All Boys - every other theatre company (20 August 2024)

The Windsor knot. A symbol of prestige and success. In business, in politics, and, not by accident, in the private school system. There's a sequence in All Boys where the two alpha students show their latest recruit how to tie the perfect Windsor knot. This had me hurtling back to my own private school days many decades ago practising how to accomplish the perfect look with the school tie. I loved the sequence because of its authenticity. In that world this stuff matters. The school blazer. The school song. The war cry. I never memorised the song (it was a little twee) but forty years on I still know every single word to that war cry. The power of the Old Boy system. The weight of expectation of going to such a school. 

The world of the play is utterly familiar to me in its power dynamics, the demand for conformity to certain ideals, and the struggle for those who don't quite fit into this idealised notion of manhood. We didn't have the undertone of sexual abuse (that I'm aware of) but, in my time, there was one tragedy, several scandals, and bizarre behaviour that nowadays defies logic. All to make us turn into better men, I guess. 

The play examines this insular environment and what it does to the young men inside it. Crucially, it also makes the point that the cycle continues as the products of this system will send their sons to undergo the same 'education'. My experience was from 1979-83. The play is set in 2009-2014. Dare I say it, with recent revelations in the media emanating from similar schools, certain elements have not changed much over all that time. 

Writer Xavier Hazard sets the tone and context for his fictionalised story within this prestigious all boys school in Sydney with a great eye for detail. The tale is told largely in rapid fire vignettes as strands are slowly teased out between ten students. There is a graphic and disturbing incident early on that is the height of wayward boys enforcing their own distorted sense of the 'rites of passage'. An act that has seemingly been handed down from previous years and, worst of all, is expected. There is a revelation later on that lands like a gut punch both for the student involved and the audience. 

Both of these incidences have the potential to escalate into tales of retribution and there were several moments where I thought a Punk Rock style explosion was imminent. Hazard, however, eschews this path to focus on more character driven resolutions to all the conflicts he has crafted. Questions of sexuality, of conformity, of bullying, friendship, betrayal, carrying on the legacy of fathers, and working out who you are and who you're going to become. Then there are darker strands that involve sexual violence, drugs, and the horrendous cost of abuse.  

This may all sound confronting - and it is - but there is also great humour, amusingly inventive use of swearing, and moments of unexpected compassion. The play is almost two hours long with no interval but the lack of a propulsive narrative wasn't an issue as I was immersed in the intertwining strands and the character journeys. 

In this the play is greatly aided by the clockwork precision of Cezera Critti-Schnaars' direction which sees the actors almost in constant motion as they rotate into each scene or vignette with alacrity. I also loved the use of the whiteboard to show the passage of time as a different actor would write the changing year and class with a specific character trait that reflected their mood. Simple set design by Jake Pitcher - predominantly three benches and lattice work to delineate the stage - plus excellent lighting and sound design by Jolene Whilbley and Jess Nyanda Moyle respectively recreated the many locations from the dorm to hallways to class rooms and the assembly hall. Good costume design (those ties!) by Pitcher and the technology props all looked appropriate to the era. 

The all-male cast is uniformly excellent. I didn't quite sense the anger in Liam Longley's Hugh Ryan who is the victim of the dorm raid. He plays Hugh with a stoic nature that eventually sees an outburst at the main instigator though and handles a burgeoning relationship well. The other main character, Jack V, sees Samuel Bennet go through a gut wrenching arc with skill as the high achiever's sense of purpose is torpedoed leaving Jack V adrift, before literally finding his voice at the end.  

James Gant embodies the perfect student Patrick Mulligan as described by one of the other Jacks - good at everything - academics, sport, music, looks... but not so much that he draws attention. Nathan Calvert impresses as Connor who wears his heart on his sleeve as he tries to make friends and work through the confusion over his sexuality. Ray Teakle gets to play a tricky arc as Scott who stands up to the bullies, becomes one of them as a result, does something egregious, seems truly remorseful, and makes a stand to break the cycle. 

Jarrad Inman brings compassion and heart to Jack C while Ethan Gosatti is excellent as the third Jack who goes from debater to opportunist to drug dealer with real flair. Jono Battista commands the stage the moment he appears as the new student Will. James Ford is the head bully as A-Boy and he's all bluster and swagger but you sense he's the kind who'll back down when challenged. The real threat is B-Boy played with menace and physicality by Declan Cooper. He's dangerous because he believes the nonsense he's peddling and Cooper is riveting to watch. 

I can't say I 'enjoyed' watching this play but I did find it engrossing and it had me recalling events from my own school experience that I hadn't thought about in decades. There's a sense of authenticity in the details and the fictionalised elements are well within the bounds of believability. Which is perhaps the most disturbing aspect of all. Worth a look for a confronting production that is well acted, well written, and staged with real energy in the intimate space of the Blue Room Theatre. The show runs until 24 August. 

Dracula: A Comedy of Terrors - Koorliny Arts Centre (15 August 2024)

15 August. Kwinana. The journey southwards had proven largely uneventful though the carriage driver had insisted on stuffing my pockets with cloves of garlic and the howling of wolves was occasionally distracting. The castle, while well lit, was not as intimidating as I had expected, certainly not by English standards. There was even a piece of furniture strewn on the grounds. The villagers seemed eager to meet the Count as they thronged inside. There is a sense of anticipation in the air, along with plenty of fog and one or two bats. I do hope the Count is worth it. He seems such a lovely chap in our correspondence to date. I predict a most profitable arrangement though I do worry these endeavours shall drain the life out of me.

So wrote your intrepid reviewer in his *ahem* journal as he headed off to meet the Count. Said reviewer was prompted to remark further:

16 August. South Perth. Returned safely last night but only by the skin of my teeth. The Count is a most charming fellow though he seems to have a curious obsession with necks and a complete disdain for garlic. He also keeps the strangest hours. I must lie down now as I feel curiously lethargic and the early morning sunlight has cause to vex me.

Okay, enough with the allusions to one of the most famous of all gothic horror novels, Bram Stoker's Dracula, on which this comedy is based. We all know the names - Dracula, Van Helsing, Renfield, Jonathan Harker, Lucy (yes, alright, Mina too) Westfeldt... and Kitty.  If I were to keep a journal these are the four observations I would make about the show:

1) The Power Of Laughter. Theatre can be many things - inspiring, thought provoking, educational, provocative. But there's also something to be said for a good, old-fashioned belly laugh. And laugh I did throughout this show as did the rest of the audience. Turn the source material into a British-style farce, add a pantomime Dame or two, ratchet up the absurdity and you have a very funny production. Did it illuminate the human condition? No. Was it silly? Yes. Did it make me laugh. Hell, yes!

2) Dracula is truly immortal. Of all the supernatural tales and beasties, vampires are my favourite and Dracula is the granddaddy of all vampires. There is an enduring fascination with stories about an undead creature that seduces and beguiles. There have been numerous adaptations including Francis Ford Coppola's wonderfully atmospheric movie. Here it's played for laughs but the backbone of the story is so well ingrained in all of us that we know the tropes from wooden stakes to coffins filled with soil to the lack of reflection in mirrors. That knowledge allows the production to zip along without having to overly explain things.

3) The Actor's Voice. What a powerful tool the voice is in any actor's arsenal. To project, to modulate, to startle, to command attention. There will be much talk about the rapid fire costume changes and hilarious wig work but the element that grabbed my attention was the extraordinary vocal performances. There's no dodgy Keanu Reeves accent here! Matthew Jones is at the forefront of this as Mina and Van Helsing. These characters, especially Mina, are dialled up to 11 but his vocal command and variation is exceptional and drove a lot of the comedy. The best transition was a vocal one as Jamie Jewell's Renfield 'falls' out of a window at the rear of the stage and reappears stage left as Dr Wallace Westfeldt with fading screams of terror seamlessly blending into the doctor's first word. Fabulous.

4) Execution. This may be a comedy spoof but the level of execution is extremely high. Once it found its rhythm this clatters along with, literally, dizzying costume changes as four of the cast play multiple characters with Matthew Walford the one constant as Count Dracula. The 'montage sequence' towards the end of the play is a cheeky poke at movie transitions; Tatum Stafford's Lucy attempting to console the cleverly staged wig of her afflicted sister is wonderfully daft as is her bawdy boots n' all scene with a revitalised Jonathan (Nathan Breedt). There's even some excellent puppet work by Breedt as Lucy's former suitors appear and quickly disparage poor Mina. 

Walford makes for a sensual Dracula with a touch of Frank-N-Furter and a dash of rock star swagger. Breedt is the straight man in all the craziness as the milquetoast Harker until he's not in an eye-catching transformation. Stafford imbues Lucy with an earnestness that is tested by the wiles of Dracula but also a fortitude and sense of adventure that her fiancé Jonathan lacks. Jewell is upstanding as Dr Westfeldt and not quite so upright as the manic Renfield. While Jones is simply arresting in drag as the lustful Mina and girl power icon Van Helsing. 

Director Christopher Alvaro embraces the farce with glee and there's a manic energy to the whole production. He's well supported with excellent lighting design by Chloe Palliser which leans into the over-the-top theatricality of the material but there are also a couple of startling character reveals as Jones materialises out of darkness. Alvaro's own sound design effectively gives us all the expected tropes from howling wolves to organ music to creaking doors and windswept ships. Yvette Drager Wetherilt excels yet again with an array of wigs, some of which are nearly characters in their own right. Costume Design by Cherie Alvaro provides the stylised gothic look while Peter "Pear" Carr and Alvaro's simple set design allows the cast plenty of room to cavort and roam. 

I had a lot of fun with this production down at the Koorliny Arts Castl-- um, Centre and there are two more shows remaining on 16 & 17 August.

Photos by Outatime Pictures

She Loves Me: The Classic Broadway Musical in Concert - Western Sky Projects (10 August 2024)

Classy. The word that immediately comes to mind to describe not only this fabulous production but the entire experience at the matinee performance. From the pre-show tour of the Liberty Theatre that had lain dormant for so long in the heart of the city, to the cast interacting with the audience before the Prelude, to the joy of the show itself, and the post-show Q and A, this was sheer class from top to bottom.

While the two sold out evening shows catered to an audience of some 160, the matinee was specifically tailored to be a more intimate affair of around sixty. The tour conducted by director, co-producer, and Western Sky founder, Andrew Baker, along with cast member Noah Humich (Arpad Lazslo) was a lovely touch. Especially given that the Humich family has played such a significant role in bringing the space back to life and is committed to developing more arts venues in the city precinct. There was an inescapable authenticity and enthusiasm as Humich guided us around the heritage listed venue. This included passing through the green room where the cast was preparing. We will return to the significance of this later. Another benefit of the tour - front row seats!

Mark Flower Photography

The performers, all fabulously costumed, enter and begin to mingle with the audience. I'm asked what perfume I would like to sample by stylishly attired Chris Gerrish in character as Ladislav Sipos, an employee of Maraczek's Parfumerie. The year is 1934. The place, Budapest, Hungary. The rustic nature of the Liberty suits this perfectly. There may not be a $100,000 set but what we do have is a multi-tiered series of platforms that give the perfume shop depth; great set decoration and props; and the inventive deployment of furniture and lamps in the wings to efficiently depict other settings. Set design by Trace Co with effective lighting design by Production and Lighting Facilitator Adelaide Harney. 

Then there's this - the four piece orchestra, stage left. Who begin to play under Musical Director Joshua Haines who's also on keys. We quickly come to realise that this is a sublime score that is expertly played by Haines, Alex Barker on drums, Cooper Williams on trumpet, and Ruth Klein Cook whose violin playing elicits so much emotion in what we will soon recognise as a wittily realised romantic comedy. 

Indeed, this is but one incarnation from the original 1937 play Parfumerie that will also see the Hollywood movie adaptation You've Got Mail starring Tom Hanks and Meg Ryan. Here our lead characters, Georg Nowack and Amalia Balash, are wonderfully played by Will Groucutt and Amy Fortnum. Georg and Amalia, in a classic romantic comedy trope, immediately dislike each other whilst unknowingly communicating back and forth by letter. Shenanigans ensue. The musical premiered on Broadway in 1963 and, again, there's a real sense of class all over the writing, the songs, and the music.

Mark Flower Photography

Baker has put together an exceptional cast - the vocal talent across the board is superb; the acting is excellent; the comic timing and staging impeccable. You can sense a real camaraderie between the performers. Yes, the production is described as "in concert" which means performers will often have script in hand but this in no way detracted from the overall experience.  

Fortnum sings superbly with Act One closer Dear Friend one of many highlights. She displays very good comedic chops, especially in the second act with numbers such as Where's My Shoe? Groucutt impresses as Georg realises the entanglement he's in before embracing the possibility of love. Showcasing an expressive singing voice, Groucutt combines beautifully with Fortnum vocally. 

Lainey O'Sullivan has a lovely arc as her jaded Ilona Ritter ends up finding love in an unexpected place with that trajectory perfectly personified by, firstly, the defiant I Resolve to the charming A Trip To The Library. Ryan Hunt as Steven Kodaly might be the closest thing to a villain of the piece as Kodaly woos then abandons Ilona while also fraternising way above his pay grade with all sorts of ramifications. 

Gerrish brings a light touch to Ladislav Sipos and is so good in support of comic set pieces such as the visit to the Cafe Imperiale where Georg goes to meet his pen pal for the first time. Speaking of that sequence, Robert Hoffman makes for a magnificent Head Waiter adding another potent singing voice while bringing the funny in spades. 

Mark Flower Photography

Robbie Burns adds an understated gravitas as Mr. Maraczek while Humich is all youthful eagerness as Arpad transforms into Mr. Lazslo. There's also an embarrassment of riches in the ensemble with Alan O'Neill, Jess Clancy, Sophia Matthews, Lindsay McNab, Lynzie Bremner, Andrew Baker himself, and, in a delightful surprise, Cooper Williams jumped out of his chair in the orchestra to participate in the fun! This all comes together in perhaps my favourite moment which was like a movie montage - Twelve Days to Christmas where the cast becomes increasingly frenetic as festive season sales boom. 

Special mention to Sound Designer Michael Fletcher who I spoke to earlier in the year to better understand how critical his work is to shows such as this. Humich had mentioned in the tour how good he thought the acoustics at the venue were but I suspect a lot of skill and effort has gone into ensuring that the balance and clarity between the performers and the orchestra was so good. 

To finish, after rapturous applause at final bows, the Question and Answer session hosted by Jess Clancy was insightful. Two observations that were notable - the 'in concert' approach meant that the cast, many of whom have full time jobs, were able to do the show as they didn't have to spend so much time absorbing the text. Then Amy Fortnum, also a co-producer, spoke so passionately about what musical theatre could and should be and how she wanted to break down the fourth wall between audience and performer, hence the trip through the green room and the cast mingling with the audience before and during the show.  

This was an exceptional afternoon. If the final show hadn't already been sold out I would have been sorely tempted to buy a ticket and go right back in to watch it again. 

Western Sky Projects' ethos of supporting local talent for the benefit of performers and audience alike is genuine. Taking a risk as a not-for-profit production company on a Broadway classic that hasn't been performed in Perth in over fifty years at a venue that hasn't been in regular use for over forty is laudable to say the least. 

The fact that it ended up as a triumph is a testament to the vision, creativity, talent, and hard work of all involved.