Othello - The Graduate Dramatic Society (6 December 2023)

William Shakespeare is celebrated for the sheer number of phrases and idioms he contributed to the English language, many of them still in common usage. One of the most memorable is "green-eyed monster" from Othello which is a more striking depiction of his "green-eyed jealousy" from The Merchant of Venice almost a decade earlier. That monstrous form of jealousy ripples throughout Othello, ending in tragedy for all it ensnares. The play also gives us "I will wear my heart upon my sleeve" as Iago seemingly confesses his treachery. 

And what treachery it is as Iago conspires to bring low his military commander, the Moorish general Othello, by stoking the flames of irrational jealousy over the supposed misdeeds of Othello's wife, Desdemona. Misdeeds Iago has carefully constructed through cunning deceptions and the ownership of a handkerchief - an inelegant plot device but one that features heavily. It is, as one audience member exclaimed, "very Shakespeare... everyone dies in the end." Not quite true though also not a "spoiler" for it is, indeed, a Shakespearean tragedy so blood will inevitably be spilled. 

All this under the stars on a beautiful summer's night at UWA's New Fortune Theatre, a reconstruction of the Elizabethan era Fortune Theatre where The Bard's plays were originally performed. Of course, there is the added bonus of being serenaded by the resident peacocks who display prodigious projection skills though questionable dramatic timing. It also means that the elevated stage is wide and deep with nary a place to hide for the performers with no sets and only those glorious words under the lights and gaze of audience and peafowl alike.    

Director Thomas Dimmick has made many key choices in his adaptation of the play. Several traditionally male characters - notably Cassio, Roderigo, and Brabantio - are played by Krysia Wiechecki, Tarryn McGrath, and Meredith Hunter respectively. It adds an interesting spin to the power dynamics throughout the play with subtle shifts in perspective such as it now being a mother's scorn and concern for her daughter as Hunter's Brabantio condemns Desdemona's marriage to Othello. There still lingers a distasteful sense that her objections, and the treatment of Othello in general, are because he is a Moor who therefore could only have beguiled the senator's pristine daughter with magic.  

Dimmick also uses modern costuming and props - the military "men" are dressed in camouflage pants, army boots, olive green t-shirts and dog tags; the civilians in dresses, suits, or jeans. Then there's Patrick Downes' Clown who is a mixture of both styles coming across as a larrikin Cockie who happens to have stumbled into a Shakespeare production which adds well-timed and executed levity. Costume Design by Merri Ford.

The only significant set design as such is the introduction of the marital bed late in the second half where monstrous deeds shall be committed. The upstairs balcony is used judiciously when those 'on high' address their subordinates. Otherwise, sound design of battle and hubbub adds to the sense of scope; anachronistic music choices to the sense of revelry; with effective lighting design that casts our skulking villains in shadow when required and highlights touching scenes such as Emilia braiding Desdemona's hair whilst discussing marital infidelity. Lighting Design by Fiona Reed.

The play is propelled by an excellent performance from Tadhg Lawrence as Iago, the duplicitous ensign who "hates the Moor" for promoting Cassio over him. Though, it should be said, Iago's true motivations are somewhat slippery as he seems to have various grievances, real or imagined, against many of the other characters. This makes him fascinating and his schemes even more heinous. Lawrence plays him with great energy, cunning, and an affability that was disarming as he addressed the audience. I loved the confidence of his eye contact in those moments and while the standing order appeared to be "if a peacock squawks, wait" Lawrence would often use his own excellent projection to contest said fowl. 

Erik Bibaeff certainly brings a physical stature to Othello and there's no doubt there is a sense of brooding menace in the second half. However, I found him a little stiff and one note as the titular character, mainly relying on an increase in volume to denote anger and telegraphing his emotions rather than convincingly conveying them to us and the other characters. There is a gasp-worthy burst of violence that he handles well and the physical threat to Desdemona is clearly established.  

Krysia Wiechecki gives a lively performance as Cassio before expertly recalibrating after the Vodka-induced fight with Montano (Jarrod Buttery), another of Iago's schemes. This sees Cassio fall foul of Othello's good graces and Wiechecki brings a keen sense of the import of such a loss of reputation. 

The program announces this is Anna Weir's first community theatre production which makes her portrayal of Desdemona even more remarkable. She lent such decency to the woman who is beset by innuendo and doubt while unfairly pilloried as a 'whore' and 'strumpet' for totally fabricated infidelities. One unpalatable conclusion is that Desdemona is being punished for having the audacity to marry a Moor. Weir brings a sweetness and dismay that heightens the impact of Desdemona's fate.   

Tarryn McGrath also enacts a clear action change as her Roderigo morphs from a hapless pawn of Iago's scheming to reluctant participant whose sense of unease and demise is perhaps more poignant now. Downe's adds jocularity and easy charm with an Aussie flavour; Hunter is relentless as the aggrieved mother early on in the play; and Grant Malcolm brings a crisp authority to Lodovico in the second half.  

Then there's Grace Edwards whose Emilia, Iago's wife, emerges in the second half as a force to reckon with. Faithful to Desdemona as her maidservant and loyal to her husband, Emilia comes to learn of her unwitting part in Iago's scheme as the ramifications careen towards a bloody conclusion. For all the talk of 'honesty' in the play, it's Edwards who imbues Emilia with the most honest reaction to the outrages that have occurred and those to come. The rage she summons at both Othello and Iago is justified and utterly compelling. For mine, Desdemona and Emilia are the two most tragic figures, unfairly caught up in the petty machinations of men. I was unmoved by Othello's ultimate fate as, even though he was manipulated, his response is so massively over-the-top and abhorrent that I have no pity for him whatsoever. But that's one of those wonderful gifts of a Shakespeare play - the discussions afterwards.

This is a great opportunity to see a classic tragedy at a wonderful venue where much care and attention has been taken by the cast, crew and creatives. There are five more performances on 8, 9, 14, 15, 16 December at the New Fortune Theatre in the Arts Building at UWA.

Photos by Grant Malcolm.    

The Pillowman - Hayman Theatre Company (28 November 2023)

A writer sits alone in a grimy interrogation room in some unnamed totalitarian state, head covered with a hood. His 'peculiar' brother is in the room next door. Two police detectives thunder in to take him to task about child murders that closely resemble stories he has written. Far too closely. He fears for his brother and his own safety - torture and execution are on the cards - but also fights for the preservation of the very stories that have landed him in this predicament. 

So begins The Pillowman, a brilliantly written play by Martin McDonagh who has subsequently made a splash in Hollywood with In Bruges, Three Billboards Outside Ebbing, Missouri, and The Banshees of Inisherin. It is confronting, bleak, darkly funny, thought provoking, and a blistering piece of theatre. 

It explores a writer's responsibility (or not) for the material they bring into the world; the culpability (or not) of those who may act on those stories in ways that weren't intended; the reasons why a writer may write the way they do; the choice of subject matter and themes they may explore even in the face of censorship; and the legacy they leave behind with their work. It is a tale full of stories - dark stories, twisted stories, stories that rarely have a happy ending but valid stories nonetheless. It's also a tale about two brothers and their bond, forged through the power of storytelling for better or for worse.

Those stories are teased out in expert fashion to reveal more about these people trapped in what otherwise might pass as purgatory. Even the police detectives who are brutal, hectoring, and relentless in response to the horror these stories have unleashed. There are twists, reversals, gasp inducing consequences, and even the faintest hint of a happy ending... if you need to grasp for such conclusions.   

But let me be clear. In a hallmark of McDonagh's writing it is also savagely funny. Sure, you're not going to get served up sitcom-style softballs but there is wit, intent, and intelligence behind the humour that will get under your skin. Yes, it is deliberately designed to provoke but the provocation is more than worth it. 

Director Travis Koch has assembled an excellent company of Hayman alumni and existing students, both on and off the stage. From the look of the play, the sound of it, and the performances, this is exceptional independent theatre not for the fainthearted.  

It all starts with that writer - Katurian K. Katurian - played by Samuel Ireland in a towering performance. Ireland is rarely off-stage and conveys such a wide array of emotions, mostly in a heightened state, that he is physically drained by the end of the play. His appearance, through makeup, costuming, and astute acting choices, slowly unravels to reflect the toll the character has exacted. Weary and haggard by the end, he looks like he's been put through the ringer and then some. Ireland convincingly portrays the confusion and fear of this unexpected bind Katurian finds himself in while also radiating moments of strength and defiance. His writer clings to a healthy sense of ego in the face of blunt 'literary criticism' from his accusers. But it's the empathy he shows for his brother Michal that is most affecting. An empathy that leads Katurian to do the unthinkable in a gut-wrenching moment. I was also impressed with his reactions to other characters - we know exactly what Katurian is thinking especially during one revelation that tilts everything on its head. All this while delivering his lines with a credible Irish accent. It's marvellous work.  

His brother Michal is played by Colin Gilligan who sports an authentic Irish accent having recently moved to Perth from the Emerald Isle. Michal is a profoundly damaged character who is too easily passed off by the cops as being 'slow' or a 'retard'. We will come to discover the awful truth about why this is. Gilligan successfully walks an incredibly tricky line between making Michal oblivious and canny. It's a fascinating performance and his long scene with Ireland in the second act of the play is mesmerising. 

On the other side of the interrogation table is Amber Gilmour as Tupolski, the self-proclaimed "good cop". Gilmour brings a casual cynicism and snarkiness to the detective who seems none too fussed about the use of torture to extract a confession. The story she tells Katurian in the third act to demonstrate her skill at 'detecting' is hilariously bad before the mood abruptly switches to being far more callous. The "bad cop" of the duo, Ariel, is played by Wilson Gilburt. Physically imposing, Gilburt revels in the 'torture' of Katurian, favouring a far blunter approach than his partner. He's not quite as compelling in the quieter moments where Ariel's actions and change of motivation are somewhat hazy. That's largely because Ariel's own revelation is treated perhaps a little too lightly in a moment of shtick with Tupolski. 

Kate Naunton Morgan and T. Mutta Beilby play various incarnations of Mother and Father with disturbing charm in one instance and even more disturbing cruelty in another. Arthur Brown is the Child, both real and imagined, and they exude an air of innocence even in the most alarming of situations.  

The world Koch has created along with Set Designer T. Mutta Beilby and Lighting & Sound Designer Sebastian Boyd adds to the sense of unease. The decay of the interrogation room is palpable from the rust stains on the filing cabinet to the mould on the walls, accentuated by the single light hovering ominously above the table. There is a writing desk stage right which is lit by a single candle, the blowing out of which is also used as a punctuation point at the end of several stories Katurian tells. 

That set opens out to reveal the Katurian's family home during the pivotal tale "The Writer and the Writer's Brother" and later the foster home the Child finds themselves in during the story "The Little Jesus". Brightly lit and colourfully appointed this acts as a counterpoint to the dingy interrogation room while also introducing an element of doubt about what is real and what is a well told fabrication. Costume & Props Designer Kiri Silva excels with an array of tools hanging from the walls that will make you squirm as you realise their terrible purpose. 

Finally there are the stories. Wonderfully written, beautifully performed. Stories worth fighting for despite their dark content. The story of "The Pillowman" itself is a moving and poignant one that reverberates throughout the play as each character embodies aspects of its message. Michal's response to being given a choice in light of all he knows will happen and the impact on Katurian is devastatingly astute. 

This is a terrific production of a superb play.  There are four more shows remaining until Saturday 2 December and is highly recommended.

The Final Line - The Great Indian Theatre Company (25 November 2023)

There was a time, long ago now, when I was doing my third year units for a Bachelor of Arts degree at UWA whilst attempting joint honours in history and politics. Modern Chinese history was my area of expertise. That never worked out (long story) but I mention it because the historian in me was intrigued when I was approached to review this production. The partition of India in 1947 is a monumental event in the middle of the twentieth century that has ramifications to this very day. My theatregoing side was also curious - how would you even attempt to dramatise such a consequential historical occurrence with all its complexities, larger than life political figures, and catastrophic loss of life and dislocation that ushered in the creation of modern India and Pakistan?  

Writer and Director Sreekanth Gopalakrisnan's answer to that question is to intertwine two parallel narratives - one at the political level where figures such as Lord Mountbatten, Jawaharlal Nehru, Mahatma Gandhi, Muhammad Ali Jinnah, and the lesser known figure of Cyril Radcliffe (who was given a mere five weeks to decide the borders) debate the partition; the other at the personal level following two families in a fictional village where such decisions will have significant and tragic consequences. 

In this regard, Gopalakrisnan's instincts are good, however, the execution, while powerful at times, didn't quite work as a cohesive and compelling theatrical narrative for me. I can't fault the intent, the sincerity and passion brought to the production, and the even-handedness of depicting complex positions without authorial judgment. There is real care and attention on display here. However, nearly every single character talks in expository flourishes that felt more designed to impart historical detail than to convey genuine human emotion and interaction. Even the staging betrays this outcome - the actors square up, often in a line, to the audience and talk at us rather than to each other most of the time. There is also a fair amount of repetition, especially with scenes foreshadowing the impending violence.

The play works best when there are recognisable human moments - a father, Balbir Singh (Ashish Malik), gives an impassioned speech about why he cannot abandon the land he began to farm as a young child with his father; two mothers - Gurpreet (Navneet Bhullar) and Fathima (Neha Chhapia) console each other knowing they and their children will soon to torn apart by forces outside of their control; a heart-wrenching lament as one 'brother' - Arbazz (Zachary Borthwick) - breaks down after an act of violence towards another 'brother'.

Perhaps most relatable of all is after a lovely dance sequence between Resham (Karthika Nair) and Zoya (Karishma Velugula) where Resham's brother, Jeet (Rohit Kalia) basically wants her to leave because he only has eyes for Zoya. It's sweet, funny, and has nothing to do with the larger political debates swirling around in that very moment even though we'll soon come to learn their romance is ill-fated. 

On the other side of the parallel narrative the politicians are either quite stiff, the actors perhaps weighted down by the solemnity of portraying such titanic figures; or, in the case of the British contingent, a hint of caricature. Matthew Docking has the physical stature to play Mountbatten but not the gravitas, not helped by an odd accent choice. Robert McDonough brings almost an element of comic relief as Cyril Radcliffe though I'm not sure if that's because I'm supposed to feel some form of sympathy for a man so hopelessly ill-equipped to perform the task he has been given. McDonough does have a scathing line of dialogue, however, that best sums up the stakes involved with such an imprecise process as drawing arbitrary lines on a map.

There are many elements I enjoyed. The cultural specificity of the production, especially with costuming that encompassed traditional garb from the colourful to the utilitarian as well as more sombre toned outfits for the politicians, and gaudy trim for the military men; a distinct musical score (Sumesh Anand Surya); and good sound design from crowd noises to radio broadcast snippets to fireworks on the day of independence. It's also a handsome looking show with the ever present tree at the rear of the deep stage and use of spotlights to draw our attention to competing points of view. 

I appreciated a totally unexpected fantastical device when Krishna himself (Jose Dev Vattoly) visits Radcliffe that was a quirky choice used to galvanise the dithering lawyer into action. The display in the foyer of the Nexus Theatre with contemporaneous photos, press clippings and historical facts set the tone before the show while the projection of similar information and photos on a scrim at the end nicely encapsulated what we had seen.

The historian in me was satisfied. I learnt more about this event, the players at the centre of the political wrangling, and the cost to the millions involved. The theatregoer in me wanted more natural interactions in the village scenes for the, albeit powerful, closing moments to really kick me in the teeth. Namely, utilising the two most charismatic actors in the cast - Rohit Kalia and Zachary Borthwick - to flesh out a friendship that symbolised a possible peaceful future only for their last moments together to ruin that possibility beyond all redemption. The romance strand could also have been teased out further as it's a complication that binds both families together when such entanglements could be deadly.   

Above all, I applaud the commitment of the cast, crew, and all the creative team involved in staging a production that explores such a significant and complex event with sincerity and fearlessness. I look forward to seeing what this company tackles next as a unique voice on the Perth theatrical landscape.

Peter Pan: Broadway's Timeless Musical - Koorliny Arts Centre (18 November 2023)

Ah, to never grow old and live a life full of adventures. Alas, the closest one can do is go to a theatre full of eager children (one a little too eager) and hope for a sprinkle of magical fairy dust. Then to abandon all responsibilities for a couple of hours, learn to fly, abscond to Neverland... and go fight pirates. I'm with you Peter! Indeed, there was a healthy dose of magic in this production in the form of lighting and set design, costuming and props, and well staged sequences such as I'm Flying. It's also a joy to see so many young performers on stage which is only fitting. 

A packed theatre waited expectantly as the overture played with the stage curtain closed. The wait was worth it as the reveal of the set was quite something. I could only dare hazard to guess how many lights had been fixed to the rear curtain and the Darling nursery was vibrantly lit and well dressed. This would be a common theme throughout - lights affixed to the trees of Neverland and, most impressively, the wings of the resident fairy lending everything a bright and enchanted quality. The pirate ship of the second half was another well realised and striking piece of set design by Quantum Building Services, Stephen Carr, and Pear Carr. 

Of course, the lighting design by Chloe Palliser also gets to play with the depiction of Tinkerbell as a focused ball of light that flitters around the stage to 'land' on characters, objects, and walls (lighting operator Hayley Smith). This is accompanied by whimsical musical cues as Tinkerbell 'speaks' to Peter. It's all rather delightful. 

In line with this, the costumes are bright and bold from an almost elvish looking Peter to the mock theatricality of Captain Hook and his pirates; the sleek design of the Neverland natives; the patchwork quality of the Lost Boys; with classic-style nightwear for the Darling family including an elegant night dress for Wendy. Oh, and who needs animatronics or CGI when you can have Matthew Holmes in a dog costume AND a crocodile suit with a (not quite) stealthy form of propulsion?! Wardrobe attributed to Melissa Kelly, Matilda Jenkins, and Katherine Freind. 

Perhaps the real magic though is in Matilda Jenkins' choreography. The show really shines in splendidly executed dance sequences such as Neverland Waltz and True Blood Brothers involving much of the cast. Then there's the jauntier antics of the pirates in Hook's Tango, Hook's Tarantella, and Hook's Waltz.  

The one aspect that was a little out of balance was the volume of the backing music. It's a gorgeous Broadway score but the sound level meant the performers' mic volumes were way up to compete and it felt like a battle most of the time. Dialogue and lyrics were often lost or obscured, especially for Ryan Taafe as Hook who was using an embellished accent to accentuate the villain's, um, villainy. There were also quite a few 'shouty' moments and when you have so many performers on stage, most mic'd up, this can lead to an overwhelming cacophony.

To the performances and Christie McGarrity made for a robust Peter Pan who sang well and flung herself around the stage with boundless energy and hands-on-hip swagger. McGarrity enthusiastically led the audience in reviving Tinkerbell, and cawing like a crow in I've Gotta Crow. A radiant Jordyn Gallop was sincere and lovely as Wendy and shared a highlight vocal moment with McGarrity and Katherine Freind (Mrs Darling) in Distant Melody. A young performer to watch.

Another young performer to make her mark was Kayla Brown as Tiger Lily who projected a regal bearing as leader of the Neverland Natives whilst displaying excellent dancing skills. Rp van der Westhuizen gave Smee a hint of Jack Sparrow as he played the comic foil to Captain Hook; a niche he is carving out nicely after a similar comic turn in Catch Me If You Can earlier this year. Taafe, after a long absence from the stage, brings authority to the dual roles of Mister Darling and Captain Hook; the latter with some snark thrown in for good measure. 

Melissa Kelly as Liza has a graceful featured sequence with the Neverland Natives and Neverland Fairy (Emma Fleming) in the (aptly named) Neverland Waltz. The Lost Boys were all charming led by a likeable turn from Sophie Lewin as Slightly. Our Michael Darling on the night was Jack Sharma who was full of boyish exuberance while Matt Ballantine provided a more calming demeanour as John Darling.  

Directors Blake Jenkins and Neroli Sweetman have assembled a talented cast of youngsters (with a few savvy theatre veterans!) to present a visually enchanting production that will no doubt be a hit for children and parents alike. It was fantastic to see close to a full house with so many children in attendance. Perhaps the secret to never growing old is having plenty of theatrical adventures seen through the awe and wonder of children. Peter Pan is on at the Koorliny Arts Centre in Kwinana until 25 November.

The Normal Heart - GRADS (2 November 2023)

For me, one of the most magical occurrences in a theatre is when an audience goes completely silent as if holding its collective breath while watching a moment onstage. It's as if we dare not interrupt the alchemy unfolding before us. It feels primal and, in some miraculous way, time stops for the briefest instance. Such a moment happened during a monologue in the 2nd act of playwright Larry Kramer's damning indictment of the response to the burgeoning AIDS crisis in early 80s New York. 

Phil Bedworth's character, Bruce Niles, recounts the events leading up to his partner's death and its immediate aftermath. It is shocking, heartbreaking, and feels utterly authentic in its specific details. Bedworth conveys the desperation and disbelief of losing a loved one under these circumstances with an empathy that is stunning. It is an emotional highpoint of the production. 

This is where the play is at its most effective, detailing the human cost of a disease that was, at the time, ignored by the media, shunned by politicians, and barely grasped by the medical profession. The character of Ned Weeks (Zane Alexander) is based on Kramer himself who became a gay activist in response to an increasing number of his friends becoming sick and subsequently dying. He was instrumental in forming a crisis organisation and notably railed against New York mayor Ed Koch for not doing enough to fund an effective response. Kramer proved to be so confrontational that he was eventually ousted from the organisation he helped create. He did, however, raise awareness of a health crisis that would become a worldwide epidemic.

Given this, the writing roils with outrage and condemnation. Characters deliver tirades of facts and figures. There is a lot of finger pointing, both literal and figuratively, as arguments rage over the lifestyle of gay men; their right to sexual freedom; comparisons to the fate of the Jews in World War 2; the nature of love; and who is to blame. There are even announcements of the number of cases reported by the CDC that increase as the months go by. Ned mentions a few times the forty men he knows who are sick. At first it all felt a little too abstract and intellectual for mine. I wanted to see the people behind the numbers. The highlight of the first act, therefore, was the argument between Ned and his brother Ben Weeks (Dean McAskil) whose reluctance to support Ned is viewed as a betrayal and sign that Ben considers him 'sick'. 

While the first act is still powerful and disquieting the play opened up for me in the second half when the personal toll is more fully explored. That relationship between brothers is fleshed out; Ned's own partner Felix (Steven Hounsome) becomes ill; the clash between Ned and the more diplomatic president of the crisis organisation, Bruce Niles, escalates; friendships within the group are tested; and ultimately Ned has to face his own mortality reflected in his lover's fate. 

Director Barry Park has assembled a fine cast and wisely stages the production in a black box space with minimal set or props so that the focus is squarely on the performances. He is assisted, however, in no small measure by an excellent original score by Myles Wright that accentuates moments of high emotion with great subtlety. 

Accomplished performer Zane Alexander is rarely off stage as Ned Weeks who is deliberately written to be obnoxious. Alexander rises to the occasion in an outburst at mealy-mouthed government official Hiram Keebler (Phillip Steele-Young) where Ned simply can't contain his anger. There is the similar outburst directed at his brother but it's in the deepening crisis of Ned's own relationship where Alexander really shines. Kramer and Park put him through the ringer as the so-called firebrand struggles to deal with Felix's condition. It's a very physical performance with lots of big gestures and hand motions that, given how precise a director Park is, can only have been a deliberate choice. The actor had to gather himself before his final bows after reaching a crescendo of anguish and unconditional love in the closing scene. 

Steven Hounsome plays an excellent foil with his Felix being straight forward and practical compared to the histrionics of Ned. He too navigates a fraught emotional arc with great skill. Phil Bedworth delivers that devastating monologue and projects decency as a man committed to the cause but at odds with Ned in how it should be prosecuted. 

Anna Head impresses in a tricky role as Dr. Emma Brookner. Not only confined to a wheelchair, most of her dialogue feels like a diatribe designed to convey facts and figures as the 'medical representative'. However, Head imbues Brookner with a genuine sense of compassion as she fights what seems a losing battle. This is epitomised in another outburst that builds in rage until it explodes in a flurry of papers as the doctor's request for funding is denied.  

Dean McAskil makes for a compelling visual counterpoint to Alexander - he towers over the more slightly built man which is symbolic of the brothers' relationship in many ways. The lawyer, at first, seems more preoccupied with material wealth in the form of a new house than his brother's activism but there is another moment of compassion when Felix visits him to engage his services. McAskil doesn't oversell the complicated relationship with Ned which leads to a satisfying arc.

Adam Poole has a standout moment as Mickey Marcus as he launches into a monologue that verges on hysterical but given the context was earned and a jolt of theatrical adrenaline. He tackles it with a full on intensity that was even more notable given it's quite a long speech. Jordan Holloway adds a sly sense of humour (and yes, there is a certain wry humour throughout) as Tommy Boatwright which is a welcome departure from most of the more earnest characters. 

This is a much lauded script tackling an important issue that resonates to this day with the Covid-19 pandemic an immediate comparison. I could sense the playwright's vitriol and that often bursts into life but every now and then this production felt somewhat too polite and measured. If ever there was a character and an issue that invites a full-blown assault it is Ned Weeks and the egregious handling of the AIDS crisis. Having said that, this is a talented cast and consummate director bringing to life a complex script and that is to be applauded.  

The Normal Heart is on at The Actor's Hub in East Perth until 18 November 2023.

The Trail To Oregon! - Art In Motion Theatre Company (28 October 2023)

The great westward expansion was one of the pivotal events in mid-19th century America as hundreds of thousands of settlers forged a path to the Pacific coast. One of these Emigrant Trails typically started in Missouri and wound its way thousands of kilometres to Oregon. It was a hazardous journey that, in many ways, defined the character of a young nation. Those brave souls had many obstacles to face - bandits, harsh weather, starvation, disease, wagons with octagonal wheels, deformed oxen, aggressive hand puppets, um, vengeful crustaceans, the whims of a capricious God, and, of course, dysentery. Oh, and a particularly savage and bloodthirsty race known only as The Watchers. It's a wonder any of them survived!

Yes, this comedy musical, based on a video game, takes some basic facts and runs wild with exaggeration and absurdity. It follows a family - surname chosen by the audience, in this case the Spareparts - whose farm has burned down so purchase a wagon in Independence, Missouri to head west to Oregon. The family unit comprises the Father (Mathew Leak), Mother (Lukas Perez), 7 year old Son (Verity Lux), 14 year old Daughter (Brittany Isaia), and Grandpa (Max Leunig), all named by the audience with great enthusiasm. We had a Yo Mama, Woody Woodpecker, Screw Loose, and Seymour Butts while the father's *name was probably an inside joke I didn't quite catch and seemed to change slightly on each utterance. These were incorporated into lyrics and dialogue with generally amusing effect. Riley Merigan plays a variety of characters they encounter on the way, notably the bandit McDoon.

At first I didn't quite know what to make of what was going on. The volume of the performers' mics was quite loud to compete with the onstage band so a lot of the expository lyrics were hard to catch in the early going. The humour was broad to say the least and it was all being played way over the top. Then it started to win me over as I realised what type of show it was and for this main reason - the talented cast was one hundred percent committed to the bit. Anything less and this could have devolved into a slog but they sold the hell out of the craziness with no shortage of charm and, at the end, considerable bravery. 

They were well supported by the cowboy-hat-wearing band who were all visible, corralled behind a wooden fence. There was also a bit of a home crowd feel to the audience who cheered on approvingly so I settled into a night of entertaining silliness. It also helped that the story vaguely reminded me of that great, quirky road trip movie Little Miss Sunshine where a fixated father and practical mother travel to California in a broken-down VW van with their starry-eyed daughter, withdrawn son, and crotchety grandfather. In this analogy Steve Carell is the... ah, blind and horny ox pulling the wagon (sorry, Steve). 

Every performer gets a moment to shine, whether it's Leak extolling the virtues of the journey ahead in The Grind or trying to woo Mother before the portentous Dysentery World; Perez dishing out homespun practicality and sass whilst also delivering the vocal highlight of the show with their solo When The World's At Stake; Leunig leading the cast in the whacky first act highlight Pays To Be An Animal; or Lux, displaying deft comic timing throughout, plunging headlong into the show closer Naked In A Lake where the cast strip down to tan bodysuits and tights as the second part of perhaps the zaniest ending you'll ever witness in a musical. 

The first part of that ending involves the audience selecting the fate of one of the family members. On this night it was Isaia who was tapped to perform a, shall we say, breezy and theatrically aromatic tour de force that saw her throw herself around the stage with the threat of wardrobe malfunctions aplenty. Isaia also has a strong vocal moment at the start of the second act with Lost Without You. Then there's Merigan who is the spare parts man extraordinaire to this Spareparts family. Forget dressing up as Barbie, Ken or Oppenheimer for Halloween... if you're not rocking a full-size Lobster costume (which genuinely had me in stitches) or Ox outfit you're simply not doing it right. Merigan chomps his way through the scenery with a bevy of villains and bizarre characters the family encounters.

The band under Musical Director Joshua Hollander plays an integral part in keeping the tempo upbeat, even rocketing the second act along with the frenetic Speedrun. As befits the mostly mid-west country vibes, it's a guitar (Sam Michael; Erin Steicke, bass) and banjo (Kieran Ridgway) driven score that's a jaunty accompaniment to the antics right in front of them. Hollander and Jennifer Phan play piano with Dylan Boxwell on drums and an uncredited saxophone player makes a cameo when Father is in the mood for lurve. 

Director Micheal Carroll allows plenty of room for the cast to "go big" with a sparse set and uncomplicated props including the practical simplicity of the wagon itself. Production Assistants Stella Sawyer and Tashlin Church create effective costumes for the family members with some memorable flourishes utilised for various creatures and villains. Sophie David enhances the eclectic nature of the family members with idiosyncratic choreography that favoured energy over technique. 

In all it's a boisterous show that doesn't shy away from its inherent silliness and one that the cast seemed to enjoy immensely with several corpsing alerts along the way. The audience also had a blast the night I was there and, I admit, I was heartily laughing along to the absurdity. A fun night at the theatre. 

*after inadvertent digital snooping I believe the name bestowed upon Father was Hatsune Miku who is - quick Google search - a 16 year old 'virtual idol'... okay then. *checks notes* I guess I was close with Hotsuemekoo (blank stare). 

Cats - WAAPA (11 September 2023)

What a ride the graduating musical theatre students have been on - from Sondheim (Assassins, Sweeney Todd) to Andrew Lloyd Webber by way of a pit stop in small town America (Footloose). I confess, I was a little wary going into Cats as I've always found it an oddly constructed musical but damn if the performers, musicians, and the production & design students didn't win me over, especially with a cracking 2nd Act. I still have no idea what a Jellicle cat is or what actually happens when one is reborn but it matters nary a jot with this amount of talent on display. 

Instead of wondering about the tenuous narrative through-line, it struck me early in the 1st Act that this is like a 1970s concept album or, perhaps more appropriately, a Showcase of sorts. Each song is a distinct set piece as different cats are introduced who have their own characteristics and personality expressed through lyrics and movement. Experienced through that lens I sat back and let the performances speak for themselves. 

Two aspects are immediately apparent - this is a dance heavy production with Jayne Smeulders' stunning choreography testing the performers' stamina and athletic limits; and the music students in the 16 piece orchestra (including 5 staff members) under the baton of musical director Craig Dalton are featured as equally as the performers on stage.

This was notable from the get go. All of the musicians are visible in the 'pit' in front of the stage so are part of the visual presentation. I really liked how the cast gathered stage right and listened intently to the Overture then applauded along with the audience before taking up their positions. Prior to the commencement of the 2nd Act, a sparkly attired Dalton asked the musicians to stand for applause which was another lovely touch. And applaud we did as they played out the show after final bows. The musicians did the keyboard/synth infused score justice and then some. Sound design by Dale Kerrison ensured the balance between music and vocals was spot on. 

Then there were the smart decisions that reinforced the "Seen through new eyes" tag line on the poster. Significantly, there isn't a tail or a whisker or a litter of lycra bodysuits in sight. Featured cats such as Jennyanydots (Eilidh Sinnamon) and Bustopher Jones (Mitchell France) are given distinctive, colourful costumes while the bulk of the company are all in black; sleek, sexy, and sensational. Sure, there is the occasional pawing motion or flick of an imaginary tail, even a hiss or two, but this show is designed for perpetual motion. 

To assist that kinetic momentum, the stage design is sparse to maximise the space for the nineteen strong company to cavort, tumble, and slink about in. There are numbers designed around a piece of movable set such as a wardrobe, street lamp or piano with the use of a scrim at other points to project surtitles onto or to enable startling shadow work. The lighting design uses a lot of spotlights to highlight individual performers for their moment in the moonlight but also use of shadow and darkness to disguise the movements of one mystery cat in particular. Excellent work by set and costume designer Elouise Greenwell and lighting designer Amber Lorenzi.

Which brings us to the MT students and what a marvellous cohort they are. 

Matthew Manning embodies a real sense of showmanship with his Munkustrap, like an emcee in this strange, feline world. I'm always a sucker for a tap routine which Sinnamon leads during The Old Gumbie Cat. Patrick Friedlander offers up swagger aplenty as a cross between Stuart Goddard's alter ego and Billy Idol as Rum Tum Tugger. France is an affable fat cat with padded cushion and all while Curtis Kossart and Emily Lambert dazzle in an early highlight with Mungojerrie and Rumpleteazer.

Cameron Taylor has a gorgeous singing voice which lends his Old Deuteronomy enormous empathy. Genevieve Goldman sings the hell out of the iconic Memory and looks resplendent in a sequined evening gown as her Grizabella ascends to cat heaven. 

The first act ends with a prelude of that song right after the extraordinary dance sequence of The Jellicle Ball, a balletic and acrobatic tour de force that rightfully drew raucous applause. The WAAPA Marketing department has been doing a terrific job on social media posting behind-the-scenes clips one of which was the before and after of that sequence. Now I know why the performers were drenched in sweat! 

I was utterly charmed by Gus: The Theatre Cat as a quiet interlude early in the 2nd Act as Mia Beattie (Jellylorum) introduces Asparagus (Tim Brown) with such a deft touch. Then director Crispin Taylor cranks up the energy even further and the show rockets into another gear. Brown leaps forth to launch a full on charm offensive as Gus regales us with the tale of The Awefull Battle of the Pekes and the Pollicles usually reserved for Munkustrap. In this he is assisted by terrific shadow play on the scrim and other cast members engaging in some delightful whimsy... as humans playing cats playing, um, dogs. 

Before you can catch your breath Marcus Frost's Skimbleshanks, the Railway Cat, is dancing up a storm with the rest of the cast using everything from umbrellas to old-fashioned lamps, suitcases, and brooms as props in another burst of eye-catching choreography. Then it's time for my favourite song, Macavity: The Mystery Cat, where Hanna Harvey (Demeter) and Grace Alston (Bombalurina) are seductive and playful as the song builds and the orchestra swells into a brassy crescendo. Patrick Volpe exudes physical menace as Macavity in a year that's also seen him play a brooding Sweeney and an intense Chuck from Footloose. There's a lovely piece of stagecraft that proves that Macavity was indeed not there. 

Then it's time for some audience singalong to Mr. Mistoffelees led by Friedlander while Declan Allen engages in an acrobatic dance routine that Cirque du Soleil would be proud of. Mia Guglielmi (Jemima) leads us into Goldman's showstopper and then we're racing towards final bows. In a move that surely was intended Volpe and Guglielmi are placed together in those final moments, Sweeney Todd and Mrs. Lovett reunited.  

There's no doubt about it, my initial scepticism was swept away and this was an impressive way to end an impressive year.