This very funny play is being presented by the Harbour Theatre Inc. at the Camelot Theatre within the Mosman Park Memorial Hall, 16 Lochee Street, in Mosman Park.

The two-hour performances run until Saturday 24^th September. Curtain up at 7.30 pm. There are matinées on Sunday 18^th and 25^th at 2.00 pm.

The scene is Bill’s flat – designed by Kirstie Francis. The set is one room, a kitchen / dining area / sitting room / office; a typical male flat, a tip with carefully organised stacks of books and papers everywhere (Props Grace Hitchin and Brian Mahoney). A solidly constructed, impressive and well-finished set.

The lighting was rigged and operated by Rob Tagliaferri. The ‘in demand’ sound operator was Vanessa Gudgeon, who just finished at Melville Theatre last week.

        The front door of the flat opens, and boring Bill (Jarrod Buttery), a dreary statistician deserted by his wife, staggers in. His pal, a struggling author, Leon (Alan Morris), accompanies him. Feeling sorry for Bill, who seems to lead the life of a recluse, lecherous Leon took his lonely friend out for meal to celebrate his 50^th birthday.

      As they are chatting, Leon produced his birthday gift to Bill – an envelope purchased from a numinous gypsy. Inside is a form from a dating service, with ten questions to be completed. Bill looks at the form and gasps. These questions ask for the ten qualities Bill would most like to see in the ideal partner. Bill rejects the present saying that he is quite happy as he is; but Leon, having paid quite a few dollars for this introduction service, insists that Bill completes it. Leon is helpful, but his ideal woman seems somewhat different to that of Bill.

     Within hours, there is a knock on the door. Standing there is a stunning, smartly dressed woman – Justine (Cassandra Gorman) – exactly as requested by Bill. However, have all of his dreams really come true?

Director, Kirstie Francis can be relied upon to give the audience a well-crafted play. With this wonderful cast, who did not miss a beat, we were treated to a smile and belly laugh every minute. The script is not a farce, but a well-written dialogue that flowed beautifully. There were numerous twists that lead to pandemonium with the men, and several severe mood swings from Jasmine. The chemistry between the three actors was amazing, and Cassandra’s performance in the second Act was superb.

I have recommended his play to several friends already. It is a short season, so do not miss out.

Exceptionally funny script, perfectly delivered by a well-proven cast of comedy actors.

This very well produced, fast moving, two and a half hour drama from the Garrick Theatre Company, can be seen at the Garrick Theatre, 16 Meadow Street, Guildford at 8.00 pm nightly until 23^rd April. Sunday matinee is at 2.00 pm.

The season is almost sold out, booking essential.

The setting is August 1930 on Soldier Island, off the coast of Devon. The scene is a luxurious, massive sitting room (I did not know that the Garrick stage went back that far), with sliding doors leading to a rear patio overlooking the Bristol Channel – which actually rippled (clever art effect by Carol Keppler). This superb set was built by Robert Vincent, Clayton Reichert and the tasteful décor added with the skilful aid of Susan Vincent and Carol Keppler.

On the mantelpiece of the log fire are ten wooden toy soldiers, dressed in regimental scarlet jackets and busbies (made by Narelle Borbely). The sumptuous room décor carries through the soldiers’ theme of black, scarlet and white.

Smooth stage management from Colleen Bradford and Jenna McGoughan-Shaw.

        The play opens as the overbearing butler, Rogers (Graham Miles), and his pale, nervous wife, Ethel the cook (Colleen Bradford) are checking the food supplies for a private gathering. The couple were hired by Mr and Mrs Owen, a couple of weeks earlier, to clean and prepare the newly purchased, remote island house and to look after the guests.

       As there is no ferry to the island, a local fisherman, Fred Marracot (Tom Goode) transports any guests and domestic requirements to the house. Today, on his first voyage, he has brought a young schoolmistress, Vera Claythorne (Fiona Forster) and a couple of men. The first is flirtatious Phillip Lombard (Alan Shaw) a cruel mercenary, military officer who has just returned from Africa; he is accompanied by a reckless, self-centred young student, Anthony Marston (Ben Lowther).

       On his second crossing, Fred has ferries the mysterious South African, William Davis (Alan Morris), the semi-senile, war hero General MacKenzie (Les Lee) and the religious zealot, the elderly prim, Emily Brent (Kerry Goode). The last two guests to arrive are a heartless, retired judge, Sir Lawrence Wargrave (John Gwilym) and an alcoholic Harley Street medic, Dr Armstrong (Robert Vincent).

      Rogers announces that the hosts have been delayed and won’t be arriving until the following day, but that the guests should all make themselves at home in the meanwhile. However, when a cryptic recording is played to the gathering, it seems that they all have sordid pasts and because of that, each one may well die over the next 24 hours.

I must have seen this play half a dozen times over the years, but there are so many red herrings that I still have trouble recalling the killer.

Fantastic director, Susan Vincent has selected a terrific cast, who are each perfect for the rich characters that they depict. There is a good pace to the story, with the chemistry between all of the personalities being both delightful and threatening. You can watch every actor for that slight flicker of a hint as to who the killer is – without success. Top rate performances. There are numerous little details inserted by the director that make the mystery just that little bit more intricate and baffling.

The mood lighting design and powerful soundscape are the hard work of Geoff Holt. He must have had his shoes and socks off, as at times he would have required several hands to create the perfectly synchronised, dramatic and demanding, sound and lighting effects.

I thought the only person left on stage must be the guilty person – the lass working the curtains!

Audiences love a good thriller, and this is one of the VERY best, both by the playwright and this clever Garrick team bringing you terrific suspense.

From a wealthy home, William studied at Eton School and was accustomed to the privileged life, even having servants. During the war, as a partial pacifist and being very anti Churchill (his brother’s party leader), he found himself in prison for not carrying out the military orders to attack Le Havre.

A huge amount of credit must be given to the seasoned team at Harbour for putting on this comedy. The play they intended performing fell through, then there was trouble getting the performing rights and a new cast, but their tenacity has paid off and now this funny play has been brought to the stage for your appreciation. After 40 years the humour is showing a little age, but the cast members have done a great job getting as much humour as possible from every situation.

This Harbour Theatre Production can be seen at the Camelot Theatre, 16 Lochee Street in Mosman Park. The 2-hour performances are for one week only; on Monday, Wednesday, Friday and Saturday nights at 7.30 until Saturday 27^th February. There are matinees on both Saturday and Sunday at 2.00 pm.

The set is stunning, with plenty of plants and foliage. One side of the stage shows the limestone walls of the house, with a terracotta tiled patio. It is furnished with garden furniture and a sideboard (Grace Hitchin, Lesley Sutton). The other side is an amazing garden scene, with trelliswork, and completed with a most impressive tree (Rob Downie and Theme-it) in the centre of the lawn. The fine artwork was by Melissa Bassett. Exceptional.

The large set construction team was co-ordinated by Rob Tagliaferri, who also operated the lighting. The sound designer and tech was Vanessa Gudgeon.

      Lifetime bachelor, Sir Cecil Warburton (Ray Egan) who has made an immense amount of money from his writing, went on to build a mansion next to the beech tree where he met the love of his life, and they first saw the kingfisher.

      One morning, as his long-time serving butler, Hawkins (Alan Morris) is laying the breakfast table on the courtyard; Cecil notices in the paper that Reggie Townsend has died. Reggie was the bounder that stole Sir Cecil’s girlfriend decades earlier.

      With all of the subtly of a long-term bachelor, Cecil asks Reggie’s widow, Evelyn (Ann Speicher) to ‘pop in’ on the way home from the funeral.

      What can this millionaire be up to? Surely not rekindling his love. Could there even be two muted love affairs?

The script was little wordy, but dialogue is perfectly executed – although with a few hesitations due to the extremely short rehearsal (about 30% of most rehearsal times) before the show opened.

The highly experienced directors, Nicola Bond and Tina Barker – having quite a few plays as actors under their belt – have gathered a top notch cast and conquered all of the previous weeks’ traumatic happenings.

There were quite a few funny moments, with the climax being the ‘snuggle’ on a rug on the lawn. I sat shaking my head, in total empathy with their movements.

February is usually a stressful month, with a full moon last night and everyone going crazy; a madcap comedy was just what the doctor ordered.

This two-hour farce is being presented by Harbour Theatre Inc. in the Camelot Theatre, within the Mosman Park Memorial Hall, 16 Lochee Street, Mosman Park. This group has been producing high quality, community theatre productions for more than 50 years. Harbour’s latest success is Katherine Reardon who appeared in Jane Eyre a couple of years ago, and is now appearing with Judy Dench and Kenneth Brannagh in London, many congrats.

The performances are on Monday, Wednesday, Friday and Saturday evenings at the earlier time of 7.30 sharp, running until 12^th December. There are matinees on Sunday 6^th, 12^th and 13^th at 2.00 pm.

Brian Mahoney’s 1980s set, is of a luxurious, country home sitting room, in a smart area of southern England. As for all farces, there were five doorways to aid with the confusion. The walls are soft apple green with an attractive frieze border. There is an armchair, a three-seater settee, and various tables. French windows with cream curtains central rear, showing a beautiful scene across the lawns (artwork Melissa Bassett). Many very good props (Cordelia Clarke). Smoothly stage managed by Marina Del Borrello.

Trevor Dhu operated Peter Kirkwood and Rob Tagliaferri’s lighting design. The sound effects were realistic and well cued by Vanessa Gudgeon.

       Middle-aged Jane (Vickie Billingham), who is nervous and shy, seems be to losing out on ‘loving attention’ from her husband, Roger (Alan Morris). So, on the suggestion of her best friend Shirley (Ann Speicher), she arranges to have dinner with Mark (Ben Lowther), an attractive young man she met at her squash club.

       Because her husband Gilbert (Jarrod Buttery) is overseas on business, Shirley goes to her yoga class, leaving Jane in her house for the secret assignation. Jane has hot romance in her eyes, but toy boy Mark thinks the meeting is for a simple meal.

     However, a thick fog descends and Gilbert finds himself stranded in London. Knowing that his wife, Shirley, will be away at her keep-fit classes, he invites attractive airhostess, Helga (Mona Afshar) back to his house.

     As the night of romance goes on, more people arrive, confrontations abound and the confusion heightens.

Tina Barker has already proven herself as an accomplished comedy director, but farce is a specialist genre and can be the downfall of even the most talented of directors. However, with the assistance of Nicola Bond this show was exceptional.

The cast were completely attuned; each knew perfectly what was expected of them. From the nervous, yet reluctant shy lover, to the slightly stooped, panic stricken, unfaithful husband working at full speed in an attempt to cover his tracks. Everyone was word perfect, superbly rehearsed – there can be no leeway on farce – and with flawless delivery.

How often do you hear ‘The funniest show this year’ only to see a mild presentation with the odd laugh? This romp had four or five laughs every minute, many of them being belly laughs.

After a miserable day at work, dealing with the general public and the tiresome task of Christmas shopping, then this roller-coaster of saucy madness will brighten you up. Booking advised.

The Harbour Group are one of the few theatres that give a fruit juice as an option to sherry, and offer hot chocolate or Milo at the interval, along with the coffee and tea.

‘April in Paris’ plays at Harbour Theatre, Camelot, 16 Lochee Street, Mosman Park until 14^th December. The 140 minute-shows commence at 7.30 pm, except Sunday matinees at 2.00 pm.

Al (Alan Morris) and Bet (Nicola Bond) are sitting in their back garden, soaking in the English summer’s 18-degree day. They look across the valley at the pithead winding mechanism and the large condenser towers with their steam rising. Surely, life can be better than this. They still love each other, but the fire has gone.

Bet scans her women’s magazines for competitions. She has already won a food package and some useless electrical kitchen utensil, Al thinks that she should just give up.

Al has been made redundant and already bored out of his mind. He has tried artistic painting, but the artwork reflects his depressive state and the drab surroundings. One day a letter arrives, Bet has hit the jackpot, a holiday away – in Paris.

This is director Tina Barker’s first shot at directing. She has come up through the ranks, gathering experience as she goes. Now with a little guidance and mentoring from award-winning Peter Kirkwood, she has tackled this two-hander. Tina has chosen a superb pair of actors, both have years of experience and gathered many awards in their time.

To say that Nicola and Alan have managed to get a genuine chemistry is an understatement, you could really believe that they have years of marriage behind them. For many middle-aged couples this play is spelling out their life story, one minute the laughs flow fast and seconds later, you cringe as you recall the same events happening to yourself. Rob Tagliaferri’s lighting was wonderful, taking us from the gloom of England to sparkling Paris, the mood was always right. Peter Kirkwood’s soundscape was lively and inventive – with xylophone music during the scene changes. The scenery artwork was excellent (Melissa Bassett, Beth Law) and the adaptable set unit was designed with imagination. The unit was the Arc de Triomphe, a northern home, a room on the ferry and a nightclub entrance.  Great work by Brian Mahoney, Peter Kirkwood, Phil Redding, Matt Cuccovia, Bobby Wardell, Tina Barker, Kit Leake, Julie Mackay and Katherine English).

Magnificent, flawless performances from two talented players.

Tina can be proud of her direction; it was interesting and had a natural flow. First class show from a quality community group.