At the beginning of this year, ‘The Open Lid Ensemble’ presented ‘Halina’, one of the most admired plays of the Perth Fringe World programme.

Performed as part of the 2016 Fremantle Festival, this charming but dark play can be seen in the Red Room at Creatures Next Door nightly at 7.00 until 4^th November.

The Red Room has the seating ‘in the round’ under a colourful, Big Top canopy. To the side is a stage, showing a grey city skyline and the detritus of urban squalor.

        The dimly lit room is filled with a low echoing bass voice (Michael Biagioni), sounding a little like the haunting of a whale crying in the ocean. The live melancholic music, in a lower key, builds up, completing the feeling of a vast, lonely and open space. A beautifully melodic, ethereal voice (Isaura Malika) sensitively completes the mood.

       A raggedly dressed, pale-faced girl (Courtney Turner) lies on the pavement. As she sleeps, the black spirits of the night flit around. As morning dawns, she wakes, grabs her Salvo’s free cup of soup, before the pandemonium of the commuters (Kat Shaw, Amanda Watson, Sinead O’Hara, Hannah Evelyn) hit the streets.

       These wealthy automatons move around with no consideration for anyone except themselves. In a desperate attempt to make some money for food, the poor girl tries to sell them matches, ever hoping for a morsel of their abundance – without success.

       That night, she has graphic dreams of a large, crackling warm fire, only to find that her surroundings are still cold and miserable. Then, she meets a set of fun loving girls who are out for the night. She joins them. At last, she has found friends that she enjoys being with, and can trust.

     Until Risscht (an ancient Danish – or German – word for ‘cracks’), in this flash, has the match girl’s life at last turned around?

 

The breakthrough standard of the contemporary dancing is truly amazing. When blended with artistic movement, the whole, energy packed, choreographic effect is deeply moving. I have never seen a dance or mime routine that could depict such depth of emotion in a performance. The audience developed a genuine empathy with the poor girl that left them semi-traumatised.

The lighting (Scott Corbett) and soundscape was most effective. Again, I would like to mention the unique skills of the two musicians who took us through the poor girl’s life; with the misery depicted by a rasping violin, to the happier moments with a muted trumpet. The duo played several instruments each, all of which perfectly complemented the performance.

Terrific teamwork, and truly moving piece of dance and acting. Wonderful.

Wilde prosecuted the father of his lover, the Marquis of Queensberry for libel, but the defence found he was gay, so instead Wilde was imprisoned for two years’ hard labour.

He died in Paris aged only 46 – destitute.

This lively satire from Serial Productions – the company that have brought us some of the community theatre’s biggest comedy hits of the past few years – is presented in conjunction with the Stirling Players at the Stirling Theatre, Morris Place, Innaloo. Once again, the group are pleased to be supporting the Heart and Lung Transplant Foundation of WA, with this production.

The two and a half hour witty and absurd performances are on Wednesday, Thursday, Friday and Saturday nights at the slightly earlier time of 7.30 pm, with matinées on Sunday 28^th August and 4^th September at 2.00 pm

It is the 1930s.   Act 1 is set in Algernon’s very smart, aristocratic sitting room with genuine Art Deco, quality furnishings (Lesley Sutton). The centrepiece is the famous fan-shaped window and doors of the period.

Act 2 is Jack Worthing’s Hertfordshire, country garden, complete with limestone wall, archway, trellis and garden furniture. Even the edge of the stage apron had miniature privet along its length.

Act 3 is Jack’s drawing room, overlooking the garden, had a dormer window and Victorian furniture.

The set was by George Boyd, Peter Clark and the team. Stirling Theatre’s own team provided the excellent lighting.

       Lane, the butler (Clare Fazackerley) sings as he tidies up Algernon’s flat, in preparation for the arrival of the brusque, controlling Lady Bracknell (Keith Scrivens) and her beautiful daughter, Gwendolen (Amanda Watson). Unexpectedly, Algernon’s (Joe Isaia) best friend, Jack (Rodney Van Groningen) calls around, he has come to tell the self-centred Algernon that he intends proposing to the ever orgasmic, Gwendolen.

     Algernon mentions to upright Jack, that he has found a cigarette case with what appears to be a love message engraved in it – from Jack to a woman. Could it be that Jack is leading a double life? as is Algernon, who has a secret friend ‘Bunbury’.

      The lecherous dandy, Algernon discovers that Jack’s ward, Cecily (Krysia Wiechecki) is now 18 years old, wealthy and ready for plucking. Surreptitiously, Algernon finds out where she lives and decides to pay her a visit, posing as Jack’s brother.

     Algernon calls whilst Cecily is studying with her middle-aged tutor, Miss Prism (Jacqui Warner). Being a typical teenager, Cecily is immediately besotted with Algernon, and so when Miss Prism goes out for a walk with her close friend, Dr. Chasuble the local rector (John Taylor), the passions flow – although the constant interruptions from Cecily’s butler, Merriman (Brendan Tobin) cramps her style.

When I heard that ‘The Importance of being Earnest’ was being staged yet again – I must have seen it more than a dozen times – I asked some of the cast ‘Why?’ and pointed out that they were making a mistake, it had been done to death. OK, I was wrong, very wrong.

Serial Productions are a team synonymous with quality. Being a closed group of well-proven actors, the acting is immaculate, the sets and costumes stunning, and the teching just goes that extra inch. Every aspect from the foyer display to the programme has been considered.

Even though director Peter Clark has won awards for his direction, and is a first class comedy actor, tackling ‘Earnest’ was still major a challenge. The purists may cringe, but Peter has chosen ‘a mild farce’ as the genre. The director has decided not to present the key line of the play in ‘Dame Edith style’, a slight disappointment. As the show progressed, I slowly came to the conclusion that this was probably the style that Oscar had in mind. It got so many more jokes, double entendres and touches of bawdiness than I have ever seen before, and they all worked so well. Hilarious.

Under the supervision of Rob Warner, the major scene change (by the cast) from sitting room to garden took only 60 seconds. At the beginning and end of every scene, Lane the Butler (Clare Fazackerley) melodically sang a few verses of songs from the period. Sound by George Boyd.

The costumes (Nyree Clark) were stunning, from the extravagant, dandyish outfit of Algy to the pastel silks of the young women. Then there was Lady Bracknell, again with stylish clothes, topped with a striking collection of feathered fascinators.

The date of the play has been moved forward 40 years to the mid-thirties, this has allowed for a fresh approach to the usual, slightly stuffy, Victorian approach.

Talking to some audience members, I was amazed how many had not seen the play before. This is a first class comedy, with a very clever set of storyline threads brilliantly presented. Seen it before? Then see it again – and love it.

Two and a half hours of non-stop fun from one of Perth’s best comedy teams.

The powerful, energy packed, 55-minute performances run each evening at 7.00 pm until Sunday, 31^st January, in the elegant and palatial Laneway Lounge which reflects the atmosphere of New Orleans and Paris in the 30s. It is situated at 414A Murray Street in a laneway near Fast Eddys. It has a wonderful little 60-seat theatre.

As we wait for the show to begin, the live, melodious and haunting music from Michael Biagioni was remarkable. It was a complex blend of instruments and his soft vocals.

       On entering the theatre, there were bodies lying in the aisle, on the open floor space in front of the stage, on the stage and under a trolley. These people were dressed in white body stockings and white shifts.

      Dressed in her blue, hospital orderly uniform, Halina (Amanda Watson) enters the hospital laundry and starts her work. She loads (in mime) several machines, before suffering the worst traumatic, domestic experience that anyone can imagine. Some ex-patients come to her rescue, and after beginning with basic first aid, one lady (Ann-Marie Biagioni) decides to employ advanced methods of medicine that she has observed in the hospital. The treatment is supervised by another misfit (Hannah Evelyn).

       A couple of patients (Sinead O’Hara, Courtney Turner) think it is a good idea to cheer up Halina with animal impersonations, but in doing so, they don’t notice that one of their own vivacious friends (Kat Shaw) is now suffering.

My first camera was a Halina – named after the Greek for ‘light’. Here, the main character is the guiding light and example.

In this play, some loveable misfits demonstrate how, as youngsters, we are resilient and can face any challenge. As we get older this self-assurance dissipates and we have more trouble coping with even simple changes in our routine.  We watched as the actors edgily explored the dark, numerous angles on their rollercoaster ride of emotions, security and suffering. Just as we think there is stability, the quick sand sucks us back in.

The amount of energy engaged in this play was jaw dropping. There was little dialogue, the whole story clearly demonstrated by the highly skilled cast, displaying moods, emotions, advance mime and symbolism. This is a thought provoking show that makes you consider even your own life.

A huge amount of talent in this very different show; it was completely fresh and exciting.

His writing style is to slowly develop and release the personae of his characters. In the end, the people who originally appeared to be the ‘average man in the street’ are found to be complex with difficult lives.

This two and a quarter hour classic can be seen at the Stirling Theatre, Morris Place, Innaloo, at 8.00 each night until Saturday 25^th April.

Set designer, Jane Sherwood, has completely stripped the stage of proscenium curtains and wings’ flats. This has allowed her create the huge, luxurious guest bedroom of the 28,000 acre Mississippi mansion. The room walls are of fine muslin drapes allowing the audience to see into the passageway behind, and the balcony overlooking the lush garden (backdrop painted by Gabriel Dahmen).

There has been a huge amount of work put into the set by Michael Stronach, Les Farrell, Lisa Matthews, Callum Santiago, Ron Arthurs and Richard Mananga. The well managed props and children courtesy of stage manager, Carla Griffiths.

The lighting and sound designs are by James Wilson, operated by Callum Calder and Ian Wilson. For decades community productions have used the on / off fader for the sound and lighting, no subtlety or ‘50 shades of light’. However, recently, stereo sound effects have become the norm, with birds singing where the garden is, the sound of the telephone ringing from the position of the ‘phone; seems a basic expectation, but for years the sounds even came from a poorly positioned speaker at the side of the auditorium. In this show, a great deal of work has been put into these visual and sound effects, there were even a few quiet and non-intrusive notes, when Big Daddy made a powerful statement.

The costumes were excellent, reflecting the wearer’s character and the era (Bree Vreedenburgh).

         Big Daddy (Ron Arthurs) is shouting for his black manservant, Lacey (Richard Mananga) to hurry with the wine. The guests are gathering for the 65^th birthday of this self-made millionaire.

        The once charming Brick (Michael Dornan) is the favourite son of the family. He is considered by Big Mama (Dimity Wehr), a mother who seems to be permanently in denial of what is happening in her family, and Brick’s nervous wife, Maggie (Amanda Watson), as the perfect man. Brick formerly showed textbook masculinity and as being untouchable, however, severely depressed at the death of his best friend Skipper, Brick hides behind his endless stream of liquor. Could he have had a homosexual attraction for Skipper? A desire that he keeps in abeyance, a topic to avoid discussing with Big Daddy.

       Whilst hurdling at school, Brick broke his ankle, considered by Maggie as the start of his broken life. Over the years, Maggie has become bitter as she desperately wants children, but it is eons since Brick and her made love. Maggie, the play’s the ‘cat’, a semi-hysterical, anxious and dissatisfied woman, because of Brick’s indifference to her womanly demands. Inexplicably bound to her man, Maggie has tried undressing seductively, posing in front of the mirror, but Brick is unmoved.

      When her Brick’s brother, high flying attorney, Gooper (Craig Edwards) and his haughty, malicious wife, ‘the monster of fertility’, Mae (Gael Campbell-Young) take great joy in pointing out that they have a brood of ‘wonderful’ children, and that Maggie is still virginal, the atmosphere is acrid. The young tactless, Reverend Tooker (Damian Forbes) is horrified at the family feuds, but hypocritically ignores them.

        Gooper and Mae’s litter of ‘no-neck’ children are repeatedly forced to perform for Big Daddy, as they try to oust Brick and ingratiate themselves as sole beneficiaries in Big Daddy’s Will. Daddy is no fool, he sees through this, still preferring the younger son – or as Mama says – ‘the only son’, still hoping that Maggie will produce the much wanted grandson.

        When Dr Baugh (Brett Shircore) arrives with the results of Daddy’s latest health check, to save Mama’s feelings, Gooper tells Mama that her Daddy has a spastic colon and not cancer as previously thought.

        Assuming that he is in fine health, good for another twenty years, Daddy takes Brick aside and bullyingly challenges him to face up to life, just as he, Daddy, has had to suffer the miserable bitch that has been his wife for 45 years.

 

        What will happen? Will jealous Gooper or alcoholic Brick win; will sexually frustrated, unloved Maggie or the bitch of the century, Mae triumph? Alternatively, will they all be losers?

 

‘Cat on a Hot Tin Roof’ is one of these plays that looks like a good basic story, and on two the five occasions that I have seen this play, it has been presented as a simple interesting story. It has in fact a great number of hidden meanings, symbolism and subtleties often missed by the directors and cast. The size of the audio console, the double bed, Brick’s crutch etc all have much more meaning than is seen at first. Thirty percent of this play can be enjoyed without knowing the full meaning of Tennessee’s script, but when produced correctly the full 100% power of the story blows you away. This production under the skilful direction of award winning Jane Sherwood was a 100% job.

The children, Buster (James Matthews), Dixie (Lakeesha Motbey), Trixie (Colette Campbell) and Sonny (Charlie Motbey) were wonderful. How often does one see children who are wooden puppets, mouthing a few monotonic words that only a devoted Grandparent would appreciate? Well these kids gave it their all. They sang beautifully and truly acted. Even 6 years old, Charlie had his few seconds of fame.

I have seen Amanda Watson act hilarious comedy, and yet here she heartbreaking plays the wife that has been cast aside. Every muscle in her body and face expressed her feelings. Her accent is perfect for the Deep South. This has to be the performance of the year. Let us hope that the bigger Perth theatre companies ‘discover’ her soon, a fabulous actress.

Michael Dornan, another actor known for his comedy, showed every emotion of the alcoholic struggling to come to terms with the loss of the only person he ever cared for. Michael literally threw himself into the part, crashing to the floor repeatedly. Ron, as Big Daddy, was the first Daddy since Burl Ives to demonstrate the real psychological and physical power over Brick, to be omnipotent in his own home. Dimity was wonderful as the loving mother, who could have quite a sting in the tail when she wanted.

I know I normally praise the programme when there is nothing else to like, but Fran Gordon’s full colour programme has a font easy to read, and good clear photos so essential for knowing which actor is which. Bree Vreedenburgh’s poster was most clever, encompassing the mood and fiery atmosphere of the play.

One of the best versions of this play that I have seen, that is including the professional productions. Outstanding, not a weak link in sight. Plenty of WOW factor.