Theatregoing (Half A) Year In Review 2025

While I may not be reviewing on this blog or commenting as Perth Theatregoer anymore, I'd still like to give a shout out to productions and practitioners who caught my eye in roughly the first half of the year. 

I went along to Fringe World for the first time in a couple of years; largely released from my screenwriting duties for major funding deadlines. What struck me most was the quality of the writing in several local productions. This thrilled me no end.  

There were two revivals from the top tier of the Perth theatrical scene - Holland St Productions' What Doesn't Kill You [blah blah] Stronger with Tyler Jacob Jones and Erin Hutchinson in scintillating form, accompanied by Joe Louis Robinson; and the ten year anniversary of The Last Great Hunt's FAG/STAG with Will Bartolo and Shaun Johnston in the roles originated by creators Jeffrey Jay Fowler and Chris Isaacs. Superb writing - Jones with Robert Woods in a razor sharp musical comedy; Fowler & Isaacs with wry observational drama.  

A trio of original works impressed - The Simple Gift by Andre Victor which quietly reminded us of the power of remembering who you really are through acts of kindness; the raucous and clever Lady Macbeth Played Wing Defence by Crash Theatre Co that more than lived up to the hype with swagger to burn; and Iris Warren's adaptation of Femoid (Vixen Theatre Company) from her original 25 minute TILT piece into a full-blown hour which deepened the exploration of young women having to deal with the repugnant and dangerous Incel culture.

The next production floored me. So much so that my review started with, "I don't know how to review this show." What To Expect When You're No Longer Expecting by Roe Rowe Productions is a striking example of theatre at its most honest - raw, vital, and brave. I cried. For Roe. For a friend. For a lady nearby in tears. I cried because such generosity of spirit is also a gift. 

A quick mention to three other shows that featured sharp writing/storytelling - FootyBoy by Wallaby Blue Company with a serious message under the humour including the power of forgiveness; Sarahtonin by Sarah Bowers which engulfed the Leederville Hotel's Red Room in positive vibes; and the unexpected gem of Stand and Deliver by Thanks Tina at the Hayman Theatre. 

In the world of community theatre, I was taken with the very funny She Kills Monsters by Darlington Theatre Players which featured excellent production values; Looped at the Old Mill Theatre showcasing a stunning portrayal of real life actress Tallulah Bankhead by Kylie Isaia; and Green Day's American Idiot by Art In Motion Theatre Company for its no holds barred approach.

Speaking of stunning portrayals, Pamela Rabe could only be described as [insert every adjective here including ASTONISHING] in August: Osage County by Black Swan State Theatre Company. I can't recall seeing a better performance on a Perth stage. What I love is that Hayley McElhinney went with her as the fireworks ratcheted up in the second act.  

Another kind of performance, equally entrancing, occurred at the Richard Gill Auditorium where Gina Williams gave a powerhouse vocal display with her storytelling, sense of humour, and generosity [I'm seeing a theme here - kindness, forgiveness, generosity] truly outstanding alongside guitarist Guy Ghouse and the WAAPA Contemporary Music Students in the Kalyakoorl Ngalak Warangka (Forever We Sing) concert.  

Back to writing (and directing), Rachel McMurray made an auspicious Perth debut with her play Shadow of Doubt by Fine Comb Theatre Company at the Blue Room; a tightly constructed, supremely acted, and smartly presented work.  

In terms of presentation I thought the entire design team - Set and Costume Designer Sam Knox, Lighting Designer Peter Young, and Composer and Sound Designer Tim Collins - of the excellent Hoods by Barking Gecko Arts did an outstanding job which allowed actors Joshua Everett and Natasha Pearson to inhabit that space to great effect. 

Other performances that hooked me:

Zane Alexander in a wonderfully judged physical turn that is exacting in its repetition and pace in Endgame by the Kalamunda Dramatic Society.

Grant Malcolm whose monologue towards the end of the Henry IV (GRADS Theatre Company) as Henry catches Hal wearing the crown is worth the price of admission alone.

Paul Treasure's exhilarating descent into disenchantment and rage as Samuel Byck in Assassins by Roleystone Theatre Company.

Attending shows at WAAPA remains one of my theatrical joys so shout outs to Becca Galvin in The Watsons; Bianca Metcalf in Freaky Friday; Hank Harris in Punk Rock; Chloe Taylor in Merrily We Roll Along; and Conan O'Connell in Consent.

Mentions also to Chloe-Jean Vincent as the eponymous lead in The Diary of Anne Frank by Drew Anthony Creative; and Will O'Mahony in Black Swan's Never Have I Ever. 

Finally to director Blake Jenkins and his team at Bel Canto Performing Arts for seeing me out in style with Chicago: Teen Edition. 

Well, that's me done. No, seriously this time. I'm leaving. Walking out right now. Of my own blog. I promise... does anyone know how to get out of here? *looks around blankly* Ah, there's the exit! 

Richard ;-)

Thank yous and Fare Thee Well

Back in 2014 I decided to go to the theatre. Not that I hadn't before but this time I really decided to go to the theatre. Over a 100 shows. I can't even remember what the catalyst was. Other than I also decided I was going to write about the shows I saw. It was kind of crazy. But there I was, pretty much incognito, paying my own way, hitting the stalls and writing reviews.

At the end of the year I remember thinking, that was fun but probably insane. Better tone it down next year.

Then the Independent Theatre Association (ITA) came a calling and asked me to become an adjudicator for the Robert Finley Awards. Toning it down became over 130 shows last year! Now that WAS insane.

Note to self: Really do need to rein it in, Richard!

2016 and it's not quite September and I've already seen over 120 shows.

Perhaps I need to recheck the definition of 'rein in' and 'tone down' as the whole ease back on the theatre plan didn't seem to be working.

The reality clearly was that I had contracted the theatre bug. The only problem with this diagnosis is that my screenwriting, already under assault from having to return to full-time office work in 2012, had withered on the creative vine. [Insert grovelling and abject apology to key collaborators].

That had started to trouble me as a whole lot of people only knew me as *gasp* a reviewer or even worse, yikes, a critic. I would plaintively reply, but I'm a writer. Except, if you're not regularly writing you're just one of those people (you know the type).

Now though I have a new screenwriting project - a feature film script that I can't really talk about yet but one that has already begun to kick start my creative impulses. So Monday night's show was my swansong as a theatre reviewer.

Which means it's time for some thank yous. Apologies in advance to anybody I forget due to addle-mindedness.

To those people who looked after me in terms of complimentary tickets - Irene Jarzabek from Black Swan; Leigh Brennan from Curtin University; Elisabeth Gjosund from Hunter Communications who unfortunately only discovered me late in the game and I wish I could have seen more shows for; Renato Fabretti from WAYTCo; and independent theatre practitioners who consistently sought me out such as Craig Griffen (Fresh Bred Productions), Karen Francis (Stray Cats Theatre), Scott McArdle (Second Chance Theatre) and Tiffany Barton (Creative Collaborations). Murdoch University with its myriad theatre companies and UWA with UDS were also semi-regular sources for my services.

I'd also like to thank perhaps on the surface a strange category but one that I derived great pleasure from, namely the parents and family members of performers and theatre practitioners. Many times people would know who I was from my reviews and would come up and say hello. It was a delight to see how proud they were of their son and/or daughter and those were always fun conversations. Especially with interstate based parents who would fly in for production weeks notably at WAAPA.

To all the talented writers, performers, directors, stage crew, front of house people and beyond - thank you. The talent base in WA is enormous and it is a considerable pleasure to see genuinely good work being consistently produced in often trying circumstances.

Lastly, thank you to all the readers of the blog. I'd like to think I wrote entertaining and informative reviews that added some insight to the myriad productions on offer at all levels - student, independent, professional, and before I became an adjudicator, community theatre. The feedback I was proudest of was that people would consistently say that my reviews were honest. I called 'em as a saw 'em and perhaps that was a strength coming from a film background, people knew I had no allegiances or vested interests in the theatre world. I simply decided to write about it.

This will be the 242nd post on the blog and there have been a tick over 93,000 page views. Seems like a fair set of metrics to end on.

Only to say this, you'll still me at shows. I love theatre too much to abandon it. I just won't do so with such exuberant frequency or have the time to write reviews. If you buy me a cider after a show though...

You will also hear from me again on this blog for my traditional end of year lists to be published on Boxing Day.

But for now, thank you and fare thee well!

Richard Hyde