Downing is a bit of an enigma, as there is nothing to be found about him. Could it be a nom de plume of another famous writer, or someone who does not wish to be known, such as a Judge?

This very cleverly written script has numerous mentions to British institutions and places, which may be lost on some audiences. It has a Benny Hill style chase amongst its numerous genres, which was slick and very well enacted, but I felt did not enhance the story line.

This very well produced, hilarious show can be seen at the Garrick Theatre, 16 Meadow Street in Guildford each Thursday, Friday and Saturday evening at 8.00 until Saturday 15^th December.

On Friday 7^th December, there is a special, extra creepy, midnight show. It is hoped that the audience will join in and come in their most ghastly outfits. All of the youngsters last night had ghoulish makeup and weird witch outfits. The minimum age (mainly for understanding the script, rather than fear) is suggested at about 8 or 9 yrs. There is a matinée on 2^nd December at 2.00 pm.

The foyer area has been transformed into a chilling, but impressive green-lit, cobweb covered castle entrance hall.

The scene: is an ancient Transylvanian castle around 1850, but shamelessly the chronology went back and forward a couple of centuries with its references, e.g. Tesco’s automatic shop doors and Virgin Airways. Strangely, this quirk worked very well.
The setting – designer, Fred Petersen – was a castle hall. Impressively painted by Celeste and Angelo Lopez, was most realistic, with dark grey stonewalls adorned with heraldry, weapons and even a wild boar’s head! There is an old plank style, front door, a curtained exit to the kitchen, a staircase and a rear entrance – four entrances hinting at a farcical romp. Thanks to Morgan Hyde, Roy Phillips and Malcom Brand, the construction was solid and convincing. How often have we seen a limestone wall flapping in the breeze? Sadly too often, but not here. There was a tatty old 3-seat settee, and some rustic chairs. Will the huge poisonous spider have its awful way?

There was a cobweb covered chandelier, and especially for this show, the return of footlights. The four LED strips units were the full length of the stage, giving a hideous green glow to the ghouls.
The programming and operation of the complex lighting, along with the amazingly crisp sound effects (thanks to their new ranks of amplifiers), were designed by Geoff Holt, who was aided by his assistant, Carlise Kearney. Geoff’s bio-box has a new computer programme that handles all of the sound and lighting cues – even the smoke machine’s operation! This show would normally have taken a couple of techs working in perfect sync with all hands and feet to create the required atmosphere. The most impressive thunder and lightning I have seen in community theatre, accompanied by the chilly sound of the snowstorm outside.
The choice of music was excellent; it ranged from Bach’s threatening cello and organ fugues, to the show’s uplifting ending, Holst Planets Suite.
Edi Boross was tackling her first post as stage manager, and was faced with a large cast, quite a few props, and special effects to contend with – but as with her bio box skills, she proved to be most competent.
As the house lights dim, the voice of Count Dracula requests that mobiles should be switched off.
Inside the castle, the lady of the house, Countess Dracula (Rhiannon Cary) is pacing around, reading her book. She explains, in rhyming couplets, that she and her husband, Count Vlad Dracula (Thomas McCracken) are expecting guests. At first she ignores the knocking at the door, then it creeks open and the upper crust Baron von Frankenstein (Alan Shaw) and his snobbish wife, Baroness Elisabeth (Colleen Bradford) enter. The Frankensteins’ stern servants, Frau Lurker (Karen Woodcock) and her pathetic partner, the humped back Igor (Ray Egan) over whom she has total control, carries out her every wish.
The front door swings open, and in come some of the Frankensteins’ arch enemies, Werewolf Harry, (William Darlington) and his attractive, but dim, whinging wife, Isabel (Lucia Mitchell) dressed in a stunning 1920’s flapper girl outfit. They are unaware of the disfigured retainers moving around them. A Zombie, Groat (Steve Moloney) staggers off with their suitcases, whilst Ethel (Fiona Forster) the vampire, clutching a plate of sweetmeats, looks on from afar.
A banging on the door announces the arrival of a schizophrenic doctor (James Nailen), who is Mr Hyde one moment and Dr Jekyll the next. Ka-Seet (Doryan Kurtovic) was threatening as the ‘human toilet roll’, and a final burst of shock from a macabre Creature (Kathleen Nyland). Who will survive?

Thanks to the backstage helpers, the eerie atmosphere could not have been creepier. Without exception, every character was perfectly portrayed. Director Fred Petersen had the cast word perfect, not a single stammer. Their interaction both verbally and in body reaction was amazing. Quite a few newcomers, but you would never guess from the acting.

The whole show was tongue in cheek, with a fair portion of deliberate ‘ham’ in the performances.

The German Frau Lurker (great diction and accent) was a sadistic maniac one minute, and a bondage Mistress the next. There were several other parts required foreign accents. I had to check the programme to find if Dracula (Thomas) was born in Eastern Europe, and then James as the doctor (who came out of 30 yrs. of retirement in mothballs) managed an extremely accurate Edinburgh dialect and seconds later, a perfect Cockney accent. Well done Fiona (Ethel) as a rough menacing Cockney. William’s Werewolf’s growling rasping accent was excellent. Truly, the cast worked as a well-oiled team. Many of the cast just went ‘fearlessly’ for their demanding parts, with the randy Baroness (Colleen) and Frau (Karen) in her kinky corset.

The magnificent gowns, and costumes in general, were the result of Grainne Friel, Celeste Lopez, and Kathleen Nyland’s hard work. Often the men’s costumes are given little thought, but the Baron and Dracula’s clothing were immaculate. Even poor Groat’s costume brought a wry smile.

Everyone can be really proud. Great fun, with tension, excitement and a wild script. You can clearly see the huge amount of thought and work that has gone into all aspects of this production. Congratulations

In 2006, this story became a double Oscar-winning film, with an award for the screenplay and another for Alan Arkin as Grandpa.

This two-hour (no interval), Stirling Theatre Company production can be seen at the Stirling Theatre, Morris Place, in Innaloo. The shows start at 8.00 pm on Thursday, Friday, and Saturday evenings until 1^st December, with Sunday matinées at 2.00 pm on November the 18^th and 25^th.

The scene: is Western America, near Los Angeles.

The set: was simple, but most effective; Timothy Tyrie, who constructed it along with the help of Linda Redman, designed it. The approach was quite novel, with the home interior represented by the wooden framework of the ‘see-through’ stud walls; along with a dining table and set of chairs. These classroom-style chairs had castors fitted, and were utilised as the seats of the family kombi van.

The projection screen, which filled the rear of the stage, had some excellent scenery shots that instantly set the location, ranging from a hospital (interior and exterior) to the scenic Wild West. The projection design and operation was by Tyler and Kelsey Eldridge.

A black scrim was drawn across the stage for some scenes; this allowed the silent setting up of the next location. The stage management was swift and efficient, thanks to Emma Redgwell, assisted by Emily Brown. Well done.

Very good lighting design and operation by Shelly Miller. The fine soundscape was designed by Daniel Toomath, and operated by Justin Camilleri.

At the local hospital, Uncle Frank (Timothy Tyrie) has just been treated for his wrist ‘accident’ by the doctor (Jordan Jackson). His sister-in-law, Sheryl (Steph Hickey) is waiting to take him home.

In his bedroom, the Grandpa (David Cosgrove) is taking his daily invigorating snort. Meanwhile, his grandson, Dwayne (Charlie Martin) has ambitions to join the Air Force and is in a vow of silence until he is accepted.

Dwayne’s kid sister, Olive (Tahli Redgwell) recently entered a local talent contest – and won. This means that she is eligible to enter the main talent pageant 800 kms away, which is being judged by Miss California (Katt Nelson). Even though her father is strict, Richard (Mitchell Lawrence) is caring, and sees Olive’s excitement. The family really don’t have the money for a flight, or even a bus ticket to get her there, and so they decide to take their beaten up old kombi van instead.

Uncle Frank meets his old partner and love, Joshua Rose (Zachary Cave), but still decides to join the family in their trip.

That night Olive imagines a bunch of mean girls (Keely Crugnie, Emmy Bekink and Skye Colcott) who mock her cruelly. Then there is another pageant girl (Chloé Redgwell) with a special act – can Olive get to the venue? Or is the family trip doomed?

The outrageous, but glorious wigs and exotic costumes were designed by Lynda Stubbs, who was aided in their construction by Shelly Miller, Andrea Colcott and Marjorie DeCaux. These ladies must have had a huge amount of fun creating the garments that ranged from haute couture to tasteless.

The choreographer, Celeste Underhill, guided Grandpa’s nurse with her therapeutic moves; but was mainly concerned with making the young talent seekers walk in a slinky, sassy manner.

The musical director and conductor was Tara Oorjitham, whose co-director was keyboard player, Jay Anderson. The band included Izaac Masters on second keyboard, Liam Gobbert on reed, Hannah Flynn on horn, James Pinneri on cello, and Alex Kent was on percussion. The musicians were in a side room off the main auditorium; this allowed a much better balance of the instruments, and accompaniment level than having them in front of the stage.

All of the singers were very well rehearsed, and had melodious voices. At times there were numbers that called for intricate harmonies, and they worked extremely well. I was a little disappointed with some musical compositions, but this was nothing to do with the production’s quality talent.

Director Tyler Eldridge showed a great deal of skill in holding the audience, by having a fast paced delivery, and some fabulous ideas for the van ride. The passengers chasing the van were most convincing, added excitement and quite a few laughs. The cast had plenty of empathy and came across as a typical real family.

A special mention for youngster Tahli Redgwell as Olive. What a little Miss Dynamite. Tahli had superb movement and stage skills, far in advance of her age. She could sing, dance and deliver comedy. The other youngsters were also amazing as the snobby, sexy pageant entrants.

A tricky show to present, but it was packed with fun, quality singing and accompaniment.

Try and catch one of the few shows remaining.

Last year, the ‘Hand in Hand Theatre Company’ was nominated for a Fringe Award. They are determined to raise the bar for the greater arts community and theatre in particular, by giving us quality shows that most groups are too apprehensive or nervous to present. Their team generously welcomes new and existing talent, whilst nurturing the growth of artists by taking them from the mundane, onto rare experiences and challenges.

Justin and Claire Mosel-Crossley are presenting this ‘Hand in Hand Theatre Company’ venture, with co-producer Rhiannon Moon. It can be seen at the Nexus Theatre, situated in Murdoch University near car park 3. With only four performances, the curtain goes up at 7.30 pm until Saturday 24^th November.

The scene: is Notre Dame de Grace School, a catholic boarding school in Massachusetts, for boys and girls.

The set: was designed by Clare Talbot. Centre stage is a cream coloured set of marble steps leading to the high altar, with a linen altar cloth and silver crucifix. Behind the altar is the east transept’s large colourful, classic stained glass window (the fine work of Tiffany Banner). Almost on the stage apron, at each side, are sets of school lockers. (Scenery constructed by Julia Parks and Maggie Cope-Thomas).

Injeong Hwang operated Justin Mosel-Crossley’s inspired lighting design. Rhiannon Moon and Kamara Churchill operated the soundscape, designed by Claire Mosel-Crossley. With 16 microphone headsets in operation, and one or two being a little intermittent, Sarah Connolly and James Jury had to work hard on their complex cue sheet.

The numerous entrances and exits were smoothly stage managed by Thomas Wendt and his assistant Sabrina Wyatt. There was one fun prop in the Rave Party scene.

         The hip but shrewd, drama teacher, Sister Chantelle (Mahali Selepe – fabulous) is perturbed by the lack of quality actors auditioning for the school play. Eventually, Jason (Benjamin Albert – very good) outclasses another altar boy, Matt (Michael Surjan – very good) for the part of Romeo. Matt is further upset when the girl of his dreams, Ivy Robinson (Shannon Rogers – super) is then cast as Juliet. Jason’s introverted friend, Peter (Charlie Darlington – wonderful) becomes Mercutio, and Jason’s stroppy twin sister, Nadia (Ivy Halford- great) gets the minor role of the nurse.

      Just after the Priest (Thomas Dimmick) has finished morning Mass, one of the female students, Diane (Emily Bebbington) announces to Zack (Jarvys Mason-McQueen) and Alan (Max Conroy) that there is a ‘bender’ in their group. Devoted to his religion, Peter is horrified, as he is yet to ‘come out of the closet’.

      Lucas (Maximiliano Laffont – wow), the school’s rap singing ‘party drug’ boy, plans a wild rave. Nadia goes to the party with Matt, but, on noticing his attention is permanently on the sexily dressed Ivy, goes home to play her cello.

     At the rave, ‘star’ mover, Rory (Clea Purkis) is dancing with another student (Felix Camponovo), but the crowd’s interest is mainly directed at Peter, who is dancing with Jason and trying to kiss him. After eating ‘special’ cookies, they do embrace, and Matt sees their stolen kiss. Later, Ivy confesses her love for Jason and asks for a birthday kiss.

       Drunk and high, Peter discloses to Matt his feelings for Jason. That night, Peter has a vision of Sister Chantelle dressed as the Virgin Mary, with Tanya (Kiara Macri), Kyra (Tannah Pridmore) and a boy student (Cody Lam) adorned as sexy angels. The Virgin tells Peter that he needs to ‘come out’ to his mother, Claire (Annaliese Lockhart); deep down, she already had her suspicions.

         How will the sexuality confusion turn out?

Choosing actors for a straight play, a director is lucky to get half the cast with above average skills. When faced with a cast of youngsters, having to cope with about three dozen songs, all with catchy tunes, some wild party scenes, daring topics, and dream sequences, Director Claire Mosel-Crossley and her assistant Kamara Churchill have taken the right approach. They have boldly given us a powerful play, with no punches pulled. The actors knew that they had to buckle down to their demanding parts and have given it their all.

The number of songs is a huge number for any musical; so the demand on the leads was gigantic. It is obvious that the Musical Director, Krispin Maesalu – who has a wealth of knowledge with stage musicals – has worked tirelessly with the cast. They were word perfect, all with clear diction and no strained voices, even in the bawdy or rowdy scenes. The words of the songs were adult in content, but many occasions brought fits of laughter.

Krispin’s conducting of the band, always respects the performers. He is one of the few musical directors who keeps the volume at a ‘backing level’, and stops any of his instrumentalists trying to become soloists. We have all experienced poor singers trying to overcome mad drummers or pub pianists.

Great balance, and beautifully accompaniment played by Krispin on flute, and Amanda Reynolds on cello (who was a dubbing soloist, as well as part of the band). The acoustic and electric guitarist was Scott Delamotte, on bass was Meg Vicensoni, keyboard player was Aidan Bridges and on percussion, Jake Isard.

The fight co-ordinator, Zenna Newman-Santos, gave us some very convincing affrays. Although this whole performance, was filled with rough and uncultured teenage expressions, thanks to the fine direction, it still manages have several very poignant moments. The sensitive topic was handled caringly.

The choreographer, Caitlin Wainwright who was assisted by Xarna Rappold, gave us a selection of dance styles, with plenty of novel action.

The Costume Designer was Ellie Hopwood, who, with her tailors Cassie Power and Rosalie Schneider gave us refined religious garments, school uniforms and debauched angels. Well done.

Because of its controversial content – and even in this day and age, a few audience members gasped at the male embrace – this could be a difficult show to promote, but Bobbi Victoria and Xarna Rappold have excelled, and the seats are going well. A strong cast, with fine voices giving the audience a show to remember. VERY well done.

The play’s message: Be careful to whom you bare your soul.

The shows were performed to sell-out houses at the Hayman Theatre, located within Curtin University, on Sunday 18th November at 6.00 pm and 19th November at 7.00 pm. In 30 years of reviewing, I cannot remember such a genuine request for feedback and appreciating it; usually when someone asks for help and they are given it, they immediately become on the defence against the ideas offered.

The scene: a private, rural beach area, perhaps near Dunsborough (?)
The set: a brightly coloured, homemade shelter constructed from a large table umbrella. A couple of chairs and milk crates. Stage management by Becca Jackson.
The atmospheric lighting was by Maddy Mullins.

A shy, friendly, but obstinate 16 yrs. old girl, Mungbean (Astrid Dainton) is in the area visiting her sick Grandmother, who has been moved into sheltered accommodation. Wandering around the countryside, she finds a small encampment with a sign announcing it belongs to ‘Moose and April’. Moose (Philip Lynch) is an intelligent, but wild fun-loving, harmless lad about 17 years old, who has known April (Caitlin McFeat) a pleasant softhearted girl, since they went to primary school together.   As Mungbean is exploring their camp, April returns and is most protective.
Mungbean introduces herself, and explains that she is new to the area and starting year ten. April relaxes, but when Moose returns she becomes immediately jealous and protective of him.
Can Mungbean become friends with this close couple? Alternatively, can there only be heartbreak?

Throughout most of the play, there was a sound effect, which may have been a beach with the tide lapping, with a very faint hint of music. On the other hand, could it be that the sound system was faulty and this was white noise on a faulty channel? Unfortunately, it was quite loud and distracting.

The costumes were selected by Belinda Rose, and ranged from school uniforms to a Cinderella cloak.

The fine script had a most natural dialogue, and a clever mix of poignant and hilarious episodes. The director, Terence Smith, showed great skill in guiding the three talented cast members. The pace was fast, the interaction excellent, a well-constructed and presented play.

His plays have seen over a thousand productions, and some seaside ‘summer season’ runs.

The Kalamunda Amateur Dramatic Society is presenting this comedy at the KADS Town Square Theatre, 6 Central Mall in Kalamunda. The two-hour performances are at 8.00 pm on Wednesday, Friday, and Saturday evenings, until Saturday 1st December. There is a matinée on Sundays at 2.00.

Smart programme and poster (Geoff Stribley and David Gribble), but the posters on-line had no curtain-up time, but this was added later on the paper version.

The scene: is a smart house, in a typical English village.
The set: Impressive set, and solidly built by the cast and several others.
The sitting room walls were pale blue. There were two doors, one on each side of the stage. A large frosted, picture window, adorned with mushroom coloured, satin curtains. There was an enclosed staircase. The elegant three-piece suite was a very comfortable, soft fabric, 3-seat settee with wood trim.
Excellent, well planned stage management by Lesley Broughton and Bella Freeman.
Good teching, with good split second cues (Mark Ramsey, Julie Hickling, Anita Bound, and Les Marshall).

After twenty-one years of marriage, and now in his late-forties, James Beale (Jason Millman) walks out on his frumpy wife, Molly (Cathy Parr) to move in with his new floozy. Their 20-year old daughter Claire (Sage Lockyer) appears to be on ther father’s side. The interfering, gossiping neighbour, Nancy (Julie Holmshaw) is stirring up the neighbourhood with her doubts. Molly is devastated, and after four months of being alone, she has reached rock bottom.
Molly’s outspoken, but well-meaning lifelong friend, Fiona (Karin Staflund – superb), persuades her to try the ‘six-step miracle cure’ as described in a book for abandoned wives. The local vicar, Rev. David Thomas (David Gribble -very good) tries to help, but knows little of sex or love – but his parish secretary, Lynn Harris (Christine Gribble) would like to change that. Batchelor, Paul Tritton (Charlie Schirmer) an old friend from church, has a few ideas that might work.

On completion of the six steps, Molly is guaranteed to have her life back together. Molly agrees to try Fiona’s idea, but first, she will have a relaxing spa and massage from Steve Miles (Steven Ozanne).

This farce was only written four years ago, and it has had long very successful seasons in the UK, yet sadly this production made the script look old and tired.

Most of director Ken Harris’ cast are quite experienced and capable, but strangely the chemistry was not there. The actors rarely looked each other in the eye, preferring to look over the head of the person that they were talking to; so when speaking their lines, they came from ‘memory’ rather than as a natural reaction to, or as a reply to, what had just been spoken. There was very little genuine interaction, which is the main requirement and theme of a farce. One actor was word perfect but ‘wooden’ – sorry. This dragged the pace down.

The actor with the least stage experience, Christine Gribble, performed particularly well. There was poor casting, and I suspect that many of the others – who can be very good – were in the wrong genre. The script was funny, but demanded correct punchy delivery.

I saw the amusing opening night of what could be a very funny, uproarious farce. Good luck, I hope that you get your act together – you CAN do it, I have faith.

The 70-minute adult shows are co-presented by the Blue Room and Variegated Productions. They can be seen in the main theatre of the Blue Room in James Street, Northbridge nightly at 7.00 until 1st December.

Because the shows are unscripted, every night is different. To add to the interest, each evening a different ‘special guest’ joins the four main characters.

The shows have around 80 seats, with no room for expansion or standing, and so booking is essential, especially if there is a particular guest performer you wish to see.

The scene: a friendly bar that was once a top joint, but is now teetering on collapse.
The set: was designed by Bryan Woltjen (great to see you back), around an idea by Chloé Flockart. The walls have material ‘wallpaper’ coverings. Central stage – and the whole auditorium is the stage – is a working bar, with a glass and bottle rack suspended above the counter. The name ‘Frankie’ is written in flexible LED ribbon (?), looking like an old neon name sign. There are twenty small, round tables with chairs. At the other end of the room is a stage. The set is outstanding, and all of the tasteless kitsch props and drawings (Andrei Buters) brought a smile. The place really looks like a dive that has been there for decades. One of the doors into the theatre been converted into a kitchen serving hatch.
This set must have cost a lot of money, and taken a great deal of time to set up, so please buy a ‘Whipper Snapper’ drink and help the team get some of their money back.
Rhiannon Petersen’s lighting design was fabulous. The pendant lamps around the peripheral tables and the brass antique wall lamps had a warm incandescent glow. The fully lit, central bar even had minor touches such as illumination under the edge of the bar counter. There was sensitive lighting control, with good use of colour.
Every show is different, but there are a few, permanent ‘core’ characters. A motto for the night is selected from the dozens submitted by the audience on entering the theatre. This tip is written on the bar price blackboard. On the preview night, the show went something like this:-

      Adam (Shane Adamczak) and Chelsea (Libby Klysz) are tending at the bar and clearing the tables. Seated at the bar counter is Matthew (St John Cowcher) a smart looking young man, but with disgusting habits. As Matthew is discussing his previous night’s conquests, a nerdy looking chap (Daniel Buckle) wanders in. He begins to tell the bar staff about his unusual hobby that he learnt in Damascia.  The room dims and an attractive singer (Esther Longhurst) starts the cabaret. She has a soft and romantic sounding voice as she sings her easy listening, jazz scat. She followed with a love song. The songs and accompanying music are all thought up on the moment, and yet the musicians and singer seem to mind read each other, as the music blends impeccably.
 Into the bar comes Rob J Grant (Chris Isaacs – last night’s guest), who is a struggling actor, still famous for a brief appearance several years ago, and his diabolical catch phrase.
The Core Ensemble also included Sam Longley and Tegan Mulvany (who had a night off, celebrating her 30th birthday). Yes, the show is fantasy.
Each night there is a special guest artist, the selection include:-  Nicola Bartlett, Chris Bedding, Tomás Ford, ‘Ofa Fotu, Andrea Gibbs, Paul Grabovac, Libby Hammer, Tim How, Djuna Lee, Joe Lui, hip-hop star Mathas, Gibson Nolte, Charlotte Otton, Tom Stokes and Mararo Wangai.
The musical accompaniment (Alwyn Nixon-Lloyd, Peter Lane Townsend, and Robert Woods) was played in front of the stage, with all sections of the orchestra, including percussion, being supplied by two keyboards.

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I will be honest and say straight away that improvisation is not my favourite genre of humour. I always feel it appears contrived, forced, and false. If you feel the same, then come along, see this bunch, and become an enlightened reformed person as I was. When improvisation works, as it does here, it is hilarious.

These performers have been around for years, most are stand-up comics, and many are fine character actors. Because they have worked together for a decade, they know each other’s strengths, as well as their trigger points and weaknesses. The comedy was fast and unrelenting. Brilliant.

Director Libby Klysz has produced a first class, around show. Often comedians think that being funny is sufficient, and then you see a great set, lighting, music, and clever characters and you realise how clever comedy can be.

Could this show be up for the Blue Room’s prize winning ‘Set’, and the audience’s choice for ‘Most popular show of the year’?

Very funny indeed. Quite a unique idea, which I am sure with a little bit of tuning, would work well on TV. Congratulations to all.

Tommy Marren, who hails from County Sligo, was educated at Banada National School and Banada Abbey Secondary School. During this time, Tommy got involved in local drama and the Phoenix Players in Tubbercurry. Over the next decade, he treaded the boards regularly, and then in 1985 he became a co-writer.

Now with his success and numerous awards, he has raised in excess of €150,000 for the Mayo /Roscommon Hospice Foundation.

This wild, two and a half hour comedy is being presented by the Irish Theatre Players, and can be seen at The Irish Club, 61 Townshend Road, in Subiaco. The performances are on Thursday, Friday, and Saturday evenings at 8.00, until Saturday 24th November. There is one Sunday matinée at 2.00 pm on the 18th.

The scene: Rural Ireland 1968. Inside the kitchen of a down-market, but clean, country cottage in Sligo.
The set: The walls are white with emerald woodwork (set painting by Jennifer Whyte, Siobhán O’Gara Claire Wynne). The walls have waist high, tongue and groove panelling. The room’s three doors carry on the same rustic style, also painted tongue and groove. A realistic log oven (impressively made of wood by the team) takes pride on the rear wall. There is a dark oak stained, pine dresser laden with pottery jars and religious treasures. An impressive set design by Siobhán O’Gara, solidly constructed by Bobby Donaghy. There were a large number of genuine props to bring it to life (props: Jennifer Whyte, Judy Mcentire, Siobhán Rushe, and Susan Lynch)
There is a circular pine table with four matching chairs, Maggie’s 1960s wooden frame, armchair and a dark wood wotnot, topped with an enamel jug and crockery.
The stage manager, Susan Lynch had an impressive list of minor consumables, clothing, and bunting to cope with.
The impressive lighting design for the play was by John Spurling. The sound design, realistic animal effects, and smooth technical operation were thanks to Josie Hacking. Special artwork was by Harry Davies and Claire Wynne.

    Elderly Maggie Conway (Siobhán Wright) enters the kitchen, grabs her knitting, and sits down. The dogs bark, and her crofter husband, Matthew, ‘Mattie’ (Frank Glackin) walks in. He plonks his milking pail in the corner, kicks off his wellies into the middle of the room, and settles down to finish the simple crossword that has challenged him for the past five weeks. The couple do not speak a word to each other, and have not for nine years, eleven months, thirty days and two hours. If Mattie puts the kettle on the stove, Maggie will take it off. The niggling is incessant.
    Pleasant but dim Andy (Brian O’Donovan – could he be a twin of Father Ted’s star, Ardal O’Hanlon?) has called around to see the love of his life, the Conway’s only daughter, Josephine (Hazel Beirne), who has been avoiding him. In addition, living in the croft is Mattie’s peculiar sister, Minnie (Denice Byrne), who is a human mobile pharmacy. Decades earlier, Minnie was in love with Luke Murphy (Gerry Grogan), but Mattie did not approve.
    Sadly, the next-door neighbour, Bartley O’Dowd has died; so his daughter, Kathleen (Scarlett Greenock) calls around for some solace – and to borrow a few chairs for the wake!    During the church mass, Father O’Toole (Alan Kennedy) excitedly announces to the congregation that today is the Conway’s 50th Wedding Anniversary, but they are missing! With their loving family around them, all should work out – but with the Conway clan, anything can happen.

Director Siobhán O’Gara has woven in some hilarious situations, and guided her most talented cast to go just that little bit extra with their comedy delivery. The script was packed with hilarious one-liners, and put-downs. There were two or three laughs a minute at one stage, but it was the tiny nuances of body language that give this production that extra magic. Every cast member knew their character intimately, and what a collection there was: the miserable wife, Maggie, Andy the dim boyfriend, the sister with brain lapses – plenty of laughs. There were periods where, for a few minutes, not a word would be spoken and yet the tears rolled down my cheeks.

This could be as popular as the Irish Club’s award winning ‘The Real McCoy’. The accent may be a little tricky for audience newcomers, but it is about time that everyone learned the brogue. Exceptionally funny.

This delightful, fairly simple storyline imparts a great deal of information to the younger members of the audience. John has selected many of the old musical favourites of the day.

Darlington Theatre Players are presenting two-hours of musical memories, at the Marloo Theatre, 20 Marloo Road, Greenmount, with curtain up at 8.00 pm each Wednesday, Friday, Saturday evenings and 2.00 pm for the Sunday matinées. The season runs until Saturday 8th December.

The season opens on the 100th anniversary of the Armistice, the signing of the Treaty of Versailles that would see the end of all wars. As it happened, it was the unreasonable and impossible demands made on Germany by this treaty that became a major cause of the second war.

The scene: October 1916 in the Glen Forrest area.

The set: There is a 4 x 3 metre, mottled grey wall (looking like concrete) on each side of the stage. They taper slightly toward the rear; where on the back wall is a large projection screen. These grey walls were very versatile, with various light patterns and colours, they became anything from old factory brick walls, to shady dappled woodland (lighting designed and operated by Michael Hart).

The set designer was George Boyd, (construction by George, Michael Hart, Duncan Beatty, Adrian Ashman, Luke Miller, Daniel Minutillo, and Bailey Fellows), who surprised the audience when each walls rotated through 100 degrees to reveal two interior scenes. One was the James’ home, smart with a well-furnished kitchenette, whereas the other depicted the home of struggling Irish immigrants, the O’Connors’, a cramped, one-roomed house.

Lesley Sutton supplied the props, which included some quality enamelware jugs. Lesley even produced a soap saver cage – something I had forgotten about decades ago.

The fine sound design was by Guy Jackson, and operated by Bailey Fellow and Ambro Vonk.

The external scenes relied upon Blake Jenkins’ projected images and videos. Blake has shown skill in selecting quality views that immediately depicted the atmosphere of the locations, from an ethereal railway station, to the docks.

Stage manager George Boyd controlled a magnificent fast, silent, efficient, and almost invisible stage crew (Locklen Falkingham, Belinda Beatty, Adrian Ashman, Luke Miller, and Guy Jackson)

In a Baptist household, the loving father, Charlie James (Daniel Minutillo) believes in backing the ‘old country’. He is trying to encourage his elderly mother, Grandma Dorothy (Jenny Trestrail) and his wife, Julia (Michelle Ezzy) into backing compulsory conscription in the imminent vote, thus forcing Australian men to go to war.

Twelve-year old, Harry (Kody Fellows – well done) is upset to learn that his 18-year-old brother, Robert (Guy Jackson) has voluntarily enlisted in the army. Robert expects to be back quite soon, but he is headed for the Somme. With about 50,000 Aussie troops killed already, will Robert’s mother be next to receive the telegram that all mothers dread? Much to the annoyance of staunch Roman Catholic family man, Joe O’Connor (Alan Gill) and his dutiful wife, Mary (Sophie Byrnes), their 18-years old son, ‘Paddy’ (Jack Martin) has fallen for Protestant teenager, Rose James (Matilda Jenkins). Joe has very strong opinions about religion and liberty. On a podium outside the Midland Railway Workshops, the Union leaders (Dominic Masterson, Luke Miller, Russell Fellows, and Tim Bolton) are fighting for higher wages, and advising their members how to vote. The pacifist, the Reverend Meade (Brendan Tobin) seems to cause friction in the village with his ideals.
 
Chorus: Adrian Ashman, Amanda Minutillo, Belinda Beatty, David Zuiddam, Evie Madeleine, Gloster Guest, Joshua White, Rachel Vonk, Ruby Oliver, Sarah White, Suzanna Matla-Ienco, Suzy June Wakeling, and Tracey Morrison.

There are about a dozen songs, which despite being 100 years old, are instantly recognisable. The musical director, Iain Martin, has given us a selection of solos, duets, and choral groups. Pianist Ann Cahill accompanies the singers flawlessly from the upstage wings. This simple accompaniment gave an authentic mood, as in the early 1900s families would sit around the piano in the parlour, taking turns at giving their party piece. The singers were all perfectly in tune and in the groups sang as one voice with no one member trying to hog the limelight.

There were several extra fine voices in the ‘two families’, from Daniel’s rich bass voice to his ‘wife’ Michelle’s soprano rendition. Most impressive, with every word heard perfectly.

The costumes were again the task of Marjorie DeCaux, who, assisted by Rachel, Tracy and Rebecca has this time given us ‘the smart working class basics’, as opposed to her normal opulent output.

A stunning Art Deco style, A4 programme from Docuprint, with a beautiful piece of artwork on the front cover.

Directed by the talented and energetic Neroli Sweetman, who is never scared to have a new challenge, the cast have presented just the right amount of pathos with meaningful poignant moments. There was a particularly touching scene when Harry was talking to his brother Robert in the kitchen. The curtain call – in respect to the memories played out – is taken in silence. When the whole cast were gathered, they gave a simple nod of the head, before the audience showed their appreciation for a most enjoyable, respectful and worthy night’s entertainment.

‘Those who died yesterday had plans for this morning. Those who died this morning had plans for tonight. Do not take life for granted. In the blink of an eye, everything can change. So forgive often, and love with all your heart. You may never know when you may have the chance again’. (Lessons learned in life)

This co-production is thanks to the Koorliny Arts Centre and the Kwinana Industries Council. Due to adult themes, this show is advised as most suitable for people over 15 yrs. This 120-minute show can be seen in Cabaret Style, with unreserved seating, at the Koorliny Theatre 2. The performances are Friday and Saturday nights at 8.00 until 24th November, with SATURDAY matinées at 2.00 pm on the 17th and 24th.

Bring your own nibbles, but drinks are available as it is a licenced venue.

The scene: is Christmas 1968 in London. Judy Garland, after some harrowing years, is making a comeback.
The set: Jon Lambert’s set design is sumptuous. We are in room 301, an upmarket hotel suite. It is an open stage, with the top of the proscenium arch raised about 1.5 metres to give a vastness to the room.
The walls are papered with vintage seamless shadow, floral paper. The very pale, pistachio green of the paper matched the full length, three-metre curtains. The rear wall is mainly a block (3m x 3m) of frosted windowpanes. In the nightclub scenes, this window splits vertically, opening to reveal the ‘Top of The Town’ band positioned behind. The construction of this solid attractive set was by Jon Lambert and Allen Blachford, with the decoration assisted by Stephen McGarrity and Kate McIntosh.

There is a dark wood, grand piano, although the group of musicians supplied all of the music.
The props include a pale green and gold, Victorian chaise longue with a matching chair. Naturally, there is a laden drinks trolley with numerous crystal decanters. The telephone, transistor radio and two, six globe chandeliers were all perfect for the 1960s. Superb set dressing by Natalie Burbage and Brad Tudor, with additional props supplied by Shanice Palfrey and Jon Lambert.

Jon Lambert’s lighting design was of a very high standard, with the hotel room being transformed into an opulent nightclub, by clever use of the lighting colours and angle. The final scene has a powerful spotlight placed a metre off the floor, pointing parallel to the stage at Judy. Alex Coutts-Smith, who always manages to make the difficult seem simple, smoothly controlled the sound, AV, and lighting. Alex had various concealed speakers to ensure the sound effects worked perfectly.

Then there were extras such as the Daily Mirror newspaper displaying Judy’s arrival in London, Chris Ingram’s photography and the fascinating AV clips at the end of the show.

Stage manager Shanice Palfrey, with Brittney Kirk and Steve Shanaz acting as her crew managed to keep the bottles full and the glasses rotating. The scene changes between the hotel room and the performing venues, was smooth and efficient.

Staggering into her hotel room, Judy Garland (Rachel Monamy) whinges about its tiny size, only to be reminded by her American manager, Mickey Deans (Laurence Williams) that this was already more than she could afford. In fact, thanks to her drink and drug bills being more than her earnings, there were accounts from 10 years earlier still awaiting payment. Despite her international success, Judy lacked even basic confidence in her singing, and desperately needed love. After four husbands, she now had her eye on Mickey, he responded, but his main interest was to get her on the stage each night – by any means! Just as Judy was starting to seduce her new fiancé – Mickey – her pianist arrived. Anthony (Peter Shaw), her gay accompanist from Brighton, was initially simply a fan, but after playing on Judy’s disastrous tour in Melbourne, he had become her loyal father figure. Knowing that Judy was suffering, Anthony’s aim was to bring her back to health and give her security. During a radio interview, a BBC Announcer (Jon Lambert) dressed in a Slazenger, diamond patterned golfing jumper was mocked by the semi inebriated Judy. What does the future hold for our beloved singer?

Director, Brad Tudor has presented many quality shows, but this must be one of his most challenging yet. His faithful, talented team of Kate McIntosh (Musical Director) and Allen Blachford as the Movement / Choreography supervisor back him to the hilt. Kate McIntosh’s band comprises Kate on keyboard, on percussion was Luke Casserly (with Baily Bridgman-Peters on standby), Chris Ingram on double bass and the group was rounded off with Wayne Griffiths on woodwind. The musicians created an instantly recognisable nightclub sound, and with just the correct balance of instruments, they did not overpower the singer.

Brad Tudor has reproduced Judy’s most famous outfits. The scarlet ball gown, with matching feather boa and diamond accessories, topped off with the famous ruby shoes. Judy’s silver, sequined velour jacket, black skirt, and scarf knotted around her neck. Then there was the copper trouser suit that Judy detested. All garments beautifully made by Brad Tudor, Margaret Willison, Natalie Burbage, and Shanice Palfrey.

Over the years, Koorliny has produced dozens of extremely popular youth musicals, but I think this is the first powerful drama-based musical. Brad’s major challenge was to create sympathy for the songstress, without it being too unctuous. The magnificently written script kept the audience on the emotional rollercoaster, sympathising one minute as insecure Judy collapses, and then cursing her for being so bloody stupid, as she runs for the shelter of her ‘little helpers’.

Judy and Mickey had some very funny, yet savage confrontations that left the audience gasping; Two seconds later, we were being treated to a series of extremely well known hits that even the teenagers in the audience would recognise.

Rachel Monamy did not portray Judy Garland, she WAS Judy. The hair style, the facial expressions, the hand gestures, the hip sway, even the way she held the microphone. Then there was the voice. It had a hint of American accent, the powerful belting voice with the characteristic touch of vibrato, and yet still on pitch. Exceptional. On the drama side, Rachel made even the hardest hearted person in the room feel for Judy’s degrading torment.

A special mention of Laurence Williams who conquered their love-hate relationship wonderfully, and to Peter Shaw as her pianist. Peter, as Anthony (a ‘friend of Dorothy’ as the appropriate expression used to be) gave a poignant, and heart breaking performance as the friend who was secretly, deeply in love with Judy, but had to stand by and watch as the love of his life crumbled. Peter’s whole body language showed his tormented thoughts.

With only around 70-seats per performance, these shows are almost sold out, but try to capture a remaining ticket for this ‘standing ovation’ quality production.

This simple fun play for the locals, ‘Charley’s Aunt’, went on to break all major theatre records. Its initial London run included 1,466 performances at Bury St Edmunds and The Globe.

This Victorian and very English, 150-minute comedy classic is being presented by PAANDA, and can be seen at Prindiville Hall, University of Notre Dame, at 19 Mouat Street in Fremantle.

The curtain rises at 7.00 pm each Thursday, Friday, Saturday and Sunday night until 10th November.

The scene: 1890s Victorian England
The sets were of a very high standard. Congratulations to Alannah Pennefather.
The first was Jack Chesney’s home. There were flats painted brown with white woodwork (décor painted by Antonio Coelho), a burgundy leather Chesterfield settee, a writing desk, a bookshelf and various comfortable chairs. An antique wine storage cabinet and the luckiest item in the room – a wastepaper basket. In one scene the audience audibly gasped as a crystal wine glass was accidently knocked off the desk, landing safely into the wastepaper basket full of screwed-up paper.
The second set was the grounds of St Olde’s College, a walled garden with trellises and an arched entrance. There was a white wrought iron table and set of chairs, a garden bench and a lawn.
The third set was the sitting-room of Stephen Spettigue’s home. Similar to the first interior but with different furniture and paintings on the wall. There was an upright piano and stool, a fireplace, a white lounger and another Chesterfield. A wonderful collection of props sourced by Jessica Dening and Jacob Whiteside.
The audience had to leave the auditorium whilst the sets were changed. One break was a tea break, the second simply to allow the team to carry out their work. The stage manager (Justine Ralph) and her team were very quick, and obviously well organised, but with several front of house staff standing around perhaps a few extra hands may helpful, and the intervals shorter.
The lighting was designed and subtly operated by Catherine Acres. There were a couple of scenes where the action moved from stage front, to stage rear, and with a 30% dim of the appropriate lamps the audience moved with the action.
The sound effects and music were smoothly operated by Thomas Desmond.
Thanks to Rachel Porter, for a well supervised and professional production.

   The poor housekeeper, Brassett (Harriet Lobegeiger), is struggling to retain her sanity as her employer Jack Chesney (Michael Allan) is very tense, desperate to become engaged. He is sitting at his desk composing a lover letter to Kitty Verdun (Annabelle Segler). He is permanently neurotic, whereas Kitty is strong and slightly manipulative. Jack is interrupted by Charley Wykeham (Edward Blake), an orphaned, old Etonian school friend who is looking for help in writing a similar letter to Amy Spettigue (Tessa Harris), his fawning girlfriend.

Amy is the niece of the miserable and strict Mr Spettigue (Christopher Vogas), whilst Kitty is his ward. As the two young women are going north to Scotland next day, and will be away for many months, the two love-stricken men have only hours to get their partners’ guardian and father to let them become engaged. Obviously Spettigue will not leave the girls behind with these young men, who are in ‘heat’, without suitable supervision. However, Charley has an old and exceptionally wealthy aunt, Donna Lucia D’Álvadorez (Ana Ferreira Manhoso), that he has never seen, arriving from Brazil.

Yet again, Jack has a visit from another undergraduate, the scrounging Lord Fancourt Babberly ‘Babbs’ (Matthew Jones), but Jack is also penniless, and hoping for a spot of cash from his father, a spritely, confident ex-Colonel, Sir Francis Chesney Bart (Giacomo Gropolli).

They learn that Charley’s sassy aunt and her friend Ela (Ella Gorringe) have been delayed with her arrival. What should Jack and Charley do now?

For this production, director Troy Coelho has chosen a 100-years old, very British, comedy. Comedy is a genre that shows its age more than any other; yet with this top-rate cast and a huge amount of thought and work, he has brought us a completely fresh approach. The storyline is quite predictable but is great fun. The play retains an authentic Edwardian style but has a brilliant pace and a lively delivery. Accents can so often be a problem, but everyone had a natural ring to their inflections.

Most of the cast are Notre Dame students, who are studying other diverse topics, with their acting being a side-line.

The authentic costumes, thanks to Kirralee Coulter and her assistant, Abbey Morris, were superb; matching the wearer’s personality. The gowns were of complex design and beautifully tailored. The fine makeup and hair design were by Kirralee and her assistant Natasha Guest.

As Babbs, Matthew Jones must be the lost lovechild of Rik Mayall from the 70’s ‘TV series ‘The Young Ones’. What a terrific sense of humour and with a magnificent delivery. Along with Michael and Edward they all seemed to feed off each other, even having physical altercations that were perfectly choreographed. The cast were flawless.

A small observation, a ‘halfpenny’ was pronounced ‘hayp-knee’.

Another quality show by PAANDA.

Two and a half hours of pandemonium guaranteed to bring a smile to your face.