This Old Mill, 90-minute production can be seen at the Old Mill Theatre, Mends Street in South Perth. This curtain up at 7.30 pm each evening until Saturday 16^th December. Tickets are scarce.

The stage has two sets; on one side is the office of Scrooge and Marley – the flats were a grubby brown – and on the other side of the stage is the Cratchit’s kitchen. Centre stage became Scrooge’s meagre bedroom.

The set was designed by Justin Friend, and then built by Justin, Les Hart and Phil Barnett. The production manager, Sheila Wileman provided most of the antique props. The copyright owner supplied the orchestral music on CD, but this was melodiously enhanced by the choral accompaniment provided by the talented cast in the wings – well, trained by the musical director, Justin Freind.

Stage manager, Megan Burley, had a cast of thousands to control, but they entered and exited smoothly, from both the wings and the rear of the auditorium. This worked very well and added to the audience involvement. The set changes were smooth and unobtrusive.

The operation of the sound effects (Nina O’Doherty) and smoke machine were faultless.

John Woolrych’s lighting design was one of his best yet. Real candles lighted Scrooge’s office and the accompanying glow was of perfect tone and level. There was also good selective lighting on the soloist singers. One costume had small blue lamps built into the seams, well worth the extra work. The limelights of the era were replaced by two strips of LEDs that gave a chilling effect to some of the dream sequences. Ian O’Doherty faultlessly operated the lighting.

       The miserly owner, Ebenezer Scrooge (Barry Park), has paid Bob Cratchit (Craig Menner) minimal wages for decades. Ebenezer’s partner, the friendly and well-loved Jacob Marley died several years earlier. Poor Bob has also to help the two trainee accountants, Thomas and Richard (Blake Jenkins, Cooper Jenkins – great soft shoe shuffle) learn the trade. When Scrooge announces to his staff that they must come into work as normal on Christmas Day, the locals, Harold (Ashley Garner) and his friends (Cassidy Pemberton), Topper (Bonnie Kerslake) and Polly (Eliza Malcolm) are horrified and discuss Scrooge’s meanness.

       Bob lives in a decaying house with his dear wife, Mrs Cratchit (Hayley Grant) and their daughters, Belinda (Tahlia Menner) and Martha (Atira Shack). They also have a weak and disabled son, Tiny Tim (Orlando Borg – beautiful solo).

       Bob answers the office door to two charity workers, (Harriett Du Pont, Jenny Trestrail), who are asking for donations for the poor. As they leave empty handed, Scrooge’s nephew, Fred (George O’Doherty) and his girlfriend, Emily (Claudia Sciano) call around to invite Scrooge to their home for Christmas dinner – the reply is ‘bah humbug’.

On Christmas Eve, as the clock is striking midnight, Scrooge climbs into bed. Soon he is asleep. In a frightening dream sequence, he sees his old partner, Jacob Marley (Grant Malcolm – fabulous) wrapped in chains. Then he meets the Ghost of Christmas Past (Matilda Jenkins – beautiful voice), who shows him the happiness that once surrounded him as a schoolchild (Bradley Paulet) with young friends, Fan (Tashie Baker) and Wilkins (Jamie Buttery). Then, years later as a young man, Scrooge (Felix Malcolm) is seen spending his Christmas doing bookwork with his old kind boss, Fezziwig (David Major). Even a visit from his childhood sweetheart, (Jade Gibbons) fails to make him happy.

       The nightmare continues as the ebullient Spirit of Christmas Present (Nelson Clemente – more of a bubbly champagne than a ‘spirit’) appears as a wild Spanish dancer; with castanets clicking, he shows Scrooge the sadness and poverty of the Cratchit’s home, and the mercenary local pawnbroker (Wesley Williams) ripping off poor Mrs Dilbert (Georgia Dixon).

      Then the 3 metre tall Spirit of Christmas Future (Grant Malcolm), draped in black with a skeletal skull and arms, arrives and demonstrates to Scrooge what a difference he could make to his workers’ lives.

      Could life be changing for this wretched old miser?

This the year of the Scrooge. This version, directed by Justin Freind, is different to all of the others. It is filled with superb singing, fun and at times frightening ghosts. With a young cast, age range from eight to eighteen, the show sparkled and bounced along at a perfect pace. The numerous costumes were all carefully considered for the period and beautifully tailored by Jenny Prosser. Michelle Buttery’s makeup design was excellent, with Marley’s ghost looking particularly creepy.

With such a large cast, the importance of knowing how to move around the stage without bumping and causing chaos had been well learned. There were some novel touches, such as the white-faced ghosts wandering around Scrooge’s bedroom and then the audience.

Barry ‘Scrooge’ Park has been nominated this year for a Finley, and here he is with great characterisation and a soft, mellifluous voice, again proving why he was nominated.

An exceptional cast, I looked for the ensemble member who may nod off or be distracted – not even one, everybody was focused and dedicated.

Justin Freind’s shows are always quality, and this is another wonderful show to add to his résumé.

This Australian Premiere is about an ‘imagined likely’ meeting between the soft, apprehensive, Benjamin Britten and the brash, outspoken Wystan H. Auden; two geniuses of the Arts, but very different characters.

Britten was a wonderful musician and composer, possibly England’s best of the 20^th century, being most famous for his 14 operas including ‘Peter Grimes’ and ‘Billy Budd’. Only months after becoming a Life Peer and Baron, Britten died aged 63, of a ‘heart attack’ which was in fact due to advanced syphilis contracted from his male partner, Peter Pears.

Auden’s friend, Isherwood, told him about Erika, the daughter of the Nobel winning German novelist, Thomas Mann – writer of ‘Death in Venice. In 1935, Erika’s sexy burlesque performances were considered obscene by the Nazis, and so she was desperate to escape from Germany, marry an Englishman and thus obtain a British passport. Auden obliged, but in doing so he did not consummate this marriage of convenience as he already had a partner – Chester Kallman.  Incidentally, another of Auden’s partners was Stephen Spender, the father of Barry Humphries’ (Dame Edna) wife.

This two and a quarter hour ADULT ‘play within a play’ can be seen at the Old Mill Theatre, on the corner of Mends Street and Mill Point Road in South Perth (opposite Windsor Hotel). Performances start at 8.00 pm on Thursday, Friday and Saturday until 23rd April. The Sunday matinees are at 2.00 pm.

The scene is the present day in a rehearsal room of the National Theatre in London. There are no flats or scenery, other than a free standing door, representing the ‘door’ of Auden’s Oxford College flat.

At the rear of the stage are a grand and an upright piano. Anthony Howes’ set design has been constructed by Sarah Christiner and Phil Barnett – or perhaps deconstructed is more appropriate – as props (Justin Freind) are littered everywhere in this shambolic lecturer’s room. Stage managed by Dale James.

The variety of 1975 costumes were supplied by Jenny Prosser.

        To the side of the proscenium arch sit the play’s stage manager, Kay (Sally Barendse) with her ASM and prompt, George (Paul Bray). They announce to the cast that their director has been detained and they are going to step in and supervise the day’s rehearsal of ‘Caliban’s Day’. This play, built around a theme in Shakespeare’s ‘The Tempest’, is the work of dithering author, Neil (Brendan Ellis) who on arrival at the theatre finds that chunks have been removed from his writings.

        Donald (Barry Park) is the tense actor who is playing Humphrey Carpenter, a writer who is in the midst of writing Auden’s biography and is about to start Britten’s. Humphrey moves to the front of the stage and sets the scene.

        Seated at a table loaded with books is Fitz (Dene Irvin), the actor playing Wystan Auden. Auden, who is a fanatic for punctuality, is awaiting the arrival of Stuart (Cal Silberstein), a rent boy he has ordered for a particular service. (Warning, this service is described in great detail in the play). Throughout the play that is under rehearsal, the actors of Auden and Britten regularly request help from George the prompt (these prompts are in the script).

       The scene then moves to another area of the stage, where Benjamin Britten (Justin Freind) is auditioning for one of his operas, young choristers (alternating nights – Brandon Orgill, Matthew Han, Surjo Mazhar Sahid) who are under the supervision of their chaperone (Dale James) sing for him.

       After thirty years the two friends meet. By now Britten is a pathetic broken and insecure man, Auden? Well, he is just more abrasive and vulgar.

Perth born director, Anthony Howes, has been recognised as a major contributor to the theatrical arts in Australia, being awarded most of the major national theatrical awards. His productions have been seen in Australia, the UK (at the Royal Opera House and Sadler’s Wells Theatre), Canada, Singapore, Brunei, Vietnam and Thailand.

Howes has also directed for the ABC in radio and television, and he helped found the Midnite Youth Theatre Company, where he was artistic director for 25 years.

The lighting (designed by John Woolrych) had a most effective closing scene. The operator for both the sound and lighting was Sarah Christiner.

The cast gave outstanding and sympathetic performances, there was genuine depth to the personalities. The dialogue was perfectly paced, which considering the complexity of the script, working on two or three levels, it passed seamlessly between locations. There was an expectation that the audience would know the people referred to, this meant the need for an especially careful delivery.

Don’t expect a comedy like the ‘The Lady in the Van’; don’t expect the play within a play to be like that in Á Midsummer Night’s Dream’. You will find it hard to find better acting, directing and scriptwriting, as this is advanced quality theatre. The audience will be divided – black and white, with no shades of grey – you will love it or loathe it. I would like to see it again and really get a better understanding of the multifaceted personalities. It is certainly worth seeing. You will admire it on many levels, but you may not like it.

‘Babes in the Wood’ is one of the oldest and most loved children’s pantomimes. The Graduate Dramatic Society is at the comfortable Roleystone Theatre, 587 Brookton Highway, Roleystone presenting Stephen Quinn’s adaptation of the story, in the traditional style.

Stephen was brought up – even dragged up – in south London, taking an interest in theatre from a young age. He is one of WA’s leading directors covering many serious genres, and yet his pantomime scripts have all the madcap, dry, double-entendres of the much-loved, old style UK productions.

The two and a half hour performances commence at 8.00 pm on Wednesday, Friday and Saturday nights until the 19^th December; there are also matinees at 2.00 pm on the Saturday afternoons.

The opening scene is a colourful village street, with a cottage centre stage. The proscenium arch and the side flats are beautifully painted, woodland scenery. Set design and construction by Jonathan Beckett, with set artwork by Rebecca MacKinlay.

      We join the villagers of a small hamlet near Nottingham as they celebrate at their summer fayre. The lively chorus enjoy their Maypole dancing (Choreographer Glynis Best), whilst the engaging and flamboyant, Dame Martha (Barry Park) and her talking, multitalented dog, Woofy (George O’Doherty) introduce us to the locals.

      There is Lady Marian (Sarah Courtis) who is the governess to Sir John’s children, Jane (Sienna Freeman) and Jeremy (Charlie Martin). Sir John’s wife vanished years ago, and sadly, now Sir John himself has disappeared. The evil Sherriff of Nottingham (Kerri Hilton) has the task of sorting out Sir John’s affairs and his Will, and the Sherriff has decreed that in the meanwhile the children should stay with their mercenary and miserable uncle, Sir Jasper (Grant Malcolm).

     When Jasper discovers that he will inherit all of his brother’s money if the children die, he hires two layabouts Abbott (Neale Paterson) and Gillard (Fiona Johnson) to take the children into the forest and kill them. Luckily, the fairy of the forest, Titania (Lis Hoffman) sees what is happening and sends two magical robins (Eliza Malcolm, Mercy Anthony) to guard them.

    Two of the villagers, the Old Crone (Lynda Butler) who works for Sir Jasper, and her friend Smith (Steele Fitzsimmons) hear from a poor girl, wearing a tattered dress, Rags (Neve Havercroft) of Jasper’s dastardly plan. Suspecting that Jasper and the Sherriff may be working together, they avoid the Sherriff’s guard (Glynis Best) and look for the help of the forest dweller, Robin Hood (Mel Kay).

    Soon Robin has gathered his Merry Men. There is Friar Tuck (Bill Connellan), the small but brave, Little John (Felix Malcolm), flour covered, Much the Miller (Sharon Malcolm), the musical, Alan a’ Dale (Sarah Callahan), the confused Will Scarlett (Julia Anthony) – or is he another scarlet? Their young helper, ‘the Kid’ (Hannah Horsley), accompanies them.

Director Stephen Lee obviously knows the true traditional pantos inside out. His hilarious script was cleverly written on two levels, one for the kids to appreciate and the other full of groan-worthy jokes for the broadminded parents. Stephen has obviously captured the respect of the cast, as they gave the show their all. Not for a second did even the youngest chorus member look bored or miss a cue, the cast was one strong unit.

A Dame to love and a nasty person for everyone to boo and hiss are essential; Barry Park’s ‘Dame’ was magnificent, immediately winning the affection of the audience. Grant Malcolm’s ‘nasty uncle’ was brilliantly conceived, with an eye patch – that changed sides throughout – a deformity, scruffy clothes and a weird walk – topped off with a booming rasping voice that invited numerous ‘boos’. Great teamwork.

Thigh-slapping Mel Kay, with her subtle costume ‘problems’ (a bow and quiver that never seemed to be in quite the correct place), was perceptive, subtle humour. Her singing, along with that of Sarah and Rags, was beautiful. One of the stars of the show was young Felix Malcolm, who could project his voice, change accents and act confidently – admirable. Likewise, the two ‘babes in the wood’ and Rags can be very proud; all three had great stage presence. It seems almost unfair to name some of the actors, as they ALL sang, danced and lived their parts wonderfully. There was even a brief slapstick piece, and some adventurous aerial work.

Stage manager Daniel Ramsell, assisted by ASM Rod Padget and a sizeable crew, were quick and efficient.

The lighting effects were very good, congrats to operator Jamie Cook and his Follow Spot operator Nina O’Doherty. Perhaps dim the lights when the set changes are taking place? The sound design by Ian O’Doherty is very good, with numerous ‘boom booms’ to emphasise the corny punchlines. The backing music (musical arranger Nick Choo) was at a sensible level for the cast to sing comfortably, without battling an ear-splitting band. Merri Ford and Maddy Connellan’s costumes were colourful and creative. Hideous outfits for the Dame, and beautiful for Marian. Woofy’s big black and white dog suit must have been crippling to wear, but George was still amazingly acrobatic.

A fun show for all of the family. Very clever, great to see the panto traditions being carried on with such finesse.

It is 1982 in the London apartment of Max and Charlotte. The set is well constructed and perfectly furnished. As the play progresses, two major scenery flats forming the rear wall swing back to allow the scene to be converted to another venue and other era. This was quite an undertaking for the substantial stage crew, but the stage management (Bronwyn Hammond – assisted by Neale Paterson) had the moves very well planned, and the designer really did ‘change’ the location.

        The curtains open to show Max (Neil Cartmell) anxiously awaiting the return of his actress wife, Charlotte (Maree Grayden) from an overseas business trip. When she does arrive home, an argument ensues. When the next scene opens, Charlotte is now married to a scriptwriter, Henry (originally played by Ewan McGregor, but he couldn’t come, so they got Peter Clark), and as they are preparing the evening meal, the doorbell rings and in walks Max with his ‘new’ actress wife, Annie (Bethwyn Legg). It becomes obvious that Max and Charlotte in the first scene were actually an invention of the playwright, Henry; with the characters actually based on Henry and Charlotte’s friends.

       Charlotte complains that the women in Henry’s scripts are written as bimbos, in order for Henry to express his misogynistic feelings through his affable character ‘Max’. However, it is probably the fact that Charlotte sees Henry’s cast member, Annie, as the person she used to be.

        Henry starts writing scripts for television, and in one ghost written episode, Annie announces to Henry that she is visiting Brodie (Alex Ripper), a rebel in her play; but could this actually be an invitation for some hanky panky? On the train north, Annie regularly meets Billy (Patrick Barton), another actor half her age – a further opportunity for Henry to use his imagination and writing skills.

       Henry is happy creating these immoral characters, but the lifestyle of his real-life, young daughter Debbie (Melissa Kiiveri) and her attitude to monogamy is a major worry to him. Soon Henry is ‘living out’ his creations, just as Stoppard did in his life, with his alimony and affairs.

This is a very tricky play to direct, as the actors glide seamlessly between fantasy and reality, however, with an experienced director like Barry Park it works well, clearly showing the fun and sense of abandonment equally well. Stoppard’s plays are often absurdist, but this story is filled with the lives of real people that we will all know in the theatre, their honesty, dedication and loyalty.

The lighting (Fiona Reid) and sound effects (Guido Nigro) were both well-conceived, and smoothly operated. Jennifer Prosser’s costumes were as always well designed and gave an instant recognition of the actor’s personality.

If ever an accent is called for, but an actor cannot manage it comfortably, and after some intonation training it is still no better, then it is wise to look at the actor’s part and decide if the brogue is really necessary. If not, then drop the twang altogether. A poor accent can at the least be most distracting, and at worst spoil a faultless play. Sadly, one accent was possibly the worst I have heard in some time; please, just play it straight. This is no reflection upon the actual acting, which like all of the others in this experienced cast, was well above average.

This is very well directed and produced play. It is a tricky play that only a talented cast – like this – could achieve; any less gifted and the whole play would have fallen over in an incomprehensible heap.

Once again, another full house, for a famous play, by a skilled troupe. Congratulations.