This hour long World Premiere can be seen at the Blue Room Theatre, Perth Cultural Centre, 53 James Street, Northbridge at 7.00 each evening until 7^th November.

The anteroom has a display of various items, central to the lives of some of the characters. The main auditorium is painted black, there is a swing hanging central stage; this also acts as a house window. There are a couple of other clever surprises (Set designer India Mehta). A great deal of the atmosphere was thanks to the inventive lighting by Tegan Evans.

       The cast enter the stage one at a time, looking and chatting to the audience as though they were arriving to see the show. Then one of the cast starts to tell us about an 8 yr. old boy, Tim, who lived in the area about 1955, the austere period shortly after the Second World War. the year is now 1972.

       Middle-aged Clyde (James Sollis) is about to leave for his house-to-house collection, on behalf of the Heart Foundation. His fawning wife (Janet Pettigrew) pins his badge of authority to his chest before he leaves.

      Down the street he calls at the Daveron home, where the shy and nervous music teacher, Olive (Nichola Renton) gives a donation, however, Tim gets something more rewarding – special gossip about Olive’s Irish husband, salesman Mick (Andrew Hale). Next door to the Daveron’s home is the rather strange and bad tempered, Mr Figgis (Kingsley Judd).

      In another house, Ms Le Cornu (Anna Brockway) spends most of her life dressed in her Japanese dressing gown. What can be her contribution to the street, and what is her dark secret?

      Could the local wildlife be a true indication and reflection of how healthy the human lifestyle is in the street?

This wonderful tale of life in an Australian street has many similarities to Dylan’s ‘Under Milkwood’; with poetic passages and the interlinking of the complex characters. Andrew Hale, the director has developed the personalities beautifully, with some of the delightful and most experienced cast playing two or three different characters. These exceptional, richly observed occupants show us a full range of moods, traits and emotions.

The body language and the general finicky attitude of the street’s tenants, have been developed with clever choreography by Claudia Alessi. The action is fast moving and the pace breakneck at times. The treatment of a damaged cockatoo is guaranteed to raise the emotions.

The musical composition by Ash Gibson-Greig, and the soundscape from Will Slade are subtle and perfectly conceived, excelling in their understatement. Heavy handedness could easily have ruined the effect.

It is no surprise that Patrick White is Australia’s most respected writer, and this brilliant troupe have given us a magnificent rendering of his striking play.

Betzien also received a Drama Victoria Award for Best Production. In 2007, she gained the Richard Wherrett Award for excellence in playwriting; because of her amazing ability to write complex stories, a Patrick White playwright scholarship came her way. She is now university lecturer.

This poignant play by the Murdoch students can be seen at the Nexus Theatre (near car park 3), Murdoch University, South Street, Murdoch nightly until 25^th October. The 80-minute performances commence at 7.00 pm.

The set is remote woodland and an old orphanage, with a shower, boiler room and dormitory. The building is tall with external water pipes, and large, wooden window frames. The appearance is that of a miserable, unwelcoming dwelling. Good work by designers Alison Snell, Andrea Solymos and Breanna Morgan.

       Children wandering through a forest come across an old orphanage, and the ghosts of the children who lived there tell their tales.

      Another nameless new girl (Samantha Larke) arrives at the railway station, suitcase in hand. Young Rosie (Chelsea Pullen) takes her to the children’s home. The young girl’s belongings are taken from her and thrown into the furnace. She is sent for a shower, and then put into a large dormitory along with a dozen others and old ghosts. New One is consoled by Old One (Lillybelle Walton) before being inspected by the matron. The matron is symbolised by an impersonal mannequin, dressed in widow’s weeds, whose puppet arms and head are moved by sticks (operator Nick Morrant). She has most of the ‘Black Skirt’ gentry and officials tied to her apron strings and under her control, not least Mr Horrocks, the school inspector (Jordan Baynes) who lives under her skirt.

       In London, young John (Alex McKell) is caught pickpocketing a gentleman (Peter Evans) and is transported to Australia for 7 years hard, convict labour by the local magistrate (Ryan Partridge).      

       Meanwhile in Scotland, young Lizzie (Jess Serio) who has been babysitting dropped the baby and so she is taken from her brother, Hamish (Kieran Renouf) and mother (Amanda Ferguson), and put in care. Likewise, Iris (Sara McIntosh) and her friend Tom (Jonathan Maddocks) are separated.

       The miserable supervisor at the home (Jess Patrick) makes the young children, Ruby and her friend (Georgia Baker, Kathryn Vincent) work hard scrubbing the floor, whilst Lucy (Stephanie Fitz-Henry), Maggie (Amelia Dee) and the Baby (Chloe Laffar) continue to live in misery.

Director Dr David Moody has generously engaged three others to assist him, and allowed the cast plenty of input. The assistant directors include Anna Brockway, who has worked with WA’s well-respected group ‘Class Act’ for some time, along with students Kate Willoughby and Rebecca Thompson. The result is amazing.

The movement and choreography of the large cast is exiting and effective. The atmosphere of the movement helps build the tension and tragedy. The cast were well tuned in to the theme and worked hard to give their best. The script moves through the many issues over the years from about 1860 to 1960. It covers all kinds of child abuse, stolen generations – both black and white, and the misery of children’s homes is laid bare.

With clever script writing, Betzien paints a lucid picture but with a brief piece of humour inserted it immediately lightens the scene. The overall effect is that of interest, sympathy and anger at what went on, but the playwright has avoided making the audience feel too despondent. Very clever writing perfectly interpreted by the directors. The audience are left to build their own picture of the situation from the ingenious symbolism.

Matt Pashley’s lighting design was exciting and outstanding. The furnace effect, coupled with the quality sound effects (Katie Southwell, Luke Gratton and Melissa Da Silva) and smoke machine (stage managed by Yukiko Kinjo, Brianna Lea) produced the desired effect of confronting horror on the audience. The final touches of costume and style are co-ordinated by Cassee Lazic, with the whole production being overseen by Tim Brain.

Dean Lovatt’s job of selling this dark play should be an easy one, as the whole production, rich script, direction, pace and interest is held throughout. A quality show at a sensible price.