Falling into Place: British Film Festival

Falling into Place

Falling into Place Rating

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Set against the stark backdrop of a bleak Scottish winter, “Falling into Place” invites viewers into a world where two lost souls briefly collide in a bar, igniting a day filled with fleeting joy and profound connection. Directed and written by Aylin Tenzel, who also stars as the film’s emotionally troubled protagonist, the narrative explores the depths of despair and the search for solace in unexpected places.

Tenzel’s character is an artist grappling with the aftermath of a painful breakup, her self-worth at an all-time low. She isolates herself from her family, terrified that revealing her struggles will expose her vulnerabilities. Tenzel embodies this emotional turmoil with a raw honesty that resonates deeply, showcasing her talent as an actress and storyteller.

Opposite her is Chris Fulton, known for his roles in “Outlander” and “Bridgerton,” who plays a man equally enshrouded in grief. His character battles the aftermath of his sister’s suicide attempts and a relationship that has long since soured. Together, Tenzel and Fulton create an intense chemistry that pulses through the film, offering a glimpse of hope amidst their mutual pain. Their connection is not one of idealized romance but rather a bond forged in shared suffering—a recognition of their own self-destructive tendencies.

What sets “Falling into Place” apart is its unflinching portrayal of mental health issues. The film does not shy away from presenting its protagonists in an unflattering light; rather, it embraces their flaws and struggles, allowing audiences to empathize with their journeys. This authenticity is refreshing in a genre often dominated by idealized relationships.

While the film’s pacing may feel slow at times, the emotional weight it carries makes the eventual payoff worthwhile. Tenzel’s directorial debut is a powerful commentary on the healing power of shared experiences, making it a must-watch for those who appreciate intimate, character-driven storytelling.

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

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.

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Pymble Players: The 39 Steps

Pymble Players 39 Steps

Pymble Players 39 Steps Rating

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8

For their final production, before they move to Chatswood, the Pymble Players present The 39 Steps. David Allsopp directed Patrick Barlow’s 2005 play, which was adapted from John Buchan’s 1915 novel and, of course, Alfred Hitchcock’s 1935 film.

If you are not already familiar with the story, let me assure you that you already know it even if you have yet to see it. The 39 Steps is easily where we get the plot of every spy thriller ever written. There is a beautiful woman with a mysterious accent who drags a hapless Englishman into a wild caper involving secret plans and hidden agents, which leads to a madcap chase across the Scottish moors. What is offered is a delightfully self-aware parody that the audience is invited to be a part of, and all of this is done by a stellar cast of only four actors.

Leading the cast and leading us through the story is Daniel Ferris as Richard Hannay. Richard, an average Englishman who was reluctantly dragged into the plot. At his side is Cassandra Gorman as Annabella, Margaret and Pamela, all of whom are very distinct from each other. The highlight of the evening, however, are Mitch Doran and Faith Jessel as our two clowns, playing at least 100 characters between them.

This rapid-fire performance required rapid costume changes, sometimes even on stage in the middle of dialogue, and all were done flawlessly without disrupting the comedic timing. If Ferris and Gorman form the structure of the play, Doran and Jessel are very much the energy.

Allsopp’s minimalist production design means the focus is almost entirely on our actors. I say “almost” because it is quite cheeky to see the stage managers directly interact with our cast, whether it’s a hand taking a prop or even two of them visible onstage with a fog machine and a pedestal fan.

The sound design brings richness to the performance, but even that is not above having a joke with us. When the phone keeps ringing after the character picks it up, was that deliberate or an opening night flub? I don’t care; either way, I’m laughing.

 

But I think what I admired the most was the real intimacy of the production, all the more emphasised by Pymble Players’ being in a small theatre. The action is not confined to the stage; the actors come through the audience and play part of the scene even directly in front of where I was sitting.

In the end, I think I enjoyed the play far more than I enjoyed watching Hitchcock’s film. Much has happened in the almost ninety years since the film first appeared. And while back then, Hitchcock played it completely seriously; now we can all have a lot of fun being part of the joke.

There are not many productions that can purport themselves to be “Hitchcock meets Monty Python” and can actually deliver on that promise. If you’d like to see it, I suggest you get in quickly as tickets are selling rapidly and it is easy to see why.

The season is almost SOLD OUT.

For a chance to purchase tickets to Pymble Players The 39 Steps please get to this link urgently @ https://pymbleplayers.com.au/the-39-steps

Session Dates/Times
November 1 Friday at – 8:00 PM
November 2 Saturday at – 3.00 PM
November 3 Sunday at – 3.00 PM
November 8 Friday at – 8:00 PM
November 9 Saturday at – 3:00 PM
November 10 Sunday at – 3.00 PM
November 13 Wednesday at – 8:00 PM
November 14 Thursday at – 8:00 PM
November 15 Friday at – 8:00 PM
November 16 Saturday at – 3:00 PM
November 17 Sunday at – 3:00 PM
November 22 Friday at – 8:00 PM
November 23 Saturday at – 3:00 PM
November 23 Saturday at – 8.00 PM

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.

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A Serene Soundscape: Noonan & Schaupps Southern Skies Volume 2

Songs Of The Southern Skies

Songs Of The Southern Skies Rating

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2

On the traditional lands of the Dharug people, The Parramatta Riverside Theatre played host to a celestial journey through the works of Australia’s brightest female songwriters and singers. Katie Noonan and Karin Schaupp’s “Southern Skies Volume 2” reimagines the timelessness of Australian music including industry royalty such as Aunty Ruby Hunter, Kate Ceberano, Missy Higgins, and Sia.

Amidst the pulsing, frenetic energy of Parramatta’s Eats.Beats.Art Festival, Noonan and Schaupp’s performance provided a serene oasis, a pocket of tranquillity in a world that seems to never stop. The crowd, a mix of ages and backgrounds, was visibly captivated by their heartfelt interpretations and innovative arrangements. These carefully curated selections showcased the enduring appeal, depth and diversity of Aussie music, reaching as far back as the 70’s. It was an intimate experience showcasing the talent of two extraordinary artists.

Noonan’s ethereal vocals, paired with Schaupp’s masterful guitar work, breathed new life into iconic and some lesser known gems. Their performance was a stunning tribute to the extraordinary talent of Australian female singer-songwriters, culminating in a meditative and memorable evening.

With less-is-more magic, they paid homage to the original songwriters and singers. This stripped-back approach highlighted the strength of the songwriting itself, revealing unexpected soul in familiar tracks. Who would have thought that Olivia Newton-John’s “Xanadu” or Kylie Minogue carried such spiritual messages and connections?

Noonan’s voice is truly something special. Her incredible range effortlessly bridges the spectrum of human experience. She wields a unique ability to transform a song, cradling the soft moments while reverently holding space for the lyrics, before ascending to operatic heights. Every note is infused with a sage sense of love and authenticity as we witness the music flow through her. Her respect for her craft and why she does it is inspiring and evident in every note.

 

Noonan is also a natural storyteller. She is so warm, inviting and humorous, introducing each song and their creators with quips, memories or anecdotes – like she’s welcoming you into her living room.

Classical guitarist Karin Schaupp, an internationally sought-after recitalist and soloist, is the perfect musical foil for Noonan. Her technical brilliance and intuitive playing style provided subtle support, intricate harmonies, and emotional depth. A new found appreciation for this instrument and its artists was discovered.

While this performance was a minimalist masterpiece, featuring only Noonan’s vocals, Schaupp’s intricate guitar work, and some sparse percussion, the album itself features guest singers. Make sure you check out Kate Ceberano’s fabulous new version of “Brave” that reveals the raw power of her incredible ability and emotional expressiveness. ‘I Thought You Were God’ with the brilliant Clare Bowditch is a lesson in harmonising and the magic that happens when two great voices come together.

Noonan and Schaupp are a dual talent that sustain, fiercely advocate for, and shape the Aussie music industry scene. There’s a reason these ARIA-winning powerhouses are celebrated. Deceptively simple but deeply profound, “Southern Skies Volume 2” is music that calms the heart, ignites the imagination, and offers enlightenment.

A soundtrack for creative expression or quiet contemplation, Noonan and Schupps are a symbiotic testament to the universal beauty of words and music and the way they can move and inspire.

Don’t just listen to it, experience it.

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.

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Brolga: A Queer Koori Wonderland

Brolga: A Queer Koori Wonderland

Brolga: A Queer Koori Wonderland Rating

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Saturday, 26 October, saw Bay 17 at Carriageworks Redfern transformed into a psychedelic spectacle, the latest incarnation of multidisciplinary artist and Wiradjuri man Joel Bray’s Brolga: A Queer Koori Wonderland. The interactive dance party, running as part of the 2024 Liveworks Festival, promised to fill every nook and cranny of the space with ‘light, colour, projected image and ecstatic dancing bodies, inspired by First Nations stories of the dancing Brolga’.

The brolga, known as the ‘dancing bird’ holds a lot of cultural significance for Indigenous Australians. Bray stated before the event that many Indigenous stories about the brolga describe its ability to shape, shift, and transform. He sees this as particularly symbolic for queer, gender fluid Indigenous people. Traditionally, corroborees were events where community members had the opportunity to share songs and dance in a ritualised setting. Brolga: A Queer Koori Wonderland can be seen as a contemporary incarnation of those corroborees performed for millennia.

Kicking off at 9pm, our self described ‘Aunty for the evening’ (and clad in an amazing silver outfit) gave the Welcome to Country, reminding us that we were on Gadigal land – land that had never been ceded. We were also reminded of Redfern’s importance in the history of Blak culture and resistance and so it was very symbolic that this night was able to take place there.

 

Set up around the cavernous space was a floor-to-ceiling screen displaying rainbow images reminiscent of an acid trip. Next to this, a crafting table filled with glitter, masks, glue, and tape encouraged partygoers to adorn themselves for the night ahead—a nice touch for those who might have overlooked wearing a costume out. It also provided an opportunity for early arrivals to chat and perhaps make new friends.

For the next six hours, Bay 17 truly became a wonderland. Drag performer and Miss First Nation 2017 winner Josie Baker sizzled as she danced and sang for the first performance of the night. Highlights of the party included amazing performances from queer artists, including drag performer Felicia Foxx and the gender-ambiguous DANDROGYNY. Compelling music from DJ Jonny, BVT, SOVBLKPSSY, Basjia and Crescendoll kept everyone on the dancefloor well past midnight.

In a deliberately interactive experience, partygoers were encouraged to roam freely, watch video installations, and take time out from the dance floor in the chill-out room, replete with bean bags and lounges.

Brolga: A Queer Koori Wonderland proves that Indigenous culture in Australia continues to thrive and transcend boundaries. Hopefully, we will see the dance party back in Redfern next year for another night of vibrant queer celebration.

This show is part of the Liveworks Festival 2024, which will be hosted at The Carriageworks Performance Space from 23rd to 27th October.

Follow the link to book in for this or any other shows during the festival @ https://carriageworks.com.au/events/liveworks-festival-2024/

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.

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