These ‘must-see’ performances are at 7.30 nightly, in the PICA Performance Space at 51 James Street, Northbridge. The season runs until Saturday 19^th November. There is a matinée on Wednesday 16^th November at 11.00 am, and another on Sunday 19^th at 1.00 pm.

The time oscillates between 1981 and the present day. The scene is a Queensland courtroom, a hospital and a skating rink. The design consultant, Lawrie Cullen-Tait and her coordinator, Tessa Darcey wisely decided on minimal distracting scenery, choosing instead to have several, well-chosen props. A circle painted in the centre of the floor represents the roller skating rink. Stage managed by Isabella Strada.

Onto the back wall was projected Nancy Jones’ AV design (Blue Moon Film and Video), subtly depicting young Xan as she overlooked the local boys discussing their sexual desires and exploits, on the dark night that changed her life forever. There were many women describing how their hymen changed.

The music is by respected WA composer, Ash Gibson Greig. The tempo was symbolic of a fast beating heart. His dramatic soundscape was often loud and discordant confirming the instability of the situation.

In a production like this, it is important that the lighting should be punchy and dramatic; Chris Donnelly captured the mood perfectly. Karen Cook smoothly controlled both the sound and lighting.

      As we enter the theatre, a 12-year old girl, Xan (Daisy Coyle) is sitting at the side of a skating rink, putting on her roller skates. She meets a girl from school that she knows slightly, who asks Xan to accompany her at a boys’ party. At the revelry, the boys ply her with alcohol.

       Next, we see a couple of youths discussing the girls, and using dozens of expressions that now make me cringe in horror. 

     We flash forward to Xan Fraser (herself) as an adult, explaining how as an innocent and gullible child she was sucked into a horrendous situation.

      In a disturbing Court scene – taken from actual transcripts and police records – the audience gasp as the male chauvinism of the lawyers and even the judge is exposed. The barrister points out how this naïve child, not even a teenager, was blatantly leading the boys on. However, unlike today’s young teenagers with Internet porn access, Xan had little knowledge of male anatomy, or even a basic awareness of her own sexuality. In the courtroom, the two lawyers (Siobhan Dow-Hall, Marko Jovanovic) presented their cases on the gang rape, but for the warped judge (Nick Maclaine), the case against slut Xan was clear. The verdict he gave was to stun the already riveted, silent audience.

 

With such a delicate and tragic subject, there could be no room for half-hearted acting, and so Hellie has chosen a magnificent team, many of whom have been nominated for awards – including Equities. The power of their performances was heart stopping. With the brief, hard-hitting cameos swinging smoothly over the 35 years, the pace increased most effectively.

In a similar genre to the internationally famous ‘Laramie Project’, the playwright of ‘Project Xan’ has given us a perfect blend of courtroom action, vox-pop, malevolent rumours, facts, bigotry, local rejection and pure brutality.

Playwright Hellie Turner wrote to Xan asking if she could write a play about her trauma and her fight back to normality. Naturally, Xan was worried would she be further humiliated or exploited, and so she did not reply straightway. Gradually, she learnt of Hellie’s genuine empathy, discovering that she is one of the few writers in Australia capable of writing on such a tragic and delicate topic. There is a fine line between presenting the full drama with empathy, and going over the top with sensationalism and sycophantic sympathy. Or even worse, trying to make the script gratuitously scandalous and seedy. Hellie has sensitively presented the source of Xan’s shame, self-blame and the truth behind why the event happened.

Next, could Hellie get Xan to act ‘herself’ in such a demanding play, with the distinct possibility of causing the victim to regress and become distressed? Xan’s family are keen Community Theatre fans, and so she generously agreed. A personal thank you Xan, you made all of the difference to the play. Filled with self-blame, and never having received any counselling or moral support, Xan – who has proved herself a thousand times over with her now successful life – wanted to take part in this a cathartic experience.

Often, men who wear ‘fun’ T-shirts do not really appreciate the upset that some printed mottos can cause. When loss of the rapist’s control due excessive drinking, or the brevity of the rape are quoted in Court as a defence lines, then one has to wonder at the depths of ignorance.

30 years after the events shown, unbelievably Middle East women are still be stoned to death for ‘allowing’ men to rape them. Even the judge, in this ‘civilised’ country, blamed 12 year old Xan for being too inviting – injustice rather than civil justice. When a President seems to be decades behind in his attitude to women, and is still cheered by the masses for recommending ‘grab a pussy’, the world is still worryingly unchanged.

Director Hellie Turner, with Dramaturg by Dr David Williams, have presented this gripping, disturbing and beautifully conceived play; showing today’s girls, who may find themselves in a similar set of circumstances, that there is a sympathetic outlet for their feelings, to have pride in themselves, not to suffer self-blame but to become empowered and to warn others.

As the play powerfully states, the only thing worse than change is the status quo. Sadly, one wonders how far things have improved over the decades – possibly little.

An amazing piece of writing immaculately presented. Many congratulations to all.

For the set, all of the walls are painted black – effectively a black box. Along the rear wall hang four brightly coloured, hula-hoops. The mood lighting has been well-designed by Chris Donnelly and smoothly operated by Meabh Walton.

        A man (Luke Fewster) enters the stage and states that in the same way as the brave pioneers came to Australia 200 years ago, the world is now looking for new pioneers to venture to Mars and populate.

       At a public meeting, young and enthusiastic ‘self-help’ guru, Robin (Will O’Mahony), bounces onto the stage and immediately engages the audience members; telling them that the self-centred ‘Me first’ approach is how they should be thinking. Continuing, he gives the onlooker 5 important aims in life.

      The lights rise to show us a domestic sitting room, where an exasperated father (Steve Turner) and his distraught wife (Andrea Gibbs) are discussing their autistic son, Sam (Luke Fewster). They are wondering why Sam and his visits to the ‘character developing’ special school seems to be having no affect whatsoever, whilst other youngsters improve greatly. There are students such as autistic Billy (Will O’Mahony), who seems to have conquered every known fact relating to the planet Mars.

      Sam’s twin sister, Wren (Felicity McKay) finds herself being in the last 200 applicants for the Mars expedition, however, Sam relies heavily on her love and care.

This is a beautiful tale that will connect with almost everyone. Writer / director, Will O’Mahony has just the right balance between humour and tragedy. The facts are fed in a way that the audience can accept and yet not feel lectured to. The cast, each of whom plays several very different characters, are magnificent, displaying the subtle twitches of a nervous autistic child’s hands, to the inconsolable parents’ tragic life – an extra special performance from Andrea. Then there is the distressed sister who wants to do her best for her brother, but all he wants to do is orbit around the room with his hula-hoop (incredible control).

This was an unusual play, reaching out to new boundaries, capturing emotions and blending them with hope. A first class play presented lovingly by a brilliant and talented team.

This is the kind of play that will be remembered for years to come.

These World Premieres, part of the Perth 2016 Fringe World Festival, are being presented by the Black Swan State Theatre Company’s Lab – a ‘melting pot’ of talented mentors and new graduates designed to develop confidence and ambitions.

These shows can be seen nightly at 8.00 pm until 7^th February at the Studio Underground, within the State Theatre Centre of WA in Northbridge.

Lawrie Cullen-Tait’s set design for the first play, created a large playpen for the ‘youngsters’, emphasising their juvenile outlook. For the second play, this 6-metre square framework was raised vertically to act as a window to the world.

The Sound Designer, Joe Lui, has constructed a soundscape that you could close your eyes and soak up. The magnificent audio is in quadraphonic; when a sound effect is required, he considers it fully – does it require reverberation or echo? What is the volume and speed? Very clever work.

Lighting designer, Mark Howett and his assistant Chris Donnelly have obviously worked closely with the sound design. The lamp angles, colour and intensity were perfect. The timing of the lighting changes was critical to the suspense and required superb control by the operator.

The amazing talent from WAAPA and the Creatives just ooze quality, with a collection of honours that would make even their mentors envious.

‘Girl Shut Your Mouth’ is a gripping tale, written by award winning, Gita Bezard and directed by equally talented, Jeffrey Jay Fowler.

       A gunman burst into a senior school classroom, and shot 16-year old Katie (Jessica Paterson) in the head. With only a short time left to live, Katie is enjoying sharing and reliving her few minutes of horrifying fame. When she realises that she is heading to a place where people are free to enjoy life, and without her parents breathing down her neck, her effervescent friends, Mia (Stephanie Panozzo) and Grace (Shalom Brune-Franklin) think that Katie’s future sounds wonderful – perhaps they should devise a way to join her. When nerdy, ‘normal’ Darcy (Brittany Morel) tries to re-join the misfit group, she meets massive opposition.

 

The writer and director have perfectly captured the new, irrational teenage attitudes. There is a wonderful, fast paced rollercoaster ride of highs and lows. The tension is built up beautifully, and although we are watching some nutcases, their logic is fully explained and the whole scenario is horrifyingly believable.

‘Tonsils and Tweezers’ is a new work from WA’s much admired playwright and director Will O’Mahony.

        Whilst at school, Tonsils (Lincoln Vickery) and Lewis (Hoa Xuande) – known to his friends as ‘Tweezers – were involved in an irresponsible, car accident. An accident that changed their lives, but not as one would expect. Strangely the two friends were drawn closer together.

      Now, ten years later, their class is having a reunion. One of their studious friends, Max (Adam Sollis) has ambitions of becoming an outstanding actor and wanders around quoting ‘the Scottish play’. Then there is bolshie Beth (Megan Wilding), a little power pack, who is not shy about expressing her opinion.

Both works were immaculately structured and had very well-observed characters. The dialogue was natural, complete with all the annoying intonations and expressions of today’s youth, highly amusing.

Two amazing plays in a similar genre, starting the new Black Swan season.

This 60-minute, disquieting mystery is a The Lost Boys presentation, produced by Georgia King. It can be seen at the Blue Room Studio, Perth Cultural Centre, James Street, Northbridge at 8.30 nightly until Saturday 5^th September.

The set is of a cove at the foot of some cliffs near Blackpool. Set designer, Patrick Howe, has constructed a most convincing, rugged cliff face with black plastic sheeting. On the ground is the sandy beach covered with thick foam (stage managed by Meabh Walton).

The lighting designer, Chris Donnelly, and the sound designer, Will Slade, have obviously worked together very well, to produce the tremendous atmosphere. The play calls for dramatic, threatening storms with periods of enlightenment, which Chris has captured beautifully; when coupled with possibly the best soundscape I have ever heard, the overall effect is outstanding. For the full 60 minutes of the play, Will’s sound is a subtle blend of rumbling, low level music and wonderfully vibrant, stereo, seaside sound effects that really built up the tension.

        It is early morning in a small cove on an island close to shore. A middle-aged woman (Claire Munday) wakes to find herself covered in spume. She sits up and looks around. Where is she? What is worse – who is she? Along the beach comes a teenage girl (Tessa Carmody) who looks familiar. She has the same mannerisms and body gait as herself. They talk and it becomes apparent to them that they know each other; in fact, they could even be related.

     The women talk and soon discover that they had both been to a dance at the hotel on top of White Climb. The older lady remembers meeting a terrible old woman called the ‘Crab Turtle’ and believes that she may have stolen part of her memory.

     As they chat, a girl (Jo Morris) in her mid-twenties walks out of the crashing waves. Again they notice the resemblance. This soaking girl is covered in blood; and is that a piece of flesh that she is carrying?

   What has she found in the stormy sea? What made her lose her memory too? Could it be depression, worry or even conscience?

The director, Mikala Westall, soon after winning a Fringe World award, received a prestigious ‘Emerging Artist Award’. Mikala has been mentored by another respected director who has given her confidence over the years, Joe Lui.

This is a very difficult abstract story to produce. It is important to retain the suspense, and drip feed the story to the audience. Often this results in a tedious presentation that can become frustrating, and you find yourself continually looking at you watch – talented director Mikala and her superlative cast have handled this story with an amazing amount of skill, making the audience want more in an attempt to piece together this captivating, beautifully written complex story.

All three actors conveyed the confusion and fear of their isolation with delicate skill. Beautiful team work and sensitive acting.

Driving home you will be asking ‘Does that mean she ….?’ as the tale finally clicks into place. A brilliant production that will give you food for thought.

This 610 Production is presented by The Blue Room Theatre and can be seen in the Studio Theatre, Blue Room, 53 James Street, Northbridge. The 95-minute performances are nightly at 8.30. The season finishes on Saturday 9^th May, a couple of days before Tom’s birthday.

There is an AUSLAN interpreted performance: Thursday 30^th April.

Welcome to the new publicity manager, Kimberley Fulton.

The scene is the interior of a Scout Hall in the middle of the wilderness.

The set (designer Sally Phipps) is exceptional, with cream walls, wood panelling on the lower half. The numerous scouting props from flags, photos and wooden benches give a most convincing scout group venue.

Lighting designer Chris Donnelly has chosen old utility-style lighting, which, along with interesting soundscape by William Langdale and the stage manager, Emily Stokoe, created some surprise special effects.

       A slightly daggy, middle-aged man, Neil (Matthew Kiely) is preparing the scout hall for his bonding weekend away with the boys. Neil is an idealistic but dedicated, hospital psychologist who has decided to try a new approach to communicating with his clients.

       The hall door bursts open and in walks leather clad, rock and roller, Robbie (Ben Weirheim), a musician who was big 10 years ago but is now unknown and having home problems. A few seconds later, a quiet, nervous young lad enters. This is Mawkie (Danen Engelenberg), a recovering druggie who has just had bad news. The last to arrive is Quentin (Joel Sammels), a powerful looking man, who is ex-SAS and newly returned from a Tour overseas.

        It is obvious that none of the patients / clients really wish to be there, so what chance has Neil of getting them to bond?

I always cringe when a writer is also the director of his / her own play, as it is uncommon to find a person that can do both credibly. Tom Jeffcote is one of the rare breed who can succeed. He has created four very different characters and developed their personae beautifully. Tom’s dialogue was perfectly structured for each character, helping to ensure that we have a genuine interest and care for their welfare. For example, it is revealed that Mawlie is highly intelligent, but with no self-esteem, he has nervous twitches and exhibits the constant scratching of a druggie.

The actors have really worked hard on their characterisation, and did not let their façade drop for a second in this fast moving 90-minute production. Their stories were interesting, the acting very good and the production slick; fascinating as it was I am not sure however, that the overall topic is strong enough on its own. As a subplot, this would give great depth to another story or theme.

The result was admirable in all aspects.