‘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: is today, but the cameos could be relevant in any era.
The set: eight 60 cms white cubes on castors. There is a large screen on the rear wall which showed computer and ‘phone massaging. (good graphics from designer Tiffany Banner and videographer David Cox).
The cast did all the scene changes averaging only two seconds, but with forty changes they had to be fast, accurate and non-invasive. The lights would change colour, the actors moved in, with a couple of bars of musical crescendo filling the air the next vignette would begin.
Kristie Smith’s lighting design was bright, colourful (from oranges to lime green) and worked well with Aiden Willoughby’s lively composition.
Show’s website and promotion were by Bobby Cooper and Dana Nguyen.
The show was produced by Justin Mosel-Crossley, then stage managed, and tech operated by Thomas Wendt.

The lights dim. The cast are seen seated in the dark on wooden cubes, in lines of four at each side of the stage. They are lit by the small screens as they study their mobile phones.
                A young girl (Nashy MZ) demonstrates a few methods of communication. As she dances a blend of ballet and contemporary dance – and dance is one of the best ways to express emotion – she is also wearing a scarf, this further communicates her love of her religion. Two or three good routines, well done. Nearby two girls are chatting when one (Tijana Simich) confides to her friend that she has carried a big secret for years. Naturally, her friend (Beth Williams) is desperate to know what the secret is. The communication skills between the two girls reach a new level as one tries to drag out the secret.
                A scientist (Carlos Sivalingam) is getting enthusiastic as he describes his latest horrendous experiments to a newspaper reporter (Domenic Scriva) who is desperate to tell his readers. A young man (Philip Hutton) sits expressionless and without any communication possible; his distraught mother (Caroline McDonnell) must suffer alone. An older chap (Dr Andrew Kocsis) seems to be in overall control of the communications, which he controls with a mere snap of the fingers.

In this play, Churchill has provided the director, Claire Mosel-Crossley, with forty solid situations and a Lego kit to build with. Claire has the brains and skill to take this play – that may look simple or even trite but is not – and has created a smorgasbord of great depth, with plenty of clues for the audience to interpret further should they require. Claire and this very talented troupe have produced a thought-provoking, multi-layered work.
Each actor has around ten characters to play; each being very different in age, voice, mannerisms and humour. With each slot being only two and a half minutes, there had to be instant chemistry between the actors. For example, Carlos was wonderful as a German scientist rattling off scientific facts, then only minutes later he was a dementia sufferer struggling with a walking stick and abusing his heartbroken wife (Caroline) whom he did not recognise. All eight of the cast were amazing in this very difficult to stage play.
Some audiences prefer a simple two-hour story, well sorry but this is not for you. If you enjoy quality and multifaceted performances, then this is first rate.

‘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: 1973. A room in the Brabissant mansion, a wealthy home in Boston, USA.
The set: was designed by Georgina Kling and Vici Richardson. The room is oblong with a walk-in wardrobe and a passageway leading to a bedroom on one side, a bathroom door on the other and a main room door centrally at the rear of the stage. The walls are cream with waist-high, dark oak panelling. There is a small curtained window. The walls are not simply joined flats, but they have recesses and steps added to give interest and authenticity.
The noteworthy solid construction – and it was tested on a couple of occasions – was by Peter Bloor, Jacob Jensen, Georgina Kling, Barbara Lovell, Vici Richardson, Guy Taylor and Jacob Turner.
Set décor: was by Lars and Vanessa Jensen, Barbara Lovell, Vici Richardson, Kathleen O’Toole, Georgina Kling and Vivienne Doran. All the furnishings were of the 1930s, from the etched teardrop wall and table lamps to the chaise longue and oak furniture. Impressive.
Lighting design was by Jeff Hanson and Jacob Jensen. The room was mostly fully lit but at times needed to have low mood lighting. Very good.
Lighting and sound operators Barbara Lovell and Susan Lynch were on cue as always.
Quality programme from Siobhán O’Gara and Susan Lynch.

Students Susan (Grace Morton) and Larry (Jacob Turner) had just begun dating and were in a restaurant having a meal, when they were approached by a lonely, middle-aged Irish couple, John (Michael Dornan) and Maureen Mackey (Kate Elder).
In the restaurant, the Mackeys explain that they are caretakers in charge of the wealthy Brabissant family’s mansion but are also carers for elderly Cecilia, normally called Cissie. The Brabissants lost their younger daughter Veronica, decades earlier and Cecilia, who is now senile and is the only surviving Brabissant, believes it is still 1935 and is convinced that Veronica is still alive.
At the request of the Mackeys, to humour confused Cissie and bring her a sense of closure, they ask trusting and caring Susan – who is very like Veronica was –  to dress up and impersonate Veronica. Susan agrees; however, Larry is very suspicious about the motives of this invasive Irish couple.
The play begins now: The lights rise to show Veronica’s old room.
The Mackeys show Susan and Larry into Veronica’s untouched bedroom shrine, complete with an unfinished jigsaw. The Mackeys leave and Susan changes into a Veronica’s old clothes. Before long she finds herself locked in Veronica’s room. The door lock rattles, opens and to her confusion someone unexpected is there at the door.
Can this possibly be time travelling?

Directed by Georgina Kling who was assisted by Vici Richardson this extremely difficult play to stage. it had to be handled with skill and clarity. The First Act was straight forward; however, the Second Act threw logic to the wind. Then just when the audience are starting to think ‘what is going on here?’ everything is slowly revealed. The cast were magnificent, their delivery and characterisation were perfect. Susan’s clever approach to tackling the visitor involved powerful acting. Great work. I will not review any more in case I spoil the twisted tale.
The fine costumes were by Penelope Lloyd and ‘Hustle and Bustle Vintage Style’ were exactly right for the period. Loved Mackey’s knitted cardigan. The tricky make-up and hair by North Metro TAFE’s Tanya McKeon and Marieke.
Every section of the production team was at their best. After directing a comedy last time, I wondered if Georgina would manage this madness but her interpretation of the characters and her ability to get such strong chemistry amongst the cast was wonderful. Thoroughly enjoyed it. For adults with good reasoning.

All profits from the nightly raffle and programme sales will be generously donated to support three worthy causes – Asthma WA, Helping Minds and Skyira.

The scene: Any time. Limbo – knock, knock, knocking on Heaven’s door.
The set: looks simply but there must have been hours of work constructing it. The foyer looks very good, with A5 artwork at bargain prices; but the theatre is a truly magical place. The ceiling is strewn with dozens of strings of tiny LCD lamps with a warm glow. Around 100 empty picture frames, ranging from 3 cms square to an A3 size hang from the ceiling. Strips of diaphanous gauze and lace hang like a hundred stalactites. The seating is in the round, with only three rows, every view is good. As anyone will tell you, the worst set to install is hanging things from the ceiling.
At one end of the room is a metre-high column, which like the whole room is pure white. A glass chess set, and a glowing blue light sit on the top. At the other end of the room, between two 60 cms white cubes is a mysterious ancient doorway leading to …? From beneath the cubes, wisps of smoke drift across the floor.
This set must have taken hours, but the effect is stunning. The set was designed by Ryan S McNally and constructed by the cast and crew.
Throughout the play, the creepy and ominous soundscape – designed by Lee Wilson – aurally chills the audience.

Dressed in white and looking like a nymph or sprite from ‘A Midsummer’s Night’s Dream’, Ketu (Kyal Wilkinson) creeps around the stage, checking out his surroundings. We learn that he is probably from a remote, primitive jungle tribe. He hides as a girl in a white skirt and blouse appears; she is Sophie (Jessica Shellcross). She mutters to herself, asking why is she here? On approaching the enigmatic doorway, two bouncers dressed in black seem to materialise from nowhere. Guide One (Lee Wilson) is cool, calm and reasoning but the other, Guide Two (Ryan S McNally) is belligerent, taking no excuses or answering back from anyone.
Guide Two looks at Ketu and begins to count. Guide One explains ‘just choose one single memory from your whole life and capture it with the magical camera in the doorway’. If the memory is not accurate or of sufficient quality, then passage through the door will be blocked. The Guides turnaround to find another panic-stricken couple, a young man in white shirt and shorts, Alex (James Dalgleish) and girlfriend Nia (Nikita Harwood) in white boob tube and white jeans. The group discuss memories, becoming dismayed at the conversation. The counting continues.
What could the future hold?

Director Alison J Kovacs has had plenty of experience in acting and stage management, but this is a new and most challenging task. An abstract style of play is one of the most difficult to create and direct, but with her Assistant Director Devetta Ridgwell and their highly experienced directing mentor Ryan S McNally, they have done a magnificent job creating the complex atmosphere of deception, fear, love and excitement. One specific outcome was disturbingly effective.
The strong cast were word perfect, with solid teamwork and played to the ‘ín the round’ audience immaculately.
An intriguing and quality production handled with skill.

When the initiator and co-ordinator Sarah Christiner approached the Town of Victoria Park with hopes of support in putting on a basic play about the homeless, she was turned down. Considering that shops are closing everywhere, unemployment is on the rise and the number of homeless is rocketing Sarah decided to go ahead on her own. On hearing of Sarah’s idea and knowing how the number of street dwellers in Vic Park is rising – and elderly women are the sector increasing most – Clare at the Arts Centre generously offered her help and their facilities.
Getting a few friends together who, due to their occupations, face the struggling poor of the community every day -this story was at last on its way. The group got together and blended the true and horrendous stories that they had heard, into this series of short (5 to 10 minutes each) monologues.

You will probably find yourself watching part of your life being played out, so be prepared to stay after the show for a discussion (not compulsory) when no doubt the audience will be keen to point out that they too know someone who has ended up the same way.
For fourteen years I was on the Graham Mabury’s ‘Nightline Sleep Out’, sleeping in the Perth streets and parks getting soaked and frozen – but at 8.00 am I could go home for a shower and breakfast. The homeless cannot.
‘Cathy Come Home’ was written 50 years ago by Jeremy Sandford for BBC TV’s ‘The Wednesday Play’. It was about the tragic life of a young mother and the harsh reality of the failure of Government Social Services. All of the BBC upper echelon said, ‘Who will want to watch family tragedy?’ The BBC playwrights took a gamble. It became one of the most watched plays of 1965 and is still quoted today.
The lead actress Carol White won an award the next year for ‘Poor Cow’ an equally harrowing story. Carol’s own life was a shambles and she had a tragic death at the age of 48 from liver problems.
Accompanying this moving play there is a photographic exhibition showing the local homeless and their plight. By co-incidence with the BBC play, one of the photographers having a different display at the centre is called Carolyn White. There are a couple of dozen professional interpretations of ‘homeless’ from Rosalyn Anderson, Ben Chau, Blake Hughes

The scene: could be almost any area of Perth CBD today … and every day!
The set: living on a wooden palette is warmer and softer than the ground. The props included Kate’s treasured best friend, a brown paper bag with its contents and the ‘Cole’s’ mode of transport.
The simple but effective lighting was operated by Mitchell McClements.
The soundscape (Daniel Toomath and Sarah Christiner) ran quietly throughout the play. It was like mix of breeze noises and the sounds of blood flow. Good idea and it worked well. Sound operated by Siobhán O’Gara.
The costumes were supplied by the cast on a true-to-life theme conceived by Nicole Miller. All the characters wear the same style tartan lumberjack shirts and blue jeans, but in various stages of decay as the years go by.
 
Kate is depicted at three different stage in her life.
As a bolshie teenager (Sarah Christiner)
A mid-thirties housewife (Meredith Hunter)
In old age (Jane Sherwood)
 
I am not going to give any more details of the storyline, but the acting is flawless.

It is easy to dismiss the homeless as useless people who deserve what they get. Think again. How close have YOU come to being there too?

The play’s director and co-author is Siobhán O’Gara. Siobhán has directed some wonderful comedies at the Irish Club but has decided that this topic is so important that someone had to tell the story. Her handling of this series of minor disasters and the resultant pathetic but sadly too common life has just the right amount of pathos. You can see the problems starting to build up and unfold later in life. Clever and skilled observation.

This is not sugar-coated or patronising, this is a true to life presentation. There is crude and adult language and so the advised audience age group is over 16, but if you have a child who you think may be considering street life – and I know a couple – then bring them along. The production has financial overheads – and is likely to make a loss – but even so, if the entry fee is outside your budget they will look sympathetically on your situation. They would rather have you there and to spread the word.

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: 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: Holmes flat in Baker Street, London around 1900
The set: Very impressive, thanks to the Tuesday Task Force (Wally Fry, Malcolm Hiscock, Patrick McLanaghan). The rear wall was mustard coloured with waist-high, dark wood panelling. One side of the stage had a black marble fireplace. The wing flats had pale striped wallpaper (Robert Vincent). There were two tan leather, Claverdon armchairs and a coffee table. The other side of the room was the dining area, with mahogany chairs and table. The props were amazing (Lorretta Gibbs and cast); they included bookshelves, a table with chemistry equipment, various telephones, a marble, French antique mantle clock, lace tablecloths and crystal wear. The numerous fine artworks were thanks to Carol Keppler.
Eye catching poster design by Jen Edwards.
The stage manager, Julie Clark and her stage crew of Lorraine Jones and Debra Anderson were kept very busy, especially in the third play. The crew all wore the standard black outfits but with white masks, becoming part of the mysterious circumstances.
Wally Fry’s quality lighting design was smoothly operated by Holly Powell.
Soundscape worked well, thanks to Richard Tudge and Paul King.

The main characters, who appeared in all three plays were Sherlock Holmes (Mark Fitzpatrick – captured the aloof attitude, very well), Dr Watson (Philip Bedworth – perfect) and Mrs Hudson (Christine Smith – delightful, assured). A strong trio who had the task of acting their parts and guiding some actors through theirs. Well done.
 
Incidentally, 2/6d is called ‘half a crown’, or ‘two and six’.
 
THE ADVENTURE OF THE NOBLE BACHELOR (original storyline by Conan Doyle was called ‘The Noble-Man’). Set in 1890. Performance 25 minutes.
Holmes is hired by the elderly Sir Robert St Simon (Roger Oakes), an impoverished British aristocrat. Sir Robert has just married a very young American millionairess, Hatty Doran (Frederica Longo). However, towards the end of their wedding ceremony, his wife disappears. For Sherlock Holmes the mystery is elementary, no need for help from Inspector Lestrade (Jared Rix) or even an explanation from Frances Moulton (Matthew Winter).
 
THE MILVERTON ADVENTURE (storyline by Conan Doyle) set in 1910. Performance 10 minutes, then the Interval, followed by a further 10 minutes.
One of Holmes’ clients (Sandra Powell) is about to marry the Earl of Dovercourt, when she learns that several sensitive letters that she sent to a former lover were now in the hands of a blackmailer, Mr Milverton (Peter Roberts). Can Sherlock get these documents back?
 
THE DISAPPEARANCE OF ADAM (story by Tasca) Set in 1930. Performance 25 minutes.
The storyline is quite fascinating.
Dr Watson is enjoying an evening with Holmes. Sherlock is playing his violin and Watson is struggling to recognise the tune. Seconds later, he has trouble remembering even basic information. As they talk, the mysterious stage crew move in and remove various props. When a lady called Evelyn Meekly (Shelley McGinn) calls to report that her son has not returned to their hotel. A few phone calls to the lady’s hotel and police, the confusion become even worse.
The best story of the set. Very different.

Costumes were by Joan Braskic and included an Inverness cape-cloak (beautifully tailored), deerstalker cap, calabash pipe (the bowl is made from a dried South American pumpkin gourd – a calabash) and magnifying glass. The outfits ranged from a long, peach silk dress to a toggle-fastening, tapestry smoking jacket. Each costume was perfectly fitted and finished with well-chosen accessories.
Sadly, this fairly simple show was badly under rehearsed. It is many months since I heard a prompt, there were four actors prompted, one several times. When the director, who is playing a minor part requires two prompts but does not get them, then something is wrong. A real shame. In the Interval I heard quite a few of the audience mentioning the lack of vocal projection, which I did not find too bad until in the second Act when the heavens opened and the noise from the roof was terrible (I know it is an act of God and not the production); even then the actors did not increase the volume and passages were lost.
The Director, Shelley McGinn has had a five-year break and I suspect found the whole thing a little too much or difficult to get back into, as I know she has done so well in the past.
Try your Holmes deduction skills. I have put into this review a clue and the answer to the third play.
Sorry, the show had everything going for it, great costumes, super set and first class teching, but disappointing.