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!

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. 

West Side Story - WAAPA (19 June 2014)

There are times when you can sense something special is about to happen; a certain electricity in the air, a tingling sensation, a premonition almost. This elusive feeling is even more powerful when it’s a shared experience. Like sitting in a theatre as it slowly fills; watching performers warm up on stage; hearing the orchestra go through their own pre-show preparation; seeing the smoke drenched set and lighting arrays;  listening to the excited chatter of the audience; taking in the smiles of enthusiastic ushers as they help people to their seats.

Suddenly there is the polite announcement about photography and electronic devices. Then absolute quiet. For all of about a second. A shared hush of expectation that is as exquisite as it is fleeting… before the musical director’s baton descends and a lone performer walks on stage and we’re away.

It’s not a feeling I get often but the buzz around WAAPA’s mid-year showcase production at the Regal Theatre has been enormous and I was hoping, expecting, pleading for magic and that’s exactly what was delivered – magic of the most potent kind. If you had told me that baton was a wand I would have believed you.

This is a huge and wildly ambitious production by WAAPA and they’ve thrown everything at it – from a cast of 40 drawn from the second and third year musical theatre students to a 26 piece orchestra, again populated by WAAPA Music students, to the skills of their Production and Design students – the quality and attention to detail in every department is evident. This is nominally a student production but it looks and sounds like a professional, big budget musical. This is a triumph for all involved. 

The set is ingenious with four ‘towers’ (comprising scaffolding, platforms and stairs) that move, often during scenes, but fit together in different combinations to form various locations and are the centrepiece for many memorable moments such as the Balcony Scene. The intricacies of the staging seemed effortless but would have taken many, many hours to get so seamless especially with the number of performers involved.  

The lighting is wonderful and I’m told those towers were actually made of wood but lit to look like metal. It certainly had me fooled. The costuming is colourful and distinctive, clearly delineating the Jets and the Sharks as does the impressive work on the diverse accents, notably for the Latino Sharks. The orchestra was in ripping form and musical director David King definitely had a talented group at his disposal. Choreography by Lisa O’Dea was vibrant and energetic - the cast tear into set pieces like America and Gee, Officer Krupke with real verve. Director Crispin Taylor has attacked this with imagination and flair and the results show in all these elements.

Then there is the cast.   

WAAPA is rightfully proud of its status as one of the top performance academies in the world. When you see that talent arrayed on stage in such a challenging and acclaimed musical you come to understand how very true and earned that status is. They were superb. From the leads on down to the ensemble, from their vocal ability to the slick dancing, you sit back and marvel at the sheer talent on display. The greatness of West Side Story is it presents many different facets for them to explore – at its heart it’s a very dark piece but also sexy, vibrant and fun. There is a joy and exuberance here that is eminently watchable and, of course, there are many wonderful songs that are simply classics such as Maria, Somewhere, America, and Tonight.

William Groucutt nails one of those (Maria) and was a very likeable Tony. Miranda Macpherson shines as Maria and her chemistry with Groucutt is good especially in the more playful moments. Suzie Melloy gives a star making performance as the feisty Anita – she is simply superb and a real charismatic presence. Patrick Whitbread’s Riff and Lyndon Watts’ Bernardo are both suitably strong as the leaders of the respective gangs and the physicality of the male roles was impressive. Jacob Dibb plays the key role of Chino (especially in the darker second act) while Daniel Berini and Nick Eynaud add light comic relief as Detective Schrank and Officer Krupke. Shannen Alyce takes lead vocal on Somewhere to great effect which is a highlight as the amassed cast join in. 

The third years will graduate soon and on the evidence of this and Hair earlier in the year we’ll be hearing a lot more from most if not all of them. The second years gave an exciting glimpse into 2015.

This truly was a spectacular production and WAAPA’s presence on the Perth theatre landscape is an ongoing joy. West Side Story, directed by Crispin Taylor, Musical Director David King and Choreography by Lisa O'Dea, has only three more performances, 20-21 June. If you can get a ticket this is a not-to-be-missed show. 

Realism - WAAPA (17 June 2014)

Ever have one of those Saturdays where you simply can’t be bothered? Hanging out with your mates, playing footy, none of it has any inspiration for you? You just want to mope around, watch the tellie, do some washing and pretty much that’s it.

That’s the predicament we find Liam (Liam Maguire) in when he tells his mate “Solley” (Adam Sollis) to bugger off in the opening minutes. Yes, the play allows for the actors to retain their own names, one of many quirks. For you see, Liam is about to spend the day preoccupied with three women and a surly cat. Not in any conventional sense mind you, oh no.

Liam brings images from his television set to life; recalls memories about his parents, notably his mother (Alexis Lane); reminisces about his first love, Harriet (Harriet Davies); and pines for his most recent girlfriend, Kirsty (Kirsty Marillier) who he inexplicably broke it off with even though he loves her. Then there is the cat (Sollis again) who in typical feline fashion treats Liam as an annoying pet. He is egged on by his hyperactive alter-ego, Alfie (Alexander Frank) while Ben Kindon plays his father.

In essence this is a series of set piece scenes that vary from the realistic to the surreal, held together by a very engaging central performance from Maguire. He is blokey, charming, mischievous, excitable but also introspective when required. It was billed as “in yer face” theatre and, sure, there is plentiful use of the C-bomb, simulated sex, partial nudity, and other antics but I didn’t find any of this confronting as it’s wrapped in an imaginary world with no real consequences. Not even the television inspired murder re-enacted in Liam’s mind with him as the victim. 

It is laugh out loud funny in moments – many moments actually – and works better in its frenetic ‘dreamscape’ than in any realism depicted such as Liam making breakfast or Liam getting dressed which is all very languid. There is some attempt at poignancy in quieter scenes and even a little pontificating about love but this felt slight when the real reason he ended the relationship with Kirsty is revealed.

The acting is good and the cast certainly throw themselves at this full tilt. Sollis has scene stealing moments not only as the cat but as a telemarketer with cerebral palsy (the humour is politically incorrect and deliciously black at times); Lane gives a spunky performance as the Mother; and Frank literally jumps out of his skin in a very physical performance. Davies unveils a superb singing voice in a key sequence and is fearless in one of the raunchiest scenes involving a toilet seat and, well, two other people. Marillier is an enticing Kirsty who Liam impatiently waits to call while Kindon has the least flashy role as the father.

Highlights are a show stopping musical number where the lyrics could most politely be described as ‘colourful’; the whole telemarketing sequence which starts off as a verbal exercise where Alfie cajoles Liam into abusing the caller only for Liam’s mother to announce the telemarketer has arrived in person… in a wheelchair with some lovely sight gags and appropriate humiliation; the surprising appearance of the mother in an unexpected place as Liam does his laundry; Sollis’ disdainful and surly cat; and there is a lovely use of a working shower of sorts as Liam tries to understand his emotions towards Kirsty. One of the stagehands (who are used as de facto characters) even has a conversation with Alfie about her job which is all very clever and self-aware.

I can certainly say I laughed throughout but I found the play as a whole uneven and occasionally perplexing (carrots anyone?). Ironically it works best when it’s not depicting realism at all. It’s the inventiveness and sheer craziness of Liam’s interior world that is fascinating. If the point is we can find the fantastical even in the most mundane of things then it hits its mark but that didn’t seem to gel with the conclusion to the relationship drama at the heart of this.

Written by Scottish playwright Anthony Neilson and Directed by Anthony Skuse, Realism is on at The Roundhouse Theatre until 19 June.

Coincidences at the End of Time - Second Chance Theatre (12 June 2014)

The apocalypse is upon us my friends! Meteors plummet into populated areas. Giant crocodiles that may (or may not) be Godzilla that may (or may not) be the American or Japanese version that may (or may not) breathe fire are on the rampage. Bodies litter the streets.

Relief is at hand for Peter who has found refuge in a quiet café at the end of the world. It’s not quite the Restaurant at the End of the Universe but it certainly is a welcome respite from ‘out there’... until a blood spattered woman, Rachel, enters… who happens to be Peter’s ex. Not just any ex as we’re about to find out but what could be best described as ‘The One’ as he is for her.

The night time temperatures may have been plummeting in Perth but that’s nothing to the frosty reception these two initially give each other. But time is running out and what else is there to do but talk about the past, both good and bad, and re-examine two lives once so intimately entwined?

Writer Scott McArdle (who plays Peter) isn’t so much interested in the apocalypse other than to use the concept of the world ending as a context to explore these two people and their relationship over the course of a lifetime. There is no future for this couple but this also gives them the freedom to share experiences and memories; some for the first time, some joyful, some painful, some full of doubt, regrets and even perceived betrayal.

In effect, we witness a series of flashbacks – ‘landmarks’ in their journey together. The conceit here is that they choose what ‘scenes’ to reenact - the first meeting, moving in together, work issues, significant highlights but also notable lowlights that point to the antagonism portrayed in the present. Revelations are disclosed towards the end that lends further poignancy.

McArdle is good as the rumpled, fatalistic Peter but it’s Emily David as Rachel who really shines in a nuanced performance – angry, loving, playful, morose – her character is the one who thought she might live forever yet discovers ‘forever’ has a used by date. The sequence where she is alone on stage including holding an ‘imaginary breakfast’ with Peter is very well performed.

The transitions between the present and the flashback scenes are aided with minimal costume adjustments, lighting (essentially naked light bulbs) and original music composed by Drew Krapljanov who is putting together an impressive list of scores including The Pillowman earlier in the year and SCT’s very own Bye. Gone. It’s the acting, however, that clearly delineates the various timeframes as mood changes are beautifully conveyed.

The dialogue is very strong and everything is paid off nicely – from the reprising of lines (no, I’m not mumbling) to the reward of earlier set-ups as we discover what happened after they split up and, perhaps more importantly, what they hoped might have happened. Scott and Emily have good chemistry together, essential as there is real closeness in the physical nature of their early flashback scenes. There is a wry sense of humour throughout.

The only query I had is when other characters are portrayed – a Doctor and Rachel’s mother. The conversation between the Doctor and Rachel signifies a substantial change in POV for the first time (in that it’s not a shared recollection between Peter and Rachel); the latter is almost a Python-esque style sketch that was tonally jarring.

This is an intimate examination of a couple so the choice of venue, an actual café in Fremantle, adds to the ambience. Seating only thirty I was a mere metre away from the action in the front row. There was no place for either actor to hide and they did a wonderful job.

Written by Scott McArdle and co-directed by Scott and Emily David, Coincidences at the End of Time is being staged once a month at the Moore & Moore café in Fremantle until September. Next performance is 10 July at 7pm and the play runs for approximately 45 minutes. 

It's All Greek To Me - Old Mill Theatre (11 May 2014)

There I was hanging around in the bar at the Old Mill Theatre not long after today’s matinee had concluded. In strolls the writer, Mister Noel O’Neill. We clock each other, exchange “I haven’t seen you in a long time” pleasantries and (in surely a moment of weakness) I buy him a beer. Chink of glass before we go outside to sit in the glorious Mother’s Day sunshine to have a chat.

Part of the discussion is how prolific Noel is as a playwright but more to the point, how he has two emerging strands of play – the more serious fare (Under Any Old Gum Tree, Holly and Ivy) and the ‘kitchen table comedy’ of which It’s All Greek To Me is clearly a member and includes the two part trilogy (come on Noel, surely there’s a third in you!) Confetti from Graceland and Spaghetti and Graceland. 

These are quite literally set around the kitchen table (an excellent set today) and involve the squabbles and heightened comic-drama of a family in some form of domestic flux. 

Here it is the philandering Nicky Plankos (Kim Taylor) who cheats on his wife Athena (Vivienne Marshall) with the seemingly insatiable Circe (Nada Dilevska). His life is complicated by dim-witted son Dimitri (Cameron Leese), pregnant daughter Jenna (Valerie Dragojevic), and the antics of the suspicious Athena who has a propensity for flinging herself off the roof. Add a curse put on him by Circe and the arrival of his cousin Stavros ( Emilio Evangelopoulos) from Greece expecting to find a beautiful wife waiting for him and Nicky has his hands full. There’s nothing for it but to call in the shonky oracle Andronokos (Rex Gray) to help find the girl of Stavros’ dreams. Will it be Katarina (Jessica Stenglein) who arrives to tell Nicky she doesn’t want to be there?

Well, no, it won’t but everything is tied up neatly, the curse is lifted and everyone lives happily ever after whilst dancing off stage to the exit.

If you’re looking for a searing exploration of the human spirit then this ain’t it. If you’re after a couple of hours of fun entertainment then you’ve come to the right place. It’s no doubt that this is a crowd pleaser as the happy murmur of the audience attests to after the play finished. Noel was called away from our chat as a group of people wanted to tell him how much they enjoyed his writing. Ever the gentleman he was only too happy to oblige. Fair play, Sir.

The comedy has very much a 60's-70’s English vibe to it – a mix of Benny Hill, Morecambe & Wise with Kim Taylor compared to Michael Caine’s Alfie by more than one person and Stenglein inadvertently (as I later discovered) creating a female Frank Spencer of a character. There’s no doubt Taylor works hard in the lead role as he’s rarely off stage and uses constant asides to the audience and flourishes of physical comedy especially when he is mocking his son. Marshall is suitably shrill and melodramatic as the neglected wife and has some lovely sight gags with Leese as the son struggles to do basic tasks like wash his hands or feed himself. Evangelopoulos adds a shot in the arm with his stammering, lovelorn Stavros while Stenglein’s brief appearance is amusing.

While Noel was off talking with other audience members I went back inside to be greeted by the director who demanded, “Did I hear you laugh?” Given I am known for my distinctive laughter and propensity to use it I was somewhat taken aback. Gentle mocking on both sides ensued which is one of the things I love about community theatre - the relaxed nature and genuineness of the people involved.

The aforementioned person is Valerie Dragojevic who I know as a talented actor but is forging a career in directing with Holly & Ivy, Snow and Ash and now It’s All Greek To Me under her belt. I also had a chance to chat with cast members Vivienne Marshall and Jessica Stenglein, lovely people who, along with their fellow cast members, put on a fun show that runs until 17 May at the Old Mill Theatre in South Perth.   

Uncle Jack - The Blue Room Theatre (6 May 2014)

A young lad is sent by his father to a property in the bush to toughen him up one summer. Here he meets 'Uncle Jack' who is a World War 2 veteran still traumatised by the events of that terrible conflict.

When I was young, 8 or 9 I think it was, my paternal grandfather died. I don’t remember much about him other than he was a stern man and that I was most likely scared of him. What I do remember is that after he passed away the extended family descended on that house looking for booty, a sad indictment to be sure. Three discoveries that fascinated me, however, were: an anti-tank shell, the explosive hollowed out; his war medals; and a collection of newspapers from around the time of WWII stashed away in the long, dark (and I’m sure, haunted) porch that ran down one side of the house. I claimed the anti-tank shell as a prize though I didn’t really understand its significance at the time. We were a long way away from graphic depictions of war on both the large and small screens. But it was a tangible reminder of what my grandfather must have experienced.

I mention this as it was a strong recollection after watching Uncle Jack. Memories I hadn’t thought of in decades. That is the power of this play. Interestingly though, I was talking to a young man at the bar afterwards, himself a storyteller, who liked the play but felt it kept him at a distance as the situation depicted was not one of his experience. In this it may be a quirk of generational differences and I wonder what the girl’s high school group there on the night may have thought as well. For older generations it will no doubt have great resonance and meaning.

The play itself is more a character piece than a true narrative story. Uncle Jack (Quintin George) hits the booze as hard as he works the property and we see the source of his trauma in flashbacks to events in northern Africa, El Alamein and Tobruk prominent amongst them. He is a true Aussie cockie with a sly sense of humour who mentors young Douglas McNab (Ben Hall), the city slicker with the ‘sheila hands’. McNab has concerns of his own as his father (who Jack fought alongside) is disappointed in the boy. The expectations of the father weigh heavily.

As Jack teaches Doug the ways of the land and how to work it they slowly form a strong bond. Jack teases Doug about the ‘comely’ girlfriend who writes to him but it’s clear he misses his wife and own boys who remain in Busselton, another source of his alcohol fuelled pain.

George and Hall play off each other very well which is what makes this all work as basically it relies on the authenticity of their interactions in the absence of any traditional plot mechanics. George gives a very physical performance as the troubled mentor who knows his way about the bush but has constant demons lurking. He captures the larrikin spirit and ‘ocker’ in Jack but doesn’t shy away from showing his terror and vulnerability as well. Hall has the dual roles of the naïve kid who needs to grow up and the father (as soldier) in the flashback scenes. He also narrates the authentic wartime diary entries that allow insight into the northern Africa campaign. This gives Hall the opportunity to play stern and strong when needed; wide-eyed and, in many ways, sweet and exuberant, when dealing with Jack. The pairing works well.

The action takes place mostly on a dirt-filled, circular platform that revolves when the actors put their back into it, again emphasising the physical nature of the bush. The sound design is excellent in recreating the battles in the flashback scenes. There’s even a piano that adds texture to key emotional moments with Hall in particular showing off a fine singing voice, no surprise as both actors are graduates of WAAPA’s musical theatre program. 

Written by Ross Lonnie featuring extracts from Lieutenant Colonel William (Bill) Lonnie's real wartime journal. Directed by Soseh Yekanians, Uncle Jack is on at The Blue Room until 10 May.

So Much To Tell You - Garrick Theatre (4 May 2014)

How does one communicate without a voice? How does someone remain who they once were without a face? What are the masks all of us wear? What impact do the failings of the parent wreak upon the child? Who among us are capable of compassion and forgiveness?

This play has a lot of things on its mind. While aimed predominantly at a teenage audience the themes resonant far beyond that demographic. It is also a showcase for a large cast of excellent young actresses (14-19) more than ably supported by older actors in critical adult roles. The scope of its ambition is impressive.

The main storyline revolves around Marina (Elizabeth Offer), the mysterious newcomer who will share a dormitory with seven other classmates. She does not talk after a horrific incident that has seen her face scarred in an acid attack and her father sent to prison. Marina’s arrival precipitates a mix of reactions from within the group. Foremost among them is Sophie (Darcie Azzam) who is sarcastic and cruel; Cathy (Abigail Morritt) who will lend support and a kind ear; and Kate (Katie Toner), the rebel of the group, who will accuse Marina of being the thief plaguing the dorm. The other girls are the ditsy Ann (Shannon Berry), Lisa (Emily Theseira) who aspires to be school captain; Tracey (Brittany Isaia) who reveals her own fears and angst despite having ‘perfect parents’; the bubbly Rikki (Nahdarin Yahya); and the kind hearted Emma (Bre Edelman).

Their teacher, Mrs Lindell (Mary Murphy) has asked them all to keep a journal which only Marina studiously does. It is here that we discover the otherwise mute Marina’s thoughts and concerns, mainly wanting to meet her father who she oddly does not condemn.

The play is elaborately constructed and quite busy. In many ways it has been written more as a screenplay than a play with ‘cutaways’ to brief scenes such as Marina’s father (Rhett Clarke) in his jail cell; her mother (Kate Offer) haranguing her in calls and letters; and a ‘flashback’ story strand at a ski resort before Marina’s incident. The latter is capably handled by Georgie Kinnane, Gen Verity, Clare Smale, and Nicola Kinnane as Marina’s friends but really only serves to give context to the predicament Marina finds herself in. It perhaps needed its own punctuation point to add true depth and insight. 

The major device, however, is Elizabeth Offer reading Marina’s journal entries to telling effect. Indeed, all throughout the play written communication is a key component – through journal entries, poems, and letters. It highlights the power of the written word for those who don’t have ‘a voice’. The class scenes are therefore important as lessons are imparted by the sympathetic Mrs Lindell and Mary Murphy has great rapport with the young cast in these moments.

There are the usual shenanigans in any dorm room as anything from petty issues such as borrowing a hair-dryer to under-age drinking test the group dynamics. The prefect Jodi (Kiah Van Vlijmen), and school staff Miss Curzon (Sereena Coleman) and Mrs Graham (Kelly Van Geest) try forlornly to keep a lid on the antics.

Revelations come to the fore as the girls talk amongst themselves, most notably when discussing their parents. Theseira has a key scene in the second act where she reveals that her character’s family situation isn’t as rosy as what the others thought. It’s a theme that runs throughout the play – how the young teenagers deal with and react to their parents’ foibles.

It’s here where the play shines with the talented cast able to play off each other in the longer scenes. The cutaways tend to slow things down and while the staging is ingenious with panels that open out from the side walls to create other locations, it becomes problematic with the number of changes required. An eclectic mix of music is used during these transitions, again in a movie like manner. The songs are chosen for the relevance of the lyrics but we go from a liberal use of The Beatles to all sorts of bands from different decades and musical styles. That, at times, felt a little too offbeat. The end of the first act was also an interesting choice with a highly stylised scene that was unlike anything else in the play. Lasers, dry ice, rock music and theatricality, while creating a compelling moment, seemed tonally out of kilter.

The climax for Marina is powerful and on point emotionally but I was caught a little off guard when the play ends suddenly. Overall though, this is a thought provoking and wonderful showcase for a crop of younger actors who were universally very good. The standouts for me were Katie Toner who is excellent as the loud, rebellious, narky Kate; Elizabeth Offer as Marina who has to be both a cowed mute and a sympathetic narrator of sorts through her journal entries; Darcie Azzam is suitably feisty as the ‘bitchy’ Sophie; Emily Theseira is convincing in a pivotal role; and Mary Murphy was very good as the sympathetic teacher. A special mention here to Rhett Clarke who conveyed a lot of emotion in a small amount of ‘screen time’.

Directed by Gail Lusted, So Much To Tell You runs until 17 May at the lovely Garrick Theatre in Guildford. 

Point & Shoot: A New Musical - Holland St Productions (16 February 2014)

I finally saw my first show at Fringeworld for 2014 and what a show to see - the original musical 'Point & Shoot' by Perth's own Robert Woods and Tyler Jacob Jones, starring those two plus Erin Hutchinson and Tamara Woolrych.

This is a hilarious and pointed satire of Hollywood and the filmmaking business with a clever plot ("twist") and biting lyrics. The four actors play multiple roles and instruments and all are in fine voice. The transitions are seamless and this rockets along at a frenetic pace.

In, I think it was, 2042 the Hollywood blockbuster is but a memory having collapsed as a viable business in 2015. Now the Independents rule the roost - smart movies for smart people. But a screenwriter dreams of writing his own blockbuster like the good old days and is given the opportunity by a newly arrived actress who has the rights to a black and white television series from the 60s that may be the only property never optioned. What follows is a deliciously wicked romp with great songs and plenty of surprises.

At 75 minutes this moves so briskly and the audience I was with lapped it up. The talent on display is impressive - all four actors play everything from piano to saxophone to flute to cello while changing into several characters as the screenwriter and his muse battle the independents, greed, ambition and surprise antagonists at every turn. A screen is also used to show, firstly, the "original" television series; the teaser trailer of the blockbuster adaptation; and the climactic ending of the film itself.

Very happy that an extra show was put on (I can see why) and that I had a chance to see this. The couple I was sitting next to had been before and were laughing as hard as I was throughout.

Excellent production and perfect for Fringe. Extra points for the best rhyme ever with the word "verbatim"!

Closer - Fresh Bred Productions (15 February 2014)

Take a razor sharp script, four talented and committed actors, a fresh approach from a first time director then add an original score played live and you end up with this excellent production of Patrick Marber's Closer.

Marber's script is first class, delighting in pointed and brutal verbal exchanges, wry observations of modern relationships and deliberately shocking language such as the infamous chat room scene. It plays with time as these four people become entwined in each others lives for good and bad over several years. Love, sex, truth, sexual politics, intimacy and betrayal are all fair game here. This isn't a delicate examination, however. This is warts and all with real anger and hurt amongst the declarations of love and moments of tenderness. All is underlined by an almost cruel and biting wit.

The acting across the board is very good - Brodie Masini as Dan, the failed novelist who writes obituaries whilst also masquerading as something altogether different online; Natasha Stiven as the mysterious and vulnerable stripper Alice; Jason Dohle as Larry, the doctor who becomes embroiled in proceedings after Dan's online practical joke; and Diana Oliver as the photographer, Anna, who falls for Dan's advances at a photo shoot and later Larry at their "chance" meeting.

In fact they are very good indeed. Masini's Dan is the more idealistic and earnest of the two men compared to Dohle's passionate and temperamental portrayal of Larry. Oliver's Anna is down to earth and grounded while Stiven's Alice is playful yet fragile. The characters are so well drawn that each actor can really throw themselves at the material and what a volatile mix it is.

Relationships wax and wane as revelations of deceit and betrayal cause major shifts in the power dynamic between each of them. There was never a moment I didn't believe the truth of what was being portrayed in what is a complex emotional journey for all of these characters. There are also scenes that require total commitment, notably the strip club scene at the start of the second act. Kudos then to all four actors for their fine performances.

The set is minimal with draped sheets forming the entire backdrop with cutaways for entrances/exits. This was used ingeniously to project images onto to give a sense of place like moving fish at the Aquarium or stills at the Art Museum... and of course the explicit online chat between Larry and Dan (posing as Anna). It also allowed "opening credits" (like a movie) to be shown and my only regret is when I discovered later there was no programme and therefore should have been playing more attention to these!

Scene changes are made swiftly and economically and there are occasions when pairings of actors are playing scenes side by side. This works seamlessly especially the sequence when both women leave their respective lover.

A key decision was not only to utilise an original score - written by Kohan van Sambeeck - but to have himself (piano) and Stephanie-Jane Lewendon-Lowe (violin) perform on stage behind the sheeted backdrop. This added enormously to the tone and immediacy of the action without ever being intrusive. Great to see then both musicians come on stage to take a bow as they are an integral part of what is an, at times, in your face and nothing less than compelling production.

Directed by Jack McKenzie and Produced by Craig Griffen with an original score written by Kohan van Sambeeck, Closer is a treat. I would tell you to go and see it but, alas, the run is already over. It does, however, show that the Koorliny Arts Centre is off to a cracking 2014 with this and Young Frankensteinalready having been staged. I look forward to my next trip down the freeway to Kwinana!

Young Frankenstein the Musical - Koorliny Arts Centre (25 January 2014)

Lured by the sound of a lone French horn I embarked on a hay ride to Castle Frankenstein located in deepest, darkest Kwinana for a little transference, a lot of mania and some deep love. Yes, Young Frankenstein the Musical was on the loose at the Koorliny Arts Centre and what a rampage it is.

I was greeted by the flickering of lightning, the crack of thunder and a suitably ominous stage. It’s 1933 Transylvania and the villagers are celebrating the death of the infamous Doctor Frankenstein (The Happiest Town). But their happiness is disturbed when it’s announced that a Frankenstein yet lives in New York City of all places. Here we find the good doctor’s grandson Frederick Frankenstein or as he insists, “Fronkensteen”. A scientist, he is fascinated by the brain (The Brain) but ashamed of the family name.

On hearing the news of his grandfather’s death he reluctantly leaves New York and the hands-off charms of his fiancée, Elizabeth (Please Don’t Touch Me) and heads to the family castle where he meets the hunchback Igor (pronounced eye-gore), his lab assistant Inga and the wonderfully strange Frau Blucher (obligatory neigh). Entreated to continue the family business by the ghost of his grandfather (Join the Family Business) young Frederick begins his descent into mad scientist territory and a Monster is duly created with unexpected and hilarious results.

Based on the Mel Brooks’ movie of the same name, it exhibits the typical Brooks sense of humour as it parodies the horror genre. The gags can be a little hit and miss but I generally found this very funny. It is also performed and directed with great verve and there are many wonderful set pieces.

But first, the performances.

Jesse Angus is superb as Frederick Frankenstein, a character that is cocky, arrogant, even smarmy when we first meet him in New York but becomes the brilliant mad scientist as he recreates and then exceeds his grandfather’s greatest triumph. Angus attacks the role with impressive energy and the appropriate level of mania as “Fronkensteen” indeed embraces the family business. He has excellent chemistry with Igor played with relish by Laurence Williams; and Brooks’ archetypal Scandinavian blonde, Inga, played by a sparkling Sarah Elizabeth Hubber. Williams’ comic sidekick, hump and all, adds plenty of sly humour while Hubber gets to be both ditzy and sexy to great effect.

Natalie Burbage’s Frau Blucher (neigh) is suitably over-exaggerated as the mysterious housekeeper; Jon Lambert an imposing Monster whose howls of frustration and despair become something far more articulate in the latter stages; and Allen Blachford’s Dr. Frankenstein looms over proceedings with a couple of pivotal scenes.

The unexpected visit to Transylvania by Georgia McGivern’s Elizabeth (Surprise) in the second act is the catalyst for all sorts of shenanigans, one of which leads to her revelatory number Deep Love. Daniel Burton’s Inspector Kemp rallies the villagers to storm the castle but it’s his blind Hermit that provides one of the highlights as he unknowingly entertains the Monster (Please Send Me Someone).

Other highlights:

The beautifully staged Roll in the Hay as Frederick and Inga make their way to the castle in the back of a hay wagon… with yodelling;

Victor Frankenstein (and ancestors) exhorting his grandson to continue his work in Join the Family Business;

Natalie Burbage’s crazy, frantic, bodice ripping He Vas My Boyfriend;

The Monster becoming animated in Life, Life;

And the show-stopping numbers Transylvania Mania that closes out the first act, and, of course, the delightful Puttin’ on the Ritz where Frederick shows off his Monster in all his tap stomping, coat and tails glory.

The ensemble gives great support as variously villagers, students, ancestors and the band were very good. The transition between scenes was handled effectively with a screen also used to indicate the setting (laboratory etc) and project images such as the late Doctor Frankenstein.

This is crazy and high camp at times but it works due to a talented cast committed to the absurdity of it all. I certainly found myself laughing along merrily and tapping my feet to several of the numbers.

Directed by Brad Tudor, Musical Directors Kate McIntosh & Taui Pinker, with Choreography by Hillary Readings, Young Frankenstein has three more shows at the Koorliny Arts Centre on Friday 31st January at 8pm and 1st February at 2pm and 8pm.

In a word, this show is Alive!

My Top Ten Theatre Productions in 2013

At the start of the year I posted my top ten theatre productions for 2012. It was the first time I had done such a thing despite my love of lists, mainly because my attendance at live theatre had grown beyond supporting an acting acquaintance here and there.

This year saw another leap forward in that regard, attending 25 productions, 3 play readings and 6 PAC Script Lab readings (okay, I had to go to one of them as it was my script being read!). This may not seem a lot, certainly compared to others who appear to see everything, but for me it was. What also surprised me was the number of musical theatre productions which has grown exponentially and feature heavily in this year’s top ten list.

So down to business – these were the ten productions I enjoyed the most throughout the year plus a new addition, my favourite male and female performance of the year.

1. Animal - Upstart Theatre Company

I truly was blown away by this. The writing was outstanding and provocative; the acting excellent, led by a superb performance from Kingsley Judd.

"This is a brilliantly written play - layered, brutal, provocative, sly, heartbreaking - with every setup paid off to telling effect. Nothing is wasted or misplaced here. It is beautifully acted by Kingsley, Sally (Bruce) and Patrick (Downes) who clearly relish working with such quality material."

2. Madame Piaf - KNUTS Theatre

Talking to Stephen Lee after the show, he reinforced what was apparent for all to see – sometimes an actor is simply perfect for a role. Rhoda Lopez gives a bravura performance as Edith Piaf.

"During the course of the year you get to see some really good shows in Perth, produced and performed by very talented people. Sometimes you get to see something truly exceptional."

3. The Guys - Classic Works

A two hander that packed an emotional wallop with an authentic sense of time and place as it deftly explores the aftermath of 911 in New York City.

"Memorable, funny, and moving. Above all, utterly authentic."

4. Curtains – Playlovers

I had such a good time with this. Raucous and bombastic it was simply great entertainment.

"Sometimes you go to the theatre for thought provoking drama, maybe to see something experimental or the work of a new playwright. Sometimes you get a rollicking, entertaining ride that is flat out enjoyable from start to finish."

5. Playhouse Creatures - Her Infinite Variety Ensemble

A strong ensemble piece that mixed absurdist elements with the all too real circumstances of women having to navigate the “bear pit” of 17th century theatre.

6. The 25th Annual Putnam County Spelling Bee - Koorliny Arts Centre

This musical was genuinely laugh out loud funny and had the added bonus of me seeing a large chunk of it from the stage before bombing out on misspelling “zomathary”.

"This celebrates the absurdity and competitiveness of that most unique of American "sporting events", the spelling contest. Each of the contestants battle not only each other but the expectations of parents; their own high hopes; raging hormones; and the pressure of being a winner."

7. The Producers – Playlovers

A cumbersome beast. The first forty minutes were stretching my patience but then something magical happened after the story finally kicked into gear and the production flies especially in the second act.

8. Cats - Regal Theatre

I’ve never seen the ‘traditional’ interpretation so was not troubled by the choice of 40-50s style costuming. I have no idea what was going on as the story is surreal to say the least but the highlight came when the cast got their raunch on to McAvity the Mystery Cat.

9. Le Gateau Chocolat – Fringe

Fabulously talented, gloriously outrageous and deeply personal, this was a highlight of the festival.

10. Holly & Ivy - Marloo Theatre

This one act play was the middle offering in a “Trilogy” of productions. It snuck up on me with its understated acting and beautifully drawn characters and navigates what could have been a very problematic twist.

Male Performer of the Year – Kingsley Judd for Animal

Female Performer of the Year – Rhoda Lopez for Madame Piaf

Special Mention – Adam T. Perkins for The Guys

Thank you to ALL the actors, directors, playwrights, musicians and crew of ALL the productions I saw in 2013. It truly is a pleasure to see your work come to life. Perth has a vibrant theatre scene with amazing talent to be found. Long may it continue.

Curtains - Playlovers (21 September 2013)

When the supremely untalented star of Robbin’ Hood of the Old West is murdered during her opening night curtain call, Lt. Frank Cioffi must save the show and solve the case – without getting killed!

This sleuthing business seems to be an exhausting task. What with all those suspects and a show that still has to be staged. Sleuthing whilst singing and dancing? Truly remarkable!

Let me say right off the bat that I loved this. Sometimes you go to the theatre for thought provoking drama, maybe to see something experimental or the work of a new playwright. Sometimes you get a rollicking, entertaining ride that is flat out enjoyable from start to finish. The latter was certainly the case tonight at Playlovers production of Curtains.

Billed as a "musical comedy whodunnit", the show has an immediate pedigree with the presence of Kander and Ebb in the credits. There were, indeed, moments of dialogue and music, even story beats that reminded me very much of Chicago. Then there was an odd [I named a play here that might give the game away so I have redacted it] vibe in the latter stages but we'll get to that later.

This is a big, bold, sassy musical with great songs, big set pieces and is genuinely funny. For an independent theatre company to tackle such a huge production (26 cast and a 10 piece orchestra) is wildly ambitious. To pull it off in such style is to be absolutely applauded. Great also to see a full house on the night a local football team was dominating the conversation around town.

The story revolves around the murder of the presumptive yet untalented star that no-one likes (an amusing cameo by the director!) of a new show opening in Boston that all involved hope will make it to Broadway. The cast are "sequestered" within the theatre as a police detective struggles to solve the crime whilst falling for one of the show's lesser stars; advising on how to make the production threatened by poor reviews better; oh, and dealing with the murder of other cast and crew members along the way.

It plays with the isolated murder-mystery trope but also amusingly comments on the myriad of issues faced when mounting a large musical production. The show within a show device plays out nicely with numbers reworked and reprised as part of the race against time to garner a more favourable review from a nasty Bostonian critic.

I apologise in advance for not mentioning the whole cast but they were uniformly excellent. Of the main performers:

Tyler Jones plays Lieutenant Frank Cioffi and he was fantastic in a role that had a LOT of very precise, rapid paced dialogue. He handled it with aplomb and was the standout from the moment Cioffi makes his introduction.

Claire Taylor plays Nikki Harris who "has her fingerprints over everything" and is the attention of Cioffi's romantic affections. They have a lovely dance number in the second act and Taylor plays Nikki with an endearing mix of ditziness and innocence.

Therese Cruise is the lyricist who assumes leading lady status after the murder of unpopular star Jessica Cranshaw. Sporting the strongest singing voice, Cruise has several great numbers, the highlight being the "Wide Open Spaces" finale. Her character is involved in the second love story here, playing off Tom Hutton whose character is her songwriting partner and estranged husband. They have a touching moment in "Thinking of Him/I Miss the Music (Reprise)" in the second act.

Other standouts are Helen Carey as the producer Carmen Bernstein who has a hard-headed approach to the theatre business ("It's A Business") and daughter Bambi played by Tamara Woolrych. Why does she call herself Bambi? The answer says a lot about the mother-daughter relationship and Woolrych threads the needle between bitchiness and disappointment as her character tries to prove her worth in the large shadow cast by her mother. Speaking of bitchiness, David Nelson as the director has a grand old time slinging insults the way of all and sundry to hilarious effect.

The set is simple but effective. The costumes are great with the added razzle-dazzle of typical showgirl flourishes. The orchestra was at times a little too loud for the singing but otherwise was in good form. The choreography took total advantage of the large space and the show was full of movement, never slowing down for an instance.

The story gets a little convoluted and silly deep in the second act as twists are revealed and revelations made but by that stage I was well and truly sold and having a great time with this. So I forgave the few quibbles I had with such plot machinations which reminded me of the aforementioned play that I didn't aforemention. The cast had insisted in the closing number bad things could happen to anybody who revealed the murderer! So I'm not even risking an obtuse reference!

Directed by Kristen Twynam Perkins with Musical Direction by Belinda Flindell and Choreography by Tammie Anne Rafferty this is definitely one to recommend.

The Rise and Fall of Little Voice - Koorliny Arts Centre (15 September 2013)

I made my way to Kwinana for a fast-becoming-regular jaunt down the freeway to the Koorliny Arts Centre, this time to see The Rise and Fall of Little Voice. I find this a most interesting and difficult story in both the incarnations I’ve now seen (play and film). It is an ugly duckling story populated by people who are essentially ugly. That makes it, for me, a challenging watch. The trick then is to unravel my reaction to the characters versus the performance of the actors.

The story is simple enough – the eponymous Little Voice or LV as she is known, fanatically listens to old records in her room and has become an expert impersonator of their vocal styles from Shirley Bassey to Marilyn Monroe and a whole variety in between. Her mother, who is dating a small time talent agent, sees her daughter as a way to a better life; the agent sees LV as a way into the spotlight and the dollars she will bring. They coerce her to perform at Mister Boo’s club. Meanwhile, quietly spoken telephone technician Billy innocently courts LV.

First off, the mother is thoroughly unlikeable and, in many ways, despicable. Full credit then to Judi Johnson who plays such a difficult character with full on gusto. Yes, I was squirming as I find the character’s motivations and actions largely abhorrent but that’s the way Mari Hoff is written. Anything but a total commitment to the character would fall flat. It’s uncomfortable at times but I can’t fault the commitment.

The agent is also problematic. More sleazy than charismatic, his put down of Mari in the latter stages of the play is simply nasty and mean spirited. The lady sitting next to me visibly blanched as he launched that horrid verbal assault. Again, credit to Ian Butcher for tackling another unsavoury character, that of Ray Say.

Hillary Readings provides gentle comic relief as Sadie Mae but even her character is mainly there to reflect the ugly side of Mari.

The structure is also problematic as the first act largely comprises the antics of Mari and Ray with LV very much in the background. We get glimpses of her talent and of the gentle romance that is to unfold but essentially we are immersed in Mari’s tawdry little world.

Then we get to the second act and this is where the play cranks into gear because it finally unleashes the star that is both the character of LV and Breeahn Jones who plays her. This story only works if you believe LV has the amazing talent to sing these standards AS the original performers. Jones shines when given full voice, pun fully intentional. I had not seen her perform before but the programme notes indicate she won 2011’s Best Actress in a Musical at the Finley Awards and she definitely has an excellent and versatile singing voice.

Geoffrey Leeder as Mister Boo moves things along nicely and the club is represented simply as a microphone in front of closed stage curtains with a lighting cue saying Mister Boo’s. This meant Jones was less than two metres away from where I was sitting in the front row and to see her go from reserved, put upon daughter to animated performer was a delight.

Then there is Jack McKenzie as Billy who, in a relatively small but pivotal role, adds genuine sweetness and charm. This is a critical counterpoint to all the crassness that surrounds LV’s world and he pulls it off well.

The set was very good with a split level representing the house – lounge room and kitchen downstairs; LV’s bedroom upstairs. The transitions though felt a bit clunky at times with the opening and closing of the stage curtains by hand when going to the club or outside the house.

Overall I enjoyed this but it is a story with many characters that are hard to warm to. Even LV’s eventual castigation of her mother, while earned, verges on being mean spirited itself. The singing, however, is excellent and the underlying love story paid off nicely.

Directed by Ian Cross.

The 25th Annual Putnam County Spelling Bee - Koorliny Arts Centre (22 June 2013)

Spell "Audience participation".

Nervously approaches the microphone. Clears throat. Meekly asks, "Could you define that for me please?"

"Where a person in the audience volunteers to be on stage and participate in the events that will shortly transpire upon it."

"Could you, um, use it in a sentence please?"

"This musical is hilarious, entertaining and involves audience participation."

Yes, that was me impulsively volunteering to be one of four audience members who would be on stage participating in the 25th Annual Putnam County Spelling Bee at the Koorliny Arts Centre. Well, it went something a little like that... actually it involved a clipboard, a form, and a casual "sure, why not?" in the lobby. I managed to stammer out the first word I was asked to spell (which led to "pandemonium") but I'm not entirely sure the second one was an actual word. So with heartfelt hugs, a small orange juice as a gift, the laughter of the audience ringing in my ears, and a chorus of "goodbye, goodbye" from the cast, my short-lived stage career was over.

This is a funny, entertaining musical and I thoroughly enjoyed it. Being on stage for a large chunk of the first act enhanced the experience - allocated a number, told when to sit, when to stand whilst interacting with the cast and even *gulp* dancing at one stage. Then, of course, being called to the microphone to spell.

But enough of me... what about the show? This celebrates the absurdity and competitiveness of that most unique of American "sporting events", the spelling contest. Each of the contestants battle not only each other but the expectations of parents; their own high hopes; raging hormones; and the pressure of being a winner. Each is quirky and fun, from the "magic foot" spelling routine to speaking six languages to an unfortunate, um, protuberance. On the opposite side, the moderator (and former winner) and vice-principal keep things running (relatively) smoothly with outbursts kept to a minimum! Then there's Mitch, ex-convict and counsellor who dispenses the hugs, juice boxes and some tough love.

As contestants are eliminated priorities change, revelations are made (including a surprise "cameo"!) and a winner finally announced. But there's a real sweetness underpinning the conclusion which was a lovely touch.

The cast are strong across the board with genuinely funny songs throughout. The highlight musically for me was "The I Love You Song" as one of the contestants imagines her parents' love and support as she is asked to spell a word that resonates in that moment. Beautifully handled by Kimberley Harris, Ryan Taafee and Rachel Monamy. Other highlights: Daniel Burton's unfortunate demise and subsequent resurrection as a candy bar seller; the surprise "cameo" that I will not spoil here; Jonathan Best's transformation from smug know-it-all to something far more tender; Paul Treasure's colloquial explanation for his character's outburst which any Australian will instantly understand (and sympathise with); and the slow motion sequence which was hilarious.

I must mention the other cast members - Natalie Burbage, seen recently in The Wizard of Oz and last year in Hairspray, who is always good and seems to specialise in a brand of zany yet kind-hearted character; Jesse Angus (also Wizard of Oz) with cape a flowing and a small hand puppet who lingers before being dragged off stage at the end; and Erin Craddock as the straight-laced Marcy Park whose joyous reaction to an unexpected epiphany is fun to watch.

There was a real buzz from the audience after the show ended and it is genuinely laugh out loud funny. But do you dare volunteer to go on stage?!

Directed by Ryan Taaffe; Musical Director Kate McIntosh with Choreography by Hillary Readings.

Nevermore the Musical - Playlovers (11 May 2013)

Just returned from seeing the musical Nevermore on a bleak, rainy night which suits this material down to the ground. The friends who accompanied me are Edgar Allan Poe fans but my knowledge was limited to a childhood reading of The Murders in the Rue Morgue with its memorable solution.

This is a relatively new musical and it was only on talking to cast members and the musical director afterwards that I discovered in its original form there is supposed to be only one performer playing Edgar Allan Poe. Here there are three! The transitions between Edgar (Paul Spencer), Dark Edgar (Caleb Robinson-Cook) and Young Edgar (Tate Bennett) are brilliantly done and really add to this version.

The costumes are outstanding and the set quite ingenious to help mask those transitions and add to the overall atmosphere. The decision to have the musical ensemble in front of the stage in full sight of the audience was a good one and they were in fine form. There were some problems with a performer's microphone which was a minor distraction, however the cast were in fine singing voice.

The songs were unfamiliar yet there were many strong numbers especially in the Second Act which felt more traditional musical theatre style. The highlight being "To My Mother" which is appropriate as Nevermore focuses on the women in Poe's life and how they shaped him as a writer. Ever present is the ghost of his Mother (Gemma Sharpe) who admonishes and cajoles Poe while his Mother-in-Law (Vivienne Glance) fears Poe will draw her daughter into his ever increasing darkness.

The other three women in Poe's life are his wife Virginia (Monica Brierley-Hay); first love Elmira (Tyla De Brett); and Whore (Donna-Maree Gavin). All are clearly delineated and shine a light on different aspects of Poe's descent into his own personal darkness.

During the Second Act it hit me that there is so much commentary on what it means to be a writer. "Who am I if I don't write?" Poe exclaims at one point. Exploring reality, truth and impact of allowing your demons to infest your work. The nature of writing and how it may affect those around you. Powerful and memorable.

My friends remarked it did end on a downbeat note but a story about Edgar Allan Poe was never likely to have a happy ending.

I thoroughly enjoyed this and would highly recommend it.

The Wizard of Oz - Koorliny Arts Centre (27 April 2013)

I travelled to Kwinana today to watch the matinee session of Koorliny Art Centre’s The Wizard of Oz. I had been very impressed with the last production I saw there (Jack the Ripper) and was interested to see how such an iconic story translated to the stage.

The lead role in this instance was played by Chloe Rollond (alternating with Georgia McGivern throughout the run) who notably sounded like Judy Garland in her speech patterns which was a nice touch. Chloe gave an assured performance as Dorothy which is no small task given she’s pretty much on stage the entire time and opens vocal proceedings with the timeless Over the Rainbow.

From what I remember of the classic movie, this production is almost identical story-wise. There is the reasonably long setup of all the major characters in Kansas – Dorothy, Aunty Em (Natalie Burbage), Uncle Henry (Jesse Angus), Ms Gultch (Cat Baxter), Professor Marvel (Geoff Leeder), and the three farmhands who will become Scarecrow (Drue Goodwin), Tinman (Brodie Masini) and the Lion (Craig Griffen); as well as the show stealing introduction of Toto Tudor as Toto the dog. With that name, clearly a role he was born to play!

The arrival of the tornado and its aftermath is handled effectively with the use of lighting and sound effects. Indeed, it was rather a sparse set with various forms of simple lighting effects used to recreate the world of Oz. The costuming was excellent and the Munchkins were a delight with a multitude of colourful young cast members.

The main quartet of Dorothy, Scarecrow, Tinman and Lion played off each other nicely and the musical highlight comes in the second act with Jitterbug. Cat Baxter is suitably menacing as the Wicked Witch of the West as are her flying monkeys and other minions. Natalie Burbage’s Glinda the Good Witch is kind of kooky as a deliberate counterpoint. Jesse Angus also brings an element of humour to the second act as the Emerald City guard.

It’s quite a long production but seemed to keep the attention of the large number of children in attendance for most of its length. The orchestra started slowly for mine but later found their rhythm. As there was no elaborate staging the scene transitions were economically handled and kept proceedings moving along suitably briskly.

Other highlights – Toto eagerly, with tail wagging, stealing the Professor’s sausage much to everyone’s delight; Drue Goodwin’s physical performance as the Scarecrow; Craig Griffen’s number King of the Forest; and the three Black Crows who felt like refugees from The Muppets but worked nicely.

It’s a classic tale well told with colour and verve. Directed by Brad Tudor with Musical Director Stephanie-Jane Lewendon-Lowe and Choreographer Allen Blachford.

Hairspray: The Broadway Musical - Mandurah Performing Arts Centre (17 November 2012)

What better than a pleasant drive on a Saturday afternoon to spend time with the nicest kids in town? Yes, The Corny Collins Show was broadcasting live from downtown Mandurah and my, what a turnout of talent it attracted! This was an exceptionally strong singing cast accompanied by a live band in fine form. But more of that - much more - later…

First, let’s set the scene. It’s 1962 in Baltimore and Omar Little is several decades away from picking up a shotgun in anger. Okay, my knowledge of Baltimore is a little sketchy, The Wire references aside. What we do know is that the presumptive villainess of the piece, Corny Collins Show producer, Velma Von Tussle (Natalie Burbage), isn’t down with the whole idea of racial integration. Her daughter Amber (Victoria Luxton) expects to follow the family tradition of entitlement and beauty queen status and is the featured talent along with resident heartthrob Link Larkin (Sam Chadwick). What to do then when overweight teenager Tracy Turnblad (Sam Ferguson) not only joins the show but has ideas of integrating dancers from ‘the other side of town’ including her friend Seaweed (Jason Arrow); stealing Link away from Amber; and usurping her Miss Teenage Hairspray status as well?!

Okay, the plot is as thin as a pancake left out on Kwinana Freeway during peak hour but it doesn’t matter one jot. The songs are terrific and it moves at a cracking pace. In fact it only slowed down whenever minor plot mechanics intruded especially towards the end of the first act as plans are formulated and early second act as they are (re)committed to. Other than these moments there are few dialogue heavy scenes which serve this well. This is a far more thematic piece which, at its heart, deals with the issue of racism in America at that time. It can be a little too overt and borderline preachy but I chose to see it as an outsider with a dream (Tracy) who, in striving to make that dream come true, creates a better reality for herself and those around her. An allegory for the Civil Rights movement, sure, but perhaps just as valuable for those who don’t “fit in” whatever the situation.

The vocal talent was outstanding across the board and even performers in smaller roles had an opportunity to shine. For example, in one number three performers reminiscent of The Supremes were singing backing vocals but let loose with individual bursts at the end that was jaw dropping. Natalie Burbage also gave us some vocal fireworks towards the end of Act One. So many other ‘big voices’ in the cast but special mention to Sam Ferguson who, at only 17, was very impressive in the lead role; Jason Arrow, who added a real soulful flourish to proceedings; and Ebonyelle Smith who had, in my view, the standout song, “I Know Where I’ve Been” which she hit out of the ballpark. Georgia McGivern as Penny also snuck up on me and her character perhaps went through the most significant arc.

Craig Griffen threatened to steal the show as Edna Turnblad and his set piece with Jack McKenzie (Wilbur Turnblad), “Timeless to Me”, was funny, sweet and endearing. I should mention there is a lot of humour in this, including some sly period references and innuendo that may have sailed over younger audience members but had me chuckling away happily. Natalie Burbage and Victoria Luxton were perfectly matched as mother and daughter and while Velma Von Tussle was perhaps more of an over-the-top villain, Luxton played Amber, the bitchy rival to Tracy, with the right mix of sassiness and disbelief (as events turn against her). Tate Bennett played the man himself, Corny Collins, with great charm and cockiness.

This was a big, colourful production and a live band added so much to proceedings. The costumes and choreography were fantastic and it has a cast of some 28 strong so my apologies for not mentioning them all! The only technical hiccup was a minor problem with one of the performer’s microphones towards the end but other than that it was a thoroughly entertaining afternoon. I was also delighted to see a large turnout for a Saturday matinee. Such a big production comfortably inhabited the Mandurah Performing Arts Centre venue.

Lastly, two quick observations that I found quite charming – there was a young lad in front of me, maybe ten years old, who kept looking over his shoulder to try and see the “big board” the actors were “staring at” as the results of Miss Teenage Hairspray came in at the end. Loved that! And as I left a girl of maybe six was skipping through the lobby singing “you can’t stop the beat”. I’d say that is a job well done!

Congratulations to director Karen Francis and all the performers, crew and behind the scenes staff involved. A great show!