Jane Eyre


That’s Showbiz for August 24th-30th  2017.

Review by John Ovenden.

Jane Eyre, Therry Society’s latest stage production, is a very fine adaptation of Charlotte Bronte’s novel by the late Willis Hall, whose 1959 play, The Long, and The Short, and The Tall launched Peter O’Toole, plus his 1960 adaptation of Billy Liar, which discovered Albert Finney and Tom Courtenay.

Here, a magnificent performance by former Hills Youth Theatre star, Zanny Edhouse, as the principled, dutiful, long suffering Jane, shows what a tremendous future she has, should she pursue a professional theatrical career, as she surely must.

Her tender scenes with Steve Marvanek’s Mr Rochester, either side of his ‘dark secret’ are one of the year’s finest pieces of acting. While the extremely talented Marvanek has also never been better, much praise in addition goes to Don O’Donnell, Lindsay Dunn and Sue Wylie, who splendidly contribute to a 13-strong cast playing 40 roles.

Costumes, set, and Martin Horton’s excellent stage management equally impress in a thoroughly polished production by Megan Dansie. Unmissable, even if slightly drawn out towards the end.


Reviewed by Shelley Hampton

Most of us are familiar with Jane Eyre, written in 1847. Many, as I did, studied this sweeping narrative by Charlotte Brontë in school. Partly autobiographical in nature, the story is tinged with pain and personal experience of the harsh life in England’s institutions of this time. The story was developed into a stage production by Willis Edward Hall, with its first performance in Sheffield in 1992. More recently, the play was re-worked for a National Theatre production.

This beautiful adaptation brings to life this much-loved classic novel, losing nothing of the raw starkness of life in this period and the trauma which Jane experiences in its depiction....read more


Bronte’s tale is delivered finely

Ewart Shaw, The Advertiser, 18 August 2017

This page to stage adaptation of Charlotte Bronte’s classic 1847 novel is a highly satisfying well-paced presentation. It has everything, mystery, romance, a mad woman in the attic and an almost miraculous happy ending. Megan Dansie’s direction is straightforward and uncluttered.

Young Zannie Edhouse makes a luminous main stage debut as the heroine. She has the gift of silence, and holds the audience’s gaze every moment, and that’s almost the entire play, that she is on stage.

From ten-year-old orphan to eighteen-year-old governess she grows in emotional stature and maturity, with inner strength, and a personal pride without prejudice. Steve Marvanek as Edward Rochester enters by falling at her feet and provides a sturdy support throughout.

The rest of the ensemble take multiple roles, and line up as a regimented chorus to carry the narrative along. A capella singing of the ballad of the orphan child reinforces the vulnerability of the heroine, and when sung contemptuously by aristocratic visitors illuminates the class divide that Jane must cross. Sue Wylie is a dependably supportive housekeeper Mrs Fairfax and Brad Martin makes the most of his extended scene as the would-be suitor and missionary St John Rivers. If you read or were made to read the book in high school, you’ll be impressed by the strength of the adaptation. If you don’t know the story this may propel you to find it. Either way Bronte’s tale is delivered finely.


Reviewed by Barry Lenny

The Therry Dramatic Society is presenting Willis Hall's adaptation of Charlotte Brontë's novel, Jane Eyre, under the direction of Megan Dansie. Dansie also designed the set, in collaboration with Malcolm Horton. Dansie is well known in Adelaide for her numerous productions of Shakespeare's plays, for which she has won many awards, and her occasional journeys into other areas have proved just as fruitful. This is another that is sure to draw universal praise and fill the theatre for Therry.

Orphan, Jane Eyre, has been raised by most unpleasant relatives and then sent to an even more unpleasant school at the age of ten, where she ended up teaching. She has been employed, eight years later, as a governess at Thornfield Hall. The owner a Mr. Rochester, has been traveling but has been forced to return due to a business matter.She falls for him but considers herself unworthy and tries to dismiss her feelings but, it transpires, he has fallen for her, too. They were standing at the altar and about to be married, when it was revealed that he was already married, causing her to leave the Hall, unable to be near him with her feelings still strong, knowing they cannot marry, and not wishing to be his mistress.

Near death from her wanderings, she is taken in by her cousin, St, John Rivers, a clergyman, and his two sisters, Diana and Mary, accepting the position of teacher at the new school for girls upon her recovery. Her past catches up with her and it all leads to a happy ending. Think of the Brontë sisters and their romance novels, perhaps, as the upmarket Mills and Boon of their day. Published on 16th October 1847 this novel has been adapted many times for the small and big screens.
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Review by Anthony Vawser

Literary adaptations can be a risky enterprise – the essence of a great writer’s prose/poetry cannot always be successfully translated to a visual dramatic context, and first-person narration tends to present a particular challenge. However theatre/television/cinema has also produced a great number of highly regarded ‘cross-over’ successes out of beloved books.

Willis Hall’s version of Charlotte Bronte’s “Jane Eyre” has been most successfully tackled by Therry. Director Megan Dansie and her superlative troupe of actors deliver an absorbing, intelligent experience that engages the emotions of its audience while giving them plenty to think about: The definitions of love and morality, the obligations of marriage and commitment to God, the capacity to rise above one’s upbringing - plus even the occasional humorous moment to smile over.

The most striking piece of theatrical adaptation to be found here lies in the multiple narrators, all representing Jane herself, sharing the thoughts of our heroine that fill in the gaps between scenes and allow the show to keep up a reasonable pace while covering all the necessary ground. It is a most unusual device, but one that is skilfully deployed by the ensemble under Dansie’s sharp direction.

Four years ago, young actress Zanny Edhouse greatly impressed this reviewer playing Ratty of “Wind in the Willows” fame, enough to feel confident that a future in adult roles, should she want one, was assured. Playing the title role of Jane, that future has arrived, most impressively. She presents us with a protagonist who is neither a martyr nor a saint, but a complex, thorny, fully human individual...... read more


Fiddler Logo



Review: Paul Rodda

It might seem an odd place to stage a musical – the Pale of Settlement of Imperial Russia in 1905 – but Fiddler on the Roof formed part of a style of ‘60s musical theatre that was pushing established boundaries and turning its back on entertaining escapism in favour of more serious depictions of real life struggles.

Tevye the milkman – Fiddler’s central character – is father to five daughters, living an impoverished life in the Russian village of Anatevka, under the ever impending threat of pogroms at the behest of Nicholas II, the tsar to Russia. Tevye is a devout Jew, and an honest man, but his daughters soon test his ideologies, loyalties, and eventually even his faith.

Fiddler is a heavily sanitised version of the events of 1905, which ultimately culminated in the Russian Revolution. University educated, Perchik hints towards this, but the future is left open ended and hanging at the fall of the final curtain. Similarly, Fiddler incorporates what must be one of the tamest pogroms ever enacted; one which the cast of this production manage to remedy with only a few moments of clearing and righting furniture. Despite this, the tale is still endearing, and oddly heart-warming... read more


Review by Barry Hill.

Fiddler on the Roof

Fiddler on the Roof
Music by Jerry Bock, Lyrics by Sheldon Harnick. Book by Joseph Stein. Therry Dramatic Society. Arts Theatre, Adelaide. June 8 – 17, 2017.

Fiddler on the Roof has been a show close to my heart since I played in the orchestra for a production in 1981. Naturally I went to Therry’s production with high expectations and I was not disappointed.

The story is simple but full of pathos. In the little village of Anatevka, Tevye, a poor dairyman, tries to instruct his five daughters in the traditions of life in a small Jewish community, in the face of changing social values and the growing anti-Semitism of Czarist Russia. Torn between tradition, religion and love for his daughters he must make some life changing decisions to keep his family together.

Therry’s production captures the bleakness of early twentieth century Russia in every department – lighting, costumes and set design. More than that though, thanks to director Norm Caddick, every laugh and tear is skilfully highlighted.

The success of Fiddler on the Roofdepends of the character of Tevye; if this character does not break the fourth wall of theatre and relate to the audience the piece will fail. David Gauci (well known performer and director of his own theatre company) does more than inhabit Tevye’s character, he lives it.

Gauci’s rich baritone voice and perfect timing quickly endear him to the audience and his conversations with God and quotes from the good book are hysterically funny. Conversely, the scenes where he is torn between the love for his daughters and his religion are heart rending.

He is well partnered by Anne Doherty as Golde, his wife. She is the perfect foil to Tevye’s brashness. Her performance in the dream scene and her duet with Tevye, ‘Do You Love Me?’, demonstrate her ability to handle a wide range of emotions.

Georgia Broomhall (Tzeital) and Eloise Quinn-Valentine (Chava) give satisfying performances and their performance of ‘Matchmaker’ is a highlight. However Ruby Pinkerton (Hodel) steals the audience’s heart, particularly in her solo ‘Far From The Home I Love’. I could really feel the stillness and sympathy for her character from the audience.....Read More


Review by Chris Eaton

I was a little underwhelmed by Therry’s choice of Fiddler as their annual musical treat. After bravely venturing with a South Australian premiere of “Big Fish” in 2016, I hoped for similar bravery in 2017.

In hindsight, witnessing the sublime efforts of Director Norm Caddick, Musical Director Peter Johns, Choreographer Kerry Hauber and their cast I feel a tad ashamed – for their Fiddler, Therry’s Fiddler is the epitome of classic musicals done right. Let’s be honest, though – with Joseph Stein’s book and music by Jerry Bock, lyrics by Sheldon Harnick you’d have to be a ham-fisted, tone deaf, anti-Semite to stage a bad production of Fiddler.

However, it takes superlative dedication to tell the story as well as the cast, led by David Gauci as Tevye did last night. The show, as it should (to be a success) belongs to Gauci. It would be misleading to talk about his performance as a mere portrayal; Gauci’s Tevye is deeper than that. It appears effortless, it is genuine, authentic and (though it feels odd to describe) human.

Gauci never betrays the presumably considerable effort involved to extract the level of engagement that is on show. Yes, the jokes are all there – deliciously timed – and his singing voice is warm and rich, meeting the challenges of the music; but the performance has an elusive quality that can’t easily be summated, much less unpicked.

Do see it for yourself, community and professional leading men take note. The performances of the supporting cast and the large and particularly busy chorus don’t seem incongruous with Gauci’s performance, more encouraged and lifted by it.

Anne Doherty as Tevye’s wife Golde, Georgia Broomhall as Tzeitel, Ruby Pinkerton as Hodel and Eloise Quinn-Valentine as Chava make up the heart of the show. The three sisters “Matchmaker” is a jaunty highlight in the first act and the interplay between Pinkerton and Gauci during her beautifully sung “Far From the Home I Love” is genuine and moving. Caddick’s hand is notable in the pace that the show keeps, ensuring that the epic first act doesn’t stretch too long, whilst ensuring that elements of the dialogue are heard and absorbed, rather than run over.

Choreography by Hauber is excellent mainly for the polish that is evident, particularly by the chorus in “The Dream”. Peter Johns runs a tight ship musically both on stage and in the pit, and commendation is worthy for the numerous solo efforts of the band (particularly Robert Wallace on violin) in what is a fitting but notably sparse orchestration. Lighting by Jason Groves is of note too, subtly enhancing the emotions in certain scenes and working with the careful scenic artistry of Nick Spottiswoode.

Despite edging close to perfection there are a couple of minor blemishes. First, is the overly bright costuming of Lee Cook in the titular role, looking more suited to a St Patricks Day parade. Second is the presence of too much ham from a member of the male ensemble and finally the seemingly modern satchel of Hodel’s suitor Perchik, played by Nathan Quadrio. These are however minor quibbles in what is a show of the highest order.

Get a ticket if you can.



Reviewed by Fran Edwards

Joseph Stein with Jerry Bock composing the music for Sheldon Harnick’s lyrics created this much-loved musical from stories. It was the first musical to be based solely on Jewish stories. Set in Russia in 1905 – unsettled times – it tells the story of Tevye, a deliverer of milk, with five daughters and their struggles to survive.

Therry’s production is true to the story; it is happy, reflective and sad, just as the original stories were. The set by Nick Spottiswoode is simple but effective and allows smooth scene changes; Jason Groves lighting complements it perfectly. Sandra Davis’ costumes have stayed true to the era, avoiding the overdressing that sometimes occurs in this musical. All of this under the watchful eye of director Norm Caddick whose experience shows. Peter Johns has put together a fine orchestra and they give this show’s beautiful music the attention it deserves. Put all this together with Kerry Hauber’s excellent choreography and a good cast and you have another winner.

David Gauci doesn’t just play Tevye, he IS Tevye with all the deliberating and the emotions, and he makes the audience feel the meaning of tradition. His delivery of If I Were A Rich Man has everyone enthralled and his delivery of Little Bird was heart rending. Matching him well as Golda is Anne Doherty; their duets together Sabbath Prayer and Do You Love Me give the partnership depth....read more


 leading ladies logo


Review: Fran Edwards

Ken Ludwig’s fast moving farce, Leading Ladies, is Therry’s latest offering, and it is all the things a farce should be; slick, over the top, far fetched and above all funny! Jude Hines direction is spot-on and uses Stanley Tuck’s delightful set to full advantage. Sandra Davies’ costumes flatter and allow the men to get away with cross-dressing without being too girly.

The unexpected tango, choreographed by Rose Vallen, was well executed and added to the hilarity. WE all know that laughter is the best medicine and I recommend you take a trip to the Arts theatre and get a big dose of merriment to fix what ails you. Read full review here



Review: Lesley Reed


Even before the uniformly excellent cast hits their straps, Stanley Tuck‘s sumptuous and beautifully finessed set is enough to indicate this will be a quality production.  

The comedy’s first scene has fine impact too and sets the scene, with very good use of the auditorium and the apron of the stage, creating a ‘travelling thespian’ atmosphere that introduces Leo and Jack.

Jock Dunbar is wonderful as Jack Gable and as the young thespian’s alter ego Stephanie. Dunbar has great comic timing and a great talent for physical comedy. Patrick Clements is maniacally marvelous as both Leo Clark and the raven-wigged Maxine. These two actors bounce off each other, just as an exceptional comic duo should.

Laura Antoniazzi plays Meg Snyder with a wide-eyed vulnerability that reminds me of a young Audrey Hepburn. Antoniazzi has great stage presence, excellent diction, does an effortlessly perfect American accent in this production and is an actor to watch out for on the Adelaide stage. An excellent performance.

Mollie Mooney is a roller-skating delight in the zany role of Audrey and is another young actor making her mark.

Steve Marvanek performs the difficult role of stuffy, controlling Duncan Wooley very well, ensuring a strong foil for the madcap antics occurring in the household.

Tim Blackshaw as Doctor Meyers and Aled Proeve as Butch Meyers/ Moose Frank provide some hilariously comic moments, as does veteran performer Penni Hamilton-Smith as the dying dowager. They ham it up to the hilt.

Costumes are excellent and a perfectly choreographed tango, courtesy of Rose Vallen, is another of the delicious touches in this excellent farce.

Therry is on a winner with Leading Ladies and audiences are guaranteed a raucous and rib-tickling comedy experience they won’t forget in a hurry.


Ken Ludwig’s Leading Ladies exploits every trick in the book

A COUPLE of terrible but nonetheless enterprising actors, touring the backwaters of Pennsylvania, hear of a vast legacy going begging to the long-lost relations of an elderly heiress. That the relations are women is no problem for these noble thespians, who get the Cleopatra and Titania costumes out of their Shakespearean trunk and present themselves to the startled residents of York, Pa.

They are the Leading Ladies of Ken Ludwig’s 2004 crowd-pleaser of the same name.

Every trick in the book is fully exploited in this hoary story, especially the comic potential associated with country bumpkins falling in love with the startlingly glamorous visitors, who find themselves in turn drawn to the fairer citizens of the town.

Therry had a big hit with Ludwig’s Crazy For You and the new production seems sure to repeat it. Patrick Clemens has a field day as the supremely confident Leo Clark, a confidence which he carries across faultlessly to his alter-ego Maxine, while Jock Dunbar is his perfect foil as the reluctant Jack Gable, and the winsome Stephanie.

The supporting cast throw themselves in feet first, led by Penni Hamilton-Smith asAunt Florence, and with a few terrific cameos, notably Aled Proeve’s very funny MC from the local Moose Lodge.

Leading Ladies is wafer-thin, but then again, wafers are rather nice.

Arts Theatre
Until November 12


big fish logo







Adelaide Theatre Guide review by Fran Edwards

Once every so often a production of a musical comes along that makes you realize that magic happens if the conditions are right. Of course it takes a good production team, one with vision, a cast that can understand and interpret the writer’s dream and lots and lots of talent. Big Fish is one such show.

Therry has assembled a terrific team, Amanda Rowe as director, Mark DeLaine as MD and Kerry Hauber as Choreographer. Add to that Jason Groves lighting design, Tim Freedman (Allpro Audio) designing sound, Andy Ooyendyk as scenic artist, and an incredible team building the set and you have a basis for a great production.

Then you have the cast. Much of the success of the production lies with the characters of Edward Bloom and his son Will, both played expertly by Andrew Crispe and Lindsay Prodea. Edward needs to be larger than life, but this only works if he is contrasted with the strength of Will’s unbending reliance on truth, something he thinks his father can’t tell.

These may be two outstanding cast members but so much other talent supports them. Rebecca Raymond as Edward’s wife Sandra, Kate Hodges as Will’s wife Josephine, Josh Barkley as Don Price (Edward’s rival) and Oscar Bridges as the young Will. And then there are the fantasy characters in Edward’s stories: Trish Hart as the Witch, Scott Nell as a very convincing giant, John Rosen as the showman and Megan Langford as Jenny Hill, Edward’s other love.

The ensemble is filled with familiar faces who do a brilliant job and the very good orchestra similarly had recognizable names such as Emma Knights, Gordon Combes, Nicole Molloy, Paul Hampton –Smith and Corrine Teng to mention a few.

I could continue to rave, but I suggest you buy a ticket and see for yourself before they sell out.


Stage Whispers review by Benjamin Orchard

Music & Lyrics by Andrew Lippa. Book by John August. The Therry Dramatic Society. Directed by Amanda Rowe. The Arts Theatre, Adelaide. 9-18 June, 201.

The Therry Dramatic Society’s latest production is an enchanting fable that explores many deep and thought provoking themes - ageing, mortality, generation gaps, the quest for identity, the sacrifices required to ensure that love endures, the conflict between history versus mythology and the value of storytelling – thorough the prism of a fantastical hero’s journey that joyously illuminates the absurdities of life. Big Fish is arguably the most accomplished work of musical theatre to have been staged in Adelaide during the last five years.

Ed Bloom (Andrew Crispe) is a living embodiment of The American Dream, a travelling salesman who spends his youth wandering the vast splendour of The Big Country, having many grand adventures. These include rescuing a mermaid (Ashlyn Wright) afflicted with a dark curse, saving a small town that quakes in fear of a temperamental giant (Scott Nell) and joining up with a circus run by a werewolf (John Rosen). All of this before distinguishing himself as a hero in World War II and romancing the most beautiful woman in the whole world (Rebecca Raymond).... well, that’s the way Ed tells the story of his life, anyway... Ed’s journalist son, Will (Lindsay Prodea) is sceptical of his Dad’s tall tales about the glory days and resolves to find out the truth, before the old man dies of cancer.

All musicals contain an element of surrealism, but the magical and the mundane intertwine more seamlessly in Big Fish than in most shows, to the point where it is not always clear where one ends and the other begins. This could easily prove frustrating to those who prefer a story with a straightforward beginning, middle and end, or one with a clearly defined sense of internal logic. But if you are willing to surrender to the dreamlike flow of this show then it has many charms to offer.

The boldy colourful sets and costumes contain a well-proportioned mix of the otherworldly and familiar, which fits perfectly with the story’s “magic-realism”. The eerily atmospheric lighting cues and deliberately off-kilter choreography also contribute to blurring the lines between the realms of fantasy and reality, in a manner that is often downright mesmerising to behold. But director, Amanda Rowe, never allows spectacle to detract from the human element of the musical, her sensitive blocking of scenes ensuring that both the laconic wit and poignant home-truths in the dialogue are given space to shine.

The cast embody these characters with technically impeccable singing, razor sharp comic timing, sometimes dizzyingly nimble footwork and a gloriously impassioned flair for drama. The ENTIRE cast, mind. From the leading players to the smallest bit parts, everyone on stage gives 110% in service of the story. To single any one individual out for praise over another strikes this critic as unfair, as far as I’m concerned, everyone treading the boards in Big Fish scores a perfect 10… (the names I haven’t mentioned already – Fiona Aitken, Jemma Allen, Jillian Arthur, Blake Ascione, Josh Barkley, Oscar Bridges, Raymond Cullen, Michelle Davy, Nic Equid, Emily Fitzpatrick, Holly Fennell, Jared Gerschwitz, Heath Gladigau, Trish Hart, Kate Hodges, Megan Langford, Toni MacAdam, Mackenzine Price, Wendy Rayner, Andy Trimmings, Michael Preston Ward, Scott Whellum, Sarah Wildy – all have amazing moments, taken collectively this cast is an embarrassment of riches).

If Big Fish has a flaw, it’s that many of Andrew Lippa’s songs lack a strong hook. There aren’t many hummable tunes in the show that are likely to linger in your mind long after seeing it. On the other hand, nothing sticks out as being obnoxiously awful either and Lippa makes skilful use of underscoring, ensuring that the transition from speech to song is always smooth.

Therry ought to be applauded for taking a risk with unfamiliar material, especially when it pays off so handsomely as this. Big Fish is a must-see event for all truly adventurous musical theatre buffs.


Glam Adelaide review by Nathan Quadrio

There must be something new in the water in Adelaide with companies producing a string of high quality productions in recent months. Therry’s production of Andrew Lippa’s Big Fish, following the father-son story of a man whose tales are larger than life, is no exception. The stellar cast and crew work together beautifully to traverse this complex and multi-faceted show.

Big Fish is a complicated show that spans two timelines and a multitude of locates. Amanda Rowe’s direction keeps every transition seamless as the cast expertly move the set to brilliantly represent each of the show’s multiple locations. In conjunction with Jason Grove’s lighting design, this dream-like set stunningly represents the tone of the show.

Potentially the most demanding portion of this show is its richly drawn characters and the cast is more than up to the challenge The flow between the past and present storylines, as actors magically switch from old to young, is most impressive.. Andrew Crispe is completely flawless as Edward Bloom with a stunning voice and charming characterisation. From the second the curtain opens to the last note of the finale, Crispe delivers every element of his performance perfectly. As his wife, Sandra, Rebecca Raymond shines – almost brighter than Crispe. Her voice is stunning and her song I Don’t Need A Roof in Act 2 is a heart-wrenching highlight.

In the role of Will Bloom, Edward Bloom’s son, Lindsay Prodea performs well. He acts well but his voice appeared to struggle with his Act 1 solo, Stranger – this could potentially be due to sickness. Luckily this was short lived and his voice soared through the second act. Kate Hodges seems sadly underused as Will’s wife Josephine but she delivers her limited dialogue strongly.

In smaller roles, Scott Nell, Trish Hart, John Rosen, Josh Barkley and Megan Langford all sing and act well. They are supported by a fantastic ensemble, a number of whom take on little roles along the way. Kerry Hauber’s choreography is infrequent, but spectacular and tightly drilled when it does appear. The Witch Sequence was particularly effective – working in well with Sandra Davis’ solid costuming.

Mark DeLaine keeps the band under a tight baton, perfectly accompanying the pitch perfect harmonies of the cast. The work of the crew should also be noted as they keep the show rollicking along fantastically. A few small cues were missed, but in a production of this magnitude that is completely forgivable.

The team behind Therry’s Big Fish is incredibly well-drilled and incredibly talented. Productions like this raise the bar for amateur theatre and crash through the barrier between them and the professionals. Don’t miss it!


Barefoot Review review by David Grybowski

Big Fish is big business in so many ways. The story has its origins in Daniel Wallace's 1998 novel. Then it was a Tim Burton film in 2003 and finally we see here the Broadway musical of 2013. Therry puts on a big show with a cast of 28 and easily triple that including the creative and production teams and the orchestra. The set (design uncredited) is a work of modern art. And there is a cornucopia of extravagant characters. (The action takes place mainly in some previously unheard-of part of small town Alabama where black Americans are not extant.)

Being new to the story, I had no idea what was going on for the first 20 minutes and I loved it! A knee-slapping dance caused fish to fly out of the river. Then there is some witch foretelling the future of our hero, Edward Bloom, a la Macbeth. There is a bit of normalcy and then Bloom entices a giant out of a cave. And yes, there is a giant on stage! You learn that anything can happen in this show, as these scenes are manifestations of Bloom's imaginative parables. Turns out to be a very sweet intergenerational story and at the centre of the intrigue are the source of Bloom's fantastical stories and a son searching for his "real" father.

Actor Andrew Crispe very successfully invests Edward Bloom with goodness and country-style domesticity. His song, Fight The Dragons, playfully rendered with child star Oscar (someday winner) Bridges as Young Will, his son, was one of my favourites for recalling a young'un's yearning for adventure, and for father-son bonding. Rebecca Raymond plays Edward's wife with equal veracity and wonderful voice. Bravo! Lindsay Prodea's Will Bloom spent a lot of time with a furrowed brow and annoyed with his father. He maybe should stick to the river of the play, as he was wobbly on the high Cs. Scott Nell was a wonderfully gentle giant - great deep voice and skillfully dancing on stilts. What a costume! There's a lot more - a mermaid, an entire circus full of performers, assassination attempts by blow darts, nothing is too far out.

The creative team comprising director Amanda Rowe, musical director Mark DeLaine, choreographer Kerry Hauber and lighting designer Jason Groves whipped their cast and crew into a proper good night out. There is evident a fantastic team effort to create the costumes and sets for a great number of very different outlandish situations. And did I mention Sandra Davis for costumes? Bravo!



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 Death of a Salesman

Death of a Salesman Reviews

"Moving, heartfelt and thought-provoking …
Director Sue Wylie stays true to the core of the story whilst transforming the respected narrative into a means of self-reflection. She has done an exceptional job, as she takes on a profound text that can be difficult to pull off."
Georgina Tselekidis, Weekend Notes

"This fine performance deserves full houses every night; you will not see as good a production of this play for a very long time."...
Fran Edwards, Glam Adelaide

"I don’t think anyone who sees it will be disappointed. This is a first-rate production."
Janice Baily, Adelaide Theatre Guide

"Therry has a strong production with some excellent performances. Death of a Salesman is a passionate and powerful play which is tricky to stage given its switching time and dream states, but Sue Wylie has done a solid job in bringing it to life."
Shelley Hampton, Stage Whispers