The lights go up to illuminate a minimalistic stage with clouds floating on a screen behind, as we are introduced to our cast of characters.
We are in a waiting room of sorts; perhaps it’s purgatory, or it may be a processing room, but as the scene unfolds, we eventually learn it’s a room for those that have failed at committing suicide.
As we meet our nameless characters, from our antagonist, known only as 379, to our young peacemaker 134, businessman 1620, and the only woman 786, through a series of conversations, we slowly learn what has brought each person to this space.
Whether it is a failed life, illness, divorce, sexuality, or just uncertainty, we learn about the insights of each character. Like an overripe onion, layers are slowly peeled away to reveal the deep personal pain and the lessons each character must learn.
Each character must face their demons in the hostile space that is this waiting room, deciding whether they want to live or die. They begin by being in denial of the ending of their lives, as they share their stories we see their humanity evolve, and we begin to see regret, heartbreak and pain in each person. It’s compelling to watch as we learn of the struggles of each individual.
The play delves into some very deep issues of the human psyche and explores them on a level that is thought-provoking and compelling.
As we learn of each character’s complexities it’s hard to decide how to feel about each person and their journey to this space. Each character comes from a diverse background and each has unique reasons for being in the waiting room.
The play is a powerful exploration of a serious topic and it is unafraid to explore such a complex subject. However, it is done in a manner that is provocative and emotional. Each actor brings a rawness to the performance, and all of them are exceptional in their respective roles.
Marooned is a piece of theatre that will leave you feeling a little shocked, rattled and is an exceptional piece of work that is an absolute must see for all lovers of the arts.
Powerful and engrossing, Crimson Gully is a brilliantly written play by Sreekanth Gopalakrishnan.
Set in the 1990s, the story centres on a brothel within the fictitious town of Chandapur in India.
Crimson Gully, which translates to Red Light Street, shines a light on the prostitution industry, forcing the audience to look beyond the societal labels associated with the women in the brothel and see them as individuals with complex lives, aspirations and personal battles.
The play opens with the young and popular worker, Muskaan, performing a traditional South Asian dance known as Mujra to the clients.
Having born and grown up in the brothel, Muskaan accepted her fate and circumstances long ago but she does not see herself as a victim but rather a person who unlike the other girls, has chosen to remain in the brothel. However, deep inside she longs for another life but does not believe she is worthy of it.
Then there is Champa, who did all the things that society expected of her as a woman. She met a man, got married and had a child but lost it all when her husband died and she was left cleaning up the destruction and financial mess he left behind. Without any education or qualifications, she finds herself in the brothel, the only way she knows how to make a living.
The young and innocent Mansi, from a seemingly good family, shows the viewers how girls like her end up in the brothel through no choice of her own. Much like Champa’s situation, it also proves that marriage is not always the answer to a attaining a better life.
Jamuna, the eldest, having spent most of her life in the brothel, now just serves as the caretaker and cook.
Taai is the madam of the brothel. Initially, viewers may think of her as a villain but as the story evolves it’s clear that she is as much of a victim as the rest of the women, trapped in her circumstances and in many ways acts as their protector.
It is the few people at the top driven by greed and power, in this instance all men, that keep the women trapped in their unfortunate circumstances and other men in line. The simmering tensions build up to a dramatic climax that does not disappoint.
Gopalakrishnan, who also designed and directed Crimson Gully, does not shy away from bringing to the forefront weighty topics such as political corruption, human trafficking, misogyny, and poverty and how they are all interconnected.
Inspired by the DW documentary India’s Prostitution Village, Gopalakrishnan provides a realistic account of the industry. It is a story which could take place in any culture and in any country but the elements of greed and corruption remain the same. Crimson Gully provides an insight into how corruption from the top can trickle down and poison society as a whole.
The Great Indian Theatre Company brings the story to life, with all cast members delivering solid and powerful performances. Crimson Gully is not to be missed.
Delicious is a scrumptious hybrid show mixing your favourite Burlesque and Circus acts, all themed around food and drink. The show as a whole imbues the audience with ecstatic energy, and satiates our hunger for entertainment.
It seamlessly blends comedy, acrobatics and eroticism in an extravaganza for any appetite. Our fantastic hosts, Chocolate Boxx and Clara Cupcakes bounce off each other brilliantly with quick witted remarks to introduce us to the world of ‘Delicious’ and its’ acts.
Initially we are met with Aline Chapet who performs a quirky routine with ‘Champagne’ bubbles. Her act brings the awe of a magician and the skill of a bartender to the stage, creating bubble art and playing with trapping and releasing smoke. Her act creates suspense and wonder as we wait for bubbles to pop, or not, as she skillfully crafts them. We were then rewarded with other unique acts such as Indie Berlin who performed a hilariously creative ‘Bread-lesque’ routine.
This combined the glitz and glam of burlesque with the comedic premise of feeding pigeons lots of bread; which was executed with elements of mime as well as expert choreography. Another creative act was Cello Bordello and her ‘hot-dog’ routine. This showcased a spunky burlesque number and a twist on sword swallowing except with a balloon. We were also delighted by some women’s Jelly Wrestling (Grace Law and Rachael Gibson); where you were still in the splash zone multiple rows back, causing eruptive laughter from the audience.
Our final unique act was Johnny Gash presenting a sweet ‘Candyman’ styled Drag King performance. Johnny Gash gave us the only vocal performance of the night, which was absolutely phenomenal and all but identical to Christina Augileira herself.
The circus acts included were incredible, with Andrea James Lui skillfully showcasing her amazing floorwork and Aerial Pole skills. With a quirky mad-hatter style, but incredible strength and fluidity she dazzled from the air. Elena Khaw graced us with an incredible show of contortion and flexibility, all whilst glazing herself in honey, keeping to the sweet theming.
Ambrose and Latonya brought some classic circus action with trapeze and Hula Hoop acts. Their Flow Art was smooth and polished, taking much coordination and strength. Finally, Tami Dawson presented hair suspension to close us out, which takes incredible, hair-raising skill.
With such a smorgasbord of talent, the audience was engaged and cheering from the start and this did not lull for the entire performance. The lighting and use of haze made all the performers look spectacular whether they be on the ground or in the air. The song choices were recognisable and energizing, bringing much enjoyment.
This show exudes confidence and really comes together beautifully, a perfect collection of talent, theming and taste. The cast and crew should be applauded for a delightful addition to the Melt Festival line-up.
What a show! It’s a little bit like a fantastic audio-book with songs and an incredible two person cast having us all holding on for the ending we hope to be. Based on the novel by Jean Webster, the musical of Daddy Long Legs deserved the long applause it received for the Peoples Playhouse Theatre on opening night!
My friend and I sat front row as community theatre gives you that chance to see a show up close and personal, something you cannot get (without a big ticket price) at the professional shows in the city and the talent on stage is no less fabulous. Productions in community theatre are very often insanely good and this one is no exception (at an extremely reasonable ticket price). It’s worth the trip to Mornington even if you don’t live in the area (like me).
Firstly, note-worthy as you go in the door, are the Programs; displayed intriguingly by being in a pile of old-fashioned envelopes complete with a ‘red wax seal’. A very creative member of the team has designed them like a letter of importance at the turn of the century, where this story is set. I love getting the written programs as keepsakes for all the shows I go to and this one is definitely the most unique.
I watched the movie of Daddy Long Legs as a child and, though that was a very long time ago, I remember it well because as a dancer I loved Fred Astaire. There’s no dancing in this musical, but I knew the story well and watching it come to life on stage through script and songs and the art of letter writings recited between the characters made it so beautifully vivid.
Jordi Poyser plays Jervis Pendleton, with his rich family heritage, and Madeline Connolly plays Jerusha Abbott, the oldest orphan in the orphanage, who is given thankful opportunity to study to become a writer with all expenses paid until graduation by an unknown-to-her kindly benefactor ‘Mr Smith’ (of course this is none other than Jervis but she will not discover that for a while). Jerusha will be able to write letters to Mr Smith to tell him how she is going, but he informs in his offer that he will not write to her.
A pitch perfect opening by Madeline (whom I hadn’t seen before) – her gift in voice either singing or speaking to portray any aspect of musical theatre is immediately noticeable and she will only go from strength to strength in this character; she gives it her all from wide-eyed astonishment and giggles to the most real tears I’ve seen on stage this year. She is simply amazing!
Jordi is, as he always is, exceptionally talented (third time I’ve seen him), but this role is definitely more than a little different to the usual script in that the characters are not able to truly inter`act` with each other on the stage. The two of them cannot look at one another directly because they are reading their respective letters in a different place, whereby using their ‘own side’ of the stage set. Both Jordi and Madeline must be sure not to have any actual interaction; this would have been probably quite difficult to get used to. Instead they have to trust one another’s delivery of their lines, lines and more lines until their final scene.
The script is indeed extensive, the art of letter writing is a dying form and naturally Jerusha is an accomplished letter-writer so that in itself is lovely to listen to and yes, Jordi and Madeline have a LOT of lines; in their reading of the letters and also in expressing out loud their thoughts of how the receiver on the other end will perceive those letters. On paper one can envisage anything, but there’s a much bigger story to tell outside of penned words. Both actors get this message across undoubtedly well. Jervis in particular has a number of very funny moments we laugh at in his reaction to reading the words in front of him.
Through her letters to her benefactor, Jerusha will enlighten Mr Smith as to what she is learning in her studies, what she likes and what she does not, who she is friends with and who she is not, what she is excited for and what she is not and how she would love to meet him in person. In return, Jervis (Mr Smith) will eventually respond (through his supposed secretary), but you will need to go and see the show for more answers… will Jerusha find out much about Jervis’ real identity, how will she relate to him if she does one day finally see this ‘old’ man, and, her screaming question – is he bald?
Three exceptional musicians; Damien Mizzi on piano, Frank Nigro on guitar and Lore Burns on cello, make up everyone to be on-stage for the whole show and although you cannot fully see this talented trio at the back of the divided set between Jerusha’s lodgings and Jervis’ accurately dated office, I do think it’s nice to have the music playing live there with a peek at their work close range; just adds that extra personal closeness to what again only community theatre can really provide.
Congratulations to Director, Leah Osburn, and Musical Director, Damien Mizzi, we loved our night out and thank you immensely for taking the time to produce this unusual ‘rags to riches’ show in the way you have. I think that the ‘secret of happiness’ is seeing shows like this one (and I actually do believe you could make it into a musical audio-book). Everyone in the audience felt the connection and I heard another 3-4 guests say in the foyer it was nothing like they expected and was so very good!
Highly recommended: Daddy Long Legs playing 8-16 November 2024
Venue: 4 Albert St, Mornington: The Anglican Centre – Mornington and Mount Martha Anglican Church. Flat floor seating, but the stage is raised. Easy free parking right next door. They operated a canteen at interval and tea/coffee by gold coin donation.
