Next to Normal

Music by Tom Kitt

Book and Lyrics by Brian Yorkey

Directed by David Harrison

Music Direction by Julie Whiting

Brisbane Arts Theatre

Petrie Terrace

Brisbane

Season 23 February to 23 March. Bookings: www.artstheatre.com.au or (07) 3369 2344

Next to Normal is the story of Diana, a mother, who struggles with a worsening bipolar disorder and the effects that this illness and its management are having on her family. This rock musical also addressed the issues of grief, suicide, drug abuse, ethics in modern psychiatry all while trying to live a ‘normal’ suburban life.

This was the most confronting show I have ever seen, as Diana plummets to rock bottom after years of medical concoctions which have not helped either her bipolar, delusions, or depression.

Carly Skelton, who took out the Bille Brown award for Best Emerging Artist at the 2018 Matilda Awards, as Diana Goodman, was strong in her role and took the audience on her journey and perspective of how life was and had been for 17 years. Adam Bartlett as Dan Goodman, the husband, was equally strong in his role, counterbalancing and trying to manage his manic wife’s episodes, and keeping the family together. Both were accomplished vocalists and belted out the rock numbers. I particularly liked Skelton’s rendition of I Miss the Mountains.

As the musical begins, the audience is introduced to what seems like a normal suburban family of two parents and two teenagers, a boy and girl. Diana was packing the kids off to school – the boy (Gabe) is a typical teenage boy needing to be reminded of everything and the girl (Natalie) is described as a genius, head never out of a book. Let There Be Light and Just Another Day are the first two songs by Dan, Natalie, Diana and Gabe, finishing with Diana making sandwiches on the floor, Dan picking her up to go off to the doctor again, and Natalie rolling her eyes at Mum’s ‘episode’.

It was not until well into the first Act that it was revealed that Gabe is not actually real, but part of Diana’s delusions. This comes to a head at the dinner table where Natalie’s new boyfriend, (Henry) has been invited for dinner and Diana brings a birthday cake to the table. Natalie asks whose birthday was it, and it was revealed that there was an older brother who had died. This leads into the songs He’s Not Here (Dan), You Don’t Know (Diana) and I’m Alive (Gabe).

Hannah Kassulke (Natalie Goodman) and Christopher Batkin (Gabe Goodman) were great in their roles. Kassulke played the troubled teenager, who was spiralling out of control without realising, deciding to try her mother’s pills and goes on a bit of a bender. Thankfully she has Henry (Tristan Ham) to catch her when she falls, even though he is a bit of a stoner. Batkin reprises his role as Gabe in this production, having played it for another company, and wears him like a second skin. He was so convincing that it was hard to think of him as a ghost.

Isaac Tibbs (Doctor Madden) is Diana’s newest psychologist, in a long line of medical specialists that Diana has gone to over the years. Dr Madden, however, doesn’t believe in medication and suggests ECT after a number of therapy sessions. This little procedure brings with it, its own after-effects and literally rips the family apart. How Could I Ever Forget (Dan/Diana) was a poignant song that describes this low as Diana comes home from hospital, as was I’m Here sung by Gabe as he realised he was going to be wiped from memory.

The stage was well done with four levels, giving the illusion of a multi-storied house and was used to great effect. The criss-cross decoration on the back stage, which was lit by coloured lights, was suggestive to me of the synapses in the brain. The hard-hitting songs were brilliantly accompanied by an orchestra led by Julie Whiting.

I felt sad at the end of this musical. Psychiatry/psychology tries its best, but in the end, it is all a vast experiment playing with someone’s brain and attempting to get them back to ‘normal’. Diana bounces from lows to highs, flushes her pills down the loo, attempts suicide. Dan tries to hold it together, but he was also in need of assistance and has shut down that part of their life which has led to Diana’s illness. Natalie just wears the brunt of it all as stoically as a teenager can but doesn’t have the mechanisms to be able to deal with it. All this was due to grief and the accompanying guilt of two young parents that they couldn’t save their baby boy.

I did enjoy this production. I can see why it has won so many awards. The cast is stupendous having been ably directed by David Harrison, bringing to life the raw emotions that would be being experienced by those involved. Next to Normal will not be for everyone, but it was an exceptionally interesting way of presenting these issues which affect so many people, and perhaps starting a conversation.

Yalin Ozucelik as Aston (left) and Nicholas Papademetriou as Mac Davies. Photo by Sanja Vukelja.

The Caretaker

By Harold Pinter

A Throwing Shade Theatre Company in Association with Theatretrongroup Production

Directed by Alex Bryant-Smith and Nicholas Papademetriou

Riverside National Theatre of Parramatta

Cnr Market and Church Streets

Parramatta

Season: 21 – 23 February Bookings: https://riversideparramatta.com.au

The Caretaker, is a simple story. The narrative is uncomplicated, the characters are not complex, and we don’t have to decipher any secret meanings. The beauty of this play is in the dialogue and its ability to evoke emotional connections with the audience.

The setting is a drab London flat in 1960. Britain is still in a post-war period of austerity. Most people are grateful for family and work but The Caretaker focuses on three characters on the fringe of society. All are loners and each hang onto the hope that they might achieve their own modest goals one day.

The play opens with Aston entering the flat with a homeless man he has just befriended named Mac Davies. Aston is a gentle, caring soul and offers Mac a place to stay for the night. The room is full of papers and general ‘stuff’ as Aston is a habitual hoarder. He makes the room as comfortable as he can for Mac, offering him his own shoes and the spare bed. Aston is caring, unassuming and trusting.

The flat has all manner of objects, Aston’s favourite being an image of Buddha. There is a bucket hanging from the ceiling which collects water from the leaky roof. The night is difficult for both men as Aston is a light sleeper, Mac talks to himself c. An old gas stove rests next to Mac and he is paranoid that the fumes will kill him (despite being assured by Aston that it is not connected). Moreover, Mac “stinks the place out”. But Aston is sympathetic to Mac’s plight and ignores these minor issues.

The next morning, Aston leaves early and entrusts Mac with house keys, inviting him to remain so he can sort out his issues. It turns out that Mac uses an alias ‘Bernard Jenkins’ for everyday use but wants to get to Sidcup (a suburb of London) to get official papers to clarify his proper name. He then feels his life will take a turn for the better. Aston even gives him money for the bus fare.

In contrast to the trusting nature of Aston, Mac immediately starts snooping around the flat when Aston leaves. Whilst attempting to open a locked suitcase, Aston’s brother Mick arrives and naturally wants to know what’s going on. After a brief struggle, Mac is subdued and tells Mick how Aston invited him to stay.

Mick is confident and appears self-assured. He runs his own business and has a ‘van’. He is a bit of a larrikin and knows that his role is to keep an eye on his brother.

As the days pass, Mac becomes part of the furniture and Aston talks about the possibility of him becoming the caretaker of the building. Mac is averse to anything involving work but nonetheless is willing to consider. Coincidentally, Mick also raises this possibility with Mac about the caretaker role but ups the ante by making it more lucrative.

A poignant moment in the play is Aston’s monologue. With excellent lighting (Sophie Pekbilimli) and direction in full swing, Aston explains his problematic past.

Each character tells us about their goal. Aston wants to build a shed in the backyard. Mac’s goal is to formalise his name. He has the bus fare to Sidcup, but does he go?

Mick is the best equipped to reach his goal. His vivid description for the conversion of the attic rooms into his ‘penthouse’ are splendid. However, his short temper and unwanted obligation to look out for his brother are limits on his ability. Frustration with his own life explodes as he uncaringly smashes Aston’s beloved Buddha.

Although the general theme is tragedy, there are some comic moments as well. The struggle over the suitcase between Aston, Mac and Mick is slapstick-style;

The cast is outstanding. Yalin Ozucelik as Aston, Nicholas Papademetriou as Mac Davies and Alex Bryant-Smith as Mick have nailed their characters with ease. Their expressions, timing and gestures truly reflect the nature of their persona. Occasionally, volume dipped for those of us sitting ‘up in the gods’.

Under the co-direction of Alex and Nicholas the creative team excelled. The set (Stephanie Howe) was terrific with the cardboard box wall explaining all-too-well the level of Aston’s hoarding; costumes (Stephanie again) captured the times brilliantly and the sound designer (Glenn Braithwaite) made us laugh with a well-timed ‘drip’ into the bucket.

I can strongly recommend The Caretaker. It is a touching and concise exploration of loneliness, disconnection and social phobia. But don’t worry, you’ll leave feeling well-entertained!

Hsiao-Ling Tang (front), Courtney Stewart and Michelle Law (centre) Photo by: Stephan Henry. Deanne Scott's after-show shots follow the review.

Single, Asian, Female

By Michelle Law

Directed by Claire Christian

La Boite Theatre Company

The Roundhouse

Kelvin Grove

Brisbane

Season: 16 February - 9 March. Duration: two hours plus interval. Bookings: 07 3007 8600 or www.laboite.com

The second time around this is a tighter, funnier and a more entertaining than the original production. I did not check my watch once during the performance. I also laughed a lot and was well-drawn into the tensions and drama as they emerged. In fact I had a great night out at the theatre thanks to good script and some fine acting.

The play follows a family of three Asian women who happen to be single who run and live in a Chinese Restaurant, The Golden Phoenix in Nambour on Queensland’s Sunshine Coast. Pearl (Hsiao-Liang Tang), is a single mum who has just finalised her divorce. Hers was a wonderful performance.

Her daughters Zoe the eldest, has moved back to Nambour after the loss of her apartment in Brisbane. She is coping with men, sex, fears of falling pregnant and life as an artist.

The play’s author, Michelle Law, stepped in to play the role of Zoe and proved she was an excellent interpreter of her own work. It is not an easy job to act in your own play. I had to do it a couple of time myself and fully understand the difficulties.

Zoe’s sister Mei, played once again by Courtney Stewart, is Aussie born and in her last year of high school, dealing with bullying, peer pressure inadvertent racism, (“where are you from?” “I was born in Nambour.” “But where were you first?”).

Once again I thoroughly enjoyed Courtney Stewart’s frustrated angry, spoiled and agro, rebellious teen. Her performance was faultless and she raged, cried and shrunk into misery with ease.

The show opened in a Chinese restaurant, complete with tables, occupied by members of the audience, and red lanterns. Pearl told us about life as a single mum, the advice from Chinese relatives, the problems with her ex-husband and the broke into a karaoke version of I Will Survive, It was a great opening to the show and it set the scene for the fun to come. ,

We first see Mei as she casts out her “Asian” possessions; her Hello Kitty pyjama pants, a pink puffy jacket, jelly shoes and a huge head mask. She is sick of being Asian and just wants to fit in.

The family dynamic is at the heart of the play and hopes, fears and ghosts of the past play a huge and impressive, and often moving, part of the action.

There are three more actors in the show – Emily Burton, who is always value for money, plays Mei’s friend Katie, and Tatum Mottin as the phone clicking, blonde, image-obsessed Lana; a truly unpleasant creature who knows exactly when to stick a divisive boot in. She is a character very familiar to many parents.

Patrick Jhanur is Paul, the token male; he is one of Zoe’s one-night stands who is also an immigration lawyer, which comes in handy later in the piece. His was an extremely accomplished performance as a 26-year-old Tinder tracker who really is searching for love. I enjoyed his performance.

In the opening of Act Two, the scene is set three months earlier and Zoe takes us through some of her Tinder date experiences, which, thanks to some hilarious male impersonations from Emily Burton and Tatum Mottin had us all laughing loudly as we recognised the types.

The play covers a huge amount of social comment including racism, sex, abortion, family violence and the F word is thrown about quite a bit, but none of it is soap box spouting and it all fits into the broad brush strokes of the play.

Get to see it before it shoots off to Melbourne.

Cast and crew

Emily Burton chats with Eric Scott

Above: La Boite Artistic Director Todd MacDonald and right playwright Michelle Law.

Emily Burton (left) with playwright MerlynnTong

It was all systems go before, during and after the 2018 Matilda Awards at the Brisbane Powerhouse, where artistic director Kris Stewart punctuated the award presentations with performances by Queensland entertainers including Michael Tuahine , from Song Lines who opened the show, Casus Circus, soprano Irena Lysiuk and the Dan Venz dancers backed by a great six-piece band.

Luke Kennedy sang You're the Voice from his one man tribute the John Farnham, From Johnny to Jack with an uncanny resemblance of the young John. Judy Hainsworth and Lewis Jones compered the show and ended with a riotous satirical version of What About Me?

The Matilda Awards also presented its inaugural Emerging Female Leader Award to Brisbane-based lighting designer Christine Felmingham. Christine, who has worked across theatre, dance and live performance, received a $1000 bursary from the Brisbane Women Arts Leadership Group and access to a 12-month program of mentoring.

Below are some of the shots taken by Deanne Scott during and after the special, sold out night.

Right: Full moon over the Powerhouse.

Below: Michael Tuahine who opened the show

Flipside Circus and Metro Arts won Best Circus or Physical Theatre award.

Award presenter Steve Tandy (right) with David Berthold

Below: Emerging Female Leader Award to Brisbane-based lighting designer Christine Felmingham with Best Loghting Design winner David Walters. Right: Best male lead actor Paul Bishop wit co-star Elise Greig.

Future D. Fidel (centre) who wrote The Prize Fighter, joint winner with The Longest Minute of the Best Mainstage Production with its stars Gideon (left) and Pacharo Mzembe

Compere and award winner Judy Hainsworth with Eric Scott

Luke Kennedy wowing the audience with You're the Voice.

The audience that filled the theatre.

Above: Paul Bishop with co-star Elise Greig in Poison, Below: Noni Hazlehurst in Mother.

It was winners’ night at the Brisbane Powerhouse for the sell-out 2018 Matilda Awards on Wednesday night. One of them, Judy Hainsworth, was compering the show along with Lewis Jones. She was up there to collect the trophy for herself and her cohorts from Babushka who were nominated in two categories, Best design/composition and Best Independent Production. They won the gong for sound design.

shake&stir’sA Christmas Carol had eight nominations and picked up a couple of awards.

The award for Best Mainstage Production was a tie between The Prize Fighter and TheLongest Minute and Debase Theatre Company was awarded the Gold Matilda.

Top honours for actors in a lead role went to Paul Bishop for his role in Poison and Noni Hazlehurst in her one –woman performance in Mother. The Best Emerging artist was Carly Skelton for her performance in The Hatpin from. Oz Theatricals.

All the winners and nominees are listed below. Look out tomorrow for all the after party photos.

MATILDA AWARDS 2018 NOMINEES AND WINNERS

Best Video Design

Craig and Karl (vision), Pete Foley (animation) Privacy Settings Craig Wilkinson, I’ve Been Meaning to Ask You

Craig Wilkinson, A Christmas Carol

Counterpilot, Crunch Time

WINNER: Craig Wilkinson, A Christmas Carol

Best Lighting Design

Jason Glenwright,The Longest Minute,Jute, Debase and Queensland Theatre

Ben Hughes,Good Muslim Boy,Queensland Theatre and Malthouse

David Walters, Prize Fighter,La Boite and Brisbane Festival

David Walters, Nearer The Gods, Queensland Theatre Jason Glenwright, A Christmas Carol, shake and stir

WINNER: David Walters, Nearer the Gods

Best Sound Design/Composition

Phil Slade, Good Muslim Boy,Queensland Theatre and Malthouse

Babushka, Happily Ever After, Babushka

Lisa Cheney, The Owl and the Pussycat, Little Match Chris Perren and Salliana Campbell, A Christmas Carol, shake and stir

WINNER: Babushka, Happily Ever After

Best Costume Design

Penny Challen, Happily Ever After, Babushka

Josh McIntosh, A Christmas Carol, shake and stir Penny Challen, The Owl and the Pussycat, Diana Eden, Luisa

Diana Eden, Luisa Bannah, Gayle MacGregor, Alice in Wonderland,

Brisbane Powerhouse, Boyd and Rapid Fire

WINNER: Penny Challen ,The Owl and the Pussycat

Best Set Design

Sarah Winter, The Sound of a Finished Kiss Now Look,Here and Electric Moon

Anna Straker, Umami Mermaids, Anna Straker and Brisbane Festival

Bill Haycock, Prize Fighter,La Boite and Brisbane Festival

Josh McIntosh, A Christmas Carol, shake and stir

WINNER: Josh McIntosh, A Christmas Carol

Best Director

Catarina Hebbard, Poison, Elise Greig and Metro Arts

Bridget Boyle, Natano Fa’anana, The Longest Minute, Queensland Theatre

Tim Hill and Bridget Boyle, We Live Here, Flipside and Metro Arts

Spring Awakening, Underground Broadway

Daniel Evans, I’ve Been Meaning to Ask You, The Good Room

WINNER: Natano Fa’anana and Bridget Boyle, We Live Here

Best Female Actor in a Supporting Role

Joey Kohnke, Yielding,THAT Production Co. and Metro Arts

Andrea Moor, Hedda,Queensland Theatre

Kimi Tsukakoshi, Nearer the Gods, Queensland Theatre

Carly Skelton,The Hatpin,Oz Theatricals

WINNER: Andrea Moor, Hedda

Best Male Actor in a Supporting Role

Jeremy Ambrum, The Longest Minute,Jute, Debase, Queensland Theatre

Gideon Mzembe, Prize Fighter, La Boite

Bryan Proberts, A Christmas Carol, shake and stir Jackson McGovern, The Owl and the Pussycat, Little Match Productions

WINNER: Jackson McGovern, The Owl and the Pussycat

Best Female Actor in a Leading Role

Noni Hazlehurst, Mother, QPAC

Jessica Veurman, Yielding, THAT Production Co. and Metro Arts Sarah Murr, The Owl and the Pussycat, Little Match Chenoa Deemal, The Longest Minute, Jute, Debase and Queensland Theatre

WINNER: Noni Hazlehurst, Mother

Best Male Actor in a Leading Role

Pacharo Mzembe, Prize Fighter,La Boite

Eugene Gilfedder, A Christmas Carol,shake and stir

Paul Bishop, Poison,Elise Greig and Metro Arts

Jason Klarwein, Hedda,Queensland Theatre

WINNER: Paul Bishop, Poison

Bille Brown Award – Best Emerging Artist

Sarah Whalen, BARE, Understudy Productions

Ruby Clark, Body of work, Metro Arts

Wightman and Stark, Love Letters to Fuckbois, Metro Arts

Carly Skelton, The Hatpin, Oz Theatricals

WINNER: Carly Skelton

Best Circus or Physical Theatre Work

Aura, Circa

We Live Here, Flipside and Metro Arts

Chasing Smoke, Casus

Invisible Things,Vulcana

WINNER: We Live Here, Flipside and Metro Arts

Best Independent Production

I’ve Been Meaning to Ask You, The Good Room The Sound of a Finished Kiss, Now Look Here and Electric Moon We Live Here, Flipside and Metro Arts

Happily Ever After, Babushka

WINNER: The Sound of a Finished Kiss, Now Look Here and Electric Moon

Best Musical or Cabaret

Happily Ever After, Babushka

Twelfth Night, Queensland Theatre

Spring Awakening, Underground Broadway

The Sound of a Finished Kiss, Now Look Here and Electric Moon

WINNER: The Sound of a Finished Kiss, Now Look Here and Electric Moon

Best Mainstage Production

Hedda, Queensland Theatre

The Longest Minute,Jute, Debase and Queensland Theatre

Prize Fighter, La Boite

A Christmas Carol, shake and stir Nearer the Gods, Queensland Theatre

WINNER: TIE: Prize Fighter (La Boite) and The Longest Minute (Jute, Debase and QT)

The Lord Mayor’s Award for Best New Australian Work

Nearer the Gods, David Williamson

Crunch Time Counterpilot

The Sound of a Finished Kiss, Kate Wild

Yielding,Emma Workman

WINNER: Crunch Time, Counterpilot

Gold Matilda and Emerging Female Arts Leader Award Debase Theatre Company

Above: Jackson Mc Govern, Peter Kowitz and Thomas Larkin: Right: Angie Millikin and Peter Kowitz

Death of a Salesman

By Arthur Miller

Directed by Jason Klarwein

Queensland Theatre

Playhouse Theatre

Queensland Cultural Centre

South Bank

Brisbane

This was a mighty production of a mighty play with a virtuoso performance from Peter Kowitz as Willy Loman, the salesman in question. He was on stage for almost the more than two hours of the production and held the audience enthralled by his performance as he slid from time-zone to time-zone without even a change of costume.

His mastery of the role was total as we saw him go from super-salesman with sons he dreamed would eclipse his own life and bring glory to the family to the brain ravaged, desperate old man who is sliding into dementia.

Jason Klarwein’s direction was impeccable as he brought his cast of nine through a highly technical and original production. With mood lighting and sound there was never any doubt as to which time zone we were in and the pace was tight and energised. The set was one of the most imaginative I have seen for a while, so full credit goes to Richard Roberts.

A quote I dislike a lot is “It is as relevant today as it was when it was written”. Nine times out of ten the play is not, but this one, which is 70 years old, is remarkable in reflecting life today.

Willy is old and tired after a life on the road, but is cast out by an uncaring man who inherited the business. No one cares that he can’t pay his mortgage or insurance and, even at his stage of life, still owes time payments on household goods. He lives in a world where millionaires abound, living standards are dropping and the working man is being ground down. There is an abounding feeling of hopelessness in Willy and his family as conflict between him and his two sons, Happy and Biff, rage in the eternal battle between past and future.

Son Biff, who had been roaming the country restlessly since his expected career as pro footballer foundered, had returned home to resume is conflict with his father, a conflict for a long time unexplained. This is another powerful and explosive performance this time from Thomas Larkin. Some scenes between Biff and Willy were gut wrenching. Happy, the younger son has feckless outlook on life and spends his time winning favours from adoring women. Jackson McGovern made a terrific foil for Thomas Larkin.

In the middle of the battle is Linda Loman, the staunchly loyal and stoic wife. She is convincingly played by Angie Millican. And Kevin Hides, looking every inch a “Big Daddy” supplied the ghostly presence of Uncle Ben, the one big success story of the family and Willy’s hero.

Charles Allen, Sarah Ogden, Ilia Swindella and Gemma Willing played the many minor but important roles to add to the drama. The set, lighting and sound were faultless in a production that had power and glory. The power was on the stage and the glory on the page. It was a memorable night in the theatre that received a well-earned standing ovation.

Richard Roberts' set

Brielle Flynn as Emilie and Romy Bartz as Agatha. Photo by Clare Hawley

The Moors

By Jen Silverman

Directed by Kate Gaul

A Siren Theatre Company and Seymour Centre production

The Seymour Centre

Cnr of City Road and Cleveland Street

Chippendale

Season: 6 February – 1 March. Bookingswww.seymourcentre.com or 02 9351 7940

Somewhere in a stately manor in the English Moors are the remains of its one-time owner, Master Branwell, buried alive behind a brick wall by his conniving sister Agatha. She kept him alive by removing a brick and placing watery gruel in the hole so that one day he could father a child with the newly arrived governess Emilie.

Sounds like a plan? Well, The Moors (by Jen Silverman) is a very watchable plan, supplemented with themes of erotic sexual intrigue, deception, desire, frustration and loneliness.

The play is set in the 1800’s and built around Agatha (Romy Bartz), the stern and intimidating stewardess of the house. We don’t see her brother locked behind the wall, but she needs him in order to create an heir who she will be able to raise and control as her own. Hence the need for a young and fertile governess. Emilie (Brielle Flynn) has been corresponding with the master of the manor (or so she thinks) and has been lured, in part, to the job by the deeply passionate writing of the master.

Upon arrival, Emilie soon realises that there is no master or child for her to care for, only Agatha’s younger sister Huldey (Enya Daly), the half-mad maid Marjory (Diana Popovska) and a downtrodden mastiff dog (Thomas Campbell). Huldey is a romantic and an avid diary writer. Marjory is a dotty split-personality housemaid who changes identity depending on whether she is in the scullery or the parlour. She is a Klinger-like character from MASH, using her mad behaviour as a way of coping with her dreary existence.

Emilie confronts Agatha about the false circumstances which made her accept the job offer. They discuss the contents of the letters and Agatha reveals that it was her that wrote them, not her brother. They must have been great letters because both Emilie and Agatha are aroused and become instant lovers. Agatha shares her plan with Emilie about fathering the master’s child and they make a deal for Emilie to get “two rooms in perpetuity” for having the baby.

In a seemingly unnecessary but interesting sub-plot, the mastiff talks to the audience about his loneliness and depression. He befriends an injured moor-hen (Alex Francis) and, over the course of a few meetings in the garden, the mastiff wins her confidence and she is no longer fearful that he might devour her. Given that the mastiff is the only male character, the comparison with domestic violence and male mental health issues is obvious.

The Moors is a most intriguing play. On one hand it is darkly comical on the surface. The character of Marjory is very funny as she goes about her house duties with her crazy demeanour. Also, Huldey’s daily diary entries are chuckle-worthy in their simplicity. On the other hand, as a statement of feminist empowerment it loses some impact. Masculinity is unfortunately portrayed either in shackles (the master behind the wall) or as something that can’t be trusted.

The cast and crew, under the masterful direction of Kate Gaul are very good. Set design, lighting and costumes created a comfortable atmosphere. All actions took place on a round, revolving stage which gave greater dimension to the story. A huge, grand chandelier overhung the set, whilst simple props did not distract.

The musical theme by Nate Edmondson was especially apt and haunting. Strong and loud, I was reminded of eerie feelings from old Vincent Price horror movies.

The Moors is an entirely enthralling theatrical experience which I can thoroughly recommend.

Right: Emma Pask and Tom Burlinson. Photo by Gail Phillips

Swing That Music

Concert Hall

Queensland Performing Arts Centre

South Bank

Brisbane

Concert reviewed on February 11

“It don't mean a thing if it ain’t got that swing” wrote Irving Mills to a Duke Ellington tune back in 1931 and vocalists Tom Burlinson and Emma Pask took the advice to heart and swung like crazy to the Ed Wilson All-star Big band before a capacity house at the QPAC Concert Hall.

The two of them and the big, brassy band put on a terrific show that took me back a few years to the days of dance halls and live, unamplified music. I suspect there would be more than a few who reminisced about Cloudland!

The two sets ran for an hour each an included 22 songs as solos, duets and instrumentals with classics from the 1930s, 40s and 50s. It was quality sounds from quality performers. But it was not all top tunes from the classic eras of swing. Ed Wilson arranged big band orchestrations forHey Jude, Mack the Knife and Wonderful World as well as a couple of originals.

And the audience loved it; feet were tapping to the beat for the whole two hours of music.

Burlinson, is a smooth accomplished performer who channels Frank Sinatra without copying his phrasing and looked totally at home before an adoring audience.

Emma Pask is a jazz singer with an amazing tone and range as she slotted her style into many different eras. Together they blended beautifully in classic duets like Unforgettable, What a Wonderful World, ‘Tain’tWhat You Do (It’s The Way ThatYou Do It), Swing That Music and particularly in L.O.V.E by Bert Kaempfert with lyrics by Milt Gabler, which as a hit for Nat King Cole.

There was humour too: Ed Wilson took his trombone to centre stage, announced that he always got a standing ovation for his next piece and promptly led his band into an amazing version of Hey Jude! He got his standing ovation as did the whole show at the end of the night.

The second half was the winner for me. It opened with a rousing In the Mood from the band and was followed an upbeat I Remember You from Tom Burlinson, that sounded nothing like the Frank Ifield hit, and a beautiful rendering of Georgia and a feisty On the Sunny Side of the Street from Emma Pask.

Burlinson’s poignant version of Mr Bo Jangles won me over too. The show title comes from a toe-tapping number written by Louis Armstrong that embodied swing as it conjured up visions of jitterbugging youngsters. It was a great piece to end each act.

Burlinson and Pask were to sign CDs after the show. Judging by the line-up of people they were going to be there for a long time.

Ray and Gloria swenson

Love Letters

By A.R Gurney

Brisbane Arts Theatre

Petrie terrace

Brisbane

Season runs until February 14. Bookings: www.artstheatre.com.au/loveletters

Warming tender hearts across Brisbane’s city centre, Love Letters is a feel-good story you’ll fall head over heels for.

Presented by Brisbane Arts Theatre, for a limited season, this tragi-comedy is sweet, funny and a guaranteed easy night out. Following the story of two lovers, who share a lifetime of experiences, audiences bounced between 50-years of friendship via handwritten love letters. The touching romance dived through highs and lows of any relationship and audiences were reminded how easy love can bloom through old-fashioned pen and paper correspondence.

The simple and twisting tale has received much industry recognition, including a Pulitzer Prize nomination. Many have flocked to see Love Letters performed around the world, as its staging is simple, and the play easily connects in any theatre or space.

At Brisbane Arts Theatre, the same rang true. There were no fancy lighting plots, no heavy direction, no exuberant set pieces and no crazy costuming. It was essentially two humans, sharing their love story and delivering the spoken word artfully.

Speaking directly on matters from the heart, the actors took turns to flick through notes guised as letters (and set up in a script-like book). They sat either side, at tables which loosely reflected the different tastes between characters. Jests, stories and quirks were then ping-ponged between the two, and the audience looked-on as the wordy tennis match played out before them.

The content within each letter helped formulate imaginative storylines and realisations. It was easy to envisage the contrasting lives, as stories swept through the intrigued atmosphere to dance around in individual minds. It was captivating, and the emotional tales had the audience onboard a relationship rollercoaster.

Delivering the compelling truths was real-life married couple, Gloria Swenson and Ray Swenson. Unsurprisingly, their chemistry was undeniable. Although the two never actually conversed face to face during the show, their comfortable presence was evident, and allowed them to enrich two-dimensional characters. Words naturally translated with audiences, and at times we caught cheeky glimpses between the pair.

In a character sense, Gloria perfected the wild and carefree artist, Melissa and contrastingly, Ray was sophisticated as the intelligent and wealthy, Andrew. Together, they were yin and yang, and a duo you wanted to see more of.

Love Letters explored the meaning behind love and the variety of forms it comes in – first love, physical attraction, marriage, heartbreak and tragedy. Although an interval existed in the middle of the show, it really wasn’t needed. The audience had clearly embraced its simplicity and needed not to have a break from it. The play is short enough to stand as its own one-act.

Overall, Love Letters reminded patrons how easy love was in a time of no video calling or social networking. The play was romantic, yielding and fits perfectly in February where Valentine’s Day looms.

Brisbane Arts Theatre has presented a classic that will be enjoyed by many. It’s endearing, touching and extraordinarily special (especially for the artists playing the main characters).

The team that kept us sane - Bali, Francis and Allie. Right: James Ross our entertainer. Bottom right: working on he huge jigsaw puzzle with Trudy and Allie.

After my wife and I had such a great time on the Ghan train from Adelaide to Alice Springs a couple of years ago we thought we would go the whole hog and take the Indian Pacific from Perth to Sydney – in Platinum class – which meant a full sized room with double bed and Bollinger galore.

The four-day three night journey wasn’t cheap, more than $7,000 for the pair of us, but the trip, offered adventure, comfort and lots of sightseeing at places like Kalgoorlie, Broken Hill’s Pricilla Queen of the desert Pub and show, The Adelaide Oval plus lots of off-train meals and the Blue Mountains.

Trouble was it didn’t happen like that.

It was all good when we set off rom Perth, but 580 km down the track to Kalgoorlie we hit a bush fire. We had to wait until eventually we were told that we could not proceed had to return to Perth.

So we had to spend the night on board at the Southern Cross siding. There I found sleeping a problem as the noise of the air conditioning compressors produced a very loud intermittent roaring noise.

The next day we were told that passengers would collect an 88 percent refund if they cancelled and a 33 percent discount if they stayed on the train and travelled as far as Adelaide. I thought that was a very good offer, after all the bushfire was no fault of Great Southern Rail. Later we discovered that the people who had booked for Adelaide-Sydney received 100 percent refund AND 25 percent discount if they rebooked! Made our deal look a lot less attractive

We opted for the rescheduled trip from Perth to Adelaide and that was where the organisation really let us down, although we were taken care of initially. First we told we were to spend the night in Perth Station. The train was to be sent for a service and we would be able to board at 11pm.

We were taken to an excellent and extremely expensive dinner in the Crown Casino private dining room, but only to order two courses because of the time element. However after leaving the casino at 10.30 we were taken on a nightmare coach drive around a darkened Perth and eventually got onto the train at 1.30 am. That was bad enough but to be awakened at 7 am to be told it was breakfast time was as stupid an event as I can recall in my travel experiences. No thought was given to sleep deprived guests. This set the tone then for a journey meant to be fun into an exhausting experience that was close to nightmare.

To add to this the “excursion” in Kalgoorlie proved to be a disaster. It was a fifteen minute amateur show in an airless, theatrette where they could not be bothered to turn on the aircon in soaring temperatures. The water jugs too ran out quickly so there was nothing to drink unless you bought it from the shop.

A highlight of the tour was billed as a visit to see the Superpit, which unfortunately was closed because of the weather. That was fair enough, but there were people who joined the excursion purely to see this. The problem was that we weren’t told of the closure until we were on the bus!

After the presentation it was straight into the gift shop and back on to the bus for another pointless two-hour tour in the darkness. Sleep once again was difficult because of the speed the train was travelling and the next stop was an early morning arrival at Rawlinna, which also proved to be a disaster. The brochure promised a “dramatic sunrise” but the sun was well and truly up when the train arrived. The stop at Cook was pretty pointless too for passengers but we knew it was a stop to top up the water supply. It seemed that once again, that management was more interested in getting the train to Adelaide as quickly as possible than the discomfort of passengers when we set off for the final leg of the trip.

After realising we were going to miss booked flights we had been advised that the train would arrive in Adelaide between 10-11 am and to re-book for an afternoon flight, which we did. Then, with a speeding train that turned the “relaxed rocking” of the train into a shuddering ride that made sleep impossible - and we had to hold onto our drinking glasses several times to prevent them from falling off the table – we arrived at 7.45 am. This meant that unless we could change flights yet again meant a long, long wait at the airport. Why the hurry? I guess that management instruction came before the comfort of guests. We were taken to the airport by comfortable limousine and, with the help of a very understanding Virgin Australia staff we managed to get our flights changed a second time without penalty.

I was disappointed to miss the final leg where it seems, all the good things happen between Adelaide and Sydney.

On the train itself the magnificent cabin team helped us cope. Bali, Allie and Francis, plus James the musician were superb, entertaining and efficient at all times. It is a team well worth nurturing.

All in all, the trip, even with the refund, was poor value for money. It is not a trip I would recommend to anyone.

Deanne Scott in the ghost town and Eric Scott examines the big wheels at Kalgoorlie

Left to right: Colleen (Virginia Leaver), James (David Law), Meg (Michelle Macwhirter), Angela (Kate McNair), Naomi (Susannah Kwan), Lucy (Kate Learmonth)

Secret Bridesmaids’ Business

By Elizabeth Colema

Directed by Amy-Louise Anderson

Gold Coast Little Theatre

21A Scarborough St

Southport

Runs until February 23. Bookings 5532 2096 https://www.gclt.com.au/booking.php

Elizabeth Coleman’sSecret Bridesmaids’ Business has been a popular slice of theatrical chick-lit since it first premiered on the Australia stage back in 1999.

This simple scenario, beautifully executed with a bitter-sweet twist and oodles of comic charm, never feels out of time or place. The characters are familiar and enduring and the narrative premise the sort to inspire a 1001 long running conversations and debates.

There’s a straightforward set – a hotel room – and six characters in search of a simple solution to a complicated age-old question as Meg (Michelle Macwhirter) prepares for her nuptials the following day.

The 30-something career girl, who is both beautiful and smart, has found her Mr. Right, James (David Law), an equally smart and handsome high flying lawyer.

She invites her two best friends in all the world, Lucy (Kate Learmonth) and Angela (Kate McNair), to be her bridesmaids.

The three young women get together in the hotel for a ‘hens night’ celebration while Meg’s overbearing wedding mad mum flits around micro-managing all the big day details.

The girls are all in a good mood but straight talker Lucy is about to drop a bombshell as she believes dishy James has already been playing away with the seductive Naomi Bartlett (Susannah Kwan).

When Lucy quietly lets Angela know she’s just waiting for confirmation of the infidelity before spilling the beans, the more conservative friend is horrified.

Much of the play’s first half focuses on a conspiratorial hissy-fit between Lucy and Angela, while mum Colleen gets into a lather about ribbons and bows and calling cards.

Meanwhile, Meg wanders through all the drama in a state of euphoria, encouraging her best buddies to share a couple of champers and play giddy girly games like truth or dare.

The bride and bridesmaids – Michelle Macwhirter, Kate McNair and Kate Learmonth – are terrific as fun loving girlfriends, while Virginia Leaver’s over-the-top mum steals a lion’s share of the laughs.

This makes for a fun first half but the drama gets a little darker in the second act with the arrival of groom James and the wicked Naomi.

What happens next is the whole thrust of the establishing scenes but for those who haven’t seen SBB – as it’s now known – I intend to leave this review hanging at the end of act one.

Age is Just a number 3R: Andy (Adam Hellier), Kathy (Naomi Thompson) and Hayley (Francesca Spear)

Strictly Amateur: Colin (Damien Moran) dances with Cynthia (Cassia Rosenstraus-Krojs) with Jack (Jake Goodall) at the back with crutches.

Javeenbah Platform Festival

Featuring one act plays Age is just a Number 3R by Kellie Silver (directed by Rianna Hartney-Smith) and Strictly Amateur by Sherree Halliwell (directed by Kaela Gray). Plus various musical and dance acts.

Javeenbah Theatre Company

Cnr Stevens & Ferry Streets,

Nerang

Queensland

Runs until February 16. Bookings: Tel 55960 300

The Javeenbah Theatre Company’s first outing for the 2019 season takes the form of a wide ranging community arts feast, Platform Festival, with two one-act plays at its hub.

In addition to Kellie Silver’sAge is Just a Number 3R and Strictly Amateur by Sherree Halliwell, the company is hosting a swag of talent featuring dance, music and the visual arts.

The company has both its traditional indoor and newly set-up outdoor stage for the talent to work from and it makes for a pleasant roving evening.

The entertainment package begins with local singer-songwriters and musicians strutting their, often original, stuff on the outside while guests can seat and enjoy a drink from the J-Bah (it’s among the cheapest on the Gold Coast).

Then on opening night – the bill of fare does vary slightly over three weekends - everyone wandered into the theatre to catch the Helensvale Calisthenic Dance Academy and then poet Natalie Stephenson’s Mine to Endure performed alongside Javeenbah actor Naomi Thompson.

The dance routine with a gymnastic flair was breathtaking while the two-person performance piece, about a loving relationship between sisters, was touching.

The first play, Age is Just a Number3R, by Kellie Silver (who has already had two other works staged at Javeenbah, Writer’s Block and Obsession), is a comedy drama about dating in midlife.

Kathy (Naomi Thompson) is a 44-year-old divorcee whose daughter Hayley (Francesca Spear) is horrified when she discovers that mum is dating young men through an on-line site.

The action is this comedy-drama heats up when Kathy meets 30-something schoolteacher Andy (Adam Hellier) and the twosome take a real shine to each other.

The set-up is made more complicated when ex-hubby Gary (Wayne Hickson) turns up on the scene on the pretext that he wants to see more of his daughter Hayley.

Adam Hellier and Naomi Thompson as the lovers are particular good in their roles bringing a lot of personality and even chemistry to the work.

Meanwhile, Strictly Amateur is a slightly absurdist off-the-wall comedy about a group of seven actor struggling to stage a revue inspired by Strictly Ballroom within 24-hours.

The strong line-of character actor, who all bring something to the table, includes Gillian Crow, Megan Frener, Jake Goodall, Corinne Meunier, Faith Moore-Carter and Cassia Rosenstraus-Krojs.

Other musical talent on board for the festival including Keys and Chords (Francesca Spear and Tom Ruming), Summer Parkins, The Lion and the Tamer (Faith Moore-Carter and Jake Goodall), Lydia Stephenson, Helensvale Vocalescence Chorus, the Delightful Quartet and the Nerang high School Drumline Band.

There’s also a static display of visual art works from the Royal Queensland Art Society. The festival continues for two more weekends. The two plays will feature in all programs, while the music acts may be varied.

Right: Blake Appelqvist in the role of Dorian Gray

Dorian Gray Naked- A new musical

Libretto by Melvyn Morrow

Music by Dion Condack

A Popinjay Production

Directed By Melvyn Morrow

Limelight on Oxford

231 Oxford Street

Darlinghurst

Season: 30 January – 16 February . Bookings: www.limelightonoxford.com.au

If I’m asked what Dorian Gray Naked is about, the answer is simple: its about Dorian Gray, naked! Not only physically, but naked to the soul, where the factors that govern choices about morality, ethics and virtues are examined and explored.

At the world premiere of Dorian Gray Naked we saw the character famously manufactured in the late nineteenth century completely stripped down and a self-cross-examination takes place before his creator Oscar Wilde.

The writer and director Melvyn Morrow has put together a deep explanation of who Dorian Gray is, using witty and penetrating language in script and lyric form. With music by Dion Condack and choreography by Nathan Mark Wright, the story is largely a monologue with good tempo and lively actions.

This show is not an adaptation of Oscar Wilde’s novel. However, some knowledge of the novel’s storyline is helpful to get the most enjoyment out of it. So, for those not familiar with the story, the character of Dorian Gray is a man chosen to sit for a portrait because of his charming good looks. He becomes seduced by the pursuit of pleasure and self-indulgence, even to the detriment and destruction of people around him. He makes a wish that his portrait should age whilst he remains beautiful and young. As time passes, his amoral life choices are reflected in the portrait, which becomes hideous and disgusting. To reverse this process, he tries to destroy the portrait, resulting in his own death and the return to beauty of the portrait.

Dorian Gray Naked begins with Dorian engaging with the audience. We are his confidante as he explains his life to us. He is a mixture of regret and contrition but paradoxically he enjoys the slow strip tease he performs. On stage is a gentleman’s clothes butler which personifies his creator Oscar Wilde.

Sometimes his demeanour is sorrowful signalling that his soul is not completely lost. And then he bounces back, boasting of his many sexual conquests, including a dalliance with an archbishop. Ah, the old Dorian always returns.

One of the themes in the play is the interconnection between art and life. Another is the struggle between the creator and the created. “A portrait done with feeling is of the artist, not of the sitter” says Dorian, implying that the grotesque imagery of his portrait is really a reflection of Oscar Wilde, the creator.

This intelligent soliloquy really belongs to Blake Appelqvist in the role of Dorian Gray. With a commanding stage presence, cheeky expressions and mannerisms, and an appealing singing voice, Blake really breathes personality into Dorian.

Also crucial to the success of this production is Dion Condack. He is ever-present on stage with his piano and is the alter-ego for Dorian to reinforce his warped view of life. Dion has composed 20 songs throughout the play, mostly sung by Blake in his own unmistakable style. Notable were Party, Fathers and Sons and Forever.

There is plenty of colour in the show, with often elaborate, 19th century garments, both before and after disrobing! It is never dull in its 75-minute duration, with a cabaret-style feel, ideal for the intimate Limelight on Oxford theatre setting.

In this age of Facebook, Twitter and Instagram, Dorian Gray Naked is a timely opportunity to reflect on the rise of narcissism and the peril which may await those seeking unbridled pleasure. It is a clever piece of theatre, professionally orchestrated. Be quick to see!

Life on a rolling ship

Peter Pan Goes Wrong

By Henry Lewis, Jonathan Sayer, and Henry Shields adapted from J.M. Barry’s novel

Directed by Chris Bean

Lunchbox Theatrical Productions, Kenny Wax Ltd and Stage Presence in Association with David Atkins Enterprises, ABA and the mischief Company

Queensland Conservatorium Theatre

South Bank

Brisbane

Season: until February 3. Bookings: Qtix 136 246. Duration: 2 hours including interval.

Well, Peter Pan certainly did go wrong and never has so wrong been so right. It all added up to two hours of breathtaking laughter, madcap physical clowning and unbelievably good comic timing. With a cast of 12 ( I think), numerous sets on a fast moving revolve and costume changes galore – Annie Twilloil played four roles, some of them in the same scene – it was utter mayhem, especially Act Two on Captain Hook’s ship and an underwater scene that was so bad that it brought tears of laughter to the eyes.

This is the second production from the “Cornley Polytechnic Drama Society” I have seen, the first was The Play That Goes Wrong. This was also an hilarious production, but focussed mainly on props falling down around the actors. Peter Pan was more sophisticated and the comedy more diverse and character based.

It was technically brilliant with interruptions from open mics back stage which left the actors speechless with amazing work in pauses, which were timed to the split second for laughs.

The fun started as the audience entered with the “stage crew” wandering around looking for tools while harassing a willing clientele and continued non-stop. There was never a laughter free second as a brilliant cast wowed the house with its frantic comedy.

The director, Chris Bean was in the action almost permanently. He introduced the show, played a prat-falling George Darling and a Basil Fawlty of a Captain Hook, who often took umbrage with the audience as they were urged to turn the play into a pantomime. There was a fair bit of frolic with the audience.

Annie Twilloil’s quad roles included a fussy Mary Darling and the maid Lisa at the Darling home and then and electrically lit Tinkerbelle and captive Tiger Lily.’

Jonathan Harris played an accident prone Peter Pan with some very brave aerial manoeuvres (look out for his equally brave understudy). One of my favourite was Dennis Tyde who played John Darling and Mr Smee the pirate, all the time wearing a head set to someone who fed him his lines. His panic when working without his headset was a special highlight in a night filled with highlight. Max Bennett also had me laughing in his dual roles Michael Darling and the unloved Crocodile.

The best professional overacting of the night came from Sandra Wilkinson as the ever-eager-to-please Wendy Darling while Robert Grove milked it as Nana the dog and Starkey the mumbling pirate. Slapstick was his game. To add to the fun Lucy Grove spent most of her time in the role of lost boy Tootles in a wheel chair after a set "malfunction!"

To top, if off Jay Laga’aia took the very movable chair as the narrator – it’s not really a spoiler but yes he does sing he Playschool song.

It’s on for such a short season, but it is well worth booking for a funny night out. I had a ball.

The Old Fashioned Production Company Presents promises to transport audiences to the Off Broadway Jazz clubs of New York, where a unique night of world class music, food and celebration awaits.

Set in the Doo-Bop Bar, in Brisbane’s Mary Street, "Presents" will feature the music of artists from Broadway and beyond, Australia's finest performers will pay tribute to the great composers of American Music. The first show is on March 9.

Hosted by International performer/writer Bradley McCaw, (right) and musically directed by Steve Russell, one of Australia’s finest jazz pianists and accompanists, and a third world class guest - in Brisbane - for a one night only performance.

Tickets are strictly limited so follow OLDFPC on FB, Insta, or visit www.oldfpc.com to get news and updates before anyone else!

After sell out seasons at various festivals around the world, Bradley McCaw can't wait to bring NYC to Brisbane;

"In 2013, when a show of mine was playing on 42nd street, I visited Birdland Jazz Club and watched the band simmer away with some of the stars of Broadway on their night off... It was joyous, unexpected and a tremendously good time. The music was good. The food was incredible! And the atmosphere was something that only those present could talk about and remember. I can't wait to work with OLDFPC and Doo Bop on this"

Bradley McCaw is an Australian performer, composer, playwright, actor and orchestrator. His one man show, Cabaret: The Complete Unauthorised Biography won the 2012 International Cabaret Showcase touring Internationally featuring a sold-out performance on Broadway’s 42nd street. He was awarded the 2011 Young Emerging Playwrights Award by the Queensland Theatre Company, his work was the first musical ever to be awarded this prize.

His plays The Game and Everybody's Doin' It are published by Australian Script Centre. The Game has been presented all around Australia.

His CD release's include: Highlights From Becoming Bill, and Cabaret: The Complete Unauthorised Biography. Highlights From The Oasis will be released in 2019.

The Doo-Bop Bar is Brisbane’s most prolific live music venue, with more than 50 Jazz, Funk, Soul and Blues events every month.

Ther Basement Bar opens from 6.30pm Tuesday to Saturday. Come for dinner and a show, and stay on for great late acts and hosted jam sessions.

Bookings www.doo-bop.com.au

Above: the cast. Right: Emma-Kate Reynolds as Dianne De Poiters and Aoife Kissane as Irma Leopold

Picnic at Hanging Rock

By Laura Annawyn Shamas

Based on the book by Joan Lindsay

Directed by Claire Argente

Brisbane Arts Theatre

Petrie terrace

Brisbane

Reviewed on January 25, Season ends February 16. Duration: 150 minutes including a 20 minute interval. Bookings: www.artstheatre.com.au or (07) 3369 2344

Back in 2013 I saw an impressive production of Picnic at Hanging Rock at the Arts Theatre which had been adapted by the late Carol Burns, so it was a bit surprising to see the current production had been adapted by an American playwright.

Nevertheless, the production still held the eeriness of the original book with all its mystery and suspense. Debut director Claire Argente did an excellent job managing a cast of 22 and Frances Foo’s period costumes were evocative of the early 20th century.

In the plot, Miranda is a popular student at a girls’ boarding school. One Valentine's Day, Miss Appleyard, the school's strict headmistress treats the girls to a picnic field trip to the popular volcanic formation called Hanging Rock.

Despite being warned of the dangers of wandering into the mountain, Miranda and several other girls venture off. It's not until the end of the day that the faculty realizes the girls and one of the teachers have disappeared.

But, as Claire Argente mentions in her notes, the play is not just the story of the missing girls, but of the aftermath effects on many people. Some of the girls pine for the much loved Miranda, English aristocrat The Hon Michael Fitzhubert becomes obsessed by the mystery, but most all Miss Appleyard suffers from gossip, falling attendance, staff resignations and the stigma of the event occurring at her school on her watch.

Sandra Harman played this role of a strong, opinionated woman descending into depression brought on by her own mental torture and she played it well.

Vital to the action are the schoolgirls and here they provided excellent entertainment. They all added individual foibles, insecurities and humour to their roles and even more importantly were all audible in some difficult conversation pieces. Eleanor Patch was excellent as the hard-done by Sara Waybourne and Krya Stratford-George was enigmatic enough as Miranda to be remembered well after she disappeared. But all the girls were impressive, in fact all the cast created believable characters

Emma-Kate Reynolds played the very Parisienne Dianne De Poiters well with the right amount of sophistication and some very decorative costumes.

I was not too enamoured by the set - an abstract angular design for the rock itself. It did not dominate enough. I would have preferred to see something more natural and menacing. I have been there and it is indeed a scary place where no birds sing!

After fast moving act one, the play faltered a little in the second act with many scene changes and a few lost lines as energy levels dropped. And the director chose what, for me, is an unsatisfactory finale. The disappeared characters appeared silently on stage and there was no curtain call. With so many short scenes, the audience wasn’t quite sure what had happened and were not able to show their appreciation to the actors, which was a pity for they deserved applause.

Sweet Charity

By Neil Simon

Directed by Kris Stewart and Maureen Bowra

Produced by Alex Woodward

Brisbane Powerhouse

New Farm

Season: until February 10. Bookings:

Dreamy…Dazzling…Delightful. These are just some of the words that spring to mind when contemplating the Opening Night of Understudy Productions’ Sweet Charity starring Brisbane’s own Naomi Price (right).

What the classic film lacked in pizazz and spunk was made up for in this scintillating production. With a nod to Bob Fosse’s timeless choreography and vision, the cast and creative team whirled their way through the story, sometimes literally – and with ample amounts of pony tail twirling.

Whilst there was no Shirley McLain nor Ricardo Montalbán gracing our presence last night, the cast fell nothing short of all star in quality. Following the hapless story of Charity Hope Valentine in her quest for real love, the audience is taken for a ride through the various, and sometimes nefarious, streets of New York. From the Fandango Ballroom where Charity works as a Dance Hall Hostess, to the YMCA with a dodgy elevator, to a questionable spot under a Manhattan bridge, all spoke volumes of the soul of a City, brimming with life and colourful characters.

Speaking of colourful characters, some of the actors who really stood out and shone were Andy Cook, as the dashing and romantic film star Vittorio Vidal, Stephen Hirst as the initially endearing Oscar Lindquist, Elliot Baker as both “The Führer” Herman and Daddy Brubeck and of course, Naomi Price in the titular role. What each of these leads brought to Sweet Charity was great energy, charisma, skill and an absolute love for what they do as performers. Having said this, every single one of the cast of Sweet Charity stepped up and made the experience as enjoyable as possible.

This production really shone as an example of what the theatre industry is capable of. Not only to bring joy, laughter and hope, but also to teach about life’s most hard-hitting lessons.

With bitter sweet final moments, Sweet Charity brought a true and realistic message home: that “without love, life would have no purpose.” When the final moments of the show were over, it left a wonderful feeling of hope that nestled quietly within the heart of the audience.

Without the exceptional story-telling of the cast of Sweet Charity this feeling would not have happened. It was little wonder that the majority of the audience gave a standing ovation.

So, for those wanting to sweeten their night out, look no further than Sweet Charity.

Above: Aileen Huynh as Celia and Claudia Barrie as Vicki . Below: Jeremy Waters as Rohan and Ben Wood as Rolly. Photos: Sophie Withers

The Big Time

By David Williamson

Directed by Mark Kilmurry

An Ensemble Theatre Production

Ensemble Theatre

78 McDougall street

Kirribilli

Season: 18 January – 16 March. Bookings: (02) 9929 0644 or https://boxoffice.ensemble.com.au

Most theatre plays attempt to examine the human dimension in some way: our cleverness, our generosity, our frailties or perhaps our evil side. It’s rare though to get an insider view of the characters and inner workings within the entertainment industry itself.

David Williamson’s The Big Time succeeds brilliantly in lifting the lid on what goes on, who the main players are, and how the lure of power and success can break the sincere and proper intentions of hard-working people.

This play has all the ingredients of a riveting good yarn: jealousy, envy, hatred, revenge, power, pride and ambition. Furthermore, the setting is Sydney so us locals can take comfort knowing that the industry is in the hands of fine, upstanding citizens!

The story centres around two friends, Vicki Fielding (Claudia Barrie) and Celia Constanti (Aileen Huynh), both professional actors whose careers went on separate paths after finishing at NIDA many years ago. Vicki feels she has come off second best. She defends her choice of becoming a ‘theatrical actor’, choosing quality roles in smaller independent theatres with the accompanying lowly paid lifestyle.

Celia, on the other hand, always seemed to shine and secured lucrative roles in more popular media outlets. Vicki comments that Celia is wasting her talents in ‘soapies’, whereas Celia prides her achievement of longevity in a ‘Continuing Drama Series’. And she has the Logie to prove it.

The relationship seems friendly at first, but Vicki is Machiavellian in her plans to bring Celia down a few pegs. She hints that she may have a chance to direct a major Australian feature film and she wants Celia as the leading lady opposite Hugh Jackman. Now the seed is planted!

After discussing this with her partner Rohan Black (Jeremy Waters), Celia (along with her agent Nellie Browne (Zoe Carides)), become ecstatic at the prospect of getting this role. And why not? Vicki has basically guaranteed that Celia has got the role, subject to a screen test, and no one else is being considered. Or are they?

In the background, Rohan is a scriptwriter and is very conscious that he is living off the success of Celia. He had accolades 15 years ago but has since struggled finding regular, meaningful opportunities. Finally, he has a chance to pitch a new idea to Nate Macklin (Matt Minto), the powerful Producer with links to Netflix, who can make or break people’s careers.

We also meet Rolly Pierce (Ben Wood), the old school chum of Rohan. He’s going through a bad patch with a marriage breakdown, job losses and a pregnant, unattached daughter. He’s making ends meet by driving Uber for $600 a week. Rohan is disinterested and fails to see that Rolly holds his future in his hands. You see, Rolly overheard a conversation on a train which hatched the concept in his mind for a television series. He has written his ideas on bits of scrappy paper and asked Rohan to review it for him and see if the idea has traction. But will Rohan read it?

The plot thickens, it twists and turns and there are plenty of dramatic and comedic moments to enjoy.

David Williamson has created a fabulous script filled with local colloquialisms and imagery. This is the fodder for Director Mark Kilmurry to build upon. His creative team give the audience an inviting and versatile set. A simple bench, partition, coffee table and chairs are fixtures as we move from café to gym to lobby to kitchen to bar and to lounge room. Seamless transitions help to provide a good pace for this show.

All the characters are superbly cast. One wonders if they are acting at all, given the convincing authenticity of everyone. Their zeal, timing and commanding stage presence made them realistic and likable to the audience.

The play is very much Sydney. The characters speak as we do. As Rohan tries to win back Celia, he says “we like the same movies, we laugh at the same jokes and we hate the same people”. Goodness with a touch of nastiness.

There are numerous references to suburban locations and our obsession with everything ‘real estate’: Celia has harbour views and two investment properties, whilst Rolly’s wife left him for the real estate agent that sold them their home. And Bunnings is an unwitting hero as they later provide the perfect employment scenario for struggling Rolly.

I also note that Williamson has not used sexual favours in the plot as a means for female characters to secure career advancement. This helps to make The Big Time a truly contemporary, 21st century Australian masterpiece.

This Ensemble Theatre production of The Big Time is first class. A thoroughly enjoyable experience to the very last sentence.

Above: The view from our room. Below: the lobby from floor 8

The Club buffet. Photos by Deanne Scott

My wife and I had a lot of fun at the great Hyatt Regency Hotel on Adelaide Parade in Perth. It has every sort of amenity a traveller needs and the friendliest and most accommodating staff I have encountered anywhere.

It is a five star hotel and earned every one of the stars. It has an impressive lobby and a unique style of building with huge domed transparent roof.

We were booked into a Club room – 811- which was a good size with a very comfortable bed and heaps of wardrobe space, quality toiletries, shower but no tub. We were booked in for four nights with a five day break and then back for two more night.

On our first night we were kept awake by constant but random flushing of the toilet. An engineer was called and he told us: “It’s a phantom flush; there is nothing we can do about it.”

I suggested that maybe Moaning Myrtle from Hogwarts might have moved in. The cry was taken up and the room renamed “The Harry Potter Room”. With good humour we were immediately moved to another room and assured that 811 would remain guest free until the phantom had been flushed out.

There is free Wi-Fi and parking and a magnificent heated outdoor pool. Unfortunately the weather was too cool for a Queenslander to take to swimming. There is also a full-size tennis court, meeting facilities and an excellent fitness centre that my wife used regularly. There is also a special laundry deal for long distance travellers, a full laundry bag filled to the brim washed and folded for $25. This was very handy on our return to the hotel after five nights on board the MS Astor!

Top marks too for the club room, with views over the Swan River and an always attentive and friendly staff on duty for continental breakfast and drinks and cold buffet from 6-8 pm each night.

We tried a full breakfast in the Cafe (a special section is reserved for Club members), which proved to be as good as any five star

breakfast bar.

It’s a very handy spot for transport; the bus stop right outside the hotel sees free buses to the city centre pass by every few minutes we found this to be a real boon in a strange city.

If we return to Perth at any time, the Hyatt would be our first choice for accommodation. She’s a classy lady staffed by lovely people.

The pool and below our room.

Right: Michelle Lim Davidson, Nakkiah Lui and Anthony Taufa by Rene Vaile

Award winning playwright Nakkiah Lui returns to STC with How to Rule the World - a new political satire, opening at the Drama Theatre, Sydney Opera House in February.

Following the smash hit success of Lui’s Black is the New White and Blackie Blackie Brown, How to Rule the World is a fast-paced comedy that tackles the Australian myths of multiculturalism and a ‘fair go’. STC Associate Director Paige Rattray has assembled a stellar cast which includes Nakkiah Lui, Michelle Lim Davidson, Anthony Taufa, Rhys Muldoon, Vanessa Downing, Gareth Davies and Hamish Michael for this hilarious tale of sex, lies and the balance of power.

An Aboriginal, an Asian and an Islander walk into a bar ... It’s not a racist joke but the catalyst for this stinging satire. Vic (Nakkiah Lui), Zaza (Michelle Lim Davidson) and Chris (Anthony Taufa) are political insiders hustling their way to the top. They want influence, change, and to take over Parliament House. They leave that bar drunk on power, with a plan to take over the world. First step: find a likeable white guy (Hamish Michael) to use as a political puppet. What could possibly go wrong?

“How to Rule the World has enabled us to examine our current power structures through humour,” Director Paige Rattray says. “And that has enabled a fearlessness which has in turn enabled an incredibly deep examination into who is allowed to function and succeed in that system.”

For Nakkiah Lui, it was a play she had to write.

“I couldn’t not write How To Rule The World,” Lui says. “The world and rhetoric of how we talk about our community has changed drastically in the last few years, equally, lines of division feel like they’ve become bigger. I wanted to be able to talk to those who are different to me and that felt more and more impossible. I wrote this play because I wanted to talk to people and urgently want to at least ask the questions I had on mind.”

“I wanted to explore the theme of Aboriginal politics as being inclusive to other people who hold different values to the mainstream myth of Australia. I wanted to ask the question, what does Aboriginal equality in the future mean for everyone in this country?”

“I wanted to try and understand how politics gets away with being so removed from the people and how democracy can be used for individual power as opposed to the progress of the majority. So often in Australia, political satire is the realm of White men: Whiteness gets to be invisible. The rest of us non-Whites are just politics. I wanted to satirise politics and powerful, rich white men.”

While How to Rule the World is a political satire, Lui says it is above all a play about resistance and duty, which she wants to give audiences a sense of hope.

“One of theatres greatest attributes is that it is inviting, it welcomes thought and when it tells a story it embraces an audience into a space,” Lui says. “I want the audience to feel like they are able to talk about politics and the world without our difference of opinion. I hope that How to Rule the World makes people feel valued, that enables and provokes people to engage in change. I hope it encourages them to look at those next to them and to believe in their hope."

How to Rule the World, By Nakkiah Lui. 11 Feb - 30 Mar. Opening Night: Fri 15th Feb 2019. Drama Theatre, Sydney Opera House. Box Office: 02 9250 1777. www.sydneytheatre.com.au

Jayden Muir as Alison. Photo by Emma Wright.

Review - Trainspotting – The Play

Based on the novel by Irvine Welsh

Adapted by Harry Gibson

Directed by Simon Thomson

A Gradco.Studio Production

Limelight on Oxford

231 Oxford Street Darlinghurst

Season: 16 January – 26 January. Bookings: www.limelightonoxford.com.au

Sometimes a play comes along that makes you feel sick to the stomach. The subject matter, the storyline, the characters, the graphic imagery, whatever it is, leaves you feeling empty and unsatisfied. Well, Trainspotting – The Play was one such experience for me.

However, I am sure that the writer of Trainspotting (novel), Irvine Welsh and Harry Gibson (play) intended for me to feel that way. And so, it can be regarded as a success.

The story is set in a very dreary Edinburgh in the 1980’s, but it could equally apply in any major western city in the world. It revolves around a group of twenty-somethings who exist in the dark, sub-culture world of drugs, unemployment, punk music, sex, violence and pubs.

The main character is Mark Renton (Adam Golledge), heroin addict who ultimately wants to get clean. It seems like his whole existence is an endless cycle of sleep, see supplier, go to pub, inject by self or with friends, trip, have random sex then sleep…. (repeat).

Surrounded by like-minded individuals, they encourage and help each other to stay in this ever-spiralling downwards lifestyle. Alison (Jayden Muir) is expecting a baby, fathered by ‘Sick Boy’ (Shaw Cameron). Tommy (Bruno Attanasio), an athlete, becomes curious about heroin and gets drawn into this seedy world from which he can’t escape. Begbie (Matthew Vautin) is a loose cannon. A large man with a quick wit and a short temper, he’s violent to anyone who gets in his way. And Johnny ‘Spud’ Swan (Cassius Russell), Renton’s friend, user, pusher, pimp, who just maybe, has a softer side.

The other characters of June (Julie Bettens), Lizzie (Stephanie Marsden) and Mrs Renton (Jenae O’Connor) complete the cast.

Director Simon Thomson has done a brilliant job in assembling a talented cast and crew to portray this depressing tale. The characterisations are very real and capture the ugly side of human existence perfectly. I’m sure some of the actors had to extend past their personal comfort zones, a tribute to good directorship.

The grotty sets, drab costumes, Scottish accents and dim lighting effects were powerful tools to augment the bleak theme.

There were some noteworthy scenes for their creativity in disgust: the used bedsheet over the girlfriend’s father’s head; the worst toilet in Scotland and; the restaurant scene with a disgruntled waitress (lesson: best not to complain about food or service until you are leaving). For more detail, you must go and see for yourself.

Trainspotting – The Play is ‘in-yer-face’ theatre. It is not something I would take my mother (or avid train spotter) to see. There are quite confronting scenes which made me wince. The violence and sex scenes are repulsive. But most of all, the story is sad, depressing and full of despair. There are no uplifting moments I can remember. That said, there were others in the audience who found amusement in scenes where I felt sick.

Despite all that, Trainspotting – The Play is also the best anti-drug message I have had the misfortune to sit through in a long time. It is a real, powerful portrayal of life at the bottom. A glimpse of what hell might be like.

Trainspotting – The Play is the most unentertaining ‘must see’ theatre performance I can recommend in a long time, if you’re prepared. Just choose life!

Photograph: Brett Boardman

Counting And Cracking

By S Shakthidharan

Directed By Eamon Flack

Produced by Belvoir and Co-Curious

Sydney Town Hall

George Street

Sydney

Season: 11 January – 2 February Box Office: +61 (2) 9699 3444 or mail@belvoir.com.au

To call this magnificent production of Counting and Cracking anything other than an epic would be an understatement. It certainly is grand in scale in all production criteria: the script is real, emotional and humorous; the story is exciting and dramatic; the set is vast and versatile; the staging is creative and vivid; the acting is authentic, genuine and warm; the music is appropriate and cultural and the audience enjoyment level is…5/5.

Written by S Shakthidharan, Counting and Cracking has many storylines threaded together. The main fictional characters are Australian-born Siddhartha (Shiv Palekar) and his mother Radha (Older – Nadie Kammallaweera / Younger – Vaishnavi Suryaprakash).

Radha fled to Australia during civil unrest in Sri Lanka, thinking her husband Thirru (Older – Antonythasan Jesuthasan / Younger – Jay Emmanuel) was killed and gave birth to their son soon after arriving in Sydney.

Twenty-one years have passed, and mother and son have comfortably settled into their new Australian lifestyle in Pendle Hill in Sydney’s western suburbs. Siddhartha loves the beach culture and therefore spends a lot of time at coastal Coogee. We follow his developing relationship with local indigenous lass Lily (Rarriwuy Hick). They are a pair of young and proud Australians with youthful zeal. They have different heritage backgrounds but are commonly joined by similar dreamtime stories from the stars.

As their love develops, an unexpected event occurs in far-away Sri Lanka which will influence their lives forever. It turns out that Thirru has been a political prisoner all this time and now, through the efforts of journalist Hasanga (Nicholas Brown), he is finally freed. The sadistic jailor Vinsanda (Monroe Reimers) is not happy, but with the passing of time, has developed a new respect for Thirru. Everyone has a reason for what they think and do, as Hasanga explains: “in 2001, my parents were at a service commemorating our army war heroes. A Tamil Tiger blew himself up in the middle of it. I couldn’t properly identify my mother and father until a policeman helped me reconnect some of their body parts”.

And then Thirru makes the life-changing phone call to his wife Radha! A voice from the distant past, from a man she thought was dead, who now wants to reunite in Australia.

No synopsis of the show can do it justice. There are many characters, all crucial to the story. Director Eamon Flack transports the audience from place to place and time to time. To understand the present, we must see the past. Scenes are changed rapidly from settings like the banks of the Georges River to Columbo (2004, 1977, 1957) to Coogee and Pendle Hill. Creativity abounds throughout the show in scenes such as the spreading of ashes in Georges River and body surfing at Coogee. The solid gates at the rear of the set weave into the recurring themes of understanding (open) and repression (closed).

There is brilliant use of electronics, percussion instruments and natural elements to create sound effects. Compliments to the producers for creating a pop-up theatre inside the majestic Sydney Town Hall.

This is a show for all Australians. There is plenty of material (3 ½ hours with 2 intervals). Don’t expect bronzed stereotypes in the mould of Chips Rafferty, Jack Thompson or Barry Mackenzie. This is a modern Australia with a contemporary outlook.

Although centred around Australians of Sri Lankan background, Counting and Cracking is a superb gift to the ongoing story of Australia’s diversity in modern immigration and multi-cultural richness. It could be the story of anyone of us or of a descendant. Somewhere, somehow, someone in your family took a bold step to reach our shores. Give some time to see Counting and Cracking and our nation will be a better place.

Well done to all involved. I look forward to seeing a motion picture version one day! Counting and Cracking at the Adelaide Festival Mar 2 - Mar 9, Ridley Centre, Adelaide Showgrounds, Goodwood Road, Wayville, Adelaide.$45-$89+b.f.Tickets & Info: https://www.adelaidefestival.com.au/events/counting-and-cracking/

Fool for Love

By Sam Shepard

A Patina Production

Directed by Julie Baz

Limelight on Oxford, Darlinghurst

Season runs until January 12

As we all take our seats at the Limelight on Oxford theatre, the main characters are already on stage, in position, like frozen statues.

It’s as if the show had already started and the characters have paused, as a courtesy to our intrusion.

The lights then dim and the characters come alive.

The setting is a motel room, located somewhere near the Mojave Desert in the US.

The room is simple; just a single bed, a table and chairs and a bathroom.

The set and costumes are overwhelmingly country style.

Room dividers, entry and exit points are done in a manner resembling a corral.

This is in keeping with the ‘locked in’ feeling the main characters grapple with throughout the story.

On the floor, holding onto the bed is May, a young woman. She appears upset.

At the table is Eddie in cowboy regalia, looking stern and dominant.

The have clearly been quarreling.

We learn that May and Eddie are former lovers and Eddie has travelled more than 2,000 miles to hopefully reignite the relationship and take May back to a rural lifestyle in Wyoming.

May still has feelings for Eddie but is not interested in what he proposes.

She has a job and plans for a new life.

She realises that to go back with Eddie will mean a rehash of their previous destructive relationship.

As they talk, Eddie’s actions imply he may have a violent streak.

Perhaps this explains May’s hesitancy? He intimidates her by practicing his lasso; he aims at the bedposts, each time pulling the lasso tighter as if to demonstrate his dominance.

He then reveals his rifle case and intends to clean it as they talk, but May sensible puts a stop to it immediately.

Eddie has issues to deal with besides May, namely drinking and womanising.

To complicate their discussions, May is awaiting her new beau Martin to arrive for a date.

Overshadowing all these interactions is the Old Man.

Old Man is a conduit to the audience, narrating and completing the full picture about May and Eddie’s troubled relationship.

Fool for Love, written by Sam Shepard, is a dark story about forbidden love.

Director Julie Baz has ably assembled the right cast and crew for this production.

It remains tight, well-acted and engrossing for its entire 75 minutes.

Accents are mastered, sound and lighting create effective mood changes and the set and costumes bring colour and contrast.

All characters are interesting and performed admirably.

Kate Betcher as May is an ideal choice.

She embodies the persona of May as she blossoms from the weak, tragic figure to the uncompromising, confident woman.

Eddie is played by Lachlan Ruffy.

He struts around like a cowboy would and brings a likable cheekiness to the role.

Joel Horwood as Martin works well too — suitably puzzled as he tries to figure out what is unfolding before him.

Neil McLeod is perfect as the Old Man.

He looks, walks and talks exactly as the character requires.

Fool for Love is good entertainment.

I’m unsure why the plural ‘Fools’ is not used as all the key characters are best advised to walk away from that relationship.

Which character is the ‘fool’?

As I overheard after the show, “Are we not all fools for love?”

Jersey Boys

The story of Frankie Valli and The Four Seasons

Book by Marshall Brickman & Rick Elice

Music by Bob Gaudio and lyrics by Bob Browe

Directed by Des McAnuff

Presented by Dodger Theatricals, Rodney Rigby and TEG Dainty

Playing at QPAC, Lyric Theatre, South Bank, Brisbane

Season: Until February 17. Run time: 2 hours and 35 minutes including interval. Bookings: qpac.com.au or 136 346.

BIG Girls Don’t Cry, Walk Like a Man, Can’t Take My Eyes Off You — it doesn’t matter how old you are, you’ve heard the songs of Frankie Valli and The Four Seasons.

But you could be forgiven for not knowing they belonged to these 1960s pop rockers (millennial me got an education).

What we do all know is they are killer tunes — and if that isn’t enough to get you over the line to see Jersey Boys at Brisbane’s QPAC, then know this tight production packs an absolute punch you’d be sad to miss.

This flawless telling of the 1960s story behind a group of petty crims who (mostly) claw their way out of trouble through musical talent is sharply delivered with banger after banger.

Ryan Gonzalez recreates the unique sounds of Valli with ease, delivering a high-energy performance that leaves the audience wanting more.

He’s backed by a stellar crew, including Cameron Macdonald as Tommy Deviot – the mastermind behind the band (and the mischief too).

Thomas McGuane as Bob Gaudio – song writing genius – and Glaston Toft as bass player Nick Massi give equally strong performances.

The dynamic between the four of them is at times tense, others hilarious, but most of all believable.

The energy levels in this show mean it passes in the blink of an eye, with excellent choreography by Sergio Trujillo keeping up with the powerful music directed by Luke Hunter and off-stage (but sometimes on) orchestra led by Steve Orich.

Quirky scene changes using a cleverly designed set were also impressive, not to mention costumes by Jess Goldstein and the ‘60s glorious hair and wigs by Charles G. Lapointe.

The Four Seasons were backed by a strong cast including Cristina D’Agostino as Valli’s wife, Mary Delgado, and Glenn Hill as producer Bob Crewe.

I keep telling people I’m not a fan of musicals, but I’ll have to add Jersey Boys to my long list of exceptions.

Worth your pennies and your precious weekend hours — get along you won’t regret it.

(Warning: You will be singing Sherry and Working My Way Back to You for the rest of the week.)

Back when I was reviewing for Brisbane Spectrum radio show I created the “Scottie” Awards. They were based entirely on my taste in entertainment and collated basically as a tribute the people who gave me a lot of pleasure in 2016 and whose work I admire. This year I have decided to revive this annual event. So here goes…

Best Community Theatre production:

High Society, music and lyrics by Cole Porter, Villanova Players

Villanova Players’ production of High Society was highly entertaining. It looked good, with classy frocks and suits,, and clean-lined stage settings. There was also a white clad eight-piece jazz band with lots of brass sitting in the bandstand as the patrons entered the theatre. It had all the feel of a top end of town wedding.

Ballet

Best Production: Qld Ballet’s La Bayadère

In March I wrote: This new production of La Bayadère could go down as Queensland Ballet’s Ballet Master and Head of Artistic Operations Greg Horsman’s masterpiece. It was an absolute privilege to watch this world premiere production unfold. It was sumptuous, spectacular, lavish, elegant and gaspingly beautiful to see. It was classical ballet in its purest form.

Best Male dancer: Victor Estévez as Prince Solor in La Bayadère

Best Female Dancer: Laura Hidalgo as Nikiya in La Bayadère

Best Orchestral performance: Alondra conducts Mahler 3 Queensland Symphony Orchestra Conducted by Alondra de la Parra

This was simply a triumph. I have never seen such an audience reaction in the Concert hall: a five minute standing ovation, cheers, bravos and stamping feet greeted the end if this glorious symphony. It was more like a rock concert that a symphony night out.

Opera

Best Production: Opera Queensland’s Don Giovann bBy Wolfgang Amadeus Mozart

And directed by Lindy Hume

Lindy Hume’s darkly delicious production of the Mozart masterpiece has “hit” written all over it. From the stirring opening overture to the amazing finale, with fifty-odd mostly fully naked women pushing Don Giovanni to hell, it gripped, titillated, amused, and at times brought gasps of disbelief from a shell-shocked audience.

Theatre

Best Independent Drama: A Christmas Carol, shake & stir Theatre Company and QPAC presentation, by Charles Dickens, Adapted by Nelle Lee , Directed by Michael Futcher

This fine adaptation of Charles Dickens’ immortal tale is dark and moody, scary and funny and filled with dozens of characters all played by the seven actors and with the marvellous music of Salliana Campbell.

Best Independent Musical: Little Match Productions’ The Owl and the Pussycat. Writer and librettist Kathryn Marquet, Composer Lisa Cheney, Directed by Bridget Boyle

Short show, short season but long on fun and entertainment that’s this production - and I suspect that The Owl and the Pussycat mini-opera will be entertaining kids and adults for a long time to come. The 45-minute production is based around Edward Lear’s nonsense poem classic, which has been a favourite for generations

Best Independent Comedy: The Longest Minute, by Robert Kronk and Nadine McDonald-Dowd, directed by Bridget Boyle, Queensland Theatre/Debase Theatre Productions/JUTE Theatre Company production.

The play had great characters, a brilliantly human storyline, and moved as fast as a wingman with a try scoring intercept. And it all revolves around the 2015 NRL Grand Final and a Townsville family of North Queensland Cowboys fans. If you were a league fan you’d have loved it, and if you had no sporting interest whatsoever you would will still love it.

Best Male Actor in an independent production: There’s a joint winner for this one - Bryan Probets as the Ghosts and Eugene Gilfeder as Scrooge in shake &stir’s A Christmas Carol

This fine adaptation of Charles Dickens’ immortal tale is dark and moody, scary and funny and filled with dozens of characters all played by the seven actors and with the marvellous music of Salliana Campbell.

Best Director in an independent production: Michael Futcher. shake&stir’s A Christmas Carol.

Best Musical. Priscilla Queen of the Desert: The Musical, Presented by Michael Cassell Group and Nullarbor Production in association with MGM on Stage, Directed by Simon Phillips

Opening night was a joyous occasion as the bright and beautiful show exploded with colour and energy that only happens when all the planets align. And they did that night. The Lyric Theatre was packed to the rafters with eager fans that cheered at every familiar moment, and even pre-empted some great scenes with cheers at the start.

Best male performer in a musical: Tony Sheldon playing Bernadette, in Priscilla Queen of the Desert.

Best female performer in a musical: Lena Cruz as Cynthia in Priscilla Queen of the Desert.

The mail-order bride, the exotic Cynthia, was played brilliantly by Lena Cruz. She was a former exotic dancer who was not going let the queens steal her show – and what a show she put on, who will ever forget the ping-pong ball tricks?

Best Drama Production: Nearer the Gods. by David Williamson, Directed by Sam Strong

Premiere and official opening of the Bille Brown theatre, Queensland Theatre

This is David Williamson’s best. It has everything: a great storyline, conflict, love, passion, fascinating new, for many, historical alliances, a wonderfully written script with lightening moments of Williamson’s penetrating wit and an array of historical characters that are brilliantly brought to life. I loved every second of the couple of hours it took to tell the tale of Isaac Newton and the unleashing of his Laws of Motion.

Best comedy Production: Black is the New White, by Nakkiah Luii directed by Paige Rattray,

What a magnificence start to the 2018 Queensland Theatre program. This was without doubt the funniest new production I have seen in years. The script is hilarious, the characters well drawn, the acting just about perfect and the direction (with a cast of nine) spot on.

Best Male Actor: Mathew backer as Halley in Nearer the Gods, Queensland Theatre.

Best Female actor: Danielle Cormack as Hedda , Queensland Theatre.

Best Director: Sam Strong for Nearer the Gods

Best Support Male actor: Joss McWilliam as Councillor Brack in Hedda.

Best Support Female Actor: Andrea Moore as the brassy, ocker Julie in Hedda

Best New Comedy: Neon Tiger by Julia-Rose Lewis, Music by Gillian Cosgriff, directed by Kat Henry, La Boite Theatre Company in Association with the Brisbane Powerhouse

Best Lighting /design: lighting Jason Glenwright, soundscape from Chris Perren, video holograms by Craig Wilkinson for a Christmas Carol

Best Design: Josh McIntosh A Christmas Carol

GOLD “SCOTTIES”

Sam Strong and Queensland Theatre for a magnificent season of great plays.

Alondra de la Parra, for her inspiring leadership of the Queensland Symphony Orchestra.

Soloist Mia Heathcote. Photo by David Kelly

The Nutcracker 2018

By ETA Hoffman and Pyotr I Tchaikovsky

Choreographed by Ben Stevenson

Presented by Queensland Ballet

Lyric Theatre, QPAC South Bank,

Brisbane

Season runs until December 22. Bookings: www.qpac.com or 136 246

It definitely begins to look a lot like Christmas when the halls of Brisbane are decked, lights sparkle in the evening and The Nutcracker rolls into town. A staple of any respectable Festive Season, The Nutcracker Ballet, composed by Pyotr Ilyich Tchaikovsky, and based on the tale of ETA Hoffmann is timeless. A delight for all, young and young at heart, it follows the magical tale of a young girl’s reality within a dream.

From the first lilting phrases from the Orchestra pit, the audience fell in collective love. Clara Stahlbaum, is gifted by the somewhat nefarious Dr Drosselmeyer an unassuming Nutcracker for Christmas, only for it to come to life once everyone in the household has drifted off into slumber.

After a daring escape from the King Rat and his lackeys, Clara is whisked away into a fantastical world, one filled with snow and sweets and glorious cakes, all presided over by various Queens. The second act, and indeed, the end of the Ballet, draws to a close when Clara drifts off to sleep once again, having been entertained by a host of dancers and chefs in the Kingdom of Sweets.

This production was a pure, whimsical delight. Not only did the audience find themselves gifted with the sight of such supple beauty in the Queensland Ballet, but also members of the Queensland Symphony Orchestra and St Peters Choir accompanied the night. With so much premier talent in the room, it was little wonder that this production of the Nutcracker was engaging and high in energy.

It made the night slip away much like the characters come the final note of Tchaikovsky’s classic score. Whilst there were moments of chaotic confusion, particularly in the beginning scenes with not knowing where to look to see the action, each and every member of the Queensland Ballet gave their respective performances their all and made for an especially entertaining tableau.

Perhaps this confusion could be called a richness, mainly due to the fact that the dancers had their own role and choreography to carry out. Nevertheless, the principal cast in Mia Heathcote, as Clara, Lina Kim, the Snow Queen, Yanela Piñera The Sugar Plum Fairy and Camilo Ramos as Prince, were truly a joy to watch.

The crowning moment was especially the pas de deux between the Nutcracker come Prince and the Sugar Plum Fairy, who danced with deft grace. A crowd favourite for the night was Vito Bernasconi’s Russian Dancer or Gopak and the Arabian Dancers, Laura Hidalgo and Alexander Idaszak. Their respective performances drew enthusiastic cheers and laughs from the audience.

So what more could you want this Christmas than to be delighted?

Photos by Clare Hawley

Crime and Punishment

Adapted for the stage by Chris Hannan

Based on the novel by Fyodor Dostoyevsky

Directed by Anthony Skuse

A Secret House Production

Directed by Anthony Skuse

Limelight on Oxford

231 Oxford Street

Darlinghurst

Season: December 12 – December 22. Bookings: www.limelightonoxford.com.au

Who knows what it’s like to live in squalor? To be cold and hungry, full of despair with no hope?

That’s where Raskolvikov finds himself. The setting is St Petersburg in the mid-nineteenth century and he hatches a plan which will solve his present destitute state. He will rob and murder the local pawn-broker Alyona and then set himself on a course of good deeds to help others less fortunate.

The story Crime and Punishment is a study of one man’s mind and how he rationalises a deadly deed being justified by seemingly good outcomes. We all know the crime, but the punishment is the turmoil and anguish that haunts in the aftermath as he grapples with remorse, guilt and a desire to be caught.

“When I see goodness, I am a cockroach in the light” he exclaims.

A recurring theme in the play is survival. All the characters are living day by day in a harsh society where only the elite are guaranteed a reasonable standard of living. There is Marmeladov, a drunk, whose daughter Sonya resorts to prostitution in order to help her family. And Dunya, Raskolvikov’s sister, who works as a governess for a lecherous employer. She has agreed to marry Luzhin, a man of some modest wealth, but who she does not love. Her brother challenges this decision, hypocritically because of Luzhin’s apparent poor character.

As Raskolvikov’s torment worsens, the constabulary are active trying to solve the murder. The detective Porfiry suspects Raskolvikov is the prime suspect but has no concrete proof. In a series of ‘verbal jousts’ with Raskolvikov, he uses psychological tricks to help lead Raskolvikov to a confession.

Throughout the play, there are contradictions and paradoxes aplenty as characters attempt to balance morality, ethics and religious beliefs against the daily realities of living. Invariably, their choices put them at odds with the ones they love.

This production directed by Anthony Skuse is an adaptation of the novel Crime and Punishment written by Fyodor Dostoyevsky. It’s a dark tale and Anthony Skuse has capitalised on this in all aspects of production: the slanted stage is a timber deck which allows rays of light to beam up through the slats for a great haunting effect; the costumes are period detailed and heavy; there are few props; and a faint soundtrack in the background adds to the eeriness of the plot.

The cast is superb. Playing Raskolvikov is James Smithers. His whole demeanour and appearance defines this troubled character perfectly. Natasha Vickery is Sonya, the prostitute Raskolvikov befriends, confides in and becomes his moral compass. Dunya is played by Jane Angharad. She provides the calmness and good heart that this character requires. Porfiry, the lead investigator is confidently acted by Phillippe Klaus.

The ensemble is completed by Hannah Barlow as Pulkheria/Katerina, Tim Kemp as Razumikhin, Beth McMullen as Alyona, Madeleine Miller as Nastasya/Lizaveta, Shan-Ree Tan as Ilya and Charles Upton as Luzhin/Skabichevsky/Lebezyatnikov.

Crime and Punishment is a most enjoyable drama with intelligent dialogue, quality acting and superior production. There is plenty of case material for budding psychiatrists!

Jason Klarwein accepts his award from Eric Scott. Photo by Deanne Scott

The Brisbane branch of the Glugs of Gosh, a group dedicated to celebrating theatre in style, held its Christmas lunch at the Paddington Tavern on Tuesday and revealed the winner of the Chief Glug’s Award for Theatrical Excellence.

The winner was actor/director/writer Jason Klarwein who left rehearsals with Grin and Tonic’s new production of a shortened – and very technical – Romeo and Juliet to attend the lunch.

It has been a busy and fruitful year for Jason.

He was director and co-writer of Queensland Theatre’sMy Name is Jimi, which has toured to the Sydney Festival, Melbourne International Festival and Communities in Cape York. The work received a Queensland Premier’s Reconciliation Award.

With Grin and Tonic he directed school shows April’s Fool and Super/Natural - which have been seen by more than 25,000 school students from all over Queensland

As an actor he starred in Queensland Theatre’s Twelfth Night playing Orsino and Hedda playing George Tesman. He also worked as an actor with the Queensland Symphony Orchestra's Babar the Elephant, Carnival of the Animals and Young Person’s Guide to The Orchestra.

After a short Christmas break Jason will be back with Queensland Theatre directing the 2019 season opener, Arthur Miller’sDeath of a Salesman.

He is also Industry Patron for Queensland University of Technology’s Student Theatre Company - Vena Cava and is a current National Board Member of the Media Entertainment and Arts Alliance.

Jason was presented with a trophy and cheque for $1000 by Mayor of Gosh Eric Scott. Scott also presented a cheque for $800 to June Craw and Danny May who accepted it on behalf to the Actors’ and Entertainers’ Benevolent Fund. The group has been making an annual to the fund since the 1990s.

The Glugs of Gosh meet on the second Tuesday of the month at the Paddington Tavern for a hot lunch and a talk from a showbiz personality.

For more details of membership contact Eric Scott at scott_media@iprimus.com.au

Right: Eugene Gilfedder stars as Ebenezer Scrooge. Photo by Dylan Evans. Deanne Scott's after party images follow the review.

A Christmas Carol

By Charles Dickens

Adapted by Nelle Lee

Directed by Michael Futcher

World Premiere

shake & stir Theatre Company and QPAC presentation

Playhouse Theatre

Queensland Performing Arts Centre

South Bank

Brisbane

Season: December 7 – 20. Duration 80 minutes without interval approx. Booking: qpac.com.au or 136 246

The shake&stir team has created magic yet again. I have been reviewing the company for the past ten years and amazingly each of their show seemed better than the previous one. A Christmas Carol was no exception.

And what exactly is the magic they make? For me it’s the creation of a perfect atmosphere for the piece: a team effort with the blending of top talent all cleverly coached by director Michael Futcher.

This fine adaptation of Charles Dickens’ immortal tale is dark and moody, scary and funny and filled with dozens of characters all played by the seven actors and with the marvellous music of Salliana Campbell.

Eugene Gilfedder, who has been too long absent from the Brisbane stage, made a magnificently mean Ebenezer Scrooge – his heartless, oft used, quote “It’s got nothing to do with me”, so beautifully delivered, is already a catchcry in the Scott household.

Then another of Brisbane’s finest, Brian Probets was sheer genius in his interpretations of Jacob Marley’s chain rattling ghost and the spirits of Christmas past, present and future.

He was hilarious and scary in his dead man’s pallor and amplified voice. He also used some equally funny accents in his haunting of Ebenezer. Ross Balbuziente, Arnijka Larcombe-Weate, Nelle Lee, Nick Skubij and Lucas Stibbard played everything from carol singers to busy people walking and trying to stay warm in the bitter English winter.

They also doubled as the Cratchet family and the other featured characters in this tale of haunting and redemption.

They all proved to be highly efficient scene changers too, for Josh McIntosh’s movable and nicely interlinked set changed location after location. It was this, plus the costumes that set the show right in the middle of England in the Victorian era. The setting was completed by great lighting from Jason Glenwright and soundscape from Chris Perren plus the eerie and often scary video holograms that blended with real life actors. This was magically created on the huge back screen by Craig Wilkinson.

It was a unique collaboration that ran seamlessly for more than 80 minutes.

The story opens on a cold and gloomy Christmas Eve. Ebenezer Scrooge is spending his evening hunched over his coals, counting his fortune and making life difficult for poor Bob Cratchet. Then, after a night of ghostly visitors, each with an important lesson for Scrooge, he wakes up on Christmas Day with a whole new outlook on life.

The show itself opened with on-stage carol singers entertaining the assembling audience and ended with gently falling snow. Salliana Campbell played the carol music on her violin and then created some highly effective sound effects too.

I sat entranced all the way through and I would highly recommend it for the entire family - if you can get tickets for apparently it is selling out the Playhouse Theatre very quickly, which is an indication of the regard shake&stir is held.

Bryan Probets and Barbara Lowing

Eric Scott with Ross Balbuziente and Nick Skubij

Photographer photographed - Director Michael Futcher talks to the party-goers as Deanne Scott does a double take.

Two Man Tarantino

Written and produced by Christopher Wayne

Directed by Maureen Bowra

Visy Theatre

Brisbane Powerhouse

Performance: Sunday, 2 December. Duration: 60 minutes. The season has ended.

Proving to be the perfect treat for fans, Two Man Tarantino packed a punch at this year’s Wonderland F

Living up to its apt title, audiences were spoiled with a two-hander reimagination of some of Hollywood’s most iconic movie movements. Embracing the full talents of Quentin Tarantino, the play was a mash-up medley of some of the director’s most notable work.

Jumping around Tarantino’s historic timeline, pinnacle plots were pulled from Reservoir Dogs, Jackie Brown, Kill Bill, Django Unchained and many other classic hits. Scenes were then relived with basic household props and a story, with great comedic timing and subplots of romance, was told.

The narrative of Two Man Tarantino is simple. A video store is closing, and its owner is preparing to say goodbye. Enter his final customer, who has just kicked her own bad relationship to the kerb, and you have two characters bonding over their demises. While rummaging through the store, their love for Tarantino is revealed and from there, it’s a messy, blood-thirsty battle to determine the ultimate superfan.

The show is a clever concept that invigorates a new appreciation for some of the most renowned films ever created. Producer and co-writer, Christopher Wayne, has dug through a Tarantino treasure trove and presented verbatim styled theatre, which mocks accents and scenes from these filmographic blockbusters.

Fans of Tarantino happily chugged along with the show, reciting lines while scenes were enhanced with a new comedic layer. Others, who had no prior knowledge of the movies, were left behind as victims to the gags. It’s a hit or miss scenario only due to its niche content.

The script, in the hands of director Maureen Bowra, was creatively crafted into action on stage and seamlessly utilised the theatre’s space. Her fight choreography commanded ‘oohs’ and ‘ahhs’ from the audience and was deservingly delivered by stars Emily Kristopher and Stephen Hirst.

As a duo, the two performers bounced off each other (literally) and put 100-percent energy into a physically demanding and playful show. Emily was captivating with her enthusiastic expressions and Stephen moved about like an agile creature. In terms of both actors’ impersonations, their vocal work was on point and they had the audience along for the ride regardless.

Another neat trick was how the set unfolded before your eyes, with strategically placed Tarantino movies which popped out as focal points. All props onstage had a use – DVDs and appliances became weapons, balloons resembled actors who were killed off and chairs were used as cars. Even if you didn’t know what was going on, you were nevertheless entertained.

In true Tarantino fashion, there was even a “bloody” good ending. Saluting his signature style, fans were given the gory and violent finale they’d hoped for – complete with water balloon blood bombs.

Two Man Tarantino was delivered with justice. It satisfied the audience’s curiosity and most definitely had their attention.

The Laramie Project: 10 Years Later

By Moises Kaufman and members of the Tectonic Theatre Project

Directed By Carly Fisher and Rosie Niven

A Theatre Travels Production

The Seymour Centre

Cnr of City Road and Cleveland Street

Chippendale

Season: 28 November – 8 December. www.seymourcentre.com/events/event/the-laramie-project or 02 9351 7940

Forty years after the town shot to fame via a black and white TV series of the same name, Laramie is famous again. But for a very different and sad reason: the infamous hate-based murder of student Matthew Shepard in 1998.

To appreciate The Laramie Project: 10 Years Later, a short background briefing will help. Matthew was a 21-year-old student who accepted a lift home one night from a bar in Laramie, Wyoming from two fellows. They drove into the prairies, tied him to a fence and pistol-whipped him to near death in freezing temperatures. Still alive but unconscious a day later, he then spent 5 days on life support in hospital before passing away.

The murder and subsequent trial made world headlines as the prosecution made the case that the crime was ‘hate’-inspired because Matthew was homosexual. The case was the catalyst for hate-crime legislation throughout the United States culminating in the ‘Matthew Shepard Act’ enacted by Barack Obama in 2009.

In the original prequel The Laramie Project, Moises Kaufman and the Tectonic Theatre Project sourced their material by visiting Laramie and conducting interviews with those closely involved in the arrest and trial of Matthew’s murderers. They also spoke with family members and townsfolk, as well as newspaper reports from the local ‘Laramie Daily Boomerang’.

The Laramie Project: 10 Years Later is a revisit to this small town to see how it and its people may have changed, if at all, a decade after the nation-changing event.

This play is presented as a series of moments, whereby the actors play numerous real-life characters using actual documented statements and interviews. Most of the actors are on stage all the time and are often introduced by a Narrator. They come forward when it’s their turn to speak and lighting is utilised to highlight key statements.

Set changes are minor and are done by moving chairs around or rearranging boxes that the actors sit or stand upon. Actors can also blend into new characters via on-stage costume changes.

The pace of the show is quick, and the audience needs to concentrate to take it all in. There are nine actors but countless characters ranging from a Catholic Priest and Baptist Minister to Police Detective and Matthew’s mother. Interviews are re-enacted using a handheld microcassette recorder. An unsettling scene involves the prison interview with cold-hearted murderer Aaron McKinney.

Directors Carly Fisher and Rosie Niven have used a mostly youthful cast to portray attitudes in Laramie, 10 years later. We learn that prejudices still exist, however compassion and understanding towards alternative lifestyles is more prevalent. Actors play cross-gender characters which, whilst admirable given the intent and context of the play, are at times distract from the serious message each real-life character is trying to send.

All actors have performed well in adapting to multiple characters and have mastered the mid-western American accents. Praise to cast members John Michael Burdon, Laura Djanegara, Andrew Hofman, Francisco Lopez, Linda Nicholls-Gidley, Matthew Pritchard, Dominique Purdue, Emily Richardson and Charlotte Tilelli.

This production of The Laramie Project: 10 Years Later has successfully shown the disappointments and promises that small towns demonstrate. It is an education in understanding, acceptance, tolerance and hope.

Matt Dayplayed Roger O. Thornhill and Amber McMahon was femme fatale Eve Kendall. Photo by Darren Thomas.

North by Northwest

Adapted by Carolyn Burns

Directed by Simon Phillips

Presented by QPAC and Kay and McLean productions

Lyric Theatre

Queensland Performing Arts Centre

South Bank

Brisbane

Season: Until December 9. Running Time: Two hours and six minutes including interval. Bookings: www.qpac.com.au or 136 346.

What’s that up there? Is it a film? Is it a play? No, its supershow! It’s a couple of hours of unadulterated fun that I am sure Alfred Hitchcock would have loved. It is of course based on his 1959 suspense film that starred Cary Grant and Eva Marie Saint.

Roger O. Thornhill is an advertising executive, abducted by thugs who insist he is a man called George Kaplan. They pin a murder on him and he goes on the run, aided at times by the sexy and mysterious blonde Eve Kendal.

From New York to South Dakota, Thornhill is chased by spies, Federal agents, crop-dusting planes and involves car chases, the well-remembered climb up Mount Rushmore and the faces of US presidents past.

I’ll say no more but Rushmore never looked so funny.

Matt Day played Roger O. Thornhill and Amber McMahon was femme fatale Eve Kendall, both reprising their leading roles from the Melbourne seasons of North by Northwest.

Day was terrific as he channelled Cary Grant to a tee. He looked like Cary Grant, was a suave as Cary Grant and even managed to have his delivery down pat. Amber McMahon was the perfect foil. She was the woman veiled in mystery: was she a spy or the mistress of the bad guy?

The cast also included Queensland actors Christen O’Leary (Maggie and various roles) and Leon Cain (Janitor and various other roles), alongside Abigail McKern (Mrs Thornhill), Robert Menzies (Professor), Tom Davey (Leonard), Nicholas Bell (Newsreader), Peter Houghton (Gruzinski), Ezra Bix (Budnikov) and Roddy Peters (Bell Boy).

How the cast remembered who they were, where they were, which wig or costume to put on and even when they were on stage beats me, for the action moved as fast a movie.

But it was not just the cast that created the fun but the actions as well as cast members pushed chairs and tables around for car chases – and it was sheer mayhem onstage as Roger and Eve dangled perilously from Mount Rushmore.

The famous crop duster plane attack was scary on screen but hilarious when a bloke onstage was seen filming a model plane and projecting it onto the big screen.

There are so many elements that Simon Phillips pulled together with a magnificent piece of directing to create a unique theatrical experience.

It is well worth a look.

Kiroro, is in the heart of Japan’s Hokkaido Golden Triangle, invites travelers to celebrate snow holidays with perfect powder, 5-star accommodations and all-inclusive ski-and-play packages for the entire family.

Kiroro regularly sees more than 20 metres of snow each year, the most in Japan and more than most ski areas around the world. Best of all, Kiroro has fewer crowds and shorter lift lines. Kiroro is a destination for skiers and boarders of all levels will find plenty to love on the resort’s with 22 ski runs, hundreds of acres of tree skiing, and a terrain park – all without the long lines of nearby resorts.

Kiroro offers a choice of luxury accommodations ranging from award-winning resort hotels to private luxury residences. Sheraton Hokkaido Kiroro Resort offers 140 guestrooms and suites along with four restaurants right at the base of the slopes; while The Kiroro, a Tribute Portfolio Hotel offers 282 guestrooms with mountain vistas from every room, world-class facilities, and five dining options.

In fact, Kiroro offers more than 15 restaurants and bars throughout the resort from the slopes to the streets, ranging from fresh Hokkaido catch at Fuga Sushi to artisan pizza fresh from the oven at Alla Moda and everything in between. Start with a hearty Japanese breakfast at World Buffet, break for lunch at Café Lumiere for a bowl of hot ramen, and finish with dinner at Shunsai in Season, the Japanese-inspired steakhouse at The Kiroro, A Tribute Portfolio Hotel.

While guests are visiting, they can also check out the award-winning Yu Kiroro, offering 108 1-, 2- and 3-bedroom freehold luxury ski-in-ski-out private residences. Scheduled for completion in December 2019, Yu Kiroro offers fully-furnished, turnkey convenience with a ski valet, natural indoor-outdoor onsen, luxury club house and a 24-hour concierge and fitness centre. Prices start at 70M JPY (A$84,4792) . To schedule an appointment to visit the show unit, visit https://yukiroro.com.

This holiday season, Kiroro is offering a variety of packages and incentives to visit. Whether for just one day or an entire week.

Exclusive Kiroro Packages

Day Trip – A one-day package perfect for families. Includes a sightseeing Gondola Trip and a day in the Active 180 Snow Park, featuring the Banana Boat, Mini Snowmobile, Snow Raft and lunch. Cost: Adults - 8,000 JPY (A$96); Children 6 -12 - 7,500 JPY (A$90). Available from 12/15/18 – 4/15/19.

More Holiday Fun at Kiroro

Ice Star Resort– A stunning new sub-zero winter experience constructed from water and ice featuring Ice Restaurant with Swiss cheese fondue and other Alpine-inspired favorites, an Ice Café and skating rink.Winter Forest Tour – Snowshoe through crystalline trees to a stunning waterfall or jump on a snowmobile and race through the snowcapped scenery. Even better, enjoy the winter wonderland at night with a local guide.Winter Fireworks – Enjoy colorful fireworks throughout the holiday season from the deck of the Sheraton Hokkaido Resort. Fireworks will be held on 12/22, 12/25, 12/31, 1/19, 1/26 and Saturdays in February and March.Onsen – Apres ski with a Japanese twist, relax after a day of skiing at Kiroro Onsen a natural caldera hot spring that flows from the Akaigawa Village. Soak in mineral-rich water and enjoy pristine forest views. Or, relax and detox in Ganbanyoku, the hot stone sauna.

In 2020, Metro Arts will celebrate 40 years of creating, developing and presenting new Australian work across performance and exhibitions with a major festival and a planned move to new premises.

Metro Arts’ new vision for the next 40 years was unveiled at a public meeting on Monday night and promises to be as bold, brave and daring as its artists and audiences.

As CEO and Creative Director Jo Thomas said: “Metro Arts is not just a building, it’s a dynamic multi-arts organisation and suite of creative services deserving of an inspiring, well-maintained, inclusive and accessible home.

“It’s time for a bold new direction and a new, modern, fit-for-purpose home will allow us to refocus our priorities on supporting more artists, developing more new work, invigorating Brisbane’s cultural scene and providing exceptional experiences to audiences.”

In recent years it has become clear that the 129-year-old building at 109 Edward Street, which the organisation has called home since 1980, is no longer the most suitable venue for the innovative arts organisation.

A limited scope to adapt the State Heritage-listed building to meet Metro Arts’ specialised requirements and a challenging financial situation within the sector did not support the future vision of Metro Arts, its artists and audiences, Ms Thomas said.

The Metro Arts Board has been approached by several prospective buyers and will work closely with property firm JLL to carefully consider each offer and secure Metro Arts’ future, including creating a vibrant new home.

Chair of the Board John Dunleavy said: “Metro Arts has a long history of re-inventing itself in response to the community’s needs. This is our next step.”

“We have spent many months carefully researching our options and working closely with the State Government and Brisbane City Council.”

Ms Thomas said Metro Arts planned to stay at 109 Edward Street until mid-2020.

“We are currently developing a major festival for February 2020 as a 40th birthday celebration, a joyous recognition of our past and a commitment to the future of Metro Arts,” she said. “The actual timing of our move will depend on our property negotiations and may vary from the mid-2020 current estimate.”

“Our discussions surrounding a new home for Metro Arts are in their early stages, but I can say options are under serious investigation and more information regarding these will be released in due course.”

The net proceeds from the sale of the building, after meeting authorised transition costs, combined with savings from building upkeep and maintenance, will be reinvested in accordance with Metro Arts’ Constitution.

Reinvestment priorities will focus on commissioning new and larger-scale art work, artist endowments, low and no-interest loans and creative developments to build the capacity of the entire arts sector.

Metro Arts also plans to establish a Public Ancillary Fund with the sale proceeds retained as a preserved principal from which interest and dividend payments on ethical investment strategies will fund arts projects and initiatives for decades into the future.

“Money spent on Heritage maintenance is money not spent on artists and art programs,” Ms Thomas said.

She reiterated the importance of maintaining Heritage in Brisbane’s built environment but championed a new custodian for the building allowing Metro Arts to better serve its core charter and vision: to develop the future of contemporary arts practice, now.

“We have appreciated calling this building home for the past 40 years, but the organisation’s needs have grown beyond what its walls can contain, and the building’s needs have grown beyond the organisation’s financial capacity,” Mr Dunleavy added.

“It is time for a more suitable custodian of the building.

“The nature of contemporary arts continues to shift and change in terms of scale, technology, interdisciplinary and multimedia requirements and we need to foster that digital connectivity and innovation.”

“Brisbane needs affordable, accessible, fit-for-purpose space to retain independent artists and creatives and inspire them to develop and premiere new work,” Ms Thomas said.

“Metro Arts’ vision for the future is to deliver that space and seize the opportunity to invest in and build Brisbane’s arts sector. This can be a true game-changer for Queensland artists and audiences.”

Helping shape this vision will be Metro Arts’ community of artists, audiences, donors, tenants and staff who are called upon to contribute ideas, suggestions and feedback and become involved and engaged in the decision-making process.

“We want to hear what you love about Metro Arts as well as what we can do better,” Ms Thomas said. “Metro Arts, like many small-to-medium organisations, balances on a tightrope to ensure good business and corporate governance principles.

“At the heart of this is a drive to best serve our community and deliver our mission to create brilliant contemporary art and we are asking our community to help us answer the question: ‘How can we best sustain ourselves as a business, to allow us to get on with our business of making art?’

The Board has worked hard to make 109 Edward Street a financially sustainable home for Metro Arts and its community for 40 years and its Directors have not taken the decision to relocate lightly.

“The time has come, and after extensive consideration, consultation, modelling and trial and error, this is our plan to move forward,” Mr Dunleavy said.

Metro Arts Board will continue to liaise with JLL regarding the sale of 109 Edward Street and will provide regular updates at www.metroarts.com.au/metro-on-the-move and www.facebook.com.au/metroartsbrisbane

Members of the public are invited to contribute their ideas via this survey or fill out a hardcopy survey at Metro Arts, 109 Edward Street, Brisbane before December 8, 2018.

The huge orchestra, and right, Alondra de la Parra in full flight.

Alondra conducts Mahler 3

Queensland Symphony Orchestra

Conducted by Alondra de la Parra

Concert Hall

Queensland Performing arts Centre

South Bank

Brisbane

Concert performed on November 24.

This was simply a triumph. I have never seen such an audience reaction in the Concert hall: a five minute standing ovation, cheers, bravos and stamping feet greeted the end if this glorious symphony. It was more like a rock concert that a symphony night out.,

The incredible Alondra de la Parra fronted more than 100 musicians, two huge choirs, and mezzo soprano Lilli Paasikivi and led them through six movements of the one hour 45 minutes of magical music.

Mahler is a composer I have never heard concert and now I am wondering: why? This symphony has everything from the most beautiful golden sounds of nine French Horns, through the brass to bass trombone, tuba, and two harps. It is such a descriptive piece of storytelling too. The composer said a symphony should be “like the world” filled with everything and this one certainly was, as he took us through the battle between winter and summer, through a flower meadow and the woods, stories of mankind, music from the angels and then the final movement about the power of love.

Over all the music had a unique sound of blended brass and strings, with woodwinds creating haunting melodies and heaps of well used percussion

The first movement ran for 32 minutes. It opened with a sublime French horn blast and continued with shivering strings and gentle, heart beats from muffled timpani as winter prepared to do battle. And we knew what to expect as, before the concert began Alondra de la Parra told us all the stories contained in the music, a gesture warmly appreciated.

Her talk was excellent, but with the baton she shone a she controlled the flow in a work that demands so much discipline and knowledge.

Different sections followed each other from one side of the stage to the other, solos abounded, and instrumental duets brought pure romanticism and sometimes musical jokes and they all came together. It was a display of sheer brilliance from the conductor.

The second movement endeared itself to me after the chilling power of the first. I loved the soaring oboe solo which slowly morphed into high pitched strings as the flowers blossomed and grew. It was deliciously refreshing.

But it was back to the wilder elements in the third movement as the animals and finally man entered the scheme of things.

In the next two movements we heard the soulful voice of Lilli Paasikivi and then the sounds of the women’s and children’s chorus from the Voices of Birralee, which added yet another dimension to the music.

Finally we had the sixth movement, which was so powerful, and passionate that there was stunned silence until the ovation began. It was one of those rare nights that will never be forgotten. In fact it remained so strong with my wife and I that the following night we found a recording (an inferior version to the QSO’s however) on You Tube and tried to relive the experience.

Thank you QSO and Alondra de la Parra.

Avenue Q

Music and Lyrics by Robert Lopez & Jeff Marx

Book by Jeff Whitty

Presented by Brisbane Arts Theatre

Petrie Terrace

Brisbane

Season: 10 November to 22 December 2018. Bookings; www.artstheatre.com.au or (07) 3369 2344

Avenue Q is the story of Princeton, who has just left college with a BA in English, and has no idea of what he wants to do in life. He doesn’t have a job and is seeking his purpose. He winds up on Avenue Q looking for an apartment to rent, having started at Avenue A, which was out of his price range. Here he meets an interesting bunch of characters who share the apartment building, including Gary Coleman, former child celebrity and now building superintendent.

A mix of humans and monsters live together in the building. The show starts off innocently enough, and one could be forgiven for thinking of references to Sesame Street and the Muppets, but after the first couple of songs, it was obvious that Jim Henson was probably rolling over in his grave with laughter too. There was a subtle reference to the ‘black’ and ‘white’ separatist policy that existed up until the 1960s in America, with a bit of furry monster thrown in, and one of the songs says it all – Everyone’s a Little Bit Racist. And to add total ridiculousness to the whole throwaway ‘African American’ lines, the Gary Coleman character was played by a Caucasian female.

There are only three ‘real’ humans on stage – Gary Coleman (Natalie Mead), Christmas Eve (Jordan Boyd) and Brian (Matt Shield). The rest of the cast are puppets – either human (like Bert and Ernie from Sesame St) or monsters (like Cookie Monster), and their handlers. The puppetry was superb and very quickly you are seeing the puppet and the puppeteer as one entity on stage. I just loved the way the combination of the puppeteer’s facial expressions and gestures made with the puppet, brought them to life on stage as if they were real. All puppeteers were dressed in black so as not to distract from the puppets themselves, who did have a few costume changes.

The cast/puppeteers were Princeton (William Toft), Katie Monster (Katie Routson), Lucy T. Slut (Lorraine Hanson), Rod (Tyler Stevens), Nicky and Trekkie Monster (Joshua Moore), Mrs Thistletwat (Lorraine Hanson) and the Bad Idea Bears (Michelle Radu and Connor Clarke). There are also a few others who pop up for songs along the way, including a cameo from Elmo (Sesame St). The actors/puppeteers are all fantastic and the singing was great.

The story bumps along with Princeton meeting Katie Monster, asking her out on a date to see Lucy T. Slut perform at the local nightclub venue, and then back to her place for some very furry horizontal mamboing, after drinking way too much, encouraged by the two very wicked Bad Idea Bears with their “more drink, more fun” motto. Meanwhile, Rod (the closet gay) was having a rough time with his messy flatmate, Nicky; Brian and Christmas Eve’s relationship eventually gets them to the altar; and Trekkie Monster was the resident perv. Katie Monster was the sweet one of the story, wanting to set up a school exclusively for monsters.

There were so many great songs in this musical. It Sucks to be Me, If You Were Gay, The Internet is for Porn, I’m Not Wearing Underwear Today; Special; You Can Be as Loud as the Hell You Want (When You’re Makin’ Love), and My Girlfriend Who Lives in Canada are but a few. The Internet is for Porn is extremely funny, sung by Katie Monster about teaching a kindergarten class how to use the internet, which gets hijacked by Trekkie. This also has a technical aspect to it as Trekkie sticks his head out of an upstairs window at exactly the right spot on numerous occasions synced with a spotlight. It was spot on.

All of the characters are great, however my favourites were Trekkie and the Bad Idea Bears because they were just so downright wicked, rude, crude and extremely likeable. They also had the best lines and got away with it. I also liked the dancing boxes towards the beginning of the show and the fur ball hoicking cat.

This show was snappy, well-paced and hilarious. A live band was playing, but was backstage out of sight. Use was also made of television screens during the show and at half time.

The stage set was a two-storey building with windows and doors, with a balcony on the upper floor, where a trio of back up singers appeared. The two doorways also opened out to create the illusion of being inside an apartment. A fire hydrant and some trash cans completed the street scene in front of the building.

I thoroughly enjoyed the performance at BAT. Avenue Q was not for the prudish, and was definitely not for children, with its outrageous sexual humour, antics and language. I am only a second timer for this puppetry musical and I laughed until I cried. There were obviously a few first timers in the audience with the outbursts of raucous laughter at the particularly lewd one liners and the sex scenes.

Avenue Q is on at the Brisbane Arts Theatre, from 10 November to 22 December 2018.

Above: The ensemble. Right: Ileana Pipitone and Brendan Paul. Photos by Clare Hawley

Company

Music and Lyrics by Stephen Sondheim

Book by George Furth

Directed By Julie Baz

A Depot Theatre Production

Limelight On Oxford

231 Oxford Street,

Darlinghurst

NSW

Season: 14 November – 1 December. Bookings: http://www.limelightonoxford.com.au

If you think that the old saying ‘two’s company, three’s a crowd’ is still apt, you may need to think again once you have seen Company, currently playing at the quaint bar and theatre Limelight on Oxford. Described as a “trailblazer of the dark comedy musical”, this production is one of the most enjoyable musicals I’ve seen lately.

Company is all about Robert, who at his 35th birthday party, begins to question his bachelorhood as all his friends (apart from three female steadies) are married. They all endeavour to help him determine what he wants in relationships; but ultimately, he seems content with the status quo.

With a big opening number coincidentally called Company with full cast, the story is then presented as a series of short passages, each focussing on one or two characters at a time. Each passage is not directly related to another so there is little sequential development needed. As a result, it makes this musical quite different and passages are linked by catchy songs and dance routines.

In the lead role as Robert is Brendan Paul. This is perfect casting, as Brendan brings to the role the right balance of confidence, smugness, and ambivalence that you’d expect a New York yuppy to exude. Fortunately, Brendan can also carry a good tune. Whilst Robert is intrigued and entertained by his friends’ desire for him to settle down and join them in married life, he doesn’t really care. In the end, he is complacent and unruffled by his single man reputation.

Robert’s friends are all upper middle class, with men in suits and women in cocktail dresses. This adds some glamour to the production but limits any discussion about the pros and cons of marriage to this particular social class only.

There is an array of characters among Robert’s friends.

Sarah (Jacqui Greenfield) is married to Harry (Richard Woodhouse). Each with vices, they verbally joust and end up in a very funny karate scene. Peter (Alexander Morgan) and Susan (Bridget Patterson) are having troubles and tell Robert of their divorce plans. He is then spending time with contented couple, David (Lincoln Elliott) and Jenny (Maree Cole). They are asking lots of questions as to why he has not settled down. This is exacerbated when Robert gets them to share a joint.

We then meet Robert’s three ‘steadies’. Marta (Grace Driscoll) is a child of New York City, with the brashness that goes with that. April (Ileana Pipitone) is a dizzy flight attendant, in tune with nature. We later see Robert seduce April which shows his ambivalence to real commitment. And then there is Kathy (Emily Dreyer), a country girl who probably can read Robert the best. She decides to marry someone less averse to commitment.

Next, it’s the wedding day of Amy (Heather Campbell) and Paul (Michael McPhee) and Robert is the best man. Amy is ridden with doubt and calls the wedding off. Strangely, Robert makes an impromptu proposal himself which jolts some sense back into Amy, and the wedding is fortunately back on.

In a nightclub scene, Robert is with Joanne (Michele Lansdown) and her third husband Larry (Marcus Rivera). Joanne is the experienced one and, as she and Robert drink more, she offers herself to Robert for a non-committal affair. Although shallow, Robert is level-headed and declines the offer. Joanne and Larry then leave, arm-in-arm.

Director Julie Baz and her creative team have done something wonderful at Limelight on Oxford. The theatre is intimate and small without much staging area. She has ingeniously used the limited space available to house an orchestra of six and a cast of fourteen, plus left room for choreographer Tracey Blankenship to create terrific dance routines. With the small stage, scene changes were brilliantly orchestrated using lighting techniques (Mehran Mortezaei) and many cast members had their ‘spotlight‘ moment.

Antonio Fernandez, the Musical Director, ran a tight score which did not drown out the vocals. Great acoustics for a small theatre. There were many songs but notable were Company, Another Hundred People, Side by Side, The Ladies Who Lunch, and Being Alive.

Also noteworthy were the managers and staff of the theatre who, faced with a complete power blackout 20 minutes before the show started, adopted an impressive ‘the show must go on’ attitude. Power was restored about an hour later and the show started with much vigour and enthusiasm.

Written in 1970, Company may seem a little dated to some people. Think of how the definition of marriage has changed in the meantime and how singledom is not an unusual lifestyle choice. However, its central themes about relationships, dating, romance, love and friendship are enduring.

This is a first-class production which successfully overcomes interesting production challenges. I recommend it for an all-round theatre experience. And as Robert sings:

“One’s impossible, two is dreary,

Three is company, safe and cheery”.

Above: Les Asmussen and Patrick Holman. Below left Brett Heath and Simon Lee and below right: Suzann James

Broadway Bound

By Neil Simon

Directed By Rosane Mcnamara

A New Theatre Production

New Theatre

542 King Street

Newtown

NSW

Season: 13 November – 15 December. Bookings: www.newtheatre.org.au

Put two highly ambitious 20-something sketch writers together with a loving, house proud mother; a hard-working but unfaithful husband and father; a slightly cantankerous, socialist grandfather and you have the beginnings of some very interesting family dynamics. Then place them in a New York Jewish neighbourhood and you have Broadway Bound.

This is the third instalment of a trilogy of stories loosely based on writer Neil Simon’s own life (it follows Brighton Beach Memoirs and Biloxi Blues).

Broadway Bound is a wonderful story set in the late 1940’s and brilliantly captures the post-war themes of austerity, struggle, ambition, and the promise of limitless opportunity that the United States offered its citizens. Neil Simon’s story is lively throughout and knits drama and comedy seamlessly.

The story is set in the home of Jack and Kate Jerome. They have two sons Stanley and Eugene. Kate’s father, Ben Epstein, also resides with them. Kate has been preparing dinner and trying to stop her father going out in the freezing cold. Kate’s youngest son Eugene arrives and begins to boast about a girl he has fallen for. After a while Kate’s oldest son Stanley comes home and dominates the scene with ‘great news’ about a chance meeting he had with the producer of a show on CBS radio. His excitement is contagious as he convinces his brother to immediately work with him during the night to write comedy sketch material for the radio show.

All the while, Kate is the caring mother and homemaker, determined to keep the family well-fed and comfortable. Ben potters in the background and amuses his grandsons by his socialist mutterings and forgettable joke telling.

Later that night, Jack comes home seemingly exhausted from a long working day. However, Kate finds the courage to confront him with her suspicions of him having an affair. A simple denial from Jack is soon disproved and their marriage is relegated to the rocky road of eventual breakup.

Time passes and as the boys gain success in their career, they witness the demise of their parent’s marriage and a changed relationship with their father. Eugene also finds a new understanding of Kate as she reveals how she once danced with George Raft to help win the heart of Jack. In contrast to her boys burning ambition for writing success, Kate demonstrates contentment in simple things such as maintaining a family heir-loom, the dinner table.

Neil Simon is remarkable in the way he can humanise all these characters and make them fallible. Yet they all have likable and redeeming traits.

Suzann James plays Kate Jerome. She has tapped into Kate’s mindset as the stable force in a rapidly changing family. Her sons are finding success, her marriage is crumbling, and she reminisces about happier times with Jack. When husband Jack defends his affair by saying that he never left her, Kate replies “You did leave. You didn’t move out, but you left”.

Les Asmussen as Ben Epstein gives a terrific performance as Kate’s father. Les has perfected the New York Jewish accent and his character unknowingly acts as a model for comedy scripts written by his grandsons. His body language, timing, and gestures were perfect.

Eugene Jerome is played by Patrick Holman. Eugene finds material from the people he encounters and is a romantic at heart. He is able to help his mother ‘open up’ about her past and cope with present day troubles. Patrick is ideal in this role.

Simon Lee brilliantly plays Stanley Jerome. This character is a whirlwind of creativity and ambition. His presence dominates in any scene and can inspire others to act on achieving their goals. He proudly boasts “I have an eye for talent, and I have talent”.

Jack Jerome, the husband and the father, is acted by Brett Heath. He plays a broken man torn by leading a double life. Not wanting to hurt Kate, he lies but finally faces the truth and leaves her. His relationship with his sons changes as he feels they have embarrassed the family by sending them up as fictionalised characters in their radio show script.

Susan Jordan plays Blanche, Kates sister. She is made to feel guilty for marrying a rich man and having an easy lifestyle.

Director Rosane McNamara deserves full credit for this production. She has utilised the talents of cast and crew to their maximum. The costumes are era-authentic and the set seems homely and intimate as a New York apartment would feel (snow falling outside the front door was a simple but powerful effect).

As a play, the dialogue is sharp and witty and the subject matter topical and relevant. I’m sure you will enjoy!

Curly McLain (Connor Hawkins) and Laurey Williams (Samantha Paterson)

Oklahoma!

Music by Richard Rodgers

Book and Lyrics by Oscar Hammerstein II

Presented by Beenleigh Theatre Group

Crete Street Theatre

Beenleigh

Season: 16 November to 1 December. Booking: beenleightheatregroup.com/booking/ or: 07 3807 3922

Oklahoma is a romance story written by Rodgers and Hammerstein just towards the end of WWII. It is set in the mid-west of America, at the turn of the 20th century, when Oklahoma was still a territory. It tells the story of Curly, a cowman, and Laurey, a farmer’s daughter, who are smitten with each other. Laurey however is making Curly do the hard yards to win her affection. There is also another love wrangle happening between Will Parker and Ado Annie Carnes. And, of course, there must be a villain thrown in for good measure as well in the form of Jud Fry.

Oklahoma was BTG’s 40th Anniversary show, was also their first back in 1978 and was Roger and Hammerstein’s first musical in 1943.

The curtains open during the overture to a completely empty stage and historical photographs and newspaper articles of the devastating fire that burnt down the original town hall, along with photos of shows done by BTG in the last 40 years, are projected on to a large screen. The curtain closes again and opens to reveal a farmyard scene, complete with backdrop of fields of tall standing corn.

The two leads, Curly McLain (Connor Hawkins) and Laurey Williams (Samantha Paterson) were well cast and suited each other on stage as the somewhat one-sided romance finally resolves itself into a happy ending.

The other romantic offering is Will Parker (Josh Cathcart) and Ado Annie Carnes (Terri Woodfine). Will Parker has a bit more work to do to capture Ado Annie as her father, Andrew (Brent Schon) insists on him being worth $50 before he will give him her hand in marriage. Will also has to contend with Ado Annie’s flighty nature of being ‘in love’ with every man she meets. Mike Zarate (Ali Hakim the peddler) was the beau of the moment when Will comes back from Kansas City, and who gets himself engaged at gun point to Ado Annie. This romance also works out in the end for everyone.

One of the funnier characters on stage was Gertie Cummings (Elodie Boal). She has attached herself to Curly, much to his chagrin, and her loud laugh was a hoot. And then there is Jud Fry (Lachlan Clark) who was a standout in his duet with Curly, Poor Jud is Daid and his own solo Lonely Room, where his dark character is revealed. Brent Schon played Andrew Carnes to a tee and was most convincing as the overzealous shotgun toting father making sure his daughter wasn’t taken advantage of.

Connor, Samantha, Josh and Terri all had wonderful voices, which were let down a little bit by microphones not always working, but this resolved itself for the second half. The whole ensemble had great harmony and did all of the songs justice.

The toe-tapping starts almost immediately, as does the irresistible urge to sing along to the well-known songs of Oh What a Beautiful Mornin’, The Surrey with the Fringe on Top, I Cain’t Say No, People will Say We’re in Love, The Farmer and the Cowman, and Oklahoma. BTG ensemble’s rendition of Oklahoma was exceptionally good and powerful.

Not only was the singing good, the choreography (Lauren Conway) was equally up to the task with a lot of boot scooting, old time dancing that must have exhausted the cast during rehearsals.

The costumes were well done – what you would expect if you were watching any Western movie set in that era. The dancers in the ballet scene which accompanies Out of My Dreams where Laurey is dreaming about Curly and it turns into a horrible nightmare with Jud instead, were dressed in cheeky black and red bustiers with bustles.

The stage was simple and rustic, with a little shotgun house complete with veranda that also spun to become a barn, Jud’s smokehouse and a bale of hay or two. Props were kept to a minimum as well, which allowed the ensemble plenty of room to kick up their heels and whoop and holler around the stage.

The orchestra, led by Julie Whiting, was superb as it pumped out song after song and was made up of keyboard, flute, oboe, clarinet, trumpets, French horns, trombone, violins, cello and percussion. The mix of instruments was just right, complementing all the numbers with a cacophony of sound one would expect from that era.

This musical will have been performed numerous times over the years around the world and yet it was still fresh and a joy to watch. I thoroughly enjoyed BTG’s performance and one of the notable things about this show is that the cast were having fun.

There are a couple of original members from the 1978 production still involved in this production, albeit no longer on stage, which is a testament to the camaraderie engendered by BTG over the years amongst its members. If this production is the standard after 40 years, bring on the next 40!

Above: Bridie Carter, Danielle Cormack and Jason Klarwein. Below: Danielle Cormack and Joss McWilliam. Bottom: Jimi Bani. More photos follow the review.

Hedda

A reimagining of Ibsen’s Hedda Gabler

By Melissa Bubnic

Directed by Paige Rattray

Queensland Theatre

Bille Brown Theatre

78 Montague Road

South Brisbane

Season: November 10-December 8: Duration 100 minutes without interval. Bookings: 1800 356 528 or www.queenslandtheatre.com.au

Go ahead punk, make her day! You don’t mess with this gun-toting lady. Melissa Bubnic’s Hedda Gabler is no victim. She’s a

scheming ruthless woman from upper middle class who marries for money into a drug dealing dynasty on the Gold Coast and moves into pure Boganville.

It’s a 100 minutes of non-stop action that is sometimes as violent as a Sopranos episode and as funny as Upper Middle Bogan at others and filled with weird and wonderful characters. It has an explosion of the F word and even a C word thrown in, all spoken as naturally as the characters breathe; they smoke, knock back vodka like water, sniff cocaine; domestic violence makes an entrance and there are copious amounts of blood and vomit.

All this in a vast, stark white poolside setting

Hedda and husband George Tesman have just moved into the huge mansion on the sea front which has been furnished, hideously according the Hedda, by George’s Aunt Julia, a gangster matriarch, who is particularly proud of the $3,000 crystal chandelier. It’s taste versus money.

The elegant Andrea Moor was unrecognisable as the brassy, ocker Julie and her scenes with Helen O’Leary as jack of all trades Berta, were some of the funniest in the show.

This is a play based loosely on Ibsen’s 19th century classic, but cleverly brought up to date with the switch to the Gold Coast, but it is still true to Ibsen’s premise: upper class versus lower class, women versus men.

Selling methamphetamine – ice – is the profitable Tesman business and all is well until Ejlert Lovborg, a former lover of Hedda and a high up member of the “family” comes out of jail and George fears he will be ousted from his own position. Hedda just wants him out of the way.

Danielle Cormack is Hedda, and is brilliant and a very generous actor. She worked perfectly with every member of the cast, particularly on one-on-one scenes.

Hedda is struggling to convince George and Julia to go legit, buy into government jobs, aided by the Councillor Brack, a sleazy wannabe lover and a corrupt official. This was another smooth and convincing role played by Joss McWilliam. It was fascinating to see Hedda’s wiles in her counter attacks.

Matching her scene for scene was Jason Klarwein as George, the insecure tough guy, who, ruled by Aunt Julia tried to gain his own dignity by dominating Hedda. There was magic in their scenes.

As there were many laughs there was also tragedy and heartbreak with the besotted Thea, who was played with heart-rending sadness by Bridie Carter and the subject of her passion, the newly released jailbird Ejlert played by big Jimi Bani. Again his was a powerful performance.

If ever there was a romance doomed to tragedy it was that one.

It is a play that makes you laugh, cry and want to scream with anger and frustration at times.

It’s powerful piece of work, powerfully played by a magnificent cast.

After party photos b y Deanne Scott.

The cast, crew and creatives ready to party.

Bridie Carter, Andrea Moor and Danielle Cormack

Eric Scott with Jason Klarwein

Above: Milly (Sarah Hunt), Doreen (Del Halpin) and Jean (Shelley Jacks). Right: Doreen ((Del Halpin) Harry (Clem Halpin), Frank (Peter Maden) and Jean (Shelley Jacks).

A Kick in the Baubles

By Gordon Steel.

Directed by Dawn China.

Javeenbah Theatre Company

Cnr Stevens & Ferry Streets,

Nerang

Queensland

Runs until July 28. Bookings:www.javeenbah.org.au

The Javeenbah Theatre Company’s Christmas comedy-cum-family drama, A Kick in the Baubles, is one of those seasonal shows designed to showcase family tensions over the festive season.

Director Dawn China has brought together a first rate cast and crew to help unravel the tetchy relationships within the Baubles family.

The result is a familiar mix of angst and humour with most of the problems being exacerbated by strong competing characters fired up by alcohol.

However, the conflict comes to the fore as early as 7.15 am on Christmas Eve – before even one drink has been taken – when we first meet Frank and Jean Baubles (beautifully play by Peter Maden and Shelley Jacks).

The middle-aged couple have returned from their Christmas supermarket shopping and we quickly learn that Frank (who has been made redundant) dislikes the seasonal spurge, while Jean seems well meaning, but constantly irritated.

Much of the first act belongs to Frank (who pitches his distaste directly to the audience) and Jean who are constantly bickering.

There’s some respite when their air-head niece, Alex (Holly Cruickshanks is blessed with some of the light relief and funniest lines), pops around to explain that she’ll be spending Christmas with her boyfriend rather than them.

Things hot up on Christmas morning when Jean’s posh demanding sister and Alex’s mum, Doreen (Del Halpin), turns up with flirtatious morally questionable hubby Harry (Clem Halpin).

Del and Clem, who are two of the Gold Coast most experienced and valued performers, make their classical comic characters work as Doreen gets stuck into the grog (the couple only bring one bottle) and Harry gives us a taste of his wicked ways.

The other riotous pair is Gary and Julie (Adam Hellier and Cassie Baan), neighbours, who with Gary’s passion for karaoke and Julie’s mini-skirt give the show some earthy Yorkshire humour.

There’s another sweet and serious couple – played by Sarah Brock and Brock Honnery - who give the drama a change of gear and takes the audiences into pathos close to the play’s conclusion.

However, I leave their stories to the show’s audiences as I think spelling out their roles in Baubles would be a spoiler.

Above: set to go. Right: Dolly (Amy McDonald ) and Horace (Grant Ebeling)

Hello, Dolly!

Book by Michael Stewart

Music and Lyrics by Jerry Herman

Directed by Kate Peters

Choreography Tess Burke, Bruce Harris, Tracey Kriz, Kim Reynolds

Vocal Coach Tracey Kriz

Gold Coast Little Theatre

21A Scarborough St

Southport

Runs until December 1. Bookings: www.gclt.com.au or ring 5646717

Hello, Dolly! - which turned 54 this year – is by any standards a Broadway vintage classic, which continues to be a hot ticket musical theatre item.

So it should come as no surprise to see stalwart director Kate Peters returning to the Gold Coast Little Theatre with this tried and true package.

Kate, who describes Dolly as the Hamilton of its day, is obviously passionate about the show, which showcased the talents of so many Broadway greats from Carol Channing to Bette Midler and even later Bernadette Peters.

Australia has also produced some memorable Dollies including Jill Perryman and the Gold Coast’s own Sheila Bradley.

The director has penned an essay in the program, as well as run a photo spread from previous shows (including a pointer to her own performances including playing Irene Molloy in Canberra back in 1985 and Dolly Levi in a Tweed Theatre season at Twin Towns in 2008).

So what makes Dolly – which took out 11 Tony Awards including one for Channing in the title role in 1964 – so special?

I suspect it’s a combination of a simple and effective story, some colourful characters, including the over-the-top Dolly herself, and some truly familiar tunes.

Of course, the gutsy Hello, Dolly! theme, slam bang in the middle of the Harmonia Gardens segment in the second half, is a show stopper, but other tunes including Put on Your Sunday Clothes, It Takes a Woman and The Waiters Gallop among other are pretty impressive.

For those who don’t know Dolly well – and they do exist – it’s a simple tale based on Thornton Wilder’s play The Matchmaker.

Dolly Levi (Amy McDonald) is a good old fashioned matchmaker who sets out for Yonkers in New York in the 1890s to find a match for half-a-millionaire Horace Vandergelder (Grant Ebeling).

Along the way she terms up with a young milliner Irene Molloy (Louise Harris), whom she plans to match with the much older Horace, and Irene’s friend Minnie (Naomi Mole) as well as two of the boss’s impoverished clerks.

The two young men, Cornelius Hackl (Rory Impellizzeri) and Barnaby Tucker (Andrew Cockroft- Penman), are simply looking for a kiss from a pretty girl, but soon, as they say, love is in the air.

There’s some mix ups along the way, but it’s all fairly innocent – despite a brief court appearance – and true love does find a way.

Kate Peters has put together a large and enthusiastic cast with a robust Amy McDoanld in the lead role and the veteran Grant Ebeling giving us a well-rounded character in Horace.

The supports also deserve a special mention in a cast which has quite a lot of depth, although some struggled with the dancing.

The production values – in the shape of the costumes and set – were impressive and one got the feeling that the largely older audience was having a good time

Above: Megan Washington and below: Sarah Storer

Opera Queensland will premiere a new music project in the Longreach Qantas Founders Museum on Saturday 24 November, with Composed in Queensland.

Students from 11 regional schools, including Longreach School of Distance Education, are working with Opera Queensland and guest artists, Megan Washington and Sara Storer, to craft songs that celebrate what they love about growing up in the Central West region.

The singer-songwriters began workshopping ideas with the budding composers via video conferencing sessions in late October alongside Music Director Jason Barry-Smith, soprano Irena Lysiuk and Opera Queensland’s Head of Learning, Regional and Community Mark Taylor.

The team will fly into the region from 12 November for a two-week residency to teach the young students the songs about their respective communities and guide them through rehearsals before they take to the stage on Saturday 24 November.

Opera Queensland and guest artists will spend two days in each of the five Central West shires working with students from local schools on vocal skills, stagecraft and the importance of collaboration and building self-confidence.

Opera Queensland’s Mark Taylor who is also a former principal of two of the participating schools – Stonehenge State School and Jundah State School – knows all too well the unique challenges facing students in central and western Queensland.

“There’s no escaping the harrowing impact of the drought but Composed in Queensland wants to celebrate the unique joy of living in this region that only these children know,” Mr Taylor said.

“Quite simply, opera is about telling a story through song and we think this is an opportunity all Queenslanders should have the chance to experience, regardless of where they live.

“So many of these students would not otherwise have the chance to see an opera, let alone take part in composing songs about their lives”

In keeping with this spirit of inclusion, the world premiere of Composed in Queensland will be simulcast to Brisbane for friends and supporters of Opera Queensland who can’t make the trek out west to share in the outcome of this ambitious project.

Schools participating in Composed in Queensland are:

Longreach State, Our Lady’s, Longreach, Longreach School of Distance Education, Ilfracombe State, Winton State, Blackall State, St Joseph’s Blackall, Jundah State, Stonehenge State, Windorah State and Barcaldine State.

Proceeds from Opera Queensland's 2018 Gala, All That Glitters, supports state-wide educational programs and initiatives such as Composed In Queensland, ensuring an ongoing offering for both local and regional students and community members.

Composed in Queensland is an Opera Queensland regional outreach project supported by the John Villiers Trust, Tim Fairfax Family Foundation, and the Mather Foundation.

Above: (from left): Daren King, Brian Hinselwood, Mark Scott and Erik deWit. Below: Brad Oliver and Liz Best. Bottom Mark Scott and Alison Lees. Photos by Dan Ryan.

Towards Zero

By Agatha Christie and Gerald Verner

Directed by Kurt A Lerps

Centenary Theatre Group

Chelmer Community Hall

Corner Queenscroft and Halsbury Streets

Chelmer

Season: November 10-December 1. Bookings: www.centenarytheatre.com.au or phone 0435 591 720. Running time: approx two hours 10 minutes with interval.

Agatha Christie’s whodunits are always fun and Centenary’s excellent production of Towards Zero is no exception. A well-balanced cast created believable

characters; they were very well dressed in period, the 1930s, and to be honest I can’t remembers a community theatre show that was better dressed. The set too was excellent with lots of period furniture (I loved the old “wireless” in particular). Visually the show was top rate.

With so many of popular Christie mysteries running on TV at the moment it was nice to see something new. Apparently the play was only recently released for amateur performances.

The plot is typical Christie; a group of relations and friends are put together in a large house and someone is murdered. Then everyone is a suspect with the villain eventually sorted by a clever but somewhat slow detective.

So the house party gathers at Gull’s Point, the seaside home of elderly widow Lady Caamilla Tressilian (Jill Brocklebank), who is being nursed by Mary Aldin (Debra Chalmers). The athletic Nevile Strange (Brad Oliver), former ward of Lady Tressilian's dead husband, has invited his new wife, Kay (Liz Best), and his former wife, Audrey (Meg Hinselwood), to visit at the same time. Staying in hotels nearby are Kay’s friend, Ted (Daren King); a long time family friend, Thomas Royde (Erik deWit), home after a long stretch working overseas and still faithfully waiting on the sidelines for Audrey; and Mr Treves (Brian Hinselwood), an old solicitor and long time friend of the Tressilians. Lady Tressilian is the murder victim, but not until the end of the first act.

The opening act is filled with exposition, explanations with some very contrived comings and goings and dubious exits. “I’m going for a walk”; “would you like to see the terrace?” “I’m going to bed” are few of the classics).

But here Agatha drops her red herrings and hints as to whodunit, so much so that at interval patrons were asked their opinions. I spread my bets with two characters one of whom was the killer but I picked the wrong motive.

So to Act Two and enter Superintendent Battle (Mark Scott) and Inspector Janet Leach (Alison Lees) and the riddles are explained.

Of course when we have all made up our minds again, in come the infamous Christie extra bits of information that blow all the theories sky high! There are also some amazing feats alleged or performed – off stage and in the dark of course – by various characters, which all added to the fun. ,

Mark Scott came into his role just two weeks before opening and he did a great job leading us through the maze in an act that was kept tight and intriguing all the way through. He managed the dry wit and the stolidity of battle while Alison Lees, in uniform and with a strong Yorkshire accent, played the Inspector fully for laughs.

Go along and play the whodunit game, and even if you guess wrong you will have had a fun-filled evening.

Front (L–R): Mark Massingham, Suzannah Mangan, Joel Baltaks, Heloise Tolar

Back (L–R): John Courtney, Michael Niccol

No Sex Please – We’re British By Anthony Marriott and Alister Foot A Richmond Players Production Directed by Carol Wimmer Richmond School of Arts 26 West Market Street, Richmond Season: November 10 – 24. Bookings: secretary@richmondplayers.com.au Put the word ‘sex’ in the title of any production and you are sure to get a full house. And so, the good people of the Hawkesbury turned out in droves last Saturday for the opening night of No Sex Please – We’re British. Written by Anthony Marriott and Alistair Foot, the story is set in the loungeroom of a small flat rented above a bank by newlyweds, Peter and Frances Hunter. Peter works downstairs in the bank and has just informed Frances that his mother will arrive to visit and may want to stay overnight. ‘Mother’ Eleanor arrives sooner than expected much to Frances’ annoyance. Also dropping by is the banks bumbling cashier, Brian Runnicles who Frances allows to collect a delivery at the door. Could this be the Scandinavian glassware that Frances has ordered? Of course not. Upon opening the box, Brian and Frances discover an assortment of photographs of women, all over-exposed (not in the photographic sense). Peter is soon involved in the plan to prevent Eleanor from discovering the pictures and they take steps to get rid of them, including a botched attempt at flushing them down the toilet. Following a mix up in bank cheques, the pornographers subsequently send more confronting material in film and book form two days later. Amidst all this embarrassing turmoil for Peter and Frances is a blossoming romance between Eleanor and Bank Manager Leslie Bromhead; an unexpected overnight visit from the Bank Inspector Arnold Needham; two prostitutes looking to please; and a Police Superintendent Paul who is keeping a watchful eye on the suspicious activities occurring in the flat. The storyline is largely contrived and exaggerated nonsense, however that is secondary to the countless comical scenes and situations that the characters encounter. Director Carol Wimmer has utilised every technique available to maximise laughs right through the play. There are props aplenty, slapstick, compromising positions, great facial expressions, and perfect timing on line delivery. The audience was having a ball. There was much laughter and smiles throughout the theatre, confirming success for cast and crew. Every part was well-cast and each actor gave their all. Joel Baltaks as Peter Hunter was the ideal straight man, able to remain poker faced whilst mayhem was all around. Similarly, Heloise Tolar as Frances Hunter played the victim housewife perfectly, providing stability amid chaotic circumstances. Brian Runnicles, the busy body bank cashier was played by Mark Massingham. He relished this role and hammed it up to the full extent. Penny Johnson played the interfering mother-in-law Eleanor Hunter very well. Plenty of laughs came from the performances of John Courtney as Leslie Bromhead, Sean Duff as Superintendent Paul and Michael Niccol as Arnold Needham. Chantelle Bauer as Susan and Suzannah Mangan as Barbara gave just the right amount of scintillation as the ‘ladies of the night’. The hard work of the creative team was clearly evident, especially Set Designer Steve Wimmer and Costumes Dianne McKenzie. The set was spacious, bright colourful and finely detailed. Costumes were all character-appropriate and fortunately, scant (where required).No Sex Please – We’re British is a fun-filled farce, born in the days when British sit-coms ruled Australian TV screens. There are lots of double-meanings, innuendo’s, door-banging and running around. You need to pay attention as it moves quickly from scene two onwards. I recommend trying to see the ‘dinner-show’ version at the historic School of Arts. Food was of good quality, service was efficiently handled, and with a little bit of lubrication, the script has more depth. This show will deliver if you seek light-hearted fun, bawdy gags and a talented cast and crew. Go see!

Above: Matilda Ridgway, Brian Meegan, Danielle Carter and Sam O’Sullivan. Below right: Yolin Ozucelik and Brian Meegan. Bottom right: Rachel Gordon. Photos by Prudence Upton.

The Norman Conquests: Table Manners

By Alan Ayckbourn

Directed by Mark Kilmurry

An Ensemble Theatre Production

Ensemble Theatre

78 McDougall Street

Kirribilli

Season: 19 October 2018 – 12 January 2019, Bookings: (02) 9929 0644 or https://boxoffice.ensemble.com.au

If only dining tables could talk. Imagine all the secrets they could reveal from a lifetime of

hosting family gatherings! In the aptly titled Table Manners, playwright Alan Ayckbourn uses one set over four scenes and two acts to spin an enthralling domestic yarn involving six characters. Director Mark Kilmurry has the ‘dining table’ centre stage to absorb and retell conversations that others should perhaps not hear.

Table Manners is one of three plays that make up The Norman Conquests and deal with issues of repressed sexual desire, marital infidelity, loneliness, frustration and the search for happiness. These issues are humourously addressed within a family environment and so, we the audience, can readily identify each of the characters within our own lives.

The story is set in a cottage somewhere in the English countryside. It’s peaceful, serene, and safe. Annie lives in the house to care for her aged invalid mother. We get the impression that she feels her life is dull, boring and slipping away rapidly. She yearns for love and intimacy but her best friend, Tom the Vet, is shy and awkward when it comes to matters concerning close relationships. He is preoccupied with the care of animals; however, we discover later that he has skills as a boxer which came in handy during the story.

Annie has organised her brother Reg and wife Sarah to visit for the weekend, so she can get away to downmarket East Grinstead to relax briefly. They arrive to find Annie preparing the table for dinner. While Reg is outside, Sarah grills Annie about her weekend away, thinking it is a “dirty” weekend opportunity for Annie and Tom. However, this is not the case. Annie finally reveals the plan is to spend the weekend with Norman, the husband of her sister Ruth.

Plans for her weekend ‘escape’ rapidly disintegrate and we are treated to some very funny scenes around the dinner table. Everybody’s marriage, feelings, and dislikes are opened. And the main antagonist is Norman, who manages to get everybody offside with his loud, garrulous, and drunken behaviour.

This is a good, tight play with a fast-paced story and believable characters.

You can’t help feeling sorry for Annie. Matilda Ridgway brings her life and sympathetically portrays a lonely, quiet woman who dresses plainly. Matilda captures her introverted side well.

Danielle Carter superbly plays the role of Sarah. In stark contrast to Annie, she is confident, self-assured, and very class-conscious. When discussing Tom with Annie she says, “It must be fascinating being a Vet. It’s a pity in a way that he’s not a proper doctor”.

Tom the Vet is portrayed perfectly by Sam O’Sullivan. He is everything righteous, very diplomatic, and polite. He could be a good match for Annie. If only he could try and get to first base with her, she’d be delighted.

Reg is the smart-alec real estate agent who has a cutting line in every conversation. He is likable but irritates his wife Sarah with his annoying habits. Very well played by Brian Meegan.

Rachel Gordon is ideal in the role of Ruth. She is a busy, working woman who is well aware of her husbands’ limitations and indiscretions. She just gets on with things. When chatting to Norman she says, “I love you too Norman but just leave me alone”.

And then there is Norman, ably played by Yolin Ozucelik. He captures the annoying nature of Norman very well. He can’t control his high libido and feels he can offer “much happiness” to all women. But really, he is just a legend in his own mind.

Recognition must go to the crew, especially Set and Costume Designer Hugh O’Connor. His costumes matched the personalities of each character perfectly, especially the oversized suit adorned with war medals of Ruth’s deceased father that Norman managed to find in a cupboard.

I recommend catching this production if you can. Table Manners delivers on laughs, cast performances, and entertainment. Written in the early 1970’s, its gender depictions are a bit stereotyped but still hold true today. And the dining table on the big floor rug deserves its place centre-stage.

Right: a welcoming glass of Italian fizz in The Charles'.

Brisbane’s newest five star hotel, The Westin at 111 Mary Street opens its doors for business on Thursday, November 8 and already has the house full sign up for Monday the 12th !

But it’s not all about rooms; food, wine and entertainment are very much on the menu. Eden’s Table is the hotel’s signature restaurant, then there is The Charles’, an aviation inspired jazz bar that switches from café by day to wine and cocktail bar by night; and also The Nautilus, Brisbane’s first swim up bar which has panoramic views of the city.

I was one the lucky guests to be invited to a pre-opening sample of the Eden’s Table food, which, the hotel boasts “celebrates locally sourced produce from ocean to paddock”. It took me back to another life when I was well-rounded restaurant critic!

One thing I can guarantee is that the food is going to be delicious and fresh!

The mouth watering menu was overseen by The Westin Brisbane’s Executive Chef, Steve Sweetman. Steve is star act, this is the fifth hotel he has opened and I sampled his style a couple of years ago in the Star Casino in Darwin, where he worked until June this year. It was impressive then and he obviously loves his new job and his freedom to create.

“In Eden’s Table,” he said, “we’re showcasing modern, Australian cuisine and local produce from ocean to paddock, in a beautiful, contemporary space. There’s something for everyone, from split grilled Queensland prawns to Yardstick tomahawk steak and yuzu-grapefruit granita for dessert.”

After a glass of nicely dry fine beaded Italian fizz Ferrari brut, we headed for the light and airy restaurant where the tables were laden with the appetisers, ice-cooled seafood platters. Now that was what you call fresh; Morton Bay Bugs that peeled easily from the shell had better taste than may lobster tail, oysters juicy and smooth as silk, melt in the mouth peeled prawns, house cured salmon and to top it off mussels opened and ready to eat, no beard and, where mussels can be tough or gritty, these were oyster soft and delicately flavoured.

It all sat very nicely with a second glass of Ferrari.

To be honest I could have waded into more seafood, but there were more courses to come. There was a trio of entrées, served with a Mt Ballandean rose; seared scallops with a fascinating green pea saffron foam and topped with very thinly sliced chorizo; Grilled Entrance squid with a magical, gently flavoured mix of fennel grapefruit and parsley, drizzled with Mt Zero, Olive oil and a vegetarian dish of spiced haloumi beetroot, hazelnut Raita, which was rich and sweet.

For the main meal it as a choice of Yardstick 300 gram scotch fillet with Paris mash, and Eden’s steak sauce, Humpty Doo Barramundi fillet served with lemon myrtle tagliatelle, chilli, lime and leek or for the vegetarians, Mushroom and Ricotta Tortellini.

I chose the barramundi and the chardonnay from WA’s Forest Hill estate and was pleased that I did. It was crispy skinned and succulent.

To finish off those with appetite left had a choice of pastries from Pastry Chef Mia’s trolley - Tiramisu, baked cheese cake, Lemon orange tea cake, Gianduja chocolate gateau, Choux with hazelnut praline and Grand Marnier, Lamington with strawberry jam and balsamic vinegar, Passionfruit marshmallow, Mandarin fruit jelly, Raspberry macaron and Lemon macaron. They were served with Lemon Drop liqueur, a Mt Tamborine mix of Absolute Vodka and lemoncello.

I can assure you there was no dinner at home that night, just a glass of wine and a gastronomic memory.

Opening times:

Eden’s Table Level 1: Breakfast: Monday to Friday 6 am – 10.30 am, weekends 7 am to 11 am.

Lunch: Monday to Friday 12 noon – 2.30 pm, weekends 12.30 pm to 3 pm.

Dinner: Everyday 6 pm – late.

The Charles’ Ground Floor Monday to Friday 6.30 am – late.

Eden’s Table has a capacity for 150 guests. The restaurant’s 60-seat private dining space, with floor-to-ceiling windows and a separate entrance, is avaailable for an exclusive celebration or corporate event away from the boardroom. Eden’s Table will also be host to bottomless bubble brunches each Sunday, as well as regular degustation dinners, whiskey pairing nights and celebrity guest speakers.

Executive Chef Steve Sweetman hard at work on the scallops.

The seafood platter

My dish of barramundi

Pastry Chef Mia's sweet masterpieces

A chat with the chef

The Westin Brisbane, part of Marriott International, will open its doors on November 8, revealing a unique urban retreat for the river city. The hotel is the first for the Westin brand in Queensland and will bring a new level of health and wellness offerings, three dining outlets and resort style facilities to the Brisbane CBD.

͞Brisbane has emerged as a sophisticated and vibrant city and The Westin Brisbane will be a welcome addition to the fabric of the city, said Brad Mercer, General Manager, The Westin Brisbane.

͞The hotel will be well positioned to service both domestic and international travellers seeking a hotel that focuses on health and well-being, whilst providing a high level of style and elegance.

͟The Westin Brisbane has a prime location within walking distance of the Queen Street Mall, Eagle Street Pier, the Botanic Gardens and the South Bank Parklands and arts precinct, and offers 299 guest rooms and suites, each with views of the city skyline. A Westin Club Lounge is also available to guests staying on designated club floors.

Guests will enjoy signature Westin services and amenities, such as the Heavenly Bath experience. In keeping with the Westin’s philosophy to incorporate natural surroundings into even the most urban of its developments, The Westin Brisbane showcases floor to ceiling windows throughout its various venues, creating an abundance of natural light and merging the outdoor surroundings with the interior decor.

A health and wellness focus is prevalent throughout the hotel with a fully equipped Westin WORKOUT fitness studio and Heavenly Spa - Westins first in Australia, offering signature treatments for mind and body. The hotel’s swimming pool will be situated adjacent to the fitness centre, with yoga and Pilates classes taking place on the 400 square metre podium around the pool deck.

Guests can also take advantage of the hotel’s exclusive Run Concierge, a resident running buddy for guests looking to maintain their fitness whilst on the road.

Three onsite dining venues including a signature restaurant, a lounge bar and a pool bar - complete with Brisbane’s s only swim-up bar. Each will complement the health and wellness aspects, offering menus which incorporate fresh, local ingredients in classic styles.

An ideal setting for functions, the hotel boasts more than 930 square metres of conference and event space, equipped with cutting edge technology providing a dynamic space for meetings and events. The Ballroom, breakout rooms, pre-function area and restaurant are located on the same floor to optimise collaboration and maximize interaction.

The AUD$200 million hotel is part of a mixed-use development called Mary Lane, which will offer an array of vibrant dining venues and stylish residences, in the heart of the central business district.

For further information visit www.westinbrisbane.com

Above: Danielle Cormack and Bridie Carter

Opening on Saturday 10 November in the new Bille Brown Theatre, Queensland Theatre’s season finale, Hedda showcases a trio of talented women.

Danielle Cormack is ready to tackle one of drama's greatest heroines. Playwright Melissa Bubnic has the turn of phrase and black humour to bring a 19th century classic into the 2000s, and Paige Rattray wll be directing.

In Queensland Theatre’s Hedda we see Ibsen’s fiercest leading lady land poolside on the Gold Coast!

The story: Hedda Gabler is railing against her life. She didn’t marry drug slinger George Tesman so she could play housewife in a monstrous Gold Coast mansion with white leather couches, blingy chandeliers and endless rounds of Aperol Spritz. She wants something much more and now her old flame, Ejlert Løvborg, is out of prison and off the junk. Is he about to slice off a piece of George’s empire? Maybe Hedda can pull some strings to work this to her advantage.

The story is brought to life by a collective of Australian stage and screen talent – Danielle Cormack has played powerful female characters in Wentworth and Rake; Jimi Bani returns to Queensland Theatre fresh from the critically acclaimed My Life is Jimi national tour; the Helpmann-nominated Jason Klarwein was last applauded in Twelfth Night; Joss McWilliam brings more than 30 years of experience in standout roles; NIDA graduate and leading actor Bridie Carter (McLeod’s Daughters) makes her debut with Queensland Theatre, while multi-award nominated Helen O’Leary(Packed to the Rafters, The Strip) also debuts with Queensland Theatre. Completing the casting is Andrea Moor.

London-based playwright Melissa Bubnic is returning to Australia for the opening and said her adaptation of Hedda had been two years in development with Queensland Theatre.

She explains the reason for making the George Tesman character a drug slinger: “I didn't feel that academics arguing over the meaning of life and losing a manuscript felt inherently dramatic to me for today's audience. Drugs, violence, and death - all of that felt immediately higher stakes. This is a world where if you make a dud move, the consequences can be catastrophic.

“And Hedda is completely unapologetically self-serving. She's after what she wants and everyone else is collateral. She doesn't have the ennui, restlessness, longing for beauty of the original Hedda. My Hedda is a woman on a mission,” said Bubnic.

Director Paige Rattray has directed two of Queensland Theatre’s most powerful stage productions in Black is the New White and Scenes from a Marriage, and said Ibsen was a radical thinker in his time and Melissa Bubnic’s reimagining equally as radical for now.

“We were interested in taking one of the ‘great’ female roles and tipping the idea of the tragic female lead on its head. Our Hedda isn’t a bored housewife. She’s a woman with a huge amount of energy who wants to rebuild the family name and be autonomous, and she will do anything to make that happen. She’s bold and brutal and takes no prisoners. It’s set on the modern-day Gold Coast; the family business is drugs and property development. It’s a very high stakes world,” she said.

Hedda - a re-imagining of Ibsen’s Hedda Gabler by Melissa Bubnic, directed by Paige Rattray. 10 November to 8 December at the Bille Brown Theatre, Queensland Theatre. Tickets: Tickets at queenslandtheatre.com.au or by calling 1800 355 528.

Right: True Love - Louella Baldwin as Tracey and Michael McNish as Dexter. Photo by Dan Kennedy.

High Society

Music and lyrics by Cole Porter

Additional lyrics by Susan Birkenhead

Book by Arthur Copit

Directed by Jacqueline Kerr and Helen Ekundayo

Musical Director Sean Fagan

Choreographer: Helen Ekundayo

Villanova Players

Seven Hills Theatre

Tallowwood Street & Griffith Place

(Off Clearview Terrace)

Seven Hills

Qld 4170

Season: Until November 11. Bookings: www.trybooking.com

Villanova Players made a good fist of their production of High Society. It looked good, with classy frocks and suits, courtesy of costume designers Desley Nichols and Lia Surrentino, and clean-lined stage settings. There was also a white clad eight-piece jazz band with lots of brass sitting in the bandstand as the patrons entered the theatre.

It had all the feel of a top end of town wedding.

High Society is one of my favourite musical. It has great characters, a fun-filled plotline, and fabulous songs. I became hooked when I first saw the classic movie with Crosby, Sinatra, and Grace Kelly. When I saw a professional production of the play I enjoyed so much that I didn’t want it to end. So I went to the Seven Hills Theatre ready to enjoy the evening. And I did as I listened once again to all those great songs - Little One, Who Wants to Be a Millionaire? I Love Paris, She's Got That Thing, High Society, Well, Did You Evah! You're Sensational, Say It With Gin, It's All Right With Me, I Love You, Samantha and of course True Love.

In the plot Tracy Lord is about to marry successful industrialist George Kittredge. At the pre-wedding party her ex-husband, Dexter, turns up and informs the family that unless Tracy agrees to be photographed by two reporters from a celebrity magazine, they will print a story about Tracy's estranged father, who is carrying on an affair with an exotic dancer.

Later, the reporters, Mike and Liz, arrive. Confusion starts when Tracy introduces her Uncle Willie as her father and when her father makes surprise appearance she claims him as her uncle. Then Tracey takes to the champagne and goes skinny-dipping with an equally inebriated Mike which of course, leads to all sorts of problems.

So with all those diverse characters no director can afford to slip up in casting – especially when there is a lot drinking going on. It’s not easy to be a convincing stage drunk! But Jacqueline Kerr and Helen Ekundayo did an excellent job. All principals were well cast but the ensemble was a bit wobbly at times in the small stage area.

To make the show work it needs a convincing Tracey Samantha Lord. It is such a vital role that needs to create a real rapport with Dexter. Louella Baldwin did that in spades. This fairly recent QUT graduate is a real find. She has strong stage presence and interpreted the songs with a terrific voice. She was something special in opening night. Michael McNish was Dexter. He played his role well and did his share of singing with a unique style. There was true electricity between them and the True Love duet with Dexter and Tracey was a highlight of the night.

Louella, along with Peter Cattach as Mike Connor created another unforgettable scene with the You’re Sensational song. What a pair of brilliant drunks they were. Uncle Willie, the old reprobate was another top class drunk played by Leo Bradley and Lillian Dowdell created a great adolescent Dinah Lord.

Garry Condoseres had the unenviable task of playing the pompous, humourless George Kitteridge, surely one of most unrewarding of roles. As for the rest, no one put a foot wrong and, despite having the band onstage the sound was good enough for the lyrics to come over loud and clear. There were a few lost lines and hesitant moments in the opening act, but when the champagne started to flow in Act Two it added an extra sparkle.