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MUCH ADO ABOUT NOTHING

Tackling Shakespeare is not an easy feat, and has the potential to go very wrong, particularly when it is undertaken as a debut production by a young and new company. Little Fish was formed as a new arm of Southern Youth Theatre Ensemble to give the youth involved the experience of presenting a production from end-to-end, and to deal with all aspects of theatre (not just performing). However the show, presented in a shed at Penny’s Hill, is presented to a fine standard – performances are smooth and obviously well-rehearsed, with every player having a clear idea of the meaning of the Bard’s words they are speaking and adding the necessary characterisation.

For those unfamiliar, the play’s title says it all really – the storyline being simply that of two couples, one constantly feuding but then tricked into falling in love with one another, and the other a pair who start in love but are almost torn apart by a meddlesome villain. Simple enough, but what a commotion it causes!

Both Isaac Astill and Roan Redelinghuys give excellent performances in the leading male roles of Benedick and Claudio respectively, Astill being conceited and brazen as required and Redelinghuys in contrast soft spoken and ‘lovesick’. Slater is appropriate as the older father figure of Leonato, and SKaVeN revels in his role as the piece’s villain, Don John, as well as the obtuse armsman, Dogberry.

On the female side, Izzy Shaw is pleasantly natural as the naive heroine, Alice Edgley provides nice support as Margaret the hand-maiden and Amelia McDonell starts a little tentatively but soon warms into the feisty Beatrice.

It is difficult to be able always to find a full cast of males to complete a show, and Shakespearean plays provide scope for characters genders to be reversed at times. Here both Jean Millward and Phoebe Shaw are provided with the opportunity to play the male roles of Don Pedro and Balthasar – but still as male characters. This works fine for Shaw with a minor character, but although Millward does a good job with an impressive amount of dialogue, the character of Don Pedro is very difficult to portray for a female, given he completes the very male trio of soldiers with Benedick and Claudio.

The simple production design, with earth-covered ground, wine barrels and wooden crates is quite dimly lit and provides a nice setting for the Messinian story. Costumes also work well for the era and location, however some of the soldiers could do with their ‘mock’ boots being better attached to their feet to avoid them flapping and looking generally strange.

Director Russell Slater has made an interesting choice to also transport the story to Messina by having all performers use Italian accents. This was a little surprising and it took some getting used to the variations in diction and accent ‘dialects’ to start with, but overall didn’t detract from the story.

It must be mentioned that given this production takes place at nighttime in winter, in an uninsulated shed, audience members should dress as though they will be sitting outside. With many mentioning the cold, some finishing the night wrapped in blankets, and the actors’ breaths visible in the air, advertising for people to bring warm clothes would surely have helped. Despite the cold however, this is an enjoyable performance and an impressive debut for Little Fish.

A tip for future productions: announcements at the beginning of a show highlighting that a performer is unwell shouldn’t be made unless the situation is dire. The audience is unlikely to notice a little sniffle or frog in someone’s throat unless their attention is drawn to it – and this particular issue would have gone unnoticed had it not been pointed out...

TWELFTH NIGHT

There is much to recommend this youthful production, but also much to chide.

An unfortunate accident apparently robbed the cast of one member just two weeks before opening, necessitating changes to a couple of roles, so those that stepped into the breach, dear friends, are to be commended.

Firstly the good. The pared back production works well, relying on a spacious stage and two white blocks around which the various scenes occur. In the main, the actors used the space well, displaying good performance sense.

The show starts with some lovely madrigals performed by Branko Lovrinov who plays Feste. His singing voice is beautifully clear but unfortunately a thick accent mars his dialogue making much of it unintelligible.

Jean Millward plays Viola/Cesario with a nice feistiness and, in the main, handles the text well. Her scenes with Olivia are nicely done. James Millward cuts a fine figure as her brother, Sebastian. Alice Edgely’s Oliva begins well but falls into something of a simpering mess once she falls for Cesario. This lady is a Countess and, despite being ruled by her heart, would behave as one.

Director Russell Slater took over Sir Toby Belch in a role change and acquits himself well, though perhaps overdoing the drunk. Mark Drury is an excellent Sir Andrew Aguecheek, capturing the fey foppishness and spineless demeanor beautifully.

Isabella Shaw makes a wonderful Maria, Patrick Edgely captures the nobility of Orsino, and Phoebe Shaw does double duty as Antonio and Valentine.

SKaVeN comes close to stealing the show as Malvolio, with a strong stage presence and great clarity of delivery, though perhaps would have benefitted from a little less of the high-camp.

And the chiding? Well, as is often the case, young performers confuse rapid delivery with confident dialogue. Too often, lines were lost in a gabble of slurred syllables and bad diction. Similarly, stage technique was notable in its absence. Young actors need to realize that moving around the stage requires different technique from walking down the street, especially when playing the Bard in period. Director Slater needs to address this issue if the company is to take a stride forward in the future.

It's so nice to get acquainted with new people, to have them over for a drink and a chat, isn't it? Not for the characters in the Noarlunga Theatre Company's production of “House Guest”, it isn't!

Director Kristen Telfer and an accomplished central cast have made a mostly gripping entertainment out of the late Francis Durbridge's story, giving their audience an evening of pleasurable tension, laced through with startling twists; it’s a black comic thriller that is sure to please the Alfred H. and Agatha C. enthusiasts (as well as younger audiences that may not know who I'm referring to!)

One hesitates to give away too much (if any) plot detail, because the surprises and shocks are plentiful and part of the pleasure (though potentially puzzling at times). The central event is an off-stage kidnapping that brings much anguish and dread into the lives of Robert and Stella Drury (Terry Crowe and Janet Jauncey). Perhaps disconcertingly for an audience, the criminal who claims responsibility, Crozier (Tom Kress), shows up in person on the Drury’s doorstep to present his demands – but they are not what anyone would predict. When policemen Burford and Clayton (SKaVeN and Mark Drury) unexpectedly (and dangerously) become involved, things just get juicier and juicier...

Crowe and Jauncey display exceptional skill in the central roles, powerfully embodying characters who are constantly under stress, facing frustration at every turn, but fighting back whenever and however they can. SKaVeN is a superbly magnetic performer, and is well supported by Drury (the actor). Isabella Shaw, playing a (seemingly) pleasant journalist named Vivien, stands out in the supporting cast, with her powerful projection and striking poise.

The 1970s origin/setting of the script shows through, not only in some very 'groovy' costumes, but also the general lack of 'modern' technology available to either the protagonists or antagonists (with the exception of a crucial tracking device). This 'old-school' feeling is a rather satisfying one, recalling a time when characters could be locked in a room without any possibility of a writer taking the easy way out by allowing a mobile phone to be used to help them.

Given the self-contained nature of the set (though there is plenty of reference to ‘outside action’), as well as the increasing intensity of the premise, there is, despite the well-lit stage and the generally pleasant decor, almost the feel of a 'haunted house' chiller to this play. Certainly, the first act in particular, after starting off calmly and casually, with a light-hearted laugh or two, ends up wielding a vice-like grip, with director Telfer tightening the screws with skill.

The biggest nits that one could choose to pick at with 'House Guest' would be mostly in the writing. With a premise (domestic tranquility and privilege invaded and terrorised by criminal elements) that is sure to galvanise, strong handling of the drama, and a cast that are generally superb at generating the necessary emotion, Act One is first-class. After the break, however, the complications start to pile on at a rate that is sure to thrill many, but may also alienate others, or strike them as simply unnecessary.

At the same time, the more we learn about the criminals, the less interesting they (and their motives) start to seem. When the script decides to prioritise plotting/scheming/revelation over characterisation/mystery/drama (leading to at least one key dialogue scene that feels dry and over-extended), the grip on the audience tends to loosen in a way that is regrettable, given the strength of the majority of the play.

In the end, however, Telfer and her team demonstrate that flawed material can be overcome by skillful direction and excellent performances; “House Guest” certainly provides more than enough satisfaction, excitement and suspense to be well worth a trip down south to see it!

House Guest by Francis Durbridge and directed by Kirstin Telfer is touted as a suspense thriller, however it did not quite hit the mark.
The story is set in England where film actor Robert Drury (Terry Crowe) and his wife Stella (Janet Jauncey) are plunged into every parent’s worst nightmare when their son Mike is abducted. They have been informed they can not contact the police or friends but no ransom has been requested. Instead the kidnapper appears at their house and wants to spend two nights with them. However, the plot thickens when two supposed Police officers appear and in the course of their visit kill the kidnapper and reveal that they have taken on his role.
Crowe and Jauncey played their parts with a great deal of melodramatic flair, which did not gel with the stiff upper lip expected of the Brits. I’m not sure if this was actors choice or the directors, but it made the action of the play drag somewhat, which was a pity as both actors were giving their all.
SKaVeN as the bogus policeman, Burford, was very good and portrayed a menacing thug even when he was smiling. His dialogue and accents were maintained throughout. Mark Drury as his thuggish offsider, Clayton, played his part convincingly.
Others in the cast were Sarah Johnson as Drury’s secretary, Isabella Shaw, as the bogus reporter, Tom Kress as Crozier the original kidnapper and Clare Kelly as Dorothy, Drury’s cousin. All played their parts well and were believable in their roles.
Crowe took on the additional role of Henderson a look alike for Drury, who was supposed to pick up diamonds in New York for the crooks. In this role Crowe was believable. His South African accent made this character distinctly different from Drury.
The set designed by Tom Bayford worked very well and looked authentic. The lighting and the sound effects were all on cue, although the gun shots were a touch tinny. All in all the large opening night audience were appreciative.