A Well Deserved Standing Ovation

Sydney Harbour Ensemble presents: Beethoven's Emperor

Sydney Harbour Ensemble presents: Beethoven’s Emperor Rating

★★★★★

Click if you liked this article

2

It was an utter joy to experience Sydney Harbour Ensemble perform Beethoven’s Symphony No. 4 and the monumental Emperor Piano Concerto, featuring pianist Joshua Han on Saturday night at the ACO on the Pier.

This is Sydney Harbour Ensemble’s third concert in their inaugural year. Their mission is to pair live orchestral music with landmark harbour settings and local history. While focusing on celebrating emerging Sydney talent. This orchestra is certainly packed with talent.

Hearing Beethoven’s Symphony no. 4 in B flat major Opus 60 makes you understand why we still want to hear and play his music today, even though it was composed in 1806, over 200 years ago. Especially when it is played as superbly as it was on Saturday night.

All 36 instrumentalists in the orchestra played with great passion and were strongly connected with each other the entire time. They dazzled with expression, large ranges of dynamics and soared through the very fast passages in the symphony. Their Timpanist, Bryn Wood, has an amazingly expressive face and you could tell he was in his element of utter joy the entire time.

 

Benjamin Crowe, their artistic director and conductor, held great poise and determination throughout the night. His conducting was very graceful and clear. We felt very safe in his hands… pun intended. I believe he has a big future ahead of him.

For the second half of the concert, Beethoven’s Emperor Piano Concerto, featuring pianist Joshua Han, was absolutely magical. I could not keep my eyes off Joshua Han the entire time. His fingers gracefully dancing up and down the keys with immense passion. His perfectly quaffed hair moved effortlessly with the music and his face embodied intense emotion that then instantly transferred to fingertips. I am not surprised he has won so many piano competitions locally and internationally. I’m sure there will be many more to come.

The night ended with a well deserved standing ovation by all and we were treated to a beautiful encore by Joshua Han. You could tell all of the orchestral players were just as enamoured by Joshua Han as the audience were. They all looked mesmerised by his playing, now that they were able to watch him for the encore.

I can see many more exciting concerts in this orchestra’s future. I hope they continue to do more of Beethoven’s work as they play them so exquisitely and they have more collaborations with pianist Joshua Han.

Please keep an eye out for more concerts by Sydney Harbour Ensemble, they are not to be missed.

To book tickets to Sydney Harbour Ensemble presents: Beethoven’s Emperor, please visit https://sydneyharbourensemble.com.au/.

Spread the word on your favourite platform!

Next Fall – Unmissable!

Next Fall

Next Fall Rating

★★★★★

Click if you liked this article

4

The best plays are ones which sit in my mind, long after the curtain call. The special blend of plays that, the longer they percolate and brew, they deepen. Not only in colour but in depth and substance. This is “Next Fall”, a Boyslikeme Productions play, on now at The Eternity Playhouse in Darlinghurst. Have I really compared “Next Fall” to coffee? Yes, I have – and believe me, I love my coffee strong which is what this play is! “Next Fall”, written by Geoffrey Nauffts, is a layered and emotional piece of theatre and had me thinking not only about the physical aspects of the play, but also about important current themes revolving around love, religion and societal and family expectations.

At the heart of it, is a love story between a couple. Adam and Luke are gay, and they’re in love. If only Life was that harmonious. Set in 2009 in New York City, their relationship unfolds, alternating between the present and flashback scenes of the preceding five years of their relationship. In the opening scene, Holly (Natasha Vickory) and Brandon (Jason Jeffreries) are in a hospital waiting room. They don’t appear to be too familiar or comfortable with each other. Arlene (Sophie
Gregg) enters with a whirlwind of chatter.

After some time, the audience experiences Adam (Luke Jacobz) and Luke (Conor Fogarty) falling in love, moving in together and their friendship with Holly, a candle shop owner and Adam’s boss. The age gap between the two doesn’t affect them (Adam is older than Luke) but there are two other differences which divide the pair. Luke is deeply religious, and consequently not open and honest with his family about his relationship with Adam. And he is not honest to himself about living his own truth and being comfortable in his own sexuality.

There’s one particular scene which stands out to illustrate this. It’s a simple scene, with Adam and Luke joking around in their apartment. Jacobz and Fogarty show the easiness of their characters, and there is beauty in their connection. They could be any loved up couple in the world. It all crumbles in an instant when Adam, who is agnostic, says one line, delivered by Jacobz with a heartbreaking plea, “I want you to love me more than Him.” The way that Fogarty portrays Luke in the following moment was perfection, and his silence cut like a knife. To me, this was a poignant moment and one which had less to do with sexual orientation, and more to do with faith and upbringing in the church. In any relationship, companionship with religious beliefs will lead to a happily ever after, in the “forever after”.

 

The play regularly transitions between past and present time periods, the latter in a hospital waiting room. This is indicated by a disconcerting and purposeful electric buzz accompanying a quick flash of light. At times this seemed disjointed and a even especially after a comedic scene. Kudos to set and lighting designer Casey Moon-Watten for creating this delineation between the past and shocking present.

In scenes where Adam comes face-to-face with Luke’s parents, Arlene and Butch (played by Gerard Carroll), Jacobz’ masterful performance swings between his character being respectful and unsure, to building up to an explosive scene, which stands out as a powerful moment. Carroll delivers a compelling performance as Butch, embodying a stern, traditional man of faith with conviction and a steady dose of homophobia. Another encounter with Butch and Luke deepens the emotional complexity of the story, highlighting Luke’s internal struggle and the bravery required to reveal his true self to his father. The scene poignantly explores the universal theme of seeking parental acceptance and approval, an enduring desire that persists regardless of age.

“Next Fall” skilfully weaves comedic moments throughout the script with witty dialogue lightening the play’s more serious subject matter. The cast embraces this, notably in one scene where Adam finds himself in his apartment alone with Butch. Knowing that Butch is unaware that he is Luke’s partner, yet wanting to be polite and a good host, he offers Butch a cup of tea. The two men end up discussing the ‘dainty’ teacups, with Adam offering a sweetener in the cutest ever honey bear
pot. The campuses of this scene was golden and had the audience laughing at the clearly uncomfortable Adam.

Producer and Director Darrin Redgate has brought together a talented cast and crew, delivering an insightful blend of drama, humour and pure heartfelt emotion that will leave audiences with a play to remember and think about, long after the curtain falls. “Next Fall” offers a poignant reflection on society’s ongoing struggle for acceptance and harmony. Despite being set 17 years ago, Luke’s reluctance to come out to his parents and the internal pressures he faces within his relationship with Adam, mirror fractures that still exist in today’s social climate. It is both interesting and disheartening for me to see how little progress has been made. I hope that it won’t take another 17 years for society to embrace the true essence of love and kindness, no matter who you are, who you believe in and who you love.

“Next Fall” is unmissable – bring a friend!
Season run: 22 October – 7 November 2026
Eternity Playhouse 39 Burton St Darlinghurst
Run time: 135 minutes with a 20 minute interval
Tickets: www.nextfall.com.au

To book tickets to Next Fall, please visit https://www.nextfall.com.au/.

Spread the word on your favourite platform!

Crazing

Crazing

Crazing Rating

★★★★★

Click if you liked this article

Walking into the theatre space, we heard Helen Reddy’s song booming out, ’oh, yes, I am wise but it’s wisdom more than pain, yes I paid the price but look how much I’ve gained…’ On came Karli Evans initially playing modern Aila Driscoll, a business woman and more macho than the men because it is still a man’s world. Now don’t think this play is only for women, the men in the audience responded instantly recognising the men she was referring to as they have to deal with them as well. However; her character and the following historic female characters presented the physiological and psychological pain of a woman standing up for her rights, ethics, belief and pure love; swimming against the tide and often paying a price.

Oliver Brighton, Tech Director, provided the sound and lighting subtly changing the mood of each character via projection on a scrim. The set, a fading hotel room in the middle of a redevelopment project resisting progress, had torn wallpaper and a basic single bed and chair that provided a refuge for each character. It would cleverly change to reflect different characters and the decor of its era and without giving anything away, clever on-set costume changes reflected the fashion of the time.

 

Writer and producer Kerrie Simon-Lawrence has crafted an eloquent, humorous and fascinating series of monologues featuring four Australian women from different eras, each grappling with difficult decisions and the social constraints of her time, and directed by Lara Lightfoot. Mary Anne Monroe-Bentley, Molly Fink and Angie Sage are honoured for their stand and place in women’s history and fight for their identity. Karli alters her voice and posture to tell their stories and the audience believed in each change of persona.

With all of that, it is Karli who holds your attention as she switches from being the modern Aila to jump into each of the other women’s characters. The language changed in complexity and emotion and it was a ‘tour de force’ for one actor. She ebbed and flowed as a modern woman frustrated with the business world whilst juggling her attention to her love for her partner as she is challenged with making decisions about work and family.

The characters outline women’s need to make decisions about their bodies, their social status, how to walk through a dark park at night alone and even as a sex worker; why a condom is non-negotiable. The messages are still relevant and the monologue is arresting, emotional and even sometimes wryly humorous. The audience responded and were having discussions as we all exited the theatre. We were left wondering how Aila would manage what her next step might be and her stance as Helen Reddy sang,”I am Woman”.

To book tickets to Crazing, please visit https://whatson.cityofsydney.nsw.gov.au/events/crazing-by-escape-artists.

Spread the word on your favourite platform!

Steel Magnolias by Encore Theatre Company

Steel Magnolias

Steel Magnolias Rating

★★★★★

Click if you liked this article

3

In 1985, in a fictional town called Chinquapin Parish, in Northwestern Louisiana, lies an at-home beauty salon owned by Truvy Jones, a happy-go-lucky local hairdresser. She’s young-at-heart, loves the local gossip, and makes women feel loved and cared for in her company.

But this tiny mecca is far more than the sum of its parts. For in this beauty nook, Truvy weaves together a circle of strong, sassy Southern women to gather, connect and socialise.

Women called Steel Magnolias.

In honour of Dolly Parton, who starred as Truvy in the film version of Steel Magnolias in 1989, Encore Theatre Company is proud to present its latest instalment, in an equally nookish theatrette at the Clayton Community Centre.

Where, inside, we are invited into a world of southern hospitality, starting with a gorgeous set design by Susan and Peter Rundle.

The show opens our senses into a bright and colourful space full of nostalgic hair and beauty posters, with a yellow, mint green, pink and turquoise colour scheme, much like a candy shop. Bold on the outside, and sweet and sugary on the inside.

In the first scene, Truvy is teaching Annelle Dupuy, a new employee and hairdressing student, the ins-and-outs of her hair and beauty biz. It is Saturday. A busy day to come. Annelle is nervous. We also learn she is a newcomer to town and seems quite sketchy about revealing facts about her personal life.

 

Then in walks Clairee Belcher, known as the town’s wealthy socialite. Then Shelby Eatenton, a young 20-something nurse who is getting married, and her sensitive mum M’Lynn, who’s a tad overprotective of her. Then, to round off the women, a human windstorm comes through the sliding door. It’s Ouiser Boudreaux, the old town crow, carrying on and complaining about well, just about everything in her life.

But one thing they can all rely on? Is each other, in good times and in bad.

Speaking of which; we learn that all is not as rosy as it seems. Shelby has Type 1 diabetes, and wants nothing more than to be a mum, but is told that her body is weak and cannot withstand a pregnancy. To prove this point, we are witness to her going into hypoglycaemic shock at the salon, as Truvy is styling her hair. She recovers, but this sparks a warning about her future health. A compelling thread of fear her mother M’Lynn carries throughout the duration of this production.

This show is about the strong friendships these women have with each other, through thick and thin. Through the light and the dark. As such; the six ladies in this cast are all brilliant in their own ways and portray their roles well, thanks to the wonderful direction by Susan Rundle.

Kirsty Hall brings Truvy’s joviality to life, and knows how to delicately balance humour with a great dose of realism. She seemed so natural in this role, and carried this show beautifully from start to finish with great aplomb.

Molly Spencer, as delightful, young Annelle, is instinctually clever in how she embodies this role. In every scene, she commits to every hilarious character moment, yet adapts her role with a great deal of sensitivity. Knowing exactly when to pace, pause, and finally, when to raise the stakes for greater laughs.

Lisa Upson, a late addition to the cast, shines as Clairee. Bringing the exact mix of steely strength, warm sarcasm, and an unwavering will that is required in this role. She is not only believable; but fiercely forthright, and brimming with class.

Glenda May is an absolute delight playing Ouiser, bringing the energy of a shrewish older lady to the fore; yet making her an absolute gem, encased in comedy gold.

Justine Garnes perfectly personifies her role as Shelby, exuding the essence needed to portray a steely Southern Belle. Charming and soft; yet unwaveringly strong. She is a joy to watch.

And finally, Gabby Llewelyn as M’Lynn is the absolute heart of this show, taking us through a roller coaster ride filled with the spectrum of motherly love. She takes ownership of her own emotional wheel – to drive home the experience of a Southern mother in crisis, with soft wings and nerves of steel.

In all, this production of Steel Magnolias was simply beautiful and heartfelt. The cast was superb and I would highly recommend it for a great night out.

To book tickets to Steel Magnolias, please visit https://encoretheatre.com.au/.

Photographer: Dave Swann

Spread the word on your favourite platform!

Subscribe to What's The Show

Reviews, show news and what is on, straight to your inbox.