‘Harry Potter and the Cursed Child’ is an original new story by J.K. Rowling, Jack Thorne and John Tiffany, and is the first book to be officially adapted for the stage. Having won 24 major theatre awards in the UK it became the most-awarded production in the history of Britain’s prestigious Olivier Awards, winning a record-breaking nine awards including ‘Best New Play’ and ‘Best Director’.
The play opened on Broadway a year ago and has already won 6 Tony Awards including ‘Best Play’, 6 Outer Critics Circle Awards, 5 Drama Desk Awards and many more.

The scene: twenty years after the last book. Harry now works at the Ministry of Magic, is married and has three children including a young son Albus, who is about to start at a boarding school!
I am not going to even begin any more of the story, as the audience were ordered to #Keep the Secret – at risk of death.
The stage crew, like all of the scholars, are in black flowing robes which are swept over a table or chair that has to be moved. By the time the cape drops back down to floor level the item has disappeared. Expect real magic, fabulous lighting and sound effects that will have your seat shaking.
As a Potter virgin, I only knew about six characters, but the audience were generally well tuned in. One character walked onto the stage – whom I thought looked very normal – but the gasp from the audience and the ‘Oh no!’ in unison had me reassessing the situation.
The actors kept up an incredible pace through this marathon. Sang, danced and suffered physically. Incredible.
A lot of money, but a show to remember for EVER.

The scene: 1905 in the shtetl (a small Jewish village) of Anatevka, in the Pale of Settlement of Imperial Russia.
The set (designer George Boyd): The rear of the stage has a full-sized cyclorama, for the superb AV projections (Blake Jenkins). The stage wings have black drapes.
The scenery comprises one impressive, multipurpose unit about the size of a garden shed, mounted on castors. It has a ladder to the roof – for the fiddler. The outside front wall splits and opens to reveal a 1900’s kitchen complete with old basins and jugs. When the unit was turned through 180 degrees it became the sitting room of the poor farming family.
Lighting design by experts Don Allen and John Spurling was well up to their normal standard.
Sound and AV operation was by Justin Friend. The music was a CD supplied by the copyright holders. The backing music’s orchestration was filled with depth and life from the large group of musicians.
Stage manager Janene Zampino and her new assistant manager, Theola Wolf, were helped by a very hard-working crew of Katherine Friend, Orlando Tompkin-Drew and Matilda Jenkins. Very well planned, almost instant on and off scene changes. The director and stage manager had obviously agreed on which were the sets’ exits and which part of the wings were the entrance / exit areas for the massive 35-member cast – slick. In many musicals there is a mad rush with both groups queuing then fighting each other and neither win. Knowing the depth of the Old Mill’s wings I was amazed to see the ‘house unit’ disappear off the side a couple of times.

           A young boy stands on the roof playing his violin (Sean Cleaver – and the bow movements matched the music). This is the home of Tevye (Patrick O’Donoghue – fabulous) a poor Jewish milkman with five daughters. Tevye explains the traditions of the Jews in Anatevka, where their lives are as precarious as a fiddler on a roof.
         At Tevye’s home, everyone is busy preparing for the Friday Sabbath meal. His wife, Golde (Mia Duplock – perfect voice) orders their five daughters, Tzeitel (Lucinda Marley), Hodel (Sarah Ganon), Chava (Chelsey Ward), Shprintze (Cadence Smythe) and Bielke (Jemima Lee) to prepare the table and candlesticks. They were Shabbat candlesticks – single, not the multi-stem Menorah – but the whole village entered holding candles, filling the aisles of the auditorium as though it was Hanukkah. A spectacular sight.   
          Yente (Sienna Freeman), the village matchmaker tells Golde that the wealthy butcher Lazar Wolf (Liam Barr), wants to wed their eldest daughter, 19 yrs. old Tzeitel. The next two daughters, Hodel and Chava are thrilled, as they cannot marry until after the eldest. However, Tzeitel wants to marry her childhood friend, Motel (Adrian Menner) the tailor, but what a Matchmaker says – goes!
         The local bookseller tells Tevye of pogroms (slaughters) and evictions. A passing student, Perchik (Ryan Boultbee) hears their conversation and suggests they act now! Tevye invites him home for the Sabbath meal. After Shabbat, Tevye meets Lazar for a drink at the village inn, where the Russian youths (Lauren Boultbee, Jordan Mears, Sarah Bell, Anneka McLennan, Brontë McLennan, Darcey McDonald, Hannah-Jayde Keppler, Eloise Keppler, Tamara Wolf) are showing off their impressive dancing and balancing skills, then Sasha (David Bell) does a Cossack dance. Tevye meets a Christian Russian Constable (Cameron Clear) who has full control over the Jews. However, the Constable has sympathy for the Jewish community and gives Tevye a friendly warning that there is to be a protest against them.
          Hodel mocks Perchik’s Marxist interpretation of a Bible story, in turn he criticises Hodel for the outdated traditions of Judaism. Tevye’s third daughter, the bookworm Chava, is teased by some gentile (Christian) youths. Fyedka (Raynon Pascoe), protects her. He loans Chava a book, instigating love.
          Tzeitel and Motel’s wedding day arrives, and all the villagers join the marital ceremony (complete with chuppah – canopy – and glass breaking) carried out by the Rabbi (Declan Marley). The celebration ends abruptly when Russians ride into the village. They upset the party, wreck the wedding gifts and wound Perchik. Russians expel Jewish families from their villages.
Other  parts: Michael Phillips played Mordcha, Rowan Marley was Mendel, Toby Crestani was Avram and Xavier Postma was Yussel.

Directors Katherine Freind and her Mum Neroli Sweetman can be VERY proud of their work and their magnificent cast. I checked the chorus for the usual mimers and closed mouths – not one in sight. Every youngster gave the show their all, both in voice and with their dancing. The Russian accents were most impressive, hard to believe that some children were as young as 8. The cast had learned the various hand mannerisms and delivery style of the East Europeans.
Choreographer Matilda Jenkins had a massive task with 35 performers, but the groups moved around without pandemonium. The dancing was perfectly synchronised. It ranged from the forbidden couple dancing romantically, to the energetic Cossack dance.
With working in Merriden (congrats – or should that be Mazel Tov? on your new post) musical director, Justin Freind must have found the experience of training the singers here in Perth horrendous. A CD backing track means that all the singers must be in the same key, with no possible adjustment as may take place with live instruments.
The show had pace, warmth and most importantly a memorable performance of song and dance. Many congratulations.

The Scene: 1870 in and around East London.
The set: the sets were designed by Adam Salathiel and Peter ‘Pear’ Carr, who were joined in the construction by Renee Bickford, the cast and the crew.
The orphans’ workhouse had 6 feet long hardwood kitchen tables and bench seats.
The impressive riverside scenes were dark and sombre, grey stone block walls. In keeping with the well-known song ‘Underneath the arches’, there was a set of stone steps leading up to a stone veranda with the arches beneath, where the tramps always slept.
Mr Brownlow’s house was represented by a leather armchair and a side table.
The undertaker’s shop had a workbench and coffin.

The wonderfully atmospheric lighting was designed by the director and operated by Denise Gallon who showed a good feel for the cues. The follow spot was accurately controlled by Samuel Kirk.
The well-balanced sound was designed by the Musical Director, Liam House, with the mic technicians Mishka Miller, Evan Bialas, Phil Bialas and Adam Salathiel taking care of the headsets – which worked perfectly.
The fast-moving production was managed and supervised by Kelly Salathiel, who had a real treasure in Stage Manager Jodie Mars. Jodie had her team knowing precisely where to go, then who had to do what. In a musical, the performers and orchestra can raise the excitement and pace, but it only takes one poor scene change to put the whole show back to square one. Well done the stage crew Bobby Garth, Glen Mars, Wayne Gale, Tiffany Gun, Toby and Bianca Franklin, Yvette Theodorsen and Adam Salathiel; I don’t think there was a single change that took more than 10 seconds. Brilliant.
The eye-catching poster, along with the clear colourful and easy to read programme came from the hand of Danni Close.

In the workhouse from Hell, the starving orphans are being fed gruel (watery porridge) but dream of the ‘Food Glorious Food’ seen on the staff table. A deserted foundling, Oliver Twist (Duncan Ferguson) who was delivered in the workhouse seven years earlier by Old Sally (Val Geeves-moving performance) courageously asks for more food. The arrogant beadle of the workhouse, Mr Bumble (Neil Young – fine voice), Mrs. Corney (Mishka Miller) and the Matron (Christine Durant) who are the heartless, greedy caretakers of the dosshouse are hassled by two kids, Captain (Isabelle Carr) and Nipper (Hunter Young).
Mr. Bumble declares his feelings to the widow. Mrs. Corney pretends to reject his advances, but Bumble pops the question. Mr. Bumble then sells Oliver to an undertaker as an apprentice – for slave labour. Mr Sowerberry (Jacob Smith) and his wife, Mrs Sowerberry (Rach Gilmour- best performance yet) are a heartless couple who order Oliver to sleep in the basement with the coffins.
When Noah Claypole (Edan Frazer), another of Sowerberry’s workers insults Oliver’s dead mother, Oliver beats him up. Mrs. Sowerberry and her ill-mannered daughter, Charlotte (Eve-Scarlett Trower) rush in and lock Oliver inside a coffin.
A week later Oliver escapes and he meets the Artful Dodger (Kelsey Morandin), a kind boy about the same age. Oliver joins him and is introduced to Fagin (Mark Thompson) a scheming career criminal, who takes in homeless boys and trains them to pick pockets. Oliver believes that the boys are simply making the silk handkerchiefs.
At ‘work’ Oliver meets Nancy (Georgia McGivern), the wife of Fagin’s best pickpocket, Bill Sikes (Peter ‘Pear’ Carr), who has graduated from stealing, to becoming an abusive husband and burglar. Despite this and because of love, Nancy tolerates him, but her sister Bet (Sophie Byrnes) is nearby to keep an eye on Bill.
Oliver is sent out with Charley Bates (Corban Fenton) and the other boys on his first pickpocketing job. The streets are crowded, and the young vendors are selling their specialities, strawberries (Bee Tandy), milk from the churn (Brittney Northcott) and roses at 10 pence a stem (Audrey Hall) – three beautiful singers.
When Dodger and Charley rob Mr Brownlow (Royce Newall) a wealthy old man, they run away but Oliver is arrested. Mr Brownlow is kind, gets Oliver off the charges and takes him home to Bloomsbury. Dr Grimwig (Evan Bialas) a medic and friend of Mr. Brownlow checks Oliver’s condition, then asks that Mrs Bedwin (Kelly Salathiel) takes loving care of the boy. Mrs B sings a song that Oliver recognises.
But for poor Oliver, a lot more trouble is not far away.
 
The melodious chorus and talented ensemble dancers were Abbey Allen, Amber Salathiel, Annick Spack, Ava Brady, Ethan Wiggin, Gabriella Vanni, Jessica Wiggin, Lacey Allen, Lili Thoms, Maddison Hasch, Madison Couzens, Mathilda Theodorsen, Mia Hendy, Phil Bialas, Renae Harmer, Sophie Collins, Sophie Kirk, Tara Butt, Taylor Hasch, Zachary Allen.

Liam House was the musical director and he led his 15-piece orchestra with plenty of bounce and vim. The orchestra were at the rear of the stage, behind a solid shoulder high wall which helped meld the instruments with no obvious domineering musicians.
The players were:- On reed – Joshua McMahon, Megan Davies, Alex Wallace. On horn – Sandra McKenna. On trumpets – Samantha Marley, Chris Zappa. Trombone – Alasdair Vincent. On strings, Violin – Patrick Meyer, Viola – Hanae Wilding, Cello – Elena Wittkuhn. On keyboard – Michael Baker and percussion – David Hardie.

With a dozen very well-known and much-loved catchy songs, including ‘Food, Glorious Food’, ‘Oliver!’, ‘Where Is Love?’, ‘Consider Yourself’, ‘You’ve Got to Pick a Pocket or Two’, ‘I’d Do Anything’, ‘Be Back Soon’, ‘Oom-Pah-Pah’, ‘As Long as He Needs Me’, ‘Who Will Buy?’ and ‘Reviewing the Situation’ the whole evening was a total joy.

For many people this could be one of the first musicals they saw as young teenagers. With wonderful songs, excitement and a few dark – but not too frightening – moments, the film is still firm in their minds. The challenge for this talented group was could they be good enough to stop the comparisons flowing? Obviously, this production did not have the huge film budget, editing breaks, scenery or effects, yet this vivacious cast of youngsters and adult actors were brilliant. Any doubts just disappeared.

The choreography was outstanding. Most shows will have around two dozen dancers, this spectacle had 42 dancers. There must have been times when choreographer Zoe Jay must have been wondering why she started, but this cast are truly incredible. There were even four dancers who are only 7 yrs. Old; were they shy and nervous? No chance, they were power boxes who gave it everything. With a crowded stage and complex footwork, one could expect the odd tumble, but they dancers moved around surefooted. The children were not a single dance group but auditioned and chosen individually; yet they had tremendous repartee and chemistry, as though they had been together for years. Impressive tumbling and acrobatics by some very young members.

A director feels happy to get a set of good dancers, but these workhouse kids (the age range was from only 7 to about 14) and again in the street, had to sing with attitude, initially showing their anger at their living conditions, then as the street urchins had to look like angels as they emptied the shoppers’ pockets. An outstanding youth cast with massive drive. EVERY child anticipated their next move and the body movement required, certainly no lame ducklings catching up with the rest.

The mammoth show was directed by Adam Salathiel who has scored several awards and nominations over the years in all theatrical departments, best supporting actor, director, production, stage manager, costumes and set.

Fagin’s old age aches were conquered by Mark Thompson, who realises that if the walk is correct then the rest falls into place. Great singing too. The delightful street vendors oozed warmth and sang beautifully in a complex blend.

Georgia and Sophie filled the stage with their raucous harmonious songs.
I thought that Pear Carr as Bill was better than Oliver Reed in the film – boo hiss! He sang very well, was threatening and died stunningly in a heap. Great work.

Duncan Ferguson and Kelsey Morandin both auditioned for a minor dance or chorus part and these two 11-year olds were so assured and talented they got the child leads on the spot. Both showed major stage skills.

The show will suit even 6 or 7 yrs. old, but there is a dark passage at the end when Nancy is attacked but the children can be assured that it is pretend, as she comes on smiling for the curtain call a few minutes later.

The scene: is Patterson Park High School Baltimore, Maryland in 1962 – just after Rosa Parks’ Detroit black revolution. Many of her experiences are reflected in (white) Tracy’s character in this play.
Luke Miller’s set, due to lack of funds, is quite basic; however, it is a colourful flat covering the full width and height of the rear stage (art work by Silvana & Samantha Ferguson). There is a lifelike TV camera and a surprise prop in the final scene that will bring a smile.
With a cast of 30 – I am including poor Olivia whose arm at the last minute found another meaning for ‘cast’ and will be missing – At times the stage was crowded, so the director wisely had catwalks at the side leading down into the audience and the pit area where the orchestra (of 15 musicians) could have been, but the show used the sparkling quality music CD supplied by the musical’s copyright agent. With such a large cast Production and Stage Manager, Guy Jackson, had to work at breakneck speed controlling the costume changes and the numerous mass entrances and exits. Amazingly everyone did very well.
The lighting and sound design was a little limited, but Lighting Operator – Jayde Cason and the Sound Operator – Bailey Fellows (on his first show) made the show flow smoothly.
Attractive programme from Nicholas West and Jarrad Sharman.

Slightly plump Tracy Turnblad (Laura Foster – very well done) dreams of fame on the socially progressive but shallow Corny Collins Show (Jacob Clayton – smooth) as a replacement for pregnant Brenda (Ataahua Flesher). Tracy’s dozy Dad, Wilbur (Kody Fellows) lovingly encourages her.
Tracy meets her dream boy, Link Larkin (Archer Larwood), however her desire to have racial integration is causing problems as he is not too sure. Even when Tracy’s ‘well-rounded’ mother, Edna (Zac Musarra – a drag role, again unacceptable in the 60s) who runs a laundry business out of her home, hears Tracy mention ‘black and white’ TV warns her that she may be thought to be racist. With other comments like ‘from the other side of the track’ (which refers to the slums on the other side of the railway line that separates the rich from the poor), there is obviously a lot of mountain to climb. Tracy’s slightly geeky best friend Penny (Darcey McDonald – magnetic performer) is also disturbed by racism, but her manipulating mother Prudy Pingleton (Lexi Baggaley) is a total bigot and even complains about black music.
Another girl in Tracy’s class is a loud and talentless spoiled brat, Amber Von Tussle (Ebony Uetake – great) who is willing to grovel and crawl to win the Miss Teenage Hairspray title; but because her conniving mother Velma (Olivia Fellows) is producer of The Corny Collins Show, the winner looks like a foregone conclusion.
A local record shop owner is the beautiful iron-willed Motormouth Maybelle (Kika Van Wilde – fabulous voice) who brings her two black children to school. Even though the kids are friendly, her son Seaweed J. Stubbs (Rea Selepe – great mover) being a talented dancer and his little sister, Inez (Halle Selepe) is a delightful singer, most children still reject them. When asking about the audition, ‘Fat’ Tracy and ‘black’ Inez are rejected by prejudiced Velma. However, when local fashion shop owner, Mr Pinky (Harrison Ricci) wants to have Tracy as his advertising model, the school Matron (Luna Har Paz) and the Principal (James Leber) have a change of attitudes and forgive Tracy.
The various backing vocals and delightful dancers, many of whom had brief speaking parts include Oscar Uetake, Victoria Outten, David Bell, Heidi Pesich, Zoe Bartle, Sienna Law, Keiaani Richards, Charlotte Sampson, Sarah Cosgriff, Ella John, Elijah Liu, Faith Cary and Sophie Hennighan.

Many songs have been modified over the years as they were thought to be politically incorrect, but I thought that the song of the show was probably ‘I Know Where I’ve Been’ by Motormouth and the Ensemble.

The Choreography (Rachel Vonk) was tricky yet exceptional. EVERY single performer from the very youngest to the most experienced never missed a beat. The co-ordination was perfect, and they all smiled!
Director Jayde Cason (Clark) has been connected with numerous shows over the years and has never let an audience down. Her pleasant nature always ensures that her cast will perform their best.
Vocal Director Samantha Ferguson has to be admired for tackling such a large cast and age group. The results ranged from generally very good to outstanding. Naturally this was a first show for many youngsters, so there was the odd nervous tremor and missed key, but for their age who could complain? No one! Just admiration.
The colourful and very 60’s costumes were supervised by Rachel Vonk with major support from Shelly Miller and Emma Foster.
The aim of this fun musical is to encourage individuality, acceptance of colour, sexuality and shape difference; but most of all it gives us a great night’s entertainment by many names to look for in the future.

The scene: is the Belleview – Cuyahoga High School.
The set: mainly due to the large cast and the smallish stage size was, by necessity, quite basic. It was designed and built by George Boyd and Katherine Freind. The scenes included a locker room, a twenty-seater bus and a school field. Most of the efficient scene shifting was carried out by the cast, who, under the supervision of the stage manager Janine Zampino (who was also the show’s photographer) and her helper Orlando Tompkin-Drew, managed to set up the bus in seconds. The mass exits were smooth and free of queuing in the wings.
The rear wall cyclorama was the screen for some very appropriate, still and video shots of an American school sports field. Good work by Blake Jenkins.
The colourful lighting and sound effects were by the reliable ‘twins’, John Spurling and Don Allan.
Jennifer Mesquita Souza’s graphic design of the programme was lively, smart and projected the youth theme.

The gawky chubby tuba player, 17 yrs. old Elliot (Blake Jenkins), is discovered by flautist Laura Jane (Tayah Crothers) in the gym; he was hanging on a locker door! Because no one else will do the job, Elliot has just been elected captain of Beavers’ Marching Band, the school’s vastly underfunded musicians. Perhaps now he may be admired by his peers and no longer considered incompetent by his parents.
The music teacher, Miss Hornsby (Matilda Jenkins) reminds Elliot that he must be inspiring. A band practice is called, and the musicians arrive in their everyday clothes; the band has no uniform as finances are tight. On the football field, Elliot does a quick roll call. He finds he has a new trumpeter, a bolshie new Russian exchange student, Natalia Vosavich (Steph Shaw) from Bratislovia.
As the rehearsal begins, a handsome athletics star, Jake (Josh Spencer-Pepper), arrives; he has been forced to join the marching band for his senior year by Ms Dixon (Katherine Friend). When shown the marching snare drum T-frame he wants to leave there and then. The ever-smiling Laura is happy to coach Jake and the sassy gay Alvin (Cooper Jenkins) brings a smile to Jake.
The newly divorced and miserable school principal, Ms. Dixon, arrives. She is determined to have the best band but will not spend even a few dollars to help it. Even her poor nervous son, asthmatic Stewart (Sebastian Coe) is constantly under her thumb.
The students befriend Jake, who is withdrawn and has major domestic problems. The band’s ‘Twirler Girl’, flicks her hair and moves in on Jake; this is the sprightly attention-seeker, Nicole (Asha Vivian) – Elliot’s lifelong school crush! Ms. Dixon then announces that due to a lack of funding, she has cut the band’s use of the practice field. Optimistically, Elliot is still determined to ask Nicole out on a date.
At midnight and still in her pyjamas, Ms. Dixon discovers the band on the field. She instructs her assistant, Joyce (Kelsey Zampino) to confiscate Miss Hornsby’s staff field pass. At the weekend, the school has a big game against Waterloo, Jake old school! Jake recalls his loss of football stardom, so in frustration and anger beats out an amazing snare drum solo. On hearing Jake’s outbreak, a recruiter from Ohio State is so impressed that she invites the band to compete at the Festival of Champions.
Jessie (Aaliyah Thompson) and Jordan (Imogen Dearlove), along with the flag carriers Valerie (Maddi Thomas) and Felicia (Bianca Thomas) help organise the marching routine.
On the bus home, Laura and Elliot hit it off. Jake and Nicole snog in the back. Even the wry Natalia befriends a fellow trumpeter, the charismatic but untalented Spitz (Ashley Garner) and teaches him the joys of triple tonguing. Kyle (Liam Telcik) and fellow Goth, clarinettist Molly (Saskia Ware) sit moodily.
How will the match go? and will the band meet expectations?

There was a live band, which no room on the stage or wings, was situated in the workshop. This allowed a ‘Big Band’ sound without drowning out the actors or deafening the audience. With the school kids having to ‘play’ solos, amazingly the sync of the real musicians and the actors miming was still spot-on.
The large superb band was led masterfully by the musical director, Chadwick Beins. The musicians were: – on drums – Tayla Rattray, keyboard – Andy Li, bass – Andrew Cruz, percussion – Nathan Ng, trumpets – Samantha Marley, Helen Love, trombones – Evan Williams, Lois Mitchell, tuba – John Parker and on reeds – Selena Clohessy and Caitlin Burke.
Michaela Pavlov’s costumes started as simple day clothes, with the odd purple hoodie but soon the costumiere’s hard, labour-intensive work amazed the audience with the band’s new immaculate costumes and stunning hats. Wow.
The director Katherine Friend could have a nice easy life directing adults, but invariably she gathers talented youngsters, fills them with confidence and takes them to heights that they have never anticipated reaching. This show, like Katherine’s numerous others, has – with the aid of vocal and accent coach Mel Vivian – the singers perform with superb enunciation and soft American accents. EVERY performer was excellent and perfectly focused.
The choreography by Maddi and Bianca Thomas was outstanding. Instead of settling for simple marching and interweaving, the two young ladies have thrown in touches of foot work reminiscent of the Charleston and River Dancing. Many casts would have struggled with such routines, but these youngsters – and the cast were between 17 and 21 – were flawless. The complete cast could sing, act, dance and throw in a bit of comedy; and in Steph Shaw’s case, even a convincing foreign accent.
Not only did the lead singers give powerful performances, but their acting and chemistry was amazing. A special mention of Tayah Crothers who performed with every muscle in her body, clearly expressing her many moods. There are a few actors here who have a good chance of hitting the big time.
A magical show, pity about the short season.

The craftsmanship of set designer and head artist Bronwyn White was imaginative and had a touch of colourful magic, essential for all children’s shows. The dozen sets were built by 16 helpers under the supervision of Peter Francis. The weird and numerous props were supplied by Sheryl and Wayne Gale.

The very busy stage managers Jennifer Friend and Karen Francis were assisted by Suzy Wiseman and a dozen helpers, who had the entrances and exits of a cast of around 80 to control, as well as the scenery changes.

There were no queues in the wings of cast waiting to exit, and the large sets moved silently. The colourful, creative lighting design was by Karen Francis and Clint Gerard. Projections included cloud effects and the sun beams emanating, well done Alan White.

The spotlight operators, Kinya Van De Polder and Eibhlis Newman, were accurate and steady – even on a narrow beam. Sound and technical supervisor Peter Lovall, was aided on headsets and microphones by Sarah Bridgman. Both the lighting and sound cues were flawless.

Mechanist Ciaron McCormack was a kept busy with all of the flies and curtains movements. I thought he had slipped up at one stage when the scrim did not reach the floor, but of course he was spot on, the gap was left to show the hilarious, clever foot-tapping, rat routine.

It was young ogre Shrek’s (name?) seventh birthday and so now being an adult, his Mama Ogre (Alyssa Burton) and Papa Ogre (Alex White) send Shrek out into the big world. They warn him that his appearance may cause problems and that he may be hated. Several years later, Shrek (Nicholas Gaynor) is sad and lonely, living in a swamp. One day he meets a band of fairy-tale characters and creatures, who have been banished from the Kingdom of Duloc on threat of death, by evil Lord Farquaad (Paul Hayward). Losing his swamp lease, Shrek is encouraged by Pinocchio (Jake Garner) and the fairy-tale creatures’ gang, to see Farquaad and to regain their homes. En route, Shrek rescues a verbose, jesting Donkey (Jioji Nawanawa) from Farquaad’s guards. Donkey, now Shrek’s only friend, shows him the way to Duloc where cruel Farquaad is torturing Gingy (Alyssa Burton) and the Gingerbread Man into revealing the whereabouts of other Fairy-tale Creatures. One of Farquaad’s thugs, Thelonious (Sam Taylor), discloses that Farquaad’s guards have a Magic Mirror. Gingy is then banished to the swamp with all the other Fairy-tale Creatures – The Three Bears (Daniel Monteiro Pais, Gabrielle Sampson, Alex White), The Three Little Pigs (Ryan White, Bailey Bridgman-Peters, Max Baker), Peter Pan (Leigh Hunter), Ugly Duckling (Michelle Gould), The White Rabbit (Danielle Taylor), Mad Hatter (?), Humpty Dumpty (Charlotte Roberts u/s Persia Najafzadeh), the Shoemaker’s Elf (Persia Najafzadeh), King Harold (Harry Stacey), Ugly stepsister (Rhiannon Garnham), Wicked witch (Kristie Gray u/s Sky Kettle), and Fairy Godmother (Paris Horne). The Mirror shows that Princess Fiona (Lisa Taylor) is trapped in a castle guarded by a horrible fire-breathing dragon (puppeteers Danielle Taylor). Farquaad realises that if he marries her, he will become King; but the King does not know that Fiona changes at night into ‘monster’. The Mirror shows the audience the story of Fiona’s childhood. A seven-year-old Fiona (Emily Tamplin), dreams of a handsome knight who will one day rescue her from the tower. As she grows into a teenager, Fiona (Sarah Wilson) now an impetuous woman, still never loses her faith in the fairy-tales. Shrek and Donkey meet Farquaad, who orders Shrek to rescue Fiona, and in return he will return Shrek’s deed to his swamp. The two friends set off to find Fiona, after crossing a wobbly old bridge they arrive at the castle. Alone, Shrek sets off to rescue Fiona, while Donkey meets a fierce female Dragon (Kristie Gray) who wants to keep him for her pet. Will Shrek fall in love with Fiona or will they all be killed by the dragon?

The orchestra’s musical director and conductor, Vanitha Hart, gave a vibrant accompaniment, and was sympathetic to the young singers. So often vocalists have to shout over the music, or feel that they are being forced to sing in the wrong key, or even too fast a tempo, this accompaniment was excellent; well done. Vocal director Kristie Gray had the whole cast perfectly rehearsed. Every singer – and some were quite new to the stage – gave powerful deliveries in perfect tune. The main cast members gave animated performances with full depth of character. The orchestra members were:- on violins (Kristy Hughes, Alice Broadhead), cello (Darsha Kumar), reed (Bec Moroney, Talitha Dunn), horn (Ingrid Waters), trumpet (Harry Josland), trombone (Ned Holland), guitars ( William Christensen, Harry Walters), bass (Stephen Taylor), keyboards (Bronwen Herdolt – who was also rehearsal pianist – Warren Bracken) and on percussion (Mark Beasy). Director Karen Francis certainly knows how to give sparkle and oomph to a production at a sensible price. Then there is always a mechanical piece that leaves the audience gasping. The outstanding dragon in this production was designed by David Hartley. With three or four operators underneath the dragon’s body, the eyes glowed and changed colour, smoke poured from the nose, the wings flapped and the mouth was in perfect sync with the speech – many congrats to the operators who helped Danielle Taylor. The task of a choreographer is not to simply devise a spectacular routine, but being sure that the performers can carry it out. Choreographers Ashleigh Riley and Lisa Taylor, assisted by Danielle Taylor, produced several slick and fast moving routines. The cast were flawless in their dance movement, the body swaying and the warm smiles. Even with around 80 dancers I did not spot a single ‘lost soul’. Then we were treated to a couple of tap routines, a rare pleasure, along with a robotic, musical box dancer sequence. Costume coordinators Linda Lowry, Kerry Tarbuck, Pat Francis and the assistants Hannah Andrews, Kim Parker, Georgia Turner, Cathy Wainwright, and Bronwyn White managed to give us an army of soldiers, a gathering of fairies, and a huge selection of fairy-tale characters all of whom were instantly recognisable. A huge amount of work, but with stunning results. As with the costumières, the makeup team of Em Rose, Melanie Paschkewitz, Monique Kinnest, and Michelle Mathews led by Jodie Mars, designed the fabulous makeup. When children see their ‘idols’ they have no leeway on appearance, they must be correct or the magic just evaporates, however, everyone from Shrek to Little Bo Peep and the Three Pigs were beautifully presented. At almost three hours, the young audience would have been happier with a few less songs, but as we all know, copyrights do not allow this. The leads were exceptional, beautiful voices, powerful delivery – they gave their all. Another fabulous production from Stray Cats and MPAC. ‘Stray Cats’ sets the standard for Community musicals, and MPAC and Koorliny are fine examples of how a city or shire should get behind their local acting groups. This show was in a large theatre, and was a sell-out every show. This was a production for the whole family, adults and children alike, loved the humour and upbeat characters that made up this zany musical!