14/05/2026
Thank you Stratford Press for this fabulous review of The Cottage.
Tickets selling fast, some availability next week and Sunday matinee. Don’t delay!
https://www.trybooking.com/nz/events/landing/18651
Review: Farce, fizz and fabulous timing feature in Cue Theatre, Inglewood 's The Cottage
Reviewed by Ilona Hanne
Take the farcical comedy of Noël Coward’s Blithe Spirit, cross it with the wit of Oscar Wilde, place it in the hands of talented director Sharren Read, and add a cast with razor sharp comic instincts, and you have the recipe for a show that keeps audiences laughing long after the curtain falls. Cue Theatre Inglewood’s latest production of Sandy Rustin’s The Cottage delivers exactly that—a masterclass in farce showcasing some exceptional Taranaki talent.
Playwright Sandy Rustin is currently one of the USA’s most produced writers, thanks largely to her stage adaptation of Clue, which has amassed more than 5,000 productions worldwide. While Clue earned her international attention, it was with The Cottage, written in 2013, that she made her Broadway debut just three years ago.
The Cottage contains all the classic ingredients of farce: ridiculously improbable situations exaggerated to the max, physical humour, multiple misunderstandings, melodramatic reveals, and at least one door that ushers in fresh chaos every time it opens. Under Sharren’s direction, these elements are drawn out with precision but never pushed into excess.
The Cottage is farce at the gentler end of the spectrum, and that restraint keeps the comedy sharp rather than ever tipping into full absurdity. Rustin’s script also includes some Oscar Wilde worthy lines—such as a delightful riff on the complexities of smoking—that Sharren and her cast ensure get their moment in the spotlight just as much as the more obvious comic moments in the play.
Sharren has made excellent casting choices for this production, with each actor bringing their character to vivid comedic life while avoiding falling into sloppy caricature.
Lisa Beynon leads the show as Sylvia, a woman sustained by her annual “one night, every summer, for seven summers” romantic tryst with her lover. The emotional through line of the play rests with Sylvia, and Lisa brings nuance to the role, guiding both character and audience through a journey of feminist self realisation without losing the script’s lighter touch. As the first actor on stage, her energy, physicality, and impeccable timing set the tone for the entire production. Syliva is best described as being a rash romantic, and Lisa gives both sides of this character equal attention, expertly creating a character who the audience can’t help but cheer on.
She is well matched by Nathan Eriwata as Beau, Sylvia’s once a year lover. Despite Beau’s chronic unfaithfulness - “he takes on lovers like the queen takes tea,” as one character observes—Nathan makes him likeable and surprisingly relatable. His gradual realisation that his busy romantic life lacks actual love gives the character unexpected depth that Nathan draws out nicely without overplaying.
As Beau’s wife Marjorie, Kaitlyn Bingham is absolutely brilliant. The most unbelievable part of this farce is that this is her first time on stage. She is an absolute standout, and lets hope she has now caught the acting bug and will become a regular on Taranaki stages. Kaitlyn showcases some wonderful physicality, drawing out both the lighter humour and the more exaggerated farcical moments. Her character is light and airy – one might even say gassy at one point in the script, and she is a joy to watch throughout.
Chris Morrison is perfectly cast as Sylvia’s husband, Clark—the quintessential English gentleman, though not always a well behaved one. Described by his brother as “a believer in convention, finance, and God,” Clark could easily become stuffy, but Morrison avoids that trap. His timing and physical comedy are spot on, making him a strong presence throughout the night.
Lydia Marston, as the flighty Deirdre, is another inspired casting choice. She fizzes with energy, and under Sharren’s direction creates some of the night’s funniest physical moments—particularly after Deirdre indulges in a few too many swigs from a decanter.
Finally, Shawn Stanley brings a delightful streak of murderous mayhem to the role of Richard—a character best left undescribed, given how much of the comedy relies on the surprise of his arrival (even if most audience members will see it coming by mid Act One). While the character of Richard is less developed than other characters – a fault of the playwright not the director or actor - Shawn doesn’t let that stop him giving a stellar performance in the role, elevating the character with some great movement and facial expressions, that give the role more dimension than the script provides.
Cue Theatre Inglewood’s The Cottage is a polished, cleverly paced, and joyfully performed production. With Sharren Read’s steady directorial hand and a cast that understands exactly how to play farce without overplaying it, this show is not to be missed.
