MARGINS OF PERSUASION

■ An adaptation of Jane Austen’s last novel, Sharmini Kumar’s The Margins of Persuasion, is the story of Anne (Avril Good), the middle daughter of a baronet, persuaded to turn down the offer of marriage to Captain Wentworth (David Kerr), a poor sailor.

Eight years later, with the prospect of spinsterhood and unrequited love on the horizon, chance brings the two together.

Highlighting Austen’s understanding of marriage as often the only route to women’s financial security and social respect, Anne’s friend Mrs Smith (Tania Robinson), an impoverished widow decidedly down on her luck, is at the mercy of a cad, Mr Elliott.

The social implications of various issues—the slave trade and class mobility—are relayed through servants (Robinson and Ricardo Magno) acting as a kind of Greek Chorus, adding a deeper context to the play.

Presented in the Bishop’s Parlour, Abbotsford Convent, the space works well to provide a Regency drawing room's intimate, convivial atmosphere.

However, the production overall is a little too solemn and too slow.

Where Austen’s novel poked fun at the mores of society, the play is earnest and lacks much of Austen’s satirical wit.

The earnestness often extends into characters.

Although well played, Anne feels too serious and meek, and the dashing Captain Wentworth is a little dull.

Dax Carney is wonderful as Anne’s snobbish godmother Lady Russell, and Emily Scerri is equally spirited as Anne’s flighty sister, Mary.

Both add a much-needed spark to light up the show.

An audience member is roped in as the dastardly, duplicitous Mr Elliott

This genius directing decision lifts the production and provides some much-needed humour.

Presented by 24 Carrot Productions at TheAbbotsford Convent

- Review by Kathryn Keeble

The Lost King

■ The Lost King is less the story of finding the bones of Richard III than a woman undergoing a mid-life crisis.

What unfolds is a ripping yarn about an obsession.

Sally Hawkins is terrific as amateur historian Phillipa Langley in this feel-good detective story co-written by Steve Coogan and Jeff Pope and directed by Stephen Frears.

Inspired by a production of Shakespeare’s version of Richard, Langley embarks on a quest.

Recently divorced and overlooked at work, Hawkins’ Langley is fragile and vulnerable, yet with a steely determination to find the last Plantagenet King.

She is also determined to rescue his reputation, much maligned by the Tudors and Shakespeare.

Throughout, a vision of Richard, played by Harry Lloyd, visits Langley spurring her on despite numerous setbacks.

The villains turn out to be the academics who dismiss her and, secondly when her “hunch” proves correct, usurp her by taking all the credit for the discovery.

Don’t mistake a good story for the facts; this subplot is highly contentious.

The writers have thoroughly embraced the idea of artistic licence in composing the script.

The actual academics in question have threatened legal action against the producers.

When Richard’s bones are finally revealed lying under a Leicester council car park, it’s a bit of an anti-climax—we’ve known he was there all the time.

The bones reveal that Richard had a curvature in his spine, so Shakespeare’s hunchbacked king was correct.

Other Tudor slanders, that Richard murdered the princes in the tower or that he was a usurper, remain unresolved.

In the end, the facts don’t matter.

This is Hawkins’s film, and we are gunning for her all the way.

Now showing in cinemas. Distributed by Transmission Films

- Review by Kathryn Keeble

The Boy From Oz

■ PLOS Musical Productions welcomed 2023 with the Australian musical The Boy From Oz, exploring the life of legendary Australian entertainer and songwriter, Peter Allen.

Opening night of the season commenced on New Year's Eve at 5.30pm, and the Frankston Arts Centre foyer buzzed with excitement as a full capacity audience anticipated another quality PLOS show, then afterwards celebrating New Year's Eve.

The show's highly skilled production team included director, Paul Watson, musical director, Nathan Firmin , choreographer Venessa Paech, and production manager/costume co-ordinator Brett Wingfield, who reimagined this version of The Boy From Oz in a minimalist style aiming to invite focus on the story.

Two mobile spiral staircases either side of the stage, one footed by a grand piano and the other with an upright piano, worked effectively for songs and conveying the storytelling, as well as helping showcase the performers, enhanced by Brad Alcock's fabulous lighting designs and sound design by Marcello Lo Rocco.

Nathan Firmin's sensational orchestra rendered the tunes with gusto, and Venessa Paech's snappy dance routines and choreographed group movement were terrific. www.plos.asn.au

Hats off to the talented, hard-working cast, including the vibrant Ensemble and excellent dancers.

Unfortunately it is not possible to mention everyone, but Drew Downing did sterling work as PeterAllen, as did star of the future, Isaac Russo (Young Peter Allen). Particularly outstanding performances for me were Adrienne George (Judy Garland) and Melinda Gregory (Peter’s mother, Marion).

The delightful Young Person’s Ensemble at the end was a unique addition. Congratulations to all involved.

PLOS’s great new VIP Experience offers ‘the ultimate theatre experience’ for $80. As well as supporting a wonderful local theatre company, supporters enjoy preferential seating access to the PLOS VIP area of the Frankston Arts Centre foyer, a complimentary drink, program and showbag treats. Email mail@ plos.asn.au for more details.

PLOS Musical Productions’ JulyAugust show will be Strictly Ballroom, The Musical, directed by Karl McNamara with musical direction by Bev Woodford.

- Review by Cheryl Threadgold

Virginia

■ La Mama Theatre presents Virginia from February 14 - 26 at 205 Faraday St, Carlton.

Described as “A lyrical drama of a great creative mind, shaped by love and war”, Virginia explores the emotional life of Virginia Woolf, her close unity with her husband Leonard Woolf, and her relationship with Vita Sackville-West.

Written by Edna O'Brien and directed/designed by Nicholas Opolski, the play draws word and image from Virginia Woolf's novels, letters, diaries and other writings, from Leonard Woolf's autobiography and Quentin Bell's biography of Virginia.

Virginia will be performed by Heather Lythe (Virginia), Beth Klein (Nessa/Vita) and Marc Opitz (Father/ Leonard). Sound/lighting design is by Shane Grant.

Bookings and tickets: 9347 6948 www.lamama.com.au

Welcome to 2023

■ After what turned out to be a pretty forgettable year, he we are in 2023, and one hopes that this one will be much more positive.

I hope everyone had a joyous Christmas and New Year, and were able to catch up with loved ones.

Over the break, I managed to see some interesting movies, some fantastic, some, well, far from it.

Here is a short list of some the movies I experienced during this time. Here’s to what we all hope is, a much better year.

Strange World (PG). ****. An odd flop for Disney, this is actually one of the studio’s better animated films in recent years.

Missing (R). ***½. Fascinating mixture of family drama and serial killer thriller, this works best when it concentrates on the former.

Pinocchio (M). ****. Guillermo del Toro’s thoughtful take on the classic tale, harking back to the darker tone of the original source material.

The Banshees Of Inisherin (M). ****. Low-key, somber but also funny examination of a friendship gone sour. Terrific performances and script.

Final Cut (M). **½. Disappointing, laboured remake of the brilliant 2017 Japanese film, and is overlong to boot.

My Broken Mariko (M). ***½. Measured drama, with nicely timed moments of humour, about a young woman dealing with the suicide of a childhood friend.

Skinamarink (M). ****. Bizarre, ultra low budget thriller is in the same vein as David Lynch’s classic Eraserhead. Definitely not for all tastes.

Sadako DX (M). ***½. Surprisingly good entry in the seemingly never-ending Ring series. A smart sense of humour helps a lot.

Sick (MA). ***. Writer Kevin Williamson attempts to emulate his Scream success, with uneven results. Well directed by John Hyams.

Avatar : The Way Of Water (M). *½. Badly written, ludicrously overlong sequel to the 2009 mega hit. Excellent effects, but that’s it.

BonesAnd All (MA). ****. Deliberately paced, absorbing drama with moments of horror. Strong performances across the board.

Jung_E (M). ***½. The director of Train To Busan returns with an intriguing sci-fi/drama/action film, but it feels like a set-up for either a series of movies or a TV series.

Pearl (MA). ****½. Gorgeously designed and filmed horror/drama that features an astonishing performance from Mia Goth. A prequel to X, and is to be followed soon by

MaXXXine.

Candy Land (R). ***½. Graphic horror/thriller has an interesting setup, with a group of central characters that draws the audience in. Good performances too.

The House (M). ***½. Captivating animated film is made up of three stories, each one centring on a different home and how it affects its inhabitants.

Tar (M). ****½. Very Kubrickian examination of a person’s life slowly changing in major ways. Cate Blanchett is excellent, and writer/director Todd Field’s execution of the story is outstanding.

Weird : TheAl Yankovic Story (M). ***½. Another nice surprise, this very funny parody of the usual Hollywood biopic has its slow spots, but overall is a lot of fun.

What To Do With The Dead Kaiju? (M). ***½. Deadpan comedy sends up the Godzilla films (particularly Shin Godzilla) in amusing fashion, even if it’s a bit too lowkey for its own good at times. Impressive cast.

Special Delivery (MA). ***½. Female variation on The Transporter movies, this is very entertaining in its own right, with an impressive central performance by Park So-dam.

Marcel The Shell With Shoes

On (G). ***. Charming semi-animated film unfortunately can’t overcome its short film subject matter.

TheAmazing Maurice (PG). ***. Enjoyable animated film based on the Terry Pratchett book, and features an all-star voice cast. Barbarian (MA). **½. Some nice twists are undermined by a midsection that is full of rampant stupidity, in this okay horror outing.

M3GAN (M). **. Interesting concept quickly runs aground, turning into a rip-off of the 2019 Child’s Play remake.

Operation Fortune : Ruse de Guerre (M). **. Dull and derivative spy movie is everything you’d expect from Guy Ritchie. A movie made with sequels in mind.

A Man Called Otto (M). **½. Watchable but overly sentimental remake of the 2016 Swedish film. Elvis (M). **. Flashy but empty look at parts of the entertainer’s life, as seen through the eyes of Colonel Tom Parker. One-note and underwritten.

Violent Night (MA). **. A great premise goes wanting as Santa Claus tries to stop a group of terrorists on Christmas Eve.

- Aaron Rourke