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Category Archives: Theatre

by the Therry Dramatic Society.

 

 

What’s the Story?

The owner of a health resort is shot dead, then made to look like it was an accident. His replacement finds a box of chocolates on his desk and, when people eat them, they die. Looks like it’s up to this wacky cast of characters to work out whodunnit!

 

What’s the Problem?

Main Character

I forget his name and the internet isn’t the sort of place to go “looking things up”, but the main character has too many joke lines. I’d call them funny lines, but they’re not often funny. They’re lines that are supposed to be jokes, but the audience feels like it’s drowning under the sheer volume of them. Every second line of his is a half-aside to the audience or some quip that doesn’t advance the story.

And when your main character seems to be going out of his way to delay the story, it makes for a tedious time.

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Produced by the Adelaide Theatre Guild

Playing at the Little Theatre 4-8th and 11-15th of October.

TICKETS: $25 Full / $20 Concession or 10+ group on 8303 5999 or www.adelaide.edu.au/theatreguild or BASS 131 246.

 

 

What’s the Story?

Katurian has written 400 short stories. Perhaps 20 feature children dying in horrible ways. Only one has ever been published. At the start of the play, Katurian has been blindfolded and taken into an interrogation room by two police officers of a totalitarian dictatorship. One, Ariel, tends to rely on physical brutality to get his answers. The other, Tipolski, uses mind games. As the play unfolds, we discover that there has been a recent spree of child murders that very closely resemble those in Katurian’s stories.

 

What’s the Problem?

Remarkably little. And I mean that. This play was written by Martin McDonagh, and if you’ve seen In Bruges then you know what you’re in for. It’s funny, it’s dark, it’s slightly twisted, and the interrogations are about 80% wordy mind-games, which I love.

 

Swearing

That said, the characters swear a lot. Like, every second f***ing sentence. I’m not exactly prudish when it comes to language myself, but McDonagh has a habit of foul-mouthed characters (see In Bruges again). The problem I have with it is that the swearing doesn’t add anything to the story. It works for Ariel most of the time, because it shows that he’s a bit rougher than the other characters, without their eloquence or intelligence, but there are other ways of showing that, and the story does them.

Eh. Just be prepared for swearin’ aplenty and you’ll be fine.

Of course I swear! How else would you know I was an angry, maladjusted sort of character?

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By Agatha Christie

(Presented by The Therry Dramatic Society September 1-17, 2011) 

 

 

What’s the Story?

A young couple, Mollie and Giles Ralston, are opening Monkswell Manor as a guest house. However, one of their guests murdered a woman in London and has two more names on their list of people left to kill…

 

What’s the Problem?

It’s a bit… like Agatha Christie didn’t bother to revise it. It was expanded from a much shorter radio play and it’s like she dashed out a draft then didn’t go back to edit it at all. For example…

 

Children

This is your problem right here.

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Presented by St Jude’s Players

5-7 and 10-14 May 2011.

What’s the Story?

After a bad night at the football, Percy picks up a hooker (Cyrenne) and they go back to her place to seal the deal. Percy then chickens out but refuses to leave.

 

What’s the Problem?

Plot

There isn’t one. This is one of those character pieces, where two actors come on stage and talk about who they are and how they feel and nothing is at stake and nothing really happens. That isn’t necessarily a bad thing, so long as the characters are interesting and dynamic and stuff.

However, it gets old by about the third time Percy picks up his coat and scarf and heads for the door, only to turn back at the last second or discover the key missing or some other useless thing to keep him there.

I just wanted him to leave… and he was so close…

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