Blue Angel - Presented by Laura Goodlet (4 February 2025)

This is the second show I've seen in the space of a few days where immortal beings concern themselves with the fate of humankind. They struggle to control our destructive nature and seem particularly susceptible to that most human of emotions… love. It's a well worn trope and taken on that basis Blue Angel is moderately successful. 

Where it excels though is when you put that narrative device aside and realise this is a workplace dramedy between two friends… who just happen to be angels. This plays to the clear chemistry between the two performers, Lauren Thomas (Beth) and Georgia Goff (Elle), who, at times, seem to be genuinely enjoying moments as friends more so as performers. 

The intimate black box space of the KAOS Room at the Blue Room Theatre works to the advantage of this exploration of a quirky friendship which covers millennia. We begin circa 4000 BC where Elle is an aspiring angel who idolises Beth, ostensibly her boss. The rules and bureaucracy of Angel Headquarters are quickly established in a typical workplace induction. I must confess, with the continual projection of some key points on the wall, I was feeling pretty indoctrinated by it all myself! 

The main rule all angels must remember is “Be near, don't interfere” as they go about their tasks interacting with humans in four major ways. You just know there's going to be some interference along the way. Enter decidedly mortal Henry (Glenn Wallis) to cause one of our angels to feel blue in a whole different way. By now, Beth and Elle have moved from work colleagues to besties as they witness everything from Julius Caesar's demise to the fall of the Berlin Wall with a bit of plague thrown in along the way. 

Elle is the more pessimistic of the two, worn down by our propensity for violence and cruelty whereas Beth remains stoically optimistic. They dance, they sing karaoke - who knew Tears for Fears were so big in the afterlife - and there's a touch of Michael Schur's wondrous The Good Place about it all. 

There is a clear delineation between the two - Goff gives Elle a larger than life enthusiasm in the early going that is endearing in its intensity. This also sets up the trajectory of Elle's arc as a certain moroseness sets in after literally thousands of years. Yes, workplace disappointments can certainly get you down. Thomas brings an ethereal beauty to Beth and is far more composed by comparison. Until she becomes animated by a visit to Athens and a little rule breaking. Their playful frolics together are a delight with uninhibited enthusiasm which is only enhanced by a few prop mishaps. Wallis adds the charm in a lovely cameo.

Writer & director Laura Goodlet lets the play breathe in these moments of simple joy between two friends. Being so close to the performers you feel the authenticity of their connection. Appropriate iconography is sprinkled throughout from a wry explanation of the angel wings to images projected on one wall which shift with the times. Lighting design by Matthew Erren adds to the otherworldly nature of this most unusual of workplaces while Movement Director Kurtis Brown adds class when needed and a certain goofiness that illustrates the essential nature of the friendship.

I don't know if I gained a greater understanding of key events in human history. What I did learn though is that angels are just like the rest of us - after a little workplace satisfaction and a friend you can let your hair down with to dance your troubles away and sing karaoke badly. I can think of worse things to while away the millennia!

Blue Angel is on at the Blue Room as part of Summer Nights 2025 until 8 February.

TILT 2024: Program Two - WAAPA (19 September 2024)

The Blue Room Theatre situated in the city's cultural centre is at the heart of independent and experimental theatre in Perth. It is the natural home for the third year performance makers from WAAPA who will go on to create daring and original work for venues like this throughout the country and beyond after they graduate. 

TILT is the annual showcase of the prowess of these students undertaking a Bachelor of Performing Arts and is conducted over two programs. I caught up with Program Two. What a diverse collection of devised works it is too - from a Western parody to an intermedial exploration of connection; a chilling interrogation of what fate may mean as a young woman; a stylised movement piece; and the inner voices in our head that affect our moods for good and bad.

The beauty of short works like this is that they are open to interpretation. What I took away from each section may differ from other people for any number of reasons. Part of the experience, therefore, is the discussions afterwards with the students, staff, and other audience members as we ponder meaning, themes, and execution. I have to say, what a great way to spend a spring evening! It's a safe space for the devisers and it was encouraging to see so many students from other streams such as music theatre and acting in the crowd. 

We kick off with Cowboys and Indians which initially is a jarring transition from a forthright and respectful Acknowledgement of Country. Our hero, Sketch (Fletcher Scully) sets off to find his missing mother after discovering she's Native American. Any misgivings about referencing another indigenous culture soon dissipate as it quickly becomes clear this is more a Blazing Saddles style parody. Sketch is joined on his quest by a feisty Tiahna Johnson as they encounter a couple of hapless, would be robbers (Sam Rumpel and Rueben Mongoo) whilst trying to dodge the legendary Lake-bound Lawman (Kurtis Brown). 

This short tale directed by Shontae Wright leans into many of the expected tropes of the American Western with a knowing wink, a southern drawl, and a healthy dose of physical performance from boot scootin' to mock fight choreography and pratfalls aplenty. It didn't quite stick the landing, feeling more like the beginning of Sketch's quest. No doubt, sometimes at night, when I'm sitting around a campfire eating beans, I'll wonder, "how'd ol' Sketch get on findin' his ma?" It's a funny and quirky beginning.

Next up is the conceptually intriguing Road Moving attributed to director/deviser Isobel Finnie. Here, two audience members respond to requests screened on the wall via a data show as Finnie types an amusing screed that is part commentary on modern anxiety and the need for connection plus a strong improvisational aspect as she reacts to rapid-fire typos and the actions of the two participants. Sitting right next to Finnie, I was charmed by her genuine joy at unexpected beats and a clear sense of personality through typed words. It's a fine example of doing more with less in the, well, usually, black box space at the venue (all white for this run).

After interval is a beautifully written and performed piece that is impressive in its thematic cohesion and indignation called Femoid. This is an exploration of the horrendous ramifications of Incel culture on young women and is genuinely harrowing in parts. The sense of unease is magnified by the projection of verbatim messages from chat rooms and excellent use of discordant music. Writer Iris Warren sets up a striking and unexpected motif that comes from Caesar crossing the Rubicon in 47 BC with the saying Iacta Alea Est (Let the die be cast) which is paid off in stunning fashion. There's also the provocative use of the word 'fate' throughout that is eventually turned on its head. Directed by Izabella Day and performed with precision by Iris Warren, Roisin Wallace-Nash, and Natasha Pearson, Femoid has an urgency and power that is compelling.

This is followed by The Sink, all stylised movement and exaggerated expressions when the performers periodically emerge from underneath a huge, translucent fabric that shimmies and glides with their efforts. This one is perhaps most open to interpretation. I initially thought this was the birthing process of some supernatural form of creature before settling on the creation of life itself as another audience member remarked, from primordial ooze. Whatever your take, it showcases the importance of the human body and its movement as an integral part of the performance maker's arsenal. Directed by Lucy Nunn and performed by Jiarui Lin, Emily Jenkins, Kurtis Brown, Oliver Clare, and Talia Zipper.

The program closes out with Eat Shit! notable for the demolishing of an apple and the threat of likewise happening to an onion, Tony Abbott style! I loved that the two performers - Oliver Clare and Iris Warren - supplied their own sound design; the former with the slurping of glasses of wine, the latter with the crunch of that apple being devoured before the lip-smacking cleansing of fingers. What transpires felt to me like the dramatic representation of the internal monologue we all carry on in our head every day and how that can be corrosive like a worm eating us from inside. But also the power of positive self talk to get us out of a rut. Directed with moments of mischief by Henry Kent this, again, is one to ponder!

An enjoyable evening witnessing the realisation of original works and for the discussions afterwards, TILT runs until 21 September at the Blue Room.

Cast photos by Stephen Heath Photography