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Sylvia: Presented By Hunters Hill Theatre

11 March 2025 Isobel Knight

Sylvia Rating

★★★★★

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The performances of all four actors in the cast are a real strength of Hunters Hill Theatre’s really enjoyable production of A.R. Gurney’s ‘Sylvia’, with each of them finding their moments of comedy and genuine humanity. The premise of the show is an odd one, but the opening night audience was won over by the warmth and skill of the cast, and a production that invites you to look in the apartment window to the funny and very human way people navigate changing and aging.

Justin Corcoran and Brooke Davidson play Greg and Kate, whose marriage is the central site of both comedy and conflict throughout the show. Both of them bring a gentleness to their characters; Greg remains a sympathetic figure despite the oddities in his choices throughout the show, and Davidson makes Brooke both warm and wry as well as exasperated.

Margareta Moir has perhaps the biggest challenge of the show, playing the titular (canine) character, but she does extremely well at the physical comedy and energetic contribution to the ensemble that her role requires. Richard Littlehales plays three characters across the show and embodies each with their own physicality that both drew some of the show’s biggest laughs and allows the core trio to shine. Leslie, the therapist who appears in the second act, is a real highlight, and Littlehales brings both life and humour to the arc of Tom, Greg’s dog park friend.

Wayne Chee’s set design is smart and sleek; a mulit-part sofa tells the arc of the story on its own, and the way the set interacts with the particular theatre at Club Ryde allows the audience to feel as if we’re in the apartment with the characters. The musical choices in some scene transitions were a lovely addition.

This is Moja Band’s first production with Hunters Hill Theatre, and it’s skilfully done; the play moves at a gentle clip, and there is an intimacy to the apartment world where most of the play takes place. The humanity in how embarrassing we all become when we’re in a period of flux is a thread that Band’s direction clearly finds; each character is funny and sympathetic.

In line with this, the costuming and prop work is really well done, everything feels real and recognisable, which is part of what allows the comic device of Sylvia being played by a grown human woman to work so well. The very normal world we see is interrupted by an enthusiastic whirlwind of a character, and the journey through what that means for a marriage and home is really fun, sweet and off-kilter.

To book tickets to Sylvia, please visit https://www.huntershilltheatre.com.au/whats-on.html

Photographer: Amin Heidari

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.

Isobel Knight

Witches, Daggers, And Dark Ambition: Macbeth Takes The Stage

9 March 2025 Donna Portland

Macbeth Rating

★★★★★

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Director John Grinston delivers a compelling interpretation of Shakespeare’s shortest tragedy, Macbeth, which follows the dark and ambitious rise of a Scottish general who murders his way to the throne, spurred on by his equally ruthless wife.

The production’s minimalist set – featuring a cloudy backdrop and simple, unchanging props – places the focus squarely on the actors and the power of Shakespeare’s words. While this approach demands strong performances to maintain audience engagement, the cast largely succeeded in bringing energy and verve to their roles.

Shakespearean dialogue, with its dense 11th-century language, can be notoriously difficult to render fluently. However, several actors navigated it with skill, making the text feel natural and immersive. Dimitri Armatas (Banquo) was particularly outstanding, delivering a consistently engaging and authentic performance. A standout moment came from Micah Doughty as Seyton, who stumbled in from a drunken night, weaving through the audience before joining his companions onstage. His delivery, in full Shakespearean fluency, was both amusing and believable, offering a rare moment of levity in the otherwise dark narrative.

As Macbeth, Jack Taylor handled the immense demands of the role well, especially considering this was his first Shakespearean performance. He had moments of true greatness, portraying Macbeth’s descent into tyranny with conviction.

Yvette Gillies played Lady Macbeth with admirable command, though her casting opposite a much younger Macbeth was an interesting choice. Indeed, some productions have depicted Lady Macbeth as older, emphasising her ambition, influence, and almost maternal guidance over her husband. Gillies’ Scottish accent was a welcome addition, lending authenticity to her portrayal, though it did contrast sharply with the rest of the cast, who spoke in more neutral tones.

Veteran actors David Stewart-Hunter (King Duncan) and John Benjamin (Doctor) added a seasoned presence to the production, bringing gravitas to their roles. Meanwhile, the trio of witches – Jasna Mars, Poppy Cozens, and Julie Burns – delivered some of the most engaging scenes of the night. Their cauldron scene, revealing the fateful prophecy that “no man born of woman can defeat him,” was particularly well-executed, creating an eerie, mystical atmosphere that resonated with the audience.

The Audience and Venue:
Opening night drew a predominantly older crowd, with more than half of attendees appearing to be over 50 or 60 – perhaps due to the presence of the actors’ families and longtime Genesian patrons. Shakespearean theatre may have a stronger appeal to older audiences, but productions like this have the potential to engage younger viewers as well.

More young people should experience Shakespearean theatre, as Macbeth remains strikingly relevant. While language and idioms have evolved, human nature has not, and the themes of unchecked ambition, moral corruption, and fate still captivate modern audiences. For students studying Macbeth, seeing it performed live provides an invaluable perspective on the play’s intricate dynamics.

The Genesian Theatre, at 2B Gordon Street, Rozelle, offers a viewing experience with well-tiered seating ensuring clear sightlines. The venue is air-conditioned (with two split systems), making for a pleasant atmosphere, as long as they remain on. The bathroom facilities are well-maintained, and the bar is excellent. Parking in the surrounding streets can be challenging, so allow extra time to find a spot.

Final Verdict:
This Macbeth was an enjoyable and well-executed production with a commendable cast and crew. While some moments could have benefited from greater consistency in fluency and intensity, the strong performances – particularly from Banquo, Lady Macbeth, and the witches – made for an engaging evening of theatre. Grinston’s direction, combined with Shakespeare’s enduring themes, ensured that Macbeth still has the power to thrill and unsettle, centuries after it was first performed.

To book tickets to Macbeth, please visit https://genesiantheatre.com/

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.

Donna Portland

Gold, Gods, and Glory: Discovering the Inca Empire at the Australian

3 March 2025 Faith Jessel

MachuPicchu Rating

★★★★★

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Stepping into the Australian Museum’s Machu Picchu and the Golden Empires of Peru exhibition feels like crossing a threshold into another time—one brimming with gold-laden rituals, powerful gods, and a civilisation both mystical and masterful. More than just a collection of artefacts, this exhibition weaves storytelling and sensory experiences, immersing visitors in the grandeur and mystery of the Inca Empire and Andean cultures.

Machu Picchu, the ancient Inca city perched high in the Andes, has fascinated history enthusiasts and travellers alike for centuries. The ruins of this once-thriving civilisation provide a window into a world that feels both distant and timeless, offering an intriguing blend of the known and the mysterious. This exhibition provides a unique opportunity to explore the history and culture of the Inca Empire, allowing visitors to gain a deeper understanding of its enigmatic world.

Rather than a traditional exhibition, this experience unfolds like a theatrical production, with each room revealing a new act in the story of the Inca civilisation. One of its strongest elements is the narrative structure, which, like a well-directed play, uses light, sound, and pacing to draw visitors into the story. Moody lighting, atmospheric soundscapes, and interactive displays combine to create a powerful sensory journey. This approach makes each artefact feel integral to the grand drama. Visitors don’t just observe—they step into the heart of ancient Inca culture, moving through curated displays that highlight both the grandeur of Inca society and the deep spirituality woven into its everyday life.

Gold, symbolising the sun, and silver, representing the moon, were central to Inca culture and both were seen as divine. The exhibition’s stunning jewellery and ceremonial garb beautifully illustrate the Inca’s reverence for these precious metals, which were believed to guide the deceased into the afterlife. Among the highlights is a gold necklace featuring tiny frogs, each intricately created to showcase the beauty and precision of Inca craftsmanship.

A standout moment is the sacrificial ceremony display, handled with care and respect. Through evocative art, narration, lighting, and artefacts, it delves into this often-misunderstood aspect of Inca spirituality, while also drawing connections to modern-day rituals that echo these ancient practices. The warrior section further enriches this narrative, using video art and historical artefacts to bring the myths of the Inca to life.

The interactive journey of Ai Apaec offers a visual feast, with finely crafted drinking spouts symbolising the Inca’s spiritual connection to the divine and their understanding of life, nature, and the cosmos. In contrast, a section on Inca erotic artefacts provides a straightforward exploration of this aspect of their society, presented with historical integrity.

The Machu Picchu room offers a concise yet informative look at the iconic site through photographs and text. While it focuses more on historical context than on artefacts from the location, it serves as a thoughtful conclusion to the exhibition’s broader significance. Given the immersive storytelling and rich cultural displays, this section complements the experience rather than defining it.

Throughout this journey, visitors can use an audio guide, which enhances the experience with additional insights. Given the level of detail in the displays, this is highly recommended for those wanting to delve deeper into Inca history. For an add-on fee, you can experience a cutting-edge virtual reality visit to Machu Picchu, where you’ll see, hear, and feel the mysterious city in the sky.

The Australian Museum consistently excels at curating exhibitions that are immersive and educational, bringing history to life in ways that captivate audiences of all ages. Machu Picchu and the Golden Empires of Peru is a shining example of this, demonstrating the power of storytelling through historical displays that seamlessly blend education, emotion, and artistry into an unforgettable experience.

With ticket prices covering entry to the rest of the museum, this exhibition is more than worth the visit. Whether you’re drawn to the mystery of lost civilisations or simply appreciate exquisite craftsmanship, it brings the legacy of the Inca Empire and Andean cultures to life in an immersive and profoundly meaningful way.

To book tickets to MachuPicchu, please visit https://australian.museum/exhibition/machu-picchu/

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.

Faith Jessel

Summer of the Seventeenth Doll

23 February 2025 Paige Jenkins

Summer of the Seventeenth Doll Rating

★★★★★

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Ray Lawler’s play Summer of the Seventeenth Doll is a cornerstone of Australian theatre. Directed by Tom Richards, the Arts Theatre Cronulla cast put their hearts and backs into this iconic story. The passion displayed onstage and the clear camaraderie of the local audience helped transport the room back to 1953, to a time of labour and love.

As you enter the charming theatre, you first see the gorgeous set. The olive walls and the sixteen beautiful Kewpie dolls scattered around the stage gave the audience a time capsule-like snapshot of the nostalgic and cosy 1950s Melbourne living room. The meticulous attention to detail simultaneously hinted at and highlighted both the charm and decay of the characters’ lives. The set became more than just a backdrop; it was a living, breathing part of the story—the eighth character, if you will.

Among the performances, Pearl, played by Rachel Lauren Baker, was the stand-out. Despite playing the group’s outsider, Baker’s portrayal of the outwardly strait-laced, respectable widow was captivating and made it difficult to look elsewhere when she took to the stage. Her performance unified the cast, drawing out stronger moments from the others and holding tight to the emotional core of Lawler’s work ensured that the play’s over-arching themes resonated with the audience. Pearl’s realist view of the layoff balances the over-excitement of Ally O’Brien’s Olive. The pair were cataclysmic and jarring: a blunt realist who tends to lean more on the pessimistic side and an idealist stuck in the past. The dynamic felt authentic, and the pair played off each other with admirable ease.

Peter David Allison was everything Barney was meant to be: a sloppy but loveable oaf with a wicked sense of humour. His energy was unmatched, forcing laughter from even the most stoic of audience members. Barney’s commanding presence was softened by his unassuming charm, particularly when it came to Bubba or Emma, played by Eliza Spowart and Narelle Jaeger, respectively.

The integrity of the story and the authenticity of the era shone through the costumes and the music that added texture and invaluable personality to the performance. A huge shout-out to Lesley Tinker who oversaw props and wardrobe, they were stunning.

Despite moments where the dialogue felt a little rushed, making it hard to follow on occasion, it was no different to listening to a friend who gets a little over-excited and passionate about a unique interest, which added an endearing quality to the slight confusion.

Overall, this is not a play to miss. Whether you know the story or not, the Arts Theatre in Cronulla is the place to be for the next few weeks. Head to their website to book your tickets before it’s too late! The show closes on the 22nd of March. Performances are Wednesdays, Fridays and Saturdays at 8pm, and Sundays 9 and 16 March at 2pm.

To book tickets to Summer of the Seventeenth Doll, please visit https://www.artstheatrecronulla.com.au/summeroftheseventeenthdoll

Photographer: Peter Gale – Graham West

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.

Paige Jenkins

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