Adelaide Theatre Guide Review
Galleon Theatre Group's latest production is a comedy by American film director and screenwriter Stephen Metcalfe. Billed as a comedy it brings laughs as it examines the nature of commitment in relationships. Directed by Warren McKenzie the action is played out on basic set, designed by Brittany Daw, with a few tables and chairs and representations of New York skyscrapers. The action moves fast between multiple scenes with dressers, Brittany Daw and Kaitlyn McKenzie, changing clothes for the leading lady on stage, cleverly and smoothly done.
The title role is played by Jess Carroll, a mammoth effort where she does not really leave the stage for the entire production. Through her many emotions and doubts Carroll takes this character on an interesting journey. Her on/off love interest is played by Stephen Bills, who makes him a likable person confused by Emily's changing feelings. They are both very good performances.
Emily's father, boss and the numerous bartenders are brought to life by chameleon-like Andrew Horwood at his best. Her mother is played by Therese Hornby, giving her a strong character for Emily to react to. Various workmates and other characters ae played, with enthusiasm, by Christian Dewar, Adam Schultz, Josh Van't Padje and Aled Proeve. Leanne Robinson has the fun job of playing Hallie, Emily's wacky friend whose antics cause much amusement.
So, this is another solid production by Galleon that they can be proud of and that you should book your tickets for.
Reviewed by Fran Edwards
Broadway World Review
It is just so great to be back in the theatre again, and "Emily", by Galleon Theatre Group, is a near-perfect example of what community theatre is all about, a dedicated team of people all pulling together to produce a satisfying night's entertainment.
I would normally lead off with the plaudits for the actors (of which there will be many) and the director but, in this case, above all, I feel I should first congratulate a whole group effort. This is a reasonably long play, two and a half hours including interval, with 21 scenes in Act one and 12 in Act two. With such a set-up there is a real danger that scene changes become clunky, intrusive, and take too long. With a tight crew, and most of the actors taking on the role of furniture movers, these changes happen seamlessly.
A special mention must be made of the two dressers, who calmly and efficiently undress and re-dress the main character, Emily, several times, before our very eyes. The fact that one of these dressers, Brittany Daw, was also the assistant director, set designer (a stunning monochrome city skyline), poster designer, and part of the publicity team, shows the sort of depth of commitment you can come across in community theatre. Likewise, the other dresser, Kaitlin McKenzie, doubled up as part of the wardrobe team.
So, to the actors. As the name suggests, this is a play essentially about one woman, Emily. Jess Carroll, who plays her, is onstage and talking for the whole thirty-three scenes. When she isn't interacting with the other characters, she either breaks the fourth wall and talks directly to the audience, or she talks to herself as she questions her feelings. This is one hell of a challenge for an actor and Jess Carroll carries it off perfectly, switching from one mode to the next effortlessly. She, of course, is the one having her costume changed, often as she talks to the audience, a task as challenging for her as for her dressers, as jackets are put on and taken off, dresses removed and replaced, and bags slung over her shoulders or pressed into her hands without her seeming to notice. She handles it with aplomb and the costume changes just add to the depth of the characterisation.
As Emily, she is backed by a team of often drunken stockbrokers who work well together as an almost Shakespearean chorus of 'mechanicals', giving her terrible advice and generally messing around, while complaining about their wives. The tight ensemble work of this group is a real pleasure to watch. They are led by Adam Schultz, as Fields, who must have particularly enjoyed his role as the ultimate sleaze, until getting what looked to be a painful, but very funny, nipple-tweaking comeuppance. Along with his offsiders, played by Christian Dewar, Josh van't Padje, and Aled Proeve, they look like they all enjoyed rehearsals down the pub. Their cameos as background characters were nicely drawn pieces of physicality.
Talking of enjoying your role, I'm sure Andrew Horwood did, as Emily's father, since he did it so admirably, but I thought he shone most brightly in a whole succession of cameos as differing barkeepers and restaurateurs. It is hard to believably carry off wearing a sombrero, as is reporting the tragedy of dousing your customers in soup, but my personal favourite was his turn as a beret-capped Frenchman empathising with the lovelorn women.
The other lovelorn woman is Hallie, Emily's best friend, played by Leanne Robinson, who had some fine moments; trying to seduce Emily's boyfriend, getting clucky over an offstage baby and, most particularly, trying hard, but failing miserably, to do ten sit-ups.
Over being lovelorn (at least on the surface) is Emily's mother Deirdre, played by Therese Hornby, who displays an acerbic wit and seems not to care, but finally admits she wants a grandchild.
That brings me to the other main character of the play, Emily's boyfriend, John, played by Stephen Bills. Here I have a bit of a problem. Not with his acting, I hasten to say, which is more than fine, the character he presents is believable enough as far as it goes. I just don't think it goes far enough, and I lay the blame for that at the feet of the playwright, Stephen Metcalfe, who doesn't give him enough to work with.
As I said the play is fundamentally about Emily, particularly about whether a modern woman can have a successful high-flying career, as well as a fulfilling relationship, about whether she actually wants both, or whether she is too scared to even try. So the actor playing John is on a bit of a hiding to nothing. As it's written, he's more of a cipher than a real character, a sort of walking possibility, he's just the nice guy that Emily should be in love with, and that's really difficult to play. Stephen Bills makes a valiant attempt, and I applaud him for that, but as the play moves towards the denouement the comedy evaporates and the play becomes more of a treatise than an entertainment, leaving us with a rather unsatisfying ending.
I, however, have no wish to end on a downbeat, so I am going to heap praise on the director Warren McKenzie for steering his large cast through a complicated plot, enabling them to make the most of its comic possibilities. He also headed up a very creative production team whose subtle touches, such as having Emily the only character wearing any colour, add immensely to the overall effect. All in all, a great and funny night out.
Reviewed by Eddy Knight
GLAM Adelaide Review
Galleon Theatre Group has been entertaining audiences for over fifty years in South Australia and their talented troupe has once again delivered with Stephen Metcalfe's Emily. Brilliantly performed, it stars Jess Carroll as the lead role.
Directed by Warren McKenzie, this light-hearted look on love, singlehood, and success focuses on the relationship between prestigious stockbroker Emily, and John, a farm boy from Minnesota who waits tables whilst trying to land acting roles.
With Stephen Bills as John, the pair both bring credit to their roles. As they amusingly debate their outlooks on life and the definition of success, it is only Emily's family and friends that are seen in the play. It is obvious she has had a privileged life since birth and the story, she makes playfully clear, is all about her.
Carroll's voice, postures, gestures, and facials all perfect the princess she is. With an excellent remaining cast, her stockbroking friends all do a fine job of supporting the superficial life that she lives, with daddy (Andrew Horwood) always available to save her. Horwood performs a number of roles in the play, seamlessly transforming each time.
The four male stockbrokers are Christian Dewar as Stein, Adam Schultz as Fields, Josh Van't Padje as McCarthy, and Aled Proeve as Hill. Their flawed comradery feels very real, and they continually try to give advice about her 'situation', always whilst drunk.
Hallie, played by Leanne Robinson, is Emily's counterpart, the two being the only female stockbrokers in the firm. Although they actively talk about success and love, Hallie doesn't try to sway Emily to stay or leave. This contrasts with her mother, Deirdre, hilariously bought to life by Therese Hornby.
The stage production and audio of this set deserve a mention. Emily is a dialogue heavy play with several monologues, yet Carroll's voice with its prima donna intonations was always audible and clear. At no time throughout was the background noise of any scene, such as the music in a restaurant, interfering.
The Galleon Theatre Group received a nomination for Best Comedy in the Adelaide Theatre Guide Awards 2014 for their last Metcalfe play Loves and Hours and Emily, of the same standard, is a pure joy to watch.
Reviewed by Rebecca Wu
Stage Whispers Review
'I am often of the opinion that love is not such a big deal,'says Emily, without much conviction. She is a Wall Street stockbroker who mixes it up with the boys: cynical, ruthless and manipulative, she lives alone, frightening off her dates when they threaten to get serious. That is, until she meets a nice guy with no money, who sees through her, challenges her, and makes her re-consider her entire way of life.
It was written in the 1980s by Stephen Metcalfe (a US playwright, screen writer and director) and is set there by this production's director, Warren McKenzie. It wouldn't stand up in the twenty-first century; it's a comedy that might have been considered bold in its first productions, challenging the 'greed is good' mantras of that period's excesses, and asking questions about the role of women in that kind of workplace, but now comes across a little light on its conclusions on how (if?) you can have success in a fast-paced workplace within a loving and committed relationship.
The story is told through a huge number of short scenes, largely set in various New York bars and restaurants, and occasionally the office where she works. Emily (Jess Carroll) is a woman in a man's world, exceeding the cynicism of those around her, wearing a mask like everyone else. The verbal comedy is dark, with some light relief through some good physical humour from Emily's friend, Hallie (Leanne Robinson) and the costumes and mannerisms of the barman (each played differently and hilariously by Andrew Horwood). Emily's male co-workers are largely two-dimensional, loudly proclaiming the labels of their 'alma mater' and constantly propositioning her. She survives that environment by becoming one of them, tolerating their misogynism and chest-beating.
As the titular character, Jess Carroll owns the stage: indeed, she rarely leaves it, continuing her fourth-wall monologues as two impeccably timed dressers (Kaitlyn McKenzie and Assistant Director Brittany Daw) change her costumes between scenes. For most of the first act, her steely 'be like the boys' attitude inhibits any real character development, but as it reaches what you think is its foreshadowed conclusion before the interval, and for the rest of the performance, Carroll's deconstruction of Emily is a delight, where the comedy gives up a little to romance, and we see a woman we care about.
Stephen Bills' portrayal as John, the sensitive, no-nonsense 'aspiring actor' has depth, developing his character through his physicality as much as his words - though the speech he offers Emily when she asks him why he loves her manages to warm and break our hearts at the same time.
Whilst Emily's co-workers don't have much to go on, her family should be more complex: Emily's boss is also her father - admirably played straight by Horwood again - and the 'work-is-everything' focus that he tries to foster in Emily is a clunky signpost of why she is like she is. The bitter, yet flippant, attitude of Therese Hornby's Deirdre, Emily's mother, doesn't add to the protagonist's background.
In the adaptive design of Emily's changing costumes, Trisha Graham and Kaitlyn McKenzie have very much given the 1980s shoulder pads and bold colours a character of its own on the stage, acting as a constant reminder of the period we're observing.
Some stage lighting is only noticeable when it's done badly, but this production's stands out for lighting designer Mikayla Bishop's perfect placement of spots and fills, paired with James Allenby's exceptional timing as the operator. There's little colour in the wash, but the light defines the boundaries of the stage at just the right moment. Director McKenzie also designed the sound: the diegetic city buzz and classic 1980s music furnish the background of each scene.
His direction offers a broad visual background with his ensemble carefully placed on the stage, and after a steady first act, the pace after the interval gives us something more than just laughs: questioning our choice of the career we take on, the partner(s) with whom we share our lives, and our commitment to any of it. And he teases an ending that you think you see coming, yet twists it a couple of times before final curtain. The narrative ponders a lot of questions about capitalism, sexism, romance, and relationships, leaving most unanswered. But you will think a little more about love, and how even Emily could admit it IS a big deal.
Reviewed by Mark Wickett
Theatre Association of SA (TASA) Review
Is Emily the she-wolf of Wall Street? She certainly exhibits little restraint in her predatory behaviour within her world of relationships, such as they are. Emily is an achiever. She is not only successful but is also witty, attractive and entirely unattached. She lives in a sterile apartment, quite bare and seemingly devoid of the warmth of habitation. Her private life consists of an endless series of disconnected brief liaisons with men whom she always distrusts, despises and rapidly ejects from her life. Emily's emotional landscape appears all but totally barren. Jess Carroll inhabits Emily with remarkably restrained panache. Her sustained performance is believable, commendable, admirable!
Emily relies on her best friend, probably her only friend, Hallie (Leanne Robinson) who genuinely listens and presents a perspective on Emily's relationship quagmire. Whilst Emily speaks to us directly and we are privy to her thoughts at all times, it is a significant that Hallie is the only other character to do so. Just once. She is Emily's true and trusted friend. Leanne plays her with that status firmly in mind.
Emily on occasion connects with her mother Deidre (Therese Hornby) a Wall Street dowager divorcee. Therese's performance does suggest that all that glisters might be gold! She does hanker for a grandchild someday. All of her friends have one! Emily more often turns to her financial power-broker father Hugh played with experienced subtle guile by Andrew Horwood. It is a nicely balanced and crafted performance. Emily admires her father but says of him, "He's not quite Howard Cunningham!"
Then there is the male chorus at the workplace (and after hours too) who possess rampant unchecked sexism in their attitudes to both Emily and all women! They represent male hollowness and macho mediocrity. None of them reports having experienced either a happy marriage or a lasting relationship. Christian Dewar, Josh van't Padje, Aled Proeve and Adam Schultz share great chemistry and excellent timing throughout. Adam steps out of the team to deliver a cameo as Fields the blustering ineffective sleazebag, an example of Emily's poor male friendship choices.
When Emily actually finds, and more poignantly feels, romance, it is with a struggling actor called John working as a waiter. Within a nicely balanced performance John (Stephen Bills) reveals the giving and caring elements of human nature. He projects real feelings in his eventual declaration of love. Emily is variously entranced, confused and terrified.
Warren McKenzie has chosen his cast astutely well for this engaging little treatise on power, sex, love and/or being happy ever after! I must also comment on Emily's many slick costume changes on stage. They are executed with simply choreographed entries and exits by her dressers Brittany Daw and Kaitlyn McKenzie. Very engaging business! It was apparent that the audience began to anticipate these cleverly executed costume modifications and, as the play progressed, enjoyed them more and more. And the subtle change from initial power dressing for jousts on the financial front to more casual walking freely outdoors was very much a telling part of the narrative.
An interesting little play. A terrific performance by Jess Carroll. A smooth and skilful production worthy of your attendance.
Reviewed by Alan Shepley
The Adelaide Show Review
Set in the 1980s, Emily is the story of, well, Emily (Jess Carroll), a young woman who is a successful trader in the family's Wall Street company but who is also plagued by fears of being trapped; in career, in love, in life.
Stephen Metcalfe's comedy drama is given earnest treatment by director, Warren McKenzie, liberally doused with flashes of eccentricity and winks to the audience. Indeed, Emily gives more than just winks to the audience. She regularly address the audience directly, as she critiques her progress and shares her internal reading of her situation and strategies.
Emily charts the competing fears and drives likely experienced by many successful women who were charting a course through the testosterone-drenched world of Wall Street, especially in the 1980s but most probably still pervading today. Can you be "successful" when you become to being someone else's "other", and what happens when pregnancy sends you out of the "race" for a few months or years? Carroll communicates the fragility of the outwardly-confident Emily, by playing the character in a stiff, self-conscious manner. She delivers lines of bravado but in a wooden way suggesting there is much frgility and hollowness behind the "performance".
But what of the rest of the cast? The focus has been on Carroll thus far because this demanding role has her on stage and in the action for every single minute of this two-hour play. Not only does Carroll earn our respect for "successfully" being the backbone of the diaglogue, but the many costume changes that take place on stage, during her fourth-wall-breaking monologues, requires her to give completely of her body. From full custume to underwear and back again, further underlines this production's exploration of applying an x-ray to this female character.
Back to the rest of the cast. Emily's dominant love interest is John (Stephen Bills), a waiter who gets drawn into the tornado-like void of Emily's inner world. Bills embodies a lanky, fish-out-of-water with aplomb, bringing the audience along with him as he gets his bearings and then tries to make sense of his plight.
Andrew Horwood plays various bar tenders in various guises - the Mexican-themed scene was a hoot - but reaches the zenith of his performance as the head of the investment firm, Hugh. Horwood, carries the role, not only with bluster and power but also with glimpses of his own hollowness and fear.
The fellow traders (Christian Dewar, Adam Schultz, Josh Van't Padje, and Aled Proeve), painfully capture toxic masculinity in its complexity (some fragments of care and empathy exist in the mix but are frantically hidden and shuffled away from the surface).
Emily's mother, Deidre (Therese Hornby), is another broken character with dismissive bravado, played enjoyably by Hornby. Likewise Leanne Robinson's Hallie, brings many laughs along with some painful moments of reflection.
All in all, Emily is a satisfying night of theatre, taking a view of Wall Street through the inner world of a female protaganist. Well worthy of a trip to Marion, especially if you include dinner beforehand at the superb Warradale Hotel.
Reviewed by Steve Davis
The Weekend Notes Review
A production that asks a genuine question of its audience
Written by Stephen Metcalfe, and first performed in Los Angeles in 1986, Galleon Theatre Company's 2021 Emily is a character-driven, comedic outing that asks whether personal success is defined wholly by material wealth and temporal power, and if it preordains singlehood for those who aspire to it, especially women.
See the full review
Reviewed by Jon Cocks