THE ADDAMS FAMILY Canberra Philharmonic Society

Book by Marshall Brickman & Rick Elice – Music & Lyrics by Andrew Lippa

Directed by Alexander Unikowski – Musical Direction by Darcy Kinsella

Choreographed by Caitlin Schlig – Stage Managed by Lucy van Dooren

Costume Design: Helen Wojtas – Lighting Design: Jacob Aquilina – Sound Design: Telia Jansen:  Set design: Ian Croker, Charlotte Jackson & Sophie Hope-White.

Canberra Philharmonic Society. Erindale Theatre Aug.28^th – Sept.13. 2025

Opening night performance reviewed by BILL STEPHENS

Lucinda Hope-White (Puglsey) -Tim Stiles (Uncle Fester) - Lauren Nihill (Grandma)- Giuliana Baggoley (Morticia) -Quintin Gravatt (Gomez) - Andrew Finegan (Mal Beineke) -Amelia Andersson-Nickson (Alice Beineke) - Callan James Clarke (Lucas Beineke) - Leah Peel Griffiths (Wednesday)

Since it opened on Broadway in 2010 the musical The Addams Family has become a magnet for community theatre companies attracted by the opportunities it offers to create a world inhabited by zombies.

Helmed by first-time director, Alexander Unikowski, the Canberra Philharmonic Society has mounted an ambitious production boasting impressive settings and costumes and a large talented cast.

The story revolves around a close-knit American family united in their embrace of all things macabre, whose lifestyle is seriously disrupted when the daughter, Wednesday, falls in love with a ‘normal’ boy, Lucas Beineke.

When Wednesday invites the Beinke Family to dinner, she swears her father to secrecy about her plans to announce their engagement, sowing the seeds for the chaos that erupts when Puglsey spikes Alice Beineke’s drink prior to a parlour game, "Full Disclosure".  

In this production by the Canberra Philharmonic Society, Philo newcomers, Quintin Gravatt and Giuliana Baggoley portray the family patriarchs, Gomez and Morticia Addams. Although both looked the part and offered creditable performances, neither has yet mastered the comic sophistication demanded by the roles. More attention to mining the laughs inherent in their lines will pay-off in later performances.

Leah Peel Griffiths (Wednesday Addams) - Callan James Clarke (Lucas Beineke)

Leah Peel Griffiths impressed with a stand-out performance as their recalcitrant daughter Wednesday; and although she gave it her best shot, it was hard to fathom the thinking behind miscasting Lucinda Hope-White as her brother, Puglsey.

Lauren Nihill relished garnering her fair share of the laughs with her comic turn as Grandma; Tim Stiles tugged at the heartstrings with his captivating performance as Uncle Fester, and Benjamin Martin was suitably taciturn as the manservant, Lurch.

The Beineke Family
Callan James Clarke (Lucas) - Amelia Andersson-Nickson (Alice) - Andrew Finegan (Mal) - Benjamin Martin (Lurch)

Andrew Finegan and Amelia Andersson-Nickson are outstanding as Mal and Alice Beinke, with Andersson-Nickson stealing the show with her show-stopping rendition of Waiting. Callan James Clarke is totally believable as their son, and Wednesday’s on/off again fiancé, Lucas.

Unikowski has utilised his large cast wisely with his decision to allot each zombie ensemble member an individual character to develop. This paid off with interesting characterisations, particularly when the zombies are observers, but it also resulted in irritating focus-pulling in critical plot moments, as did his decision to pre-empt scenes by having characters and scenery take the stage before the preceding scene was completed.

Another first-timer, Musical Director, Darcy Kinsella, impressed with the excellence of   the orchestral sound achieved, and the attentiveness of his accompaniments, while choreographer Caitlin Schilg again displayed her talent for filling the stage with interesting movement.

No doubt first night jitters that resulted in backstage crew being too often caught in the spotlight, as well as other criticisms mentioned above, will be overcome in future performances.

In which case audiences can be guaranteed of another delightful evening of top-class musical theatre entertainment with this production of The Addams Family by the Canberra Philharmonic Society.

Lauren Nihill (Grandma) - Tim Stiles (Uncle Fester) - Quintin Gravatt (Gomez) - Giuliana Baggoley (Morticia) - Lucinda Hope-White (Puglsey) - Leah Peel Griffiths (Wednesday) - Benjamin Martin (Lurch)


Images by Ben Appleton.


A slightly edited version of this review published in the digital edition of CITY NEWS on 29.08.25

 

GOD OF CARNAGE Echo Theatre - Arts on Tour.

Lainie Hart (Annette)- Jenna Roberts (Veronica) - Arran McKenna (Michael) - Jim Adamik (Alan)
in "God of Carnage".

Written by Yasmina Reza – Translated by Christopher Hampton

Director, Set & Costume Designer – Jordan Best

Lighting Designed by Jacob Aquilina – Music by Will Best

Stage Managed by Brittany Myers.

The Q, Queanbeyan Performing Arts Centre. 29^th – 31^st August 2025.

Performance on 29^th August reviewed by BILL STEPHENS.

Lainie Hart (Annette) - Jenna Roberts (Veronica) in "God of Carnage"

Artistic Director, Jordan Best, could hardly have chosen a better vehicle with which to introduce Echo Theatre to the Arts on Tour circuit.  

Yasmina Reza’s God of Carnage is a brilliant satire on modern mores. The play focuses on two married couples who meet to decide how to deal with a situation brought about by an altercation between their two eleven- year-old sons in which one son hit the other with a stick, causing him to lose two front teeth.

Initially the meeting begins cordially, with both couples scrupulously observing contemporary etiquette, engaging in introductory small talk and avoiding addressing the real purpose of their meeting.

However, as they begin to relax, lubricated by the host’s best rum, the conversation moves into loaded topics such as sexism, racial prejudice, homophobia and perceived cruelty to a guinea pig, the talk becomes more pointed and irrational as couples continually swap allegiances.

Jenna Roberts (Veronica) - Arran McKenna (Michael) in "God of Carnage"

Perfectly cast with four of Canberra’s most accomplished actors in Jim Adamik who plays Alan, never off his mobile phone as he negotiates business throughout the evening and Lainie Hart as his embarrassed wife, Annette, forever trying to compensate for Alan’s boorishness.

Jenna Roberts and Arran McKenna play their hosts, Veronica and Michael. Veronica is a mistress of passive-aggressive manipulation while Michael’s solution to all problems is to offer more rum.

Arran McKenna (Michael) - Jim Adamik (Alan) in "God of Carnage"

All four actors are so on top of their roles that their delivery of, and response to, Reza’s razor-sharp dialogue appears so natural that it’s easy to forget that they are acting.

Best’s direction is masterly as she takes full advantage of her own cleverly designed setting to keep the action moving rapidly, punctuated by judiciously placed pauses almost as telling as the dialogue.

Sparse but elegant this setting has everything needed for some adroitly staged and brilliantly executed physical business, including projectile vomiting by Annette and an hilarious wrestling match when Veronica attacks Michael.

Performed without an interval, God of Carnage engages totally from the very opening sentences, and although it deals with serious subjects, as performed by this outstanding cast, it’s unlikely you’ll leave the theatre without your jaws aching from laughing.

Following these Queanbeyan performances God of Carnage will continue its tour to Coffs Harbour (Sep.3^rd) – Belrose (Sep.5^th & 6^th) – Dubbo (Sep.10^th)- Springwood (Sep.12^th) – Gosford (Sep.13^th).

                                       Photos by Ben Appleton - PHOTOX




             This review also appears in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

GOD OF CARNAGE

Arran McKenna, Jenna Roberts, Lainie Hart and Jim Adamik

Written by Jasmina Reza

Translated by Christopher Hampton

Directed by Jordan Best

Echo Theatre production

Q Theatre, Queanbeyan to 31 August

 

Reviewed by Len Power 29 August 2025

 

Two couples meet to discuss a playground fight in which their eleven year old boys were involved. The incident was serious enough for one of the boys to have had teeth broken. The meeting starts nicely with both sets of adults prepared to discuss and resolve the matter reasonably. However, their discussion soon deteriorates into an extraordinary battle full of rage and recriminations as each person’s beliefs, fears, jealousies and judgments clash with everybody else’s.

From the comfortable position of audience member, it’s very funny to observe these people as they battle furiously, but how sure are we that we wouldn’t react in a similar manner given the right circumstances? It’s an unsettling thought.

Jasmina Reza’s 2008 French play, translated into English by Christopher Hampton, has the setting changed to Canberra for this production. Director, Jordan Best has given the show a stylish set design of a square living room that, as the play progresses, virtually becomes a boxing ring.

Jim Adamik is a self-centred lawyer who quickly shows his aggressive and sadistic side. Always on his mobile phone, his conversations give us an uncomfortable insight into the type of man he is.  Lainie Hart plays his downtrodden wife who is struggling to contain her own frustrations.

Both performers memorably played these roles in a 2022 production and have found impressive new depths in their characterizations.

New cast members for this production, Arran McKenna and Jenna Roberts, both well-known performers in Canberra, prove to be strong matches for the other couple. He is smarmy and passively resistant while she displays a reasonableness that is anything but reasonable.

Given four deeply flawed characters to play, the skill and energy of these four performers as they change from humans to animals is breathtaking.

Director, Jordan Best, has ensured that the frenzied movement in this confined setting remains naturalistic and that all elements of the production are finely tuned.

If you missed this play in 2022, don’t make the same mistake this time.

 

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

  

THE ADDAMS FAMILY

 

The Addams Family. Book by Marshall Brickman and Rick Elice. Music and Lyrics by Andrew Lippa.

Directed by Alexamnder Unikowski. Choreographer Caitlin Schilg. Musical Director Darcy Kinsella. Production Managers. Lara Pulciani and Bradley McDowell. Set Design Ian Croker, Charlotte Jackson and Sophie Hope-White.  Costume Design Helen Wojtas. Lighting Design Jacob Aquilina. Sound Design TeliaJansen.Stage Manager Lucy van Dooren. Canberra Philharmonic Society. Erindale Theatre.August 28 - September 13. 2025. Bookings: www.philo.org.au

Reviewed by Peter Wilkins

Principal cast of Canberra Philharmonic's production of The Addams Family

 

 

Ghoul meets Goth in this quirky musical of television’s  favourite oddballs The Addams Family. Now I’m not a mad fan of the TV series but I quickly warmed to Canberra Philharmonic’s zany production of Marshall Brickman and Rick Elice’s book and Andrew Lippa’s catchy music and lyrics. But when the Familiar TV theme tune piped up and the audience clapped in perfect unison it was obvious that the fans were going to have a great time. And they did, much to the credit of a lively cast and a talented team of creatives under the leadership of director Alexander Unikowski, musical director Darcy Kinsella and his orchestra and choreographer Caitlin Schilg. 

Leah Peel Griffiths as Wednesday Addams

The Addams Family may not be everybody’s idea of the ideal family, but they are completely content with their difference. Acceptance is as natural to them as breathing the open air is to the “normal” people. But to the prospective in-laws who visit to check out the family of their son Lucas’s  girlfriend. Wednesday, they encounter no ordinary folk. The casting of the show by Unikowski, Shilg and Kinsella is impeccable, inspired by the beloved characters of the small screen, and yet possessing an individual idiosyncracity that these characters demand. Giuliana Baggoley exudes a mortifying command as Morticia. Quintin Gravatt, dressed in a formal suit, effectively captures the befuddlement of Gomez Addams finding himself in hot water when he breeches the family code of openness and honesty. Leah Peel Griffiths gives an enchanting performance as Wednesday, stricken by love for the outsider. Lucinda Hope-White is the masochistic juvenile brother, Pugsley. As Uncle Fester, Tim Stiles is perfectly cast as the sentimental lover of the Moon. Benjamin Martin makes a Munster-like Lurch, the inarticulate grunter of the household. Lauren Nihill undergoes a remarkable transformation to become the wizened, spell concocting Grandma. Into this brewing pot of unnerving oddness enter the unsuspecting red state parents of Lucas. Mal Beineke (Andrew Finegan) and his wife Alice (Amelia Andersson-Nickson) are your Apple Pie true Americans from Ohio. The fiery love of youth has faded into routine mediocrity, but this familiar convention of the arrival of the unwitting will soon turn their world upside down.  

Giuliana Baggoley as Morticia Addams

It is the casting of this new musical comedy splendidly supported by Unikowski, Shilg and Kinsella that makes this production such an enjoyable night at the theatre. Director Unikowski’s decision to bring the dead to life as a zombie chorus of ancestors  adds to the gusto of the production.  American Zombie meets Dawn of the Dead in a weird and wild collection of dance routines by the highly inventive Shilg. From Twist to Tap to Tango the stage explodes with energy and a series of showstoppers include Gravatt’s Trapped, the full cast’s Full Disclosure Parts 1 and 2 and a brilliant performance by Andersson-Nickson as Alice with Waiting. The course of true love never did run smooth and Griffiths as Wednesday and Clarke as Lucas endearingly traverse the rocky road of the love relationship. 

Amelia Andersson-Nickson as Alice Beineke

 

Philo has once again turned out a stylish, visually effective set design by Ian Croker, Charlotte Jackson and Sophie Hope-White and costume design by Helen Wotjas. Lighting by Jacob Aquilina adds to the atmosphere. The production is ambitious and on opening night the occasional technical challenge, such as the timing of the flying in and out of the large backdrop and a slippery floor will soon be ironed out. My only quibble is the clarity of diction, particularly in the musical numbers. The songs are the vehicles of character and plot and the lyrics are crucial to understanding a character’s intent. Leah Peel Griffiths is to be highly commended for the excellent clarity of Wednesday’s diction and as a result a totally absorbing performance. 

 

Even on a cold and wet wintry Canberra night, a trip to the Erindale Theatre to see Canberra Philharmonic’s lively production of The Addams Family will warm the heart. For the fans of the popular series this dollop of nostalgia will be an enjoyable trip down memory lane. Judging by the yelps and screams of approval at the final curtain, Philo has turned out another musical comedy hit.

  

 

THE ADDAMS FAMILY

 

Book by Marshall Brickman and Rick Elice

Music and Lyrics by Andrew Lippa

Based on characters created by Charles Addams

Directed by Alexander Unikowski

Musical Director: Darcy Kinsela

Choreographer: Caitlin Shilg

Canberra Philharmonic Society

Erindale Theatre to 13 September

 

Reviewed by Len Power 28 August 2025

 

First appearing in a series of cartoons in the New Yorker magazine in 1938 by Charles Addams, the 1964 television series brought international fame to the fictitious and eccentric Addams family with their weird interest in all things macabre and grotesque. The musical comedy opened on Broadway in 2010, running for over 700 performances. While the show has an original score by Andrew Lippa, it retains the very recognizable signature music of the TV series in its opening and closing moments.

The plot centres around the Addams’ teenage daughter, Wednesday, who wants to marry a normal young man, Lucas Beineke, to the consternation of her parents. The rather familiar storyline is spiced up with the macabre attitudes and characters of the family and the chorus of their dead ancestors.

There are some nice performances amongst the leading players, especially Leah Peel Griffiths as the Addams’ daughter, Wednesday, who deftly captures the rebellious spirit of a troubled teenager wanting, abnormally, to be normal. She sings her role with a pleasing strength and confidence.

Leah Peel Griffiths (Wednesday)

The delightfully grotesque character of Uncle Fester is a gift for any actor who plays him. Tim Stiles gives a very warm and funny performance in the role and his singing of ‘The Moon and Me’, the best song in the show, is outstanding.

Giuliana Baggoley plays and sings the role of the mother, Morticia Addams, very well but some of her funniest lines lacked energy and timing in their delivery. Quintin Gravatt as the father, Gomez Addams, sang well and gave a straight-forward performance as the worried father, but might have been funnier if he’d played the over-the-top latin lover that the script and songs hinted at. The couples’ shining moment was the Tango de Amor late in the second act.

There were fine performances, too, from Lauren Nihill as Grandma, Benjamin Martin as Lurch, Andrew Finnegan as Mal Beineke, Amelia Andersson-Nickson as Alice Beineke and Callan James Clarke as Lucas Beineke.

The Addams family (left) and the Beineke family (right)

The large chorus of Ancestors were suitably grotesque and funny with fine costuming by Helen Wojtas. They sang and danced Caitlin Shilg’s choreography very well.

Director, Alexander Unikowski, kept the action moving at a good pace and ensured that the macabre visuals and surprises were well-presented and colourful. The music was played with gusto by the orchestra, conducted by Darcy Kinsela.

‘The Addams’ Family’ may not be the most memorable musical of recent years, but Philo’s new production is bright and breezy, and the enthusiasm and hard work of the large cast makes the show an enjoyable entertainment.

Photos by Ben Appleton 

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/

 

 

THE DRAWER BOY - Mockingbird Theatre Company - Belco Arts Centre

 

Chris Baldock (Angus) - Callum Doherty (Miles) - Richard Manning (Morgan) in "The Drawer Boy"

Written by Michael Healey – Directed by Zac Bridgeman

Stage Managed by: Rhiley Winnett – Set Design and projections by Chris Baldock.

Lighting design by Rhiley Winnett & Zac Bridgman

Sound design by Rhiley Winnett, Zac Bridgman and Chris Baldock.

Performed by Chris Baldock, Callum Doherty, Richard Manning.

Belco Arts Centre, August 21 – 30^th, 2025.

Performance on August 26^th reviewed by BILL STEPHENS

Since it moved into the Belconnen Arts Centre as the ‘Theatre in Residence’, Mockingbird Theatre Company has established an enviable reputation for the choice of its plays and the excellence of its productions.

Despite the conscientious direction of Zac Bridgman, there are aspects of this production that don’t always reflect this reputation, although the play itself provides a welcome opportunity to experience an early work by Canadian actor and playwright, Michael Healey, which has achieved significant success in Canada, and which offers challenging roles for three actors.

The Draw Boy was inspired by a previous project, in which a group of actors in Ontario, Canada, interviewed farmers and their families to produce a theatrical work.

Richard Manning (Morgan) - Chris Baldock (Angus) in "The Drawer Boy"

Expanding this idea, Healy, focussed his play on just two farmers, Morgan and his brain- damaged friend Angus, whose lives are upturned when an enthusiastic young actor, Miles, visits the pair with the request that he stay with them for a period to learn about life on a farm, as research for a play he is planning.

In the process Miles learns that pair’s long friendship has been maintained by a fiction invented by Morgan and exposed though his persistent enquiries.

Chris Baldock as Angus in "The Drawer Boy"

Playing Angus, suffering confusion and memory loss as a result of a car accident, Chris Baldock gives a masterly, meticulously observed depiction of the plight of someone struggling with a damaged brain that can cope with complex mathematical problems, even count stars, but can’t retain the most recent information or memories.

 

Callum Doherty as Miles in "The Drawer Boy"

Callum Doherty offers an interesting, idiosyncratic performance which portrays the impulsive young actor, Miles, as someone who, after insinuating himself into his hosts lives, sprawls on the kitchen table from which they eat their meals, loiters to listen-in on their private conversations, but erudite enough to sense the secret he would ultimately reveal to upend their lifelong friendship. The impact of Doherty’s portrayal however is lessened by the broadness of his Canadian accent combined with a tendency to speak his lines too quickly, making it often difficult to decipher what he is saying.

Richard Manning as Morgan in "The Drawer Boy"

 

Richard Manning as the taciturn, Morgan, who gave up a promising career to care for a farm and the needs of his struggling friend, is totally believable in a performance devoid of actorly flourishes and fascinating in its authenticity, that anchors the production.

Budget restrictions, not so obvious in previous Mockingbird Theatre productions, but particularly noticeable in the detailing of Chris Baldock’s set design, were overcome to some extent by clever design solutions by Bridgman, Baldock and Rhiley Winnett.

The sounds of farm animals and weather, augmented with evocative music selections embedded in the sound design effectively conjured up a farmyard ambience, although the projected farmyard buildings, which undulated whenever the actors moved past them, were distracting.


                                                         Photos by Zac Bridgman



   
        This review also appears in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

 

THE DRAWER BOY

 

Written by Michael Healey

Directed by Zac Bridgman

A Mockingbird Theatre Company production

Belconnen Arts Centre to 30 August

 

Reviewed by Len Power 26 August 2025

 

The power of storytelling is at the heart of Michael Healey’s 1999 award-winning Canadian play.

About two ageing farmers and the young city actor who comes to stay with them while he does research for a new theatre work, this life-affirming play is surprising and ultimately deeply touching. Ignorant of all aspects of farmwork, the young man struggles to be part of the farmers’ lives. Overhearing a story told by one of the middle-aged farmers, Morgan, to calm the other brain-damaged man, Angus, the young actor, Miles, uses the story in his research material, unwittingly impacting on the fragility of the farmers’ existence together.

All three actors in this production give finely nuanced performances. As the young actor from the city, Callum Doherty impresses with his portrayal of a young man out of his depth but trying hard to fit in. His flamboyance as an actor as well as his awkwardness and eagerness to please are carefully balanced in his thoughtful and emotional performance.

Callum Doherty (Miles)

As the farmer, Morgan, Richard Manning gives a strong, realistic performance as a man of few words who has struggled through years of life on the land. His telling of the calming story at the centre of the play is one of the high points of this production. Manning’s finely tuned performance of it is outstanding.

Richard Manning (Morgan)

Chris Baldock gives a superb performance as the brain-damaged farmer, Angus. He achieves a child-like quality in the grown man that is both appealing and tragic. There is a depth to his performance, both verbally and non-verbally, that shows a true understanding of the conflicting emotions of this man.

Chris Baldock (Angus)

The detailed setting for the play, designed by Chris Baldock, gives a vivid impression of the wide-open space surrounding this farm while the interior décor reflects the practical lives of two bachelors sharing.

Zac Bridgman, the director, keeps the emotional heart of this play at the right level throughout. How the art of storytelling has the power to change lives is at the centre of this emotionally charged play. It’s a rewarding and memorable experience.

 

Photos by Zac Bridgman

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

 

The Drawer Boy

 

 The Drawer Boy by Michael Healey.  Mockingbird Theatre Company at Belconnen Arts Centre (Belco Arts), Canberra, August 21-30, 2025.

Reviewed by Frank McKone
August 23

CAST: (in order of appearance)
Angus – Chris Baldock; Miles – Callum Doherty; Morgan – Richard Manning

PRODUCTION TEAM:
Director – Zac Bridgman
Stage Manager – Rhiley Winnett
Lighting Design – Rhiley Winnett and Zac Bridgman
Sound Design – Rhiley Winnett, Zac Bridgman and Chris Baldock
Set Design – Chris Baldock
Set Realisation – Chris Baldock, Richard Manning, cast and crew
Projections – Chris Baldock
Projection, Sound & Lighting Operation – Rhiley Winnett
Costumes – Cast
Props – Chris Baldock, Richard Manning, cast and crew


The Drawer Boy – meaning the boy who drew – is the perfect choice for the ironically named Mockingbird Company, for this play is essentially full of irony.  AI says Irony occurs when events or words are the opposite of what is expected, creating a sense of surprise, humor, or deeper meaning in literature, rhetoric, and everyday situations. 

We can trust AI on this occasion, because Mockingbird’s production creates all those things, out of everyday situations, from the opposite of what we expect, through surprise and humour to an ending with a deeper meaning – even with a bit of rhetoric thrown in by an over-enthusiastic university educated budding playwright/actor, Miles, researching what a farmer’s life is really all about.

But the tricky part of performing this script, for the director and the actors, is that the characters at first – and even for the whole first hour-long Act One – are almost cartoonish caricatures.  It reminded me of the nearest Australian material to compare with this Canadian work, Dad and Dave from Snake Gully, from an earlier time in history, (the radio show aired from 1937 to 1953), beginning before the World War II which turns out to be the most important part of The Drawer Boy in Act Two.

Directing and acting all the silences between those often tacitern ironic words or surprising outbursts is how the play works.  Zac Bridgman and all three actors got it all right last night.  That’s much better than just alright!

Since I was born in 1941, the year that Angus and Morgan enlisted in Canada and found themselves in France, though I was close to being hit by a V-bomb in 1944, I was lucky not to be hit by shrapnel like Angus.  

On the other hand, now in my mid-eighties with a typically embarrassing erratic short-term memory and no memory for names of people or places, I appreciated Chris Baldock’s awful, and therefore thoroughly successful performance of the damaged Angus.

Like Angus I found the naivety and rapidity of Miles’ speech a bit hard to take (even though I was guilty in my 20’s of over-the-top drama), which means that Callum Doherty started well and ended even better when his understanding of the old men’s lives reached a genuine level of empathy.  Surely now he is ready to write his play about farmers – just like Michael Healey himself!

And then Richard Manning’s Morgan held the play together – just as Morgan’s loving, respectful and determined caring for his friend, from boyhood, through times of war and hope of marriage together with the tall and the taller English girls, could hold the mentally disabled Angus together.  

I can’t praise 65 year-old Richard too much, since I was his drama teacher in his Year Twelve.

But I can say how much I enjoyed the cows mooing and chooks chuckling, and the clever way Angus’s architectural drawing was reflected in the backdrops.  Their farm became the landscape of practical life and memories, with the right style in the accompanying music, that I am sure Michael Healey would love.

I had, amazingly, never heard of this 1999 play.  But perhaps Canadians have not heard of Dad and Dave from Snake Gully.  I suggest an excellent follow-up read is at https://www.canadiantheatre.com/dict.pl?term=The%20Drawer%20Boy

So let’s not take Mockingbird literally.  Go see The Drawer Boy.