sydney theatre

Adventure Before Dementia – Four Flat Whites in Italy

Four Flat Whites in Italy

With a name like Four Flat Whites in Italy, I knew this play would have an international flavour. Directed by Tui Clark and written by Award-Winning playwright Roger Hall, this show places us as onlookers whilst the narrator, Adrian, portrayed by David Stewart-Hunter, talks to us directly. This works to immediately involve us in Adrian’s world.

Four Flat Whites in Italy is a comedy about a retired couple, librarians Adrian and Alison, played by Penny Church. When their planned trip of a lifetime to Italy faces a hiccup, they seesaw between the decision to cancel the trip or go. During a game of Bridge, when they have their new neighbours over, it’s decided that the four of them will travel together.

Harry, portrayed by Christopher Pali and Judy, played by Karen Pattinson, are as far away in personality from Adrian and Alison as can be. The quibbles begin almost immediately when they arrive in Venice. Some irritations were relatable, and I found myself siding with one character one moment and someone else when another quibble arose. This was thanks to Roger Hall’s clever script and the delivery of all four talented lead actors. Sometimes, all it took was a particular look to elicit laughs from the audience.

Four Flat Whites in Italy

At the beginning of the play, Penny Church’s Alison was so uptight; her body language displayed someone who likes to be in charge. She was organised and had a strong dependency, gripping her Lonely Planet Italy guidebook. As the play progresses, we discover a tragedy that has shaped her and Adrian’s somewhat strained relationship, and she loosens her grip on the guidebook. I wondered whether this was intentional and represented Alison letting go of the past and the need to know what is ahead in life.

David Stewart-Hunter is outstanding as Adrian, mixing roles between narrator and acting in the story. He was a very likable character and felt as though he could have been anyone’s kind grandfather. Harry and Judy worked well as a team, with Christopher Pali and Karen Pattinson ensuring an onstage chemistry. Imran Khaliqi and Kimberlea Smith had strong supporting roles, playing several characters in the play.

The set background was well done, with worn exposed bricks and large columns placing us in Italy. The props were versatile, with two particular props used cleverly when turned in various ways.

Four Flat Whites in Italy
Four Flat Whites in Italy

This was a very character-driven play with minimal need for extra props in scenes, such as cups to hold or bowls of food brought when the characters were eating. The attention was more on the storyline and the interaction between the four characters.

Act 2 of the play becomes more harmonious as understanding, acceptance, forgiveness and letting go of the past develop. We see all characters soften.

There are some takeaway life messages in Four Flat Whites in Italy. As well as the above, I believe it is listening, really listening to the ones you love, and taking advice from those you may not know well. Everyone can show wisdom and kindness when it is needed. And, of course, one more message – visit Italy and have the trip of a lifetime!

Four Flat Whites in Italy is showing at The Genesian Theatre, 420 Kent St, Sydney.

Season: 14th Oct – 4th Nov 2023
Friday and Saturday nights at 7.30pm
Sunday matinée at 4.30pm
Tickets: Adults $35 / Concession $30 / Groups 10 + $30

Running Time: 2hrs 35mins including 20min interval

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Meet The Actor – The Secrets of Carmichael Manor

The Secrets of Carmichael Manor

The Secrets of Carmichael Manor is coming to Sydney on the 13th of October, and here we take the time to chat with the Actor, Director and Author of the show Kate Jirelle in our Meet The Actor Series.

Let’s turn our spotlights onto Kate and delve deeper into her and The Secrets of Carmichael Manor production.

Meet the Actor

About Kate

What do you enjoy most about acting?

What I most enjoy about acting is the ability it gives you to explore yourself and the world around you. Whenever I take on a new character, I learn so much about myself and what I’m capable of, but it also makes me consider other perspectives and other walks of life that I’ve never considered before.

Do you believe talent or training is more important to an actor?

I firmly believe it takes both, but I don’t think you need to get an acting degree necessarily. I never had the opportunity to attend a traditional drama school, but I have gained so much by training at places like Sydney Acting Studio, which offers regular and ongoing training with incredible teachers who always support, encourage, and challenge me to do my best. Whether you go to a traditional drama school or not, it’s essential to continuously work on your craft as an actor with people who inspire you and constantly push you to do your best work.

Which acting technique do you think is the best for you?

The foundation of my training has been the Meisner Technique, which is definitely the technique I would say is my foundation. However, as an actor, I’m constantly learning and always looking for new tools to add to the toolbox.

What do you believe is the most challenging aspect of being an actor?

To be an actor, you need to have a thick skin. When you become an actor, you hear “No” a lot more times than “Yes”, and it can be easy to let that get to you. However, I find that if you surround yourself with the right people who understand you, inspire you and can lift you up in the low times, it makes the more challenging times easier to navigate.

What is your favourite film or theatre production?

This changes for me almost daily, but I’m always a sucker for stories that can have me laughing one minute and crying the next. In terms of movies, Jo Jo Rabbit is definitely up there in the favourites list. In the category of plays, The Things I Know To Be True by Andrew Bovell is also a firm favourite. Regarding TV, I’ve recently hopped onto the Ted Lasso bandwagon and am very much enjoying the ride. 

About The Secrets of Carmichael Manor

How did the writing of this show come about?

Having acted in several Dark Stories productions before, I couldn’t help but jump at the chance when I was asked to write one. All Dark Stories shows have a great tone that often mixes history, mystery and humour, which is an absolute ball to write. I also couldn’t resist the opportunity to write for such a great venue as Experiment Farm Cottage. You can’t help but be inspired when it comes to such a beautiful historical building.

What sort of person is going to love this show?

I like to describe this show as Doctor Who meets Knives Out. So, if you like either one of those, I think you’ll love The Secrets of Carmichael Manor.

Who should not come see this show?

People who aren’t prepared to be dragged into the action. No, really – this show is very interactive, and the audience very much becomes part of the show. But, if being involved in the story is your cup of tea, you will enjoy this show.

Who in the show is most like their character?

I must say it’s Ben Durham playing the role of Father Patrick. The instant he walked into the audition, we knew we’d found our Father Pat – and that was even before he started delivering the scene.

Who’s the least?

Definitely, Gary Leonard Belshaw, who plays the role of George Carmichael. I’ve known Gary for a while now, and he is genuinely one of the most kind-hearted and generous performers I’ve met. In comparison, George is a very boorish and ill-tempered character, and it always amazes me how well Gary manages to slip into that energy when it is the very opposite of who he is. Talk about great acting!

Kate Jirelle can be seen in The Secrets of Carmichael Manor, which only runs for two weekends, from the 13th to the 15th of October and the 20th to 22nd of October, in the historic space of Experiment Farm Cottage, in Parramatta.

A Generational Voyage – Waru: Journey of the Small Turtle

Waru: Journey of the Small Turtle

Bangarra Dance Theatre’s Waru: Journey of the Small Turtle follows the generational journey of a turtle coming out of its egg, finding its way to the sea, growing up big and strong, and returning to lay eggs of their own.

The audience walks in to see a beautifully set stage with fairy lights and magical dot lighting on the walls, like millions of fireflies in the night sky. The ambient music and beach sounds complete the scene and allow the young audience to ponder what they will see when the performance begins.

The first words the audience hears are in a whisper. A voice pays respect to the Gadigal people of the Eora Nation, on which the performance takes place, and tells the audience a little bit about what is to come in the production. As the play is aimed at a younger audience, this whisper was an absolutely beautiful way to ease them into the performance space.

The turtle’s story is told from the perspective of a grandmother who lives on the beach and acts as the guardian of the turtles. As such, the journey of the small turtle is told from her perspective and includes many delightful moments of dance, kung fu and song.

The performance itself consisted of two actors – Elma Kris and Aba Beru. Elma’s voice as the grandmother was welcoming, encouraging, and engaging, and her energy was wonderful and drew in the audience. Aba embodied their multiple roles full-heartedly and met their unique energies with joy and consideration.

Audience engagement and interaction was a large part of this performance, and on opening night, the crowd followed Elma’s gentle-paced storytelling through dancing and singing. As the story followed the journey of two mother turtles, the dances and songs were repeated. This repetition was perfect for the young audience to help them remember the dances after the performance.

Waru: Journey of the Small Turtle

Another wonderfully age-considerate inclusion was that the play notes the change in ambient music as a foreboding tool. When the lighting and music change and Elma asks the audience, “Can you feel it?” this not only helps the young audience follow in the drama of the story at that moment but also helps them on a broader scale to pay attention to the soundscape and lighting of the show in general.

Waru: Journey of a Small Turtle is the first dedicated children’s performance from the Bangarra Dance Theatre, and for their first production, they got a lot of things right. The drama of the piece and the warm nature of the grandmother’s character kept the engagement levels high for all ages. The story was told in a way that I was not expecting, and I would encourage anyone with small children to give them the opportunity to see this story told on stage.

Performances are running in Gadigal Country (Sydney) until October 14th, then will move to Wadawarrung Country (Geelong) until October 21st.

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Roll up! Roll up! The Marvellous Elephant Man

Roll up! Roll up! For this is no ordinary show– The Marvellous Elephant Man The Musical is a colourful feast of sound and flair under the Sydney Spiegeltent at the EQ Moore Park that will keep you entranced.

The talented trio of writers and composers of this musical took additional roles onstage to showcase their versatility. Musical Director Sarah Nandagopan performed on the piano, Marc Lucchesi and Jayan Nandagopan acted and brought their instruments into the story via their characters.

The Marvellous Elephant Man brings us the story of John Merrick, a man who, in real life in the late 1800s, was the main attraction being paraded at the then-popular ‘freakshows’ in London. The musical breathes life into John’s story, and actor Ben Clark’s portrayal captures our hearts from the moment we see and hear him sing, most notably with the song “I Am Not An Animal”. In stark contrast to John’s kind heart and good nature is the dastardly wicked villain Dr Frederick Treves, played by award-winning actor Kanen Breen. In one scene with these two characters, Dr. Treves’ dialogue was so masterfully well-written and delivered with such malice it was heartbreaking!

Lighting designer Matthew Marshall did an outstanding job adding to the emotive drama in this scene. I noticed how his subtle choice of colour, blue – really highlighted how John was feeling. In another scene, the storytelling involved the most creative use of lighting and illusion I have ever seen on stage! You’ll know this scene when you watch the show; it’s the one with the strobe lighting!

The musical is layered with so many different elements – it’s difficult to pigeonhole The Marvellous Elephant Man into just one genre. There’s plenty of drama, mystery, and a possible love story between John and Nurse Hope, played by Annelise Hall, who created a character so sweet and believable you’ll fall in love with her too! Her singing was mesmerising.

Another major element of this musical was the side-splitting comedy woven into each scene. Writer and composer Marc Lucchesi’s theatrical debut is a standout show stealer. By playing three vastly different strong characters, complete with accents, he had the audience roaring with laughter with each song! The supporting cast were simply brilliant with their dancing, comedic timing and flamboyant costumes.

Some musicals stick to one time era. The songs in this musical were so cleverly composed that the soundtrack took the audience on a rollercoaster ride of songs, sampling being reminiscent of a 1920s bar to being at a vaudeville show to classic rock to being in Italy, and everything in between!

The trombone ‘elephant man’ motif, played by composer Jayan Nandagopan, created its own little story as it began the show with a sad elephant defeated stomp when we were first introduced to John Merrick. As the ‘elephant man’ began to gain confidence, so too did the trombone, becoming brighter in sound and tempo – such a wonderful way to communicate the character’s growth.

The Producer and Co-Directors Chris Mitchell and Guy Masterson have put together an outstanding cast and created a visual masterpiece with a huge voice. With each performance I am sure it is going places, up and away. When this musical is shown on Broadway, in the West End, and closer to home in our larger theatres, I will be so glad I got to be a part of its humble beginnings, on a small round stage in a bigtop tent at the Entertainment Quarter.

The Marvellous Elephant Man the Musical’s performance time is 2 hours and 20 minutes, including the interval time and proudly opened The Sydney Fringe Festival on September 1 2023.

Tickets are now on sale and showing at the Speigeltent Festival Garden – Sydney Spiegeltent The Entertainment Quarter from September 1 – October 1 2023

Evening performances 7.30pm Tuesday – Saturday; 7pm Sunday

Matinee performances 2pm Saturday; 1pm Sunday

Tickets: https://sydneyfringe.com/events/the-marvellous-elephant-man-the-musical/

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