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.
Sunday, 16 February 2025
Friday, 14 February 2025
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
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| 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.
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| 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
Anna Burgess – Malcolm
Eleanor Timms - Macduff's daughter / Fleance
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
Saturday, 1 February 2025
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.
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Friday, 31 January 2025
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
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| 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
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| 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.
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| 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
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| 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
Sunday, 8 December 2024
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)
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| 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.
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| 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
mmm
RE_POST of 2023 REVIEW of A Christmas Carol***** (5) NB 2023
THEATRE (2023 production
A version by Jack Thorne, conceived by Matthew Warchus from Charles Dickens novel
An Old Vic production
At Comedy Theatre Melbourne until 7 Jan 2023
Reviewer: Kate Herbert
Stars: ***** (5)
I reviewed the 2024 production on Arts Weekly on Sat 7 Dec 2024. See next post.
I'll post a 2024 review of Erik Thompson as Scrooge soon. KH
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| A CHRISTMAS CAROL 2023_c Jeff Busby |
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 virtuoso UK actor, Owen Teale, who manages to take Scrooge from ferocious to vulnerable 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 (Bernard Curry) 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 (Andrew Coshan). He suspects everyone wants to steal his money.
Teale’s performance is rich, nuanced and passionate but feels effortless and natural, as if he isn’t acting at all, while his warm, honey-toned voice soothes and charms, even when Scrooge is being mightily mean. Teale’s transformation from this stone-hearted old grump into joyful, bouncing, childlike benefactor is swift but credible, and his 180-degree change triggers the truly joyous Christmas celebration and feast that follows at the Cratchit’s home.
The supporting cast is outstanding with Debra Lawrance as the wry, pert, elderly 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) takes Scrooge to view his own, desperately lonely funeral at which he learns his lesson of love and kinship.
Anthony Harkin is compelling as Jacob Marley and his warm, velvety baritone is welcome in the final song, Grant Piro’s Fezziwig is playful and naïve, while Sarah Morrison is warm and composed as Belle, Scrooge’s past 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‘a 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. Teale speaks with warmth about donations to FairShare and there are collection boxes at the doors.
by Kate Herbert
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| Owen Teale & cast CHRISTMAS CAROL 2023_c Jeff Busby |
Ebenezer Scrooge - Owen Teale
Cameron Bajraktarevic-Hayward -Young Ebenezer (also cello/double bass)
Bernard Curry - Bob Cratchit
Anthony Harkin - Father / Marley
Andrew Coshan - Fred
Stephanie Lambourn - Mrs Cratchit (Mandolin)
Debra Lawrance - Ghost of Christmas Past
Samantha Morley - Ghost of Christmas Present
Aisha Aidara - Little Fan
Sarah Morrison - Belle
Grant Piro - Fezzwig
Kaya Byrne - Nicholas
Benjamin Colley -George (Accordion/tin whistle)
Deirdre Khoo – Jess
Tiny Tim - On opening night Tiny Tim played by Mira Friedman; Alexis Abela, Sasha Hampson, Evie Rose Hennessy, Libby Segal
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
Kalina Krusteva – Cello
Wednesday, 27 November 2024
Zaffé 26-30 Nov 2023 – Re-post of 2023 REVIEW ***
Zaffé Runs Tue 26 – Sat 30 Nov 2024 at Arts House North Melbourne
Tue – Sat, 8.30pm
THEATRE
Conceived & directed by Stéphanie Ghajar
Melbourne Fringe Festival
At The Tower, Malthouse, until 15 Oct 2023
Reviewer: Kate Herbert
Stars: *** (3)
This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 14 Oct 2023. KH
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| image supplied |
Conceived and directed by Stéphanie Ghajar, Zaffé invites the audience to participate as guests in what appears to be a wedding celebration that takes place is an abandoned building in Beirut, but the wedding table remains unoccupied throughout – an ominous detail.
During this immersive theatre work, the audience is seated at tables decorated with flowers and place cards bearing secret messages, visited by cast members for a one-on-one chat, served with pomegranate and soda beverages and entertained with traditional and modern music by the musicians and singers.
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| image supplied |
As the 80-minute show progresses, we meet other performers from the Middle East via long-distance video calls, one of whom teaches us to make tabouli and the other who demands we all stand up while he teaches us to belly dance. The party has now started in earnest; there is dancing, games and stories ,both joyful and tragic, about life in war torn countries and life lived in this new country without loved ones who remain in those countries.
Zaffé is an experience like those much earlier Community Theatre performances that celebrated immigrant communities; I’m thinking of Emma: A Celebrazione, everything created by Brunswick Women’s Theatre, and multi-lingual company, Sidetrack, in Sydney in the ‘80s. And for immersive, participatory theatre, you can’t go past Jack Hibberd’s Dimboola that did it decades ago.
The intimacy and authenticity of these performers telling their personal stories and the joyous dancing, ululation and partying makes Zaffé a special and memorable event.
by Kate Herbert
Conceived and directed by Stéphanie Ghajar
Produced by Lara Week and Stéphanie Ghajar
Created by Taj Aldeeb, Jean Bachoura, Rawya El Chab, Camille El Feghali, Stéphanie Ghajar, Ayman Kaake, Julia Landberg, Hadi Moussally, Meena Shamaly, Mia Shouha, and Lara Week
Scenic design by Ayman Kaake and Lara Week
Lighting design by Giovanna Yate Gonzalez
Stage managed by Julia Landberg
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