How Education Can Change It All

Educating Rita

Educating Rita Rating

★★★★★

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Educating Rita is an interesting and thoughtful but slow-moving show. Consisting solely of conversations in a single room, on a single topic of education. This show follows Rita, a 27-year-old hair dresser in Liverpool beginning university, and engaging 1:1 with her professor, Dr Frank Bryant, in his office. Rita and Frank debate and discuss education, class, and alcoholism. Educating Rita’s strong script consistently obtains laughs from the audience, a credit to the comedic timing of the actors and the keen direction of Sharon Maine. This show was engaging and pulled in the audience through the powerful relationship it builds between its protagonists. The morally split and endearing characters create space for the audience to ask themselves the value of education, and its impact on social class.

This production boasts an interesting and authentic set, with piles of books that weaved in and out of the story. The characters moved about the office comfortably aided by simple and appropriate lighting. Rita and Frank sport funky costumes, exhibiting era and class appropriate wardrobes that support the audience’s immersion into Rita and Frank’s world. All the components of the show worked well together to bring Frank’s office to life.

 

 

This is clearly a show that wants its audience to question education and its value, as opposed to or in direct conflict of social capital and value. Rita and Frank toy with the educational imbalance and social inequality between them, creating and building tension in their relationship. Appropriately, or sadly (for me), the show contains some literary references that went over my head, but likely more educated people will understand. Perhaps that was a purposeful design, for the characters to highlight their educational and social superiority. Either way, the literary references enhanced the experience of the show, bringing literature to the forefront of Rita and Frank’s discussions.

At different points of the show Rita struggles with writing papers, alluding to the challenges of womanhood. Rita struggles to balance her work, domestic duties, and school. In her dissolution of society Rita notices neighbours becoming numb and looking for purpose, Frank and Rita’s conversation turns towards the awe and wonderment of life, traversing trivial struggles and mounting monumental issues we all face in life. Rita notes that there is ‘not enough time to find myself,’ alluding to the feminist struggle and desire to take on the world. Rita faces the struggle of conforming to society and giving in to peer pressure, or pushing against social expectation to achieve academically.

This play determines how education changes us, or not. It maintains a quiet sense of humour throughout, allowing the impact of heavy themes to wash over the audience amongst light hearted quips between Rita and Frank. The divergence of ideas and values pulls the characters apart, the central relationship splintering over time.

To book tickets to Educating Rita, please visit https://thebasintheatre.au/event/season-4-2025/2025-08-07/.

Photographer: Jason Triggs

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Numbered Lives: Stylish Shadows, Unsteady Steps

Numbered Lives

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What a night of spectacle the global premiere of Numbered Lives turned out to be. Wrapped in black-tie elegance at Melbourne’s Crown (though with more flesh on show than the red-light district in Amsterdam), the red-carpet arrivals glittered in sequins, the free bar flowed, and the buzz of Hollywood-style glamour filled the air. By the time we settled into our gold-class seats – icecreams in hand and popcorn at the ready – anticipation for the indie thriller, written/directed by J G Clarke, produced by David Lightfoot and starring none other than Jeremy Piven of much awarded TV series ‘Entourage’ fame – was palpable.

On paper, the premise is intriguing (if not wholly original): a shadowy medical conglomerate snatches society’s most vulnerable – street kids and prison inmates – people “no one will miss” – to become unwilling test subjects in sinister drug trials undertaken at the ‘Institute’. Viewed through the eyes of Noah, a first-time inmate who awakens in the facility, the film confronts us with uncomfortable questions about what society is willing to sacrifice “for the many” and how far we’ll go to save those we love (or line our pockets).

 

 

Visually, Numbered Lives is powerful. Filmed entirely on location in South Australia, it draws on the brooding presence of places like the Old Adelaide Gaol and the notorious Ward Z of Glenside Asylum for the criminally insane, to cultivate an almost tangible sense of dread. Darkly stylised cinematography bathes every frame in chiselled shadows and icy light, while the sound design – equal parts suspenseful score and unsettling ambience – keeps nerves taut in a near-noir horror style groove. Even the American accents land with surprising authenticity, underscoring the film’s polished production values.

Yet for all its style, the film’s emotional heartbeat sometimes falters. The characters skirt clichĂ©, their moral dilemmas glossed over when they deserved deeper exploration. Dialogue feels stilted – at times veering into the unintentionally comedic – and the pacing jumps around, leaving moments that should land with impact feeling undercooked or overblown.

Having said all that, it’s worth celebrating that an Australian indie film – written and directed by a first timer no less – has secured global distribution, racked up 32 festival awards (including Best Thriller, Best Director, and Best Lead Actor), and proved there’s an appetite for bold, homegrown storytelling. It’s also worth remembering that not every director knocks it out of the park with their first film, (who here remembers Spielberg’s first film before Jaws?), so Numbered Lives deserves credit for its ambition and grit and there is real recognition here of the numerous achievements that allowed this film to exist in the first place.

Whilst not my personal cup of tea, I still think that this film is worth a view if only to support future Australian filmmakers and to continue to fund our independent film making.

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Ms Julie Gabler: Trapped

Ms Julie Gabler: Trapped

Ms Julie Gabler: Trapped Rating

★★★★★

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Ms Julie Gabler: Trapped is a reimagining of Shakespeare’s Othello, set in a modern Australian household with a diverse cast of intense characters.

Handled with an unapologetic honesty, the two act play explores the power dynamic between an interracial, heterosexual couple, delving into unflinching portrayals of domestic abuse and generational racial trauma.

All the characters in the play are professional actors who structure their lives around their love of theatre. The tone of the play is instantly set in the first scene when, while rehearsing for an audition for Othello, Robert actually attempts to choke out his partner Julie, causing her to knee him in the groin to break free. Tensions rise rapidly when Julie receives that role of Desdemona but their friend Mal receives the role of Othello instead of Robert, causing Rob to spiral into a violent rage fuelled by jealousy and paranoia.

 

 

Julie, portrayed by Ruth Gilmour, brilliantly expresses the trials of a woman trapped in a bad situation, through sobbing, bribing and desperate pleas towards her partner. Her moments of silence and stillness where Julie has completely emotionally detached herself truly evokes the pain experienced by an unfortunately rising number of women in this country. Gilmour’s role is beautifully balanced by Lenny Cullen Gorman who brings a touch of lightheartedness to his scenes while still maintaining the importance of the messages he is portraying.

However the atmosphere of the entire production is dictated by Sermsah Bin Saad who plays Robert. His erratic, almost constant presence leaves audience members feeling edgy and unsafe, an experience that is amplified by the live soundscape being created in front of them by Cansu Ceren Gonen, Terry Novel and Zac Rose.

Set on a single minimalistic set, the brutal nature of this play and its unflinching portrayal of domestic abuse is sure to linger in the minds of audience members, long after the final curtain.

To book tickets to Ms Julie Gabler: Trapped, please visit https://www.theatreworks.org.au/2025/ms-julie-gabler.

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A Clever Tour de Force, Full Of Surprises

The Forgotten Songbook

The Forgotten Songbook Rating

★★★★★

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Stepping through a light haze in Chapel Off Chapel’s Loft, into the twilight world of The Forgotten Songbook instantly transports the audience to bygone era of music-making. The set, dressed simply but evocatively with a piano, a few furniture pieces and faded posters of long-forgotten musicals like Vienna Days and Girl Leaves Boy, conjures a smoky dive bar in the middle of nowhere and everywhere. It’s the perfect frame for a show that unearths the dazzling, almost unbelievable, fragments of composer Wilbur Weissman’s lost career.

What follows is a two-act whirlwind of longing, misfires and brilliance, pulled together by a creative team whose passion for Weissman’s story pulses through every beat.

Emerson Hurley’s compositions form the heartbeat of the show. Sitting at the piano with a relaxed command, Hurley not only plays with casual virtuosity but delivers a score that is tuneful, witty and remarkably affecting. His pastiche writing honours the Tin Pan Alley style while crafting songs that feel entirely fresh. “I’ll Never See Memphis Again” is one of the evening’s most poignant moments, unveiling emotional depths in both character and composition that stop time. Hurley may be at the beginning of his career, but The Forgotten Songbook suggests a voice with the sophistication of a modern-day Gershwin, or dare I say Weissman? Either way, he has the originality to stand on his own.

Co-writer and producer Dylan McBurney brings theatrical structure and dramaturgical clarity to this sometimes chaotic rollercoaster tale. The narrative, full of unexpected turns (a hippo attack??) never wavers in purpose. It’s comedic and poignant in equal measure, an impressive feat that speaks to the balance and restraint of McBurney’s work.

 

 

In his debut as director and choreographer, Mikey Halcrow crafts a staging full of flair and control. He uses stillness to great effect, allowing quieter moments to resonate and leans into the physicality of the performers to heighten the absurd and the powerful beats. The rapid pace never falters, but the show knows when to let a moment land and when to let the music speak for itself.

Karla Hillam gives a stellar performance. Channelling the style and swagger of a classic torch singer, she moves with elegance and sings with great versatility. Her character work is razor-sharp, shifting styles and personas with impressive precision. Her natural chemistry with co-star Jonathan Guthrie-Jones anchors the piece. Together, they deliver both belly laughs and broken hearts.

Guthrie-Jones, in turn, feels like a Hollywood leading man of yesteryear brought to life. His rich, beautifully controlled voice wraps itself around the material with ease and his performance is laced with charisma and genuine vulnerability.

Together, the cast form a dynamic double act (or trio including Hurley at the piano), effortlessly slipping between satire, drama and song. Their rendition of The House Un-American Activities Rag is a showstopper. It’s choreographically tight, musically rich and laugh-out-loud funny.

The Forgotten Songbook is more than a showcase. It is an excavation of talent, myth and memory. In a country where new musical theatre often struggles to find space, this piece deserves to travel far beyond its opening weekend. Don’t miss it and don’t miss seeing the work of any of this team in the future.

To book tickets to The Forgotten Songbook, please visit https://chapeloffchapel.com.au/show/the-forgotten-songbook/.

Photographer: Kristopher Wardhana

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