Skip to main content

Review: Great Expectations // Villanova Players

 

Written by Jake Goodall

Set in the early 1800s, welcome to one of Dickens' most famous novels brought to life by Villanova Players at the Ron Hurley Theatre. This classic tale had audience laughing with traditional quips and jokes left right and centre, perfect for the older demographic to relive their youth. 

Great Expectations follows the childhood and young adult years of Pip, a blacksmith's apprentice in a country village. He suddenly comes into a large fortune (his great expectations) from a mysterious benefactor and moves to London where he enters high society. Written by Charles Dickens and adapted for the stage by Janys Chambers, this is a story full of amazing characters, from a poor rural village to the heights of London society and all places in between.

This bare production utilises very basic set pieces with wooden chairs, a table and some blackened platforms. This multi layered set allowed for great depth and adaptability for the production to showcase different areas. 

An interesting choice was to start the production with a video showcasing the 2024 season, this video could have played prior to the show starting as it detracted greatly from the audience engagement of the start of the show. In addition a questionable choice was the use of projection to emulate back drops for each place setting. Some backdrops such as Miss Haversham's home are extremely detailed and meticulously created, in contrast the majority of the other back drops were plain and simple which didn't add to the production, the production could have succeed without the use of projection. 

Direction by Jill Cross was simple and minimal, the blocking was natural throughout most of the production however on occasion was a little jilted. There were times where the blocking was extremely static, this could have been chosen to focus on the character's and their stories however did not translate the best. 

Whilst technical elements in this production could have been investigated more, where it shines is the talent and expertise of the performers. Lachlan Gregory Hugh as Pip was a star in this production, Hugh gave the awkwardness this character needed. Additionally commendation to Hugh for learning an insane amount lines throughout this production, Hugh rarely left the stage through the entire 2 hour show. Opposite Hugh was Emily Summer as the hard hitting Estella, Summer portrayed this character perfectly with the coldness Estella needed. Linda Stevenson as Miss Havisham was stunning, Stevenson showcased this jilted women with ease, providing the high status lady controlling the underlings. 

However the true star of this production was Lia Surrentino and Desley Nichols' costuming, their impressive needle work provided the audience with stunning dresses, tailored suits and beautiful jewelry. Specifically creating the upper and lower classes through colour and fit was a commendable choice. 

Whilst there were some elements that could have been developed further, Great Expectations by Villanova players was a great production supported by a talented cast and crew. This production was clearly an enjoyable experience for those in the community familiar with Dickens' work

Comments

Popular posts from this blog

Article: The Empire Young Artist showcase original production

The Empire’s youngest artists have kicked off rehearsals for their original production, Our Egg Named Larry to be performed from July 12-13. Now in its 14th year, the audition-based elite performance program IMPACT sees a Junior Ensemble cast of eight aged 13-14, dive into the funny, heartwarming and at times ridiculous story of a group of students who are assigned to a project to keep a fragile egg named Larry in one piece. An original theatre piece, Our Egg named Larry was written by The Empire Youth Arts Lead Grace Sankey and co-writer Sheldon Mcloughlin, with ensemble members to contribute to the script writing process, drawing on discoveries they make about their own characters as rehearsals continue. “This year’s Junior Ensemble has a mixture of experience levels with some members who have done this program before and some who will be going on stage for the very first time,” Miss Sankey said. “I am so grateful to be in the rehearsal room with these amazing young people, creating ...

Review: Hair - Gold Coast Little Theatre

 Written by Mark Rickell   “Back in the late 1960s, the artists of off-Broadway and off-off-Broadway had been complaining that the professional theatre was dead, and even worse, that it was boring. Hair was the revolution they had been waiting for. With very little plot, a unit set, plenty of four-letter words, explicit sexual content, rituals, drugs, lyrics that didn’t rhyme, music that didn’t follow the rules, and the sound of genuine rock and roll on the Broadway stage for the first time, this musical knocked Broadway on its collective ass.” - Scott Miller, Rebels with Applause: Broadway's Ground-Breaking Musicals   Gold Coast Little Theatre has faithfully continued the tradition of knocking theatre on its ass. With themes and topics that remain just as relevant today as they did in 1967 at the show’s original release, GCLT has absolutely smashed this Broadway classic. At a time when theatres across South East Queensland seem to be falling back o...

Review: Scenes From a Yellow Perril - The Reaction Theory & Queensland Theatre Door 3

Written by Grace Wilson The best kind of theatre is theatre that makes people question, reflect and consider how uncomfortable questions encourage people to act and change. There are not many theatre pieces out there that can make an audience consider whether to laugh or cringe, smile or grimace. However, The Reaction Theory’s ‘Scenes From a Yellow Peril’, as a part of Queensland Theatre’s Door 3 program, masterfully manipulates the uncomfortable with the comedic, the angry with the heartfelt, and asks the audience if uncomfortable questions are worth the discoveries that come with them. ‘Scenes From A Yellow Peril’ by Chinese-New Zealand writer and poet, Nathan Joe, can truly be described as poetry on stage, a turbulent experience of communication and heightened emotions. The audience is exposed to complexities and challenges of BIPOC communities across the world in a way that does not fit the traditional theatre mould. There is no way to predict what Joe writes next; each scene chops...