Tag Archives: old fitzroy theatre

Review: Posh (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 19 – May 17, 2025
Playwright: Laura Wade
Director: Margaret Thanos
Cast: Tristan Black, Toby Blome, Mike Booth, Christian Byers, Max Cattana, Roman Delo, AJ Evans, Ryan Hodson, Charles Mayer, Dylan O’Connor, Dominique Purdue, Jack Richardson, Scarlett Waters, Anthony Yangoyan
Images by Robert Catto

Theatre review
The aristocracy may no longer be what it once was, but members of the secret Riot Club are certainly not giving up on their old beliefs. Posh by Laura Wade interrogates the British class system, with a specific focus on privileged young men, who are brought up to believe that their heritage makes them rightful leaders of the future. A scathing commentary on this particular segment of the elite, Wade’s play is an entertaining creation, if slightly simplistic and deficient in nuance.

Direction by Margaret Thanos imbues an intensity that has us captivated. Where there is a lack of complexity in terms of narrative and characters, Thanos provides extensive atmospheric enrichment, so that we may experience a consistent exhilaration, in the mischief and danger of what unfolds. An electrifying cast delivers a polished production, impressive with the cohesiveness and precision so evident in their work. Each actor is delightful, in a production memorable for its quality of performance.

Set design by Soham Apte is remarkable for its naturalism, leaving no doubt as to where the action is meant to occur. Aloma Barnes Siraswar’s costuming offers idiosyncratic and meaningful variations, to the patrician uniform that the men wear with revolting arrogance. Lights by Sophie Pekbilimli and sounds by Cameron Smith are not always imaginative and rigorous, but they rise to the challenge when the play veers momentarily into surreal territory. 

There is a sanctimonious pleasure in watching Posh, even if the truth points to power only ever working in one direction. It may feel like we are exploring the world of The Riot Club and its members in a superficial way, that the show only cares to depict caricatures, but there is no denying that the patriarchy’s persistent dominion is accurately conveyed. They no longer own everything, but it seems that nothing can quench their desire to exert influence over all of our lives.

www.oldfitztheatre.com.au | www.queenhades.com

Review: Amber (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Mar 28 – Apr 11, 2025
Playwright: Nikita Waldron
Director: Mehhma Malhi 
Cast: Harry Stacey, Ashan Kumar, Kurt Ramjan, Esha Jessy, Nikita Waldron
Images by Phil Erbacher

Theatre review
There must be more to her life than boys, but in her eponymous play Amber by Nikita Waldron, it certainly appears that her entire existence is shaped only by a series of romances and dalliances. From the age of fifteen, all Amber wanted was to find love, but unlike the books, movies and tv shows that form a regular cultural diet of high school girls some twenty years ago, things do not happen quite so easily.

Directed by Mehhma Malhi, Amber is a surprisingly earnest work that perhaps takes youth angst slightly too seriously. A greater exploration into comedic dimensions would deliver better entertainment, but the production’s dedication to the real concerns of girls like Amber, is a commendable one.

Waldron takes on the role of Amber, convincing at any age (from early teen to young adulthood) in the character’s evolution. Her performance lacks an organic quality that could make the material’s sentimentality ring true, but her verve helps sustain our attention. A commensurately vibrant supporting cast adds further zest to the piece; Harry Stacey, Ashan Kumar, Kurt Ramjan and Esha Jessy create the many likeable personalities who come in and out of Amber’s orbit.

Set design by Hailley Hunt is appropriately sanguine in approach. Lights by Izzy Morrissey, along with sounds by Madeleine Picard, are memorable for comical punctuations they introduce at choice moments.

There are some segments in modern societies, where we are able to provide so much for our young, that they seem unable to worry about anything but frivolous matters. We then become frustrated and resentful of their apathetic attitudes towards the bigger things, after having ensured that they circumvent challenges previous generations have had to tolerate. One wishes that Amber could expend her energies in more meaningful ways, but it appears that she has been shielded from so much, so that the only vulnerable aspect left to her existence, are matters of the heart.

www.oldfitztheatre.com.au | www.eswrkrs.com

Review: Iphigenia In Splott (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Mar 7 – 22, 2025
Playwright: Gary Owen
Director: Lucy Clements
Cast: Meg Clarke
Images by Phil Erbacher

Theatre review
Living in the south of Cardiff is Effie, a young woman with no real purpose in life. After a chance encounter with a military veteran however, things begin to change. Iphigenia in Splott by Gary Owen deals with the underclass, paying specific attention to their relationship with public services. There are sections of the writing that can feel slightly diminishing of women’s experiences, but its plot is highly entertaining, and as a one-person show, its scope for performance is remarkably versatile, presenting a great opportunity for an actor to showcase their talent and range.

Meg Clarke takes on the challenging role with aplomb, completely astonishing with the depth and drama she brings to the stage. The emotions she offers are as intense as they are authentic, effortless at making Effie’s plight feel affecting from start to end. Clarke’s timing is perfectly honed, and the intricacy with which she breathes life into the text is simply awe-inspiring.

Direction by Lucy Clements keeps the show dynamic and engaging, with an urgency that ensures its message cuts through successfully. Production design by Angela Doherty provides just enough embellishment for the performer to shine. Luna Ng’s lights richly enhance the story with commendable imaginativeness, while Chrysoulla Markoulli’s sounds shift us through the many temperaments as we follow Effie’s misadventures. The wonderful rigour and cohesion of Ng and Markoulli add a valuable quality of transcendence, to the earthy explorations of Iphigenia in Splott.

The play demonstrates the wilful neglect of the powerless, as social infrastructures are allowed to erode in places like the UK. Intrinsic to prevailing capitalistic values, is a contempt for the poor. Although inhumane, we have learned to regard their misfortune as deserving, convincing ourselves that any person can easily pull themselves up by their bootstraps. The truth is that people’s circumstances are often beyond control, and the refusal to help those in need, can only mean that we are nothing more than monsters.

www.oldfitztheatre.com.au | www.newghoststheatre.com

Review: The Children’s Hour (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Feb 14 – Mar 1, 2025
Playwright: Lillian Hellman
Director: Kim Hardwick
Cast: Sarah Ballantyne, Jess Bell, Amy Bloink, Mike Booth, Annie Byron, Kim Clifton, Romney Hamilton, Martelle Hammer, Miranda Huttley, Deborah Jones, Lara Kocsis, Madeline Kunstler, Kira McLennan
Images by Phil Erbacher

Theatre review
Mary is a terror of a child. She may be just twelve years of age, but her conniving ways are already causing chaos everywhere. When Mary starts a rumour about headmistresses Martha and Karen having a sexual relationship at their residential school, the consequences are devastating. The Children’s Hour is a 1934 play by American playwright Lillian Hellman, significant for its portrayals of queer women at a time when lesbians were rarely represented in the arts, and when homosexuality was severely stigmatised.

The text reflects the immense shame endured by queer people of the time, and although largely obsolete in its depictions, The Children’s Hour serves as a valuable and accurate record of the way things had been. Direction by Kim Hardwick brings truthfulness to the storytelling, so that we may bear witness to the cruelty that humans are capable of inflicting, especially upon the marginalised. Some scenes are more compelling than others, which suggests that a slightly abridged version could be more suited to contemporary tastes.

Set design by Emelia Simcox, along with scenic art by Russell Carey are evocative of the era being showcased. Hannah Yardley’s costumes too are appropriate in style, although not always well-fitted, and some pieces show visible signs of distress. Lights by Jimi Rawlings and sound by Michael Huxley offer unobtrusive enhancements to atmosphere, in a staging that scores points for integrity.

The role of the deceitful Mary is played captivatingly by Kim Clifton, who brings a delicious ferocity to the viciousness that propels the narrative. Jess Bell and Romney Hamilton demonstrate strong chemistry as Martha and Karen respectively, with Bell’s riveting intensity and Hamilton’s restraint, forming a surprising contrast.

In the current political moment, it seems that lies are the greatest driver for our destruction. No longer able to effectively discern truth from lies, or even right from wrong, we find ourselves in a constant state of frustrating bewilderment, unable to trust any information, and subsequently enfeebled with inaction. Queer history, however, proves that no matter how extreme the oppression, the warriors for justice will overcome.

www.oldfitztheatre.com.au | www.instagram.com/tinydogproductions

Review: Pride And Prejudice (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Jan 14 – Feb 8, 2025
Playwright: Kate Hamill (adapted from the Jane Austen novel)
Director: Emma Canalese
Cast: Victoria Abbott, Steve Corner, AJ Evans, Lucy Lock, Mym Kwa, Abbey Morgan, Dylan O’Connor, Idam Sondhi
Images by Phil Erbacher

Theatre review
It is the old story of how Elizabeth and Darcy fell in love, but this time in an adaptation two centuries after Jane Austen’s original. Kate Hamill’s sassy but faithful take on Pride and Prejudice provides a tonal update, allowing the novel to play to contemporary audiences seeking a revisit of the traditional romance.

Direction by Emma Canalese intends to deliver a farcical perspective of Pride and Prejudice, but what audiences find is something frightfully immature and painfully unfunny, with a cast that seems completely incapable of agreeing on a definitive style of presentation. Some approach their roles with banal naturalism, and others bring grating hyperbole, in a show that achieves not a moment of harmony. Design elements are individually adequate but when combined, form a staging that proves hard on the eyes.

The reverence surrounding classics like those by Austen, can become so consecrated that the idea of gheretics choosing to interrogate them can feel deeply appealing. Trying to deconstruct the work of artistic giants however, is clearly a formidable task that few can accomplish. Poor efforts exist however, to remind us that while there should be things regarded sacred, they should at the same time be available for reinvention, even if to demonstrate the endurance of those icons.

www.oldfitztheatre.com.au | www.artistexperiment.com | www.instagram.com/dreamplaneproductions

Review: Snowflakes (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Dec 6 – 22, 2024
Playwright: Mike Bartlett
Director: Jo Bradley
Cast: Claudia Elbourne, James Lugton, Lilian Alejandra Valverde
Images by Robert Miniter

Theatre review
Political discourse seems to be in a state of unprecedented turmoil, as reflected in Mike Bartlett’s Snowflakes, a play about conflicting values and the possibility of resolution. Maya had left home shortly after the Brexit referendum, no longer able to tolerate her father Andy’s beliefs and opinions. Several years later, Maya and Andy attempt a reunification at Christmas time, but peace does not come easy.

It is a discussion we need to have, much as it is an inevitably fraught and upsetting one. The chasm between us is ever exacerbating, and in Snowflakes we certainly observe how challenging it is for our minds to meet. Bartlett provides for Andy’s more conservative side ample, and possibly excessive exposition, often maddening with his obstinacy, much as the text attempts to imbue him with endearing qualities. The role is performed by James Lugton, whose admirable precision and personal charisma helps to sustain our interest, but some viewers will nonetheless find tiresome, the unceasing efforts to make Andy likeable.

Lilian Alejandra Valverde plays Natalie, a peacemaker character, with excellent vitality and passion. Maya makes her entrance later in the piece, via actor Claudia Elbourne who brings a youthful idealism valuable to the narrative. Valverde and Elbourne represent the progressive side with palpable passion, even though the writing seems to provide insufficient material to help them argue their case.

Director Jo Bradley has the unenviable task of making the family drama resonate in tandem with the combative politics that become increasingly apparent through the duration. The tender aspects of Snowflakes are probably not as persuasive as they should be, but the production’s rendering of adversarial dynamics is undoubtedly compelling.

Set and costumes by Soham Apte are effective in their depictions of time and space. Lights by Luna Ng are sensitively calibrated, to convey shifting moods and on occasion to add some theatricality, to the show’s essential realism. Sounds by Daniel Hertern are understandably restrained, in a story that emphasises the normalcy of these fissures in our daily connections.

As a young queer woman, Maya has come to the realisation that the system is designed to work against her. Understanding that much of what is traditional and customary serves a hegemony that she wishes to dismantle, everything her father stands for can only be seen as disdainful. In time, she will learn that Andy too suffers from the system’s failures, albeit through different manifestations, and learning to work against the system and not individuals, should help her find a more harmonious existence.

www.oldfitztheatre.com.au | www.instagram.com/goodtimetheatrics/

Review: Female Of The Species (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Nov 1 – 23, 2024
Playwright: Joanna Murray-Smith
Director: Erica Lovell
Cast: Lib Campbell, Doron Chester, Jade Fuda, Joe Kalou, Mark Lee, Lucy Miller
Images by Noni Carroll

Theatre review
Margot is struggling with her latest book. A star of feminism’s second wave, she seems to have run out of things to say, after publishing a raft of titles over thirty or so years. The 2006 play Female of the Species by Joanna Murray-Smith is itself too, not altogether relevant in today’s climate of progressive politics, but the work is thankfully sound with fundamental principles that continue to prove credible. More important perhaps, is the endurance of its comedy, which we discover to be quite hilarious, while it expounds on the eternally contentious subject of gender inequity.

Intricate direction by Erica Lovell ensures no stone unturned, for a show determined to deliver the laughs. A warm exuberance takes hold from its first moments and never lets up, making it a delightful experience for its entirety. Production design by Paris Burrowes depicts with accuracy the epoch that we slightly revert to, and lighting design by James Wallis is understandably restrained in a production that requires no need for bells and whistles.

It is all about the performances in Female of the Species, and the cast delivers in spades. Lucy Miller provides rich intellectual fodder with her complex portrayal of Margot. Her daughter Tess is relentlessly funny, as depicted by an inventive Lib Campbell. The intruder Molly is imbued thoughtful intensity by Jade Fuda. Male characters appear later in the piece, with Doron Chester, Joe Kalou and Mark Lee all bringing exceptional buoyancy to the presentation.

With each generation of activism, we seem to get closer to a meaningful unravelling, if not dismantlement, of the structures that inhibit and subjugate. With this revisit of Female of the Species, it appears we have discovered a bigger truth in the current fourth wave, demonstrating that an understanding of previous cycles only means that greater discoveries will surely expose further machinations of the patriarchy. It is perhaps unfathomable today that the dual and conflated projects of feminism and decolonisation can ever be completed, but having them as a central purpose for being, or simply as guiding principles, is in itself, a key to fulfilment.

www.oldfitztheatre.com.au | www.rogueprojects.com.au

Review: New Works Festival Part 3 (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW)

Champions Oct 11 – 26, 2024
Playwright: Isabella McDermott
Director: Bali Padda
Cast: Cat Dominguez, Talitha Parker, Lincoln Vickery, Bayley Prendegast
Images by Patrick Phillips

Fuccbois: Live In Concert Oct 11 – 26, 2024
Book, Music and Lyrics: Bridie Connell
Director: Jessica Fallico
Cast: Gabbi Bolt, Bridie Connell, Orya Golgowsky, Clara Harrison, Megan Walshe 
Images by Leanne Ansell

Theatre review
The two stories in part 3 of the Old Fitz Theatre’s New Works Festival involve separate groups of four artists and their respective relationships with integrity. Isabella McDermott’s sophisticated Champions looks at the effect of a $50,000 prize, when art becomes a competitive sport. In Bridie Connell’s rambunctious Fuccbois: Live in Concert, it is the competitive alpha male that adopts the art of performance to satisfy his narcissism. 

A contemplative work, Champions is directed by Bali Padda who brings commendable sensitivity to a play brimming with engaging nuance. For Fuccbois, it is Jessica Fallico’s mischievous direction of raucous drag kings that leaves an impression. There is a slight deficiency in terms of dramatic escalation over the duration of both shows, but Padda and Fallico certainly prove themselves accomplished, albeit in wildly different styles.

A simple set design by Elle Fitzgerald converts the space to allow for greater versatility. Tim Hope’s lights are marvellously dynamic for Fuccbois but are perhaps overly sombre in Champions. Costumes by Rita Naidu for Champions and Lily Moody for Fuccbois are all similarly appropriate for each of the characters we encounter. Sound design by Prema Yin for Champions is particularly noteworthy, intricate in approach and effective with the vigour it provides.

The cast for Champions is very strong; Cat Dominguez, Talitha Parker, Lincoln Vickery and Bayley Prendegast play visual artists negotiating a suddenly intensified work environment, remarkable for the distinct qualities they deliver, as well as a sense of authenticity they imbue in the storytelling. For the faux arena concert of Fuccbois, Gabbi Bolt, Bridie Connell, Orya Golgowsky, Clara Harrison and Megan Walshe manufacture an electric atmosphere, gratifying with their pointed commentary on commodified masculinity, but unfortunately lacking in crispness with their highly stylised presentation.

Even when art loses all of its truthfulness, when having to accommodate all manner of economic considerations, it can still reveal something worthwhile, if only we commit to its decipherment. Bad art however is determined to discourage analysis, and have us accept its deceptive surface. In other words, bad art trades in obfuscation and lies. No person can claim to be insusceptible to artful trickery, but it is in the willingness to talk to one another, that we can discover bigger truths, about the messages we are being sold. 

 ww.oldfitztheatre.com.au | www.littlegoat.com.au

Review: New Works Festival Part 2 (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW)

Sitting, Screaming Sep 20 – Oct 5, 2024
Playwright: Madelaine Nunn
Director: Lucy Clements
Cast: Clare Hughes
Images by Phil Erbacher

Anomalies Sep 20 – Oct 5
Playwright: Jordyn Fulcher
Director: Matt Bostock
Cast: Giani Fenech, Rhiaan Marquez, Harold Phipps
Images by Phil Erbacher

Theatre review
Centred in the second instalment of New Works Festival by Old Fitz Theatre, are the troubling lives of teenagers. Madelaine Nunn’s Sitting, Screaming depicts with searing realism the dangerous situation of a schoolgirl dealing with a predator, whilst Jordyn Fulcher’s Anomalies is completely fantastical in its speculations about a dystopian future, when three youngsters find themselves waking up to calamity, as an extensive technological malfunction takes hold.

The very cleverly structured and rigorously considered Sitting, Screaming is a work of gripping theatre, as directed by Lucy Clements, who brings exceptional detail to this exploration of rape culture. Its protagonist Sam is played by the wonderful Clare Hughes, who keeps us riveted for the entirety, highly impressive with the tonal variations she introduces, for an occasion of memorable storytelling.

Anomalies however is much more demanding of its audience. Although given energetic direction by Matt Bostock, the piece speaks in a convoluted and alienating language, over a lengthy duration, and with little narrative development. The cast works hard to make sense of the play, but Giani Fenech, Rhiaan Marquez and Harold Phipps can only be credited for being able to find meaning from Anomalies for themselves.

Thankfully, we discover that the staging for both are remarkably well designed. Hailley Hunt’s set and costumes are expressive, and convincing with what they wish to convey. Lights by Luna Ng are commendable for their attentiveness to the nuances of the writing, and for helping us shift through all the vacillating drama and comedy. Sounds by Sam Cheng for Sitting, Screaming too are effective at pulling us deep into the fluctuating emotional textures, just as Milo McLaughlin’s audio creations for Anomalies are able to indicate the escalating intensity of its sci-fi predicament.

Characters in both tales, one authentic and one imaginary, inherit broken worlds. So much of what is normalised, should never have been deemed acceptable. It is through the perspective of youth that we can clearly see that all we have acquiesced to consider good enough, is actually of tragic proportions. The eternal dilemma of humanity seems to be that we cannot help but conceive of perfection, but to bring it to fruition is always beyond us.

 ww.oldfitztheatre.com.au | www.newghoststheatre.com

Review: New Works Festival Part 1 (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW)

All The Fraudulent Horse Girls Aug 30 – Sep 14, 2024
Playwright: Michael Louis Kennedy
Director: Jess Arthur
Cast: Janet Anderson, Caitlin A. Kearney, Shirong Wu
Images by Robert Catto

Probe Sep 5 – 14, 2024
Playwright: Becca Hurd
Director: Rachel Chant
Cast: Ryan Panizza, Ziggy Resnick
Images by Phil Erbacher

Theatre review
The first in a series of double bills, at the New Works Festival by Old Fitz Theatre, features All The Fraudulent Horse Girls by Michael Louis Kennedy and Probe by Becca Hurd. The former tells the whimsical story of an 11-year-old’s fascination with horses, full of comical imagination if slightly too bizarre to meaningfully engage in. The latter is a two-hander about the current state of the film industry, with a particular interest in the prevailing gender inequity that firmly undergirds the system, notable for its mischievous dialogue, but could benefit from some thoughtful editing.

Direction for both pieces are sensitively and elegantly accomplished, by Jess Archer for Horse Girls and by Rachel Chant for Probe. There is a bold theatricality in their work that translates as an effervescence to help sustain our attention. Lighting design by Emma Van Heen demonstrates a keen for dramatic tension as well as for humour, able to manufacture effective atmospheric transformations to keep our sensibilities attuned.

A uniformly excellent group of performers, each one of them deliberative yet uninhibited, insists on making us convinced and interested in what they present. Janet Anderson, Caitlin A. Kearney and Shirong Wu are wonderful with the kookiness of their equine themed creation, offering great variety to their depictions of something fantastical and strange. Playing filmmakers at different stages of their careers, Ryan Panizza and Ziggy Resnick are often powerful with what they bring, and impressive with the level of conviction they deliver for a couple of very challenging characters. These two plays in the first instalment of New Works Festival prove demanding in different ways, but the cast makes it a worthwhile experience, in an artform that is always collaborative, and as can be witnessed here, eternally optimistic.

ww.oldfitztheatre.com.au | www.instagram.com/sourcherry.productions