Girl of the Frozen North - Spoiler Free Review

Hidden gem in the North-Eastern suburbs!

7.5 stars - Tickets still available @ Girl of the Frozen North

It’s not every day you stumble upon a hidden theatrical gem on a cold Wednesday evening, but Tea Tree Players’ latest production, Girl of the Frozen North, turned their opening night into a rousing, laughter-filled escape. This comedic melodrama, written by Eddie Cope and Buster Cearley and directed by Barry Hill OAM, delivers exactly what audiences hope for in an old-fashioned crowd-pleaser: plucky heroes, dastardly villains, snowstorms, and spirited audience participation.

Set in the icy wilds of the Yukon, the story follows the noble Mountie Dashiell H. Goforth as he squares off against the moustache-twirling villain J. Harrington Cesspool, whose conniving schemes target the innocent and endearing Nettie Neetfoot. The plot hums along with a healthy dose of humour, suspense, and delightfully absurd twists, as the characters brave the hardships of a frozen wilderness where danger, romance, and farce are never far apart.

One of the evening’s most striking staging features is the rare sight of two sets of curtain-draped archways: one framing the melodrama itself, the other reserved for the interwoven “Music Hall” sections. This clever arrangement allows the production to shift seamlessly between the play's narrative and the theatrical variety segments that punctuate it. These interludes – singalong numbers, a vaudeville balloon dance, and other classic music-hall amusements – add an extra layer of nostalgic charm. In true melodrama spirit, audience participation isn’t just encouraged; it’s expected.

And participate they do. The opening night crowd embraced their role with gusto, responding with hearty “oohs,” “aahs,” cheers, and boos far beyond the MC’s initial coaching. Tim Cousins, as the quick-witted and effortlessly charismatic MC, keeps the momentum flowing between scenes. With a twinkle in his eye and an encyclopedia supply of tongue-twisting alliteration penned by director Barry Hill, Cousins handles heckles like a pro, drawing the audience even deeper into the spirit of the evening.

Brian Godfrey, a seasoned Adelaide performer, returns to the stage as the villainous Cesspool – a role he inhabits with relish. Spending much of the play centre stage in his run-down hotel lobby set, Godfrey thrives on sparring with every character who crosses his path, never breaking stride even when a costume mishap strikes. His villain is deliciously exaggerated, serving as the perfect foil to the upright hero.

That hero, Dashiell H. Goforth, is brought to life by Clinton Nitschke, whose boundless energy, physicality, and commitment to the melodramatic style keep the production pulsing with life. Striding across the stage in tight trousers and polished black boots, Nitschke knows exactly when to leap, bound, and gesture flamboyantly – selling every heroic moment with a wink to the audience. His performance is easily a highlight of the show.

Credit: Tea Tree Players Theatre Facebook

Charlie Klose’s Nettie Neetfoot provides the quintessential damsel in distress, played with a deft balance of charm and self-awareness. While leaning into the melodrama stereotype, Klose ensures Nettie remains likeable and layered. The character’s search for her missing mother and brother builds to a gorgeously over-the-top family reunion, played for both heart and humour (though to avoid spoilers, I’ll leave the revelations for the audience to discover).

As Cleopatra Pannitt, Cathie Oldfield shines with seasoned confidence. She makes bold character choices that colour every reaction and interaction, while her strong vocals pair beautifully with Nitschke’s during the musical interludes. Selena Britz as Hyacinth Klutz – Pannitt’s maid – proves equally memorable. Britz embodies the melodramatic style with gusto, particularly in her audition-within-the-play to be “discovered” in San Francisco, a turning point that pushes her character firmly into the audience’s spotlight.

John Hudson’s Professor Fredrik Pjoole appears, at first, to be a side character, yet proves vital to the unfolding plot. Hudson sprinkles in delightful quirks and wry one-liners, creating a multi-layered presence that lingers in the mind longer than expected.

Credit, too, to the other cast members, who bring life to the smaller roles. Special mention to Ashlee Brown and Lachlan “Lachie” Blackwell, who have a couple of brilliant moments as an ever-needed dancing horse, and the participants of the World-Famous Balloon Dance – both audience highlights. While there are occasional opening-night hesitations around waiting for audience reactions before moving on with the dialogue, the cast’s clear diction, enthusiasm, and commitment ensure the entertainment never falters.

The cobweb-laden set, depicting the faded elegance of a dilapidated Yukon hotel lobby, is smartly functional yet rich in detail – complete with a comedic moving deer head. Snow blows through the door in generous quantities (bound to increase in weight with each performance!), with special recognition going to Dean Berlemon, whose broom work will be tested nightly. Sound design by Mike Phillips adds to the magic, with recurring musical motifs and character-specific themes that invite attentive ears to pick out clever patterns. Lighting was designed with the events in mind and was executed without fault.

Girl of the Frozen North marks both my first melodrama review and my first Tea Tree Players production – and what a lively introduction it has been. Nestled in Surrey Downs, just minutes from St Agnes Shopping Centre, Tea Tree Players has all the hallmarks of a community theatre worth discovering. With a vibrant cast, skilful direction, and the added joy of an audience who knows how to play along, it’s a warmly recommended night out in the Northeast.