This world famous and much-loved story is now being presented by the Stirling Players at the Stirling Theatre, Morris Place, Innaloo. The performances are at 8.00 pm on Thursday, Friday and Saturday nights until the 16^th July. There are also Sunday matinées on the 3^rd and 10^th July at 2.00 pm.

The fascinating foyer displays by Fran Gordon, Bree Vreedenberg and Kevin Forward set the mood. The usherettes are dressed in white and gold with pillbox hats.

It is the winter of 1938-39, just months before the start of the Second World War.

At the side of the stage on the apron is the corner of Laura’s swish sitting room. At the other side of the stage is cinema seating and the lounge in Alec’s flat.

The main stage depicts a railway tearoom furnished with black tables and bentwood chairs. There is a coal stove burning against one wall. To the side is a large, cafe counter with various cakes and crockery. The back wall has a photo of a railway station roof projected onto it (operator Jane Sherwood, with film footage from Fuller Media).

Another scene is a plush, candlelit restaurant brought to life by its dapper waiters, tablecloths and vases of flowers. The effect is completed with an impressive, illuminated chandelier.

A riverside scene is simple, but most effective. Despite the number of settings, each one was fully furnished with numerous props of the era. Fran Gordon, Emma den Hartog and Joel Howe’s costumes were stunning and perfectly selected. It was obvious what a huge amount of work had gone into the set design, furnishings and costumes to create the perfect mood.

      As Dr. Alec Harvey (Glenn Scott) enters the Milford railway station tearoom, he notices a smartly dressed lady trying to wash a mite of train smoke from her eye. She is, Laura Jesson (Maree Andersen) a bored and ignored housewife. As the couple share a table, the tearoom manager, Myrtle (Ann Speicher) watches them, intrigued by the warmth of their conversation. She is initially unaware of the advances being made to her by the stationmaster, Albert (Hadrian Fuller).

     Just as the young waitress, Beryl (Simonne Matthews) clears the tables and puts another lump of coal on the fire, the platform service boy, Stanley (Zack Inglis) comes into the café to have his tray replenished, and to smile longingly at Beryl. Two soldiers on leave, Bill (Damien Johnson) and Johnnie (William Errey) stagger into the café and create havoc.

   The married woman and the married doctor agree to meet for a cinema matinée the following Thursday – purely for the company. We see Laura arriving home; she kisses goodnight to her son, Bobbie (Charlie Motbey) and her daughter, Margaret (Lakeesha Motbey) before trying – unsuccessfully – to have a sensible conversation with her disinterested husband, Fred (Craig Edwards).

     Both with loveless marriages, the couple have no qualms at meeting again. As they enjoy a sumptuous meal after the film, they are unaware that two of Laura’s nosey and interfering neighbours, Hermione (Karin Staflund) and Mary (Liz Pemberton) have spotted them and are approaching in search of gossip.

     How will the love affair develop? Will they make love secretly in this morally unacceptable affair?

      Janet Brandwood and Oliver Kaiser played multiple cameos, giving depth to the storyline.

The musical numbers have been beautifully created and orchestrated by Bree Vreedenburgh, from the copyrighter’s score. The music plays very subtly in the background throughout the play, thanks to smooth operator, Melissa Skeffington. Young Zack and Simonne’s singing was delivered with feeling, and Karin and Liz gave a powerful backing chorus to several songs. Ann brought a smile with her vivacious and saucy delivery. The excellent musical interludes were often used to ‘cover’ the set changes (very efficiently carried out by the cast under the supervision of stage manager Janet Brandwood).

Ian Wilson’s lighting design is always good, but for this show it is exceptional; complex in design and filled with atmosphere. Paul Anderson had the nightmare of operating the numerous changes, but he carried out the task smoothly and with accuracy.

The low point of the play was the dreaded headsets. I appreciate that these can be very expensive, but some crackled and others dropped out. The experienced operator was probably as frustrated as the audience was. I suspect that the complete sound desk needs an overhaul, as even the speakers seemed a little unreliable too. Perhaps ditch the aging headsets and let the performers use their theatre skills? The techs were very aware of the problem, and as it was the preview I was attending, then I am sure the problem will be cleared for the opening night.

The stunningly beautiful and sensitive 1945 David Lean film was in black and white, with very few scenes filmed outside of Carnforth Station. The film’s brilliant camera work was by a Perth born cinematographer, Robert Krasker. The 1945 film was made just after WW2, at a time when virtually no one would have intimate relations before marriage. Then in 1974, just after the Free Love era of the 60s, Carlo Ponti brought out a dreadful, brash Technicoloured version that starred Ponti’s wife, Sophia Loren with Richard Burton. It was fussy, heavy handed and totally without atmosphere.

I was apprehensive as to which style the director, Jane Sherwood, would employ, and could the frustrated love translate to the stage? Thankfully, Ms Sherwood’s version was much nearer the original. Jane can be relied upon to check every aspect of her productions, ensuring depth and reality in every scene. Small touches like the train smoke drifting past the café, the dozens of railway sound effects. Her skilled direction ensured powerful and yet romantic performances from the couple, backed by a strong cast.

The play includes several Noel Coward songs, but it is not a musical, but rather a drama with songs. This blend of drama and music is the idea of the play’s adaptor, Emma Rice; and although she won an award for the adaptation, I felt it slowed the play down slightly and was even distracting.

Tackling a story that has lasted more than 70 years in the top 200 movies can be risky, as the audience will certainly have their own expectations, but this ambitious, quality and enjoyable production gave a very pleasant evening’s entertainment.

The demand for tickets has been enormous, so get in quickly for the night of your choice.

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.