REVIEWS, PEOPLE, TIMES, DATES AND PLAYS
Reviews over the last 10 years have been from:
Ian Austin. Playwright and Theatre Critic – Sunshine Coast Daily
Dr. Judy Pippin. Lecturer in Theatre. Queensland University
Joan Benson (OAM) Director Eastern Region. Queensland Arts Council
Alan Lander. Feature Writer – Sunshine Coast Daily
Simone Dwyer. Lecturer. Media Studies. University of the Sunshine Coast
Scrutarius. Theatre Critic – The Range News
Frank Wilkie. Theatre Critic – Sunshine Coast Daily & Noosa News
John Burls. Theatre Critic – Noosa News & Stage Whispers
Jaqui Mata Luqu. Director and Theatre Critic. Freelance.
Simon Roper. The Range News
Nathan Crowther. Freelance
THE FLAW
Ian Austin
Currently doing the rounds is this funny Mil Perrin play directed by Simon Denver.
Because of its complex structure, it is demanding fare for audiences until they catch on to what (I think) is the gimmick – a ménage a trios at various social levels, the flaw being the husband who is always the non-player in the game. In this high-comedy role Michael Klease is manically brilliant. But it’s not all his play; brother Brett Klease matches his performance as the droll interloper in each sequence. And Ruby Drewery, in her best performance to date, is the faithful / faithless wife who, most of the time, appears to be in a mad-cap world of her own. Don’t miss this one.
Jaqui Mata-Luque
The hand of director Simon Denver is very evident in this black comedy by Mil Perrin. The Flaw is a roller-coaster performance piece, with Michael Klease, Brett Klease & Annette Schoenberger in multiple roles.
They handle the changes with such control, the audience’s eye almost doesn’t see it coming – with the ease of chameleons, the actors literally glide physically and mentally into each character. The energy and focus demanded by this script is unrelenting, and the ensemble meet this challenge head on. For Brett Klease this undoubtedly is his finest work to date.
A play within a play – an actor crosses the line between make-believe and reality. The script permeating his mindset, the dialogue becoming unbearably true in his own reality; therein lies the flaw. To catch the Flaw, along with the award winning production of Jehanne, the Maleny Showground Pavilion hosts a brief season from September 27th.
MTV (Maleny TV)
Ian Austin
Brave Piece of Real Theatre
Having done my stint in regional radio, I found Simon Denver’s tilt at regional television spot on. For instance, it was Maleny TV (MTV, get it? That was up and…well, not actually running successfully, but at least they were on air. And they were bombarding the viewers with ambitious and adventuress programming which was, to say the least, absolutely hideous. But, dare I say, very “Hinterland” and because of their serious po-faced attempt at Mass Tele Culture, MTV was incredibly funny.
Off course, the subjects are there already, en masse; self important sacred cows pretending to be prime bulls and heifers. The entire show, set in a makeshift television studio, shows one evening of the station’s multi-level programming, from local news to “timely” debates, documentaries and something hideous that the station’s hierarchy undoubtedly considered entertainment.
Some of the highlights included a cruel documentary on feral hunting (as in fox hunting), a rowdy debate between pseudo-existentialists and doddery Greek philosophers. James Allen on guitar and Chris Surplice (as Arnold Shwartzenegger) presented endless, monotonous renditions of pop songs. One pointed satire was an in-depth report on regional arts funding with arts council aficionado, Joan Benson, on camera doing a savage impersonation of Joan Benson, pontificating on the whys and wherefores of the latest round of grant awards. I found it very close to the truth, having been on similar government panels awarding lots of money to lots of fairly untalented people while the talented applicants were by-passed. (I might add that I opposed most of the grants but was always hopelessly outnumbered).
The whole show was a great credit to Simon Denver’s writing and ingenuity as a director, and Bernard Bisshop’s superb technical wizardry with sound and video.
As I have often have to complain; a pity it ran for only a few performances.
THE RIME OF THE ANCIENT MARINER
&
AND THE GODS HELD THEIR BREATH
Scrutarius
Maleny’s recent latest one act plays struck new highs in quality, professionalism and dramatic impact. They were “The Rime of the Ancient Mariner” and “And the gods held their breath”, both directed by Simon Denver.
The Rime of the Ancient Mariner, with voice over commentary, and quite superb musical background was done in mime. A Rime-Mime in fact. This well known poem by Samuel Taylor Coleridge came to life thanks to the effort of the talented cast, which also included sinuous ballet segments. The device of using sunlight and moonlight with appropriately coloured balls was a nice touch. Very well done.
And the Gods Held their Breath was a tour de force in which Alexander on his sick bed, during one of his many manic – depressive fevers, sees into his past and his unwelcome future, by the device of bringing the spirits of the key people in his life, to haunt him during his hallucinogenic fantasies. We see his mother, Roxanne and Aristotle, goading and chiding him mercilessly. There was some very droll dialogue between Alexander and Aristotle and some biting commentary from Roxanne, his Persian “trophy” wife.
Dr. Judy Pippen
Not so Random Acts
Billed as an evening of Random Acts, the most recent offerings of this Maleny Theatre group revealed a theatre group willing to challenge the audience with serious new work. Simon Denver has coupled to pieces which, far from randomly, met in the realms of the deep consciousness.
The Rime of the Ancient Mariner combined the delight of Coleridge’s poetry, ably read by Leigh Hanson and Fiona Arbuthnot, with a visually rich dance/drama sequence choreographed with six players. This journey into the netherworld had the feel of a theatre school training piece and it certainly generated a performance that captivated the audience, and which I am sure will benefit the actor’s future work.
The original musical score by Bernard Bisshop was very pleasing and resonated profoundly with the text. Choreographer Debbie Fretus-Tudorin wove bodies and fabrics through the static structures of Grant Meyer’s ship and Grahame Buckman’s suitably anguished Mariner, while the crew created semaphore – like waves with suitably coloured flags in the background. The style of movement was a little unclear, ranging from modern to callisthetics and demonstrated the difficulty of finding the balance between service to the text and other actors and dancers needs to express themselves in their own unique form. However, all cast members remained fully invested energetically in the process and there was a great response from the audience for the quality of their work. Bravo Denver for taking the risk.
But wait, this is not all. The best is yet to come. From deeper yet in his consciousness, Denver pulls out the best script I have heard from his Repertoire…”And the gods Held their Breath”. Based on the fact that Alexander the Great had extensive bouts of fever, the piece conjures up to his bedside some of the key protagonists in his extraordinary life – Olympius, Aristotle and Roxanne. Phantoms all, they enter into dialogue with Alexander, played strongly by Danny Smith, and unfold with him elements of both his past and his future, which makes an intriguing yarn, rich in historical detail. The text was elegant, with Denver’s rare ability to write with irony to the fore. The haunting melodies sung by Pipa Phillipa and Bernard Bisshop to the accompaniment of gongs and drums set the tone for troubled spirits. The acting style could have been expanded to follow these elements. With the gesture patterns more stylised and expressive of the variety of relationships paraded before us. Peter Merrill’s Aristotle was particularly pleasing in this regard.
It bodes well for the new Sunshine Coast Theatre Alliance that new work of such calibre is afoot.
Alan Lander
Faultless Performances in One Acts
There are those who lately have been suggesting that money be taken from the arts, to be put to other causes. Anyone who recently saw the one act plays put on by the Maleny theatre group, and who witnessed stunning performances by participants aged 16 – 50, and who, like this writer, saw sheer beauty and harmony, not to mention faultless performance, would appreciate how important the arts are to our culture and civilisation, not to mention the participation rate of some first class teenage talent.
PASSION
Scrutarius
Passionate Professionalism
Random Acts’ latest production, Passion, underscores the absolute professionalism which has become the standard expectation of this Maleny-based troupe.
Passion, in its various forms, is presented, in some cases, hilariously, in others with keen insight into human motivation. An opening sketch depicting teenage passion with Jimmi Halliday and Ruby Drewery, gets the evening off to a good start. Liz Schluters “Bellbird” accompanied by Paul Clement was sung with depth and conviction. Even Helen of Troy gets a look in! hardly surprising, I guess, where “a face that launched a thousand ships”, waits petulant self absorption, for the warring armies to decide who she is going to sleep with. Alan Lander’s Agamemnon, Ruby Drewery’s Helen and Danny Smith’s rakish Paris, all played their parts in explaining the oldest passion play of all. Terry Keane’s poetry reading brought balance and lovely cadences in evocation of passion in poetry. A slow-motion Rugby game, demonstrated another form of passion – all too prevalent these days of obsession with sport. Simon Denver’s deliberate crotch grab said it all! Very Funny.
A dramatisation of Edgar Allen Poe’s “The Raven”, conceived by Ruby Drewery with original music by Bernard Bisshop nicely pricked some people’s passion for the occult. In Jane Barlow, Random Acts has a treasure. She can act, sing and emote in a very professional way. Don’t go away Jane! Jane did a domestic with Stephen Lang. They both were passionate about different things! Nil Communicado. Top Stuff. The musical back-up for all segments, like the acts themselves, was competent and professional. Bravo Random Acts.
Joan Benson OAM
“Passion” – to suffer – explained Director Simon Denver, to his audience, “We express passion and you suffer”. Not so if imagination, satire, music, dance, thought provoking texts produce the laughter, surprise, recognition, experienced by those present at the Maleny Show Pavilion – let’s suffer more! The ensemble for this show lists 34 people, not all on stage. Composers, musicians, technicians, F.O.H., Bar staff, are all part of a group effort and it works. Performers are versatile and energy is tangible. There are new faces, voices and talent.
Opening numbers were really intellectual discussions about the nature of Passion, as in Joy Marshall’s Queen Elizabeth, with Peter Merrill’s Drake; the Queen’s passion is “Who and what am I”, and Drake’s – adventures, victory and bringing riches back to his Queen. One passion feeds the other, as happens in our lives everyday. Beautiful Liz Schluter was a very convincing Heloise with Bernards Bisshop’s sensitive Aberlard. Fascinating as this early section was, I believe some editing would be beneficial.
The element of surprise is a hallmark of Denver’s work. “Frustration in E Minor”, a confrontation between husband and wife, ritual versus freedom, played superbly by Jane Barlow and Stephen Lang was both disciplined and vehement. Then, absolute contrast, with “Sports Passion” a hilarious slow motion, silent movie-type send-up of a football match highlighted by a very popular film score. Composers Paul Clement and Bernard Bisshop excelled themselves. A brilliant soundscape by Bisshop –including narration – for Edgar Allen Poe’s “The Raven”, conceived and directed by Ruby Drewery, was the evenings top event. Haunting, fascinating to watch, this dance drama stumped the audience.
Passion covered a wide range of emotions in a variety of scenes. For me, the blending of the two excellent voices of Steph Arlidge and Peter Merrill was a delight – their clarity a rare characteristic of many singers.
No doubt Passion will reappear in 2000. If you can, see it!
Simone Dwyer
That a single word can conjure up so many meanings presents a tall order for a stage show which titles itself to that word. Loaded with subjectivity, “passion” also presents and interesting challenge as a theatrical theme, given local theatre is typically presented to appeal to an audience’s imagination rather than the indulgences writer, director and performers. As both a title and a theme “Passion” is a curious place to start. And so it was with curious anticipation that the audience took their seats at the Maleny Show Pavilion to experience the passion of Random Acts’ latest offering. Written and directed by Simon Denver, with additional material by James Allen, Liz Schluter, Terry Keane, Ruby Drewery and Darshan Rasborek, Passion provides and eclectic mix of poetry, song, dance, visual projection, drama, comedy and more.
Diversity of performance seems to be random Acts’ specialty, and Passion is no exception in this regard. From a dance rendition of Poe’s the Raven to comedic sketches, local audiences were taken on a journey through passion’s agony and grief, its surprises and joy. From slo-mo football performed to “Chariots of Fire” to Jane Barlow’s portrayal of the isolated housewife, Passion offers a delightful and surprising showcase of creative talent. Performance material extended beyond the actors’ realm to include snapshots of locals in the form of projected images, photographs and recordings. Combined, the material underlined passion’s presence in us all.
Amidst the stirring emotions, however, Random Acts’ latest production left something to be desired – namely, a sense of passion in the production design. Perhaps the venue lacked the warmth of other venues, or maybe it was the feeling that the stage design had not received as much thought and energy as and the scripting and performance. And whilst the use of multi media works well conceptually, the production disturbed the execution of the idea. Jittering images across a screen – irrespective of whether the movement was deliberate or otherwise – was somewhat disappointing.
Despite these shortfalls, however, there were numerous highlights in performance and the overall sense from the evening was that the audience thoroughly enjoyed Random Acts’ latest offering. From Song to Dance to Poetry to Play, Passion burst onto the stage as yet another pleasant surprise in local theatre.
KABARET – THEATRE OF HOPE AN DESPAIR
It’s a Brechtian Thing & The Burning Times
Dr. Judy Pippen.
Mad if you didn’t see it!
In the recent Random Acts “Kabaret - Theatre of Hope and Despair”, Director Simon Denver was at his best creating an evening of wit and wisdom.
The first part of the program was devised by Bianca Van Den Hueval and gave Maleny Youth a voice and a context for exploring their movement skills. They created a dance/drama on the theme of a victory of nature over bureaucracy and death. The fact that the accompanying music was composed and recorded by Lee Rogers added to the impressiveness of their contribution. The second half was “It’s a Brechtian Thing” and no doubt Bertolt turned in his grave several times at being so thoroughly satirised.
The setting was a bar at whose tables sat an assortment of literature’s most psychotic characters. In turn they left their red wine to tell their stories – from Medea to Lady Macbeth, St Joan to Ophelia. Joy Marshall enrolled the audience as psychology students and helped them examine “cases”. Banter at the bar between monologues played with the terms; hate despair and hope in a way that was truly cathartic in the best live theatre tradition. The songs of Paul Harper Green (don’t go back into hiding, we love you), Liz Schluter, Peter Merrill, James Allen, Fiona Halliday, Bernard Bisshop and yes! – that closet cabaret singer – Simon (the sleaze) Denver were totally apt to the theme.
Accompanists Paul Clement and Vic Morrow, calling themselves the Lounge Lizards, were impeccable and supported the artists brilliantly. They are a most welcome addition to the Hinterland arts and we look forward to seeing lots more of them.
Sophisticated stuff this, strong on style and very funny. Jimmi Halliday stole the show by being totally alienated throughout, as he was waiting for Godot at the back table. He was carried off post-show to audience cheers as Bernard sang “We hope that there’s intelligent life in space, cos there’s bugger all here on planet earth!”
Nadia Okorns’s poem was a great way to end, full of playful and serious hope as it was.
It’s great to see theatre that touches our lives and frees us to laugh at the human predicament.
Jaqui Mata Luque
Act One “The Burning Times”. An interesting piece of choreographic work by Bianca van Den Heuval, a story told through music and movement with very good character definition. The transition in change of pace and tempo was excellent. Innovative lighting added greatly to this tightly played ensemble. In particular the visually powerful picture of the Cardinal (Keira Pearce) in the opening set the standard, which followed through the whole production. Pix vane Mason (the High Priest) gave a superb focused performance, his “eyes” speaking a thousand words. Bianca and her troupe are to be congratulated on their teamwork in this innovative piece of theatre.
Act Two “It’s a Brechtian Thing”. A study of attachment and detachment – a journey towards an unknown destination. From the comfort one of a bar, we are introduced to the faceless patrons, whom we may not give a single glance, until they stand up to be counted as a part of humanity – we are transposed from place to place, era to era, melody to drama and comedy and back to the comfort zone. The excerpts are great vehicles for the acting talents of random Acts. The concept of this production proved successful in as much as it has a wide appeal, offering different styles and presentations of drama and song. A wonderful evening this Brechtian Thing!
Simone Dwyer
It’s a Brechtian Thing
Another Way of Saying that the Show was Shit Hot!
“Hope deferred maketh the heart sick, but when the desire cometh, it is a tree of life”
(Proverbs XIII 12)
There is something innately appealing about a man waiting motionless amidst the drama of other people’s psychoses. Perhaps that’s why the thematic reference to Samuel Beckett’s Waiting for Godot made me smile…
Clever and curious, Random Acts’ Kabaret marks a courageous departure from the style of theatre to which local audiences may have become accustomed. Rather than engaging an imitation of older forms of naturalist theatre, Random Acts’ Kabaret offers innovation and experiment, freely exploring conventions of exposition and commentary, creatively demonstrating a lucid knowledge of the history of Drama.
Whilst Brechtian methods are neither novel nor unique, Kabaret’s presentation of “complex seeing” is something altogether different for a local audience shaped by the types of drama that Brecht opposed. It’s a refreshing and inspiring experience of intelligent theatre that doesn’t take itself too seriously.
Combining comedy, argument, direct commentary and magic with chorus, narrator and soliloquy, Kabaret adeptly works against the “Illusion of Reality”. Within an open sequence of performances, the mis-en-scene of a smoky bar provides the only permanence in time and space – the location of isolated, suffering individuals spectacled before the audience as symptomatic figures of hope and despair. With potent irony, humour, dramatic and referential design, it is perhaps no wonder that the performances in Kabaret demonstrated, as equally as its production, the collective talent of local theatre.
Featuring critical replayings of selective monologues from writers such as Shakespeare, Euripides & Seneca, Kabaret simultaneously showcased established and emerging theatrical talent. Amongst the performances, a personal favourite was Ruby Drewery’s presentation of Ophelia – an opportunity to observe an exceptionally talented young actress whose potential is exciting, to say the least. Similarly, Liz Schluter’s performance as Lady Macbeth (not to mention her rendition of Alan O’Day’s “Angie Baby”) reveals an elegant performer of professional calibre and versatility. Such professionalism and versatility is equally shared by James Allen, his tremendous creativity and skill in performance is undeniable. With commendable performances from Nan Sweetser and Mel Radak, the despair of Medea and St Joan were vividly portrayed.
One curiosity, however, is that representations of female “despair” were disproportionate to male representations. Perhaps this was a by product of the male authorship of selective works, which in some pieces may be attributed to the connections between Brechtian methods and Elizabethan Theatre. Though potentially problematic (given the political and social reflexiveness of open theatre), the female – focus of Kabaret’s monologues effectively highlighted the creative talent of Maleny’s women performers.
It’s possible, too, that the powerful energy and dramatic imagination of Peter Merrill’s Oedipus was more than sufficient to accommodate the representation of male despair; Peter presented a stunning performance that articulated, through the weight of paralanguage and the absence of gesture, intolerable tension and remarkable dramatic ability.
The intensity of Kabaret’s drama was effectively interspersed with commentary, humour, and music that seemed to rhythmically ebb and flow between the themes of hope and despair. Including songs by artists such as Bruce Springstein, Carol King & Pete Townsend, the performance of each vocalist was consistently impressive, evenly cushioned by the musicianship of accompanying “Lounge Lizards”, Paul Clement and Vic Mowett. Supported further by non-invasive, stylishly simple production design Kabaret’s technical glitches were minimal – the occasional hiccup in lighting and sound, such as stage noise in the closing chorus that interfered with the clarity of vocals and instruments. Minor problems aside, however, the entertainment provided by Kabaret was equal to (if not better than) that of contemporary theatre in any of Australia’s capitals.
As a work of contemporary theatre, the Kabaret represents a positive shift in local entertainment that should be commended not only for the talent of its dramatist and production team, but for the demonstrated energy of the actors’ imaginations and in Random Acts’ ability to bring in all together as a curious ”theatre of hope and despair”.
Scrutarius
Last weekend marked an important turning point in live entertainment in Maleny.
The entire evening had a professional edge, not seen from community groups heretofore, in Maleny. Produced by Joy Marshall and Directed by Simon Denver, we were hugely entertained by the two segments of the show.
“The Burning Times”, a ballet devised and choreographed by Bianca Van Den Heuval, demonstrated a rapidly developing and exciting talent. Bianca wants to go to Paris and learn more about ballet: on this effort she’ll probably end up teaching the French! The Burning Times is a very Freudian exercise in sin and redemption, with symbolism rampant at every turn. Good movement, excellent disciplined ensemble dancing, kept the eye and mind involved from start to finish. Except for one “first night” minor glitch with the lighting, Fergus Reilly’s use of his console was creative and mood-setting. Pix Vane Mason’s High Priest was an excellent foil to Bianca Van Den Heuval’s High Priestess. I liked Keira Peace’s portrayal of the Cardinal too. A very interesting and entertaining divertissement.
“It’s a Brechtian Thing”, certainly is! An ensemble cast did Simon Denver proud, Simon, though, should be brought before some celestial tribunal for the liberties he took with my great mate Billy Shakespeare (he’d probably get away with it though; Billy was a notorious plagiarist). Needless to say Liz Schluter’s Lady Macbeth was very well done. Her song “Angie Baby” later on in the segment exuded sincerity – and charm. Liz has a cabaret artistes sure touch in connecting with her audience. Peter Merrill did a great Oedipus, Seneca’s greatest of all Greek tragedies. His later “Cafe of the Blue Moon” was professional and assured. Paul Harper Green’s “Amsterdam” and “Wonderful World”, were, in a word, wonderful! Don’t see enough of your stuff these days Paul! Nan Sweeteser’s Medea excellently conveyed the brooding malice put into the characters mouth by Euripides. Fiona Halliday’s “I can see Clearly Now” came from the heart and Bernard Bisshop’s “The Galaxy Song” was a fitting end to a very long second half of the program. (If it’s done again, get some bladder training in!) These songs were interspersed with amusing dialogue and emotive cries from the heart, in a cabaret – type setting, naturally! Bravo Random Acts
LIFE IMITATING ART (2002)
Jaqui Mata-Luque
An evening on which ambience and talent were absolutely complimentary to each other. A beautiful tree and the night sky being the perfect set for Hypocrytes first production this year. Musicians perched in a tree, microphone swaying from a bough in the breeze and a couple of floodlights. The audience were taken on a flight of music, song, drama and comedy; the common thread being relationships. Director Simon Denver weaving some of the best talent on the coast into a collage of individual expression and opinions. Highlights of the evening were the haunting voice of Murray Wall, a pensive performance, in which his silent reflections were as powerful as the lyrics. Local Poet Arcadia Flynn, with only three words given to her by the audience, delivered a very telling relationship lament. Actors Ruby Drewery and David Townsend gave a very beautiful and truthful performance of Romeo and Juliets’ balcony scene. Michael and Brett Klease performed a mirror image piece, a shock for some audience members (as these brothers are identical). A view of how we see ourselves, as to how others see us and what we say as opposed to what we actually want to say. An evening of diverse entertainment delivered something for everyone including appearances from Peter Merrill, Divishti and many others. By the way, those musicians Jacinta Foale, Paul Clement and James Allen stayed up the tree all night playing beautiful music under the stars.
GROOVEY BABY – IT’S BACK TO THE SIXTIES
Ian Austin
Get groovy in the new millennium
This well paced nostalgia trip provided this year’s conclusion to a highly successful year of theatre on the Coast.
Actually, it was a one-night stand finale of what was an earlier theatre restaurant season in Brisbane. Hailed by writer/director Simon Denver as “something new” in the presentation of theatre restaurant the evening was an enjoyable 60’s retrospective concert, the items linked together by a witty script, with a couple of rounds of trivial pursuits thrown in.
Hit of the show was, undoubtedly, Chris Surplice, who made such a good showing in the group’s recent Denver play “Seven deadly sins”. His enthusiasm, his range and absolute joy of acting were, once again, most admirable. Though they could not be considered one of the highlights (as they were on most of the evening) the small band – Ian Belcher, Paul Clement and James Allen worked hard and well, capturing the musical frenzy of what was, arguably, the most exciting decade of the last century.
The female vocalists, Jane Barlow and Liz Schluter, the female impersonators, and the dancers (Bianca Van Den Heuval and Ruby Drewery) added to the enjoyment.
As the show’s compare, Simon Denver cut a dashing figure in his tux, delivered his well written narration and his songs well, and had a great rapport with the audience.
In Act One, that is. In Act Two, the gloss and sparkle, unfortunately, disappeared from his performance, and the second Trivial Pursuits section dragged on far too long for no apparent or appreciative reason.
Nevertheless, the audience had plenty of nostalgic fun, which I suppose, in the final wash up, is the real objective of a theatre restaurant.
LETTERS FROM STALINGRAD (1999 & 2001)
THAT SCOTTISH PLAY
ROCK IN THE WATER (1999 & 2001)
CENTURIES
LES SEPT PECHES CAPITAUX
Ian Austin
Take a Trip up the Mountain to catch Random Acts
These three one-act plays by Malenys’ dedicated and talented ensemble group, Random Acts, were written and directed by Simon Denver. On the whole they provided wonderful entertainment, two of them being quite outstanding.
“Centuries”, a period piece, was an interesting confrontation between Nostradamus and an officer of the Inquisition who attacked the sooth-sayers now famous prophecies as being anti the teachings of the Roman Catholic church. The work was well researched, and loaded with provocative dialogues and premises. Both peter Merrill as Nostradamus and Denver as the Inquisitor, gave excellent performances.
The undoubted hit of the night was “Les Sept Peches Capitaux” (The seven deadly sins), a series of sketches (animating the title), linked together as a orientation entertainment package for the new arrivals in hell. (ie the audience). It has a great future on the Little Theatre circuit as it is easy to stage, very funny, and has meaty roles for at least half a dozen characters. In particular, over-the-top performances came from Simon Denver & Bernard Bisshop as the MC’s, Chris Surplice as the devil (plus sundry other roles), James Allen (always a captivating actor), and Joy Marshall in a very funny send-up of drama festival adjudicators. Part time adjudicator Joan Benson, who was sitting next to me, agreed it was hilariously close to the truth!
Random Acts continue from strength to strength and are worth the trip up the mountain.
Scrutarius
The Maleny Show Pavilion was the place to be on September 21 for a first-rate theatrical experience.
“Rock in the Water”, is a Greek tragedy. Ruby Drewery’s Antigone, Simon Denver’s King Creon and James Allen’s deliciously vulgar and cheerful guard, acted out this ancient tale with style and grace. Antigone, Creon’s neice, is determined to give her slain brother a proper burial. It’s against the law to do this – and a woman’s punishment – immurement – looms as Antigone’s fate. This dialogue between uncle and niece is tinged with love and sadness. Antigone will not budge and goes to her fate – a simple, stark story, very skilfully portrayed by these talented actors.
“Letter from Stalingrad” exemplifies the stupidity and watefullness of war. The dying survivors of that erstwhile all conquering German army of 285000 men (only 5000 return home), act out their letters home in their last redoubt. The scenes shift from the filth and misery of the trapped soldiers to the strutting posturing of the Nazi party functionaries back home. (It was, in fact, the psychological turning point of WW2 – the defeat, some time later at Kharkov was the military turning point). Trapped, without adequate food or clothing, with orders to fight and die, the episode in history, graphically portrayed in this play, should put paid to the pro-war hysteria for good. It won’t, of course, but the lessons from that tragic epic should not be forgotten.
“That Scottish Play” Weally was a wiot, bwilliant even! We witness rehearsals for Macbeth, which turns into a comical riot. Joy Marshall’s mayor’s wife, who can not pronounce her R’s is the catalyst around whom this theatrical romp cascades. Dangling council cheques in front of the hapless director (Simon Carrington), she secures the part of Lady Macbeth. The three witches, Ruby Drewery, Katrina Graham & Kali Blunt, emoted a hilarious, sexy pastiche, in which any resemblance to Shakespeare’s witches was purely coincidental! Chris Surplice’s “Nigel Perequin Chandler”, emerged from a grog soaked corner, to declaim, bombastically, complete irrelevant snatches from other Shakespearean plays, only to slink back to the drinks table when he’s run out off puff. Very Clever. Macbeth, played by Jimmi Halliday, disappeared early in the piece. Understandable, really, given the shambles around him.
This was a very cleverly devised and staged farce. One of the best I have ever seen. Bravo random Acts.
Ian Austin
History brought to Life
It was a pleasure to revisit three of Simon Denver’s one act plays that deservedly won several awards at the recent Drama Festivals. No wonder Denver’s plays are well received as he excels in bringing a moment of history to life; such was the case with Rock in the Water. This is his interpretation as writer / director / actor of the final conflict between King Creon, which he plays with contrasting mood and violence (the fragility of power fraught with insecurity) and his niece, Antigone, a well controlled performance by Ruby Drewery. This award-winning young actress now needs to colour her technique with more inner passion and character discovery.
The drama was balanced by James Allen’s humorous but pointed wryness as the soldier who acts as the plays chorus.
I felt that “Letters”, a dramatisation of German soldiers’ final correspondence to loved ones at the height of the Stalingrad disaster failed to move the audience as it should have. It needed more heart, more letters (the focus of the play) and less Goebbels (his three appearances, upstaged by dominant sound fx, were overstated, we got the message the first time. The irony, horror and empathy were there in the writing but were not brought out by director James Allen. As the letter recipients
Joy Marshall, Katrina Graham and Ruby Drewery gave solid performances; however Jimmi Halliday was the only correspondent who revealed the play’s sad and bitter and hopeless depths.
The highlight of the evening was “That Scottish Play”, again written and directed by Simon Denver. It is an over-the-top, cruel but spot-on portrayal of a rural amateur theatre group putting on Macbeth for all the wrong reasons. It was loaded with very funny plot one-liners and satirical caricatures. Joy Marshall was hilarious as the mayors wife determinedly doomed to play Lady Macbeth. Brad Thomson as Banquo was an “ocker” delight whose only connection with Theatre was his wife’s costume hire business. Then there was Michael Klease, the hired-in professional director who was on a losing streak the moment he accepted the job. The way-out feral trio cast as the witches (Ruby Drewery, Katrina Graham & Kali Blunt) were hilarious in their satire of alternative “entertainment”.
A very clever play; no wonder that Simon Denver’s new works (and re-runs) are always well received.
John Burls
Played at the pavilion at the Maleny Showgrounds, which is becoming a major theatrical venue of late, Random Acts Greatest Hits Volume One was a group of one-act plays which had been presented some years ago at the Maleny Players Clubhouse.
They were received for the SE Qld drama festival circuit and with great success for writer / director Simon Denver.
“Rock in the Water”, the story of Antigone and the all powerful King Creon, in which she refuses to give in to save her life, was a strong performance. The now multi award winner, Ruby Drewery starred as the strong willed Antigone.
“That Scottish Play”, the newest work of the trio, which Simon Denver introduced initially on this years festival circuit and which carried off its share of awards was a rollicking farce-comedy of the Dimboola genre, without a wedding in sight. A small country theatre groups gets a grant and hires a down on his luck director who runs into a wall of nepotism and the usual country stereotypes. Designed to get a continual run of laughs the piece about Macbeth earnt much of its mirth from sight gags and very well done they were. The quite remarkable, comedic, Joy Marshall, gave the first visual laugh and proceeded from there to take every advantage. Michael Klease (who actually broke his leg in a performance earlier this year) was the narrator – director. If I had any criticism it was that the final couple of minutes could have been cut. It was a “what happened next” thing and wasn’t really necessary as where the play finished prior to the tag piece was a big laugh and everyone tended to think it was the end anyway.
The other offering was “Letters”, a play I first saw a few years ago and which holds strong dramatic sway even with those who might not be aware of the horrors of WW2. It was based on letters written by residents and troops involved with the fall of Stalingrad, the city that waited for a recuse that was never coming. I always have a problem when the db levels get too high and some of the effects were over the top and distracted from the play – a point raised by adjudicator Kevin Hides when he saw the play at Buderim recently.
Simon Denver is one of a number of strong writers who call the Sunshine Coast home and these plays added to his reputation.
Nathan Crowther
A tale of two Showcases
Last weekend saw the showcasing of the wide array of talent of Maleny theatre. Audiences were treated to two one-act plays interspersed with scenes from Shakepeares Julius Caesar and a delightful Pandoran dance sequence from Bianca Van Den Heuval.
The first play “Letters from Stalingrad” directed by James Allen depicted doomed German soldiers reading aloud what were to be their last letters ever sent. Well portrayed by Jimmi Halliday, David Barnes, James Allen, Fergus Reilly, Simon Denver, Norman Coleman, Gabriel Coleman & Grant Myer, although the Playhouse acoustic consultant may like to note that despite the intimacy, some voices were hard to hear at times.
James Bates directed and performed the Caesar segments, playing both Caesaer and Cassius, with support from Fiona Arbuthnot, David Barnes and Jimmi Halliday. Nice bite sized Shakespeare for the uninitiated, and confirming for some that Willy is often better heard than read.
“Rock in the Water” directed by Simon Denver, completed an imaginatively designed evening of entertainment. This one-acter centred on the Greek legend of Creon’s anguish over the heroism of his niece Antigone, daughter of Oedipus, in the face of certain death. Very well acted with Stephen Lang, Nadia Okorn and James Allen.
And the Playhouse? A perfect venue for intimate theatre where those who enjoy projecting some of their own imagination to interact with the stage have every opportunity to do so.
Ian Austin
Acting talents showcased in works by local authors
“Rocks in the River” turned out to be not three one-act plays by local authors but a series of vignettes which showcased the acting talent of its mostly male actors.
“Letters from Stalingrad” was the dramatised compilation of letters from doomed German soldiers captured by the Russians at Stalingrad in 1943. Seven mailbags of these agonising missives to loved ones back home were to be flown out before the surrender. However, they were intercepted and never reached their destinations. These letters were some of them. James Allen was responsible for compiling the “play”, and the readings were handled well by the male cast..
There were two excerpts from Shakespeare’s Julius Caesar, with James Bates as Caesar, Fiona Arbuthnot as his wife Calpurnia, David Barnes as Brutus, and Jimmy Halliday (who also handled lighting) as the servant.
Bianca Van Den Heuval did a graceful interpretive dance about “hope” which was choreographed by Debbie Fretus-Tudorin.
The final offering “Rock in the Water” was directed and compiled from Classical sources by Simon Denver. It concerned the final tragic conflict between Antigone (Nadia Okorn) and Creon, a very powerful performance from Stephen Lang, although I do feel that quiet, controlled anger is always more effective than an explosion. James Allen as the guard again proved his definite talent for comedy with a well timed and cheeky performance.
Scrutarius
This latest offering was a triumph, for all concerned. Presenting in fact were five vignettes that entertained us with professionalism and aplomb, This was ensemble theatre at its best.
“Letters from Stalingrad”, directed by James Allen, had starving remnants of Hitler’s barbaric hordes writing their last letters home. Meant as a demonstration of the futility of war, the play succeeded, thanks to the efforts of the cast. As a special pleading from a WW2 veteran, my attitude to the Stalingrad debacle was “Serves the Bastards Right!”. Incidentally, the German High Command did not allow those letters to go home. They were considered too dangerous for morale. Much is made of the fact that of the 130,000 prisoners taken at Stalingrad only 5000 survived. This is considerably better that the nil rate of survival of the gas ovens.
“Julius Caeser” (act two, scene two) was a marvellous evocation of the episode when Big Julie (James Bates) received clear warning of the danger from his wife, Calpurnia (Fiona Arbuthnot) and oily rationales from Decius Brutus (David Barnes) about his need to attend the Senate. He ignored Calpurnia, of course – big mistake! – thus setting in train the events which led to his adopted son, Octavius, eventually seizing power. As Emporer Augustus, those he did not remove by postscription ended up being bored to death!
The first half of the program was rounded off by a delightful dance sequence, performed by Bianca Van Den Heuval, titled “Hope has a Place in a Lover’s Heart”. Graceful, youthful, beautiful. Bravo Bianca.
The second half of the program was led by Julius Caesar (Act one, scene one) where the devious and treacherous Cassius starts his seduction of Marcus Brutus in order to have his prestigious presence at the head of the revolt. Again, James Bates demonstrated his mastery of the classic mode. Without the aid of massive props or even adequate scenery, we were transported back to that momentous event in history. Good Theatre!
The finale “Rock in the Water” was a masterpiece at every level. We see Antigone (Nadja Okorn) insisting on burying her brothers corpse, left to rot by royal decree in a field. Antigone, knowing full well her fate, cannot allow her brothers remains to be buried unsanctified, This marvellous little playlet clearly demonstrates the dichotomy between the immutable laws of time and human reactions to them. King Creon (Stephen Lang), although a loving uncle to his niece, Antigone, must enforce the laws. Tribune (James Allen) gleefully partakes in the palace tragedy, treating the things he does as just another days work. After Antigone’s death, by immurement, so does king Creon.
Chronological History of Plays, Dates, Venues and Casts
“ROCKS IN THE WATER”
Three One Act plays and a Dance Fusion.
“Rocks in the Water”
“Letters from Stalingrad”
“Shakespearian Extracts”
& “Hope has a Place in a Lovers Heart” (a Dance Drama)
VENUE: Maleny Players Playhouse
DATES: Th 12th, Fri 13th & Sat 14th Feb 1998
CAST Nadia Okorn, James Allen & Stephen Lang (Rock)
Written and Directed by Simon Denver
Simon Denver, Grant Myer , Fergus Reilly, Jimmi Halliday, David Barnes, Norman Coleman, Gabriel Coleman (Stalingrad)
Collated by Simon Denver, Directed by James Allen
James Bates, Fiona Arbuthnot, David Barnes & Jimmi Halliday (Shakespeare)
Directed by James Bates
Bianca Van Den Heuval (Dance Drama)
Chris Wright, Dee Cooke & Danny Smith.
Audio/Lighting & Original Soundscape by Bernard Bisshop
“RANDOM ACTS”
Three One Act plays.
“Rime of the Ancient Mariner”
“And the gods held their Breath”
“One Grave Evening”
VENUE: Maleny Players Playhouse and festivals
DATES: Wed 8th, Fri 10th & Sat 11th July 1998
CAST: Leigh Finlay, Fiona Arbuthnot, Bianca van Den Heuval, Debbie Fretus-Tudorin. Grant Myer, Agi Goulter, Grahame Buckman & Bianca Paunovic (Mariner)
Written and Directed by Simon Denver.
Ruby Drewery, Danny Smith, Joy Marshall, Peter Merrill, James Allen, Pippa Phillipa, Kylie Slaughter, Bernard Bisshop (Gods) Written and Directed by Simon Denver.
Jimmi Halliday, Grant Meyer, Rob Reith Muller, Agi Goulter, Fern Hunter, David Townsend
Crew. Ferdinand Kroppman, Ryan Koch, Ben Reece
Audio/Lighting & Original Soundscape by Bernard Bisshop
“UP THE NILE”
A Two Act Theatre Restaurant
VENUE: Stewart’s Kawana Hotel
DATES: November - December 1999 (18 shows)
CAST: Ian Belcher, Greg Eastman, Steve Bedford, Ruby Drewery, Bianca Van Den Heuval, Simon Denver, Danny Smith, Lisa Tomson, Glen Wiles & Alan Lanham.
Writer/Director Simon Denver
“KABARET – THEATRE OF HOPE AND DESPAIR”
A 25 minute dance drama and a cabaret
“The Burning Times”
“Its a Brechtian Thing”
VENUE: Maleny Community Centre and others
DATES: Wed 5th Th 7th & Sat 8th May 1999
CAST Simon Denver, Bernard Bisshop, Mel Radak, Ruby Drewery, Nan Sweetser, Liz Schluter, Peter Merrill, Paul Harper Green, Vic Mowett, Paul Clement, James Allen, Jimmy Halliday, Nadia Okorn, Joy Marshall, Chris Weigel, David Townsend, Fiona Halliday, Ryan Koch. (Brecht)
Written and Directed by Simon Denver
Pix Vane Mason, Bianca Van Den Heuval, Lisa Cowans, Ruby Drewery Jimmi Halliday, Olivia Craig, Kim lang, Keira Peace Fiona Halliday, Duncan Coleman, Lee Rogers, Jodi Gowing (Burning Times) Written and Choreographed by Bianca Van Den Heuval
A forty minute version of the “Brechtian Thing” was performed for the Arts Council of Qld at Solothurn Retreat a week later. Two different forty minute versions were then taken to Buderim for two nights after Buderim had lost one of their three one act plays. Finally a one act version was entered into the Sunshine Coast festival.
“PLAYS OFF THE BACK OF A TRUCK”
Three One Act Plays
“Les Sept Peches Capitaux”
“Centuries”
“Apples, Serpents and other Myths of Convenience”
VENUE: Maleny Players Playhouse and festivals
DATES: Th 24th, Fri 25th & Sat 26th August 1999 & Festivals
CAST Nan Sweetser, Mel Radak, Ruby Drewery & Nadia Okorn (Serpents)
Written and Directed by Simon Denver
Simon Denver, Peter Merrill, Emma Clark, David Barnes, Joanne Jones & Bernard Bisshop.(Centuries)
Written and Directed by Simon Denver
Chris Surplice, Simon Denver, Bernard Bisshop, Fergus Reilly, Joy Marshall, Ruby Drewery, James Allen, Nadia Okorn, Mel Radak, Lisa Cowan, Nan Sweetser, Emma Clark, Danny Smith, Liz Schluter, Paul Clement & Jimmy Halliday (Les Septs)
Written and Directed by Simon Denver.
This was the first outing for “Apples and Serpents”. It was a four hander. The following year it was performed only on the festival circuit as a three hander and technically as a youth production. The Cast was as follows
Ruby Drewery. Kali Blunt & Aggi Goulter.
Written by Simon Denver – Directed by Ruby Drewery
Audio/Lighting & Original Soundscape by Bernard Bisshop
“GROOVEY BABY – IT’S BACK TO THE 60’S”
A Two Act Rock Cabaret.
VENUE: Britannia Inn (Brisbane) One night Maleny Community Centre (For the Arts Council)
DATES: 23rd Oct - 22nd Dec 1999
CAST Simon Denver, Ruby Drewery, Bianca Van Den Hueval, Paul Clement, Alan Lander, James Allen, Jane Barlowe, Chris Surplice Liz Schluter, Danny Smith, Chris Lotinga, Jamie Whitney and one other
Writer / Director Simon Denver
“PASSION”
Two hour fusion Cabaret. Contained the dance drama “The Raven”
VENUE: Maleny Show Pavilion
DATES: Wed 29th, Th 30th & Fr 31st March 2000
CAST Jane Barlow, Chris Surplice, Simon Denver, Bernard Bisshop, Lisa Tomason, Joanne Jones, Fergus Reilly, Terry Keane, David Barnes, Danny Smith, Steph Arlidge, Joy Marshall, Ruby Drewery, Dianne Fogerty, Anne Buff, Chris Wright, Magaret Stathakis, Sue Lee, Jimmi Halliday, Liz Schluter, James Allen, Paul Clement, Darshan Rasborek, Vic Mowett, Alan Lander, Ian Belcher, Kali Blunt, Fiona Halliday, Lesley Halliday, Katrina Grahame, Aggi Goulter, Peter Merrill, Stephen Lang, Pip Bisshop, Owen Grey. Written and Directed by Simon Denver. “The Raven” Conceived and Directed by Ruby Drewery – “The Sermon” by Darshan Rasborek. “Time” by James Allen. “Bellbird” conceived by Liz Schluter.
Audio/Lighting & Original Soundscape by Bernard Bisshop
“MURDER BY DEATH”
A ten minute “Radio Play”
VENUE Maleny Community Centre – the Mayors Command Performance.
DATES June 2000
CAST Simon Denver, James Allen, Bernard Bisshop, Ruby Drewery & Joy Marshall.
Written and Directed by Simon Denver
“GREATEST HITS – VOLUME ONE”
Three One Act Plays
“Rock in the Water”
“Letters from Stalingrad”
“That Scottish Play”
VENUE Maleny Show Pavillion and various festivals
DATES: Th 21st, Fri 22nd & Sat 23rd Sept 2000
CAST. Ruby Drewery, Simon Denver, James Allen, Bernard Bisshop (Rock).
Written and Directed by Simon Denver.
Brett Klease, Brad Thomson, Darsh Rasborek, Michael Klease, Jimmi Halliday, Grant Meyer, Terry Keane, David Townsend, James Allen, Joy Marshall, Kali Blunt, Katrina Grahame, Ruby Drewery, Liz Schluter, Jane Barlow, Pieta Harris, Fergus Reilly, Bernard Bisshop. (Stalingrad)
Written by Simon Denver et al. Directed by James Allen
Michael Klease, Joy Marshall, Chris Surplice, Brad Thomson, Ruby Drewery, James Allen, Kali Blunt, Katrina Grahame, Danny Smith, Jimmi Halliday, Bernard Bisshop. (Scottish)
Written and Directed by Simon Denver.
Audio/Lighting & Original Soundscape by Bernard Bisshop
“EXPLOSIVE HITS OF THE 70”s”
A Rock Cabaret.
VENUE: Britannia Inn (Brisbane). Maleny Community Centre (Two Nights)
DATES: 21st Oct - 23rd Dec 2000
CAST: Simon Denver, Ruby Drewery, Kali Blunt, Paul Clement, Alan Lander, James Allen, Jane Barlowe, Chris Surplice, Divishti, Danny Smith, Chris Lotinga,
Written and Directed by Simon Denver
“BEATING A DIFFERENT DRUM”
Three / Four One Act Plays
“Jehanne”
“The Flaw”
“Great Nebula in Orion” (Two nights)
“Truscott” (One Night)
VENUE Maleny Show Pavillion and various festivals
DATES Th 27th, Fri 28th & Sat 30th Sept 2001
CAST Mel Radak, Brad Thomson, Fergus Reilly, Joy Marshall, Judy Evans, David Layt, James Allen, Phil Hands, Mark Stower, Natasha Wayling, Cheryl Garson. (Jehanne)
Written and Directed by Simon Denver.
Michael Klease, Brett Klease, Annette Schoenberger (Ruby Drewery, Louise Finnigan, Joy Marshall) (Flaw). Written by Mil Perrin. Directed by Simon Denver.
David Layt, Kieth Souter. (Truscott) Written by Eric Ftzjohn. Directed by Kieth Souter. A Nambour Lind Lane Production.
Jaqui Mata-Luque, Rainee Skinner. (Nebula) Written by Landford Williams. Directed by Glenda O’Sullivan. A Bellatrix Production.
Audio/Lighting & Original Soundscape by Bernard Bisshop
“OLDE TIME MUSIC HALL”
A Two Act Old Time Music Hall
VENUE: The Maleny R.S.L Hall
DATES: Fr 16th & Sat 17th November 2001
CAST Liz Schluter, Divishti Rankin, Steph Arlidge, Simon Denver, Phil Hands, James Allen, Magaret Brennan, Peter Merrill, Brad Thomson, Michael Klease, Brett Klease, Alan Lander.
Written and Directed by Simon Denver.
“MTV”
Two hour comedy. About 40% was filmed and shown on screen
VENUE: Maleny Show Pavilion
DATES: Th 29th, Fri 30th Nov & Sat 1st Dec 2001
CAST Bob Ether, Pauline Clayton, John Mays, Steve MaCliesh, Lenny Slaughter, Danny Rose, Elvis, Harry, Ian Reynolds, Chinmai and Friends, Paul and Helen Guilmore Walsh (Film Only). Steph Arlidge, James Allen, Joan Benson, Simon Denver, Bernard Bisshop, Magaret Brennan, Ruby Drewery, Louise Finnigan, Linda Fraser, Katrina Grahame, Phil Hands, Terry Keane, Brett Klease, Michael Klease, Allan Lander, Stephen Lang, David Layt, Joy Marshall, Peter Merrill, John Mays, Peter Moore, Fergus Reilly, Mark Stower, Chris Surplice, Steve Thompson, Jonathan Waite, Natasha Wayling. Written By Simon Denver. Additional Material James Allen, Peter Merrill and Chris Surplice. Directed by Simon Denver.
Technical Director, Cameraman, Editor, Soundscape etc Bernard Bisshop.
“KABARET – BEATING A DIFFERENT DRUM”
A Touring Kabaret
VENUE C7 Toowoomba
DATES Jan 2002
CAST Simon Denver, James Allen, Peter Merrill, Chris Surplice & Julienne Youngberry.
Written and Directed by Simon Denver
“KABARET – LIFE IMITATING ART”
VENUE: The Stuffed Olive, Maleny
DATES: Fri 19th April 2002
CAST James Allen, Jacinta Foale, Paul Clement, Ruby Drewery, David Townsend, Arcadia Flynn, Divishti, Anthea Underwood, Michael Klease, Joy Marshall, Brett Klease, Murray Wall, Steph Arlidge, Kardi Boydell, Peter Merrill, Lisa MacDonald, Josephine, Lexie Startie, Simon Denver, Bernard Bisshop.
Written and Directed by Simon Denver.
“THE FLAW”
A recast, touring version of the play
* In Association with Theatre “S”
VENUES: Café Paradiso Noosa Th 2nd & Fri 3rd May 2002*
Kingston House Gympie Wed 8th May 2002*
Cooroy Butter Factory Fri 10th & Sat 11th May 2002*
C7 Toowoomba Fri 17th & Sat 18th May 2002*
The Carlie Crowe 24th & 26th May 2002*
DATES May 2002
CAST Brett Klease, Michael Klease & Ruby Drewery. Simon Denver, Bernard Bisshop & James Allen (Tech). Written by Mil Perrin.
Directed by Simon Denver.
“KABARET – LIFE IMITATING ART”
A Touring Kabaret
(with Divishti, under the title “In the Groove”)
VENUE The Carlie Crowe Fri 26th & Sat 27th July 2002
Ainlie House August 2002
Maleny RSL. Sat 31st August 2002
DATES July / August 2002
CAST: Simon Denver, Bernard Bisshop, Steph Arlidge, Anthea Underwood, James Allen & Murray Wall.
Written and Directed by Simon Denver
Divishti, Giita, (In the Groove).
Written and Directed by Divishti
“RETROMANIA”
A Rock Cabaret
VENUE: Buderim Wanderers Soccer Club
DATES: Late Nov – Dec
CAST: Simon Denver, Ruby Drewery, Aungelie Rankin, Colin Chapman, Alan Lander, James Allen, Divishti, Giita, Michael Klease, David Townsend, Glen Wiles, Danny Smith, Joy Marshall. Written and Directed by Simon Denver
“STAA AWARDS 2003”
VENUE Caloundra Civic Centre
DATES: February 7th 2003
CAST Simon Denver, Bernard Bisshop, Brett Klease, Michael Klease, Joy Marshall, Murray Wall, This was the entertainment provided for the annual award night.
Written and Directed by Simon Denver
“LOCKED DOORS OPEN WINDOWS”
A rather large, Two Act Cabaret
VENUE The Upfront Club, Maleny Performed under the name ‘Hypocrytes’
DATES 2003 12th & 14th June
CAST Everyone, and then some.
“2004 STAA AWARDS”
VENUE Caloundra Civic Centre
DATES: February 7th 2004
CAST Simon Denver, Bernard Bisshop, Brett Klease, Michael Klease, Howard Tampling, Tyndal, Ryan Magaw, Hayley Martin, Rachel Fentimen This was the entertainment provided for the annual award night.
Written and Directed by Simon Denver
Unfortunately we never received any reviews for “Jehanne”, “Apples, Serpents and other Myths of Convenience”, “Olde Time Music Hall”, “Explosive Hits of the 70’s”, “Stuff”, “Locked Doors - Open Windows” “Two of a Kind”, “Beating a Different Drum” (Kabaret) & “Retromania”
Sometimes, in shadows dark, and in hushed tones, we speak of our prodigal parent - Random Acts.
Random Acts was a community theatre with a professional wing. Below are the posters, the reviews and cast lists. In fact, it is the whole sordid truth.
Apples, Serpents and other myths...
Off the Back of a Truck
Beating a Different Drum
a Black Comedy Kabaret
Beating a Different Drum
3 One Act Plays
Centuries
Explosive Hits of the 70’s
The Flaw
And the Gods....
R A Greatest Hits
Groovey Baby
Jehanne
Job’s Right
Les Sept Peches Capitaux
Life imitating Art
In the Groove
Locked Doors,
Open Windows
MTV
Olde Time Music Hall
Life imitating Art
Passion
RA trilogy
RA Kabaret
Retromania
Rime of the
Ancient Mariner
Rock in the Water
Letters from Stalingrad
Stuff
That Scottish Play
Copyright SRT inc 2003-2009
