we witness the disintegration of her mind. When she is victimised and scorned by Jack, we flinch. When Jack abruptly leaves the room, we feel his weighty presence in Bella’s nervous disposition.

There are clear delineations of class and power in this household.

The servants have different personalities, and both play a significant supporting role with strong performances. Georgia Drewe’s Nancy is bold, teetering on defiance towards her mistress. Kate Kelly’s Elizabeth is a strong, motherly and caring woman, reminiscent of perhaps a governess in another period drama.

As the play progresses, a stranger enters and begins to unravel a twenty-year mystery involving the house and the characters within. Retired Detective Rough, portrayed with finesse by David Kirkham, brings a sense of much-needed comedic levity to balance out the sharp points in a play involving domestic abuse. When explaining his visit to Bella, David’s Detective Rough, particularly during the first act, was a guiding narrator of the unfolding past. Therefore, his script was noticeably long, and David handled this task beautifully.

Gaslight is more of a slow burn than a thriller, where the audience is exposed to the intricacies of a mystery as it is revealed. It slots into the era of Agatha Christie, where we examine each character and try to figure out motives.

The cast’s wardrobe, by director Joy Sweeney, packaged up the Victorian era and captured the upper class wholly, down to the dress ruffles, long heavy capes and expensive hats.

Sound design by Geoff Jones kept the audience’s attention and ratcheted up the uneasy atmosphere throughout the play.

Gaslight highlights the domestic abuse darkness that lives behind closed doors, and though set in London in the 1880s, it remains as relevant and prevalent in modern society today.

Running Time: Two hours and 25 minutes, including one 20-minute intermission.

Season: 1st -26th November 2023
Pymble Players – 55A Mona Vale Road, entrance via Bromley Ave

Photographer: Daniel Ferris

This review also appears on It’s On The House, or check out more reviews at Dark Stories Theatre Reviews.

The Visitors(The Play) – To Welcome or Repel

22 October 202320 October 2023 Linda Lokhee

The Visitors, now at The Riverside Theatre, is a new production from award-winning Muruwari writer Jane Harrison. Her play first transfixed audiences at The Sydney Festival in 2020. Quandamooka director Wesley Enoch teams up once again with Harrison to create a masterful reimagining of the First Fleet’s arrival from a First Nations perspective. This contemporary version shows movement and inclusivity by welcoming two women characters into the role of leaders, whereas the previous play had an all-male cast playing elders. The use of the Dharug Dhalang language throughout the script lends authenticity to the discussions and is beautiful to hear.

The Moogahlin Performing Arts and The Sydney Theatre Company bring us back to a warm summer day in January 1788. A day that will impact the history of the Eora nation. Birds are chirping, waves are lapping. Elizabeth Gadsby designed the set so that the stage feels spacious, with mountains of shells piled on the ground and driftwood lying around. A colossal sandstone rock takes centre stage, creating a solid presence, with the gold of the stone glittering under the warm lighting. Six clan leaders and one man, an ersatz leader, gather on this escarpment at the ocean’s edge (which we now know as Sydney Cove,) looking out to sea and warily watching some fleet of giant nawi (ships) sail closer and closer.

They have seen ships come before, but they have never stayed. This time, they are told that ships with many mobs are on the way. The leaders from different clans discuss how they will respond to the strangers. Shall they be welcomed ashore, or should they turn them away and, if necessary, engage in war?

They must each present their reasons for their opinion and must make a unanimous decision. This becomes the underlying premise of The Visitors.

With Gary chairing the meeting, the Elders take turns to speak. Each story is subtly complemented by soundscape changes, thanks to sound designer Brendan Boney. We hear stories about previous encounters with the people from the nawi as each elder presents an argument justifying their opinion.

The conversations are done diplomatically, with one speaker meant to be talking at one time. However, in a vein similar to some current parliamentary meetings, when people become passionate about a stance, their voices become louder until others join in, and the meeting disintegrates into a noisy ruckus. This is not an easy decision. The audience learns there is an innate culture of welcoming people onto their land usually. They help others in need with the use of herbal medicines. However, the unknown intentions of the people on the nawi must be factored into consideration.

Enoch has gathered a magnificent cast. A standout performance was given by Aaron Pedersen, playing Gordon, who delivered a strong emotional performance throughout, particularly in his final speech. Elaine Crombie (as Jaky), Dalara Williams (as Wallace), Kyle Morrison (as Joseph), Beau Dean Riley Smith (as Albert), Guy Simon (as Gary) and Joseph Wunujaka Althouse (as Lawrence) complete this stellar cast and worked together to create some comedic lines, breaking up the tensions during the discussions. They earned a well-deserved standing ovation from the audience on the night I attended.

The timing of the opening performance at The Riverside Theatre comes just after the result of The Voice Referendum, and we leave with an echo of pre-colonisation life and questions of how different things may have been if certain events in history had changed. Jane Harrison has lent her voice, in a form common to First Nation Australian peoples – as a storyteller to fully capture our attention.

The Visitors was a thought-provoking performance that will stay with the audience long after the lights dim.

“Visitors don’t stay; that’s why they’re called visitors” – Wallace.

This review also appears on It’s On The House, or checkout more reviews at Dark Stories Theatre Reviews.

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