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A Midsummer Night’s Dream

13 November 2023 Paige Jenkins

Merrigong Theatre Company’s ‘A Midsummer Night’s Dream’ opening night in the Wollongong Botanic Gardens was a huge success.

This Shakespearean classic was adapted by Danielle King and directed by Merrigong Theatre Company’s Artistic Development Manager, Leland Keane. The careful blend of traditional Shakespearian language mixed with modern-day coarse language, with the ingenious idea of using the names of the Illawarra suburbs, amplified the humour and the audience’s engagement with the dialogue.

The players were engaging with the audience from before the get-go, embracing their roles not only on the stage but also whilst onlookers were still filing in to find their space.

The ‘Intern’, played by Charlotte Dickinson, paraded around asking audience members what the difference was between an internship and work experience. Bradley Ward, doubling as the H&S Manager responsible for overseeing ‘Safety and traffic’, demanded to know if we were following the rules. John Michael Narres, playing Bottom, started a ‘Woo-off’ with the different sides of the audience, using his selfie stick to record both before and during the performance.

Then, the real action began, and the backdrop for the play was absolutely stunning. We were blessed with a beautiful, clear night and a gorgeous sunset as a backdrop for the first act. Be sure to pack a jacket or a blanket, as it does get a little chilly once the sun has gone.

Given the outdoor setting, the actors did an incredible job at projecting and ensuring they were engaged with and speaking to all the different sections of the audience at different times. No one side or group in the audience was left perpetually straining to hear which can sometimes be the case in an outdoor setting.

The musical interludes and summaries by composer Kay Proudlove were both comedic and insightful, particularly if you were unsure about specific plot points that had just occurred. There were a few very rare moments where the music and the amplification of her voice overpowered the actors, depending on where you were sitting and where they were speaking from.

A commendation must be given to the costume designer Katja Handt for the incredible outfits of the fairies, Queen Titania, Oberon, and, in particular, Puck. The colour scheme of the white outfits of the mortals compared to the bright, earthy colours of the fairies was a great visual representation of the characters, particularly with the cast who played multiple mortal and fairy characters.

The technical element of Bottom’s transition between man and Donkey is always a thorny one to portray, particularly when the stage is an outdoor setting, but I am pleased to say that this was accomplished incredibly well. The scaffolding of the donkey head, along with the dual-purpose tail and whip, was a brilliant interpretation and complemented the lighting design beautifully.

A Midsummer Night’s Dream features an all-star cast and runs from Thursday to Sunday until November 26th at the Turpentine Lawn in the Wollongong Botanical Gardens. This was a wonderful experience and an adaption that will surely delight locals and visitors alike.

Shakespeare in the Garden – A Midsummer Night’s Dream

When: 9 to 26 November 2023
Times: Thu – Sun 7 pm
Where: Turpentine Lawn – Wollongong Botanic Garden
Performance Warnings: Ages 10+

Tickets: Fri & Sat – Adult: $59, Under 30s: $49, Pensioner/Student/Groups 8+: $54, Family of 4: $196, Sun-Thu – Adult: $49, Under 30s: $39, Pensioner/Student/Groups 8+: $44, Family of 4: $156, School Groups 8+: $23

Bookings: https://merrigong.com.au/shows/shakespeare-in-the-garden-a-midsummer-nights-dream/

Accessibility: Shakespeare in the Garden – A Midsummer Night’s Dream is an accessible event for all to enjoy. Please refere to the Box Office on 4224 5999 for details.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre Reviews to see what else is on in your town.

A Victorian Domestic Noir – Gaslight

6 November 20235 November 2023 Linda Lokhee

Patrick Hamilton’s play Gaslight is a classic domestic noir, performed with careful consideration by the Pymble Players. The English novelist and playwright wrote Gaslight in 1938. After its popularity with the resulting plays and the 1944 Hollywood film, ‘To Gaslight’ became synonymous with the meaning of someone psychologically manipulating another for their advantage, to make them doubt their memory, perception of reality and their own sanity.

Gaslight, directed by Joy Sweeney, is set in Victorian England. It revolves around the Manninghams – Jack and Bella. From the first introduction to these characters, we see an upper-class, seemingly happy couple. They are in the drawing room, where we subtly recognise wealth in the Manningham’s furniture and locked fold-up wooden writing cabinet. This is where tea is served in dainty teacups by the servants, a place where they can engage in relaxing conversation.

However, things do not remain relaxing for long. We soon see Jack, portrayed by Nick Roberts, turn from being a supportive and loving husband into an aggressive and accusatory bully. This flip-of-a-switch was acted with such credibility that it took the audience by surprise, which is how director Joy Sweeney wanted to present this psychological abuse “to create a feeling of severity”.

Amelia Conway’s fragile portrayal of Bella is outstanding, and as she goes from being joyfully excited by the invitation from her husband to attend the theatre to having him rescind it, we witness the disintegration of her mind. When she is victimised and scorned by Jack, we flinch. When Jack abruptly leaves the room, we feel his weighty presence in Bella’s nervous disposition.

There are clear delineations of class and power in this household.

The servants have different personalities, and both play a significant supporting role with strong performances. Georgia Drewe’s Nancy is bold, teetering on defiance towards her mistress. Kate Kelly’s Elizabeth is a strong, motherly and caring woman, reminiscent of perhaps a governess in another period drama.

As the play progresses, a stranger enters and begins to unravel a twenty-year mystery involving the house and the characters within. Retired Detective Rough, portrayed with finesse by David Kirkham, brings a sense of much-needed comedic levity to balance out the sharp points in a play involving domestic abuse. When explaining his visit to Bella, David’s Detective Rough, particularly during the first act, was a guiding narrator of the unfolding past. Therefore, his script was noticeably long, and David handled this task beautifully.

Gaslight is more of a slow burn than a thriller, where the audience is exposed to the intricacies of a mystery as it is revealed. It slots into the era of Agatha Christie, where we examine each character and try to figure out motives.

The cast’s wardrobe, by director Joy Sweeney, packaged up the Victorian era and captured the upper class wholly, down to the dress ruffles, long heavy capes and expensive hats.

Sound design by Geoff Jones kept the audience’s attention and ratcheted up the uneasy atmosphere throughout the play.

Gaslight highlights the domestic abuse darkness that lives behind closed doors, and though set in London in the 1880s, it remains as relevant and prevalent in modern society today.

Running Time: Two hours and 25 minutes, including one 20-minute intermission.

Season: 1st -26th November 2023
Pymble Players – 55A Mona Vale Road, entrance via Bromley Ave

Photographer: Daniel Ferris

This review also appears on It’s On The House, or check out more reviews at Dark Stories Theatre Reviews.

Paris Memories: A Survivor’s Journey

27 October 2023 Rebecca Yeo

Prepare for your latest French Film experience – Paris Memories – soon to be showcased in cinemas throughout Australia.

Paris Memories delves into the story of Mia, a survivor of a recent bistro terrorist attack, who grapples with the haunting memories of that dreadful night. To move beyond the trauma, Mia embarks on a journey to retrace her steps and delve into her memories. The film offers an exploration of the aftermath of a catastrophic event, shedding light on the resilience of survivors as they try to rebuild their shattered lives.

Director Alice Winocour draws inspiration from her brother’s personal experience during the Bataclan attack in Paris. After being trapped in a terrorist attack at a bistro in Paris, Mia discovers herself affected by the ordeal. Three months after the event, she begins trying to remember what happened that day but also understands that some parts of her life can’t be fixed.

Virginie Efira’s portrayal of Mia earned her a Cesar award, and rightfully so. She masterfully conveys the multi-layered impact of a terrorist attack on an individual’s mental health. Nastya Carax takes on the role of Felicia, a young woman who tragically lost her parents in the same attack, serving as a reminder of the collateral damage such events inflict.

Mia’s discovery of a survivors’ support group becomes a turning point in her journey to recovery. This unique approach sets the film apart, as it favours witnessing Mia’s memories resurface as she progresses instead of conventional flashbacks. The film illustrates human connections that form among survivors as they collectively grapple with the aftermath of the tragedy.

Paris Memories is a powerful film that will stay with viewers well after the viewing and is not one to be overlooked. Don’t miss the chance to experience it on the big screen starting November 9th. Check your local cinema listings for showtimes. Au revoir!

This review also appears on It’s On The House, or checkout more reviews at Dark Stories Theatre Reviews.

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