Theatre Review: The Thunderbolt – Glam Adelaide

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Presented by: Red Phoenix Theatre Inc.
Reviewed: 22 October 2026

The programme reads like a who’s who of community theatre in Adelaide, the set is a triumph of clever shifting design, the costumes are period authentic (except for the hems on the gentlemen’s trousers and the modern bow ties). Then why did the opening night of this wonderfully written Victorian play come up short of the always professional standard Red Phoenix productions. I just couldn’t put my finger on it.  There were obvious problems with lines, the actors, as a whole, if they moved further towards the back of the stage became inaudible and there felt to be a general apprehension running through a very skilled cast that meant the first scene in particular failed to do its job. i.e. to plant all the relevant information squarely on the lap of the audience so they could enjoy seeing a family delighted by the prospect of inheriting a lot of money tear themselves apart in the pursuit of wealth.

There were just too many hesitant cues, too many fluffed lines and far too much inaudible dialogue. Simple stage craft dictates that you play to the back row of your auditorium not the back wall of the stage. Particularly if you are new to an unforgiving venue.

I know this will get better, it’s Red Phoenix and (spoiler) I’ve worked as a performer in several of their very successful plays. But they need to give in to the rhythm of the language, reference all the clues that sit in the writing and generally stay focussed into the action.

There are some potentially stand out performances. Elisha Johnson looks and behaves in an authentic way for a young Victorian lady, her voice projection however is a problem especially when she faces upstage. Cheat! She came into her own at the end of the play by stepping up her authority into an unexpected and challenging place showing just how much versatility this young performer has as a resource.

Michael Eustice gives a credible performance; his authority drives the character well. Joshua Coldwell gives us a pitch perfect Colonel, a warning to the rest of the cast – don’t let him steal every scene!

Leighton Voight is handed a character that demands a real stretch of emotional and physical demands. He is believable, constantly present and always focussed into the action. Excellent work. Jessica Corrie has the most difficult challenge in her need to play two different emotional states that eventually make the situation pivot – a real stretch of status and emotional integrity. She handles the job with great empathy and energy.

Steve Marvanek’s bluff and defensive character so easily swayed by his manipulative brother (Eustice) and his Temperance driven wife Louisa (Katie Packer) is played with consummate ease, a lesson in solid preparation. In fact the three (devious) wives—Rose, Louisa and Ann played by Annie Matsouliadis, Katie Packer and Anne Doherty respectively—who appear almost always, at some point in a scene, sitting in a row reminded me of the three Furies of Greek theatre; they got to show their true colours too. All that was missing was the knitting!

It was ,to use a very old quotation, very: ‘Curates egg – good in parts’

So, this is an exercise in fortune telling, a critic’s greatest fear. It will be worth seeing, it will become vocally competent and articulate, it will be a great showcase for some great talent, both established and up and coming. My feeling was that this was a day or two out from being cooked and the enormous amount of effort that has to be put into preparing this very demanding period text then production week having everyone involved in bumping in the set preparing the stage, finishing off all the things that make a production work, has taken its toll on the energy required to deliver a sparkling and engaging piece of theatre on its first night that has well and truly stood the test of time.

Support your local theatre, it is still worth a look.

Reviewed by Adrian Barnes

Photo credit: Richard Parkhill