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Moments in Motion

21/09/2025 Carmen Jenner🥉

Moments in Motion Rating

★★★★★

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Exploring the themes of love, loss, mental health and jealousy, the Roxy Lane Theatre One Acts presents ‘Moments in Motion’ across three one-act plays, ‘The Birthday’, ‘Mandy’ and ‘Flushed’. With such a broad spectrum of topics, this is one of those productions that resonates, compelling the audience to look within and draw on their own lived experiences.

In a world premiere and directed by Tim Riessen, ‘The Birthday’ kicks off the night and revolves around Mrs Little’s (Pauline Atkinson) 89th birthday. Despite the cake rustled up by a nurse (Nita Teoh), there’s little cause for celebration as Mrs Little is in a coma. As her adult children gather around her, they reminisce about their childhood, along with much speculation about whether their mum can hear them. For anyone who has sat beside a loved one in their final moments, ‘The Birthday’ hits a nerve as this touching scenario brings writer Peter Flanigan’s vision to life as Robyn (Michele Diston), Gail (Julia Webster), Phil (Ian Fraser) and Lesley (Kezia George) each share their truth.

Also written by Peter Flanigan, ‘Mandy’ explores the mental state of Mandy (Melissa Cruickshank) within the family dynamic. As Mandy comes to grips with her depression, her confused state of mind flows in ebbs and tides, throwing the family into despair. The chaos is further exasperated by her overbearing mum (Josphine Wayling) and husband (Paul Cook, who also plays her father) and misguided friend Fran (Joanne Low), with tumultuous flashbacks from Mandy’s sister (Emily Plange Korndorffer) and grandmother (Jenni Glassford). Mandy’s daughter Jodi (Tahlia Verna) seems to be the only empathetic one. Directed by Luke Heath with assistant director Rob Herfkens, ‘Mandy’ tackles the heavy issues and should come with a trigger warning for anyone dealing with mental health issues.

On a much lighter note, the final play, ‘Flushed’, invites the audience into the trials and tribulations of the dating scene. Set in the toilets during a single’s night, three women explore their jealousies and dating woes as the night dissolves into despair. Written by Ron Nicol, and directed by Sandhya Krishnan, who also plays Tara and is the cause of Meg’s (Catherine Jane) rivalry, with Jan’s (Jackie Oats) wry observations bringing humorous relief to the tension. If you’ve ever been on a girls’ night out, you’ll relate to this one.

The production crew worked tirelessly behind the scenes to bring these stories to life, including Katherine Robertson (sound and lighting design), Rob Herfkens (stage manager) and Cade Smith (assistant stage manager, who also had a cameo in ‘Mandy’).

A special mention must go to set builder Jim Chantry, who managed to create three entirely different stage sets seamlessly, along with Jim Chantry, Kirsten Halford-Bailey (who also handled the set dressing and props) and Chris Harris.

Moments in Motion runs from 18th – 21st September 2025 at the Roxy Lane Theatre, 55 Ninth Ave (cnr Roxy Lane), Maylands

To book tickets to Moments in Motion, please visit https://www.taztix.com.au/event/roxylanetheatre/.

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Draw Two

19/09/2025 Rebecca Rose🥉

Draw Two Rating

★★★★★

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What would happen if you were mistaken (by a hot guy, no less) for your recently deceased twin sister in the local Woollies, but fail to correct the mistake?

How do you navigate having to take guardianship of your young, orphaned nephew when you had other life plans?

Can we ever, even as adults, fully break free from the (often stifling) parent-child relationships we grew up with as children?

And perhaps most importantly: Should you EVER let a young child win at Uno if you have the power to beat them?

These are just some of the questions raised in Draw Two; a compellingly powerful and comedic one-woman show centred around Riley, a young 20-something year old woman dealing with some very big life challenges.

Riley has returned to her hometown in the aftermath of the death of her twin sister, Mia, to pack up her sister’s house, and take her now orphaned son, Lucas, back to Melbourne to live with her and her partner.

In this process, Riley has to deal with her stifling and often disapproving mother.

And there is the fateful encounter with a childhood friend of Mia’s (Kieren), who mistakes Riley for Mia…

Georgia McGinness takes the helm in this one-woman show, performing a poignant, often hilarious, and equally gut-wrenching narrative through the eyes of Riley.

Georgia masterfully depicts all of the characters coming in and out of Riley’s life, giving enchanting and moving performances.

This show really pulls at the heartstrings, exploring some big themes of navigating grief, family dynamics, personal relationships, and finding the small joys in times of darkness.

Georgia’s performances were honest and mesmerising; seamlessly transitioning between characters, and giving a real sense of relatable, Australian life, family dynamics, and the reality of the difficulties that life can unexpectedly throw at you.

While the set itself is quite simple, throughout the show, beautifully crafted animations were projected at various stages to give more life and depth to the narrative.

A full house and a standing ovation are two hallmarks of a crowd-pleasing show; and Draw Two was extremely well-deserved to receive both of these on the opening night of its run at Theatreworks in Melbourne this September.

Written by Meg McDonald and directed by Lauren Bennett, Draw Two is a perfect example of the sheer talent Australia is currently producing in the theatre space, and the entire team should be congratulated on a spectacular show.

This is not one to miss, with performances until the 27th of September at The Explosives Factory, Theatreworks, Melbourne.

Playwright & Co-Producer: Meg McDonald
Director: Lauren Bennett
Composer, Sound, & Voice Coach: Clare Hennessy
Set & Costume Designer: Ishan Vivekanantham
Visual Art Designer: Lauren Goodfellow
Lighting Designer & Production/Stage Manager: Sam Gray
Co-Producer: Ruby Busuttil
Cast: Georgia McGinness

To book tickets to Draw Two, please visit https://www.theatreworks.org.au/2025/draw-two.

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Agatha Christie’s Spider’s Web – Murder, Drama & Hilarity

29/10/202519/09/2025 Cherelle Flemming🥈

Agatha Christie’s Spider’s Web Rating

★★★★★

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Murder Drama and Hilarity are spinning the stage in this thrilling ‘whodunit’ murder mystery directed by Jessica Gray at the Maitland Repertory Theatre. Agatha Christie’s Spider’s Web is a tangled web of delight with an abundance of hilarious moments and compellingly complex subplots, this intriguing production will have you on the edge of your seats.

I am astonished that this was Jessica’s directorial debut, as even on opening night the production felt flawless. The lighting and sound were both expertly executed enhancing the thrills, chills and mystery, along with the backstage crew, they worked together to ensure a seamless performance.

This is of course a reflection on both Jessica and the wealth of experience and fabulous teamwork from her incredible cast and production team.

The cast should all be commended on their skillful British accents and the individuality each cast member brought to their uniquely flavourful characters. The costuming by Kasia Dowie was perfectly applied to each character further enhancing their characters’ authenticity. A strong cast all around, with a pleasingly broad age range from 11-year-old Molly South who played the sweet and constantly ravenous Pippa through to 85-year-old Michael Smythe who earnestly portrayed Hugo the pious local GP.

Madeline Valentinis in the leading role as colourful Clarissa was captivating throughout and delighted the audience with her charming wit and fabulous style. Madeline’s melodramatic touches were superbly on point generating all the flair her character rightly deserved.

Commendable casting for Drew Pittman as the Inspector accompanied by Lauren Irwin as the sidekick Constable. The pair made a dynamic duo as they persisted in solving the puzzling murder and attempting to decipher facts from fictitious stories.

Aimee Cavanagh delivered a tremendous rendition of Miss Peake, the home’s resident gardener. Aimee’s seemingly dimwitted character provided the audience with continuous rounds of hysterics as did the ditzy housekeeper Elgin played by Dimity Eveleens.

The ingenious set design was almost as impressive as the fabulous cast The entire performance took place in the drawing-room of Copplestone Court, a country home in Kent England. The clever design allowed four entries/exits which in turn credited depth and dimension to the scenes and story as a whole. Particularly notable was the doorway with a staircase for the cast to travel upstairs in the ‘house’ complete with an hallway illusion in the background. I was also fascinated by the hidden bookcase door that beheld a tangled web of secrets.

Spider’s Web encompasses all the wonderful elements an audience can expect and more from a classic Agatha Christie murder mystery. Written in 1954 and still performed and loved the world over is a testament to the fantastic best selling novelist of all time. Melodrama, comedy and a tangled web of deception are boldly displayed in this highly entertaining production. Offering a strong and seasoned cast accompanied by fabulous staging, you are bound to be thoroughly impressed by this thrilling Agatha Christie classic.

To book tickets to Agatha Christie’s Spider’s Web, please visit https://www.mrt.org.au/2025-plays/agatha-christies-spiders-web/.

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Letters To Lindy Review: Melville Theatre Company

19/09/202519/09/2025 Guest Author🥉🦉

Letters to Lindy Rating

★★★★★

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Letters to Lindy, presented by Melville Theatre Company, is a profound and deeply affecting theatrical work by Alana Valentine that offers a poignant and genuine look into one of our era’s most gripping legal and human stories. The court case captivated a nation: a mother accused of murdering her child, her claim – that the baby was taken by a dingo – denied and discredited by zealous police and a flawed legal system.

The media circus, the rumours, the nation’s prejudices laid bare. And in the eye of the storm: Lindy Chamberlain-Creighton. Valentine draws on thousands of real letters sent to Lindy, along with interviews with her, to create an enthralling and long overdue dialogue between Lindy and the nation. A portrait of the wisdom and resilience of a grieving mother. Themes of national obsession, group mentality and prejudice feel uncomfortably familiar today, leaving you pondering the nature of truth, justice and humanity.

I was immediately struck not only by the sheer force of the script but also by the formidable strength and commitment of the four-woman cast; they delivered monologue after monologue with precision, nuance and emotional depth. The actresses portraying the supporting roles (referred to as the “figures”) segued between a multitude of characters with remarkable clarity and agility, often shifting tone, physicality and voice in a matter of seconds.

I was particularly impressed with the technical skill and emotional range of Ellin Sears, whose scenes resonated with quiet intensity and left a lasting impression. Her ability to convey vulnerability and determination in the same breath was extraordinary.

The minimalist set is stripped back in scenery, costumes and décor, yet makes striking use of numerous props. Boxes of letters line the backstage area like a looming archive of public opinion, and multi-purpose wooden crates are shuffled and reassembled to signify different settings and moments.

The “figures” double as stage managers, shifting the crates almost subliminally as the story progresses, and the precision of this choreography reflects impressive, well-rehearsed direction. There is no backdrop, and I did feel the addition of one could have further immersed the audience and provided clearer geographical context. All the costume changes are carried out in full view from a portable clothes rack; an interesting choice, though at times it distracted from the performances unfolding. The lighting design is harsh and intentionally so, bathing the stage in an unforgiving glare that mirrors the scrutiny surrounding the case.

This powerful play balances warmth, delicacy and moments of in-your-face dark humour, offering both emotional weight and surprising levity. Theatre critics have rightly described Valentine’s work as a “masterclass in verbatim theatre,” and this production shows why.

It handles sensitive material with care while retaining dramatic potency. Melville Theatre Company has not only done justice to “Letters to Lindy” but delivered it with conviction, heart and finely tuned craft.

To book tickets to Letters to Lindy, please visit https://melvilletheatrecompany.au/current-production.

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