Jeff Hewitt: Rad Dad Redemption - Fringe World 2016 (23 January 2016)

It’s a little known fact that Joseph Campbell’s seminal work The Hero with a Thousand Faces is the pre-eminent manual for how to succeed at stand-up comedy. It pretty much lays out the road map for those brave enough to accept the call, survive the ordeal, and seize the sword of fame and comedic glory. Of course, a Hollywood arsehole called George Lucas completely misappropriated this potent tome to create some nonsense about space knights and indestructible space stations that were destroyed with Sisyphean regularity.

Okay, it’s entirely possible that the above statement is, ahem, not strictly speaking correct. But commentating as a screenwriter who has sat through many a workshop (and indeed read Christopher Vogler’s The Hero’s Journey based on Campbell’s work), the fact that Jeff Hewitt overtly uses this storytelling model is as surprising as it is amusing.

And when I mean overt I mean as in a presentation slide on screen stepping us through a truncated 9 step model! It gives structure to what turns out to be a very funny and engaging tale of personal redemption. Which just happens to fit Campbell’s model perfectly as Hewitt is indeed the hero of his own story.

But to earn redemption one first has to plummet to the depths and this is what makes Rad Dad Redemption really interesting. Hewitt isn’t afraid to tell his story warts and all even daring us not to like him. The show opens with a video montage of him circa 2011 when he was an irresponsible party animal and deeply dissatisfied lawyer. Once onstage he quickly apprises us of the reasons for his behaviour and angst mapped to Campbell’s steps. Drugs, infidelity, soulless boss, remorseless banks, and the tragic end to a neighbour are just some of the causes.

Hewitt’s delivery is brutal, often times crass but ultimately funny because there is a truthfulness here that is compelling. And despite his attempts to play the villain he does come across as very likeable in the intimate venue. This is aided by a casual interaction with the audience that is spontaneous and warm even when mock abuse is blurted out with glee.

Things change for Hewitt when he meets his ‘Goddess’ who will become the mother of his child which drives the redemption arc in the latter half of the show. Fatherhood certainly has changed Hewitt and his joy at this unexpected outcome is palpable. The show ends with a video montage circa 2015 that shows how far he has come from his anus horribilis. The final moments demonstrate to us all that you have to learn to crawl before you can walk and it is a touching endpoint to an authentic and funny tale.   

And not even one Death Star was blown up along the way!

Jeff Hewitt: Rad Dad Redemption, directed by Levon Polinelli, is on at the Noodle Palace in the Central Institute of Technology in Northbridge until 30 January.

Backseat Diamond - Fringe World 2016 (22 January 2016)

Fringe World 2016 burst into life Friday night and with 700 shows on offer everyone is looking for that diamond in the rough. Well, look no further. Powered by 2015 WAAPA graduate Megan Kozak and ably supported by current third years Jason Arrow and Rory O’Keeffe this hour long show sparkles in the intimate Casa Mondo situated in The Pleasure Garden (Russell Square).

The storyline is simple – Mary (Kozak) has been a backing vocalist for ten years and quite frankly she believes greater things beckon. An unfortunate ‘mishap’ to her fellow Diamonds allows Mary to take centre stage with the help of Jason (Arrow) on keyboards. She launches into various Motown classics before Chris the security guard (O’Keeffe) intervenes having discovered the lengths to which Mary will go to seize her big moment. Not to be deterred – after all the audience has paid for tickets – she co-opts Chris by appealing to his inner rock star. What follows is a clutch of Aussie classics before the curtain comes down on Mary’s brief reign as budding superstar.

There is no doubt that Kozak is a powerhouse vocalist. Early on I was a little worried about the sound of the air-conditioning unit in the relatively small space. But when she cuts loose on songs like Aretha Franklin’s immortal Respect or gets her Whitney on such fears quickly melt away. The first half of the show is a roster of classic songs including Son of a Preacher Man, Ain’t No Mountain High Enough and I Heard It Through The Grapevine before an hysterical change of pace to the much lambasted I’ve Never Been To Me which Kozak delivers with such over the top earnestness that the audience was in stitches.

It’s here that Kozak really impresses above and beyond her vocal ability – the stagecraft on display is exceptional. Looking stunning in a blue sequin dress she assumes the persona of Mary, American accent and all, with impeccable comic timing and exaggerated facial and physical movement. The audience is hooked early as Mary tells her backstory and interacts with individuals directly. (Well done to Peter for supplying ‘backing vocals’ to Respect!) The fine line between delusion and unquenched ambition is crossed with abandon to amusing effect.

O’Keeffe, stepping in for the original Chris (Chris Wilcox), is a handsome comic foil playing the straight man that Kozak riffs off. Her attempted seduction of Chris to stop (watch for the running gag) turning Mary in to the police is another highlight. He has his own musical moments as Motown gives way to Johnny Farnham and other true blue working class anthems. Their duet of Endless Love, however, was lovingly mocked with exuberance.

Jason Arrow provided the main musical accompaniment on keyboards while supplying increasingly exasperated asides to Mary’s antics. O’Keeffe featured on guitar while Kozak was relegated to kazoo… due to budgetary constraints!

This is funny, well performed, and exceptionally sung. My only quibble would be that the ‘Chris threatening to dob in Mary’ card is played a few too many times but it’s a minor complaint in an otherwise entertaining and thoroughly engaging show that is perfect for Fringe.

Backseat Diamond is on at the Caso Mondo, The Pleasure Gardens, 8pm every night until 27 January.

Tonsils + Tweezers - Black Swan State Theatre Company (15 January 2016)

In the second half of the Loaded double bill playwright Will O’Mahony tackles a question that many must wonder when they see the never ending horror of mass shootings most notably and tragically in the US – what could possibly make someone do such a heinous thing? That he does so while giving us a treatise on friendship and an unexpected ending that is emotionally sublime is quite astounding. Throw in a little Macbeth for good measure, a dash of his own The Mars Project, rapid fire dialogue that would make Aaron Sorkin blush, and even a pinch of Wham and you have a potent and darkly humorous play that is as entertaining as it is thought provoking.

It is anchored by an incredibly likable performance by Lincoln Vickery as Tonsils. Vickery, dressed only in boxer shorts, has total command of the rat-a-tat dialogue that is delivered at breakneck speed. His banter, on stage direction of other characters, and address to the audience in asides is so well pitched that it’s a delight to experience. Tellingly, it’s when Vickery slows down that the emotion of the piece blossoms as we come to understand the true nature of his friendship with Tweezers played by Hoa Xuande.

Xuande is excellent as the friend who brings a gun to the table. His Tweezers is everything Tonsils is not – struggling with momentous events from his youth that reverberate ten years later as their high school reunion approaches. He is diffident, angry, confused… and wants to kill someone. Xuande handles the unravelling of the character very well as the play comes to an emotional climax.

Throw into the mix Max (Adam Sollis) who bullied Tweezers at school and we slowly come to understand why Tweezers could actually contemplate doing the unthinkable as the past is teased out. It’s a much welcome return for Sollis, a 2014 WAAPA graduate, who was outstanding in his third year productions and is in cracking form here. He gives the now property developer Max who is about to tread the boards for the first time (as Macbeth no less!) a knockabout quality that is totally engaging. There’s also a bit with a toothbrush that is hilarious.

Then there’s Megan Wilding. I can’t think of a local actor who does more with less than Wilding. With one line she can have an audience in stitches or awestruck silence. She has a command of the stage that is simply compelling. Here Wilding plays a school teacher; the actress who will be Lady Macbeth; and adds asides with such gusto that she threatens to steal proceedings whenever she is on stage if however briefly. Again though, it’s in her quietest moments during a description of what could happen if Tweezers carries out his plans that is devastating.

Hoa Xuande (L) & Lincoln Vickery (R) - Image by Daniel James Grant

The play starts with what initially felt like a continuation of themes from The Mars Project as Tonsils tells us about binary stars and elliptical orbits as analogies for friendships. I’m discovering that a signature item of O’Mahony’s writing is the repeated use of a key phrase or concept that has thematic heft. This time it's that 'things together want to be apart and that things apart want to be together', referred to multiple times throughout. O’Mahony’s dialogue is exceptional and he clearly has a love for language, words and wordplay. It all races towards a surprising conclusion that is cathartic for both the eponymous duo and, dare I say it, the audience.

This is a very funny but no less confronting play. It has an excellent script and wonderful performances across the board. Written and directed by Will O’Mahony and starring Adam Sollis, Lincoln Vickery, Megan Wilding, and Hoa Xuande, Tonsils + Tweezers is on at the State Theatre Centre in the Studio Underground along with Girl Shut Your Mouth until 7 February. 

Girl Shut Your Mouth - Black Swan State Theatre Company (15 January 2016)

This was the first of a double bill of new plays at the Studio Underground under the moniker Loaded, the other being Tonsils + Tweezers. Both were written by outstanding local playwrights; featured WAAPA graduates making their professional theatre debuts; and focussed on the all too real contemporary issue of gun violence.

In Girl Shut Your Mouth, playwright Gita Bezard creates a world of indeterminate location where four teenage girls live in fear of their life. One, Darcy, has been the victim of an acid attack; another, Katie, has survived a shooting with the bullet still lodged in her spine. This fact seemingly gives her the ability to leave this horrid place and go somewhere else where she will be welcomed and able to do whatever she likes free of fear. Except that Darcy believes instead Katie will be ostracised and treated poorly. That doesn’t stop Grace and Mia wanting to get their ‘own bullet’ so they too can leave.

Firstly, the acting here is excellent. Shalom Brune-Franklin (Grace), Brittany Morel (Darcy), Stephanie Panozzo (Mia), and Jessica Paterson (Katie) all graduated from the same WAAPA class in November last year. The three years they spent together shows in the natural chemistry of their interactions, whether it be playful, taunting, or full on drama. Each has a moment to shine though Paterson is the presumptive lead as the more dominant Katie. The power dynamics within the group are fascinating with Morel’s Darcy the seemingly meek outsider; Brune-Franklin’s Grace the capable ‘lieutenant’ of sorts; and Panozzo’s Mia the one that tilts that whole hierarchy on its head with a decision that escalates matters into truly dangerous territory. That escalation sees Paterson’s Katie react in telling fashion as the façade of bluster and nonchalance is ripped away.

Those dynamics are enhanced by the set – in effect a big ‘playpen’ is created for these 16 year old characters to cavort in. The raised sides allow positions of dominance while the floor of the pen is used to put characters in a position of submissiveness. There is outstanding use of lighting to elevate dramatic moments through use of silhouette and to delineate flashback sequences to Katie’s shooting. The sound design aids in these distinct sequences as well.

Image by Daniel James Grant

It certainly is a confronting play with occasional beats of very black humour but it didn’t quite work for me even though there were some outstanding moments. To name three – Brune-Franklin’s ‘fear’ monologue where she wishes the most fearful moment of going to school was whether a cute boy would have the courage to say he liked her versus the ugly reality of shootings and rapes and more; the ‘Walter sequence’ where Mia follows through on a pivotal decision is truly creepy and disturbing as the reality of this world for young girls is made brutally clear; and the climax itself which takes that decision to its logical conclusion to shattering effect. The acting, staging, writing, and execution in all three of these moments makes for riveting theatre.  

However, while I understood the analogies – I took the here and now to be somewhere such as Syria; the other place free of fear to be Australia; and the shed with the blankets the dog gave birth on that Darcy thinks will be Katie’s true destination, to be a detention centre – the act of ‘getting your bullet’ seemed so extreme even in the logic of the world that was created as to be somewhat distancing. The high risk stakes of planning to get shot but not die only to prove your ‘credentials’ to enter the ‘other place’ I guess could be analogous to undertaking the dangerous passage by sea to a new world free of persecution.

I suspect the issue was that we never saw that other world in the context of the play to understand its magnetic lure; nor did we really see the horror of their present world. Both of those things were mainly only talked about and not experienced. Even the flashbacks to Katie’s shooting were more an exercise is exaggeration or shrugged off which diluted their impact.

Having said that, it is a provocative premise and one that will sponsor debate given the extreme nature of what these teenagers propose to escape the horror of their daily lives. Very well acted and staged, Girl Shut Your Mouth is on at the State Theatre Centre in the Studio Underground along with Tonsils + Tweezers until 7 February. It is written by Gita Bezard, directed by Jeffrey Jay Fowler and stars Shalom Brune-Franklin, Brittany Morel, Stephanie Panozzo, and Jessica Paterson.

Top Ten Theatre Productions in 2015 - Musicals & Cabaret

It was an outstanding year for musicals and cabaret in 2015. From big touring productions such as Les Miserables and Wicked to the continued excellence of WAAPA's world class music theatre course there have been many tremendous shows. This has been supported by independent companies such as Stray Cats Theatre Company and Fresh Bred Productions who are mounting big productions catering to different audiences. Black Swan even got in on the act this year with the rock musical Next to Normal and the Regal Theatre continues to host a range of productions.

This made finalising the list quite difficult but here is my Top Ten for 2015:

1. Urinetown (WAAPA)
I adored this show. From the moment it opened the satirical tone had me in its clutches and the ferocious choreography sealed the deal. Outstanding.

"What a thrill to have a show grab you by the throat from the opening moments and not let go until the cast is taking well deserved bows. This is a spectacular production of a very funny and irreverent musical and I have to say, it knocked my socks off."

2. Les Miserables (Crown Theatre)

What more can be said about the fabulous Les Mis? Simon Gleeson and Hayden Tee headline a stellar cast, half of its number including Gleeson having graduated from WAAPA. 

"For rousing songs and sheer theatrical spectacle Les Miserables is hard to beat and this production has quality in every department."

3. Legally Blonde (WAAPA)

Such a colourful, energetic and joyous production, this showcased a fabulous graduating class to full effect.

"WAAPA’s mid-year musical theatre production has become a highlight of the Perth theatre calendar as they throw their considerable talent and resources – performers, musicians, set designers, costume designers, production department and many others into crafting a professional level experience both for its students and the audience. The results here, as with last year’s West Side Story, are impressive and wildly entertaining."

4. Next To Normal (Black Swan State Theatre Company)

I finally discovered that there is an orchestra pit at the Heath Ledger Theatre. And that Rachael Beck is a star. 

"Next to Normal stands out for the fact that its subject matter is challenging and under-serviced, certainly in musical theatre form. It demands that the acting from the performers is as good, if not better, than the singing requirements. The cast here deliver in spades with a potent mix of excellent songs, a great score, and a fully formed narrative arc for its central character that is as harrowing as it is gut wrenching."

5. Music Theatre Showstoppers (WAAPA)

The cast of Les Miserables doing a concert singing some of their favourite musical theatre songs? This only confirmed that the talent of that cast, top to bottom, is outstanding in a wonderfully entertaining evening. 

"Take the cast of Les Miserables, half of whom are WAAPA graduates; their musical director Geoffrey Castles along with four other members of the orchestra; throw in a little star power with event patron Ben Elton; add the enthusiasm and organisational skills of Eponine herself (Kerrie Anne Greenland) and you end up with what can only be described as a spectacular fundraising concert at the Geoff Gibbs Theatre. The sheer magnitude of talent on display was breathtaking."

6. Assassins (Midnite Youth Theatre Company)

Staged in the intimate studio space at the Subiaco Arts Centre I loved the full tilt approach to this most audacious of concepts for a musical. 

"What I loved about this production is that all involved attacked it with total commitment and absolute ferocity. There is incredible intensity in the darker hued characters that is matched by some standout comic performances as this rogues’ gallery improbably comes together, ultimately, in a wonderfully written sequence, to convince one of their confreres to commit perhaps the most famous assassination in American history."

7. Sweeney Todd: The Demon Barber of Fleet Street (Fresh Bred Productions)

Another Sondheim and this one was beautifully sung and played at the palatial Joy Shepherd Performing Arts Centre. 

"... this is a fine production of a tremendous piece of musical theatre. I understand months of preparation and rehearsal have gone into making this show a reality and it shows. Congratulations to all involved on taking a risk with such a huge undertaking for independent theatre and pulling it off."

8. Point and Shoot: Farewell Show (Holland St Productions)

After touring the production on the eastern seaboard to further acclaim, this farewell show before heading to Brighton was so tightly executed that it couldn't help but make its way to this list.

"It would be fair to say that after witnessing the show for a second time that it is my favourite piece of original content generated out of Perth (in all formats) for quite some time."

9. Chitty Chitty Bang Bang (Stray Cats Theatre & Mandurah Performing Arts Centre)

Completing a trilogy of big family friendly musicals after Oliver! and Mary Poppins this was an entertaining and fun show that exhibits all of director Karen Francis' signature traits - crowd pleasing, big casts, visually sumptuous and well performed.

"If one of the roles of community theatre is to engage with and entertain its local residents then these productions are among the finest examples we have in the state. Usually a run will only be four to five shows over one weekend but they are always well attended and sit comfortably in the spacious Performing Arts Centre."

10. Spring Awakening (Fresh Bred Productions)

Immediately after the completion of the show I went home and bought the original cast recording which has been on high rotation ever since. An outstanding collection of songs well sung in one of the most surprising adaptations to a rock musical ever.

"Matching the musicians was the vocal talent on display. This really was a strong cast from a singing perspective – the featured vocalists excelled and were given tremendous support from the ensemble."

Female Performer of the Year - Rachael Beck

Not only was Beck's singing excellent, it was her acting that really impressed in Next To Normal. She commanded the stage throughout but worked so well with the rest of the cast to bring a complex arc to life.

Male Performers of the Year - Simon Gleeson

A towering performance in the role of Jean Valjean and his Bring Him Home almost had me in tears. Again. Damn it!

Special Mentions:

Elethea Sartorelli - Excelled as Mrs Lovett in Sweeney Todd with Cockney accent in place, and a real energy to her performance that threatened to steal the show.

Megan Kozak - A powerhouse turn in Urinetown was matched by an equally impressive performance as Brooke in Legally Blonde. 

Jacob Dibb - Another performance from Urinetown that was compelling. Dibb showcased a terrific voice and played Bobby Strong with a straight ahead earnestness that worked so well.

Madeline Crofts - A standout in Spring Awakening as Wendla Bergmann, Crofts also popped up as Johanna in Sweeney Todd and perhaps most impressively gave a hilarious and feisty performance in the original musical How We Ruined MacArthur's Markers.  

Kate Thomas - Thomas sank her teeth into the star role of Elle Woods in Legally Blonde. She looked fantastic in Elle's signature outfits and sang beautifully in an assured performance. 

That's it for 2015. Hope everyone had a great Christmas and I look forward to seeing you all at the theatre in the new year! 

Top Ten Theatre Productions in 2015 - Plays

One of the most pleasing aspects of this year's list of top ten plays is that it features original writing by five local playwrights - Tiffany Barton (Metalhead), Scott McArdle (Between Solar Systems), Tyler Jacob Jones (F**k Decaf), Will O'Mahony (The Mars Project), and Gita Bezard (In A Bony Embrace) with another entry by Australian playwright Finegan Kruckemeyer. That is an outstanding crop of talent that augurs well for the future of locally generated stories. And what a diverse mix of entries we have this year ranging from searing dramas to witty observational comedies to a genre rarely seen on stage, science fiction. It also includes a genuine out of the box surprise that demonstrates the power of theatre to heal and transform.

The Top Ten:

1. Venus in Fur (Black Swan State Theatre Company)
The year started with a bang as this two-hander introduced 2014 WAAPA graduate Felicity McKay to the world in a brilliant professional debut.

"Venus in Fur is a cleverly written play that allows two talented actors to inhabit multiple personas in a provocative, insightful and funny exploration of a subject matter many consider taboo. It is a great start to the theatre season and the upcoming Fringe Festival of which it’s a part."

2. A Midsummer Night's Dream (Acacia Prison & The Actors Workshop)
A stunning theatrical experience that saw prisoners tackle Shakespeare's beloved comedy under the tutelage of Nichola Renton. An event that will not be quickly forgotten by all involved.

"These men, almost all with no previous acting experience of any kind, flung themselves at this with energy, with style, with commitment, and with their own sense of humour and spirit. It was raw, it was powerful, and it was bloody well funny as all get out."

3. All My Sons (WAAPA)
The intimate Roundhouse Theatre provided the perfect venue for the powerful Arthur Miller play, grounded by Brittany Morel superbly playing a woman three times her age.

"This is a carefully and expertly constructed play that really packs a wallop. I admit I was quite moved by the breadth of the Greek-like tragedy that unfolds. It is very well acted with Morel’s performance in particular a highlight."

4. Metalhead (Creative Collaborations)
I caught this play on a night when the entire cast was "on" and what a treat it was to see them go hammer and tongs at each other in such a harrowing drama.

"... I liked that this was a full tilt performance in every aspect – writing, performance, and staging. This was in your face and unapologetically brutal in spots. There were moments when the audience sat in stunned collective silence as the tension built."

5. Macbeth (WAAPA)
A modern interpretation of the Shakespeare classic that was an excellent showcase of all the disciplines WAAPA trains their students in, not only performance but the many departments that make a production come to life.

"All these elements gave the production great atmosphere and allowed for seamless scene transitions - this fairly hummed along. Having said that there were times, especially involving the witches, where there was a languid, at times hypnotic pace within a scene that was mesmerising."

6. Those Who Fall In Love Like Anchors Dropped Upon The Ocean Floor (Fringe World)
Delightfully performed, written and staged this was an inventive rumination on how the passage of time affects and informs our memories.

"I can see why Anchors did so well at last year’s Blue Room awards and I am glad I had a chance to see it after missing out on its 2014 run. It has an evocative and poetic script by Finegan Kruckemeyer that was well directed by Adam Mitchell and superbly handled by its cast."

7. Between Solar Systems (Second Chance Theatre)
The professional debut production for writer-director-actor-lighting designer Scott McArdle whose team transformed the Blue Room studio space into the interior of a spaceship to outstanding effect.

"To tackle a woefully under-represented genre for your first professional outing and to pull it off with such style and clarity is nothing short of amazing. Yet it doesn't surprise me in the slightest."

8. F**k Decaf (The Cutting Room Floor)
A well acted two-hander featuring a witty and insightful script by Tyler Jacob Jones that was funny and hugely entertaining in the small Frisk Bar space.

"My inescapable conclusion at the end of the performance was that a smart, well written script in the hands of (two) talented actors is a recipe for an excellent evening of theatre."

9. The Mars Project (WAAPA)

A sprawling original work that had to accommodate some 18 of the graduating acting class, this showcased a love of language that was immensely satisfying and built to a devastating final scene.

"The play started a little slowly but developed into an intriguing concept that really kicked into something quite special when the turning point comes. This was delivered with clinical precision as Harris’ Wren pivots the stakes into the stratosphere with a simple question with awful ramifications."

10. In A Bony Embrace (Curtin's Performance Studies & Hayman Theatre Company)

The last play I saw in 2015 and an absolute treat. This was another ensemble piece that was off-beat and funny with a great student cast.

"This was a very well written, acted, directed and presented play with plenty of laughs befitting its sitcom DNA. I have seen plays before that didn’t seem to realise they were actually a sitcom and therefore failed but In A Bony Embrace knows exactly what it is and is expertly executed."

Female Performer of the Year - Felicity McKay

Having only graduated the previous November, McKay burst onto the scene in January with a sassy and bold performance that was utterly compelling as she slid in and out of various personas with consummate skill.

Male Performer of the Year - Clarence Ryan

One of the nicest guys you will ever meet, Ryan's performance in Metalhead was terrifying as he inhabited a character full of coiled anger and aggression. It was a brutally physical portrayal that was haunting.

Special Mentions:

Ben Mortley - While adeptly handling many diverse roles in 'Anchors' it was the heartfelt monologue explaining why his character was only now going on a first date that was a quiet highlight.

Gemma Cavoli - A nuanced performance that builds to another devastating conclusion in the hour long monologue of The List. 

Brittany Morel - The physical representation of a much older woman was excellent as is the change from deluded character to something far more potent. 

Zoe Street - A standout in the at times surreal Melancholy Play, the Curtin University student gave her character a fascinating world weariness that was poetic and languid. 

Elle Harris - As The Mars Project slowly unfolds, Harris becomes the presumptive lead who skillfully handles a complex arc that leads to an emotionally explosive climax.

There you have it. As always, thank you to all the performers, writers, directors, crew, front-of-house, technical and design staff for another excellent year of theatre. 

In A Bony Embrace - Curtin's Performance Studies & Hayman Theatre Company (8 December 2015)

April is breaking up with Sam over breakfast because she simply doesn’t find him funny anymore. Sam doesn’t find this especially funny either as they work in the same office. An office where Harry (presumably short for Harriet) and Danny decide to spontaneously be in love. Except Harry is somewhat more intense about this development than one might expect. An office where Matt is interested in April but isn’t particularly well versed in relationships despite the example of his annoyingly in love housemates, Lila and Gavin. 

Then again, Lila and Gavin’s relationship is headed for prickly territory as a cactus called Calamity comes between them, literally and alliteratively. Meanwhile April is keen to “get back on the horse” despite the reservations of practical colleague Sylvia. Her date with Jaxon, a slick dude who isn’t exactly lacking in confidence, ends in disaster. All the while ‘Jimmy’ and ‘Sally’ pontificate about the universe, love, and death.    

If this sounds like the premise for a sitcom you would be absolutely right. These characters, some more grounded than others, intersect and collide in various ways in familiar settings – the office, the shared house, the club. It is very funny, sharply observed, with some bizarre tangents that fit the sitcom format perfectly. The set is predominantly bright pink but full of bold colours that reminded me of the Ewan McGregor, Renee Zellweger movie Down With Love, itself a homage to the ‘sex comedies’ of the 60s.

The script by Gita Bezard is excellent with several sly writer gags (always guaranteed to hook me), cracking dialogue, and interesting takes on familiar devices – a Greek Chorus that narrates actions that a character isn’t undertaking which is a refreshing change; the ten self-aware characters periodically commenting on the emotional state of their collective while jostling for attention in line; and the one actor (Jessica Nyanda Moyle) playing both parts of the Jimmy/Sally tandem while enigmatically clutching an empty glass jar. I took this variously to represent the universe at one point but also the intangible nature of their love.

The play fairly rattles along with slick direction by Adam Mitchell as he keeps the actors hovering in the wings when not featured in what really is a series vignettes that all weave together. The transitions are like cuts to a new scene as actors rotate into the next sequence effortlessly. The sitcom analogy is an apt one in construction, direction, and pacing. One of the actors even offered afterwards that he was channeling a famous sitcom character for aspects of his role.

Which brings us to the ten actors from Curtin University’s Performance Studies. With such good writing and direction their characters were all distinctively drawn and they brought them to life with impressive craft and great comic timing.

Chelsea Gibson is the confident April who dismisses Sam at the start of the play and who carries the main narrative thread. Gibson gives April a sense of self-worth and purpose even when faced with the obnoxiously ‘superior’ Jaxon, played by Sean Guastavino with cringe worthy precision that was funny and infuriating. She also has the key monologue towards the end of the play that reveals the meaning of the title and shows a tender vulnerability that was compelling.

Alexander Gerrans imbues the dumbstruck Sam with recognisable and escalating fury as he tries to comprehend his girlfriend’s decision to dump him. There is a simmering energy to his performance as the anger unfurls only to be casually batted away by April’s indifference. 

Beth Tremlett and Nathan Whitebrook move from clingy couple to something altogether more interesting as the cactus subplot spins them off into strange territory indeed. Whitebrook’s Gavin has a disturbing infatuation with Calamity that he expresses with serene contentment, genuine concern, and irrational outbursts. This only fuels Tremlett’s Britney Spears loving Lila’s incredulity and refusal to change her ways for a plant. They bounce off each other well and the whole thing spirals out of control as relationships can do over the most ridiculous of things.

Anna Lindstedt is the straight to the point Sylvia who plays the office confidant with no nonsense practicality. Daisy Coyle and Tristan McInnes make a dynamic couple in the throes of first love. Coyle allows Harry to unravel in spectacular fashion ending in a triumphantly over-the-top announcement to colleagues at the bar. McInnes deftly exhibits increasing levels of bemusement over Harry’s antics (as if to say 'she’s craaaaazy!') while still committed to the thought of Danny being in love with her. There was a restraint here that was fascinating.

Jessica Nyanda Moyle’s character is the one that sits outside the main story and whose function seemed more to serve a thematic purpose than narrative one. She manages to express both poignancy and humour while inhabiting dual roles with subtle voice and facial changes.

Then there’s Kane Parker as Matt who is the other half of the equation in the main story thread. His character is treated as a bit of a loser but Parker shows him more as someone lacking in confidence and self-esteem who is merely trying to make a connection. His work with Gibson at the end is a quiet highlight amongst the craziness.   

Love, loneliness and connection are certainly foremost in the minds of all these characters regardless of how bizarre some sequences may be; the cactus as surrogate child one of many subversions of usual expectations. The bold set design and lighting was very good in the intimate space and I very much liked the subtle sound design as well.

This was a very well written, acted, directed and presented play with plenty of laughs befitting its sitcom DNA. I have seen plays before that didn’t seem to realise they were actually a sitcom and therefore failed but In A Bony Embrace knows exactly what it is and is expertly executed. It is a late year surprise and definite highlight to cap off Curtin’s 2015.  It is on at The Blue Room until 12 December.