Written and first published in 1908, Kenneth Grahame’s “The Wind In The Willows” is a classic of children’s literature and has been adapted many times for radio, television, film (live and animated versions) and the stage – including the original, written by Winnie The Pooh creator A.A. Milne (“Toad Of Toad Hall” in 1929); a Tony-nominated Broadway musical version starring Nathan Lane; and one authored by Alan Bennett.

OPUS have found a charming version written by Sue Langwade, with lyrics and music by Mark and Helen Johnson, to tell the adventures of the four riverbank animal friends Toad, Mole, Ratty and Badger. The script includes all the well-known parts of the novel, except (for some strange reason) the initial attack on Toad Hall by the weasels and stoats – a particular childhood memory for this reviewer.

The songs are tuneful and catchy (even though “The Chase-Chase” is set to Offenbach’s “Can-Can”) but just a tad too long and repetitive. This makes for a problem in Kyla Fava’s choreography, which tends to look loose and under-rehearsed. However, she has got the ‘feel’ right, with some nice touches added.

Looseness also shows in Stephen Popowski’s direction, especially in the area of voice projection – the cast are youths and youngsters and while some do quite well to project to the back of the huge Hopgood auditorium, the majority struggle (not helped by the overloud sound effects and backing track). Projection is something that a director needs to pay careful attention to – particularly in young performers.

That being said: the cast are wonderful. The chorus are vigorous and enthusiastic and work well together, but watch out for Jack Winters and young Master Personality Plus Tyson Fava in particular. If Fava doesn’t make the musical or cabaret theatre stage his own by the time he’s a young man, then there is no hope for Mankind – he just shines, especially as the Judge (or, as this reviewer likes to call him: The Wig That Walks). Patrick Edgley does well in all his various roles and shows good promise for the future.

Narrator Jean Milward has the right timber in her voice for storytelling, but really needs to lift her volume, as does Amy Barnett as Ratty; Barnett could also do with being more rodent-like in her characterisation. Jesse Moore and Alice Edgley give good, strong performances as Mole and Badger respectively.

But it is the energetic, exuberant comedy styling of Ashleigh McFadden as Toad that really makes this show shine. The action goes into hyper-drive whenever this hyperactive hopper bounds onto the stage. His style of slapstick is exactly what a young audience wants.

This version certainly wafts a wonderful wind of family entertainment through the willows down Willunga way.

This is a very fine production of an intelligent, thought provoking play by John Guare.

It explores the connections between people, those “six degrees of separation” that are meant to exist between every person on the planet.

What connects a homeless African American youth and a wealthy New York art dealer or a suicide victim and the art dealer’s socialite neighbours?

Why should the art dealer’s wife feel so emotionally connected to a complete stranger?

The role of the African American Paul is played by Caucasian actor Sean Flierl.

Director, Harry Dewar, has chosen not to make Flierl up to look black and, after some initial adjustment, it does not seem to matter.

Flierl is excellent, with a fine understanding of his character’s twisted sense of self and a firm grasp on a script that is complex and challenging.

April Stuart, as Ouisa, is completely charming, delivering rapid fire banter with comic flare and bittersweet emotion with equal brilliance.

Lindsay Dunn, as her art dealing husband, Flan, provides a perfect foil for his wife and has his share of fabulous comic moments and emotional outbursts in another challenging role.

The leads are very ably supported by David Mitchell, Kristofa Cassano, Terry Crowe, Janet Jauncey, Myles Teakle, Amy Klar, Alica Edgely, Joshua Harvey, Scott Allen and Christopher Daw.

Teakle is particularly good as Trent and Cassano is fearless in the full frontal cameo required to shock the characters (and audience) out of their false sense of security.

Dewar’s direction is sensitive and the script is so complex that it could easily have become a quagmire were it not for the fantastic pace of delivery and some excellent staging.

Josh Smart’s staging design is great, with the use of projected images and scrims, although less ambient light behind the scrims before ‘lights up’ would be more effective.

There were a couple of very slight wobbles on opening night but overall the crew are to be commended for supporting a really great production.

The show starts slowly but soon becomes so engrossing, ninety minutes goes by in a flash.

(Be advised that there is no interval and no refreshments available.)

Go and see it. It is worth the trip out to the fabulously comfortable Hopgood Theatre.

Six Degrees of Separation: the observation that any two people in the world can be connected by a series of no more than six personal contacts:

“I read somewhere that everybody on this planet is separated by only six other people. Six degrees of separation. Between us and everybody else on this planet. The President of the United States. A gondolier in Venice. Fill in the names.” (Ouisa in SIX DEGREES OF SEPARATION).

OPUS performing arts brings John Guare’s witty and poignant 1991 drama of connection and alienation SIX DEGREES OF SEPARATION to The Hopgood Theatre in October 2011. Part social drama, part mystery, SIX DEGREES OF SEPARATION was a massive hit on Broadway, earning star status for leading lady Stockard Channing, and garnering a load of awards and nominations. The subsequent film with Channing, Will Smith and Donald Sutherland was similarly celebrated. Now at last SIX DEGREES OF SEPARATION comes to audiences in the south of Adelaide in an exciting new production from OPUS!

 Flan and Ouisa Kittredge’s well-heeled high society New York existence is thrown into confusion and disarray by the unexpected arrival of a charismatic young stranger, Paul. Just who is this charming, vulnerable and quite possibly very dangerous young man, and how does he know so many intimate details of their lives?

This new production brings together some of the finest talents in SA community theatre. Director Harry Dewar has found brilliant leads in experienced and highly regarded actors April Stuart and Lindsay Dunn, and exciting emerging young star Sean Flierl. Together with a talented ensemble of veterans and newcomers they create an intriguing 90 minutes of drama. If you like your theatre to be both entertaining and thought-provoking, and a fascinating blend of character and ideas, you will love SIX DEGREES OF SEPARATION.

Suitable for ages 15+ (brief nudity in context)

Directed by Harry Dewar

Hopgood Theatre, Ramsay Place, Noarlunga Centre

This is the 2nd Edition for 2011, which covers the months of July to September (and April to June).

Click any page below to read.

To submit an article, give feedback or for more information, contact Josh Smart:
oracle@opus.net.au or call (08) 8327 2158.

The show goes on stage for three performances only, at the beautiful Hopgood Theatre in Noarlunga – only 30 minutes south of Adelaide.

Friday 22nd July 8:00pm
Saturday 23rd July 2:00pm & 8:00pm

Directed by Kate Anolak
Musical Director: Rodney Hrvatin
Choreographer: Lauren Scarfe

Tickets:
Adults $28
Concession $25
Members $22

Bookings: Call 8207 3977 (Booking Fee Applies)
http://www.hopgoodtheatre.com.au/ (Booking Fee Applies)
Visit the Hopgood Box Office 9:30am-4:30pm Monday-Friday

Marilyn has been a rock for many years and given above and beyond the call of duty over and over again. She well deserves a rest and the opportunity to focus on other things in life. The Opus Performing Arts Community Committee, on behalf of the Company as a whole, would like to thank Marilyn for her outstanding support for both the company and for the Hopgood Theatre.

We hope to see plenty of Marilyn in the community, and are glad that she is still a member of Opus. The management of the Theatre greatly appreciates Marilyn’s ongoing support.

Thanks Marilyn, you’re wonderful.

We will be holding a Special General Meeting in the coming months, and will be seeking a new Secretary at that time, please watch this space for details!

This is the 1st Edition for 2011, which covers the months of January to March.

Click any page below to read.

To submit an article, give feedback or for more information, contact Josh Smart:
oracle@opus.net.au or call (08) 8327 2158.