The Ghost Train: All Aboard The Supernatural Express

The Ghost Train

The Ghost Train Rating

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2

To celebrate the 70th anniversary of Castle Hill Pavilion Theatre, the theatre company performed an adaption of The Ghost Train, written by Arnold Riley. The classic thriller opened on the 20th of September to a full house ready for some suspense and humour.

The Ghost Train is set in an old train station, where a group of stranded passengers face a night of eerie happenings as they await the arrival of a supposedly haunted train. Directed by Stephen Snars, the production evokes a gothic atmosphere, keeping us on the edge of our seats. The mystery of the ghost train creeps in at just the right moments.

The ensemble cast excels in portraying a diverse group of travellers – each with its own quirks. Each actor excels at commanding the stage without overpowering the other. Their interactions feel authentic as they explore the possibility of a ghost story being real. A standout performance comes from Paul Sztelma playing Teddie Deakin, the seemingly carefree prankster who adds most of the necessary humour to the play. His blend of charisma and comic timing kept a sense of unpredictability, keeping the audience and characters wondering about his true nature.

The creaky old station, with its dim lighting, helps set the stage for this spooky tale. There were times when I forgot the design was a stage and not the night sky. The clever use of sound design—clattering trains in the distance, spooky sounds, and unsettling silences—further amplify the ghostly atmosphere. The costumes of the characters help set the time period of the play.

 

A primary theme of The Ghost Train is the fear of the unknown and how fear can make our minds play tricks on us. The play explores how superstition can create an atmosphere that can make the most sceptical of people believe they heard or saw something supernatural. As identities and intentions are revealed, the play touches on how appearances can be misleading.

The chilling moments and the humour kept the audience engaged, as you could hear the laughs and shocks from audience members. The play was well-paced, keeping us entertained the whole time through its use of suspense.

The play is much more than a ghost story and balances chilling moments with unexpected humour. The plot twist delivers a satisfying conclusion to The Ghost Train. We left the theatre, remembering that even old-fashioned ghost stories can still provide us a good scare. The Ghost Train was an excellent choice to help celebrate 70 years of Castle Hill Pavilion, offering thrills and plenty of laughs along the way. If you are up for a spook, watch The Ghost Train, playing from now until October 12.

Book your tickets @ https://paviliontheatre.org.au/theghosttrain/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Karate Man – A Brilliantly Clever Interactive Live Action Comedy

Karate Man

Karate Man Rating

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5

If you have ever played a video game, you’d feel the excitement of pressing a combination of different buttons on the controller and moving your character around the screen – to fight villains, explore different rooms and make decisions. The game always has a goal, often several, with riddles and various quests to complete before the goals are met, before you finally win the game. Perhaps it has taken hours to play. Imagine this. You know what I mean. Now think about the characters jumping out of the screen and are standing right now in front of you, swaying from one foot to the other, patiently waiting for you to give them a command on your controller. Your game has come to life – and you get to make decisions about what happens next. This is what happens in this comedic show Karate Man.

Co-creators and directors Bruno Dubosarsky and Daniel Scarratt have produced a truely unique and hilarious interactive play…and play we did! All audience members participated and became immersed into the story, by taking turns with the controller and pushing buttons, directing Karate Man to do what they wanted in response to the story’s many challenges.

The buttons were typical gaming commands such as kick, throw, punch, jump, grab as well as move left / right/ down and up, all of which Karate Man had to do immediately on command as soon as the it was read out by the game’s narrator. The sound effects added to the authenticity of a video game, complete with repeating sounds when the characters were waiting to be directed what to do.

 

This video game character was portrayed perfectly by Bruno Dubosarsky and done with such robotic fluidity that it was believable, his movements imitating the basic gaming commands of the 1980’s video games. As you can imagine, the fight between Karate Man, moving in a step by step controlled fashion (eg “right, right, jump, right, kick. Left, left, down, punch”) and his arch enemy Ross Roundkick, played with cheeky wickedness by Daniel Scarratt in the year 198X was hilarious and one of the highlights of the show for me. I was laughing so much as poor Karate Man was directed to move in ridiculous excess due to the audience still getting used to using the controls at the beginning of the show – it would have been exhausting for Bruno. At one stage, Karate Man was directed by the controller “left, left, left, left, left” right off the stage – the audience was crippled with laughter! I had never been to a Choose Your Own Adventure show like this before, and I loved it.

The story of Karate Man takes us into the lives of Karate Man and his wife Kara. Her name being half of his name seemed to be on purpose, and added to the cheesy charm of the show. Kara was played by Stephanie Ryan and her mannerisms of a video game character were spot on. Karate Man had to complete some challenges in this game and the audience was given three choices which led to different scenes and more goals to achieve. As the audience were making the decisions about where Karate Man was going to go next in our rendition of the play, I could see how the show would completely change on different nights. It would be interesting to return to experience another scenario and set of goals.

 

The supporting cast, Tim Dunk as the Time Fish, Juliet Rae Timmerman as Alex Coober and Maddie Atkins lent keen exaggeration into their video game characters and were very entertaining. All of the actors at different times were so funny, and I believe that some lines may have been impromptu.

The script was clever and contained some references to pop culture embedded. Prop designer Stephanie Ryan kept the stage simple. A few painted large posters were used, as well as a few other props, and was all this show needed as it was more reliant on the physical comedy and the script.

Shown as part of the Sydney Fringe Festival 2024, Karate Man was spectacularly funny and one of the most original interactive shows to hit the stage! Instead of playing video games at home, head out to the PACT Centre for Emerging Artists in Erskineville to have your own personalised adventure with Karate Man.

Show run: 17-21 September 2024
Tickets: $30 – $38
www.sydneyfringe.com/events/karate-man-a-live-action-video-game

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Guards At The Taj: Beauty But at What Cost?

Guards At The Taj

Guards At The Taj Rating

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2

This is a tale of deep friendship, loyalty and duty – and beauty. In 1648, two Imperial Guards stand tall, dressed proudly in blue and silver uniforms with their backs to the ornate gate of Taj Mahal. It has been 16 years in construction, made by slaves and craftsmen. It is the morning before the first viewing of the Taj Mahal, which was rumoured to be the most beautiful building in the world. The Emperor Shah Jahan wishes for the Taj Mahal to remain the most beautiful of all and thereby issues a decree to ensure that this beauty is never replicated, forcing these guards to carry out an impossibly gruesome task.

Babur and Hunayun are bound by many rules – they aren’t allowed to turn around and look at the Taj Mahal, they must keep their sword raised and are forbidden to speak. To break these rules, as we discover from their conversation, could lead to harsh punishments, from being locked up for three days to death by elephant trampling.

However, even the threat of such consequences does not stop the impulsive chatter of Babur, played by Akkshey Caplash with such childlike enthusiasm that I immediately warmed to him. The other guard Humayun, played by Idam Sondhi, is the opposite of Babur. He is earnest and takes his job seriously, and we soon discover that he is the son of a senior military man. Humayun craves the approval of his father, has loyalty to his emperor, and believes in working hard to achieve rewards. It is perhaps, this tunnel view which will cast a shadow over both their futures.

Akkshey and Idam portray a strong friendship between the two characters. There are many moments of levity as well as philosophical conversation that takes place, showing a depth to their relationship. Akkshey’s Babur is a dreamer, creating and sharing ideas for his original inventions. Throughout the play, Idam’s Humayun loosens up and also shares his own creative invention. The two men are caged by their lower station and the rules of the more privileged, and their dreams and inventions signify their longing for being free. There was a theme of birds scattered throughout the play, and I found the links of freedom to these birds woven into the story cleverly significant.

 

Writer Rajiv Joseph, who was the 2016 winner of the Obie award for Best New American Play and also won the Lucille Lortel award for Best Play, has written an engaging script. Although there was no interval, there were two distinct parts, the turning point being the grim act the guards were forced to do by decree of the Emperor Shah Jahan. James Browne, the set and costume designer, created a daunting dungeon complete with underground water drainage.

Much like Babur and Humayun’s vast imaginings, I thought that there was intentional purpose to allow the audience to build their own images in their heads of some key scenes, guided by the set and stage lighting by lighting designer Kate Baldwin and composer and sound designer Me-Lee Hay.

This shone through in two particular scenes for me, with the first light morning unveiling of the Taj Mahal – where we didn’t see an image or a physical set of the beautiful building, but rather experienced it through the clever use of light and the actor’s reactions. The other stand out lighting and sound scene had explosions of red splashed on stage, and a rhythmical harsh slice sound amongst a frantic soundscape which signified one of the key horrifying moments in the play. This scene was gripping, and there was no need to show the actual visuals of what was happening, as we could see it in our mind. I noticed one audience member had their hands up to their mouth, clearly involved in the play.

Guards at the Taj, skilfully directed by Bali Padda again, two years after his directorial debut of the same play, is on tour throughout Australia throughout September and October 2024. This review was from the performance at the Riverside Theatre in Parramatta on the 12th September 2024.

Guards at the Taj is a confronting and beautifully scripted and acted play which will make you want to delve a little deeper into finding out whether or not this was based on a true story. Go see it, wherever it is playing around Australia!

Running time: 90 minutes, no interval.
Tickets from $59
www.riversideparramatta.com.au/whats-on/guards-at-the-taj

Photography by Noni Carroll Photography

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Murder by the Book – A Delightfully Dark Murder Mystery

Murder by the Book

Murder by the Book Rating

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A well thought out murder has always been the premise for a juicy plot. A traditional whodunnit which has red herrings and hidden clues, complete with an eccentric detective. This is what the main character, author and critic Selwyn, excels at with his best selling novels. We begin the play being introduced to the self inflated, egotistical Selwn, played with relish by Ross Alexander wearing a sports coat, a pocket handkerchief and a fancy silk neckerchief scarf – a nice touch by the costume designer Cettina Lahiri to convey the success of his career.

Selwyn and his assistant Christine, played by Fabiola Pellegrino, are discussing his latest review of a rival’s novel, which he essentially deems as rubbish and takes great delight in taking it apart! The dripping venom and confidence in Selwyn’s words is a key factor in this story as he is someone who likes to be in charge; to lead the story.

When something happens to Selwyn, the next door neighbour Peter Fletcher guides us through his own theories of what he thinks has led up to this murder. Rawdon Waller, as Peter Fletcher, gives us a delightful performance as the amateur sleuth, who excitedly tries to solve the mystery. Dressed flamboyantly in a fancy dressing gown, he is a fan of Selwyn’s murder mystery novels and Rawdon’s portrayal of Peter’s enthusiasm for being in a real life murder mystery was very amusing. His lines and physical comedy had the audience laughing many times over.

 

There are the ‘usual suspects’ in this story – Christine the devoted secretary, Imogen the wife who wants a divorce, and the publisher, who also happens to be Imogen’s lover, John. When faced with accusations, Brian May’s John appears helplessly out of his depth and this is communicated in both action and speech in a way which made me laugh and feel sorry for the poor man.

Imogen, played by Julie Mathers, was sassy and confident, complete with big hair and an 80’s sequinned top. Julie Mathers and Ross Alexander had their characters at the top of their form in a believable love/ hate marriage relationship. They were arguing, throwing insults and pointed remarks at each other and quickly bouncing back for more. It was a like watching a succinct tennis match with clever and witty dialogue as the ball.

The play, written by Duncan Greenwood and Robert King, had its strength in the script which was full of dark one liners and clever twists and turns. It was quite a wordy play, but the Hunters Hill Theatre’s strong cast, led by director Margaret Olive, didn’t let Murder by the Book drag.

The setting of 1980’s London meant we had a living room on stage with a traditional rolled armed couch, a wooden writing desk, record player (which was used to musically enhance a scene) typewriter and a dial handset telephone. These props by Coralie Fraser all added to the authenticity of the era. Wayne Chee’s set design ensured the living room had an open and spacious feel, where the audience could view the actors clearly. I noticed that there was a clever addition of something behind the couch which I won’t give away, would have made Selwyn feel more comfortable for some of the scenes!

If you are a fan of the clever whodunnit genre, come along to see the Hunters Hill Theatre’s performance of Murder by the Book. You’ll be guessing the Who, What, Why all throughout the play, not just at the end!

Running Time: Two hours, including a 20 minutes interval

Season: 7 -31 September 2024
Hunters Hill Theatre at Club Ryde
728 Victoria Rd, Ryde
Tickets from $32

www.huntershilltheatre.com.au

Photographer: Kris Egan

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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