Potted Potter – The Unauthorised Harry Experience

Potted Potter

Potted Potter Rating

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1

Every now and again a show comes along that is simply just good fun. Potted Potter is one of these shows. It is child-like (in the best possible way), hysterical and does not depend on a deep knowledge of the seven Harry Potter books.

The Playhouse, normally home to the State Theatre Company of SA, was packed with eager children of all ages, some dressed as their heroes, accompanied by apprehensive parents. The atmosphere was palpable.

The stage is shrouded with mysterious objects covered with sheets, a study corner with a desk standing on a pile of books, ominous shadows and eerie music. A perfect setting for horror story, but this production is everything but that!

Written by Daniel Clarkson and Jefferson Turner, with direction by Richard Hurst, set by Simon Scullion, lighting by Tim Mascall, video by Tom Hillenbrand and music by Phil Innes, Potted Potter was ‘born’ in 2005 as a 5-minute street show, and has evolved since then, travelling around the world, into the current 70-minute spectacle.

Featuring the comedic talents of Scott Hoatson and Jacob Jackson, the production rockets along and includes, puppets, quidditch, fast costume changes, quidditch, audience participation, quidditch, topical references and yes, of course, quidditch!

At roughly 10 minutes per book, this is no mean feat for Scott and Jacob, however, they handle the task with ease and never allow the pace or the humour to drop, complete with numerous ad libs and in jokes.

Hoatson plays the wizard himself, complete with the trademark glasses and more than a passing resemblance. Jackson plays all the other characters (except the golden snitch). Individually and together, they are masters of their art with enough material to interest children and adults alike. The rapport between them is amazing, particularly when using physical humour.

If you are a Harry Potter purist, be prepared to suspend your devotion to perfection for 70 minutes and embrace your inner child. There are references to Lord of the Rings, Jurassic Park, Australian political figures and more!

At times it is hard to determine where the script ends and the ad libs begin as the performers work at rocket pace daring us to keep up. The direction (Richard Hurst) is flawless and we could be forgiven for believing the boys are ‘making it up as they go along as the banter is completely natural.

Highlights for me include – Voldemort wearing bright red horns (a parody of Maleficent?), the final battle between Harry and the dark lord staged as a sing off to ‘I Will Survive’ and the terrifying (or is it?) Norwegian Ridgeback dragon battle with Harry.

As wonderful as these highlights are, the climax of the evening is the game of Quidditch with two lucky members of the audience as ‘keepers’. Blow up globes of the Earth bounce through the audience in search of the lifebuoy goals in the auditorium and the golden snitch is spotted and captured to win the game. Hoatson, as the snitch, in an amazing golden costume that defies my description, was lucky to survive the keepers in this performance.

Potted Potter – The unauthorised Harry experience – a Parody by Dan and Jeff is a joyous 70 minutes packed with hilarity, audience participation and downright good fun. It is sure to cast a spell on those who are young, and those us who wish we still were! A must see!

Dunstan Playhouse – Adelaide Festival Centre. May 10-12

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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Mr Bailey’s Minder

Mr Baileys Minder

Mr Bailey’s Minder Rating

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7

Debra Oswald’s dramedy, Mr Bailey’s Minder, is a funny, life-enhancing, and deeply moving play about the ugly side of artistic temperament, friendship, family, and the longing for a better life.

Through her characters, playwright Debra Oswald paints a poignant portrait of what we need for forgiveness. Bristling in the beginning with what some might call caustic humour, the play builds through complexities that fiendishly remind us that underneath our veneers, there are rich layers of human experience, revealing a luminous inner beauty found in folks who’ve been scarred for life by life.

Leo Bailey, reputedly one of Australia’s greatest living artists, battles the ravages of alcohol abuse and indulgent misbehaviour, leading to self-loathing and cynicism, culminating in him needing round-the-clock care. His daughter Margo, the only one of his many children prepared to help, does so by staying aloof. She has been through a string of minders for her father.

Therese, fresh out of jail, desperate for a home and job, down to her last option, accepts the challenge to be Leo’s live-in minder. Determined to succeed, even if it means going head-to-head with her cantankerous charge, she battles bravely, seeking some sort of redemption.

Karl, an obliging handyman tasked with the removal of a valuable mural, sees the good in Leo and is a little keen on Therese. He returns repeatedly, offering practical friendship.

The production contains strong language and adult themes. Ironically, it is staged inside a beautifully appointed church hall at 52 Merthyr Road, New Farm, by Nash Theatre. Director Phil Carney does a marvellous job with his cast, keeping the energy high without hurry, exploiting the comedy of awkward moments, and allowing the shift into pathos. The final moments mix excruciating irony with a glimpse of forgiveness.

John Stibbard, as Leo, enters down the stairs of his dilapidated house, oozing poison and malignancy. Despite all he says, does, and has done, we empathise. Stibbard brings warmth to the role, first through humour and then deep pathos when he sees for the first time in decades his favourite of the many pictures he’s painted.

Leo bathed his subjects in luminosity and himself in fame. However, he wasn’t so good as a husband and father. The role of Margo, his daughter, is tricky. But Linda Morgan blends the requisite primness with resentment. Therese, played by Susan O’Toole Cridland, is down to Earth, forthright, and courageous in sharing a strong bond with Leo: shame about their pasts. The play demands a burgeoning chemistry between Therese and Leo, and they achieve that as their characters let down their guards.

Gary Farmer-Trickett plays two roles: Gavin, a despicable minor character for a few moments, and Karl, whose burgeoning interest in Therese is well-understated.

The production should succeed by virtue of word of mouth alone. Here’s my two cents worth. See it for yourselves. You’ll find the experience valuable. Performances are on Friday and Saturday nights: 17, 18, 24, 25, 31 May, and 1 June. Matinee 18 May.

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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Unlocking the Secrets of Carmichael Manor: An Immersive Journey into the Past

The Secrets of Carmichael Manor

Maitland, in the heart of the Hunter Region, is set to host its next immersive theatre experience this November. Get ready for a ghostly journey into the unknown as “The Secrets of Carmichael Manor” unveils its mysterious tale within the historic walls of Grossman House. 🏰🌟

This haunting and secretive immersive theatre show will run for four nights, from November 25th to December 10th. With limited seats available, securing your tickets promptly is essential to ensure you don’t miss this charming experience. 🎟️🔒

A Journey Through Time and the Supernatural ⏳👻

They say there’s no such thing as time travel or ghosts, but who are “they,” anyway? In “The Secrets of Carmichael Manor,” a well-intentioned attempt to bring solace to the tormented souls inhabiting Carmichael Manor takes an unexpected turn. An eccentric priest and his companions find themselves transported back in time to the fateful day of October 31, 1919 – the day of Elspeth Carmichael’s impending wedding to her beloved Henry Strallen. Or is it? 🚪✨

A Web of Intrigue and Mystery 🧩🕵️‍♂️

As you step into the world of 1919 with Father Patrick, you’ll find yourself immersed in a web of murder, mystery, and secrets lurking within Carmichael Manor’s walls. Your task? To aid Father Patrick in deciphering the clues that hide the truth behind this mystifying manor. What happened to those who once dwelled here? Can you uncover the secrets before the sands of time run out, or will you remain trapped in the past forever? 🌄🔍⏳

An Adventure Awaits at Grossman House 🏡🌟

Prepare for a memorable journey into the unknown as you enter the past at Grossman House in Maitland. The historical setting provides the perfect backdrop for this experience, where the line between reality and the supernatural blurs, and secrets long buried come to light. 🌌🌠

Don’t miss your chance to unlock the mysteries of Carmichael Manor. Secure your tickets now for “The Secrets of Carmichael Manor” and be a part of this unique adventure. Remember, with only a few performances and limited seats available, you must act quickly to ensure your place in this mesmerizing journey through time and the paranormal.

Get ready to uncover The Secrets of Carmichael Manor – an adventure awaits! 🎭🌟🎫

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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