Submission declined on 25 June 2024 by
SafariScribe (
talk). This submission is not adequately supported by
reliable sources. Reliable sources are required so that information can be
verified. If you need help with referencing, please see
Referencing for beginners and
Citing sources.
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Submission declined on 17 October 2021 by
Wingwatchers (
talk). This draft's references do not show that the subject
qualifies for a Wikipedia article. In summary, the draft needs multiple published sources that are:
This submission reads more like an
essay than an encyclopedia article. Submissions should summarise information in
secondary, reliable sources and not contain opinions or
original research. Please write about the topic from a
neutral point of view in an
encyclopedic manner. Declined by
Wingwatchers 2 years ago. | ![]() |
Submission declined on 6 September 2021 by
Rich Smith (
talk). This submission appears to be taken from
https://bakehousetheatre.com/shows/watchlist.
Wikipedia cannot accept material copied from elsewhere, unless it explicitly and verifiably has been released to the world under a
suitably free and compatible copyright license or into the
public domain and is written in an
acceptable tone—this includes material that you own the copyright to. You should attribute the content of a draft to outside sources, using
citations, but
copying and pasting or
closely paraphrasing sources is not acceptable. The entire draft should be written using your own words and structure. Declined by
Rich Smith 2 years ago.
| ![]() |
Watchlist is an Australian play written by Alex Vickery-Howe and published by Currency Press in 2020. The premiere production in Adelaide, South Australia was delayed until 2021 due to the global pandemic, which the play coincidentally foreshadows.
Set in the present day, Watchlist tells the story of Basil Pepper, a young man with a predilection for painting fantasy figurines and mulling over the meaning of Fred Basset comics, who meets headstrong environmental activist Delia Dengel. Basil is almost immediately smitten with Delia when he meets her at his father's funeral. But Delia is much more than she appears. Unknown to Basil, Delia is willing to do the unthinkable for her to succeed where previous generations have failed. It doesn't take long for Delia to convince Basil to see the world as she does. Chaos ensues.
Critic and academic Murray Bramwell describes the play as a comic thriller that is both engaging and hyperactive. In Bramwell’s analysis, the show is ‘amusing, ambitious, provocative, and a sharp reminder that the changes we...need to make as global citizens will not be easy, even if we agree to them'. [1]
Reviewer Steve Davis calls the play ‘darkly stupendous’. For Davis, it is Delia’s presence that underpins the play, taking the time to praise Katherine Sortini's portrayal of her. Davis notes how easily Sortini as Delia takes the necessary actions to achieve her goals without an ounce of self-consciousness, highlighting an 'absolute comfort in her own skin.' [2]
Journalist Samela Harris draws attention to the quality of Vickery-Howe's writing; making special mention of the wit and the 'diabolical one-liners' throughout the script. She even claims that there is very little to criticise and that each actor 'artfully' defines their given characters. [3]
Journalist Helen Karakulak calls the play 'dark and delightful', praising Katie O'Reilly's portrayal of Basil's mother, Marie. O'Reilly brings sass to the role of Marie with dry line deliveries, but still manages to convey affection for her troubled son as the play unfolds. [4]
Mark Wickett contextualises the work and its reflection of the world, highlighting how easily the 'boy meets girl' narrative goes from comedy to politics and then back again without ever resorting to satire. 'It's a frustrated tale of the state of the world that signals virtue but actions nothing important, waiting for 'some mythical grown-up to take care of it.' [5]
Submission declined on 25 June 2024 by
SafariScribe (
talk). This submission is not adequately supported by
reliable sources. Reliable sources are required so that information can be
verified. If you need help with referencing, please see
Referencing for beginners and
Citing sources.
Where to get help
How to improve a draft
You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
| ![]() |
Submission declined on 17 October 2021 by
Wingwatchers (
talk). This draft's references do not show that the subject
qualifies for a Wikipedia article. In summary, the draft needs multiple published sources that are:
This submission reads more like an
essay than an encyclopedia article. Submissions should summarise information in
secondary, reliable sources and not contain opinions or
original research. Please write about the topic from a
neutral point of view in an
encyclopedic manner. Declined by
Wingwatchers 2 years ago. | ![]() |
Submission declined on 6 September 2021 by
Rich Smith (
talk). This submission appears to be taken from
https://bakehousetheatre.com/shows/watchlist.
Wikipedia cannot accept material copied from elsewhere, unless it explicitly and verifiably has been released to the world under a
suitably free and compatible copyright license or into the
public domain and is written in an
acceptable tone—this includes material that you own the copyright to. You should attribute the content of a draft to outside sources, using
citations, but
copying and pasting or
closely paraphrasing sources is not acceptable. The entire draft should be written using your own words and structure. Declined by
Rich Smith 2 years ago.
| ![]() |
Watchlist is an Australian play written by Alex Vickery-Howe and published by Currency Press in 2020. The premiere production in Adelaide, South Australia was delayed until 2021 due to the global pandemic, which the play coincidentally foreshadows.
Set in the present day, Watchlist tells the story of Basil Pepper, a young man with a predilection for painting fantasy figurines and mulling over the meaning of Fred Basset comics, who meets headstrong environmental activist Delia Dengel. Basil is almost immediately smitten with Delia when he meets her at his father's funeral. But Delia is much more than she appears. Unknown to Basil, Delia is willing to do the unthinkable for her to succeed where previous generations have failed. It doesn't take long for Delia to convince Basil to see the world as she does. Chaos ensues.
Critic and academic Murray Bramwell describes the play as a comic thriller that is both engaging and hyperactive. In Bramwell’s analysis, the show is ‘amusing, ambitious, provocative, and a sharp reminder that the changes we...need to make as global citizens will not be easy, even if we agree to them'. [1]
Reviewer Steve Davis calls the play ‘darkly stupendous’. For Davis, it is Delia’s presence that underpins the play, taking the time to praise Katherine Sortini's portrayal of her. Davis notes how easily Sortini as Delia takes the necessary actions to achieve her goals without an ounce of self-consciousness, highlighting an 'absolute comfort in her own skin.' [2]
Journalist Samela Harris draws attention to the quality of Vickery-Howe's writing; making special mention of the wit and the 'diabolical one-liners' throughout the script. She even claims that there is very little to criticise and that each actor 'artfully' defines their given characters. [3]
Journalist Helen Karakulak calls the play 'dark and delightful', praising Katie O'Reilly's portrayal of Basil's mother, Marie. O'Reilly brings sass to the role of Marie with dry line deliveries, but still manages to convey affection for her troubled son as the play unfolds. [4]
Mark Wickett contextualises the work and its reflection of the world, highlighting how easily the 'boy meets girl' narrative goes from comedy to politics and then back again without ever resorting to satire. 'It's a frustrated tale of the state of the world that signals virtue but actions nothing important, waiting for 'some mythical grown-up to take care of it.' [5]