Reviews

Reviews have come from all over the world.  Here’s a sample:

Two Women & a Chair
There was never a shred of sentimentality and the variety of response had me glued from first to last. It was a perfectly balanced tragi-comedy that took a sideways and often scornful look at the world order and the individual´s place within it.
Gemma del-Pozzo

Two Women & A Chair was a BIG hit with the audiences, in many cases the favourite out of the 3 plays that we presented that night.
K. McLoughlin-Wilden. CHATS. NSW AUST

It’s a fascinating piece and its compexity means it stays in your mind long after it has finished.
Peter Lathan , The British Theatre Guide

Two Women & A Chair has come up a treat, audiences are loving it.
S. Moore. Theatre ‘S´. QLD. AUST

Cannibals of the Heart
Cannibals is a treat…the style is a meticulous realism…displaying a good sense of structure and an ear for dialogue…one – ‘188’ – is astonishingly good, a neat little triangle story which could scarcely be improved upon.
Guy Rundle, The Melbourne Times, July 28, 1993

A Retiring Lady
A wickedly black comedy…Michael Olsen has written a script for this one-woman show which is deceptively simple…Director Carter has a superb actress and a wonderful script to play with and she uses them both to full advantage…Don’t miss this very short season in the excellent Festival of One which showcases so many exciting talents.
Russell Starke, Adelaide Review

Room Service
If this play is indicative of the general standard of these productions [at the Festival of One], you would be crazy not to see them all…Well written and beautifully performed by Martha Lott… The often funny yet achingly sad script is a wonderful vehicle for this talented actor.
Sue Oldknow, Tripod Theatre Review, 2003

Michael Olsen’s ingenious script uses a variety of those miniature bottles found in hotels as memorabilia in the maid’s capacious carry-all bag. As each is lovingly removed it brings a fresh memory…Olsen’s writing is clever.
Russell Starke, Adelaide Review

Betty has worked all her life in the Crown Royale Hotel in London, following in her mother’s footsteps. She takes pride in her work and she knows every nook and cranny of the vast hotel.

From her bedroom in the basement, she can identify the source of every toilet flush. Her friend is the television but memories keep her company. She carries these memories in tiny bottles which, when opened, take her on olfactory voyages into the past.

It would be all too easy to make a mawkish depiction of such a character, but writer Michael Olsen has given Betty a positive spirit and a sweet disposition.

The bottles are the episodic device which fleshes out a history and readies the audience for the climactic moment of the present.

Martha Lott has simply crawled into Betty’s skin. She is Betty. She has known no other life. She is a cockney maid with a streak of the busybody. She has a deeply buried emotional wound, but she is a stoic little worker and, without expectations, she has few disappointments.

All this and more, the audience learns as they watch and listen to Lott. Beyond the monologue there are the nuances, the facial expressions, the lightning responses which reach deep into Betty’s character. It’s an entirely captivating performance.

From Paula Carter, Room Service is a work of subtly eloquent direction and from Nic Mollison on lighting and design, it is so smoothly professional, that one takes the technical presence for granted. Another feather is placed in the cap of the brilliant little Festival of One.
Samela Harris, Adelaide Advertiser, December 3, 2003

Footsteps in the River
Winner The Noosa Arts Theatre One-Act Play Competition 2002