Dramafest - Session 7 (28 September 2014)

The last session of Dramafest! What a ride. Well done Festival Director Emma Davis, ITA President Paul Treasure and his committee, host club Playlovers, all the volunteer front of house and bar staff, the technical staff, and the Adjudicator Adam T Perkins.

This session was a mixed bag of different styles which is to be applauded. It began with a farce called Hotel L’Amour by Playlovers. This was a curious beast that I didn’t really get. A businessman in the cattle trade is forced to share a hotel room with two female ‘fantasy tourists’ in a French themed establishment in the middle of a country town. From a writing pointing of view that’s a hell of a lot going on to explain for a one act play. I didn’t quite understand all those separate working parts so together it was as busy as the cluttered stage. I would suggest stripping this back to only one quirky element and build the farce from there, for example a French themed hotel in a country town. I didn’t get who or what the women were and references to one of them being a slave was confusing. They came across as sex-starved yet were chaste enough to ask him to leave the room when changing.

I found male lead David Cosgrove’s delivery very rushed so had trouble following an already problematic script. One of the female ‘tourists’ was quite softly spoken which didn’t help. Ze ‘eavily accented French innkeepair ‘ad a nice showee part and I liked a couple of her in-the-moment adjustments – kicking the roll of carpet back down after a corner had been tripped up, and working with the broken curtain without breaking character. There was surprisingly quite a lot of mugging to the audience but this whole production needed to be simplified and the writing really sharpened to earn that sort of stylistic choice. Written by Peter Bibby and directed by John Senczuk this starred David Cosgrove, Anne Speicher, Vickie Billingham, and Olivia Colja.

From farce to stand-up, the next act was a ten minute spotlight by Adrian Smith called The Cost of Living. An observational routine covering traffic snarls and childcare issues to politicians in general, the performer didn’t really attack it and his lack of confidence left the material flat. A learning experience in front of a good sized but friendly audience, Smith will need to sharpen both his material and delivery.

Then we had our first performance and movement piece, an adaptation of A Midsummer Night’s Dream focussing on the fairies in the woods called Sleepless. Predominantly movement with some dance to a contemporary selection of music, this featured a large ensemble of young performers and was very stylised, nicely costumed and looked great with simple lighting effects. There were occasional dialogue excerpts from the source material, notably the lovers who were all played by female performers. Some familiarity with Shakespeare’s comedy would have been handy but the use of flowers to symbolise the fairies magic as characters fell in and out of love was well done. This was a lovely change of pace for the festival and was a great inclusion. Directed by Josh Walker and presented by Stirling Players Youth and the Shadowlight Darkly Theatre Company, Sleepless featured Matt Randall, Angela Donlan, Steve Anderson, Kylie Webb, Ellie Prober, Keren Schlink, Tahlia McQuade, Michael Moshos, Mia Robertson, Brendan Ellis, Benjamin Costantin, Shannon Berry, Alana McKenzie, Sarah Cubbage, and Jessie Williams.

Lastly, and fittingly, the final production of Dramafest was Noel O’Neill’s superb Under Any Old Gum Tree. Beautifully written and brilliantly performed by Kieran Garvey (with Rex Gray in support), this was powerful, moving, insightful, occasionally funny and a blistering exploration of the devastation the Great War caused on those who survived No Man’s Land. Garvey plays real life Martin O’Meara VC who came to Collie from Ireland then went to the trenches of France where he survived that most brutal of wars only to end up in a mental institution. This is a powerhouse 50 minute monologue that was emotionally-affecting such was the craft on display in all facets. Simply staged, well-paced, with Garvey truly outstanding, this will no doubt rightfully feature in next year’s 100 year ANZAC commemoration. A highlight of the festival written and directed by Noel O’Neill for the Old Mill Theatre and in association with the Australian-Irish Heritage Association.

Now, I did not see all seven sessions and the official awards have already been handed out but these are my selections from the six sessions I did attend:

Best Production: Under Any Old Gum Tree

Special Mention: Picasso’s Women and Mag and Bag

Best Actor: Kieran Garvey (Under Any Old Gum Tree)

Best Actress: Sharnya Thompson (Picasso’s Women)

Best Writing: Noel O’Neill (Under Any Old Gum Tree)

Best Directing: Christine Ellis (Picasso’s Women)

Best Comedy: Love and Other Flushes

Best Ensemble: 4AM

Best 10 Minute Spotlight: Judgement Call

Best Youth Production: Sleepless

Most Disappointing Performance: The insipid Sydney Swans who didn’t use the front half of the stage at all, didn’t commit to an opinion at any point, and had no sense of play. Suggest they not be invited back next year.

That’s it for my first Dramafest. Hope you’ve enjoyed the reviews and see you next year!

Richard Hyde  

Dramafest - Session 6 (28 September 2014)

10am. In the morning. On a Sunday. Talk about my own personal afterlife. Yet there I was in the front row, my usual spot A8, in the grey limbo world between sleep and disbelief. The dulcet tones of Paul Treasure drew me back to the light and BAM suddenly there were people on stage entertaining me.

These poor souls were trapped in a lift stuck on the 12th floor of some medical facility that would require at least three gulps of air to recite. Yes, Level 12 was a very amusing beginning to a daylong celebration of independent theatre. In said lift is a guy late for his first day at a new job (Ben Costantin) and, let’s face it, pretty obnoxious about it; a heavily pregnant American woman (Natalie Baggen); and what turns out to be a drug dealer (Nichola Chapman) who’s been ‘restocking’ her supplies. 

What I liked about this is that there was a ticking clock and stakes for each character and these competed to create real obstacles and conflict. This, coupled with the close proximity of the characters in the lift setting, generated some really funny moments though some of the plotting was a bit ropey (pun fully intended). For example, the rope and handcuffs in the guy’s bag were there more for (odd) plot purposes than any real character reason. There was some wonderful physical comedy as well, particularly Baggen’s pregnant Florinda, and all three actors did a great job. The only thing I didn’t like is that Chapman’s character was totally ignored in the opening salvos as if she was invisible. Her presence is a given circumstance that has to be at least acknowledged. Written by Kate Beck and Directed by Sophie Prober for Blak Yak Theatre.

Now, I wouldn’t say I am a Major League Baseball fan but I know enough to get by and Field of Dreams is one on my all-time favourite movies. So the ten minute spotlight, Judgement Call, was an unexpected delight. Three baseball umpires are preparing for the new season – head of the crew Harvey is proud of his number 2 ranking and determined to be the #1 umpire in the American League. Rookie Joe idolises him but the other member of the crew, Frank, seems lackadaisical at best. 

We soon discover that Frank blames himself for the suicide of a player who took his life after losing a critical playoff game on a missed call. A call Frank made. I loved the physicality of this piece as the actors warm up and practice their calls. This also has all the trimmings of ‘baseball as a metaphor for life’ which is a peculiar American cultural quirk. Here the umpires represent truth and certainty in a world full of chaos. The only thing that didn’t quite ring true (but was absolutely in line with the idealism that comes with all that cultural weight) is that Frank is turned around by Harvey far too quickly at the end. A wry ending would much better suit an Australian sensibility. Produced by the Actors' Hub.

Then it was on to Laughing Horse’s production of Cut It Out, directed by Adam Salathiel and featuring three sisters – Jamie, Emmalee and Phillippa Bialas. Claire is a self-harmer, racked by guilt over the suicide of her twin sister, Clarice. Her older sister also feels guilt about this tragedy as she should have been home to potentially save Clarice but instead was engaging in an affair with an older, married man. 

A recurring issue throughout Dramafest has been doing justice to the unbelievably weighty issues of suicide and death. In other examples it has been the writing that has let these types of pieces down but here the writing is generally good, especially the snappy back and forth in all the two-hander exchanges. However, the young actors didn’t have the rhythm and pacing right for this type of, what I call, “banter dialogue”. The delivery was too one paced, monotone and measured. A master of this type of writing is Aaron Sorkin and I would recommend getting out Season One of The West Wing and watch how rhythm in delivery is absolutely crucial and when done well is like music. 

I was a little confused about who the older sister was delivering her monologues to – the audience, a psychiatrist, or some other party. There appeared to be flashbacks here as well and I didn’t see any change in the delivery style when the twins were playing younger characters. There needed to be delineation vocally and in physical movement to sell those moments. This was an incredibly difficult and ambitious piece especially when I was told later that the twin sisters playing Claire and Clarice were only 14.   

The session ended with the very funny Love and Other Flushes where a plumber pretends to be the husband of a well-heeled marriage counsellor whose actual spouse has left only hours before they were due to assist a young couple with their marital problems. Peter Neaves gives a great performance as the plumber cum de facto counsellor who imparts wisdom from his toolkit of common sense. Gael Campbell-Young plays the straight woman role as the very proper lady of the house who espouses HALO – humility, attentive listening and something starting with O that I have forgotten right now! The young couple are played by Sam Barnett and, in her second appearance for the session, Nichola Chapman. This was smartly written, genuinely funny, didn’t overstay its welcome, and had a sweet ending. Directed by Kelly van Geest, written by Hugh O'Brien and produced by Laughing Horse.

A short break loomed before it was onto the home stretch and the last session of Dramafest…

A retraction - I am reliably informed that Emma Davis is a Fremantle Dockers fan who only supports Sydney when Freo isn’t playing. Apologies for any confusion, Emma’s mum.

A clarification - My statement about purple, however, stands! 

Dramafest - Session 5 (27 September 2014)

Apologies to Session 4 but you were up against some three decades of tradition when it comes to watching VFL/AFL Grand Finals, a battle you were never going to win. It was a cracking game… for all of ten minutes. Props to Festival Director and Sydney Swans fan Emma Davis for subtly sporting her team’s colours into the evening. At least it wasn’t purple.

To Session 5 and the Goldfields Repertory Club won the toss and elected to perform to the Subiaco end with a good crowd in attendance. They kicked away early with Meg Lefroy and Shaun Fessey starring in I Dream Before I Take The Stand. Lefroy is the victim of a crime; Fessey the defence lawyer who forensically and callously cross-examines her. This was unsettling and powerful but a little frustrating as well. The pattern of questioning immediately intrigued me but kept going along similar lines without any revelation or twists to ratchet up the tension. The repetition started to become a little tedious until finally we get to crux of the matter – a man that said hello to Lefroy’s character as she walked to work through a park had followed her, the rest left unsaid but the implication was clear.

The lawyer’s insistence of knowing every detail including exactly how she was dressed down to what type of underwear made me squirm. I wanted her to show moments of defiance or to fight back as the brutal badgering was unrelenting. Differences in his tact of questioning would have helped with the repetition of so-called facts. This was well performed by both actors and certainly confronting. Simply staged by director Aaron Pendlebury it was a good start to the evening and I loved that it fades out right at the point where she begins to describe the crime. We know what happens next and the unstated nightmare is left to fester in our imagination.

Up next was The Drive, a 10 minute spotlight directed and produced by Clare Talbot and starring Katrina Johnston and Cassee Lazic. Again, thoughts of mortality emerge as one of the recurring themes of this year’s Dramafest. A girl (Johnston) races to find help for ‘Tom’, her vehicle swerving and skidding through the countryside only for him to abandon her as he dies. Lazic narrates the action as (presumably) the girl’s conscience. I particularly liked her intoning the speed of the vehicle as it accelerates and decelerates on this mercy dash. I was a little confused when the two actors directly interacted with each other as I had assumed they were aspects of one and the same character. I liked that device but the overall impact was undercut by having no real idea who Tom was.

The Goldfields Repertory Club kicked further away as halftime approached with the profanity laden and wonderfully performed Mag and Bag. Alana Saint and Karen Gurry were fabulous as two elderly bag ladies who ‘barney’ amongst the clutter and detritus of their lives. The foul-mouthed exchanges were inventive and funny but what was most impressive is that there’s something totally endearing about these two characters that makes us care. There are political references along the way and it was hard to pinpoint an exact time period as we get nods to historical figures from Menzies to Howard, Wran and Fraser. Yes, when the most insulting curse of all is ‘Liberal’ (“I’d rather you call me a c***!”) and delivered by two of life’s unfortunates you know exactly the political sympathies at play. But this never overshadowed the chemistry between Saint and Gurry who relished the verbal and occasional physical stoushes and made excellent use of the space and a wide range of props. 

Oftentimes swearing is used merely to be ‘edgy’ or ‘shocking’ but here it was utterly in character and delivered with such style and energy that it was truly a highlight. The only downside was when parts of the dialogue were drowned out by over exuberant use of the Benny Hill theme tune, itself a curious choice for such an identifiably Australian piece. This was a real crowd favourite.

After halftime, producer-director Alison Seiler presented The Perfect Heart written by John de Beaux. This play deals with the weighty issues of religious persecution, illegal organ farming, heart transplants and another of Dramafest’s thematic pillars, the afterlife.  A young girl’s parents take her to China to get a heart transplant, the organ in question forcibly removed from a Falun Gong practitioner. She wakes to meet “John” (her ‘donor’) in that grey limbo between life and death to discover the cost of such an action. This turned out to be very much a message play and while I don’t doubt it seeks to shine a light on the persecution of Falun Gong in China and the heinous practice of systematic organ harvesting it was too heavy-handed in its approach. At times it felt more like a lecture than a piece of dramatic theatre and while clearly heartfelt this meant it was dry and unconvincing.

I needed to see and feel the issues being dealt with not be told about them in what was a recitation of researched facts. We see the girl only after her parents have whisked her away to China and had the operation, awakening in the limbo world. It would have been so much more effective if we had met her beforehand and she had to make a decision about whether to go to China to accept a transplant most likely from a tainted donation process or by refusing, die. Give her real stakes – it’s easy to be principled when nothing is being risked. Then you could have explored the reactions of family, friends and colleagues to whatever decision she made and how they influenced that decision. Make her agonise over it, not merely deal with the ramifications after the deed is taken out of her hands.

Also, a tip when writing dialogue – any time a character starts a line of dialogue with “As you know…” or “Do you remember when…?” they are immediately talking directly to the audience. This kind of writing was rife in the script. If both characters already know the information about to be imparted it is straight exposition and on the nose. Put a red line through every instance of this and work out how to show the audience the information rather than a stand and deliver telling of it.

As always, Adam T Perkins’ adjudicator feedback – or in keeping with today’s loose football metaphor, after match press conference - was informative and entertaining. I am really enjoying his insights into stagecraft and how to enliven scenes by exploring different choices and ‘playing’ with the material at hand.

The final two Dramafest sessions are on Sunday at 10am and 2pm at Hackett Hall in Floreat. 

Dramafest - Session 3 (26 September 2014)

Session three and some common themes are beginning to emerge to join the monsters of Wednesday night. Seems auditioning and the afterlife hold great sway over our theatrical youth… perhaps the fear of facing both is a driving motivation?

We start with another Youthfest wildcard entry, this time St Norberts’s College with a completely different play called The Audition. Here a large ensemble is auditioning for a musical with the initially unseen director calling the shots aided by a stage manager played with great verve. My apology as no cast was listed in the programme so I am unable to identify individual actors by name. There are the usual suspects including - the actress with an overinflated ego, the hyperkinetic dancer, some who just want one line, others happy to be an extra, an actor who will even do a decent Hungarian accent if required. These are all handled with a light touch as the director becomes increasingly frustrated – no one apparently can sing – and the stage manager competently goes about his business.

The play then breaks away from the audition process itself to explore other characters in more detail – a mother and her actress-daughter at odds; an actress recounting the joy in her first performance only to be dejected to discover her mother never turned up to the show; and most effectively, the ‘freak’ who was bullied because she was different yet finds solace on the stage. We also see the father of the egotistical actress threaten the director when he dares not cast her.

This was an interesting play because the tone oscillates wildly from comedy to moments of great drama and poignancy to almost slapstick with the sequence involving the father. Additionally, it seemed to break the storytelling framework it initially set to explore events outside the realm of the audition itself. It was well performed – in particular the stage manager and the ‘freak’, with the ‘Hungarian guy’ a notable secondary role – and had great energy but the tonal shifts were a little problematic for me.

Then it was time for the 10 minute spotlight featuring none other than ITA President Paul Treasure himself as a man in search of class and culture who discovers beer instead. Titled Two and a Half Pints I can attest to the fact that Mister Treasure did indeed impressively imbibe two and a half cans of what appeared to be Guinness of some sort. He started a little nervously but soon was in full swing as a man mocked by the Picasso’s and Dali’s of the world as the grog decimated whatever talent and ambitions he might have had.

Next up was Comatose, directed by Gail Lusted and written by Brittany Isaia for Garrick Theatre.  Here a 17 year old girl – Skye - is involved in a car accident killing her younger brother and sister and leaving herself and her boyfriend in a coma. In hospital she is visited by her mother, sister, best friend and another school friend. While fully observant she is unable to communicate with anyone other than her dead siblings and comatose boyfriend as she hovers precariously in the limbo between life and death. The doctor in charge turns out to be, rather improbably, the father of Skye’s boyfriend who blames her for his son’s condition. Meanwhile, Skye’s sister finds love in the hospital ward with a guy who only later reveals himself to be a cancer patient.

This play deals with very serious themes – terminal illness, euthanasia, guilt, blame, attitudes towards death, ethical dilemmas. Unfortunately the writing lacks the subtext and subtlety required to explore such weighty matters effectively. Everyone speaks exactly what’s on their mind and the emotional responses simply didn’t ring true. For example, the sister goes from horror that Skye may be disconnected from life support to elation that her new boyfriend is cured of cancer within a heartbeat, her comatose sibling totally forgotten as celebrations are planned. Similarly, the doctor at one point screams at his son to ‘wake up’. With dialogue so direct the upping of emotional stakes in the acting only came across as overwrought.

The actress playing Skye was good but was sidelined as an observer for much of the play. There was an interesting beat when Skye meets her dead brother and sister who entice her to ‘let go’ with the promise of delights the afterlife will bring. This had the potential to be a strong dilemma for the character – whether to fight for life or slip away to join her siblings – but that decision was invested in others, diluting her potency in the story. Another angle partially set-up was that Skye could have been the catalyst for other characters to confess their secrets and fears to but we didn’t know them well enough to care, none more so than the friend who declares she is gay. I had no idea who this was as she appears from nowhere so I had no empathy or connection to her plight.

With more work on the script to pull back on the expository dialogue and invest the central character with more agency this could be a strong piece of theatre. The play starred Brittany Isaia, Shannen Precious, Sam Dunlop, Briony Kennedy, Elizabeth Offer, Nicola D Kinnane, Deakhan Lowrie, Shelly Miller, and Luke Miller.

Lastly, we revisited the afterlife with Garrick Theatre’s After Life: The Essential Handbook. This was a curious hybrid, starting off as a tongue-in-cheek description of the rules of the afterlife delivered by deceased author Amber Jennings but then following the actual story of Amber’s arrival in the hereafter and her struggles with an evil leader of nomad ghosts. I initially thought this was going to be a series of amusing vignettes as chapter headings were announced. Those headings proved to be signposts, however, for a self-contained story that I found a little muddled but ultimately suggested that evil isn’t as clear cut as it seems. The standout here was the actress playing Amber’s sister who is silently (though notable) in the background for most of the play until giving a lovely monologue late in the piece. Directed by Emily Theseira, the play featured Georgia Rodgers, Ben Adcock, Liam Longley, Chelsea Gibson, Daniel Slee, Natalie Cox, Madeleine Shaw, Kieran Theseira, James Riseborough, Ferida Mousavi, Chantelle Schuurmans, and Alison Seiler.

Dramafest continues with two sessions on Saturday at Hackett Hall in Floreat – 2pm and 7.30pm.

Dramafest - Session 2 (24 September 2014)

Monsters come in all shapes and sizes - the ones under the bed; the gremlins of self-doubt and fear that whisper in our ear; and real monsters that abuse and mistreat others while covered in a veil of celebrity and genius. Yes, the second session of Dramafest had some serious themes on its mind even when the delivery was light and comic…

My Socks Stay On

You know that little voice in your head, the interior monologue of your life, the one that encourages, nags, distracts, inspires, and occasionally cripples you? Well here that voice is represented in the flesh in all its insistence. Two people meet on a dinner date each with their “little voice” tagging along to provide witty commentary, insight or horror at how the evening is going. He is a school teacher who is a serial first time dater yet can’t remember the bemused waitress’ name. She is the older sister of one of his students. They share all the awkward moments such meetings usually entail until, decorum be damned, they declare that they like each other before amusingly listing all their bad traits and foibles. It’s a fun premise and quite sweet in its execution and resolution. I thought more could have been made of the actors playing the ‘voices’ to really make this playful and the sister-set-me-up-with-her-schoolteacher exposition was a little laboured. Other than that this was a charming start to the evening. Directed by Matthew Randall and I believe written by the actors, this starred Hannah Moran, Annabel Maclean, Josh Lang, Brendan Ellis… and the uncredited waitress, for Stirling Players Youth.

Flop Cop (10 minute spotlight)

Is there anything potentially more monstrous than a tortured artistic soul allowed to vent his misunderstood genius on an unsuspecting public? Yes, that was a rhetorical question - well spotted! Thankfully, a special theatre division of the police force has been created to tackle such heinous crimes. This was a short two-hander that plays directly to a theatre crowd – a tight-lipped officer confronts a flamboyantly over-the-top playwright who threatens to inflict his latest monologue on the world. Full of sly in-jokes and two very contrasting acting styles this worked well though it could have been tightened even further by taking out some repetition in the dialogue especially by the playwright. Unfortunately the actors weren’t named in the programme but this was produced by the Actors' Hub.

Picasso’s Women

An excerpt from the full show that featured several different women and their stories (played over multiple nights) this was an impressive piece of theatre. The first thing that struck me is how precise and dense the writing was - poetic, beautifully descriptive, and highly stylised. It also incorporated French and Spanish as well as the breadth of English firepower on display. The actresses Sharnya Thompson and Nadia Collins didn’t miss a beat with the exacting requirements of the writing. Fairly quickly I suspected that this was actually a monologue that had been assigned to two actors to highlight the different ‘aspects’ of the one person (artist/photographer Dora Maar), a suspicion confirmed afterwards by director Christine Ellis. This worked well with Thompson the cool, still and in many ways sensuous side while Collins was the more emotional and physically energetic of the two. This was reflected in their costumes to give a literal representation of the ‘light and shade’ at work here. Both actresses used the full space available to them and the piece was very fluid with Thomson at times seeming to glide across the space such was her measured pace. Yes, Picasso was a monster to this woman (and others) as the confronting electro-shock therapy and “… then he hit me” sequence clearly illustrated. Sad, powerful and oddly sensual this was mesmerising work. Directed by Christine Ellis, it starred Sharnya Thompson and Nadia Collins and was produced by Blak Yak Theatre Company.

4AM

The final production of the night was an ensemble piece directed by Rebecca Cole and produced by Rupert Williamson, with ten young actors on display. We meet all of the characters on stage at the beginning as an early morning radio DJ reaches out to an audience that may not even be there. After the opening introductions there are vignettes that cover: a lone jogger, two girls having a sleepover, two guys doing likewise while playing word association games, a modern day Romeo & Juliet who wonder whether to contact each other to declare their undying love, a teen who is afraid of the monster under the bed, and a girl who writes to a knife company complaining about the quality of their product as she slowly bleeds out from slashing her wrists. All of this taking place at 4am. These vignettes are loosely linked by the DJ’s on air presence and cover loneliness, fear and the monsters we all sometimes have to deal with.

There were some interesting choices but the balance doesn’t quite work as the suicide strand, while well performed, seemed too clever for its own good given the weight of the topic at hand. It also tended to overwhelm the lighter vignettes though the Romeo and Juliet antics did provide welcome comic relief. The monsters under the bed strand was the none-too-subtle thematic message as the teen eventually protects his monster from the cops amusingly brought in to evict it (in an almost A Clockwork Orange style parody) declaring that its existence confirms that he has survived yet another day. Yes, we should embrace our monsters and not seek to destroy them as they are a part of us. The DJ storyline was well handled and I particularly liked how the actors all filtered back to their starting positions to give a nice symmetry to the piece. Indeed, there was a lot to like here and it did give an interesting insight into the issues our youth have to face. The young actors in question were Rebecca Cole, Jenna Verryn, Luke Wilson, Harry McGrath, Dani Fynn, Harry Sanderson, Lara Borshoff, Tashi Stewart, Elise Wilson, and Nick Morlet.

Adjudicator Adam T Perkins gave excellent and constructive notes for all four productions and one point he highlighted across the board was pacing and ‘earn your pauses’. Finally, it was very pleasing to see a really good crowd in for this session. I was so busy chatting I left half a cider behind the bar at intermission and by the time I finished discussing the evening the bar was closed! Sacrificed for a good cause methinks…

Dramafest continues Friday night, 7.30pm at Hackett Hall in Floreat.

Dramafest - Session 1 (22 September 2014)

The weeklong Dramafest opened at Playlovers in Floreat on Monday night with a welcoming introduction by an erudite man with a beard who was eventually revealed to be Paul Treasure, President of the Independent Theatre Association. The adjudicator for the one act drama festival is none other than reigning Performing Arts WA (PAWA) Best Actor, Adam T Perkins who is also a director and producer of theatre. Festival Director Emma Davis was in attendance to greet the small but enthusiastic audience.

There were three one act productions on the night with the performer for the 10 minute spotlight unfortunately unable to participate due to illness. At the end of the evening Perkins gave his feedback which was instructive as he was coming at it very much from an acting/directing perspective. For me, however, the first session highlighted how important good writing is, without which you’re behind the proverbial from the get go.

The night began with what proved to be quite an inspired choice – a wildcard entry from the barely concluded Youthfest. Simply titled The Audition from SPY (which I assume is Stirling Players Youth) this was a cleverly written script that was enthusiastically and well performed. There were numerous theatre in-jokes and there is a certain joy to watching a young teenage actor deadpan a Beckett or Sam Shepard reference. The names of the performers weren’t listed but they played: the impatient and harried stage manager conducting the auditions; the nervous female auditionee; the ebullient actress well under the imaginary show’s minimum age of 15; an enthusiastic mime; and the pompous actor who thought nothing of improving Medea by adding a little Bottom from A Midsummer Night’s Dream. Finally, there was the underappreciated assistant who had a vent about her lot in theatre life. It was a clever script that was lapped up by both the young actors and the audience.

The next production was a locally written piece called Flight of Fancy by Garrick Theatre. The premise of which was that a husband and wife both end up booking competing holidays because he thinks she is unhappy and she thinks he’s having an affair (after overhearing him talking to the female travel consultant on the phone). A promising enough set-up but this needed to be fast-paced and witty. Unfortunately the writing just wasn’t there and it ended up being more awkward and stilted as the actors battled valiantly but didn’t have the ammunition that a cracking script could have given this. Flight of Fancy was written and directed by Luke Heath and starred Luke Miller, Shelly Miller, Claudia Lloyd and Charles Pratt.

By comparison, the final piece, At Home With The Herringbones by Stirling Theatre did have a strong script and an excellent cast that gave it real justice. It’s no secret that I’m a fan of wordplay so being playful with language is right in my wheelhouse – dangling modifiers, incorrect word usage, ending sentences with prepositions, all that sort of wonderful Grammar Nazi stuff that can make people’s head explode. What made this even more satisfying is that the pompous Lord Herringbone’s pedantic correction of language and grammar was an important character trait not merely the writer showing off. The story slowly revealed itself to be somewhat of a mystery with a cheeky bent and a few late twists along the way. There were some nice sight gags as well. Economically staged and slickly performed this was well received by the audience. Written and Directed by Bob Charteris, the play starred Fran Gordon, Paul Anderson, Peter Flanigan, Alexandra D’Ulisse, and Georgi Ivers.

Dramafest continues 7.30pm Wednesday 24 September at Hackett Hall in Floreat.