Cinderella: A Traditional Christmas Pantomime - Zealous Productions (22 December 2021)

If the success of a pantomime can be measured by the level of audience interaction then Dixie Johnstone’s Zealous Productions has a hit on its hands. The large number of children at today’s matinee were wildly enthusiastic and fully engaged throughout the entire opening show. No small feat for a production that runs some two hours. Many of the shouted remarks were funny in the way only kids can make them. My favourite was the boy who kept referring to Cinderella’s friend Buttons (Tate Bennett) as “Button Boy”.

This level of participation in all the traditional hallmarks of a panto is set up and encouraged by a wonderfully talented cast that is having a whale of a time. The youngsters catch on to the call and response nature of the show almost immediately. They heartily booed the Baroness (Penny Shaw), squealed in warning as instructed whenever anyone went near Buttons’ gift-wrapped present, and were delighted by the exemplary wand waving antics of the Fairy Godmother (Elethea Sartorelli) who conjures up the magic to make dreams come true. I’m not sure what they made of the ugly step-sisters Danni (Brendan Hanson) and Fanny (John O’Hara) who supplied more of the sly adult asides to keep the grown-ups chuckling. But I do know they were enchanted by Amber Scates who is thoroughly likeable as the put-upon Cinderella before transforming into the beautiful ‘Princess Starlight’ as she attends the prince’s ball. There she meets Prince Charming himself, played with winning, well, charm by a dashing Ethan Jones.

Lachlan Obst plays Dandini, the prince’s manservant, with alliterative dexterity while Robert Hofmann adds a little Ol Blue Eyes himself as the henpecked Baron. Then there’s the ensemble of Bri Caracciolo, Georgina Charteris, Tory Kendrick, and Phoebe Tempra who revel in Allen Blachford’s choreography and add vocal punch to the bigger numbers.

Sartorelli and Bennett drive the plot machinations and set the tone from the very beginning. Bennett is so affable that he instantly has the audience in the palm of his hand. It’s a winning turn and I was happy to see him (and Tory Kendrick) outside taking photos with starstruck children immediately after the show finished. I understand there will be a rotating roster of performers doing this after each show which is a real treat for the youngsters. Sartorelli is joyous as the Fairy Godmother and irresistible when the wand becomes a faux microphone as she belts out One Night Only as the first act closer, a memorable highlight.

The other major highlight comes in the second act and reminded me why I love theatre. For all the broad humour, witty puns, panto antics, and pretend magic, when Jones and Scates duet on Rewrite the Stars it is actually magical in a way you only get onstage. Beautifully sung and heartfelt with a gorgeous backdrop, both performers look amazing in costumes by Brooklyn Rowcroft and sound divine.

The show itself looks great – from the costuming to clever lighting (Brad Voss) and set design (John Johnstone) – with real treats such as Cinderella’s ball gown, the pumpkin inspired carriage and its horses, and midnight looming over every moment with a large clock backdrop. The makeup (Manuao TeAotonga) and wigs (Pip) are bold and delightfully garish in the case of Danni and Fanny. It took me a full ten minutes to recognise Hanson and I only discovered it was O’Hara as Fanny whilst consulting the digital program at the interval! I love that and the two of them gleefully chewed more scenery than all of the Jaws films combined.  

There is a mixture of live band (Tommi Flamenco, Alex Barker & Jarrad Van Dort) and recorded tracks under Musical Director Joshua Webb with well-known songs from Madonna, Beyonce, Sinatra and Kool and the Gang amongst others. Director Peter Cumins keeps proceedings moving briskly though he allows plenty of room for such a talented cast to play to the audience and improvise where necessary.

Finally, it would be remiss of me not to mention the surprise cameo of ‘John from Subiaco’ who caught the eye of Danni from the second row. He played it pretty cool but I believe stardom could be just around the corner.

Sure, not all the puns and jokes land and there is a scattershot approach to various Perth references shoehorned into the script but this is a fun production that the children adored. With the breadth of talent on display it’s also well worthwhile for us bigger kids. A strong recommend for a family friendly outing during the holiday season.

Now playing at the Regal Theatre in Subiaco at 1pm and 6pm 23-24 & 28-29 December.

Nevermore - The Imaginary Life and Mysterious Death of Edgar Allan Poe - Grey Lantern Productions (1 December 2021)

An old adage familiar to writers is “write what you know”. Now, we can debate the soundness of that advice (it can and does lead to pedestrian material if another key ingredient, imagination, isn’t engaged) but what if all you know is loss, abandonment, and addiction along with an (un)healthy dose of the macabre? The result is the works of Edgar Allan Poe, a key figure in American literature. This dazzling production tells his story in a highly stylised manner through song and verse. It plays, to use modern film parlance, as a biopic covering Poe’s life from his birth, loss of his parents (mother died, father left) to the Allan’s taking him in to the various women in his life, to his struggle to be published, and eventually Poe’s death. It also asks the question about how much the creations of his imagination and life experience influence him by the fact of their very existence at his hand. It’s a heady brew.

I admit, it took me a while to lock into this production as it’s quite dense and demands your full attention. This was compounded somewhat by the onstage orchestra (more of them later but they played beautifully) sometimes obscuring the plentiful lyrics. Once it clicked for me though, it proved to be a wonderfully satisfying experience, theatrically and intellectually. It’s a smart show and director Lorna Mackie has created a precise and striking production. It’s no coincidence that the rehearsal period was twice the length of a usual undertaking.

The precision is evident in all departments. The look of the show is unique and arresting, from Therese Cruise’s memorable costumes (including the representation of perhaps Poe’s most famous creation, The Raven, which gave a couple of audience members heart palpitations at one point!) to the monochromatic makeup by Andrea Lim that adds an eeriness especially under Mackie’s lighting design. The set design is sparse to say the least in the black box space, deliberately so to enhance the performers’ look and movements. The orchestra under Musical Director Maddison Moulin adds so much mood and atmosphere with an excellent score, violin and cello at the fore. Choreography by Anita Lawrence is also sparsely utilised but when it is the result is hypnotic.

The show is structured using another filmic device – there is a key moment at the beginning where the Players assail Edgar Allan Poe (Cal Silberstein) before we flashback to tell his life story and eventually catch up to that point in time again where certain revelations are made. To aid this there is a literal Book of Poe’s life that each of the players will take turns throughout the show to narrate key moments in rhyming verse.

Silberstein is excellent as Poe representing his trauma and sense of loss through plaintive song and an aura of melancholy. Brief moments of joy are allowed to intrude when Poe is with his siblings or Elmira (Erin Craddock) who seems to be his true love and the one who understands Poe's darker impulses. Silberstein plays the most grounded character as larger than life figures swirl around him and there are times he literally pleads to the audience as he sings.

The other six “players” take on multiple roles as well as narrating duties. Daniel Burton brings gravitas and his booming voice to authority figures such as John Allan; Arianne Westcott-King generally plays the more sympathetic female characters from Poe’s younger sister to his wife (and cousin) Sissy who dies of tuberculosis. Simon Brett is always lurking as almost an omniscient presence with an excellent singing voice and Zac Bennett-McPhee is most notable as Poe’s brother Henry. Craddock brings a mischievously dark energy as Elmira while Charlotte Louise deploys an incandescent smile, enhanced by the makeup, in multiple ways – sinister, wickedly gleeful, occasionally sympathetic – as generally the mother figures in the story. The seven of them work wonderfully well together, vocally and in their highly coordinated movement.

The highlight is when all these elements fuse perfectly in a stunning rendition of the famous poem The Raven, performed as song. I confess, when the first verse began it was like a crackle of electricity straight from the stage to the audience.

Mention must go to the individual orchestra members who formed a character in and of itself at the back of the stage – Moulin, Shaun Davis, Jade Henderson, Jack Duffy, Suresh Manievannan, Emily Gelineau and Liz Moss. Book, Lyrics, and Music are by Jonathan Christenson.

There are only four more shows of this highly original and striking work – Thursday and Friday nights with two shows on Saturday at the Subiaco Arts Centre. I would recommend getting along to see this theatrical treat with a cracking cast and orchestra working in a beautifully staged environment.

Bright Star - WAAPA (2nd Year Musical Theatre) - 13 November 2021

The second-year cohort introduced themselves to the public with this toe-tapping and thoroughly charming production written and composed by Steve Martin and Edie Brickell. I was delighted by its slow southern drawl and banjo-picking depiction of North Carolina in the 1920s and 1940s as the ramifications of a harrowing personal event are played out. Aspects of the story do strain credulity but it’s carried by an excellent score and such enthusiasm that you can discard such misgivings. 

All departments are on top of their game, from the wooden beams and crates of the main set design (Charlotte Meagher) that reminded me of a huge barn; to the eight-piece orchestra (MD Craig Dalton) that added so much to the pace and mood of the story. The music brings an authenticity of time and place, reinforced by the period costuming of Nicole Denholm. It's a handsome production with the lighting design (Shannon O’Neill) creating additional locations, notably the riverside. Kudos to sound designer Dale Kerrison, especially during a critical reveal in the second half. 

There are joyous moments aplenty as the orchestra ups the tempo and choreographer Jayne Smeulders has the cast kick up their heels in such numbers as 'Another Round'. But Director Adam Mitchell also brings plenty of dramatic chops to the darker elements; one set on a train that actually had my jaw drop as a terrible act unfolds. 

Then there’s the cast. It’s always a joy to see a new cohort for the first time and there are plenty of bright stars amongst this group. The vocal talent of the principals is outstanding with all of them embracing the southern twang but I was particularly impressed with Brittany Carter as the older, officious Alice Murphy; Madeleine Betts as the younger, more playful Alice; Sarah Monteau as the lovelorn Margo; and Campbell Parsons who has a voice dipped in molasses and was superb as Jimmy Ray. Betts and Parsons, one of the key couples, have excellent chemistry with ‘What Could Be Better’ a highlight, followed soon after by Betts unleashing a powerhouse vocal performance in the gripping ‘Please, Don’t Take Him’. Mentions also to Jackson Britza as the earnest writer Billy Cane freshly returned from war and Hayley Parnaby who provides comic relief and pizzaz as Lucy Grant. 

While I’d expect the singing to be good (here it’s fantastic), it’s the quality of the acting that surprised me. The nature of the story means there’s nowhere to hide with the emotional stakes involved and the cast handles those aspects well. There’s a quiet moment, for example, where Carter’s Alice lies to her father (Anthony Garcia) to spare him further pain which is beautifully handled.

The musical wraps up perhaps a little too neatly but I left the Roundhouse Theatre with only one word on my mind – wow! 

Who's Your Baghdaddy Or How I Started the Iraq War - Curveball Creative (27 June 2020)

There are few events in history that you can definitively point to and say, “that changed the entire world forever.” There have been two such events in the last twenty years. We’re living through one right now as a global pandemic has forced us all to rethink how we live, work and interact with each other. The other occurred on 11 September 2001. One of the many ramifications of that terrorist attack was the manufactured war with Iraq as a wounded America sought vengeance. A war built on a foundation of lies.

Fascinating then that this show deals with both earth-shattering occurrences; in content and how that content is delivered in a socially distanced world where the arts have been decimated by Covid-19 restrictions and government malice.

Three months ago, I’d never heard of the video application Zoom. It’s now ubiquitous. As theatres around the world have been shuttered, performers and production companies have switched to online applications to share concerts or open the vaults to previously filmed material. Who’s Your Baghdaddy, however, is billed as Australia’s first live-streamed musical.

There were a few glitches. The first entirely of my own making. I had the 7.30pm start time pencilled in… but, of course, it was Eastern Standard Time not WST and this poor Western Australian joined way late. Hey, I’m out of practice. Then I had the screen freeze for what seemed like an eternity. The only remedy was to refresh which meant I missed another chunk. After which it was quickly Intermission. I had intended to write a proper review, my first in quite some time, but given I’d missed a lot of the first half I’ll give my impressions only instead…

A considerable amount of thought, preparation, and technical expertise has gone into all aspects of this production. Staged in various rooms at the one location, each performer had their own space which was beautifully lit (Phoebe Pilcher) and dressed (Isabel Hudson) appropriate to their character. The ‘interaction’ between them was well choreographed (Leah Howard) and directed (Neil Gooding) as the main viewing screen was populated with character boxes in varying configurations. The sound design (David Bergman) was crisp for dialogue, music and vocals (MD Steven Kreamer). It was an impressive feat of coordination with all departments working seamlessly to present a professional show. I suspect Technical Director Michael Goodyear had his work cut out and should be rightfully lauded for pulling it off with aplomb.

The cast was uniformly excellent and worked well together. I can only imagine the time and effort it must have taken to have not only the vocals in perfect synchronisation but the blocking as well. I was particularly impressed with Matt Predny (Rickart Becker), Laura Murphy (Berry Stanton), and Katrina Retallick while Phillip Lowe’s portrayal of ‘company man’ Tyler Nelson dominated the early going of the second half.

This is where the Book takes a turn away from what appeared to be a satirical first half to a more serious tone. The notorious Iraqi defector Curveball played by Troy Sussman largely disappears until the end of the show where Sussman delivers the most memorable and moving song, Speak To Me Tomorrow. This also means his handler, played by Predny, is absent for much of backend of the production as the focus switches to the people who could have spoken up but, for various reasons, did not. Colin Powell’s shameful presentation at the UN is a low point of deception and wilful disinformation. Some of it based on false intelligence provided by Curveball. Many maintain to this day that Powell knew that this and other fabrications were completely bogus. Bush and his Neocons got the war they were spoiling for.

While what I saw of the satire perhaps wasn’t as biting as it could have been, nor the drama as damning, overall this is a slick production that admirably fills the present void of live content. It points the way to what is achievable using technological solutions when more traditional methods are not an option or constrained. It will be interesting to see if it is a passing phase as restrictions ease or whether it becomes a viable delivery mechanism for production companies. Regardless, Who's Your Baghdaddy is a bold and ambitious show tackling a still controversial subject.

Directed by Neil Gooding with Musical Director Steven Kreamer and Technical Director Michael Goodyear, from music and book by Marshall Paillet, lyrics and book by A.D. Penedo, based on an unproduced screenplay by J.T. Allen; starring Doug Hansell, Matt Predny, Troy Sussman, Phillip Lowe, Laura Murphy, Adam Rennie, Katrina Retallick, and Blake Erickson.

Top Ten Theatre Productions in 2018 - Musicals, Cabaret & Concerts

If the goal of a theatrical work is to make an audience feel something, whether that be through laughter, tears, outrage, self-reflection, inquisitiveness, discovery or simply awe, then it's been a successful 2018.

It's perhaps no coincidence that three of the top ten productions in this category are Stephen Sondheim musicals. Oftentimes you can experience all of the above in the one production from this bonafide master.

This year, however, the top musical moved me to tears in a sublime exploration of what it means to create art. To be affected so profoundly by a piece of theatre is a boon beyond measure.

My top ten musicals, cabaret and concerts of the year:

1. Sunday in the Park With George - WAAPA

Yes, I cried. Both nights I went. Children and Art and Move On had tears rolling down my cheeks. Did I like the opening sequence in the second half? Not overly. But the first half is sublime as is the modern day return to the Island of La Grand Jatte. Every aspect of the production was exceptional - set & art design, costuming, lighting and sound, the orchestra - plus two wonderful lead performances.

"There was a buzz around two years ago that The Drowsy Chaperone was the best production in years at the Geoff Gibbs Theatre. Yes, it was that good. I'm here to tell you Sunday in the Park with George is right up there with it. Maybe even better and that's a debate I'm happy to have. This was an exceptional production of what is a masterwork by Stephen Sondheim and James Lapine."

2. Into the Woods - Midnite Youth Theatre Company 

Not all fairy tales have a happy ending in the hands of Sondheim & James Lapine and the tonal shift after interval is jarring. But the storytelling is inventive and it's an extraordinary collection of songs. The young cast and orchestra tackled it with real verve in a most entertaining production.

"The show was led by three central performances that were very good indeed - Aleisha Archer as a feisty Little Red Riding Hood; Imogen Rabbitte, full of compassion as the Baker's Wife; and Cat Perez soars vocally and in scene chewing intensity as the Witch."

3. Moonshinin' - Perth Cabaret Collective 

What a way to end the year! A rollicking couple of hours in the hands of a brilliant jazz band and three lead vocalists each with their own distinctive style and personality. It all gelled into an irresistible foot tapping evening Downstairs at the Maj. 

"The music is timeless – the slide of the trombone; the slap of the bass; fingers tinkling the ivories; the wail of a trumpet; the caress of a saxophone; the crispness of a snare. Together, sublime. Music to make you smile, to tap your toes, to sway in time to the beat. Then you add the voices. Playful and sexy, crooning, snarrrrrrrrling, soaring. Music and vocals working in harmony."

4. Taryn Ryan: West End

A farewell concert at the Ellington for a performer who made her mark in only a few short years in the independent theatre scene. An eclectic mix of songs from “Tin-Pan Alley, classic Broadway, West End blockbusters and European cabaret, concept albums, pop/folk crossovers, and contemporary Australian musicals with guest performer Megan Kozak adding her trademark vocal fireworks. 

"There is no doubt Perth is losing a unique talent. But there was a sense that Taryn has outgrown us and that bigger and better things await as she chases her dreams on the other side of the world. On the evidence of her body of work to date and this memorable performance London will be gifted with an accomplished performer who will flourish in the spotlight."

5. Cirque du Rhythm - WAAPA 

I have only recently been going to the concerts held by the percussion students who go under the moniker Defying Gravity. They are such joyous affairs with music from around the world performed on all sorts of instruments you might not normally hear. There is a real camaraderie between the students and with the guest performers, many who are successful alumni. 

6. Jones & Woods Retrospective - Holland St Productions

You're guaranteed to laugh your arse off at any of the musical comedies created by Messrs. Jones and Woods. Put together excerpts from all of those shows and you'll be reaching for an oxygen mask such is the sheer inventiveness of their humour and execution. 

"Their roster of productions has won multiple awards, toured nationally and internationally, and are among the best works created in this state in any performance medium in the last decade. My personal favourite, Point & Shoot is a spectacularly good work. But then all their shows are gems."

7. Assassins - Black Swan State Theatre Company 

The production started a little slowly and was perhaps lost in the cavernous Heath Ledger Theatre. But when you have a roster of talented vocalists and such an audacious concept for a musical then it's not long before it wins you over. Features one of my favourite moments when The Balladeer turns into something far more sinister. 

"Darkly humorous and inventive it's a cracking show. The Black Swan veterans were in fine form but the delight for me was seeing so many recent WAAPA graduates - Finn, Nick, Mackenzie, Natasha, Cameron, and Nathan up there on the Heath Ledger stage and doing so well in a high quality piece of theatre."

8. 'Tis the Season... - Maverick Newman & Stacey Thomsett

For people who like their festive season a little bawdy this was a sleek, laugh out loud funny, and inspired cabaret show poking fun at all sorts of social woes magnified under the pressure cooker of the family Christmas. 

"The original songs are clever and pointed in their observations but never shy away from some dark home truths while being hilariously delivered by Newman and Thomsett. And what a combination they are – Thomsett plays Bonnie as a character with a perky disposition whilst seemingly craving acceptance from her brother; while Newman is all faux outrage and confidence as Bailey."

9. From Marathon to Waterloo, In Order Categorical - WAAPA

I can't claim to be a Gilbert & Sullivan aficionado so this snuck up on me as an absolute treat. Performed on a gloriously presented set by the beautifully costumed and lit classical voice students, this production put a smile on my face from start to finish.

"Staged on a sumptuous set with accompaniment on piano by musical director Marilyn Phillips, the gorgeously costumed students sparkled. There was wit and joy aplenty and those glorious voices soared especially when the massed company was deployed."

[You might know that I detest lists that have ties as being lazy. There were genuinely four productions in consideration for the final spot on this list and the easiest thing in the world would be to name them all. However, I like to torture myself by making a decision. So, after much consideration and agonised hand wringing...]

10. Rock of Ages - Koorliny Arts Centre

Powered by an eminently likeable performance from Matthew Arnold as Drew with notable support from Timothy How as Lonny this was a raw and raucous production. The tribute to 80's power ballads and rock standards was all good cigarette-lighters-waved-in-the-air fun. 

Female Performer of the Year – Prudence Daniel

Such an assured performance as Dot in Sunday in the Park With George. Daniel sang beautifully and handled the dense lyrics faultlessly. But it was the depth of her acting that elevated this to something truly special. From embracing the inherent joie de vivre of the character to the disappointment of knowing Dot will always be second to her lover's obsession. Then the transformation to the much older Marie in the second half before the emotional triumph of Dot's return at the end. Extraordinary.

Male Performer of the Year – Jarrod Draper

Handled the demanding role of Georges Seurat and his grandson George with an aplomb that belied his age. Worked incredibly well with Daniel to establish the emotional core of their relationship and the main thrust of the piece in the first half. Switched gears to play the modern day grandson who returns to the site of the famous painting to encounter Dot in a moving final sequence. Sang well including the famous Finishing The Hat and does a mean dog impersonation to boot!

Special Mentions:

Will O'Mahony 

Added real flair portraying Charles Guiteau in Assassins with his The Ballad of Guiteau being a standout moment as he milked the walk up the stairs to the gallows with outstanding comic exaggeration. 

Elaina O'Connor

Won me over with an utterly infectious, high energy performance as Elle Woods in Legally Blonde. O'Connor was beautifully costumed, so totally likeable in the role, danced and sang with winning charm. 

Finn Alexander

Conveyed such a relaxed stage presence as his Balladeer commented on events before undertaking the startling transformation into Lee Harvey Oswald in Assassins. Alexander also showcased a wonderful voice that stood out in a cluster of excellent vocalists.

Pavan Hari 

Seemingly everywhere in his final year at WAAPA - composer, percussionist, dancer - he added to his Defying Gravity performances with contributions to The Crucible (composer), Ajax in Afghanistan (musical director) and percussionist for In The Heights. A charismatic performer and inventive composer you sense he is on the cusp of being a superstar in the world of percussion.

Cat Perez 

Perez had an excellent end to the year featuring as The Witch in Into the Woods where she displayed powerhouse vocals and a knack for stealing every scene she was in. Backed up with a harrowing portrayal in an original play staged at Murdoch's Studio 411. 

Jessie Gordon

I couldn't leave Gordon off any list of notable performances for the year. She was in fine form on her return from Spain with a characteristically mesmerising outing in Moonshinin'. An outstanding vocalist with well honed stagecraft, Gordon brings the glamour and sexiness mixed with an aura of mischievousness that is an irresistible combination.

Top Ten Theatre Productions in 2018 - Plays

Another Christmas is over and as the food coma slowly subsides it's time to cast one's mind back over the theatre landscape of 2018. I suspect I may have a somewhat more eclectic viewing pattern than many of the people who do such lists. Nor can I compete with those entities that have multiple reviewers whose coverage is therefore substantially larger. However, I did see some 70 productions during the year of which 38 were classed as plays.

The main takeaway is that there is good work being done year round in Perth. Not only in major hubs such as the theatres in the Perth Cultural Centre and at WAAPA but in the suburbs with vibrant community and independent theatre.

Fringe World offers a smorgasbord or productions every year though it will be interesting to see if its growth spurt can be sustained. There are sizeable rumblings of discontent from local artists about being cut out of a fair share of the pie. Time will tell if that situation will be remedied so that the people bringing in the punters, quite rightly, get a more equitable share of the profits for their creative labour.

Here now, my Top Ten plays that I saw during the year...

1. The Curious Incident of the Dog in the Night-Time - The National Theatre of Great Britain

Nothing short of dazzling in its execution, this was world class theatre staged in the beautiful His Majesty's Theatre.

"The stagecraft on display is world class in all facets - set design, lighting design, sound design, movement and acting all working seamlessly. The play is moving, funny, thought provoking in an excellent script by Simon Stephens... a revelation. When a play is firing on all cylinders like this it is an utter joy to witness."

2. A Streetcar Named Desire - WAAPA

The Academy went all in on classics this year, mounting productions from revered playwrights such as Arthur Miller, Oscar Wilde, Anton Chekhov, as well as The Bard. None was more vividly brought to life, however, than this Tennessee Williams classic. 

"Tonight's production of A Streetcar Named Desire answered this fundamental question: Why do I go to the theatre? Answer: It's one of the few places I know where magic happens. Honest to goodness actual magic... The third year acting students crushed it out of the park led by Cameron Rouse who gave a stunning performance as Blanche DuBois."

3. Stuff Happens - WAAPA

One of the advantages WAAPA has is that it can cast 18 actors in its productions, something that is prohibitive cost-wise in professional theatre and strains available talent in community or independent theatre. The full effect of being able to deploy the full cohort was never more evident than in this damning indictment of the lead up to the Iraq War.

"Anger. Unbridled, fist clenching anger. Usually not a good emotion to have walking out of a play. In this case it was justified, well earned, and the exact state to be in... Excellent, urgent, relevant theatre to get angry about."

4. Fever - WAAPA 

The Aboriginal Performance students continue to mount excellent end of year productions. An achievement made all the more laudable by the fact that it is only a one year course. Fever follows in the footsteps of Rodeo Moon and last year's Windmill Baby as vibrant showcases of the outcome of that intensive yearlong training.

"Fever... is the most ambitious production I've seen out of this performing strand at WAAPA - two hours and twenty minutes in length with intertwined stories written by four acclaimed Australian playwrights that is densely packed and often elusive. It's a testament to course coordinator Rick Brayford's and visiting director Rachael Maza's work with these talented indigenous performers that they pulled off such a complicated work in quite stunning fashion."

5. End of the Rainbow - Koorliny Arts Centre

One of the premiere community theatre clubs in the state, Koorliny is perhaps best known for its musicals. That DNA does pulse through this tragic recounting of the last days of the legendary Judy Garland's life with many of her most famous songs featured. But it's the acting of all three leads that made this so compelling.

"The three actors were terrific in what, ultimately, is a tragedy as the tears of a few audience members demonstrated at the end. But what a rollercoaster ride to get to the final song; one that was preordained almost 80 years ago."

6. Arabian Nights - WAAPA

The 2nd year musical theatre students are always plunged into a non-musical production for their first public performance. WAAPA takes the third aspect of 'triple threat' seriously as acting chops are tested early. Simply put, this is the best introduction to a MT cohort I've seen in the last 5 years. There was a sense of playfulness that was infectious. 

7. 4x4x4: One Punch Wonder - The Actors' Hub

A passionate condemnation of toxic masculinity using comments and testimony from actual one punch cases combined with a boisterous physicality set in a boxing ring. Impressively, this was performed by young men speaking directly to their generation. Powerful.   

8. The Seagull - WAAPA

Another introduction, this time to the 2nd year acting cohort tackling a classic in the early going of the year. Staged in the black box space of the Enright Studio I found this suitably entertaining and a promising beginning for this group.

9. The Three Deaths of Ebony Black - Amberly Cull

A two-hander with puppets and live musical accompaniment that was touching, funny, and quirky. A gem of this year's Fringe World. 

10. Lysistrata - tempest

Speaking of classics, this comic tale of feminine empowerment in a time of war written over two millennia ago was updated to incorporate the #metoo movement to pointed satirical effect. 

"Excellent use of props (to hilarious effect in one memorable sequence) and costuming. Well acted, inventively staged, and as relevant now as it was over two millennia ago. Perhaps even more so. A breezy hour of theatre."

Female Performer of the Year - Cameron Rouse

The now graduated WAAPA student took on one of the iconic roles in theatre, that of Blanche DuBois, and simply blew the walls off the Roundhouse Theatre. The audience I saw the play with were mesmerised and happily discussing Rouse's performance afterwards. I was quite amped by what I had seen. The skill involved was outstanding, from the authentic southern accent to the slow unravelling into nervous breakdown. A magical performance in a terrific production. 

Male Performer of the Year - Joshua Jenkins 

In the exceptional piece of theatre that was The Curious Incident of the Dog in the Night-Time, Joshua Jenkins gave an astonishing lead performance as Christopher Boone. Playing a character somewhere on the autism spectrum, he was always in the moment and truthful, whilst also navigating the physical demands of a production that had so much technical wizardry and precise movement. You could not take your eyes off him in an emotionally resonant performance. 

Special Mentions:

Jarryd Dobson

So convincing as George W. Bush in Stuff Happens that I was infuriated by the "aw shucks" charm that led to the disaster that was the Iraq War. 

Kian Pitman

Pitman had an excellent year with notable highlights being her light touch as Cecily Cardew in The Importance of Being Earnest; a very funny take on Romeo & Juliet that saw her adjudged co-winner of the annual Shakespeare Awards; and a fiery turn as Helena in A Midsummer Night's Dream.

Tegan Mulvany

Stood out in Thought Jar Productions final episode of the live science fiction radio play Atlantis. Mulvany showed great emotional range as her character was forced to recall memories past, present, and future in a riff on Dickens' classic A Christmas Carol. 

Rachel Monamy

A bravura performance as a caustic and profoundly wounded Judy Garland in the latter stages of her life in End of the Rainbow. Monamy has never been better, showcasing a range of emotions as Garland attempts yet another comeback to pay off years of debt due to drug and alcohol abuse. The acting is superb and... her vocal performance of many famous numbers is icing on the cake.

Sam Corlett 

Excelled as Stanley Kowalski in A Streetcar Named Desire bringing a physicality and brutishness that belies his age. One to watch as he moves from student into the professional realm. Immensely talented yet down to earth and humble. 

My Favourite Local Writers 2012-2018

In the last of my retrospectives covering the years 2012 to 2018 I wanted to highlight those people perhaps closest to my creative heart, that being local playwrights and collaborators. The people who have created wonderful plays, musicals and cabaret acts that, at their very best, can compete with any new work anywhere else in the country.

There have been outstanding individual works - Stephen Lee's Madame Piaf immediately springs to mind - but this list is made up of those writers where I have seen more than one example of their creative output.

Thank you for the drama, the laughs, the entertainment, the discovery of new worlds and characters, of reflection and debate.

Tyler Jacob Jones & Robert Woods

A duo that is synonymous with award winning one act comedy musicals. Jones is the showman with dazzling lyrics and inventive books that skewer everything from reality television to the movie industry to our obsession with celebrities. Woods is the more stoic of the two when it comes to being onstage but his music is just as inspired. Together they are a perfect creative match. They also have a shared love of movies and movie making that is abundantly clear in how they approach their material. It's perhaps why their work resonates so deeply with me. Above all, they create smart, witty, laugh out loud funny musicals that are a joy to watch. They are also prolific as a Holiday Special and recent Retrospective amply demonstrates.

Highlights: Point & Shoot: A New Musical; Dr. Felicity Rickshaw's Celebrity Sex Party; Gravity the Musical

Tyler Jacob Jones is a fine dramatist in his own right with F**k Decaf and Becky Peterson Will Punch You In The Face notable examples. He also contributed to the excellent Skin Deep which lambasted the cosmetic industry with typical flair.

Jeffrey Jay Fowler & Chris Isaacs

Members of independent powerhouse The Last Great Hunt, Fowler and Isaacs combined their considerable writing talents to create two wonderful pieces of theatre featuring the same characters (that they also played) - FAG/STAG and Bali. There is a compelling honesty to their writing that comes from sharp observation and pointed social commentary. They can have an audience roaring with laughter in one moment then deathly silent the next. Consummate storytellers, they have an innate grasp of storytelling rhythms honed, I suspect, over many performances together.

Each has individually written notable plays with Isaacs' The Great Ridolphi an engrossing one man tour de force and Fowler impressing with perhaps his most mature work, The One.

Scott McArdle

McArdle was like a supernova at Murdoch University when I first came across him - from writing original works to acting, directing, lighting design, pretty much everything. Such indefatigable multi-tasking has continued since he graduated, adding publicist amongst other functions and being a popular fixture on the independent theatre scene. The scope and ambition of McArdle's writing has been a feature - contemplative dramas; a full superhero themed musical; bringing science fiction front and centre to the stage; and adapting Mary Shelley's Frankenstein as a passion project of considerable skill.

Highlights: Bye. Gone; Coincidences at the End of Time; Frankenstein; Between Solar Systems

Will O'Mahony

Perhaps the finest local exponent of dialogue writing I have witnessed over the last seven years. I adore his rapid paced rat-tat-tat exchanges between characters and the density of the information he has them impart. He builds in verbal motifs and repetition that has my Aaron Sorkin loving heart swooning. There is a somewhat off-kilter approach to his storytelling that I enjoy as it allows for such theatrical treats as a talking panda. But he doesn't shy away from emotionally wrenching drama as the final moments of The Mars Project and his contribution to the Loaded double bill attest.

Highlights: The Mars Project (WAAPA version); Tonsils + Tweezers; Coma Land

Hellie Turner 

Always in demand as a dramaturg and mentor, Turner seems to have specialised of late in bringing true life stories to the stage. Notably in uniquely Australian tales set during World War I and a searing reportage-based production tackling rape culture. There is often a lyrical quality to Turner's writing that suits the historical dramas even with their sense of doom and glimpses of impending horror. Project Xan, however, grabbed you by the throat and demanded you bear witness.

Highlights: The Dreaming Hill; The Lighthouse Girl; Project Xan

Tiffany Barton

The aspect I respect most about Barton's writing is the no holds barred, in your face approach. She illuminates extreme characters and behaviours with a forthrightness and honesty that you simply can't look away from. There is no guile or ego here. It may be blunt, it may shock, but it makes for riveting drama.

Highlights: Metalhead; Diva 

Noel O'Neill

To say O'Neill is prolific would be an understatement. He seems to have at least two to three of his plays being performed every year and is a fixture in the community theatre scene. His comedies are so popular he has even turned two of them into franchises. But it's his dramas that most impress.

Highlights: Under Any Old Gum Tree; Holly & Ivy; It's All Greek To Me

Izaak Lim & Nick Maclaine

Specialists in a certain type of cabaret show - take a musical theatre icon from the past and weave a tale about their life story while incorporating their most memorable songs. It's a winning formula that has seen entertaining explorations of Cole Porter and, I confess, someone I did not know much about beforehand, Dorothy Fields.

Highlights: You've Got That Thing!; Exactly Like You: The Magic of Dorothy Fields

Thomas Owen, Cal Silberstein & Jackson Griggs

Emerging from the UWA theatre scene this trio has been tackling that most difficult of beasts, the fully fledged musical with Owen and Silberstein on book and lyrics; Griggs composing the music. The first effort I saw was promising though perhaps trying a little too hard to impress while the followup was one of my favourites from 2016's Fringe World.

Highlights: How We Ruined MacArthur's Markers; Viva La Restoration

Gita Bezard

Another member of The Last Great Hunt, Bezard's writing has a lighter comic touch, oftentimes playing with farce and the exaggerations/preoccupations of youth. Even her most provocative play featured four female teenagers that are literally in a playpen.

Highlights: In A Bony Embrace; Girl Shut Your Mouth; The Talk