The first play, ‘The Kraken’, is PG rated and starts at 7.30 pm, with a matinée showing on Saturday 18th at 2.00 pm.

The second show, ‘The Darkness’, rated M+ – because of the subject matter – begins immediately after the first production.

‘The Kraken’ is a semi-autobiographical play, adapted by Cody Fullbrook from his favourite children’s book. Internationally acclaimed, Brisbane author, Gary Crew, wrote the book. Crew was generous and brave enough to allow Fullbrook to unreservedly make the adaptation.

Gary Crew, who started life as a draughtsman, did not publish his first book until he was 39 years old. Then, as an English teacher, he specialised in picture books for primary school-age readers, his awards include the prestigious ‘Children’s Book Council Book of the Year’ – four times. His illustrator is Marc McBride, who has a wonderful series of books on ‘How to draw Deltora’s monsters’. Crew also has awards for his adult detective fiction.

The Kraken

The word ‘Kraken’ is derived from the Scandinavian ‘Krake’ meaning ‘crooked’ and the German (plural) word meaning ‘octopus’.

 The scene is a coastal village in the south of WA. A jetty reaches out into the sea; waves are lapping (artwork Tekima Wiland, Jordy Roelofs). A freezing haar is drifting in. On shore is the back door of a house, with a table and chairs on the patio. On the main stage is the interior of a kitchen. The side of the kitchen bench has Christopher’s artwork displayed on it. Set by Wayne and Sheryl Gale and stage management by Shaun Griffin. The inspired foyer display is enhanced by Dean Goodwin’s photography.

Powerful and low cello and double bass music gives an eerie setting to the cruel sea setting. Slowly and softly, the musician / composer, Miro Kepinski introduces a piano accompaniment.

      It is late in the day when 16 year old Antonia (Simonne Matthews) takes her young brother, Christopher (James Matthews) to his favourite place, the end of the pier. Antonia is holding her kid brother’s hand because he is blind. Christopher has always shown a special interest in the sounds of the ocean. The sister is worried about the creepy darkness, but being blind, this is of no concern to Christopher.

      As they sit on the jetty, Antonia receives a disturbing phone call from her friend (Zack Inglis). At home, their Mum (Rachel Bartlett) answers the knock on the door, to find a saturated fisherman (Adrian Alajberg) selling fish – but strange things happen. The Mum calls her husband (Matthew Sullivan) who is on his way home, and standing on the station platform talking to a homeless man (Ron Arthurs). The father spots a strangely dressed old woman (Samm Coad-Ward) getting dangerously close to the edge of the platform.

      At home, Christopher chats to a young boy (Ethan Dixon) who is new to the area, unaware of the boy’s strange skin colour.

The three children were amazing actors, good strong assured diction and enunciation. The story was filled with intrigue and the suspense held until the very end. Most of the parts were short cameos, but the players managed to convincingly portray the full depth of the characters. Samm demonstrated that if you get the walk right, the character falls into place.

The tale is about various forms of fear – real and imagined.

Cody Fullbrook has brilliantly captured the feel of this story, and young adults will leave the theatre wanting to read the book.

The Darkness

‘The Darkness’ is a documentary style, contemporary play penned by Brisbane born, WA actor, Bethsaida Tapsall. Originally presented at the 2014 Perth Fringe Festival, this is a revamped and expanded version. This poetic drama is presented by Phoenix Theatre Inc., as part of their new ‘Local Writers’ Showcase’ season.

Starting at 8.30, this one-hour show immediately follows ‘The Kraken’ in the Memorial Hall Round Room in the Phoenix Theatre complex. The choice of this room is perfect, adding intimacy to the delicate subject being enacted. The slight echo of the room also adds an extra dimension to the storyline.

The room is set up as a church for a memorial service, with nightlight candles along the aisle. In the centre of performing area is a memorial with wreaths and tributes scattered around. On one side of the stage is a park bench, to the other, a nurse’s flat.

There is a mix of live acting and film. The video being projected onto each side of the ‘stage’. The video sound was a little variable due to inclement weather whilst filming, and not using a foam windsock on the microphone.

      Seated on a park bench is a middle-aged woman, Patricia (Melanie Hannah). She has three heavy bags of shopping, and so is waiting for her daughter Roxanne (Kate Lloyd) to meet her. However, there is a tragedy and Roxanne dies. In disbelief, the traumatised mother tries to explain her loss.

      Standing on her memorial stone is the ghost of a young girl in a fine shroud, it is the deceased Roxanne. The girl describes her last few moments before her death. Then the hospital nurse, Emilee (Karen Hansord) who is at home after a horrendous 12-hour shift, shares the shocks of her day.

       Roxanne’s sister and best friend, Cherish (Bethsaida Tapsall) is heartbroken at the loss of her soulmate, especially as she was about to introduce her boyfriend, William (Matt Sullivan) to the family.

       Gradually, we learn the full truth behind the relationships.

The writer / director combination rarely works, as often assumptions are made as to how well the story’s message is being conveyed to the audience. When the director is also an actor, the problem can be exacerbated. However, thanks to Bethsaida Tapsall’s finely honed talent, she has conquered all three tasks, presenting a subtle, powerful and moving play.

Miro Kepinski has composed the accompanying sensitive, subtle and moving musical background.

The talented cast guide us through the first, roller-coaster stages of mourning, showing the loss of love, feeling abandoned and then anger at being deserted by the deceased. The cast each had their own very different confronting outlook on the impact of death and managed to drive their message powerfully through to the audience.

Most adults will have experienced this ‘darkness’ that has been captured perfectly by a strong cast and the beautifully structured, heartrending script.

Presented by Phoenix Theatre Inc. and Dark Psychic Productions at the Phoenix Theatre, within the Memorial Hall, 435 Carrington Street, Hamilton Hill; this lively two-hour musical, with almost two dozen number, starts at 8.00 pm on Thursday, Friday and Saturday evenings until 26^th September. There is a matinee on Sunday 20^th September at 2.00 pm.

All funds raised from the programme and raffle sales each night will be donated to Motor Neurone Disease Association of WA and the Perth Zombie Walk.

     It is Prom night in the 1950s at the Enrico Fermi High. The class heartthrob, Jonny (Oliver Kaiser) is a bit of a rogue. He was called Johnny, until the ‘H’ dropped off the back of his leather jacket. He falls for Toffee (Kathryn McCarthy) and gives her his treasured jacket as a love token. The miserable Principal, Miss Strict (Bethsaida Tapsall), who seems to have a big chip on her shoulder, supervises the Prom. The Prom ends and the janitor (Pat McMahon) cleans up the mess.

     Toffee’s mother (Emma Muller) and father (Daniel Rooney) know of Jonny’s reputation and so ban their meeting again. Furious, Jonny rides off to the local nuclear power plant and commits suicide by throwing himself into the nuclear dump. Months later, Jonny returns as a green, glowing Zombie, repulsing all who knew him.

     The local press are looking for a story and find Jonny. TV reporter Eddie Flagrante (Glenn Scott) does an exposé. On hearing this, Miss Strict threatens Toffee that she must never bring Jonny to a school celebration again. However, Toffee’s friends, Candy (Megan Kerr), Ginger (Jayde Clark) and Coco (Gabrielle Guidone) try to console her. The schoolboys in the group, Jake (Karl Smith), Joey (John Gray) and Josh (Luke Williams) are of course pleased to see Toffee back on the ‘available’ list.

     The TV station has the ‘phones running hot, with the secretaries (Ruby Reye, Maggie Meyer) working overtime. Singer, Ramona Merengue (Sara Urban) is finishing her TV show, as the Motorwise Dancers (Kate Searle, Charlotte Williams, Jasmine Glenister, and Bernadette Ward) finish their routine. As the announcer (Jessica Sullivan) tells of some breaking news, the TV’s floor manager (Ebony Uetake) shows in a special guest.

     Will Jonny find a new love? Why is Miss Strict so miserable? What will happen at the next Prom?

The lively ensemble comprised Noah Slater-Gauci, Nichola Balestri, Jacob Spinks, Sarah-Rose Kelly, Aiden Mellor, and Daniel Muller.

The lighting design (Kate Lloyd, Alex Coutts-Smith) was exceptional, with the new LED lamps being used to their full potential. The musical numbers had numerous lighting changes in time with the beat, coupled with various pattern effects. The smooth sound design and operation was by David Hardie.

With massive casts, the entrances and exits often result in a line building up to get off stage and into the wings, this time the cast were quick, slick and did not impede the set changes.

There were a couple of fun numbers, ‘Rules, Regulations and Respect’ that had a particularly good, complicated dance routine (choreographer Kate Lloyd), and the saucy number ‘Exposé’ which brought a smile.

Once again the director is the wildly adventurous, Ryan S McNally, who with his regular team of Musical Director, Maree Andersen and Choreographer, Kate Lloyd has given us a wonderfully colourful, dynamic show. The story lines are a bit thin, although there a couple of twists at the end, however, the singers and dancers put every drop of enthusiasm and strength into their well-rehearsed performances.

Sheryl Gale and Alison Kovacs created the bright and colourful 1950s costumes, designed by Ryan S. McNally, especially for the show.

This review relates to the final rehearsal, which was admirable and flawless.

Despite the title, there is no gore or horror in this show, and so it is suitable for all of the family. Full of energetic, sparkling songs and good fun.

The theatre now has a smarter entrance hall, a proper Bio Box, an improved lighting grid, cushioned bench seats, along with thickly insulated walls between the theatre and the rehearsal space next door.

The play is 65-minutes with no intermission. There are three performances, Friday 21^st August and Saturday 22^nd at 7.30 pm, with an extra matinee fitted in at 3.00 pm on the Saturday due to sell out evening performances. This leaves one wondering – Why are there so few Science Fiction plays?

 The scene (set design – John King) is a dimly lit laboratory, with a thermal awakener unit leading to the cryogenic area. There are computer screens controlling the authentic airlock doors (operator John Bailey). At the rear of the laboratory is the control centre, comprising a massive screen with never-ending computer jargon flowing and various technical boxes glowing. A hospital bed is at the side of the room.

Nick Morant operated John King, Tim Brain and Katie Southwell’s realistic and creepy lighting design. The whirring door noise was straight from space, super work by Ryan Partridge.

       The Esana Inc. cryonics facility is available to the public for hire. If for some reason you wish to be stored at icy temperatures until a future date, then for a fee this company will look after you. Seven very different people, who had signed up, are now being urgently awoken.

     First out of the chamber is James (Dean Lovatt), who has been in storage until a cure is found for his ‘delicate condition’. He checks the computer screen information, hoping to find the date, or even the decade! The airlock door buzzes and angry Hedy (Anna Weir) emerges, quickly followed by conman Matt (Aaron Jay) who looks very sick. Matt explains how he had arrived 10 years after Hedy had expected to depart – why had not she been woken up?

     Disabled Paula (Nicola Brescianini) and pregnant Tara (Bethsaida Tapsall) are both looking for some special medical treatment. The Transfer door buzzes and a happy, elderly man emerges, this is John (Ron Arthurs), who believes every day should be joyous. Seconds later Dr. Ettinger (Jason Dohle), the controller of the Unit, emerges. At last, there might be some good answers to the pandemonium and upset.

Writer / director Stephen Platt has skilfully created seven believable characters for his unusual story. So rare is this genre for the stage, that when I was trying to think of a play to compare it with, I was at a loss. In the last decade, I think this production has a unique style. The characters are well considered, filled with traits and attitudes that helped keep the story threads twisting. The storyline included all of the important elements, suspense, black comedy, straight slapstick, mild violence, tragedy and of course, love. The dialogue was a little thin near the beginning, but by the end, the interaction was crisp and the words matched the personalities well.

The costumes were simple grey, medical pathology suits with the company logo. John had a wild waistcoat (wardrobe – Ellin Sears, Denise Smith, Dean Lovatt). All of the inpatients had blue-flashing earpiece monitors – nice touch. Catherine Dunn dexterously created the hair and makeup.

Sci-Fi is not normally my favourite style, but I really enjoyed this play. It was so much more than being blinded by weird science; the storyline was solid, with a clever, unexpected ending.

To a nice bloke and a name to remember, good luck for the future Stephen B. Platt.