Townsville Little Theatre’s A Night in Little Grimley: Double Feature – 30 September 2026
After a two-year wait since Townsville Little Theatre last staged David Tristram’s Last Panto and Last Tango in Little Grimley, it is wonderful to return to this charming English village and witness the inner workings of its dysfunctional amateur dramatic society once more. These two short one-act plays reunite us with the four remaining members: Gordon, Joyce, Margaret and Bernard.
This season, audiences are treated to something a little different, with two separate casts each presenting a one-act play under the guidance of their own director.
Alan Cooke, no stranger to directing amateur theatre, leads a younger but highly capable cast in To Be or Not To Bother. Ethan Cowan is very convincing as Gordon, the optimistic and resourceful chairman who decides it is time for the group to tackle something Shakespearean. Faced with initial resistance from his peers and the considerable obstacles of a non-existent budget and a dwindling audience, Gordon remains determined to succeed. In his TLT debut, Cowan handles the role well, portraying a leader who narrowly avoids the many pitfalls threatening to derail his ambitious plan to bring the highlights of Shakespeare to the village.
Tara Puzziello is fantastic as the dim-witted Joyce, taking on the challenges of playing both Romeo and Yorick while continually testing Gordon’s patience. Much of the comedy comes from Gordon’s attempts to keep Joyce up to speed on what she has missed, despite his growing frustration. Max Lenoy plays Bernard, whose personality shifts between playful mischief and boredom, but who takes particular delight in provoking the sharp-tongued Margaret, played by Melissa Donges-Curro. The chemistry between the two is excellent and consistently hilarious. Donges-Curro’s performance as Juliet in the balcony scene is particularly amusing, bringing plenty of energy, melodrama and theatrical flair. Together, the cast delivers a fresh and entertaining spin on Shakespeare’s classics.
The second play, Saving the Planet, is directed by Christine Scott, with supporting mentorship from Arminelle Fleming, and features a more senior cast who bring a subtly different interpretation to their characters. Whether intentional or not, it feels a little like catching up with old friends after several years apart. They remain recognisably the same people, only slightly older and perhaps a little more mellow.
This time Gordon is played by Andy Carter, who offers a more relaxed portrayal of the character. While still ambitious, Gordon’s focus has shifted toward reducing the society’s carbon footprint while preventing the group from imploding. Julie Johnston is hilarious as Joyce, whose confusion around concepts such as carbon and gender neutrality generates plenty of laughs. No sharper than before, Joyce is nevertheless more assertive and keen for a serious acting opportunity, though events do not unfold as she expects.
Reynold Lookamp returns to the role of Bernard, which he played in TLT’s 2024 Grimley production, and once again proves wonderfully cheeky in the part. Taking on the group’s matriarchal role is Margaret, played again by the talented Jennine Padgett following her 2024 appearance. Margaret is searching for a dignified acting role but repeatedly finds herself thwarted by Gordon and subjected to Bernard’s constant jibes. Yet there are plenty of warm moments too. With Louis Armstrong’s What a Wonderful World serving as the play’s theme music, it is impossible to lose sight of the humanity at its heart.
Both plays follow a similar structure, with Tristram leaning heavily into the “play within a play” meta-narrative for which Shakespeare himself is renowned. The familiar character archetypes, narrative beats and comedic tropes are all present: the looming crisis, the seemingly brilliant idea that promises salvation, the increasingly chaotic rehearsal where everything threatens to unravel, and finally the post-show dissection in which the inevitable twist is revealed. The two Margarets do much of the heavy lifting during these frantic scenes, as it seems only fitting that the characters most concerned with maintaining their dignity have the furthest to fall, while showcasing their comedic timing. The formula works remarkably well without ever becoming overly predictable.
It was also great to see the backstage crew enjoy their own moments in the spotlight through a series of short comedic interludes performed between scenes while the lights were dimmed. Some are a little more daring than others, but all add to the evening’s entertainment. Keep your eyes peeled for these small comic gems.
Having two casts means double the wardrobe, and both ensembles look terrific on stage in costumes that reflect their personalities. The sets and props are equally well designed, helping to ground the stories in a believable theatrical world.
Hopefully TLT does not make audiences wait another two years for another visit to Little Grimley. Tristram’s short plays possess a great deal of heart, humour and humanity, and the TLT performers and production team do a superb job of bringing these scripts to life for Townsville audiences to enjoy.
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