This world famous and much-loved story is now being presented by the Stirling Players at the Stirling Theatre, Morris Place, Innaloo. The performances are at 8.00 pm on Thursday, Friday and Saturday nights until the 16^th July. There are also Sunday matinées on the 3^rd and 10^th July at 2.00 pm.

The fascinating foyer displays by Fran Gordon, Bree Vreedenberg and Kevin Forward set the mood. The usherettes are dressed in white and gold with pillbox hats.

It is the winter of 1938-39, just months before the start of the Second World War.

At the side of the stage on the apron is the corner of Laura’s swish sitting room. At the other side of the stage is cinema seating and the lounge in Alec’s flat.

The main stage depicts a railway tearoom furnished with black tables and bentwood chairs. There is a coal stove burning against one wall. To the side is a large, cafe counter with various cakes and crockery. The back wall has a photo of a railway station roof projected onto it (operator Jane Sherwood, with film footage from Fuller Media).

Another scene is a plush, candlelit restaurant brought to life by its dapper waiters, tablecloths and vases of flowers. The effect is completed with an impressive, illuminated chandelier.

A riverside scene is simple, but most effective. Despite the number of settings, each one was fully furnished with numerous props of the era. Fran Gordon, Emma den Hartog and Joel Howe’s costumes were stunning and perfectly selected. It was obvious what a huge amount of work had gone into the set design, furnishings and costumes to create the perfect mood.

      As Dr. Alec Harvey (Glenn Scott) enters the Milford railway station tearoom, he notices a smartly dressed lady trying to wash a mite of train smoke from her eye. She is, Laura Jesson (Maree Andersen) a bored and ignored housewife. As the couple share a table, the tearoom manager, Myrtle (Ann Speicher) watches them, intrigued by the warmth of their conversation. She is initially unaware of the advances being made to her by the stationmaster, Albert (Hadrian Fuller).

     Just as the young waitress, Beryl (Simonne Matthews) clears the tables and puts another lump of coal on the fire, the platform service boy, Stanley (Zack Inglis) comes into the café to have his tray replenished, and to smile longingly at Beryl. Two soldiers on leave, Bill (Damien Johnson) and Johnnie (William Errey) stagger into the café and create havoc.

   The married woman and the married doctor agree to meet for a cinema matinée the following Thursday – purely for the company. We see Laura arriving home; she kisses goodnight to her son, Bobbie (Charlie Motbey) and her daughter, Margaret (Lakeesha Motbey) before trying – unsuccessfully – to have a sensible conversation with her disinterested husband, Fred (Craig Edwards).

     Both with loveless marriages, the couple have no qualms at meeting again. As they enjoy a sumptuous meal after the film, they are unaware that two of Laura’s nosey and interfering neighbours, Hermione (Karin Staflund) and Mary (Liz Pemberton) have spotted them and are approaching in search of gossip.

     How will the love affair develop? Will they make love secretly in this morally unacceptable affair?

      Janet Brandwood and Oliver Kaiser played multiple cameos, giving depth to the storyline.

The musical numbers have been beautifully created and orchestrated by Bree Vreedenburgh, from the copyrighter’s score. The music plays very subtly in the background throughout the play, thanks to smooth operator, Melissa Skeffington. Young Zack and Simonne’s singing was delivered with feeling, and Karin and Liz gave a powerful backing chorus to several songs. Ann brought a smile with her vivacious and saucy delivery. The excellent musical interludes were often used to ‘cover’ the set changes (very efficiently carried out by the cast under the supervision of stage manager Janet Brandwood).

Ian Wilson’s lighting design is always good, but for this show it is exceptional; complex in design and filled with atmosphere. Paul Anderson had the nightmare of operating the numerous changes, but he carried out the task smoothly and with accuracy.

The low point of the play was the dreaded headsets. I appreciate that these can be very expensive, but some crackled and others dropped out. The experienced operator was probably as frustrated as the audience was. I suspect that the complete sound desk needs an overhaul, as even the speakers seemed a little unreliable too. Perhaps ditch the aging headsets and let the performers use their theatre skills? The techs were very aware of the problem, and as it was the preview I was attending, then I am sure the problem will be cleared for the opening night.

The stunningly beautiful and sensitive 1945 David Lean film was in black and white, with very few scenes filmed outside of Carnforth Station. The film’s brilliant camera work was by a Perth born cinematographer, Robert Krasker. The 1945 film was made just after WW2, at a time when virtually no one would have intimate relations before marriage. Then in 1974, just after the Free Love era of the 60s, Carlo Ponti brought out a dreadful, brash Technicoloured version that starred Ponti’s wife, Sophia Loren with Richard Burton. It was fussy, heavy handed and totally without atmosphere.

I was apprehensive as to which style the director, Jane Sherwood, would employ, and could the frustrated love translate to the stage? Thankfully, Ms Sherwood’s version was much nearer the original. Jane can be relied upon to check every aspect of her productions, ensuring depth and reality in every scene. Small touches like the train smoke drifting past the café, the dozens of railway sound effects. Her skilled direction ensured powerful and yet romantic performances from the couple, backed by a strong cast.

The play includes several Noel Coward songs, but it is not a musical, but rather a drama with songs. This blend of drama and music is the idea of the play’s adaptor, Emma Rice; and although she won an award for the adaptation, I felt it slowed the play down slightly and was even distracting.

Tackling a story that has lasted more than 70 years in the top 200 movies can be risky, as the audience will certainly have their own expectations, but this ambitious, quality and enjoyable production gave a very pleasant evening’s entertainment.

The demand for tickets has been enormous, so get in quickly for the night of your choice.

This 140-minute spectacle can be seen at the Old Mill Theatre, Corner Mends Street and Mill Point Road, South Perth, with performances each night at 7.30 (not as some adverts say ‘8.00’) until Saturday 13^th December  7.30 pm.

        When a typhoon passes through Kansas, Aunt Em’s house is hurtled through the air and lands on an evil witch, killing her. Her sister, Olga (Craig Menner), the ugly, wicked Witch of the East decides to take revenge on Aunt Em (Trish Theisinger), young Dorothy (Arianne Westcott-King), and their scruffy dog, Toto (Harrison Wake). However, Olga notices that Dorothy has bright ruby-red slippers with magical properties and is determined to have them.

        Dorothy was getting very worried about Olga’s threat, when Glinda (Nicole Miller) the good Fairy of the West arrives with her hapless friend, Letitia (Trevor Dhu). Glinda explains that Dorothy should travel to the Emerald City to see the Wizard of Oz and seek his help – just follow the yellow brick road. So, guided by the gatekeeper (Rex Gray), Dorothy set off in search of the Wizard with a group of delightful, little people – the Munchkins.

        On her way, Dorothy met a scarecrow (Tim Prosser) leaning on a fence, he had a beautiful singing voice, but no brain. Next, she met a very timid lion (Neil Cartmell), who desperately needed some courage, and finally she met a Tinman (Sarah Christiner), who would love to have a heart. Farther down the road, Dorothy was surprised to meet a famous pop singer, a King from the 70s (a totally unrecognisable Ted Bull). Olga’s mischievous helpers, the wild monkeys, attack the party. Even if the group survives this, there is still the Wizard’s obstinate Chamberlain (Matthew Styles) to get past.

The children, aged from 5 to 14, played the loveable, happy Munchkins and the diabolical, trouble-making Monkeys. The children were magnificent, the Munchkins smiled constantly as they performed, danced in perfect sync and sang with gusto. Their costumes (as for all the others, were designed by Jenny Prosser, Susan Sator, Maree Grayden) were delightful. The Monkeys, with their threatening baboon like faces, glowered and snarled as they leapt around doing cartwheel. Their makeup (designed by Nicolle Miller, and Lisa Piggott) was most impressive, and considering the number of youngsters involved a huge amount of work. Jenny Prosser made most of the costumes. The Tinman’s costume really rattled and clanged as he walked – poor Sarah must have suffered inside, but it was worth it.

Once again, the sets needed that extra sparkle and with Maree Grayden, Ben Davis and Phil Barnett’s input Tim Prosser has done another sterling job with artworks for his set painting.

The Old Mill has some several LED lights that gives a new dimension to the scenery and the atmosphere. Ben and Flynn Vincent operated Ben Davis’ complex lighting design. Flynn is new to the bio box, so on the preview there were a couple of slow light changes, but considering the complexity of the show, I was most impressed and am sure he will be ‘spot’ on for the opening. Bree Vreedenburgh’s sound design required one or two unusual snippets, but this went well with crisp control by Jeremy Skinner.

As musical director, Bree Vreedenburgh had a huge amount of singing and dancing to cope with but the whole team worked very well.

The Munchkins were:- Sienna Birkett, Abbey Breust, Charlotte Broadbent, Caiden Cartmell, Kian Cartmell, Indigo Ellis, Anna Grayden, Hannah Harrison, Tahlia Menner, Grace Pooley, Atira Shack, Brooke Skinner, Naomi Skinner, Adele Stewart.

The evil Monkeys were:- Alexander Broadbent, Hannah Claux, Ryan Drummond, Megan Grayden, Madeline Hooker, Matthew Hutchinson, Kasey Pavlovich, Digby Petit, William Sartor, Aaron Skinner, Georgia Weston-Arnold.

Director Maree Grayden and her assistant Kylie Bywater’s can be most proud of this pantomime; it has all of the magical elements with some wonderful performances from the main characters.

Thoroughly enjoyable, children of all ages will love it – oh no they won’t – oh yes they WILL!

This bright and original musical theatre can be seen at the easily accessible Latvian Centre Theatre, 60 Cleaver Terrace (bottom of the hill on the right – plenty of free parking) in Belmont. Presented by ARENAarts, this 150-minute show has curtain up at 8.00 pm, on Thursday, Friday and Saturday nights until 25^th October, there is a matinee at 2.00 pm on the 19^th.

Part proceeds from the show go the WA Men’s Shed Association and Enterprise 33, an organisation that focuses on men’s suicide prevention and delivers post-suicide assistance for families.

The opening set is ‘another brick in the wall’, with a back lane wall covered in graffiti. The wall is removed to reveal an admirable fairground scene, complete with ice-cream stall, a beautifully painted backcloth depicting a big wheel, but the main attraction is a working horse ride / carousel that actually rotated! A masterpiece by the team of Peter Nettleton, Jim Chantry, Tim Prosser, and Gabrielle Dahmen.

        The back lane is where many of the druggies meet; sadly, Rhys (Anthony Smith) is one of these youngsters. There is a rousing opening number as the wall parts to reveal a lively, fairground with twinkling lights and all of the fun of the fair.

        The fairground manager, Mr Anderson (Graeme Cross) is asking his carousel operator, Alan (‘AJ’ Lowe) to stay on late and repair the Ferris wheel. 42-year old Alan has hit a low, and feels that he is being used. Despite one of his attractive assistants, Julie (Alison Arrowsmith) trying to cheer him up, he misses the ‘affection signals’ in her approach and he walks off the site.

       We next meet Alan at a Group Therapy Session, having been sent there by his GP. He is most reluctant to participate, especially when he sees the smiling, almost euphoric counsellor, Tim (Nima Raei). Alan looks around at the other members in the group; there is druggie Rhys, and aggressive punk, Ang (Rachael Maher) who is determined not to partake under any circumstances. Then there is the very smartly dressed Abby (Gabrielle Dahmen) and alternative lifestyler, Rosa (Dimity Wehr); oh, and in the corner, the one no one ever notices, Beth (Bree Vreedenburgh).

      As Beth sits in the session, she recalls her younger days as a dancer and singer. This flashback is brought to life by the graceful ballet of Brigitte Channer and Georgia Brice (both star quality for the future?). The chorus of Dee Rowlands, Hery Setiawan, and Stacee Parkinson gave extra life to the musical numbers.

      After his first group session, Alan is unconvinced and that night is approached in his dreams by the Devil (Kathleen Uhlmann), who, with the help of her fellow seductresses (Simonne Matthews, Sarah-Rose Kelly – the excellent choreography assistants) works her evil spell.

The stage management (Jane Sherwood, assisted by Chrissie Mavrofridis) was slick, although the occasional set of fingers coming around a flat in anticipation of a move brought a few laughs. By the end of the season, the two lasses will have muscles on their muscles with manually turning the carousel and its riders.

The sound quality (James Wilson) was excellent; it had tremendous depth and richness. The solos of Aussie music classics and a few numbers penned by Bree, gave every actor their own moment of glory. They seemed to have a backing group in the background? Simon James’s lighting design is brought to life by technician Mario Piccoli and operator Callum Calder. The theatre lighting is very limited, but the team gave true life to every musical number. In addition, the programme was high quality, full colour 16 sides of A5. Great costumes, but no credit listed in programme.

Director, Bree, freely admits that she wrote this play after having her own depression problems. This taboo topic appears to be a common problem, with 20% of the population having serious troubles at some time. This topic of this play looks like a real drag, a subject to avoid, but not for a second was it heavy going; it really was fun and with its rousing ending, most enjoyable.

The strong cast were filled with energy, plenty of smiles and several very good solos.

The dialogue started a little quickly after Anthony Smith’s solo, which was a shame as he was excellent, but the audience could not quite get their applause in. Gabrielle and Bree also had powerful melodic voices, but I am sure the cast will not mind me making special mention of Rachael Maher who has amazing stage presence. Every show that I have seen her perform in, she just captures the part with her voice, expressions and body language. Superb.

PLEASE don’t look at the topic, you are NOT going to be preached to, although there are many pearls of wisdom subtly in the script. This is a very good WA musical, and you will come out smiling and feeling uplifted. Congratulations to all concerned.