This captivating, 80-minute heart-rending, enthralling Red Ryder production (Benj D’Addario) can be seen at the Blue Room Theatre, James Street – in the Northbridge Arts Complex – each evening at 7.00 (time was changed) until Saturday 1^st October.

There is an AUSLAN production on 20^th September.

As well as being named one of the Top 10 London Play of 2013, the ‘Scotsman’ newspaper awarded it a prestigious ‘Fringe First’. On Broadway the pilot was played by Anne Hathaway.

The set (consultant, Frances Danckert) is simply a two-metre square, black dais and a black leather office chair. A wisp of smoke drifts across the stage. Karen Cook’s lighting was exceptional; comprising dozens of spotlights or small floods, she picked out the areas with carefully chosen lighting angles. The subtlety continued in the soft, background music (Brett Smith) and the soundscape with its magnificent sound effects. The music complemented the highly realistic, video design (Mia Holton) depicting pictures from a plane’s computer cameras.

The stage manager, Georgia Smith was operating the consoles. There was probably around a massive 200 lighting and sound cues, most of them requiring split second timing or subtle changes, and she did not miss a single one. Superb work.

The minor scene changes just ‘happened’ in the pitch dark.

      A powerful fighter jet, an F16, roars low overhead. The lights rise to show a smiling pilot, proudly dressed in a sap green, American Air Force jumpsuit. In a slight neutral American accent (coach – Luzita Fereday) the aviator (Alison van Reeken) explains how she has flown numerous types of planes, risen through the ranks and is now flying the ultimate fighting machine. She is an omnipotent fighting God.

      We learn of her joy, flying through blue beyond with her teammates and their amusing camaraderie. However, shopkeeper Eric becomes the new love in her life, and gives her the only thing missing – a baby. Unfortunately, due to health and safety regulations, she can no longer fly and is grounded.

       Three years later, she calls into the office, simple routine and is to be allotted another squadron. However, fighters are now going out of fashion and she is now assigned an $11 million ‘Reaper’, a type of drone. This will mean security, regular hours, an air-conditioned office and be home safely to the family each night. What more could a pilot ask for?

Who in their right mind would accept a part that is 80 minutes of monologue? You would have to be mad – or exceptional. Alison is exceptional, having already won the most prestigious theatre award, Equity’s ‘Best Actor (Female) of the Year’; even so, this intense play is still the ultimate challenge. Guided by an Equity award-winning director, Emily McLean, success was practically assured. All there was left was a colossal amount of work! Could this be the performance of the year?

There was little physical action by the actor, other than meaningful, discreet face and body movements. The director has carefully chosen a crew that is oozing quality, to accompany this solo performer’s tour of action and ensure a rich, vivid image.

I always feel sorry for actors in plays with tragic or surprise endings, as inevitably the applause is muted whilst the mesmerised and drained audience gathers its breath after the assault.

It is always good for publicist to have a thought-provoking show that they can be proud to promote; Alison Welburn has the very best.

Any student studying, or thinking of studying acting should see this play – it will set the bar for you and leave you gasping. A triumph.

As a musical celebration and tribute to 100 years of King Edward Memorial Hospital for Women, fondly known as ‘King Eddy’s’, and their work assisting mothers and babies; Agelink Theatre and the King Edward Memorial Hospital Centenary Committee have joined forces to bring us memorable events from over the years.

Vocal Ensemble ‘Voiceworks’, the 15 strong, Subiaco Community Choir, under the direction of Maggie Wilde West and Joshua Webb, add to the memories, by reviving charming songs from the 1950s and 60s. The keyboard accompaniment was by Gavin Nicklette. The technical direction was by Aaron Stirk, and the production managed by Bernie Davis.

On Saturday 6th August, for one day only, there are two 90-minute performances; the first at 2.00 pm, and the second at 7.30 pm in the main auditorium of the Subiaco Theatre, Subiaco Arts Centre, 180 Hamersley Road, Subiaco.

The choir are seated at the side of the stage. In the centre of the stage is podium with a matron’s tall desk and chair.

       For the first 80 years of giving birth in Western Australia, parturition took place at home, a dangerous process. A few charitable clinics appeared, but these could be expensive and prohibitive to the general public.

 

      The play begins with a stirring meeting in 1909, led by Dame Edith Cowan (Sarah McNeill). A decision is taken to sell bricks at a shilling each, for the new hospital. Soon, enough money was raised to buy and convert a deserted, rundown school for orphans.

      Initially, twenty beds were created under the supervision of Matron Agnes Walsh (Polly Low) and the dedicated Irish ward Sister, Mary Carson (Alinta Carroll). With Dr Clements (Benj D’Addario) working tirelessly for the cause, the hospital expands. As a cute 6-year-old patient, Saskia (Saskia Haluszkiewicz) recalls, it took her lifetime to reach 100 deliveries in half a year.

       A young newspaper reporter (David Ratcliffe) is dispatched to write an article on the miraculous new gift to the women of Perth, King Eddy’s. He catches the eye of a trainee nurse (Cassidy Dunn), but marriage could mean the end of her career.

       With World War 1 under way, the newspaper boy (Oliver Haluszkiewicz) is kept busy informing Perth of the European tragedies, and local losses.

       We are shown how the hospital blossoms with the hard work of the dedicated team, and how today, 60,000 babies can call King Eddy’s their first home.

Directed with love and passion by Jenny Davis and her assistant director Laurie McAinsh, this play brought tears, along with outbursts of chattering in the audience as various surgeons’ names were mentioned and warmly recognised. With the talented cast giving numerous cameos of radio reports, visits from the toffee-nosed aristocracy, and a mother with countless children, the tales were poignant and delivered with plenty of belly laughs – no pun intended.

The musical interludes with songs of the time, gave us an uplift after the depressing description of the conditions of the building and the lack of facilities. Even 50 years ago, when many of the audience would have been alive, the pregnant mothers suffered at the hands of the male chauvinists on various committees.

A fascinating, fast moving piece that is relevant everywhere; it could easily be modified and produced almost anywhere in the world. An important part of our history.

Another triumphant play from Jenny. Her celebratory Centenary Book is also available.

This fast moving, 75-minute show about confrontation, is in the main Blue Room Theatre, Perth Cultural Centre, James Street, Northbridge and runs nightly at 7.00 until 28^th May.

The opening scene is the sitting room of a comfortable flat, with coffee table and settee, all in cream / white. The walls are covered with numerous, small artworks.

The three units forming the walls are rotated, and we find ourselves in a down market, somewhat sleazy pub. A clever and innovative set from WAAPA trained, Tessa Darcey and stage managed by Georgia Smith.

Joe Lui’s powerful and dramatic soundscape is taken to a new level with the stunning; electro-soul music is by Fremantle’s ‘St. South’, the work of instrumentalist and haunting vocalist Olivia Gavranich. Olivia has also composed for TV dramas.

      Quiet and easy going Max (Peter Lane Townsend) and his warm, healthy living, girlfriend, Norah (Maja Liwszyc) are having a relaxing night at home when an old, childhood friend of Max’s arrives. She is Blythe (Emily Kennedy) tense, stroppy and begging for an argument. She has recently broken up with her long-term partner and is looking for support and guidance – but is unlikely to accept it.

     The scene changes to the local pub, where barmaid Blythe is cleaning up for the night, before setting off home. At the last minute, a middle-aged man, Dean (Benj D’Addario) comes in wanting a drink – and perhaps a bit of female company, unaware that Blythe is more interested in girls. Even so, Dean will play a major part in her future life.

The much-admired director, Emily McLean, has worked several times at the Blue Room and for the Black Swan State Theatre Company, always giving us a play to remember. She is a dedicated director, carefully considering every aspect of her productions. Emily has selected a very capable cast, from the highly experienced Benj to the relative newcomer, Peter.

Emily Kennedy gives an amazing performance, filled with emotion ranging from heartbreak to raging anger and guilt.

This is a cleverly written play, with the action taking place on several ‘levels’. The strong, well-focused performances gave justice to this excellent play. Highly recommended to those that appreciate quality.

This 50-minute, World Premiere Lockwood Production is at FringeWorld, in ‘The Flaming Locomotive’ theatrette, opposite the main entrance to the Museum in the James Street Mall.

Curtain up at 6.30 each evening until Saturday 20^th February.

The central feature of the set is a clever combination of a fridge, a bookcase and a laundrette washing machine, all ingeniously combined into a three-sided unit. Another most effective idea from Cherie Hewson, who designed the set and costumes.

The lighting and sound, along with the stage management, was by Andre Van Vulpen.

         ‘Text’     In the middle of the night, a woman (Talei Howell-Price) wakes up to find that her wonderful, loving husband of ten years (Benj D’Addario) is sitting in the kitchen drinking gin. He seems depressed, and has bottled up a Pandora’s Box of emotions that he is itching to unload onto his caring wife.

A very powerfully written piece, filled with genuine tension and written with a duologue that is completely believable. As the act progresses, the layers build on each other until the pressure is palpable. Superbly acted.

       ‘Williamsburg’     a young Australian girl (Emily Rose Brennan) has been on a working holiday in America, where she met a handsome young man (Christopher Sansoni). Unfortunately his attitude to life is a little immature, and when she asks him to come back to Australia with her, this ‘mummy’s boy’ seems less than agreeable.

Most people will regrettably have had a similar relationship, and so appreciate the heartache it causes. Again, beautifully scripted, handled and presented, with some delicately handled emotion that could have so easily been killed by overacting.

A brave move to try something so new for the first two plays and they worked wonderfully well.

      ‘Let’s Launder Together!’     When a young man (Barnaby Pollock) arrives at the laundrette for the hundredth time, he suddenly realises that on this visit – for the first time ever – the girl of his dreams (Salacia Briggs) is sitting waiting for her machine to stop. Should he approach her? Or will he be rejected?

Damon’s usual genre of work, with his precise quality and talented observation in every line. Barnaby captured the depraved young man, who despite his age was still in his pubescent stage. His cheeky grin, hilarious. Salacia played it cool, whilst being equally excited. This script was Lockwood as we know him.

Three plays which gave a good and varied mix. Top class.

A night of huge entertainment was guaranteed – they kept their word.