KATE HERBERT RADIO REVIEWS Arts Weekly3MBS SAT 15 MAR 2025

 

In this radio spot on Arts Weekly on 3MBS on Sat 15 March, I chat with Nick Tolhurst (producer) and Phillipa Edwards  (host) about DJUNA by Eva Rees at Darebin Speakeasy. We  then discuss the role of dramaturg in new work, the types of productions that are being promoted in new work in Melbourne. We then briefly talk about The Removalists by David Williamson (1971) that opens tonight Sat 15 March at MTC. We muse on what is “Australian-ness” now.

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Radio REVIEWS Arts Weekly3MBS SAT15MAR2025

 

KATE HERBERT Arts Weekly3MBS SAT1MAR2025

In this radio spot on Arts Weekly on 3MBS on Sat 1 March, I chat with host, Phillipa Edwards about my reviews of And Then There Were None by Agatha Christie, at Comedy Theatre, Melbourne, and Truth by Patricia Cornelius at Malthouse. 

 It's 11min 15.

 

 

And Then There Were None REVIEW 22 Feb 2025 ***1/2

 

THEATRE

Written by Agatha Christie

At Comedy Theatre, Melbourne until 23 March 2025

Reviewer: Kate Herbert

Stars: ***1/2

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 1 Mar 2025. KH

 

Cast-And Then There Were NoneMelbourne-Pic Jeff Busby

Agatha Christie's murder mystery play, And Then There Were None, adapted from her iconic novelA, has a cunningly simple premise: ten strangers, each harbouring a dark secret from their past, are lured to isolated Soldier Island by a mysterious host. A storm rages outside and they are trapped and, one by one, the guests meet their untimely deaths. Suspicion grows, accusations fly and the remote and opulent mansion becomes a deadly prison.

 

Christie was a master of suspense and her genius lies in her ability to manipulate the audience's expectations. And Then There Were None is not merely a jolly old murder mystery, it is an exploration of guilt, justice, and the corrupting nature of secrets.

Each character is flawed, haunted by past actions they desperately try to conceal. Christie peels back their layers, slowly revealing the darkness that lurks beneath their carefully constructed facades. We witness the unravelling of their civility as fear and self-preservation grip them, turning them against each other in a grim fight for survival.

 

Robyn Nevin’s production explores the claustrophobic atmosphere and mounting tension but does not take itself too seriously, capturing the playfulness of Christie’s ever-so-British dialogue that ranges from witty quips from smart-mouthed young men, to the whining and carping of the “downstairs” staff: the cook and butler.

 

The versatile and capable cast features some very fine Australian theatre actors, all of whom relish the cleverly wrought dialogue and the twists and turns of the script.

 

And Then There Were None is not merely a whodunit; it's a psychological thriller that delves into the darker aspects of human nature leading us down blind alleys and planting seeds of doubt that keep us guessing until the very end. It is a testament to the enduring power of a well-crafted mystery. Thank you, Mrs Christie!

 

Cast

Jack Bannister -Anthony Marston

Eden Falk – Dr Armstrong

Jennifer Flowers – Emily Brent

Nicholas Hammond – General Mackenzie

Mia Morrissey – Vera Claythorne

Peter O’Brien – William Blore

Christen O’Leary – Mrs Rogers

Chris Parker –Fred Narracott

Anthony Phelan – Sir Lawrence Wargrave

Grant Piro – Mr Rogers

Tom Stokes – Philip Lombard

 

Creative Team

Robyn Nevin – Director

Paul Charlier – Sound Designer

Trudy Dalgliesh – Lighting Designer

Dale Ferguson – Set & Costume Designer

Truth REVIEW Malthouse Theatre, 18 Feb 2025 ***1/2

THEATRE

Written by Patricia Cornelius, by Malthouse Theatre

At Malthouse Theatre until 8 March 2025

Reviewer: Kate Herbert

Stars: ***1/2

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 1 Mar 2025. KH

Truth_cast- photo Pia Johnson

Patricia Cornelius’ new play, Truth, directed by Susie Dee, is an ambitious examination of whistleblowers and “hacktivists”, with a focus on the complex and confusing moral landscape that surrounds hacking as a form of political protest.

 

At the heart of the play is Julian Assange, the eccentric, driven and flawed man who started WikiLeaks and was accused of treason by the US government. However, Cornelius depicts some hackers – known only by their online “handles” – that started the hacktivism, and also deals briefly with Chelsea Manning and Edward Snowden’s whistleblowing.

 

Cornelius’ play is unflinchingly committed to exploring uncomfortable truths, interweaving historical context, personal narratives and philosophical debates, although the script is sometimes too didactic and dense with information. She portrays the complexities of Assange’s character, exposing both his brilliance and is flaws.

 

Dee's production, performed by a skilful ensemble on a minimalist set with inventive multimedia, creates a feeling of confinement, mirroring the psychological pressures and ethical dilemmas faced by the characters.

 

Perhaps the most powerful moment in the play is the chilling, authentic drone footage of the horrific killing of Iraqi civilians by US forces. The cold, detached perspective of the drone camera, juxtaposed with the actors' voices portraying the callous indifference of the operators, is a stark reminder of the real-world consequences of the information Assange and WikiLeaks sought to expose.

 

Truth is not a comfortable night in the theatre; it will leave you talking about its issues on the way home and those images of drone killings with haunt your dreams.  It challenges the audience with complex issues and an unwavering commitment to truth-telling that demands our attention and critical thinking.

 

by Kate Herbert

 

 

Creative Team

PATRICIA CORNELIUS -Writer

SUSIE DEE - Director

MATILDA WOODROOFE -Set & Costume Design

PAUL JACKSON -Lighting Design

KELLY RYALL – Sound Design

MERI BLAZEVSKI -Video Design

 

Cast

EMILY HAVEA -Ensemble

TOMÁŠ KANTOR -Ensemble

JAMES O’CONNELL -Ensemble

EVA REES -Ensemble

EVA SEYMOUR -Ensemble

 

 

 

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KATE HERBERT Arts Weekly 3MBS SAT 15 FEB 2025

In this radio spot, I review Macbeth by Australian Shakespeare Company, at Botanical Gardens in Melbourne until 28 Feb 2025. 

This is a very short chat with Nick Tolhurst.

Macbeth REVIEW Australian Shakespeare Co. 7 Feb 2025 **** (4)

 

THEATRE

Macbeth by William Shakespeare, Australian Shakespeare Company

At Botanical Gardens. Melbourne until 28 Feb 2025

Reviewer: Kate Herbert

Stars: ****

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 15 Feb 2024. KH

Hugh Sexton (Standing as Macbeth) with Company - Macbeth - Photo by Ben Fon.

 

In Glenn Elston’s gritty, outdoor production of Shakespeare’s dark and tragic play, Hugh Sexton delivers a magnetic and commanding performance as Macbeth, a formidable military general in the Scottish King Duncan’s army. Sexton’s portrayal is both powerful and credible, capturing Macbeth’s initial nobility and his subsequent descent into paranoia and madness with remarkable intensity.

 

Staging a production of Macbeth outdoors, without the usual theatrical trappings, presents its own set of challenges, particularly in maintaining the play’s dark and oppressive tone. Yet, Elston creates a production that is atmospheric, dynamic, and emotionally gripping. The raw, open-air setting paradoxically enhances the play’s intimacy and the psychological turmoil of its characters.

 

The play opens with Macbeth returning victorious from battle, having successfully led the Scottish forces to triumph over the Norwegians. Alongside his trusted companion, Banquo (Johnny Light), he stumbles upon the three witches (Maddie Somers, Elizabeth Brennan, Henny Walters) who greet them with chilling prophecies. They predict that Macbeth will first be named Thane of Cawdor and then ascend to the throne as King of Scotland. This supernatural encounter sets in motion a relentless and tragic spiral, as the prophecy fuels Macbeth’s insatiable ambition that is further stoked by his calculating and equally driven wife, Lady Macbeth, played with passion by Nicole Nabout.

 

Elston’s direction moves the production at a gripping pace, emphasising the urgency of Macbeth’s journey. His vision transforms the open-air stage into a foreboding and treacherous battlefield with a pervading atmosphere of tension and dread. The eerie backdrop of trees in the Royal Botanic Gardens, the fading natural light and Karla Ehrenbots’ grungy yet intricate costume designs all contribute to the haunting mood. The bleak, grey-toned set design reinforces the pervasive sense of doom. Violence and treachery seem inevitable.

 

Paul Norton’s music is both evocative and unsettling. The wailing of the wind, occasional piercing screams of bats flying overhead and even unexpected shrieks of passers-by outside the gardens all merge into an eerie, unpredictable soundscape, heightening the tension and amplifying the sense of impending doom and Macbeth’s inevitable tragic downfall.

 

Hugh Sexton and Nicole Nabout - MACBETH - Photo by Ben Fon

Sexton’s Macbeth shifts from a respected, courageous soldier to a murderous and paranoid ruler, and finally to a broken, tormented soul. His physical and psychological unravelling is both compelling and deeply tragic. Nabout complements him effectively, capturing Lady Macbeth’s ruthless ambition and, later, her profound psychological collapse with nuance and energy.

 

The supporting cast is uniformly strong, delivering performances that enhance the play’s dramatic weight. A standout moment is the climactic sword fight between Macbeth and Macduff (Jackson McGovern), choreographed with precision and energy by Scott Jackson. This confrontation, charged with fury and desperation, serves as a fittingly brutal climax to Macbeth’s ill-fated reign.

 

Through its bold direction, striking visuals, and commanding performances, this production of Macbeth breathes life into the timeless tragedy and is a testament to the power of Shakespeare’s text and of a well-judged outdoor performance.

 

By Kate Herbert

 

 

Cast

Hugh Sexton Macbeth

Nicole Nabout -Lady Macbeth

Maddie Somers-1st Witch

Elizabeth Brennan - 3rd Witch & Macduff's Wife

Henny Walters – Witch

Johnny Light - Banquo

Jackson McGovern -Macduff

Callum O’Malley - Donalbain & 1st Murderer

Dion Mills-Duncan & Doctor

 Anna Burgess – Malcolm

Kevin Hopkins - Lennox

Eleanor Timms - Macduff's daughter / Fleance

Claire Duncan -Messenger

Larissa Teale – Onstage Cover

Luke Lennox- Porter & 2nd Murderer

Alex Cooper- Ross

Tony Rive -Sergeant & Seyton

Scott Middleton -Young Siward

 

Creative Team

Glen Elston  Director

Paul Norton Musical Director

Costume Design | Karla Erenbots

Flight Choreographer | Scott Jackson

Production Manager | Peter Amesbury

Stage Manager | Sophie Walter

 

 

KATE HERBERT Arts Weekly Radio reviews 3MBS SAT 01 FEB 2025

In this radio spot on Sat 1 Feb 2025, the first for 2025, I talk with Nick Tolhurst about the musical, Dear Evan Hansen, and about 37, a play by Nathan Maynard performing at MTC until 22 Feb 2025. 

Nick talks briefly about Shirley Valentine with Natalie Basingthwaite at Athenaeum Theatre. Click link to hear audio only.

.

37 MTC REVIEW 31 Jan 2025 ****

THEATRE

by Nathan Maynard, by Melbourne Theatre Company

At Southbank Theatre until  22 Feb 2025

Reviewer: Kate Herbert

Stars:**** (4)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 1 Feb 2025. KH

Tibian Wyles, Ngali Shaw  in 37-Photo Pia Johnson

Nathan Maynard’s 37 is a powerful and dynamic piece of theatre that dives into the intersections of sport, identity, and racism in contemporary Australia. Set against the backdrop of a struggling country football club, the play follows two young Indigenous men, Jayma (Ngali Shaw) and his cousin Sonny (Tibian Wyles), as they leave home to join a team that has not won a premiership in 25 years. The pair quickly establish themselves as talented and respected footballers, but their journey is marred by the casual and overt racism they encounter from some of their teammates.

 

The performances are captivating, particularly Shaw’s portrayal of Jayma, who exudes passion and charisma both on and off the field. His character is deeply influenced by AFL legend Adam Goodes, whose proud stance against racism serves as an inspiration for Jayma’s own fight. Wyles’ Sonny provides a contrast to Jayma’s intensity with his easy-going and humorous demeanour, but both characters share a deep sense of cultural pride and resilience.

 

The play doesn’t shy away from the ugly reality of racism in Australian sports culture. While some players, like team captain Joe (Ben O’Toole), show awareness and sensitivity, others indulge in racial slurs — some casually and carelessly, others with cruel intent. The locker room dynamic is a blend of camaraderie, aggression and toxic masculinity, captured through Maynard’s sharp and authentic dialogue. The language reflects the blokey, abrasive banter of footy culture, often walking a fine line between jest and outright bullying, while the male bonding and initiations rituals border on the abusive.

 

Syd Brisbane delivers a convincing performance as the grizzled coach, known as The General, whose relentless drive to win hints at personal stakes in the team’s long-awaited success. His character embodies the old-school, tough-love approach often seen in sports, adding another layer to the play’s exploration of masculinity and tradition.

 

Under the precise direction and choreography of Isaac Drandic, 37 becomes an electrifying theatrical experience. The production is intensely physical, with choreographed sequences that mirror the movements of Australian rules football. The actors are in near-constant motion, leaping, tackling, and mimicking the flow of a high-stakes match. This physicality heightens the tension, particularly in the climactic grand final scene where Jayma faces a life-altering decision: secure victory for his team or stand by his cultural identity.

 

While 37 may not break entirely new ground, it is a compelling and thought-provoking piece that challenges audiences to reflect on racism, identity, and the cost of winning. It is an exhilarating, hard-hitting work that lingers long after the final siren.

 

By Kate Herbert

Ngali Shaw & cast-Photo Pia Johnson

 

CAST

The General Syd Brisbane
Gorby Mitchell Brotz
Apples Samuel Buckley
Ant Costa D'Angelo
GJ Thomas Larkin
Woodsy Eddie Orton
Joe Ben O'Toole
Jayma Ngali Shaw
Dazza Anthony Standish
Sonny Tibian Wyles

 

CREATIVE TEAM

Director & Co-Choreographer Isaac Drandic
Set & Costume Designer Dale Ferguson
Lighting Designer Ben Hughes
Composer & Sound Designer James Henry
Co-Choreographer Waangenga Blanco
Voice & Text Coach Matt Furlani
Assistant Director Kamarra Bell-Wykes
Fight Choreographer Lyndall Grant
Intimacy Coordinator Isabella Vadiveloo

 

 

 

Dear Evan Hansen REVIEW 31 Jan 2025 ****

THEATRE

Sydney Theatre Company & Michael Cassell

Book by Steven Levenson  Music and lyrics by Benj Pasek & Justin Paul

At  Playhouse, Arts Centre Melbourne uni 16 Feb 2025

Reviewer: Kate Herbert

Stars: **** (4)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 1 Feb 2025. KH

NB:  Canberra and Adelaide seasons are cancelled due to poor ticket sales.

Verity Hunt- Ballard, Beau Woodbridge–Dear Evan Hansen_credit_Daniel Boud

 

Dear Evan Hansen is a dynamic and emotionally charged musical that tackles themes of mental illness, social anxiety, and the impact of social media in the modern world. Since its debut, the show has captivated audiences worldwide, earning both critical acclaim and controversy for its handling of serious topics such as depression and suicide. The Melbourne production brings these themes to life with a talented cast and powerful performances, though the moral complexities of the story remain thought-provoking.

 

At the heart of the musical is Evan Hansen ( Beau Woodbridge), a socially anxious high school student whose therapist advises him to write daily affirmations in the form of letters to himself. A chance encounter with the troubled school outcast, Connor Murphy (Harry Targett), sets off a chain of events that drastically changes Evan’s life. After Connor takes his own life, his grieving family discovers one of Evan’s letters, mistakenly believing that the two boys were close friends. Instead of correcting their misconception, Evan finds himself trapped in an ever-growing web of lies, aided by his mischievous cousin, who helps fabricate an email trail to support the false narrative.

 

What begins as an awkward misunderstanding soon spirals into a social media phenomenon. Evan becomes a symbol of hope and resilience, his fabricated friendship with Connor inspiring an entire movement. As he is embraced by Connor’s parents and develops a romantic relationship with Connor’s sister, Zoe (Georgia Laga’aia), Evan experiences a newfound sense of belonging and confidence—an ironic twist given the foundation of deception on which his success is built.

 

The cast delivers standout performances, with Beau Woodbridge taking on the demanding role of Evan. His vocal strength and stage presence make his portrayal both compelling and convincing. He expertly transitions from the timid, anxious teenager to an outwardly confident young man, even as the audience remains acutely aware of the emotional turmoil lurking beneath the surface. Verity Hunt-Ballard as Evan’s mother, Heidi Hansen, is a standout, her warm vocal tone and heartfelt performance adding depth to the production.

 

Despite its emotional depth and poignant themes, Dear Evan Hansen leaves audiences with a moral dilemma. The story seemingly justifies Evan’s lies, as he faces minimal consequences for his deception. While he ultimately confesses, the repercussions are muted, and his life continues to flourish. This ethical ambiguity has sparked debate among audiences and critics alike, raising questions about accountability, redemption, and the power of social media to shape narratives.

 

This production of Dear Evan Hansen is a moving and thought-provoking experience, boasting strong performances, an evocative score, and a contemporary story that resonates with modern audiences. However, its portrayal of morality and truth may leave some viewers with lingering unease.

 

By Kate Herbert

Harry Targett on screen & cast-Dear Evan Hansen_credit_Daniel Boud

Cast

Beau Woodbridge as Evan Hansen

Verity Hunt-Ballard as Heidi Hansen

Harry Targett as Connor Murphy

Martin Crewes as Larry Murphy

Georgia Laga’aia as Zoe Murphy

Natalie O’Donnell as Cynthia Murphy

Carmel Rodrigues as Alana Beck

Jacob Rozarioas Jared Kleinman

KATE HERBERT Arts Weekly3MBS-Sat7 Dec 2024

Click here: to listen: KATE HERBERT Arts Weekly3MBS-Sat7 Dec 2024

In this, my final radio review spot on 3MBS Arts Weekly for 2024, I talk with Phillipa Edwards and Nick Tolhurst about Mathew Warchus’s production of A Christmas Carol with Erik Thompson as Scrooge. 

 

Then, I talk about highlights of 2024 theatre, upcoming summer shows and ways to view theatre online via ATL and National Theatre at Home.

 

 

A Christmas Carol, 29 Nov 2024 ***** (5)

THEATRE

A Christmas Carol, version by Jack Thorne, conceived by Matthew Warchus from Charles Dickens’s novel

An Old Vic production.

At Comedy Theatre Melbourne until January 2025.

Reviewer: Kate Herbert.

Stars: ***** (5).

I reviewed the 2024 production on Arts Weekly on Sat 7 Dec 2024.

 

 2024 A Christmas Carol_Erik Thomson, Ensemble_c EugeneHyland

Matthew Warchus’s exhilarating production of A Christmas Carol, adapted by Jack Thorne from Dickens’ ripping yarn, is a very Christmassy feast of carols, choral harmonies, mass bell ringing, snow, faith, hope and charity and even a veritable feast of fruits, vegetables, meat platters, puddings and breads all sliding down from the balcony along draped sheets to the stage and into wicker baskets. Yes, real food – mostly.

 

The pre-show musical entertainment includes actors dispensing mince pies and mandarins to audience members who wave furiously at actors to get their hands on the Chrissy nosh.

 

Thorne’s version of Dickens’ story extracts crucial moments, takes licence with some dialogue, and omits some characters and scenes because, let’s face it, Dickens’ book would take many hours to perform in full.

 

The centre of this morality tale is Ebenezer Scrooge, played by Australian actor, Erik Thomson (known for his role in TV series, Packed to the Rafters) who manages to take Scrooge from crotchety to childlike joy by the end of the show.

 

Scrooge is a miserly old moneylender who thinks Christmas is ‘humbug’ (he says the word only once in this show) and who underpays and makes unreasonable demands on his dutiful, hard-working office clerk, Bob Cratchit (Tim Wright) who lives in poverty with his wife and many children, including Tiny Tim (played adorably by Mira Feldman on opening night). Scrooge reviles the carol singers at his door and dismisses his genial nephew, Fred (Kaya Byrne). He suspects everyone wants to steal his money.

 

Thomson is irritable and curmudgeonly as Scrooge when we see him in his money lender’s domain, surrounded by his multitude of cash boxes that he stashes in his secret hiding places. After meeting his Christmases Past, Present and Future, and learning a little of life and humanity and, dare we say, love, he shifts to a surprisingly cheery disposition and seems suprised at his own levity. This extreme change triggers the ensuing, truly joyous Christmas celebration and feast the Cratchits’ home.

 

There will inevitably be comparisons with the previous two Scrooges from 2022 and 2023: Owen Teale’s extraordinary Scrooge (2023) began as ferocious and misanthropic, then shifted 180° to vulnerable, charitable and astonished at his own change. David Wenham (2022) played Scrooge differently, starting almost folded in upon himself like a creeping spider, then slowly unfolding as he looked outward to view with love, the world and the people surrounding him.

 

The supporting cast is outstanding, with Alison Whyte as the wry, pert, Scottish-accented Christmas Past, and Samantha Morley as the critical, chivvying Christmas Present. The entire cast takes the role of Christmas Future – a group of black-clad, veiled ghostly figures – while Scrooge’s late sister, Little Fann (Aisha Aidara) escorts Scrooge to view his own, desperately lonely funeral at which he learns his lesson of love and kinship.

 

Anthony Cogin is compelling as the ghostly Jacob Marley, whose singing skill surprises Scrooge, Grant Piro’s Fezziwig is playful and naïve, while Sarah Morrison is warm and composed as Belle, Scrooge’s early love.

 

We marvel like children at Rob Howell’s gloriously atmospheric set design of tumbled lanterns and drop lights, falling snow, Scrooge’s money boxes and secret compartments in the stage floor, and Hugh Vanstone‘s evocative, often spooky, sometimes festive lighting. The music, composed by Christopher Nightingale, is an imaginative collision of Christmas carols, a capella harmonies, inspired bell ringing and haunting soundscape, played by a live band perched in a balcony box and musicians who are on stage.

 

A Christmas Carol, with its dancing, singing, snacks, tears and laughter, is a delicious Christmas tonic that reminds us of those who struggle to make ends meet. In London and here, money is collected and donated by the show to charities for the poor.

 

By: Kate Herbert.

2024 A Christmas Carol_Erik Thomson, Alison Whyte_c EugeneHyland

 

CAST

Ebenezer Scrooge – Erik Thomson

Felix Str -Young Ebenezer (also cello)

Tim Wright - Bob Cratchit

Anthony Cogin - Father / Marley

Kaya Byrne - Fred

Stephanie Lambourn - Mrs Cratchit  (Mandolin)

Alison Whyte - Ghost of Christmas Past

Samantha Morley -  Ghost of Christmas Present

Aisha Aidara - Little Fan

Sarah Morrison - Belle

Grant Piro -  Fezziwig

Cameron Taylor - Nicholas

Benjamin Colley -George (Accordion/tin whistle)

Kaori Maeda-Judge – Jess

Tiny Tim - On opening night Tiny Tim played by Mira Friedman, and other nights, by Wynton Inman, Noah Sherburn, Libby Sega.

 

2024 A Christmas Carol_Samantha Morley, Erik Thomson_c EugeneHyland

 

 

CREATIVE TEAM

Jack Thorne - Adaptation

Matthew Warchus - Director

Rob Howell - Set & Costume

Christopher Nightingale - Composer & Arranger

Peter Rutherford - Australian Musical Director

Hugh Vanstone - Lighting

Simon Baker - Sound

Lizzi Gee – Movement

Simon Baker – Sound

Campbell Young Assoc- Hair, wigs, make-up

 

BAND
Natasha Fearnside – Reed

Lisa Reynolds – Violin

Lauren Jennings – Cello

 

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