Although this 55-minute, adult performance does not contain nudity as such, it does have attractive skimpy underwear, sexually explicit dialogue and raunchy acting, so it is recommended for ages 15 plus.

This daring Blue Room / Clara Loveny production can be seen at the Blue Room Studio Theatre, Perth Cultural Centre, Northbridge nightly at 8.30 pm. The season runs until Saturday 26^th November with a matinée at 6.00 pm on Saturday 26^th November.

Joshua Walker’s set comprises a large white dais, 60 cms high, centre stage, with a further smaller dais giving a pyramidal effect. Stage manager is Katie Moore. The lighting (design by Rhiannon Petersen) varied from the red-hot, sex scenes, to the cooler informal meetings, when a blend of UV and blue light was employed.

Leanne Puttick’s musical composition gave the perfect background to the variety of scenes.

        The theatre is pitch dark. Heavy breathing and panting can be heard. The lights rise to show two girls and a boy who are finishing a webcam porn scene. There is a fade to black.

        We see Alex (Elijah Melvin), a chef who is on his way home from work. He meets Zoe (Taryn Ryan), a shy veterinary surgeon who works at the local Animal Shelter. After a day’s work, Zoe smells of animal pee. She apologises to Alex, they laugh and the couple arrange to meet another evening.

        As a relief from his day’s work, and with Zoe in mind, Alex opens up his $35 a month, porn site and settles down for a night of solo, guilty pleasure. Zoe tells her friend, Nicola (Ann-Marie Biagioni) who works in a sex shop, about her new boyfriend. Nicola has a wealth of knowledge and plenty of sexual advice for her naïve friend.

        The relationship becomes adventurous, but seems to be going down a track that both do not seem agree upon. However, what happens in the bedroom stays in the bedroom – or does it?

Sex is always a difficult topic to depict on the stage, but Samantha Maclean and Timothy Green have blended plenty of humour into the storyline, helping make the topic more acceptable. Often directors and playwrights, possibly due to their own awkwardness, will hint at what they mean and the audience can quickly spot this discomfort, and in turn become embarrassed. Our daring scriptwriters jump wholeheartedly into the fray, no punches pulled. Occasionally, the actors chat with a friendly, informal air (and non-threateningly) to audience members, this helps the patrons feel part of their instructive adventure.

The bold, courageous actors are faced with quick, tongue-twisting dialogue and numerous acrobatic positions, and yet the pace of the show did not miss a beat. There were powerful and quite touching performances by this talented team.

I left the theatre a fully educated, satisfied punter.

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.