This fine play can be seen at the heritage-listed Old Mill theatre, on the corner of Mends Street and Mill Point Road in South Perth, opposite the Windsor Hotel and Australia Post. Curtain up at 8.00 pm on Thursday, Friday and Saturday nights until 22^nd October there are matinées at 2.00 pm on 9^th and 16^th October.

Greg Aylmore and Les Hart’s set is quite simple but very effective, too much clutter would have detracted from the dialogue. All of the walls are black. To one side is George’s dining area; with a raised, white front panelled, food preparation space. There is a table and chairs, also in black and white.

On the other side of the stage is Claudia’s flat, with a couple of comfortable, dark suede chairs.

John Woolrych’s fine lighting design is operated by techies, Sarah Christiner and Rex Gray. Be careful not to clip the music between scenes, fade it as carefully as the lighting. Not enough hands? Use your feet.

There were 18 mini Acts, smoothly handled by Stage Manager Maureen Harvie. The incidental music was well selected by Grant Windsor.

        With her laptop on the dining table, thirty-year-old journalist, Claudia (Ruhama Geiger), is taking notes for the cover and promotion of middle-aged author, George’s (Alan Kennedy) latest book.

        George, who still has his youthful charisma and good looks, has done very well out of his writing. However, Claudia’s interviewing technique is a little more invasive and probing than one would normally expect. In fact, could this strikingly attractive, very independent woman be seducing this father figure?

        Soon George is giving his wife, Honor (Maree Grayden) some bad news. After of 32 years of loyal, loving service to her husband, Honor is now redundant. Their 24-year-old daughter, Sophie (Jessica Warriner) is stunned, never having had someone so close announce such traumatic news, she is numb.

        Will Honor remain her husband’s doormat? Will George get his comeuppance?

Joanna Murray-Smith is renowned for not writing stage directions, descriptions of her characters or the story’s timeframe. This can make direction very difficult, however, multi-award winning director and Old Mill Theatre board member, Dale James, has produced another triumph. She has dexterously taken the actors through each vignette, where two of the four characters confront each other. Dale has helped the actors subtly, allow the audience to see their true personae.

The cast have clearly shown their admirable acting talents, as they each in turn, change from a position of power to that of weakness, and vice versa.

This tender, beautifully observed play is a little slow to start, but soon some of the self-righteous comments and acerbic lines, have the audience gasping or bursting out with laughter. I am sure that everyone in the audience will have thought ‘That is just like …. from down the street!’

A punchy little show that all married couples should see – with their partners.

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.

The stage setting for all of the plays is a black backcloth and several pieces of well-chosen furniture. The lighting for all shows is by Jacob Anderson, the sound by Ryan Perrin.

‘Deadly Relations’ is the latest, 50-minute play written and directed by local lad, Bob Charteris. His plays are usually comedies, with this being his first mystery / thriller – but still with a few chuckles thrown in.

        A middle-aged man, Mr Owens (Alan Bascombe), is pouring himself a stiff drink as he and his secretary (Gael Campbell-Young) await news. The doctor (Alan Brock) has been called and is in the bedroom attending Owens’ dying wife. Soon the doctor announces the tragic news that Mrs Owens has passed away. The couple are stunned – the wife was so young.  

      No sooner had the doctor left, than the doorbell rang. It was a police inspector (Ron Arthurs) investigating a hit and run, a couple of weeks earlier.

     A few days later, just as Mr Owens is getting a little grieving time, a smartly dressed, officious woman (Lynda Hunt) arrives at the home.

 Bob has produced a fun script, with good dialogue. At the end of each scene of this quirky one-Act play, he throws in a surprise or red herring. The audience loved it.

‘Screaming Inside’ is a superbly written, 35-minute piece, by an accomplished writer, Sean Byrne. Directed by Sean Byrne and Jason Pearce.

        It is now some time since teenage Alison died, and her mother (Dale James) is drinking a little more than she should – to help her cope with her loss. She explains her feelings and the emptiness of her new life. She seems to get little compassion from her husband, who is more like a mute ornament in the corner of the room.

The story threads are well blended and the amount of skill involved is undeniable. Directing a 35-minute monologue is very difficult, as one tries to keep up the visual interest and find different tasks for the actor to perform, nevertheless, Sean and Jason Pearce have conquered this challenge.

The acting was first class, although with so much drapery around a little more voice projection would have been helpful.

Sadly, the final result was very heavy going with little light relief. You know when you ask someone how he or she is feeling and they then go on for 35 minutes, telling you in great and intimate detail every ailment known to man, ennui develops rapidly. I felt the same with this play.

A huge amount of talent, highly respected, plenty of admirable qualities – but with little likely public appeal. My eyelids drooped.

‘Stones’ is the second, 30-minute part of this pigeon pair for the above play. Another monologue, again written by gifted Sean Byrne, and directed by Sean Byrne and Jason Pearce.

       It is now the turn of the husband; Steven (Gino Cataldo), who, deep down has also been shattered by the death of his daughter. However, he is tackling the problems thrown at him with a very different approach.

Another fine performance, with the monologue cleverly written in a more masculine style. This contrasted perfectly with the mother’s sensitive and emotional approach.

Many of the comments for the last play are applicable to this one.

Despite the Garrick being one of the smallest theatres in WA, the clever design by George Boyd – who really can think laterally – has a government office on one side, and Katy’s apartment on the other of a rotating stage. There were pullout flats on each side of the stage that gave a most realistic company office and a street scene complete with bus stop. Finally there was an amazing patio scene (photo or another Tim Prosser piece of magic?) with the house doors etc in the background. The rotations and set changes (some 20 in total) were very quick and almost unobtrusive, thanks to SM Maureen Harvie and her assistants, John Lobb and Hilary Lewis. 

        The curtain rose to Rob Hyner’s piano version of ‘It ain’t necessarily so’ to show an office in the Anti-discrimination Commission. At her desk is the smart, but officious Mediator, Marion (Sarah House), who is listening to Susie (Samantha Morey) a young woman who asserts that she has had months of vile, lewd innuendos ending in sexual fondling by her chauvinistic employer, Gary (Jon Watts).

        Back in her sister’s flat, we learn from her sister, Katy (Amanda Watson) – shock horror, a lesbian – that scheming Susie is a liar, and cannot be trusted with money. Then, from her ‘born again Christian’ brother, Paul (Rhett Clarke) we glean that her lifestyle is sluttish. The three siblings reluctantly decide to invite their father, Brian (Gino Cataldo) around for a birthday treat.

        Gary, who is a happily married family man, is horrified by Susie’s assertions and so discusses the situation and consequences with his business partner, Vince (John Forde), to see what they can do to save the business and their reputation.

        Will the Tribunal discover the truth?

Williamson’s brilliantly constructed plays rely on subtly, as the layers of story are peeled back like an onion. Director, Dale James captured the feel of the play perfectly, interpreted the richly written characters, before leading the talented and experienced cast through the emotions and intricacies of the story.

The lighting (designed by Don Allan) and sound were smoothly operated by Clayton Reichert.

The initial announcement now comes across clearly, however, I am sorry to come back to this point, but the air-con is still the worst in the business. Last night the cooling was full on – at 18C (?) – and the large ceiling fans set at full speed. This caused noise and draughts. The fans were switched off after the interval, but it was still too cold. Eavesdrop on the patrons whilst they are having their interval coffee, you will learn so much about their thoughts on the show and the venue. On a plus, the warmth of the welcome and service at the Garrick is supreme. Are they the only theatre to offer an apple juice as an alternative to the sherry – great idea? After that whinge, I must praise the production. The chemistry of the actors was first class, some powerful and emotional performances.

A highly recommended play, but book because last night was a sell out. With the new Great Eastern Highway, even Guildford isn’t far from the freeway.