Since 1991, Endeavour Theatre Company has been delighting audiences with its community productions. Their latest offering, Shadows Of The Past, a murder mystery written and directed by talented member Clyde Goodenough, exemplifies the best of a small but committed theatre group.
On arrival at the venue, a full house was present, and audience members found a “Guess Who Did It” sheet of paper on their seats to be submitted at intermission. This interactive element added an engaging twist, making the audience feel like active participants in solving the mystery.
The play centres on Mrs Willoughby, an imperious matriarch, who invites her nephew Jonathon, his American fiancée, her solicitor Mason James, a nun with a past with Jonathon, and an eccentric psychic for a weekend of ‘revelations’ and the reading of her will. Adding humour is Musgrove, the old bumbling butler. Amidst a storm, secrets unravel, leading to murder. But who did it? Adding to the Clyde Goodenough Cluedo-like characters are the police sergeant and Inspector, which add to the intrigue in the second act.
The play is set in the Willoughy Hall manor, and the room is replete with ornate couches, fancy paintings on the walls, a roaring fireplace, making it clear we are in a wealthy manorhouse. In addition, there were clever scene changes as we found ourselves in other rooms within the manor. Clever use of lighting to isolate private conversations not overheard by other Willoughby Hall guests enhanced the mysterious ambience. After each scene, the curtains briefly closed with suitably mysterious music playing, giving the audience time to think about what they had seen and ponder what was coming.
Like the best murder mysteries, it is also important to bring the element of fun, and the script delivers enjoyable moments for all cast members. Opening nights are always challenging and exciting, and an opening night for a brand new play, never performed before in front of an audience, is an even higher level of difficulty. Suffice it to say the performances from the ensemble cast got stronger and stronger as the play progressed, which bodes well for a successful production run.
The ensemble cast also navigated the delicate balance of playing exaggerated stereotypes that a murder mystery show requires without falling into caricature. Their understanding of their characters grew stronger as the play progressed, promising even better performances in future shows.
Congratulations to Endeavour Theatre Company and all the cast and crew for putting on an excellent show. This is a fun production with a well-thought-out story and script. While the first act effectively introduced the characters and set the stage, it would have been great to witness a bit more foreshadowing—like subtle hints or a character’s brief slip—that could enhance the suspense and make later revelations even more impactful for the final act.
My personal endeavour to correctly guess the murderer was a dismal disaster! Can you guess the murderer correctly on your visit?
Don’t miss this opportunity to support local community theatre and enjoy a well-crafted, entertaining murder mystery. ‘Shadows Of The Past‘ runs for only two weekends, so be sure to catch it while you can with session times as follows:- – 19th May 2:30pm – 25th May 7:30pm – 26th May 2:30pm
This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.
Barracking For The Umpire, presented by the Black Swan State Theatre Company, will strike a chord with every AFL fan, player, and parent. In this quintessentially Australian family drama, we’re drawn into the lives of the Williams family, posing the poignant question: what sacrifices are we prepared to make for the love of the game?
Doug Williams, celebrated as Donnybrook’s greatest footballer, is the embodiment of resilience—tough and steadfast. His loyal wife, Delveen, has stood by him through countless challenges, witnessing each impact of the game on him. As the local club prepares to present Doug with a lifetime achievement award, their children return home to celebrate. Yet, as the festivities unfold, the once reliable hands of this legendary player ominously begin to falter.
On entering the theatre, the stage transports us to Donnybrook, specifically the Williams’ family living room steeped in 1980s decor—a decade that marked the peak of Doug’s illustrious football career. The space is authentically adorned with a well-stocked bar, doorways that hint at a bustling household, and walls lined with family photos that speak volumes of shared memories. A coffee table, cozy blankets draped over a well-worn couch, and a back-wall display case cum bookshelf contribute to the room’s lived-in feel, wrapping the audience in the comforting embrace of a family home.
The production superbly uses lighting(Lucy Brikinshaw) and video effects(Michael Carmody) to facilitate smooth transitions from the family living room to the football locker room—a sacred space residing solely in Doug’s memories. As the spotlight dims on these ephemeral glimpses into the past, the stage’s ambient sounds and lighting subtly recede, reorienting the audience to the present moment where Doug, though momentarily disoriented, is prompted back into the present by a worried family member.
The cast expertly brings the characters to life, making them authentic and believable.
Ben (played by Ian Wilkes), a Noongar man, is a current-day AFL footballer dealing with all the pressures that his high profile brings and harbouring a deep secret that he never wishes to become public. Ben, away from the pressure of AFL footy, is a relaxed and laid-back character who wants to play footy and toys with the idea of revealing his secret to the family. Some family members wonder why he is single, although hints of a relationship occur. Some of his stage exits and entrances show a worried Ben trying to find out about the health of a recently concussed teammate.
Mena (played by Ebony McGuire) is a journalist who wants to make her mark in the world but chafes in the shadows of her father and brother Ben’s football careers. She is interested in telling a story to make her way up the journalistic ladder, but possibly at the expense of her brother’s wishes. One scene, in particular, highlights the dog with a bone journalist in her as she interrogates her brother about the need for a particular story to be told.
Charaine (played by Jo Morris) is the stabilising influence amongst the three siblings. However, her own life is going through a rocky patch with her recent breakup with her boyfriend. Her calm demeanour quickly changes whenever her ex-boyfriend enters the scene, as her Mother has mortifyingly invited him to visit after a family dinner. This leads to some comedic hijinks that work well to balance out the drama of the relationship.
Tom (played by Michale Abercromby) is an MC and Charaine’s recent ex-boyfriend who worships Doug and Ben, vicariously living through their football deeds, making the men somewhat uncomfortable. His devotion to the family footballers creates friction in his relationship with Charaine, which he strives to repair. Tom also brings some lighthearted comedic moments at awkward moments that relieve the tension of the family dramas at play.
Doug (played by Steve Le Marquand) skillfully plays the family patriarch, but he unfortunately experiences increasingly recurring episodes from his declining health. A famed local footballer in his day, he is highly respected by the family and community alike. When surrounded by his family, he is quick to exchange friendly barbs and banter as well as anyone else, but when left alone, he becomes lost in his surroundings.
The Coach (played by Joel Jackson) also doubles as Eckhart, an AFL football player and Ben’s teammate. These two open the play with an energetic start, as the opening tune of Up There Cazaly fades to the background, being in the locker rooms post-game and bantering about life and their just completed match. Joel spends most of the play existing as the personification of the Coach, who only exists in the recesses of Doug’s fading memory. His entrance onto the stage signifies moments where Doug loses his grip on current-day reality and relives some of the traumatic moments of his football career.
Football fans will delight in numerous lines delivered by the inspirational coach, no doubt causing them to reflect on their football careers no matter how humble. Football afficionadoes will recognise many famous football quotes that have gone into folklore, including John Kennedy Senior’s immortal lines: “Do Something. Don’t think. Don’t hope. Do.”
Costumes designed by Sara Chirichilli have been selected with great care and attention. The Coach’s costume channels Tom Hafey’s iconic style, complete with a snug Adidas T-shirt and classic short shorts, perfectly capturing the aura of 1980s football. In the opening scene, the footballers Eckhart and Ben sport authentic football guernseys that set the stage for the action. The rest of the cast’s wardrobe is thoughtfully chosen to reflect a casual, comfortable attire that one might find in any relaxed family setting. This naturalistic approach complements the home’s 1980s vibe, seamlessly integrating the characters with their environment.
Andrea Gibbs’ debut play is a beautifully crafted story that feels quintessentially Australian. With its rich themes and relatable characters, ‘Barracking for the Umpire’ is set to become a favourite among theatres across Australia for many years to come.
Director Clare Watson has selected a winning team with this cast and crew, who have all kicked winning goals here. Together, their efforts successfully showcase what is destined to be a classic Australian play. I rate this play five stars out of Five, and I highly recommend you see it while you have the chance. Don’t think—do see this show.
Barracking For The Umpire is playing at the Subiaco Arts Centre from 23rd April to 5th May. After that, the cast and crew will take this play on tour across Western Australia to the following locations and dates:-
Port Hedland – 11th May Broome – 18th May Karratha – 23rd & 24th May Geraldton – 29th May Mandurah – 1st June Margaret River – 15th June Albany – 6th & 7th June Esperance – 12th June
This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.
The Europa Film Festival is in full swing in Melbourne and Sydney, offering me the perfect opportunity to review the Australian Premiere of Slovenia’s Riders.
Directed by Dominik Mencej, Riders was Slovenia’s submission for the Best International Feature Film Academy Award and this, its Australian premiere, forms part of the Europa Europa film festival running from Feb 15th to Mar 11th.
Set in the spring of 1999 in Slovenia, the film follows two friends from a small village. Inspired by their love of Easy Rider, they travel cross-country on their souped-up mopeds. Anton (Petja Labovic) is seemingly on a quest for his ex-girlfriend, and Tomaz (Timon Sturbej) is seeking truth and acceptance. They are joined along the way by the enigmatic Ana (Anja Novak), who is trying to travel cross-country for reasons of her own, and elder bikie Peter (Nikola Kojo), a father figure and older version of Anton.
The performances are nuanced and authentic, with Tomaz and Anton sharing equal billing in their journey. Tomaz, with his gentle demeanour and unwavering loyalty, becomes the unsung hero of the journey, while Anton’s fiery spirit and impulsive actions add a layer of unpredictability. With her mysterious allure, Ana redirects their path towards the seaside, a twist that enriches their voyage. The initially tense relationship between Anton and Peter evolves into a believable mentor-protege bond, adding another layer of emotional depth to the story.
Mencej masterfully controls the film’s pacing, allowing audiences ample time to engage with each character’s development and the group’s interpersonal dynamics. This deliberate storytelling showcases the complexity of their personalities and mirrors their internal quests for identity and belonging.
At its heart, “Riders” is a meditation on the search for self, brilliantly symbolized by the protagonists’ journey across Slovenia. Is there any better way to do this than to jump on your motorbike and journey across the country?
We glimpse love, jealousy, anger, tragedy, a hint of romance, and redemption of a kind that culminates in a conclusion that satisfies but remains open-ended at the same time, inviting us to ponder the characters’ futures.
This is an excellent film with a simple premise about the ever-elusive quest for truth, portrayed with depth and authenticity.
This film gives us a small snapshot into another time and another country far removed from Australia but remains timeless in terms of the human experience. We’ve all had our seminal moments, and this film encourages us to reflect on our own journey, the personal truths we’ve uncovered along the way, and ponder those that still remain hidden from our view.
I wholeheartedly recommend “Riders” to anyone attending the Europa Film Festival.
For Sydneysiders, this film can be viewed at the Ritz Cinema in Randwick on the 18/2 and 3/3 at 5:15pm.
For Melbournites, this film can be viewed at Classic Cinemas, Elsternwick, on 18/2, 29/2 and 8/3 from 5:15pm.
In a poignant blend of humour, adventure, and heartfelt drama, “The Great Escaper” stands as a cinematic tribute to the enduring spirit of love and camaraderie shaped by the crucible of war. Starring the inimitable Sir Michael Caine as Bernie and the late Glenda Jackson as his wife, Rene, the film unfolds the captivating true story of an octogenarian’s daring escape to Normandy for the D-Day celebrations, reflecting on a lifetime of love, loss, and unspoken trauma.
Central to the film’s emotional core is the undeniable chemistry between Bernie and Rene, convincingly portraying a couple married for 60 years. Their relationship, rich in history and affection, anchors the narrative, starkly contrasting the adventure and introspection Bernie experiences on his journey.
Bernie’s interactions with new acquaintances, including Arthur (John Standing), a fellow WW2 veteran who served in the Air Force with his own haunting past, and Scott (Victor Oshin), a modern-day British soldier grappling with PTSD, enrich the storyline. These relationships, painted with depth and sincerity, offer a multi-generational reflection on the impacts of war.
The film skillfully weaves together Bernie’s bittersweet escapade with Rene’s equally compelling narrative back at the nursing home. Rene’s interactions with the nursing staff, particularly with Nurse Adele (Danielle Vitalis), who undergoes her own transformation, add layers of humour and warmth, balancing the sombre moments of Bernie’s journey.
Michael Caine delivers a sterling performance as Bernie, showcasing his legendary acting prowess across six decades. Glenda Jackson is superb in her final role, embodying Rene’s strength, wit, and emotional resilience, even while confined to her room.
Through flashbacks, the film revisits Bernie and Rene’s early courtship and their lives around the time of the D-Day landings in 1944, offering a glimpse into their personal history and enduring bond. Bernie’s decision to forgo official anniversary festivities in favour of a more personal tribute to fallen comrades speaks volumes about his character and the themes of memory, honour, and reconciliation that the film explores.
“The Great Escaper” is a film with universal appeal, filled with moments of humour, adventure, and emotional depth that will resonate with audiences of all ages. Without delving into spoilers, the film is packed with compelling scenes designed to engage, entertain, and provoke thought.
As Bernie’s impromptu adventure becomes a media sensation, his newfound celebrity status forces him to confront and share his burdens for 70 years, culminating in a powerful narrative about facing one’s past and the catharsis of shared experience.
“The Great Escaper” is a testament to the enduring human spirit, beautifully portrayed by a cast led by Michael Caine and Glenda Jackson. It navigates the complexities of love, war, and aging with grace delivered with a profound sense of humanity. This film commemorates a remarkable true story and celebrates the depth of human connection across the ravages of time and the scars of history.
