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: 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: 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: 2005 in Wythenshawe, a massive housing estate in south Manchester.
The sets were all designed by Jane Sherwood: A skate park. Difficult to represent but depicted with ingenuity with the ramp and walls tagged by William Sherwood.
The boys’ bedroom (1970)
Newell Arms Pub – impressive. The extras – human and props – made all the difference.
A set of security gates and the land beyond – where did you get these?
Aunt and Uncle’s living room. Smart, with a projection view of a bay window overlooking a street, with a room of comfortable domestic fittings.
Manchester Airport – simple but effective.

The sets were built by Jane Sherwood, Richard Norman, Karen Angel, Melissa Skeffington, Pauline Gibb, Peter Neaves, Lara Brunini and Audrey Ognenis. The poor Stage Manager, Melissa Skeffington, had a massive task organising the half dozen set changes that took place in the Second Act, but the cast were quick, quiet and efficient.
Jane Sherwood’s lighting design included creating the effects of a large grassed area and a lively pub; very good. Lighting operator, young Mitch McClements was working on his first professional show and did quite well but needs to check on the ‘two seconds limit after the dialogue finishes’ then dimming the lights. Be prepared for action – watch Hard Quiz’ on TV a see how many people lose, because their hands are nowhere near the button – anticipation wins. The dimming was very good, just the right speed. A complex show Mitch, well done.
Sound design and operator Ian Wilson did his usual reliable and fine job.

               It is a fine summer’s day in Manchester and a young Glaswegian, semi-gothic lass, Cody (Lara Brunini) has taken her son Alex (Adeson Oyasope) to the skateboard park. As she sits watching him, a middle-aged man Mark (Peter Neaves) asks if he can sit on the bench next to her. They start chatting and she learns that Mark left the area some 40 years earlier to live in Australia and has just returned for family business. As they share childhood memories, we see several locals out for a stroll. Some (Janice Nylander) like to wander and take in nature’s gifts; whereas one exasperated man (Neville Harlow) picks up the rubbish lying around the waste bin, before joining his friends (Karen Angel, Richard Norman). A young office girl (Fleur Pereira) sits under a tree enjoying her lunch, as a boy (Tobias Hawkes) with skateboard in hand heads for the ramps.
We flash back 40 years, where Mark as a young boy (Oscar Hawkes) and his older brother, Tommy (Sean Smith) are lying in their bunk beds discussing the family’s impending move to Australia. Tommy is determined not to go.
Back in 2005, as Mark and Cody go for a walk, they have an encounter with an officious security guard (Brian Mutete – plenty of laughs) before heading off to one of Mark’s old haunts. Things have changed as a flamboyant DJ, Pete (Nathan Di Giovanni) gets the atmosphere pulsating. Next day, Mark had to visit his pedantic Auntie Paula (Pauline Gibb) who appears to be still living the austere times of rationing, and her curmudgeon, hen-pecked husband, Uncle Bernard (Paul Anderson). Could this be the reason Mark’s family left the country?
Another creative extra was Vanessa Gudgeon.

John is a fine and creative director, but like so many skilled writers he has occasionally struggled to direct his own work. Being a generous chap, Johnny believes in giving any newcomers a chance to shine; but as a result, he has occasionally been let down. So wisely John has, for the third time, engaged the talents of multi-award-winning director, Jane Sherwood. Jane – who has succeeded in many genres – has several awards including ‘Best Director’ at the annual Finley Awards, Dramafest, South West Drama Festival and Hills Festival of Theatre.
The wardrobe was supervised by Alison Goodwin. The scene-setting parts of Act One, although containing well delivered, true to life and fascinating dialogue, lacked sparkle. A cut away episode would help the lengthy dialogue. When Alex (great) came off the park the whole atmosphere picked up. This is a strong and well-respected cast and John has given them all a rich, varied and well thought out character. Lara had the unenviable task of speaking with a Glaswegian accent – one of the most difficult to perform; at first it was distracting, but she eased into it and by the end she managed to relax and the brogue flowed. Very good performances by Lara and Peter, who even brought a tear towards the end. For much of the play it was a two-hander, so quite a challenge, but they kept the chemistry going throughout. John wrote a few poignant passages, blending them with charming situations and a comical family visit. The dialogue is snappy with some dry British humour added.
There was a song, humour, sadness, excitement and just a little bit of sauciness. What more could an audience ask for?
It was good to see such a full house as some theatre companies are having a tough time at the moment.
John can be proud of this story that half the audience will have experienced themselves. Well done to all concerned.

These amazing two and a half hour performances can be seen each Friday and Saturday evening at 7.30 pm until 20th April. There is one Saturday matinée at 2.00 pm. This production by Koorliny Arts Centre and Kwinana Industries Council (one of the few caring councils) is staged in Theatre 1 in the Koorliny Arts Centre, in Kwinana.

The Scene: 1950s with Allen’s humble beginnings growing up in a small Australian town.
Set design is by Brad Tudor: the rear half of the stage holds the orchestra at stage level. There is a walkway along the rear of the stage, about 1.5-metres above the floor. The rear wall is constructed with well-worn, corrugated iron sheeting; a large advantage of this sheeting is that the hundreds of curves direct the music equally around the auditorium. This gave a wonderful blend to the orchestra. The metal fence between the band and the performance area also stopped the music overpowering the singers at the front of the stage. It looked good and worked very well.
The stage management was a huge task for Brittany Kirk, with such a very large cast making their entrances and exits, the moving of pianos, chairs and tables, a hospital bed, a seascape and a symbolised set of surfboards. The cast carried out many of the scene changes so quickly and unobtrusively that one wondered had the items just ‘materialised’? With fast costume changes and a potential for cast and scenery clutter blocking the wings, the whole show had to be well organised. Congratulations to Brittany and helpers, Eloise Kirk, Erin Kirk, Karyn Stafford and Mollie McGarrity.
My personal favourite prop was in the Radio City scene there was a 1960s TV studio camera, complete with lens turret, ‘working’ electrical viewfinder, all mounted on a studio pedestal – most impressive. The old knucklehead ribbon mic brought a smile.
Brad Tudor’s lighting design was smoothly operated by Craig Griffen. The follow spotlight was a very narrow beam, which is usually difficult to operate, however Samuel Kirk proved to be one of the best, by thinking ahead and anticipating the actor’s next move and their speed, the actor was always centre spot.
The soloists used Sure dynamic vocal cordless microphones. The large range of headsets, stand and hand microphones were rarely on stage for more than a couple of minutes, but thanks to Mollie McGarrity’s supervision of the cast’s handling of the equipment, sound designer and operator, Alex Coutts-Smith was in top form and never missed his cue.
Christian Ingram’s photography enhanced Jon Lambert’s impressive programme and poster. The show began with several minutes of well-resourced adverts and news clips from the late 50s and early 60s projected onto the rear wall.

The musical begins with a flashback 25 years. Australian performer Peter Allen (Jesse Lee Angus) is recalling his life story and coming to terms with who he was. We then go back further to Allen’s childhood in Tenterfield, a tiny place in outback Australia. He recalls when, as the ‘young boy next door’ named Peter Woolnough (Angus Thomson), he performed in local bars for money. His mother, Marion Woolnough (Natalie Burbage) is pleased to see the youngster get acting experience, however his miserable father, Dick Woolnough (Grant O’Neil) is furious at seeing his son in a boozy pub.
Peter grows up and is pushed by Wally Bell (Colin Howe) into joining his son, Chris Bell (Lincoln Tapping) and forming the Allen Brothers. They performed in Australian Bandstand. Peter then set up a trio of attractive ladies, Karen (Ruth Bennett), Shena (Shanice Tudor) and Linelle (Janine Upson) who wore mini-dresses smothered in sequins and – for that decade – daring indigo satin jumpsuits.
After great success in Australia, the Allen Brothers performed in the Hong Kong Hilton. One evening, someone was watching them from the bar: the legendary Judy Garland (Rachel Monamy – wonderful). Judy is depressed, so Peter convinces her to perform with them. Judy then takes Peter to be the opening act in her concert in New York. Here he is introduced to Judy’s daughter, Liza Minnelli (Elethea Sartorelli – superb), and they fall in love. There are rumours of Peter’s homosexuality and Judy warns Liza of this, but they marry.
Alone, Peter returns to Australia but on talking to an old theatrical agent friend (Geoffrey Leeder), he realizes that he is no longer the person that people thought he was. Back in the USA, Peter meets successful fashion model Greg Connell (Jordan Jackson). they fall in love. Peter and Greg are discovered by music producer Dee Anthony (Murray Petrone) and his clinging wife, Valerie Anthony (Casey Edwards). Petrone gets them a gig at the Copacabana in New York, highly successful but to be followed by sad times.
 
The Ensemble: this ensemble was not simply an adjunct ‘chorus’. Everyone knew their characters, met all demands and were integral to the superlative main cast. They included Patrick Dawes, Hannah Harn, Maxim Laffont, Andrea Lim, John McCarthy, Christie McGarrity, Adele Murphy, Tenille Palfrey, Melle Smith, Katie Sullivan, Kairen Thorpe, Katie E. Williams and RP van der Westhuizen. Many congratulations.

Peter Allen Orchestra is directed by the last year’s Finley award winning Best Musical Director, Taui Pinker. Taui is an unassuming person, and this shows in his handling of the orchestra. There were soft numbers filled with emotion and one or two belters, where the full brass section got full reign. Beautifully balanced and sensitively played.
The musicians were: Wayne Griffiths, Talitha Dunn and Andrea van Graan all on reed; Paul Marion on trumpet, Bryce Henderson on Trombone, Christian Ingram was on bass, Vlad Sturdy on guitar, Alex Kent on drums and Sam McSweeney and Kate McIntosh both on keyboard.

Director Brad Tudor, Musical Director Taui Pinker and Choreographer Allen Blachford have worked together tremendously. Their intense planning is obvious. No detail has been overlooked or hurried in their aim to give the audience the very best. Allen (Blachford) gave us a series of vibrant and inventive routines; and then showed us that not only could he teach but was a brilliant hoofer himself. The adults were amazing, but young Angus – national winner of tap dancing – was unbelievable, not only could he dance, but his singing and general stage presence was that of a professional with years of experience.
The dozens of intricate costumes were designed and supervised by Brad Tudor and Kate McIntosh. Their seamstresses Kate McPherson, Alexis Kirk, Katie E. Williams, Lyn Leeder, Margaret Willison, Sam Carson, Belinda Kirschke, Jacqui McGarrity and Monique Mulligan did an outstanding job. The outfits included the colourful South American Carmen Miranda outfits complete with maracas, to the Roxettes wearing tasteful little black numbers, with huge cowl collars in the form of piano keyboards.
The Tamed by Trent wigs also ranged from wild to reserved, and they stayed on! A rare event in energetic dance sequences.
Towards the end of the show, and after two dozen stunning numbers, the handkerchiefs came out for Jesse’s rendition of the 1980 song, ‘I Still Call Australia Home’. Just as in the Qantas commercial of 1998, see www.youtube.com/watch?v=hbGuqmaDgLA , the stage filled with youngsters dressed in the Qantas white shirts and long black skirts or trousers. Many Australians would love to see this song of Allen’s become the National Anthem – however, Qantas own the copyright.
The energy packed show finished on a high, with another masterpiece ‘I Go to Rio’.
When an audience has classic songs like these two, well ingrained in their minds, the demands on the cast to give us a quality rendition can be a little unfair, however, this cast led by the phenomenal Jesse Angus and great musical backing, gave us a closing act to remember for years.
What a show. Director Brad, musical director Taui and choreographer Allen have done it again!! Theatrical magic.
In Perth a spectacle like this would cost you more than a $120 a ticket, with programmes $20 each. Koorliny has given us all TOP QUALITY at a fraction of the price – and you even get a Todd McKenney lookalike for no extra charge. There are VERY few tickets left, so good luck. OUTSTANDING.

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 Master of Ceremonies (if that is still politically correct) was Elizabeth Greep who had a few fun quips in her introductions.

A show should always start with a big bright melody, and ‘There is no business’ was the ideal opening song. Great start. The talented singers were: Thomas Bennetts, Hayden Floyd, Paige Floyd, Elizabeth Greep, Jodi Ingram, Meg Jezierski, Patrick Knight, Jennifer Kobulniczky-Duncan, Leslie Lee, Julia McGregor, Caitlin Morris, Rhys Morris, Sheree Morris, Troy Morris, Brittny Nunn, Sophie Quin, Tracy Tainsh, Brooke Vincent, and Mike Vincent.

A great selection of songs, beautifully delivered.

The costumes ranged from the rough beggars, to the immaculate evening dresses and gowns; good work by the costumes’ mistress, Liz Greep and her team. Directors, Liz Greep, Jodi Ingram, Les Lee and Rae Knight did a great job. There can be no friendship when directing a cast or chorus, demand the best! This review may seem a little unkind, or even brutal, but the whole team is almost at the first class production standard, but is just failing on several minor points. I was frustrated a few times, but still have GREAT confidence in your ability. You have a wonderful, loyal and enthusiastic audience and everyone REALLY enjoyed themselves. Many congratulations.

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

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

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

The scene: October 1916 in the Glen Forrest area.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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