Reviews

2010 Reviews

Busybody
Written by Jack Popplewell
Directed by Roderick Chappel
Review by Deborah Fabbro - 28 February 2010 VDL

A search on the net informed me that Jack Popplewell wrote this play in the 1960s for actress, Irene Handl, who was noted for her performances as a Cockney landlady. If Mr Popplewell had known Pat Alcock, he surely would have wanted her in the role of Lily Piper.

As The play opens, Lily is on the phone in her boss' darkened office, informing the police of a dead body - whom she presumes to be her boss, Richard Marshall - in an adjoining office. When Lily finally turns on the lights, she finds that the corpse has moved, and is now slumped over the desk in the office where she is. When she returns with the police, Superintendent Baxter and Sergeant Chappel, a short time later the corpse has disappeared altogether. Even without evidence enough to suggest that a crime has taken place, Lily is most anxious to 'assist' Superintendent Baxter with his enquiries. As it happens, she knew him in the past and, much to his embarrassment, keeps referring to this. Lily, as a woman on a mission, is totally unaware that her nosiness and interfering is a trial for those around her especially Superintendent Baxter who, coping with a heavy head cold, is almost driven to distraction by Lily.

Ms Alcock gave a beautifully timed and nuanced, warm and comic portrayal of a character well understood. A couple of falters with lines, nicely covered, did nothing to detract from an almost perfect and delicious performance.

She was well partnered by Phil Holmes as Superintendent Baxter, or "Arry as Lily too familiarly calls him. Mr Holmes was a great foil to Lily's constant meddling and his sense of exasperation with her was superbly portrayed. His terrible head cold, an integral part of the character, was obvious but never over the top.

While the play itself is somewhat predictable with some annoying loose ends in the plot, the complementary performances by these two actors were a delight to watch.

The superintendent's sidekick, Detective Constable Goddard, was played by Samuel Chappel. He showed an excellent sense of laissez faire as befitted the character and an evident interest in the typist was well portrayed.

The super gathers in the suspects including Marshall's possibly unfaithful wife, Clair (Sian Devine), his perhaps-shifty accountant, Robert Westerby (Adam Noviello), his unsmiling but very loyal secretary, Marian Selby (Beth Klein), and his lively typist Vicki Reynolds (Lauren Burke). Unfortunately the playwright does not give all of these characters much to work with however the actors certainly made the most of a loosely written script.

The scene which ended with the entry of the bullish and imperious boss Richard Marshall, played by Brian Smith, who was very much alive and furious to find his office in chaos, was agreeably played.

The director, Roderick Chappel had a good feel for the period of the play and had some nice touches. However I thought there were some missed opportunities for business and there was some odd blocking which left the actors standing awkwardly on occasions. The set designed by Phil Holmes gave the actors a good space to work in even if there was some odd placement of doors etc. It was somewhat let down by lighting that was too stark on the white painted walls. However it was suitably, if a little sparsely dressed. No one was credited with props but I have to compliment whomever on the carbon paper in the secretary's wastepaper basket. An apt touch for the era! The costumes, by Bonnie Rothwell & Marilyn Pearce, all worked. The ladies, particularly, set the period especially Miss Selby's wonderful two piece ensemble. My only quibble was that she was not given any change of costume denoting the passage of time, as were the other female characters. The choice of music was also appropriate in setting the style and period of the play.

While not a perfect production, it certainly satisfied the Sunday afternoon audience out for a good laugh.

Quartet
Written by Ronald Harwood
Directed by Gareth Wilding-Forbes
Review by Peter Kemp

A story about Cecily, Reggie and Wilfred who live in a home for retired opera singers.
A new resident is coming in much to Reggie’s embarrassment. ELT crew constructed a wonderful set from a garden scene outside the home to the interior complete with grand piano.

The cast of four really captured the retired opera singers whose main interest in life was the forthcoming celebration of Verdi’s birthday. Cecily Robson an elderly lady just on the verge of Alzheimer’s was given a great performance by Patricia Alcock.
Reginald Paget, an organised man who insisted on writing everything down, was given a wonderful performance by Bob Bramble.
Wilfred Bond, a real character coming up with shall we say bawdy conversation, was given professional portrayal by Chris Gaffney.
Reggie’s nemesis, Jean Horton was played by Christine Andrew. An excellent performance and one well appreciated by the audience.

A very smooth and professional production particularly in the last act which was an amazing surprise to anyone who has not seen the play before. Excellently performed by the four cast members adding to the particularly high standard of the evening.

Alice the Musical
Written by Lewis Caroll
Directed by Gayle Poor & Lois Fleming
Review by Peter Kemp

ELT presented its annual children’s production. This year it was Alice the Musical adapted from Lewis Carroll’s Alice in Wonderland. An amazing evening enhanced by the amazing costuming and make up. All equally as good as many professional shows seen around Melbourne.

The company made full use not only of the stage but also the auditorium where the cast came from the rear and each side, down the centre and onto the stage. A large cast with two Alices. On audience left just off the stage the Reverend Charles Dodgson sat with the young Alice and told her the story which then took place on stage. The young Alice was played by Chloe Johnson who gave a fine interpretation. The Alice of the story was played by Alicia Muscat who gave a good portrayal.
Chris Fleming was the Reverend Charles Dodgson , a good projection with a clear enunciation adding to the standard of the projection.

A highlight was Gretel Donnelly as the dormouse. A wonderful performance full of energy except as the dormouse does, fall asleep at the drop of a hat. Gretel has a natural stage feel and your correspondent is sure she has an excellent stage future.
Emma Nixon was the Queen another good performance and the Duchess who seemed to have had a little too much to drink was played by Amanda Middleditch. A wonderful professional performance with Amanda really capturing the essence of such a character.

A large cast all working smoothly together and well appreciated by the audience.
ELT’s annual youth show is definitely a must for your diary and congratulations to Gayle Poor and Lois Fleming for the effort they both put in to make such a success and guaranteeing the future of theatre

2009 Reviews

Off the Hook
Written by Derek Benfield
Directed by Paula Armstrong
Review by Bruce Cochrane - 10 September 2009 VDL

During the '60s and '70s, English theatre, particularly amateur dramatic societies, regularly produced bedroom and drawing room farce as a staple entertainment for audiences discovering 'naughty' humour such as Benny Hill's TV comedy show. Fitting then that this throwback to those times should feature the Benny Hill signature tune as theme music. The usual ingredients are here. Not very bright people congregate in a situation containing cover-ups and misunderstandings, dashing in and out of doors on their way to an unlikely conclusion where all ends are tied up. This is simple stuff, comedy has evolved considerably since these plays were written, and for them to prod the funny bone of audiences today, actors and directors need to inject a lot of earnestness, energy and exaggeration. At the same time pace and timing need to be carefully calculated, a technique which usually requires a fair degree of coaching and experience.

In an ensemble of ten who worked well together, some were more successful than others in pulling this off, although for much of the play, particularly a long first act, the script didn't give them much to work with. At the opening, gruff Cockney criminal boss Fred Baxter (Ian Tweeddale) arrives at a small hotel in the south of England and exchanges mundane remarks with staff member Edna (Peta Owen) before being joined by cohort Charlie Muslins, a well focused Stephen Barber, who successfully carried a lot of the dialogue. In creating his character Ian became locked into a trait that had him slowly and aggressively enunciating his words to his partners in crime accompanied by freeze frame facial expressions.

As different characters emerge, the plot limps along with occasional moments providing a zany burst of activity. With the arrival of Harold Spook (Bryan Richardson), the mandatory 'innocent' in the situation, we now have the fall guy set up for endless embarrassment and ridicule. Bryan understands comedy and gave plenty, but there are only so many facial expressions and vocal variations possible and then things become repetitious.

Director Paula Armstrong had effectively planned and rehearsed both action and stage blocking, although some sight gags also become repetitious and predictable. The most successful performance was that of Glyn Wilson as Mrs Fletcher Brewer, a crotchety matron watching over her nubile daughter (an intelligent reading by Debbie Kidney). Glyn's experience showed as she sustained a clever balance of 'over the top' and stillness. There was a tendency for the men to overdo the mugging with the movement, and playing out to the audience rather than to those on stage. As beleaguered hotel owner Major Catchpole, Phil Holmes gave a creditable performance running round in circles, and dispensing service with suitable old world gentility. In addition Phil was responsible for design and supervision of a solid, functional and attractive mock Tudor set as specified by the author. As his wife Norah, Kellie Tweeddale made the most of her double entendre lines and saucy behaviour, scoring laughs with frequent touch-ups of the male guests, and displaying the required pace in her every entrance and exit. Making a late appearance, Julie Gerard (Polly), was much more than eye candy, proving to have the technique and the personality to bring a breath of fresh air to proceedings, and Mick Poor was amusing as her senile father oblivious to the madness around him.

Costumes (Bonnie Rothwell) were right on the money and actually provided some of the best laughs, particularly when we saw what tough Cockney boys wear to bed.

Gumshoe
Written by S. Denver & D. Woodward
Directed by Gayle Poor & Lois Fleming
Review by Peter Kemp

ELT with the help of Gayle Poor and Lois Fleming gave their audiences the annual youth production. This year after many decisions they chose Gumshoe. A story of a private eye and a lady journalist naturally working together to save the world from megalomaniac Carla.

The chase went all over including the Orient Express, New York Rick’s Café in Casablanca (no they did not say ‘Play it Again Sam.’) Nick Hunter as Mac Hunter the Private Eye really captured the character and had a great rapport with Sarah Klink who was Peta Steele the journalist. Klink was great in the role trying to keep Hunter on the straight and narrow while trying to find the evil megalomaniac Carla... Carla’s No 2, Svetlana Von Bizarro was played by Amanda Middleditch who gave a good portrayal. A large cast ranging from 10 years to late teens A busy well rehearsed production with not only full use being made of the stage also god use was made of the auditorium.
The costuming was absolutely superb and the quickness of the change of costumes by the players never ceased to amaze your reviewer (if only one’s partner could change so fast when trying to go out).

A well produced play, perhaps occasionally a little off timing, but this is a production to introduce the younger people of the community to the theatre and overall a very enjoyable and pleasant evening. With such a large enthusiastic cast the theatre’s future is well assured.

Gumshoe
Written by S. Denver & D. Woodward
Directed by Gayle Poor & Lois Fleming
Review by Richard Burman 11/07/09 in Theatrecraft

Gumshoe is a rollicking spoof on the detective style of Raymond Chandler books but which takes the story from Chicago, around the world and back again. It concerns a kidnapped Professor, a missing jewel and kidnapped orphans. It takes us to exotic places...as well as the sleazy side of Chicago. Gayle Poor and Lois Fleming directed their talented young cast of 28 performers with a deft hand which ensured the audience had a very enjoyable night of excitement, laughter, and above all, good natured spoof. Click here to view the full review (pdf)

The Ten Minute Quickie
Ten Minute Play Competition
Produced by Paula Armstrong
Stage Managed by Phil Holmes
Review by Peter Kemp

Eltham Little Theatre producer Paula Armstrong came up with a concept of a play competition. The Ten Minute Quickie. A competition for playwrights to submit a ten minute play. With support from Eltham Little Theatre, the Nillumbik Shire Council, the local MP Steve Herbert MP the concept went ahead. Ninety Five submissions were received from across Australia and the selection panel had an enormous job to reduce so many highly standard plays to the final ten. There were two major prizes. For the best play as agreed by the judges panel. $1000. For the best play voted by the audience. $500.

Then trophies were awarded to the Best Actress, Best Actor and Best Director,
The judges were all from varying aspects of the world of theatre and included Brain Amos, Colin Donald, Bonnie Rothwell and David Small.

The final plays were:
The Cost of Giving. Writer: Rebekah Jennings. The Director: Roderick Chappel
Before Dawn Breaks Writer: Wendy J. Dunn. Director: Rachel Holt.
Spider’s Legs. Writer: Suzan Dalziel. Director: Llaaneath Poor.
Chicks are Weird. Writer: Leigh Dillon. Director: Phil Holmes.
We Have What You Want. Writer: Deborah Sheldon. Director: Paula Armstrong.
Bristling Unrest Writer: Chris Hodson. Director: Cameron south.
Beneath the Flower Show. Writer Carol Eldridge-Alfonzetti. Director: Jean Russell.
Act 3, Scene 1. Writer: Brad Allan. Directors: Brad and Lewis Allan.
Death by Quote. Writer: Lynette Williams. Director: Lisa Anman
Imaginary Break Up. Writer: Sam Floyd. Director: Rob rich.

The 10 plays were played for three nights with final judging on the Friday night with the final night, Saturday the presentation night.
The best play awarded by the judges was Beneath the Flower Show by Caroline Eldridge.
The best play voted by the audience was Bristling Unrest by Chris Hodson.
The Best Actress Award went to Pat Alcock for her role s the homeless person in The Cost of Giving.
The Best Actor was awarded to Cameron South for We Have Want you Want
The Best Director was awarded to Cameron South for Bristling Unrest.
An interesting evening of theatre proving very popular and the last night was an absolutely packed house. After such a great success ELT are already planning next year’s Ten Minute Quickie.

Ten Times Table
Written by Alan Ayckbourn
Directed by Mel de Bono
Review by Peter Kemp

Set in semi-rural town in England a committee is planning a pageant based on a little known item of local history The Pendon 12. The setting is the ballroom of a seedy hotel where the committee meets. ELT did a great job in set construction giving the feel of such a venue. Most of the action is sitting as a committee at tables except for the final scene. Any viewer who sits on a committee will enjoy this production.

The chairman Ray was played by John Paton. A good portrayal of a chairman trying to keep the peace in the contentious moments. His wife Helen was over conservative and had many disagreements with Eric the Marxist schoolteacher. As Helen, Michelle Tanner gave a wonderful portrayal catching the character as envisaged.
Eric, the Marxist schoolteacher who decided to use the pageant to get his message across was given an effective and believable portrayal by Peter Davey. His co-committee and later close ‘friend’ Sophie was played by Fiona Bradley. Bradley gave an even performance working well with Davey.

Michael Tucker was Councillor Evans. A wonderful portrayal of the pedantic member who insisted the formality of a committee be adhered to and corrected all, even to the minor spelling of the monthly reports. His mother, Audrey was secretary in spite of being deaf. Glyn Wilson as Audrey added to the humour of the evening with a fun portrayal.
Sophie’s brother Tim, a dog breeder and ex-service man was played by John Murphy who captured the farmer type worried about his sister and then the military type who took the realism a little too far.
Iain Brewster was the businessman whose wife was leaving him so he came to the meetings slightly under the weather. Brewster really captured the role and projected well. Eric’s partner, Phillippa, a shy quietly spoken girl was played by Vicki Smith who came across as envisaged.

Two small non talking roles the caretaker and waiter was performed by Mel de Bono. An amusing well done comic portrayal of both characters. Another brief non-speaking role was Max, the Russian looking kilt wearing member of the pageant who carried Helen off with malice aforethought was played by Andrew Scarborough who has good stage projection adding to the fun of the evening.

A good even production well worth seeing.

Chapter Two
Written by Neil Simon
Directed by Kris Weber
Review by Ken Barnes (VDL) 5 March 2009

Those who can recall the swinging 1970s will know that Neil Simon was the playwright best able to draw out the psychology of American 'relationships" at the time. Although his Chapter Two is a fairly long play, it is laced with witty and sophisticated dialogue throughout. Any soppiness is quickly mopped up by crackling humour and the occasional tedious introversion is balanced by some brilliantly orchestrated action.

The story is about two mature New Yorkers; writer George is mourning the death of his wife after 12 years of happy marriage while actress Jennie is recovering from a divorce. Both are emotionally scarred. George's grieving puts a damper on his brother Leo's futile attemps to set him up with a new woman, while Jennie declares to her friend Faye that she is only interested in pursuing her theatrical career and reading the classics. But you guessed it: the two born-again celibates are destined to meet and fall in love; though in falling they encounter some turbulence on the way down.

Eltham presented this work on a split stage, Jennie's apartment on one side and George's on the other. Both were decorated in 1970s American style, with a great attention to detail, even down to the obiligatory macrame, the popular novels of the time and authentic bottle labels. Jennie's aprtment was cosy and feminine with potted plants, George's bookish and unkempt. Clever set design by Phil Holmes also provided insights into both kitchens and predictably, George's refrigerator was usually empty save for a bottle of stale milk or half-consumed Coke. As the action switched from one apartment to the other, expert stage management by Steve Saul and precise lighting changes ensured that the audience was never confused. Each scene change was accompanied by appropriate 1970s music. Designed by Kris Weber, lighting and sound were executed by Campbell Black and Andrea Cole respectively.

In the production all four actors were able to engage very effectively with the audience and one could feel the empathy as they played out the sad/happy story. Jeanne Snider brought a refreshing optimism and cheerfulness to the stage in the role of divorcee Jennie, but was able to contrast these qualities with occasional outbursts of anger and gnawing frustration as she wrestled with George's painful introversion. James Carlon handled the difficult role of George with great energy, whether wracked by angst or engaged with Jeanne in sharply-scripted intellectual gymnastics. There were occasional lapses in enunciation and the accent was not quite there, and I felt that James put rather too much oomph into the character. He is a good enough actor to have relaxed a little, turned down the wick and let the nuances do the rest.

The same could be said of Donal Taylor's energetic portrayal of George's fast-talking but caring brother Leo. In George's apartment, Leo was just a touch over the top. However when he showed another side of his character (indeed it turned out that the seemingly saintly Leo had feet of clay) his protrayal was somewhat more colourful and entirely believable. That brings me to Emma Cox who played the feisty and flirtatious Faye with subline authority. Rarely does one see an actor who is relatively new to the stage so totally at home in a tragic-comedy role like this one. Her tryst with Leo in Jennie's apartment was one of the highlights of the evening: hilarious, riotous, impressively acted and choreographed.

All in all, Kris Weber and the Eltham team's production of this signature work by Neil Simon was a treat. There were lots of smiles as the audience left the theatre.

Chapter Two
Written by Neil Simon
Directed by Kris Weber
Review by Peter Kemp

Eltham Little Theatre’s choice to open 2009 season was Neil Simon’s Chapter Two. A story of George who lost his wife to cancer and can’t get over the shock and Jennie who has just gone through a divorce with neither ready for any future commitment. But George’s brother and Jennie’s best friend have other ideas.

James Carlon as George Schneider captured the lonely man with finesse doing a wonderful job from feeling sorry for himself to falling in love again and changing of character after his second marriage. Jennie, the divorcee was played by Jeanne Snider. A good balance to Carlon and the change from the happy devoted engaged couple to the after the disastrous honeymoon was very professionally handled. Both Carlon and Snider have excellent stage presence and had a good rapport.
George’s brother Leo was played by Danal Taylor. A fair performance, projecting well but not quite capturing the PR character he represented. Jennie’s friend Faye was played by Emma Cox who gave a good performance trying to match her friend off even although her own marriage was not going so well.

The stage was set as two apartments George was in a Central Park West apartment and as a writer the ELT team included a book case full and a typewriter. Set in the 50’s the décor and phones matched the period. Jennie’s apartment in the upper East Side was a feminine décor with pink walls. Both showed the rooms of the acting area fully furnished.
The timing of the performers was spot on and ELT gave its audience a popular evening of theatre.

2008 Reviews

Jack's High
Written and directed by Joe Fairhurst
Review by Peter Kemp

Eltham Little Theatre opened the Company's 50th year with a World and Australian Premiere of Joe Fairhurst's Jack's High. Fairhurst also directed the production.

A story of a down and out Queensland Lawn Bowling club and the rival club prosperous and outstanding member list and top performers.

The stage was busy with a green built in front of the stage. On audience left was the manager's office of the Seal Rock's Bowls Club (the poor club) In the centre was the Seal Rock's club bar and on audience right the office of the league champions the Shark Bay Bowls Club. The sets were well done and captured the feeling of both clubs. Thanks are due to the Eltham Bowling Club for use of honour board and other props used in the production. These sort of props add to the feel of authenticity to a production. helping the actors feel like they are really in the venue,.

The show was well done by the performers but there were many blackouts between acts which do need tightening up as the blackouts did seem to be a little too long. Although this I expect to be improved as the show progresses.

A good selection of music suitable to the act it was played for. The two mafia types seem to have stepped out of Kiss Me Kate and I do feel that the dumb one was a little too dumb for the character.

Overall I did enjoy the production but it does need some tightening up. But it is good to see a local playwright and a company prepared to give the playwright a go. The only way to improve the writing and see how it can work is for a company to give it a go.

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Absurd Person Singular
by Alan Ayckbourn
Directed by Gareth Wilding-Forbes
Review by Peter Kemp

A story of three couples celebrating Xmas dinners with each couple in turn preparing the meal and the results of what happens before one dines.

Derek Henry was Sidney Hopcroft and Julie Downie was his wife Jane Hopcroft. The Hopcrofts were the first couple to host Xmas dinner and the results were … Henry and Downie worked well together and gave very good performances.

The second couple preparing the dinner were Geoffrey and Eva Jackson. Geoff had just broken the news of his infidelity and the resultant scene was the effect on his wife Eve.

Susan Flint was absolutely superb as Eva who had only one thought, suicide. The scene was hysterical. She first tried to jump out of the window of their fourth floor flat. She was saved by her husband who then had to go and answer the door. She then moved over to the gas oven where she pulled out all the fittings, laid a cloth and placed her head in resting it on the cloth. Jane Hopcroft entered seeing her on the floor pulls her out and says “Don't worry I will clean the stove” and proceeds to do so. Eva then tries to knife herself but Jane's husband, Derek steps in and removes the knife not realising what Eva is trying to do. Eva then tries to hang herself, she climbs on the table and puts a noose around the light cord. Ronald Brewster-Wright enters seeing Eva on the table lifts her down and finds a globe and climbs up to relace same thinking that that was what Eva was trying to do.

All this time and all the different events Eva was completely oblivious of the four doing the jobs they imagined her to be doing.

Susan Flint carried the character with finesse and complete professionalism and together with the others who were completely ignorant of the suicide attempts added to the mirth of the evening.

Act three was the home Brewster-Wrights where we find the change in all the characters now virtually the opposite to the first Xmas.

Good performances by all completing the evening with a great success.

Sheik, Rattle 'n' Roll
by S Denver & I Dorricott
Directed by Gayle Poor/Lois Fleming
Review by Deborah Fabbro - Theatrecraft

What could be better on a chilly Melbourne Sunday afternoon that to be transported to warm and sunny Baghdad, Araby of 880 B.C. and all its intrigue.

The programme invited us to share in this 'daring desert date with destiny' as the tale of confusion, power and plotting unfolded and introduces us to princes, princesses, harem girls, Ali Baba and the 'Faulty' thieves and an assortment of other characters.

Directors, Gayle Poor and Lois Fleming, presented a visually sumptuous production with glamorous costumes, appropriate settings and a wonderful cast.

The seating in the auditorium was arranged on an angle with a centre aisle giving a good space for entrances and exits while the stage was well used to create the various locations of the play. Most scene changes flowed well with only a couple of longer, and actually unnecessary, changes the most noticeable being when action went from the sorceress' abode to the marketplace.

Lighting by Campbell Black, with assistance from Callum Robertson, well defined the different areas and they used some excellent effects, strobe and colour lighting and I loved the crystal ball lighting effect.

The show was performed to recorded music which was at just the right volume, allowing the audience to clearly hear the singers. While Rob Wanless supplied great sound effects which added to the atmosphere of the story.

Lois Fleming's appealing choreography certainly enhanced the show and the cast where talented in the dance department and able to execute it with style an panache. The timing in the prisoners' number was excellent!

Apart from the performances, the highlight to the production certainly lay with Virginia Donnelly's absolutely stunning costume designs. She and her team of makers created the opulent, luxurious world inhabited by these characters through appropriate styles (except perhaps Sinbad's which lacked the Arabian theme) and gorgeous fabrics. I particularly loved the costumes worn by Prince of Araby, Prince Abscess, The Evil Queen, the sorceress, the thieves' red and gold harem outfits and all the costumes worn by the chorus Iand there were many changes). However I felt that Sinbad's costume was not quite in keeping with the Arabian theme.

All the performers were talented and worked well with their fellow performers - so important in any production. Some of the highlights were Adam Lees and Lauren Daoulas who, as the terribly pukka Feathersham & Merrell, maintained their very British accents awfully well. Bianca Becker's Evil Queen and Josh Tiplady's Caliph was suitably evil and sinister. Nathan Kerwood wandered in and out of scenes in a properly lost fashion as The Lost Legionnaire! The wisecracking, high-fiving Not-So-Evil Guards were played with a good sense of fun by Ryan Shadbolt and Mitchell Hall. Al of the cast sang well and I particularly enjoyed hearing Katya Gaiotto (Sinbad), Nathan Kerwood (The Lost Legionnaire) and Amanda Middleditch when she led the number by the Harem Girls. Gretyl Donnelly (who is actually younger than the usual minimum age of 10) was delightful to watch as she sang and dancer her way through the show and entertained the audience well. I also commend the faultless diction of Llaaneath Poor as the Narrator.

The humour in this play has appeal for the adults in the audience though some of the references were a little odd but I'll blame the writers for that. However it did not detract from Eltham's very entertaining 2008 Youth Production.

Sheik, Rattle 'n' Roll
by S Denver & I Dorricott
Directed by Gayle Poor/Lois Fleming
Review by Peter Kemp
Season: July 11 – 20.

ELT produced the annual youth production with a cast if 32.
Set in 800BC Baghdad with the addition of a couple of English explorers aka 19th century and one lost Foreign Legionnaire.
A colourful and very well dressed production enhanced by a realistic style set with a couple of camels thrown in.
The cast age varied from eight years to 18 years.
An enjoyable performance with a smooth flowing production about an evil Caliph and the evil queen trying to take control of Baghdad. Full use was made not only of the stage but all the theatre.
Some highlights were the search with everyone running helter skelter through the theatre, the youngest young lady all of eight years as a guard marching down from the rear of the theatre and the two not so-evil guards who really had a great touch of the comique
The cast certainly enjoyed the production and the standard has improved since the last youth production. Many proud relations comprised the audience and it is positive for the future of theatre which such keen young performers.

The Shoe-Horn Sonata
by John Misto
Directed by Roderick Chappel
Transcript of a review of the Eltham Little Theatre production of The Shoe-Horn Sonata, broadcast on Radio Eastern FM 98.1 on Tuesday 9 September 2008

Today in the programme I am going to tell you of the opening night of one of the most fantastic productions I think I have ever seen with Eltham Little Theatre’s The Shoe-Horn Sonata….

Well on Thursday evening I went along to Eltham Little Theatre’s production of The Shoe-Horn Sonata. In all the years that I’ve been doing the theatre programme on Radio Eastern and before that in my earlier employ, I don’t think I have ever witnessed or experienced such a powerful production as I saw on Thursday evening. This play is a story of Sheila and Bridie back in 1945 when they were freed from a Japanese prisoner of war camp. Now fifty years have gone between when they were released and they want to film a documentary on the forces, and that forced them to meet once again. The two ladies concerned in the play were Genevieve Ryan and Pat Alcock. Now this play had you laughing one minute and had tears rolling down your face the next. It was set in a television studio and it was also set in a motel room. The set itself was magic – the way it worked – the backstage crew were absolutely lightening sharp, it took them exactly one minute to change from the room to the television studio. In the mean time we had all the war songs and other related music that suited the play perfectly. Roderick Chappel directed the play, and he has done a superb job with it. Now if you’ve got nothing to do, I’m going to recommend to you that you get along to Eltham Little Theatre, and see John Misto’s play titled The Shoe-Horn Sonata. It’s directed by Roderick Chappel and you’ll find that you’ll have a wonderful night of theatre. The interviewer – and the voice over, the Voice of Rick – was carried out by Peter Jordan and it was just terrific. It’s the first time I’ve ever been to a theatre group where afterwards when everybody’s standing around in the foyer talking, that when the cast members entered that foyer, everybody stopped what they were doing and applauded. And that summed up the whole total of the night. This is one of the greatest productions I have seen in many many years, and I recommend it to you!

Transcript of a review of the Eltham Little Theatre production of The Shoe-Horn Sonata, broadcast on Radio Eastern FM 98.1 on Tuesday 9 September 2008

Today in the programme I am going to tell you of the opening night of one of the most fantastic productions I think I have ever seen with Eltham Little Theatre’s The Shoe-Horn Sonata….

Music Hall: Deadwood Dick
by Tom Taggert
Directed by Don Harrod
Musical Director Gerard Banner, Choreography by Kate Hansen & Paula Armstrong

Eltham Little Theatre gave their annual Music Hall & Melodrama which is eagerly awaited by the regular audiences. An evening of fun where everyone takes their own food and drink come individually or in organised groups for a fun night out to close the theatrical year.

2008 saw the tale of two yes two heroines, two heroes and one villain. Set in Calamity Jane’s saloon Man Trap Saloon, a well done interior of a western saloon.
Peta Owen was Calamity Jane A great performance with some very good expression.

The two heroes were Ned Harris and Wild Bill Hickock. Ned was played by Adam Noviello who gave a fine portrayal. Robert Rich was Wild Bill Hickock. Rich has good stage presentation and added to the standard of the evening.

The two heroines were Lily and Rose Blossom. Rebecca Spoor was Lily Blossom an innocent and blind girl. A great characterisation of the role and her movement as blind girl kept a few hearts in mouths as she approached the edge of the stage.

Her sister Rose was played by Ciara McKenna, the heroine who was kidnapped by Ned Harris. McKenna caught the feel of the character and projected well with some wonderful expressions.

The villain, Blackman Redburn was given a performance with the correct feel for such an evil man by Bill Sterg.
Phil Holmes gave an amusing and entertaining performance as Judge Nix.

The show girl of the Saloon was La Paloma played by Carol Owen. Owen tried to capture a Mexican accent but did sound rather French. Still she gave an enjoyable portrayal. The Chinese kitchen hand Pong Ping who fell in love with Lily Blossom was given an amusing performance by Jenny Coco.
Sheriff Loveless was played by Steve Saul who gave rather a stiff performance, I feel could have relaxed a little in the role. Molly Loveless his wife who had a dim dark secret n her past was given a fair performance by Marlene De Battista.

A fun role who only appeared twice in the performance was Teetotal Tessie who tried to close down the Saloon with the aid of an axe. Joan Cullum played the role with gusto and looked like she really enjoyed herself. A fun evening to close the 2008 season by Eltham Little Theatre

2007

Funny Money
by Ray Cooney
Directed by Mel de Bono
Review by Peter Kemp

A story of Henry Perkins who picked up the wrong briefcase which just happened to contain £735,000 in used notes. His wife didn't want to know about it, his friends got more and more confused, two police inspectors arrive plus a taxi driver and the owner of the briefcase.

A confusing run-around skillfully handled by Mel de Bono and a great cast.

Derek Henry was Henry Perkins who changed from a mild meek accountant to a determined stubborn man who had one idea how to handle the money. Derek gave a very good portrayal particularly of the change of personalities and worked well with his colleagues.

Lena Minto was Henry's wife Jean. A wonderful performance, opening with trying to get Henry's attention to the evening's coming activities and completely ignoring the reality of the situation. An excellent moment was when Jean, a non-drinker opened the brandy then the whisky and gave a drunken portrayal then when realisation came became instantly sober.

Margaret Rawlinson was the family friend Betty Johnson. Betty was quite agreeable to Henry's ideas although her husband was not too keen. Margaret gave a good portrayal of the role and projected well.

Betty's husband Vic was played by Phil Holmes. Phil caught the character with finesse as his character showed great confusion as he was called different names by Henry Perkins and had to act quickly in the changes of persona called for.

Philip Shayer was Davenport, the first police inspector to arrive on the scene. Philip gave a good interpretation of the role showing that all police aren't all that we expect.

Bill Charles was Slater the police inspector who kept picking up the wrong briefcase causing stress and problems on the other members of the characters. Bill gave a good performance in the role which was the main straight part in the whole play. Bill, the taxi driver, was played by Michael Tucker. Michael gave a great performance as the frustrated taxi driver who could not get his passengers into the cab.

A passer-by was played by Jim Wheeler. A small role but vital to the story and Jim gave a good portrayal of the role.

A successful fun farce thoroughly enjoyed by the audience.

“FUNNY MONEY”by Ray Cooney
Directed by Mel de Bono.
Reviewed by John Gunn on 8/3/2007 for 3CR’s "Curtain Up" - Sundays at One on 855AM.

Funny Money is rather like those old farces of the 1950,s a quite unbelievable story but in the right hands very entertaining and sends you home with a smile on the face.

Well what is the story line, it is Henry’s birthday and his wife Jean is preparing dinner for the birthday boy which will be celebrated with long standing friends Vic and Betty Johnson; Henry is late home and Jean is in a bit of a tizz, when he finally arrives he is excited and rushing around telling her that they must leave for Barcelona at once. Reason, he has picked up the wrong briefcase on the train and found it to be stacked with cash, 735.000 pounds to be exact On to the scene comes a Policeman who has seen Henry behaving strangely in the Toilets at the Pub, the Policeman is also on the make for a little cash, enter Vic, Betty, a confused and excitable Taxi Driver plus Det. Inspector Slater who has found Henry’s briefcase and a dead body in the river, believing it to be Henry he requests Jean come and identify the body. Result, mayhem, innuendo false identities you name this play has them. Plus a mysterious Passer-by at the end of the play.

The action is fast and the characters very likeable and that is how it should be in this genre of play, Director Mel de Bono has cast well and the actors enter into the spirit of the fun with great gusto.

Setting of the Living Room plus Dining Room etc was nicely detailed and very liveable, costumes looked good and it was lit appropriately.

If I wanted to be nit picking, perhaps it does go on a tad too long and pace did drop on a couple of occasions but the audience didn’t seem to mind and by the laughter had a real good time.

The cast which comprised of Lina Minto (Jean), Derek Henry (Henry), Margaret Rawlinson (Betty), Phil Holmes (Vic), Michael Tucker (Bill), the taxi driver, Philip Shayer as the young policeman on the make, Bill Charles as the Det Insp. and Jim Wheeler as the passer by acquitted themselves admirably and looked to be thoroughly enjoying playing these characters.

To sum up, a silly far fetched play that just gives you a good laugh.

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“SYLVIA”by A.R. Gurney
Directed by Tammie Kite
Reviewed by John Gunn, 26/4/2007 for 3CR’s “Curtain Up” – Sundays at One – 855AM

Greg and Kate have moved from the suburbs to a city apartment and out in the park one day he finds a stray dog Sylvia, a street smart combo of Labrador and Poodle, which he brings home.

Sylvia is a godsend to Greg as the dog hopefully will give him something meaningful as he faces his mid-life crisis. Kate on the other hand see Sylvia as a rival for Greg’s affections and simply doesn’t understand the relationship between the two, the fact that she is not a great dog lover doesn’t really help.

This play by A.R. Gurney has been a popular choice with companies since released some years back and offers a great acting challenge to the actress chosen to play “Sylvia”, and by this I don’t mean that it is a dog of a role, it’s great and demanding. Likewise the relationship between Greg and Sylvia must show a great rapport between these two actors. It is a story that engages an audience almost instantly and while it does have some contemporary language, this doesn’t put down this charming play at all which has many great laugh lines and is a very human story that most of us can relate to.

Eltham’s production under the direction of Tammie Kite, whilst not without faults, made for a very pleasing couple of hours in the theatre, plenty of energy, pace and good clear vocal projection which is not always a strong point with other actors and directors at Eltham; the show boasts a most interesting 3 dimensional skyline (lit at night) as a backdrop to the apartment, and a separate area for dog walkers with park bench, tree, leaves on the ground and bluestone edging - lighting and music was appropriate.

Programme notes tell us that this production does not focus on a particular location as such, which is New York, consequently accents are used in a limited form, while this didn’t bug me particularly, I did find some sharp contrasts with Kate (who as a more sophisticated and educated women) needed to work on vowel sounds as against the more slanted Aussie, Tom, the dog lover who Greg meets in the park. A more thought through approach would have succeeded better, particularly as some of the American locations in the text were still retained..

Now to the cast itself, I thoroughly enjoyed the performance of Liz van Spronsen as Sylvia and felt that she and Bob Caddy as Greg worked extremely well together, making both characters and their warm and affectionate relationship totally believable – Liz was a charming Sylvia with cuteness and dogginess and her body language was excellent. Michelle Tanner as Kate had loads of energy but did on occasion become a mite too shrewish but this was possibly directorial focus; in the challenging roles of - Tom the dog lover who Greg meets in the park…. Phyllis, female friend of Kate and…. Leslie the rather neuter gender psychologist, Daniel Kastropil met with varying degrees of success, his Phyllis was a little over the top and played more towards the drag queen when I feel it would have had more humour played straight and as Leslie lacked a little mystique however having said that the audience loved him and he did have good energy and his Tom was real and convincing...

A couple of things I don’t recall from previous productions was the music which included Cole Porter’s “Ev’ry Time We Say Goodbye” which was sung by Greg, Sylvia and Kate, nor did I remember the playing of the saxophone in the park.

To sum up, a nicely set and thoughtfully directed production that really delighted the audience on the night I viewed the show…… Eltham have started 2007 with two entertaining productions

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“PIMPERNEL”by Mary McMahon & Ian Dorricott
Directed by Gayle Poor and Lois Fleming
Reviewed by Peter Kemp

ELT again in July gave us the annual Youth Theatre production. 2007 the choice was Pimpernel. Performed as a musical and with a cast of 27 there were plenty of choices for parts. The standard ranged from very good to fair with no bad players. Obviously some had been on stage before, some faces were recognisable from previous years and some this was their first time. An enthusiastic production with the whole cast obviously enjoying themselves in front of parents, reltives, friends and ELT regulars.

The play centres around Sir Percy Blakeney and his gang of Pimpernels rescuing the aristocrats of France from Madame Guillotine. Divided into French and English the players caught the atmosphere of the times and the set makers came up with a very realistic guillotine which your correspondent was advised was perfectly workable. Some good scenes were at the guillotine.

A terrific evening of fun and enjoyment and the two directors are to be congratulated on their hard work and success with the young players and it is good to see that the future of theatre is assured with the talent of these youngsters. Some have a way to go, some were very good but experience helps all and the audience is looking forward to seeing more of these talented youngsters.

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"STEPPING OUT" by Richard Harris
Directed by Cheryl Ballantine
Choreography by Michelle Carr-Fiddes
Review by Peter Kemp

Stepping Out is the story of seven women and one man who attend retired chorus girl Mavis's tap dancing class in the local church hall. The play deals with their lives and efforts to dance. Mostly humorous with a touch of poignancy it leaves a nice feeling for the audience.

The cast deserve high credits for their performance there is nothing harder than when you can dance to do it incorrectly. Mavis, the retired chorus girl who opened the tap dance school was played by Michelle Carr-Fiddes who also choreographed the production. Carr-Fiddes handled the role with expertise capturing the character and with the choreography did a fantastic job as several of the performers had never danced before.

The pedantic, sarcastic pianist Mrs Frazer was given a great performance by Raine Dinale. One good scene was when Mrs Frazer who claimed she didn't drink came n obviously under the weather. Dinale gave a great interpretation of this scene. Lynne was played by Cassandra Eve Eastham gave a pleasant and good performance.

The lone male was Geoffrey played by Ian Forsyth who normally plays the piano and to turn to dance was very successful and playing a quiet shy man Forsyth gave a good portrayal.

Maxine was played by Lynn Guihenneuc. Maxine was the extravert who added to some of Mavis's choreography (not popular with Mavis) Guihenneuc captured the role with finesse and gave an entertaining and enjoyable performance.

Andy (long for Ann) was played by Paula Armstrong. Andy was a shy librarian type, always on committees and organising petitions. And later some home truths about difficulties came to the fore. Armstrong really captured the character with the hang dog appearance and gave a great interpretation of the character.

Vera played by Margaret Rawlinson. Vera was the upper class lady who had a thing on keeping things clean. Rawlinson captured the feel of such a character giving a good performance.

Sylvia the girl who was not sure of her left or right foot and kept turning the opposite way to everyone else, was played by Ciara McKenna. A good performance and McKenna has great energy giving a fine bubbly performance.

Rose, the older lady with hair trouble was given a fine performance by Marlene Di Battista Rose spent much of her time trying to keep the peace when some of the ladies had some difficulties between each other.

Dorothy, another shy type was given a good interpretation by Julie Downie.

A great production particularly the last act in which the audience demanded two encores. A successful evening by Eltham Little Theatre.

"STEPPING OUT" by Richard Harris
Review by Cheryl Threadgold Melbourne Observer 12 September, 2007

Eltham Little Theatre has made a popular choice in presenting Stepping Out, being presented until September 15 at 8pm at the Eltham Performing Arts Centre, 1603 Main Rd., Research.

Set in a suburban church hall, this light-hearted comedy by Richard Harris is directed by Cheryl Ballantine and tells the story of an adult tap class run by Mavis with assistance from pianist Mrs Fraser. We follow the lives and hopes of seven women and one man who, with varying abilities, learn how to tap dance.

Congratulations to Michelle Carre-Fiddes for choreographing the entertaining routines. Also playing dance instructor Mavis, Michelle's friendly authority is pivotal to the story's believability. Raine Dinale wins laughs as the formidable Mrs Fraser and the colourful assortment of tap students are brought to life with natural warmth by Cassandra Eastham (Lynne), Lynn Guihenneuc (Maxine), Paula Armstrong (Andy), Margaret Rawlinson (Vera), Ciara McKenna (Sylvia), Marlene Di Battista (Rose), Julie Downie (Dorothy) and Ian Forsyth (Geoffrey).

A nice touch to include the Sugar Plum Fairies (Sue Mutavdzija and Giuliana Giardina) and Phil Holme's voice is just right for the voice over roles. Special mention should be made of commendably sustained performances from Margaret Rawlinson (Vera), Paula Armstrong (Andy) and Julie Downie (Dorothy). The gradual improvement in students' tap dancing skills leading up to the public performance is well done. The church hall set is atmospheric and the glitzy setting of the big finale number provides sparkling contrast.
Congratulations to all concerned for an enjoyable show which holds particular appeal for tap dancing enthusiasts.

"STEPPING OUT" by Richard Harris
Directed by Cheryl Ballantine
Choreography by Michelle Carr-Fiddes
Review by Graeme McCoubrie - 1 September 2007 (as appeared in October 07 Theatrecraft)

Mixing seven women and one man in a church hall tap dance class makes for a daunting task and Cheryl Ballantine (Director) was ably supported by the stoic work of Michelle Carr-Fiddes (Choreographer) both of whom were part of ELT's 1995 production of Stepping Out - now revived by demand.

The set well devised by the team of Phil Holmes, Mark Currie, Mel de Bono and Campbell Black was an old Church hall with all the trimmings that one would expect. An old piano, a collection of chairs and wooden benches spread across the stage, surrounded by walls of wood panelling to a dado line with the upper walls adorned with non smoking and exit signs and an obiligatory early photo of the Queen. To give some further indication of the age of the hall, modern electric light switches were surface mounted on the walls complete with plastic conduit taking the cable to the ceiling.
While there was a raised rear section of the stage leading out to a kitchen and toilets, the tap dancing classes were held downstage and the audience were actually the "wall of mirrors" which the Director used frequently, giving us a sense of actually bieng onstage with the class.

Any dance class also means a multitude of costumes and this was no exception. With some nine time changes spread over some six months we did see an assortment of costumes. Many of these would have been hurriedly changed between scenes as the pace didn't slacken. Credit goes to the cast and the costume team of Bonnie Rothwell, Sue Mutavdzija, Guiliana Giardina and Marilyn Pearce for giving us the diversity of costumes that also gave us an insight into the character of each student, teacher and pianist.

While the class was training for some five months for a charity concert we were party to the somewhat dysfunctional and complex lives each were living. As their lives unfolded, tensions mounted, arguments pursued, however Richard Harris's script didn't actually allow closure of some of the scenarios that developed over the many months of classes.

Mavis a past chorus girl and now teacher played by Michelle Carr-Fiddes lead from the front foot and showed compassion for each student while herself having her own anguish with an unwanted child. Raine Dinale as Mrs Glenda Fraser, was the typical cantankerous rehearsal pianist ready to walk out at any time.

The students were diversity personified and were a good mix. Maxine played by Lynn Guihenneuc, a dance veteran and costume maker and with her out of step friend Sylvia played by Ciara McKenna spend a great deal of time analysing their marriages and drinking at the pub. Shy and lonely Andy played by Paula Armstrong, not only questioned everything but appeared to befriend the only man in the class Geoffrey, a timed widower looking for company played by Ian Forsyth.

Margaret Rawlinson played Vera, rich, opinionated and a "clean" freak made wearing rubber gloves look glamorous. Lynne played by Cassandra Eve Eastham, was the nurse who tap dances to get away from the stress of the hospital while Marlene Di Battista as Rose was trying to meet the expectations of her family. The final class member, nervous and always tense was Dorothy very well played by Julie Downie.

The script was demanding and many good lines did not get the audience reaction that one would have expected. The cast didn't always react apprpriately to the one liners and so they were lost. This didn't take away from the energy of this 'musical play' that was well rewarded with a fast foot tapping finale performance at the charity concert. Well costumed with effects and choreography that showed us they could dance superbly, compared with the previous eight scenes where they were trying to tap dance badly and succeeding - not an easy task. An enjoyable performance.

"TRAPPED BY A TREACHEROUS TWIN " by Charles H. Randall & Joan Legro Bushnell
Directed by Mel de Bono
Musical Director Narelle Olsen
Choreography by Kate Hansen
Review by Peter Kemp 17/11/07

Congratulations must go to the director Mel de Bono for possible one of the best melodrama's in Eltham Little Theatre's repertoire.

A story of a missing father, a pair of twins, a heroine, a mother, a daughter, a true and trusty friend and a French maid. Throw in a large amount of money missing from the family bank plus some dashing dancers and singers and we have Eltham Little Theatre's annual Music Hall.

A well set stage showing the lounge room of the family home at Christmas with view of snow falling seen through the windows.

The Chairman was Brian Longton. A good presentation and Longton sang between scene changes and having a good voice added to the enjoyment of the evening.

Grace, the deserted mother was played by Marilyn Pearce. She caught the character as envisaged giving a good portrayal showing her love for her children even though one of her twins proved to be (as in every melodrama) an absolute rotter.

The French maid was played by Clara McKenna. A good portrayal and presentation really catching the character.

Our heroine the foundling Miss Sadie Rose was given a great portrayal by Briana Packett. Packett caught the balance of over the top as required for a melodrama without going to far. An excellent portrayal. The twins, one good and one bad were played by Curt Farrell. As the good twin Farrell gave one of the best reproductions of Michael Crawford's voice (from Some Mother's do Have Them) that has been heard on stage. He projected well and gave the audience the feel of such a good and understanding melodrama hero. As the evil twin Farrell showed his professional ability in such a contrasting character. A suave evil man sweeping in with cape swirling a false black moustache a deeper voice and capturing the essence of such a character.

The twins sister April was a young lady who stood for no nonsense from anybody including her evil brother. A good projection by Claire Pain who gave a professional performance.

Her shy boyfriend and family friend who turned out to be not what he seemed was Collingsworth played by Chris Cousens. Cousens caught the shy Collingsworth trying to convince April that he is the man for her. A good performance.

Two small roles were the policeman and Herbert. Daniel Kastropil was the policeman giving a good portrayal. Herbert, a surprise to the family was played by Roderick Chappel. A good presentation. During scene changes we had singing by the Chairman Brian Longton and four dancing girls dong the Can Can. The dancers standard ranged from good to unsure, which did unfortunately give an uneven performance.

Overall the evening was very enjoyable with a high standard of performance by the acting cast and enhanced by the good set.

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2006

Dirty Work at the Crossroads
by Bill Johnson
Directed by Cheryl Ballantine & Michelle Carr-Fiddes
Review by Overnighters 3AW

The hiss and hoorah fun of a melodrama entwined with music hall-style entertainment can be enjoyed at Eltham Little Theatre's latest production of Dirty Work at the Crossroads. Musical Director Ian Forsyth appears in a stunningly sequinned musically-themed vest and the opening song and dance number reveals a delightful assortment of variously aged performers, right down to young Victoria-Rose Fiddes' polished portrayal of Baby June.

Chairman Alan Currie personably introduces the glamorous card-girls, followed by the Aussie-flavoured melodrama, written by Bill Johnson. We meet the dastardly villain Munro Murgatroyd (well played by Travis Davies resplendent in red satin lined cloak), the innocent, sweet heroine Nellie Lovelace (appealingly portrayed by Alexandra Freedman-Davies), Nellie's true-love Adam Oakhart (a sincere portrayal from Daniel Kastropil), the conspiring Ida Rhinegold (an elegant, strong performance from Jean Russell) and the handsome, likeable Mookie Maguggins (credibly portrayed by the also vocally rich Alan Flint). Marilyn Pearce is charming as Mrs Lovelace and Glyn Wilson as the rich widow Mrs Upton Asterbilt and Jasmine Dare as her petulant daughter Leonie, impress with their strong acting skills.

The versatile Ciara McKenna oozes personality-plus in her roles of Fleurette and a card-girl and Kristie Molnar immediately engages her audience with a terrific portrayal of Little Nell. Marlene Di Battista, Yu Chun Lin and the energetic and enthusiastic Ensemble present some great toe-tapping numbers. We are treated to magic tricks from Michael Fiddes and well-presented acrobatics also from Michael and Claude Di Battista. A highlight of the show is the entertaining, gutsy vocal item from Michelle Carr. The striking costumes are designed and realised by Bonnie Rothwell, Michelle Carr-Fiddes and Sue Mutavdzija and Mick Poor's set design works well. Congratulations to producer/choreographer Michelle Carr-Fiddes, director Cheryl Ballantine and Eltham Little Theatre for an entertaining, fun night presented in an atmospheric venue.

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AND THEN THERE WERE NONE
by Agatha Christie
Directed by Mick Poor
Review by Peter Kemp

A play adapted from Agatha Christie's original story Ten Little Niggers. Basically overall the same but a slight change in the ending.

Ten strangers with nothing apparently in common are invited to an island mansion off the coast of Devon . Over dinner a record begins to play and the voice of the unseen host accuses each person of hiding a guilty secret.

A well set stage of a lounge room of the mansion. A good cast opened with the arrival of Vera Claythorne secretary to the mysterious host and Captain Phillip Lombard.

Julie Downie as Vera Claythorne handled the role with finesse and showed the correct expressions at the extreme moments. Philip Shayer was Captain Phillip Lombard, a good smooth flowing performance.

The two servants Rogers and Mrs Rogers were played by Daniel Kastropil and Jennifer Tully. Both caught the characters of servants and although as the servants were puzzled by events played their roles no matter what.

A mystery guest was William Blore who originally gave a different name and a different story of who he was. Cameron South did a fine portrayal of such a character.

Anthony Marston was a sporting type and given a good portrayal by Luke Atchison. Sir Lawrence Wargrave the retired judge was well played by Derek Henry. A strong performance

Dr Armstrong a nervous man was played by Roderick Chappel. A good performance and Roderick captured the nervousness with finesse.

General MacKenzie the somewhat arrogant man who liked his own way was given a fine interpretation by Michael Tucker.

A good evening of entertainment although a solid drama nevertheless was enjoyed by the audience.

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HOW THE WEST WAS WARPED
By Simon Denver and Donald Woodward
Directed by Gayle Poor and Lois Fleming
Reviewed by Phyll Freeman
2nd July 2006, matinee (as appeared in Theatrecraft – August Edition)

On the front page of Theatrecraft:
Attending a Youth Production performance at Eltham Little Theatre of How the West was Warped recently, I was amazed by the talent of these young performers and I hope they are encouraged to stay involved in theatre.

Then I received two great photos from Ian Clark of Studio Imagery, which captured some moments from the show. There was certainly never a dull moment with the directors using the doors from the foyer for the cast to exit and enter throughout the entire show. One moment cowboys, the next Indians. Great fun!

I was told by one of the directors, Gayle Poor, that the oldest member of the cast was seventeen (Ryan Griffin, the Hero) and the youngest, the cutest little Indian, Gretel Donelley was only around five years old.

So keep an eye out for some of these stars of the future!

(Victorian Drama League Inc. Theatrecraft – August, 2006)

On a bleak and wintry afternoon, I sallied forth to Eltham for some fun and frivolity. Some thirty odd youngsters gave us an energetic production of How the West was Warped. And warped it certainly was! Under the dual direction of Gayle and Lois, we saw a well-staged and paced offering containing good cowboys (white hats), Desperados (black hats), lots of holerin’ Indians and quite a few finger-snapping Mexicans.

Set in 1873, the story tells of a gold mining town in the Wild West, which needs a new Sheriff. The local bad man sets himself up as the Law and proceeds to take over the whole town, including Miss Kitty’s Saloon. The new Sheriff arrives and reluctantly tries to take back the running of the town together with the Temperance League and an old gold miner (and let’s not forget the Hero).

The performers used entrances in the auditorium, so that we, the audience, became part of the proceedings – I had creeping Indians, desperados and Mexicans all around me. One of the best sequences was when the three rival gangs were creeping around the gold mine in the dark. The cast went into freeze mode satisfactorily.

The main setting onstage was the Lucky Strike Saloon, with stairs leading up on both back exits, chairs, tables and even a piano. Set decoration was excellent. I also noticed railway sleepers lining the stage at floor level. There was even a sleeper for the front-row patrons to rest their feet!

Costumes were well done, especially the showgirl outfits. The all white attire of the Hero suited the character. Make-up was detailed, curling mustachios painted on the Mexicans and even that ‘five o’clock shadow’ look for Bad Bart. Lighting and sound effects worked well.

The four-piece band were situated next to the patrons on floor level, stage right. I found the music just a tad too loud (especially the percussion), masking the young voices at times. They needed the hand mikes, which were used during the musical numbers.

With such a large cast, space does not permit me to go into too much detail, but mention must be made of the accomplished Llaneath Poor as Miss Kitty, the Saloon owner, who would do anything to keep her Saloon from Bad Bart, played effectively by Jessy Hall. Sarah Klink as Miss Frost the Temperance lady was very composed and with good diction. Nick Fleming was a hoot as the cowardly Sheriff, together with Morgan Thomas Connor as Mrs Starr – his very formidable mother! Josh Tiplady as Stumpy, the old gold miner, gave us a strong mid-west accent but unfortunately, it was not easy to understand him at all times.

Ryan Griffith as the Hero reminded me of a very young Wayne Newton, especially his vacant, starry-eyed look. Alexandra Griffith as Stumpy’s tomboy daughter, Annabelle had shades of Annie Oakley in her performance. In the second act we met Carmen – Katy Hocking who, together with Sean Higgins and the Chorus girls, rendered a very professional number, which quickened the pace considerably.

Eltham are to be commended for the unlimited patience, blood, sweat and tears needed to mount this production and giving the next generation a taste of the discipline and dedication needed for the theatre.

Front-of-house staff were kept busy, especially with the afternoon tea and helped to round off a pleasant afternoon.

(The Victorian Drama League Inc. Theatrecraft Aug 2006)

THE BEST LAID PLANS
by Fred Carmichael
Directed by Peter Newling
Review by Ken Barnes - 13 May 2006
As appeared in Theatrecraft June 2006 Edition

Eltham was awash with spies and counter-spies in May as ELT turned back the clock to the Cold War by staging Fred Carmichael's comedy The Best Laid Plans. Set in Jamaica in the 1960's, the story centres on a writer of racy espionage stories whose comfortable life is turned upside down by a motley assortment of chameleon-like characters in search of secret plans for the comforts of a Swiss bank account. As the plot weaves its way through a minefield of deception, double-dealing and disputed death, there is a lot of scrambling through doors (with bodies being dumped in and out of hiding places and the secret plans appearing and disappearing) until the mystery finally unfolds.

For The Best Laid Plans to be successfully staged, the actor who plays the central figure, Ada Westbrook must turn in an energetic and credible performance. In this key role, ELT and Peter Newling chose the versatile and talented Shirley Cattunar. Neither they nor the audience would have been disappointed, for Shirley's performance, decorated by subtle mannerisms, measured enunciation and delicate inflection, was faultless.

Margaret Rawlinson gave a sound portrayal of the hard-bitten secretary and companion to Ada, Frances Daniels, and delivered some of the best laconic one-liners. Bruce Carter was another good casting choice, for he was able to get into the skin of the gentlemanly but slightly seedy amateur spy, Hubert. I thought the two younger actors - Peta Owen as Gail and Ralf Beever as Guy - also performed well. Their antics and vivaciousness and the stage chemistry between them were nicely transmitted to a clearly receptive audience.

Ross Mack played the Russian/American spy Goralsky with a colourful accent and genuine flair, evoking the sympathy of the audience as we watched his bruised body being thrown and dragged around the stage in almost every scene. But was that incongruous pony tail (after all, it was the conservative 60's) really necessary? The other supporting actors were competent with no serious shortcomings but lacked the elusive sparkle of the best comedy. In general, the dialog was quite often difficult for those at the rear of the theatre to follow, especially where mixed accents were involved; so some of the best lines did not get the laughs they deserved.

Regular theatregoers know that ELT's Crew is very capable and their work with The Best Laid Plans was no exception. The set was well designed, attractive and functional with no fewer than six openings through which the actors (dead or alive) were able to move at frenetic pace or were dumped - all under the precise stage management of Beth Stryk and Cathy Steventon.

Lighting and sound (Graham Batcheler, Leigh Fiddes and Rob Wanless) were spot-on, and Bonnie Rothwell ensure that costuming was appropriate for the period. Equally proficient were the FOH arrangements and a well-designed program was available.

I understand this was the first time Peter Newling and ELT have worked together and they make a good team. The show that night, though lacking the magic tweaking one finds in the best farce, was enjoyable and good fun, livened by a truly outstanding performance from Shirley Cattunar.

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LAYING THE GHOST
by Simon Williams
Directed by David Dodd
Review by Peter Kemp

A story of retired actress Margot Buchanan living in a retirement home for actors with her psychic friend Freda. It is her birthday and she has three visitors who definitely would not have invited.
Narelle Olsen was Margot Buchanan; Narelle gave a good performance with all aspects of acting from bright and happy to sadness and poignancy.
Margot's friend Freda Deacon was played by Cheryl Ballantine. Cheryl was very good as the psychic who could see and talk to ghosts much to the embarrassment of the other guests.
The home administrator Mrs Gibbs was given a fair performance by Terry Marston who captured the administrator who understood the pecaddilos of her charges..
The young actress who visited to obtain some acting tips from Margot Buchanan was Sadie Croft played by Melissa Addison. Melissa has been away from theatre for two years but has not lost any of her talents and gave a great interpretation of the character.

Margot's ex-husband Leo Buchanan, who had a way with the ladies which did lead to a spot of bother now and then, was played by Bruce Carter. Bruce had the savoir faire for such a role and gave a wonderful characterisation of Leo.
Leo's current wife Judy was played by Jane Munz. Jane gave a good interpretation of the second wife of a man who never quite forgets his first wife.
A small part but fun was Ian Forsyth as Superman trying to get a kiss form anyone who would oblige, not a bad performance.

A fun evening enjoyed by Eltham's audience.

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2005

THE GYPSY'S REVENGE
by Michael Lambe
Directed by Cheryl Ballantine
Reviewed by Peter Kemp

ELT closed 2005 with its annual Old Tyme Musical Hall which always includes a dramatic melodrama. This year it was The Gypsy's Revenge. A story of the evil Edward Fawcett-Strangely who seduced and murdered young ladies and his eventual downfall. Add his tenants the Mudd family, the gypsy Bela and his daughter Xenia, throw in a were-wolf and fun evening was ensured. The play was interspersed with songs and dance. A particularly good singer was Marilyn Pearce who sang a song from The Merry Widow which was well appreciated.

The production opened with a song and dance performed by the whole company. The ages ranged from just under teenage to late in life.
As with all Musical Halls there was a Chairman performed by Alan Currie who gave a good interpretation of the role. The heroine, Victoria Mudd was played by Jasmine Dare. Jasmine had the youth and innocence and carried the role with professionalism. Victoria's sister, Hortense Mudd, was excellently played by Peta Owen. Peta caught the feeling of the not so bright sister with aplomb. Bryan Richardson was the villain Edward Fawcett-Strangely gave a good evil performance and unlike most melodramas he wiped out the heroine as well as a few others before being caught.

Amy Wright was Xenia the gypsy girl and the first of Edward's victims. A good performance and Amy also introduced each act as the Card Girl who was very popular particularly with the male audience members. Hortense's boyfriend Jethro Meadowgrass was played by Matt Purnell. Matt caught the not so bright pig farmer with ease and projected well.

Trevor Clarke was Bela the gypsy and father of Xenia. Bela was also cursed with the problems of being a were-wolf although in this production he was a good were wolf. Trevor gave a fair performance. The Mudd sister's parents were Mrs Fanny Mudd and Mr Joseph Mudd. Fanny Mudd was played by Glyn Wilson who captured the character who was always reminding us that she did not have much time to live. Glyn gave a good feel to the role. Joseph Mudd was played by Derek Henry. Derek gave a fair performance as the mostly drunken father and husband. Edward's maidservant and future victim Mabel Fygg was played by Kristie Malnar. Kristie projects well and gave a good characterisation of the role. A small part but well done was that of Victoria Mudd's illegitimate child who was a prodigy (and a werewolf) was played by Cathy Steventon.

A relaxing evening with the audience taking their own food and drink as at a theatre restaurant evening. The audience enjoyed the evening and had community singing between acts which added to the fun of the night. The Music Hall is a tradition of Eltham Little Theatre and is always popular and after this year's performance one can see why.

TRAVELLING NORTH
by David Williamson
Directed by Mel DeBono
Reviewed by Ken Barnes - 11 September 2005 as appeared in Theatrecraft's October Issue

Even if you aren't a David Williamson fan, there is something about Travelling North that appeals to theatregoers, especially those who have reached a "mature age". Perhaps it is the way the playwright exposes some of those raw nerves that exist in all families; more particularly it is the way he paints his characters with so much sympathy and forgiveness. Remembering the excellent film featuring Leo McKern, Julia Blake, Graeme Kennedy and Henri Szeps, I travelled north to Eltham in anticipaton of a similarly rewarding experience.

The lead role of Frank, that crotchety old political activist, obsessive self-diagnostician and music lover, was played by Bill Charles. Bill's experience and natural ability was evident right from the start and even though his character became more irascible and demanding as the story unfolded, he held his audience throughout and gained their sympathy as he approached death. The female lead was only slightly less impressive, with Margaret Rawlinson in the role of Frances - a patient, understanding, organised person with great strength of character. Margaret's performance was somewhat stilted in the early scenes but improved in Act 2. My only other reservation was that the chemistry between the two early in the piece (while they were starry-eyes lovers) was not entirely convincing. The scenes where Frank was his crotchety worst and Frances at her long-suffering best were spot-on.

Supporting actors were Michelle Tanner and Donna Smith as Frances' daughters Helen and Sophie, Derek Henry as tolerant Doctor Saul, Stephen Randall as the pesky but kind neighbour Freddy Wicks, and Cathy Steventon as Frank's serene and sensible daughter Joan. Natasha Warrington and Elwyn Randall completed the cast. All performed in a proficient way, even though there was some over-dramatisation in the scenes set in Helen's Melbourne home.

Travelling North calls for many scene changes; in Eltham's rendition no less than 20. So director Mel De Bono, stage managers Glyn Wilson and Chris Garnham, together with the backstage teams, had quite a job on their hands, as did the construction and painting group. Sets were arranged by rolling furniture and props on and off stage rapidly between scenes and it all worked smoothly with no discernible hitches. Lighting and sound were well managed and the incidental music which permeated the whole performance - and which was used to link scenes - was particularly well chosen and executed. Special congratulations go to Bonnie Rothwell for her excellent costumes - and those scrumptious scones in the foyer after the performance. (Note: Matinee audiences only)

Speaking of foyers: for most of Act 2 there was talking and other noise from the foyer. Moreover, because the Eltham foyer is separated from the theatre by curtains there was constant flickering of light through the gaps. Both had the effect of distracting the audience and slightly marred the otherwise extremely friendly and welcoming front of house experience.

David Williamson's brand of Aussie humour was evident in many scenes, not least in the exchanges between Frank and poor Dr. Saul who during one consultation remarks, "It would be a reckless germ that tackled you Frank". However it wasn't all humour. This was a bitter-sweet-happy-sad play about people and we in the audience got to know them through some good direction and sensitive acting. There were lots of laughs and some tears toward the end, and surely that's good theatre.

TRAVELLING NORTH by David Williamson
Directed by Mel DeBono
Reviewed by John Gunn, 1/9/2005 for 3CR’s “Curtain Up” - Sundays at One - 855AM.

David Williamson’s “Travelling North” has been one of his most successful plays on both the professional and community circuits, not forgetting the 1987 film version with Leo McKern and Julia Blake along with Graham Kennedy and Henri Szeps.

The charm of this piece for me has always been its simplicity in staging and the mix of characters. Set during the Vietnam War and just prior to the rise of Gough Whitlam, the story tells of an irascible retiree Frank falling in love with Frances, a 50’something divorcee, and their journey up north, only to discover that he has a chronic heart condition, which begins to cloud their relationship. While the story does have a serious side and looks at relationships between older people, it does naturally have much comedy, as expected from Williamson, and is I feel a piece that many mature people can and will relate to.

Other main characters are: Frances’ two rather selfish married daughters Sophie and Helen, who resent their mother leaving them and heading up north with this man, Frank’s daughter Joan, their overpowering next door neighbour Freddie and Saul, their doctor up north.

Eltham’s production under the direction of Mel De Bono was, on opening night, a little slow and laboured which I feel was in part due to the difficulties the director took on by over producing the piece physically with the unnecessary introduction of extensive and massive sets for each scene - this puts a strain on backstage workers in having to be continually changing sets which in turn drags out the story and halts continuity. Whilst the story moves from the daughter’s house, the gallery, the marriage scene, the doctor’s rooms, the house up north etc. I felt a composite set pared right back with appropriately designed lighting would have enhanced the production, as like many plays today it has numerous scenes some of short duration which are rather film like in construction.

Looking at the performances, Margaret Rawlinson as Frances was for me the most satisfactory, Bill Charles, while giving a very intelligent and cultured reading of Frank, could for me have been a little saltier and there wasn’t enough contrast between these two characters for us to understand the attraction between them. The other character that caught my attention was Saul, the Doctor, nicely played by Derek Henry - balanced, relaxed and believable.
I was not as comfortable with the performance of Stephen Randell as Freddie, he needed more energy and bounce…. in other words he wasn’t the irritating ‘always around’ next door neighbour and pest that I felt the script demanded. The cast was completed by Donna Smith as Sophie, Michelle Tanner as Helen and Kathy Steventon as Joan along with the marriage celebrant and gallery attendant.

To some up, I felt the director had made the production too difficult for himself thereby losing some of the simplicity and charm, however Thursday night’s audience enjoyed the performance, which is what it is all about.

Travelling North
Directed by Mel de Bono
Reviewed by Peter Kemp

Eltham Little Theatre chose David Williamson's Travelling North for the spring season. The play spans the years 1969 – 1972 the action moving between wintry Melbourne and the perpetual spring of the sub-tropics ‘up North'.
The story explores the often-complex relationship between a man and a woman in the autumn of their lives looking for an ideal existence but forgetting that in the autumn of their lives the possibilities of health breakdown, adult children who might have different ideas on what they consider their parents happiness are prevalent.
ELT chose director Me De Bono, a great admirer of David Williamson's works and was delighted with the opportunity to direct Travelling North.
Mel De Bono not only directed the production he also designed the set. Making full use of the stage the set covered a caravan park in Queensland , a home in Melbourne a cottage near the tropics, both interior and exterior, a doctor's surgery, a hospital. A park in Sydney and the Bonython Art Gallery .
David Williamson's plays are done in short bursts with blackouts between scenes. This enabled rapid and smooth set changes. Unfortunately this can lose the plot a little if the breaks are too long.
Margaret Rawlinson played Francis Oldfield the mother who fell in love with Frank Brown and travelled north with him much to her two daughters' disgust. Margaret gave a smooth sympathetic and very good performance n the role.
Frank Brown was played by Bill Charles who had a good rapport with Margaret Rawlinson and captured the persona of such an irascible character. A very good portrayal. Stephen Randall was the lonely neighbour Freddie Wicks, who was glad of the company whether the company was glad to see him, did not enter his thoughts. He was eventually accepted and proved a good friend. Stephen gave a good performance in such a role.
Frances ' daughters Sophie and Helen were played by Donna Smith and Michelle Tanner.
Sophie was the more sympathetic to her mother's lifestyle than Helen. Donna Smith gave a good performance in the role. Helen as the daughter questioning her mother's new lifestyle and giving the impression it was more for her benefit that her mother stayed on in Melbourne looking after her grandchildren. Michelle Tanner gave a strong and full of feeling portrayal capturing the apparent selfishness of Helen. Frank's daughter Joan was played by Cathy Steventon. Joan was understanding and supported her father and his ideas. Joan captured the correct feel for the role and added to the standard of the production. Frank's doctor Saul Morgenstein who had to put up with a lot from the stubborn Frank was given a great performance by Derek Henry.

A good evening of entertainment from Eltham Little Theatre.

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The Dracula Spectacula
Review by Peter Kemp
Directors: Gayle Poor & Lois Fleming.

The theatre's future is assured with Eltham Little Theatre's annual children's production. This year 2005 was The Dracula Spectacula. A musical set in America , in a Brau Haus somewhere in Transylvania and in Dracula's Castle.
The story of school teacher Nadia Naïve who took her school class on a trip to Transylvania and a meeting with the Count Dracula.
A well set stage of the Brau Haus which also easily converted to Dracula's castle.
A cast of 29 and an orchestra of three who were at rear of stage which allowed the singers to be clearly heard.
Becky Fleming was Nadia Naïve, a wonderful portrayal capturing the innocence as required. Her students were Elvis, played by Anthony Daoulas, Kelly played by Lauren Daoulas and Julia played by Alexandra Griffin. All gave good performances, confidant and played to the audience.
Alex Potts was Hans the proprietor of the Brau House. Alex caught the character and gave a fine performance. His wife Gretel was played by Llaaneath who had a natural feel for the stage and projected well. Sean Guzzi was Nick Nookie the handsome hero. Sean gave a good portrayal and had a good rapport with Becky Fleming.
Keith Cattach caught the evil of Dracula with expertise and had one of the best villainous laughs heard on stage for a long time.
Josh Tiplady was Dracula's minion Genghis. Josh gave a fair portrayal and must have been uncomfortable by the end of the performance as he spent the time as a bent over hunchback which he kept up the whole performance.
Jasmine Dare was Countess Wraith, Dracula's mother. Good projection and a fair performance although she did have a little wig trouble but showed good stage experience by not letting it phase her and the way she handled the problem with aplomb even so the audience could even believe it was part of the act.
A good and fun evening and showing the enjoyment and expertise by the young performers and congratulations to the directors Gayle Poor and Lois Fleming for a successful and enjoyable evening.

The Dracula Spectacula
Reviewed by Graeme McCoubrie – 9th July
As appeared in Theatrecraft

It is twelve months since Director Gayle Poor observed to me that today’s youth are the backbone of tomorrow’s theatre so it is important to provide them with the opportunity of performing and learning stagecraft. And this was the case for some 30 young – and a sprinkling of mature actors, in presenting Eltham Little Theatre’s annual youth production The Dracula Spectacula.

It is the third production directed by the team of Gayle Poor and Lois Fleming and they should be pleased with the result. While of dark Gothic origins as one would expect, this production was light hearted and bounced along with youthful energy.

A young American Schoolteacher Nadia Naïve (Becky Fleming) – “naïve in name and in nature”, takes her class on a field trip to deepest Transylvania only to fall under the spell of the evil vampire Dracula. She has to battle the powers of evil in this spooky musical. But help is not far away in the form of Dr Noble Nick Nookie (Sean Guzzi) – a young Doctor with a mission complete with his business card. More help is provided by God fearing cleric Father O’Stake (James Plant) and the proprietors of the towns Inn, Gretel (Llaaneath Poor) and Hans (Alex Potts).

The full stage was used and needed for the choreographed musical numbers while a thrust walkway split the front section of the audience. Good use of this was made as the story developed with the actors using this as an exit, giving us the feeling we were actually there and part of the scenes. Fold back flats to either side of the stage allowed changes from street scenes, inside the inn to the very deepest crypt inside Dracula’s Castle.

At centre upstage behind a black scrim that was outlined as a stone archway giving us the effect of a deep recess, was placed the Keyboard, Guitar and Drums providing a well modulated backing. It was good to see and hear the work of the young drummer (Scott Barton).

While the first half introduced us to the main players it was not until the second act when we meet The Prince of Vampires, Count Dracula (Keith Cattach) and his lumbering sidekick Genghis (Josh Tiplady). And there was Dracula’s mother – young and evil looking Countess Wraith (Jasmine Dare) who kept encouraging yet interrupting her son in his evil work. Dracula wanted the schoolteacher Nadia, well her blood firstly so he set up a ceremony of marriage and had his three fanged Brides fetch Nadia to the deepest crypt where he could drink her blood and have eternal life.

He was thwarted just in time as one would expect by Dr Nick, Father O’Stake and Hans and Gretel. Dracula, his mother and his faithful sidekick were then banished down into the Castle’s deepest dungeon never to appear again… well, that’s what we thought.

Among the many songs there were some rousing numbers with thigh and knee slapping with hand clapping in true Bavarian style. Positive Action Man sung by Dr Nick and If You Want to be a Super Rat like Me by Dracula got good reaction while some general chorus numbers were accompanied by suitable choreography (Lois Fleming). Notable was the performance of (Josh Tiplady) Dracula’s sidekick who tried very hard to please his Master – but found that he was always misunderstood.

The Innkeepers, Hans and Gretel maintaining their accents throughout their performance – even while singing, were well received. A drunken pilot (Callum Robertson) and schoolboy Elvis (Anthony Daoulas) added comic relief to several ‘serious’ situations.

All Youth Productions need encouragement and VDL Member Theatre Companies would be well advised to follow Eltham’s lead in staging at least on Youth production each year to ensure fostering the craft amongst those that will follow us.

Again to Eltham Little Theatre – thank you for an entertaining performance.

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Review of See How They Run
Reviewed by John Gunn, for 3CR’s (855AM) “Curtain Up” - Sundays at One .

Philip King’s farce “See How They Run” has been one of he most popular plays of this genre since it first hit the stage back in the late 1940’s, both on the professional and community theatre circuits. Like that old chestnut “As the actress said to the Bishop”, it tickles our funny bone.

This story (set in 1942) is about ex-actress Penelope Toop, now married to the Rev. Lionel Toop and living in a small village, she meets up with her former co-star Clive Winton from a Rep production of “Private Lives” but who is now in the Army as its wartime…. The result – mistaken identities, a German intruder, the village busybody causing trouble and many, many vicars… all this culminating in ridiculous situations and much fun for an audience.

Eltham’s production of this classic farce under the direction of Shirley Symons, whilst not perfect, still kept the audience entertained for its 2 hours running time.

The cast, generally speaking, got into the fun of the piece, the sitting room setting with French windows, lots of sturdy doors, stairs and old beams etc was most appropriate and costuming generally met the requirements of the period with lighting and props working well. On occasion vocal energy could have been stronger with pace and timing needing some tightening as it was not always as sharp and fast as it should have been – also the re-enactments of “Private Lives’ needed to be better choreographed as they did lack a bit of oomph as ‘curtain closures’. However as we all know if you have a good script you are half way there.

Looking at the cast I was impressed by the performances of Peta Owen as Ida the maid, this was a most assured performance and we really warmed to this character, good work was also seen from Les Ryan as the harassed resident Vicar Lionel Toop with Derek Henry striking just the right note as the visiting vicar the hapless Rev. Arthur Humphrey – all three had good English accents.

Solid support came from Brian Longton as Penelope’s uncle The Bishop of Lax, Trevor Clarke as Sergeant Towers and Sean Guzzi as the German Intruder. Amy Wright worked hard in the role of Penelope Toop but needed a little more vocal energy and sophistication the playing style – after all she had been an actress.

The cast was completed by Robert rich as Clive Winton and Gly Wilson as the busybody Miss Skillon.

Last Thursday night’s audience had great fun seeing this farce once again and certainly enjoyed their evening at Eltham Little Theatre.

Review - See How They Run
Reviewed by Phyll Freeman – 30 April 2005
VDL’s Theatrecraft, June Issue

The program states that this farce is a ‘broadly humorous play’. See How They Run was written by Philip King in the 1940’s and is set in an English vicarage of that period. The plot is fairly light and tells of a plethora of supposed clerics who run around madly in various stages of undress. This play has been performed for years and is starting to show its ‘used by’ date.

Eltham is blessed with a large stage and auditorium. Because of the high ceiling, acoustics can be a problem, especially with only a half capacity audience to muffle the sound. Some of the actors had high-pitched voices which were affected by this. Also I was disappointed at the beginning by the loud singing offstage which overwhelmed the dialogue on stage. The pace was slow, lines fluffed and the actors seemed unsure. Late cues and some dialogue delivered so fast as to be unintelligible.

In the second act there was considerable improvement, especially with the arrival of various clerics and others. But even here the audience reaction was muted. Much of the humour missed its mark. Farce needs actors who believe in their characters and are serious in their interpretation. This does not mean to be grinning at the audience whilst running supposedly fearful for your life!

Peta Owen as Ida the maid, understood her role very well. Used her face and eyes to good effect and vocally was spot on with excellent timing. She was a joy to see. Amy Wright as Penelope, the vicar’s wife, was decorative and moved well but needed more experience for the role. Glyn Wilson as Miss Skillion, the village spinster besotted with the vicar, was a little hesitant but eventually warmed. Full marks for being the comatose hurdle for the flying vicars.

Les Ryan as Lionel Toop, the vicar, was adequate in his role as were Brian Longton as the Bishop of Lax and Derek Henry as the curate, Arthur Humphrey, in theirs.

Robert Rich as Clive, the acting friend now soldier, of Penelope, seemed to be suffering from a cold as his vocal delivery at times was inaudible. He needed more experience too. Sean Guzzi made a colourful entrance in his German uniform as the intruder but here again experience was needed to maintain the accent throughout the performance.

Trevor Clarke as Sergeant Towers showed us the confidence of experience as he interrogated the cast in a most military fashion.

Music and lighting were satisfactory – ‘Bless ‘em All’ and lots of Vera Lynn to set the era; Sound, well the front door bell was not loud enough, but the church bells were too loud. On the set were two heraldic plaques over the French windows which seemed out of place. The mantelpiece needed more colour in the knick-knacks and the upstage curtains were too strong in their print. Costumes echoed the era but why were the maid and vicar’s wife in identical colours for most of the play? Was this supposed to mean something? Also the glasses used for drinks – there should have been one for each person.

To further enhance the flow of people I think the cupboard upstage right, an integral part of the play, should have been placed downstage right so as to bring the action closer to the audience. And there was some confusion about the front door/kitchen being off stage through the same entrance. The middle opening (curtained) on the left went to where?

As I have said in previous reviews, farce is hard to do and needs experienced actors and directors. Eltham did indeed, make a valiant attempt.

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THE GHOST TRAIN by Arnold Ridley
Director - David Dodd
Reviewed 4/3/2005 by Carolyn Gunn for 3CR's "Curtain Up" - Sundays at One (855AM)

Arnold Ridley's 1925 play "The Ghost Train" is about a group of people stranded at night in an isolated railway station in Cornwall where it was said a phantom train came through in the
dead of night. Programme notes tell us that it was not an easy work to stage technically, the sounds of the train were achieved by using a drum, a thunder sheet, a cylinder of compressed air and a garden roller; back in 1925 there was not the technical sophistry as is used today...recorded sound effects on CD or computerised and I doubt if there were even tape recorders way back then.

The play, now being some 80 years old, also poses challenges in actual playing style and specific demands in characterisation. It is essentially an English work and demands the vocal skills and approaches so necessary in the light commercial plays presented between the wars.
By this I mean the polished and often exaggerated English manner complete with vowels,
consonants and placement and of course, physical and vocal stage energy and playing more to the ‘front’ was often a popular technique.

Under the direction of David Dodd, these requirements were not often realized with most actors in this large cast delivering dialogue in a rather listless fashion with little attempt at shaping their characters. Consequently the production did not achieve as much as it should have in the way of pace or fear as the story unfolded and did not build as the script provided for with the inbuilt climaxes not being met e.g. the end of Act 1. Whilst not recommending the style of what we know today as melodrama which requires overacting, a more forward or full on acting style was needed.

Blocking could have been more imaginative with less of the crossing of the stage from DL to DR to make a dramatic point, positioning by DL and DR proscenium arch ditto, also positions of the couples at times did not create the huddle of fear and there was some masking - in one case, 3 men completely in a straight line from upstage to downstage.

Several changes were made to the original text (i) the casting of a female in the role of the male stationmaster Hodgkin - if an elderly man could not be found to play this character, perhaps a change in the focus of the role should have been considered with some slight alterations to the dialogue perhaps a crazy old lady or crafty old crone could have evolved in her own right, after all who knows what the isolated locals in Cornwall were really like back in the 1920’s;
(ii) also the spinster Miss Bourne's Acts 2 and 3 are usually played (if I remember correctly) on a table centre stage which adds to the fun and some of the comic effect was lost by placing her upstage on a bench...

Mic Shehan as the silly ass 'Teddy' and Katherine Rich as the hysterical 'Julia' came closest to realizing the characters as Arnold Ridley wrote them - granted they were easier, not being
'straight' roles to play, but both had attack and energy and an English approach to the dialogue.

Setting of the station waiting room with its ticket box, operative fireplace and windows was effective although I think brownish shades would have created more atmosphere than the cream colour of the overall set. Sound and lighting generally gave good effect, particularly the realistic breaking of the window but in this old-fashioned play stage management should have looked at the time on the clock over the fireplace - it never changed.

Costumes endeavoured to re-create the 1920's although despite the script requirement I don't think the plus fours for 'Teddy' quite worked for such a tall man and perhaps a plain suit with the eccentricities of a monocle and scarf, even a cigarette holder may have worked better for this actor.

Whilst I don’t think Eltham's production of "The Ghost Train" worked as well as it should have, I did enjoy seeing the play again and there were elements of fun and surprise that the audience did enjoy.

The Ghost Train by Arnold Ridley
Directed by David Dodd
Reviewed by Jill Watson – 6 March 2005 as appeared in Theatrecraft's April Issue

This play is an old chestnut, first produced in 1925 in Brighton in Britain to lukewarm reviews then a big success later on at St Martin’s Lane Theatre in London. The playwright, Arnold Ridley, would be known to Australian audiences from his role as Private Godfrey in the BBC TV series “Dad’s Army”. It is set in the waiting room of Fal Vale Station in Cornwall. The director kept the time in the 1920’s, and I must congratulate the set realisation crew at Eltham for an excellent, authentic job.

The open fire smoked very convincingly, the yellowed walls, benches, red upholstered chairs, Ticket Office shutter and a Victorian clock added to the atmosphere, and a very good touch was the dirty blackened surrounds of the door knobs from much use. The sound of the cold weather when the door to the platform opened was very good, but now and then I didn’t hear it when the door opened. The audience could really imagine the cold in this waiting room and the prospect of being stuck there all night.

6 passengers are forced off the Truro train into this small station, as one passenger has pulled the communication cord, the excuse for which is that he wanted to retrieve his hat which had been blown off when he put his head out of the window as they approached the station. This man, Teddie Deakin, is, of course, persona non grata with the other 5 passengers and he doesn’t help the situation in that he tries to be funny and alienates everyone even further.

Mic Shehan rather overplayed this role, even allowing for his character’s necessity to be in disguise until the play’s denouement, and he was not helped by a very odd pair of patterned plus-four trousers and a jacket with too short sleeves which made him look rather clownish, aided by Mic’s very long legs. Plain trousers with plain jacket and argyle patterned socks would have been better, I feel. The rest of the costuming was very good. Special mention must be made of the wonderful “ghost” train effects – sound and visual – which Graham Batcheler is credited for. These effects contributed hugely to the tension of the place. As the passengers gather in the waiting room we learn a lot about them quite quickly through the narrative and body language.

The first couple on, Richard and Elsie Winthrop (Chris Fleming and Lois Fleming – married in real life!) had only been married for about a year, but were on trial separation at the request of the husband. From their arguments and resentments we can see how this happened, but we also see that Richard is trying to win his wife back. Chris and particularly Lois did very well in these roles. The second couple, Charles and Peggy Murdoch (Trevor Clarke and Amy Wright) are newly marrieds, but Charles is about to go abroad for business reasons so they have very little time together and should have been in Truro on their honeymoon. I liked Trevor’s portrayal of an exceedingly nice man coping with circumstances beyond his control, but I didn’t feel that Amy was warm enough with him, and tended to step back from him too much. Amy was also difficult to hear at times, but she looked good and improved as the night went on.

Glyn Wilson as Miss Bourne, the rather eccentric older spinster lady carrying a bird around in a cage, did very well, conveying nervousness and outrage at the turn of events. I also congratulate Glyn on managing to lie face down on the bench for the best part of the action! (She had drunk too much whisky and is out for the count). Cheryl Ballantine as Doris Hodgkin, the station mistress, was excellent. She had a good West Country accent and great stage presence as the feisty lady-in-charge, putting the fear of God into the stranded passengers, with her ghost train tale. Later local characters had varying degrees of success in their parts.

These people were supposedly looking after the distraught Julia Price (Katherine Rich) who had a thing about going to the station to see the ghost train. All were in evening dress – brother Herbert Price (Matt Purnell) and doctor friend John Sterling (Mick Poor). I felt that Julia was too over the top, but later events probably justified this. Katherine Rich is a fine actress, great diction and looks good. Matt Purnell as her brother needed a little more experience for the role, but tried hard as the rather menacing older brother. Mick Poor seemed a little hesitant with his character. Brad Potenzi as Jackson was fine in his small role, but I would question why Hilary Hickinbotham as the Police Constable was given a moustache – it would have been quite acceptable for her to have been a woman, even in 1925, but better still, as the part was non-speaking, why not a man – one of the crew surely could have stepped in?

Minor quibbles – firstly, the dreaded clock on stage, and the passage of time! I was not particularly aware of the clock at first, but when the tale of the ghost train coming through at midnight or thereabouts was constantly talked about, it drew my attention to the clock which was in a prominent position to all the audience. As far as I could see, it did not progress beyond 5 to 12. Secondly, after Julia has broken one of the window panes looking out onto the platform, which spectacular happening ended Act 11, why was the glass swept up in the waiting room during the interval by a backstage person? It would have been better to show this being done by one of the passengers who had found a brush and pan in the outer room. I make these comments in the interests of believability. The denouement to the play came over as too rushed – fault in the writing. There was a lot of repetition during the course of the play, especially with Julia’s speeches, which I think could have been easily cut back.

An intriguing afternoon at the theatre, with much effort put into the production by all concerned.