ALADDIN JUNIOR
Friday 9th September 11am - Carpet Cast
There’s a whole new world in the Shedley Theatre, as NOW Productions brings Aladdin Jr to the stage. It’s always great to see a young team tackle these classic stories, both onstage and backstage, and they’ve created a fun and energetic show for many to enjoy!
Returning directorial duo Kane Mobbs and Connor Russell have engaged a huge cast of young talents for this show, and you can really see their detail shine through in the ensemble work. Being able to glance back and see everyone participating in their own stories around the central plot is always a delight, and a big achievement as it remains subtle enough to not detract from the main action. The direction of the principal cast is versatile and interesting, avoiding the ‘easy’ route of blocking and creating some great images to keep the audience engaged.
Maisy Jo-Russell once again presents her incredibly ambitious choreography that definitely pays off with a stunning set of featured dancers, and even some acrobatics! The cast displayed good knowledge of the choreography (hats off to those swinging between roles for their extra effort), and though sometimes it was a little out of sync, they maintained great energy and presented a great performance.The vocals cultivated by Robert Young and Cloudy Davey were full of bright voices and it was clear a lot of work went into the choral harmonies. The ensemble in general was full of fun characters and they should be commended for their commitment and energy.
The design was minimalist in some areas, allowing for many quick set changes, but the palace set especially had many great features. The marketplace stalls were detailed and clever, and the magic carpet mechanism was very inventive and effective. The costumes were bright and interesting - though they sometimes strayed out of the culture they were meant to portray - and complimented the cast fairly well, especially considering the double casting of the principal roles.
The principal roles themselves contained a great range of talent, with one uniting feature - the amazing vocals. The range and power of these young voices were a highlight of the whole production. Khushi Choudhari displayed an impressive belt as Genie, and though she occasionally dropped some diction, her vocal control was evident in Friend Like Me - what a great achievement for such a young talent!
Phoebe Clark as Jasmine showed good range between her powerful feminist personality and sweet soaring vocals. These Palace Walls was a big hit, lifted by the beautiful harmonies of her handmaidens. Kyle Mobbs tackled the role of the titular character, delivering surprising vocal warmth and clarity. Though sometimes Clark could benefit from more movement in her solos, and Mobbs from more stillness, the pair complemented each other very well, and displayed some lovely vocal chemistry.
Bryce Young continues to excel at playing the villain, and displays an impressive grasp of the ‘evil laugh’ with his Jafar. Along with Brock Warner’s bumbling Iago, the pair may not exactly be intimidating, but they are certainly an entertaining duo. Alex Richardson brings a certain dignified air to the Sultan, with excellent comedic timing - this young man seems at home on the stage, and it shows.
Aladdin’s trio of thieving friends (perhaps one of the best additions to the stage musical) were brought to life by Chelsey Binns, Riley Mobbs, and Alex Carpenter as Babkak, Omar, and Kassim respectively. They all showed their strengths through their characters: Binns’ versatility and character work, Mobbs’ character relationships and background acting skill, and Carpenter’s confident dialogue and vocals.
Some great minor characters - including Oliver Calver’s Prince Abdullah, a strong character who I wish had more stage time, Tiffany Borlase’s Razoul, always a commanding presence, and Jasmine’s handmaidens, gracefully portrayed by Jesse Rouse, Macy Grieger, and Belle Coulson - who all added to the performance in no minor way! A special mention also to the crew and first time stage manager Emily Cumming who coordinated some very complex scene changes.
Congratulations to the young cast and crew, Aladdin Jr certainly was a high adventure!
By Jess Wolfendale
There’s a whole new world in the Shedley Theatre, as NOW Productions brings Aladdin Jr to the stage. It’s always great to see a young team tackle these classic stories, both onstage and backstage, and they’ve created a fun and energetic show for many to enjoy!
Returning directorial duo Kane Mobbs and Connor Russell have engaged a huge cast of young talents for this show, and you can really see their detail shine through in the ensemble work. Being able to glance back and see everyone participating in their own stories around the central plot is always a delight, and a big achievement as it remains subtle enough to not detract from the main action. The direction of the principal cast is versatile and interesting, avoiding the ‘easy’ route of blocking and creating some great images to keep the audience engaged.
Maisy Jo-Russell once again presents her incredibly ambitious choreography that definitely pays off with a stunning set of featured dancers, and even some acrobatics! The cast displayed good knowledge of the choreography (hats off to those swinging between roles for their extra effort), and though sometimes it was a little out of sync, they maintained great energy and presented a great performance.The vocals cultivated by Robert Young and Cloudy Davey were full of bright voices and it was clear a lot of work went into the choral harmonies. The ensemble in general was full of fun characters and they should be commended for their commitment and energy.
The design was minimalist in some areas, allowing for many quick set changes, but the palace set especially had many great features. The marketplace stalls were detailed and clever, and the magic carpet mechanism was very inventive and effective. The costumes were bright and interesting - though they sometimes strayed out of the culture they were meant to portray - and complimented the cast fairly well, especially considering the double casting of the principal roles.
The principal roles themselves contained a great range of talent, with one uniting feature - the amazing vocals. The range and power of these young voices were a highlight of the whole production. Khushi Choudhari displayed an impressive belt as Genie, and though she occasionally dropped some diction, her vocal control was evident in Friend Like Me - what a great achievement for such a young talent!
Phoebe Clark as Jasmine showed good range between her powerful feminist personality and sweet soaring vocals. These Palace Walls was a big hit, lifted by the beautiful harmonies of her handmaidens. Kyle Mobbs tackled the role of the titular character, delivering surprising vocal warmth and clarity. Though sometimes Clark could benefit from more movement in her solos, and Mobbs from more stillness, the pair complemented each other very well, and displayed some lovely vocal chemistry.
Bryce Young continues to excel at playing the villain, and displays an impressive grasp of the ‘evil laugh’ with his Jafar. Along with Brock Warner’s bumbling Iago, the pair may not exactly be intimidating, but they are certainly an entertaining duo. Alex Richardson brings a certain dignified air to the Sultan, with excellent comedic timing - this young man seems at home on the stage, and it shows.
Aladdin’s trio of thieving friends (perhaps one of the best additions to the stage musical) were brought to life by Chelsey Binns, Riley Mobbs, and Alex Carpenter as Babkak, Omar, and Kassim respectively. They all showed their strengths through their characters: Binns’ versatility and character work, Mobbs’ character relationships and background acting skill, and Carpenter’s confident dialogue and vocals.
Some great minor characters - including Oliver Calver’s Prince Abdullah, a strong character who I wish had more stage time, Tiffany Borlase’s Razoul, always a commanding presence, and Jasmine’s handmaidens, gracefully portrayed by Jesse Rouse, Macy Grieger, and Belle Coulson - who all added to the performance in no minor way! A special mention also to the crew and first time stage manager Emily Cumming who coordinated some very complex scene changes.
Congratulations to the young cast and crew, Aladdin Jr certainly was a high adventure!
By Jess Wolfendale
Friday 9th September 2022 7pm - Lamp Cast
The Shedley Theatre has been transformed into the city of Agrabah for Now Production’s performances of Disney’s Aladdin Jnr. For those who have never experienced a ‘Jnr’ version of a musical before, the length of the plot is shortened and as the name might suggest, the cast themselves are younger; for this particular production, the cast range from as young as 6 through to 17. This musical is based on the 1992 award-winning film Aladdin and the 2014 Broadway show of the same name, about a ‘street rat’ who turns out to be a ‘diamond in the rough’. This romantic comedy proves once and for all that we shouldn’t be deceived by ‘commonplace appearances’. The young and mischievous Aladdin discovers the Genie and his lamp and is, of course, granted three wishes, while falling in love with the beautiful and seemingly unattainable Princess Jasmine brings a whole new set of problems that must be overcome before he and his three friends can live happily ever after.
The play is double-cast and tonight the aptly named ‘Lamp Cast’ entertained a captive crowd. The stand-out for the night was, in my opinion, the cast member with the hardest part, Melanie Filmer who played the effervescent Genie. Most of the audience would remember the Genie as voiced by the legendary Robin Williams and the more recent attempt by Will Smith to replicate this magic; it was always going to be a tough job, but she has natural stage presence and delivered the Genie’s most iconic lines with great comedic timing and with a wink and a nod to the original material. Another memorable performance was from Alex Carpenter in his first role in musical theatre as Jafar’s sidekick, Iago. He and another Alex, Alex Richardson, who played Jafar, had great chemistry as the evil villains who want to gain ‘phenomenal cosmic power’ and take control of Agrabah for themselves. As Alex Carpenter continues to develop his comedic timing, waiting for the audience to laugh after a hilarious one-liner and to always keep a straight face, he will be one to watch for in the future. The ensemble numbers were a lot of fun to watch with some impressive acrobatics from the dancers as they flipped themselves across the stage through ‘Friend Like Me’ and ‘Prince Ali’. There were a couple of pitchy moments in some of the bigger numbers of the night, but no-one in the crowd seemed to mind as they cheered and clapped along with every beat. My main criticism is not of the cast, but of the sound mix as some of the microphones were not switched on in time to catch lines from the ensemble and the levels between the main characters also seemed to be slightly unbalanced. In some scenes, it was almost impossible to hear Jessie Rouse as Princess Jasmine which was a shame as she had the sassy, independent and rebellious attitude down to a tee.
The set was creative and inventive with moving parts and flyes which the cast had to move on and off, and up and down, quite quickly and almost constantly as the set had to jump from the palace to the market streets in a very short period of time. The costumes for the main characters were simply gorgeous, in particular the outfits of Princess Jasmine and her ladies in waiting and the dancers in the ensemble. The Cave of Wonder set, through the Tigers’ mouth, with his eerie glowing eyes, was amazingly effective in the back of the stage and the rest of the set quickly and easily gave the audience context to keep up with the scene changes as the cast flew through their story.
Co-directors Kane Mobbs and Connor Russell have done a magnificent job with their young cast and choreographer Maisy Jo Russell has much to be proud of with the beautiful tap dancing, acrobatics and enthusiasm of her dancers. Musical Director Robert Young and Vocal Coach Cloudy Davey can rest assured knowing that there is no end of young talent rising up through the ranks of Now Productions as they belt out the classic numbers of ‘One Jump Ahead’, ‘Friend Like Me’, and ‘A Whole New World’. My only slightly negative feedback is to encourage this young cast to slow down their lines, really enunciate, let the audience laugh before continuing on and to really take their time. This will give the audience more time to appreciate your talent, to laugh at your jokes and follow the story. Musicals like this don’t come around every day.
By Danii Ray
Saturday 10th September 1pm - Lamp Cast
A Whole New World was brought to the Shedley Theatre as it turned into the city of Agrabah for Now Productions ‘Aladdin Junior’.
Ably headed by Directors Kane Mobbs and Connor Russell, the simple yet effective sets transformed the Shedley for and enjoyable afternoons entertainment from the ‘Lamp Cast’. Cleaver use of special effects, an impressive ‘Cave of Wonders’, and well used stage placement and lighting made for a magical feel to the production. The sets were cleverly designed and very effective, creating the many scenes required. Shout out to Stage Manager (Emily Cumming) for ensuring smooth scene changes throughout.
The energetic opening number of ‘Arabian Nights’ showed off the effective choreography, with great use of stage, from Maisy Jo Russell, with the tapping in ‘Friend like me’ a highlight. The ensemble worked well throughout the show with some good strong vocals.
The quartet, consisting of our hero, Aladdin (Riley Mobbs), Kassim (Brock Warner), a very witty and strong Omar (Kyle Mobbs) and a rather hungry Babkak (Tiffany Borlase) worked well as a team, working creatively with the ensemble in ‘One Jump Ahead’ – culminating with hiding Aladdin through a trap door – loved it, with the trio bringing a delightfully witty ‘High Adventure’ later in the show.
Jessie Rouse played a feisty Jasmine, and her rendition of ‘A Whole New World’ with Riley Mobbs was sweet and showed some nice chemistry.
A nice highlight was the trio of Isal (Phoebe Clark), Manal (Indianna Laubsch) and Rajah (Ariah Roberts) as they served Jasmine in her quarters, with graceful dance moves and sweet singing. As well as the brief encounter with Prince Abdullah (Oliver Calver) who showed great stage presence.
Bryce Young as the Sultan showed strong stage presence and great characterisation, with a clear, resonant voice that carried well.
Melanie Filmer as the Genie, arriving with a burst of smoke, showed some good flamboyance as she worked her magic on the stage.
However, it was the evil ones that stole the show with Alex Richardson as the malicious and powerful Jafar, and his witty side kick Iago (Alex Carpenter). Carpenter had great comic timing, and the pair worked well together to create a feeling of doom. The colourful costumes with sparkling adornments really brought the show together.
For a such a young production team, they should be extremely proud of their efforts of this creative Arabian adventure. The enthusiastic audience, certainly approved.
By Kelly Bickle
Saturday 10th September 6pm - Carpet Cast
Everyone knows and loves the story of Aladdin, the young thief who found a magic lamp and powerful Genie, who grants him three wishes, enabling him to woo the beautiful princess Jasmine on a magic carpet ride.
NOW Productions of Disney’s Aladdin Jr. was an energetic colourful version of this ancient legend. The cast of about 40 teens and preteens was ably directed by Kane Mobbs and Connor Russell.
Of course, there were more children in the audience than adults, and they all loved the singing and dancing and action, clapping enthusiastically after each song.
On the evening performance I attended, the microphones were not always working properly and at times the orchestra was louder than the singers’ voices, which only slightly detracted from the sound, as most of the audience knew the words to the songs.
Minimalist stage design by Jo Collis, Rob Young, Joe Russell, Jo Wilson, Donna Carpenter and Paul Carpenter left much to our imaginations and cleverly reminded us with lightning and pillars of the scene settings of castle or market or treasure cave. The rainbow ‘chala’ light window and “magic carpet” special effects were very cleverly done. The props were extensive and well suited; I especially loved Jafar’s snake-headed staff. Robert Young’s musical direction and orchestra were excellent. Maisy Jo Russell’s choreography was very good too.
There was so much talent that most of the main characters were played in different shows by two different people. For example, in the performance I saw, Aladdin was performed by Kyle Mobbs and Omar by Riley Mobbs. And in other performances they swapped roles!
Kyle was very entertaining and enthusiastic as Aladdin. Phoebe Clark was a strong and rebellious Princess Jasmine. And I loved their duet ‘A whole new world” on the “flying” magic carpet. Khushi Choudhari actively took over the stage as our brightly coloured turquoise and purple Genie every time she appeared!
The evil laughter of Bryce Young made him a very convincing villainous Jafar, with his stunning red and black costume, which was cunningly covered by beautiful velvet patchwork cloak when he was “in disguise”. All Kylie Mobbs and Linda Cook’s costumes were stunningly colourful and I’m sure the actors and actresses loved dressing up in them.
Although it was only a short two day, four session program, it was a very well organised, successful and spectacular performance, so congratulations to all involved.
By Allison Thomas (Theatre Association of South Australia)
The Shedley Theatre has been transformed into the city of Agrabah for Now Production’s performances of Disney’s Aladdin Jnr. For those who have never experienced a ‘Jnr’ version of a musical before, the length of the plot is shortened and as the name might suggest, the cast themselves are younger; for this particular production, the cast range from as young as 6 through to 17. This musical is based on the 1992 award-winning film Aladdin and the 2014 Broadway show of the same name, about a ‘street rat’ who turns out to be a ‘diamond in the rough’. This romantic comedy proves once and for all that we shouldn’t be deceived by ‘commonplace appearances’. The young and mischievous Aladdin discovers the Genie and his lamp and is, of course, granted three wishes, while falling in love with the beautiful and seemingly unattainable Princess Jasmine brings a whole new set of problems that must be overcome before he and his three friends can live happily ever after.
The play is double-cast and tonight the aptly named ‘Lamp Cast’ entertained a captive crowd. The stand-out for the night was, in my opinion, the cast member with the hardest part, Melanie Filmer who played the effervescent Genie. Most of the audience would remember the Genie as voiced by the legendary Robin Williams and the more recent attempt by Will Smith to replicate this magic; it was always going to be a tough job, but she has natural stage presence and delivered the Genie’s most iconic lines with great comedic timing and with a wink and a nod to the original material. Another memorable performance was from Alex Carpenter in his first role in musical theatre as Jafar’s sidekick, Iago. He and another Alex, Alex Richardson, who played Jafar, had great chemistry as the evil villains who want to gain ‘phenomenal cosmic power’ and take control of Agrabah for themselves. As Alex Carpenter continues to develop his comedic timing, waiting for the audience to laugh after a hilarious one-liner and to always keep a straight face, he will be one to watch for in the future. The ensemble numbers were a lot of fun to watch with some impressive acrobatics from the dancers as they flipped themselves across the stage through ‘Friend Like Me’ and ‘Prince Ali’. There were a couple of pitchy moments in some of the bigger numbers of the night, but no-one in the crowd seemed to mind as they cheered and clapped along with every beat. My main criticism is not of the cast, but of the sound mix as some of the microphones were not switched on in time to catch lines from the ensemble and the levels between the main characters also seemed to be slightly unbalanced. In some scenes, it was almost impossible to hear Jessie Rouse as Princess Jasmine which was a shame as she had the sassy, independent and rebellious attitude down to a tee.
The set was creative and inventive with moving parts and flyes which the cast had to move on and off, and up and down, quite quickly and almost constantly as the set had to jump from the palace to the market streets in a very short period of time. The costumes for the main characters were simply gorgeous, in particular the outfits of Princess Jasmine and her ladies in waiting and the dancers in the ensemble. The Cave of Wonder set, through the Tigers’ mouth, with his eerie glowing eyes, was amazingly effective in the back of the stage and the rest of the set quickly and easily gave the audience context to keep up with the scene changes as the cast flew through their story.
Co-directors Kane Mobbs and Connor Russell have done a magnificent job with their young cast and choreographer Maisy Jo Russell has much to be proud of with the beautiful tap dancing, acrobatics and enthusiasm of her dancers. Musical Director Robert Young and Vocal Coach Cloudy Davey can rest assured knowing that there is no end of young talent rising up through the ranks of Now Productions as they belt out the classic numbers of ‘One Jump Ahead’, ‘Friend Like Me’, and ‘A Whole New World’. My only slightly negative feedback is to encourage this young cast to slow down their lines, really enunciate, let the audience laugh before continuing on and to really take their time. This will give the audience more time to appreciate your talent, to laugh at your jokes and follow the story. Musicals like this don’t come around every day.
By Danii Ray
Saturday 10th September 1pm - Lamp Cast
A Whole New World was brought to the Shedley Theatre as it turned into the city of Agrabah for Now Productions ‘Aladdin Junior’.
Ably headed by Directors Kane Mobbs and Connor Russell, the simple yet effective sets transformed the Shedley for and enjoyable afternoons entertainment from the ‘Lamp Cast’. Cleaver use of special effects, an impressive ‘Cave of Wonders’, and well used stage placement and lighting made for a magical feel to the production. The sets were cleverly designed and very effective, creating the many scenes required. Shout out to Stage Manager (Emily Cumming) for ensuring smooth scene changes throughout.
The energetic opening number of ‘Arabian Nights’ showed off the effective choreography, with great use of stage, from Maisy Jo Russell, with the tapping in ‘Friend like me’ a highlight. The ensemble worked well throughout the show with some good strong vocals.
The quartet, consisting of our hero, Aladdin (Riley Mobbs), Kassim (Brock Warner), a very witty and strong Omar (Kyle Mobbs) and a rather hungry Babkak (Tiffany Borlase) worked well as a team, working creatively with the ensemble in ‘One Jump Ahead’ – culminating with hiding Aladdin through a trap door – loved it, with the trio bringing a delightfully witty ‘High Adventure’ later in the show.
Jessie Rouse played a feisty Jasmine, and her rendition of ‘A Whole New World’ with Riley Mobbs was sweet and showed some nice chemistry.
A nice highlight was the trio of Isal (Phoebe Clark), Manal (Indianna Laubsch) and Rajah (Ariah Roberts) as they served Jasmine in her quarters, with graceful dance moves and sweet singing. As well as the brief encounter with Prince Abdullah (Oliver Calver) who showed great stage presence.
Bryce Young as the Sultan showed strong stage presence and great characterisation, with a clear, resonant voice that carried well.
Melanie Filmer as the Genie, arriving with a burst of smoke, showed some good flamboyance as she worked her magic on the stage.
However, it was the evil ones that stole the show with Alex Richardson as the malicious and powerful Jafar, and his witty side kick Iago (Alex Carpenter). Carpenter had great comic timing, and the pair worked well together to create a feeling of doom. The colourful costumes with sparkling adornments really brought the show together.
For a such a young production team, they should be extremely proud of their efforts of this creative Arabian adventure. The enthusiastic audience, certainly approved.
By Kelly Bickle
Saturday 10th September 6pm - Carpet Cast
Everyone knows and loves the story of Aladdin, the young thief who found a magic lamp and powerful Genie, who grants him three wishes, enabling him to woo the beautiful princess Jasmine on a magic carpet ride.
NOW Productions of Disney’s Aladdin Jr. was an energetic colourful version of this ancient legend. The cast of about 40 teens and preteens was ably directed by Kane Mobbs and Connor Russell.
Of course, there were more children in the audience than adults, and they all loved the singing and dancing and action, clapping enthusiastically after each song.
On the evening performance I attended, the microphones were not always working properly and at times the orchestra was louder than the singers’ voices, which only slightly detracted from the sound, as most of the audience knew the words to the songs.
Minimalist stage design by Jo Collis, Rob Young, Joe Russell, Jo Wilson, Donna Carpenter and Paul Carpenter left much to our imaginations and cleverly reminded us with lightning and pillars of the scene settings of castle or market or treasure cave. The rainbow ‘chala’ light window and “magic carpet” special effects were very cleverly done. The props were extensive and well suited; I especially loved Jafar’s snake-headed staff. Robert Young’s musical direction and orchestra were excellent. Maisy Jo Russell’s choreography was very good too.
There was so much talent that most of the main characters were played in different shows by two different people. For example, in the performance I saw, Aladdin was performed by Kyle Mobbs and Omar by Riley Mobbs. And in other performances they swapped roles!
Kyle was very entertaining and enthusiastic as Aladdin. Phoebe Clark was a strong and rebellious Princess Jasmine. And I loved their duet ‘A whole new world” on the “flying” magic carpet. Khushi Choudhari actively took over the stage as our brightly coloured turquoise and purple Genie every time she appeared!
The evil laughter of Bryce Young made him a very convincing villainous Jafar, with his stunning red and black costume, which was cunningly covered by beautiful velvet patchwork cloak when he was “in disguise”. All Kylie Mobbs and Linda Cook’s costumes were stunningly colourful and I’m sure the actors and actresses loved dressing up in them.
Although it was only a short two day, four session program, it was a very well organised, successful and spectacular performance, so congratulations to all involved.
By Allison Thomas (Theatre Association of South Australia)
RED DAWN!
Saturday 20th August 2022
Now Production’s Agent Percash movie franchise continues to expand with the latest instalment, Agent Percash: Red Dawn. This emotionally charged side story still has all the thrilling twists and turns of the previous movies in the Agent Percash universe, with additional characters introduced and as expected, a whole lot of action!
The script was written by creative director Joe Russell, who skilfully weaves a plot that leaves the audience on the edge of their seats as we follow the adventures of the Australian Federal Police, several local police units, the villainous Siberian mafia, some enthusiastic journalists and the mysterious antagonists, The Tigress.
Clever lighting on a stark stage created a sophisticated and visually striking backdrop for the Siberian mafia scenes. Maisy-Jo Russel expertly portrayed the sinister Alina Diskov, head of the mafia, while the experienced Kane and Kyle Mobbs brought the comedy to the quirky criminal trio. Muted tones created a mood that exemplified the action thriller genre and gave a professional feel to the film as a whole.
Zachary Baseby as detective Jamieson delivered maturity and expertise to the screen. Additionally, Lily Cotton’s naturalistic performance in the role of the commissioner ensured that viewers took the story seriously, in spite of the slapstick elements. She was supported well by Tiffany Borlase as Jayde Smythers.
The sound was effective, high quality and fast paced, pulling the audience into the drama and conflict.
The action sequences were a highlight, with close combat, suspenseful on foot chases, in vehicle chaos and tense stand-off’s throughout.
An intense, long-pan scene involving Carter Wagland as Toni Francs was an ambitious cinematic treat, executed skilfully by the production team. Furthermore, the addition of introductory scenic landscapes before selected scenes created a sense of time passing in a realistic fashion.
Zehta Herring and Ambriel Pearson had a devious on-screen chemistry as Red and Black from The Tigress, immersing the audience into their ruthless criminal web. The hilarious Daniel Strong was a refreshing character interposing some of the slower paced scenes with excellent comedic timing. His portrayal of Sammy from Investigators R Us was complemented wonderfully by his long-suffering colleague Jessica Potts, played by Chloe Duldig.
The skill and leadership of Alex Richardson and Connor Russell are notable in their roles as Seargent Alan Yates and Constable Jerry Chambers respectively, emphasised by standout performances following their memorable previous roles in the franchise. On a similar note, Riley Mobbs continues to display all the skills of a well-rounded performer with a bright future ahead.
The partnership between Zoe Mayes as Julie Bishop and Damien Wachla as the loveable Gavlar was another highlight and a refreshingly fun pairing.In addition, the cute yet aggressive Alex Carpenter and Meri Wagland brought many a laugh to the adoring crowd of movie-goers.
There were many other outstanding performances, including but not limited to Holly Carpenter in a breakthrough performance as Jay Forster, Blake Prideaux with his excellent Scottish accent and Dante Bombardieri as the charming and cunning Spades. A talented young cast, a slick production and an intriguing storyline... what more could you want from an action movie!
Joe Russell should be commended for his commitment to providing unique performance opportunities for young people in the northern suburbs and beyond. It is clear that the cast and crew become more skilled, more diverse and more creative with each instalment and, most importantly, are having the time of their lives in the process. Congratulations to all involved.
By Bianca Woods
Now Production’s Agent Percash movie franchise continues to expand with the latest instalment, Agent Percash: Red Dawn. This emotionally charged side story still has all the thrilling twists and turns of the previous movies in the Agent Percash universe, with additional characters introduced and as expected, a whole lot of action!
The script was written by creative director Joe Russell, who skilfully weaves a plot that leaves the audience on the edge of their seats as we follow the adventures of the Australian Federal Police, several local police units, the villainous Siberian mafia, some enthusiastic journalists and the mysterious antagonists, The Tigress.
Clever lighting on a stark stage created a sophisticated and visually striking backdrop for the Siberian mafia scenes. Maisy-Jo Russel expertly portrayed the sinister Alina Diskov, head of the mafia, while the experienced Kane and Kyle Mobbs brought the comedy to the quirky criminal trio. Muted tones created a mood that exemplified the action thriller genre and gave a professional feel to the film as a whole.
Zachary Baseby as detective Jamieson delivered maturity and expertise to the screen. Additionally, Lily Cotton’s naturalistic performance in the role of the commissioner ensured that viewers took the story seriously, in spite of the slapstick elements. She was supported well by Tiffany Borlase as Jayde Smythers.
The sound was effective, high quality and fast paced, pulling the audience into the drama and conflict.
The action sequences were a highlight, with close combat, suspenseful on foot chases, in vehicle chaos and tense stand-off’s throughout.
An intense, long-pan scene involving Carter Wagland as Toni Francs was an ambitious cinematic treat, executed skilfully by the production team. Furthermore, the addition of introductory scenic landscapes before selected scenes created a sense of time passing in a realistic fashion.
Zehta Herring and Ambriel Pearson had a devious on-screen chemistry as Red and Black from The Tigress, immersing the audience into their ruthless criminal web. The hilarious Daniel Strong was a refreshing character interposing some of the slower paced scenes with excellent comedic timing. His portrayal of Sammy from Investigators R Us was complemented wonderfully by his long-suffering colleague Jessica Potts, played by Chloe Duldig.
The skill and leadership of Alex Richardson and Connor Russell are notable in their roles as Seargent Alan Yates and Constable Jerry Chambers respectively, emphasised by standout performances following their memorable previous roles in the franchise. On a similar note, Riley Mobbs continues to display all the skills of a well-rounded performer with a bright future ahead.
The partnership between Zoe Mayes as Julie Bishop and Damien Wachla as the loveable Gavlar was another highlight and a refreshingly fun pairing.In addition, the cute yet aggressive Alex Carpenter and Meri Wagland brought many a laugh to the adoring crowd of movie-goers.
There were many other outstanding performances, including but not limited to Holly Carpenter in a breakthrough performance as Jay Forster, Blake Prideaux with his excellent Scottish accent and Dante Bombardieri as the charming and cunning Spades. A talented young cast, a slick production and an intriguing storyline... what more could you want from an action movie!
Joe Russell should be commended for his commitment to providing unique performance opportunities for young people in the northern suburbs and beyond. It is clear that the cast and crew become more skilled, more diverse and more creative with each instalment and, most importantly, are having the time of their lives in the process. Congratulations to all involved.
By Bianca Woods
Grease
Friday 25th February 2022 (Lightning Cast)
Now Production’s version of Grease is currently halfway through its run at the Playford Civic Centre’s Shedley Theatre. The company is well-known for its youth shows including Beauty and the Beast, Oliver Jr, Annie and a recent foray into adult musical theatre with Les Miserables. Just in case you’ve been living under a rock since Grease first exploded onto our screens in 1978: the premise is simple. The T-Birds and the Pink Ladies are the coolest kids at Rydell High; the tough guy leader Danny Zuko has a whirlwind romance with Sandy Dumbrowski over summer at the beach and in true macho man fashion, completely ruins his chances when they randomly meet up at the same high school.
The play is double-cast and tonight the so-called ‘Lightening Cast’ made their debut. Madeleine Riggs is a standout as the sweet young ingenue Sandy Dumbrowski; although I did think the idea of leaving her natural brunette hair out was an interesting one (considering Sandy is well-known as a blonde). Her interactions with the Pink Ladies seemed completely genuine and the group legitimately appeared to be having a good time together. Her rendition of the iconic ‘Hopelessly Devoted to You’ was one of the highlights of the evening and the entire audience was captivated as her voice soared through the higher register of the song. Riggs seemed less comfortable with Sandy’s transformation into sultry vixen at the end of the production, but her boundless energy and enthusiasm dragged us with her nonetheless.
Speaking of boundless energy, Kane Mobbs as Danny Zucko is the perfect example. The entire band of the ‘T-Birds’ drew the audience’s eye during ensemble numbers as they clowned and interacted each other. As loathe as I am to criticise young performers, it is almost this same energy that was so distracting during some of their solo scenes. The T-Birds are supposed to be ridiculous, but they don’t know they are ridiculous, in fact, they take themselves very seriously. As Zucko, Mobbs pandered to the audience for laughs which, at times, turned the character into a caricature of an already exaggerated stereotype. However, the moment he immediately won me over, which was both endearing and meaningful, was when he dropped the attempt to elicit laughter and stared soulfully out into the crowd as he lamented, ‘Oh Sandy’ in soaring tones. A surprise star in the making was the hilarious and scene stealing Charlotte Riggs as Patty Simcox; her interactions with Mobbs and her antics in the background of certain scenes had the audience, and myself, howling with laughter. The ensemble numbers are a joy to watch, but ironically, at the end of the show, the energy within the medley soared above and beyond what had been presented during the rest of the production. There were a couple of pitchy moments, but what ensemble doesn’t have this issue when hand-jiving and dancing all over the stage?
The set was fantastic with moving parts and flyes which the cast themselves moved on and off, and up and down, fairly seamlessly. Understandably, the costume and make up team had a field day with the 50s theme, with each principal character in their easily recognisable outfits. The music, of course, is an integral part of this show and the audience clapped along heartily in every number and stared, completely captivated during the ballads. Director Joe Russell has much to be proud of with this effort; his cast are obviously enjoying themselves and love the show, which comes across in nearly every moment on the stage. While I disagree with his perchance to have actors directly address the audience (I personally find it distracting) I always thoroughly enjoy the stories he chooses to tell and the high level of integrity, work ethic and professionalism with which he approaches each production. The cast and company love him (and his dream team of choreographer Mandy Russell and co-director Bianca Woods) and this shines through in every second of Grease; it is ‘electrifying’ indeed.
By Danii Ray
Now Production’s version of Grease is currently halfway through its run at the Playford Civic Centre’s Shedley Theatre. The company is well-known for its youth shows including Beauty and the Beast, Oliver Jr, Annie and a recent foray into adult musical theatre with Les Miserables. Just in case you’ve been living under a rock since Grease first exploded onto our screens in 1978: the premise is simple. The T-Birds and the Pink Ladies are the coolest kids at Rydell High; the tough guy leader Danny Zuko has a whirlwind romance with Sandy Dumbrowski over summer at the beach and in true macho man fashion, completely ruins his chances when they randomly meet up at the same high school.
The play is double-cast and tonight the so-called ‘Lightening Cast’ made their debut. Madeleine Riggs is a standout as the sweet young ingenue Sandy Dumbrowski; although I did think the idea of leaving her natural brunette hair out was an interesting one (considering Sandy is well-known as a blonde). Her interactions with the Pink Ladies seemed completely genuine and the group legitimately appeared to be having a good time together. Her rendition of the iconic ‘Hopelessly Devoted to You’ was one of the highlights of the evening and the entire audience was captivated as her voice soared through the higher register of the song. Riggs seemed less comfortable with Sandy’s transformation into sultry vixen at the end of the production, but her boundless energy and enthusiasm dragged us with her nonetheless.
Speaking of boundless energy, Kane Mobbs as Danny Zucko is the perfect example. The entire band of the ‘T-Birds’ drew the audience’s eye during ensemble numbers as they clowned and interacted each other. As loathe as I am to criticise young performers, it is almost this same energy that was so distracting during some of their solo scenes. The T-Birds are supposed to be ridiculous, but they don’t know they are ridiculous, in fact, they take themselves very seriously. As Zucko, Mobbs pandered to the audience for laughs which, at times, turned the character into a caricature of an already exaggerated stereotype. However, the moment he immediately won me over, which was both endearing and meaningful, was when he dropped the attempt to elicit laughter and stared soulfully out into the crowd as he lamented, ‘Oh Sandy’ in soaring tones. A surprise star in the making was the hilarious and scene stealing Charlotte Riggs as Patty Simcox; her interactions with Mobbs and her antics in the background of certain scenes had the audience, and myself, howling with laughter. The ensemble numbers are a joy to watch, but ironically, at the end of the show, the energy within the medley soared above and beyond what had been presented during the rest of the production. There were a couple of pitchy moments, but what ensemble doesn’t have this issue when hand-jiving and dancing all over the stage?
The set was fantastic with moving parts and flyes which the cast themselves moved on and off, and up and down, fairly seamlessly. Understandably, the costume and make up team had a field day with the 50s theme, with each principal character in their easily recognisable outfits. The music, of course, is an integral part of this show and the audience clapped along heartily in every number and stared, completely captivated during the ballads. Director Joe Russell has much to be proud of with this effort; his cast are obviously enjoying themselves and love the show, which comes across in nearly every moment on the stage. While I disagree with his perchance to have actors directly address the audience (I personally find it distracting) I always thoroughly enjoy the stories he chooses to tell and the high level of integrity, work ethic and professionalism with which he approaches each production. The cast and company love him (and his dream team of choreographer Mandy Russell and co-director Bianca Woods) and this shines through in every second of Grease; it is ‘electrifying’ indeed.
By Danii Ray
Seussical Kids!
Saturday 19th February 2022
As an entree for “Seussical Kids” Now Productions presented a pre-show segment showcasing the considerable talents of eight young singers. It was a delightful musical prelude containing some challenging pieces such as “This is Me”, “In my Dreams”, “Corner of the Sky” and “On my Own”. It would be remiss of me to choose a favourite performer because each singer gave of their all. The individual items were well produced and well “sold” to an appreciative audience.
To conclude the segment the cast of Now Production’s upcoming offering, “Grease”, presented a mix of that musical’s show-stopping numbers. If their collective expertise and energy is anything to go by then “Grease” is definitely in the “must see” category. Don’t miss it!
I must pay tribute to Now Production’s electing to make “Seussical Kids” a vehicle by which young company members were in total control of the production. Dual Directors Kane Mobbs and Connor Russell, Choreographer Maisy Jo Russell, Sound Tech Bryce Young, together with Stage Manager Alex Richardson are all in their teens. What a great move handing the performance package to a team of young people and allowing them to run the show. Great stuff! It is a learning experience for them all and surely a springboard to many other ventures into amateur theatre.
“Seussical” was a bright and exuberant piece of nonsensical fun. Kyle Mobbs as a confident and totally personable JoJo, along with Riley Mobbs as Horton the solid, honest and trustworthy elephant both displayed excellent stage presence and leadership. Their combined theatrical salesmanship provided the framework for an enthusiastic and well drilled cast to follow suit. They were ably supported by the Cats (Alyssa Faranda, Melanie Filmer and Ariah Roberts). JoJo’s parents on the microscopic planet Who, Mr and Mrs Mayor (Rhys Young and Chelsea Binns) were an ideal performance duo. Phoebe Clark as Gertrude McFuzz was perfectly charming as Horton’s doting number one fan and Annabelle Restall was a fun-loving and somewhat selfish Mayzie LaBird. Macy Grieger was nicely dominant as the Sour Kangaroo and all the other cast members fitted the show perfectly. The chorus of singers, minor characters and dancers all obviously enjoyed their participation and contribution, for without them there cannot be a whole performance. The audience was thoroughly entertained and so was I.
By Alan Shepley (Theatre Association of South Australia)
As an entree for “Seussical Kids” Now Productions presented a pre-show segment showcasing the considerable talents of eight young singers. It was a delightful musical prelude containing some challenging pieces such as “This is Me”, “In my Dreams”, “Corner of the Sky” and “On my Own”. It would be remiss of me to choose a favourite performer because each singer gave of their all. The individual items were well produced and well “sold” to an appreciative audience.
To conclude the segment the cast of Now Production’s upcoming offering, “Grease”, presented a mix of that musical’s show-stopping numbers. If their collective expertise and energy is anything to go by then “Grease” is definitely in the “must see” category. Don’t miss it!
I must pay tribute to Now Production’s electing to make “Seussical Kids” a vehicle by which young company members were in total control of the production. Dual Directors Kane Mobbs and Connor Russell, Choreographer Maisy Jo Russell, Sound Tech Bryce Young, together with Stage Manager Alex Richardson are all in their teens. What a great move handing the performance package to a team of young people and allowing them to run the show. Great stuff! It is a learning experience for them all and surely a springboard to many other ventures into amateur theatre.
“Seussical” was a bright and exuberant piece of nonsensical fun. Kyle Mobbs as a confident and totally personable JoJo, along with Riley Mobbs as Horton the solid, honest and trustworthy elephant both displayed excellent stage presence and leadership. Their combined theatrical salesmanship provided the framework for an enthusiastic and well drilled cast to follow suit. They were ably supported by the Cats (Alyssa Faranda, Melanie Filmer and Ariah Roberts). JoJo’s parents on the microscopic planet Who, Mr and Mrs Mayor (Rhys Young and Chelsea Binns) were an ideal performance duo. Phoebe Clark as Gertrude McFuzz was perfectly charming as Horton’s doting number one fan and Annabelle Restall was a fun-loving and somewhat selfish Mayzie LaBird. Macy Grieger was nicely dominant as the Sour Kangaroo and all the other cast members fitted the show perfectly. The chorus of singers, minor characters and dancers all obviously enjoyed their participation and contribution, for without them there cannot be a whole performance. The audience was thoroughly entertained and so was I.
By Alan Shepley (Theatre Association of South Australia)
Oliver! Jnr
OLIVER! FRIDAY OCTOBER 29TH 7PM - CUSTARD CAST
Joe Russell and the Now Productions team go from strength to strength. This cast was well chosen and adaptive. They had loads of energy and brought some new slants to the well known characters, mostly by teasing out their comic side. The cast sang lustily in both solos and ensemble pieces, and although the taped music was often loud, no voices were overpowered by it. That, and a very effective sound system, made for a most successful musical experience for the large and enthusiastic audience.
The action was played in a simple and functional set, featuring a solid scaffolding bridge-cum-street and a series of minor props and cut-away flats. The cast and crew were discreet and efficient in all of the scene changes.
Of the two casts, I saw the Custard cast and was most impressed with their surety and confidence.
Alyssa Faranda was charming in the title role. She played Oliver, rightly, as an innocent among rogues, and made great impact with her true, strong voice. She was especially moving in the song Where Is Love?
Kane Mobbs impressed as a very agile and entertaining Fagin. He drew out considerably more humour than is often the case with the character, and it worked very well. His characterisation and cheeky energy were major strengths.
Kyle Mobbs was marvellous as the Artful Dodger. His chirpy voice and nature were infectious and his physical balance and style were outstanding. He grabbed our attention early in the piece when he led the gang in the exuberant Consider Yourself and retained it from then on. Connor Russell was a very solid and striking Mr Bumble, balanced nicely by Ava Cannard as the Widow Corney, while Alex Richardson played a dignified and steady Mr Brownlow. Bryce Young was truly frightening as the misogynistic Bill Sikes, bringing out the callousness at every turn.
Aside from Oliver, Nancy is the emotional heart of the story, and Maisy Jo Russell was splendid in the role. She showed considerable subtlety as she developed the character. Her singing demonstrated that too. While she sailed through the rollicking Oom-Pah-Pah with easy enthusiasm, she built up the feeling and volume of As Long As He Needs Me with a very impressive understanding and maturity.
The ensemble ably supported the action in acting, singing and movement. Among others, the choreography in Consider Yourself was a particularly good example of that. And I must mention how affecting it was to hear and see Who Will Buy by the market sellers and Oliver. It was a quiet and pensive break from the otherwise hectic pace of much of the show.
There was lots to like about this production. All credit to Joe Russell, his cast and crew.
by David Smith (Theatre Association of South Australia)
OLIVER! SATURDAY OCTOBER 30TH 1PM - CUSTARD CAST
It’s a fine, fine life on the stage of the Sheldey theatre as NOW Productions tackles Oliver! Jr, a shortened yet no less vibrant telling of the classical musical. An energetic and well-rehearsed cast coupled with the direction of a fantastic creative team, lead by director Joe Russell, prove that good things really do come in small packages!
A simple set, a scaffold bridge with small moving set pieces and a projected background provide a great versatility and allow the cast to really play in the space. And that they do! The costumes (by Kylie Mobbs and Lynda Cook) really highlighted the excellent characterisation of the ensemble who transition from muted greys to vibrant colour as we meet Fagan’s gang.
The choreography (by Mandy Russell and Maisy Jo Russell) also mimics this progression with incredible execution. The opening number “Food Glorious Food” is simple, yet snappy and very effective. The big turning point comes with “Consider Yourself”, which strikes me as some of the most ambitious yet well-executed choreography in the youth theatre scene. The choral harmonies seemed very well rehearsed and delivered with confidence and precision, a credit to Robert Young’s excellent musical direction. The energy and commitment of the cast was simply amazing to watch.
On to the cast: it goes without saying that the casting of Oliver Twist is pivotal, and can affect the entire show, especially when working with such a young cast. So it is an incredible thing to see when from the very first note of “Where is Love”, Alyssa Faranda commands the audience completely. She was expressive and confident, with the kind of dreamy melodic voice that moves an audience to tears. Faranda bounced off the other cast members with nimbleness, and showed a passion that will lead her far in the arts if she chooses to pursue it.
Connor Russell as Mr Bumble was in equal parts intimidating and bumbling, showing a good mastery of his lower range. Along with Ava Canard they made a great comedic duo seething with animosity that was a lot of fun to watch. Contrastingly the earnest and warm-hearted Mr Brownlow (Alex Richardson) and Mrs Bedwin (Zehta Herring) were a breath of fresh air into the piece, adding an unconditional and pure love into Oliver’s life that was portrayed well. Charlie Bates (Ariah Roberts) was brazen and charming, and Bet (Belle Coulson) was sweet and enchanting, extremely talented young actors.
Kyle Mobbs as Artful Dodger was a riot: an excellent voice, great energy, and brilliant costume that made the audience grin, with a rendering of “Consider Yourself” that could have been straight off a professional soundtrack. Fagin (Kane Mobbs) was chaotic and larger-than-life, with hints at a deeper care for the boys in his charge and that would have been great to see more of.
Maisy Jo Russell as Nancy was vocally breathtaking, with a sustained and controlled belt that is highly impressive for a young woman. Her power but also her vulnerability made her an excellent pick for this role. Playing well in contrast was Bryce Young as an appropriately menacing Bill Sykes, who though I would have liked to see some more moments of stillness with, had an excellently executed death that was daring and delightful.
Supported by all the incredible minor roles and an amazing chorus, this production of Oliver! Jr was a pleasure to watch, and will no doubt have the audience tapping their toes for weeks to come!
by Jess Wolfendale
OLIVER! SATURDAY OCTOBER 30TH 6PM - JELLY CAST
What a cracker of a show you guys put on! If you could bottle the vitality, enthusiasm and high spirits contained in your production, Now could make an absolute fortune to folks who needed just a drop or two as a pick-me-up when they’re feeling low! I’ve been feeling brilliant all day from the wonderful dose you so kindly doled out last night; can’t get the tunes out of my head – they just keep going round and round!
Technically, the production was superb. Firstly, congratulations on the set – a very clever design that worked beautifully, in that the physical structure could be adapted to whatever scene was required. I have never seen such a perfect fire effect in the lamps and fireplace; scratching my head to figure just how that was achieved (clearly the days of cellophane and flickering light bulbs are a thing of the past). And a massive congrats on how well-drilled the cast were in managing each change-over; I didn’t notice even one slip-up, though if I’m not wrong Big Ben had just the slightest bit of hesitation coming down to join the action.
Costumes and makeup were of a high standard, as were all the props; they authentically added to the colour and atmosphere of the Dickensian world. I felt just a little concerned for Carter who played both Mr Sowerby and Dr Grimwig. In the scene when Oliver was being examined by the good doctor, I thought the undertaker had returned to take him away. Makeup and costume change would have helped for the audience to identify two different characters.
Lighting and sound were top-notch. Personal mics worked a treat and were quite invisible and lighting cues were a lesson in just how well atmosphere can be created with just the right combination of spots in the right colours directed in the right places, with a little help from smoke/fog effects when required.
From the moment the younger cast members came on stage with their rhythmic march to the dining tables, I knew that we were in for a terrific show. Why? Because they had been so well rehearsed that they moved like a well-oiled machine. But the young ones really showed what they had once they got into the numbers in Fagin’s den. No-one put a foot wrong and they all knew how important it was to carry huge smiles and lift their heads with pride – professional little troopers, every single one of them. And let me say that it was the enthusiasm and thorough preparation of these kids that gave the show its real pizazz. The adolescents were mighty powerful too in their dancing; choreographed to perfection; especially Consider Yourself – a real showstopper. In fact, I heard several people shout out encore and indeed you guys deserved one for the magic of that number. A quick mention of Maisy who clearly demonstrated leadership in her vigorous and bold dancing style.
It was the female leads who really stood out when it came to the singing. A big congratulations to Alex for the way she sold her solo As Long as He Needs Me. It was a passionate, mature performance from a singer with a mighty powerful voice; I was amazed that you had it in you, Alex. And then there’s the title role of Oliver. Without a great Oliver, you don’t have much of a show and Alyssa did a mighty fine job of handling the poignant interpretations of Where is Love and Who Will Buy? It’s always tricky for a girl to convincingly play a boy’s role, but Alyssa was right in there giving a sustained and noteworthy performance throughout. A quick honourable mention to Zheta who also offered us a beautiful rendition of Where is Love?
It’s in the acting that the males truly came into their own. Firstly, Kane and Alex were faced with two difficult characters to portray – Bumble and Bill. Congratulations on the energy and determination you both showed in conquering these tough roles. My first acting honourable mention goes to Ava who proves that there is never a part that’s too small. For example, she gave her milkmaid a very definite, plaintiff sadness in and the way she delivered just one line of singing (“Any milk today, Mistress?) contrasted that with the tight, domineering Widow Corney. And Ariah, you also did a wonderful job with a small part. Bet was sweet and charismatic throughout and her presence just glowed off the stage. Great job, kiddo.
Connor has most definitely found his niche role – and what a wonderful Fagin he made. He was clearly enjoying himself throughout and convincingly fooled around with the boys, adopted just the right accent and added a new clowning element to the character that I haven’t seen there in other productions – and it worked fabulously.
Last, but by no means least, there’s the ‘Eveready Bunny’. There was absolutely no stopping Kyle in the role of Dodger. The energy and enthusiasm he showed was remarkable and he has all three ingredients essential for the role – great acting skills, top singing voice and light sure-footed dance skills. The whole package. I’ve seen at least six productions of this musical and Kyle, you’re up there with the very best and with a great future in store if you decide to follow a theatrical pathway.
So there it is … congratulations, congratulations and even more congratulations to each and every one of you!
by Paul Paulenas
Joe Russell and the Now Productions team go from strength to strength. This cast was well chosen and adaptive. They had loads of energy and brought some new slants to the well known characters, mostly by teasing out their comic side. The cast sang lustily in both solos and ensemble pieces, and although the taped music was often loud, no voices were overpowered by it. That, and a very effective sound system, made for a most successful musical experience for the large and enthusiastic audience.
The action was played in a simple and functional set, featuring a solid scaffolding bridge-cum-street and a series of minor props and cut-away flats. The cast and crew were discreet and efficient in all of the scene changes.
Of the two casts, I saw the Custard cast and was most impressed with their surety and confidence.
Alyssa Faranda was charming in the title role. She played Oliver, rightly, as an innocent among rogues, and made great impact with her true, strong voice. She was especially moving in the song Where Is Love?
Kane Mobbs impressed as a very agile and entertaining Fagin. He drew out considerably more humour than is often the case with the character, and it worked very well. His characterisation and cheeky energy were major strengths.
Kyle Mobbs was marvellous as the Artful Dodger. His chirpy voice and nature were infectious and his physical balance and style were outstanding. He grabbed our attention early in the piece when he led the gang in the exuberant Consider Yourself and retained it from then on. Connor Russell was a very solid and striking Mr Bumble, balanced nicely by Ava Cannard as the Widow Corney, while Alex Richardson played a dignified and steady Mr Brownlow. Bryce Young was truly frightening as the misogynistic Bill Sikes, bringing out the callousness at every turn.
Aside from Oliver, Nancy is the emotional heart of the story, and Maisy Jo Russell was splendid in the role. She showed considerable subtlety as she developed the character. Her singing demonstrated that too. While she sailed through the rollicking Oom-Pah-Pah with easy enthusiasm, she built up the feeling and volume of As Long As He Needs Me with a very impressive understanding and maturity.
The ensemble ably supported the action in acting, singing and movement. Among others, the choreography in Consider Yourself was a particularly good example of that. And I must mention how affecting it was to hear and see Who Will Buy by the market sellers and Oliver. It was a quiet and pensive break from the otherwise hectic pace of much of the show.
There was lots to like about this production. All credit to Joe Russell, his cast and crew.
by David Smith (Theatre Association of South Australia)
OLIVER! SATURDAY OCTOBER 30TH 1PM - CUSTARD CAST
It’s a fine, fine life on the stage of the Sheldey theatre as NOW Productions tackles Oliver! Jr, a shortened yet no less vibrant telling of the classical musical. An energetic and well-rehearsed cast coupled with the direction of a fantastic creative team, lead by director Joe Russell, prove that good things really do come in small packages!
A simple set, a scaffold bridge with small moving set pieces and a projected background provide a great versatility and allow the cast to really play in the space. And that they do! The costumes (by Kylie Mobbs and Lynda Cook) really highlighted the excellent characterisation of the ensemble who transition from muted greys to vibrant colour as we meet Fagan’s gang.
The choreography (by Mandy Russell and Maisy Jo Russell) also mimics this progression with incredible execution. The opening number “Food Glorious Food” is simple, yet snappy and very effective. The big turning point comes with “Consider Yourself”, which strikes me as some of the most ambitious yet well-executed choreography in the youth theatre scene. The choral harmonies seemed very well rehearsed and delivered with confidence and precision, a credit to Robert Young’s excellent musical direction. The energy and commitment of the cast was simply amazing to watch.
On to the cast: it goes without saying that the casting of Oliver Twist is pivotal, and can affect the entire show, especially when working with such a young cast. So it is an incredible thing to see when from the very first note of “Where is Love”, Alyssa Faranda commands the audience completely. She was expressive and confident, with the kind of dreamy melodic voice that moves an audience to tears. Faranda bounced off the other cast members with nimbleness, and showed a passion that will lead her far in the arts if she chooses to pursue it.
Connor Russell as Mr Bumble was in equal parts intimidating and bumbling, showing a good mastery of his lower range. Along with Ava Canard they made a great comedic duo seething with animosity that was a lot of fun to watch. Contrastingly the earnest and warm-hearted Mr Brownlow (Alex Richardson) and Mrs Bedwin (Zehta Herring) were a breath of fresh air into the piece, adding an unconditional and pure love into Oliver’s life that was portrayed well. Charlie Bates (Ariah Roberts) was brazen and charming, and Bet (Belle Coulson) was sweet and enchanting, extremely talented young actors.
Kyle Mobbs as Artful Dodger was a riot: an excellent voice, great energy, and brilliant costume that made the audience grin, with a rendering of “Consider Yourself” that could have been straight off a professional soundtrack. Fagin (Kane Mobbs) was chaotic and larger-than-life, with hints at a deeper care for the boys in his charge and that would have been great to see more of.
Maisy Jo Russell as Nancy was vocally breathtaking, with a sustained and controlled belt that is highly impressive for a young woman. Her power but also her vulnerability made her an excellent pick for this role. Playing well in contrast was Bryce Young as an appropriately menacing Bill Sykes, who though I would have liked to see some more moments of stillness with, had an excellently executed death that was daring and delightful.
Supported by all the incredible minor roles and an amazing chorus, this production of Oliver! Jr was a pleasure to watch, and will no doubt have the audience tapping their toes for weeks to come!
by Jess Wolfendale
OLIVER! SATURDAY OCTOBER 30TH 6PM - JELLY CAST
What a cracker of a show you guys put on! If you could bottle the vitality, enthusiasm and high spirits contained in your production, Now could make an absolute fortune to folks who needed just a drop or two as a pick-me-up when they’re feeling low! I’ve been feeling brilliant all day from the wonderful dose you so kindly doled out last night; can’t get the tunes out of my head – they just keep going round and round!
Technically, the production was superb. Firstly, congratulations on the set – a very clever design that worked beautifully, in that the physical structure could be adapted to whatever scene was required. I have never seen such a perfect fire effect in the lamps and fireplace; scratching my head to figure just how that was achieved (clearly the days of cellophane and flickering light bulbs are a thing of the past). And a massive congrats on how well-drilled the cast were in managing each change-over; I didn’t notice even one slip-up, though if I’m not wrong Big Ben had just the slightest bit of hesitation coming down to join the action.
Costumes and makeup were of a high standard, as were all the props; they authentically added to the colour and atmosphere of the Dickensian world. I felt just a little concerned for Carter who played both Mr Sowerby and Dr Grimwig. In the scene when Oliver was being examined by the good doctor, I thought the undertaker had returned to take him away. Makeup and costume change would have helped for the audience to identify two different characters.
Lighting and sound were top-notch. Personal mics worked a treat and were quite invisible and lighting cues were a lesson in just how well atmosphere can be created with just the right combination of spots in the right colours directed in the right places, with a little help from smoke/fog effects when required.
From the moment the younger cast members came on stage with their rhythmic march to the dining tables, I knew that we were in for a terrific show. Why? Because they had been so well rehearsed that they moved like a well-oiled machine. But the young ones really showed what they had once they got into the numbers in Fagin’s den. No-one put a foot wrong and they all knew how important it was to carry huge smiles and lift their heads with pride – professional little troopers, every single one of them. And let me say that it was the enthusiasm and thorough preparation of these kids that gave the show its real pizazz. The adolescents were mighty powerful too in their dancing; choreographed to perfection; especially Consider Yourself – a real showstopper. In fact, I heard several people shout out encore and indeed you guys deserved one for the magic of that number. A quick mention of Maisy who clearly demonstrated leadership in her vigorous and bold dancing style.
It was the female leads who really stood out when it came to the singing. A big congratulations to Alex for the way she sold her solo As Long as He Needs Me. It was a passionate, mature performance from a singer with a mighty powerful voice; I was amazed that you had it in you, Alex. And then there’s the title role of Oliver. Without a great Oliver, you don’t have much of a show and Alyssa did a mighty fine job of handling the poignant interpretations of Where is Love and Who Will Buy? It’s always tricky for a girl to convincingly play a boy’s role, but Alyssa was right in there giving a sustained and noteworthy performance throughout. A quick honourable mention to Zheta who also offered us a beautiful rendition of Where is Love?
It’s in the acting that the males truly came into their own. Firstly, Kane and Alex were faced with two difficult characters to portray – Bumble and Bill. Congratulations on the energy and determination you both showed in conquering these tough roles. My first acting honourable mention goes to Ava who proves that there is never a part that’s too small. For example, she gave her milkmaid a very definite, plaintiff sadness in and the way she delivered just one line of singing (“Any milk today, Mistress?) contrasted that with the tight, domineering Widow Corney. And Ariah, you also did a wonderful job with a small part. Bet was sweet and charismatic throughout and her presence just glowed off the stage. Great job, kiddo.
Connor has most definitely found his niche role – and what a wonderful Fagin he made. He was clearly enjoying himself throughout and convincingly fooled around with the boys, adopted just the right accent and added a new clowning element to the character that I haven’t seen there in other productions – and it worked fabulously.
Last, but by no means least, there’s the ‘Eveready Bunny’. There was absolutely no stopping Kyle in the role of Dodger. The energy and enthusiasm he showed was remarkable and he has all three ingredients essential for the role – great acting skills, top singing voice and light sure-footed dance skills. The whole package. I’ve seen at least six productions of this musical and Kyle, you’re up there with the very best and with a great future in store if you decide to follow a theatrical pathway.
So there it is … congratulations, congratulations and even more congratulations to each and every one of you!
by Paul Paulenas
NOW Production’s Exclusive one-night production of Exclusive presented another creation from the mind of writer and director Joe Russell. A wild and wacky cast plus a script that seemed hand-written for the audience made for 45 minutes of fun! The set was simple - divided between the harsh white fluro and realism of the office space, and the dynamic outdoor set of the roving reporters. Fun whiteboard japes introduced office dynamics before the show even began, showing us “days since Scott came up with a good column” and other snapshots of the team. The one issue being in early scenes where the actors weren’t as careful with their movement, and the stomping acoustically overwhelmed the lines. A small issue easily fixed, and resolved in later scenes.
The story was loose and unique, tending to focus less on the driving force of the boss’s upcoming wedding anniversary, and instead letting it guide the plot toward the fun skits created from the situation. Each character had a distinctive flavour of wit (or lack thereof) that contributed to the co-worker humour, sprinkled in with some deprecating marriage jokes that really set the time period of the piece. What resulted was an amusing snapshot of office politics, family dynamics, and witty repartee that the audience simply ate up.
Norman and Trish Fisher, owners of The Herald, carried the authority of the play, as the Editor-In-Chief and his wife: though she was clearly more than that! Andrew Cridland played the ever-suffering husband, bringing cheek and a little bit of temper to the character, which was thoroughly believable. Lynda Cook as the controlling wife was a whirlwind force, with a fantastic glimpse into her loving side in the final scene. I would have loved to see some more quiet moments between these two to develop their chemistry as actors and round out the characters a little more - there’s a reason they’re married after all!
Jake, Scott, and Gavin were the staff, each embodying both the rivalries and comradery of office life, often consecutively! Kane Mobbs as Jake was larger than life, delivering a pantomime-esque class clown that was thoroughly enjoyed. Jason Clark as Scott played directly opposite as the passionate yet underappreciated columnist: though the most entertaining moments were when he and Mobbs worked together in alliance against their boss, combat rolling across the stage as they joked. Damien Wachla as Gavin was the understated and quietly cheeky member of the team, with some of my favourite one-liners in the piece, delivered splendidly.
The trio of Bill, Ben, and Jo undoubtedly had the most excellent chemistry, with great relationship snapshots and top-tier joke delivery. Alex Richardson and Connor Russell make a great comedic duo as forbearing partners, with Ambriel Pearson’s sass tying it all together. Richardson clearly had a little too much fun destroying the set though, and his genuine delight infected the audience. Kylie Mobbs completed the cast as Tania the newspaper distributor and Doris the environmentalist, the comedic hippy trend-setter who’s dulcet-toned cries of “save the trees(es)” charmed the audience into tears of laughter. Another entertaining piece from NOW Productions, with a dynamic cast that seemed to have almost as much fun as the audience.
By Jess Wolfendale.
The story was loose and unique, tending to focus less on the driving force of the boss’s upcoming wedding anniversary, and instead letting it guide the plot toward the fun skits created from the situation. Each character had a distinctive flavour of wit (or lack thereof) that contributed to the co-worker humour, sprinkled in with some deprecating marriage jokes that really set the time period of the piece. What resulted was an amusing snapshot of office politics, family dynamics, and witty repartee that the audience simply ate up.
Norman and Trish Fisher, owners of The Herald, carried the authority of the play, as the Editor-In-Chief and his wife: though she was clearly more than that! Andrew Cridland played the ever-suffering husband, bringing cheek and a little bit of temper to the character, which was thoroughly believable. Lynda Cook as the controlling wife was a whirlwind force, with a fantastic glimpse into her loving side in the final scene. I would have loved to see some more quiet moments between these two to develop their chemistry as actors and round out the characters a little more - there’s a reason they’re married after all!
Jake, Scott, and Gavin were the staff, each embodying both the rivalries and comradery of office life, often consecutively! Kane Mobbs as Jake was larger than life, delivering a pantomime-esque class clown that was thoroughly enjoyed. Jason Clark as Scott played directly opposite as the passionate yet underappreciated columnist: though the most entertaining moments were when he and Mobbs worked together in alliance against their boss, combat rolling across the stage as they joked. Damien Wachla as Gavin was the understated and quietly cheeky member of the team, with some of my favourite one-liners in the piece, delivered splendidly.
The trio of Bill, Ben, and Jo undoubtedly had the most excellent chemistry, with great relationship snapshots and top-tier joke delivery. Alex Richardson and Connor Russell make a great comedic duo as forbearing partners, with Ambriel Pearson’s sass tying it all together. Richardson clearly had a little too much fun destroying the set though, and his genuine delight infected the audience. Kylie Mobbs completed the cast as Tania the newspaper distributor and Doris the environmentalist, the comedic hippy trend-setter who’s dulcet-toned cries of “save the trees(es)” charmed the audience into tears of laughter. Another entertaining piece from NOW Productions, with a dynamic cast that seemed to have almost as much fun as the audience.
By Jess Wolfendale.
Agent Percash: Rewind takes place in the “Agent Percash Universe”, a franchise created by London-trained, Adelaide-based creative director Joe Russell, and executed by his youth production company Now Productions. The Percash Universe was originally conceived in Joe’s youth, a character imagined from childhood games, cherished and developed into a four-part film series that takes us through jailbreaks, double agents, and even time travel!
Coming into the franchise in its finale was a very unique experience. The film began with a helpful - if lengthy - plot recap that attempted to fill in the blanks of the world crafted to this point. These films are certainly not stand-alone, though the spy-genre beats (half James Bond, half Austin Powers) transcended any plot obstacles. We follow the heroes of the Australian Secret Service, lovingly referred to as “ASS”, and several rogue members of the police force as they track down notorious mastermind Le Marc and his team to halt their evil plans once and for all.
The highlights of the first act came from some clever sound design which invites the audience into a suspension of disbelief, looking past the young actors filling the diverse range of roles, and focusing us on the drama and action packed into the film. A mix of 007 smooth Jazz and Inception-like blaring brass sections give this film a unique flavour and mood.
The fight choreography of the opening scene was smooth and well-executed, a hand-to-hand style that the rest of the movie could have benefited strongly from, instead of the zany gun discipline of most characters which wore down the drama of the weapons over time. This film truly shines in the action sequences: sneaking through the aisles of a warehouse, guns drawn, the audience tensely anticipating every turn of the corner. The suspenseful build up of action was an excellent example of the best of the spy-movie genre.
Long panning single shots peppered throughout the film were the cinematic highlight, a modern trend dexterously executed by the team. Small technical difficulties like clipping audio and lack of coverage in some dialogue scenes were overcome by the sheer talent of the young cast.
Calleigh Grieger as Constable Lucy Jensen and Connor Russell as Jerry Chambers shared an excellent on-screen chemistry which comfortably carried the plot. Dialogue was natural and clear, and these actors created well-developed characters that were easy to empathise with and root for. Looking forward to seeing more from these two.
Kane Mobbs as The Chief and Maisy Jo Russell as Agent Percash often provided some refreshing banter and comic relief in their antics, their experience and leadership of the situation emphasised masterfully by incredibly detailed scar makeup (courtesy of Kylie Mobbs). Joined by the bold and loveable Hayley Henke as Agent Jessie Gold, she rounds out the kickass team incredibly well, especially when confronting - well, herself!
Contrastingly, the stoic duo composed of Adam Roling as Adam Andrews, and Zoe Mayes as Julie Bishop strode confidently through the story, bent on revenge. Their unwavering focus and drive were well-portrayed and I found myself both devastated and delighted by their arc’s conclusion. This storyline did not shy away from the grizzly details, and looking down the barrel of the gun was one of the most powerful moments in the film, carried expertly by this great pair of actors.
On the side of the villains, Isabelle Trezise as Gards, despite her short time on screen, was extremely menacing and powerful, a real presence that radiated through the screen. I struggled to keep my cheer silent when she uttered her final line - great stuff. Meanwhile Alex Richardson as Le Marc presented a well-rounded multi-dimensional character that was a very good example of twisted motives with an underlying sadness that the audience could easily empathise with. A difficult needle to thread, but one very dexterously achieved by Richardson.
A late addition to the action, Lali Wagland as scientist Toni Francs instantly earned their place as one of my favourite characters in the film. Evocative of the Abby Sciuto’s and Penelope Garcia’s of golden-age TV procedurals or (perhaps more recently) the loveable quirkiness of She-Ra’s Entrapta, Wagland’s sassy, intelligent portrayal of the character endeared me enough that I was intrigued at the brave introduction of time travel into a spy film.
Despite any predispositions, however, the time travel aspect was cleverly handled - and though I am not usually a fan of open endings, the inclusion of possible futures, happy endings, and reunions was extremely touching, and a beautiful, cathartic ending to a high-action series.
Though I can’t mention them all, this cast was oozing with talent from beginning to end: Perry Robertson-Terranova’s ability to capture the extreme ends of the emotional spectrum, the overwhelming charm and charisma of Riley Mobbs and Dante Bombardieri, the nimbleness of Maddison Good. Every one of them showed passion and potential, and I hope they continue to appear on screen and stage in Adelaide and beyond!
Congratulations to the cast, crew, and the entire team at Now Productions on the conclusion of their first franchise - I look forward to whatever’s next!
By Jess Wolfendale
Coming into the franchise in its finale was a very unique experience. The film began with a helpful - if lengthy - plot recap that attempted to fill in the blanks of the world crafted to this point. These films are certainly not stand-alone, though the spy-genre beats (half James Bond, half Austin Powers) transcended any plot obstacles. We follow the heroes of the Australian Secret Service, lovingly referred to as “ASS”, and several rogue members of the police force as they track down notorious mastermind Le Marc and his team to halt their evil plans once and for all.
The highlights of the first act came from some clever sound design which invites the audience into a suspension of disbelief, looking past the young actors filling the diverse range of roles, and focusing us on the drama and action packed into the film. A mix of 007 smooth Jazz and Inception-like blaring brass sections give this film a unique flavour and mood.
The fight choreography of the opening scene was smooth and well-executed, a hand-to-hand style that the rest of the movie could have benefited strongly from, instead of the zany gun discipline of most characters which wore down the drama of the weapons over time. This film truly shines in the action sequences: sneaking through the aisles of a warehouse, guns drawn, the audience tensely anticipating every turn of the corner. The suspenseful build up of action was an excellent example of the best of the spy-movie genre.
Long panning single shots peppered throughout the film were the cinematic highlight, a modern trend dexterously executed by the team. Small technical difficulties like clipping audio and lack of coverage in some dialogue scenes were overcome by the sheer talent of the young cast.
Calleigh Grieger as Constable Lucy Jensen and Connor Russell as Jerry Chambers shared an excellent on-screen chemistry which comfortably carried the plot. Dialogue was natural and clear, and these actors created well-developed characters that were easy to empathise with and root for. Looking forward to seeing more from these two.
Kane Mobbs as The Chief and Maisy Jo Russell as Agent Percash often provided some refreshing banter and comic relief in their antics, their experience and leadership of the situation emphasised masterfully by incredibly detailed scar makeup (courtesy of Kylie Mobbs). Joined by the bold and loveable Hayley Henke as Agent Jessie Gold, she rounds out the kickass team incredibly well, especially when confronting - well, herself!
Contrastingly, the stoic duo composed of Adam Roling as Adam Andrews, and Zoe Mayes as Julie Bishop strode confidently through the story, bent on revenge. Their unwavering focus and drive were well-portrayed and I found myself both devastated and delighted by their arc’s conclusion. This storyline did not shy away from the grizzly details, and looking down the barrel of the gun was one of the most powerful moments in the film, carried expertly by this great pair of actors.
On the side of the villains, Isabelle Trezise as Gards, despite her short time on screen, was extremely menacing and powerful, a real presence that radiated through the screen. I struggled to keep my cheer silent when she uttered her final line - great stuff. Meanwhile Alex Richardson as Le Marc presented a well-rounded multi-dimensional character that was a very good example of twisted motives with an underlying sadness that the audience could easily empathise with. A difficult needle to thread, but one very dexterously achieved by Richardson.
A late addition to the action, Lali Wagland as scientist Toni Francs instantly earned their place as one of my favourite characters in the film. Evocative of the Abby Sciuto’s and Penelope Garcia’s of golden-age TV procedurals or (perhaps more recently) the loveable quirkiness of She-Ra’s Entrapta, Wagland’s sassy, intelligent portrayal of the character endeared me enough that I was intrigued at the brave introduction of time travel into a spy film.
Despite any predispositions, however, the time travel aspect was cleverly handled - and though I am not usually a fan of open endings, the inclusion of possible futures, happy endings, and reunions was extremely touching, and a beautiful, cathartic ending to a high-action series.
Though I can’t mention them all, this cast was oozing with talent from beginning to end: Perry Robertson-Terranova’s ability to capture the extreme ends of the emotional spectrum, the overwhelming charm and charisma of Riley Mobbs and Dante Bombardieri, the nimbleness of Maddison Good. Every one of them showed passion and potential, and I hope they continue to appear on screen and stage in Adelaide and beyond!
Congratulations to the cast, crew, and the entire team at Now Productions on the conclusion of their first franchise - I look forward to whatever’s next!
By Jess Wolfendale
Bianca Woods - "Congratulations, everyone! A great performance, full of humour and charm."
Kelly Reardon - "t was so good! We laughed so much and had a fantastic time! Well done everyone"
Kylie Mobbs - "Thanks Joe, I had the best time, I never thought id have the confidence to perform! You're an awesome acting coach, and your passion definitely rubs off on all of us. I wanted to thank Kane for the acting lessons and it was so much fun performing with you, as well as Riley and Kyle for listening and fixing up a few things when I'd say my lines all day lol. It really warmed my heart seeing how proud of me you were!
I had the best time and look forward to the next one, Everyone was so awesome and I loved getting to know you all x"
Stacey Stubbs - "Was a great show you were all so much fun to watch. You should all be really proud. I did also enjoy reading the signs at the back of the set after the show"
Kelly Reardon - "t was so good! We laughed so much and had a fantastic time! Well done everyone"
Kylie Mobbs - "Thanks Joe, I had the best time, I never thought id have the confidence to perform! You're an awesome acting coach, and your passion definitely rubs off on all of us. I wanted to thank Kane for the acting lessons and it was so much fun performing with you, as well as Riley and Kyle for listening and fixing up a few things when I'd say my lines all day lol. It really warmed my heart seeing how proud of me you were!
I had the best time and look forward to the next one, Everyone was so awesome and I loved getting to know you all x"
Stacey Stubbs - "Was a great show you were all so much fun to watch. You should all be really proud. I did also enjoy reading the signs at the back of the set after the show"
NOW Productions is a theatre group based in the Northern suburbs of Adelaide, which focuses on youth productions and events.
NOW Productions interpretation of Les Miserables was refreshing and innovative and follows the story of Jean Valjean, a former prisoner who makes good in the years before the French Revolution. Jean Valjean, while keeping his former life secret, experiences the ups and downs of life, and in unusual circumstances, adopts a young orphan girl, Cosette.
While Cosette grows up and falls in love for a passionate revolutionary, Jean Valjean's life is about to be turned upside down, when he stumbles across one of his former jailers, Javert.
From the minute you enter the theatre, you are part of the production. The floor is wreathed in smoke, making you feel that you are walking the cold streets of 19th century France and as you take your seats, actors are walking amongst the audience and simulating warming their hands at street lights.
While the whole production has been well cast, the roles of Jean Valjean played by Michael Hardy and Cosette's mother, Fantine, played by Diana Baddams, are particularly enjoyable with some of the finest young voices I have heard in some time.
The roles of Cosette's former guardians, Thenardier and Madame Thenardier (Joe Russell and Amanda Binns), police officer Javert (Zachary Baseby) and passionate revolutionary Marius (Kane Mobbs) are also well played by accomplished actors. Cosette's former guardians in particular bring comic relief to what is usually a quite serious and emotional story.
Not to be forgotten is the orchestra, comprised of many young people who provide an outstanding accompaniment.
While this is a small theatre group and not the slick production of the bigger multinationals, this group displayed a solid effort. Despite some minor sound and wardrobe issues, they were professional and there are some young people here who you will see in the bigger lights in years to come.
Les Miserables played to limited audiences, however, look forward to NOW Productions next production in October 2021, Oliver Jr to be played at the Shedley Theatre, Elizabeth. Applications are still open for cast (principal and ensemble) and production team.
by Annette Vandersluis (Weekend Notes)
NOW Productions interpretation of Les Miserables was refreshing and innovative and follows the story of Jean Valjean, a former prisoner who makes good in the years before the French Revolution. Jean Valjean, while keeping his former life secret, experiences the ups and downs of life, and in unusual circumstances, adopts a young orphan girl, Cosette.
While Cosette grows up and falls in love for a passionate revolutionary, Jean Valjean's life is about to be turned upside down, when he stumbles across one of his former jailers, Javert.
From the minute you enter the theatre, you are part of the production. The floor is wreathed in smoke, making you feel that you are walking the cold streets of 19th century France and as you take your seats, actors are walking amongst the audience and simulating warming their hands at street lights.
While the whole production has been well cast, the roles of Jean Valjean played by Michael Hardy and Cosette's mother, Fantine, played by Diana Baddams, are particularly enjoyable with some of the finest young voices I have heard in some time.
The roles of Cosette's former guardians, Thenardier and Madame Thenardier (Joe Russell and Amanda Binns), police officer Javert (Zachary Baseby) and passionate revolutionary Marius (Kane Mobbs) are also well played by accomplished actors. Cosette's former guardians in particular bring comic relief to what is usually a quite serious and emotional story.
Not to be forgotten is the orchestra, comprised of many young people who provide an outstanding accompaniment.
While this is a small theatre group and not the slick production of the bigger multinationals, this group displayed a solid effort. Despite some minor sound and wardrobe issues, they were professional and there are some young people here who you will see in the bigger lights in years to come.
Les Miserables played to limited audiences, however, look forward to NOW Productions next production in October 2021, Oliver Jr to be played at the Shedley Theatre, Elizabeth. Applications are still open for cast (principal and ensemble) and production team.
by Annette Vandersluis (Weekend Notes)
NOW Production’s Annie is great family fun for both performers and audience alike.
A large cast of youth performers, mostly pre-teens and teenagers, brings a high level of energy and enthusiasm to this production.
Miley Vincent is very well cast as Annie. The lead role requires a distinctive and strong voice to deliver that song “Tomorrow” and Miley is perfect for it. Kane Mobbs at 16 years old had the hardest challenge in playing Daddy Warbucks but he rose to the occasion with an air of gravitas and swagger and gave a very good rendition of Daddy Warbucks’ solo “Something was Missing”. Saphron Giannos as Mr Warbucks’ secretary Grace Farrell has a lovely voice that added strength and depth to many of the ensemble pieces. The orphans are a delight. They were all very good in their roles. Alyssa Faranda as Molly was charmingly cheeky. An assortment of ages and heights adds to the visual appeal of their song and dance numbers “A Hard-Knock Life” and “Never Fully Dressed”.
Madeleine Riggs as Miss Hannigan is marvellous, a comedic talent, and an instant favourite with the audience. Zachary Baseby as Rooster Hannigan nailed the oily con-man role, ably accompanied by Shannyn McKay-Lee as girlfriend Lily. This trio delivered one of the funniest song and dance numbers “Easy Street”.
The Bert Healey radio show and the Whitehouse meeting with President Roosevelt scenes were also well done by all and very funny. The ensemble pieces not only showcased the cast’s song and dance abilities but also some very nifty tap dancing.
Seven year old golden retriever Ginny played Sandy much to the joy of many children in the audience. Ginny was very well behaved and probably a little bemused by the applause.
Set design and scene changes were simple and stylish enabling this large cast to have access to the full stage. Sound quality varied a little but overall it didn’t matter.
The audience was fully masked due to Covid regulations but we were all smiles underneath.
Lesley Grady - Theatre Association of South Australia
A large cast of youth performers, mostly pre-teens and teenagers, brings a high level of energy and enthusiasm to this production.
Miley Vincent is very well cast as Annie. The lead role requires a distinctive and strong voice to deliver that song “Tomorrow” and Miley is perfect for it. Kane Mobbs at 16 years old had the hardest challenge in playing Daddy Warbucks but he rose to the occasion with an air of gravitas and swagger and gave a very good rendition of Daddy Warbucks’ solo “Something was Missing”. Saphron Giannos as Mr Warbucks’ secretary Grace Farrell has a lovely voice that added strength and depth to many of the ensemble pieces. The orphans are a delight. They were all very good in their roles. Alyssa Faranda as Molly was charmingly cheeky. An assortment of ages and heights adds to the visual appeal of their song and dance numbers “A Hard-Knock Life” and “Never Fully Dressed”.
Madeleine Riggs as Miss Hannigan is marvellous, a comedic talent, and an instant favourite with the audience. Zachary Baseby as Rooster Hannigan nailed the oily con-man role, ably accompanied by Shannyn McKay-Lee as girlfriend Lily. This trio delivered one of the funniest song and dance numbers “Easy Street”.
The Bert Healey radio show and the Whitehouse meeting with President Roosevelt scenes were also well done by all and very funny. The ensemble pieces not only showcased the cast’s song and dance abilities but also some very nifty tap dancing.
Seven year old golden retriever Ginny played Sandy much to the joy of many children in the audience. Ginny was very well behaved and probably a little bemused by the applause.
Set design and scene changes were simple and stylish enabling this large cast to have access to the full stage. Sound quality varied a little but overall it didn’t matter.
The audience was fully masked due to Covid regulations but we were all smiles underneath.
Lesley Grady - Theatre Association of South Australia
NOW PRODUCTIONS movie project. "TEN FOUR"
This movie was a new enterprise written by Joe Russell and based on the success of the most recent movies Agent Percash 1 and 2. This adventure was equally as secretive but not including the interactive element of optional story lines.
Synopsis:
An action packed, comical and family fun movie that discovers the criminal underworld of a small country town. A police force, ill-equipped to handle such a challenge - can they restore the peace and protect and serve their local community.
Time will tell!
This movie was a new enterprise written by Joe Russell and based on the success of the most recent movies Agent Percash 1 and 2. This adventure was equally as secretive but not including the interactive element of optional story lines.
Synopsis:
An action packed, comical and family fun movie that discovers the criminal underworld of a small country town. A police force, ill-equipped to handle such a challenge - can they restore the peace and protect and serve their local community.
Time will tell!
Now Productions is a relatively new company in the Northern Suburbs of Adelaide but this is no way reflected in their productions. This performance of Beauty and the Beast was slick, fast paced and didn’t let the audience down. Co-directed by Bianca Woods and Chris Brown, the cast were tight and well rehearsed. Choreography by Mandy Russell was well executed and the vocal training received by Robert Young and Amber Rusby was dynamic. All the cast had a role to play whether a principal or chorus and this was done exceptionally well with no bunching or hidden members which can happen with larger casts.
Jemmah Rattley played the role of Belle with insight far beyond her years. Her vocals were clear and clean throughout and often brought the audience to tears. Axel Flynn who played Gaston was so brash and cocky you could not help but to love him which many of the young female audience members obviously did, given the comments and whistles that ensued every time he stepped on stage. Aidan Good who played Lumiere had the audience in stitches more often than not with his comedic antics and Kane Mobbs as Cogsworth was the perfect foil for him with his hand-wringing. Standout vocals from Saphron Giannos as Mrs Potts were a joy to listen to. Her performance of Beauty and the Beast in the second half was truly amazing. Zachary Baseby as Lefou, Rhys Young as Chip, Madeleine Riggs as Babette, Taylah Knight as Madame de la Grande Bouche, Jade Watson as Maurice and Perry Robertson-Terranova as Monsieur D’arque rounded out the principal roles admirably. With an additional 41 ensemble members this was a large production by anyone’s standards and was a joy to watch.
Sadly there were only two performances and the sound was a major issue on opening night so not a lot of time to get it right. As much as I hate seeing a sound desk in the audience, there is a case for the technician to be right there hearing exactly what the audience hears and being able to adjust accordingly.
Again as there were only two performances it would have been hard to get tickets given Opening was near to full and I can only imagine Finale would have been the same. If you missed it, get in now for their next production of Les Miserables in July.
The Theatre Association of South Australia
By Jacqui Wall - March 2, 2020
Jemmah Rattley played the role of Belle with insight far beyond her years. Her vocals were clear and clean throughout and often brought the audience to tears. Axel Flynn who played Gaston was so brash and cocky you could not help but to love him which many of the young female audience members obviously did, given the comments and whistles that ensued every time he stepped on stage. Aidan Good who played Lumiere had the audience in stitches more often than not with his comedic antics and Kane Mobbs as Cogsworth was the perfect foil for him with his hand-wringing. Standout vocals from Saphron Giannos as Mrs Potts were a joy to listen to. Her performance of Beauty and the Beast in the second half was truly amazing. Zachary Baseby as Lefou, Rhys Young as Chip, Madeleine Riggs as Babette, Taylah Knight as Madame de la Grande Bouche, Jade Watson as Maurice and Perry Robertson-Terranova as Monsieur D’arque rounded out the principal roles admirably. With an additional 41 ensemble members this was a large production by anyone’s standards and was a joy to watch.
Sadly there were only two performances and the sound was a major issue on opening night so not a lot of time to get it right. As much as I hate seeing a sound desk in the audience, there is a case for the technician to be right there hearing exactly what the audience hears and being able to adjust accordingly.
Again as there were only two performances it would have been hard to get tickets given Opening was near to full and I can only imagine Finale would have been the same. If you missed it, get in now for their next production of Les Miserables in July.
The Theatre Association of South Australia
By Jacqui Wall - March 2, 2020
Recently I saw the newly badged Youth Theatre company Now Productions’ interactive movie Agent Percash in the Hewett Community Hall. And the experience was a great testament to the energy and ability of the company’s director, Joe Russell, and his cast, crew, and the large enthusiastic audience. In its earlier iteration the company has been active since 2013 in the Northern suburbs, Gawler and the Barossa, providing a dynamic youth theatre school and a variety of live and filmed productions. Agent Percash, while not strictly speaking live theatre, did have elements of that. The plot was basically Government agents vs crooks, set in a number of identifiable Gawler and Barossa venues. On many occasions during the screening the action stopped and we were asked to vote for one of several possible plot options, by holding up one of the coloured cards– provided on our seats – which matched our choice of options. A young member of the company, Cordelia Ferguson, ably hosted the screening, calling on the audience to vote when asked and sensitively judged the results. The movie showcased the skills of a number of skilful young performers, indicating the work they have done in the company’s classes. Lauren Pullan was splendid in the title role. Not only did she handle the extraordinarily large role very capably, but often had the job, on screen, of posing the audience questions about the next course of the plot. Her use of gesture – especially facial gesture – was subtle and compelling. Others to impress were Zavier Ludborzc, who had a natural flair as Andy Astrid, Libby Harding who played Agent Fitzgerald with real spark, Kane Mobbs who was an enigmatic Chief, and Aidan Good who made the most of his comic lines as Nicky Sisco, the Mafia boss. Joe Russell devised, wrote, filmed, directed and edited the entire film. He used clever techniques for special effects, the passing scenery while characters drove in vehicles and rotating ‘Game Over’ signs if the audience made a wrong plot choice. While some of the background sound FX occasionally overpowered dialogue, the film held up well for its technical competence. This is a growing and energetic youth theatre enterprise which, from the adoring audience response to this movie, is clearly serving the Northern communities well. It is a delight to see the arts developing so effectively in this way. As the cast and crew justifiably did at the end of this screening, take a bow, Now Productions!
The Theatre Association of South Australia
By David Smith - 4th November 2018
The Theatre Association of South Australia
By David Smith - 4th November 2018
***NOTE: This production features an alternating cast. The review which follows is of the Bang Bang cast***
For several years, under the direction of Joe Russell and Bianca Woods, Now Productions have been providing ample opportunities for the youth of the Northern suburbs to perform on stage in quality productions and musicals. After the previous success of Now Productions' shows Wizard of Oz, Oliver!, Joseph and the Amazing Technicolour Dreamcoat, and most recently Sound of Music, Now Productions return in 2019, with their production of Chitty Chitty Bang Bang, and it is their best one yet. Filled with catchy dance numbers and a stellar cast, it is a show which can be enjoyed by the whole family, and will be a hard show for Now Productions to beat in the future.
Chitty Chitty Bang Bang is the famous and award winning musical with music and lyrics by Richard and Robert Sherman (famous also for music and lyrics for Mary Poppins) and book by Jeremy Sams. This family-friendly show is a fun show based on the beloved 1968 film of the same name, and follows the journey of eccentric inventor Caractacus Potts and his two children Jeremy and Jemima. When Potts purchases an old race car from the scrap heap, he transforms it to its former beauty, and discovers it to have magical proprieties, which later save them from the troublesome Vulgarians.
Axel Moen and Indianna Rumsby are suitably cast as the tyrannical rulers of Vulgaria, Baron and Baroness Bomburst, respectively. Moen conveys the Baron's childlike, immature and whining nature well, while Rumsby effectively portrays the overly dramatic personality associated with the woman who hates children. Both actors also present and maintain a believable Vulgarian accent throughout. The comedic, dim-witted, oaf henchmen to the Baron and Baroness, Boris and Goran, are also well played by Aidan Good and Kane Mobbs, and provide much comedy to the show. Mention should also be made of Libby Harding, whose body language, facial expressions and characterisation, ensures that The Child Catcher is portrayed as one who is most terrifying.
Rhys Young and Ava Hughes, are simply adorable as Caractacus Pott's adventurous and imaginative children, Jeremy and Jemima Potts. Both actors provide an appropriate innocence and curiosity to their characters, and are joyful to watch.
For several years, under the direction of Joe Russell and Bianca Woods, Now Productions have been providing ample opportunities for the youth of the Northern suburbs to perform on stage in quality productions and musicals. After the previous success of Now Productions' shows Wizard of Oz, Oliver!, Joseph and the Amazing Technicolour Dreamcoat, and most recently Sound of Music, Now Productions return in 2019, with their production of Chitty Chitty Bang Bang, and it is their best one yet. Filled with catchy dance numbers and a stellar cast, it is a show which can be enjoyed by the whole family, and will be a hard show for Now Productions to beat in the future.
Chitty Chitty Bang Bang is the famous and award winning musical with music and lyrics by Richard and Robert Sherman (famous also for music and lyrics for Mary Poppins) and book by Jeremy Sams. This family-friendly show is a fun show based on the beloved 1968 film of the same name, and follows the journey of eccentric inventor Caractacus Potts and his two children Jeremy and Jemima. When Potts purchases an old race car from the scrap heap, he transforms it to its former beauty, and discovers it to have magical proprieties, which later save them from the troublesome Vulgarians.
Axel Moen and Indianna Rumsby are suitably cast as the tyrannical rulers of Vulgaria, Baron and Baroness Bomburst, respectively. Moen conveys the Baron's childlike, immature and whining nature well, while Rumsby effectively portrays the overly dramatic personality associated with the woman who hates children. Both actors also present and maintain a believable Vulgarian accent throughout. The comedic, dim-witted, oaf henchmen to the Baron and Baroness, Boris and Goran, are also well played by Aidan Good and Kane Mobbs, and provide much comedy to the show. Mention should also be made of Libby Harding, whose body language, facial expressions and characterisation, ensures that The Child Catcher is portrayed as one who is most terrifying.
Rhys Young and Ava Hughes, are simply adorable as Caractacus Pott's adventurous and imaginative children, Jeremy and Jemima Potts. Both actors provide an appropriate innocence and curiosity to their characters, and are joyful to watch.
Caractacus Potts is played by Michael Hardy, and he has been very well cast. In perhaps the most significant and challenging role of the show, Hardy is excellent; he has appropriate characterisation, charisma, and an excellent stage presence, always commanding the stage well. Hardy also managed well when the orchestra struggled to keep in time to his position in a song, and this is a testament his several years of stage experience, he is to be most commended for this. Potts' love interest, Truly Scrumptious, is played by Chloe Seabrook, and she is a true delight to watch and listen to. Seabrook suitably encapsulates the assertive, strong and independent, but also gentle quality of Scrumptious, and one could believe that Seabrook is an adult performer. However, at only 12 years of age, Seabrook displays both an acting and singing talent which is well beyond her years. She has an incredible future ahead of her in musical theatre, should she continue to pursue it, I would highly recommend that she does. Choreography by Mandy Russell is simple but fun, and easy for the actors to learn, and costumes by Kate Harding are of exceptional quality, and fit the era well. However, the true star of the show is Chitty herself, a prop lovingly donated by Pelican Productions. This car is an almost identical replica to the professional touring production, and features a flotation device, working headlights, and large extendable yellow and red wings, exactly as featured in the film and professional stage production. She is a true beauty to behold, and is well deserving of the thunderous applause when she is first revealed to the audience.
Sometimes it can be so easy to forget that producing a quality musical takes much time, hard work and effort, and requires teamwork from all involved; it is no easy feat. When Joe Russell, producer for Now Productions, had the dream of producing Chitty Chitty Bang Bang for Now's first musical production for 2019, he knew it was going to be challenge, and will take lots of work and effort from his team, but it is obvious that hard work and effort has been invested into this production, and it has paid off. This production demonstrates therefore that "teamwork can make a dream work, if you're not afraid to try." Joe Russell was not afraid to try, and I look forward to seeing what Now Productions will produce in the future.
Weekend Notes
By Thomas Day - 5th April 2018
Sometimes it can be so easy to forget that producing a quality musical takes much time, hard work and effort, and requires teamwork from all involved; it is no easy feat. When Joe Russell, producer for Now Productions, had the dream of producing Chitty Chitty Bang Bang for Now's first musical production for 2019, he knew it was going to be challenge, and will take lots of work and effort from his team, but it is obvious that hard work and effort has been invested into this production, and it has paid off. This production demonstrates therefore that "teamwork can make a dream work, if you're not afraid to try." Joe Russell was not afraid to try, and I look forward to seeing what Now Productions will produce in the future.
Weekend Notes
By Thomas Day - 5th April 2018
"Just watched the Wizard of Oz at Golden grove art center with our 3 years old. We all enjoyed it very much. Costumes were great, older kids were humorous and did a great job. Younger kids looked like they had fun, and followed along quite well.
Highly recommended taking kids along to these community shows.
Extra special moment when my Daughter met her favorite character "the wicked witch of the west."
Audience Member
By Nicole Burford - 8th Apil 2017
Highly recommended taking kids along to these community shows.
Extra special moment when my Daughter met her favorite character "the wicked witch of the west."
Audience Member
By Nicole Burford - 8th Apil 2017
"It was a great show! Congratulations to everyone involved."
Audience Member
By Nikoly Richardson
Audience Member
By Nikoly Richardson
Oliver!
"Congratulations, Joe Russell, Mandy Russell and Bianca Woods on yet another wonderful show. In such a short space of time you bring together a cast full of energy and passion. It's wonderful to see them all so clearly enjoying themselves on stage . Thank you for giving all your time and energy to make this happen."
Audience Member / Parent
By Elizabeth Ferguson - October 2017
"Congratulations, Joe Russell, Mandy Russell and Bianca Woods on yet another wonderful show. In such a short space of time you bring together a cast full of energy and passion. It's wonderful to see them all so clearly enjoying themselves on stage . Thank you for giving all your time and energy to make this happen."
Audience Member / Parent
By Elizabeth Ferguson - October 2017