The Dogs Logs – Review

A brightly lit warm stage… Endless greenery… A quaint park bench… Lively music and bubbles…

This is the home of The Dog Logs, the latest production of Hunters Hill Theatre currently playing at Club Ryde. It’s impossible not to know who lives here – if the dog bowl, ruined newspapers, and the can of trash weren’t clues enough – and I anxiously wait to see just how we’ll be introduced to man’s best friend; the animal I cannot get enough of.

Of course, despite the pitch I was given to attend opening night – The Dog Logs is not just for the Dog Lover. Yes, this is a play where the only characters have four legs, but writer CJ Johnson’s script has so much heart. Structured as a string of monologues detailing the various life stories of a host of different breeds – from an Excitable Jack Russell to a pampered Chihuahua to a policing Kelpie – we are initially reeled in by the absurdity of it all, but our attention is quickly grabbed by something much deeper, much more human: the ways in which our furry companions reflect back on us.

It’s a daunting task and one that I think Director Maggie Scott has tackled head-on. This isn’t her first time staging this production, and it’s clear she has a nuanced understanding of the line that needs to be walked between human and canine. It’s a subtle, sophisticated approach; a scratch here, a hip swing, a limp. Bright collars and simple costume additions – take for instance, the hilarious running outfit worn by a racing Greyhound that just Can’t. Catch. That. Rabbit. Each dog is introduced by a stereotypical, rather nostalgic pop song of the early 2000s that has the audience in fits of laughter.

A bold choice – but creativity is only best when it is brave. And none are so brave then the four actors who give us these thoughts of Dog. Anthony Slaven is loveable as the larger than life and energetic breeds. Keeping the liveliness of the night high, Slaven is always warmly welcomed back on stage after the more delicate and vulnerable moments of the evening. Many of which are craftly ignited by Ross Alexander, who weaves longer tales (no pun intended) that captivate, ignite and in the case of a particular aging Labrador – pinch you right in the childhood. Kirit Chaudhary gives a highly varied performance by embracing the extremes of each of his breeds. Wittingly charming as a lazy, sleepy mongrel and terrifying as a powerful and aggressive Rottweiler; each take was dangerous and exciting.

But one can’t help but think that in many ways Brooke Davidson had the biggest challenge of them all. The only woman in the play, there is only so much that can be given when her dogs are written as spoilt and pampered quote on quote ‘b*tches’ who don’t know what’s good for them. You could see Davidson’s envision of her dogs as more – complicated and decisive – and it was clear over the night her rebellion against what could have easily been a one stroke performance. All I can say is go show ‘em and well done.

Whether you are constantly questioning what your dog may be thinking or wanting a piece of theatre that doesn’t tell you what you should think, but instead invites you to join a conversation – The Dog Logs is for you. I give a huge congratulations to everyone involved in this production. A limited season ending on April 2nd – don’t miss your chance to see this moving take on love, loss, connection, and friendship all through the eyes of nature’s best friend.

The Dogs Logs – Hunters Hill Theatre

  • Friday 24 March 2023 – 7:30 PM
  • Saturday 25 March 2023 – 2:00PM AND 7:30 PM
  • Sunday 26 March 2023 – 2:00 PM
  • Friday 31 March 2023 – 7:30 PM
  • Saturday 01 April – 2:00PM AND 7:30 PM
  • Sunday 02 April – 2:00 PM

This review also appears in On The House

Photography Courteousy of Dan Ferris

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Secret Bridesmaids’ Business – Theatre Review

Hunters Hill Theatre’s latest production, the iconic Australian play Secret Bridesmaids’ Business, is a play you must see. I attended the opening night on Friday and highly recommend you join the bridal party for this brilliant conclusion to their 2022 season.

Elizabeth Coleman’s smash hit Secret Bridesmaids’ Business was first performed in April/May 1999 and has been an audience favourite ever since. Performed all over the country and adapted for the small screen into a 2002 telemovie and 2019 miniseries.

The tale takes place the night before/morning of Meg’s wedding, “the best day of any woman’s life”, and we witness all the little dramas as serious problems unfold. Secret Bridesmaids Business asks big questions about friendship, love and commitment, then perfectly illustrates that there are no correct answers.

Our mother of the bride, Coleen Bacon, expertly acted by Lois Marsh, opens the show and sets the scene. I had an immediate gut reaction as Marsh dragged us kicking and screaming into the depths of wedding drama hell, a performance so entertaining that I abhorred the character.

Anna Desjardins, plays our bride-to-be Meg. In the second act, Desjardins kicked me in the heart! She did Meg and countless women who have been in her shoes justice with her excellent performance.

Now for the namesakes of the play, the secretive bridesmaids themselves. Two sides of the same coin? Or maybe the same sides of different coins? Angela, Meg’s childhood best friend, was played by Kirsty McGowan, and Lucy, Meg’s best friend from university, was played by Laura Stead. The ending was thoroughly enjoyable, with credit due to Stead’s genuine and humorous acting in the show’s final moments.

Dan Ferris portrayed the groom, James, and if he wasn’t such a fantastic actor, I’d accuse Hunters Hill Theatre of favouritism. This is the second time I’ve had the pleasure of seeing Dan on stage at Club Ryde and the second time he’s snagged the best and most fun role in the show, in which he was superb.

Yet, in a show full of fantastic performances, I felt Chloe Horne stole the show with her portrayal of Naomi Bartlett. Her monologue delivered one of the best, most heartfelt performances I’ve seen on stage this year.

Also, a special shout-out to Carol Keeble, a fantastic hotel worker and an even better stage manager! I was particularly pleased to see that this play, written by a woman with a history of female directors, kept with tradition and was directed by Vivienne Wood.

Wendy Walker, as costume designer, found beautiful formal wear for the bridal party. Ross Alexander, Christopher Hamilton and Geoff Jones were in charge of the set, and I want to congratulate whoever was responsible for finding the perfect shade of ‘hotel room teal’; it’s the little things that really matter.

The Creative team put together a genuinely captivating show; believe it or not, Hunters Hill Theatre has entertained us for over 90 years.

Get yourself over to Club Ryde and support them and their outstanding work. Secret Bridesmaids Business is deliciously fun and is a production not to be missed. Upcoming show dates are:-

Nov 13, 2022 Sun @ 2:00pm
Nov 18, 2022 Fri @ 7:30pm
Nov 19, 2022 Sat @ 2:00pm
Nov 19, 2022 Sat @ 7:30pm
Nov 20, 2022 Sun @ 2:00pm
Nov 25, 2022 Fri @ 7:30pm
Nov 26, 2022 Sat @ 7:30pm
Nov 27, 2022 Sun @ 2:00pm

Female of the Species – Review

Hunters Hill Theatre (HHT) has done us the great pleasure of putting on ‘The Female of the Species’, performed on Wallumedegal Country at Club Ryde, this wonderful Australian play is a must-see. I cannot recommend this show enough, I sat down with no idea what to expect and enjoyed an afternoon of laughter thanks to HHT. I really encourage you to book your tickets now @ Hunters Hill Theatre – don’t say I never do anything for you!

‘The Female of the Species’ was first performed in 2006 and the play has aged like a good bottle of wine, with 2022 representing the perfect time to enjoy playwright Joanna Murray-Smith’s Political Satire. The show is inspired by a real-life event, in 2000 Germaine Greer, a controversial Feminist Author was held at gunpoint by a 19 year old. Murray-Smith uses this jumping-off point to explore the sometimes taboo theme of feminism and the contradictory and complicated relationships people have to Feminism, as well as motherhood, parasocial relationships, and so much more. These themes are presented with such a wonderful sense of humour and the plot is ridiculous in just the right way, I laughed the whole time.

The show is brought to life by an ensemble of 6 passionate actors led by Director Jennifer Willison. Catherine Porter brings her character to life with ease, the melodramatic Margo opens the show with profanities and lets you know what you’re in for. Bettina Girdler tackles the wild card role of Molly, and Tonia Davis has the joyous task of bringing the exhausted Tess to life, both outrageously fun characters. Bryan is played by Anthony Slaven who has a cheeky little musical number that the audience just went mad for and the Hilarious Dan Ferris entertains with his wonderful portrait of Frank. I would say that Theo is the hero of the show and Michael Richmond is delightful in the role. Director, Willison utilises every inch of the stage, and the cast feels in sync with each other. There were so many little moments in the background or during characters’ interactions that made me laugh out loud.

This production reminded me of how magical theatre can be. You’re transported to an early 2000s country cottage, Jennifer Willson is double-billed, Directing and Set Design, and props to Ross Alexander and Christopher Hamilton who constructed the set. You only see Margo’s living room but the layout of the room was done so well and felt so familiar that one can picture the rest of the house. A special shout of for the special effects – I am certain Casey Moon-Watton had fun organising them. All of the behind-the-scenes work was so well executed, it just let the show come to life, and the whole creative team should be celebrated for their work.

I just adored ‘The Female of the Species’, and found so much joy in experiencing some wonderful live theatre. If you want to see Political Satire done right, head over to Club Ryde and catch Hunters Hill Theatre’s production of ‘The Female of the Species’, but be quick as there are only a few shows remaining:-

Friday, 24 June 2022 @ 7.30pm
Saturday, 25 June 2022 @ 2pm & 7.30pm
Sunday, 26 June 2022 @ 2pm
Friday, 1 July 2022 @ 7.30pm
Saturday, 2 July 2022 @ 2pm & 7.30pm
Sunday, 3 July 2022 @ 2pm

84 Charing Cross Road – Review

On Sunday, I had the pleasure of seeing the Hunters Hill Theatre production of ’84 Charing Cross Road’ at Club Ryde. This production is the first time HHT have performed in their new venue, a quaint space with great acoustics and a snazzy lighting rig.

I walked in knowing nothing of James Roose-Evens play, ’84 Charing Cross Road’ and walked out enchanted by the story. The tale follows American writer Helene Hanff who is in search of obscure classics and British literature and writes to a little book shop in London requesting some titles. The play is a back and forth between Hanff in New York and the Marks and Co staff at 84 Charing Cross Road London, with antiquarian bookseller Frank Doel being the primary contact. I was charmed to find out that ’84 Charing Cross Road’ is based on a true story. In 1970 Helene Hanff published a novel of the same name chronicling her 20-year correspondence with Doel and the other staff at the London book store.

Taking the lead as Helene Hanff is Liz Grindley, she portrays the brazen author with ease and style. Her accent is impeccable; I can’t imagine the actress without the distinctive, classic New York sound. Opposite her is Ross Alexander as Frank Doel, who is well cast in the role as the British bookseller. Alexander plays Doel as reserved and mild, which reads as quintessentially British and contrasts Grindley nicely. Kimberlea Smith is very sweet as Cecily Far, one of Doel’s co-workers. And rounding out the cast is Suzan Mozell, who covers two roles. She is adorable as Megan Wells Doel’s other co-worker but shines as Maxine, a fabulous, socialite, American actress and friend of Hanff’s.

Director Maggie Scott described the play as a ‘Love Affair’ between Hanff and the bookshop, all its staff and London, which is so wholesome. I felt like they prioritised fun in the direction of the show, and I appreciate that. I was smiling the minute the show started; Grindley won me over immediately as she welcomed me into the world. During Act One, I felt moments when the comedic timing seemed rushed, but I was pleased to see this was not the case after intermission.  Act two was joyous; Grindley came back on stage and found a rhythm that better honoured the playwright’s hilarious script and won big laughs from the audience.

Wayne Chee made magic happen with the set and lighting. The stage was split down the middle, one side Hanff’s New York apartment the other the Marks and Co bookstore in London, both sides were distinct yet stood side by side in harmony. The attention to detail was beyond reproach. I really appreciated the subtle difference in light between New York and London. All the books in the show were covered in white which was an excellent creative choice. Props were handled by Coralie Fraser, who I assume was responsible for the tedious task of covering all the books. Penelope Korths was the costume designer and covered two decades with only two outfits per character. The classic, well-tailored ensembles they chose worked brilliantly and told me so much about each character as soon as the actor stepped on stage.

I enjoyed my time at 84 Charing Cross Road; it was such a treat watching a relationship slowly develop between Hanff and the book store staff. My favourite part was finding out that Hanff at one point wrote fictional murders for television; we love TV shows about murder here at Dark Stories! Hunters Hill Theatre’s  ’84 Charing Cross Road’ is a delightful true story with an ending that made me tear up!

You won’t be travelling to London or New York anytime soon, so treat yourself and do both in one trip to the theatre! 84 Charing Cross Road plays at Club Ryde till July 4th with performances Friday night, Saturday matinee, Saturday night and Sunday matinee.