Henry IV - GRADS Theatre Company (12 March 2025)

Let's talk about how special the theatregoing experience can be... 

A couple of hours before opening night there was a pretty heavy shower where I live. This is going to be interesting, I thought, given the New Fortune Theatre is an outdoor venue. I even took a jumper with me. The rain cleared, the night was still, the jumper was never in danger of being required, the peacocks were mute... it was nothing short of a divine evening. 

I was uncharacteristically indecisive and ended up in the upper wing, audience left, looking down at the stage. As I absorbed the action before me, gazing at the performers, clearly seeing the audience where I'd normally sit, listening to the immortal words of Shakespeare, I was struck by how otherworldly this was. In the best possible way. A terrific cast, performing an epic tale, written by the greatest playwright of the English language, in a replica venue, on a perfect night. It floated across my mind that theatre doesn't get much better than this. 

Afterwards, one of the actors remarked they heard someone laughing from the wings and that they must have known the play. Yes, I laughed. But I do not know the play. What I do recognise is wordplay and japery and an inventiveness of language that has never been matched. When writ large in someone as larger-than-life as Sir John Falstaff the ribaldry is nothing short of intoxicating. A condition Falstaff and his companions are certainly not foreign to.

My vantage point also delivered a stunning visual moment that rocked me; like a spectacular wide shot from a movie that could only have been seen in profile. At the end of the first half, to my right, Prince Hal (Fraser Whitely) is at the rear section of the foot of the stage amongst the audience, head slightly bowed. To my left, Henry IV (Grant Malcolm) is on the stage, behind his imposing desk, in an elevated position compared to his son and wayward heir. Whitely moves slowly down the central aisle, mounts the stairs to the stage, and for the first time ascends to meet his father on his own level. Only to be berated by Henry in a fiery monologue delivered by Malcolm that will not be his last burst of sustained brilliance. 

That image, of those two characters at the extremities of, in film language, the frame; the difference in elevation, in posture, and demeanour said EVERYTHING about their respective status and relationship without a word being spoken. It's imprinted on my brain. The act of humble ascension and subsequent rebuke is superb. If I sat where I normally do I would never have seen it. Not like that. Thank you, indecisiveness!

I digress.

This adaptation by director Patrick Downes is the merging of two plays, Henry IV, Parts One and Two. In short, Hotspur (Grace Edwards) has taken up arms against Henry IV (Malcolm) while Henry's son, Prince Hal (Whitely), carouses with the notorious Falstaff and associates. High court politics, battles, and sword fights ensue with plenty of hijinks along the way. Think of it as Game of Thrones without the dragons. In essence it is a story about the son who will assume the mantle of the father and cast aside his rebellious past. All stirring stuff. 

Grant Malcolm excels as Henry IV. Regal, commanding, exasperated at his son and the folly of those who oppose him. His monologue towards the end of the play as Henry catches Hal wearing the crown is worth the price of admission alone. Wounded in more ways than one, his Henry is distraught at this act. Malcolm is devastating as he conjures a response of raw emotion until Whitely's Hal seeks to placate him. 

Whitely, youthful and exuberant, plays Hal as one of the lads until duty calls and the arc towards regal responsibility is set in motion. It's a likeable and charming performance contrasted by the coldness of Hal's repudiation of his past in the closing moments. 

Where Grant Malcolm brings the authority, Michael Lamont brings stout and roundly humour in a fabulous turn as Falstaff. He is never less than captivating as he carouses and cajoles; schemes and pontificates. His speech about honour is a highlight as Lamont shifts gears to bring insight to such a boastful man. 

Grace Edwards is all fire and scorn as Hotspur who defies the king and sets in motion the broader political and military machinations. Edwards prowls the stage, her Hotspur restless and discontent, until fury meets destiny in a clash that will define the fortunes of all involved. 

The supporting players inhabit multiple roles with skill and flair - Martyn Churcher, notably as Worcester whose deceit ends in calamity; Anna Head, both regal and common as Westmoreland and Doll Tearsheet respectively; Joanne Lamont who moves between inn-keeper and finely accented, rebel nobles; Nic Doig as a vibrant Poins, in particular; Jason Dohle whose Douglas hunts Henry with rare savagery; Andreas Petalas as a sixth man off the bench taking on multiple roles, highbrow and low; and Kaitlyn Barry, quieter yet no less arresting, as Peto and Vernon.  

Patrick Downes uses all of the space, however, there's a clear delineation, especially in the first half, like an Elizabethan netball court. The highborn and those of authority are on the raised stage; the lowborn and the fallen Prince Hal perform at the foot of the stage. The traversing of those boundaries, when it comes, is of notable importance until the chaos of battle leads to far more fluid staging in the second half. 

Well lit (Fiona Reid), well costumed (Merri Ford), and well staged this is a showpiece for the actors and they deliver in rousing fashion. Music cues were a little off-putting and abrupt to mine ears but maybe that's because the inherent drama and comedy did not need buttressing.  

Shakespeare can be difficult for the modern sensibility. I have to tell you though, sitting there, watching a stirring production on a balmy Perth night was pretty damn special. A unique experience and one that's well worth attending.  

Henry IV is on at the New Fortune Theatre in the Arts Building of the UWA campus until 22 March. 

Photos by Paris Romano Jenner

Othello - The Graduate Dramatic Society (6 December 2023)

William Shakespeare is celebrated for the sheer number of phrases and idioms he contributed to the English language, many of them still in common usage. One of the most memorable is "green-eyed monster" from Othello which is a more striking depiction of his "green-eyed jealousy" from The Merchant of Venice almost a decade earlier. That monstrous form of jealousy ripples throughout Othello, ending in tragedy for all it ensnares. The play also gives us "I will wear my heart upon my sleeve" as Iago seemingly confesses his treachery. 

And what treachery it is as Iago conspires to bring low his military commander, the Moorish general Othello, by stoking the flames of irrational jealousy over the supposed misdeeds of Othello's wife, Desdemona. Misdeeds Iago has carefully constructed through cunning deceptions and the ownership of a handkerchief - an inelegant plot device but one that features heavily. It is, as one audience member exclaimed, "very Shakespeare... everyone dies in the end." Not quite true though also not a "spoiler" for it is, indeed, a Shakespearean tragedy so blood will inevitably be spilled. 

All this under the stars on a beautiful summer's night at UWA's New Fortune Theatre, a reconstruction of the Elizabethan era Fortune Theatre where The Bard's plays were originally performed. Of course, there is the added bonus of being serenaded by the resident peacocks who display prodigious projection skills though questionable dramatic timing. It also means that the elevated stage is wide and deep with nary a place to hide for the performers with no sets and only those glorious words under the lights and gaze of audience and peafowl alike.    

Director Thomas Dimmick has made many key choices in his adaptation of the play. Several traditionally male characters - notably Cassio, Roderigo, and Brabantio - are played by Krysia Wiechecki, Tarryn McGrath, and Meredith Hunter respectively. It adds an interesting spin to the power dynamics throughout the play with subtle shifts in perspective such as it now being a mother's scorn and concern for her daughter as Hunter's Brabantio condemns Desdemona's marriage to Othello. There still lingers a distasteful sense that her objections, and the treatment of Othello in general, are because he is a Moor who therefore could only have beguiled the senator's pristine daughter with magic.  

Dimmick also uses modern costuming and props - the military "men" are dressed in camouflage pants, army boots, olive green t-shirts and dog tags; the civilians in dresses, suits, or jeans. Then there's Patrick Downes' Clown who is a mixture of both styles coming across as a larrikin Cockie who happens to have stumbled into a Shakespeare production which adds well-timed and executed levity. Costume Design by Merri Ford.

The only significant set design as such is the introduction of the marital bed late in the second half where monstrous deeds shall be committed. The upstairs balcony is used judiciously when those 'on high' address their subordinates. Otherwise, sound design of battle and hubbub adds to the sense of scope; anachronistic music choices to the sense of revelry; with effective lighting design that casts our skulking villains in shadow when required and highlights touching scenes such as Emilia braiding Desdemona's hair whilst discussing marital infidelity. Lighting Design by Fiona Reed.

The play is propelled by an excellent performance from Tadhg Lawrence as Iago, the duplicitous ensign who "hates the Moor" for promoting Cassio over him. Though, it should be said, Iago's true motivations are somewhat slippery as he seems to have various grievances, real or imagined, against many of the other characters. This makes him fascinating and his schemes even more heinous. Lawrence plays him with great energy, cunning, and an affability that was disarming as he addressed the audience. I loved the confidence of his eye contact in those moments and while the standing order appeared to be "if a peacock squawks, wait" Lawrence would often use his own excellent projection to contest said fowl. 

Erik Bibaeff certainly brings a physical stature to Othello and there's no doubt there is a sense of brooding menace in the second half. However, I found him a little stiff and one note as the titular character, mainly relying on an increase in volume to denote anger and telegraphing his emotions rather than convincingly conveying them to us and the other characters. There is a gasp-worthy burst of violence that he handles well and the physical threat to Desdemona is clearly established.  

Krysia Wiechecki gives a lively performance as Cassio before expertly recalibrating after the Vodka-induced fight with Montano (Jarrod Buttery), another of Iago's schemes. This sees Cassio fall foul of Othello's good graces and Wiechecki brings a keen sense of the import of such a loss of reputation. 

The program announces this is Anna Weir's first community theatre production which makes her portrayal of Desdemona even more remarkable. She lent such decency to the woman who is beset by innuendo and doubt while unfairly pilloried as a 'whore' and 'strumpet' for totally fabricated infidelities. One unpalatable conclusion is that Desdemona is being punished for having the audacity to marry a Moor. Weir brings a sweetness and dismay that heightens the impact of Desdemona's fate.   

Tarryn McGrath also enacts a clear action change as her Roderigo morphs from a hapless pawn of Iago's scheming to reluctant participant whose sense of unease and demise is perhaps more poignant now. Downe's adds jocularity and easy charm with an Aussie flavour; Hunter is relentless as the aggrieved mother early on in the play; and Grant Malcolm brings a crisp authority to Lodovico in the second half.  

Then there's Grace Edwards whose Emilia, Iago's wife, emerges in the second half as a force to reckon with. Faithful to Desdemona as her maidservant and loyal to her husband, Emilia comes to learn of her unwitting part in Iago's scheme as the ramifications careen towards a bloody conclusion. For all the talk of 'honesty' in the play, it's Edwards who imbues Emilia with the most honest reaction to the outrages that have occurred and those to come. The rage she summons at both Othello and Iago is justified and utterly compelling. For mine, Desdemona and Emilia are the two most tragic figures, unfairly caught up in the petty machinations of men. I was unmoved by Othello's ultimate fate as, even though he was manipulated, his response is so massively over-the-top and abhorrent that I have no pity for him whatsoever. But that's one of those wonderful gifts of a Shakespeare play - the discussions afterwards.

This is a great opportunity to see a classic tragedy at a wonderful venue where much care and attention has been taken by the cast, crew and creatives. There are five more performances on 8, 9, 14, 15, 16 December at the New Fortune Theatre in the Arts Building at UWA.

Photos by Grant Malcolm.    

Skin Deep - Pickering Productions (14 February 2015)

With over 500 shows Fringe is always going to prove to be a little hit and miss. You’ll see some fabulous performances and every now and then there’ll be a dud or two. I’ve seen quite a few wonderful ones this festival which means I’m pretty much batting ahead of the curve. I don’t state it lightly then that for sheer entertainment value Skin Deep is my favourite show to date. What a fantastically crazy and hilarious mash-up of mashed up pop songs and insight into the quest for beauty through the ages!

When the answer to “what price beauty?” comes in the form of botox, arsenic, insect larvae, nightshade and other remedies you know you’re in for a helluva ride. Throw in some creative interpretations of a variety of pop songs (I’ll never hear The Eagles' Take It Easy the same way ever again) with a few, um, judicious tweaks here and there to the lyrics and it’s a rollicking night’s entertainment. I’m known for having a big laugh but the lady next to me was literally having kittens. Yes, literally! In fact the whole audience loved this with a standing ovation at the Hellenic Club after a suitable finale with a Carole King classic.

The set-up is that three generations of beauty therapists (all the most important jobs end in ‘ist’) reveal the secrets of the trade with several ‘exhibits’, Law and Order style. They range from invasive beauty procedures to client confessions to mother-daughter wrangling over the school ball with a little murder thrown in for good measure. The performers in question are Lindsay McNab, Cynthia Fenton (also co-writer), and Grace Edwards with the seemingly ever present Timothy How on keyboards.

They work tremendously well together with each getting a moment to shine. A sense of what we were in for arrives early when the three women excel during ‘Exhibit A’ that involves plenty of sight gags as ‘Lins’ undergoes a certain delicate beauty treatment. Other highlights included:

Fenton gives a whole new meaning to the song Defying Gravity which was as inspired as anything you’ll see at Fringe this year and had me laughing from How’s opening bars.

Edwards, hard on the heels of The Dummies Guide to Opera, gives another vivacious performance with standouts including her turn as a put upon 17 year old railing against her domineering mother (Fenton); and who could go past that classic piece of shtick I’ve Never Been To Me for comic potential?

McNab had a beautiful ballad as the mood surprisingly turned a little sombre towards the end. It was an interesting counterpoint and I liked that they took their time here. Additionally, her opening refrain from Bohemian Rhapsody was a prime example of taking the lyrics from a famous song and twisting the context for maximum comedic effect. Which is exactly what How’s Mack the Knife does as cosmetic surgery comes under the satirical knife of writers Fenton and Tyler Jacob Jones.

Jones, who also directs, is the writer of that other impressive Fringe piece currently on, F**k Decaf, one of the stars of which was happily chortling along with the rest of us. Skin Deep has all of his trademark wit and is staged with style and energy. 

What elevates this though is that beneath the hilarity there is very perceptive commentary on the beauty industry from all kinds of different angles. This gives it great resonance as it highlights how crazy the pursuit of beauty can sometimes be. There is a positive message at the end, however, that dovetails nicely with the singing of classic pop songs from artists such as The Go-Gos, Cyndi Lauper, ABBA, Katy Perry, and Mike and the Mechanics.

Skin Deep is well performed with deft comic timing and inventive use of songs. The singing is strong with Edwards the standout but they are all terrific in the numerous set-pieces. Timothy How is excellent on keyboards and gets to appropriately ham it up as required. 

Above all this is thoroughly entertaining and a hilarious exploration of an industry that has been around in one form or another for centuries. A must see but hurry, there is only one more performance left this Sunday at 7pm.

The Dummies Guide To Opera - Charlie & Friends (2 February 2015)

Take four very talented singers, one fashion-challenged accompanist, at least one dummy in the audience (raises hand… though in my defence Amadeus is one of my favourite movies and has excerpts from at least three Mozart operas so that has to count for something, right?) and a killer concept and you have a funny, entertaining and yes, damn it, educational show that is perfect for Fringe. 

I mean, I even learnt a new word tonight – Fach – which, contrary to my initial belief that I was being sworn at, is a form of categorising different voice types. Those crazy German opera buffs!

The show races through the entire chronology of opera in a sleek one hour that covers: different periods such as baroque, classical and romantic; giving hilariously twisted synopses of famous operas; explaining the different types of singers and their dominant personality traits; to most amusingly rating the major composers in opera’s long history. There was a wonderfully arcane formula to calculate each composer’s score to pronounce an eventual winner. My dear Wolfgang did not fare well in this exercise. It was, however, a great device to impart all kinds of weird and wonderful information about this roster of greats (okay, I knew of most of them but a couple were a little hazy).   

Then there was the singing; in different styles, from different periods, with many of the pieces instantly recognisable though some were a little more obscure for this dummy. And what wonderful voices they were, provided by Grace Edwards, Erin Jay Hutchinson, Warren Bracken and Charlie D. Barkle. The byplay between all four plus accompanist Timothy How was excellent with a lovely sense of chemistry as they played up to all the dramatic rivalries and stereotypes with glee. It was clear that while they were taking good-natured jabs at all the preconceptions opera can engender, there was a total love, respect, and joy here. I was also left in no doubt as to their knowledge both historical and technical which was impressive. The use of clever humour throughout plus a touch of class made this most entertaining.

Edwards in particular shines with a real twinkle in the eye and sense of flair while Hutchinson relishes the more ‘bitchy’ role with Barkle betraying his burlesque background with a touch of adroit physical comedy leaving Bracken to nicely ground it all with a warmer persona. They do work very well together, vocally and with good comic timing. Timothy How adds some sight gags as he reacts to proceedings before he himself briefly takes centre stage to amusing effect. 

I really enjoyed this – it’s funny, the concept is clever, the singing is first rate (though occasionally there was some speaker static on a stormy Perth night) and the joy on display beneath the bluster is infectious. There is only one show left – Tuesday night at 7.15pm in Teatro 1 in the Perth Cultural Centre – and I would recommend this as a great festival show.

And if you think Game of Thrones is full on, wait until you check out the murder, mayhem and flat out infatuation going on in all these librettos – those dwarves, Gods and love-struck humans sure know how to have a tragically good time! 

Aladdin and His Wonderful Lamp - GRADS (13 December 2014)

Me? At a pantomime? A Christmas one no less? There’s a first for everything! I took a seat in my usual front row spot at Hackett Hall with much trepidation. What sort of impromptu audience participation was I signalling myself out for by sitting so close to the firing line? Thankfully, director Stephen Lee calmed my nerves with a pre-show assurance that no such shenanigans would be in order. Phew! I then settled in to watch a crazy show that was totally entertaining and a really fun (carpet-less) ride.

The first thing that struck me was that the tiered seating had been moved a long way forward from their usual spot. One common note at Dramafest was how far away the action was with such a deep stage. Here we were much closer and it was a really good choice. It was also great to see so many children in the audience and there was indeed a lot of group interaction with the usual boos as the villain appeared, a sing-along, and advice to our heroes.

The story itself? You know - Aladdin, a lamp, a beautiful princess, an evil Sorcerer, a Vogue-reading Genie, some Kung Fu fighting, lots of laundry, men in drag, women as men, Chinese-style Keystone Cops, and a propensity to break into song whenever a set change was required. Oh, and some self-inflicted cream pie in the face work. Your standard pantomime hijinks. It was lapped up by the enthusiastic audience – the show, not the cream pie – and everyone was having a really good time capped off by an elderly man with a white beard in a red jump suit gate-crashing the party.

To the performances!

Grant Malcolm was channelling some Jim-Broadbent-as-Ziegler type theatrics as the evil wizard Abanazar and was suitably over-the-top. He earned the hearty boos directed his way. Abanazar’s plans for world domination were somewhat altered on meeting the princess but who can blame him?

Jarrod Buttery made for a, ahem, handsome Widow Twankay and was thoroughly engaging in the role. Buttery used a droll sense of humour to great effect with plenty of asides to the audience, the slyer of which sailed over the head of the kids but were appreciated by the adults. I should also note that his beard nicely complimented the Widow’s various dresses!

It’s the first time I have seen Melissa Kiiveri on stage but she made for a radiant Aladdin in a spunky performance that was a real crowd pleaser. There was a cheekiness to her portrayal that I very much liked but, more impressively, a genuine tenderness in the romance with the Princess. 

That Princess  - Balroubadour – was played by Grace Edwards with naivety and innocence coupled with the odd regal temper tantrum. Edwards had the line of the night whilst wailing for her beloved Aladdin when she broke the fourth wall and bemoaned, “Three years at WAAPA, for this?!” Priceless.

Kate O’Sullivan gave a funky turn as the Genie of the Lamp with attitude to burn and a thick American accent that was a treat. Indeed, between O’Sullivan’s drawl, Lis Hoffman’s thick strine as So Shi, and Kiiveri’s pronounced English accent this was somewhat of a United Nations for the ear! I was bemused by the Deus Ex Genie to resolve a plot predicament (but really, who cared?) and O’Sullivan had a chance to shine with her rendition of Pharrell’s Happy which I believe is now mandatory for all new musicals, pantomimes, and cabarets to end with these days. Let It Go, people.

Of the secondary characters, fresh-faced James Parker played the straight man role of Aladdin’s brother Wishee Washee well. He had a good-natured vibe that worked very effectively. Hoffman, as mentioned, was the most unlikely of handmaidens bringing Ocker scepticism to her role and an unexpected development that I’m possibly still traumatised over! Judd Millner and Jennifer Van Den Hoek brought added comic relief as the Chinese policemen, Ping and Pong. Jonathan Beckett and Kerri Hilton rounded out the cast as The Grand Vizier and The Empress respectively. They amusingly had their own banter going on.

The ensemble was made up of a charming mix of young children and older performers who gave interesting interpretations of pop standards such as Kung Fu Fighting, Celebration and a re-imagining of Pinball Wizard (perhaps it’s just as well Pete Townshend is deaf!). The second act even commenced with a lovely ribbon dance performance by three members of the Chung Wah Dance Group.  

The highlight amongst all the madness though was an original song in the second act written by David Harries, Sarah Courtis and Arnold Wong called Forever and a Day that was beautifully performed by Edwards and Kiiveri. Finally, it was pleasing to see the cast come back out in costume to pose for pictures with the children. A nice touch.

Aladdin and His Wonderful Lamp is a colourful and funny show that is perfect entertainment for all the family in the lead up to Christmas. I not only went to a pantomime, I thoroughly enjoyed myself! Oh yes I did!!!

There are four more shows left at Hackett Hall in Floreat until 20 December.