Macbeth in The Lounge

Macbeth

Macbeth Rating

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1

‘Come You Spirits’ Theatre Incorporated’s production of Macbeth is being performed in the intimate and engaging space of The Lounge at the Concourse Theatre Chatswood. It creates the perfect atmosphere for delivering a truly personable Shakespearean performance.

There was a lovely welcoming message from the cast and they also concluded the performance with a heartfelt message of thanks. Although the actors were not amplified, they were heard clearly due to their perfected voice projection and the nature of the small space. I really appreciated the clarity, articulation and dramatic delivery, which ensured a well-absorbed performance. Shakespeare can often be difficult to digest, as the script is comprehensive, and sometimes players tend to rush through the complex dialogue. However, this was definitely not the case during this presentation. It was engaging and delivered in a timely, dramatic fashion, which had me – and certainly the entire audience- enthralled. The entire cast of six was of the highest professional caliber and all gave a spectacular performance.

Macbeth and Lady Macbeth were played by Charles Mayer and Jo Bloom, who portrayed a natural connection and chemistry on stage. They both brought great emotional depth in their leading role characters and delivered a solid convincing performance.

Charles Mayer displayed the overly ambitious character of Macbeth with great conviction throughout. He showed passion, ambition and then later portrayed the tortured, battered soul of his character.

Jo Bloom delivered the greatest of sincerity to the ever-goading, ruthlessly ambitious, Lady Macbeth. Jo also doubled as the Second Witch and skillfully transitioned between the two contrasting characters.

 

 

Banquo was played by David Halgren, who gave a haunting and eerie rendition of his character. He also showed great skill in his theatrical movements leaping on and off the table and in his ghost-like manoeuvres.

Ciaran O’Riordan’s performance as Macduff was heartfelt and convincing. He portrayed Macduff with all the passion the character deserves.

I really appreciated the well-projected clarity and dramatic delivery of Willa King’s portrayal of the First Witch. Her
resonating, clear vocal tones were deeply impactful.

The homage to our traditional Aboriginal custodians was beautifully and seamlessly interwoven throughout the performance. Ella Havelka, who beautifully portrays the Third Witch, is an alumnus dancer with the Bangarra Dance Theatre and honoured her heritage as a member of the Wiradjuri people by flawlessly incorporating traditional influenced movements in her portrayal as the Third Witch.

The dimly lit setting created an eerie atmosphere for the supernatural elements, which constantly wove throughout the play.
I was particularly taken with the regal, gothic themed dining room staging, complete with lit candelabras, tablecloths and goblets. Also, the staging for the infamous “Double, double, toil and trouble” witches scene, presented with a smoking cauldron and appropriate props was equally striking.

The costuming was very impressive and gave authenticity to the period. It was brought to my attention that the costuming, sets and props were all predominantly sourced second-hand. This is a credit to the Art Director Letitia Hodgkinson who passionately sourced a suitable array of fabrics and materials. Her actions are most admirable and show a great commitment to environmental sustainability, while maintaining a high standard of creativity and artistic sense.

The musical compositions by Brandon Read, music composer and producer, elevated and intensified the performance. The recorded soundtrack was impactful and creatively accompanied the dramatic themes, providing a more full bodied performance.

I would also like to mention the fantastic work of the Lighting technician Adam Applebaum. He made splendid use of spotlights and coloured lighting to enhance themes and poignant moments as well as amplify the eerie scenes.

‘Come You Spirits’’ presentation of Shakespeare’s Macbeth is brilliant and captivating. Their rendition is condensed into a fast paced 90 minute performance centered around six main characters. A highly enjoyable performance with a stupendous professional cast.

To book tickets to Macbeth , please visit https://www.theconcourse.com.au/event/macbeth-in-the-lounge/.

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Betrayal

Betrayal

Betrayal Rating

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Watching Sport for Jove’s production of Harold Pinter’s Betrayal, now playing at the Old Fitz Theatre, I ran through alternative titles for the piece in my head. Some were: The lies we tell each other and ourselves; Why do we lie to each other? And lastly, why are humans so horrible to each other? On reflection, these are probably more questions the play provokes rather than suitable titles.

Betrayal is certainly a play that will have you wondering about why we cheat on each other. While set over fifty years ago, the theme of infidelity is a timeless one. Pinter wrote the play in reverse. It opens at the end of an affair, rather than at the beginning. In the first scene, Emma and Jerry, both in their late thirties, meet for a drink at a London pub in the spring time. Their conversation soon reveals they have been clandestine lovers, with their affair ending two years before. She is married to Robert who is best friends with Jerry. Jerry is married to Judith. Both couples have children. Emma reveals to Jerry that her marriage to Robert is over, in fact, they’ve broken up the night before. More shocking to Jerry though is that Robert has now learnt about their previous affair.

Desperate to talk to his long-time friend, the second scene sees Jerry meeting with Robert at his house. Their awkward dialogue hints at a brittle friendship. When Jerry finally talks to Robert about his affair with Emma, he is shocked (again) to discover that Robert had already known about the affair at least two years before. Jerry realises Emma has lied to him. How many times has she lied to him before? In his moment of outrage, Jerry seems to forget that he’s been lying too.

From here on, each scene moves backwards in time, travelling towards the final scene in which we see where the seeds of Emma and Jerry’s affair were planted. Pinter’s use of a reverse plot structure is effective. Each scene painfully reveals more to the audience about the couples. We start to see that behind the facade of domesticity lurk secrets and lies. A particularly devastating scene is when Robert discovers Emma’s infidelity as they holiday in Venice. Pinter’s economic dialogue here is especially biting, revealing so much in what is not actually said.

 

 

Betrayal is undeniably a bleak play. Under Cristabel Sved’s direction, the performers work hard to portray the ugliness of infidelity and the pettiness we are all capable of in our relationships. Ella Scott Lynch as Emma shines on stage; a woman caught between two men she both loves. Andrew Cutcliffe playing Robert captures the pain and impotency of a man whose wife has cuckolded him with his best friend. Matt Hardie as Jerry is effective in portraying a seemingly likable man who reveals himself eventually. None of the characters are particularly likeable but I think that was Pinter’s point. He has crafted characters who are real and, at times, baffling in their behaviour.

Set and Costume Designer Melanie Liertz has created a minimalistic set that fits well with the stark nature of the story. Vertical blinds are set to good use with scene titles projected onto them as well as photos of (ironically) happy family moments. I did wonder if the choice of these blinds was some kind of metaphor for the characters’ ‘blind’-ness in their relationships? Composer Steve Toulmin uses compelling piano music as transition between scenes. Verity Hampson and Luna Ng’s lighting design adds suitable mood to each scene.

Ultimately, Betrayal never really answers why we betray each other. Perhaps what it shows instead is that there is no answer for why we behave in the ways we do.

Betrayal is now running at the Old Fitz Theatre in Woolloomooloo until August 10.

To book tickets to Betrayal, please visit https://www.oldfitztheatre.com.au/betrayal.

Photographer: Kate Williams

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The Golden Shine of Trophy Boys – at Carriageworks

Trophy Boys

Trophy Boys Rating

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5

The setting for Trophy Boys at Carriageworks was simple. A spinning whiteboard, and high school tables and chairs; a typical classroom. However, the themes in this dark satire are not simple – and the 70 minutes are spent delving into what it means to have the youthful arrogance of being seventeen, a privileged life and the perks that come from attending an exclusive boys’ school.

It is the night of the final Year 12 debate between St Imperium College and their sister school. The four boys, Owen, Scott, David and Jared, are preparing to confidently obtain the trophy and the glory of winning, especially after winning for many consecutive years beforehand.

However, the board spins around and the topic they are to argue clearly throws them into panic. Their topic is to argue that feminism has failed women. Their initial reaction showed their fears, that they did not want to be cancelled, or portrayed as an anti-feminist. “I love women!” Jared (Fran Sweeney-Walsh) declares several times throughout the show. Is Jared trying to convince the audience, or himself? Sweeney-Walsh created a believable Jared, a jock who I could imagine being comfortable on the footy field with his mates, as well as having high tea in the Queen Victoria Building with his mum.

In one of the play’s initial scenes, where the four friends perform a type of strip tease dance for the audience garnered many laughs from the audience. This posturing of the boys showed their youth and confidence, and by the end of the play, I wondered if this scene had a deeper meaning. Perhaps the deliberate choice of having a non-binary and female cast dressed in drag, and as boys, doing a strip tease, presented a masculine point undermining feminism? Or it could simply have been a bit of comic relief of teenaged boys, before the heavier topics arose.

 

 

The audience doesn’t get to see the actual debate. This play is in real time, of the discussions and secrets revealed about each student during the pre-debate prep session, and this is what makes Trophy Boys original. By being an observer, the audience is taken along into a performance focusing on each boy’s character, all of whom consider themselves to be elite in their fancy school uniforms adorned with badges (from the cast’s actual school days), but whose actions provoke suspect as each boy’s façade is exposed. The name of their school, St Imperium College, already exudes ‘absolute power’ as does the name of the play, and I felt that at the beginning, the boys would have considered themselves as somewhat a “trophy” to anyone they dated.

All cast members had powerful performances, with Gaby Seow as Scott and Leigh Lule as David carrying the story further. Myfanwy Hocking as Owen delivered a speech towards the end which captivated the audience. Lighting designer Katie Stefkidis’ spotlight on the characters provided a sharp impact to their words.

Trophy Boys’ writer Emmanuelle Mattana was a competitive high school debater so could bring the nature of the preparation to the stage. She had been subject of misogynistic remarks from boys in the opposing debating team, and a historic sexual assault allegation from 1988 spurred her on to write Trophy Boys. Mattana also took on the role of Scott onstage from 2022-2024.

Directed by Marni Mount, Trophy Boys is a social commentary about the ingrained nature of toxic masculinity in today’s world, homophobia and the power of privilege that protects its own people, no matter what.

I saw Trophy Boy’s opening performance on Thursday 24th July 2025, which ended with a standing ovation.

Trophy Boys is playing at Carriageworks from 24 July to 3 August and will be touring at the Riverside Theatre from 6- 9 August 2025.

www.carriageworks.com.au/events/trophy-boys-2025
www.riversideparramatta.com.au/whats-on/trophy-boys

To book tickets to Trophy Boys, please visit https://carriageworks.com.au/events/trophy-boys-2025/.

Photographer: Carriageworks,Ben Andrews

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An Epic Masterpiece Of Creative Collaboration

Fewer Emergencies

Fewer Emergencies Rating

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3

Upon entry to the theatre, the background music is teetering that edge of ambient and unsettling. There’s a child rocking on a horse downstage right. They are framed by large, open vertical blinds. Warm lights with an amber filter touch key points of the stage, which has the old school brown shag carpet. There’s late 80s school desk chairs to the right and left of an armchair in the middle, with a lit lamp and a red book. These nostalgic items, and the child’s rocking only pausing for the Welcome To Country recording, create atmospheric tension.

The cleaning crew enters the space in their blue jumpsuits. They get to work vacuuming, sweeping and dusting. Their movements are coordinated and choreographed. There’s a poetry to it.

One of the cleaners begins to touch the items in the middle. The actor, played by Monica Sayers, wraps a scarf around her neck and the ensemble cleaning crew, with Olivia Hall-Smith and Bayley Prendergast notice and respond.

The scarf wearer tells the story of a woman who is trapped in an unhappy marriage, taking and rejecting story prompts from the other two. At times forgetting (wilfully and not-so) the detail. An unhappy and unreliable narrator is created, not just by the storyteller, but by the contributions of the other two, as they explore the elements that are supposed to make couples happy in society, and the unlikely elements that make things worse instead of better.

 

 

We shift to a classroom setup and the fourth member (Clay Crighton) enters the space wearing a beige jumpsuit similar to the others, but for the colour. Bayley becomes the narrator of this story, with a harrowing classroom scene. Clay retreats to the side of the stage. Where they lean upon the wall in a quiet, but visceral changing state of agony and pain. Their fingers pulse as the anguish and torment is embodied. This is achieved with very little other movement, even of their facial features. Somehow they are able to portray magnitudes in the slightest ways. It’s powerful and heart-wrenching to observe.

As the intense story unfolds, Clay starts to contribute to the narrative despite the warnings of “Don’t help me!” from the central narrator. This account challenges the participating story-weavers to accept an “unsympathetic character”. It’s a tale of a monster who has what they deem to be society’s ideals; money, property, family; and nothing to cause them to commit the heinous acts we witness. The fourth narrator (Clay) then transforms this piece in a unique way, and it shifts into something unexpected.

The concluding story may be a culmination of the previous two, it is clearly connected to the first narrative, and makes sense of some of the discrepancies. The use of shadow has been a compelling device throughout the piece, and is taken to a peak in this final act. The ensemble work brings the play to a cataclysmic crescendo before the abrupt blacking out. Then they shift to curtain call, which is noticeably agonising for the incredibly talented Clay to adjust into. The rawness is still there as they try and return to reality.

This is an epic masterpiece of creative collaboration and exceptional talent. It’s clearly the result of challenging and complex ensemble work which has paid off spectacularly.

I admit I don’t have the technical language to give credence to the importance of the lighting and sound effects, which are vital elements to the hard-hitting impact of this piece of work. Izzy Morrisey has created a lighting design where every change is crucial, every State is meaningful, and the team executed this beautifully.

Director, Harry Reid, is an ungoverned genius. There are so many elements of Fewer Emergencies that I have not managed to put to words and, in a way, I’m grateful for that as it is something that truly needs to be witnessed. It’s a remarkable piece of theatre and I am going to be contemplating it for a long time to come.

To book tickets to Fewer Emergencies, please visit https://www.oldfitztheatre.com.au/fewer-emergencies.

Photographer: Robert Miniter

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