‘The Last Tango at Little Grimley’ is the second play in the Little Grimley series by David Tristram, who was born in Dudley, near Birmingham in the UK. With 30 plays under his belt, David has proved his fine talent for writing comedy dialogue.
The Scene: is present day in a church hall in Little Grimley.
The Set: was designed by Kiri Siva. It is simple, with four wooden chairs and a small table in the corner for coffee making equipment and supplies – props (Dominique Duvall).

It is the weekly meeting of a local acting group – of four members! The self-appointed leader of the troupe Gordon (Ethan Milne) is talking to the scenery designer and builder, Bernard (Edzelle Abrio) about the meagre set for the last show. The young friendly, enthusiastic but talentless Joyce (Emily Bell) arrives and is just about to join the conversation when bossy, strait-laced Margaret (Kailea Porter) arrives, immediately demanding an election for the post of Chairman. Gordon quells the situation.
When Joyce reads out the latest bank balance, it seems that the last production made a massive loss. However, Gordon has a guaranteed way to make money on the next show … SEX, and he needs Margaret to be the main sex symbol.

With wonderful direction by talented actor, Matthew Arnold and his assistant director Christian Dichiera, every laugh was carefully dragged out of the clever and true to life script. The cast had a great bond and chemistry – hilarious. The Dramaturg added to the fun, this was supplied by the lighting designer Sam Ireland. The sound design (Gabi Munro) and surprise costumes (Alex Thorburn) topped off this very funny play.

‘Who the Fuck is Erica Price?’ was written by a Curtin University Creative Writing graduate. This raw play was crafted in 1994 by WA’s Sarah Brill and was first presented at the Perth Fringe. A few years earlier at the age of fifteen, Sarah gained many of her skills by attending four National Playwriters’ Workshops.
Since this play, Sarah has written two more radio plays for the ABC. Sarah now lives in Sydney.
This story is the life of a young prostitute who feels life is passing her by. It reminded me of Marianne Faithfull’s song ‘The Ballad of Lucy Jordan’.

The scene: a drab flat with good furnishings.
The set (Alex Comstock): Centre stage is an old chaise lounge. At the rear a curtained door leads to the bedroom. Across the room is an oak chest of drawers and mirror. Designer Samuel Ireland. The show was stage managed by Kyra Belford-Thomas. The daring and exciting costumes were gathered by Jane Tero. The music and sound design were by Sebastian Boyd.

Erica Price (Amber Anderson) roams around her room in her black lacy bra and knickers. It is yet another day of business for street girl Erica. Speaking directly to the audience, she explains how she agrees her price for the day, and then explains that ‘come the revolution’ everything will be different. A new life is always just around the corner for Erica.
Erica changes her costume many times throughout the show, each one representing the arrival or departure of another ‘client’. The men (Alex Hutchings plays several) vary from the nervous, lonely caring man, to the hard labourer who wants something different or rougher.
Some men point out to poor Erica that she is becoming older – how will she take their comments?

The director is Jemima Hill has managed to get the full emotion out of the script. With Amber (Erica) skilfully showing several moods and many emotions throughout the play. She kept a smile, but one could sense that just under this thin veneer Erica was hurting. Amber had several large chunks of monologue that were delivered flawlessly.

The Scene: a park bench in Australia.

The Set: a 30 cms high dais with a three-seater white park bench. Behind is a wall of black drapes. This simple set was free from distraction and allowed the discourse to reign supreme. The simple but effective lighting and sound was designed and operated by John Spurling.

‘Connie and Clyde’ – 20 minutes

Dressed in shirt and bowtie, Clyde (Rex Gray) and hippy Connie (Sue Murray) with blonde dreadlocks have been sharing emails for months. At last they meet. Like most friendship seekers, their descriptions of themselves have not been quite as honest as they should have been. With the popularity of Tinder increasing rapidly, this is a very funny story that many will see as an everyday occurrence. Rex and Sue were wonderful together as the strangely matched couple. Delightful.

‘The Flat’ – 45 minutes

Bill (Phil Barnett) and Sylvia (Maree Grayden) have been work friends for years, but now they have decided to take their friendship to a new and risky level. Phil plays the caring man, determined to make the most of their first tryst, but moaning Maree is having a change of mind. Two flawless – personal best? – performances for Phil and Maree. The chemistry was electric at times as the emotions swung from enthusiasm to panic. Little physical movement but their expressions and verbal interaction had the audience rivetted. Quite a few twists. Superb.

‘Serenade in Blue’ – 25 minutes

Oliver (James Hagan) is an elderly gentleman who was once recognised as a musical authority. He is sitting on a park bench in the sun, enjoying the peace and quiet when – uninvited – Cheryl (Rachel Bartlett) sits next to him. A conversation starts, but this young lady seems to be asking too many searching questions. Oliver suspects that she may be another dreaded newspaper reporter writing an exposé.

James playing the man aggressively on the defence against the poor girl trying her best to be kind, gave us two amazing performances. I cannot deny that they both had me in tears by the end. A script of this quality requires two special actors and Noel found them both in James and Rachel. Outstanding.

‘Love and Marriage’ – 20 minutes

A man (Rex Gray) and his wife (Sue Murray) are sitting on a park bench waiting to meet their long-term friends, who are going through difficult times in their marriage. But are these emotional healers at the correct park bench? Another refreshing light break from the intense highly dramatic performances. Rex and Sue’s interaction was so typical of a long-time married couple. Plenty of smiles in this charming comedy. Well done.

‘Ticket to Paradise’ – 20 minutes

Max (James Hagan) is the miserable whinging ex-partner of easy-going and happy Sid (Gino Cataldo). The two widowers worked together for thirty years, but now they are retired they still meet up at the same bench in a peaceful cemetery once a week for a game of draughts. Two wonderful characterisations. The story ticks along until an unexpected topic arises. Both actors gave life to the two complex characters as the unique storyline hit the rollercoaster.

The scripts for each play were so brilliantly structured and written, with dialogue that flowed naturally straight from the heart. In most of the plays, just when the ending you have worked out and anticipate is about to be revealed, this script takes a massive 90 degree turn and you find yourself faced with a totally unexpected twist and new problem.

Who would have thought that a simple park bench could mean so much to the many people that had sat on it and hide so many of their intimate stories? If you are a writer, actor or acting student these plays will give you a bar to aim for.

The script and style of acting – which depends on the actors becoming fully and emotionally involved – are perfect examples of what can be done with only two actors and a minimal set. These five plays are most memorable. The actors all gave performances that flowed so well, that at times you wondered if there was actually a script, or was it an everyday conversation? Five DO NOT MISS plays, similar setting but completely different genres. Highly recommended.

The scene: the gardens of a wealthy businessman Leonato, a respectable nobleman who lives in the idyllic Italian town of Messina. 2019.
The set: was designed by Pip Runciman, who created a golden framework that formed a Colonial style veranda with numerous plant pots – and a lawn! Oh, the lawn!
Lighting Designer Niklas Pajanti with Composer and Sound Designer Andrée Greenwell gave a vibrant atmosphere.

Returning from battle were Claudio (Will McDonald), Benedick (Duncan Ragg), Don Pedro (Danny Ball) the Prince of Aragon who were visiting Leonato (David Whitney) the Governor of Messina. Claudio falls in love with Leonato’s only daughter, Hero (Vivienne Awosoga), while his pal Benedick swaps insults with Leonato’s quick-witted feral niece, Beatrice (Zindzi Okenyo), whilst her protective father Antonio (Suzanne Pereira) looks on.
                Don Pedro agrees to help Claudio woo Hero at a masquerade ball but did not reckon on his malevolent brother Don John (Paul Reichstein) stirring up trouble, but the misunderstanding is quickly resolved, with Claudio and Hero getting engaged. With nothing to do in the week before the wedding, Don Pedro tries to trick Beatrice and Benedick into falling in love with each other.
                Don John does not give up easily and with the help of Borachio (Will McDonald), plots to ruin the wedding. The local security men – ‘The Watch’ – are led by Dogberry (Mandy Bishop) and the bag lady, Verges (Marissa Bennett) try to take control.
                Could marriage be doomed for everyone?

Bell Shakespeare’s Associate Director, James Evans, has given us an uproarious show with laugh-out-loud moments every minute of the script. Exceptionally funny. romance is thwarted by dastardly plots, misinformation, false accusations, broken promises, and bumbling cops.
Movement and Fight Director Nigel Poulton, with the Voice and Text Coach Jess Chambers created some wild characters, that at times played by actors who were hard to recognise.
Bell Shakespeare was developed to bring the standard heavy going plays to a level of delivery and explanation that would allow all to enjoy, without feeling that they are being patronised or spoken down to. A young teenager will understand this complex play easily thanks the warmth and fun conviviality of the cast. SHAKESPEARE AT ITS BEST. Highly recommended.

The scene: Present day in a large family owned departments store.
The set: considering that the TV’s stage is huge in area, the design managed to incorporate all the main features of the programme. The imaginative lighting for Act Two’s tent scene worked very well. Good work as always by lighting and sound tech Ian Wilson, who produced impressive stereo sound effects.
Set construction was by Andrew Watson and decorated by the cast.
The stage manager Carole Wilson was assisted by Melissa Skeffington and Richard Norman, who worked perfectly as a team.

         The lecherous and disrespectful cleaner, Mr Mash (Bob Charteris) is carefully polishing the mannequin when the lift door opens and the general manager, Mr Rumbold (Peter Neaves) emerges. As Captain Peacock (David Gribble) begins to announce that the store owner, Young Mr Grace (David Young) is generously paying for a staff trip to a one-star hotel in Spain, the incontinent Mr Grainger (Peter Boylen) toddles off to the toilet for the third time since arriving.
         A pregnant Miss Brahms (Roxanne O’Connor) arrives, closely followed by Mr Lucas (Owen Phillips) who is forever after Miss Brahms. A knocking is heard from the lift door, revealing Mrs Slocombe (Jenny Wrenn) who in turn is revealing her loyalty for the country. Mr Humphries (Sean Bullock) makes his colourful entrance.
        After their injections from the store’s nurse (Ginny Moore-Price) the workers are on their way to Spain. Unknown to the visitors, hotel manager (Bob Charteris), who has his eyes on the giggly young Conchita (Virginia Moore-Price), is being pressured by a freedom fighter, Caesar (Mason Kemp) and his voluptuous supporter, Teresa (Melissa Cruikshank) to give them hotel rooms.
         The guests settle down to a delicious meal with fresh octopus (Michael Watson) – a little too fresh. Will there be any holiday romances?

The play features well-worn double-entendres, numerous innuendos and dodgy jokes, but the almost full house loved it. It was exactly what they had come to see. As Mr Trevor Bannister’s widow said, ‘Trevor would have thought this is political correctness gone mad.’
There were plenty of laugh out loud moments, plenty of titters and a few jokes even slipping under the radar. In real life during rehearsals, if his part was not for a few pages, Mr Grainger used to pop out to the pub next door for refreshment and was often a little too relaxed for the recording later that night.
The costumes (Alison Goodwin) are wonderful. They capture the personalities of the wearers, from the arrogant Captain Peacock, to Caesar the revolutionist and the sexy girls with more meat than a butcher’s window.
Director Andrew Watson has proved himself competent in various genres, but there is no doubt that he shines in comedy. In presenting such a much-loved and internationally revered show, where the audience know every character intimately, it was essential that the cast were immaculately rehearsed and really lived their TV personalities. They did. The second Act called for split second timing with the script and action, but no problem, the cast were precise and natural in their delivery. Fabulous teamwork.
For matching the TV show’s characters, a special mention must go to Jenny Wrenn, her Mrs Slocombe was immaculate, and Sean as Mr Humphries was outstanding with all the expected mannerisms.
This play is not the poorly written film script of the store’s holiday, but a well-structured play with plenty of laughs. You have just a couple more chances to see Mrs Slocombe’s pussy – it is worth seeing.

The scene: Modern day in a small Welsh village.
The sets: were highly mobile units on castors, that were designed by Luke Miller and built by the cast and crew (along with Gillian Clark and Caitlyn Turner).
The opening scaffold was a massive 3 metres high and 4 metres wide construction of weathered timber with gallows at the top.
The Llewellyn’s’ sitting room had the seating and tables all attached to the walls and door. This allowed very quick scene changes. On the walls was a collection of small ink prints. The walls were pale apple green and the window was covered by curtains. On the rear of this construction was the Hubbards’ front hall. The white lace curtain covered the white window frame. The pictures on the wall were … well … I am too young to know what they were of, but it was part of the Hubbard’s hobby.
Even the piano was attached to the piano stool so that Ann could be wheeled in and out without her missing a note.
The town pub had a well-stocked bar counter with backlit shelves that were the full width of the stage. There was a selection of high bar stools.
The props were once again the task of the resourceful Lesley Sutton.
The clever lighting design was by Shelly Miller, then rigged and operated by Lachlan Kessey and Bailey Fellows.
The quality sound was operated by Jonathan Masterson.
The stage manager, Sage Lockyer and her backstage crew (Shelly Miller, Jade Gurney, Chelsea Cook, Benedict Chau and Ray Egan) performed most efficient scene changes. The wheels and castors used, despite the often-huge weight being carried, seemed to flow effortlessly.

The curtains open to show the last few seconds of a community theatre’s version of ‘The Beggar’s Opera’. It is a discordant cacophonous ending to a poorly produced show, that many of the cast were reluctant to perform in.
We flash back several weeks and find a young widower, Guy Jones (Guy Jackson) arriving at a chaotic rehearsal of the local amateur operatic society. After a tragic few months, this extremely nervous accountant has come to the remote Welsh village to start a new life with the Town Council.
The production’s director is a dodgy lawyer, with a passion for the theatre, Dafydd ap Llewellyn (Mike Moshos). He always has a smile, but it is insincere and often his bad temper has the company revolting against him. He welcomes guy and offers him a very minor part.
Guy soon finds that many of the women in the Operatic Society are bored with their husbands, especially the sophisticated but sex-starved Fay Hubbard (Kelly Blee – hilarious, dangerous!), wife of Ian (Benedict Chau) who owns a building firm. Dafydd’s wife, Hannah (Steph Hickey) welcomes the lonely newcomer to the fold.
The bar owner’s tough daughter, Bridget Baines (Suzy June Wakeling) is the stage manager and prompt who will take no nonsense, especially from soppy Linda Washbrook (Jordan D’Arcy). Linda’s parents are in the Society, but mainly to promote their daughter’s talents. Linda’s father, Ted (Ryan Perrin) is enthusiastic but pure ham! Whilst Enid (Rachel Vonk), is Linda’s her overprotective mother.
The rehearsals continue with the shy tolerant piano player, Mrs Ames (Ann Cahill) being wheeled in and out as required. The haughty-taught Rebecca Huntley-Pike (Taneal Thompson) is furious that her talent is not being recognised. Rebecca’s husband, a mad but harmless down to earth Yorkshireman, Jarvis Huntley-Pike (Ray Egan) befriends Guy.
It is not long before Guy is being offered a better part, with substance – this causes friction with Crispin Usher (Kieren Elliott) tough, hostile youth who originally had the major part of MacHeath.

The modern and period costumes were the hard but fine work of Marjorie DeCaux and her assistant Lynda Stubbs, who also looked after the wigs and hairstyling.
First time director Luke Miller, after a couple of decades of proving his talent as an actor, has shone as the director of this play. The play has a few unlikeable characters in it which make it hard to direct. Just as the team are building up a few laughs, the unusual script can take a cold or sad twist. However, the cast really got behind the show, packed it with drive and energy. Luke has Shelly Miller as his experienced assistant director.
There are many fine singers, who at times must try hard to be off key as the Society is definitely second rate. Kieren and Steph are particularly melodic.
Mike Moshos has completely captured the complex nature of Llewelyn. He is a bully, a charmer, a conman and a caring husband. Mike kept the pace moving along, had tremendous vocal control and authority. Well done. Mike also learnt a very acceptable Welsh accent that he maintained well throughout the play, impressive – often actors let accents slip after the first scene. Congratulations on the pronunciation of Llewellyn, not quite there. Starts ‘clue’ which you got as the sound for double-L, but as there is a further double-L in the name, the end should be ‘ech-lyn’, i.e. Clue-ech-lyn. I am open to correction. Guy was delightful as the petrified newcomer being hunted by women after new meat.
A huge amount of work has gone into this show and the cast really put their hearts into it. Great fun.

The Scene: The year 2025 (?) in California, mainly in the loungeroom of Bruce’s luxury Hollywood top floor apartment. The story depicts those that are ‘recognised’ and those trying to be.
The Set: was magnificent. Designed by Graeme Dick and aided in its construction by Michael Vincent, the structure was solid, futuristic and colourful. Graeme and Adrian Ashman painted the set.
The loungeroom walls were white with grey stippling. Modern stylistic paintings hung around the room. The floor was black and white chequerboard marble, with a deep red, shag pile rug. To the side was a contemporary scarlet and black drinks unit. Centre stage was an ultra-modern Dutch-style coffee table, with two glass shelves on single cantilever legs (quite a find). A black leather settee. Across the rear of the room was a 60 cms high walkway leading to the front door and bedrooms. A jarrah frame and cord balustrade. A large window with red and white candy-striped curtains overlooked the main street. Outside the room’s double doors was an entrance hall with lighting and décor; well done, how often do we have black void instead?
The top-quality properties were supplied by Marion West.
Considering that the scenes were indoors, the lighting and soundscape designs were quite complex and with well thought-out effects by Geoff Holt. The precisely timed technical operating was by Eddie Baross and Caileb Hombergen-Crute.
The show was smoothly stage managed by Graeme Dick.

The self-centred film director, Bruce Delamitri (Tim Fraser), who specialises in blood and gore, has just been nominated for an Oscar as Best Director. Not surprisingly, the public think he is glorifying murder and that he is actively encouraging criminals to join in.
Bruce, his disenchanted teenaged daughter, Velvet (Sophie David) and Karl, his demanding producer (Gavin Crane) are scanning the various channels on the large screen TV, as the journalists and commentators (Paula Hudson, Fiona Forster, David Gribble) warn of troubled times ahead. Bruce, as obnoxious as ever, argues that showing violence does not encourage it.
Just as Bruce finishes dressing for the Award Ceremony, his alienated wife, Farrah (Sarah House – great), arrives demanding that they agree on their divorce settlement.
Whilst at the Oscars, two psychopaths in the style of Bonny and Clyde – but nasty – arrive. They are Wayne (Tim Presant) who is dim, wicked and heartless and his adoring lover, Scout (Sjaan Lucas – loveable and frightening, fabulous) who is also his soulmate, break into the flat to wait for Bruce’s return. They are the infamous Mall Murderers, responsible for 57 deaths – so far. Knowing the police are close on their tail, Wayne has devised a scheme to avoid the electric chair but needs to discuss it with Bruce.
Bruce arrives home with an attractive but intoxicated photographic model, Brooke Daniels (Sherryl Spencer – wonderful) who fancies herself as a would-be diva. Before long they are joined inside his apartment by a TV camera crew, Kirsten the sound recordist (Colleen Bradford) and cameraman Bill (Graeme Dick). Trouble is brewing.

Colleen Bradford was in charge of the various costumes – or in Colleen’s case, the shortage of costume!
This play has tremendous pace and relies very much on an excellent rapport between the cast members. With fast dialogue in an American accent, the potential for problems was increased. However, thanks to great direction by Siobhán Vincent and her assistant Marion West, the actors were perfectly rehearsed, confident and with clear enunciation in the rapid passages.
Ben Elton had developed a selection of very strong but extremely different characters and this cast bonded together perfectly. The interaction was outstanding. Over the years, every member of the cast has proved themselves to be talented, winning numerous awards on the way. Even so, I think for the members of this exceptional cast it could still be their best performances ever. A special mention for the two Tims who were powerful, unrelenting and brilliant.
Superb acting with NO punches pulled. This play is not for the delicate prudish theatregoer, but if you are slightly broadminded there is subtle humour throughout and plenty of shocks.
Loved it. Guaranteed full houses, so get in quickly.

The scene: The Weston’s three-storey homestead in Pawhuska in Osage County, Oklahoma. The action takes place over the course of a few weeks in August when the heat is brutally oppressive.
The set: Wow. When the stage is full what do you do? Fill a third of the auditorium floor! In front of the stage there were the ground floor interiors scenes, with a very smart dining area seating a dozen, a large oak sideboard, a record player and a bookrack. Centrally was a two-seater sofa bed, an electric keyboard and a teak coffee table. A staircase leading up to the bedrooms. To the side was the father’s office, with an oak desk, swivel desk chair, a comfortable armchair and a mountain of books. At the rear is a rustic patio.
On the stage is a landing with seats, a passageway and another staircase leading up to an attic bedroom with a single bed and an ornate dormer window.
The unusual and intricate construction, even with the help of Martyn Churcher, Keith Shackleton, Neale Paterson, Jeremy Heenan and Barry Park, took designer Gary five days to build. All the walls in the house were made of 3-inch (7 cms) slats of chipboard, with an equally large black space between them. The cream coloured strips were treated to have a patina. An amazing rustic look.
The homestead was fully furnished thanks to the begging and borrowing skills of Kiri Siva, Jack Blumer and Chris McIntosh
The original music was composed by Myles Wright and it expressed the mood of each scene perfectly. The orchestration had well-chosen instruments. The sound design included the music, and split-second timing on some sound effects; all were smoothly operated by Harrison Cotgreave.
Due to the large set, Mark Nicholson’s lighting design was complex. With advice from Don Allen, the lighting operator Callum Hunter had perfect control of the lights.
The production manager, Seanne Sparrow, has a huge job on her hands but with an experienced stage manager, Gary Wetherilt and his mighty assistants, Jeremy Heenan and Neale Paterson, the show flowed beautifully.

            Seated in the study is the once-famous, world-class poet and now full time alcoholic, 69 yrs. old Beverly Weston (Martyn Churcher). Bev is interviewing a young Cheyenne Red Indian, sorry Native American woman, Johnna Monevata (Sarah Thillagaratnam) for the post of live-in housekeeper and carer. Bev’s wife Violet (Chandra Wyatt) who is still a chain smoker, is undergoing treatment for mouth cancer and needs extra care. Suddenly Violet bursts into the office stoned and drunk, but unfazed by the vicious loud-mouthed junky, Johnna accepts the post.
        One day Bev goes fishing on the lake and disappears. Fearing the worst, the family are sent for by Bev’s daughter Ivy Weston (Jackie Oates) a local librarian, who dutifully and compassionately helps care for her obnoxious Mum.
         First to arrive is Violet’s sister, Mattie Fae (Alida Chaney) who has also inherited all the family’s cruelty and unrelenting bad points. With Mattie is her husband, an amiable chap, Charlie Aiken (David Cotgreave) and their withdrawn, slightly simple son, 37 years old ‘Little Charlie’ (Nic Doig) desperate for caring love and attention.
         When college professor Barbara Fordham (Sally Barendse), the oldest of Violet’s three daughters arrives, she receives the insincere, lovie dovie treatment from her mother and Aunt Mattie, who then turn to Barbara’s ‘all innocent’ but outspoken, 14-year-old vegetarian daughter, Jean (Tessa Bevilacqua) who loves to smoke pot. Jean’s affable Dad is Professor Bill Fordham (Dean McAskil) who seems to just go with whatever his wife Barbara says.
          When Violet’s youngest daughter Karen (Jennifer McGrath) arrives with her ‘perfect fiancé’, the sleazy and a randy businessman, Steve (Robert Jackson) then the conniving mother is in her element.
         It is some days before Sheriff Deon Gilbeau (Cameron Leese) calls to tell the family that Bev has been found – sadly dead.
         All there is now for this grief-stricken family is the funeral, the family wake and of course the revelations.

The costumes were created or gathered by Jenny Prosser. With years of experience behind her, you knew that every piece of clothing would be authentic, from the sheriff’s uniform to Mattie Fae’s leopard patterned dress.
When any family gathering takes place, there is always on relative who feels it is his / her duty to spill the beans on what secret or gossip they have just heard. This play has more beans than Steve Warne on tour.
When you see that the Director is Barry Park, then you know that every aspect of the play will have been carefully considered, that the cast will be well-rehearsed and know their characters perfectly. I have seen many of Barry’s works in the past and this has to be his best yet. Thomas Dimmick helped with the auditions and casting.
The part of Bev may have only been about 15 minutes, but it included a massive monologue delivered by the father, Martyn, delivered with charisma and enthusiasm. Chandra as the horrendous mad matriarch was outstanding, performing with every ounce of her body. There was not a single ‘average’ or even ‘extra good’ performance, every actor was exceptional in grasping the depth of their characters. It almost seems unfair to pick out a couple, when the whole cast worked so powerfully and with such tremendous chemistry, but I should like to congratulate Alida and Jackie on a couple of special explosive moments. Stunning.
PLEASE do not be put off by the play’s length. This play oozes talent, fabulous performances, it is fast-paced, and the story is crammed with plenty of action. One small point, the theatre is looking great, but as yet the heating has not been sorted out. The producers have supplied blankets, but some people may require a little extra.
This show deserves the biggest of audiences, it is truly ‘a theatrical juggernaut of epic proportions.’

This magnificent creation is a Black Swan and Sydney Theatre Company co-production. This fast paced 100-minute (no interval) play for adults can be seen nightly at 7.30 in the Heath Ledger Theatre within the State Theatre Centre in Northbridge. The short season, which is sure to be a sell-out, runs until Saturday 29th June, please check times for special events and matinées. Captioning, Audio Descript and Tactile Tour on Saturday 29th June at 2.00

The scene: It’s the 1890s in Koolgalla in the Goldfields (based on Kalgoorlie).
The set: Set designer, Renée Mulder has given us a stunning vista. The proscenium arch acts the diagonal across a busy local newspaper office. The audience face into the far corner, where a wooden staircase goes up from the group of journalists’ desks and old typewriters to the boss’s smart office. This upstairs office has a cutaway wall revealing a large desk with a banker’s green lamp. On the wall are framed large gold nuggets.
At ground level the five-metre-high, dusk pink walls have waist high wood panelling. There are three cathedral-like, tall narrow arched windows typical of the Victorian era. In the wings at each side of the stage are mountains of newspaper bundles. A bentwood hatstand was next to the office’s front door. A magnificent set.
Lighting designer Lucy Birkinshaw has given the whole effect a warm glow, with good use of the wonderful windows. Even though the sky outside the windows was black drapes – a blue sky would have ruined the atmosphere – the day light slowly varied throughout each scene. Top class.
The Stage Manager, Hugo Aguilar López was assisted by Anastasia Julien-Martial.
The sound design was by Joe Paradise Lui and operated by Tim Collins. The play opened with an unusual but highly atmospheric, vibrant piece of music by Joe Lui; it embraced the basic instrumentation of the ‘wild west’, the era and even the zany humour to follow, in its upbeat complex orchestration. The instruments used were hard to define, but I suspect may have included a steel guitar, a wooden xylophone (although the word ‘xylo’ already means wood), piano and tuba? These compositions, used between scenes, should be entered for a national country music award. Possibly Joe’s best composition yet and with a unique orchestration. Loved it.
In her stand-up comic genre, Celia Pacquola came in front of the curtain and greeted the audience before telling us a bit of the history behind the author and the play. This novel idea was warmly welcomed. Celia then proved her highly developed acting talents.

             It is morning in the busy mining town’s newspaper office. The blowhard head printer, Christy (Geoff Kelso) is telling the gullible 15 yrs. old office boy, Bernie (Rob Johnson) how he had fought in every war since the beginning of history, been everywhere and done everything. The office manager and head reporter, an OCD Scotsman, Jock McDonald (Sam Longley) interrupts Christy and Bernie reminding them that today is when their ‘new star reporter, a wonderful man’ called J.G. Milford is arriving by train. Milford was selected specially by the newspaper’s owner, a hard and stubborn man from Dublin, Rufus Torrent (Tony Cogin).
Into the office comes an intelligent local engineer, Kingsley (Luke Carroll) who has an ingenious plan for developing the area. He is accompanied by the beautifully attired Gwynne (Emily Rose Brennan) the fiancée of Ben Torrent (Gareth Davies), the waster son of Rufus.
An hour later the new reporter arrives at the office. However, the wonder man is a woman! Jenny Milford (Celia Pacquola) is shrewd and knowledgeable – but still a woman. A female that the paper’s main investor, John Manson (Steve Rodgers) finds acceptable.

The Director Clare Watson was joined by Emily McLean as assistant director. They have taken each character in the play, dissected and studied the personalities, the with the aid of the Dramaturg, Virginia Gay, her consultant Dr Merrilee Moss and the voice / dialect coach Luzita Fereday, a strong cast of very recognisable and distinct characters has been formed. The production team generously took on an honour’s placement student, Grace Macpherson as an intern.
The whole cast was charged up, performing with plenty of movement and interaction. The accents were perfect, Tony’s Irish accent was recognisably Dublin and Sam’s soft Scottish intonations were thankfully Edinburgh and not the often-overacted Glaswegian drawl.
Phillip Cox’s wigs were understated and hard to spot, well done.
Finally, after providing a superb set, Renée Mulder proved her talents as a first-class Costume Designer. With the skills of costume makers Jennifer Edwards and Nicole Marrington, the styles showed a superb choice of materials, matching shades of colour and many small extras, such as the ten centimetre brown rim around the foot of the dresses and the red dusty shoes which is so true of the clothing in mining towns. Great eye for detail.
The performances were outstanding, from the nervous teenager to the roaring investor, from the loving Gwynne to the lamb amongst the misogynists, brilliant. The serious undertones were relieved by plenty of comic script and action.
The deserving cast received a couple of curtain calls. Every member of the audience was smiling and chatting about the performance as they left. A special production with few seats left, get in quick.

The scene: Contemporary. A tastefully decorated lounge in the Mount Home for Retired Thespians, is a posh country house for elderly actors.
The Set: The pale powder blue loungeroom has fine artwork on the walls and quality furniture. There is a large 3-seater, leather Chesterfield sofa, three reclining lounge chairs, a coffee table and four dining chairs. The lower walls are panelled, and all the woodwork is painted white. The double window is covered by a cream lace curtain.
The excellent props were supplied by Michelle Lawson and Lana Brown.
In addition to the usual tasks, the stage manager Sue Lawson and her assistant Michelle Lawson had to provide an endless supply of tea and coffee for the scenes.
The well-balanced lighting and sound were operated by Jackie Hiscox.

            The complex manager, Ann Thompson (Helen Brown) is showing a potential client, a well-known bit actor, Walter Neville (Rex Gray) around the Mount Home for Retired Actors, explain the facilities. En route, he is thrilled to encounter three good friends from his acting past Phyllida Sullivan (Beryl Francis), Jules Sullivan (Sue Murray) and Rebecca Sullivan (Sue Walker). Walter decides to stay.
            The three Mrs Sullivans are all ex-wives of Edmund Sullivan (Ian Butcher) a famous actor and fulltime letch. As Marcia (Yvonne Miller) arrives with a tray of tea and coffee for the residents, she mentions that a new French actor has arrived and wants to move in. To their horror the ladies find it is Edmund in disguise; he is hiding from one of the Russian Mafia’s hitmen, Mike Molinsky (Peter Scarrott) and his cold killer accomplice, Ivana (Jacki Gahan).
           Walter meets the home’s oldest inmate, Danny Stiller (Ronald Gent) an old superstar of the screen, who is now suffering from a broken heart at the loss of his wife. The young carer, Irina (Tegan Breann Joyce) seems to be the only one that can console Danny.
           Why is Edmund being chased by the Mafia? What do his ex-wives have in mind for him?

Sorry, but the first Act was loquacious, pedantic and tedious as it took forever to set the scene for the much better and very funny second Act. Several of the actors had to be elderly – after all it is a retirement home – but their delivery was a little hesitant and at first I thought the show may be under rehearsed; but with such an experienced cast, I think it could well have been a slight disinterest in the script that tended to state the obvious. In Act One there were very few jokes and little for the actors to get their teeth into. Thankfully, after the interval the real fun started and the whole cast lifted, the characterisation improved, their rapport was back and the chemistry good.
Peter had to step in as the gangster at a week’s notice, but as always, he carried his part off well. Ron gave the performance of his life when paired with the new ‘quiet’ carer, Tegan Breann.
The director Alison Gibson, who was aided by her equally experienced and talented co-director Peter Francis, kept the action moving well, squeezed out every laugh from what I thought was a clever and funny premise. The main thing is that the full house audience gave an enthusiastic ovation at the end of the show. Well done to all concerned.

This hilarious two-and-a-half-hour production by the Irish Theatre Players can be seen at their new venue, Leederville Sporting Club, 78 Cambridge Street, West Leederville nightly at 7.30 pm until Saturday 22nd June. There is a Matinée on Sunday 16th at 2.00 pm. With a huge free car park on site (go through the council’s pay park) and easy access to the West Leederville and Leederville train stations, it looks like a good move.

The scene: 1968. The kitchenette of Charlie’s parent’s home in Dalkey near Dublin just after the funeral of Da.
The set: The open stage is 30 cms above floor level, however there is a very good tiered seating giving the 90 patrons a good view.
The ingenious set design by Rhi Walker was built by Rhi, Duncan Rice, Bobby Donaghy, Tallan Chappell, Peggy McKenna and Paddy Ryan. The auditorium is only about 20 feet wide, a little tighter than one would like to fit in the various required settings but miraculously, thanks to great props, the whole set came to life.
Against the rear wall of the parlour was a large cream enamel oven, a pine utility dresser with storage jars and a radio. There was a kitchen table and four dining chairs and Da’s comfortable chair. An archway led to the hallway and front door. To the side was their hedged garden and the main road. On the other side was a park bench and lamppost.
The delightful costumes and props came courtesy of Siobhán Rushe, Jennifer Whyte, Judy McEntire, Peggy McKenna and Caroline McDonnell.
Award-winning sound and lighting technician, John Spurling, was capably assisted by Josie Hacking. This was a totally new venue with no stage lighting or sound facilities. There was nowhere to put the lighting desk, which was eventually placed behind the audience seating. The lighting rig was most impressive, but as the stage had several fixed locations i.e. minimal prop movement, the selective lighting played an important part in picking out the locations.
Stage management by Caroline Mc Donnell and Siobhán Rushe – loved the creaking gate.
One or two new venue and first night hiccups, but they were few and minor. Congratulations.

         Charlie Tynan (Michael Balmer – excellent) is a writer who has been living in London for years, but now middle-aged, he has had to return to his boyhood home in Dalkey for the funeral of his adoptive father, Nick Tynan usually known as Da (Alan Kennedy – outstanding, as ever).
        Charlie is sitting at the parlour table sorting out a lifetime of Da’s ‘treasured’ documents, when his best school pal, Oliver (Paul Taylor-Byrne – hilarious) arrives to give his condolences. They haven’t met for fifteen years but shy, nervous Oliver has barely moved on in life and still blushes at the mention of ‘busty substances’.
       After seeing Oliver to the door, Charlie returns to the parlour and finds the ghost of Da, large as life with a huge cheeky grin sitting in his favourite chair. All his life Charlie has been taunted by Da who knew exactly how to push Charlie’s buttons. Now, at last Charlie has the courage to tell Da what he thinks. Whilst they argue, the ghost of Maggie Tynan – Ma (Marian Byrne) who has been deceased for several years, also appears and berates Da, before shouting upstairs for Charlie to hurry up. Charlie watches aghast as he sees himself as a teenager (Ben Albert – a musician who can act) entering the room.
          For decades Da has been a hardworking but unambitious gardener for the rich and haughty, Mrs. Prynne (Vee McGuire – Majestic). Da could get Charlie a job with her, but the parents want better for their son and so have asked the wealthy, self-important civil servant, Mr Drumm (Joe Purcell) to come around for tea.
        Charlie escapes the company and meets Oliver. They go for a walk in the park and encounter Mary ‘The Yellow Peril’ Tate (Sandi Buckley), a teenager’s dream, gorgeous and easy!
Nothing has changed in the house; the mental relief that 55 yrs. old Charlie had hoped for and achieved in London, has evaporated.

Director Denice Byrne has selected a fabulous cast with fine pace and wonderful delivery. It may have been a little claustrophobic for the actors as some scenes were within arm’s length of the audience, but their teamwork was unfaltering. Being close to the action allows the actors to make very subtle facial expressions that adds to the comedy.
Alan Kennedy is one of the few actors to win a second Finley’s ‘Best Actor’ award, and it is easy to see why. He is one of those actors that you could watch all night. Whether it is heavy dramatic part or a delightful comedy character, you always get great value.
Director Denice must have had many sleepless nights whilst, with her committee, they looked for a new venue. Then there is the organising of the tiered seating (thank you as flat floor seating loses the punters quicker than poor acting). The venue was extremely pleasant and well organised, although I suspect on opening night it was like a swan, cool and regal but under the surface who knows what is going on.
A great night at an exciting new venue. With a laugh a minute from the brilliant script and characters straight from your family. Be warned, this show has almost completely sold out the season ahead of the opening night.