CASE NUMBERS

■ Case Numbers, a comedy written and performed by Dylan Cole, will be presented from March 30 - April 9 at the Greek Centre (Two), 168 Lonsdale St, Melbourne.

Nominated for Best Comedy Award at the 2020 Melbourne Fringe Festival, this is a show about a man who’s inherited a locked briefcase.

It's about guessing numbers and trying to open that briefcase. It's about one man working very hard to figure out a combination. It's about Case Numbers (not COVID).

Case Numbers is a meta-thriller that analyses the narrative conventions used in writing. It has no beginning or ending and while there is a middle, it’s a wonderfully and entirely pointless homage to a 90s Cold War film.

“The idea of creating a show based around cracking a code to a briefcase was always an interesting premise to me,” explains writer/performer Dylan Cole.

“To tell a story where an audience is constantly guessing what’s inside a briefcase, before the contents are potentially revealed. I’ve always loved a big reveal.

“To try and top what has been conjured up in the imaginations of an audience. One of the most unique things about Case Numbers is that it really does defy genre. It’s a cerebral, meta, absurd stand-up comedy show - a heady cross between a Beckett play, and a Christopher Nolan film.

“It’s a show people could come back and see again, because there will undoubtedly be something they missed the first time.”

Performance Season: March 30-April 9

Times: Tue.-Sat. 8pm, Sun 7pm, Opening Night Frida, March 31, 8pm

Tickets: $28 Full, $22 Concession, $20 Groups 4+, $15 Preview and Tuesdays

Bookings: 9245 3788 or www.comedy festival.com.au/2023/shows/dylan-cole

Venue: Greek Centre (Two) - 168 Lonsdale St, Melbourne www.dylcol.com

Duration: 55 minutes no interval

Suitable for audiences 13+ - Cheryl atre where it performs to this day as the world's longest running play.

● Dylan Cole in Case Numbers.

A twist at the end surprises us as to whodunnit, but we are pledged to keep this secret in our hearts and not tell anyone. So, it is recommended that Melburnians book tickets to see this great show and share the secret.

Significantly, The Mousetrap is ensemble theatre at its finest and not to be missed.

Venue: Comedy Theatre, Melbourne Season: Until end of March Bookings: ticketek.com.au or 13 28 49 Groups 8+ call 9299 9873 themousetrap.com.au

- Cheryl Threadgold

Bowl Concert

■ As part of the Summer Music Festival held at the Sidney Myer Music Bowl, the Melbourne Symphony Orchestra was outstanding when performing two pieces of the classical repertoire, Prokofiev’s Piano Concerto No 3 and Carl Orff’s Carmina Burana.

Threadgold

The Mousetrap

■ A vibrant, pacey interpretation of Agatha Christie's murder mystery The Mousetrap can be enjoyed at Melbourne's Comedy Theatre until the end of March.

Masterly writing, directing and acting combine in fine form to achieve this stellar 70th anniversary production.

Director Robyn Nevin's strong cast infuses the script with a terrific new energy, entertaining modern-day audiences whilst remaining respectful to the narrative of this timeless two-act classic.

The Mousetrap takes place in the comfortable elegance of Monkswell Manor, recently converted to a guest house and operated by Mollie and Giles Ralston.

A news broadcast about a London murder is initially ignored as five guests, all strangers, arrive in heavy snow to stay at the remote countryside property.

The mood changes when a detective sergeant arrives to warn everyone of an unknown killer among them. Personal stories unravel, suspicions rise, and the audience shares in the suspense.

Presenting wonderful character portrayals are Anna O'Byrne (Mollie Ralston), Alex Rathgeber (Giles Ralston), Laurence Boxhall (Christopher Wren), Geraldine Turner (Mrs Boyle), Adam Murphy (Major Metcalf), Charlotte Friels (Miss Casewell), Gerry Connolly (Mr Paravicini) and Tom Conroy (Detective Sergeant Trotter).

Standout performances were particularly enjoyed from Anna O'Byrne (Mollie), Laurence Boxhall (Christopher Wren) and Tom Conroy (Detective Sergeant Trotter).

Isabel Hudson’s costume and set design and lighting design by Trudy Dalgleish complement the show’s visuals.

Originally premiering on October 6, 1952 at the Theatre Royal, Nottingham, The Mousetrap then opened in London's West End on November 25, 1952, running until March, 1974, thentransferringnext-doorto StMartin'sThe- www.mso.com.au

First on the program was the Prokofiev concerto played by Hannah Shin, a winner of the 2021 Lev Vlassenko piano competition, something which was not surprising given her virtuoso technical display on the keyboards.

While by no means at the extreme end of the difficulty scale, the No 3 concerto is no walk in the park either, and Hannah Shin showed great skill in bringing this work to life.

At times, however, her youthfulness worked against her as greater experience would, I’m sure, have added more colour and warmth to her technically brilliant performance.

The concerto was followed after the interval by Orff’s cantata Carmina Burana which saw Kathryn Radcliffe as soprano, Paul McMahon as tenor and Warwick Fyfe as bass-baritone, with the MSO Chorus under the direction of Warren Trevelyan-Jones, Mairi Nicolson as host and Benjamin Northey as conductor.

This is a familiar work of Orff’s with some stirring passages involving both orchestra and chorus. Northey conducted with great assurance, getting a wonderful rousing performance from the orchestra which worked seamlessly with the MSO chorus.

On a not-too-hot warm summer’s night, the almost full house at the music bowl was treated to a fantastic display of the MSO at its finest, a Melbourne cultural powerhouse that we should all be proud of. Here’s hoping that more such free concerts will continue into the future as part of Melbourne’s summer tradition.

- Review by Peter Murphy

■ Conductor Rick Prakhoff is excited about a 90th birthday he is celebrating this year. While the youthful looking Rick isn’t about to turn 90, the orchestra he conducts, the Zelman Orchestra, is celebrating its 90th birthday with a Gala 90th birthday season and promises audiences stars, symphonies, new work and classical favourites.

The orchestra is one of Australia’s oldest symphony orchestras will celebrate its 90th birthday with a program spanning the eras of Classical, Romantic, 20th Century and contemporary music – including the world premiere of a specially-commissioned Australian work.

The Zelman Memorial Symphony Orchestra was founded in 1906 by Alberto Zelman Jnr – as the first Melbourne Symphony Orchestra.

When Bernard Heinz invited its artists to join him in creating the ABC’s first professional orchestra in 1932, the remaining musicians formed the Zelman Memorial Symphony Orchestra in honour of their beloved Alberto - who had died all too early in 1927.

It all begins on Saturday, March 25, at the Melbourne Recital Centre with a musical tour of Vienna and the sweeping, passionate masterworks of Strauss, Kreisler, Korngold and more.

Visiting Canadian superstar Alexandre Da Costa will bring his 1701 Stradivarius violin in a concert that includes the overture to Die Fledermaus, The Beautiful Blue Danube, Tritsch-Tratsch-Polka and Radetzky March - amongst other favourites.

The 7.30 pm MRC performance on Saturday, March 25, is repeated at Daylesford Town Hall at 2pm on Sunday, March 26.

Other exciting concerts for the year are on June 17, September 10 and November 25. For all the details about Zelman Orchestra’s exciting anniversary year, visit www.zelman symphony.org.au

- Julie Houghton

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The Revlon Girl

Similarly, Jen Bush's (Sian) splendid acting skills are showcased as the brave, cheery organiser of the meeting and beneath the cracked veneer, a bereaved mother. Hats off to Standby/Cover Julia Lambert. Natasha Boyd's expert direction ensures smooth flow of the play while retaining sensitivity of the narrative. As well as co-designing the set with Keith Francis, Boyd has even included an actual drip system as a ceiling leak drips into a bucket.

During rehearsals, the cast and Boyd impressively strengthened their knowledge and research of the play by undertaking a threehour Zoom meeting with London-based playwright Docking

The result is a first class show, enhanced by Alan Crispin's lighting, Blake Stringer's sound design, Annie Blood's costuming and Deborah Fabbro (props/set dressing).

A memorable theatre experience. Congratulations to all involved.

Performance Details: until March 4

Venue: Brighton Theatre, cnr Carpenter and Wilson Sts, Brighton.

Bookings: www.brightontheatre.com.au

- Review by Cheryl Threadgold