This 50-minute, World Premiere Lockwood Production is at FringeWorld, in ‘The Flaming Locomotive’ theatrette, opposite the main entrance to the Museum in the James Street Mall.

Curtain up at 6.30 each evening until Saturday 20^th February.

The central feature of the set is a clever combination of a fridge, a bookcase and a laundrette washing machine, all ingeniously combined into a three-sided unit. Another most effective idea from Cherie Hewson, who designed the set and costumes.

The lighting and sound, along with the stage management, was by Andre Van Vulpen.

         ‘Text’     In the middle of the night, a woman (Talei Howell-Price) wakes up to find that her wonderful, loving husband of ten years (Benj D’Addario) is sitting in the kitchen drinking gin. He seems depressed, and has bottled up a Pandora’s Box of emotions that he is itching to unload onto his caring wife.

A very powerfully written piece, filled with genuine tension and written with a duologue that is completely believable. As the act progresses, the layers build on each other until the pressure is palpable. Superbly acted.

       ‘Williamsburg’     a young Australian girl (Emily Rose Brennan) has been on a working holiday in America, where she met a handsome young man (Christopher Sansoni). Unfortunately his attitude to life is a little immature, and when she asks him to come back to Australia with her, this ‘mummy’s boy’ seems less than agreeable.

Most people will regrettably have had a similar relationship, and so appreciate the heartache it causes. Again, beautifully scripted, handled and presented, with some delicately handled emotion that could have so easily been killed by overacting.

A brave move to try something so new for the first two plays and they worked wonderfully well.

      ‘Let’s Launder Together!’     When a young man (Barnaby Pollock) arrives at the laundrette for the hundredth time, he suddenly realises that on this visit – for the first time ever – the girl of his dreams (Salacia Briggs) is sitting waiting for her machine to stop. Should he approach her? Or will he be rejected?

Damon’s usual genre of work, with his precise quality and talented observation in every line. Barnaby captured the depraved young man, who despite his age was still in his pubescent stage. His cheeky grin, hilarious. Salacia played it cool, whilst being equally excited. This script was Lockwood as we know him.

Three plays which gave a good and varied mix. Top class.

A night of huge entertainment was guaranteed – they kept their word.

Over the years, Lockwood’s slick, beautifully constructed comedies have been performed in Edinburgh, New York and Italy, all to rave reviews.

This hilarious, one-hour, World Premiere from producer Talei Howell-Price, can be seen at the Blue Room Theatre Studio, in the Perth Cultural Centre, Northbridge each evening at 8.30 until the 4^th July.

The set is a rustic table and chairs, with red curtains as a backdrop. There are several unusual religious props and costumes – designer Cherie Hewson.

      The time is 4 months BC, and Mary (Andrea Gibbs) and Joseph (Nick Pages-Oliver) are discussing Mary’s enlarging tummy, when a booming voice from above (Sean Walsh as God) states that Mary is now bearing the son of God. Mary has a major contraction, screams ‘Jesus’, and God decides that this could be a great name for the child.

      Twenty years later, the Church is having trouble keeping their congregation and so they call for an advertising team to help promote their message. The company is run by self-centred manager (Sean Walsh) and his assistant Luna (Talei Howell-Price), who see Jesus (Shane Adamczak) going around doing his party tricks, but decide that he has not quite the body image that they are looking for. Eventually they settle on a male model with plenty of sex-appeal, Mr Lot (Brendan Hanson).

       This new recruitment programme is working well until God and the author, Damon Lockwood (voiceover played by Nick pages-Oliver) think the whole situation should be revised.

The director, Damon Lockwood, has gathered a few of his best friends to perform this new sacrilegious play. Although some may consider the script blasphemous, it creates a great deal of doubt about the preached ‘truth’ surrounding the good book. The cast are all wonderful comedians, many stand-up solo performers, with some working as a part of Perth’s most successful and talented improvisation team.

Damon’s inventive dialogue comes from years of professional storytelling and comedy work, so his writing is tight and uproarious. His work requires a special kind of dry delivery, and the whole cast operated perfectly as a team, carrying the audience along with the riotous story.

A few comical pieces of artwork from Yvonne Doherty, Pascale Giorgi and Alex Manfrin gave a novel twist to the storyline. Robert Woods dramatic sound effects along with Michael MacLean’s lighting helps the pandemonium to flow.

As always with Lockwood’s productions, every show is sold out within hours of the season starting. Get a ticket by any means – tell them Jesus needs you.

An adult show that will have you smiling days later.

Lockwood, who was nominated by Actors’ Equity for a Best Actor award, has since appeared regularly in major productions at the Heath Ledger Theatre. Likewise, Sam Longley has appeared at the State Theatre. Both actors work in Improvisation and as a result are very well known for their wacky humour, and fabulous rapport. This kind of comedy is becoming quite rare these days, with the natural quips almost being a thing of the past. The couple have captured the essence of Woody Allen’s old stand-up routine, with clever use of puns, double-entendres and a full-bodied comedy script with laughs every 15 seconds.

If you saw ‘The Godfather’, in one scene, a horse’s head appeared on a film producer’s pillow; this is the ‘true’ story as to how the horse head got there. If you had written a play about the Mafia, where is the one place you would avoid performing the show? Italy!! Not for these two madmen, they took the show to Italy – for an astounding six seasons – and even won the prize for Best Play at the Rome Fringe; before going on to the New York Fringe.

This crazy 50-minute production can be seen at The Studio Theatre, in the Subiaco Art Centre, 180 Hamersley Road, at 7.30 each evening until Saturday 6th June. The show can be seen at a later date in Mandurah and Merredin.

The scene is the Fonzie Brothers’ flat in Miami. There is a bentwood hat stand, a small side table with an old fashioned ‘phone and a large sofa. Set and costume designer, Cherie Hewson, has crafted an amazing prop that had the audience rocking in their chairs with laughter.

The atmospheric, Italian soundscape and musical composition was by multi-award winning musician, Stephen J. Hearne. The well-designed lighting was the work of Andre van Vulpen.

       After a year working in Hollywood, Eddy Fonzie (Damon Lockwood) has returned to live with his rather nervous brother, Philippo (Sam Longley) on the East Coast.

      Philippo, who has always wanted to become a famous and respected gangster, has just been offered a major job by the mob – an offer he can’t refuse. The task is a grisly one (don’t worry folks, there is no gore), a mission he is not too enthusiastic to carry out, however, his brother Eddy is keen to try anything.

Magnificently directed by Damon Lockwood, you find yourself unable to blink in case you miss another priceless expression or gesture. Although probably rehearsed to incredible detail, and performed around the world over seven years, every move and mannerism flowed perfectly, with the performances still having a wonderful freshness to them. The duo’s timing was immaculate, being reminiscent of Laurel and Hardy at their best.

The fast moving show occasionally went into a humorous, slow motion routine. Even though this farce was slick, I suspect that there were an extra couple of private joke lines, with a few additional punches and slaps as these professionals soaked up the audience’s enthusiasm.

50 minutes of riveting absurdity, so seldom seen these days. Definitely worth going to see, even on the wettest of winter’s nights, be sure to go for a warm, feel-good chuckle.

‘Gasp’ is a joint presentation from the Black Swan State Theatre Company and Queensland Theatre Company. This two-hour ten minute, dark humour production can be seen at the Heath Ledger Theatre, State Theatre Centre of WA, 182 William Street, Northbridge each evening at 7.30 until Sunday 9^th November. The production then travels to Queensland.

The set is a large modern office, with high ceiling and shiny floor, painted to match the very pale grey walls. The rear of the room has a massive window overlooking the city. This window with ingenious projection (projection AV designers, Optikal Bloc) turns into numerous styles and venues, including wallpaper, curtains, plants, and security blinds.

The set and costume designer, Christina Smith and her associate, Penny Challen, have come up with something that I have not seen before. The slick scene changes seem to take place with the aid of a travelator (like the moving pavements in airports). Then there was the ‘fan’tastic wall. Very clever designing.

       When the heartless mercenary, Australian mining company boss, Chifley Lockheart (Greg McNeill) announces to his team that his mining business is running out of resources, they must come up with a completely new idea to save the company.

      No new ideas seem to be forthcoming until the junior executive, caring wimpish Phillip (Damon Lockwood) is called to the hospital bedside of his shy, rather plain girlfriend, Peggy (Lucy Goleby). Severely ill, she is on oxygen and really struggling with asthma due to the air pollution. Phillip suddenly realises that ‘designer air’ could be the answer. Clean filtered oxygen, stored until you need it.

      When Phillip takes the suggestion to the boardroom, the supercilious senior executive, the answer to every girl’s sexual prayer, Sandy (Steven Rooke) mocks Phillip. However, Chifley takes the fresh air idea to his head of marketing, the ambitious ball-breaker, Kirsten (Caroline Brazier). NOTHING will stop Kirsten and her ambitions.

     Can Kirsten do anything with the original idea? Can the company make money from such a simple commodity?

Director, Wesley Enoch and his associate, Daniel Evans have chosen the perfect cast for this madcap humour. Very few directors would have been capable of seeking out the humour in every line, and then showing the cast how to squeeze the most out of the absurdity.

Damon Lockwood, who recently proved himself in ‘Laughter on the 23rd Floor’, once more excels. Damon’s style of delivery is wonderful, he can look like a lost child and seconds later be giving a bold complex recitation.

Major Equity Award winner, Greg McNeill, has been admired over the years for his straight dramatic acting, but here he gives us a new side to his talents, wacky comedy. Not just a simple joke or aside here and there, but Greg has the special skill that Groucho Marx comedy demanded and Ben Elton’s characters require, a dry bold delivery, with precise dialogue. Queensland’s award winning actor, Steven Rooke is a new face to WA, but his chemistry with the other actors was superb. Caroline Brazier’s delivery was pan faced, but extremely funny as the ambitious bitch. Lucy Goleby’s soft, loving part brought the much-needed respite from the rich, rapid-fire lines of the comics. A great team.

The lighting design by Trent Suidgeest was electrifying and dramatic. With the set designers, he convincingly turned one venue into another within seconds. The sound design by Tony Brumpton was at its best on the office lockdown – superb.

Leave your political correctness at the theatre door, and enjoy the zany, fast-paced humour in the style of Elton’s ‘Blackadder’ that we all loved so much. No political party or famous executive is safe as Elton peels off the bulls*** and gets straight to the point. Satire is often subtle; here the writer just nails ‘the establishment’ to the wall. The script will leave you asking ‘did he really say that?’, but you will only pause for a second before the next onslaught of laugh aloud comedy hits you. A theatre master showing us that he still has his touch.

His best known film script adaptations were probably ‘The Odd Couple’ and ‘Sweet Charity’; Simon who has been compared to Molière, and George Bernard Shaw, has received more combined Oscar and Tony nominations than any other writer. He won a Pulitzer Prize for his drama, ‘Lost in Yonkers’. Almost all of his 30 plays are based in New York.

When ‘Laughter’ was launched in 1993, it ran for 320 performances, before moving to London where it ran for 5 months. It is said that Neil and his brother Danny developed their scriptwriting on the eleventh and the twelfth floors of the NBC-TV building; these numbers added together made the fictitious 23^rd floor.

The original script was updated and then re-launched in 2011, and here it is now presented by WA’s own Black Swan State Theatre Company, at the Heath Ledger Theatre within the State Theatre Centre of WA, 182 William Street, Northbridge.

In this semi-autobiographical script, Neil Simon has changed the names of his colleagues, but I have included their suspected names along with the name of the actor. Woody Allan was part of their team, but is not in the play.

The two-and-a-half hour performances at 7.30 each night until Saturday 20^th September. There are matinees available too.

It is 1953, and on the 23^rd floor of the Rockefeller Plaza, where we find the slightly tatty, Art Deco office of several comedy scriptwriters. The office has a very high ceiling, with large windows looking across New York’s vista. There is a conference table, settee and a refreshments table. There is a surprise, impressive addition made to the set that will have you asking ‘What happened there?’ Set designer, Lauren Ross is to be congratulated on this breath-taking set and the wonderful costumes. As always, Trent Suidgeest’s lighting was inspired, with all aspects achieved.

     A nervous young lad has arrived to join one of the most prestigious TV show, writing teams in New York. He is Lucas (James Sweeny, character inspired by Neil Simon). He is greeted by a flash, beret wearing, Milt Fields (Humphrey Bower as Sheldon Keller) who advises him to be first to the bagel dish. Milt explains that they all write for the central star of the show, Max Prince (Peter Rowsthorn as Sid Caesar) whose behaviour and memory is a little unpredictable due to the number of pills that he takes. The secretary, Helen (Lara Schwerdt) brings in the coffee jug and some notes, and Lucas settles down to meet the others.

       The studious looking Kenny Franks (Stuart Halusz – did not recognise him at first – as Larry Gelbart) is next to the coffee. As the fast fire, one-liners fly around the room, Kenny comes out with the odd gem. Next, to arrive is the dejected Russian immigrant, Val Skolsky (Igor Sas as Mel Tolkin) who is desperate to blend into American society, but is having trouble swearing convincingly. The door opens and the heavy smoking Irishman, Brian Doyle (Ben Mortley as Tony Webster) coughs his way in, accompanied by the petite and smart Carol Wyman (Jo Morris as Lucille Kallen) a most unlikely writer, but who can come up with lines as good as the men.

      Much later, a distraught man in a camel hair coat staggers in, he is Ira Stone (Damon Lockwood as Mel Brooks) a hypochondriacal man that has a different major ailment every day. With most of the morning frittered away the team starts work.

       In the middle of the night, spaced out, Max Prince calls a couple of the writers to inform them that NBC is likely to axe their show; what do they suggest that he can do to save their programme?

Even in this rip roaring comedy, Simon’s trademark of compassion and moral behaviour shine through. The comedy is richly written, packed with one-liners, in the style of Groucho Marx, for almost every minute of the whole 150 minutes. The play was written decades ago, but the jokes are as fresh as ever. A little corny at times, but the delivery of every word was splendid.

Although I suspect much of the comic routine and delivery may have been created by the experienced comedians, it was up to director Kate Cherry to keep the play flowing in an orderly manner.

Simon always builds into his scripts, human failings and eccentricities and these came across amongst the madcap humour, often delivered by the stressed or sad characters. The cast were quite a cross section, with a mix of professional comedians such as Peter Rowsthorn and Damon Lockwood, with the more serious actors like Humphrey Bower and Igor Sas proving their adaptability and versatility. The rapport was outstanding, with many places throughout the play when spontaneous, enthusiastic applause gave credit to the performers. The timing, body language and expressions were exceptional, the pleasure for the audience and I am sure the cast, was heart-warming.

It is a long time since I have seen so much well delivered humour in a play, and I know several patrons who have already seen this play more than once. A special theatre experience.