I Do, I Do, I Do

I Do, I Do, I Do

I Do, I Do, I Do Rating

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3

From the moment the curtain lifted at the Arts Theatre, the audience was in for a delightful ride. Therry Theatre’s production of I Do, I Do, I Do, directed by Sue Wylie, comes alive with great pace, sharp comic timing and infectious energy. The stage bursts open with wit, warmth and wonderfully controlled chaos, delivering a highly polished, laugh-a-minute theatrical performance that left the audience beaming from start to finish.

Based on Robin Hawdon’s delightfully tangled comedy of romance, mismatched expectations and wedding-day panic, this production leans fully into the farce while maintaining a grounded charm that makes every moment resonate. The result? A show that sparkles with energy, personality and honest heart.

At the centre of this whirlwind is seasoned performer Helen Geoffreys as Ann, the elegant mother-figure and linchpin of chaos and control. Her portrayal is beautifully layered—poised, witty, patient and exasperated—she holds the stage with effortless command. She deftly balances Ann’s dignified exterior with the growing mayhem of her family’s matrimonial misadventures, bringing genuine warmth to the humour to the character.

 

 

That said, this is far from a one-woman triumph. Paul Pacillo as Jamie, Laura Lines as Holly (stepping in two weeks before opening night – quite the achievement), Jess Corrie as the very conflicted Diana, Stephen Bills as Geoff and Tom Tassone as Tom were all uniformly strong, with each performer demonstrating a wonderfully consistent ‘posh’ high society accent, crisp delivery and fabulous comedic rhythm. The chemistry is seamless; the actors bounce off each other with precision, enhancing every misunderstanding. Nothing feels rushed, nothing drags, and each joke lands exactly where it should.

The production’s pacing is exceptional—bright, buoyant and confidently sustained. Physical comedy is used cleverly and sparingly, ensuring that character and intention always lead the humour. The comedic timing was on point making the laughed out loud moments genuine, whether through a misunderstanding, a revealing glance or the inevitable romantic entanglement. Complementing the action happening within, the living-room setting was both elegant and functional with the furnishings and space feeling warm and ‘lived-in’.

Above all, this production is simply fun capturing the spirit of Hawdon’s premise of “one bride, three grooms, and a tangled web of misunderstandings”. The experience felt celebratory and full of heart making Therry Theatre’s production of I Do I Do I Do a sparkling success—smartly directed, beautifully performed and overflowing with charm and comedic excellence. For anyone looking for a fun, laugh-out-loud, heart-warming theatre performance, this one comes highly recommended. A joyous, laugh-out-loud triumph.

To book tickets to I Do, I Do, I Do, please visit https://therry.org.au/.

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Naturism – A Hilarious Exposé

Naturism

Naturism Rating

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5

Griffin Theatre, in association with Sydney Theatre Company, bares all in the debut production of Naturism. Naturism presents a fabulously entertaining script written by Ang Collins, and expertly directed by Declan Greene and Lily Hayman. Naturism is packed with witty dialogue and hilarious one-liners and the show is guaranteed to leave you in stitches. Although the play has serious undertones regarding climate emissions, phone addiction and Australia’s brutal relationship with devastating bushfires, Ang Collins has successfully raised awareness and discussions in a comedic lighthearted manner. It seems nudity can surprisingly be an engaging way of raising important issues- who would have guessed!

The set creatively represented the Australian rainforest with leaves strewn about in a semicircle fashion, mirroring the arched backdrop of three dimensional trees. A rainforest boardwalk doubled effectively as a small stage and its demise in the fire scene was spectacularly executed. The props were effectively utilised, in particular, the outrageous fugly hats, which when placed on top of a naked body, amplified their absurdity and hilarity. As previously indicated, the costumes were mostly very…minimal. However the whip bird and the honey bee costumes were absolutely dazzling.

A cosy cast of five delivered a highly polished performance, showcasing their professional standards throughout. The story begins with three GenX naturists, Sid, (Nicholas Brown), Ray (Glen Hazeldine) and Helen (Hannah Waterman) who are living communally in the Australian rainforest abiding by their golden rule book comedically known as ‘The Thingy.’ Life for these three society castaways had been smooth sailing for decades until phone-obsessed, Tiktok influencer, Evangeline, played by Camila Ponte Alvarez, intrudes upon their serenity and upheaves their simple lives. Just as the naturist group begins to accept Evangeline, in strolls highly indulged Adam (Fraser Morrison) who brings further chaos to the peaceful group.

 

 

The vulnerability the actors display is commendable and pays off exceptionally as it not only solidifies the content but it is cohesive to the script’s elements at large. This dynamic cast all showcased exceptional comedic skill and rightfully deserved the standing ovation and accolades of applause and cheers. I have not witnessed such abundance of laughter during any other performance I have seen. This is credited to the actor’s creative delivery and expertise in conjunction with fabulously humorous dialogue. Hannah Waterman’s portrayal of intoxicated Helen and her journey of enlightenment is side-splitting comedy at its finest.

The lighting was meticulously timed to emphasise hilarious sudden spotlights on the characters. The dramatic opening spotlight poses meticulously timed with blackouts, had the audience hooked from the beginning. The articulation of the lighting during the fire scene was also spectacularly effective, burning bright red accompanied by thick smouldering dry ice. The sound effects of burning and cracking trees which accompanied this impactful scene were compelling and impactful.

Naturism is a solid five-star performance in every aspect. It is a one of a kind production that will indeed reveal more to the audience than any other performance they have likely encountered. There is nothing flaccid about this impactful, poignant, script which the sensationally talented cast gets to the naked truth of.

To book tickets to Naturism , please visit https://griffintheatre.com.au/whats-on/naturism/.

Photographer: Brett Boardman

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A Gastronomical Heaven

Good Food & Wine Show - Brisbane

Good Food & Wine Show – Brisbane Rating

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The ‘Good Food & Wine Show’ needs to be on your radar. Installed at the Brisbane Convention Centre over 3 days, 24-26 October, it was a wonderful addition to the many attractions Brisbane and Southbank have to offer. Minimal queuing to enter, although a couple of feather flags to indicate you are on the right track would have reassured those new to the area.

Upon entry there were helpful items like wine glass lanyards, so you didn’t put your glass down and lose it and helped free up your hands. Shopping trolleys for those serious shoppers, honestly take a wheeled bag – there is so much to choose from, luckily some stalls offered free shipping. The stalls and walkways coped with the crowds and the large spacious hall ideal.

There were special ticketed offers and masterclasses. A great gift idea – from cheese, chocolate, wine and even pasta making. Tasting rooms, free experiences, celebrity chefs. Think Christmas and birthday gifts – either produce or tickets for next year.

With stall holders from all over Australia and New Zealand on offer was such a wide variety of good food and great wine – from Olives to Martinis- cheese to nuts – gourmet meats and some very tasty and innovative ideas this show had something to offer everyone.

Did I try the chocolate infused French wine – you bet I did – and although not a fan of hazelnut, I was converted, the wine as we say was divine, light bubbly, chocolatey with a subtle hazelnut. The stall holder was passionate and protective and imports the wine for distribution after stumbling across it doing an OE in Europe.

 

 

With wines from the Granite belt – a reminder of what a great wine making country we live in and to get out West more often, Adelaide and the Hunter Valley, it was a reminder don’t leave home until you’ve seen the country. Sparkling Pinot Noirs and refreshing Pinot Gris and everything in between.

Then the boutique spirits – gin (Sambuca is a favourite), peanut butter whiskey (my new favourite ice cream topper), yup everything you can imagine someone has put it in a bottle.

The cheese stands just made you wish for a 7-day weekend, a back deck with a park view or a balcony overlooking the sea, surrounded by those you love to indulge with.

Try as I might I could not make it around every stall and the 3-day flexi pass is probably the best bet if you are going to make a weekend of it, as you need the time and tummy room to savour this gastronomical extravaganza.

Salute – or gānbēi!

However, you say it – put the Good Food & Wine Show on your to do list next year. Or maybe try to get to a Christmas Market in Sydney and Melbourne.

To book tickets to Good Food & Wine Show – Brisbane, please visit https://goodfoodshow.com.au/.

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ATC’s ‘Gaslight’: Artful, Suspenseful and Entertaining

Gaslight

Gaslight Rating

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8

Arts Theatre Cronulla have had a fantastic year of shows; the ambition and attention to detail in their productions are always notable. Patrick Hamilton’s ‘Gaslight’, playing until November 29, is a prime example of this – a tight and talented cast, great set design and an audience kept enthralled throughout. The choice of this particular show is a tribute to James Bruce, a founding member of the Arts Theatre who contributed as a set designer and builder, lighting designer and director over the course of 61 years. The director has said that Bruce loved this play, and in this production you can see why.

‘Gaslight’ is a thriller from the 1930’s, the story of a woman who thinks she is going mad like her mother before her. Her husband is reaching the end of his tether, until a visitor interrupts the balance of their little world. This production has moments that made the audience genuinely gasp out loud. Michael Gooley both acts and directs, and the directing choices make the tension in the room palpable. Gooley chose to build the set according to James Bruce’s design, and it works excellently; the flickering gaslights, the period-accurate furniture and other set details function almost like an escape room puzzle, drawing the audience to notice small changes, our eyes drawn to everything from paintings to desk drawers.

Margareta Moir is a revelation in the role of Bella Manningham. Bella is a character under serious stress, and the physicality of how Moir portrays this woman in crisis is at times frighteningly real; her storytelling goes beyond the dialogue. Bella’s arc, in Moir’s hands, becomes the emotional thread that holds the story together, even as various mysteries unfold around her.

 

 

Gary Clark, playing Bella’s husband Jack Manningham, makes excellent choices in this show. Jack’s tone is generally light and unaffected, which makes the moments where that demeanour shifts very striking. There is a moment where he enters at the end of the first act that was one of the dramatic high points of the show, with his stillness and raw energy drawing gasps. His performance builds a lot of the show’s tension, and his choices with how to present Jack’s light and shade are a thrill.

Ann Sayegh and Suzie Stipanovic play Elizabeth and Nancy, the two maids of the house who orbit one another and interact with their bosses in very different ways. The choices their characters make shape how you perceive both Jack and Bella, and both Sayegh and Stipanovic create depth and reveal power dynamics within the world of the house, underscoring the claustrophobia that Bella clearly feels.

Michael Gooley plays a blithe and unafraid Inspector Rough, a visitor to the home who turns Bella’s world upside down. The tone of the whole show shifts when he enters, and Gooley’s Rough remains a wildcard throughout, reacting in unpredictable ways to the unfolding revelations.

ATC continues, with this show, their pattern of a strong cast telling a story with conviction and wit, with good direction making for a really enjoyable (if nerve-wracking) night of theatre. From Craig Oberg’s lighting design to the smooth stage-management by Michele Potter and Dahyla Oweichi, this is amateur theatre at its strongest: entertaining and artful. Jim Bruce would be proud.

To book tickets to Gaslight, please visit https://www.artstheatrecronulla.com.au/gaslight.

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