State Theatre Company South Australia. Dunstan Playhouse. 5 Apr 2025
For one who has writing about theatre and the arts in this city for sixty years and then some, The Dictionary of Lost Words carves quite a notch in theatre history.
It has been the ultimate in sell-out shows. That’s the first given.
It derived from an international best-seller book written by a local, Pip Williams. It was adapted for the stage by the distinguished theatre writer Verity Laughton. And she, just by the way, is the unassuming matriarch in a dynastic theatre family. And, the result of her dramatisation has found legs onstage through our own State Theatre Company in now two seasons for which it was beg, borrow or steal just to get a ticket. It has been the hottest ticket seller in the company’s history, and it also thrived in Sydney and Melbourne.
Extraordinarily, it is a wordy play all about words.
No song and dance and not exactly a bundle of laughs. Just a whisper of whimsy.
Furthermore, it is a period piece set in the 1800s.
And yet, here we have this amazing phenomenon which really must have a salute for the arts archives.
That it weaves in the passions of the suffragette movement, the rigidity of the old patriarchy, and the societal judgements on illegitimacy, are artful by-the-ways to the plays resounding relevance. Ah, yes. There’s an element of love, too.
This critic has seen it twice, both times as directed by Jennifer Arthur and designed by Jonathon Oxlade with costumes by Ailsa Paterson. The only ostensible difference was in the cast.
It left Adelaide with the incomparable Tilda Cobham Hervey in the lead and, incomparable she was, hence a hard act to follow by Shannen Alycen Quan. This role depicts Esme Nicholl, first seen as the wee daughter of one of the men engaged in the compilation of the Oxford English Dictionary. She has found on the floor under the tables of the Scriptorium the first lost word, "bondmaiden", a word which is foundation to the feminist spirit of the play. Taking the word with her, Esme grows up as a woman determined to have a life of independence against the patriarchal environment of the times. While Esme is a fictional creation, the gruff Scotsman behind the Scriptorium lectern represents the truth upon which the story is based. He is the great Oxford lexicographer Sir James Murray in whose Oxford Garden shed was indeed the Scriptorium wherein the work of word-gathering did take place. He was impeccably embodied in the first production by Chris Pitman; another hard act to follow performance as it left Adelaide. In this new incarnation Brian Meegan develops the role with a nice simpatico streak. Meanwhile, Ksenja Logos of the original cast continues to play multiple roles beautifully. Kathryn Adams, Johnny Nasser, Arkia Ashraf, Angela Nica Sullen and James Smith also shine.
Although offstage chatter had it that there were assorted production elements which might have been honed or changed for the eastern states runs, it was not a better production which returned. It actually seemed a little less tight and spirited. It is an unapologetically long play.
A note here: I viewed the original production from classic critics’s seats in the stalls. The show’s massive popularity and my own overcrowded calendar had me seated in the back row of the gods for the second viewing. There are no bad seats; just different aspects. From the balcony, the stage is like a doll’s house. But the glory of this bi-level Oxlade set with its busy wall of pigeonholes plus its AV components remains a marvel of design and the nigh-perfect miked sound means that not a word is lost. Nuance lives.
It is glossy professionalism from end to end. Not only but also, it is an important piece of theatre - a shining achievement of ingenuity and erudition.
The universality of themes, the relevance of preserving and respecting language, yet more significant in this time of reclamation of lost languages of our own aboriginal people, should give this play a place in the repertoire of Australian classics.
Everyone should see it.
And, on that note, it is heading off and away on interstate seasons to spread the word on words. My word is “brava”.
Samela Harris
When: 3 to 17 April (Adelaide) continuing till 7 Jun on tour.
Where: Dunstan Playhouse
Bookings: stateheatrecompany.com.au
Brisbane: 26 Apr to 10 May – Playhouse, Queensland Performing Arts Centre
Canberra: 15 May to 24 May – Playhouse, Canberra Theatre Centre
Wollongong: 29 May to 7 Jun – Merrigong Theatre Company
Northern Light Theatre Company. The Shedley Theatre. 29 Mar 2025
I find staged plays based on movies, as opposed to movies based on plays, intriguing. “Why? Why do they do it” is the question I ask. And I haven’t been out to the Shedley Theatre in the City of Playford for a long time. A very long time!
Northern Light Theatre Company’s staging of Billy Elliot, The Musical proved the adventure into both territories worthwhile! I am so glad I ventured out! This is a long review, and with good reason!
This brilliant musical adaptation with Book and Lyrics by Lee Hall, and Music by none other than Sir Elton John, captures the vibe of the 1984/1985 miners’ strike and Thatchers England so evocatively portrayed by the Universal Pictures/ Studio Canal movie, Billy Elliot made in 2000.
Growing up in the Northern pit village of Easington is challenging for twelve-year-old Billy (Aidan Salmon). Despite tough times and the strike, Billy is to follow in the coal mining footsteps- and probably lung disease prognosis- of his father, Jackie (Andrew Mair) and brother Tony (Liam Phillips). These are fiercely stoic working-class Yorkshiremen with nought but fire in their belly and honour in their hearts. They work hard and are proud of it! They are hard men. Billy is also expected to do what working class lads do - contact sport, in this case, boxing lessons, for 50 pence a week. Nowadays, it’s more likely to be boxing via finger jabs on a keyboard, but that’s not the point! Billy’s life is grim. The realities of growing up, cash strapped, in a small terrace house with his brother, widowed father and Grandma (Wendy Rayner) who slips in and out of dementia, is lightened by Billy’s best friend, Michael (Noah Magourilos).
One evening after a less than half-hearted attempt at boxing, Billy is tasked with giving the ballet teacher, the effervescent realist, Mrs Wilkison (Sarah Hamilton) the key to the community hall. Billy suddenly finds what has been missing in his life- dance. The greyness of a Northern English mining town now has a glimmer of light for Billy, but it’s a glimmer of light boys like Billy must guard from the menfolk for fear of homophobic judgement. What, after all, is the use of ballet to a boy destined to follow his forebears into the bowels of the earth? The Arts is for that lot over there, not the likes of us! For working class boys, it’s an age-old story – unless they form a rock ‘n’ roll band! Michael is the only male Billy can confide in largely because Michael has his own secret, no spoilers here!
With a miner’s strike becoming protracted and violent, Billy’s aspirations become even less relevant until Jackie unexpectedly witnesses his son expressing himself through dance in what, in this production, is a deeply moving scene. Jackie seeks Mrs Wilkinson’s guidance and sacrifices his most sacred thing as a Union man, his honour, to scrape together funds so Billy can audition in London for The Royal Ballet School. Finally, the solidarity of the working people of the age is captured beautifully by Lee Halls dialogue and lyrics and Elton John’s emotive music.
Amateur theatre is holding the line for theatre in Adelaide! While Martha Lott’s Holden Street Theatres straddles the line of pro-am and presents great theatre, and the Eustice brothers’ Red Phoenix does work of similarly excellent standard, it’s the amateur scene that is the so called second tier to State Theatre Company. More on that later. If “amateur” is taken to mean "lover of" or "enthusiast for,” this production on the Shedley Theatre stage overflows with both!
Where does one start with praise for this uniformly strong cast? Sixteen-year-old Aidan Salmon is superb as Billy. Not only can “our lad” dance, sing, and act to perfection-ay but does fair accent, too! Salmon is a stage presence to watch. If he doesn’t audition for WAAPA when he’s the right age, there’s more amiss in the world than MAGA! Similarly, Noah Magourilos possesses the comic timing of a seasoned veteran! Together, these fine young performers create the chemistry of boyhood friendship with sublime finesse- and their dance routine is to die for! This warrants timely mention of choreographer, Sarah Williams. What a talent! A show about an emerging dancer requires exceptional dancers so kudos, too, to the remarkable ensemble of dancers of all ages! And a special mention must be made for Milla Illic as Debbie Wilkinson, another young talent to watch! Sarah Hamilton and Wendy Rayner sparkle as the vibrant realist, Mrs Wilkinson and deeply sad, addled, and likable Grandma respectively. Kate Hodges manifests as Billy’s deceased Mum beautifully throughout.
Andrew Mair perfectly captures the complex inner turmoil of a simple, honest, emotionally inarticulate man, while Liam Phillips as his eldest son balances just the right amount of youthful rage with the resentment of one who, deep down, knows the cards are stacked against him. Very much to Michelle Davey’s credit these are strong leads directed well in a strong, tight, ensemble. One minor quibble lies with some of the blocking around interpersonal moments of conflict- proximity sometimes diminishes intensity.
Highlights? Too many to name! However, I was particularly moved, as were all, by The Letter, rendered with deep sincerity by Salmon, Hamilton, and Hodges, while Rayner’s Grandma’s Song conveyed the frustrations of a generation of working-class women very effectively indeed. But I’m splitting hairs - all the numbers were wonderful! While referring to music, the Musical Director, Billy James St John, clearly assembled an orchestra of superb musicians.
As mentioned earlier, amateur theatre fills a void in this State, the Festival State, the State once renowned for theatre! Premier Peter Malinauskas’ focus on infrastructure and events like the Gather Round is commendable. But let he and Minister for Arts, Andrea Michaels, not forget Winston Churchill’s observation, “The arts are essential to any complete national life. The State owes it to itself to sustain and encourage them!” C’arn! Get behind theatre for all!
In the heartland that is Elizabeth, Northern Light Theatre Company’s production of Billy Elliot, The Musical is doing that at an extraordinary standard!
There’s nothing more to say about Billy Elliot, The Musical than… go, see it!
John Doherty
When: 28 Mar to 12 Apr
Where: Shedley Theatre
Bookings: nltc.sales.ticketsearch.com
John Frost for Crossroads Live, Shake and Stir and Power Arts in Association with James Wilson. Festival Theatre. 26 Mar 2025
Would-be glitzy nightclub singer, Deloris, witness to her Philadelphia underworld boyfriend committing a murder, finds refuge amid the Sisters of Sorrow in a nunnery. Therein, she teaches the discordant nuns how to be happy singers. Adding comedy and romance to the plotline, there's a trio of clown villains and a cowardly policeman.
Thus does this big musical stage version of Sister Act follow the general outline of the famous Whoopi Goldberg movie and indeed, it has sustained a much-awarded history on Broadway and the West End.
In a sweet twist of American musical theatre irony, this show about Catholic nuns was based on a book written by a celebrated husband and wife writing partnership: Cheri and Bill Steinkeller, with music by Alan Menken; all three Jewish.
Very tried, tested, and delightfully untrue, the story comes to Adelaide with Australian Idol star Casey Donovan in the lead. Perchance, she is the first Australian First-Nations artiste to fill this world-famous role. She does so with the wildest Afro hair and the shortest bling cocktail frock in the business and one of the biggest voices ever to rock the stage. With treble on amps in the Festival Theatre, she truly knocks the socks off. And when the atonal nuns shrill forth in myriad vibrato high Cs, the audience is enveloped in a peerless auditory cocktail. Thank the powers of orchestral sanity that Deloris subdues her own over-singing to teach harmony and good old pop to those chaste nuns amid the iconography of Catholic Godliness.
The nuns are unleashed. Come on down song and dance and some utter slapstick silliness. This makes the second half of Sister Act much more fun than the first.
Indeed, it is almost like two shows for the price of one.
Donovan is every bit the concert diva in this show. She stands a world apart from the old-musicals headliners onstage around her. New school versus old school. Therein glows Genevieve Lemon who plays the Mother Superior. Lemon is consummate. She has presence. She’s a seasoned Australian star showing her cachet as a character actor. Then, there is the adored Rhonda Burchmore who affirms her showbiz class by taking on a role in the nun chorus. She’s Sister Mary Lazarus. This form of theatrical solidarity from a star of Burchmore’s standing engenders the admired theatrical label of “trouper”; a five-star trouper at that.
The nun chorus is, of course, excellent. It is a group of terrific singers and dancers clearly having a very good time onstage. One Gabriyel Thomas shines forth with particularly infectious joi de vivre in the chorus numbers. The trio of buffoon villains played by James Bell, Jordan Angelides, and Tom Struik, get some lovely moments in the sun with a couple of nicely choreographed routines: When I Find My Baby, and Lady in the Long Black Dress, which quite rightly bring the house down.
Genevieve Lemon is showstopper with the very perspicacious song, I Haven’t Got a Prayer, while, as the hapless Philly policeman with a cheesesteak in his pocket, Raphael Wong wins hearts and minds and laughs and, bless him, gives the audience a taste of his operatic prowess. He’s a character and voice that everyone can love.
Sophie Montague, Adam Murphy, Bianca Bruce, and Damien Bermingham are notable in character parts and Daniel Griffin’s orchestra does not miss a beat. Indeed, within Morgan Large's towering and versatile ecclesiastical set, it is all snazzy production values, whipped into snappy timing by director Bill Brockhurst.
It is all that one expects of the technical professionalism of a touring show under the John Frost banner.
Perchance it is cornball and lacking in memorable songs. But, by hell, it is something to do in Adelaide on a Thursday night. And, the frocks are fabulous.
Samela Harris
When: 26 Mar to 19 Apr
Where: Festival Theatre
Bookings: adelaidefestivalcentre.com.au
Adelaide Fringe. The Kingfisher at Gluttony. 21 Mar 2025
TOD Talks is an improvised bunch of TED-style talks by five comedians taking the opportunity to cross market their own shows. They are dealt audience-generated topics and slides they’ve never seen. The results were scored by the audience, and they pretty well got it right. That is, they agreed with me.
A vivacious female mixed absurdity with flirting - a winning combination. The better comics sustain interest for their whole 10 minutes with wit and creativity, while others encounter the occasional comic headwinds. They are all crazy brave. Although nobody was at a loss for words, your money is better spent elsewhere. But that was my night, yours will always be different with different comics.
David Grybowski
When: 18 to 23 Mar
Where: The Kingfisher at Gluttony
Bookings: adelaidefringe.com.au
Adelaide Festival. Her Majesty’s Theatre. Ilbijerri Theatre Company. 14 Mar 2025
This is a story of family and of love, specifically of the Butcher brothers and their dream to play music together and be rock and rollers. The boys from Papunya formed the Warumpi Band in 1980; Sammy Tjapanangka Butcher on guitar, his brother Gordon Tjapanangka Butcher on drums, and Neil Murray on rhythm guitar and singer George Burarrwanga, a Yolgnu man who joined the family when he later married Suzina Butcher, sister of Sammy and Gordon. As is made clear in the narrative of this performance, the Warumpi Band existed first and foremost to satisfy the members’ craving to make music, and success brought tensions such as exist with many such groups, especially when success means long periods away from home.
But first, this is a theatre show based on the story of Warumpi Band. It is not a band performance, though that is largely the structure in which this performance is presented, and this allows the audience to fully become part of the show, calling and whistling and laughing along with the actors onstage. According to my companion “showtime is showtime” and she chided a professional theatre company for not being on time; simply the latest instance in weeks of late starts from professional companies. The audience didn’t mind, people were casually wandering in ten minutes after the advertised time – perhaps it’s becoming a circular argument. And what a crowd they were; the Adelaide crowd and family, friends and mob from all over the country, on their feet and enjoying themselves from the first song.
Co-Directors Rachael Maza and Anyupa Butcher have opted for a simple music structure for this performance, with short linking storytelling excerpts interspersed through the 100 minutes. This keeps the performers on their toes as the tale pivots quickly from music to introspection. One suspects having original Warumpi Band member Sammy Tjapanangka Butcher as musical consultant kept the cast on their toes also. There are six frontline performers, Cassandra Williams plays Suzina and all the female roles, Baykali Ganambarr plays Sammy Butcher, Jack Hickey plays Gordon, Corey Saylor-Brunskill plays Brian Butcher, a sometimes band member, Taj Pigram plays a vibrant George, Jackson Peele plays Neil Murray. All play and sing as part of the performance.
In addition to these frontmen there is the band in the background, lead by the musical director Gary Watling, on guitar. He is joined by bassist Malcolm Beveridge, drums and keyboard player Jeremiah Butcher and lead guitarist Jason Butcher (eldest son of Sammy Butcher). What it all means is the musical passages are covered by a very muscular band indeed, much more punk rock in sheer buzzing energy than countrified and easy-going. Most commonly there were three guitars working a riff, and with Taj Pigram bounding around and demanding the audience’s participation the evening became a celebration of the Warumpi’s music.
Of the music itself, those of us of a certain age will always remember Stompin’ Ground, Black Fella/White Fella, Stand Up and Be Counted, and, of course, My Island Home, a song written by Neil Murray for George Burarrwanga after a visit to the latter’s homeland, Elcho Island. The songs themselves, so naturally a part of Warumpis story since they show the band’s culture and agenda (land rights, demands to be recognised and taken for who they are), become the bedrock of the performance. In fact, there is one minor aspect which seemed to exemplify this perfectly, when in the narrative the cast recalls Warumpi performing at Hordern Pavilion with Midnight Oil, mimicking ‘the tallest white man they had ever seen’, fully aware that Peter Garrett was in the audience directly in front of them. Though the love and respect of the two bands for each other is well known, this was a Warumpi moment, and to his credit Garrett did not play up to it, remaining seated even during the acclaim and encore, which was boisterous.
This was such an enjoyable performance, as much a celebration of what the Warumpi band was and what they meant to their people as much as what might have been. The simple truth of a band who ‘might have been more’ yet fractured under pressure or wanted to be home with family more than they wanted fame and fortune resonated for me as strongly as their sheer joy in performance. A rare evening to be part of.
Alex Wheaton
When: Closed
Where: Her Majesty’s Theatre
Bookings: Closed