Choice Cuts - WAAPA (20 September 2014)

Let’s begin at the ending, shall we…?

Far, far away in a magical land called Mountlawleycampus there was a good witch who was no doubt popular (Jane Watt) and a green-faced, masculine witch with a black witch’s hat and caked on face paint (Joel Horwood) who was clearly evil (the grin gave it away!).  Yet despite their differences and Elphaba-Joel making Glinda-Jane crack up during their number, they came through three years of trials and tribulations stronger and yes, changed for good. 

   

When the massed company of WAAPA’s graduating acting class joined Horwood and Watt in singing Wicked’s For Good in Choice Cut’s finale it was funny but also strangely moving as the sentiment of the lyrics was appropriate and heartfelt. It capped off a couple of hours of entertainment from the third year students whose thoughts will now wander towards showcase tours and life beyond WAAPA.

What an eclectic mix this show presented from three years of productions and study! There were the obligatory scenes from a selection of Shakespeare’s greatest works - Macbeth, As You Like It, and Othello; the last played out with murderous intensity only inches from me in the wonderfully compact Roundhouse Theatre. Interspersed throughout were monologues and self-devised pieces including Harriet Davies lamenting her ISS or Irritable Singing Syndrome which saw her amusingly burst into song at any moment.

In fact there was far more singing than I expected with several strong voices on display such as Henry Hammersla (I Believe) and Alex Malone (Maybe This Time). Indeed the first half ended in raucous fashion as ‘The Girls’ of the class presented their Protest Song that challenged, far more indelicately than I will describe it, certain, ahem, expectations of female grooming. It had the small but appreciative audience chuckling their way to the bake sale in the foyer. An aside: damn nice homemade cookies and cake!

There was a lot of accent work on display and clearly this is a focus over the journey. It featured as the group revisited productions such as The Golden Age, Speaking in Tongues/No Worries and Chekhov in Yalta where, damn it, Felicity McKay will create Magic If! There were two specific Accent and Dialect Monologues as well, by Julio Cesar and Kirsty Marillier.

Physicality was highlighted with a mix of fight sequences and the inhabiting of everything from animals to the poor, twisted creatures of The Golden Age to Toddlers. The last I had seen conducted as an exercise by Angela Punch-McGregor during Open Day so I was delighted to watch Adam Sollis and Jane Watt channel their inner child with such abandon. 

The humour here was more of the sly variety, for example Joel Horwood and Jonny Hawkins having fun in an excerpt from Waiting for Godot where the worst possible insult, far above moron or sewer rat, was musical theatre student! The transitions worked better in the second half but there were times the audience was unsure when to clap so some ‘acts’ didn’t get their just applause as they bled into the next. This certainly wasn’t the case after Hawkin’s Tribute to Stritch, a statuesque performance in stockings, heels, wig and a dress.

All the third year shows were reprised with the sequence from Festen giving me the same uncomfortable feeling as when I first saw it, a testament to that production’s power and to the skill of this class. Realism revisited some brave moments with Liam Maguire, Harriet Davies and Alexis Lane featuring while Great Expectations had a quick whip around by the chorus. I was intrigued by the glimpses of shows I hadn’t seen, namely The Resistible Rise of Arturo Ui and Hour of the Wolf (second year production).

It was an engaging tour of three years of hard work and talent with the dramatic highlight being the work of Holly Dryoff, Aleks Mikic, Emma Diaz and Henry Hammersla in the Othello scene which had great intensity particularly from Diaz and Mikic. The Protest Song was an unexpected treat and the understated humour throughout worked well. Not everyone had a featured moment but all worked well in the various ensembles including Steph Tsindos and Alexander Frank. I’ve only just realised one person was missing, Harry Richardson whose Herbert I quite enjoyed in Great Expectations.

Well done one and all and thank you for a great year. Thank you also to the second year students who were on front of house and bake sale duty. It was great to chat with some of you and I look forward to seeing Blood Wedding and hearing what your third year shows will be.

Now, as mentioned, the audience wasn’t that large for a Saturday matinee on the first hot day of the impending summer. But there is one more show left, Sunday at 5pm and the money collected from ticket sales, the raffle and bake sale help get these talented actors over east for their showcase tour. It’s going to be stormy and awful outside so go and see some theatrical magic instead!   

Laughter on the 23rd Floor - Black Swan State Theatre Company (13 September 2014)

Hot on the heels of Greg Fleet’s auspicious playwriting debut at The Blue Room, another well-known comedian features in a play, this time Neil Simon’s Laughter on the 23^rd Floor. 

In this, Peter Rowsthorn, he of the rubbery contortions, plays the titular star of 50’s television smash, The Max Prince Show. Staged at the Heath Ledger Theatre by Black Swan this is a funny play indeed. Yet Rowsthorn doesn’t dominate in a measured performance where he is surrounded by an excellent supporting cast.

There are plenty of laughs to go around which is appropriate as the play is set in the writing room of said show. Given that the legendary Simon worked in television at the beginning of his career, part of the joy is in spotting the famous people who have inspired this roster of writers. Max Prince himself is based on Sid Caesar and Ira Stone is more than channeling Mel Brooks, for example.

Beneath the one-liners, the wordplay and bouts of physical comedy, there is an undertow of serious subject matters on Simon’s mind. Senator McCarthy’s tentacles are felt as the fear of being Blacklisted is ever present; and there is not-so-subtle commentary about the dumbing down of television as the network demands more ‘shit’ so they can sell more ‘shit’. Both of these threats present the characters with the dilemma of self-censorship, acquiescence, possible unemployment or even worse with McCarthyism running amok. What then the responsibility of the writer to stand up to the perversion of democratic process and rights? As Russian-American Val Skolsky (Igor Sas) states, first they go after the politicians then they go after the writers.

Predominantly though this is a witty exploration of a group of quirky characters who, let’s face it, do a pretty quirky job – making people laugh. Humphrey Bower plays the colourful Milt Fields who dresses in style to be ‘somebody’. Bower is very convincing and contributes many droll asides as we discover how competitive this room is. Sas is a standout as Skolsky, all angst and anguish with a thick Russian accent that was never hard to follow. James Sweeny, the cipher for Simon himself as Lucas Brinkman, is all fresh-faced earnestness and our narrator. He plays the shy, sweet newcomer well and is a nice counterpoint to the more cynical veterans of the writing staff.

Stuart Halusz is the voice of reason as Kenny Franks and it’s interesting watching the dynamics of the group as they all vie for Max’s attention and, more importantly, get their lines in the show. Damon Lockwood arrives late in the first act but then his character, the hypochondriac Ira Stone, is always late. Lockwood gives a funny performance as the whining, anxiety-crippled Stone who is certain of his pre-eminence as the best writer. Jo Morris plays the only female writer on staff, Carol Wyman, and she does so with spunk and intelligence. It’s telling when Wyman demands to be treated and regarded as a good writer not merely a female writer given the cutthroat nature of the business, especially when one member of the staff has to be let go.

Ben Mortley sports an Irish accent as Brian Doyle who is always signing a deal to go to Hollywood with his latest screenplay. His character has a prickly relationship with Stone which gives Mortley licence to land some verbal jabs as one of the blunter characters. Lara Schwerdt is the secretary Helen who is competent officiousness but, perhaps unfortunately, is played for laughs as an aspiring comedy writer herself late in proceedings. That she comes across as ditzy here undercuts the stance taken with Carol.

Then there is Mister Rowsthorn himself. He is good as Max Prince – paranoid the network is out to get him, forgetful, occasionally lost in a daze of pills, impulsive, good-natured and ultimately protective of his troops even though there are moments of spite. There is a memorable sequence as he plays Julius Caesar (in a sketch they are writing) where Rowsthorn gives full rein to his signature brand of physical humour but other than some wall punching he is quite restrained which makes this truly an ensemble piece.

The set is astonishingly good with the New York skyline as the backdrop through large windows and the writers’ room beautifully furnished and appointed. The final scene is so beautifully lit with the inclusion of a surprise prop that looked wonderful as snow falls ‘outside’ that I almost forgave the play lingering a little long and ending on too sentimental a note. Otherwise, this is tremendous entertainment with snappy writing and a great cast working on a wonderful set.

Directed by Kate Cherry, Written by Neil Simon and starring Humphrey Bower, Stuart Halusz, Damon Lockwood, Jo Morris, Ben Mortley, Peter Rowsthorn, Igor Sas, Lara Schwerdt and James Sweeny, Laughter on the 23^rd Floor is on at the Heath Ledger Theatre until 21 September.

What Do They Call Me? - The Blue Room Theatre (10 September 2014)

If theatre can transport you to different places and/or periods in time it also facilitates insight into different voices and points of view. Points of view shaped by experiences that may be completely foreign to the audience member. This is definitely the case with What Do They Call Me? as questions of identity, sexuality, and belonging are tackled through the prism of indigenous culture. It is part confronting, part illuminating and definitely thought provoking.

Here, director Eva Grace Mullaley has split the original one woman piece into three monologues performed by Amy Smith, Ebony McGuire and Alyssa Thompson. Smith leads off with an angry tale set in a police lockup as her character Connie demands to know why she is there and berates her jailer for the circumstances. Thompson follows with an exploration of how being raised white in an adopted household has affected her character’s perception of self and own worth. McGuire ends the 45 minute performance as an indigenous lesbian activist who struggles with these diverse aspects of who she is. The main linking device is that Connie is the mother of both Regina and Alison (Thompson and McGuire) who were taken from her.

It is a simple set with a bench in the middle of the stage, a desk at one end, and images that are occasionally projected on each far wall. Unfortunately, the seating configuration was in the wings so the audience is perpendicular to the main performance space. This meant that for the first monologue the actor’s back was largely to me and while I could hear the anger I could not see it. I wanted to witness the visceral emotion that the words and performance demanded. The second monologue was at the other end of the axis so it felt a little removed as well. The third was at my end of the space which meant I had full access to the expressions and emotions which is perhaps why it was my preferred monologue of the night.

Afterwards at the bar, the director and actors were graciously thanking people for coming to the performance. A work colleague from over east and I subsequently had a good conversation with Mullaley and one of her actors. Feedback was sought and given and we talked about issues the play raised. It’s one of the great strengths of the Blue Room environment that it sponsors such genuine and frank discussion. There’s an immediacy that adds to the experience so thank you to Mullaley and Smith for being so generous with their time and remarks. The play and discussion made a real impact on my colleague who is involved in negotiations regarding greater opportunities for indigenous employment in the industry we work in. Serendipity indeed as he’d only arrived in Perth the day before and the decision to attend the play was purely spontaneous.

What Do They Call Me? shines a spotlight on aspects of indigenous culture that are raw and moving. It does so with an honesty and authenticity that demands respect. The play is on at the Blue Room until 27 September and is written by Eva Johnson, Directed by Eva Grace Mullaley and stars Amy Smith, Ebony McGuire and Alyssa Thompson. 

The Distance From Here - Endless Theatre Company (8 September 2014)

I’m standing in the downstairs section of the State Theatre after the show lamenting the fact that the bar is closed at such an unseemly early hour. There are conversations to be had, the kind best enjoyed over a quiet drink as opinions and thoughts are bandied about. The usual opening show congratulations are shared as the cast emerge from the bowels of Rehearsal Room 1. Out of the corner of my eye I see the director approach. We shake hands then there is the inevitable, “so what did you think?”

Blink.

“I don’t know. I need to think about it.”

To his credit director Garreth Bradshaw immediately came back with, “good, I prefer that to you saying it was ‘alright’”.

Most times I pretty much know immediately what my reaction to a show is. Here, at that moment in time, I had no clue. What did I think indeed? I could have bullshitted or offered some limp platitude but what’s the point? I hate it when people comment on my own work that way and I’m not going to disrespect a fellow creative in similar fashion. Then there’s this:

I genuinely had to think about it.

I was very high on this company’s previous production, The Pillowman, which was deliciously dark, subversive and right in my wheelhouse. By comparison, Neil LaBute’s examination of disaffected American youth is the sort of ‘slice of life’ tale that I seldom respond to but yet…

The play opens with two youths mocking monkeys at the zoo. “Primates, they just don’t get it.” Bradshaw then drapes his actors on (movable) scaffolding whenever they are not required in a scene to watch the drama that is unfolding below them. Yes, those actors and the audience become observers of ‘primates’ of a different kind who truly don’t get it as we watch the troubled Darrell (Jordan Gallagher) interact with his dysfunctional family and friends.

And what a lot they are – the immature, put upon Tim (Nic Doig) who is Darrell’s best friend and target of his mockery; his mother Cammie (Jess Stenglein) who is shacked up with boyfriend Rich (Patrick Downes); and Darrell’s step-sister Shari (Katie Rose Spence) and her constantly crying baby. Then there’s his girlfriend Jenn (Rebecca Virginia Williams) whose sexual ‘transgression’ two years prior will ultimately ignite Darrell’s short fuse; and ‘the mysterious girl’ (Madelaine Page) who reveals Jenn’s secret to tragic consequences.

None of them are particularly likeable… but that’s the point. The neglect within the family unit has seeped into every generation from Cammie’s lack of warmth to Shari’s disregard for her baby to Darrell’s violent temper. What was fascinating was the hierarchical nature of this male driven world – while Darrell may boss Tim around, Rich treats his girlfriend’s son with equal contempt.

Gallagher is riveting as Darrell. He is a physical presence who plays the teenager with petulance, impulsiveness and a sense of ever present rage. When that anger finally boils over he is devastating in his retribution. We need this to even remotely comprehend the heinous act the character commits in the final moments. Doig’s Tim is initially the goofy one who is no match for his friend’s intensity and cruel jibes. But as we get to the business end of proceedings the character is portrayed with a quiet strength and decency that almost redeems this sorry lot. Kudos also to Doig who closes the play with an act that is totally true to the moment and revealing in more ways than one.

Downes is the singlet clad, macho dude who is instantly familiar in any setting. He plays rough with Darrell and even rougher in his affections for Cammie who Rich betrays as a typically testosterone driven arsehole. It’s a strong performance all the more so because it is such a loathsome character on many levels. Stenglein is good in a difficult role as her character has affection for Rich but is seemingly disinterested in her son’s emotional wellbeing and her step-daughter’s predicament. The baby doesn’t have a chance in this household, its cries a trigger for lethargy rather than caring.

Spence exudes a languid sexuality that comes into play later but gives Shari a self-centred, bored air as well. Even to the extent of propositioning her step-brother, anything for relief in this self-constructed cage. Williams adds a little spunk to Jenn as she stands up to Darrell but her ‘betrayal’ renders the character impotent in the face of his anger. She has nice moments with Doig as those two characters bond dealing with the fallout of Darrell’s antics. Page has a featured scene as ‘the secret’ is revealed.

The acting is strong, the last third compelling as Darrell takes drastic action, the ending memorable. The mood is enhanced by the use of guitarist Darryn Santana in the wings. The movable scaffolding meant the scene transitions were a little clunky and the naming of each setting projected on a white backdrop at the back of the stage felt redundant. Bradshaw also mentioned (before I could say it) that the seats have to be moved forward as there was indeed a distance to the action in the cavernous space.

Why did I have to think? 

I liked the acting, I didn’t like the characters. I liked the drama at the end but I didn’t like the world they inhabited. I liked the courage to tackle edgy material but the rawness was uncomfortable and, at times, confronting. To that end the play is a tremendous success. I don’t think LaBute wants me to like it. I think he wants me to be unsettled and to think. By that measure Bradshaw and his cast and crew have done an excellent job.

The Distance From Here is on at the State Theatre’s Rehearsal Room 1, every night until 13 September at 7pm.

This Is Not A Love Song - The Blue Room Theatre (2 September 2014)

Everybody has a soundtrack to their own lives. It doesn’t matter what kind of music or from what era(s), it is part of who we are. That is the wonderful quality of music – it can evoke a memory, an emotion, a singularly genuine response with an ease unmatched by any other medium. Of people, of places, of times good and bad; the soundtrack we fashion provides signposts to the highlights and occasionally the low points of our lives.

Filmmakers have known this for decades with perhaps the two greatest practitioners of the movie soundtrack being Martin Scorsese and Quentin Tarantino who use it to powerful effect. Here comedian Greg Fleet (in his playwriting debut) has created his own soundtrack filled with an eclectic mix of songs sung by him, the two other actors who populate the world of his play, and musician Michael de Grussa.

Indeed music is the essence that attracts then binds Jimmy (Shane Adamczak) and Sophie (Tegan Mulvany who also directs) as they fall in then ultimately out of love. Watching this as if a ghost in his own apartment of days gone by, is Fleet’s older Jimmy who reflects on the joy of a new relationship then watches, commentates, and briefly interacts as it slowly unravels. He has revisited this youthful period countless times and the same mistakes he made leading to the same outcome gives him a world weariness and air of wistful regret. But this is Greg Fleet so there is plenty of comedy to go along with the wry observations.

He is an engaging presence and there is an honesty here that is compelling as he addresses the audience who are literally a part of the canvas of this tale. However, this is a story not only about the arc of a relationship but how we remember such things. Memories can be unreliable or altered to suit our purposes and, as we learn yet already know, people lie. Fleet does get up to some mischief, in particular with the second tale about what happened to Jimmy’s father delivered with deadpan deceit.

The teller of the first tale (which is equally cheeky) is Adamczak who is very good as the pot smoking, video game playing boyfriend whose ambition is to be ambitious. Yes, Jimmy may be going places but not very fast. That his estimation of Sophie goes up a notch when she bests his record collection is all geek charm of the highest order, a trait Adamczak nails. He also has a strong singing voice, crucial here given the number and significance of the songs.

Mulvany shines as Sophie and her chemistry with Adamczak is excellent. The arc of the relationship is nothing less than credible with subtle flourishes that make us believe these two are madly in love before complications later arise. Mulvany matches her co-star for singing chops but where she really impresses is with two tales that are utterly authentic, so much so I would not be surprised if they are someone’s actual recollections – a tragic event that happens one day while Sophie is on the bus; and a devastating conversation she has with her mother at a café. Both beautifully delivered. 

The cast is rounded out by de Grussa who plays keyboards and sings in the corner of the set and occasionally interacts with the characters. It’s a nice conceit having him so visible and he provides excellent musical support… which brings us to the songs.

Anybody who has the moxie to open the batting with a Wings number and uses the middle section of said song (thereby concealing its identity from younger audience members) gets full points in my book. There follows a selection of songs chosen for lyrical and emotional relevance from such bands as Yazoo, The Beatles, ELO, Split Enz, Men At Work, Australian Crawl, Warren Zevon, Buffalo Springfield, The Pretenders, and The Motels (told you it was eclectic!). But it is Daryl Braithwaite who features because, as everyone knows, his classic The Horses could solve world strife! There was only one song I didn’t recognise but it sounded punk in origin which was never my thing. Yes, music is nothing less than personal, each with our own guilty delights (I’ll live with the disappointment of there being no Do You Really Want To Hurt Me by Culture Club).

I really enjoyed this show – the writing and acting is very good, the songs well delivered (at times I felt like clapping at the end of a number though This is Also Not a Musical) and the humour is genuinely funny amongst the underlying tone of regret. The set was nicely done with the iconic Dark Side of the Moon cover art prominent on one wall, CDs and honest- to-god real vinyl albums (Google it young people) everywhere, with the illusion of the apartment enhanced by the back and side walls painted to show domestic items. The play ends on a strong line delivered by Fleet that was an understated punctuation point.

It is an auspicious debut.

This Is Not A Love Song is directed by Tegan Mulvany, Written by Greg Fleet and stars Fleet, Mulvany, Shane Adamczak and Michael de Grussa. There are 5 more shows at The Blue Room Theatre but only tickets available for 6pm, Saturday 6 September so you're fast running out of opportunities to see this one!     

Concussion - Ellandar Productions (29 August 2014)

Take a bow Ross Mueller. Yes, before we discuss the work of director Sarah McKellar and her excellent cast we have to talk about the writing. This is nothing less than what I call a “writer’s play” with sly references and nods to the writing process itself and, oh my, Mueller is having a grand old time with it. Word play galore, fractured timeline narrative, intersecting character storylines, a faux mystery, characters breaking the fourth wall and even suggesting scenes, and the mocking of clichés associated with this style of story as the characters are all very self-aware about the tale they’re in. 

It’s deliciously clever, subversive and funny. Even the somewhat overwrought shouting match at the end I took to be a poke at the expectations usually contained within this type of tale. As a writer myself this was absolutely in my wheelhouse and I loved the cheekiness and audacity of the script.

When you give such great writing to the talented cast McKellar has assembled, well then, we’re off to the races. Those actors are Richard Mellick as the cop Caesar who has been bashed on his way to court with seemingly no memory of events leading up to that moment; Nichola Renton as his girlfriend Julia who is also an emergency room Doctor and dealing with her needy ex-husband James Jnr Jnr played by Ian Bolgia. 

Then there’s Paul Grabovac as James Jnr Jnr’s brother, James Jnr (I told you Mueller was having fun!) who is melancholic and very anti-accordions. Russya Connor plays Katerina who is Caesar’s legal advisor, the source of James Jnr’s moping, and (stay with me here) is having sex with Caesar’s 15 year old son, Sergio (Danen Engelenberg) who blogs about their sexual exploits having been ostracised from Facebook by his schoolmates.

Initially I thought we were going to see two mysteries solved over the course of the play – the reason for the bashing; and the resolution of the relationship drama between Caesar and Julia. To be honest, the first is really a device to give a major reason for these characters to collide in surprising and unusual ways and it’s that exploration that is fascinating not the mystery itself which remained fairly oblique.

Renton who is excellent as the caring Julia gives an inkling of what’s to come with an early monologue directed at the audience where she indicates that this will not be another tragedy and that their landscape is comedy. There is also repeated mention of the cerebral meeting the physical and that it is actions that define us not words - amusing when so many fine words are being deployed here. She grounds the play with a well measured, sympathetic turn as the woman supportive of her partner and striving to free herself from her ex.

Bolgia gives a wonderfully boisterous performance as a man who tries to win his wife back but uses words as a weapon even beseeching others to guess what he is thinking by giving them the word count and number of syllables. Grabovac is suitably morose by comparison as he loses his job to his brother; is censored on air, not for his ideas but because he used foul language; and who struggles with the loss of his girlfriend.

Mellick gets to inhabit two completely different sides of Caesar – the bewildered bashing victim who muses about Bob Dylan, Osama bin Laden and various other pop culture figures to amusing effect; and the last good cop in town who refuses to lie in his statement to the court about a celebrated war veteran who was murdered at “2am, in the morning, at night”. Writer’s gags everywhere.

Connor is all feisty and sexy as the lawyer and has several raunchy moments that are well staged with Engelenberg as the horny teenager who doesn’t understand the ramifications of his actions and the trouble his blog will cause. He has a standout moment delivering an hilarious monologue that is as explicit as it is downright funny.

McKellar keeps the pace crackling along and I was having a fine time with this. The playing with timelines means that the major revelations when they are come are well crafted with the ending of the play a nice surprise yet totally in sync with what has been set up. Impressive writing that is directed and acted with impressive skill.

Concussion is on at The Blue Room Theatre with only one more show, 7pm Saturday 30 August. Written by Ross Mueller and directed by Sarah McKellar, it stars Richard Mellick, Nichola Renton, Ian Bolgia, Paul Grabovac, Russya Connor and Danen Engelenberg.

Narrow Graves - Second Chance Theatre (28 August 2014)

Narrow Graves is the third production I have seen by Second Chance Theatre this year after the atmospheric Bye. Gone and the apocalyptic relationship drama Coincidences at the End of Time. All three were written by Scott McArdle who is nothing less than prolific with his debut musical Extra Ordinary People due to hit Murdoch University’s Nexus Theatre in November. This one is at the Drama Workshop also on the Murdoch campus.

McArdle is a young writer with great potential and he’s certainly not afraid to explore provocative and dark subject matter such as in this play. That he does so with wit, insight, and at times brutal realism is testament to his writing ability – a skill that might take him to NIDA and beyond, all things being equal later in the year. Not content with being the author, he also does the lighting design and acts, notably in this one, naked for a large portion.

He is joined on stage by his Coincidences co-star Emily David (as Charlotte) who plays a newly arrived ‘guest’ at a facility whose previous owner was one A. Hitler. We quickly learn things haven’t changed much as this unnamed place indulges in the kind of experiments that would not be out of place in those evil times. David has an eminently watchable quality that is powered by a stillness and calmness in her acting. This works to the play’s advantage as her character is perhaps the only sane person in a bunch that includes fellow ‘guests’ Juliet, a partially lobotomised, childlike presence; and Ethan, stoically played by McArdle who stands naked in a bucket of water as a form of ritual humiliation.

Charlotte’s guide, Benjamin (a doctor of some sort), is played by Rhys Hyatt who obliquely explains the rules of this strange world. Hyatt portrays the character with a mix of condescension and smarminess to amusing effect though we soon discover a much darker side as he takes advantage of Juliet (Jade Galambosi) for his own sexual gratification. Galambosi is sweet and tragic as the damaged soul stuck in this horrid place.

The final character is The Warden, a strong performance by Laughton Mckenzie. This is the charismatic yet unhinged ‘visionary’ who demands complete obedience yet is unaware of the chaos his actions reap. Which is ironic as chaos is the very thing he wishes to eliminate and the entire purpose of this facility. A chaos brought about by emotion, love and sex, all sins to be removed from the unwilling guests. Exercise time is a euphemism for joyless sex as Charlotte and Ethan are forced to couple every day under the watchful eyes of Benjamin and the Warden. The unwanted results of such ‘experiments’ can be terminated with a syringe.

It’s all bleak and unrelenting but this appears to be McArdle’s intention. A world without love, emotion and sex leaves people a gibbering mess in the corner of a very dark place indeed. It is a cautionary tale regarding the rise of conservatism in places such as Australia where governments seek to control aspects of our lives that really are none of their business. Ultimately though I wasn’t sure what the takeaway from this is as the cycle repeats itself as even Charlotte crumbles in the face of such heartless brutality. This was after an act of perverse kindness that did surprise me and was shocking in its ruthlessly efficient staging.

There is black humour throughout to leaven this nightmarish vision and it was interesting watching the power structure at play. This hierarchy is most noticeable with Benjamin who lords over the guests but is obsequious and subservient to the Warden. The performances are all strong but pitched very differently with Hyatt and Mckenzie given licence to have the showier roles while David, Galambosi and McArdle drive the emotional punch of the play. The set is simple yet effective with good use of lighting guiding us through scene changes.

This is SCT’s most overtly political piece and it’s certainly not for the fainthearted. The creative team and actors are to be applauded for producing a play that will make you think and wasn’t without its own share of adversity in bringing to the stage. There are three more shows; tonight at 7.00pm sharp (there is a lockout) with a matinee and evening show on Saturday. 

Great Expectations - WAAPA (27 August 2014)

In the early going of Great Expectations there is a bare knuckled fight between a young Pip (Adam Sollis) and Herbert (Harry Richardson) started by the latter, won decisively by the former. They much later become fast friends. I mention this because it prompts the thought that I have been watching a World Heavyweight Title Fight all year between the respective third year musical theatre and acting classes at WAAPA. Two evenly matched opponents slugging it out and what a bout it has been!

If West Side Story is the crowning achievement of the musical theatre class in the red corner then the acting cohort in the blue corner have replied in stunning fashion with this production. To extend the boxing analogy, I had a ringside seat, front row centre, at the Geoff Gibbs Theatre. And what a view it was - a brilliant adaptation of the great novel, inventively staged and directed, with superb performances across the board.

The cast of seventeen actors are all given moments to shine as the adaptation features the use of a rotating chorus who vocalise Pip’s innermost thoughts and provide ancillary characters as well as, amusingly, such things as dogs and gargoyles. The cast is in constant movement and this gives the play great energy and a unique treatment to one of the classics of Western literature.

But it’s in the featured roles where impressive performances are everywhere:

Firstly, I doff my cap to Adam Sollis as Pip who is tremendous. From frightened young boy, to disgruntled apprentice, to eager suitor, to a gentleman in London living the high life, to a man whose newfound world crumbles around him as the revelations pile up in the second act, he gives such a likeable and convincing performance in the demanding central role.

Jonny Hawkins is wonderful as Joe Gargery, the simple blacksmith with a big heart. I spoke to him briefly afterwards to congratulate him on the show and his blistering performance in Festen and he said the trade-off for playing the devil in Festen was to play Joe, the complete opposite. He was in high spirits and clearly had fun in the role generating a lot of good-natured humour.

Emma Diaz is radiant as Estella, the object of Pip’s affection. Pip is constantly asked by Miss Havisham if Estella is pretty and yes, Diaz is every bit the beauty here but plays the cold and heartless creature of Havisham’s creation very well.

Alexis Lane is unrecognisable as Miss Havisham with grey, bedraggled hair, dirty wedding dress and stark make-up. She appeared to be relishing the role of the manipulative old woman whose heart was broken at the altar with a mischievous gleam in the eyes that was compelling. 

Jane Watt shines as the (male) lawyer Jaggers and after final bows almost danced off stage and so she should be happy with her authoritative performance. Harry Richardson plays Herbert with a straightforward earnestness that I really enjoyed and Stephanie Tsindos is an honest, straight talking Biddy.

Alex Malone is a vigorous Mrs Joe and really propels the play in the early scenes. Likewise, Julio Machado provides an early comic turn as Pumblechook that sets up the lighter tone that is throughout the play though not so much in the latter stages of the second act as we get down to business with a series of revelations that actually require a lot of exposition and even the odd ‘flashback’ scene, one done very effectively in silhouette behind a white sheet.

Aleks Mikic is brutally in your face as the convict in the opening and has a much bigger presence in the second act as Magwitch makes his presence known to Pip. While a changed man and the source of Pip’s good fortune, he can’t help but be who he was conditioned to be as he attacks his nemesis Compeyson (Alexander Frank) to seal his downfall. Liam Maguire is suitably creepy and resentful as Orlick with Harriet Davies (Wemmick), Henry Hammersla, Joel Horwood, Kirsty Marillier, and Felicity McKay rounding out the cast in various roles and as part of the chorus.  

The buzz at intermission and after the show was one of real excitement. I was talking with three young actors who have aspirations to go to WAAPA and how could you not be but inspired on the evidence of this outing. That and the fact there were two other high quality performances going on in the nearby venues. It was also great to see such good crowds all three nights that I have been at the Mount Lawley campus this week.

Directed by Andrew Lewis (also in high spirits after the show), Adapted from the Charles Dickens novel by Nick Ormerod and Declan Donnellan and featuring WAAPA’s graduating acting class, there is only one show remaining at the Geoff Gibbs Theatre, Thursday 28 August at 7.30pm. If you can get a ticket definitely go and see it - a highlight of 2014. 

The Grapes of Wrath - WAAPA (26 August 2014)

There are basic human rights that we accept as a given (though under threat from time to time) such as a roof over your head, access to food, the ability to work, and protection by the law. This story is one where all of those things are taken away from a family and how they struggle to survive in the face of such unthinkable adversity. Yes, the extended Joad family are kicked off their farm in 1930’s dustbowl America and forced to travel to California on the promise of work. Along the way they discover all kinds of hardship and people who would take advantage of an over-abundance of labour during the Great Depression.

On the surface this is a bleak tale but it is the indomitable will of the mother, Ma Joad (an authoritative performance by Megan Wilding), that defies all assaults on her family and the calamities that beset them that resonates so strongly.

Our tale begins with newly paroled Tom Joad (interesting casting choice but one where Elle Harris excels) returning to the family farm. On the way he discovers ex-preacher Jim Casey (Andrew Creer) who is no longer moved by the spirit of the Lord as he once was. Seems young Tom spent four years inside for killing a man who had attacked him, a crime he does not regret. On learning of the family plight the decision is made to travel westwards where orange handbills promise plenty of work picking grapes and other fruit in the lush California valleys.

Three generations of the Joads including a reluctant Grampa (Luke Fewster), Granma (Harriet Gordon-Anderson), Ma and Pa Joad (Dacre Montgomery), Al Joad (Bevan Pfeiffer), Uncle John (Seamus Quinn), the pregnant Rose of Sharon (Becky Gulia), the two children Ruthie and Winfield (Brittany Morel and Jessica Paterson), Tom and Casey all pile into an old truck. This is amusingly yet effectively portrayed by a plush couch with the ‘children’ holding torches to signify headlights. There are two tragedies and warnings along the way that they are chasing fake dreams of a better life. But what else is there for them to do?

Once they get to California there are all manner of people willing to prey on their desperation. Seems those handbills have been more than effective in attracting families like the Joads which means the employers can slash wages to grossly unfair levels. Then there are the run-ins with the law whose officers have an aggressive attitude to all the ‘immigrants’ flooding into the State. The parallels to modern day situations in various parts of the world are obvious. Those confrontations see Casey on the run and Tom subsequently reprising his crime as he checks a commotion outside a work camp one night only to find the worst kind of trouble. As he leaves the family he vows to fight the injustice that is rife all around them. The play ends with a storm, a birth, and an act of charity that is well handled and moving.

The production is in the black box theatre of the Enright Studio and director Sandie Eldridge has chosen to have her actors stay in the space eschewing exits and entrances. They lurk in the wings when not in scenes. With such a simple set it’s the use of various props that creates the world – blue plastic sheet representing water/river; use of a door held upright then placed on the stage floor; the couch which is utilised in various ways; and the sort of detritus and assorted possessions that such a family accrues.

A Narrator (Stephanie Panozzo) periodically reads descriptive passages from the novel and observes the action while occasionally playing the harmonica. She also guides characters who have perished into the wings like some guardian angel. This allows us to accept why the dead are suddenly up and about as they have to get off the primary stage space.

The acting is good (as are, generally, the American accents) with Wilding and Harris featuring but I also liked Creer’s good-natured performance as Casey and Montgomery as a somewhat bewildered Pa Joad. Props go to Gordon-Anderson and Fewster playing characters well beyond their years. Gulia comes into her own in the later stages as her character goes from tragedy to offering an unusual and potent gift of generosity.

I wasn’t a fan, however, of the use of music that only had the effect of wrenching me out of the drama. I understand the temptation of the lyrical association of songs such as Do You Know the Way to San Jose and (a rock version of) California Dreaming but those songs are at least 30 years after the time period being depicted as were a couple of even more modern tracks. There was a great dance sequence full of energy and fun amidst the gloom of the family predicament and it worked well when the actors were performing The Clapping Song which is based on a 1930s number. But when the modern version is played over the top it again dissipated my immersion in the world.

Other than that this is the first time I have seen the second year acting students and they acquitted themselves well in an iconic American tale.

Directed by Sandie Eldridge, Written by Frank Galati based on the John Steinbeck novel, and featuring Elle Harris, Dacre Montgomery, Andrew Creer, Bevan Pfeiffer, Seamus Quinn, Megan Wilding, Becky Gulia, Stephanie Panozzo, Brittany Morel, Jessica Paterson, Harriet Gordon-Anderson, Claudia Ware, Shalom Brune-Franklin, Luke Fewster, Rian Howlett, Ben Kindon and Lincoln Vickery, The Grapes of Wrath has two more performances, 7.30pm 27-28 August at the Enright Studio. 

Back to Eden - Black Martini Theatre (14 August 2014)

I remarked earlier this evening that I appear to be spending a fair bit of time at universities lately – Curtin with strong and interesting productions at the Hayman Theatre Upstairs; Edith Cowan’s Mount Lawley campus, home of course to WAAPA; and Murdoch which houses a few student theatre companies. I have already seen a couple of productions each from Second Chance Theatre and the Murdoch Theatre Company but tonight it was Black Martini Theatre’s production of Back to Eden at the Drama Workshop, written by Yuri Baranovsky.

The story, in short, revolves around Adam and Eve surrogates Michael and Samantha who are in a place they know not where, having arrived there they know not how, with their memories seemingly wiped. There is, however, a single white door. Through which bounds God-like businessman Andy Corvell who convinces Michael to sign a contract that promises him everything. Except things don’t go as expected for Michael and Samantha who end up getting married and having a child called Rose who rapidly grows as time has no meaning here, or is sped up, or… something. Yes, it’s all a little perplexing with plenty of talk about control and choice and life and suchlike with digs at religion along the way.

Now, for this review we have to discuss the writing before we get to the performances and Black Martini’s work. I had not heard of Yuri Baranovsky before tonight and I struggled with the first act – I didn’t understand the rhythms, I was unclear on tone, and the writing indulged in a lot of wordplay and trying to be clever but it fell flat for me. It also felt quite elliptical and downright obtuse at times. The acting, as a result, was also puzzling in a lot of cases. It was only in the early going of the second act when two armchairs were dragged on stage that it hit me like a freight train – this is, I swear to Corvell, a sitcom script not a stage play. 

Then it all started to make sense. I inserted my own canned mental laugh track and suddenly the odd, verbal riffing, the strange entrances and exits, the ‘guest appearances’ like the mother, the literal ‘mugging to camera’ acting for many characters, and the way it was staged began to work for me. I was in the audience for a live filming of a one-camera situational comedy set in a single location where an unwitting couple fall prey to the whims of God played as a corporate businessman.   

 

Michael Casas as Michael and Amelia Dee as Samantha struggle valiantly but they are playing the ‘straight men’ who don’t know what’s going on in this crazy construct. They have to do so much heavy lifting with Casas the earnest one and Dee the more questioning of the two. The problem here is that when the ‘crazier’ characters are off stage the play flattens out as they are too similar tonally and you can only play variations of “what’s going on?” for so long. There are bursts where Dee’s Samantha in particular seems about to cut loose but they are basically the ‘every-person’ couple trying to comprehend (as the audience is) events and their meaning.

The showy part of Corvell is entertainingly played by Philip Hutton who gives him a larger-than-life persona and after a strange entrance becomes the weird energy that drives the play. This is felt most clearly in his absence for a large part of the second act where we sorely miss his antics. Shannon Rogers is good as the ditzy secretary Jane and, alongside a cute running gag, does have interesting wordplay because it comes more from character not just the writer being clever. Then there’s Darren, one of Corvell’s employees, played by Andrew Trewin, who is, to all intents and purposes, our Kramer in this little sitcom which explains the over-the-top style he uses.

The ensemble is made up of Jessica Serio, Justin Crossley, Karen Hansord, Ryan Partridge, and Tijana Simich. They get to ‘nod and wink’ at the audience outrageously at times and even indulge in a little Pythonesque-style madness as we discover that Michael is indeed “not the Messiah”.

In all I found this an odd play but that was predominantly to do with the writing. It reverts to more traditional form towards the end where a choice finally needs to be made by Michael and Samantha – will they or won’t they walk through the door - and there are amusing parts along the way. I also enjoyed the cheekiness of the programme which included a section for Andy Corvell’s signature!

Directed by Thomas Dimmick and starring Philip Hutton, Amelia Dee, Michael Casas, Shannon Rogers, Andrew Trewin, Jessica Serio, Justin Crossley, Karen Hansord, Ryan Partridge, and Tijana Simich, Back to Eden has three more shows at the Drama Workshop, Murdoch University, 7.30pm Friday and Saturday with a 2pm matinee on Saturday as well. 

Ruben Guthrie - Hayman Theatre Company (6 August 2014)

What is the true nature of addiction? What is its source? Genetic? Peer pressure? Lack of willpower? A crutch for doubts and fears? A feeling of invincibility? All of these things? None of them? Can we truly overcome addiction or do the answers to the above questions ultimately determine who we are and what our fate is no matter how valiantly we struggle against our demons?

This is the dark territory Ruben Guthrie tackles, specifically alcohol abuse. It doesn’t pull any punches as it points a white-hot spotlight at the title character and examines his flaws, warts and all. It would be easy to call this a cautionary tale but this is not didactic, it doesn’t preach, and there are no easy answers. The play is more observational and a true character study. In many ways the play is as flawed as Ruben himself but ultimately it is a powerful piece that will linger, its closing moments quite haunting.

So who is Ruben Guthrie (wonderfully played by Nathan Whitebrook)? In a boisterous opening we discover he is a high flying ad executive who has been lauded for the fourth year in a row for yet another brilliant commercial. As a result he goes on a legendary bender which ends up with him diving off a rooftop into a shallow wading pool and breaking his arm. His model girlfriend, Zoya (Amy Johnston) is none too impressed and returns to Prague leaving Ruben alone in an apartment decorated by booze. He sets out to tackle his addiction to the bottle but is challenged every step of the way. Ray (Jarryd Dobson), an executive from Ruben’s advertising agency, alarmed at his decline in creativity as he goes dry, urges remedial action via Vodka. Ruben’s father, Peter (George Ashford), an alcoholic himself, is none too impressed as he admonishes his son; and a friend newly arrived from overseas with a bagful of duty free alcohol, Damian (Sean Guastavino), isn’t helping matters. Yet Ruben perseveres finding a sponsor in Virginia (Roisin Bevan) who he eventually becomes engaged to. Things are going well until events - and his Mum (Eleanor Davidson) - conspire to plummet him back into old habits with calamitous results.

In many ways this tale reminded me of Denzel Washington’s alcoholic pilot in the movie Flight. The character is who he is and despite all his best efforts cannot change that. The fact that Ruben does so well in resisting all the temptations and judgments put before him in the middle section of the play makes the last third tragic, heartbreaking and, at times, difficult to watch. In the best possible way.

Whitebrook is excellent in the title role – charismatic, boisterous, blokey, needy, at times remorseful, fearful, exuberant, vulnerable – he plays the part with great energy and physicality. I must admit I think he did his best work in the quieter moments – the story of his high school friend and protector Corey, a particular highlight; but also as he wonders out aloud whether his condition is hereditary; and when he discovers the consequences of his Dad’s own addiction. Then there is his decision – a brief flicker of faint hope in the face of tragedy - in the very closing moments where he is beaten down and dejected that really will linger with you. The sequence where he falls off the wagon is heartbreaking because, as unlikable as he is at times, we do care and empathise with his plight.

Johnston convincingly plays the leggy young model who grew tired of his antics and her character really is the catalyst both for Ruben’s sobriety and eventual lapse. Dobson adds real humour as the smarmy ad exec with his love of classic Australian advertising jingles and exhortations to Ruben’s vanity and pride. Bevan is initially a much grounded foil for Ruben’s affections but a late character change that nudges her into ‘crazy’ territory, while well conveyed, seemed more plot mechanics than organic.

Guastavino plays the gay friend with a balance between comic sensibility and Ruben’s ‘darker angel’ without teetering into caricature. I was obviously sitting next to friends of his who found the more homo-erotic sections worthy of tittering like schoolgirls over (it’s called acting, lads) which was unfortunate however Guastavino and Whitebrook handle those moments well. Davidson has a tricky role as it’s clearly a much older character but I also found the mother’s motivations and actions difficult to understand, especially a late scene where she attempts to cajole her son into drinking. Finally, Ashforth gives a nice turn as the Dad even though there were times I also questioned his treatment of Ruben. But maybe that’s the point – perhaps it’s the ones who love us most who are the worst enablers?

Ashforth is also notable because, yes, there was The Ruben Guthrie Band, a five piece outfit playing in the wings of which he was a guitarist and singer. The other band members were Eloise Carter, Keith Ong, Jack Middleton and Jordan Norrish. They sang the aforementioned jingles but also classic pop and rock songs (Faith, Toy Soldiers, Summer of 69, Eternal Flame) that added vibrancy to proceedings. The set was awash with neon signs and a whole back wall of alcohol with a well-worn lounge chair the centrepiece.

Not everything worked for me – the play settled down after the (perhaps overly?) exuberant opening and it was the Corey tale when Ruben recalls why he first started drinking that was the actual hook to engage me. The play felt a little long and with no intermission was a solid two hours. The mother, as mentioned, was a problematic character especially given the revelations about the family history. Zoya’s return coincided too clinically with Virginia’s character turn, itself a little arbitrary, to be anything other than plot driven. There were also times when the writing felt too clever – some of the language (“discombobulated”) seemed out of character; there were sly writer’s gags including Zoya telling Ruben to talk in subtext if he was going to be a novelist that came from nowhere; and other 'knowing' reactions off (mis)interpretations of words. All that said though, this is a very strong character study with no easy outs that will make you squirm and make you think. For that it is to be applauded.  

Written by Brendan Cowell, Directed by Mark Storen and starring Nathan Whitebrook, Amy Johnston, Roisin Bevan, Sean Guastavino, George Ashforth, Eleanor Davidson and Jarryd Dobson, featuring The Ruben Guthrie Band of Eloise Carter, Keith Ong, George Ashforth, Jack Middleton and Jordan Norrish, the play has three more performances this Thursday, Friday and Saturday nights, 7pm at the Hayman Theatre Upstairs. 

The Great American Trailer Park Musical - Roleystone Theatre (2 August 2014)

There are times when a production takes you completely by surprise. I’m not exactly sure what I was expecting with a show billed as ‘Desperate Housewives meets Jerry Springer’ but what I ended up seeing was raucously funny, well performed, and a riotous show that had an enthusiastic audience a-hollerin’ and a-whoopin’ on a chilly winter’s night.

What impressed me most is that beneath the raunchy and crass exterior that poked fun at the ‘white trailer park trash’ stereotype there was an underlying sweetness and genuine affection for these characters. These people may be flawed and make bad decisions but ultimately they are more than just stereotypes as they deal with the circumstances they find themselves in. Sure, there’s plenty of craziness along the way, narrated in hilarious fashion by the trio of Betty (Cicely Binford), Linoleum (Cassie Skinner) and Pickles (Therese Cruise) but it’s the central relationship between Jeannie (Joanna Tyler) and Norbert (Mitch Lawrence) that is the heartbeat of the show. They live in Armadillo Acres, a trailer park in Florida. The metaphor of the entrenched mobile home is an apt one – they could move on if only they chose to but habit more than anything keeps them locked in place.

Their marriage, already strained due to a past tragedy that leaves an agoraphobic Jeannie confined to their trailer, is tested further with the arrival of a stripper on the run, Pippi (Caroline Perks). Norbert, frustrated by Jeannie’s inability to step outside her self-imposed comfort zone, finds his own comfort in the arms of Pippi causing havoc in the close-knit community. To complicate matters further, Pippi’s crazed, texter sniffing boyfriend, Duke (Tom Hutton) is on his way from Oklahoma City looking for her. The second act gets a little messy as the plot machinations play out but I was well and truly on board after a stellar first act.

There was a pre-show warm up – audience participation was encouraged – and I must say we were in fine voice. As were the performers – the singing was of a high quality throughout with Cicely Binford, Joanna Tyler and Therese Cruise particularly impressive. Binford, Skinner and Cruise are a riot as the trailer park denizens who set the scene and comment on events with more costume changes than a Cher concert. The cast also sport a spectacular collection of wigs which is a sight to behold especially during the Finale. Norbert, who ostensibly is a schmuck for cheating on his wife, is played with such earnest, aw shucks charm (“ham sammidges!”) by Mitch Lawrence it’s hard not to identify with his dilemma and human frailty.

Joanna Tyler gives the key performance though as she grounds the whole thing playing a woman crippled by fear and doubt who is stuck in one place like the trailer she lives in. Crucially though she wants to be better which makes Norbert’s betrayal all the more devastating… yet is also a catalyst for her eventual ‘mobility’. Caroline Perks is a striking presence as Pippi, playing the stripper as both confident of who and what she is but also resigned to her fate as a storm of judgement besets the character. Then there’s Tom Hutton who threatens to steal the show as the unhinged boyfriend, all redneck machismo and stupidity.

The songs are terrific with clever lyrics that are pointed and funny. The band was a little muted playing behind the middle trailer of the set which is unfortunate as they appeared in rocking good form.

Highlights included a spot on roasting of the Jerry Springer style show in The Great American TV Show with cat fights and all; a beautiful rendition of Owner of My Heart, a sweet number between Lawrence, Perks and Tyler that betrays the affection beneath the boisterous mockery; the closing number of the first act, Storm’s A-Brewin’ with Binford nearly bringing the house down; the deliciously black Road Kill as Duke speeds towards the trailer park taking out everything in his wake; and I was quite taken by Tyler’s Panic as a song that reinforces her character’s predicament. The show ended to well earned, thunderous applause and I thoroughly enjoyed this rollickingly entertaining production.

Directed by Lorna Mackie, Musical Direction by Krispin Maesalu, with Music and Lyrics by David Nehls and a Book by Betsy Kelso, The Great American Trailer Park Musical, starring Cicely Binford, Cassie Skinner, Therese Cruise, Joanna Tyler, Mitch Lawrence, Tom Hutton and Caroline Perks has only two more shows, on 8pm, 8th and 9th August at the Roleystone Theatre. Plan a rendezvous ("that's French for..." you know what, I'll let you discover the answer to that...) out at Roleystone – it’s more than worth it. Just watch out for any bunny rabbits on the way!

Lovers: Losers - The Irish Theatre Players (27 July 2014)

Firstly, I must apologise to the cast and crew of the second play under the Lovers banner, Winners. I had felt unwell during the first play and a dash outside for some fresh air during intermission – bypassing what I’m sure was a lovely supper – didn’t improve the situation. Discretion became the better part of theatrical valour as I headed home. It turns out I am a Loser…

Which is a, um, nice segue to the first play presented at the Irish Club in Subiaco…

Andy (Rory Buckley) is cursed by his mother-in-law, the widow Mrs Wilson (Clare Wilson), who has been firmly ensconced in the upstairs bedroom since her husband died three (or was it four?) years ago. She has the infuriating habit of ringing a bell whenever Andy and his wife Hanna (Katie Toner) are too quiet for her liking. This sits none too well with Hanna who resents being at her mother’s beck and call. It also means the married couple need to find creative ways to spend some quality time together which involves the loud recitation of poetry whilst engaging in less literary activity. Not that the pious widow and her equally religious friend, Cissy (Siobhan Wright) would condone such things. Andy takes great delight in the news then that Saint Philomena, Mrs Wilson’s idol (in more ways than one), has been disgraced leading to a drunken and humorous confrontation. But in the end this frustrating arrangement survives making everyone a loser of sorts.

The set is basic with a couch depicting the downstairs lounge room and a bed (hidden by half the stage curtain when not required) representing the upstairs bedroom. Buckley directly addresses the audience as Andy tells his tale of woe and while he gives an amiable enough performance I found his Irish accent very thick. I suspect I also missed some of the subtlety in the humour with references I was unsure of. Wright and Wilson are very much supporting players but are suitably chaste and aghast as required. Toner injects some real zeal as Hanna, a role I believe is written to be much older. Having seen her in So Much To Tell You it’s clear she is very good at playing feisty which is what is required here as well. While talented, I would be very interested to see her in a ‘quieter’ role next outing with more subtlety and less bluster.

It was a full matinee audience and with many Irish accents in evidence I’m sure the play resonated more strongly with the locals. The only downside with the numbers was that the seating arrangements were pretty tight and a tad uncomfortable getting to and from. There were appreciative chuckles throughout the play but it was neither a true comedy nor drama, rather a wry exploration of a couple’s misfortune which seemed to have no end in sight. But then that appeared to be the point.

Written by acclaimed Irish dramatist Brian Friel and directed by Bobby Greaney, Lovers (Losers) starred Rory Buckley, Katie Toner, Clare Wilson and Siobhan Wright.

The Jones/Woods Holiday Special - Holland St Productions (26 July 2014)

Back in a time before digital music downloads there used to be something called an ‘album’. This was a collection of songs played in a pre-determined order. Quaint, I know! This led to what was known as the Greatest Hits album where the best songs of a band or artist over their career were brought together onto the one record. Or what young people today call a ‘playlist’. Usually, to release a greatest hits album, you’d have to have a sustained period of success…

How audacious then for Messrs Jones and Woods to put together a showcase of their ‘greatest hits’ for two performances only at the Hackett Hall in Floreat. Billed as The Jones/Woods Holiday Special the evening was a collection of original musical theatre songs written by Tyler Jacob Jones and Robert Woods and performed by them with a little help from their friends. Except audacious is a perfect word to describe this duo and they have both the talent and material to more than pull off such an evening. In fact it was a stunning and hilarious night that had the audience stomping and clapping in approval.

I was fortunate enough to see the final show of Point and Shoot at this year’s Fringe Festival, a musical that deservedly won the Artrage Theatre Award for Best Theatre Production and the coveted Martin Sims Award for Best New Western Australian Work. They had taken out the Artrage award the year before for Falling to the Top, a musical featuring The Divalettes, a group on the comeback trail with their appearance here (a chapter that will surely make its way into the annals of pop music history). I had also been impressed with Jones’ Finley Award nominated role as the lead in the musical Curtains as this very venue last year. It’s fair to say my expectations going in were high. It’s also fair to say they easily cleared that bar.

Three things that immediately struck me during this show – the showmanship on display (the chemistry between Jones and Woods is impressive as they introduced each segment, bantered, mock-argued, made-up and, at times, genuinely amused each other); the brilliance of the songs which are smart, incisive, clever, and outright funny; the absolute affection they have for not only musical theatre but also - and this was what I didn’t know but should have guessed at from Point and Shoot - feature films. There is a perfect fusion here between those two passions – film and musical theatre – and it’s a potent mix.

This was highlighted with a punctuation point in the closing section of the evening when they presented a new, short piece Gravity the Musical, a film Woods described as the greatest ever and bemoaned the fact it didn’t win the Best Picture Oscar. Brianna Williams gave a pitch perfect performance as ‘Sandy’ with St John Crowder as ‘George’ and Jones himself as the third astronaut whose name nobody remembers and, donned in a blonde wig, Sandy’s daughter. The lyrics here are so incisive as they lovingly pay homage to the film but also mock it mercilessly (the lack of ‘Sandy’s back story other than she had a daughter… who died; and the massed company imploring  Sandy that “she can do it” satirising the film’s ropey second act turning point). This is a Fringe Festival show and lawsuit waiting to happen. But, oh my, it was jaw-achingly funny.

There were so many other highlights as the duo presented their back catalogue – a Japanese version of Lookamalips from Falling to the Top performed by kimono-clad Ichina Parker while The Divalettes looked on unimpressed; Jones singing the witty You’ll Do from Zombie Girlfriend, and an aching lament to Ashley Judd for never winning an Oscar; a roaring 80’s style pisstake, One Heart, from the duo’s Moviefest Extra entry Dragon Conquest, belted out by Ann-Marie Biagoni with a little help from Robert Woods and an over-the-top dual saxophone solo that was hilariously on point; the wistful Absolute Perfection from Point and Shoot which is perhaps my favourite of their songs, beautifully sung by Tamara Woolrych; You’re Insane from Robert Woods’ solo musical theatre exploit, Delicious House, featuring Timothy How and Tamara Woolrych; Paul Spencer’s rendition of Astronaut as a rhyme-challenged Woodsman; and Woods singing an excerpt from Jones’ Year 12 essay on the film American Beauty chosen at random by an audience member.

Phoebe Jackson was featured in two numbers, I Want To Fly (from undoubtedly the definitive Peter Pan adaptation) and Awful Folk from The Amberly Show. The Divalettes (Breeahn Jones, Kimberley Harris, Mariaelena Velletri and Claire Taylor) also had their moment to shine with a sassy reprise of Lookamalips. The ensemble from Point and Shoot (Jones, Woods, Woolrych and a wonderfully zany Erin Hutchinson) ran through four songs from that show and perhaps the biggest applause of the night was for youngster Rhylan Bush who played Captain Hook in I Want to Fly. David Gray rounded out the ensemble with vocal support on numbers such as the deliciously black Zombie Girlfriend and, if I'm not mistaken, was on keyboards at one point. 

This company of talented performers clearly relished working with such quality material and, again, there was real chemistry between them all. The fact that the show was put together with something like only three weeks rehearsal time is testament to their abilities. The audience response was as enthusiastic as anything I’ve seen in Perth – foot stomping intensity in fact! 

Robert Woods and Tyler Jacob Jones are a duo to watch. They are touring the eastern states in a couple of months and I expect that they will break and break big – there is too much creativity, invention, and sheer chutzpah for them not to. On the evidence of this fabulous showcase theirs are names we’ll be hearing a lot of in the future. 

The Trials of Robin Hood - Murdoch Theatre Company (19 July 2014)

Robin Hood has been an enduring figure for centuries; through ballads, poems, stories and more recently, a raft of films and television series. From Errol Flynn to Kevin Costner, from Mel Brooks’ shtick in Men in Tights to the dour treatment by Ridley Scott and Russell Crowe who managed to make one of the most famous outlaws in history grim and dull. He is nothing less than fascinating and perhaps the ultimate anti-authoritarian symbol.

But who really was Robin Hood and what was the actual reason he stole from the rich to give to the poor? Thankfully, Ridley and Russell aren’t involved in this very amusing, Rashomon-style exploration of the myth, the legend… and the man who made Lincoln green a fashion sensation.

The ‘trial’ is presided over by King Richard (Mike Casas) newly returned from The Crusades. The ‘stout and lusty’ Robin Hood (Michael Davies) stoutly and lustily recounts his exploits from the time the King left for the Holy Lands and includes all the well-known moments as Prince John (Scott McArdle) runs amok, the Merry Men are assembled in Sherwood Forest, the rich are relieved of their wealth, and Maid Marian (Harriet Fettis) becomes the object of Robin’s, um, stoutliness and lustiliness-ness. Yes, this play surely must hold the record for the use of the words ‘stout’ and ‘lusty’ and variations thereof!

In this version, Robin paints himself as the just yeoman who defies the tyrannical John and his henchmen led by The Sheriff of Nottingham (Tom Dimmick). Robin is ultimately responsible for freeing the King from his captors, raising the King's ransom by infiltrating Nottingham and winning an archery contest... and, of course, winning something far more precious - Maid Marian herself. 

But wait!

Marian isn’t quite on board with all these details. In her version of the famous tale, it’s Robin’s infatuation with her beauty that drives him to acts designed to impress the fair maiden and ultimately win her hand. A lovelorn Robin mopes around Sherwood Forest until inspiration arrives in the form of the, not so much merry men, but Marian’s hand maidens in disguise. The whole redistribution of wealth thing was simply a ploy you see… in the name of love. Cue Bryan Adams lyrics.

Not so fast!

As the King himself notes, The Sheriff of Nottingham hasn’t come off too well in the previous versions. He sets the record straight in the final telling of the story. When the King sets off for Jerusalem, Prince John is left in charge and immediately raises taxes and prohibits the killing of the King’s Deer (Claire Tebbutt). According to The Sheriff, Robin is a simpleton who shoots the deer (to the lawman’s howls of anguish) and becomes an unwitting part of a ploy to nobly free the King. Such an environmentally conscious and loyal man this Sheriff is!

Ultimately the King addresses the audience and the true version is decided by their applause. At today’s matinee it seems the last few centuries of storytellers owe The Sheriff of Nottingham a huge apology, Robin Hood you dumb schmuck.

It’s all great fun with women disguised as men; Robin at one stage hilariously disguised as a woman called, well, Robin; kung fu fighting nuns; lustily fought battles with bamboo sticks; plenty of wordplay and puns; modern day musical cues and attitude and, generally, crazy antics all round.

Michael Davies is excellent as Robin playing three very distinct roles – the hero, the lovelorn sap, and the simpleton. He is a real crowd pleaser and received enthusiastic applause at closing bows for his engaging portrayal. Scott McArdle gives a wonderfully scenery chewing performance as the over-the-top Prince John while Harriet Fettis is a delightfully commanding and feisty object of desire not only for Robin but also Guy of Gisbourne (Hock Edwards who gives a funny, gangster style flourish to the rival suitor). Tom Dimmick quietly excels as The Sheriff and his Pacino-style-Godfather Part 3 howl of anguish over the deer’s death was a highlight. The supporting cast all give amusing performances with all kinds of inspired against-type casting such as Shannon Rogers as Friar Tuck and Chelsea Kunkler as, yes, ‘Willa’ Scarlet. Tebbutt’s deer was funny in each strand even though her demise is assured every time and Phillip Hutton has his moments as the Herald and human archery target.

Director Rachel Doulton and her crew have put together a fun show with colourful costuming and energetic staging with simple use of backdrops and lighting to create the world of Sherwood Forest and Nottingham. It is funny throughout and the conceit of having three separate points of view adds freshness to the well-known story.

It was great to see such a good crowd at the Saturday matinee with many children in attendance. There was a lovely moment after the show when an excited young boy rushed up to Scott McArdle who was still in his Prince John costume. That the boy’s sister scooted straight past Scott to greet Harriet Fettis in her stylish gown was even more delightful!

Written by Will Averill, Directed by Rachel Doulton and starring Michael Davies, Harriet Fettis, Mike Casas, Tom Dimmick, Scott McArdle, Hock Edwards, Jack Connolly, Kyle Blair, Ryan Partridge, Tym Sanders, Launcelot Ronzan, Chelsea Kunkler, Tarryn McGrath, Tijana Simich, Shannen Precious, Phillip Hutton, Claire Tebbutt, Jess Serio, Meagan Dux, Bob Morshidi, Shannon Rogers, Jenia Gladziejewski & Karen Hansord, there is only one more show left at Murdoch University’s Nexus Theatre, Sunday 20 July at 1pm.

Confessions of a Pyromaniac - The Blue Room Theatre (10 July 2014)

The power of expectation is a curious beast.

‘Confessions of a Pyromaniac’ is such an evocative title especially in a country where deliberately lit bushfires cause havoc and tragedy every fire season.

The poster is intriguing.

The synopsis I read online refers to a ‘recovering pyromaniac’; ‘confessions’ promises revelations and secrets.

All elements that are like dry tinder waiting for a spark to ignite them into action.

A spark that never comes.

Sometimes expectations can be misleading.

Don’t get me wrong, it’s a solid play but it’s not anywhere near what I expected based on the title, the poster and the synopsis.

Sure, there is a phrase that is repeated a few times, “Light it up or burn it down” but that’s the extent of the pyromania.

Instead, this is a story about sibling rivalry and the conflict between talent and mediocrity. The ‘pyromaniac’ in question is Chris (Stephanie Somerville) who has lobbed unexpectedly at her brother’s place in Sydney. He is Max (Matthew Cooper), a published writer of children’s books who is having trouble finishing his latest fantasy installment. She is a washed out playwright who drinks too much and has no time for people who tolerate the mediocre like (according to Chris) Max himself and his fiancé Sarah (Katya Shevstov). Then there’s David (Calen Tassone), a university student and photographer who lives with Max and Sarah. He fancies Chris and she quickly leads him astray as she disrupts the normal state of these people’s lives.

In some ways this reminded me of Zak Hilditch’s feature film The Actress, famously made for only $700, where a disruptive force causes chaos in a shared house arrangement. Yet where the antagonist in that story was deliberately manipulative and calculated, Chris is more an annoyance that rubs everyone up the wrong way. She tells David he doesn’t need to go to university to unleash his talent and that he should travel the world instead. She is scornful of Sarah’s office job and most of all she mocks her brother’s writing talent.

She rebukes him after he (amusingly) suggests that they write together – his fantasy worlds full of dragons and her penchant for politics and violence unlike anything seen before! [Congratulations to the audience member sat behind my left ear who whispered ‘Game of Thrones’ in case anyone didn’t get the joke.] He constantly pleads to know “how it ends” and we discover that their dead father was, according to Max, a storyteller and is the author of the “Light it up or let it burn” phrase. Chris has a different interpretation on what their father was and blames Max for leaving her behind in Perth when he went to Sydney.

This is well acted with Cooper (also the writer) a charismatic presence; Somerville’s Chris both dismissive and impulsive; Shevstov’s Sarah a concerned and practical foil; and Tassone imbues the young university student with wide eyed naivety and sweetness.

The changes in the relationships and the power hierarchy, however, felt too abrupt and too clinical. Chris starts as the woman who always needs a drink in her hand to the one who refuses a toast as Max descends into booze and pills. Their diametrically opposite character arcs are almost too perfectly constructed. The angry rift between Max and Sarah felt manufactured to generate maximum conflict and David’s change of allegiances was somewhat jarring. This may be due to the fact that at only an hour’s duration it’s difficult to convey such seismic shifts organically.

The other query I have is around the Chris character. She may be the Amadeus to Max’s Salieri but there is no evidence of this until late in proceedings when she receives a paid commission for a new play. I never saw the talent that gave her the moxie to belittle those around her.

Having said that, the dialogue is good and there was much to like here including the acting and a sparse but effective set that looked like a typical back porch in some outer Sydney suburb. While the play was not what I expected it did provide an interesting look at a sibling rivalry that revolved around writing and storytelling and that is to be appreciated.

Confessions of a Pyromaniac, Produced and Directed by Shakara Walley, Written by Matthew Cooper, and starring Matthew Cooper, Katya Shevstov, Calen Tassone, and Stephanie Somerville is on at The Blue Room until 19 July.