PAST SHOWS
PAST SHOWS
ADELAIDE FRINGE 2024 PROGRAM
Who’s Afraid of Virginia Woolf?
ON YOUR MARKUS - Markus Hamence
5 stars
https://onyourmarkus.au/interview/martha-lott-for-whos-afraid-of-virginia-woolf/
“A Scorching, Sophisticated, and Soul-Baring Night at the Theatre.
“It’s theatre at its most potent – intelligent, fearless, and emotionally devastating and it took only a millisecond for a standing ovation…”
There are theatrical nights that settle gently on the soul – and then there are nights like this. Who’s Afraid of Virginia Woolf?, staged with utter brutal brilliance at Holden Street Theatres, is not for the faint-hearted.
The two lead actors are nothing short of phenomenal – Martha Lott as Martha and Brant Eustice as George don’t even try to perform the roles; they embody them. Martha is savage, sensual, and razor-tongued, while George seethes with academic disillusionment and buried rage. Their chemistry is volcanic, their timing exquisite, and their capacity to swing from ferocious wit to aching vulnerability is masterful.
You could hear a pin drop one moment, and the audience’s breath hitch the next.
If Adelaide had Kings and Queens of South Australian theatre, take a bow my royalty.
Chris Asimos (Nick) and Jessica Corrie (Honey) are perfection, smashingly casted as these characters. Their transformation over the course of the play is subtle and compelling.
Direction is sharp and courageous.
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THE CLOTHESLINE - Michael Coghlan
5 stars
https://theclothesline.com.au/whos-afraid-of-virginia-woolf-holden-st-theatre-review/
"Superb writing and flawless performances from the cast of four deliver exhilarating theatre. Chris Asimos and Jessica Corrie were magnificent in their supporting roles of Nick and Honey. And the performances of Martha Lott and Brant Eustice as Martha and George are as good as you’ll ever see in any theatre at any level anywhere. Martha Lott was born to play this Martha – flamboyant, sulky, spoilt, rambunctious, and willing to push things right to the edge. Brant Eustice excelled as the mean nasty insecure little man full of wit and barbs to pump up his fragile ego."
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GLAM ADELAIDE - Natasha Wood
https://glamadelaide.com.au/theatre-review-whos-afraid-of-virginia-woolf-4/
“Holden Street Theatre Company’s staging of Who’s Afraid of Virginia Woolf? delivers an emotionally charged portrayal of marital illusions.
Lott was a standout amongst the strong quartet; she fully embodied the volatility, cruelty, and vulnerability of Martha.
Lott and Eustice immediately draw in the audience with their explosive and carefully placed energy. Eustice brings his customary gritty performance, and Lott throws herself into Martha’s complexity. Both performers know exactly what they are doing and how to focus their audience’s attention.
Holden Street Theatre Company’s staging of Who’s Afraid of Virginia Woolf? delivers an emotionally charged portrayal of marital illusions. “
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TASA ONLINE - Larry Waller
https://tasaonline.org.au/reviews/whos-afraid-of-virginia-woolf-the-holden-street-theatres/
“Beautifully acted, tightly directed, and powerfully staged, this production challenges the audience to confront the complexities of love, illusion, and despair in a way that lingers long after the final curtain.
"With a stellar cast delivering every nuance with precision and passion..."
Holden Street Theatres in Adelaide provides the perfect intimate setting for a theatrical experience that feels immediate and deeply engaging.
This production of Who’s Afraid of Virginia Woolf? stands as a brilliant testament to Edward Albee’s mastery of sharp, cutting dialogue and his unflinching exploration of human frailty.
Goers’ design was excellent, transforming the Blackbox stage into the intimate lounge and workroom of a New England home, with a touch of charming imperfection adding personality to the setting.
The cast deserved their ovation, especially Martha Lott and Brant Eustice. Martha Lott commands the stage with biting wit and raw emotional power, balancing cruelty with vulnerability. Brant Eustice’s George is extraordinary layered with simmering frustration beneath a controlled exterior. His restraint makes moments of outburst all the more impactful.
The younger couple, beautifully played by Chris Asimos (Nick) and Jessica Corrie (Honey), complete the complex dynamic.”
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STAGE WHISPERS - Tony Knight
https://www.stagewhispers.com.au/reviews/who%E2%80%99s-afraid-virginia-woolf-1
“Martha Lott and Brant Eustice do not merely play George and Martha, they inhabit them with a ferocity that makes one want to both applaud and call for reinforcements. Their timing is razor-edged, their cruelty dazzlingly articulate, their vulnerability all the more unbearable for being so hard-won. One cannot say they are “like” any other George and Martha, because that would suggest comparison is possible. It isn’t. They are definitive.
Goers deserves full credit not only for his direction but also for set and costume design. He understands that Albee is, above all, a poet of confinement.
This is not merely a good production; it is a necessary one. Holden Street Theatres has given us Albee the way he ought to be - cruel, witty, and devastatingly true.”
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THE SCOOP - James Murphy
https://thescoop.au/review-whos-afraid-of-virginia-woolf-is-emotional-whiplash/
“Who’s Afraid Of Virginia Woolf Is Emotional Whiplash
Then there’s Jessica Corrie as Honey, which is a role some productions let fade into the wallpaper, but not here. Her turn from polite guest to tipsy wildcard is a masterclass in slow-burn transformation. The moment she first slurs a word, the air shifts.”
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5MBS – Emily Sutherland
https://5mbs.com/whos-afraid-of-virginia-woolf/
Without the strength of the script and the assured acting, this may have been difficult evening at the theatre. But, as Holden Street Theatres so often deliver, it was an enthralling and captivating experience of power play, and challenges between Martha and George, and Nick’s posturing and Honey’s disintegration. It is not escapist theatre. It is a conundrum, a larger than life mosaic, a shadow play wherein we are called to consider how closely art reflects real life.
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BAREFOOT REVIEW - David O’Brien
“Goers has ensured this cast have totally mastered every beat of the text. Emotional timing and text delivery is richly, exquisitely electrifyingly in gripping the audience by its throat.
Brant Eustice and Martha Lott deploy breath taking powers of controlled, rage, passion, vulnerability and contempt in bringing Martha and George’s regal, yet depleted relationship to life.
Chris Asimos and Jessica Corrie partner them in a display of meekness, attempting greatness, or in Honey’s case, absolute capitulation to forces they cannot master.
Here is a messy, gritty psychological drama still relevant as ever over 50 years later in the
hands of artists who understand how true its simple (hidden) pain and broader scope is right now.”
written by Edward Albee
You are invited to cocktails with George and Martha
Martha: Truth or illusion, George; you don't know the difference.
George: No, but we must carry on as though we did.
Martha: Amen.
Featuring some of South Australia’s finest in the scorching classic tale of reality and illusion.
A multi-award winning cast plays one of the greatest plays of the 20th Century, Edward Albee’s WHO’S AFRAID OF VIRGINIA WOOLF at Holden Street Theatres…. Featuring Martha Lott as Martha, Brant Eustice as George, Chris Asimos as Nick and Jessica Corrie as Honey and Directed by Peter Goers, this will be a night to remember.
“Get the guests and hump the hostess” in a brutally funny, dark night of four souls as George and Martha host cocktails.
First staged in October 1962 and famously adored by the film adaptation released in 1966, written by Ernest Lehman, directed by Mike Nichols, and starring Richard Burton, Elizabeth Taylor, George Segal, and Sandy Dennis . It examines the complexities of the marriage of middle-aged couple Martha and George. Late one evening, after a university faculty party, they receive unwitting younger couple Nick and Honey as guests and draw them into their bitter and frustrated relationship.
Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962–1963 New York Drama Critics' Circle Award for Best Play.
By Arrangement with ORiGiN™ Theatrical On Behalf of Samuel French A Concord Theatricals Company
Creatives
Directed by PETER GOERS, Featuring MARTHA LOTT, BRANT EUSTICE, CHRIS ASIMOS, JESSICA CORRIE
Crew
Assistant Director: Brian Wellington. Lighting: Martin Smith. Stage Managers: Jonathan Holds, Brian Wellington.
Producer
Holden Street Theatres Inc.
Dates
Aug 5 - 16 2025
A Cheery Soul
BroadwayWorld – Barry Lenny
“Miss Docker, a one-woman demolition crew, is brilliantly played by Martha Lott, loud, opinionated, self-important, self-righteous, and thoroughly obnoxious.” BroadwayWorld
On Your Markus - Markus Hamence
“The performance was truly magnetic – both compelling and grotesque, making it hard to look away.
At the heart of this production is Miss Docker, played with incredible depth and complexity by Adelaide’s theatre darling Martha Lott. The actor brought her character to life in a way that was both unnerving and, at times, painfully funny. Miss Docker is a cheery, overly helpful woman who seems harmless, but her presence becomes increasingly suffocating to those around her. The performance was truly magnetic – both compelling and grotesque, making it hard to look away. There is not much Martha can’t tackle as far as a role goes, and if she can’t, it wouldn’t be worth doing anyways.
What impressed me was how the cast handled the play’s rapid tonal shifts. One moment you’re chuckling at an awkward social interaction, and the next, you’re hit with a wave of existential dread. The ensemble worked brilliantly together, capturing the underlying absurdity and darkness that White’s script demands.” On Your Markus
InDaily – Michelle Wakim“
Holden Street Theatres’ latest triumph – a new production of Patrick White’s A Cheery Soul – is as absurd as it is touching, as challenging as it is utterly hilarious.
Cusenza and Campbell are wonderful in their portrayal of Mr and Mrs Custance, capturing both a stiffness and resistance to the outside world, and a warmth between them as a married couple.
Martha Lott, Adelaide’s sweetheart of theatre, is completely transformed in her role as Miss Docker. Lott’s portrayal of the militantly virtuous, exhausting, and suffocating leading lady is embodied brilliantly in every element of her performance, from her physicality to her voice.
The entire cast, under the direction of Peter Goers, are brilliant, as each character highlights a demographic of society that is impacted by Miss Docker – whether it be the women in a nursing home (played by Jo Coventry and Sue Wylie), the next generation of churchgoers (Amelia Lott-Watson in a Holden Street debut), or a man who simply wants to clean his gutters on a Sunday (Ron Hoenig). ” InDaily
Stage Whispers – Jude Hines
“Miss Docker’s mobile face slides from simpering care and concern to steely determination and finally in a beautifully lit close-up … piteous, helpless tears. Again, Lott is a ‘master’ of her craft.
Catherine Campbell as Mrs Custance has an almost ethereal quality and compelling stillness in her portrayal of the perfect 1950’s childless doer of good deeds. She is mesmerising and totally believable. Sue Wylie and Jo Coventry provide a Greek chorus like element with carefully paced shared dialogue as well as moments of poignant humour.
A Cheery Soul on the surface is satirical comedy. In reality, it is multi-layered and thought provoking.
Once again, Holden Street Theatres deliver great value entertainment.” Stage Whispers
The Barefoot Review – “When one leaves the theatre, Miss Docker comes too. Miss Docker is one of theatre’s most complex and compelling anti-heroes. … It’s a tour de force performance.
She also is a challenging stage role to be captured only by the finest of mid-life actresses. .. Hence, the utter serendipity of having Martha Lott in this city. We cannot celebrate her too much. We may dare to call her a “great” actress.
And, we have Peter Goers who seizes that greatness and casts her in those elite and memorable roles, among them, Tallulah Bankhead in Looped and Noel Coward’s Lady Gilpin. Now White’s Miss Docker.
This latest production of the uncommonly presented tragicomedy, A Cheery Soul, is a triumph. Five stars and then some.
Around her is a glorious cast. Catherine Campbell captures the essence of marital complacency as the well-intended Mrs Custance. Nuanced to a well-observed core, she's a symphony of smug suburbia. Brava. Robert Cuszena shows his seasoned stage skills in artfully complementing as her malleable spouse.
Director Peter Goers shares his understanding of all of this in the detail and finesse embraced by this exceptional production. Patrick White would have cause to be proud.” thebarefootreview.com.au
written by Patrick White
A Cheery Soul is a surreal satirical masterpiece set in the fictional Sydney suburb of Sarsaparilla at the end of the 1950s.
Miss Docker is one of Nobel Laureate Patrick White’s most memorable creations. She and her neighbours are as hilarious and peculiar as they are uncannily familiar.
Miss Docker the delightfully ghastly, relentlessly upbeat ‘cheery soul’ takes us on a dizzying ride through suburban Australia, as her search for purpose and love leads her in a series of increasingly surreal acts.
From over-pruned tomato plants, a damaged roast, a nursing home, a church and the destructive power of good.
Nothing’s as bad as a good neighbour
Painting by C Pearson
Creatives
Directed by PETER GOERS, Featuring MARTHA LOTT and ROBERT CUSENZA, CATHERINE CAMPBELL, DAVID ACIDIACO, JESSICA CORRIE, SUE WYLIE, JO COVENTRY,
RON HOENIG, SANDI MCMENAMIN, DAVID OBRIEN, CHRISTOPHER CORDEAUX and AMELIA LOTT-WATSON
Crew
Gary Anderson, Johnny Holds, Kesson Rielly and Martin Smith
Producer
Holden Street Theatres Inc.
Dates
Sept 24 - Oct 12 2024
Cowardy, Cowardy Custard
REVIEWS
“Geoff Revell (George Pepper) and Martha Lott (Lily Ppper) are particularly impressive, showcasing remarkable versatility as they shift between various characters and scenes. Their comedic timing and vocal prowess are noteworthy, making the musical numbers especially enjoyable." - Onyourmarkus.au
“Goers heads his ensemble with two professional actors, Geoff Revell and Martha Lott. Both are masters of physical comedy and have impeccable timing, seemingly effortlessly mastering vastly different accents and, in Revell’s case, side splitting painful silence that left the audience giggling uncontrollably. I would see the show again just to enjoy Lott ‘clipping the daylight’ out of words like ‘horspitality’." - Jude Hines - Stage Whispers
"Several actors make brief appearances and the standout is Rebecca Kemp, a diva, with a capital D, who has ‘emotional scenes.’ She was just warming up for the next play." - Jude Hines - Stage Whispers
"The joy of this performance isn't in the brittle dialogue, it’s in the physical comedy... There is a wonderful sense of ensemble in the cast, with a great sense of the style of the period. It’s not camp, not camp at all; it’s Coward."
- Ewart Shaw - Broadway World
"...witty and diabolically clever" "Revell’s face is a star – he has few lines as the hapless Mr Wadhurst, but doesn’t really need them – he is a delight to watch." - Arna Ayres White - Barefoot Review
"The audience adored Revell and Kemp’s physical comedy." If you want a ‘jolly good’ laugh, head down to Holden Street and enjoy the joy of Coward’s clever language and the work of a sparkling troupe of actors." - Jude Hines
David Arcidiaco as a Lt Corbett, looks like a 1930’s matinee idol. He is also frivolous and possibly somewhat dim.
...the older wiser male character, a Commander of the Royal Navy, a ‘what ho’ sort of character, beautifully drawn by John Doherty.
Helen Geoffreys is the required ‘vamp’, and having played that sort of character in an earlier production of Hay Fever, I appreciated her beautifully gowned, frivolously sexy and over the top Clare.
Lott, as ‘Piggie’ is an inattentive human bulldozer. Her conversations are on top note, and only occasionally, does she seem to actually communicate with anyone in the room. She is fabulous.
...Christopher Burnham played by Christopher Cordeaux, another Cowardesque handsome young man, Kemp and Revell as the Warhursts, a pucka couple from Malaya.
written by Noel Coward
Two very funny one-act plays by the great NOËL COWARD - Red Peppers and Hands Across The Sea
RED PEPPERS features two third-class music hall performers trying to do their best and HANDS ACROSS THE SEA is a comedy of extremely bad manners. These two hilarious short plays are originally from Coward’s celebrated cycle TONIGHT AT 8.30.
Our show starts at 8:00pm though,… Oh and 2:30pm and 4:00pm …So, don’t get mixed up!
An Amateur Production By Arrangement with ORIGINtm Theatrical, on behalf of the RIGHTS HOLDER.
Caricature provided by the artist Clive Francis www.clivefranciscaricaturist.com
Creatives
Directed by PETER GOERS, Featuring MARTHA LOTT and GEOFF REVELL with HELEN GEOFFREYS, JOHN DOHERTY, REBECCA KEMP, DAVID ARCIDIACO, BRIAN WELLINGTON, DAVID O’BRIEN, MILLY BOLLEN and CHRISTOPHER CORDEAUX.
Crew
Gary Anderson, Johnny Holds, Harry Ferguson and Martin Smith
Producer
Holden Street Theatres Inc.
Dates
May 14 - June 1 2024
The Trip to Bountiful
written by Horton Foote
In this bitter-sweet tale, Carrie Watts longs to escape the one bedroom apartment she shares with her son Ludie and self-centred daughter-in-law Jessie Mae and return to her home town of Bountiful. Her heart condition makes her wish more urgent. Ludie has the best intentions but after a long illness money is short. Jessie Mae doesn’t have a job but relies on Carrie’s pension cheque so that she can go to the beauty parlour. Set in 1950s Houston The Trip to Bountiful is full of hope, longing, and lost dreams.
Horton Foote, a Pulitzer Prize winning dramatist and Oscar-winning screenwriter, is often referred to as America’s Chekhov. Red Phoenix produced Horton Foote’s Dividing the Estate in 2019 to Both critical and audience acclaim.
Creatives
Directed by Libby Drake and featuring Laura Antoniazzi, Krystal Cave, Megan Dansie, Brian Godfrey, Ron Hoenig, Sharon Malujlo, Stuart Pearce and Leighton Vogt.
Producer
Red Phoenix Theatre
Dates
May 23 - June 1 2024
‘night, Mother
REVIEWS
"...it is brilliant bloody good theatre and two of the best actors we have in South Australia and one of the best ... director we have." - Markus Hamence - On Your Markus
"Directed by South Australia’s media and arts legend Peter Goers, Holden Street Theatres' production of ‘night, Mother is an emotionally charged presentation infused with witty dark comedy. Martha Lott’s performance as Jessie is complex and ultimately genius.
Kathryn Fisher, who portrays her mother, Thelma, emanates a contrasting energy… It is a fascinating performance.
It is a superbly contrived and truly thought-provoking play." - Nicky Tsz Tung Li - InDaily
"The dialogue is pithy and challenging, and the accents of southern America are flawless. For me, the impeccable use of pause and silence allowed me brief relief and time to really understand what this mother and daughter were facing, both very much together, and yet both alone." - Jude Hines - Stage Whispers
"Opening night at Holden Street Theatres saw two consummate actors, Martha Lott and Kathryn Fisher triumph in a play which asks almost as much from the audience as it does the actors. " - Emily Sutherland - 5MBS
“Two fine actors at the top of their game. It’s a riveting piece, superbly done”
Patrick McDonald - The Advertiser
"Peter Goers has directed a play, deceptive in its simplicity, complex in subtext, and controversial in theme, brilliantly! ... BRAVO!" - John Doherty - That Guy in the Foyer
“Fisher and Lott’s daring, vulnerable performances are in service of ‘truth’ being unburdened of caveats and predetermined expectations. It is a partnership shorn of stylistic affectations and technique laden trickery into which the audience is irresistibly drawn in to share the disquieting experience of confronting what is best ignored.” - David O'BrienThe Barefoot Review
“A consumate, arresting, intense, enthralling, stunning piece” Samela Harris, “Smartarts”, ABC Radio
written by Marsha Norman
This thought-provoking play centres around the complex relationship between Jessie, the daughter, and Thelma, her mother. The story unfolds as Jessie calmly discloses her intention to end her life that evening, informing her mother, Thelma, that by morning she will be gone. As the dialogue unfolds between them, the reasons behind Jessie's decision gradually emerge, shedding light on their shared history and Jessie's meticulous preparations for her own death. The play builds to a gripping and unsettling climax, leaving the audience with deep reflections on the unavoidable outcome.
Creatives
Peter Goers, Martha Lott, Kathryn Fisher & Gary Anderson
Crew
Brian Wellington, Kesson Reilly, Amelie Lott-Watson
Producer
Holden Street Theatres Inc.
Dates
Nov 7 - Nov 25 2023
Cypress Avenue
REVIEWS
It's an enormous and brilliant performance from Eustice, struggling with his identity as a man, a Unionist, a Protestant, who lives in the island of Ireland but isn’t Irish.
Rhoda Sylvester is the standout as the beautifully patient psychotherapist attempting to guide Eric through an explanation of the awful events.
Fagan has the local cast with effective Belfast accents, and these add to the verbose dialogue, rather than distract.
Brant Eustice’s performance is a masterwork. He is Eric. There is not a moment, whether in conversation with other characters or in his long, deliciously long soliloquies that we are ever beyond his thraldom. There is some magnificent word play by David Ireland, but it is Eustice who breathes life and thought and process to the damaged worldview being constructed.
Director, Nick Fagan, has shaped Eustice’s role with breathtaking modulation, pace, tone, and volume are micromanaged to great effect….
…..it continues to simmer in one’s subconscious long after the curtain has fallen.
written by David Ireland
Eric notices something very unusual and disturbing about Mary-May, his five-week-old grand-daughter. Although his wife and daughter think Mary-May is the ‘best baby in Belfast’, Eric can see that she is really the famous Sinn Fein president and politician Gerry Adams – but without a beard.
Set in a Northern Ireland now at peace, Eric struggles to shake off his experiences of The Troubles. Why has Gerry Adams now infiltrated his home? What should he do? Perhaps his psychiatrist can help him to make sense of his world. Or perhaps not.
Cyprus Avenue, David Ireland’s funny and shocking black comedy, won Best New Play at the Irish Times Theatre Awards in 2017 and Stephen Rea won Best Actor for his portrayal of Eric. The play also won the James Tait Black Prize for Drama in the same year.
This is another Red Phoenix play that will have you talking about it long after it is over.
How well do we support people in our community who are struggling?
David Ireland also wrote Ulster American, which was recently performed at Holden Street Theatres to rave reviews.
Creatives
Nick Fagan,Brendan Cooney, Emily Currie, Brant Eustice, Rhoda Sylvester and Lyn Wilson
Crew Not Listed
Producer
Red Phoenix Theatre & Holden Street Theatres
Dates
Oct 19 - Oct 29 2023
Reverberate
“Because it doesn’t matter how strong we are… You can just tell. You can tell we aren’t ready for this. And it’s because we’ve done nothing to prepare.”
Decades of ignoring the reality of our world has finally brought us to a tipping point. In 2040, nobody expected it, but it should have been obvious. Looking through the darkness of Adelaide where people choose to look away instead of act, a family torn apart by disaster finds salvation in those brave enough to step forward and make a change. They weren't ready. Will you be?
Creatives
Presented by Glenunga International Year 10 Drama
Crew
Not Listed
Producer
Glenunga International Year 10 Drama
Dates
June 7 & 8 2023
The Suicide
written by Nikolai Erdman
The Suicide is a deliriously funny and laugh-out-loud comedy about an unemployed man, Semyon, who contemplates suicide. When his thoughts become known, a variety of zany characters try to persuade him to die to promote their cause – including artists, intellectuals, lovers and butchers. All plead their case and hope to gain publicity if Semyon dies in their name.
Nikolai Erdman’s 1924 Russian comedy is a testament to the survival instinct of the individual in the face of crushing external and social forces. When you consider the times in which it was written, the audacity is breathtaking. It celebrates the will to love, it argues for the right to work, and is filled with wonderful, wild and madcap humour. Unsurprisingly, Stalin banned it!
The Suicide is regarded as one of the finest plays to have come out of Communist Russia. Britain’s longest serving theatre critic, Michael Billington includes it in his collection of “The 101 Greatest Plays”.
Creatives
Brant Eustice, Kate Anolak, Joshua Coldwell, Jess Corrie, Samuel Creighton, Michael Eustice, Ruby Faith, Ron Hoenig, David Lockwood, Callum Logan, Sharon Malujlo, Geoff Revell, Nicole Rutty, Russell Slater, Georgia Stockham, Tom Tassone, Bobbie Viney & Malcolm Walton.
Crew
Not Listed
Producer
Red Phoenix Theatre and Holden Street Theatres
Dates
May 25 - Jun 3 2023
LOOPED
WINNER: Adelaide Critics Circle Individual Award 2023 Professional - Martha Lott
WINNER: Adelaide Critics Circle Group Award 2023 Professional - Looped
REVIEWS
"Looped is marvelous", Martha Lott is "formidable....every inch the diva" and Chris Asimos is "superb". Peter Burdon - The Advertiser
"Here is that much sought after thing, the perfect production." - David O'Brien - The Barefoot Review
"I cannot rave or speak highly enough of this production. It is the inaugural production for Holden Street Theatres Company and let’s hope for many, many more. " Brian Godfrey - GLAM ADELAIDE
“Looped's barrage of one-liners, though, delivered by Lott, make this an intoxicating two hours. Five stars.” The Weekend Notes
“Marvellous... masterful....formidable .... compelling" That Guy In The Foyer
written by Matthew Lombardo
First played by Valerie Harper on Broadway LOOPED, Based on a real event, tells the story of internationally celebrated actress Tallulah Bankhead as she is called into a sound studio in the summer 1965 to re-record (or “loop”) one line of dialogue for what would be her last film, the dreadful Die, Die My Darling.
Southern, but by no means a belle, Bankhead was known for her wild partying and convention-defying exploits that outshone even today’s celebrity bad girls. Given her inebriated state (and inability to loop the line perfectly), what ensues is a hilarious eight hour showdown between an uptight and conservative sound editor, Danny Miller, and the outrageous star.
Creatives
Peter Goers, Martha Lott, Chris Asimos, Robert Cusenza & Judith Banfield
Crew
Brian Wellington & Kesson Reilly
Producer
Holden Street Theatres Inc.
Dates
May 2 - May 20 2023
