Brisbane-based barrister, Michael Hodge, wrote the book with his brother, Paul Hodge, who also composed the music and wrote the lyrics. Paul has a PhD in musical composition, and has also gained Brisbane’s prestigious ‘Young and Emerging Artist Fellowship’ and numerous other international awards.

This bright and effervescent 2-hour show can be seen at the Heath Ledger Theatre in Northbridge nightly at 7.30 until 11^th September.

The scene is a magnificent representation of the exterior of the White House, complete with majestic central white dome and flag pole (Set and Costume Designer, Bruce McKinven). The musicians are positioned on the top deck, in a ‘bandstand’ just under the cupola. Sensibly, the drums (Michael Perkins) were enclosed in a Perspex area, allowing a superb balance of the instruments. The Musical Director and keyboard player was David Young, with guitarist Jonathan Fernandes and bass player Andrew Weir. Thanks to clever orchestration (Neil Douglas Reilly), the effect was that of a large band.

As the stage revolves, we see the podium for public announcements. The stage wings’ legs and backdrop are in red, white and blue. This theme by Scenic Artist, Marek Syzler, has been picked up and continued by the Lighting Designer, Mark Howett, and used to great effect.

It is rare to have the audience applaud the set, but at the opening this well admired set earned a big round of applause. 

       The proscenium grand drape is a figurative American flag; it rises to reveal Hillary Clinton (Lisa Adam, looking amazingly like the lady herself) inside the White House’s Oval Office. Hillary makes it clear that she is the person in power, and goes on to tell us the story behind her husband’s mayhem as President.

     The President enters the office, and everyone around sees him as one; but because of his parallel lives, he is portrayed by two very different characters who talk to each other. There is the clear-headed leader, in a smart suit – W.J. Clinton (Simon Burke) and the wild, leather dressed, irresponsible philanderer – Billy Clinton (Matt Dyktynski).

     The country is buoyant and politics running smoothly. The Press however – agitated by Clinton’s nemesis, Newt Gingrich (Luke Hewitt), Speaker of the House – try to create debasing news. They drag up the ‘Whitewater Scandal’, a real estate investment of the Clintons that collapsed with little actual humiliation to them. Gingrich, still determined to shame Clinton engaged Kenneth Starr (Brendan Hanson), an independent counsel who lusts after men in power.

     WJ asks his ever-faithful wife, Hillary, for her advice and unexpectedly receives wise words from the ghost of Eleanor Roosevelt (Clare Moore), the wife of Franklin D. Roosevelt, President during World War 2.

     One day, into the Oval Office came Monica Lewinsky (Megan Kozak), a White House intern. New ‘meat’ for the philandering Clinton?

     There follows attempts at Impeachment and a legal battle, but who will win? Will Bill Clinton leave the post with worthwhile reforms in place? What is Hillary doing in the background?

Director Adam Mitchell is at his best with a musical, but here he gives us something extra special. With a cast of seven performers playing more than a dozen parts, the action moved at jet speed. With the astounding quality of the actors, and their immense versatility, we are soon fooled into thinking that there is a huge cast.

Choreographer, Claudia Alessi, being completely in tune with the uproarious comedy had the cast moving with hilarity. Lisa Adam as Hillary was wild and energetic and her interpretation of ‘Brew It for Your Country’ was dazzling.

Another highlight was Brendan Hanson as Ken Starr, who brought the house down with his rendition of a gay in heat singing ‘Starr Is Born’.

Jenny Edwards’ costumes ranged from the numerous, bright pastel outfits of Hillary to the semi-bondage, ‘cheeky’ ensemble of Ken Starr. Immaculately finished by wardrobe assistants Gail Reading, Elizabeth Buckland and Louise Arcus.

You keep expecting the story to tactfully smudge the details, but this brave musical just gets the boot in, and gives the audience the most fun in a long time. The audience split their sides with Megan Kozak’s execution of ‘Monica’s Song’, as Monica gloated on her conquest by celebrating in song with untamed actions – brilliant.

The lively and interesting sound design was by Ben Collins. There were about a couple of dozen songs with hysterical lyrics, but as the actors wore headsets the words were crystal clear.

A poor American accent can grate and annoy, however Voice Coach, Julia Moody, had the whole cast speaking in the same modest accent. The cast even managed to change this slightly with the multiple characters that they played.

Stage Manager, Claudia Blagaich and her assistant Stage Manager, Rhianne Perrie were dressed in smart black suits and moved in and out of the action moving lecterns, chairs and other props.

There are plays where the acting can be outstanding, the singing melodic and the dancing inventive. There are shows that give the audience a good laugh and you leave the theatre with a smile; but rarely do you get all the features combined in one production. This musical is just one of these rarities. A MUST see show.

Standing ovations are quite infrequent these days, but this production truly deserved theirs.

On a point of interest, 450 years ago, the Ridolphi Plot was linked to Guy Fawkes and his attempt to blow up Parliament.

This gripping drama is being presented as part of the Fringe Summer Nights, in the main Blue Room Theatre, 53 James Street in Northbridge.

This MUST SEE, one-hour show is on nightly at 9.30 until 20^th February.

At first glances, the set (designer, Trent Suidgeest) appears simple, with a table and a couple of chairs; however, in the corner of the stage is a telephone box, which has all of the magical properties of Superman’s ‘phone booth and a Dr Who box. The white rear wall of the box has projected onto it, video (also by Trent Suidgeest) of the old magician at work, and scenes of the many localities his son will experience on the way through this tale. I rarely comment on posters, but Jamie Breen’s stunning photo captured the play’s mystery perfectly. 

As always, Ben Collins soundscape was beautifully composed, and played subtly in the background.

 

       When he died, the world’s greatest escape artist and magician – The Great Ridolphi – left his immense wealth to a charity, with his sole son, Victor O’Meara receiving only a battered suitcase, filled with what appears to be trashy, op shop contents.

      A decade after his father’s death, Victor (Steve Turner) received a visit from a detective linked to the Art Fraud and Theft section of Scotland Yard. It seems at the time of his father’s death, a priceless museum painting had been swapped for a copy.

      The policeman was keen to hold onto the father’s suitcase, but Victor suspected there might be clues in it that he had missed.

      What did the random objects mean? Could his father really have been a master thief?

 

In an exciting and intriguing tale of mystery, you feel as though it is the Da Vinci Code all over again – except this time with quality! When I looked at the names of the scriptwriter, technical team, the actor and director, then considered their amazing achievements, with all of them having won every major WA prize in their field, I was blown away. Naturally, I was expecting a quality show, but what they have given us is just another realm.

Every member of the team has given their VERY best. Everyone left the theatre stunned at the overall perfection of this play. Amazing skills.

Curtin’s Performance Students and The Hayman Theatre Company have combined to present this Stage One production. Stage One is a Curtin University initiative that annually gives a WA playwright the chance to see their own work brought to the stage.

‘IN a BONY EMBRACE’ can be seen at the Blue Room Theatre, 53 James Street, Northbridge. The 70-minute performances are nightly at 7.00 pm until Thursday 10^th; on Friday 11^th and Saturday 12^th there are two shows, one at 6.00 pm and the other at 8.30 pm.

Designer, Sally Phipps’ impressive set is of an office, home and bar – all in pink. The floor and walls are bright carnation pink. The furniture is stylish Scandinavian and in the corner is a bunch of helium balloons. The chairs are matching pink, emerald green and mauve. Sally was helped in her design by Daisy Coyle, Madeleine Mullins and Sally Davies; with the numerous props sourced by Anna Lindstedt and Jess Fowles.

The hanging lights are 70s style, but are trendy and coming back into fashion. The lighting design by Rhiannon Petersen, assisted by Dylan Dorotich, is very well thought out and most effective. Lauren Beeton was lucky enough to have one of Perth’s top sound designers, Ben Collins, mentoring her. Production manager, Karen Cook was helped by her stage managers, Daniel Suelto and Becca Jackson, and ASMs Mai Han and Reef Jennings.

Luciana Kember and Annika Jane had to design costumes from the sexy, to nerdy and suave.

        In the dark, ten young people file onto the stage area. When the lights come on, there is a fight for the prime ‘star’ position in the line. This is to be the aim of the youngsters for the next 80 minutes – just to be that little bit better than their partners.

      At the breakfast table, April (Chelsea Gibson) decides that she has gone off her fun-loving partner, Sam (Alexander Gerrans). When the two arrive at work in the same office, the tension is high.

     Left behind in the flat are randy Lila (Beth Tremlett) and her long-term lover, Gavin (Nathan Whitebrook). They decide it is time to start a family, Gavin’s way, slowly and responsibly!!

     At work, shy and nervous (and possibly never-been-kissed) Harry (Daisy Coyle) confides to Danny (Tristan McInnes) how much she loves him; but she knows that at work, one should never mess on their own doorstep. Sylvia (Anna Lindstedt) loves men, but seems happy to just sort out people’s romance troubles.

     Holly (Jessica Nyanda Moyle) is a deep thinker, having deep, heart-breaking conversations with her absent partner and herself. In the corner of the bar sits the ‘sex magnet’ known as Jaxon (Sean Guastavino), always waiting to tell the next girl just how wonderful he is, or to point out to poor shy Matt (Kane Parker) what an ugly loser he is.

Gita’s script is superbly observed. The audience roared with laughter, not just at the hilarious dialogue but at the situations; situations that we have all experienced, and cringed at in retrospect.

Directed sensitively and subtly by Adam Mitchell, with Teresa Izzard looking after the movement, this play travels at an express pace, carrying the audience smoothly along for the bumpy ride. The acting was completely natural, adding to the madcap situations that kept cropping up.

An exceptionally funny play that has you recalling the many times you too have escaped from such terrible situations. Exceptionally funny and highly recommended.

The set depicts a rudimentary family dining room, with a large wall of kitchen units in a modern-day, American home (voice coach Julia Moody thankfully developed just a hint of accent). On the other side of the wall is a bedroom with en suite facilities. These props are on a central revolve, which no doubt created a great deal of extra work for the stage manager Hugo Lopez and his assistant Christabel Fry.
There is an outer, concentric revolve that moves in the opposite direction. On the stage apron at one side is a comfortable chair and reading lamp, on the other a bed in a hospital ward.
A massive pair of net / scrim curtains hides the whole of the rear wall of the stage. Set and costume designer, Bruce McKinven was helped with his costume construction by Jenny Edwards and Molly Werner. The Artistic Interns are the talented, still to be discovered, Ellin Sears and Sarah Courtis. Bruce has decided on a simple, uncluttered set that would not detract from the storyline. He has framed the whole stage with Tudor-like, oak beams.

          Diana Goodman (Rachael Beck) is a strong minded but ‘bipolar’ woman, determined to find ways around her mental troubles that started a decade earlier after a tragedy. When her loving, but slightly overbearing, husband Dan (Brendan Hanson) comes home, Diana relieves her anxieties with sex.
          Because of her psychological problems, Diana’s caring GP, Dr Fine (Michael Cormick) sends her to a mercenary and unethical psychiatrist, Dr Madden (Michael Cormick), in whose rooms she again finds relief by sexual fantasizing. Madden prescribes dozens of contraindicated tablets in a rainbow of colours.
          Teenage daughter, Natalie Goodman (Shannen Alyce) is experimenting with drugs, whilst managing to resist the advances of adoring classmate, Henry (Joel Horwood). Natalie’s older brother, Gabe (James Bell) is still at home, and although the father thinks it is time he left, his Mum is still keen to have Gabe around.
          Can Diana’s problems be solved? Will the family ever find relief from the hassles and stress of modern day suburban life?

The term ‘Rock Musical’ suggests ear-splitting, cacophonous music; however, this score is catchy and perfectly paced. The lyrics are fascinating short stories, giving a true insight to the family structure. The dialogue is crammed with humour, as well as explaining the tragic circumstances.
Under the guidance of the internationally admired Musical Director, David Young (also on keyboard), who has come straight from a huge tour with ‘Wicked’, are the musicians Michael Perkins (drums and percussion), Shane Pooley (bass), Andrew Weir (guitar), Brian Kruger (violin) and Laura McGorgan (cello) impeccably balanced, allowing the lyrics to be heard perfectly.
In a musical, the audience expect to have catchy tunes, meaningful lyrics, powerful delivery, clear enunciation and colourful action; sadly, we are often lucky to get only a couple of these aims in any show. Here we have a MAGNIFICENT cast of six, all outstanding singers and actors giving us all of the qualities.
Rachel Beck was amazing with her crystal clear voice, superb stage presence and movement. How often does one hear the songs being presented mechanically? In this production, every syllable was filled with emotion and really meant something. Many of the audience were close to tears. Ben Collin’s sound balance was perfect; the cast did not have to battle to be heard.
Choreographer Claudia Alessi has the actors gliding, almost dreamlike, through some of the scenes. Lighting designer Trent Suidgeest has employed a whole range of lighting techniques, from glaring pure white spots depicting tension, to the warm glow of a family gathering. The special lighting at the end of each Act was something special, the first act had a radiant, pink cloud effect that seemed to stretch to infinity; the second Act had a dazzling, warm glow that filled the whole theatre.
The story may sound depressing and even uninteresting, but in the hands of WA’s amazing director, Adam Mitchell – assisted by a new talent, Warwick Doddrell – they have given us one of the Heath Ledger Theatre’s most challenging, but best, productions. It is no surprise that show has won so many prestigious awards over the years.
brenda

Still in his mid-thirties, this highly successful playwright has had 71 commissioned plays, performed on five continents and translated into five languages. Many of his plays are for children, and indeed he has won many awards, both Australian and international, for his celebrated writing.

This wonderful, fast moving, 75-minute production comes courtesy of Jo Morris and theMOXYcollective (Renée Newman-Storen and Mark Storen), and is part of the Pride Festival. It can be seen at The Blue Room Theatre, 53 James Street, Northbridge, every evening at 8.30 until Saturday the 29^th November.

The set is another of India Mehta’s inspired ‘transformers’. The versatile unit is built like an area in a diner, with two bench seats and a central table, compartmented in a box. On rotation, this remarkably clever unit becomes a shop window, a lookout, a submarine, restaurant, and even a house front door. India has been aided in designing the set and costumes by Sally Phipps.

The speed of the numerous set changes had to be less than three seconds each to keep the pace and tension going, and so the costume changes had to be just as fast. The outfits must still present clearly the nationality and personality depicted by the actor; the simple, but well-chosen articles of clothing were perfect.

 

       In a Parisian street, a watch mender (Ben Mortley) sits at his shop window watching (no pun intended) the world go by. He explains how by adjusting the cog sizes of a clock he can speed time up, or slow it down. He has just finished repairing a timepiece and as he hands it to the young lady owner (Renée Newman-Storen), he tells her the time is 9.15 and that she should reset the hands.

      We are transported to a Cold War Russian Submarine deep in the waters of the Atlantic, just off the American coast of Georgia. It is 9.15 on the same day. We experience how the captain of the vessel hassles his crew and worries about his future.

      Still in the same time zone, we are taken to the Appalachian Mountains where, lying in the snow, are a couple of young shooters practising target shooting. The girl (Jo Morris) is finding it very difficult and would rather be wrapped up in a warm bed with her instructor.

     At 9.15 in a restaurant, a nervous young couple are meeting for their blind date.

 

In this richly observed collection of personality and character studies, we are taken to various international venues, meeting several very different folk on the way. Under the imaginative and meticulous direction of the multi-award winning director, Adam Mitchell, the three highly talented cast members gave good solid, flawless performances whilst shifting scenery, changing their costumes and adopting various accents – and there were many – an actor could be speaking with a convincing French accent then immediately change to a thick Russian brogue.

The instant recognition of the locations was helped by the clever use of the lighting (designer Chris Donnelly) combined with pertinent mood music and sound effects (sound designer Ben Collins). They gave an expert finish to this exciting and fascinating look at people’s lives.

With such a fine script and three incredible performers, this show was a fine example of what theatre is all about.

The Curtin Performance Studies Course has managed at the end of the year, to grab a few spare days at the iconic Blue Room Main Theatre, Perth Cultural Centre, James Street, Northbridge.

This 100-minute, black comedy based on well-researched facts, can be seen each evening at 7.00 pm until Saturday, 14^th December.

The two rows of seating are formed ‘in the round’. Above the central, checkerboard floor performance area are cables of dimly glowing, festoon lamps (lighting – Duncan Sharp).

         It is about 1860 in a poor area of Melbourne. In a back street, a young woman (Róisín Bevan) screams as she gives birth to her scrawny son. Frederick Bailey Deeming (Pete Townsend) has been born, but with his ginger hair, he is doomed to a life of sin. As expected, years later, Fred brutally murders his wife and finds himself in court charged with murder.

       A local theatrical producer, Bertie (Daniel O’Brien) decides to put on a show based on Fred’s gruesome life. For economic reasons Bertie has one actor (Sean Guastavino) playing both the prosecution and defence. The lawyer questions the numerous witnesses, all of whom are played by the same actor (George Ashforth – excellent) with hat changes. As the evidence is produced in the court, the young actress playing the part of the court official (Sinead O’Hara) in a desire to promote her acting career struts sensually around the courtroom to the sound of burlesque music.

      Still in the play-within-the-play, at the local morgue we see the police surgeon (Ryan Hunt) checking the ‘animated’ dead body of Fred’s wife (Rebecca Goodlet – hilarious). Two old women (Bubble Maynard, Erin Craddock) are gossiping in the street, loving the excitement and grisly reports in the newspaper.

      As the theatrical production progresses, the attitude of the actors to the lousy script and the demands being made on them, causes Bertie problems. Despite being a murderer, Fred has his admirers, one girl in particular (Heather Jerrems) did not mind blatantly flirting in court.

      Will Fred be found guilty?

Until almost a decade ago, every year, Curtin theatre students would put on a Shakespearean play, a Greek tragedy, a full-scale musical and an old-time Music Hall; then sadly many of these disappeared. The lunchtime shows have been variable and of dubious quality, so when selecting actors for my annual Theatregoer’s Awards, I have been struggling to find any REAL talent. This show has renewed my faith. EVERY actor was worthy of an award. The drive, energy and chemistry continued at a cracking pace throughout the production. There were amazing, complex dance routines, powerful singing (in tune!) and rich characterisation. It just shows that given the chance, with a quality script and a talented direction team, that even the most shy and nervous actors will surprise and astound you.

Directed by Adam Mitchell, assisted by Jesse Daniels and with dramaturg help from Emily Kingsley, this wonderful musical, styled as a mix of ‘West Side Story’ and ‘Sweeny Todd’, sparkles and glows throughout. The outstanding cast, were filled with energy as they worked the stage, filling every corner, making eye contact with each member of the audience; you became part of the scene and almost felt like getting up and joining in with the bawdy, riotous dance sequences (choreography – Claudia Alessi).

Every actor belted out the funny, lewd songs, set to Ash Gibson Greig’s catchy and memorable music, with gusto. Pete Townsend gave a most impressive solo, ‘song and dance’ performance. Many of the actors had multiple parts; they changed smoothly and gave it their all.

The costumes were beautifully designed and made, and perfect for the era (Alex Vernon, assisted by Chelsea Johnston).

The main lighting was with four large LEDs, with the colour and brightness for the many changes controlled perfectly by SM / operator, Meabh Walton and Caleb Greaves.  The intricate soundscape was designed by Ash Gibson Greig and operated by Monty Sallur. There were several unusual props required, and well sourced by Nicole Courtney. The fast pace of the production was demanding on the stage crew (Polly Seah, Jarryd Dobson).

This show was a complete surprise. Because of the writer and director, I expected above average, but I was totally blown away by the talent and professionalism. This is an extremely funny, lively musical and one of the rare shows that I would love to see again.