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 two-hour play can be seen at the KADS Theatre in Barber Street, Town Square Centre, Kalamunda each Wednesday, Friday and Saturday until 28^th May.

For any new people in the area and potential audience members, may I suggest that your beautiful posters and first-class website mention which theatre the show is at, and where the theatre is situated?

The scene is the year 2014, in the shabby lounge room of Herringbone Manor in Sussex. Due to encroaching poverty, the buildings have fallen into disrepair, with many of the artworks and treasures having been sold off. The set is the work of Richard Woolman, Bill Weighell, Paul Hodges and the designer Geoff Rumsey. The stage manager is Liam Rogers.

       Act One – The pedantic and painfully overbearing, Lord Alfred Herringbone (Paul Anderson) is reading his ‘Times’ and sipping on a whisky. Meanwhile, his tolerant wife, Lady Penelope (Marsha Holt) tries to ignore Alfred’s demands for perfect syntax. Their aging butler, Wick (Geoff Rumsey) is now a luxury they can barely afford, but as the Wicks family have been attendants and loyal servants to the Herringbones for centuries, they keep him on.

       On returning from holiday, their daughter Caroline (Rachel Vonk) suggests that they contact her friend Alyce (Natasha Smith) who works as a producer’s assistant on a TV show, dedicated to saving old manors. Will she be able to help? What will she unearth?

 

     Act Two – We find ourselves back three centuries at the beginning of the Herringbone dynasty, where the first butler, Wicks (Les Marshall) takes care of handsome, debonair Amberley Herringbone (Paul Reed) who is being chased by a gypsy girl (Natasha Smith). When he rejects her, she puts a terrible curse on the House of Herringbone for generations to come. Perhaps antiques expert, Justine truelove (Charlotte Weber) may hold the answer to the misfortune.

 

The two stories are both very funny, the first Act was slick and worked well, however, the second Act suffered from the ‘Curse of the Herringbones’. With only days to go, two actors had to withdraw due to severe illness; unfortunately, this left the second story under rehearsed. A little bit of script editing would also help, but it was a good storyline and well thought out.

Paul Anderson gave a hilarious, supercilious performance, with Martha Holt brilliant as the frustrated, long suffering wife – great chemistry between the pair. Geoff Rumsey was perfect as the present day, gracious Wicks with all his subtle quirks.

Quite a complex lighting schedule designed by Don Allen and operated smoothly by Tiernan Stevens. Julie Hickling’s soundscape was operated by Jason Millman.

Having the author direct his own play can be a risk, but Bob Charteris has had plenty of experience both on and off the stage, and with this very good cast he did extremely well.

Dublin born ‘Seán Ó Cathasaigh’ lost his father at the age of six, and being one of thirteen children; he had to leave school at fourteen to work on the Irish Great Northern Railway, then for a newspaper distribution business.

This highly controversial, but topical play (being the centennial of the Rising), has been decried both by the politicians and the church, however, it is still considered one of the best Irish plays ever written.

‘The Starry Plough’ – (Camchéachta) was the flag carried by the Irish Citizen Army. This wonderful play is being proudly presented by the Irish Theatre Players and can be seen at the Irish Club WA, 61 Townshend Road in Subiaco.

The superlative set (designed by Noel O’Neill) utilises the whole theatre, this really takes the audience into the blood and guts of the situation.

The setting is a Dublin tenement, with the stage being the downstairs flat in Act 1 (November 1915) and an upstairs flat in Act 4 (Easter 1916). The flats are the homes of blue-collar workers. The walls are damp, there are settling cracks appearing and the plaster is crumbling.

The proscenium arch is the brickwork of the outside of the house with a front door and upstairs window. The pavements lead down the aisles. To the side of the stage is a rustic bar. A huge amount of work in construction by Noel, Rory Buckley, Aidan Murphy and Paddy Ryan, but it certainly allowed you to feel the depth of poverty and misery. The stage management smoothly carried out by Ruhama Geiger.

     As the racy calendar shows, it is November 1915 in the Clitheroe home. Newly married, and with stars in their eyes, Jack (Brian Donohoe) and Nora (Sandi Buckley) are settling down to their evening meal. Misery-guts, Uncle Peter (Joe Purcell) is drying his underwear and shirt in front of the open fire. Whilst an old family friend, Fluther (Stanley O’Neill) is repairing the front door, Nora’s cousin, Young Covey (Rory Buckley) arrives. Covey, who is very well read in British history and army tactics, is itching for an uprising and independence.

     Widowed mother, Mrs Grogan (Siobhán Wright), who – due to stress and poverty – is looking older than her years, has two children; a sickly teenager, Mollser (Katie Toner), and a babe in arms. In the local ale house, alcoholic Bessie (Charlotte Weber), the ‘Orange bitch’ living upstairs, accuses Mrs G. of being a loose woman, and has to be separated by the bartender (John Flood), whilst the real floosy, Rosie Redmond (Michelle Delaney) looks on.

     Easter arrives along with the British troops. Captain Brennan (Brian O’Donovan), Sergeant Tinley (Aidan Murphy) and Corporal Stoddart (Adrian Mills) show that there are different types of soldiers, with very different attitudes to the Irish.

Under the supervision of multi-award winning playwright and director, Hellie Turner, aided by her talented assistant director, Mary Murphy, every aspect of the production was first class. The set decor was outstanding; the lighting design was complex and impressive (designed and operated by John Spurling and his advisor, John Woolrych). Chris Rowe’s soundscape was an intricate blend of music, background atmosphere – such as the shipyard sounds – and numerous split-second, perfectly cued sound effects.

The costumes for the era (Liz Quigley) were well researched and beautifully produced, ranging from Mollser’s cheap nightdress to the simple clothes of the day worn by the majority of the cast. The eye for detail was noticeable. WA Academy’s makeup artists along with the Valona hair specialists created the tired and elderly looks demanded by the parts. An amazing team of techs and artistic talent presented clearly in Sarah Hession’s professionally designed programme.

A powerful talented cast, but special mention must be made of Charlotte Weber and Siobhán Wright; both actors giving real depth to their parts and bringing a tear.

The Irish Theatre players are renowned for their warm welcome and high quality dramas, but this play is one of their best productions in years.

‘It’s All Greek to Me Too!’ is Noel O’Neill’s magnificent sequel to the play that wrote just over two years ago, ‘It’s All Greek to Me’. This is even funnier than the original, and that was a sell-out! Even though Noel writes about two or three plays a year, the standard of his writing, dialogue and the superbly constructed script, ensures a happy audience. This play has a laugh in every line. It is wonderful to see so many of the original actors returning.

This 2-hour comedy can be seen at the Old Mill Theatre, on the corner of Mill Point Road and Mends Street, South Perth on Thursday, Friday and Saturday evenings at 8.00, until the 27^th February. The Sunday matinees are at 3.00 pm on the 14^th and 21^st, with all proceeds going to the South West Bushfire Appeal.

The setting is a northeast London suburb, at Christmas 1960. The scenery (designed and built by Noel O’Neill) is that used in the first play, comprising the kitchen and lounge room of the crazy Greek Clan – the Pilancous ‘Plank’ Family. The music from ‘Zorba the Greek’ is playing as the house lights dim. Very good lighting and sound effects, thanks to John Spurling and his occasional helper, John Woolrych.

Jenny Prosser’s costumes reflected the era perfectly, in both style and the materials used. The hairdos brought a smile too. Well stage managed by Melissa Munoz Escobar.
In the first play ‘It’s All Greek To Me’, Nicky Plank arranged for his cousin Stavros, living in a dump somewhere in Greece, to get married to his unsuspecting London neighbour, Circe.

      Only months after the wedding, disillusioned Circe (Nada Dilevska), leaves her husband Stavros (Andre Balzelli) and returns to London. Because Nicky (Kim Taylor) and his long-suffering wife, Athena (Vivienne Marshall) generously paid for the couple’s wedding, she blames them for her misery and places a curse on the family.

      Nicky and Athena’s daughter, Jenna (Valerie Dragojevic) is due to have her baby any day now – perhaps even Christmas Day. The family friend, Andronikos (Rex Gray), who is a potent oracle and surrounded by a powerful aura, is summoned to help them.

      The youngest Plank son, Dimitri (Cameron Leese), is well named, as his IQ is probably negative. Nicky, now with two un-married relatives again, recommences the matchmaking routine. He brings around a friend’s beautiful daughter, Christiana (Sofie Reidy-Crofts) in a desperate attempt to marry off Dimitri, but the son seems quite interested in the even more brainless, Katarina (Aimee Claire Nicholls).

      Randy Nicky goes around the houses, collecting seasonal ‘gifts’ from his lady friends, Cassandra (Berti Moso) and Irena (Charlotte Weber).

      Will Athena discover Nicky’s misdemeanours? Will anyone become wedded, or even remain married.

Director Noel O’Neill, and his assistant Valerie Dragojevic, both have a wealth of experience in comedy direction; what a magnificent show they have given us. The multitude of laughs was perfectly delivered by the wonderful cast. Each actor had a rich character to portray, and this they did with superb team chemistry. A special mention for Kim Taylor and Vivienne Marshall’s performances. Kim with his hilarious lack of conscience, and Vivienne’s desperate desire to advance the family’s welfare.

A really good, side-splitting start to the Old Mill’s 2016 season.

With the photos taken by Terry Logan, a professional photographer married to one of the models, the 2000 WI calendar was released in April 1999. By Christmas, it had sold 88,000 copies raising half a million pounds. The proceeds were used to fund new laboratories in Leeds University, specifically for lymphoma and leukaemia research.

The script of this production seemed to have been updated, with quite a few differences from the previous versions that I have seen.

You can see this very funny and bold 135-minute production by the Stirling Players at The Stirling Theatre, Morris Place, Innaloo. Evening shows commence at 8.00 pm on Thursday, Friday, and Saturday nights until the 12^th of December, with a 2.00 pm matinee on Sunday 29^th November, and another on 6^th December.

The Yorkshire hills about 20 years ago. The set is the interior of the community hall, an old fibro building with cream walls.

        It is evening in the Yorkshire Dales’ village of Knapely. In the church hall, the ladies of the Women’s Institute, led by Chris (Sharon Menzies) are finishing their Tai Chi class, whilst Cora (Jenni Glassford) is left to sing the organisation’s anthem ‘Jerusalem’ alone. They are awaiting the arrival of Brenda (Julie Holmshaw), possibly their most boring guest speaker ever, her visit being organised by finicky Marie (Joan Scafe).

     During the meeting, Annie (Charlotte Weber) is updating her friends with the progress of John, her 54-year-old very sick husband (Alan Bascombe).

     The visits to the hospital involve long periods sitting on plastic chairs, so Chris and her husband, Rod (Paul Cook), suggest that they raise money for a settee for the waiting room. Marie is keen to have a change from the usual plum jam and sponge cake competitions, with the same old judge – the supercilious, Lady Cravenshire (Julie Holmshaw) – and instead to sell a calendar with beautiful photos of Wharfedale bridges. Chris utters ‘Boring’ and suggests a spicy calendar of photos produced by, and of, the girls of their Chapter.

     Attractive Celia (Jennifer McGrath) is keen on the calendar idea; however, it was not until they explained to the vicar’s daughter, Cora that they meant nude photos that the panic started. Ruth (Dale James / Gail Lusted) said she had misunderstood and refused to strip. Thankfully, Jessie (Janet Brandwood) uses large gauge knitting needles for her hobby.

     Annie found that one of the hospital porters, shy Lawrence (Milos Dragic), was a keen and capable photographer so he was ‘volunteered’. Ruth found a professional makeup girl, Elaine (Becky Barton) who was renowned for her generous free help.

     The girls had to face the National Conference of this staid organisation and put forward their case. Then, to their horror, another photographer, Liam (Milos Dragic) arrived to take promotional pictures.

I saw this play on the opening night, so the tensions were high. For the cast with an average age of around 50 and of all different figures, a great deal of credit must be given for them possibly having even more courage and pluck than the original calendar ladies, who were only photographed – not live. Then Dale, the poor director, – most capably – had to stand in for one of the ‘girls’ who could not appear on the night.

This cast has a tremendous laisse-faire attitude, getting down to the nitty-gritty and showing the audience what fun the original group must have had in the process. The audience was extremely supportive, with very positive comments during the intermission.

I realise how very difficult it is for so many theatrical groups to get set designers and builders. It involves a great deal of hard work and is often a thankless task, but I was a little disappointed with the set. The serving hatch had disappeared, but the cast did well without it. However, it was the lack of pictures and posters that made the community hall look stark, even some of the photo boards on the auditorium wall could have been borrowed, and would have made the set look more realistic and ‘lived in’. For the scene on the hill, one production of this show had, at each side of the proscenium arch, artwork showing the rolling hills of the Yorkshire dales. Then at the end of the play, the rear wall split to reveal a stunning panorama. I appreciate that this was extraordinary. Another show had trelliswork with flowers in front of the stage, so I was a little disappointed when the group appeared to sit on a blanket on the floor in the middle of the community hall, with no sign of vegetation anywhere. Perhaps a few pot plants on the stage apron and the hall in the darkness behind? Had the group been fortunate and rich enough to have the new LED lighting, then the blues and greens of nature would have been more easily displayed. Having said this, the final floral scene was spectacular.

A couple of actors were called upon to perform two different characters. Julie Holmshaw was wonderful, capturing different accents, stances, her walk was different and the costumes were markedly dissimilar. There was no doubt that she portrayed two different people. However, the other actor, although performing admirably, did cause some confusion to the audience who thought he was the same person on both occasions.

The direction of the play was wonderful; Dale always does a great job, with a good pace, plenty of fun and emotion. The cast managed to conquer the Yorkshire accent very well, even toffee-nosed Celia came out with a wonderful ‘gob full’ of vernacular.

Except for the aforementioned minor technicalities, the cast captured all of the emotions from sadness to hilarity with skill. Sharon Menzies was outstanding, her enthusiasm boosted the other players and the fun flowed through. The audience loved it.

This was an entertaining show, and if you haven’t seen ‘Calendar Girls’ in the past, try and catch it, you will have a most enjoyable night, saucy (but no real nudity). At Stirling, you can always be assured of a warm welcome.