Pomona - Adelaide University Theatre Guild

Little Theatre
Fri 7 Aug, 2026

A naked reading of Alistair McDowall’s Pomona is somewhat depressing. It reads a little like a whine manual for conspiracy theorists – everything wrong with the world is other peoples’ fault. ‘They’ are out to get you. I was intrigued as to how this bleak text could be wrought as entertaining theatre, but I needn’t have worried. Director Thomas Midena and a committed, talented cast of capable actors pulled it off with aplomb.

Pomona is both a metaphor for the eerie unknown aspects of existence, and a mysterious place within a city. Pomona the play has a plot of sorts, with a cast of characters interacting with each other in different contexts via a series of vignettes that slowly reveal who they are. Each vignette may or not be connected in time or narrative. Characters are not always sure where they are, or even who they are. There’s a feeling that everything is happening as part of a continuous loop on the treadmill of life.

Dialogue is mostly uncomplicated, often with short unfinished sentences that reflect an uncertainty of purpose.

With this lack of a linear narrative, no obvious goal or endpoint, there needs to be some reprieve from the uncertainty for a live audience. This comes in the form of strong performances in quirky scenes. Each scene or vignette is a work to itself and carries weight on its own. They are distinctive and entertaining enough to hold audience interest. The scene featuring a branched scenario game played in the imagination between Charlie (Jessie Chugg) and Keaton (Lily Watkins) was really well done – quite gripping. And neat how it morphs its way back into the action later in the play to blur the boundaries between reality and fiction.

Another highlight where a man visits a prostitute for nothing more than to just talk and touch was beautifully played by Louis Bianchini and Airlie- Jade Windle. A moving and poignant scene.

I appreciated the invoking of the spirit of Jonathan Livingstone Seagull to make light of one of the more disturbing images from this play, before it once again turned to tales of dystopian horror.  What do you do if you are stuck in Pomona? The final group scenes suggest you can let fate take its course, or you can take control of your own destiny. The choice is yours. And if you are struggling to find your way out of Pomona there will be other souls who will reach out and share the journey with you. No matter how bleak life may seem you are not alone.

Despite the constant presence of angst this production was ultimately really enjoyable. Cleverly put together with great variety in scene presentations, and enough levity to keep it from being too dark.

This review also posted on The Clothesline.

Ink - Review

Little Theatre
Fri Oct 13 2023

There’s a sadness about this work from James Graham. Many of the ideas behind Rupert Murdoch’s first newspaper seemed quite acceptable.  Socialist even. “Give the people what they want. “ “A newspaper for the people” “Tell stories of normal people”. In retrospect Murdoch’s Sun may well have been a kind of forerunner of social media where the humdrum activities of the rank and file were deemed sufficient to fill a newspaper.

Murdoch was also out to break the hold of the establishment on Fleet Street. He saw himself as a new broom that would sweep old and dusty entrenched attitudes aside. The rest of course is history. From there the local Adelaide boy would take on New York and the world and eventually become an entrenched stalwart of right-wing values, and one of the most insidious influences on contemporary life.

But Ink only takes us through to the end of the first chapter in this remarkable story, when Murdoch’s remodelled Sun outsells its nemesis on the back of the introduction of the page 3 model. And it is a wonderful emotional roller coaster of a ride.  Directors Robert Bell and Rebecca Kemp, together with an extremely capable and large ensemble cast manage to brilliantly convey the manic stress behind the scenes of newspaper production, the exhilarating highs shared when brainstorming ideas for a new approach to journalism, and celebrating success when the ratings come in all good news.  The buzz around these scenes is infectious, and delivered with authenticity and a great sense of fun. Just one of several scenes in this play that are really very funny.

The success of this production is undoubtedly a team effort, but it rests safely on the shoulders of two stellar acting performances by Joshua Coldwell and Bart Csoba.  Coldwell is suitably brash and provocative as Murdoch. He has just enough nerve to ruffle feathers while still maintaining a sense of decency and likeability that allows him to get away with the outrageous. But hats off to Bart Csorba as the real hero of this story, Larry Lamb – the editor Murdoch entrusted to translate his vision into reality. Larry Lamb is the stereotypical newspaper guy. Most of the time he seems just shy of breaking point as he chides, encourages, and berates his staff to deliver the goods – hyper-enthusiastic, hyper-critical, hyper-anxious but always ready to celebrate success. His is a remarkable performance.

Such an entertaining show. As ever the Little Theatre’s split level and multiple entry/exit points were beautifully exploited. The audience loved the scenes where Larry cajoled fellow journos to come along on a risky crazy ride, and the hilarious group creation of the masthead, motto, and the new paper’s first edition.

Things become quite a bit more sober later in the show with the kidnapping of Muriel McKay, the wife of Murdoch’s deputy, and as reports start to filter in of people in high places being offended by this rambunctious new kid on the block. But despite the offence and the ruffled feathers the ratings continued to soar.

As they should for this production of Ink!

This review also published on The Clothesline.

Bengal Tiger At The Baghdad Zoo - Review

Little Theatre, The Cloisters, University Of Adelaide, Thu 14 May.

Presented by Adelaide University Theatre Guild

The Iraq war was a descent into madness – a war based on fabricated evidence of weapons of mass destruction that did not exist. The absurdly named Coalition Of The Willing, Australia amongst them, waded into a war that created a hell that helped unleash Al-Quaeda, the Islamic state, and a host of other miseries upon the Iraqi people. It is in this hell that Rajiv Joseph sets his award-winning play. We view events through the eyes of American soldiers, Iraqi civilians, the son of Saddam Hussein, and the ghost of a tiger that has escaped the Baghdad zoo.

The dialogue is laced with dark humour as we watch the soldiers lose their sanity, limbs and the crass souvenirs of war that they hold dear. The military presence brings nothing but misery to Iraqi civilians. Musa, a local Iraqi gardener played by Nigel Tripodi, initially tries to gain from employment as an interpreter but ultimately despairs at the foreigners’ stupidity and lack of sensitivity towards their customs and culture.

The play’s telling irony is that the most intelligent and aware character in the play is an animal’s ghost. Only he, played with great presence by David Grybowski (looking suspiciously like a crazy Spike Milligan) sees the pathos and tragedy of innocent lives being lost as a city burns, the layers of sadness, and the pointlessness of the conflict.

Oliver de Rohan effectively portrays marine Kev’s personal descent into madness. His soldier mate Tom (Adam Tuominen) is played with just the right amount of bluster and bravado befitting the stereotypical profile of an American Marine before he too is forced to face his own fallibility staring into the eyes of a leper.

Multiple short scenes keep the pacing lively. Carefully chosen musical interludes between scenes reinforce the growing sense of futility. The set and staging is visually engaging and everyone is close to the action within the Little Theatre.

While the take home message of this production may be on the bleak side, the play itself is entertaining and a touch eccentric. It’s a good combination supported by a strong cast, an impressive set, and enlightened direction by Nick Fagan.

(Also published on The Clothesline.)