The Many Faces Of Sherlock Holmes

A Night Of Sherlock Holmes

A Night Of Sherlock Holmes Rating

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3

Nestled in the burbs of New Farm is a church and in that church is the very vibrant Nash Theatre. Each year they produce a radio play – well, extremely well.

A simple set with actors dressed appropriately for the era (1930’s), mircrophone stands at the front of stage and the ‘On Air’ sign glowing with the “Applause” sign lighting up to remind you that you are part of a studio audience – it is marvelous.

But best of all is the live action foley – set up along the back of the stage were three foley artists and I have to say, the horses and carriage sounds – spot on. Congratulations to Mark Corben, Lara and Emma Latham who entertained us with their enthusiasm, facial expressions and creative techniques – yes, I am still giggling at the Baboon.

I often listen to the Sherlock plays on Spotify and I was pleasantly surprised to hear a new one among the mix; ‘ The case of the Blue Carbuncle ” – hilarious. With the actors playing a range of characters from the vagabond thief to the well educated Sherlock and Watson.

Presenting old time radio shows is a great way to entertain an audience without elaborate sets. The stories rely on the actors ability to react appropriately without props, and once again, director Jason Nash has produced excellent work. The American and English accents on the whole were consistent and added to the believability you truly had stepped back in time to the 1930’s.

 

 

The roles of Sherlock and Watson were shared amongst the cast which took each story to a different era and there were some interesting accents. Caleb Hocking’s Watson accent for “A Scandal in Bohemia” was definitely unexpected but very humourous and Bruce Edgerton has definitely found his niche with the different characters you find in radio plays. King of Bohemia suits you Bruce.

Radio plays have advertisements and the cast brought these to life very much reminiscent of an era where entertaining folks was simple and mixed with a good dose of humour.

The actresses on stage, Sandy Adsett, Jenny Bonney-Millett and Kiah Latham were immaculately dressed and authentic with their characters, it definitely was a more glamourous era. Bright red lips, pearls, diamonds, heels and furs, they each delivered applause worthy performances and it is a joy to go to a play where you can hear what people are saying – great diction, accents and expression.

The first story, ‘The Adventure of the Speckled Band,” was delivered with the emotion and mystery that set the actors up for a great show run, drawing in the audience and giving us all the shivers at the end. The stories were broken up by the jingles, which also offered great entertainment.

So if you are looking for good quality well priced entertainment here it is, take along a friend and enjoy the show.

Show runs until the 14 March, at Nash Theatre 52 Merthyr Road, New Farm

Tickets via Trybooking – https://www.trybooking.com/events/landing/1490448

To book tickets to A Night Of Sherlock Holmes, please visit https://nashtheatre.com/.

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Hannah Maxwell: I, AmDram

I, AmDram

I, AmDram Rating

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Set in a small outdoor space, Hannah Maxwell is larger than life as she takes you through her traumatic, amusing, and relatable mis/adventures with her thespian theatre family. Up close and personal with Hannah means seeing every minute facial change, being meditated through set changes, and if you’re lucky, shoes will exit stage left right by your head (no offence taken, it was a terrific throw).

Hannah sheds a lighthearted approach to her coming out story to share with her audience. Connecting with everyone in the audience as she regales us with her tale set in the year 2010, it feels less of a theatre show and more of a gossip session with your friend. You will find yourself leaning forward in your seat to listen more closely, not because of how she is speaking, but because you want to hear what she has to say next. The story isn’t difficult to follow, but it’s very real, and you won’t want to miss a single word or dance move.

 

 

With minimal lighting that was outshone by the setting sun, a stage floor of bricks, props that have been with Hannah for years, the performance gives a raw, homey feel … but with the masterful story manipulation of a seasoned thespian who isn’t afraid of having people staring at her without the safety net of the curtains. “I, AmDram” doesn’t need to indulge in complex sets and overly complicated props. There is a small TV and sound system to add layers of backstory, depth, and extra sounds effects while Hannah bounces around the stage; they only deter from the show when the remote decides it doesn’t want to work, but Hannah takes it all in her stride and makes it feel a part of the show. Hannah is captivating as she dances you through her story in a whirlwind of songs, nostalgia, and that one song she can play on the piano with two hands.

Hannah will encourage you to talk back and sing along, and if you’re very lucky, you may even get to assist with holding props. Just as you think you know where the story is going, Hannah takes a breath and throws a new obstacle or belts a musical number. Expect the unexpected, be prepared to ball change and laugh your way through.

Theatre kids, anyone who’s come out of the closet, and everyone in between should have “I, AmDram” on their 2026 Adelaide Fringe to-watch list, and be prepared to laugh, sing, tap your feet, and participate.

To book tickets to I, AmDram, please visit https://adelaidefringe.com.au/fringetix/hannah-maxwell-i-amdram-af2026.

Photographer: Daisy King, David Schwab

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Mamma Mia!

Mamma Mia! The Musical

Mamma Mia! The Musical Rating

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Mamma Mia! is μεγαλοπρεπής (magnificent!)

A little Greek island has popped up in Melbourne’s beautiful old National Theatre.

As I arrive walking in behind two girls who had been turning heads walking down the footpath in full blue jumpsuits and white boots, many more were in the foyer dressed up Insta-ready for a night in the world of ABBA songs and a journey of love, laughter and finding out what’s really important about family.

I’ve seen Mamma Mia! 12 times and each time I love it more. Who doesn’t love ABBA? Well, if you don’t, don’t let it stop you from going because this musical offers surplus to ‘thank you for the music’.

The story in Mamma Mia! is super-charged with questions. ‘What would’ve happened if I’d done that?’ ‘What will happen if I do that now?’

This is where Mamma Mia! sits – a story centering around an important choice where villa owner Donna, played exceptionally well by Bek Chapman, chose to embark on a solo-parenting life. Her now 20 year old daughter Sophie, played beautifully by Belle Parkinson, is confused as to why she does not know her Dad and so invites three potential mentions in Donna’s old diary to her upcoming wedding at the villa, but without telling her mother she has done so. Donna and Sophie share many heartfelt moments and the fact they look similar make it more believable as mother and daughter co-stars. (I tried not to cry this time at ‘Slipping Through My Fingers’ but did not succeed – likewise I have girls who wore pigtails)

Strong performances by Sophie’s three possible Dads, all played by accomplished thespians, Sam Anderson as Sam Carmichael, Shannon Foley as Harry Bright and Luke Stephens as Bill Austin, they all give each of their characters due seriousness and light-heartedness. When you have three leads like this with this type of experience you are going to get a WOW factor regardless; they bounce off each other like they’ve been performing the show for months already.

 

 

Adding to the males in this impressive cast is Jesse Vasiliadis as Sky (Sophie’s future husband). Jesse is a grad of WAAPA Fine Arts Acting, I particularly felt all his lines were so well delivered I could’ve been watching the movie in those parts, and in any of the more complex movements required about the stage at various times he was also nimble on his feet!

Sky’s buddies Pepper played by Abe Geyer and Eddie played by Deklan Haas were every bit the clowns, so funny!

As for Sophie’s supportive besties; Elena Atanasovski is fabulous as Ali, her training at Jason Coleman’s Ministry of Dance definitely shows; and Ally Long as Lisa, a graduate from the Queensland Academy of Excellence in Musical Theatre – yes excellent! They both understudy main roles too so look out for these two.

There is some hard-hitting choreography in this rendition (by choreographer Adriana Pannuzzo). The energy of the cast is overall infectious and I loved how they added dancers on side to many songs. The ‘moving bed’ is a huge prop to work with and is shown off by brilliant co-ordination of lighting (Ian Scott). The choreography particularly in this scene, ‘Under Attack’, is absolutely well thought out as it’s difficult to make such a scene look seamless.

As is common in this musical, the audience went wild for all the boys in their flippers on stage with the character of Donna’s friend Tanya played by Sasha Hennequin teasingly singing ‘Does Your Mother Know’ and this is usually my favourite. It was fantastic as always and Sasha is superb as the foxy Tanya, however my smile muscles got another good workout watching the interactions of Donna’s other bestie Rosie played by Antoinette Davis with her very direct sex appeal toward the initially hesitant, but then enthusiastic Bill played by Luke Stephens – they were frick” hilarious!!! That ‘Take a Chance on Me’ scene stole ‘best in show’ for me this time around.

Within the ensemble I noticed constantly Patrick Friedlander shining and later learned with no surprise he is a WAAPA graduate and was chosen as the show’s Dance Captain. Another was Geelong’s Lily Mullen-Wood getting my attention, I flip through the program and yes no wonder, she’s currently training at Transit Dance with Andrew Hallsworth. Definitely two to watch in future amongst this whole group of top talents.

Finale was sparkly and spectacular with the biggest ABBA hits! ‘Mamma Mia’, ‘Waterloo’ and naturally ‘Dancing Queen’ saw EVERYONE getting involved in the atmosphere, and I have to give credit to Karen Spencer for her outstanding use of having those quick change costumes!

I recommend you grab a bunch of friends (Abba loving or not), dress up (or at least wear something blue), and say I do I do I do want to go see Mamma Mia!

Congratulations to Director Pip Mushin and Musical Director Kent Ross working on this show with Executive Producer Andrew Gyopar and their entire production team, cast, crew and creatives.

CAST:
DONNA – Bek Chapman
SOPHIE – Belle Parkinson
SAM – Sam Anderson
HARRY – Shannon Foley
BILL – Luke Stephens
ROSIE – Antoinette Davis
TANYA – Sasha Hennequin
ALI – Elena Atanasovski
LISA – Ally Long
SKY – Jesse Vasiliadis
PEPPE – Abe Geyer
EDDIE – Deklan Haas
ENSEMBLE – Alessandra Negro, Angelo Vasilakakos, Darcy Ward, Gabrielle Ward, Isabella Gangi, Isabelle Pascua, Joey Phyland, Lauchie Mant, Lily Mullen-Wood, Matilda Simmons, Patrick Friedlander, Sophie Loughran, Steve Thomas.

To book tickets to Mamma Mia! The Musical, please visit https://agtheatre.com.au/mammamia/.

Photographer: Natalie Edge Photography

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Stunning Production of CATS: Not To Be Missed!

Cats The Musical

Cats The Musical Rating

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Andrew Lloyd Webber’s “CATS” is a stunningly colourful and athletic musical that audiences, young and old, thoroughly enjoyed on Sunday evening’s performance.

Upon walking into the theatre, we were greeted by the backdrop of an alley, scattered with fantastical depictions of trash or lost items. Festoon lights were hung around the stage and across one of the bannisters above the audience. Many platforms and footholds were around the stage, which gave the cats many places to enter scenes, hide, and leap from.

While a good portion of the show included basic white wash lighting, flashing lights/strobe, pyrotechnics, and different coloured lighting created the desired effects and were appropriately timed. Costumes and Makeup were stunning and thoughtfully crafted, and I could hardly take my eyes away from the intricate details and grungy aesthetics.

As someone who had not seen CATS in person before, I was unaware of the more interactive aspects of the show. Occasionally, some of the cats would enter the audience via the front two rows. They would play with the strap of someone’s purse, bump paws with audience members or serenade them. It was an interesting way to break the fourth wall and keep people engaged. Those who book their seats close to the stage should be made aware of this ahead of time.

 

 

All dance routines were highly polished and were done to seem effortless. In between routines, each cast member maintained their character by including feline mannerisms in their recline. Dance intervals featuring the White Cat (Claudia Hastings) and Mr Mistoffelees (Tim Haskayne) were especially memorable and very impressive. As well as their poise, apparent professionalism and acrobatics, support from the remainder of the cast really brought each of the performances together seamlessly.

The audience thoroughly enjoyed songs such as “Mr Mistoffelees,” “The Rum Tum Tugger,” “Gus: The Theatre Cat,” “Skimbleshanks, the Railway Cat,” and of course, the much beloved “Memory,” and its reprises. All vocals were fantastic and blended well, with notable mentions to Des Flanagan (Rum Tum Tugger), Jarrod Draper (Munkustrap), Mark Vincent (Old Deuteronomy) and Gabriyel Thomas (Grizabella). It is a highly enjoyable experience to see cast members have fun doing what they do best, committing to their roles in such a way that seems effortless.

From the costumes to the effects, everyone who plays a role in making CATS what it is did a fantastic job, and I highly recommend this production.

To book tickets to Cats The Musical, please visit https://catsthemusical.com.au/.

Photographer: Daniel Boud

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