More Than Just A Dance Performance

Mother Nature An Arena Spectacular

Mother Nature An Arena Spectacular Rating

★★★★★

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11

The lights drop, plunging the stage and audience into darkness. The only sounds to be heard are excited, wriggling young audience members and the tap of the shoes onstage as the band makes their way to their instruments. A booming voice echoes throughout the arena 


The Australian Calisthenics Theatre Company (ACTC) bring to life a vivid story through dance, song, and light. Over the course of six scenes, the audience is introduced to the elements that make up Mother Nature: earth, fire, water, wind, light, and sun. Each element has a lesson to teach Mother Nature so she may grow into who she is meant to be. Each scene focuses on one element, and the choreography beautifully represents the emotion and inner turmoil Mother Nature experiences with her time spent with the element, as well as the element herself.

I say ‘the element herself’, because each of the elements are powerful women and girls, showcasing their hard-earned strength, athleticism, control, and finesse. For fans of calisthenics, you might be questioning if Mother Nature feels like a competition. It does not – you still get your typical march, free exercise, graceful, rods, and clubs, but this is a story, so each category melts together to bring a beautifully aesthetic performance carefully crafted to make you gasp, cry, sigh, and smile.

 

 

The lighting swirls on both stages, the colours reflecting the element speaking with Mother Nature, from a cooling green-blue to an almost alarming orange-red, and every colour in between. The lights roll and dance as though they are part of the ensemble, while the screen at the back of the stage rotates through images which reflect, and match, both the lighting and the dancers. Undulating lights breathe life into both of the stages, not only giving it life, but weaving into the story.

Unlike an average dance performance, Mother Nature not only boasts a double stage connected by two runways, but also a live band and singers. JD Smith (one of the Ten Tenors) was a visiting performer, pairing his vocals with female singer Chloe Castledine and ‘The Cast’ orchestra. The musical score is an original soundtrack for Mother Nature; inspired by the elements, each song carries the audience through the chapter, evoking emotion and a depth of emotion the likes of which was Broadway-worthy. Some of the songs were, in fact, Broadway songs, so remember to keep an ear out and you might find yourself admiring the Stars, while Defying Gravity and gazing Into the Unknown. Excerpts and covers of popular songs from Sam Smith, Lada Gaga, and Celine Dion also sneak their way into the performance, among many others, winding and melting together seamlessly.

The performance is so enrapturing that after two scenes, you couldn’t blame yourself for not realising the performers had already changed costumes multiple times. While Mother Nature has her signature look, each element has a leotard leaning closer to a work of art, and the ensemble joins with dazzling complementary pieces. The leotards boast thousands (if not hundreds of thousands) of jewels, gems, and beads, shimmering with every breath under the light.

The story of Mother Nature is one of strength, of perseverance, and hope. Inspiring not just to women, but all genders. Mother Nature celebrates storytelling, music, and life through dances designed to take your breath away and leave you full of wonder.

To book tickets to Mother Nature An Arena Spectacular, please visit https://www.auscalisthenicstheatre.company/whats-on/mother-nature.

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Spider’s Web

Agatha Christie's Spider's Web

Agatha Christie’s Spider’s Web Rating

★★★★★

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7

With an impressive 68 years of community theatre under their belt, Pymble Players continue to prove that dedication and passion for the arts only improve with time. From their modest beginnings in a church hall to the professional stage of the Zenith Theatre, it is a delight to see the growth of this theatre association. Their latest production, Spider’s Web by Agatha Christie, is a sparkling reminder of why they remain a vital part of the local arts scene.

Unlike other more straightforward “whodunnits,” Spider’s Web plays with the form. Yes, there is a dead body. Yes, there is a confession. But nothing is ever quite what it seems. And at the heart of this delightfully convoluted tale is Mrs Clarissa Hailsham-Brown, played with charm and verve by the magnetic Chloe Callow. Her performance anchors the entire production, capturing the character’s wit, eccentricity, and emotional depth in equal measure.

Clarissa is the kind of role that demands both comic timing and emotional resonance, and Callow delivers both with ease. She effortlessly draws the audience into her world of half-truths, noble lies, and sharp humour. You believe in her motives, root for her decisions, and delight in her cleverness. Her chemistry with the rest of the cast is natural, lively, and essential to keeping the audience engaged through the play’s layered twists and turns.

The supporting ensemble is equally strong. Each actor brings nuance and personality to their roles. Whether they are allies, suspects, or comic relief, the cast meets the challenge of the play’s rapid tonal shifts — from light-hearted to thriller to heartfelt drama — with impressive dexterity.

Visually, the production benefits from the Zenith Theatre’s intimate yet polished setting. The set design cleverly evokes the classic English country house, complete with secret passageways and hidden compartments, which become almost characters in their own right as the plot unfolds.

Agatha Christie’s script — her second most successful play after The Mousetrap — is as mischievous as it is mysterious. The audience is constantly being led in one direction, only to have the rug pulled out from under them in the next scene. Yet amid the red herrings and clever misdirections, there’s also genuine warmth and humour that keeps the story grounded.

In the end, Spider’s Web is a triumph of style and substance. Pymble Players have once again delivered a production that is professional in quality and generous in spirit. For anyone who loves a classic mystery with a twist, this production is an absolute must.

To book tickets to Agatha Christie’s Spider’s Web, please visit https://pymbleplayers.com.au/tickets-info-now-open.

Photographer: Daniel Ferris

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Bright. Young. Things.

Bright. Young. Things.

Bright. Young. Things. Rating

★★★★★

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3

Bright Young Things is a coming of age production about several young game show contestants who seek to win the grand prize and be named the country’s brightest. Produced by Sun & Wine Arts Company, this show was written by Georgia Christou and directed by Claire Yorston.

Upon sitting down in the audience, I was immediately drawn to the stage design. There was a table in front of the stage with an actor, soon revealed to be Rochelle’s father, sitting at it looking at a telephone. On stage sat six chairs on upper stage left with five actors seated (the game show contestants). All actors, waited patiently, watching as audience members settled in. This offered an interesting and engaging image that drew me in, along with the red lighting over them.

Despite the lack of space, the actors maintained good blocking throughout the show. It was good to see how the production utilised the space it had. The stage design consisted of the game show space onstage and a green room/Rochelle’s house were in front of the stage at the table. Minimal props such as a telephone, maps and a bowl of potato chips, were used to indicate scene changes, which allowed for smoother transitions.

 

 

All costumes were basic but effective for each character’s personality and development. An example of this was when one of the contestants, Shian, tried on Rochelle’s jacket. Untying her hair and adjusting her outfit was a way to show the character’s personal realisation of her independence and newfound confidence.

Throughout the play there was an effective use of audio effects and music. Including when the phone was ringing, the show theme, and game show buzzers. The lighting was fairly standard and accompanied the scenes well, shifting between white wash and spotlights when necessary, when representing the more intimate character moments.

Some of the highlights that stood out to me included the use of symbolism and dynamics. I reference the symbolism of authority and control displayed throughout, growing and decreasing as the play went on. The role of the corporate bosses were represented initially by two actors. Each scene where they were trying to portray a stronger sense of control, an actor was added to the group, the voices speaking in unison and growing louder and stronger. As it got softer and weaker, actors were removed.

 

 

As the game show progressed, the contestants grew in confidence in themselves, revealing more of the bosses agenda and as well as the potential of who the characters knew they could be.

Another key point of possible symbolism was displayed in Rochelle’s flashback of her mother leaving. Instead of only using the two actors, multiple cast members appeared, echoing words Rochelle had heard her mother say. As Rochelle relived her trauma, the memory acted as a distraction, losing her the place in the final round of the competition. This was an especially interesting portrayal of emotional depth and context for her character, as we had only seen glimpses prior.

All actors performed respectfully well and worked together to tie the production together. Notable moments in particular were during the monologues of the contestants, including Esther and Bernie. Congratulations to all for a fantastic performance.

To book tickets to Bright. Young. Things., please visit https://sunwinearts.wixsite.com/sun-and-wine-arts-co/copy-of-compass.

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Blackrock

Blackrock

Blackrock Rating

★★★★★

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1

You’ve seen headlines ripped straight from the world of this Nick Enright’s Blackrock. Stories of masculinity in violent crisis. Stories of economic divides pushing apart people who should stand together to support each other. Stories of female rape victims and witnesses being silenced by the communities that claim to protect them. An almost thirty-year-old play that explores issues as malleable and complex as gender, class and sexual violence should not be as relevant today as it was at the time, but it is. The fact that Lunatix Theatre’s production (directed by Grace Mclaughlin and Maddie Richards) resonated as strongly as it did is a credit not just to the writing but to the cast, director and designers involved.

Blackrock takes place in a small beach town of the same name, home to many working-class teenagers and their families. One night, a drunken birthday party ends in the gruesome death of a young girl, as she is found with her head smashed in by a rock after having been raped by three boys. Most of the story examines the fallout of this tragedy, with a young man named Jared (Flecther Von Arx) finding himself torn between loyalty to his ‘mates’; supporting his outraged girlfriend, Rachel (Sabrina Rault), whose brother is implicated in the crime; and coming to terms with his own place in the town.

While Jared is the main character, this play relies heavily on its ensemble cast, and the rapport, skill and energy across the board create scenes that feel greater than the sum of their actors. The dialogue itself feels age-appropriate without being cringey, and the actors bring it to life perfectly. Von Arx’s Jared is vulnerable and sympathetic for all his flaws, Rault’s performance as Rachel creates a strong likeable moral anchor, and Jared’s best friend, Ricko (played by Bailey Griffiths), has some of the most harrowing moments in the show, demonstrating the mundane horror of a mind that warps the rape and murder of a teenage girl into something that “just happened”.

 

 

This isn’t to downplay the rest of the ensemble, who all give amazing performances, especially in their physicality. The banter between the boys feels palpably uneasy even before tragedy strikes, due to the constant but subtle strutting, chest puffing and matey arm touches – casual ‘violence’ that foreshadows the real physical threat almost every male character in the play poses at some point. The actors also aren’t afraid to talk over each other, commit to physically uncomfortable scenes when necessary, and be extremely vulnerable overall. There is a great sense of trust and maturity, which is essential for navigating material this heavy.

The world of Blackrock is fleshed out further through design, with surfboards and wood panelling rightly marking the beach as the centre of the action, and consistent costume changes giving a strong sense of time passing, which is essential to strike home the long-term damage done to this community. There are some beautiful moments where lighting is used to create a sense of place, such as a blue spotlight giving the impression of the edge of a dock by the ocean. The only snag was the reliance on blackouts for major scene transitions, which sometimes killed the energetic pacing set by the cast.

This may be a difficult show for some to engage with. Most of the characters say or do heinous things, and yet we are invited to at least understand even the most warped perspectives. The mechanisms of denial, blame and desensitisation that kick in when people can’t face the truth are put on naked, ugly display. Still, whether you think you can step into Blackrock or not, keep an eye out for Lunatix’s future work. They created an experience that was deeply uncomfortable, deeply sad, and in desperate need of being seen.

To book tickets to Blackrock, please visit https://lunatixtheatre.wixsite.com/lunatixtheatre.

Photographer: Maddie Richards

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