This lively dramatic production can be seen for three nights only at the Nexus Theatre, at Murdoch University, 90 South Street, Murdoch on Thursday, Friday and Saturday night at 7.00, until 20^th August.

The scene is the exercise yard of a compound owned by ‘One World Corporation’. Limestone walls, topped with barbed wire (Designer Allison Bell almost single handed constructed and painted this very realistic set. She had some assistance from John Bailey) surround the area. Overlooking the area is the promotions manager’s office. On a higher level (almost in the lighting grid) stands George Orwell.

At each side of the stage was a TV monitor showing Supervisor Felicity and the sufferings of Julia (Filming by Taylor Gilbert, AV by Blearnard Suarez).

Visible through chinks in the rear limestone wall are the musicians. On Keyboard – Kenn Ellis and Nick Ireland, Cello – Caitlyn Harrison, Drums – Liam Richer, Bass – Chris Heindl, Guitar – Mike Gorman and Trombone – Ned Holland.

A slick show, thanks to Production Manager Thomas Dimmick with his fast and efficient team, under Stage Manager Brianna Lea, who was assisted by Tijana Simich.

       The curtains rise to show us a smartly dressed woman, Roberta (Cat Perez), with a bejewelled pendant of an ever-watching eye around her neck. The ‘eye’ is the symbol of the ‘One World Corporation’ that is having a Memory Day Celebration. Roberta has a small computer attached to her scalp, which, like her armband glows with a blue light (Props, Dean Lovatt). It appears she is in great discomfort from the flickering head unit.

     The celebrations begin with a line of tap-dancing girls, dressed in black leotards and sporting lime green top hats. On the back of their costumes, once again, is the big brother eye. As they finish their routine, the smiles disappear as the hoodies with black masks, under the command of security chief, Will (Will Moriarty) move in and capture the performers. Next time we see the dancers they are wearing armbands and are now ‘committed’ members of the Corporation. The Corporation believes in ‘one voice’ for the benefit of all.

     When Ian Winston’s (Launcelot Ronzan) armband flashes, it means that the power is low and the brainwashing propaganda is not reaching his mind. As a result, Ian, who is Head of Propaganda, seems to be having doubt as to the ethics of his job in this fragile world, as the inmates are like zombies or automatons, void of expression.

     For some unknown reason, one of the Corporation’s members, Julia (Deirdre Khoo), seems to get preferential treatment – this forces Felicity (Rebecca Dilley) the supreme supervisor who looks after the women’s ‘welfare’, to pick on her.

     On high, dressed in a full-length black leather coat, is the omnipotent Orwell, the creator of the Corporation. When Orwell notices that some of the team are rebelling, she sends in her Assistant (Michael Casas).

       With the activated armbands fading rapidly on many of the inmates, and with the brain-washing power fading, could this be their chance for a revolution?

The versatile Ensemble comprised – Tay Broadley, Justin Crossley, Bella Doyle, Andrew Haning, Andrea Kendrick, Abbey McCaughan, Claire Mosel, Ellin Sears, Gema Seenarain, Ashleigh Spring, Clare Talbot, Sean Wcislo, Nashy MZ. This ensemble is includes drama / acting students, but in support of their PhD student friends, they were happy to take themselves out of their comfort zones by singing and dancing with gusto. The dancers may not have been quite top rate, and some singers lacking a little in vocal range, but the performers gave the play everything that they could. Many congratulations.

Sarah Courtis in writing the script and lyrics has produced a most interesting storyline, with great dialogue and engrossing lyrics; but what I found most ingenious was her ability to carry through Orwell’s original style of writing. Along with Sarah’s imaginative directing, the lyrics clearly encompassed the bullying by the supervisors, such as Will’s intimidation and the wonderfully powerful, gritty tones of Roberta (Cat Perez). In a variety of musical styles, a couple of scenes later there were a couple of soft, heartrending songs by Julia (Deidre Khoo).

Choreographer Ellin Sears skilfully gave us the ‘big show opening’ with the bright, bouncy tap chorus. Soon the joyful atmosphere turned to one of drama, as the cast became antagonistic inmates, stomping through a song. There was a delightful ballet scene, rapidly followed by a revolutionary march that could match ‘Les Miserables’ in its threatening power. There followed a tricky Busby Berkeley-style concentric circle dance routine which worked very well.

Nick Choo conducted his musicians through his clever compositions, with carefully selected instruments to match the mood. One scene had staccato strings; next there was the pounding, full power of the band that almost achieved orchestral richness with the limited instruments. Clever arrangement.

The lighting was well considered by Lighting Designer, Katie Southwell and smoothly operated by Shannon Precious. The Sound Design was the work of Christian Mulchinock and operated by Corina Brown. Achieving a balance for a band packed into a small enclosed space, coupled with controlling the dreaded headsets for the lead singers was no mean task. Both worked perfectly, well done.

The final touch to this fast moving drama was the costumes, audaciously designed by Jenia Gladziejewski, Ellin Sears and Sarah Courtis. It would have been easy to just have the dancers in standard black leotards, but the extra ‘eye adornment’ made them relevant to the story. Inventive little touches, like Ian’s leather gauntlet and the ghostly white mask dance gave the show a big budget look – whist being produced on a shoestring.

I learnt afterwards that the show had minimal rehearsal time, and yet the product that was delivered was most professional. A clever show that hit all of the senses.

She is also a member of Ensemble Studio Theater’s Youngblood, a group of emerging playwrights under the age of 30.

This 80-minute (no interval), Black Martini Theatre’s production can be seen for a sensible ticket price, in Murdoch University’s Studio 411, opposite car park 4 in Murdoch University, South Street, Murdoch. The curtain rises at 7.00 pm each evening, until Saturday 11^th June.

Thomas Dimmick’s lounge room set design was representational of the New England 18^th century wood panelled rooms. There was a patio window with a rod curtain. In the corner was a toy box. Central stage was an Axminster runner carpet with several beautiful antique chairs.

Stage manager Rebecca Dilley, assisted by Sean Wcislo had one of the best stage teams I have seen in months. Even with major pieces of furniture, each member was totally focused and moved onto the stage, placed or removed the props and left, with no scene change taking more than 3 or 4 seconds. Superb work.

       Mrs March, Marmee (Maddy Jolly Fuentes) has gathered her four daughters in the sitting room. She tells them how their father had been wounded in the Civil War, and that she must go to his side. The girls’ faces showed their devastation at the news, however, when their mother left the room the mood changed.

      Happy but sickly Beth (Virginia Cole) coughs into her handkerchief and sets off to see elderly Mr Lawrence (Michael Casas) in an attempt to borrow money to pay for her mother’s trip.  Uncaring and self-centred, thirteen year old Amy (Claire Tebbutt) immediately complains about the economies that will be required to pay for the mother’s ticket. Meg (Cat Perez) starts to fantasise about meeting a man, because in their remote home she has never even met one.

      Meg decides that they should put on a play to cheer themselves up. Bolshie and politically inclined Jo (Shannen Precious), being the most verbose and snide, is insistent on playing the male part. Then like a gift from God, handsome, alluring Laurie (Hock Edwards) appears, Meg is excited, could this be her big chance? Unfortunately, Laurie sets off to travel the world. The family receive a visit from John, sorry, ‘call me Mr Brooke’ (Matthew Abercromby) – Meg is happy again.

     When the dashing German Professor Bhaer (Will Moriarty) arrives, Jo shuns his attentions. Will she never marry?

 

As you may gather, this play is NOT a version of Louisa May’s Civil War novel, ‘Little Women’, it is more of an anti-play. It mocks the mellifluous overtones of the original, being full of dry, sarcastic and disrespectful humour, in a superbly written, acerbic script.

Director, Jessica Serio, has presented a first-class comedy, by selecting a magnificent cast who fully understand the subtleties of the author’s writing. Jess has staged the play as though it were a BBC tv series, complete with fine costumes (costume design – Anna Weir) and clever lighting (design – Kiah Van Vlijmen). The choice of background music and sound effects by designer Tijana Šimić are perfect.

The cast enunciate and deliver their lines as would be expected for the original, but the brazen attitude of the daughters, and their outlook on life, is very much contemporary. The sisters can be real bitches to each other. The understated, almost throw away delivery coupled with a perfect pace, added greatly to the zany situation.

This is one of the funniest plays in months that works particularly well because of the skilled team presenting it.

This 3-hour production is a joint venture between Stray Cats Theatre Company and the Mandurah Performing Arts Centre. It is wonderful to see a local shire giving the children of the town a chance to see live theatre.

The musical came to Mandurah on the wettest and wildest weekend in years. After a wonderful first night, the Saturday matinee suffered a power failure – twenty minutes from the end. Five hours later the power had still not been restored, and most of Mandurah’s houses and streets were in pitch darkness. However, having seen ’Mary Poppins’ and ‘Chitty Chitty Bang Bang’ the audience was not going to be put off, the crowds still turned up, and the Arts Centre was packed. The cast gathered in the gloom and, unaccompanied, sang their hearts out, giving their loyal audience a few numbers from the show. I had made a 120 kms return journey to see the show, and it was this singing that decided me to return a further 120 kms next morning, for the full show – well worth it.

It was decided to cancel the performance and have an extra at 10.00 the next morning. The three-hour performance went flawlessly, finishing at 1.00 leaving only an hour before this energy packed show hit the stage again.

The proscenium arch and the railings around the orchestra pit were covered in gold painted bicycle wheels of varying sizes. On the ceiling of the theatre, a massive dragon flapped its wings as smoke belched forth. A map of Munchkin Land (Alan White) is projected onto the safety curtain.

       The citizens of Oz are in the streets, celebrating the death of the uncaring, Elphaba (Kimberley Harris), when, from the sky, a bubble descends carrying the much-loved, blonde, giggling Galinda (Lisa Taylor) who just loves to tell everyone how good she is. Even the monkeys (Hayley Pilcher, Terina Henry, Tracy Harrington) are excited, as they do their aerial tricks.

       Glinda tells the Ozians how Elphaba’s mother (Malia Bennett) gave birth to a green-skinned baby. Her father, the Governor of Munchkinland (Scott Hansen) loathed her and gave all of his affection to her disabled sister, Nessarose (Cassandra Power). The girls are sent to Shiz University where the nasty Principal, Madame Morrible (Alyssa Burton) rules with a stern hand and a little sorcery.

       Elphaba’s favourite lecturer is the history teacher, Dr. Dillamond (Erik Bunch), a goat-like animal professor who is discriminated against and sacked by Madame Morrible. When the unscrupulous Prince, Fiyero (Joshua Towns) arrives, Galinda is immediately in love with him. Unfortunately, when a poor Munchkin Boq (Braeden Geuer) declares his love for Galinda, she suggests that he should love Nessarose instead. Boq ends up guiding Nessarose’s wheelchair (creators Jo Bickford, Peter Sydney-Smith) whilst still yearning after Galinda.

       Having no friends, Elphaba is taught by Galinda how to attract men, and Fiyero then shows interest. The two help rescue and free a caged lion cub. Soon, the famous Wizard (Peter Sydney-Smith) asks Elphaba to visit him at the Emerald City. Madame Morrible, who now works as the Wizard’s Press Secretary, gives Elphaba the ‘Grimmerie’ – a priceless spell book.

       When the Wizard’s acrobatic, monkey servant, Chistery (Bailey Bridge-man-Peters) sprouts wings, Elphaba realises it is the Wizard who has been cruelly controlling the Animals’ freedom. Not only that, the Wizard cannot read the special codes in the Grimmerie, he is in fact a fraud. Elphaba, now known as ‘The Wicked Witch of the West’ grabs a broomstick and flies off to sanity (Mechanical crew Stephen Carr, Jamie Murray). Meanwhile, ‘Glinda the Good’ starts working for the Wizard and Morrible, against Elphaba.

     On hearing Elphaba is to be ‘melted down’, Fiyero ignores Glinda’s approaches and goes to Elphaba’s rescue. On the death of her father, Nessarose becomes the Governor of Munchkinland, but still she cannot capture Boq’s heart. Elphaba tries to help Nessarose by giving her sister special, magical shoes and the power to walk. When Boq still shows no interest, Nessarose tries the Book of Spells, accidentally shrinking Boq’s heart; he turns into the ‘Tin Man’.

       Whom will Fiyero finally fall in love with? Will Elphaba remain cursed?

Other major players included Malia Bennett, Matthew Walford, Elizabeth Willow, Cat Perez, Corinna Gosby, Nicholas Gaynor and Jared Pettit.

The scenery crew, under the supervision of head builder, David Hartly, produced lively, intricate and amazing pieces. The quality of every piece of scenery was top-class, from the crashed witch’s house to the massive talking head of the Wizard. There were the retractable wings on the monkeys (Peter Francis) and the magical Hour Glass (Paul Fieldwick). At no stage was there the impression of ‘that will have to do’, the finish was always immaculate – great work by Peter Francis, Duncan Anderson, Mal Thompson, Alan White, Wayne Gale, Daniel Corbishley, Steven Sallur, Vanessa Thompson, and Alex Paolino. There were also several impressive backdrops and sets designed by Bronwyn White. Sheryl Gale supplied the numerous props, such as spears and oil lamps.

The sound was magnificent, with a great soundscape from Peter Lovell. Ruby Liddelow flawlessly operated the dozens of dreaded microphone headsets, often famed for their unreliability.

Karen Francis’s complex lighting design was outstanding, completely capturing the mood. The bio-box operator, Clint Gerard was impeccable, and the two spotlight operators (Thea Clarke, Khaijun Pearce) were smooth and accurate, even on the narrowest of beams. Visually exciting work from the team.

Then comes the result of months of sewing. Head seamstress Cathy Wainwright had to design several changes of costumes for the cast, a total of more than 300 costumes. She was helped by Linda Lowry, Jordan Hopkins, Kerry Tarbuck, Rebeka Thomas, Rhiannon Thomas, Michelle Thompson, Bronwyn White, Erin Thomson, Geraldine Harris and Pat Francis. Again, all of the costumes were trimmed with extras, many actors wore hats and fancy tights; the result was a visual feast. Then in combination with the makeup team of Jodie Mars, Rhiannon Francis and Monique Kinnest, the characters of Madame Morrible, Dillamond, the monkeys and Chistery came alive. Superb work.

The director, Karen Francis, was the major driving force, being intensely involved in almost every aspect of the production; she gave the cast drive, enthusiasm and confidence. The vocal director was Kristie Gray, who luckily had several trained vocalists – a special mention for Kimberley and Lisa who were magnificent, strongly backed by Alyssa and Cassandra. Even Joshua, who has performed in numerous quality dramas, sang admirably in this his first major musical. The powerful backing singers, who were positioned in the orchestra pit, were Kristie Gray, Kim Moore, Daniel R. Nixon, Jason Arrow, Sean Williams, Andrew Coshan and Alexandra Cornish.

Choreographer, Megan Doohan bravely faced around 60 extras to train and direct, and yet each performer gave routines packed with every ounce of strength and enthusiasm. They smiled, danced, sang in perfect harmony.

Musical director and conductor, David Hicks, had at the end of his baton, on reed Jennifer Currenti, David Lawrence, Blake Howieson and Liam House. On Brass, Aishah Chadwick-Stumpf, Jack Sirett, Harry Josland and Ned Holland. On percussion and keyboard, Mark Beasy, Sam Bradbury, Bronwen Herholdt, Vanitha Hart, Brendan Talty and Sarah Palmer. On string Stuart Robertson, Darsha Kumar, Liza Kotze, Josh Dunne and William Christensen. The orchestra, playing first thing on Sunday morning after a late night on Saturday, were still impeccable. A three-hour show is a marathon for a musician, to have an hours rest and then another marathon, was mind boggling. well done.

Holding the whole show together were Production Managers Bronwyn White and Ashleigh Riley, aided by Anita Telkamp and Rach Hayter, and with a cast of over 70, this was no easy task. However, at the end of every scene, the packed stage would empty silently and without any pandemonium in a couple of seconds. I have seen shows where even two or three actors have struggled to leave the stage without crowding.

Kristie Hennessey took the cast’s headshots. Jon Lambert’s excellent 16-sided, full colour gloss programme was being sold for only $5 – too cheap. Some patrons were apprehensive of buying one, thinking that, like the Burswood, the price would be around $25.

This production was the ULTIMATE in community theatre, very many congratulations. I just hope it was entered for the Finleys Awards.

Breath-taking, amazing, spectacular with 400 giving a standing ovation – what more can one say?

The set (designer – Sam Knox) comprises a bare stage floor, painted with a fascinating map of the Middle East as it was in 1890. Wooden pallets and sandbags stand at the side. Rear stage is a long canvas tent, with a central entrance. Katie Southwell’s lighting design was low key, adding to the drama and misery of the situation. Jess Serio’s sound design was impressive.

Jess Bennett-Hullin’s costume design was complex and varied. With help from John King, as Military Adviser, Jess had to ‘equip’ a modern day army, fighting in Iraq, along with ancient Greek warriors complete with tabards, chitoniskos and greaves. All combatants were complete with weapons.

       With a golden spear in her hand, the goddess of war and wisdom, Athena (Chloé Laffar) enters and explains how distressed she is by the behaviour of military hero, Ajax (Rhys Hyatt). He is slowly losing his sanity and killing animals, thinking they are Greeks being led by his arch enemy, Odysseus – also known as Ulysses (Hock Edwards). Ajax has a few faithful warriors (Shannen Precious, Tay Broadley) but most have deserted him.

     We jump forward a couple of millennia as a platoon of American soldiers wearing night sights enters the same desert scene.

     There is Debbie (Cat Perez) back for her fourth tour in Iraq, then there is a sex-starved sergeant (Launcelot Ronzan) who ‘using’ a young female recruit, AJ (Sam Knox) for his fun. In the evenings the women try to avoid the males by playing cards. Rugged soldier, Sickles (Amanda Ferguson) looks after the innocent recruits, whilst the chaplain (Luke Gratton) provides for their mental care and the nurse (Claire Tebbutt) tries to cope with the injured.

     At one stage, in a very moving speech, Constance Mangus (Tijana Šimić) tries to explain what the war is doing to the soldiers, but finds it hard to justify the suffering and skirmishes. How little war has changed over the years.

For Thomas Dimmick, this was a particularly difficult play to direct; he had to convincingly show the ancient lifestyle and aggression of the Greek troops, with a contrasting modern narrative of today’s soldiers with their advanced weaponry, and yet retain the playwright’s clever use of parallels. The actors were required to give powerful and assured performances, as no one is fooled by a set of wimpy soldiers. On the whole – with Harriet Fettis’ movement choreography – the tension and horror of the situation held up very well for the whole 100 minutes of this drama.

With material gained from interviews with Iraq war veterans and their families, the script is poignant. Once again several of the actors stood out as they ‘lived’ the wretchedness of the soldiers. Cat Perez as the grieving soldier, riddled with guilt at not stopping the suicide of her friend; and Sam Knox, as AJ, who was horrifyingly raped, by her sergeant, just as Cassandra had been raped by Ajax, both gave particularly convincing and moving performances.

Rhys, as Ajax dripping in blood (great makeup) perfectly captured the madness of this ancient warrior.

This production was – due to the subject – very heavy going, but it had numerous qualities not often seen in student productions of this complexity. Great team work.

This Murdoch Theatre Company’s 100-minute (including interval), fast moving show is suitable for children aged 6 to 96. It can be seen for 3 more shows only at the Nexus Theatre, Murdoch University – near car park 3 – on Friday 17^th at 7.30, with Saturday 18^th having two performances, a matinee at 2.00 pm (meet the characters after this show) and at 7.30 again in the evening.
The sets are colourful, though the backdrops and trees are recycled, they have been spruced up with large leaves. The witch’s house was particularly impressive.

       As the music of ‘Peter and the Wolf’ faded, the narrator, dressed in a nightshirt – like Wee Willie Winkie, (12 yrs old Amalie Meneghetti – excellent – the only non-Murdoch performer) introduces us to the local village of Grimm Dark. The Mayor (Nicola Brescianini) told us what a wonderful and exciting town it was to live in, however the locals did not seem to agree.

        Into the street wanders Little Red (Cat Perez) with her dim, but brave friend, Peter (Aaron Vanderkley). Little Red is asked by her mother (Meagan Dux) to visit her Grandmother’s (Rhys Hyatt – outstanding, what are you doing after the show Baby?) house in the forest.

       Peter and Red follow the Yellow Brick Road and meet hungry Hansel (Rebecca Dilley) and beautiful Gretel (Shannon Rogers); they had just been in the gingerbread house and killed the Witch (Claire Tebbutt) – or had they?

        Peter tries to protect Little Red but soon they are lost in the woods. A strange and threatening Woodsman (Kieran Renouf) was never far away. Hiding – dressed as a sheep – is The Wolf (Sean Mackey), who is seeking revenge on Peter. 

        Can Little Bo Peep (Karen Hansord) find her sheep? Will the three bears, Papa Bear (Launcelot Ronzan), Mama Bear (Abbey McCaughan) and Baby Bear (Tijana Simich) save poor Red? Is Grandma all she seems?

Director Kate Willoughby has gathered several of her friends, all of whom have proved themselves numerous times as first class actors, for her pantomime, however, Panto is another genre and not everyone can make it work. This band of actors were magnificent, they threw themselves into a laissée-faire attitude, enjoyed themselves and the pleasure flowed from the stage to the audience who loved it. Kate has also put in many asides and novel ideas, such as the comical bear family’s walk.

Sean Mackey was amazing as the wolf; even when faced with a front row of rowdy children from hell, he was unfazed. Hansel and Gretel’s rapport was also top notch.

Unfortunately I haven’t a techies list so cannot give credit to the excellent mood lighting and sound. I did learn that the striking poster design was by Mama Bear, Abbey McCaughan.

The stylish costumes were bright and well made, from Hansel and Gretel’s buttercup yellow to the furry wolf.

Plenty of laughs, well-written, well directed and well acted. Well, well well, three holes in the ground. A good winter holiday laugh for ALL of the family. Family tickets available at the door, at a sensible price.