This is a Hayman Theatre Company’s production at the Hayman Theatre, upstairs in Building 102. There is free parking in carpark B13 – multistorey – then follow the light trail from carpark.

Last Saturday was the 400^th anniversary of Shakespeare’s death, in addition to being his 456^th birthday.

In this hour and a half edited version of the play, many of the main players have changed sex.

 The black set (designed by Amy Tamati) has layered rostra, with numerous white, gauze curtains draped from the ceiling. There were quite a few comical props provided by Sam Elliott and Jessica Nyanda Moyle for the ’ass scene’. Stage managed by Britany Manifis.

       The play opens with Theseus, Duke of Athens (Chris McIntosh), making love to Hippolyta, Queen of the Amazons (Alex Gerrans). For their wedding celebrations, Theseus has arranged four days of revelry.

     The Athenian nobleman, Egeus (Sally Davies), arrives with his daughter, Hermia (Jessica Nyanda Moyle – very good) who is in love with Lysander (Terence Smith), but Egeus insists that she marries Demetrius (Indiana Powell) who is besotted by her. When Egeus asks Theseus for his Royal support, Theseus warns Hermia that if she disobeys her father, she could be sent to a convent.

When Hermia’s friend, Helena (Anna Lindstedt), who was previously engaged to Demetrius, tells Demetrius of the eloping couple – she hopes he will love her again, but instead he rushes off to find them in the forest.

     Deep in the woods, a band of sprites, including the Fairy King, Oberon (Chris McIntosh), and his ‘Killer’ Queen, Titania (Alex Gerrans), are arguing about who should bless the marriage of Theseus and Hippolyta. Also in the forest are Quince (Annika Jane – good) and his artisans; they are rehearsing for their wedding entertainment – a madcap play. Quince’s inept group, including Snout (Caitlin McFeat), Flute (Kharla Fannon), Starveling (Lauren Beeton) and Snug (Eleanor Davidson) are struggling with even the most basic acting tasks.

       Oberon sends his dynamic servant, Puck (Daisy Coyle – outstanding performance), to obtain the juice of a magical flower, which, when dropped on the eyelids will make the sleeping person fall in love with the first thing seen upon waking. It is placed on the eyelids of Titania and Demetrius.

       Puck confuses the Athenians, instilling the liquid in the wrong eyes, resulting in the lovers becoming muddled. When Titania (Alex Gerrans – very good) awakes, the first creature she sees is Bottom (Maddie Mullins – great comedic delivery), whose head is transformed into that of an ass. Titania falls for this ass-headed weaver, feeding it unusual delicacies whilst giving him a ‘Bohemian’ treat.

   After the confusion, all the loves are reunited and the newlyweds watch Bottom and his fellows perform their bumbling ‘Pyramus and Thisbe’ play. Puck and the Fairy (Dylan Dorotich) explain that the whole story has been ‘but a dream’.

The interesting and colourful costumes by Amy Tamati and Evangalyn Little (aided by Ellis Kinnear) covered a large range including soldiers, kings and an asses head – a novel, floral version.

Sound designer, Ben Collins, who has tackled major Heath Ledger productions, gave us powerful music, blended with well-known top hits from the 80s. The sound was operated by Brittany Manifis.

Lighting designer Karen Cook created some clever effects with the older style lamps. The lighting was operated by Chelsea Gibson.

Director Philip Miolin, with his assistant Olivia Dugandzic, have accepted a massive challenge by taking one of Shakespeare’s most loved plays and turning it on its head. For someone like myself who has seen this play numerous times, I found it refreshing, but no doubt the newcomers will have been confused, and the true, traditional classic lovers perhaps even upset.

The actors’ performances were very varied. There were a few stunning performances, but one or two actors who have proved themselves in the past, struggled with this new genre – or even the standard Shakespearean delivery. However, thanks to the director, the overall result was clever, fun and will certainly have made the students think laterally, on how to involve the audience and the auditorium.

Curtin’s Performance Students and The Hayman Theatre Company have combined to present this Stage One production. Stage One is a Curtin University initiative that annually gives a WA playwright the chance to see their own work brought to the stage.

‘IN a BONY EMBRACE’ can be seen at the Blue Room Theatre, 53 James Street, Northbridge. The 70-minute performances are nightly at 7.00 pm until Thursday 10^th; on Friday 11^th and Saturday 12^th there are two shows, one at 6.00 pm and the other at 8.30 pm.

Designer, Sally Phipps’ impressive set is of an office, home and bar – all in pink. The floor and walls are bright carnation pink. The furniture is stylish Scandinavian and in the corner is a bunch of helium balloons. The chairs are matching pink, emerald green and mauve. Sally was helped in her design by Daisy Coyle, Madeleine Mullins and Sally Davies; with the numerous props sourced by Anna Lindstedt and Jess Fowles.

The hanging lights are 70s style, but are trendy and coming back into fashion. The lighting design by Rhiannon Petersen, assisted by Dylan Dorotich, is very well thought out and most effective. Lauren Beeton was lucky enough to have one of Perth’s top sound designers, Ben Collins, mentoring her. Production manager, Karen Cook was helped by her stage managers, Daniel Suelto and Becca Jackson, and ASMs Mai Han and Reef Jennings.

Luciana Kember and Annika Jane had to design costumes from the sexy, to nerdy and suave.

        In the dark, ten young people file onto the stage area. When the lights come on, there is a fight for the prime ‘star’ position in the line. This is to be the aim of the youngsters for the next 80 minutes – just to be that little bit better than their partners.

      At the breakfast table, April (Chelsea Gibson) decides that she has gone off her fun-loving partner, Sam (Alexander Gerrans). When the two arrive at work in the same office, the tension is high.

     Left behind in the flat are randy Lila (Beth Tremlett) and her long-term lover, Gavin (Nathan Whitebrook). They decide it is time to start a family, Gavin’s way, slowly and responsibly!!

     At work, shy and nervous (and possibly never-been-kissed) Harry (Daisy Coyle) confides to Danny (Tristan McInnes) how much she loves him; but she knows that at work, one should never mess on their own doorstep. Sylvia (Anna Lindstedt) loves men, but seems happy to just sort out people’s romance troubles.

     Holly (Jessica Nyanda Moyle) is a deep thinker, having deep, heart-breaking conversations with her absent partner and herself. In the corner of the bar sits the ‘sex magnet’ known as Jaxon (Sean Guastavino), always waiting to tell the next girl just how wonderful he is, or to point out to poor shy Matt (Kane Parker) what an ugly loser he is.

Gita’s script is superbly observed. The audience roared with laughter, not just at the hilarious dialogue but at the situations; situations that we have all experienced, and cringed at in retrospect.

Directed sensitively and subtly by Adam Mitchell, with Teresa Izzard looking after the movement, this play travels at an express pace, carrying the audience smoothly along for the bumpy ride. The acting was completely natural, adding to the madcap situations that kept cropping up.

An exceptionally funny play that has you recalling the many times you too have escaped from such terrible situations. Exceptionally funny and highly recommended.