The Haunting of Spook Mansion (By Ghosts)

The Haunting of Spook Mansion (By Ghosts)

The Haunting of Spook Mansion (By Ghosts) Rating

Click if you liked this article

2

The Haunting of Spook Mansion follows author and ghost sceptic, Prof Adrian Chambers (Peter Houghton). Chambers is approached by Beth Jackson (Emily Taheny) with an offer he cannot refuse, $500,000 for him to spend the night at Spook Mansion! Chambers reluctantly accepts the offer, and haunting ensues. Haunting if full of silly puns and not too scary jump-scares, which are terrifically balanced by the chemistry of Houghton and Taheny.

To get to my seat for this show I entered through the stage, which effectively began the immersion into the spooky haunting. The energy in the room was electric. Beginning slowly as a silly parody of a spooky movie, this show leans into horror tropes to subvert expectations and heighten the impacts of the truly scary things in life, emotional vulnerability and death! Spook Mansion is truly camp core. At 75 minutes with no intermission, this silly show was the perfect length, allowing for some thrills, and lots of laughs.

 

 

Directed by Russel Fletcher, the technical timing and coordination set up the audiences to enjoy the right amount of haunt; with minimal screams and maximum emotional impact. The tight direction combined with excellent lighting (Jason Bovaird) and sound (Stephen Gates) meant I was sufficiently spooked throughout the show. The sound and lighting allowed the twists and turns to make a powerful impact. The decision to have complete blackouts between scenes allowed Bovaird to enhance the lighting impact, and deepen the spooky story telling.

The characters of Spook Mansion are met with a wild evening, filled with stories and inevitably numerous puns. Michael Ward (writer and producer) fit as many puns the show could accommodate. Ward did this in an attempt to cram Spook Mansion full of jokes, leaving it relatively free of spirits from the great beyond. Ward defaulted to storytelling as a dependable way to scare the audience. Ward and Fletcher utilised the characters themselves, rather than cheap scary tricks, to push and pull the tension of the show. Ward and Fletcher commendably conveyed the real horrors of the world, not complying to mandatory health and safety audits.

To book tickets to The Haunting of Spook Mansion (By Ghosts), please visit https://chapeloffchapel.com.au/show/the-haunting-of-spook-mansion-by-ghosts/.

Photographer: Darren Gill

Spread the word on your favourite platform!

Titus Andronicus

Titus Andronicus

Titus Andronicus Rating

Click if you liked this article

3

Theatre Works and Th’ Unguarded Duncan have delivered a Titus Andronicus that shakes the dust off Shakespeare’s most brutal tragedy and gives it a visceral, contemporary pulse. It’s a nightmarish, muscular production filled with human vulnerability and psychological horror rather than empty shock value and it had the audience ricocheting between laughter, gasps and the occasional tear. This is Titus for newcomers and die-hard Shakespeare fans alike.

At the centre of it all is Josh Morrison as Titus, who unleashes an unrelenting rage that never tips into caricature. His performance is a thunderous force, yet it sits on a foundation of emotional authenticity that makes the character’s descent compelling. For my taste, I might have enjoyed a sharper arc from decorated general to shattered father, but Morrison’s clarity of intention gives the role a gripping cohesion that I really can’t fault. It’s easily the best Titus I’ve seen.

Joanna Halliday’s Lavinia is spellbinding. She begins the play vivacious and bright then slowly transforms into something still, deliberate and driven. Her physical and emotional control draws your eye even in silence. Halliday leans into the horror elements without losing the character’s dignity, giving us a Lavinia who is both haunting and heartbreakingly human.

Helen Hopkins grounds Marcus with immaculate text work. She brings the energy of a seasoned Shakespearian actor, the kind who makes the verse feel like breath rather than technique. Marcus can vanish in a sea of titanic characters, but Hopkins’ patrician poise ensures the role resonates.

 

 

The production finds remarkable subtlety in its men of war. Rajendra Moodley (Aaron) and River Stevens (Lucius) deliver monologues that feel as if they’re aimed straight at each audience member. Their grounded humanity makes their choices believable and their presence magnetic.

Meanwhile, the Goth brothers steal scene after scene. James Cerche (Chiron) and Seon Williams (Demetrius) are wickedly funny, disturbingly casual and physically razor sharp. Their playful cruelty taps perfectly into the show’s tonal balance of horror and wit.

Victoria Haslam’s Tamora delights in viciousness, particularly in her chilling condemnation of Lavinia. She’s dangerous, charismatic and hard to look away from.

Directors Kevin Hopkins and Claire Nicholls craft a production that feels purposeful in every moment. The physicality is cohesive, the pacing is tight and the story is crystal clear without ever being over-explained. The minimal set keeps the focus on the ensemble, and while the central ring’s construction briefly distracted me, its use to delineate space and evoke the infamous pit was inspired. Lighting stays subtle and supportive, letting the actors carve the world. Max Hopkins’ sporadic bursts of heavy metal underscore transform key scenes into something almost cinematic, heightening tension and chaos in all the right places.

Paulina Kostov and Victoria Haslam’s costuming choices and creation drew a sharp line between worlds: disciplined Romans in hakama and rebellious Goths in punk-inspired gear. It’s a clever visual shorthand that deepens the storytelling.

This production made me see Titus Andronicus in a new light. It strips away the noise and brings the humanity right to the surface. A thrilling, haunting and deeply satisfying night of theatre at Theatre Works.

To book tickets to Titus Andronicus , please visit https://www.theatreworks.org.au/2025/titus-andronicus.

Photographer: James William

Spread the word on your favourite platform!

The Beauty Queen of Leenane

The Beauty Queen of Leenane

The Beauty Queen of Leenane Rating

Click if you liked this article

5

Strathmore Theatrical Arts Group (STAG) has once again outdone themselves, with their final production for 2025: Martin McDonagh’s multi-award-winning play, The Beauty Queen of Leenane.

Directed by Matthew Freeman, who did an amazing job in casting four extremely talented actors, who each shone individually in their roles: Sharon Casey as Maureen, Regina Miller as Mag, Chris Mentor as Pato, and Fletcher Lodwick as Ray.

This is Matthew’s second appearance as a director at STAG, last year directing the Cripple of Inishmaan. When asked, he describes The Beauty Queen of Leenane as “a horror disguised as a bleak dramedy.” And when you see this play, you will soon find out why.

Set in the Connemara village of Leenane, Ireland, in the 1990s, the play follows 40-year-old Maureen, who lives with and cares for her 70-year-old mother Mag. From the start, we see that their relationship is extremely strained. After a neighbouring young man, Ray, arrives at the house to invite the mother and daughter pair to a farewell party for his visiting American Uncle, what follows is a story that is humorous, dark, and at times deeply disturbing.

To say that Matthew and his team have curated a masterpiece of community theatre would not be amiss. With outstanding performances from all four cast members, the brilliant writing of McDonagh was brought to life amidst a stunning set that served every need of the play and more.

Sharon is absolutely spellbinding to watch on stage. She holds such a strong stage-presence, and shift gears at all the right moments, keeping the audience utterly enthralled.

 

 

Regina was superbly nuanced in her role as Mag, delivering a magnificent standout performance in one gut-wrenching scene; the entire audience was holding their breath and on the edge of their seats (I can’t give any spoilers on the details. You will just have to see it to find out for yourself!).

Chris gave a stellar performance as Pato, really encapsulating the character. And the audience was absolutely taken in by his intimate monologue scene below the stage.

Fletcher brilliantly encapsulated the character of Ray, curating a loveable and memorable character that had so many humorous moments. He managed to find so many intricacies in this character, and it was hard to take your eyes off him when he moved around the stage.

The performances across all four of these actors was just an absolute delight to watch. They were each able to find the honest and real people within these characters, which was just magical to watch.

The intricate attention to detail with the set was outstanding; from the mould-stained walls to the era appropriate appliances, trinkets, and furnishings. The set was really a fifth character of its own. The more you looked, the more detail you would see. The fireplace cracking away so realistically really was the icing on the cake for the magnificent stage design.

With smooth and efficient set changes from the stage managers, and seamless sound and lighting, there was nothing to fault with this play. The team at STAG have pulled together a beautiful production.

This really is one special play, and if you enjoy somewhat dark dramatic plays that also injects a lot of humour, you will not want to miss this production.

‘The Beaty Queen of Leenane,’ is running at STAG from the 13th to the 22nd of November 2025. Keep an eye on STAGs website and social media accounts for their upcoming 2026 season.

To book tickets to The Beauty Queen of Leenane, please visit https://www.stagtheatre.org/.

Spread the word on your favourite platform!

Afterglow To Receive Its Australian Premiere In 2026

Feature-AFTERGLOW

Ian Phipps

S. Asher Gelman’s international hit play AFTERGLOW is heading down under for its highly anticipated Australian premiere! AFTERGLOW will play at Melbourne’s Chapel off Chapel from 30 January and at the Eternity Playhouse, Sydney from 26 February. The stellar cast of three comprises Julian Curtis (Gaslight, Cock, Dance Academy), gold medal winning Olympic diver Matthew Mitcham (Strangers in Between, Jock Night, The Pool) and Matthew Predny (Titanique, Avenue Q, Kinky Boots). When Josh and Alex, a married couple in an open relationship, invite Darius to share their bed for a night, a new and intimate connection is ignited. As all three men come to terms with their individual definitions of love, loyalty, and trust, relationships are challenged and futures are shaken. AFTERGLOW is a raw, funny and sensual exploration of polyamory, commitment, and modern love.

“I couldn’t be more excited to be bringing AFTERGLOW to Australia!,” said writer/director S. Asher Gelman. “What began as an attempt to make sense of a painful chapter involving my own experience with loving more than one person has fundamentally altered the course of my life, and continues to do so. AFTERGLOW doesn’t provide any answers; instead it asks questions about both our individual and collective relationships to love, loyalty and trust, and I truly cannot wait for Aussie audiences to experience this labour of love, now nine years in the making.”

“Funny and sensual” ★★★★ – Queer Guru
“Achingly beautiful” ★★★★ – Everything Theatre
“Passionate and poignant” ★★★★ – Revstan
“Incredible… should not be missed!” ★★★★ – Theatre Reviews

After its critical success Off-Broadway and a season which ran for 18 months, and productions around the globe, AFTERGLOW now brings its modern, intimate exploration of desire, honesty and connection to Australian audiences!

AFTERGLOW
Playwright/Director/Choreographer S. Asher Gelman
Lighting Designer Jamie Roderick
Set Designer Ann Beyersdofter
Producer Midnight Theatricals

SEASON DETAILS

MELBOURNE
Venue: Chapel Off Chapel, Little Chapel Street, Prahran
Dates: 30 January – 21 February
Performance Times: Mon-Thurs 7:30pm, Fri-Sat: 6:30pm & 9:30pm, Sun 5pm
Tickets: $69 (Transaction fees may apply)
Bookings: chapeloffchapel.com.au

SYDNEY
Venue: Eternity Playhouse, Burton Street, Darlinghurst
Dates: 26 February – 22 March
Performance Times: Tues-Thurs 7:30pm, Fri-Sat: 6:30pm & 9:30pm (or 2pm & 7pm 28 Feb only), Sun 5pm
Tickets: $69 (Transaction fees may apply)
Bookings: www.afterglowtheplay.com.au

Spread the word on your favourite platform!

Subscribe to What's The Show

Reviews, show news and what is on, straight to your inbox.