‘Harry Potter and the Cursed Child’ is an original new story by J.K. Rowling, Jack Thorne and John Tiffany, and is the first book to be officially adapted for the stage. Having won 24 major theatre awards in the UK it became the most-awarded production in the history of Britain’s prestigious Olivier Awards, winning a record-breaking nine awards including ‘Best New Play’ and ‘Best Director’.
The play opened on Broadway a year ago and has already won 6 Tony Awards including ‘Best Play’, 6 Outer Critics Circle Awards, 5 Drama Desk Awards and many more.

The scene: twenty years after the last book. Harry now works at the Ministry of Magic, is married and has three children including a young son Albus, who is about to start at a boarding school!
I am not going to even begin any more of the story, as the audience were ordered to #Keep the Secret – at risk of death.
The stage crew, like all of the scholars, are in black flowing robes which are swept over a table or chair that has to be moved. By the time the cape drops back down to floor level the item has disappeared. Expect real magic, fabulous lighting and sound effects that will have your seat shaking.
As a Potter virgin, I only knew about six characters, but the audience were generally well tuned in. One character walked onto the stage – whom I thought looked very normal – but the gasp from the audience and the ‘Oh no!’ in unison had me reassessing the situation.
The actors kept up an incredible pace through this marathon. Sang, danced and suffered physically. Incredible.
A lot of money, but a show to remember for EVER.

The scene: 1973. A room in the Brabissant mansion, a wealthy home in Boston, USA.
The set: was designed by Georgina Kling and Vici Richardson. The room is oblong with a walk-in wardrobe and a passageway leading to a bedroom on one side, a bathroom door on the other and a main room door centrally at the rear of the stage. The walls are cream with waist-high, dark oak panelling. There is a small curtained window. The walls are not simply joined flats, but they have recesses and steps added to give interest and authenticity.
The noteworthy solid construction – and it was tested on a couple of occasions – was by Peter Bloor, Jacob Jensen, Georgina Kling, Barbara Lovell, Vici Richardson, Guy Taylor and Jacob Turner.
Set décor: was by Lars and Vanessa Jensen, Barbara Lovell, Vici Richardson, Kathleen O’Toole, Georgina Kling and Vivienne Doran. All the furnishings were of the 1930s, from the etched teardrop wall and table lamps to the chaise longue and oak furniture. Impressive.
Lighting design was by Jeff Hanson and Jacob Jensen. The room was mostly fully lit but at times needed to have low mood lighting. Very good.
Lighting and sound operators Barbara Lovell and Susan Lynch were on cue as always.
Quality programme from Siobhán O’Gara and Susan Lynch.

Students Susan (Grace Morton) and Larry (Jacob Turner) had just begun dating and were in a restaurant having a meal, when they were approached by a lonely, middle-aged Irish couple, John (Michael Dornan) and Maureen Mackey (Kate Elder).
In the restaurant, the Mackeys explain that they are caretakers in charge of the wealthy Brabissant family’s mansion but are also carers for elderly Cecilia, normally called Cissie. The Brabissants lost their younger daughter Veronica, decades earlier and Cecilia, who is now senile and is the only surviving Brabissant, believes it is still 1935 and is convinced that Veronica is still alive.
At the request of the Mackeys, to humour confused Cissie and bring her a sense of closure, they ask trusting and caring Susan – who is very like Veronica was –  to dress up and impersonate Veronica. Susan agrees; however, Larry is very suspicious about the motives of this invasive Irish couple.
The play begins now: The lights rise to show Veronica’s old room.
The Mackeys show Susan and Larry into Veronica’s untouched bedroom shrine, complete with an unfinished jigsaw. The Mackeys leave and Susan changes into a Veronica’s old clothes. Before long she finds herself locked in Veronica’s room. The door lock rattles, opens and to her confusion someone unexpected is there at the door.
Can this possibly be time travelling?

Directed by Georgina Kling who was assisted by Vici Richardson this extremely difficult play to stage. it had to be handled with skill and clarity. The First Act was straight forward; however, the Second Act threw logic to the wind. Then just when the audience are starting to think ‘what is going on here?’ everything is slowly revealed. The cast were magnificent, their delivery and characterisation were perfect. Susan’s clever approach to tackling the visitor involved powerful acting. Great work. I will not review any more in case I spoil the twisted tale.
The fine costumes were by Penelope Lloyd and ‘Hustle and Bustle Vintage Style’ were exactly right for the period. Loved Mackey’s knitted cardigan. The tricky make-up and hair by North Metro TAFE’s Tanya McKeon and Marieke.
Every section of the production team was at their best. After directing a comedy last time, I wondered if Georgina would manage this madness but her interpretation of the characters and her ability to get such strong chemistry amongst the cast was wonderful. Thoroughly enjoyed it. For adults with good reasoning.

The scene: Holmes flat in Baker Street, London around 1900
The set: Very impressive, thanks to the Tuesday Task Force (Wally Fry, Malcolm Hiscock, Patrick McLanaghan). The rear wall was mustard coloured with waist-high, dark wood panelling. One side of the stage had a black marble fireplace. The wing flats had pale striped wallpaper (Robert Vincent). There were two tan leather, Claverdon armchairs and a coffee table. The other side of the room was the dining area, with mahogany chairs and table. The props were amazing (Lorretta Gibbs and cast); they included bookshelves, a table with chemistry equipment, various telephones, a marble, French antique mantle clock, lace tablecloths and crystal wear. The numerous fine artworks were thanks to Carol Keppler.
Eye catching poster design by Jen Edwards.
The stage manager, Julie Clark and her stage crew of Lorraine Jones and Debra Anderson were kept very busy, especially in the third play. The crew all wore the standard black outfits but with white masks, becoming part of the mysterious circumstances.
Wally Fry’s quality lighting design was smoothly operated by Holly Powell.
Soundscape worked well, thanks to Richard Tudge and Paul King.

The main characters, who appeared in all three plays were Sherlock Holmes (Mark Fitzpatrick – captured the aloof attitude, very well), Dr Watson (Philip Bedworth – perfect) and Mrs Hudson (Christine Smith – delightful, assured). A strong trio who had the task of acting their parts and guiding some actors through theirs. Well done.
 
Incidentally, 2/6d is called ‘half a crown’, or ‘two and six’.
 
THE ADVENTURE OF THE NOBLE BACHELOR (original storyline by Conan Doyle was called ‘The Noble-Man’). Set in 1890. Performance 25 minutes.
Holmes is hired by the elderly Sir Robert St Simon (Roger Oakes), an impoverished British aristocrat. Sir Robert has just married a very young American millionairess, Hatty Doran (Frederica Longo). However, towards the end of their wedding ceremony, his wife disappears. For Sherlock Holmes the mystery is elementary, no need for help from Inspector Lestrade (Jared Rix) or even an explanation from Frances Moulton (Matthew Winter).
 
THE MILVERTON ADVENTURE (storyline by Conan Doyle) set in 1910. Performance 10 minutes, then the Interval, followed by a further 10 minutes.
One of Holmes’ clients (Sandra Powell) is about to marry the Earl of Dovercourt, when she learns that several sensitive letters that she sent to a former lover were now in the hands of a blackmailer, Mr Milverton (Peter Roberts). Can Sherlock get these documents back?
 
THE DISAPPEARANCE OF ADAM (story by Tasca) Set in 1930. Performance 25 minutes.
The storyline is quite fascinating.
Dr Watson is enjoying an evening with Holmes. Sherlock is playing his violin and Watson is struggling to recognise the tune. Seconds later, he has trouble remembering even basic information. As they talk, the mysterious stage crew move in and remove various props. When a lady called Evelyn Meekly (Shelley McGinn) calls to report that her son has not returned to their hotel. A few phone calls to the lady’s hotel and police, the confusion become even worse.
The best story of the set. Very different.

Costumes were by Joan Braskic and included an Inverness cape-cloak (beautifully tailored), deerstalker cap, calabash pipe (the bowl is made from a dried South American pumpkin gourd – a calabash) and magnifying glass. The outfits ranged from a long, peach silk dress to a toggle-fastening, tapestry smoking jacket. Each costume was perfectly fitted and finished with well-chosen accessories.
Sadly, this fairly simple show was badly under rehearsed. It is many months since I heard a prompt, there were four actors prompted, one several times. When the director, who is playing a minor part requires two prompts but does not get them, then something is wrong. A real shame. In the Interval I heard quite a few of the audience mentioning the lack of vocal projection, which I did not find too bad until in the second Act when the heavens opened and the noise from the roof was terrible (I know it is an act of God and not the production); even then the actors did not increase the volume and passages were lost.
The Director, Shelley McGinn has had a five-year break and I suspect found the whole thing a little too much or difficult to get back into, as I know she has done so well in the past.
Try your Holmes deduction skills. I have put into this review a clue and the answer to the third play.
Sorry, the show had everything going for it, great costumes, super set and first class teching, but disappointing.

The Scene: The year 2025 (?) in California, mainly in the loungeroom of Bruce’s luxury Hollywood top floor apartment. The story depicts those that are ‘recognised’ and those trying to be.
The Set: was magnificent. Designed by Graeme Dick and aided in its construction by Michael Vincent, the structure was solid, futuristic and colourful. Graeme and Adrian Ashman painted the set.
The loungeroom walls were white with grey stippling. Modern stylistic paintings hung around the room. The floor was black and white chequerboard marble, with a deep red, shag pile rug. To the side was a contemporary scarlet and black drinks unit. Centre stage was an ultra-modern Dutch-style coffee table, with two glass shelves on single cantilever legs (quite a find). A black leather settee. Across the rear of the room was a 60 cms high walkway leading to the front door and bedrooms. A jarrah frame and cord balustrade. A large window with red and white candy-striped curtains overlooked the main street. Outside the room’s double doors was an entrance hall with lighting and décor; well done, how often do we have black void instead?
The top-quality properties were supplied by Marion West.
Considering that the scenes were indoors, the lighting and soundscape designs were quite complex and with well thought-out effects by Geoff Holt. The precisely timed technical operating was by Eddie Baross and Caileb Hombergen-Crute.
The show was smoothly stage managed by Graeme Dick.

The self-centred film director, Bruce Delamitri (Tim Fraser), who specialises in blood and gore, has just been nominated for an Oscar as Best Director. Not surprisingly, the public think he is glorifying murder and that he is actively encouraging criminals to join in.
Bruce, his disenchanted teenaged daughter, Velvet (Sophie David) and Karl, his demanding producer (Gavin Crane) are scanning the various channels on the large screen TV, as the journalists and commentators (Paula Hudson, Fiona Forster, David Gribble) warn of troubled times ahead. Bruce, as obnoxious as ever, argues that showing violence does not encourage it.
Just as Bruce finishes dressing for the Award Ceremony, his alienated wife, Farrah (Sarah House – great), arrives demanding that they agree on their divorce settlement.
Whilst at the Oscars, two psychopaths in the style of Bonny and Clyde – but nasty – arrive. They are Wayne (Tim Presant) who is dim, wicked and heartless and his adoring lover, Scout (Sjaan Lucas – loveable and frightening, fabulous) who is also his soulmate, break into the flat to wait for Bruce’s return. They are the infamous Mall Murderers, responsible for 57 deaths – so far. Knowing the police are close on their tail, Wayne has devised a scheme to avoid the electric chair but needs to discuss it with Bruce.
Bruce arrives home with an attractive but intoxicated photographic model, Brooke Daniels (Sherryl Spencer – wonderful) who fancies herself as a would-be diva. Before long they are joined inside his apartment by a TV camera crew, Kirsten the sound recordist (Colleen Bradford) and cameraman Bill (Graeme Dick). Trouble is brewing.

Colleen Bradford was in charge of the various costumes – or in Colleen’s case, the shortage of costume!
This play has tremendous pace and relies very much on an excellent rapport between the cast members. With fast dialogue in an American accent, the potential for problems was increased. However, thanks to great direction by Siobhán Vincent and her assistant Marion West, the actors were perfectly rehearsed, confident and with clear enunciation in the rapid passages.
Ben Elton had developed a selection of very strong but extremely different characters and this cast bonded together perfectly. The interaction was outstanding. Over the years, every member of the cast has proved themselves to be talented, winning numerous awards on the way. Even so, I think for the members of this exceptional cast it could still be their best performances ever. A special mention for the two Tims who were powerful, unrelenting and brilliant.
Superb acting with NO punches pulled. This play is not for the delicate prudish theatregoer, but if you are slightly broadminded there is subtle humour throughout and plenty of shocks.
Loved it. Guaranteed full houses, so get in quickly.

The scene: It is 1941 in the living-room of the Brewster family home in Brooklyn, New York.
The set: is another George Boyd special. The huge amount of work combined with an eye for detail that goes into his sets amazes me. To the side there is a glazed timer front door with lace curtains. A marble step leads down from the entrance to a carpeted living-room. An L-angled staircase overlooking the lounge, leads up to the bedrooms. The large bay window has a tree outside; there are gold curtains and a window box seat.
In most plays a kitchen door would invariably lead into a black abyss, but George always has a room behind the door. Although hardly seen, the kitchen was fitted out with cupboards and shelves of pottery. Another door under the stairs led down to the cellar. The walls are painted with the popular arsenic green colour of the day.
The set building team were mainly George Boyd, Benedict Chau, Ray Egan, Bailey Fellows, Richard Hadler, Michael hart and Luke Miller.
The properties were top quality with a teak bureau, settee, hat rack, dining table and matching chairs. A sideboard with crystal decanters on the top.
Stage managers Belinda Beatty and George Boyd were highly efficient. Continuity aid from Sandra Sando.
The lighting design included electric lights, candles and a moon glow through the windows, in all cases Michael Hart had just right light level and colour temperature. The desk operator was Lachie Kessey. Most atmospheric.
Brendan Tobin sound design included Hitchcock’s theme the ‘Funeral March of a Marionette’. Sound operator Jonathan Masterson.

Descended from Mayflower settlers, Mortimer Brewster (Richard Hadler) leads a good life. He is a drama critic for a major New York newspaper – often writing his reviews before even going to the shows (sounds familiar?). One day a young police officer, Officer Brophy (Billy Darlington) calls in for quick cuppa and a chat with the two old dears.
Elaine Harper (Tracey Morrison) the daughter of a local minister, The Rev. Dr. Harper (Michael Hart) is madly in love with Mortimer. She lives next door to Mortimer’s two sweet, maiden aunts, Abbey (Jacqui Warner) and Martha Brewster (Kerry Goode). Neither passionate Elaine nor semi-interested Mortimer are too sure if they are already, or even should be, engaged to each other.
Mortimer has a brother called Teddy (Ryan Perrin), an absolute nutcase who thinks believes he is Theodore Roosevelt with the responsibility for the world on his shoulders. Abbey and Martha take in male lodgers, who like Mr Gibbs (Raymond Egan) are alone in the world; the two aunts then caringly ‘look after’ these gentlemen, starting with a drop of ‘special’ home-made elderberry wine, before burying them in the cellar.
One night, after twenty years on the run, Mortimer’s long-lost brother Jonathan Brewster (Benedict Chau) a murderous maniac arrives at the house with his partner in crime, a struck off plastic surgeon, Dr. Einstein (Harrison MacLennan). They are quickly followed by a local policeman Officer O’Hara (David Seman) who, unaware of the strange company and circumstances, starts to ask Mortimer for advice on writing his novel.
What will happen to this strange bunch of assassins? Can Mortimer shield his aunts and protect his fiancée?

Marjorie DeCaux magicked a fabulous collection of opulent costumes. Docuprint’s programme was designed by Guy Jackson around Geoff Stribley’s graphic cover design. The font and artwork made the overall effect perfect for the era.
Director Brendan Tobin has skilfully given us a VERY well-rehearsed cast, each of whom knew their personalities perfectly. Thankfully, every performer had the same soft American accent. The two delightful aunts, with their calm innocent temperament, contrasted hilariously with the pandemonium of the others. Tracey in her first serious acting role was outstanding. The cast worked as a team, perfect chemistry and a cracking pace. The production was slick and superbly presented with the confused bungling panic that is expected in farces.
Michael was totally unrecognisable being clean shaven – and with shoes on! He played his two parts brilliantly.
Congratulations to every actor in making this play a major success. A rare all-round seamless production.

 The play was adapted for the stage, three years ago by Melbournian Tom Wright, on behalf of Black Swan and The Malthouse.

 Incredibly, she was in her seventies before this play was published. Although the story reads as a true event, only the Hanging Rock is true. The final crucial and resolving chapter of the book was posthumously published in 1987, being called the ‘The Secret of Hanging Rock’. (SPOILER alert – clue, time warp)

 This highly respected play is being presented by the Darlington Theatre Players, at the Marloo Theatre, Greenmount each Wednesday, Friday and Saturday evenings at the NEW EARLIER time of 7.30, until Saturday 16th March. A Sunday matinée at 2.00 pm on 3rd and on 10th March.

 The scene: St. Valentine’s Day in 1900, at Appleyard College – a girls’ aristocratic boarding school, near Hanging Rock (which is a mamelon – a plugged, extinct volcano) 70 kms north-west of Melbourne.

 The set was designed by Owen Davis: The theatre has a very high proscenium arch, which for this show was ideal. It allowed a massive granite cliff to be constructed on each side of the stage, forming a narrow pass in the Rock. The colour and surface of the rocks were most realistic. In the centre of the stage was a 4 metre by 4 metres, art gallery-style gold picture frame; On the opening scene it showed a picture of the last school picnic at the rock some 30 years earlier. This picture disappeared and the framed black cloth acted as a screen for the title of each scene. The black picture looked like a void, or black hole with the vertical slot in the centre it allowed the characters to come and go – to another time? The numerous period props were supplied by Lesley Sutton.

 Shelly Miller’s lighting was beautifully designed to give maximum creepiness. In one scene the Headmistress walked across the theatre in front of the stage, and a series of fixed spotlights individually followed her as she went. The subtle music was ethereal, an amazing choice. Guy Jackson and Rob Whitehead designed the sound. The understated sound effects presented us with a soft wind passing through the gap in the rocks – or was it in fact the rocks breathing? As they wafted the children into the void. The reference to time is emphasised with the tick tock of a Grandfather clock.

 The stage management was swift and efficient thanks to Jade Gurney and Chelsea Cook, who were ably assisted by Charlotte Meagher and Jonathan Masterson.

It is 1900, and one of the schoolgirls (Suzy June Wakeling) tells us how cruel and uninviting Australia is. The first two scenes are spoken as monologues, with a dozen characters talking to the audience, explaining the happenings of the fatal day. Mrs. Appleyard (Elizabeth Offer), the school’s headmistress and owner, is a haughty and uncaring woman that life has passed by, so now relies upon her medicinal drinks and bullying poor thirteen years old Sara (Lilian Alejandra Valverde, amazingly aged only 16) for her pleasure.
The coachman, Albert Crundall (Rachel Vonk), drops the children off at the Rock. They have their picnic lunch, then Miranda and her schoolfriends, Edith, Irma, and Marion climb the monolith. The mathematics mistress, Miss McCraw follows behind them. Soon, Edith is rushing down the hill shouting that Miranda, Marion, and Irma have all vanished, only to find that Miss McCraw has also disappeared. All the school’s children search but no one is found. Suspecting abduction or kidnap, the police (Brittany Isaia) are called in without a successful resolution.
The second Act begins at the first picnic, 30 years earlier, as depicted in the oil painting on the school wall. A young man (Suzy June Wakeling) explains to the audience what a cruel place Australia is. There then follows a similar series of events to 1901, with girls of the same name and many characters with matching circumstances. Could these possibly be the same people we have already met? In a different time? The snooty headmistress is losing children, either by disappearance or being withdrawn by the parents because of the poor education. Even the faithful but frightened domestic staff are leaving.

 I have seen this play / film three times before, and always left saying ‘What a load of rubbish. No end. No idea what that was about!’ Reluctantly, I travelled 45 minutes to see this ‘dreaded play’. However, with this new adaptation by Tom Wright, and five magnificent performers playing several parts each, they clearly postulate what happened on that fateful day. At last the story meant something. Director Rob Whitehead has full comprehension of the play and has the talent to bring it to the stage.

 Marjorie DeCaux’s costumes for the first Act had the girls in a brown school kilt, white blouse, brown tie and a straw boater. These outfits were worn for the whole Act, irrespective of the person they were playing. In the second half the girls wore crinoline and lace, with the headmistress wearing a silk gown. One girl wore a man’s tweed outfit. Perfect.

 Rob has chosen a magnificent cast. Each girl (they actually about 21 yrs. Old, not teenagers) was required to change characters, accent, gender, and mental state several times throughout each Act. Each performer did this with perfect pace, clear diction and conviction. Jaw dropping, flawless performances despite the tongue-twisting script.

 One final tip. Wear an incontinence pad, you will need it.

 This show is bound to receive several award nominations. So glad that I got to see this special version of the unique story. An outstanding production and a MUST SEE.