Theatre Review: The Man Who Came To Dinner

Tweet

Presented by The Rep (aka The Adelaide Repertory Theatre)
Reviewed 9 July 2026

As is their You Can’t Take it With You, George S Kaufman and Moss Hart’s The Man Who Came to Dinner is a Classic of the Twentieth Century stage – it is now also a museum piece. It is very long for a comedy running at just under 3 hours and a lot of the jokes and names mentioned are confined to the period of when the play was written (i.e. 1930s). They tend to fly over the heads of anyone who is not a Baby Boomer or a Gen Xer. That being said, there is a Glossary included in the programme, but who reads that until they are home or too bad if you don’t buy a programme.

However, some museum pieces, when cared for in the right hands, can shine bright almost as they did in their original heyday. This is indeed the case of this current Rep production under the fine curatorship of Director Sue Wylie, ably assisted by Rose Vallen. Wylie knows her stuff as both a performer and a director. She has assembled a talented cast (of seemingly thousands), placed them on Gary Anderson’s very impressive set design which has been lavishly dressed (including an authentic Chesterfield sofa and an actual Grand piano) by Anderson, Misch O’Keefe, Elizabeth Olsson and Harry Passehl – it must be noted that this team also provided the props which included such things as penguins, an Egyptian sarcophagus, a Roach farm and the biggest Christmas tree seen indoors. The majestic atmosphere doesn’t stop there – let’s not forget Ian Barge’s well-lit set and some of the most beautiful and authentic looking 1930s costumes managed by Laura Gane, Rebecca Jarratt and Jenny Kwok – in particular, the baggy male trousers and argyle vests and the most glorious sparkling, beaded dress in Act Two. Jarratt and Kwok were also responsible for the era-appropriate makeup and hairstyles—the Rep needs to hold onto these two people!

The story is fairly simple: controversial and acerbic radio personality (remind you of someone? – more on that later) Sheridan Whiteside has been dining at the Ohio residence of Mr and Mrs Earnest W. Stanley and upon leaving their home, slips on the icy front doorstep leaving him incapacitated and becoming the world’s worst house guest. This is a comedy of zany proportions and Wylie and the cast just go for it – very successfully!

They say that there are no small parts merely small players; in this case that is not true—the play has many small parts and they are carried off well by Kristina Kidd, Sandi McMenamin, Harry Passehl, James Pearce, Adam Schulz and Mark Smith.

Christopher Ridings and Linda Lawson make a fine pair of servants, and Tianna Cooper and Christopher Cordeaux are delightful as the Stanley siblings. Being harassed and under pressure seems to come easy to Rebecca Kemp and Brenton Whittle (he of The Book Place fame) as the unfortunate Stanley parents. As newspaper journalist Bert Jefferson, Matt Chapman gives a competent, nicely under played performance.

There are quite a few standouts in this highly talented cast. Julie Quick as Harriet Stanley wafts around the stage hilariously, flowing as much as her chiffon creations. Greg Janzow as exasperated Dr Bradley elicits many laughs from the audience with his untimely entrances and being dismissed by Whiteside almost immediately – wonderful comic timing. The ever wonderful Penni Hamilton-Smith has the audience’s attention every time that she appears as the much put upon Miss Preen, the unfortunate nurse to Whiteside. Her performance garnered a much deserved round of applause on her final exit on opening night.

Three super superb performances come from Robert Cusenza, Helen Geoffreys and Mr Cabaret himself, Michael Griffiths. Cusenza, heavily disguised plays an Einstein styled Professor but his biggest and most hilarious role is that of Hollywood funnyman Banjo – he plays him wonderfully as a Jimmy Durante knock-off with a hint of all three Marx Brothers. He is clearly an audience favourite (topped only by one other – more on that later). As stage actress and beauty Lorraine Sheldon, Geoffreys gives yet another of her stunning performances, outshining even her tremendous Act Two gown. She gives a master class on not only how to deliver a line but how to use facial expressions, big or small, to elicit the appropriate audience response. Playing what is essentially a cameo, Michael Griffiths as Beverly Carlton (think Noel Coward) is the quintessential performer and actor. He sweeps on, plays the piano, sings, gets many laughs with his well delivered dialogue, then sweeps out again – leaving us realising that we have just witnessed a true professional.

Jess Corrie gives a truly lovely performance as Whiteside’s secretary, Maggie Cutler. Hers is a well-paced and skilled piece of acting. The audience is with her character all the way, feeling her frustration, anger and warmth. This is a beautiful piece of acting from Corrie.

Now for Mr Whiteside! When it comes to acerbic, acid-tongued wit with a dry, dead pan delivery, surely there is only one man in Adelaide to portray him – yes, Peter Goers!! His is a consummate performance sparkling with Star quality. Goers does not put an acting foot wrong (there’s a slight in-joke there, but you need to see the show to understand it). I will admit that it isn’t easy to review a reviewer that has the reputation of saying it as it is – but it turns out it’s remarkably easy when they deliver such a perfect performance. As well as the well timed and delivered barbs, Goers also gives us a beautifully drawn insight into the character’s softer side. Bravo Goers!!

Since the play is set at Christmas time, this whole production shines and sparkles like a Christmas cracker, but unlike most crackers, when burst this one is filled with delight and joy (not junk)!

Hurry along to be a guest of The Man Who Came To Dinner, but just be sure not to outstay your welcome.

Reviewed by Brian Godfrey

Photo credit: Richard Parkhill