Reviews - 2005

Current - 2004 - 2003 - Pre-2003

Our reviewers are the peers of Adelaide Theatre. They are fellow audience members, directors, actors, committee members, etc, with experience in journalism.
Like other audience members, their reviews/opinions are given on overall enjoyment and value for money so that you may make a more informed choice.


CLICK HERE FOR COME OUT 2005 REVIEWS!

24 Hour Show – South Pacific
Absurd Person Singular
Adelaide Comedy Festival
A Fractured G&S Trilogy
Asylum
Babes In The Wood
Back To The 20Th Century
Birds On The Wing
Boo!
Countess Maritza
Die Fledermaus
Drums In The Night
Encore To Murder
Equus
Evolution
Fiddler On The Roof
Frozen
Give My Regards To Broadway
Grease: The Arena Spectacular
Groping For Words
Hägar The Horrible – The Musical
Hansel & Gretel
High Society
Influence
Interesting Times
Into The Woods
Jekyll And Hyde - The Musical
Joseph And The Amazing Technicolor Dreamcoat
Key For Two
Lend Me A Tenor
Lord Authur Savile’s Crime
Love Letters
Midnite
Miss Blossom Callahann
Murder At Doom Manor
Murder By Misadventure
Oh! What A Lovely War
On Golden Pond
Once Upon A Mattress
Outside Edge
Oz
Penetrator
Phobia
Puss In Boots
Quidam
Shakespeare's Villians - Steven Berkoff
Shoah
Silly Cow
South Pacific
Speaking In Tongues
Steaming
Strangers On A Train
Tap Dogs
Tapestry
The Breath Of Life
The Cocktail Hour
The Elderly Brothers
The Government Inspector
The Merry Wives Of Windsor
The Mikado
The Pirate Princess
The Pleasure Of Their Company
The Sorcerer
The Tower
The Unexpected Man
Tom Jones
Under Milk Wood
Virgins

GROPING FOR WORDS
St Jude’s Players
St. Jude’s Hall, Brighton
Until July 30

Review by Andy Ahrens

If you are reading this, you are most likely in an elite tier of people worldwide who are classed as ‘literate’. You have successfully navigated the Internet, found the links and put your literacy skills into practice.

Literacy, or lack thereof, is the subject of St Jude’s Players’ production of “Groping for Words”. The play reminds us of the difficulties faced by those who cannot read and write.

Popular author and playwright, Sue Townsend, has taken a light-hearted approach to this serious issue.

“Groping for Words” is a humorous and endearing look into the lives of three illiterate people. What they have in common is that their citizenship and place in society suffers as a result of their poor literacy skills.

George (John Leigh Gray) is homeless and out of work. Gray provides much sincerity and sensitivity in his role.

Thelma (Amy Hutchinson), is an overly anxious and needy young woman. Hutchinson is consistent throughout her performance. She plays the flustered and flippant Thelma with an ironic degree of maturity.

And thirdly, there is Kevin (George Banders), a young warden struggling to cope with the paperwork. Banders isn’t subtle in his interpretation. He is so outlandish one could question why he was employed in the first place. Nevertheless, he throws himself into this interpretation and makes it believable.

Balancing the action is Joyce (Julie Quick), a teacher in adult literacy who finds herself in the midst of these unique strangers. Quick is exceptional, working opposite three largely over the top characters to provide a sense of hope and calmness to their chaotic worlds. Her own character doesn’t suffer for this. Quick allows us to share Joyce’s frustrations as well.

Director Linda Davey has staged this production remarkably well in the confines of the venue. With a script that jumps around a bit and is let down by lack of resolution, Davey does well to keep it heading in one direction. She is supported by simple and effective technical components.

“Groping for Words” is an entertaining production with solid performances. It provides plenty of laughs amidst the sad reality that reminds us of society’s responsibility towards literacy and learning.

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PUSS IN BOOTS – ADULT SHOW
2B Productions
The Forge Marryatville High School

Review by Simon Slade

An ogre is terrorising the palace and Puss in Boots invents a plan where his master Harry can marry the princess and live in the castle happily ever after. The only problem is that Harry doesn't know the first thing about bravery or Ogre-slaying.

Take a children’s panto, stir in some adult humour of the “Carry On” variety, and pour into the superb new Forge Theatre, and you have a recipe for a great night out. The Forge Theatre is like a modern and larger version of the Odeon – flat floor, raked seating, no centre aisle – and seems to be very well equipped. It will be interesting to see who else starts to use this venue!

Adults are often much more shy than children when it comes to audience participation, but performers like Robyn Smith, Simon Holdback, Barry Hill, Rebecca Vallen and Megan Humphries were able to get everyone involved.

The comedy belonged to Megan Humphries, as Nora the cook, and Barry Hill, as the King and the Ogre. Humphries was like a cross between Mrs Lovett, from “Sweeney Todd”, and Mme Thenadier, from “Les Miserables.” She had the audience in stiches. Her ability to work a crowd and to ad lib to some of the responses she was getting from the audience – no doubt very different from those she had been getting in the children’s show – mark her out as a true star. Barry Hill too, was playing the adult aspect for all it was worth – I almost thought he would end up with the leading man.

Smith’s title role had all the attitude and grace that a feline requires. Her role is vital as both a narrator and character, and she holds the plot together. Simon Holdback, as Harry was the gormless but true hearted hero. Rebecca Vallen was all sweetness and light as the Princess who wins Harry’s heart.

The sets and costumes were good and the quality of the music not too bad either. Perhaps some music over the scene changes would have helped.

So to those who believe that you can not enjoy a pantomime if you are older than nine – “Oh yes you can!”

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LOVE LETTERS
Stirling Players
Stirling Community Theatre
Until July 23

Review by Stephanie Johnson

“Love Letters” is a bittersweet play illuminating the private lives of two life-long friends through the art of letter writing. This charming, gentle play captures the tender relationship of two people who love each other from childhood to middle age.

Unlike conventional plays “Love Letter’s” has no dialogue. Playwright A. R. Gurney has told this story through the dramatisation of letter writing.

Actors read the letters aloud allowing the audience to eavesdrop on the enduring love affair of childhood friends Andrew Makepeace Ladd III (Ted Schwerdt) and Melissa Gardner (Pam O’Grady).

This challenging play is exquisitely handled by the Stirling Players.

The old-world atmosphere of the Stirling Community Theatre with its fireplaces and portrait of Queen Victoria lends itself splendidly to this timeless piece.

Director Ian Maitland and set designer Denis Noble have created a beautiful setting with simple antique desks, tables, a few tasteful knickknacks and glorious flower arrangements.

In the background stands a grand piano played by Jason Koen as music is skilfully used to mark the passage of time. The arena is set for Schwerdt and O’Grady to weave their magic.

Andrew Makepeace Ladd III is a dutiful child and a responsible adult. Schwerdt conveys the stuffed shirt Andy with aplomb managing to imbue an understanding of what motivates both his sense of duty and his underlying passion for writing eloquent letters. Schwerdt’s skilful touch ensures that Andrew Ladd III’s warm heart always shines just beneath the surface of his stultifying sense of duty.

O’Grady’s Melissa Gardner is delightfully rebellious, railing against the restrictions of a wealthy, welleducated upbringing. Her youthful observations of her dysfunctional family and her wild ways portend an artistic temperament. O’Grady’ portrays Melissa’s passion and vulnerability to perfection.

The triumphs and the failures of these two character’s adult lives may come as no surprise to the discerning. The surprise is that we care so much for these much-flawed characters.

This journey by the Stirling Players into the intimate world of Andy and Melissa is such that you care about them, and can't wait to hear the next letter, and hope for a happy ending.

“Love Letters” provides plenty of food for thought in this fast and superficial technological age about the value of friendship, the regrets of opportunities lost and life-long love.

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BABES IN THE WOOD
Tea Tree Players Youth Group
Tea Tree Players Theatre

Review by Simon Slade

"Babes in the Wood", written by popular English playwright Jim Sperinck, is a traditional and fun-packed version of this popular pantomime tale. The story is familiar, but there is plenty of updated material to keep everyone entertained.

In this story, Tom, played by Elliott Clarke, and Mary, played by Lis Cross, have been orphaned. They need to go and stay with their Uncle, who, as luck would have it, is the Sheriff of Nottingham. The Sheriff of course has other ideas, and lays his plots with the assistance of his henchmen, Nickle and Dime.

The heroes include Robin Hood, played by Gabrielle Neary, and Maid Marian, played by Michaela Phillips. Add in the feather brained Nurse Nightingale, played by Gabbie Brown, and you have a recipe for a night of fun. Gabbie Brown is hilarious!

Most of the laughs come from the scenes involving the Sheriff, played by Karl Phillips, and his sidekicks, Nickle, played by Tim Giessauf, and Dime, played by Edward Walls. The scenes where the guards are being instructed on their dastardly deeds are like a cross between Monty Python’s “Holy Grail” and an episode of “Blackadder”! The programme says that the two young villains are in their first show, but they ham it up like old pros! “Three Little Maids from School” will never be the same!

The opening night audience didn't need much encouragement to get into the panto spirit. They had a wonderful time, booing the Sheriff, greeting the Fairy Queen, and yelling out advice.

Rebecca Cross and Tegan Hensen have mastered one of the hardest roles any performer could wish for – a two person suit character. As Desmond the Deer, they did a fine job.

Jo Allenby's wonderful costumes helped make this fairy tale come to life.

There were some lovely voices in the musical numbers, and dance routines were well executed on the small stage. The choreography is very basic. A few more simple, but effective, moves would improve the musical numbers dramatically. There was also a flat spot in Act II where the energy just seemed to disappear.

As usual, Tea Tree Players have produced a fun and traditional panto. The sense of community at Tea Tree Players is obvious, and they continue to surprise and delight.

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FROZEN
State Theatre Company
The Space
Until July 23

Review by Andy Ahrens

Intense! What better way to describe the State Theatre Company’s latest production of Bryony Lavery’s psychological thriller, “Frozen”.

Theatre is best when it dares to be dangerous. “Frozen” does just that, reaching into the mind of the serial killer and the estranged emotions of a victim’s mother.

The result is a gripping, edge of your seat production that will remain in the memory for a long time.

Lavery has done her research in creating a suspenseful account that predominantly follows the journey of Nancy.

Carmel Johnson as Nancy is all gut-wrenching, showing the anguish and turmoil that she has to overcome as a victim’s parent. How she deals with the pain becomes as important as to why the killer did it. Is it better to hate or forgive?

Serial killer, Ralph, played by Nick Pelomis is quirkily realistic. He hauntingly disguises the mystery of his character, never completely revealing the place his mind is currently at. It is easy to forget to breathe in his suspenseful performance.

Annabel Giles as Agnetha is an expert in brain mechanics and rounds out the three main roles. She delivers much of the theory into the minds of serial killers in a cleverly interwoven plot.

Together, Johnson, Pelomis and Giles are enthralling and captivating.

The staging is adequately simple, allowing the drama to unfold unhindered. Subtle lighting and suitable sound effects complete the technically well executed production.

Director Catherine Fitzgerald has the audience surrounding the action to nicely increase the intensity. Never does the audience feel distanced from the minds of the characters before them.

This production leaves you frozen in your seats. When the ice melts, you are left with plenty to think about.

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MIDNITE
Windmill, OzOpera & State Theatre Company
The Dunstan Playhouse
Until July 16

Review by Andy Ahrens

It is a bold move to create an opera designed especially for children in an age where opera struggles to connect with young people. For this, the creators of “Midnite” need to be congratulated for their venture.

“Midnite” tells the story of wild colonial boy, “Captain Midnite”, in his bushranging adventures based on the novel by Randolf Stow.

Composer, Rafaelle Marcellino and librettist, Doug Macleod, have done well to embrace the characters and spirit of the novel and condense them into a 65-minute production.

The spectacle of opera remains intact. “Midnite” bubbles with bright colourful costumes, props, puppetry and romance. There is even a sense of pantomime amidst it all.

For the most part, the small cast of seven players live up to the spectacle. They have to work very hard to reach the children in the audience with a singing style that may be largely foreign to them. But the simplicity of the story and a few well-chosen patches of dialogue keep the plot progressing at a reasonable pace.

Khat (Anna Margolis), dressed in a very versatile cat outfit, is delightful as Midnite’s intelligent and witty pet. Trooper O’Grady (Gary Rowley) is equally as entertaining and amusing as he provides some of the wit of the show.

In a more serious role, Laura Wellbowrne (Annabella Redman), as Midnite’s love interest gives a polished performance. She has just the right dose of sweetness to make her obvious match up with Captain Midnite adorably wrong.

“Midnite” works because of the spectacle, nonsense and the fun of it all. If you want to introduce children to opera at a young age, then this is the perfect introduction.

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A FRACTURED G&S TRILOGY
Northern Light Theatre Company
Shedley Theatre, Elizabeth
Until July 16

Review by Stephanie Johnson

Add a splash of “Pinafore”, a slash of “Pirates” and a dash of “Mikado” and what do you get? The answer is Northern Light Theatre Company’s crazy, clever, concoction of three much-loved Gilbert and Sullivan light operas.

“HMS Pinafore”, the “Pirates of Penzance” and “The Mikado” originally showcased the genius of William S Gilbert and Arthur S Sullivan. The “Fractured Trilogy” is a conduit for the comic genius of Damon Hill who has somehow intertwined these three tales into one. The result is a suitable silly, convoluted, but a nevertheless clever plot that fills the stage with dozens of chorus members and 18 principles.

Hill’s plot has many twists and turns. Japanese and English characters meld amidst mayhem and mirth – “miles from Titipu and we are still in the stirfry”. Many of the witticisms and story surprises are likely to be understood and appreciated by G&S officiandos. Others, less familiar with the original three stories, may be a little lost during the long night.

All can sit back and enjoy the performance of well-known favourites such as “Three Little Maids”, “I Am The Very Model Of A Modern Major General” and “Behold the Lord High Executioner.” A beautiful rendition of the “Madrigal” from “The Mikado” is a feature of Act Two. Damon Hill’s artistry with the design of the spectacular and colourful set and Ann Humphries’ job as costume mistress do much to enhance the spectacle of this trilogy.

Director Ceri Hutton-Horner and choreographer Kerreane Sarti have done an admirable job with a huge cast.

All productions are a team effort. Nevertheless this is Hill’s night. Not only has he written the trilogy and designed the sets, but he also shines in his own personal trilogy of three roles – Sir Joseph Porter, Ko- Ko and Major General Stanley. The man has the makings of a comic genius in the ilk of Mel Brookes.

Rodney Hutton also proves a talented comic actor with his ribald and revolting rendition of Dick Deadeye.

Mark Horner leads the pirates with pizzazz as the Pirate King and Steve Rudd entertains with his arrogant, vain Frederic.

Ellyanne Bradford is delightful in her dual roles as Josephine and Yum Yum. Her acting, singing and pitch are all topnotch. Sue Pole is simply “crushing” as Hebe and Michael Williams stepped in admirably at the last-minute to do a dashing Ralph Rackstraw.

This is a firecracker of a night out, but beware it is a little disjointed at times and it is a long night. If you are a Gilbert & Sullivan fan you are likely to overlook the flaws and enjoy this spectacle and the wit that is Damon Hill.

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SPEAKING IN TONGUES
REDchilli Theatre Company Inc & Blackwood Players Inc
Goodwood Institute
Until July 23

Review by Simon Slade

A woman disappears. Four marriages are drawn into a tangled web of deceit, sex and death. Two couples meet to attempt clandestine affairs. One woman struggles to understand why she flees commitment. One man may or may not have killed a woman he picked up on a deserted highway.

Written by Andrew Bovell, co-author of the acclaimed film “Strictly Ballroom,” the play was the basis for his screenplay for the award-winning film, “Lantana,” but there are things which can be imparted powerfully on the stage which are inevitably changed by film, and the desire of film makers not to be too wordy and to have lots of action.

“Speaking In Tongues” is a raw drama dealing with real people hurting and being hurt, not because they are evil, but because they have weaknesses which betray their own best interests despite their struggles to attain satisfaction.

Director, Geoff Brittain, has obtained admirably precise work from his quartet of actors (each doubling, or in one case tripling, roles) so that Bovell's synchronisations and alternations are instant-perfect without ever sacrificing actual characterisation.

The design, not credited to anyone in particular, is simple yet effective in reinforcing the mirroring of character and plot. The only thing that took the edge off this show was the lighting. It was as though the lights were focussed when the set was put in, without regard to the blocking, so when characters move away from items of furniture they are in partial darkness.

The parallel speech and action in the beginning is breathtaking, and all handled with satisfying professionalism by four of the best actors in Adelaide. All four were outstanding. Tony Busch, Jean Walker, Peter Davies, and Bronwyn Ruciak really make you believe in these characters and the trials that they are facing in their lives. All four create multi-faceted characters in their multiple roles, and each one is different.

This play is one of the finest shows to grace the stage in Adelaide. See it!

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THE TOWER
Adelaide Repertory Theatre
Arts Theatre, Angas Street, Adelaide

Review by Fran Edwards

The Tower is advertised as an unabashed melodrama. There was murder and thunder and plenty of lightning and storm, but the melodrama was sadly lacking.

The very wordy script was handled well; for the most part by the performers but Brenton Whittle's direction lacked the edge required for suspense and under used the melodramatic elements in the script.

Set in Hobart town before federation, the story has all the elements for a potboiler. Older man returns home with new young wife, head strong step-daughter resents replacement of her mother and the adopted son growing up in his image is related to an employee. Sir Rodney Haviland's image and position are everything and he is currently constructing the tallest and most pretentious edifice in the colony to celebrate his Knighthood, the tower of the title.

Kerry Hailstone plays Sir Rodney with a pleasant characterisation, which is complemented well by Ben Nicholson as his adopted son, Edwin, giving a mature showing from this experienced young actor.

Frances Wauchope also gave a strong performance as Rodney's sister, Hester, although she took a while to settle on opening night. Marcus Knight and Kate Cheel gave supported well as the overseer and maid respectively. Considering that she took over the part two weeks before opening, Allison Scharber gave a very rounded Lady Haviland, Rodney's young wife.

The best on the night was Nicholas Ely as Tom Perry the step-daughter's painfully shy suitor. His performance stood out. On the other hand Natalie Shinners as the pursued just missed the mark, seeming a little lost in the early scenes but improved in the second act.

In all there were good performances, in a well costumed production, on a remarkably good set, which should not have resulted in the tedious evening endured.

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SILLY COW
Unseen Theatre Company
Bakehouse Theatre
Until July 9

Review by Stephanie Johnson

“Silly Cow” is everything that can be expected from the comic Ben Elton’s pen – lampooning of sacred cows, a few mad cows, a real nasty cow and some zany twists.

Elton is such a prolific creative genius that it is hard to keep pace. This is exactly the problem that Unseen Theatre Company has tackling this black comedy.

This production’s pace was slow and the acting uneven. It is ironical that this play tells the story of a bitchy Brit tabloid columnist who is facing a libel case for an unfavorable theatre review.

The unscrupulous Doris Wallis (Pamela Munt) is a hard-nosed journalist who writes a malicious gossip column; in her own words she is ‘a nasty cow who slaughters sacred cows’.

Surrounded by sycophantic employees and colleagues, she reigns supreme in her own little cosseted world impervious to the wreckage that spews in her wake.

The vitriolic, pampered, self-obsessed Doris is hard to like. The irrepressible Dawn French played the original Doris to packed London audiences for eight months in 1991. Some claim that Elton wrote the role especially for her. These are large shoes to fill.

Munt tackles this hefty role with aplomb but her performance is uneven. She struts the stage in a hideous cow-like costume – “mutton dressed as rat” – and does her best to keep up the pace, but her timing is out. Some lines are rushed and lost. Others are laboured. Perhaps this was just opening night nerves in such a demanding role.

Steve Parker fares better as the seedy wannabe editor Sidney. Parker easily portrays the black humour of this production with his sleazy cynical editor who is trying to woo Doris to a new European publication.

Ann Portus is also suitably sycophantic as the Personal Assistant Peggy. Portus does not elicit as many laughs but nevertheless proves an adept linchpin in the twists and turns of the plot.

Mark Drury as Eduardo and Sean Venning as Douglas provide plenty of colour but need to relax a little more in their roles.

The first half of the play is spent establishing the characters on a set that could have been more modern. The second half sees a complete change of pace with zany plot twists.

Overall moments of pure Eltonesque wit shine in this production particularly with some of his trademark one-liners, but Unseen Theatre Company needs to milk more laughs.

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THE ELDERLY BROTHERS
MBM Holden Cabaret
Holden Street Theatres

Review by Theresa Dolman

When they hand you your Seniors card, you are entitled to pack away your talent and see out your days sitting quietly in your favourite chair with a rug over your knees listening to the wireless set. Or else you can get together with two of your mates and hit the cabaret circuit.

Irish Albert and his "brothers" Sean Kings and Ken Smith are three very talented South Australian blokes. As "The Elderly Brothers", they impersonate and perform songs from the "Golden Oldies", starting with The Everley Brothers.

Irish Albert leads the trio, singing and playing guitar. His impressions of Billy Connolly and Our Royal Highness, the Queen, kept the audience laughing.

Not to be outdone, Ken Smith also dons the silly costumes and a guitar, and lends his versatile voice to convincing renditions of songs by Tom Jones, Elvis, and Neil Diamond; his rendition of Paul Kelly's "To Her Door" is particularly good.

Sean Kings rounds out the trio, providing the keyboard accompaniment, and having a go at Pavarotti and Rolf Harris.

The highlight of the show was their alternative National Anthem---an ingenious mash-up of Australian tunes from "Waltzing Matilda" to the theme from "Neighbours". Equally inspired was their blending of an Irish song about a horse, "Alegria" from Cirque de Soleil, and ... well, you really need to hear it yourself.

This local talent should be supported, so make your way out to the Holden Street Theatres at Hindmarsh before the Festival is over.

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VIRGINS
MBM Holden Cabaret
Holden Street Theatres

Review by Theresa Dolman

"Virgins", by local identity Matt Byrne, clambers on board the maiden flight of Inncontinental Airlines from Sydney to London, with a stop over at Changi. The four talented actors, Cathie Oldfield, Paul Mayes, Chantel Dimasi and Byrne himself, bring to life not just the cabin crew, but a cross section of the passengers too: the drunken football team, the tipsy netballers, the naughty nuns, the kids, and a variety of individuals.

The original full length show was a sell-out at the 2004 Adelaide Festival Fringe. The show presented at Holden Street is the 90-minute version presented at the 2004 Edinburgh Festival.

The actors are all able to change instantly from their main roles as cabin staff to their other roles. Oldfield is one minute totally in charge as her main character, Cabin Supervisor Margaret, then in the next scene burping her way through beer as one of the badly behaved footballers on an end of season binge. Mayes and Dimasi also fare well as hunky Carbone and airhead Cassie, suddenly becoming two bratty children. And of course Byrne himself goes from the bitchy Neil to the psychotic pilot with ease, making you think twice about ever getting on a plane again.

This shortened version of the play is all gags, and does not really allow any of the main characters to develop to the stage where you can empathise with them. But the audience didn’t seem to mind, and laughed at every punch line.

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OZ
Hills Youth Theatre
Stirling Community Theatre

Review by Rod Lewis

With over ninety children on stage, one would expect this high-spirited adaptation of L Frank Baum's novel to be overcrowded and clumsy. But with a few masking problems aside, director Judy Sampson has unleashed some impressive talent and created a high-camp, toe-tapping comedy.

Based on a script by the Pioneer Drama Services, this reworking of Dorothy's adventure over the rainbow gets down and funky with new songs and a tighter, shorter retelling than the version most often seen.

Eleven-year-old Kiara Werner was simply superb as Dorothy. In her first major role, she consistently demonstrated that she had the talent and control to take on such a pivotal part. Her ad-libbed reactions to show-stealing Casey (the director's dog playing Toto), never once broke character. Dorothy's three companions, the Scarecrow (Hannah Douglas), Tin Man (Georgia Roberts) and the Cowardly Lion (Emily Morris) all shone like the stars they were. Their comic timing, singing, dancing, and overall delivery were spot on.

At fourteen years of age, Lucy Clayer is someone you wouldn't want to cross, going by the vindictive streak of her Wicked Witch of the West. Her solo number was a showstopper and once she relaxed into the role, she was a delight to watch.

The eldest in the cast was seventeen year old Josh Sanders, playing the almighty wizard, Oz. With more camp than a row of tents, Sanders' played it for laughs and succeeded with every line.

The enormous chorus and other leads kept the action tight and the dialogue flowing. The cute-factor of performing children only carries a show so far, and it was pleasing to note that there was ample, though varying, levels of talent as well.

Becci Schembri's choreography was as diverse as the genre of songs, and each number was executed well. The practical set by Roger Landstrom was quick to change and allowed plenty of space for the masses on stage.

Opening night suffered a number of technical glitches with sound and lighting, all of which should be ironed out after a few performances. Sadly the combination of wayward microphones and an over-loud backing track did drown out several of the songs. Anna Baker's outstanding costumes, combined with makeup by Linda McClelland and Tamara White, more than made up for things however, providing a visual feast and cemented this journey as one of the most fun times to be had in Oz.

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BACK TO THE 20TH CENTURY
Top of the Torrens Theatre Group
Angaston Town Hall
Until June 25

Review by Simon Slade

From Mama Cass to Tina Turner, via ABBA and the Beatles, the audience is kept entertained by a number of talented performers. The styles are intended to mirror those of the original performers, and are generally done well.

Lyndall Plummer is a convincing Roy Orbison and we are treated to one set from the Big O in each act. He really captured the style of Orbison and handled the vocals well in all his numbers apart from the difficult “Crying,” which seemed to test the limits of his range.

Tony Buck’s voice is well suited to the Beatles numbers and a few other 60s hits thrown in for good measure. He handles the timing and tone of “Ferry ‘Cross the Mersey” very well.

Lisa Angwin stands out as Tina Turner performing “Proud Mary,” and really gets the audience up and dancing to “Nutbush City Limits,” along with the other cast members who dance along with the audience. Gloria Seymour is excellent as Linda Ronstadt; with her 1997 hit “Blue Bayou” and as Cass Elliot (in her Mama Cass persona) with “Dream a Little Dream of Me.” She also shows a great sense of humour in her roles throughout the show.

Not to be outdone, the younger women in the show get some good opportunities, and showed a great sense of professionalism in the face of a microphone problem during “To Sir with Love.”

There is a nice band at work here, and some members perform other roles. Zeke Natrass stands out as a talented lead guitarist, who also throws his heart and soul into the dance numbers. Here is a young man we are sure to see more off. Young Dane Plummer, at only 11, deserves a special mention for his work on the guitar and his role in some of the songs.

Unfortunately, the band does not perform enough of the time in the show, but MIDI files are being used. Gloria Seymour’s sense of humour was brought to bear when she had to bop along to a bad MIDI sax solo – she almost brought the house down! A number of the songs seemed to have been sequenced with a repeat-and-fade ending, making life hard for the singers. The lighting is patchy, with unnecessary blackouts at inopportune times, but some of the effects and chases are good.

But it is the music that carries this show, and the audience loved it.

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HIGH SOCIETY
Therry Dramatic Society
Arts Theatre
Until June 18

Review by Andy Ahrens

Therry’s latest offering of Cole Porter’s “High Society” is a delightful night of mischief, gossip, romance and laughs in a well staged and entertaining production.

The plot is thin, revolving around a planned wedding between Tracy Lord (Alexandra Gard) and George Kittredge (Greg Hart). But things get interesting when some unexpected guests arrive, including Tracy’s ex-husband Dexter Haven (David Probert).

Gard is wonderfully in voice and character as bride to be. She is supported by a strong cast including Trish Spence, Richard Greig and Julia Whittle who each have their own tender moments.

Along with Gard, two other performances stand out. Andrew Crayford as Uncle Willie yet again plays the comic to perfection. His solo performance of “Say it with Gin” has the audience in stitches. Fifteen-yearold Sarah Spaven as Dinah Lord shows a rare maturity for her age. Spaven looks totally at home in a sensational performance - a star of the future.

The well balanced ensemble is just as delightful as the leads. Renditions of ‘High Society”, “She’s Got That Thing” and “Let’s Misbehave” have the toes tapping.

Choreographer Melanie George has given the production just the right dose of complexity in the moves.

Musical Direction by Ben Saunders is only let down on the odd occasion by some soft entries and unclear diction in Act I. Otherwise, Saunders should take credit for keeping the pace constant and picking up cues nicely, in a well sung production.

Director Ian Rigney has focused on tightness and fluency in this production to great effect and the attention to detail is obvious. The sets are simple and effective allowing for smooth transitions between scenes (hoorah – no pauses for scene changes!). Lighting Design by Denise Lovick is notably special.

Opening on a Thursday night limits the amount of rehearsal time in the theatre and there was more than one hiccup on opening night. But these, and a few slow moments in Act I, are easily overshadowed by strong performances and plenty of humour.

“High Society” with its tuneful melodies and light-hearted fun does not fail to leave the audience on a high.

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SHOAH
Shoah Company 3
Odeon Theatre
Until June 4

Review by Stephanie Johnson

“Shoah”, a musical about the holocaust, is no “Springtime for Hitler”.

This world-premiering musical is a relentlessly dark exposé of the cruelty of Nazi Germany and the suffering of the Jews. The message is clear: “Everyone should know the shame; they should all know our pain”.

The story, written by Chris Backstrom, holds no surprises. The harrowing and disturbing tales of survivors of the holocaust have been well documented in literature, film and on stage. This musical reveals nothing new as it traces the lives of Jewish people from1933 to 1945. The lyrics, also penned by South Australia’s Backstrom, are uneven, sometimes deeply moving and sometimes didactic and repetitive.

The power of this musical lies in the hauntingly beautiful score penned by Ian Gale. The orchestra and singers have embraced this music and conveyed its message with such professionalism and feeling that the people and events of the days before, during and after the holocaust are brought to life.

“Shoah” has no big show-time routines that musical audiences have come to expect and love. It communicates through the language of music – the cruelty of the Nazis, the naïve hopes of the Jews, the appalling suffering of the concentration camps and the ability of the human spirit to survive.

This world premiere of “Shoah” is a musical concert rather than a full-scale musical production. The orchestra is situated on the back of the stage with the singers in a semi-circle at the front. Each singer is dressed in black and dons a yellow star or swastika armband to depict their change of roles.

The ensemble cast all sing well, although most struggled to be heard over the brass section of the orchestra on the night. The sound levels of the orchestra and singers need some adjusting.

Strident songs of the Third Reich were handled well by Josh Penley as the Fuhrer, Rod Schultz as Goebbels and the chorus. Penley was particularly outstanding as the Fuhrer singing “The Broadcast”.

Laura White as Miriam, Zac Tyler as Simon and Michelle Pearson as Edith provided a heartrending contrast as the German Jews. White’s renditions of “Love must be enough”, and “The Death of Miriam” were particularly moving, as was Pearson’s version of “Only a Number”.

Black comedy is the closest this production comes to lightening up and a rousing rendition of “A Beauty Queen” sung by Laura Rocconi as Martha with a chorus of women was a welcome respite. “Shoah” creators and director Richard Flynn have taken a huge risk in staging this pioneering work.

Nevertheless it is a risk worth taking if music such as this can shed light on the darker moments of history.

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GREASE: THE ARENA SPECTACULAR
SEL & GFO
Adelaide Entertainment Centre
Until 3 June

Review by Simon Slade

After more than 30 years, the musical “Grease” is still as popular as ever and is currently touring the country in an arena spectacular.

Director David Gilmore's “Grease” boasts some very good singers, and the cutesy story is more or less intact.

Smash-hits such as “Summer Nights,” “You're the One that I Want” and “Grease is the Word” thrill fans packed around a rotating stage.

The production is painted in broad strokes. Over-sized, cartoon-coloured props are run onto stage - along with the 30-strong chorus at regular intervals. The chorus numbers stand out, and Kelly Abbey's choreography is excellent.

“Australian Idol” finalist Courtney Murphy blazes his sweet, deep voice, and shows that he can act and has a talent for comedy, although he can't keep up with the more complicated dance routines.

The band under Chong Lim was especially convincing, although not aided by the acoustics of the venue or the tonal quality of the vocal amplification.

Nearly every element of the show is good, but there is something missing.

What still detracts from the production as a whole is its very selling point: the scale. Playing the characters big enough to fill the cavernous Entertainment Centre without over-acting is an impossible one.

The funny and talented Magda Szubanski gives it her best shot as the prim Miss Lynch, and Tamsin Carroll provides a creditable Rizzo, aided by this being the "loudest" character. Otherwise talented actors are reduced to creating pantomime people out of cardboard cutouts.

Craig McLachlan resorts to creating a parody of Danny, and Natalie Bassingthwaighte offers an almost doll-like Sandy, until her sudden metamorphosis at the end of the show. Luckily McLachlan has the charisma and Bassingthwaighte the voice to sail through with the audience lapping it up.

Most of the audience know the show so well that the story is almost redundant, let alone nuances of character. Judging individual performances, therefore, is really as pointless as listing the dizzy array of tricks the vast revolving stage performs.

This is more a celebration than a production, so John Farnham can bring the house down just by his brief appearance as Teen Angel, and Craig McLachlan can get a huge round of applause for showing that his neck muscles work!

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MISS BLOSSOM CALLAHANN
Bakehouse Theatre Company
Bakehouse Theatre

Review by Theresa Dolman

"Miss Blossom Callahann", by award winning writer and director Stephen House, was originally commissioned by the ABC Radio Drama Unit and produced by Radio National in 2004. But it also works well on the stage.

Blossom Callahann (Jacqy Phillips) is an aging, alcoholic, who is about to be evicted from her squalid apartment. Her acquaintances Max "The Cat" (Rory Walker) and Junk (Nathan O'Keefe) are a homeless petty thief, and a junkie.

The play opens as Blossom awakens. Max is asleep in her bed. She rises, puts on her make-up, and is ready to face a day full of possibilities. In reality, her "beautiful lace gown" is a tattered old rag covered in red wine.

Max wakes up, ready for his first drink and smoke. Blossom is enthusiastic about her new relationship with Max. Max considers whether living with Blossom might be more comfortable than squatting in the old printing factory.

Blossom's story comes together like pieces of a jigsaw puzzle. Blossom remembers herself as a dancer and a singer. Max remembers her as "Candy" a prostitute, or maybe a stripper.

They are interrupted by the landlady Geraldine (Sheila Duncan), who has come to find out why Blossom has not yet vacated the apartment. During a scuffle, Geraldine is accidentally, but fatally, stabbed. Blossom and Max decide they can blame Junk. When Junk arrives, however, allegiances change and continue to change until the final twist.

Jacqy Phillips' portrayal of the eccentric Blossom was thoroughly convincing, as was Rory Walker's portrayal of the alcoholic Max, with his violent mood swings. Sheila Duncan also gave a good, if shortlived, performance as the harsh landlady. Sound and lighting added life to the sparse set. The blood effect was very effective, but it annoyed me that someone had obviously turned their wine into water.

This is a great show for those of you that prefer something a little darker and edgier.

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THE SORCERER
The Gilbert and Sullivan Society of SA
Union Hall

Review by Fran Edwards

“The Sorcerer” is one of Gilbert and Sullivan's lesser known works and not usually terribly inspiring so it is totally understandable that Kevin Miller would want to dress it up a bit. One of its problems, apart from having a more than the usual far-fetched plot, is its lack of pace. Miller has tried to fix this by converting it into a courtroom drama. It worked for “Trial by Jury” so why not?

Miller has imported the judge from “Trial by Jury” and it certainly picks up the pace. Played with aplomb by the irrepressible Barry Hill, the judge and the usher (Brendan Mooney) work well together and bounce the plot along. All of the leads sing well with the usual rider that the sopranos are difficult to understand, important with lesser known works that audiences are not so familiar with. James Pratt keeps a tight rein on the orchestra and they never drown the singers, being nicely balanced. Pratt’s musical direction is to be commended.

David Lampard is exuberant in his role as John Wellington Wells and is always understandable. Much of the action revolves around him and his questionable love potion. A special mention also for Norma Knight as Mrs Partlet, her comic talent is appreciated. Ian Muster, Robert MacFarlane and Thomas Millhouse provided strong support and Barbara Turner, Fiona Linn and Emma Hall were suitably pretty and coy. The strong chorus was everything audiences have come to expect from the G & S Society, making the chorus numbers a joy.

The set was well structured, everyone could be clearly seen. However, it left very little room for movement and this was indeed the flaw. As with all courtroom drama this production was very static and there is too little life in the music, beautiful though it may be, to make up for this. Kevin Miller should be commended for trying to infuse this production with life, but the original production failed him. This production is pleasant enough, but it’s no “Trial by Jury”.

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EQUUS
OPUS Performing Arts Community
Noarlunga College Theatre
Until May 28

Review by Simon Slade

Feigning an orgasm astride a horse. Miming self-flagellation. Full frontal nudity. A production of Peter Shaffer's “Equus” can easily go so wrong. Instead, OPUS presents a mature performance of a difficult script.

Peter Shaffer’s Tony Awarding winning play “Equus” was inspired by a BBC report of a British boy who inexplicably blinded twenty-six horses in a stable. The story fascinated Shaffer, provoking him "to interpret it in some entirely personal way." His dramatic goal, he wrote in a note to the play, was "to create a mental world in which the deed could be made comprehensible." The result is a riveting journey into the world of insanity told through the eyes of a self-doubting psychiatrist.

Harry Dewar, as Dr. Dysart, portrays the troubled doctor powerfully with bursts of rage and painful emotions. He delivers Dysart’s monologues with conviction and he cleverly manoeuvres Alan with his ‘tricks,’ although he could turn up the intensity in two or three places so that he would have a fuller connection with the other actors on stage.

Nathan Lambert, as Alan, carried the troubled boy with enough mystery to deliver his pain in a well timed performance that saw Alan emerge from uncooperative to acquiesce as he vividly relieves his world of sexual and religious fantasies. Lambert completely immerses himself in Alan’s fantasy, in a performance that skilfully balances the power and vulnerability of the boy.

As Alan's favourite horse, Nugget, Grant Hull nails the physicality: the backside arched out, the legs taut, and the halting, pompous steps. He even gets the heavy sound of exhaling breath right. It's the kind of performance that only works if the actor goes all the way with it.

The other actors do a good job of supporting the main roles, and Carly Whittaker, as Jill Mason, is excellent as the young stable hand who tries to seduce Alan.

The design of the stage and the fact that the audience is on two sides creates the impression that the audience is actually inside the psychiatrist's office with the patient

As Directors, Harry Dewar and Paul Kaesler have taken up the challenge of this often mis-directed show and done a fine job. All the more difficult when they are both in the show too!

For those of you who thought that challenging theatre stopped within a five-kilometre radius of the GPO – the truth is out there.

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TAP DOGS
Michael Chugg Entertainment, Definitive Events & Back Row Productions
Adelaide Festival Theatre
Until May 29

Review by Andy Ahrens

Step, Kick, Touch, Slam, Stomp, Whack, Splash, Tap, Boom! “Tap Dogs” are back. They’re hot, they’re loud and they’re bloody awesome.

Since its debut in 1995, “Tap Dogs” has been on constant tour around the globe, highlighted by their appearance at the 2000 Sydney Olympics. With the aid of Nigel Triffitt’s unique industrial design, Dean Perry’s creation of Tap Dogs has won international awards and become one of Australia’s greatest Art’s exports.

This 10th anniversary production welcomes Perry back at the helm and he is supported by a stellar cast of lead-booted tappers.

Six dynamic men, dressed in work gear and steel coated boots, tap, kick and slam their way all over an ever evolving set. The set somewhat resembles a construction site and their exuberant talent is displayed on beams, in water, over gaps and on any surface that goes ‘bang’!

Tap Dogs is more than just fine footwork. The engine to this production is the rhythmic hum of tapping boots. Musical rhythms are created with their dancing feet, supported by two percussionists and backing tracks. This creates a pulse that drives the show. The precision of the tapping cannot be ignored and there are glimpses of extraordinary tapping ability.

But it’s a spectacle as well. Dance, sound and spectacle combine to make this show increasingly addictive. There are some lovely comic moments. The only negative is the music tends to crank its volume rather high. A few ears would have been ringing on the way back to the car park.

“Tap Dogs” is alive, loud, raw and explosive. It received a double standing ovation – theatre at its best.

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DIE FLEDERMAUS
Co-opera
Bird in Hand Winery, Woodside

Review by Fran Edwards

What a lovely way to spend a Sunday afternoon! This delightful Strauss Operetta blossomed beautifully amongst the vines. On a simple and flexible set a small and very talented cast led us through the convolutions of disguise and masquerade which make up the flimsy premise for this piece of fun. Sitting amongst the barrels we watched magic unfold. With uncomplicated but effective costumes, basic lighting and able accompaniment by Julie Sargeant on the piano, Co-opera displayed what they have in abundance – talent.

The main trio of mischief makers, Adele, Rosalinde and Gabriel, were played with wit and frivolity by Danielle Ruggerio, Lynette Harris and Benjamin Rasheed. These three fought, laughed and played each other to perfection. Johanna Allan’s direction was splendid, making the best use of a small but versatile space and playing to all facets of the audience (the performance was presented in the round). The posing and posturing of characters onstage ensured that even when their faces could not be seen their intent could.

Ernst Ens as Alfred gave us the most outrageous Italian accent and was remarkable happy to be led away to gaol, from his wide-faced grin to his loud check-suit he was the ideal caricature. Frank, the gaoler, was possibly the favourite of the crowd and Nicholas Cannon could probably make a living as a stand-up comic if his fine voice ever failed. His ad-lib opening to the third act was worth the journey into the hills on its own. Jeremy Tatchell and Andrew Turner as the Doctors Blind and Falke respectively were in fine voice, as was Sarah Sweeting as the extravagant Prince Orlovsky.

The ensemble was enhanced in the chorus numbers by the Tutti Ensemble under the direction of Pat Rix. Overall musical direction was by Brian Chatterton and the ensemble was a credit to him, well schooled and crisp. Like the drink this operetta celebrates, this production tickled the senses, whetted the appetite and left a warm after glow, cheers!

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INFLUENCE
State Theatre Company of South Australia
The Dunstan Playhouse
Until 4 June

Review by Nikki Gaertner

David Williamson has again produced a story that has all the elements to keep an audience entertained. “Influence” is thought-provoking, emotional, humorous, dramatic and cleverly written.

John Waters portrays Ziggi Blasko, the brazen host of a talkback radio show who is known for presenting his audacious opinions on air. Low income earners, racial minorities, unfaithful partners – none are safe from Ziggi’s views (which are generally not the most politically correct).

Ziggi has many other issues outside of work as well, with his aging Croatian father and “depressed” teenage daughter moving in, a wife with a waning ballet career and a new Turkish housekeeper, who is in a number of the groups that are discussed on the radio show.

The cast contains a number of well-known strong and impeccable performers, who easily slip into their roles and leave the audience begging for more.

Waters can’t be faulted in his role as the headstrong and opinionated radio host. He manages to easily find a balance between being shockingly in-your-face and amusing to show the two sides of Ziggi.

Likewise, Vanessa Downing is delightfully obsessive as Ziggi’s psychologist sister, Connie.

Adding to this combination, Edwin Hodgeman is particularly fine as Ziggi’s father Marko, Zoe Carides provides both touching and humorous moments as the poor Muslim housemaid Zehra and Octavia Barron-Martin plays both sides of Ziggi’s daughter Vivienne to the fullest extent.

Genevieve Hegney is appropriately snobby and self-obsessed in the difficult role of Ziggi’s second wife Carmela, but is overshadowed in a number of poignant scenes with the more experienced cast members.

The set is beautifully designed, particularly the stunning backdrop of Sydney Harbour, and the lighting provides some nice contrasts and added to the mood of each scene.

This is a stellar State Theatre production and is not to be missed by fans of great drama.

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TOM JONES
Marie Clark Musical Theatre
The Arts Theatre
Until May 28

Review by Nikki Gaertner

Traditionalists will likely be pleased with this light operetta that is a very different offering to Marie Clark’s last show of “Man of La Mancha”.

The story revolves around the title character, born of unknown parents and raised by the well-off Mr Allworthy (Philip Lineton). Tom grows into a young man with the best of intentions, but manages to always appear the source of all sorts of trouble.

The show is narrated by the author of the novel, Henry Fielding (Michael McKinley). McKinley provides some context to a number of scenes making the show very easy to follow. His delivery was serious in some parts and humorous in others.

Njal Venning portrays the hero Tom Jones as a kind hearted larrikin, and sings to his full capacity in every number.

Opposite him, Heather Crawford is love interest and leading lady Sophia Western. Crawford acts the part well, but seemed a little hesitant with some of her singing early in the show. She did, however, perfectly execute the number “Which Is My Own True Self?” in the third act.

A standout of the supporting cast is Helen Lengyel as Sophia’s closest friend, Honour. Her cheerful rendition of “As All the Maids” was entertaining and pleasing.

The chorus was enthusiastic, though difficult to understand in some numbers, and Kym Clark’s orchestra sounded pleasantly tuneful.

The costumes were bright and colourful and suited to the era. But more could have been done to the men’s wigs to make them look less like sheepskins and more like the wigs of the period.

Both the lighting and set were rather plain for the first act, however those used in the second and third were very nicely designed and visually impressive.

Tom Jones is light hearted and entertaining and contains some charming music. Marie Clark have delivered a show that will, on the whole, be enjoyed by their audiences.

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LEND ME A TENOR
Tea Tree Players
Tea Tree Players Theatre
Until May 28

Review by Simon Slade

This comedy by Ken Ludwig revolves around a charity performance of the Cleveland Opera Company whose general manager has invited a world-renowned tenor to sing a one-night-only performance of Othello.

As with many farces, much of the humour of “Lend Me a Tenor” depends on proper timing. Director Theresa Dolman has done a fine job of navigating the cast through all the subtle and not so subtle jokes in the show. Dolman also uses the two-room set very well.

The eight members of the cast work well together. They are particularly proficient when it comes to the timing of sight gags. Throughout the show, doors open and close, people are discovered hiding in closets as well as bathrooms and there is the mix up of medication, and...well, you get the picture.

Troy Brailsford, as Max, seemed a little nervous at first but soon warmed to his role as the insecure assistant to the General Manager. Brailsford fidgets, shuffles, wrings his hands and defers to his boss. Brian Godfrey, as Saunders, was demanding and manic in just the right combination!

Kristen Webb, as Maggie, is perfectly cast as the young lady about to meet her idol. Tina Cini is hilarious as Julia, with all the rounded vowels you could expect from a lady on the board of the opera.

Stephen Mulady, as Tito Merelli "Il Stupendo", presents a varied performance as a character so full of himself that you wonder how his swelled head will fit through a door, and yet engendering pity. Stacey Webb, as his wife Maria, has some fine moments and lines.

Kim York, as Diana, only appears briefly in Act I, but does well in Act II when the dramatic and comedic purpose for her character becomes obvious. Adam Bates, as the Bellhop, is hilarious. His timing and facial expressions are perfect for the role, and he has a real feel for the comedy in the writing.

The two-room box set by Peter Pudney and Damon Hill is exceedingly colourful, to say the least, and displays an inventive use of connecting doors.

“Lend Me a Tenor”, provides relief from everyday insanity by taking the audience to a place of absolute confusion and improbable events.

The curtain call alone is worth the price of admission!

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STEAMING
Matt Byrne Media
Holden Street Theatres

Review by Fran Edwards

It can get a little warm in the Turkish Baths, and the East End Baths featured in this production are no exception. Nell Dunn’s excellent script is well delivered by a strong and well-balanced cast.

Director, Matt Byrne handles the highs and lows of the lives of this group of women with sensitivity and depth. In the well-designed set we are transported to another world, one where these ladies not only peel of their clothes but also their defences and inhibitions.

Maggie Moore, as the caretaker Violet, is strong and earthy, also acting as confidante and mother confessor. Penni Hamilton-Smith and Maxine Grubel-Wilson as the mother and daughter duo are totally convincing as they lead us through their changing relationship and shifting responsibilities.

Jane, the much-travelled, world-wise feminist (Rosanne Joyner) is a catalyst in so many ways. She introduces the shy, up-tight deserted wife, Nancy (Joanna Webb), to the baths and acts as leader in their fight to save their haven. Joyner and Webb both put in sterling performances.

Dianne Corston gives depth to her character Josie, the last of the baths’ regulars, and is the first to disrobe. Josie is dependant on her man (any man); abused and mistreated she learns her own worth in the face of losing her sanctuary.

The only male, Bill Bradley, is played by Matt Byrne and never appears (with or without clothes) but Byrne achieves a good characterisation with only his voice and proves an intrusion into this feminine refuge.

This production provides the right atmosphere for confidences to blossom and the good use of lighting and tableau emphasises without spoon feeding the audience. There were few weak spots on opening night, maybe a need to pick up the pace in one or two spots, however these will quickly disappear as the production settles in. I suggest you make an appointment before they close the baths!

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PENETRATOR
Bakehouse Theatre Company
Bakehouse Theatre, Angas Street, Adelaide
Until May 28

Review by Rod Lewis

Anthony Neilson’s 1993 black comedy has seen better days.

In its time the play was undoubtedly as confronting as it is funny with its plethora of expletives, violence, drug taking and homosexual undertones, but the themes have since been done better and often enough to relegate this one to the history books.

It lacks a resolution and the character revelations are as surprising as tea in China.

That said, Eddy Knight’s tight direction guides a powerful cast through a somewhat amusing 75 minutes of gritty machismo.

Nick Pelomis and Duncan Graham are Max and Alan, two flatmates living in comfortable squalor. In them we find an honest rapport only possible between two long-time pals. They bounce smoothly between moments of silence, light-hearted mateship and emotional discharges.

Tadge (Nathaniel Davison) is a disturbed friend recently discharged from the army. The moment he enters, the stage clouds with an air of anticipation and danger that is breathtaking. Davison is exceptional, finding every nuance of sanity and insanity in his psychotic character. With a single look he is able to express the inner turmoil and savagery that he both suffers and inflicts on others.

Like his fellow cast-mates however, Davison successfully walks the line between humour and drama, giving both even keel.

Knight keeps the action fierce and the comedy sharp, but ultimately the play seems to be out to shock rather than to make any point.

With simulated masturbation, mutilated teddies and confronting violence, the faint of heart would be well advised to steer clear of this one.

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QUIDAM
Cirque du Soleil
Grand Chapiteau, Bonython Park

Review by Hayley Horton

The Cirque du Soleil franchise is extensive and has received wide success around the world. More than a circus, this production is the epitome of live performance art, encapsulating everything that audiences love about the medium.

The plot for “Quidam” is simple and loosely ties the individual acts together with visual sumptuousness. A young girl, lost amidst a world where she finds no meaning is swept into the universe of “Quidam” bringing ghoulish characters with just a hint of child-like innocence to the fore.

The Grand Chapiteau was packed on opening night and the atmosphere of carnival, pomp and glamour are certainly contributors to the overall package.

Each individual act is amazing with none of the sections reverting to the traditional circus fare. Highlights includes the amazing “Statue – Vis Versa” performed by Jerome Le Baut (France) and Asa Kubiak (USA) with such astounding strength.

Equally amazing is the “Banquine” where fifteen Slavic artists perform spectacular sequences of acrobatics. Just when the audience thinks they can’t possible do it, they do and the awe of the audience is audible on a number of occasions.

Both clowns, Guillermo Toto Castineiras (Argentina) and Voki Kalfayan (USA) are welcome insertions between death-defying feats, leaving many audience members crying with laughter at their hilarious and often improvised antics.

Each element of the production combines to produce a perfect balance between humour, beauty and strength, including vocals (particular depth provided by André Boileau of Canada) acrobatics, colourful and interesting costumes, an amazing rig and more.

Those who have seen Cirque du Soleil before might think it is more of the same formula; however anyone new to this experience will be left in awe and amazed that such a performance exists on such a universally accessible level.

Get your tickets while you can, or start saving for the next time this troupe is in town as it is worth every cent.

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THE MERRY WIVES OF WINDSOR
The University of Adelaide Theatre Guild
Promethean Theatre
Until May 28

Review by Stephanie Johnson

A merry thought: “The Merry Wives of Windsor” was written 400 hundreds years ago and is still leading audiences a merry dance today.

In fact this ancient Shakespeare play is not so dissimilar to modern-day British farces – men and women’s sexual trickery, slapstick gags and a plethora of quirky characters.

The main difference, of course, is the linguistic gymnastics of the Elizabethan Shakespearean dialect – the challenge of any good theatrical company taking on Shakespeare.

On the whole the Adelaide University Theatre Guild has risen to the challenge to provide a night of merriment for all.

The set of a modern-day pub or bar, leftover from last year’s production of “Twelfth Night”, does not work and leaves little room for inspiration by set or costume designers. A more impressive set would have greatly enhanced this production.

Nevertheless Director Alice Teasdale has made the most of the intimate, semi-circle setting of the Little Theatre. Cast members enter and exit from various directions and even make use of the front row adding much to the fun of the night.

Under Teasdale’s direction most of the cast have discovered the key to unlocking the treasure of Shakespeare’s language.

The wonderful whit of the bard rolls skillfully off the tongue of Gary George as the central character Sir John Falstaff. George is superb in his portrayal of this unsavory Falstaff who decides to embark on a career of seducing wealthy wives thus sparking a series of events that equals the best episode of “Desperate Housewives”.

Georgia Dodd (Mrs Ford) and Ann Weaver (Mrs Page) ably work their wiles as the wicked wives who decide to turn the tables on Falstaff. Robert Elliott (Mr Ford) and Darius Malachite (Mr Page) are outshone by their wives.

Anna Pike as crafty Mistress Quickly, Aldo Longobardi as the silly judge Shallow, David Thring as agreeable Parson Evans, and Julian Jaensch as the very French Doctor Caius all add shape to the story with their clever characterizations and handling of the language.

Tim Deane-Freeman is also adept at milking the laughs in his Norman Gunston-like performance as Slender and both Marlon Dance-Hooi as Pistol and Johan Haris as Nim add to the fun, particularly in their fairy costumes.

There are no profound lessons in this play. It is a cute plot that has stood the test of time.

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FIDDLER ON THE ROOF
The Metropolitan Musical Company
Arts Theatre, 53 Angas Street, Adelaide
Until 14 May

Review by Rod Lewis

Under Max Rayner’s capable direction, it is easy to understand why Joseph Stein’s heartfelt story is considered by some to be “one of the greatest musicals of all time”.

With Jerry Bocks memorable tunes and Sheldon Harnick’s lyrics, this is the origin of Gwen Stefano’s recent hit, albeit a very different version! “If I Were A Rich Man” is just one of the catchy numbers to be found among many, and Robin Schmelzkopf brings the comedy to the fore in an outstanding rendition.

Fiddler is the tale of Tevye, a traditional Jewish man adapting to a world without tradition in the town of Anatevka, Russia, 1905. It is often said that this is a one-man show with support actors and Schmelzkopf certainly makes it his own in the central role. While looking too young for the part he nonetheless leads a relatively good ensemble to success.

Jenny Scarce-Tolley is delightful as Tevye’s wife Golde, but her badly applied make-up was very distracting on opening night.

Lyn Crowther was a perfect match for the role of the Matchmaker, finding laughs in almost every gesture, but James Antonas failed to express the determination and drive of the radical Perchik.

Carolyn Lockett, Antonio Cirocco, Frank Cwiertniak and Renie Walker also stood out in their respective roles. Throughout the cast, accents cause a regular problem, and in the case of Kirilie Blythman, appalling projection meant that she is often only heard during her songs.

The chorus sounds good but lacked the subtlety and emotion needed to carry off the sweeter songs, particularly “Sunrise, Sunset” and “Anatevka”. Musical Director Rodney Hrvatin does an otherwise excellent job however.

Carmel Vistoli outdoes herself with the lively dances but sadly, an overcrowded stage sometimes makes the routines look clumsy.

Ole Wiebkin’s practical set design allows the play to segue smoothly between the multiple scenes. While not without its faults, Fiddler is a stellar production overall with many of the first night glitches sure to be fixed quickly.

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EVOLUTION
By Cathy Cox
Caos Café, Hindley Street

Review by Theresa Dolman

Set in the corner of Caos Café with a chair, a table, a microphone, a picture of Charles Darwin and a battery-powered stegosaurus, Cathy Cox takes us on simultaneous journeys through evolution and her local shopping centre. As she wanders up and down the aisles, with Darwin, God and the stegosaurus in tow, she gives us insights into her amazing observations of life, and pokes holes in the various theories of how we came to be.

Early in the evening, Cox observes that it is not usual for a white, middle-aged woman to be doing comedy. Actually, it is not usual for any individual of any species to be doing comedy, because comedy is not easy to do. And while Cox has written some good, intelligent material, she does not quite have enough to sustain a full two-hour show. The show could be improved by a bit of ruthless editing (survival of the fittest!) and a slower, more relaxed delivery. An hour of the best material would be better.

Cox is a funny woman, with a lot of good ideas. Her show, based on the quirks of natural history and natural historians, is (apart from the fart jokes) intelligent and a refreshing change from the usual standup fare. Caos Café is a good venue for this type of entertainment - and their Chicken burgers are delicious.

Evolution ran for two nights only, but I am told it will return for the Fringe so try and catch her then.

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SOUTH PACIFIC
Seabiscuit Productions, a Production Company Show
Festival Theatre
Until May 15

Review by Andy Ahrens

South Pacific received a new staging highlighted by the Adelaide Arts Orchestra. It needs it. Having been played almost to death over the past 55 years, directors Jo-Anne Robinson and John Diedrich take a fresh approach.

Most notable was the positioning of the Adelaide Arts Orchestra on stage, which blended in nicely with the staging. It was a beautiful decision. Over thirty musicians held the show together as they gave new life to Richard Rodgers soaring melodies.

The cast in character, allowing for swift scene changes and continuous action manoeuvred a versatile, uncluttered set. The integration of scene changes as a part of the show assisted in building the drama.

The fresh approach was great theatre but it wasn’t enough to reveal the realities of love, racism and war. With so much of the script and music dedicated to building these themes it was unfortunate the grief and pain was not clearly shown.

John Diedrich as Emile de Beque came the closest to showing his inner turmoil. His scene with Lt. Joseph Cable was particularly strong, climaxing with the musical highlight “This Nearly Was Mine”.

Katrina Retallick as Ensign Nellie Forbush and Hayden Tee as Lt. Joseph Cable gave solid performances and were both vocally precise. All three leads provided glimpses of gripping emotion, but when the music stopped the moments waned away. It showed how the characters were dependent on the powerful music to reach their full emotion.

April-Marie Neho as Bloody Mary makes you want to take a holiday to “Bali Ha’i in her rendition of the song. She is a genuine vocalist whose limited time on the musical stage shows in her dialogue – but you can’t help lovin’ Bloody Mary.

A welcome host of local talent made up most of the ensemble. A few more would have given numbers such as ‘There is Nothin’ Like a Dame’ and ‘I’m Gonna Wash That Man Right Outta My Hair’ some more gusto. There was a sense of tentativeness. The girls were overly gorgeous for navy nurses considering they wash their hair in galvanised basins. The men lacked a sense of comradeship and some of the humour lost its impact.

South Pacific was searching for something to grab the audience’s hearts. It took five-year-old, Tamika Nazzaro, to do just that. Playing one of Emile de Beque’s two Polynesian children, the cute factor worked a treat.

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COUNTESS MARITZA
SA Light Opera Society
Mayfair Theatre, Goodwood

Review by Fran Edwards

This delightful little operetta is from another time - a more leisurely, more romantic era. Written in the 1920’s this piece reflects the European class system and relies on a very thin plot.

Countess Maritza has devised a way to stop being harassed by suitors after her money by declaring her engagement to a fictional character. The complications are that the character is not so fictional and she falls in love with her bailiff (who is an impoverished Count). The usual twists and turns lead eventually to a happy ending - what else?

The music is well played and well sung. Although the chorus work suffers from a lack of male voices, for the most part Peter Potts handles this well, however more variation in tempo would help the audience and create more interest. The music was the star of this production.

Although Pam Tucker creates some very pretty pictures with the colourful costumes, the direction leaves a lot to be desired. There was a lack of rapport between most of the characters and a tendency to play to the audience not to each other.

The notable exceptions were Peter Potts and Deborah Wotherspoon who sparked off one another quite well and Irene Barfoot and Richard Dryer who provided some much needed levity in the third act.

Kathy Wardle and Hamish Anear sang beautifully but missed the mark in the romantic stakes. Wardle was not as at ease with this role as one would expect and seemed to gain little reaction from Anear. Wardle looked wonderful in her many costumes (there seemed to be a costume for every entrance in every scene).

David Roberts and Geoff Tucker gave good support, but others lost much of the plot and audience interest with poor diction. The choreography by Pam Tucker and Anna Winter was well executed but could have been improved if the obviously experienced, featured dancers had been given steps with more variety.

The well designed set allowed the action to flow well, but was sadly under-utilised. The lighting complimented the scenes nicely.

Opening night performances may have been affected by nerves and may well be much improved by next week. If you are a fan of light opera with music delivered by some fine singers and a strong chorus, this production is worth a visit.

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PHOBIA
Chamber Made and Inspace
The Space, Adelaide Festival Centre
Until May 7

Review by Nikki Gaertner

Phobia is more about the sound than the story.

The small ensemble of performers create an eerie atmosphere in the dimly lit theatre as they assemble the tale based on Alfred Hitchcock’s “Vertigo”.

A detective is hired to investigate the mysterious behaviour of his client’s wife. Over time he falls in love with her, but is unable to save her from committing suicide by throwing herself out of a high level orphanage window.

Later, he meets a woman who is identical to the late Mrs Goldstein only to discover that the entire situation had been set up to cover the fact that Mr Goldstein had killed his wife some weeks before.

The audience is presented with the entire story in the program to make the show easier to follow. It would otherwise be impossible, as the actors move between various characters, speaking their lines either individually or in harmonised unison. In addition, the scenes aren’t necessarily “acted out” as the performers focus on creating sounds, meaning the audience would need to concentrate quite hard if they were to watch this, listen and also interpret the story.

Each performer acts, plays instruments and creates sound effects with many unusual and interesting objects throughout the show, which has been marked as a “witty homage to film noir sound artists”. The result is sometimes amusing, other times dramatic.

Some scenes are complemented with some comical background “demonstrations” of situations involving some acrobatic work, with Teresa Blake in particular showing her abilities in this area.

The full effect gives the impression of an early Hitchcock film or similar, complete with corny music while the closing credits run. And they do run!

This show is very smooth, slick and different from the norm and demonstrates an effective way to stage a production which concentrates more on the sound than the theatrics.

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THE PIRATE PRINCESS
Venture Theatre Company
Christies Beach Primary School
Until May 7

Review by Nikki Gaertner

“I’m a pirate! And I sail the seven seas…” – so opened Venture’s latest pantomime offering to the tune of The Village People’s “In the Navy” and with a band of enthusiastic pirates invading the stage.

Written in house, “The Pirate Princess” assembled a large cast of young and more experienced performers in a panto-style performance telling of the Pirate King’s hopes to find the real Pirate Prince to replace impostor Captain Smeegull as a groom for his daughter Princess Polly Pocket. The script cleverly combines many well-known songs and local references as well as jokes for the grown-ups to enjoy. Some jolly offsider characters, a shipwreck on Tubby Rumble Island and some cheerful (and hungry) islanders also make for a colourful and humorous result.

The entire cast wholeheartedly jump into their characters and give it their all on stage.

Correne Woolmer makes a fierce, but kind hearted Pirate King with many an exclaimed “Argh!”. Catherine Wallace is a greedy and devious Captain Smeegull, Teagan Coe is wistful as heroine Princess Polly Pocket and Tammy Kent presents a jovial hero as Sebastian.

The supporting cast also add quite a few laughs - Kimberly Wallance and Danica Kelsey team up as clumsy duo Bert and Ernie who escort the princess on her journey and Wendy Williams and Matthew Campbell are villainous as Smeegull’s offsiders Leo Lion Lungs and Lefty.

Valerie Kelsey also has a fun cameo as Bob (The Builder).

Audience interaction is high, with lots of opportunities to respond to characters and even join in on the singing and dancing in some scenes.

With its bright costumes and sets and cheerful cast and storyline, Venture has presented a pleasant night of community theatre. Unfortunately some trouble with microphones made a few lines difficult to hear, but this should iron out during the rest of their season.

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THE UNEXPECTED MAN
Directors’ Choice ‘05
Holden Street Theatres
Until April 30

Review by Stephanie Johnson

Intimacy is the gem at the centre of this unexpected treasure – “The Unexpected Man”.

Two strangers travel in the intimacy of a train compartment. Slowly and gently a story evolves as the man and the woman reveal their most intimate thoughts about their relationships, hopes, dreams, disappointments and loss. Cleverly intertwined is the growing awareness of each other in the train compartment.

Morag Cook’s set is stunning in its simplicity. Cook uses two see-through, mirror-sided panes of glass of each side of the stage, creating a train compartment enabling the audience to see the actors clearly, as well as their reflections.

Train travel is often used, to varying degrees of effectiveness, to symbolize life’s journey and to create a moment in time. It is a superb setting for this play, giving it an edge that encourages both a delight in the journey as well as the anticipation of the destination.

Playwright Yasmina Reza has set this trip from Paris to Frankfurt giving this play a European flavour. However, the two flawed and fragile characters could be anywhere.

Rob MacPherson plays the man Peter Parsky, with finesse. He cleverly portrays an embittered novelist who inwardly snaps and snarls at himself in the reflection of the train window while somehow conveying a calm exterior. MacPherson is brilliant as he slow scrapes away the cold shell of bitterness to reveal the warm vulnerability that lies within this troubled author. An uneasy character is made human and the yearning for redemption is palpable.

Carolyn Mignone is a capable Martha, the woman who finds she is sitting opposite a much-admired author. Mignone portrays Martha’s intelligence and fragility with sweetness that is a perfect foil to her compatriot. Her outward hand wringing is nicely juxtaposed to the man’s inner turmoil.

Director Michael Hill has created a wonderful production that strips any excess and leaves the complexity of the script and the characters to fully shine in this simple but powerful play.

The intimate setting of the Holden Street Theatre is the ideal venue for this production and lighting designer Nic Mollison also deserves a mention. It’s no wonder the season has been extended.

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GIVE MY REGARDS TO BROADWAY
Kapunda Musical Society
Chapel Theatre, Chapel St, Kapunda
Until April 30

Review by Simon Slade

Andrew Lloyd-Webber take note. George M. Cohan was America's first show business superstar producer. Once known as “The Man Who Owned Broadway” most of his work is forgotten today - aside from a few of his songs like “The Yankee Doodle Boy” and “Give My Regards to Broadway” are American classics.

Combine some of Cohan's best loved show tunes with a sparkling story by Schubert Fendrich and it adds up to an entertaining, charming, toe-tapping musical, in a similar vein to “42nd Street.”

Entrepreneur Dick Foster, played by James Kerrigan, is struggling to open a Broadway show. A cash flow problem and temperamental leading lady Mona Monroe, played to a tee by an elegant Jo Hough, present insurmountable problems.

Enter Mary Collins an aspiring actress from New Rochelle (only 45 minutes from Broadway!), played by Sarah Wildy. She is a delight. With a pure quality to her voice and acting talent to boot, she is the wideeyed hopeful, given her big break.

There are some fine performers in this cast. Kerryn Bolt is excellent as, Trixie, the girlfriend of “Legs” Ruby, a bookie on the run from the mob, played by Jamie Nietschke. Chris Starkey stands out as Betty, with her fine voice and dancing.

Michael Hoskin has a difficult role in this show. His character appears late, is not directly involved in producing the show, and takes a back seat in most of the musical numbers. Lesser actors would fade into the scenery in this role, but his combination of fine acting and comedic talent carries him through.

A seven piece orchestra does well under the guidance of Peter Murphy, and the trumpets, ever the problem for an amateur theatre company were better than most!

It is not all plain sailing. Some of the accents were very uneven, and there was a hesitation on the part of some cast members at the beginning of musical numbers. A couple tended to only be in character when delivering lines.

This is a true community theatre with its own home in the Chapel Theatre. The stage is small and has not a single lighting bar above it. The follow spot is cobbled together from a stage lamp and an overhead projector.

And that’s what makes it special!

So give your regards to Kapunda, only 45 minutes from Gawler!

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ABSURD PERSON SINGULAR
Galleon Theatre Group Inc
Marion Cultural Centre
Until April 30

Review by Stephanie Johnson

A first-class British comedy script provides the basis for a good production? Not always, but it certainly does for Galleon Theatre’s “Absurd Person Singular”.

Director Margaret Dixon has taken a great script, a cast of six excellent actors and a simple and effective set to provide a great night’s entertainment.

Alan Ayckbourn’s script from the 1970s is a little dated but very witty as the foibles of three married couples are ruthlessly exposed in three separate Christmas Eve parties.

The first act is a scene setter, the second act is a scene-stealer and the third is just plain silly – and lots of fun.

In the first act young couple Sidney and Jane Hopcroft (Andrew Clark and Kerry Cooper) decide to entertain with a Christmas Eve party for carefully selected guests. Follow-up parties result in the next two acts.

The clever twist is that this play is set in the kitchen for each party. The social façade is stripped and warts and all revealed in the intimate setting of the kitchen, while the party limps along in the neighbouring rooms. The results are hilarious, even in their darkest moments.

Joanne St Clair is delicious as the drunken, malicious Marion Brewster-Wright who slips easily from shallow small talk to malicious cracks. Jack Robins also provides a strong performance as her husband, Ronald. His “electric shock” sequence is one of the hilarious highlights of many during the night.

Some of the more poignant moments, and yet still shockingly humorous, are provided by young actors George Benders and Hannah Wooller as Geoffrey and Eve Jackson. It is a testament to these actors’ skill that the pathos and humour are both so powerfully conveyed.

Andrew Clark and Kerry Cooper are given the challenging task of playing the unpopular and shallow couple Sidney and Jane Hopcroft. They cleverly convey an awkward sweetness that adds to the joie de vivre of this production.

The set is simple, cleverly doing its job of adding to the characterization and action.

Galleon Theatre Group is sailing home with a winner with this Ayckbourne seventies classic at the Marion Culture Centre. Please note that audience members can sit in cabaret style tables at the front of the theatre or choose to sit in rows at the back.

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THE BREATH OF LIFE
Christine Harris and HIT Productions
Dunstan Playhouse, Adelaide Festival Centre

Review by Rod Lewis

It’s ironic that the title of this play is the thing it needs most.

David Hare’s mind-numbing drama lacks friction and is only spared from being complete drudge by the occasional witty line and Helen Morse.

Thank God for Morse! Her stagecraft and natural talent creates an interesting and strong character to watch, despite Kate Cherry’s stilted direction.

Kirsty Child is as stagey as the tedious script playing “the other woman” who is now in the same situation as wife number 1 – the husband has left her for someone younger.

This is the story of the two wives meeting for the first time, having shared a husband many years ago. The potential for emotion and conflict gives way to sharing memories of the man and making cups of tea - ho hum.

The unnatural dialogue is repetitive and forced, and Cherry keeps her actors seated for most of the play. The presentation would probably work well in an intimate setting, but not in the cavernous Dunstan Playhouse, where the actors are lost and Adam Gardnir’s open set doesn’t fill the stage.

“The Breath of Life” is currently touring Australia, including regional centres, so it is no surprise that it is designed to slot into a variety of venues. The theatres need to be small however, for both the script and performance to have any chance of working.

“Desperate Housewives” is a better option.

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THE COCKTAIL HOUR
Adelaide Repertory Theatre
Arts Theatre

Review by Theresa Dolman

The Cocktail Hour, directed by Kerrin White, is a study of a family. Each evening, the parents keep up the family tradition of relaxing together for an hour - the cocktail hour - while the maid prepares dinner.

This particular evening is special because son John is coming to visit. But the evening is disrupted when John, a part-time playwright, asks the family for permission to produce his latest work---a play based on the family. His parents, without even reading the play, are horrified, certain that the play will show them in a bad light, and the father offers John money to abandon the production. His sister, on the other hand, is offended because she plays only a minor role.

During the evening, it becomes apparent that John's perceptions of his family are more accurate than any of them would like to admit; but he also discovers that he has some important misconceptions that he will need to readdress.

Tony Busch gave a wonderful performance as John, bringing out the tension which has obviously been building between himself and the family for years. Michael Croome was first-class as the traditional father, not ready to compromise his life and ideals for what he considers to be a "whim" of his secondfavourite son.

Rhonda Grill also does well as John's mother, Ann, keen on the odd tipple and trying desperately to hang on to family traditions, especially that of the cocktail hour. The cast is topped off nicely with Linda Davey as John's sister Nina, who, after having spent her life pleasing other people, decides that it is now time to please herself.

The set was opulent and well dressed, with the cocktail bar taking centre stage. The grand piano was also a nice touch, and it was good to see John tinkering on it rather than having it totally ignored. The costumes were good, but John's wig was a little too obvious.

Overall, a good drama with some lighter moments.

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HÄGAR THE HORRIBLE – THE MUSICAL
Noarlunga Theatre Company
Arts Centre, Port Noarlunga
Until April 30

Review by Simon Slade

Take one of the world’s best loved comic strips, add music, put it on stage, and it should be a recipe for a great night out.

Take an experienced director, and some fine performers, and the final result should be an evening of seamless hilarity.

Noarlunga Theatre Company’s production of “Hagar the Horrible” is both of these things some of the time.

The very experienced Ron Hughes is a good choice as Hägar, using his comic abilities well. He is teamed nicely with Sue Oldknow, who is a likeable and funny Helga. Director John Fitzpatrick has cast well, utilising the physical comedy of the multi-talented Cherylene O’Brien as Hamlet, Lars, and an hilarious French waiter.

The energy and considerable talent of Rob Ellinger, as Bjorn, keeps the Viking marauders together through some of the more difficult song and dance sections. He is a real highlight in the male cast.

Wade Shiell is very funny as the luckless Lucky Eddie, Hägar’s right-hand-man who makes up for his lack of brains with unswerving loyalty.

Maggie Smith gets a lot of laughs in her great cameo as Mrs Begonia, and is responsible for the costumes too, which are very good. Hamlet’s outfit and wig get laughs of their own!

The music is sequenced and the performers do well with their cues in the absence of a musical director.

The cabaret seating works well in the excellent Arts Centre, and creates a very friendly environment.

The script is funny, the actors carry it off well, but from a staging and technical point of view, the show needs to move at a faster pace. Some of the problems begin with the writing, because the script includes no less than fourteen scenes in Act I alone. Add a house curtain that takes fifteen seconds to close and another fifteen to open, and you have a recipe for some long scene changes. This was particularly noticeable where no set change was needed, and the scene change could have been achieved with a simple blackout. Better use of the upstage curtain to cover scene changes would have helped too.

This was a pity, because the pace of the show was otherwise good.

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MURDER AT DOOM MANOR
Daw Park Players
SPF Hall, Repatriation General Hospital
Until April 23

Review by Simon Slade

The Carruthers family gathers at Doom Manor, the family home, to receive some momentous news. Which of Celia's three sons will inherit the estate and the Doom Stone? But the arrival of an uninvited body and a pair of eccentric detectives interrupt the proceedings.

And so the scene is set for a jolly old murder mystery. This play contains some extremely funny lines. The best of them are worthy of George Bernard Shaw or Oscar Wilde. However the play does need a plot, some clues and a few red herrings to make it a murder mystery.

That is no reflection on the cast, though, as there are some fine actors here, and the direction brings out some good work from most of them.

Glen Christie, as Charles, plays the role of the jaded eldest son to a tee. Mollie Birch, as Celia, is in fine form as the widowed matriarch. Keith Manson, as Chester, the gormless lovable buffoon of the family, achieves the tricky balance of creating a character that grates on everyone, but is loved by the audience.

Philip Lyneton is physically and vocally perfect in the role of Ambrose Diligent, the senior partner in the detective agency of Diligent, Diligent, Diligent, and Careful. The comic highlight of the night is Damien White as Mrs Dubrovnik, the maid, whose culinary adventures strike fear into the family, and any passing animals as well!

In keeping with the setting, director Maris Caune, has chosen to use English accents. Nearly all the cast hold the accent well and it contributes nicely to the style of the show. The set is rich in detail, particularly where no designer is credited. Anyone who has built sets for a theatre company would welcome the credit for “Set Construction Catering!”

Daw Park Players continue to provide a valuable service raising funds for the Repatriation General Hospital. Between 1991 and 2003, they raised over $28,000 – and they still manage to include free tea and coffee at interval!

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JEKYLL AND HYDE – THE MUSICAL
Hills Musical Company
Stirling Community Theatre
Until April 30

Review by Stephanie Johnson

“Jekyll and Hyde, the Musical” is a strange concoction – a portion of philosophy, a dash of dancing and a good dose of darkness mixed with emotive music.

Scots author Robert Louis Stevenson wrote the original strange and sinister story, on which the musical is based. The story has been adapted for stage by Steve Cuden and Frank Wildhorn.

“Jekyll and Hyde” encompasses huge concepts – the duality of the human condition, good versus evil and the need to see beyond social façade.

This story has touched such a deep note in the human psyche that “Jekyll and Hyde” has become a common expression to describe the duality of a person’s nature. Capturing this deep and moving message is a challenge well met by the Hills Musical Company.

The company has pulled together to create a cohesive and professional production that showcases the original story and the music by Frank Wildhorn.

The set is designed well for the many scene changes, the lighting is top-notch and the costumes appropriately colourful and dowdy when required.

However, the linchpin for this story and the production is the main character – Dr Henry Jekyll and his shadow Edward Hyde. Chris Buhagiar is exceptional in the central role. He portrays the driving forces of both the ethical Dr Henry Jekyll and the evil Edward Hyde, as well as the tension of the duality and the agony of the ultimate conclusion.

Director Michael Pole and choreographer Sue Pole have done a commendable job of ensuring that each member of this ensemble supports and enhances the main tenet of the story.

Michelle Nightingale, as the love-interest Emma Carew and Mark Oates as lawyer John Utterson give standout performances.

Gerard Ryan as the Bishop of Basingstroke, Simon Holdback as Simon Stride and John Pfitzner as Sir Danvers Carew also ably hold their own in both singing and acting.

Megan Humphries is a delight as Lady Beaconsfield creating some much welcome comic relief.

Annie Slade looks fabulous, but somehow struggles to reveal the raunchiness of the luckless Lucy. The story is dark with touches of light, but the music is truly beautiful. Musical Directors Ross Curtis and Leith Pederick have shown how music has the power to affect the emotions.

This is a production that stimulates rather than titillates – a potent potion.

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BIRDS ON THE WING
St Jude’s Players Inc
St Jude’s Hall, Brighton
Until April 23

Review by Nikki Gaertner

St Jude’s have once again hit the nail on the head with their latest entertaining and humorous offering, “Birds on the Wing”.

Featuring a small, talented and dynamic cast, the show portrays the lives of two female high-flying partners in crime, who con rich and gullible men for their source of income. Elizabeth (Bernadette Bycroft) and Samantha (Kay Saunders) have mastered their fraudulent moves and love every minute of life, until one of their victims, Charlie (Andrew Horwood) decides to join in on their game.

Both Bycroft and Saunders are superb in their roles, and complement each other nicely as their characters move through their many alter egos throughout the show.

Horwood too, excels and has plenty of fun with his mischievous character and has the audience eating out of his palm within moments.

Every one of the supporting cast also deserves a mention, from Rachel Brunsden as the cheeky maid, Barry Hill as a variety of waiter personalities, Dave Simms as the swindled Sir George Smith, Greg Janzow in dual roles of both a Frenchman and a Japanese detective, and Ken McGill as Mr Chotomate.

The set was a simple hotel room for each scene, which worked well and kept scene changes limited to a few props and the change of some beautiful painted scenic backdrops to illustrate location. The scene changes took some time, but luckily there weren’t many required, and the quality of the show meant this was easily forgiven.

Director Jude Menz should be commended for her efforts with this show (her second time directing it for St Jude’s).

“Birds on the Wing” is comic theatre at its best and a sure crowd pleaser for anyone wanting a feel good night out.

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OUTSIDE EDGE
Tea Tree Players
Tea Tree Players Theatre
Until April 16

Review by Simon Slade

A collection of men are living out their dreams of heroism on the local cricket field as their partners look helplessly (often irritably) on. Richard Harris wrote “Outside Edge” over thirty years ago, but it could just as well have been last weekend on a cricket ground near you.

It is not, as Harris himself says, a play about cricket, but a play about certain types of people. We don't really relate to them; they are not true individuals or true characters, thus we are free to laugh at them without getting too close to home - until the dreadful thought dawns that we might be looking into a mirror.

As Peter Kentish's Roger organises everyone into submission, we begin to get the message. Now as then, people are concerned only for themselves. Adrenne Gorringe as Roger's long-suffering wife Miriam manages to portray both the pride in doing something well, and her frustration at the secondary role Miriam plays, not only at the Pavillion, but also in Roger's life. Her attempts to confront Roger about "Dorking" will strike a chord with many women with sport-obsessed partners.

Some of the cast certainly got the runs on the board and Gorringe in particular, was excellent. The usually good David Kenna had some trouble creating a strong impression as the recently divorced and re-married Bob, in one of the more varied roles. The volatile yet loving relationship between Maggie (Gabbie Brown) and Kevin (Eric Smith) was beautifully conveyed and brought many of the evening’s laughs.

Michael Terwell did well creating a thoroughly dislikable Alex, and Stephanie Goodwin was hilarious in the scene-stealing role of Sharon.

There were times when the on-stage action (which needs to be fast and furious) almost ground to a halt failing to capture the plot’s rising tensions and much of the humour was lost. Some of this may be attributable to opening night nerves, but the problems with lines and pace seemed to go a little deeper.

Even Robert Andrews' set did not seem quite up to the usually very high Tea Tree Players standard, which Andrews fine work in the past is largely responsible for. The overall effect is somewhat uneven.

In Act II, the cast do manage to create the sense that a game is actually being played in the middle of the auditorium, but by this time the required run rate is just that bit too high!

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ASYLUM
ARTS 3rd Year Acting Students
Parks Community Centre
Until April 9

Review by Simon Slade

Combining the two tales of Daniel Payl Schreber, President of the Court of Appeals in 1890s Dresden and K., an asylum seeker in present-day Australia are excellent subjects for a new piece of theatre.

To draw parallels between Schreber’s journey into madness, committal to an institution and his eventual release and K’s journey across borders, committal to Woomera and his eventual release is an interesting idea, yet not without its pitfalls.

However, to really muddy the waters, there are two additional subplots woven in. These two stories are less relevant to the themes of the other two works, almost to the extent that they could have formed the basis for a different work altogether.

The eventual effect of this is to confuse and detract from a more thorough examination of each of the primary stories.

Daniel Paul Schreber's "Denkwürdigkeiten eines Nervenkranken" seems to be the basis for much of the material about his life, but it does not deal with any of the reasons for his condition, for example the way some of Schreber's delusions are at times strikingly similar to the devices of restraint devised by his father. Nor does it adequately introduce us to the character, as opposed to the individual.

These negatives are a great pity because there is some excellent writing here. Some of the problems arise out of the fact that, as a work for students, there has to be something for them all to do!

Some of the performances are very strong. Luke Clayson, as Daniel Paul Schreber, gives a touching, insightful performance. Lynda Ferguson, as Trish, is convincing. Mario Spate, as Aaron, seemed to have little to do until his final scene with his girlfriend’s sister (Fran, played by Angela Annese) where he gave one of the best performances of the evening.

Not all of the cast are of this standard, and there were a couple of very misguided moments in the direction. At one point, Christopher Roberts, as Geoff, plays a scene that seems designed to redeem his character, but because he is telling this to his daughter upstage, the whole scene is played to the back wall.

However, this show is all about students and learning, so in ten years time, we will look at some of these people on stage, in film and on television, and say "I remember this student show years ago..."

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OH! WHAT A LOVELY WAR
Burnside Players
Burnside Ballroom
Until April 16

Review by Andy Ahrens

Oh! What a lovely war - or was it? Burnside Players tackle the question in this honest retelling of World War One in a comic, insightful and often moving production.

The show is essentially a musical-revue of memorable tunes and war-songs, woven together by a patchwork of scenes. Music, song, drama and dance combine to depict various aspects of The Great War, from politics and miscommunication through to gas and the trenches.

Director Thorin Cupit has stamped passionate authority on the sensitive subject matter and makes this production both a tribute and a reminder. He expertly balances light-hearted comradeship with the devastating loss of human life.

He is supported by a stellar cast who show equal enthusiasm as they march their way through the timeline of World War One.

Brendan Clare, Lochy Cupit, Rhodri Henry-Edwards, Bonnie-Fay Madigan, Ben Po’ona, Peter Smith and Rachel Spargo provide many of the highlights. But all seventeen accent-wielding cast members deserve equal credit for this mass-ensemble production.

Scenes include a well executed discussion by the profit-makers of war, a comic look at bayonet mounting, an entertaining war-time church service and the highlight of the evening, Christmas in the trenches. In this historic account, a band of Germans initiate the singing of Silent Night which leads to the swapping of gifts from one enemy line to another.

It’s not all slick and precision. Some parts of the show lose a degree of intensity. The facilities in the Burnside Ballroom are partially responsible for this. The venue has limited lighting and awful acoustics, making it difficult to hear some lines. The slide projection, displaying wartime photographs and statistics, suffers from the spread of too much light, diminishing its visual impact.

Director, Cupit, deliberately uses the staging conditions to present this show in Brecht style. Costumes and props are appropriately representative, leaving the audience to imagine the reality of it all. It is when the scenes win the imagination of reality that they hit home with the realities of war.

Under much of the action is a well controlled band. Musical Direction by Kate Pope and choreography by Tracey Nunn both aid in this innovative production.

‘Oh! What a Lovely War’ is a timeless piece of work. Be sure to bring the Tim-Tams and port for the cabaret style seating.

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DRUMS IN THE NIGHT
Brink Productions and State Theatre Company
Space Theatre
Until April 16

Review by Simon Slade

This is a production where the whole is greater than the sum of its parts. And that is saying something given the parts added into the equation. The performers are the Brink ensemble, along with Michael Habib and Jacqy Phillips. The lighting designer is the brilliant Geoff Cobham. The director is the inspiring Chris Drummond. This is a new and modern translation by Finegan Kruckemeyer. Gaelle Mellis has designed a set that astounds with each dramatic revelation. Quentin Grant, composer and musician, provides songs and underscoring that suit the production perfectly.

Together they create a masterpiece with one of Brecht's earliest works. "Drums in the Night" which opened in Munich in 1922, and Brecht received the prestigious Kleist prize for young dramatists as a result.

The play shows a society ravaged and plundered by war, contrasted with individuals made rich by the same conflict. The Balickes have done very well for themselves financially, but their daughter has lost the love of her life in the war. She is now pregnant and engaged to another man, also made rich by the war, and that is cause for a family celebration. The dinner scene brings a whole new meaning to the expression "snouts in the trough" and had the audience rolling in the aisles.

Michael Habib, as Karl Balicke, is vocally and physically perfect for the role. Ksenja Logos, as his daughter Anna is also superb, both passionate and yet distracted. Jacqy Phillips, as Amalie Balicke, wife and mother, is a tremendous asset to the cast as a whole, as her character has some of the most varied reactions to other characters.

Cameron Goodall's Waiter and Michaela Cantwell's Maid are both hilarious. David Mealor, as Baboush, is particularly funny in the opening sequence of the play, which sounded almost as though it could have been written by Shaun Micallef.

William Allert, as Friedrich Murk, is the perfect German version of a Hooray Henry, and Rory Walker, as Andreas Kragler, delivers a performance that is as measured as it is gut-wrenching.

The staging is inspired. The table made people hold their breath, the bar stools made them gasp and the final surprise had them reaching for their medication! The lighting design proved that less is more, and that a lighting designer's best tool can be darkness!

This is South Australian theatre at its best.

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UNDER MILK WOOD
REDChilli Theatre Company
Bakehouse Theatre
Until April 16

Review by Nikki Gaertner

Described as “a play for voices”, Dylan Thomas’ “Under Milk Wood” was written as a radio play that takes listeners into the lives, dreams and interactions of the inhabitants of a Welsh seaside village throughout the course of one day. A total of 53 characters are presented and explored throughout the duration of the show.

Setting this show in a theatre presents a significant challenge, as the audience can now both see and hear the actors as they move between scenes and characters. Unfortunately this challenge was not met well by REDChilli and director Geoff Brittain.

The cast of twelve changed costume props in full light as they assumed new characters, and were mostly seated very close to one another, distracting from those that should hold the focus of the scene. In addition, the sound effects technician (Sally Fox) was deliberately placed in a highly visible area, and while she was very talented with providing the appropriate sounds and never missed a cue, watching her became another distraction from the actors playing out a given scene.

Each cast member was in clear possession of their script throughout the duration of the show, and though the play was set for radio, this is really inexcusable in a theatre setting. Watching the cast read along instead of holding character is not entertainment, and after a lengthy rehearsal period it is expected that at least small paragraphs and songs should be memorised.

There were some standout performances from the cast however; including Bill Ramsay, who remained in character throughout the show and never distracted from scenes he wasn’t involved in. Lindy LeCornu also provided some nice personalities, Kim Clark easily and enthusiastically interchanged between characters, and Deborah Walsh presented some pleasant moments with her sweet singing voice.

Sadly, Peter Davies, in his important role of the narrator, started in full character, but tended to revert to simply reading out his statements with his eyes becoming his script by the close of the show. Multiple actors, including Davies, also need to watch their accents, as sometimes they made their words difficult to understand.

All in all, Under Milk Wood certainly has the potential to be a memorable, impressive and haunting show, but major changes would need to be made for this to be "a different theatre in both content and standard from the usual amateur fare in South Australia" - REDchilli's aim, as stated in the program.

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KEY FOR TWO
Actad Theatre Group
Promethean Theatre
Until April 30

Review by Stephanie Johnson

“Key For Two” is classic British comedy at its best or worst – depending on whether or not British farce is your cup of tea.

It is typical British comedy in a slapstick style with a story focused on a mistress who manipulates her schedule to cater for two lovers, both married men. When her girlfriend drops in out of the blue with marriage problems things get out of hand and the inevitable “schedule clash” occurs resulting in mayhem.

“Key For Two” had a long run in London’s West End at the Vaudeville Theatre in the 1980s. In true Vaudeville style John Chapman and Dave Freeman’s writing lacks subtlety. The men are buffoons led by their sexual desires, blatantly cheating on dowdy or dowager wives and their mistresses are manipulative sirens with mercenary motives.

Neither the male nor female sexes fare well in this style of comedy and marriage is a much-maligned institution.

All of this is, of course, communicated in good fun mixed with much door slamming, tale telling and hilarity.

Director Grant Lucas and his selection of actors have supplied a good dose of laughs in true British style in this production.

Bronwyn Ruciak’s Harriett is suitably sexy as she seduces her men while also fleecing their wallets. Glenn Vallen and John Matsen are duly believable as the cheating husbands who fall prey to her wily ways. The comic timing was a little out in the first half of this play on opening night, but they all warmed to their parts in the second half.

Rose Vallen is a lot of fun as Harriett’s childhood friend Anne, particularly once she dons her “Carry On” style nurse’s outfit.

Margaretha Mooney as forceful Magda and Pat Vice as the very dowdy Mildred provide good support as the wives.

However, the star of this show is Brian Godfrey as the inebriated Richard. His delightfully disturbing drunken antics enliven the second half of this show.

If you like British humour of the bedroom farce variety then you will enjoy this production in the intimate setting of the Promethean theatre.

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STRANGERS ON A TRAIN
Independent Theatre Company
The Odeon, Norwood

Review by Theresa Dolman

Independent Theatre took on a huge challenge with the Australian premiere production of ‘Strangers on a Train’, but with Rob Croser at the helm it was a challenge well met.

The play is based on a novel by Patricia Highsmith (who also wrote ‘The Talented Mr Ripley’) and was adapted for the stage by Craig Warner. It is the story of two strangers who meet on a train. After drinking far too much alcohol, each agrees to commit a murder for the other. Charles Bruno (Luke Jacka) is consumed with hate for his father, who will not allow him access to money he believes he is entitled to. Charles thinks he has convinced Guy Haines (Dai Davison) to kill his father in return for ridding Guy of his adulteress wife, who, although pregnant to another man, will not allow Guy to divorce her and get on with his life. The malice starts when Charles carries out his half of the bargain, then torments Guy until he finally cracks and fulfills his part of the deal.

Luke Jacka is well cast as the psychopathic, alcoholic Charles, making Guy's life miserable until the end. Dai Davison is brilliant as the tormented Guy---you could feel the audience wanting to help him out of his dilemma as he is gradually destroyed by guilt. Tom Carney added to the intrigue with his wonderful portrayal of Arthur Gerard, the know–all family detective.

The casting was perfect, from Charles’ dippy and substance-dependant mother Elsie (Lyn Wilson) and Guy's confused and distraught girlfriend Anne (Peta Long), to his work mates Frank (Josh Markey) and Bob (Blair Breeding), who also doubled as investigating police.

Set against a backdrop indicating a train, with a couple of well designed wooden chairs and other smaller sets wheeled on as needed, the design worked well and allowed smooth changes from each scene to the next. The lighting by Rob Croser and Laraine Wheeler helped immensely, defining areas and creating the atmosphere essential to the 1950’s era.

The only criticism is that in the opening scene Jacka was so intent on convincing Davison of his idea that he seems to have forgotten that the audience needed to hear it too; a lot of his dialogue got lost in the wings.

Overall a wonderful piece of theatre, not to be missed.

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HANSEL & GRETEL
Young Artist Opera Studio
The Opera Studio, Netley

Review by Hayley Horton

After a successful run at the Bundaleer Weekend, Patrick Lim has brought the fairy tale “Hansel & Gretel” with operatic score by Engelbert Humperdinck to the Opera Studio in a sugary-sweet English version of the original German.

Lim’s passion for opera and his ongoing efforts are once again evident, this time adding value by allowing even younger performers to experience opera, which is admirable.

With a very familiar story, the production itself is adequate, but lacks a freshness and cheekiness that the original story begged for. Fiona Linn as Hansel and Eleanor Blythman as Gretel capture the childishness of the characters and are adept vocalists. Linn particularly does well with the sometimes awkwardness of playing a boy.

Vocally, the highlights of this show however are Tom Millhouse and Jessica Dean, both of whom play small roles. Millhouse as the children’s father has a stunning voice that fills the studio with a resonance that inspires.

Dean as the Dew Fairy is equally splendid vocally and not only wakes Hansel and Gretel from their slumber, but also the audience at what is a slower moment of the production. Both of the fairies (Dean and Rachel McCall as the Sleep Fairy) provided a coquettish charm, making even a simple scene change amusing.

Although the production is aimed at a younger audience, the grimness of this Brothers Grimm tale is missing, which leaves the audience wanting more than sweet singing, particularly with Deborah Caddy’s portrayal of the Step-Mother/Witch who is more clown-like than scary (unless clowns frighten you of course).

The children ranging from very young to mature teenagers not only sing as a chorus, but dance a ballet which fills the stage. Each child evidently will gain experience like no other with the process, however some further direction and polishing is required to tighten their performance.

Musically, this opera is once again mastered by one of the best repetiteurs in Adelaide, Anthony Hunt who holds his own throughout the night. Hunt’s skills would be further enhanced by a live ensemble (even a small one) and would allow the composition to compliment the vocalists.

Overall, Lim has assembled a light-hearted lark, which will introduce younger audiences to the world of opera and with a bit of polishing and pizzazz to the sets and costumes, could enthrall the more experienced audiences also.

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INTERESTING TIMES
Unseen Theatre Company
Bakehouse Theatre
Until April 2

Review by Simon Slade

For those left who do not know, Terry Pratchett is the multimillion-selling author of the Discworld series of books that, if it weren't for J.K. Rowling would be the world's biggest-selling fantasy books.

His books have been translated into more than 30 languages. Terry Pratchett has fans throughout the world, and a number of his books have been adapted for the stage by Stephen Briggs

This popularity creates a dilemma for those adapting and performing Pratchett’s works, as there will be a proportion of the audience who know the book almost word for word, and others who do not. This adaptation is better than some, as it manages to make the plot and characters reasonably clear, without bogging down in explanations.

The two stars of the show without doubt were Steve Parker playing Cohen the Barbarian, and Chris Irving as the hapless wizard, Rincewind. For both actors, their comic timing, and use of comic facial expressions, were highlights. They also both demonstrate the importance of good casting, as they fit their roles so well physically.

This attention to casting and direction carries over to the ensemble. Ronald Densley and Mark Drury, as the two guards, have been cast and directed with their physical differences in mind. As a result, some of their scenes are hilarious.

Director, Pamela Munt, also appears on stage, and her portrayal of Commissioner Kee is very funny. Not all cast members are as strong, and the Red Army needs a little work. That said, Unseen is giving opportunities for younger actors, and they are all working hard. They will improve with every production. Multiple levels are used to good effect on the small Bakehouse stage, and Munt’s blocking has taken into account the difficult entrances involving not only numerous cast members, but also a wheelchair and a cannon!

The sets were simple and effective, with the exception of a noisy curtain with a tendency to snag. The lighting effects were well done, although the focus was not as tight as it needs to be on a set that is creating distinct areas. The choice of music suited the show well.

Pratchett's “Interesting Times” is very funny and appeals to those who are Pratchett fans, but also those who are unfamiliar with his work.

Unseen's production is fun and enjoyable.

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THE PLEASURE OF THEIR COMPANY
GNG
The Arts Theatre
Until March 26

Review by Simon Slade

Shaun Micallef and Glynn Nicholas come to Adelaide in a new show. Although new, it does include an array of characters from their past shows.

The ever-smiling and yet somehow scary children’s show host, Pate Biscuit returns to continue frightening children of all ages. The even scarier Sergeant Smith is taken to task over his policing methods that have seen complaints against Police on the rise. The almost unintelligible Milo Kerrigan being interviewed!

Shaun Micallef indulges in what he does best – intelligent narrative humour that often creeps up on the audience. One example of this is the English actor Sir Nigel String and his recollections as he prepares in his dressing room. Glynn Nicholas has several mime routines involving unsuspecting members of the audience.

Individually, their distinctive styles shine. Nicholas’ mastery of physical humour and Micallef’s fascinating facial contortions compliment the sometimes biting writing.

Quite a lot of the show revolves around simple concepts and quite short sketches. An exception is a brilliant, very black comic sketch in which a selfish tax lawyer, played by Shaun, visits his old father, played by Glynn, in a nursing home. The writing here is amongst the finest anyone could wish for. It is a masterful example of sketch writing that showcases Micallef’s ability to toy with the emotions of his audience, even in a comic sketch.

The comedy is not only accompanied, but also contributed to, by talented pianist Carrie Barr. She excels in makes her own mark on the evening with a song and dance routine.

Even the sponsors of the show come in for the Micallef treatment. Sponsor messages appear during the show, as a convenient device to mask costume changes and the like. At first they seem innocuous, but listen carefully and they contain some of the most disturbing suggestions about some of Adelaide’s favourite businesses!

Micallef and Nicholas both have old links to Adelaide and to each other. Micallef has written for Nicholas before. It is great to see them work together on stage.

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ON GOLDEN POND
The Stirling Players Inc
Stirling Community Theatre
Until March 19

Review by Stephanie Johnson

“On Golden Pond” is a sweet and memorable trip into the private lives of a family on holidays in a sultry New England summer.

Ernest Thompson wrote both the stage play and the screenplay for the 1981 film version starring Katherine Hepburn, Henry Fonda and Jane Fonda. The story will be familiar to many and comparisons are unavoidable.

Director Tony Rogers has produced a touching and pleasant comedy with this version.

An aging couple spends a long, lazy summer in their holiday home on the shores of a golden lake. Sunsets, swimming, fishing and other well-worn holiday activities amuse family members as they interact.

One of the strengths of the film is its beautiful scenery filmed on the pristine and undeveloped shores of New England’s Squam Lake. Set Designer Roger Landstrom has cleverly placed windows at the back of a holiday home lounge room. Changing colours can be seen through these to depict different times of the day. The windows inspire the imagination of nature and golden sunsets.

However, it is the ins and outs of the old and new familial relationships that lie at the crux of Ernest Thompson’s tenderhearted play.

The daily interactions of couple Norman and Ethel Thayer are the backbone of this play – the habits, the affectionate name calling, the familiarity that becomes second nature in long marriages are humorously, and sometimes emotionally, portrayed.

Graham Nerlich dominates the stage as the irascible old rogue Norman Thayer Jr.

Nerlich’s Norman is at once recognizable and irritating, endearing and infuriating, and very, very funny.

Josh Sanders is delightful as the young Billy Ray, whose child-like honesty manages to disarm Norman.

Opening night nerves seemed to get the better of Vee Noble in her role as Ethel Thayer. She dropped lines and fumbled somewhat in the earlier scenes. As the night progressed, she relaxed and warmed to the role.

Edhouse was superbly strident as the daughter, Chelsea, still trying to gain her father’s approval at the age of 42. She deftly handles the awakening realisation that she needs to let go of the past and communicate as an adult to both parents.

Dave Greig and Malcolm Walton were also strong in their supporting roles, although perhaps Walton could work a little more on his laugh.

All in all this play provides a chance to sit back and relax and enjoy a quiet evening’s entertainment in the Adelaide hills.

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ENCORE TO MURDER
Blackwood Players
Mayfair Theatre
Until March 19

Review by Andy Ahrens

A late start and an apology in advance for any technical mishaps was an unfortunate entrée to Blackwood Player’s change of venue into the Mayfair Theatre.

Sadly, when the curtain was raised the pace of the night didn’t rise with it. The biggest mystery about this murder was why director Allen Puttock didn’t inject some pace and intention into it. ‘Encore to Murder’ was largely unexciting and uninspired.

The play was saved by good casting and most actors at least seemed comfortable in their respective roles. David Lockwood as ‘Chief Inspector McEvoy’ provided a matured calmness in his role. Justin Kelly provided appropriate flair and flamboyance in the over-the-top role of ‘Roger St Ives’. His costume was suitably colourful.

Colleen McCormish as ‘Jennifer Rooney’ failed to show enough contrast and emotion in her role. This was particularly obvious in the scene where she received news about the death of her best friend. Toby Dobson as ‘Constable Larry Parker’ managed on a few occasions to provide the comedy the role was written to provide. Matthew Braid in the role of ‘David Loring’ missed some opportunities in what was otherwise a well balanced performance. Stuart Gowdy as ‘Jack Dunbar’ delivered his lines too slowly and appeared stuck on the couch for much of the performance.

The set was appropriate and paid good attention to detail despite the lighting casting a shadow across it. In a show of many sound effects, credit must go to the sound and props personnel who got them all working, on time, on opening night.

‘Encore to Murder’ was not ready for opening night. This was probably due to technical difficulties the Company had in moving to a new venue. It will certainly quicken its pace as the season progresses. It was just unfortunate that on opening night the most memorable aspect of the production was the pleasantness of the Front of House Staff.

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ONCE UPON A MATTRESS
Northern Light Theatre Company
Shedley Theatre
Until March 19

Review by Simon Slade

Based on Hans Christian Andersen's tale “The Princess and the Pea”, “Once Upon a Mattress” is far from challenging theatre. Rather, its success relies on being a vehicle for a cast of top stage personalities. Carol Burnett, in her Broadway debut, created the part of Princess Winnifred through her timing and sharp performance.

Sadly, Ms Burnett is not appearing in this production. Those cast members who do have comic timing and acting ability are dragged down by the rest. This show is just not snappy or tight, and as such, so much of the comedy is lost. Entrances and cues need to be pacier.

The times where this show does work, it works very well. Theresa Dolman, as Queen Aggravaine, is brilliant. Her comic incantation scene in Act II was a fine example of comic acting. Steve Rudd, as Sir Harry, plays the melodrama as though he was born to it. Hayley Horton plays his true love Lady Larken, and her realistic style seems mismatched with Rudd. With some characters being played for melodrama and others for realism, the direction seems to lack focus. As a result, many of the minor principals are working hard but the effect is not cohesive. Kira-Marie Laverty as Princess Winnifred, Kurtys Ramond as the Minstrel and Rohan Watts as the Jester are all worthy of mention.

The dance numbers look a little like an end of year concert and in a few numbers it seemed that better dancers had been placed towards the rear of the stage rather than in front. Once again, there is the feeling that it is just not tight enough. An exception to that was the ballet scene, where four of the younger performers get to showcase their considerable talent in a piece that was nicely executed.

The set design is good, and the costumes show a lot of work. Overall the sound was quite good, although there was a tendency for levels to be run too high. The lighting design was uninspiring but generally executed well.

Overall this production is not of the high standard that Northern Light has set with its recent productions.

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THE GOVERNMENT INSPECTOR
State Theatre Companyy
The Dunstan Playhouse
Until March 19

Review by Stephanie Johnson

“The Government Inspector” is a masterpiece of rich and vibrant colours with music, costumes and sets stylishly depicting opulent Russia in the 1800s.

Babushkas and gourd-like lanterns line the front of the stage and the set is designed with richly coloured folk art – a feast for the eyes.

The acting ensemble includes a colourful array of quirky characters in larger than life costumes.

The State Theatre Company’s production is a fun-filled farcical evening of impressive proportions and moments of sheer brilliance.

This is also a Russian comedy with a broad Australian influence. The combination is sometimes strangely discordant.

Small town Russian corrupt and incompetent officials hear that a government inspector is coming. They panic and jump to the wrong conclusion that a grandiose visitor is the inspector when in fact he is a hopeless gambler. Nevertheless the “inspector” is showered with praise and money until the truth is eventually revealed.

The scene is set with a strong Russian overtone and yet when the ensemble speaks the façade of Russia crumbles and modern-day Australia barges in. The use of Australian vernacular and topical Adelaide political references is a deliberate ploy. The result is sometimes clever, often humorous and yet sometimes jarring.

The musical ensemble provides some of the brilliant moments as members cleverly mask scene changes with parodies of modern songs such as “I Was Made for Loving You Baby” performed in true traditional Russian folk-song style. Salute music director Philip Griffin!

Director Adam Cook has brought together a strong ensemble of actors who all support each other well, never upstaging but rather providing an artistic frieze effect when not speaking. This adds to the artistry of the production, which is considerable.

Paul Blackwell yet again shines in this style of comedy with his buffoonish inspector Khlestakov while Don Barker pontificates splendidly as the mendacious Mayor.

Jacqy Phillips provides many a humorous moment as the Mayor’s wife as she struts the stage in a costume that is pure confectionary and an accent somewhat akin to Kath or Kim. Geoff Revel’s Osip the servant is suitably subservient and sly, a strong foil to his upper class counterparts.

Artistic Director Adam Cook has provided a sumptuous comedic feast as the first serving in the State Theatre Company’s 2005 subscription season. It is no wonder that, as he claims, this year’s subscriptions are soaring.

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LORD AUTHUR SAVILE’S CRIME
Therry Dramatic Society
Arts Theatre, 54 Angas Street
Until March 5

Review by Andy Ahrens

There is something adorable about farce, with its twists and turns, unexpected mishaps and witty dialogue. “Lord Arthur Savile’s Crime”, based on an Oscar Wilde story, has all this to offer but in the new century struggles to capture the modern theatre audience.

Therry’s performance lacked a degree of pace on opening night but as with most comedies should only take a performance or two in front of an audience to quicken up. It was noticeable that the cast began to bounce off the audience and ‘nail’ the comic moments as the play progressed.

The script was catchy enough to ensure that there were times of compelling action. It didn’t disappoint with its satire and comment on English politics and marriage.

Lord Arthur (Nicholas Ely) carried a huge weight on his young shoulders to carry the show. Ely was ably supported by his loyal butler Baines (Kerry Hailstone). The pair showed great dynamics between them as they concocted and plotted their way to produce the perfect murder.

Despite some wasted opportunities with their dialogue, their performances were mostly consistent and added much needed life to the show. Ely in particular grew in confidence and showed he had the potential to combine expression and voice in well executed comic timing.

All the cast did well to maintain their accents. Of the supporting cast, Lady Beauchamp (Penelope Hamilton-Smith) and the small role of Nellie (Kimberly Williams) were highlights. Sybil’s (Allison Scharber) performance was also a highlight but why look so grumpy in the curtain call? Smile – it’s theatre!

The set was beautiful and along with the lovely Victorian costumes captured the period well. Lord Arthur Savile’s Crime just managed to convince us that the best comedy still belongs on the stage.

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ADELAIDE COMEDY FESTIVAL
Rhino Room
www.adelaidecomedyfestival.com
Until 5 March

Reviews by Theresa Dolman & Nikki Gaertner

The Adelaide Comedy Festival features 15 different comedians playing two rooms at the Rhino Room until March 5.

The shows downstairs were introduced by ‘Adelaide’s Own Big Al’ (presumably not the same Big Al that we have borrowed from elsewhere for previous events). His material and timing was good, but if you go to more than one show you may hear the same banter several times.

JODIE J HILL

First ‘cab off the rank’ was the effervescent, and heavily pregnant, Jodie J Hill. She started with stories of her childhood antics and memories of the Royal Show, and kept the laughs coming with tales of her visits to New Zealand and Queensland, and a honey-moon that didn’t turn out quite as sweet as she envisaged. She also made good use of her bulging belly to encourage the well-deserved laughter, though the experiences of some of the mothers in the audience may have her wondering whether that delivery will be so amusing!

CHARLIE PICKERING

Charlie Pickering’s opening laughs came while he paced around the small stage, as if looking for the funniest spot---not that he needed to. His recollections of his travels to the eccentric fishing town of Pt Lincoln and the even more bizarre mining town of Kalgoorlie were hilarious. And he had everyone enthralled as he recounted his attempts to fill a Hotmail inbox. This very funny man also gave us his thoughts on his alternative career prospects, and on God’s financial arrangements. Pickering is on every day of the festival, and well worth seeing.

LAWRENCE LEUNG AND ANDREW MCCLELLAND

The last of the shows for the night was a PowerPoint presentation that explored Secret Societies Through The Ages. Though appearing for the first time as a duet, Leung and McClelland had an easy rapport, and bounced off each other like veterans. The style of their show was refreshingly different to the usual stand-up comedy. The presentation at times was reminiscent of Terry Gilliam (Monty Python) animations, and worked well to keep the laughs coming. I would tell you more, but I am sworn to secrecy. Tickets to this show will be selling fast.

These three shows were a wonderful start to the Adelaide Comedy Festival. The festival is only on until 5 March, and the venue is not huge, so book early for a good night of laughs. And dress with layers. This is not a fashion tip---the Rhino Room seems to have no control over their air-conditioning.

Shows upstairs were introduced by some local newcomers to stand up comedy who warmed up the crowd in anticipation of the main acts. On the Festival's opening night the upstairs sequence consisted of Dave Callan, Justin Hamilton and Adam Richard.

DAVE CALLAN

It’s unfortunate more people weren’t present at Dave Callan’s opening act at the Adelaide Comedy Festival. But performing to a less than capacity crowd didn’t appear to faze the well-known Irish Australian comedian as he delivered his take on Aussies, the Irish and numerous other topics that he chose to deliver his comic spin on.

Callan didn’t disappoint with many of his humour filled stories and kept the crowd laughing for the duration of his hour-long show. The only punch lines not receiving as much of a reaction were those that had already been worked into his stand-up act on Rove a few nights previous, so it seemed the majority of the crowd had tuned into this performance as well.

However, Callan certainly entertained, a particular highlight being the “Yoda-Karaoke” that finished the night, so try to make it along to the Rhino Room for the 7pm show upstairs this week to join in the fun.

JUSTIN HAMILTON

The crowd poured in to see Justin Hamilton perform his act on Friday night, illustrating that the JJJ announcer is certainly a favourite amongst the younger generation in Adelaide. Despite some technical difficulties resulting in the show beginning significantly later than advertised, Justin’s momentum appeared undisturbed as he travelled through his act at hundreds of miles per hour.

Hamilton’s energy filtered through the crowd and they were soon eating out of his hand as he recounted stories of his past performances, family members, friends, childhood and ex-girlfriends. Justin’s is one of those acts that takes every day experiences and shows them in a new and humorous light – because we’ve all been there too.

If opening night is any indication, this act is sure to be popular throughout the festival, so go and check out Justin any night aside from Wednesday 23/2 at the Rhino Room.

ADAM RICHARD

As he says himself, Adam will tear strips off anyone. And does he ever! With his extensive knowledge of the majority of Hollywood stars and other well known personalities (acquired through conducting personal interviews, being very “up” with the tabloids, and having seen practically any film and television series you could name – including the very, very bad ones), Adam picks everyone and everything to pieces to the great delight of the audience.

No-one is out of the firing line, not even himself, as he closely analyses the shapes and sizes, clothes, personalities and acting abilities of some well-known favourites.

This laugh-a-minute show was the definite winner of the night and a major crowd pleaser – so much so, that the crowd tried their best to keep him as long as possible as the act came to a close.

And watch out Hollywood, for Adam is going to the Oscars (as he casually dropped into a number of his stories), so he’ll be out to collect more dirt for his next show!

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INTO THE WOODS
Multiple Sclerosis Society of SA & NT Inc
Odeon Theatre, Norwood
Until 26 February

Review by Simon Slade

Fairy tales normally have broad-brush plots and one-dimensional characters. That’s not where you would normally expect to find composer and lyricist Stephen Sondheim. The Age newspaper once said that the works of Sondheim would still be performed when Andrew Lloyd-Webber was just a footnote in the history of musicals.

In “Into the Woods” Sondheim combines the tales of Cinderella, Jack and the Beanstalk, Rapunzel, Little Red Riding Hood and Snow White to create a complex story based on simple elements.

Directors David Lampard and Joshua Penley have succeeded in bringing out a number of the multiple dimensions in both the text and the characters. They have not lost the sense of fun present in Act I, and foreboding in Act II.

This is an ensemble piece, with no real chorus, and the performers work well together. Joshua Penley, as Jack, stands out. His acting and his singing were both good, and his comedy was fresh and funny. The scene where he farewells the cow was hilarious.

Trish Spence as the Witch gives a real sense of menacing, as opposed to just being a caricature. She is in fine voice and even manages the transformation scene well. David Lampard as both the Wolf and Cinderella’s Prince has some of the funniest moments in the whole show. He plays the comedy expertly and clearly loves it. Unfortunately, he ran into a couple of timing problems with songs, and was struggling at the extremes of his range.

On opening night a number of cast members struggled with lines. There were also problems with timing in a few musical numbers. The orchestra is not visible – the Odeon has no pit – and the cast is able to see the musical director on a video screen. The orchestra is quite tight under the musical direction of Ian Boath.

David Lampard and Paul Talbot’s set is a masterpiece of storybooks. Other pieces like the cow and the horse are created in the style of a pop-up book. Tim Ides scenic art is spot on. If only the lighting had done it justice! The focus was sloppy and cues were a problem on opening night.

Those sorts of problems took the edge off what could be a stunning production.

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MURDER BY MISADVENTURE
Tea Tree Players
Tea Tree Players' Theatre, Surrey Downs
Until February 26

Review by Rod Lewis

Edward Taylor's comedy thriller is reminiscent of Ira Levin's much funnier, clever play Deathtrap, but it has enough twists to satisfy any whodunit aficionado.

The story centres around television thriller writers Harold and Paul who face the end of their 10 year working relationship when the former decides to dissolve the partnership. Suddenly their plots are made real when blackmail and backstabbing transform into murderous intent.

Director John Sharpe has cast well and offers his fair share of scares, intrigue and wit well above what is scripted, with audience screams being the ultimate nod of success!

Mike Phillips making a good stab at Harold after assuming the role late in rehearsal, while Paul Zechner puts in a killer performance as drunken ideas man Paul Riggs. MMerri O'Neal Contino maintains a nicely controlled level of hysteria throughout the play as Harold's wife who is drawn into the conflict against her will.

Don Stuart's arresting performance as Inspector Egan adds an additional injection of humour late in the story, although each appearance of the character stalls the plot a little too long.

It is often better to have no accent than bad accents and the personal dialects of the actors do nothing to detract from the English script.

It is almost a given that a Tea Tree Players' set will be outstanding and their staging of a modern, highrise apartment for this season once again makes the tiny acting space look large. Attention to detail, including modern artwork, statuettes, barely seen balcony furniture, and some clever effects add up to an impressive visual feast.

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SHAKESPEARE'S VILLAINS
Andrew McKinnon Presentations in association with the State Theatre Company SA
Adelaide Festival Theatre
Until February 15

Review by Fran Edwards

Dressed all in black on a bare stage Steven Berkoff wove theatrical magic in his one-man production "Shakespeare's Villains". Exploring the Bard's villains he categorises them from the psychotic to the mediocre. He describes Iago as mediocre. His Iago is anything but mediocre. With no props and only his voice and body he recreates snippets from many works, always avoiding the obvious, making the audience rethink the definition of villain.

Berkoff's face is familiar from his film work, "A Clockwork Orange", "Octopussy" ,"Beverley Hills Cop" to mention a few and he is very familiar with the workings of villainy, not just those of Elizabethan times. Apart from performing Shakespeare, Berkoff has many directorial credits with the Bard's work and all this experience enhances his understanding and interpretation of the many characters he brings to visit. Both a consummate mime and mimic, Berkoff is sure of himself and his talent.

A strange mixture of performance and lecture, this production is fascinating. The highlights include some of the most well known pieces, in particular the interchange between Macbeth and Lady Macbeth (Berkoff delivers both characters) demonstrating vocally and physically the breadth of his talent. His Iago is nasty, his Shylock pitiless and his Richard III intelligent. He switches to Richard III with his back to the audience and the change is remarkable. He likens Coriolanus to President Clinton, they both faced the Senate but one kept his honour the other his life! He uses irony like a rapier to expose aspects of characters that we had not previously considered.

He failed to convince me of Hamlet as a villain and he himself questions the one villainous act (killing Polonius) as out of character. However Oberon gains new depth when looked at as a drug lord with pushers (Puck). The complex and difficult nature of the characters are belied by the ease with which he dons their persona.

In this production Berkoff , the enigma, shares with the audience. He shares his love and understanding of Shakespeare. He shares his dislike of critics and his insecurities. He shares his humour in wry and ironic asides. I thoroughly enjoyed sharing an evening with Steven Berkoff.

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24 HOUR SHOW – SOUTH PACIFIC
Northern Light Theatre Company
Shedley Theatre, Elizabeth

Summarised by Rod Lewis

Stage magic has never created an illusion so sweet as the surprising success of Northern Light Theatre Company's 24-hour show.

Over 100 people turned up at the Shedley Theatre in Elizabeth on February 4th to hear the 8pm announcement of what full-length musical the company had only 24-hours to produce.

The challenge was set late last year after a conversation with company members who had come across the idea at the Edinburgh Festival. The dare was made and the challenge accepted: The company would have to cast, direct and choreograph a full production in a day, with sets and costumes. They would have no forward knowledge of what play they were doing, and would work on a zero budget.

At 8pm the following night, the doors opened to let in the capacity audience. The quality of show was so great that it surpassed many an opening night.

The 61-strong cast knew most of their lines and ad-libbed beautifully when things went wrong. Those that had to use scripts disguised them nicely as props. Under the Musical Direction of Mark Horner, with Peter Johns, Katie Packer and Tammy McInnes assisting, the songs were all sung beautifully, accompanied by a highly professional band.

The varied dance routines displayed the talents of the unlisted choreographers (NB Choreographer was Kerrianne Sarti), while the costumes were worthy of any show. Damon Hill and Kristen Webb's set design was simple but complete. Directors Sue Pole and Andy Ahrens, along with all involved, are to be congratulated on meeting such an extreme challenge and coming up trumps. What was expected to be a comedic fiasco proved to be a quality night of musical theatre.

The overall coordination of the event was precise and effective with Ceri Hutton-Horner deserving the biggest accolades for her well thought out process that allowed for most eventualities.

Sweet dreams to all!

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TAPESTRY
Matt Byrne Media
Tapestry Winery & Holden Street Theatres
Until February 12

Review by Wendy Mildren

Devotees of Carole King will be delighted with Matt Byrne’s musical review “Tapestry”.

The “off-Broadway” presentation of the show was staged outdoors at Tapestry Winery at McLaren Vale to a most appreciative audience. The use of this venue was an inspired choice given the name of the production, however after the “try-out” the production will be moving to the Holden Street Theatres at Hindmarsh.

Matt Byrne has put together a talented group of three female and three male singers, who performed well and looked stylish with matching coloured handheld microphones to match their costumes. They were ably backed up by an equally talented group of musicians, under the direction of Mike Pitman.

The production is a review of the music written by Carole King presented in concert form. The selection of songs presented included well known favourites such as “You make me feel like a natural woman”, “You’ve got a friend”, “Up on the roof”, “Will you still love me tomorrow” and “Locomotion”, to name just a few.

Charissa Pitman had a strong voice and really belted out her solos. Christine Isemonger had a sweet voice but needed a little more volume. Robyn Woolvett had the ideal voice for Carole King’s music. Nick Brinkworth was great with a very good tuneful voice. Michael Williams had great stage personality but needed a bit more volume, and the last of the sextet, Matt, was a little flat in his solos but his voice blended well with the other singers in the ensemble work.

Obviously, in an outdoors situation there can be problems with volume and sightlines, however when this production moves to the Holden Street Theatres these problems should be eliminated.

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THE MIKADO
The Adelaide Festival Centre and Opera Australia
Festival Theatre
Until 29 January

Review by Simon Slade

When Gilbert and Sullivan wrote this piece, everything Japanese was fashionable in London, and therefore what better way to parody the more pompous and pretentious aspects of English society, than to do so in a Japanese setting.

The original production was therefore at great pains to be very "Japanese" in its attention to costumes, sets and movement.

All too often, productions tent to slavishly follow the D'Oyly Carte style, but happily that is not the case here.

This production goes further in that it parodies the combination of English ideas and Japanese style. The set features Union Jacks and Queen Victoria along with Japanese tea sets and vases. Equally the costumes at times combine aspects of both cultures. The "Gentlemen of Japan" are hilarious in the costumes that borrow from both cultures.

The local performers in this production are exceptional. Jessica Dean's Yum Yum is a delight supported beautifully by Johanna Allen as Pitti Sing and Eleanor Blythman as Peep Bo.

Timothy Sexton's Adelaide Art Orchestra was excellent, and the pace was never allowed to flag. Th orchestra was nicely balanced with the singers, but sometimes that was being achieved with a strained sound mix, particulary at the start of the show.

The show has been sold on the strength of its big name stars, and they did not disappoint. Anthony Warlow shows off not just his voice but his comic abilities as Ko Ko. Judi Connelli as Katisha is frightening in her romantic pursuit of the young Nanky Poo, played to a tee by David Hobson. Douglas McNicol's Poo Bah is a real highlight, conveying all the silly pomp and circumstance of the English aristocracy

It is a tradition, since the works of Gilbert and Sullivan went out of copyright, to play with the lyrics of Ko Ko's "List Song" and the lyrics here are wonderfully local. From Nick Xenophon to "The Ring Cycle", nothing is safe!

And the cast were enjoying themselves as much as the audience.

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JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
MS Society of SA & NT Inc
Her Majesty's Theatre
Until January 22

Review by Hayley Horton

Andrew Lloyd Webber and Tim Rice's first successful collaboration has been performed with a number of interpretations and visions.

While the MS Society have by no means created an original interpretation of this show (heavily borrowing from the video version), this production contains plenty of colour, pizzazz and star quality.

The biblical tale of Joseph brings a vast array of characters and well-known songs to the stage. Top-billed Tim Ferguson provides a show-stealing performance as the Elvis-esque Pharaoh and a welcomed original interpretation of the bad-tempered Potiphar. Ferguson has the ability to interact with the audience at just the right level to have them eating out of his palm.

Katie Underwood as the Narrator brings her pop-star qualities to the role although sometimes struggles with the demanding vocal range and often (whether as directed or her own interpretation) wanders from the storytelling nature of the role to a concert-like performance. Fortunately this does not detract too much from Underwood's overall appeal.

Yet again in an Adelaide show, the performers (in particular Underwood) are let down by abysmal sound operation making it difficult to hear the wordy lyrics telling the story. Late audio cues are inexcusable and the blend of sound levels desperately needs alteration with the band and booth singers often drowning out the performers on stage.

Thern Reynolds as Joseph is an asset to this production with an amazing voice that sends tingles down your spine. Reynolds' rendition of "Close Every Door" is a definite highlight of the show and coupled with classic looks and a faultless performance, he bears the weight of his demanding role with strength.

Equally impressive are the supporting amateur cast, who hopefully have benefited from performing with their celebrity counterparts. Joseph's 11 brothers ably provide comic slapstick and melodrama as well as entertaining renditions of the stand-out "One More Angel in Heaven" and "Those Canaan Days".

The children (en-mass and colorfully clad) give wonderfully angelic support, enhancing many of the more touching numbers with crisp and simplistic integration. Coupled with the ensemble cast who provide dynamic and visually pleasing performances, their dedication to this production is most evident.

It would be remiss not to mention the amazing costumes coordinated by Kate Anolack and Rosie Ferguson. Their attention to detail, colour coordination and style is of an immense standard, completing an appealing and entertaining show to be enjoyed by all the family.

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BOO!
Windmill Performing Arts & Mainstreet Theatre
Carrick Hill
Until January 21

Review by Stephanie Johnson

"Boo" is a disparate play - a spooky slapstick comedy for all the family.

It is fun and energetic, a moveable feast in the setting of the rambling Carrick Hill gardens.

The action starts as a father Gerard Rumble (Rory Walker) and his daughter Grace (Sarah John) join the picnicking throngs of the "Boo" family audience. An argument is sparked by the daughter's reluctance to attend a cultural event. This quickly escalates as Grace spots someone she knows from school, Laura Jacobson (Amber McMahon). Grace ducks for cover embarrassed at being seen outside of school at a kid's play. The fun begins.

Next enters a zany storyteller Frederick Von Castle (Hew Parham). Von Castle leads the audience, Pied Piper style, through the gardens stopping to tell his ghostly stories.

What ensues is a crazy concoction of different characters and scenarios and much uneven mayhem.

Catherine Fitzgerald's "Boo" isn't really scary, although it is rather ghoulish occasionally bordering on cartoon-like carnage and what some might consider rough language for youngsters.

It is a strange brew of slapstick comedy and ghostly stories that manages to mesmerize its young audience and elicit laughs from older ones.

All of the actors do well to capture a young audience's attention in an outdoor setting - right after a picnic dinner!

Amber McMahon stands-out as the nasty bully Laura while Sarah John hits just the right note as timid and belligerent Grace.

Rory Walker successfully juggles his alternating roles as father and various poltergeists. Hew Parham is delightfully ghoulish as Frederik von Castle.

The venue of the leafy lawns of Carrick Hill offering a picnic and play make this an ideal outing for a family. The child audience on opening night ranged from tiny tots to 12 year olds. All seemed to enjoy the action. "Spook-tastic" was the comment heard from one 10-year-old.

It is just a pity that the stately Carrick Hill home could not also be utilized as part of the eerie setting.

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