About crafty theatre

History, theatre, faith, art, food and family - asking questions - define me, or maybe me and my blog.

K-Drama Crush

Visiting my elderly Mum has been all about binge watching Korean Rom-Coms for a while now – ever since she brought herself up to date with every movie Hallmark ever made. Now when I go over there all she wants to do is make me sit down with her – for hours – reading subtitles on a screen. It’s been her greatest joy through lockdown. It’s all she’d talk about. She’s seen so much K-drama that she’s picking Korean.

No way, was I going to do that. There’s enough going on in my life without “relaxing” like that in front of a screen. But it was impossible not to take a bit in – the TV is always on and tuned into some Korean stage of history – Joseon, Goryeon or Contemporary. A parachuter hanging from a tree in the Korean demilitarized zone, a woman sneaking out a lobby behind an upright promo flag, a medieval doctor tending to a patient in the modern streets of Seoul – the drama was intriguing – but subtitles, really? For 16 episodes plus? Better not get hooked. Little by little, scene over scene, I did.

And which series got me in the end?

Huron Ki-joon (Kang Ji-hwan) and Gong Ah-jeong (Yoon Eun-hye) in Lie to Me

Lie to Me

I don’t know how many times mum watched the scene in the corporate lobby but it got me each time.  Civil servant, Gong Ah-jeong, (Yoon Eun-hye) trying to avoid the uber-alpha protagonist and hotel exec, Hyeon Ki-joon (Kang Ji-hwan) while they are both in the proceeds of exiting the same office foyer, runs between vertical banners all the way out. Exposed outside, she ingratiates herself into his group of business associates in front of whom he can’t lose face, and ends up bumming a ride with them. It got me hooked. I had to see more. I had to see it from the start and I had to see more of Yoon Eun-hye. So, Princess Hours and the Coffee Prince followed, and then I was hooked.

Spoiler Alert!!!!

Lie to Me is a refreshing rom-com in its writing. It uses all the expected K-Drama Rom-Com tropes which I will blog about shortly, however, the story is built around recognizable tensions of flawed real life characters. Gong Ah-jeong has been trumped in the marriage race by her close friend who has stolen her love interest and married him while she has closeted herself away trying to pass her final exams.

Feeling belittled, betrayed and the loss of her personal dignity before her close friends and community she pretends that she is getting married, too. She doesn’t have a fiancé, boyfriend or love interest, so she claims to be marrying an untouchable hotel exec, Hyeon Ki-joon. Through a series of interrelated events and with the help of his practical joker brother, the exec agrees to pretend to be her boyfriend for the sake of her friends only. With the further intervention of said, practical joking brother, who introduces her to a Chinese diplomat and his wife as Ki-joon’s fiancé, the secret starts to spread and the fake couple get to know each other better.

Soon he begins using his wealth to help her in her career as a tourism industry official. She in turn is tempted to use her position to confer upon his hotel chain the contract for a mammoth international business deal. What will she do for love and how do they have the scandal afterwards progress the plot. In an interesting twist towards the end of the series we see the heroine grappling with the idea of losing her identity to their relationship and the demands of his world.

K-Drama rom-coms are so much fun – full of comic set-ups, clownish supporting characters, lots of drama, scheming older relatives, class differences and usually have an underlying message. They aren’t sexual explicit – refreshing – but they are very romantic, and like I’ve said, a lot of fun.

Losing Everything Finding Love



Cover art by Alex Conan

Read enough of a genre of storytelling and eventually you’ll be tempted to write one, or so was the case with me. After binge reading my favourite romances from my salad days I began a catch up on what I’ve been missing. It was so much fun! I had to give writing one a go.

The thing with romance is that it’s a prescribed genre – readers have expectations and the genre complies. The genre is intended to be predictable- a happy ending is imperative. There are many tropes and guess what, they are all predictable.

Predictability is not a dirty word with this genre – it is the scaffold on which the story is built. The skill of the writer is taking the tropes and shaping a story to fit them that not only flows with an imperceptible compulsion but touches the reader – lifts them, reassures them and quite possibly takes them on a roller coaster ride that docks in a nirvana made by a respectful, sexy, amusing and positive relationship

It takes skill and imagination to get it right. A good read makes the work of the writer seem effortless- but it’s not.

So, I had a go. and it’s being released on Amazon Kindle on October 28.

Losing Everything, Finding Love is a light holiday romance and coming of age story set in Greece. It’s about an American college student who goes to Athens to complete her postgraduate qualifications in Archaeology. She barely lands before she gets tangled up in a human trafficking scheme.

Luckily for Constance she gets abducted from her kidnapper by a caffeine addicted taxi-driving Adonis – and all before he’s had his morning coffee.

Kidnapping an American tourist never crossed Mihali’s mind but that’s what his neighbour was up to. With his cab! When he saw the sleeping beauty in the back seat, he had to save her. His neighbour had already filched her luggage, passport, credit cards and left her an inoperable phone.

Problem was, she didn’t want to be saved. Not by him, anyway.

Now he has to convince her that that he is not part of a kidnapping scheme, otherwise, how will he be able to hide her from the underworld and prevent her from going to the police, the cab company, and the embassy?

To read more of the cover blurb, please click on this link: https://www.amazon.com/dp/B09HPS93P3/ref=cm_sw_r_sms_awdb_H85QDVZTFBXZGA910JH0

2. Exhibitions you may miss due to lockdown

This is an extract of a review that I wrote for the Sydney Arts Guide. To read the entire review visit the Sydney Arts Guide. Four Exhibitions worth Visiting at UNSW Galleries. Original due to close tomorrow.

Jewellery Designer and contemporary artist, Kyoko Hashimoto

Bioregional Bodies

Designer Kyoko Hashimoto’s Bioregional Bodies challenges society’s use of plastic, concrete and coal by incorporating them in engaging jewellery design: wearable art – mostly. Wearable statements on what mainstream jewellery design values – you won’t see aggregate and coal brooches in Tiffanys. Hers are wearable statements about what society values – setting fossil fuels and concrete in fine metal as if they are so desired – as desired and indispensable to high living as diamonds – in another sense they are. Hashimoto incorporates rings and necklaces that are statements – not of wealth, power and haute couture, but on society – objets d’art. She pushes the idea of what is jewellery and what can it achieve.

Taking up the lion’s share of the ground floor is Capture, the first comprehensive survey of artist, Sam Smith. Smith questions image making conventions and presentation with his video installations that incorporate sculpture and performance while he uses these to explore relationships between geology, technology and environment.

1. Exhibitions you may miss due to Lockdown

Kirsten Coelho: The Return

UNSW Galleries – the exhibition was to run until July 30.

Coelho’s work - an exhibit
Coelho’s work is delicate, studied and evocative

Ceramicist, Kirsten Coelho’s largest exhibition on Australian soil is currently gracing an upstairs gallery at the UNSW Galleries in Paddington. The space is atmospheric with dim lighting and strategically positioned spotlights to best show off her delicate, pre-dominantly white forms with a dramatic play of shadows. Their installations – groupings and solo objects – command the space with their presence. Their staging invites contemplation and reflection upon the artist’s theme and inspiration – The Return – Odysseus’ return to Ithaca – and the ruins of Pompeii.

Moving through the darkened room, lots of meanings come to mind. Where the names Ithaca and Shore are employed we are directed to think of a sea shore or ancient cityscape. As a metaphor of a city, the vessels are perfect with individuality in their shapes yet devoid of variety in their softly textured white surfaces – stating diversity exists without naming it. Each vessel houses untold stories – anonymous, untold lives.  Let each observer reflect their own understanding.

Looking through the silent gravity of UNSW Galleries upper exhibition space towards Ithaca, Coelho’s major work

However, with their cylindrical vertical emphasis – of varying heights and breadths- modern city buildings come to mind not ancient ones. We are directed by the artist to see in the bottles and cups ancient ruins, yet each piece is perfect.

And we are told about an ancient Odyssey – one that has been referenced over successive millennia as a metaphor for inner change and discovery, yet this hasn’t been addressed. Ironic when you think that Odysseus’ journey was told and retold on the surface of Ancient Greek ceramics. In fact, when you consider the variety of Ancient Greek ceramic forms and their specific uses, whose span encompasses the human journey from birth through initiation, socialisation and death – their absence becomes conspicuous. It’s about the shapes that are missing – not the illustrations. If we aren’t told to conjure Homer and Pompeii in our imagination I wouldn’t have expected to see  the whitened shape of a krater, amphora or kylix.

Coelho’s works represent a personal statement on the human journey with the installation of beautiful domestic forms – drinking vessels. Across the foyer, Fernando Do Campo’s To Companion a Companion, presents domestic, urban works that succeed in being non-binary in reception. His work proposes the human as a companion species to birds.

The exhibits downstairs focus more on the environment and self-consciously, the reception of the works themselves.

This is an extract of a review that I wrote for the Sydney Arts Guide. To read the entire review visit the Sydney Arts Guide. Four Exhibitions worth Visitind at UNSW Galleries.

Angst at Lockdown Media Coverage

This Sydney Co-vid lockdown seems so much more frustrating than the first. Beyond the frustration of understanding the limits of freedom placed on us: the NSW Premier neglected the word “essential” in the first couple of weeks when referring to workers who could go to work if they couldn’t work from home, and the media heedlessly inserting it into their recounts muddying the waters; then when “essential” was inserted into her dialogue, she tarried in defining it; and of course the confusion of advice over who should get the AstraZeneca vaccine- and the media’s unabated scare-montering over it, in the face of a shortage of the Pfizer vaccine; beyond is the frustration of going back to normal -almost- and then having to revert to stay-at-home measures and being bombarded with conflicting emotional barrages from friends, family, the internet and the media.

Picture of blurry light through an okd fadhioned keyhole
Blurry light through the keyhole

Frustration with the media causing frustration with an already edgy community compels me to ask, who is holding the media to account for their failings to serve the people?

A Romance for Mr Flanagan

Have you ever looked forward to a book soooooo much that when it’s finally released you can’t bring yourself to read it? Have you coveted that book to the degree where you’ve squirrelled it away for just the right circumstances to come together to allow you the luxury of time and the indulgence of space to maximise the enjoyment you know it will provide you? And when you finally embarked on that torrent of words did their passage augur more than you even expected? And at the end of the journey when you reached Ithaca, having endured emotional travails and survived, did you experience that redemption – that revelation – that homecoming – that happily ever after?

Well, I didn’t. Not fully. Not exactly. Not quite with Richard Flanagan’s The Narrow Road to the Deep North and boy, did I sit on that book- waiting for the perfect moment to begin reading it – since 2014!

The problem is, Mr Flanagan built up my expectations for a romantic journey out of existential spiritual darkness into the light of reunion and the righting of deeply entrenched wrongs with a happily ever after… but there wasn’t one.


His main character’s story had the hallmarks of romance: melodrama- beautiful moments-charismatic heroine- brooding hero – all-consuming attraction, but not the carry through. It was almost a romance but just didn’t get there.

How? Why? What happened?

Richard Flanagan’s Man Booker prize winning historical fiction, The Narrow Road to the Deep North

Hmm… it begs another question, maybe he doesn’t know how to write a romance? What if he tried his best and all he could manage was that much?

How disappointing for him! To put down such a sweeping story and not manage to cross the finish line for the main protagonist!

Flawed? He must have been floored when he finished it. Luckily for him, he was handed a consolation prize to encourage him to keep on – the Man Booker Prize.

Clockwise from top left: The Narrow Riad to the Deep North by Richard Flanagan; A Kingdom of Dreams by Judith McNaught; How to Love a Duke in Ten Days by Kerrigan Byrne; Mr Cavendish, I Presume by Julia Quinn; Dreaming of You by Lisa Kleypas ; central illustration – inside cover art by Morgan Kane for A Kingdom of Dreams

Poor darling….

However, I believe a piddling prize like that alone won’t aid him achieve the perfect historical romance. I think he will greatly benefit from the following reading list. I’ve put it together for him keeping in mind the themes he exercises: melodrama; redemption; pathos; flawed characters; catharsis after struggle; love ethereal, undeniable and uncontrollable; self knowledge/ identity; and a strong sense of mateship.

1. Sarah Maclean’s Daring and the Duke (2020)

Cover’ of Sarah Maclean’s Daring and the Duke

Redemption, redemption, redemption! Flawed character healed by love after years of suffering and searching for his lost love.

The fanciful world building in this one makes it potentially more of an enjoyable book for women than men. Ewan, Duke of Marwick and Doriego Evans have a lot of suffering in common.

Cover: Kerigan Byrne’s How to Love a Duke in Ten Days

2. Kerrigan Byrne’s How to Love a Duke in 10 Days (2019)

Melodrama-flawed characters healed by love – abuse of power by person of responsibility leading to years of disempowerment and grief – healed by love – mateship between the three friends

Classic blend of historical romance and old fashioned melodrama.

Cover: Julia Quinn’s Mr Cavendish, I Presume

3.Julia Quinn’s Mr Cavendish, I Presume (2008)

Crippling self doubts over loss of identity, a long suffering fiancé- love bolstering and healing- humour – Julia Quinn’s light touch

This is not typical of historical romance due to the time spent with the identity crisis of the male protagonist – which is absolutely engaging. To get the full on fun elements from the melodrama the companion story The Lost Duke of Wyndham has to be read. These two books should have been published as one as there is unnecessary overlap between them. To appreciate both, leave a time gap between them when reading.

Cover: Lisa Kleypas’ Dreaming of You

4. Lisa KleypasDreaming of You (1994)

Irrational love, a power unto itself – melodrama – a strong sense of mateship among the club workers that’s sentimental and sweet in its own way – suffering, brooding hero – pathos- forgiveness.

Another classic blend of historical romance and old fashioned melodrama.

Inside cover art by Morgan Kane for Judith McNaught’s A Kingdom of Dreams

5. Judith McNaught’s A Kingdom of Dreams (1989)

A warrior trying to relax into civilian life- an irrational attraction that can’t be controlled- melodrama – forgiveness and redemption – loyalties challenged – humour – pathos – dramatic tension

This one has all the charm and humour of a Golden Years of Hollywood adventure tale – think Errol Flynn or Clark Gable in rom-com mode. Sentimentality, loyalty and humour not only through the heroine’s antics but through the secondary characters supporting her.

All with HEAs. Happy reading!

3. Narrow Road to the Deep North vs Romance Genre

Book Review – Richard Flanagan’s The Narrow Road to the Deep North

Before I read this book, I knew what my Goodreads review would be – 5 stars with the comment, “It’s by Flanagan, what more is there to say?” Having read it, I now know there is a lot more to say…

***Spoiler Alert***

So if you haven’t realized over the course of the last two posts where I discuss this book, I’ll tell you now, Flanagan’s book was a tease. It’s a literary, historic fiction that won the Man Booker Prize in 2014 and was lauded by the chair of judges, A.C. Grayling with the following words:

“Some years very good books win the Man Booker Prize, but this year a masterpiece has won it.”

Hmmm….my quandary – 4 stars on Goodreads or 5? Four – he built my expectations for a romance with a HEA and didn’t deliver – or Five – surely one of the most acclaimed texts of the 21st Century, studied in schools etc, how dare I even consider less than 5 stars?

The thing is, when he went there, he out-romanced romance novels. He gives us romantic melodrama and its mores – the love interest’s husband is blown up in an explosion freeing her to be with him – the jilted fiancé lies about her rival’s death – the young POW he befriends, admires, and ultimately fails to heal is revealed as his long-lost nephew – at the eleventh hour, a mere 40 pages or so before the ending, a whim of fate presents a situation to both lovers whereby they can alter their life path with a touch, but through a lack of communication, with a reliance on presumption, they don’t.

And then there is THAT moment in the bookstore where Doriego and Amy meet. It’s a rare moment in literature these days- even romance genre fiction. You see, that moment doesn’t depend on a physical attraction. The love interest isn’t sparked by fame, or talent or individual preferences for boobs or brawn. It’s sparked by a chemistry that’s almost other worldly and that moment is teased out over paragraphs.

You know the chemistry I mean: when the orchestra comes in just before the closing credits of a movie, when the hero and heroine finally kiss, when you’re made to feel what they feel? When love hits. That moment when you realise the space between you and him/her as an electrified field of resistance, highly agitated yet ineluctable and debilitating in its yearning need for equilibrium. Just a sound, a look, a touch, may send you into frenzy or dissipate the emotion in a folly of fantasy incapable of fulfilment and you rue the fatality of an attraction you cannot contain.

Find me a romance novel where the attraction isn’t about physical appearance. There are a few, but not many. You may find it in fantasy romance but in a novel featuring mere humans it’s a little rare.

Besides THAT moment that anticipates romance early-ish in the novel there is that stretch walking across the Sydney Harbour Bridge at the close of the novel – the antithesis of THAT moment and the antithesis of the romance ride. Flanagan inverts an expected, tried-and-tested romance technique in another Brechtian lesson served complete with broken expectations and denied complacency.

In a romance novel it would be at this point in the plot where the couple have reconciled and begin their life-journey together and while the reader awaits the finality of hearing either one proclaim aloud their love. It is at this point that one or other will be physically and/or emotionally taken away e.g., the heroine is kidnapped by a rival for her love. It’s the final hurdle to the HEA. Instead of giving us a hurdle to leap, in a strange coincidence Flanagan brings these lovers into close contact. They pass each other on the bridge. Silently. They recognise each other after decades. A word, a brush of a gently swinging hand, a stall in their tread, could bring them together. We watch in slow motion, incapable of prodding them out of the trajectory of their hollow lives.

Finally, there is no HEA. Not even for a war hero. Not even for a woman alone again and childless after decades presumably grieving that short lived wartime fling.

Does Flanagan convince that love existing between a couple can uplift each individual – make each person good – and make life fulfilling?

Hmmm….perhaps he needs to read a few romances.

Previous Posts in this series are:

1.The Narrow Road to the Deep North vs Tolstoy

2. The Narrow Road to the Deep North vs The Illiad

The Artist in His Own Words

When you go to see an exhibition, especially one featuring a contemporary artist, you may find yourself having lots of conversations – both in your head and with the company you’re in. The first reaction to a work is spontaneous, as you approach. If it’s beautiful then it will engage you immediately. Will you walk closer? What if it’s original and beautiful? Does it inspire curiosity? And if it inspires curiosity is it because it has a mystery – its meaning?

Does it matter what the artist intends if it has inspired in the onlooker another state of emotion/being than that with which they walked into the space with? But if art is about the communication of ideas, the conveying of emotions, beliefs, thoughts, then shouldn’t the artist’s message be clear. And then, in a multicultural, pluralistic society are there enough common visual references to convey these ideas, emotions and beliefs without the written or spoken word? It’s a challenge, that’s for sure.

In my previous post I reviewed James McGrath‘s Luscus. I was unable to attend the talk he gave on it before I attended the Olsen Gallery. Here I’d like to share the Youtube AV of that talk.

Interview at Olsen Gallery with James Grath and Robbie Buck

James McGrath’s Luscus is showing at Olsen Gallery, 63 Jersey Rd, Woollahra, until May 29, 2021.

Art Review: James McGrath’s Luscus

Olsen Gallery, Woollahra

James McGrath’s Cloud Flora with Bird, 2021, Oil on Canvas, 150 x 190

With his exhibition of works, Luscus, mixed media artist James McGrath intends to challenge the viewer’s innately isolated lens. He has other stated aims as well referencing the current demise of our natural world, climate change denial and a reconciliation of western artists and their portrayal of the Australian landscape. To pack all of this in a homogenous exhibition is quite a challenge. What we are presented with at the Olsen Gallery are groupings of works – mixed media and film with a tenuous bond to each other – that of referencing carefully curated periods in art history.

What do they all have in common – even in a limited sense? The Baroque period’s preoccupation with classical subject matter, its floral still life, the drama of its landscapes. However subtle or obvious McGrath, takes an element from art history and tweaks it before quoting it.

In the first series of oils on canvas with acrylic gel overlays each image seems to portray a marble statue from the Classical Period – or severe style- of Greek sculpture. This period is recognisable for its idealised human figures with severe or expressionless faces in white marble. It is the attitude of the figure that conveys their story – their faces are masklike. These statues have come down to us imperfect – a missing hand, foot, nose – something. They are iconic of their period and here McGrath has taken them and overlaid a rose coloured gel with an ocular hole pierced through. You can be forgiven for thinking that he is relating them to the art world and referencing them in the same way Warhol referenced pop culture with Marilyn Monroe.

Got it? Maybe not. The name of the exhibition is Luscus, so beware of declaring yourself too soon. If the statues are somewhat familiar their facial expressions may force you to think again. Look closer. Think back to those Renaissance masters and their subject matters…will you recognise a figure or two lifted from a famous canvas or wood panel and re-rendered in black and white to be perceived as Ancient Greek statues? These quirky pictures and their abstruse references would surely have amused Dali.

James McGrath’s Luscus Diptych, 2021, Oil on Canvas mounted to board, 170x150cm

In Luscus and Luscus II we are presented with what appears at a distance to be blown up silvertone photographs of dense eucalypt forests completed with that pierced acrylic gel overlay. However something isn’t quite right – and it’s not the rendering. It’s the subject matter. The trunks of the trees are centred too symmetrically in the frame, and the branches of the trees have been staged carefully to circulate the eyes around the image. Can it really be a photograph? Up close, you see McGrath’s technical mastery of a photo-real painting style with the added treat of painterly texture.  

Again, what you first see is not the only way of seeing.

As an extension of these two paintings, and referencing the first seven works depicting “classical statues” are the five minute video Luscus, and the Luscus Diptych, an oil on canvas mounted onto board. These related works were physically distanced in the Gallery which is unfortunate as although the exhibition space is not huge, the two works enjoy a symbiosis that adds to their reception. In both we see the depiction of Aphrodite as a statue in an Australian flora environment. She is ‘photographed’ and overlaid on a photo-real canvas in the painting. On video she is in a nebulous space admiring the circulating banksia as she is being admired through the curated vision of a moving, colour-changing pierced gel which in turn is watched on a screen. The video has a flirtation between western art represented by Aphrodite and Australian flora that isn’t achieved by the canvas alone.

The ten minute video, Ocular Fleur, is similarly distanced from its painted counterpart, Cloud Flora with Bird. These impressive interiors including Cloud Flora and Stairs, have more success in appealing to a historical art aesthetic than making a strong statement about climate denial. They are a delight to look at. Cloud Flora with Bird gives away, with it’s title, an extra treat with these images that reference the work of the great European masters – an unobstrusive piece of Australiana. Find the parrot? It’s easier when standing before the canvas. S/he is rendered with the intense hue of colour the Australian light gives to our landscapes as opposed to the subtler homogeneity of colour range/hue in the rest of the painting – much more about European light and indoors.

Natura Venor I, II and III could be part of a separate exhibition by McGrath. The subject matter lends from the Baroque, from Rubens and Dutch still life, but they play more with expectations than a way of seeing the world. Natura Venor I, II and III are a series of oils on canvas that have a big issue to deal with – what we have done to the environment. They take on Rubens style in their subject matter, their drama, their colour and their execution. In Natura Venor III, the brushstrokes run quickly over the canvas -with the motion of the hunt, the falling of the arrangement of flowers and even the structure of tree. Standing in front of them I couldn’t help but wish they were bigger – there is such scope to be overwhelmed by them.

James McGrath’s Natura Venor I, Oil on Canvas, 90 x 145cm

Instead of hunting a boar, McGrath has the collared dogs – humankind’s best friend and accomplice- besetting flowers from a bouquet desired for its role in adorning a home that have been made famous by Dutch still life painters. The dogs are ravaging that part of nature that is useful to humankind.

The works exhibited in Luscus are beautiful and quirky and can be a little disturbing when considering the snarling dogs, or mind bending when considering his references but his stated messages aren’t always clear. Overall McGrath’s work is engaging and impressive.

Luscus is showing at Olsen Gallery, 63 Jersey Rd, Woollahra, until May 29.

This review was first published in the Sydney Arts Guide.

Theatre Review: Ken Ludwig’s, The Game’s Afoot or ‘Holmes for The Holidays’

Arts Theatre Cronulla: 7th May – 12th June

Like mystery? Like Hollywood goofballs? A satire on genre? A sendup of preening thespians? Big comedy, big acting, big laughs? Then head down south to the Arts Theatre Cronulla.

Director, Tom Richards, Assistant Directors, Meili Bookluck and Caitlain Cowan, and the ensemble cast and crew of Arts Theatre Cronulla have delivered another polished, hilarious production with Ken Ludwig’s The Game’s Afoot.

Hilarious hijinks – The Seance scene, From left to right: SImon Bright (Luke Austin), Martha Gillette (Narelle Jaeger), Aggie Wheeler (Rachele Edson), Daria Chase (Margareta Moir) standing, William Gillette (Gary Clark), Felix Geisel (Michael Barlow) and Madge Geisel (Jayne O’Connell) – Photo: Port Hacking Camera Club

The play opens with the closing scene of a Sherlock Holmes murder mystery beautifully hammed out by a cast of actors portraying a cast of actors and thus heralding in the scale of the comedy. It’s physical, it’s big and entirely believable.  As the players playing players take their bows a gunman from the audience shoots the lead actor, William Gillette (Gary Clark). This instigates an invitation to his fellow actors and the theatre critic, Daria Chase, to his Connecticut Castle for a Christmas get together and his amateur sleuthing into the attempt on his life.

Set in 1936 the play sends up not only Sherlock Holmes but whodunits, séances, a delusional actor who dons his character’s profession in real life, stage actors, theatre critics and fandom. Set in America, a challenge is posed to maintain the US accent which is mostly met. Another challenge is in the delivery of Willam Gillette’s character. Here we have an Australian actor portraying an American actor with a fixation on a famous English character. Having referenced Sherlock Holmes in the title, the advertising and in the stage life of William Gillette, an expectation to see him parodied on stage isn’t quite met. Does it detract from the flow of the show or the laughs – in no way.

Co-conspirators perpetrating laughs – Felix Geisel (Michael Barlow) and William Gillette (Gary Clark). Photography: Port Hacking Camera Club

The show is a rolling farce delivered by a very capable ensemble cast. Where the script has been extended with mime and stage business it becomes hilarious – a real treat. Nudge-nudge, wink-wink takes on a whole other meaning in the eyes and shoulders of William (Gary Clark) and Felix (Michael Barlow). Their physical comedy is perfectly timed.

Inspector Goring (Arianne Hough) processing William Gillette’s (Gary Clark) mother’s (Narelle Jaeger) ‘evidence’. Photo: Port Hacking Camera Club

Among a talented and cohesive cast it’s hard to single out a particular performance, they all do so well. Narelle Jaeger as Martha Gillette has just the right amount of motherly immersion and sangfroid as a foil to her son’s desperation; there’s the plasticity of Arianne Hough’s facial features and her comic timing; the way Margareta Moir, as the despised critic Daria Chase, commands the stage with her presence and then diminishes to a human prop with the problem of her absent presence (no spoilers); Jayne O’Connell’s delivery of brassy American stage starlet Madge Geisel could set the era with her performance alone; and then there’s the séance – you’ll die laughing. The cast is rounded out with strong performances from Rachele Edson and Luke Austin.

The talented ensemble cast of Arts Theatre Cronulla’s production of the Game’s Afoot, from left to right: Narelle Jaeger, Gary Clark. On the sofa: Michael Barlow, Margareta Moir, Jayne O’Connell, and standing from left to right: Arianne Hough, Rachele Edson, Luke Austin and shooter/stagehand, Daniel Ison – Photography: Port Hacking Camera Club

Aiding the comedy is the clever set of James Bruce, Tom Richards and Neil Moulang. They have gone all out including a revolving room, a staircase and a scenic balcony extending upstage through a central door. It’s not just pretty but functional as the revolve’s capabilities are milked for comic effect.

Witty one-liners, clever banter, acerbic wit peppered through a funny, well-paced plot that’s extended with delightful stage business: the game’s afoot and running with plenty of laughs.

Tickets can be purchased online at www.artstheatrecronulla.com.au/thegamesafoot or over the phone after 10am 95232779

This review was first published in the Sydney Arts Guide on 13th May as: