Innovative ARENAarts have brought Stephen Briggs’ amusing, stage adaptation of Pratchett’s much-loved, fantasy book to the Latvian Centre Theatre, 60 Cleaver Terrace in Belmont – no you aren’t in the wrong street! Plenty of free parking.

This progressive group are looking for directors – if you are inexperienced, they will guide you – and ideas for some challenging plays for 2017-18 seasons, anything from farce to heavy drama. Suggestions so far include Jane Austen’s ‘Emma’, George A. Romeo’s ‘The Night of the Living Dead’, Roald Dahl’s ‘James and the Giant Peach’, Neil Simon’s ‘The Odd Couple’ (female version) and Anthony Burgess’ ‘A Clockwork Orange’.

This is ARENAart’s sixth, dastardly, Pratchett play and they have really conquered this genre, with each production getting better than the last. Great fun for the family.

The two-and-a-half hour performances are on Friday and Saturday nights at 8.00 until Saturday 5^th November, with Sunday matinées on the 23^rd 30^th October and 6^th November at 2.00 pm.

There are a couple of dozen scenes, varying from a castle battlement, several rooms, street scene, zoo etc., each represented with minimal – but very well presented – scenery and props (Set construction by Jim Chantry, adorned by scenic artists Kiri Vinsen, Sheila Wileman and Ashling Townsend, with the cast helping).

It was essential with so many scene changes that the stage team should be well focused and quick. Stage manager Janet Vinsen with her assistants Callum Vinsen and Sean Schliwa were magnificent. With an average of 5 – 8 seconds, the stage was transformed each time.

Josh Shoebridge and Simon Walters skilfully operated Simon James’ lighting and sound design. It was obvious that a great deal of thought and precision was put into the complex plan and operation.

     Young Footnote (Callum Vinsen), the narrator of the story, sets the scene, popping in now and again to clarify the action.

     One day, when 6 ft 3 inches (1.9 m) strong, fearless Carrot (Paul Davey) comes home from a day working in the mines, his 1 metre high father (Michael Moshos) takes him aside and explains to Carrot that he is not really a tall dwarf, but was found abandoned as a baby. Carrot, feeling the need to prove himself, goes to the big city of Ankh-Morpork to join the bold Guards.

   Guard Captain Vimes (Ron Arthurs) is drunk when Carrot arrives. Vimes has been letting things slip, and Carrot is a stickler for law and order.

   It is a miserable, wet night and Fingers (Sarah Langridge) is knocking on doors, trying to find where the underground gathering of the Unique and Supreme Lodge of the Elucidated Brethren of the Ebon Night is being held. Eventually Doorkeeper (Susie Stevenson) admits Fingers to the secret meeting, where the Supreme Grand Master, Lupine Wonse – boo hiss (Brendan Ellis) explains that all of the Dragons are not really dead, and that according to legend, one is due to become King of the area. Lupine hopes that the Dragon will select him as his regal representative on Earth. As the meeting progresses, the coven – Varneshi (Natalie Djudjevic), Dunnykin (Tia Evers) and Watchtower (Rachael Leech) – dressed in green, crushed velvet capes, receive a threatening visit from the Body of Death (Jeremy Smith).

     Colon, the guard (Jim Chantry) lets it slip, that nearby there is a sanctuary for injured dragons run by Lady Sybil Ramkin (Lis Hoffman) and her small team of helpers (Tashie Baker, Michael Vinsen). Lady Sybil has a favourite dragon, an old, wise one with damaged wings called Errol.

     The local Patrician, Lord Vetinari (Andrew Smalley) is a nasty conman, trying to trick the citizens with dire deeds, but bold Discworld carrier (Bronny Baker) and Ridcully (Sean Schliwa) are fighting back.

     Will the dragon return? Will the evil Lords of the city keep control? There are two love affairs in the air.

Director and multi-tasker, Simon James, has presented this play in the style of a pantomime, aimed at 9 yrs. and up. It is quite dark in places, and the script is rich with puns, double-entendres and subtle jokes. The kids will miss at least half of the humour, but will love the special effects, excellent costumes (Janet Vinsen and armourer Callum Vinsen) and dragons.

There was a large cast, who were impressive and worked together with great chemistry. The delivery of the lines, humour and build-up of tension were all presented most proficiently. The main actors were superb, but even the ‘bit’ players gave it their best.

With so many players on stage, there can easily be pandemonium, with actors bumping into each other and fighting for exits – this team moved well, truly professional.

Josh Shoebridge and Kiri Vinsen created the magnificent robotic performers, Errol and other dragons. They really were ‘alive’, practically stealing the scene from the living actors.

At the interval, I enjoyed one of the best cups of community theatre coffee, yes, it was $2, but I would rather pay than have some of the anaemic, free, flavourless offerings at some venues.

Even on a Wednesday night, the show had almost a full house. Not many shows left, but try to catch this slick, hilarious family show. Many congratulations.

This light-hearted, two and a half hours, Shakespearean play can be seen at The Latvian Centre (LC Theatre) 60 Cleaver Terrace, Belmont each Thursday, Friday and Saturday night at 8.00, until Saturday 20^th August. There are matinées on Sunday 7^th and 14^th at 2.00 pm.

The play’s presentation is ‘in the round’, with seating on 3 sides and the stage – used minimally – on the fourth side. There is token scenery and the props negligible (Michael Falconer), but on the few occasions that they are used, they are most effective. Callum and Janet Vinsen provided the swords and shackles.

The excellent costumes are managed by Anne-Marie Piccoli, aided by Katy Piccoli and Hannah Evelyn.

The sound and lighting were designed and operated by Simon James.

      The Governess of Messina, Leonata (Julie Holmsure), is a caring woman who lives with her sweet young daughter, Hero (Hannah Evelyn), her elderly head-wagging brother, Antonio and her niece, Beatrice (Joanne Lamont) who has been brought up as Hero’s sister.

      We join the household as Leonata’s friends are returning from war. A war between the Prince of Aragon, Don Pedro (David Cotgreave) and his illegitimate half-brother, the morose, vicious and evil Don John (Paul Davey). Also returning is the admired, young nobleman, Count Claudio (Andrew Sutherland), and his intelligent, but droll friend from Padua, Benedick (Michael Lamont).

       To attract each other’s loving attention, the reluctant lovers, Benedick and Beatrice hurl abuse at each other in fun. Meanwhile, Claudio has fallen rapidly in love with Hero and wishes to marry her as soon as possible. Being jealous, Don John arranges for his drunken companion, Borachio (Brendan Ellis) to make love to Hero’s flirty maid, Margaret (Hayley White), at Hero’s bedroom window before telling Don Pedro and Claudio it is Hero, and they should go and see what is happening.

       Claudio is horrified and broken hearted, at Hero’s infidelity and that she is a mere wanton harlot. On the day of the wedding Claudio demeans Hero, and their wedding is called off by Friar Francis (Ellis R. Kinnear). Wise Benedick suspects that there has been some trickery, and this is confirmed by the watchwoman (Jeremy Smith) who has overheard Borachio bragging about his involvement.

       The constable of the Watch, Dogberry (Tara Hoban) and Headborough – the commander – Verges (Mark Falconer), arrest Borachio and Conrad, and take them before the Sexton (Charlotte Weber).

       Is it too late to save the love affair? Is Hero really dead?

Director, Jo Lamont has been acting for about twenty years. Initially with the Endeavour Theatre, then the WA Youth Theatre Company and lately with the Graduate Dramatic Society. Now she and her husband Michael are involved extensively with ARENAarts.

With a top notch piece of directing, Joanne has taken us right back to Shakespeare’s time and the Globe Theatre. Once again it is ‘in the round’ and with few props, but cleverly she has honed in on the most important part of the plays in those days – communication.

This fabulous cast were not only word perfect, but they obviously, thoroughly understood every word. Gone was the arrogant posing delivery that is too often seen in contemporary productions, and back was the rapport with the audience. Any ‘thoughts’ or soliloquys were almost discussed with the audience in a search for their approval. No swaggering and strutting, just everyday body language that we all understand.

How often have we returned from a Shakespearean production and had to double check a line, or even worse, try and confirm the storyline? Here, everyone knew their character’s strengths and foibles, so gave us a 150-minutes of fun and satisfaction without the common tedium.

There were a few songs in the style of 16^th century madrigals and even a cheerful dance at the curtain call.

All of the leads were exceptional, but a special mention of Julie Holmsure and Andrew Sutherland who were magnificent. Congrats to Jo and Michael Lamont who have obviously worked so hard.

It is a long time since I felt so in tune with a Shakespearean play. Clever and skilful work.