Quirky and Tasty – Chicken in a Biscuit

Chicken In A Biscuit

Chicken In A Biscuit Rating

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It is difficult to imagine a world without animals and the love of a pet. When I was sent by What’s the Show to review Chicken in a Biscuit, I had read the synopsis and the line, “Welcome to the hilarious, heartfelt world of your pet’s inner life”. I was instantly intrigued. The synopsis said that there would be animals such as dogs, cats and bunnies featured and – full disclosure – this reviewer has loved being a pet mamma of two out of three of these animals (not the cat, and also from the title, I have not had chickens either!)

Whether you’ve been a pet parent or not, you’ll be captivated by the stories in this uniquely original play from Fixed Foot Productions. The play combines sharp, witty comedy filled with clever one-liners with moments that are emotionally charged and, at times, confront deeply serious themes head-on. Through skillful acting and seamless transitions between characters, Mandy Bishop and Jamie Oxenbould reveal the raw realities of life as an animal companion and the profound impact pets have on their human owners, and they on us.

Chicken in a Biscuit begins as the audience are being seated. There is a brown dog, later on we discover his name is Truffles Bolton, napping on the lounge in the corner, legs twitching in blissful sleep. The mood is calm; peaceful. When he awakens, Truffles, played by Jamie Oxenbould introduces the audience into his olfactory world. Whereas humans see in visuals, this senior 13 year old labrador dog introduces his favourite smells and how they represents the triumphs and failures of life. He gestures toward his human, Gary, who is affectionately portrayed and projected on the wall. He is head down in the toilet. It was comical as I initially thought his head was in the toilet because he had too much to drink that night. Then Truffles said he was a plumber, so that joke was cleverly woven in.

What follows is a series of monologues, seamlessly performed by the two actors as they alternate between characters, each one delving into five distinct scents, each carrying its own unique story. These scenarios form the basis of a cleverly constructed and connected narrative and the way it is presented showcases pure creative brilliance!

 

 

Bishop slinks onto the stage wearing a velour blue jumpsuit and kitty ears. She was a royal Blue Burmese pedigree kitty, talking disdainfully about her new owner Lisa Wilson, who adopted her from Janelle Paws Animal Rescue. This sassy cat owned the stage and made it damn clear that no-one, not even Lisa Wilson, would dare “own her”. Kitty had the attitude of a queen as she told the story of her previous owner named Vernon, who she seemed to adore but sadly he passed away, and as a result she went into the animal rescue shelter. Bishop was mesmerising as the cat – everything about her was cat-like, from the way she moved to her mannerisms and expressions.(The one time she was not regal, was when she could not help but play and scramble with a bag, a relatable type of cat play which had the audience laughing) Her description of Lisa Wilson was that of the stereotypical ‘cat lady’ which was very funny!

Dr Graeme Nestbender (Oxenbould) was next, a dentist who, after his marriage fell apart, fell in love with the simplicity of the life of his pets, the many rabbits who lived at (overtook) his house. The story was a strong one, and was presented to the audience as though we were the board, and had the power to take away his practising license. As his explanation for how he came to be in this position formed, it became clear that the underlying message was not about crime. Dr Nestbender was torn between two species, being cocooned safely in a rabbit suit which felt right, and his loneliness as a human. Oxenbould’s emotional performance as the dentist was outstanding, his character far different from how we had previously seen him as Truffles.

Bishop followed, this time portraying a dog. Super loyal to her owner Pam, this dog named Maximus, Decimus Fonzerelli was fiesty! His unwavering love for Pam and the absolute dislike and distrust for Pam’s boyfriend Terry left him in a pickle. He was tied up with a bark collar and although he was tethered by the leash and banished by the awful Terry, this dog would do anything to protect his beloved Pam.

Oxenbould returned to the stage as the beloved owner of Paisley, a pug who had attained a cult following on his Instagram page because of his variety of gorgeous outfits. In this monologue, the owner was grieving, doing a live eulogy online (with the cutest pictures projected for us to see) and telling Paisley’s story, which turned out to be a warning of the ups and downs of stardom.

Before Truffles came back to close the play, one more character’s story was told – Janelle, played by Bishop. We hear Janelle interviewing Lisa Wilson at the time when she had applied to adopt Fonzerelli. Told from this point of view, with Janelle’s relentless and sharp questions fired like bullets into the phone, combined with the Burmese Blue’s description of her, I felt like both had completed the character of Lisa so clearly that she was indeed another character in the play.
The writers, Jamie Oxenbould and Mary Rachel Brown, skillfully incorporated the unseen characters from the monologues, making this two-person play feel like it had a much larger and lively cast. Congratulations to them both on their Australian premiere, and especially to Brown, who also directed this gem.

Chicken in a Biscuit offered a funny yet tender and heart-wrenching exploration of what it means to be truly known, regardless of species. It reflects on the stereotypes we hold about those we think we understand, and highlights the transformative power of love in shaping our lives. As we exit the Old Fitz Theatre, we are invited to contemplate the thought-provoking question posed by the wise old chocolate lab at the beginning, Truffles Bolton: “What does your life smell like?”

Season run: 3 October – 18 October 2025 at the Old Fitz Theatre, 129 Dowling St, Woolloomooloo Sydney
Run Time: 80 minutes no interval
Tickets: www.oldfitztheatre.com.au/chicken-in-a-biscuit

To book tickets to Chicken In A Biscuit, please visit https://www.oldfitztheatre.com.au/chicken-in-a-biscuit.

Photographer: Becky Matthews

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Meet the Director and Playwright Emily McKendry

Once Upon A Grimm Night

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3

Emily McKendry is a multi-talented director, actor and playwright originally from Taree in NSW. Her first two plays, “The Haunting” and “Murder by Invitation” were very well received. Emily co-founded Odyssey Theatre in 2023 alongside Rebecca Smith and Caitlin Addinell. Today we take the time to meet Emily, writer and director of “Once Upon A Grimm Night”, an immersive storytelling escape room experience currently being performed in Sydney.

About Emily McKendry

What’s your favourite fairy tale from childhood? Why?

It’d have to be Cinderella. I used to love the Disney film with the little mice and their corn, then was a bit shocked when I read the Brothers Grimm version: naaaasty. The live action remake is right up there with my favourite comfort films.

Which character from Once Upon a Grimm Night is most similar in personality to the actor/actress who plays them, and how?

I’d have to say Jared as The Narrator and myself as The Witch. Originally, I had thought that I would play the role of The Narrator but I always like to hold open auditions because you never know who will walk through the doors. We’d asked Jared to prepare for The Grimm but when he came in he’d prepared for The Narrator instead. His take on this wonderfully cabaret manic style Narrator inspired me to totally rewrite the character for him. As for The Witch – she’s socially anxious and prefers cats and crosswords to people – I did not set out to write myself but here we are.

What makes your show different from other interactive experiences?

I think the various types of interactivity blended within the one show whilst still maintaining a strong narrative structure. Most of the show is in fact scripted narrative, then on top we’ve got audience improvisation, escape room puzzles, and interactive potion making.

 

Why did you decide to perform your theatre experience at Old Government House?

You just can’t beat the immersive nature of an actual heritage location. We could try and replicate it somewhere else but it would cost a pretty penny and still never achieve the same ambience. One of my favourite parts of the show is when the audience enter The Witch’s lair – the gasps and audible appreciation of the setting give me little bursts of joy every time.

Do you have any funny or interesting stories of how people reacted during the last season of your show?

How long do you have? Audience interaction means that no two shows are the same. Unfortunately, a lot of them reveal spoilers for the show but The Witch scene always gets some hilarious audience responses.

There is a section where The Narrator asks the audience to consider their futures. One show Jared walked up to a lady and joked that he saw a lot of cats in hers, then with absolute glee she ripped her jacket open and revealed a T-shirt that was printed with the faces of all her 10+ cats. We couldn’t have written that better if we’d tried.

I know you’ve written 2 plays in the past. What inspired you to write this storyline in particular?

I used to write and be a Theatre Production Manager for Dark Stories Theatre, and a few years ago they got approached to create a production in a winery for a winter festival. It didn’t end up happening because there just wasn’t enough time to create it, but I got inspired by the idea of winter and harvest. Traditionally what would you do at that time of year? You’d gather around a fire and tell stories. BOOM; Grimm was born.

If there was any magical object you could bring into this Earth realm from Ever After…what would it be?

I’ve got to go with a classic – a magic wand. I grew up on Harry Potter and desperately wanting to be a witch and not a muggle. I’ve got my bibbity bobbity boo and levi-o-sa down pat.

Is there a sequel in the pipeline so we can see the adventures The Witch and Grimm Volkov get up to next?

You know, so many people have asked me that! I did leave the play open ended on purpose purely because I love the stories that linger with you and make you consider different possibilities. When writing the ending I’ll confess I created a rough outline of their future adventures but as for a sequel, who knows? Never say never.

Where can patrons book tickets?

To book tickets to Once Upon A Grimm Night, please visit https://www.odysseytheatre.com.au/once-upon-a-grimm-night-parramatta.

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Samson

Samson

Samson Rating

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8

Samson, the stunning debut production from Luminar Theatre Company, opens with a hauntingly beautiful performance of Nick Cave’s ‘O children.’ From the very first notes, I had goosebumps over my entire body; from the first scene to the very last Samson had me utterly entranced.

Samson centres around a group of teenagers in a small seaside town, who are grieving the sudden loss of a friend they’ve known their whole life when he dies tragically and unexpectedly in an accident. Julia- Rose Lewis’ script is visceral, raw and brimming with vulnerability and emotion, masterfully brought to life with sensitivity and zeal by director Chloe Callow.

It’s difficult to believe that Samson is Chloe Callow’s debut production as a theatre director. Everything about this production, from its striking visuals to its beautifully tempered emotionality, was perfectly curated. With a debut production of this quality, I’m eager to see what Callow has in store for the future.

The cast brought boundless energy and a grounded authenticity to the characters, as well as an unexpected but welcome dose of humour. Samuel Ireland was brilliant as Sid, bringing a marvelous complexity to a character that, in the wrong hands, might have just been dismissed as a bully. Ireland’s performance was deeply moving, his moments of humour landing perfectly with spot-on comedic timing.

 

 

Ava Jones’ portrayal of Beth was perfectly delivered- her grief felt so raw and genuine, and her character’s complicated relationship with God and religion was a fascinating exploration on the theme of spirituality and faith, and the ways in which belief can be both a comfort and a weapon in times of grief.

Henry Lopez Lopez is a brilliant ball of energy as Rabbit, equal parts sparkling vivacity and striking vulnerability. His chemistry with Rhiannon Jean as Essie was perfect. Jean’s performance was deeply emotional, and her journey is, in many ways, the heart of the show. Lopez and Jean both also deserve an honourable mention as the show’s producers.

Samson is carried by spectacular performances and thoughtful direction, and the production is full of little touches that really make it sing. Max Shaw’s set design beautifully captures the essence of a small town, and his work as fight choreographer elevates the dramatic scenes beautifully. Rhiannon Jean also did some incredible work as sound designer, adding a polish and dimensionality to the show.

The most wonderful thing about Samson is how life affirming it is. It’s a story about grief, but within that, it’s a story about resilience. The experience of watching Samson was deeply affecting- I laughed, and I cried (a lot) but I left feeling uplifted. I highly recommend seeing this production as soon as possible- Samson is one not to be missed.

Samson, presented by Luminar Theatre Company, is on at The Greek Theatre in Marrickville until October 11th.

To book tickets to Samson, please visit https://www.eventbrite.com.au/e/samson-tickets-1564791747239.

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I’ll Be Back Before Midnight

I'll Be Back Before Midnight

I’ll Be Back Before Midnight Rating

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5

I’ll Be Back Before Midnight is a tantalising play full of twists, turns and jumps that will have your heart thumping, palms sweating and your skin prickling.

This spine-tingling production is being Presented at the beautifully unique Pavilion Theatre Castle Hill by the talented Castle Hill Players and directed by Ben Freeman.

The play is set in a cosy country cottage where Greg the elusive unsupportive husband, played by Mitch Doran, has brought his wife, Jan for recovery after a long admission in a psychiatric hospital. Jessie Peak as Jan was marvellous at portraying the neurotic self-doubting wife; her fearful and frustrated emotional outbursts were impactful and harrowing.

Greg instigated trouble in his marriage by inviting his sister, Laura, who is despised by Jan, his wife. Mitch Doran is wonderfully convincing in his role as the standoffish, self-oriented husband. Mitch skillfully portrayed the unraveling of his character, unearthing closets of surprising secrets.

Meredith Blee as Laura, the sister of Greg who has come to stay with Greg and Jan at the country cottage, showed great antics and dramatics between herself and both Greg and Jan. Meredith displayed a somewhat teasing and trouble-making character and ‘dug her own grave’ for doing so.

 

 

Jonathon Burt presents our fourth character, George, the owner of the cottage who consistently drops in to spread a dash of hysteria and hysterics. Jonathon was delightfully hilarious as George, delivering witty one-liners in fantastical succession. Jonathon’s comedic delivery and depth of character were fabulously displayed.

With a production team outnumbering the acting cast near 4 to 1, it is clear how collaborative team effort developed such a wonderful theatrical stage adaption. The team seemingly spared no expense and poured endless hours of loving dedication into creating this fantastic production.

The advantageous feats the production team went to in order to make all the ‘magic’ happen—and there sure was plenty of ‘magic’ and special effects—was incredibly admirable. In pursuit of authenticity, they gained police permission to fire a real shotgun with blank bullets to create an authentic live sound and experience. It’s the ingenious creativity and attention to fine details that molded the show into a thoroughly impressive experience.

The stage construction was ingeniously designed to enhance the theatrics, such as the furiously abused kitchen serving window and the shutters which eerily flew open and closed. The artistic design of the living room where the entire play took place was creatively and effectively laid out.

The lighting was fantastic, cleverly simulating cars leaving and arriving through the stage window and the timely light dimming and spotlights accompanying the stage drama. Also notable was the fireplace explosion with smoke and lights and the several feigned power outages which were all executed masterfully.

The numerous sound effects throughout, including the cars, telephone and recordings, elevated the action superbly. The thumping, bassy heartbeats penetrated the audience into a state of unease and anticipation. Additionally, the sinister piano music illuminated the eeriness and contributed to create the perfect creepy atmosphere.

I’ll Be Back Before Midnight is a gripping play packed with a solid, talented cast and a wonderful display of special effects. It will make you laugh, jump, gasp and scream, and leave you tingling with goosebumps. Grab your tickets and enter this welcoming theatre but take heed to “be back before midnight.”

To book tickets to I’ll Be Back Before Midnight , please visit https://paviliontheatre.org.au/ill-be-back-before-midnight/.

Photographer: Chris Lundie

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