The stage has a two metre high, gold shimmer curtain totally covering the walls on three sides. The floor is pale blue with gold writing, stating ‘All that glitters’. Above is a mirror ball. Designer, Tessa Darcey has fashioned a wonderfully warm and exciting nightclub location. She has also created the costumes of gold lamé onesies, like spacemen’s suits, for the four cast members.

The lighting and sound design by Joe Lui has been carefully thought out, ranging from a lively scene to a stark and dark, lonely location.

       To loud Taylor Swift music, the four Hunters dressed in gold, with sparkling gold dust on their face and hair, enter the stage. They appear to be hugging or caressing an invisible baby – a refugee. After an energetic dance routine, one of the male Hunters (Chris Isaacs) steps forward and explains how their aim is to ‘save’ a refugee from being deported every few minutes. A counter appears on the rear wall stating that so far, no one has been saved.

       With all of the pseudo-sincerity of the actors in a TV advertising programme for kitchen appliances, the four smile and explain their aims. We are next invited to join Chris and Arielle (Arielle Gray) with two of their friends (Adriane Daff, Jeffrey Jay Fowler) in their tastelessly decorated dining room. Adriane and Jeffrey – with ham acting (intentional) that would make ‘The Days of Our Lives’ look like high drama – explain to their hosts how much more they have done for the suffering minorities.

       Will a heart rending, arousing speech and an amazing tap dance sequence by this highly dedicated team save a few more dozen downtrodden lives?

Talented director Gita Bezard has packed this show with subtle laughs. From the dryly delivered, yet overstated performances with the flowery ingratiating script, the belly laughs flowed non-stop. This highly experienced cast, with Equity nominated members, had the audience in the palms of their hands. Each actor played several characters, from shy to bold, from wimpy to orator; the whole of life is packed into this fun hour. A great start to the Blue Room’s new season.

The book adaptation was produced as a play (starring Cecil Parker, Fay Compton and Margaret Rutherford) in London’s West End in 1941. It had the ‘longest run’ record of 1,997 performances. After the radio drama, television play and musical, ‘Blithe Spirit’ was in 1945 made into a successful film, this was only David Lean’s fourth film as a director, yet his third Coward film. ‘Blithe Spirit’ was soon followed by Coward’s major classic ‘Brief Encounter’.

After the war, the theatres suffered and so Coward metamorphosed into a cabaret and TV star, with songs such as ‘Mad Dogs and Englishmen’.

He was knighted in 1970, and in 1973 died peacefully in Jamaica, his home for 20 years.

This wonderfully funny 2 hour 30 minute production is being produced and presented by the Black Swan State Theatre Company, at the Heath Ledger Theatre, State Theatre Centre of Western Australia, Northbridge each evening at 7.30 until 9^th August.

Sadly Perth actor, Roz Hammond, the versatile star of Shaun Micallef’s ‘Mad as Hell’, has had to withdraw from the show due to illness; but she has been replaced by Equity award winning Alison van Reeken. Having only been given the part three days ago, Alison carried a script – which she subtly referred to infrequently. Most actors have a 5 week rehearsal period, and yet she has captured her quirky character perfectly. The facial expressions, body language and diction could not be improved upon, a stellar performance.

It is 1940. The setting is the cavernous sitting room in the Condomines mansion near Folkestone, on the south coast of England (award winning set designer Bryan Woltjen). The cream painted room has a cathedral ceiling. On one side is a fireplace, a wall covered in oil paintings and electric gramophone. At the rear of the room is a huge arch, with plush red velvet drapes hung on each side. On the other wall are patio doors with ceiling height windows above. These doors overlook a well-tended garden. The scene is lit with warm lighting (lighting designer Jon Buswell) that subtly changed as the day went by, until the pink sky outside gave a cosy glow. When the ghost appeared, a blue white follow spot gave an amazing iridescence and genuinely eerie appearance.

The costumes have been very well researched (costume designer Bryan Woltjen), from the shimmering white of the ghost’s outfit, to the perky feathered hats (milliner Susi Rigg). Mrs Condomine wore a full-length, dark green velvet dress, a particularly difficult material to sew, but the style and finish was superb (costume makers Jennifer Edwards, Jennifer Stewart). Most of the time Madame Arcati wore an almost hippy outfit, however, she had the most immaculate, pastel checked, flared short jacket and knee-length culottes. Mr Condomine wore a pair of red Turkish / Arabian curled-toed slippers, a very popular souvenir with the ‘desert rat ‘soldiers returning from the war in the Middle East.

The hair styles (consultant Virginia Hawdon) and wig construction (Lynn Ferguson) not only had to reflect the 1940s, but make the actors that little bit eccentric.

The visual creations, lighting, costumes and set, were all exceptional.

          Before the1940s tableau-style proscenium curtain was raised, we were treated to composer, Ash Gibson Greig’s idiosyncratic overture. This was a clever blend of so many topics from the play, there were the eerie ghostly sounds, the bouncy madcap freedom of the acting, and even the tinkle of the strange Madame Arcati’s bicycle bell could be heard in the music. Clever and innovative writing.

        The very nervous, enthusiastic but slightly dippy housemaid, Edith (Ella Hetherington – delightful) is trying to please her long-suffering employer, Ruth Condomine (Adriane Daff) by not running around the house. Sitting in his chair supping a wine is Ruth’s husband, Charles Condomine (Adam Booth). He is a successful novelist, who wishes to learn about the occult for a book he is writing. Charles has organised for an eccentric medium, Madame Arcati (Alison van Reeken) to hold a séance at his house. The family GP, Dr Bradman (Michael Loney) and his sycophantic wife, Mrs Bradman (Michelle Fornasier) are invited along to witness ‘the happening’.

     When the guests have left for home, Charles’s first wife, Elvira (Jo Morris), turns up at the house. Elvira is still very much in love with Charles, which causes Ruth a great deal of distress. The jealousy becomes really serious when a vase gets thrown and the dirty tricks become vicious. After a highly dramatic finish, who actually won Charles’ hand, Ruth or Elvira?

Thankfully WA director and NIDA graduate, Jeffrey Jay Fowler, has had years of theatrical experience including playwriting, acting and direction, winning many awards on the way, this enabled him to capture the unique Coward style perfectly. Coward’s slightly dated dialogue requires accurate intonation and pacing, with a precise body language to create the full effect of this classic. The humour contained in the personalities and subtle writing, rather than straight jokes and one-liners. Fowler and his terrific cast were totally in tune.

Credit should go to stage manager, Georgia Landré-Ord and her assistant, Claudia Blagaich – they worked for their money.

This magnificent cast has conquered every little expression and twitch, making the whole show exciting to today’s audience. Jo Morris was almost balletic as she flitted across the floor. The Bradmans gave that extra sparkle to the séance sequence. I have always admired Adriane Daff’s work, but this performance is her best yet. The chemistry between Charles Condomine and his two wives was convincing and electric.

Once again, congratulations to Alison van Reeken on mastering such a difficult challenge.

A terrific presentation of ‘a rave from the grave’.

The fun-filled 45-minute performances can be seen each night at 6.30 and 8.00, with extra 4.00 pm shows on Saturdays and Sundays. The season runs until 10^th May.

The set is on the theatre floor level. The 74 audience seats are arranged in the ‘round’ – or to be more accurate – in the ‘square’. On each chair lies a headset and a smart phone.

The stage square in the centre is about 20 by 20 metres, the size of a large retirement unit. Drawn onto the black floor are white lines, these are the ‘walls’ of the sitting room, kitchen, double bedroom, single bedroom, offices and backyard. The rooms are fully furnished and the garden substantial.

       The theatre lights dim and six spotlights glow (lighting designer – Lucy Birkinshaw), highlighting the six audience volunteers, the actors for this show. The large, non-claustrophobic masks are constructed of fly wire; they are then beautifully decorated with a bright face that suits each character’s personality (mask designer – Rebecca Baumann). Under the ‘head’, the actor wears a headset that guides them through the story, giving them instructions of what to do next.

       There is no script for any actor to learn, the pre-recorded dialogue track features vocal performances by some of Perth’s finest actors Igor Sas, Brendan Ewing, Andrew Hale, Talei Howell Price, Kate Neylon, Adriane Daff, Mikala Westall, Will O’Mahony, Sean Walsh, Kym Bidstrup and Brent Hill. The audience hear the full sound track, however, the cast only the narration and the dialogue of the other cast members in the room. Actors in other rooms do not hear another room’s dialogue. Also missing to the actors is the wonderful soundscape / music by composer Ash Gibson Greig, and the work of sound designer Sam Price.

       The actor is in the same position as the audience members. The gripping tale being whispered into the actor’s ears, it unfolds as in real life with the participants not knowing any of the storyline in advance.

       Using their headphones, the audience can eavesdrop on characters’ private thoughts. They can also chose, which area of the action they wish to follow by selecting from six buttons on the Smartphone, inventive storytelling at its most memorable.

        When a friend arrives at Peter’s house with a large sports bag full of cash, his family find themselves caught up in a sinister and disturbing chain of events. The ‘Confidence Man’ is the story of an ordinary family placed in an extraordinary situation. What should they do?

Director Zoë Pepper with assistant director and creator, Adriane Daff, have devised an ingenious, interactive audio experience that gives the audience and actors a novel happening. The ease of use of the audience and participants’ system, hides what must have been extremely complex to create. Brilliant.

If you do want to take part in this exceptional experience, as I did for this review, get to the theatre early and speak to one of the friendly ushers.

Yet again members of the talented and highly inventive, Pepper Family (Zoë and Gemma) have come up with a piece of dynamic theatre to blow your mind away. With every performance unique, this is the most fun that I have had since my honeymoon night!

‘The Last Great Hunt’ is a comparatively new, independent theatre company formed by Western Australia’s best young theatre-makers – named above. They create imaginative theatre in a variety of forms and styles.

The outstanding original soundtrack is by award-winning composer Ash Gibson Greig, who has a wonderful feel for just the right instrument, volume and tempo for each character and scene. In this performance he takes us from gentle, soft strings to a dramatic, full orchestral piece reminiscent of Holst’s Planet Suite (Opus 23), the pounding ‘Mars’.

This highly inventive 55-minute performance, which has been rated more suitable for over 15 year olds by the creators, can be seen at the Perth Institute of Contemporary Arts performance space nightly at 7.30 until Saturday 11^th October.

 

       It is the middle of the night, and zoological scientist Mary (Adriane Daff) is tucked up in bed. The doona falls off and she finds herself speeding through space. Then, travelling in an air balloon, Mary floats through the dark night and lands on a remote island, the home of biological experiments. It is here that she meets the head scientist (Chris Isaacs). He enlightens her that they still have two eggs from the now extinct genus – ‘bird’.

      Mary and her lab assistant (Arielle Gray) are given the task of hatching these eggs and nurturing them. Can Mary raise healthy normal birds? Or will she hit problems? What is Mary’s lifelong ambition?

In the previous shows, the puppets were small and the operators ‘invisible’. In this much more ambitious production, some of the puppets are the size of the operator. With the shiny nylon, protective lab suits worn by the puppeteers (they usually wear black cotton body suits) and the higher lighting level, some of the magic was lost. Having said that, some of the effects were breathtakingly convincing. Mary’s final flight, the bird running and Henry’s petulance were exceptionally inventive. Many of these technicalities were overcome by Tim’s dad, designer Anthony Watts.

This production started in the usual ‘cute’ way, but then went through a very sad and dramatic stage. The slick and ingenious blend of pre-recorded audio visual, coupled with live video often had one wondering how the magic was performed. As with any magical trick that looks so effortless, the amount of rehearsal, failures and revamping of the idea can be endless.

With such ambitious innovators, and this team are fairly unique in Australia, it may take some time to smooth off some of the rough edges of their opening night, but their sheer genius and daring will guarantee them another major success. With the cinema and TV pumping out computer-generated effects, the expectations from a stage production can be a little unfair; however, I can guarantee you will never have seen anything approaching this in live theatre before. The numerous gobsmacking visual effects, and there must be around a couple of hundred in this single production, were performed at breakneck speed and with immaculate timing.

Another MUST SEE from The Last Great Hunt.