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.

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.

Sadly, aged 87, Alan died in March this year.

This fine presentation can be seen at the Old Mill Theatre, on the corner of Mends Street and Mill Point Road, South Perth. The two and a quarter hour performances can be seen at 8.00 pm on Thursday, Friday and Saturday nights until the 24^th October. There is an extra show on Wednesday 21^st and a matinee on Sunday 18^th at 2.00 pm.

The 1958 scene is a lower-class, family home in a high density housing area of Sydney.

At the rear of the stage is a rostrum with two sets, a kitchenette and Hughie’s bedroom. At the front of the stage is the sitting room. The construction and decoration of this first-rate set was by Phil Barnett, Travis Markham, Calvin Munro, Michiel van Doorn and Sarah Christiner.

        Sitting around the kitchen table, is the man of the house, bigoted and opinionated Alf (Chris Henderson) who is lecturing an old digger and lifetime friend, Wacka (Tom Rees) about the bloody Poms and Italians that are pouring into the country. After all, tomorrow will be ANZAC Day, when Australia is solely for the Aussies! Wacka has heard it all before, but tolerantly listens. Alf’s long-suffering wife, Dot (Valerie Henry) arrives home with the shopping, only to find that not a single chore has been done in the house.

       The group chatting in the kitchen don’t hear the arrival of university student, Hughie (Matt Randall), Dot and Alf’s son, arriving through the bay windows at the rear of the house. Hughie is with a fellow student, his girlfriend Jan (Carmen Miles), a young lady from the posh North Shore, certainly not Alf’s type.

      The couple sit on the bed and discuss an idea for a controversial newspaper article that they have in mind, which is bound to cause family conflict.

 

The young, experienced director, Brendan Ellis, was very ably assisted by Hannah Moran. Every now and then there is a community play that comes close to faultless. It is obvious that this play has had a huge amount of work put into every aspect of the production. Christine Ellis’s set, with genuine furniture of the era, the paint colours – especially the arsenic green kitchen units, the old fashioned radios, an old range cooker and an oak dining room dresser. The lighting design by John Woolrych had just the correct hue to give that incandescent lamp feel to the settings; then there were small spots that just give that touch of isolation for certain brief monologues. The choice of music, Josh Lang, had the audience quietly joining in with Pat Boone and Perry Como. The tech operation was a little variable, with a couple of pre-empts and a missed light switch on. The costumes brought back memories and smiles, from Alf’s ill-fitting, double breasted demob suit to the ladies immaculate cotton dresses. The whole production smoothly supervised by stage manager Ruhama Geiger.

This whole production relied upon the subtlety of the acting showing a full grasp of the circumstances along with the old style family values. The result was exceptional; the actors often had tears in their eyes as the conflict grew. Five good, solid and moving performances.

Chris was outstanding as the drunken father and chemistry of the others created a truly believable group. Matt gave his best performance yet, superb as the son torn between his new love and misguided parents.

I have had a few comments recently that I am not harsh enough in my reviews. I actually aim to write reviews, not critiques. If something annoys me I will mention it, but my main aim is to give the potential patrons a basic summary of the storyline and an overall idea of the production quality.

This is NOT yet another ANZAC play, but a wonderful character study and a daring look at the ANZAC day celebrations. An excellent show by a dedicated and talented team – I hope Alan saw it from above.

Joanna is a world respected author, and one of Australia’s most successful writers. Her themes of ‘feminism’ and the ‘suppressed masses by the privileged’, has, at times, brought her writing vitriolic opposition, whilst others have said that she inhabits her characters and is a leader with compassion.

The Garrick Theatre Club presentation can be seen at the Garrick Theatre, 16 Meadow Street, Guildford. The curtain rises on this 90-minute production every Thursday, Friday and Saturday nights at 8.00 until 18^th October. There are Sunday matinees at 2.00 pm.

The setting is an artist’s studio at 5.30 on a Thursday evening. The room is painted in light grey with silver woodwork (naff). Around the walls are tapestries, drapes and paintings. There are piles of artworks of several genres leaning on the walls waiting to be completed. Centre stage is a double bed, to the side a sofa and an artist’s table loaded with paints. Good Bohemian atmosphere.

       A young artist, Isabel (Katrina Murphy), is restoring van Eyck’s ‘Arnolfini Portrait’ depicting a young man and his pregnant wife. The front door opens and a man enters, he is William (Gino Cataldo) Isabel’s ex-husband, her love from a relationship that quite simply and inexplicably crumbled.

      William is an internationally famous film star, and is about to fly to Paris to get married for a second time. However, Isabel – still deeply in love with him – has contacted him and asked for 90 minutes of his time before the wedding ceremony, which William has agreed to.

      At great inconvenience to himself, William gives Isabel the 90 minutes she wants. In this time, they go through their life together since meeting, examining the rough with the smooth. They appear to prefer self-reflection rather than truly studying their relationship together.

   Will William, seeing their bonds as unbreakable, cancel the immanent wedding? Alternatively, will he leave his memories behind?

Director Brendan Ellis and his assistant Dale James have selected a wonderful cast for such an emotionally challenging play. Katrina was outstanding; she was alive, vibrant and totally involved with the character that she was playing. She was loving, sexy, caring and at one stage had tear-filled eyes. I heard someone saying that they thought Gino was slow to warm up, but he played a man that had been summoned by his ex-wife to have a meaningful chat. William would have been most apprehensive and defensive. In the script, it is clear that William has not been fully aware of the true depth of Isabel’s love for him. With the flashbacks, both actors changed their demeanour back and forth perfectly. It was in these flashbacks that both actors had tricky monologues, spoken directly to the audience with lowered lighting and just a single spot illuminating them.

Clayton Reichert and Josh Harris’ lighting was warm and soft for the flashbacks and of a cold hue for real life. Most effective. Clayton also designed the sound that was accurately synchronised by Angela Donlan and Brendan Ellis.

I must apologise for the fact that for the first time in five years I had a visual migraine and felt really ill, mid play. When I had my head in my hands, sitting in the front row, the poor actors musty have thought that I was hating every second. Again, sorry.

A tricky play to perform, but very well carried off by the magnificent cast who captured the emotions beautifully.