Presented by the Darlington Theatre Players Inc, at the Marloo Theatre, 20 Marloo Road, Greenmount Hill, Mundaring. This hilarious, two-hour and a quarter hour play – which premiered in 1983 – can be seen on Wednesday, Friday and Saturday evenings at 8.00 until 7^th May. There are matinees on 24^th April 24 and 1^st May at 2.00 pm.

The scene is the 1980s in a USA fishing lodge in rural Georgia.

This set is another jaw-dropping production from the best set designer in the area – George Boyd. Built by a dozen hard workers, including the techs and cast, and working on a minimal budget we are presented with a massive, timber panelled, lounge (convincing painting by Adrian Ashman), a double staircase, a brick chimney, motel reception area and patio doors with rain lashing down outside. As always at the Marloo, there were numerous props to give that special touch of authenticity (Lesley Sutton, Ray Egan).

The sound effects were crisp (George Boyd) and operated perfectly by Belinda Beattie. Several lighting effects, including a lightning storm, were well planned by Michael Hart and David Bain, then operated by Brendan Tobin. There were several unusual – to say the least – costumes required, and Marjorie De Caux was there as always.

       When English SAS trainer, Froggy Le Soeur (Keith Scrivens) has to go to America for a course, he takes along his friend Charlie (Joe Isaia) who has marital problems and depressed. He also suffers from extreme nervousness when in company. In fact, he is petrified to talk to anyone. 

      The two men arrive at Betty Meeks (Jacqui Warner) country fishing lodge. Betty has the usual warm welcome, but it is obvious that she is hitting hard times and having trouble maintaining the guesthouse.

      To hide Charlie’s shyness, Froggy tells Betty that Charlie is a foreigner and cannot speak a word of English. Because of this false assumption, whilst Charlie sits having a cup of tea, he hears several private conversations, including the ‘love secrets’ of the local vicar, David (Rodney Van Groningen) and his fiancée, Catherine (Kylie Isaia). Within hours, further local scandals become exposed.

      Before long, Charlie finds himself being taught English by Catherine’s retarded brother, Ellard (Blake Prosser). Into the house comes a local undesirable, Owen (Richard Hadler) an inbred thug who hates ‘outsiders’. Very soon, Charlie is in major trouble.

The director, Robert Warner and his assistant Joe Isaia faced a major task putting on such an unusual style of comedy. They chose a fabulous cast, including some of Community Theatre’s funniest actors; the chemistry between them was outstanding.

The giggles poured out, with a couple of belly laughs a minute. There were no jokes, it could not be described as a farce, and yet it was one of the funniest shows I have seen in months. Although every actor was perfectly tuned in and each gave a tremendous performance, I am sure they will not mind me saying that it was Joe Isaia – with their help – who nailed it. His expressions and body language had the audience falling about. Superb teamwork.

This is a DON’T MISS production. Hilarious from the opening minutes.

The LP soundtrack of the 1984 film sold 15 million copies. Two of the songs being nominated for Oscars.

This bright and effervescent musical is being performed by the Darlington Theatre Players at Marloo Theatre, Marloo Road, Greenmount each Wednesday, Friday and Saturday evening at 8.00, with matinees on Sundays at 2.00 pm until Saturday 12^th March.

There were no sets as such, but there were some very impressive structures (George Boyd designer) which were beautifully built and perfectly conveyed the atmosphere of the locality. Some were massive, such as the sport’s stadium, terrace seating – which moved around in total silence. Other features include the church entrance, a soda bar and barbeque eatery. The only ‘standard set’ is the minister’s home (props Raelene Cover). There were about two dozen involved in the construction, with a further dozen as stage crew.

The production was managed by Gail Palmer, and stage-managed by Rob Warner and David Bain – most impressive.

       Teenage Ren (Liam Borbas) and his Mum, Ethel (Clare Fazackerley), move from Chicago to the Mid-West, woop woop town of Bomont, to live with Ren’s Aunt Lulu (Jacqui Warner) and Uncle Wes (Alan Markham).

      At Ren’s new school is Ariel (Brittany Isaia), daughter of the puritanical minister, Reverend Moore (John Taylor) and his wife, Vi (Kylie Isaia). Ariel has an obnoxious boyfriend, Chuck Cranston (Blake Prosser), who works at the local garage with three wasters, Travis (Ethan Acott), Lyle (Owen Davis) and Rhett (Alistair Ball). Ariel’s school friends, Wendy-Jo (Suzy June Wakeling), Rusty (Teah Dunning) and Urleen (Charlize Gosnell) try to warn her about Chuck but Ariel will not listen.

       Ren finds himself being outcast by the school Principal (Michele Acott) for being too outspoken. Even local cop (David Seaman) gives him a ticket. The sports coach, Mr Dunbar (Luke Miller) and his wife, Eleanor (Sarah Palmer), treat Ren shabbily because they are Bridge friends of the Rev. Shaw.

       Whilst in Betty’s (Rachel Vonk) ‘Blast’ soda café, shy Willard (Chris Ball) explains the no pop music and dancing policy of the town council. As the trio sing (Georgia Kinnane, Nicola Kinnane and Belinda Beatty) Ren musters his classmates and unsuccessfully demands a senior prom, and so with a group of friends drive 100 miles to an untamed night of liberty at the Bar BQ Club. The Club is a wild place, where Bob (Simon Dreyer) and the cowgirls (Gemma Addison and Eden Sambridge) boot scoot, as the singers (Darin Aqila, Charlie Darlington) chant.

      Can Ren win Ariel’s heart? With the help of friends, Jeter (Billy Darlington) and Garvin (Matt Manning), can anything be done win over Reverend Moore’s mind block?

Other performers include: Steph Shaw, Aaliyah Thompson, Asha Vivian, Brooklyn Kamer, Rebecca Mattison, ​​Channing Whitworth, Laura Goodlet, Nieve Hope, Caitlyn Hughes, Sophie Todd, Jordan Tabb, Emilie Tiivel, Tania Morrow, Clare Smale, Caitlin Walker and Luke Heath.

Suzanne Kosowitz, the musical director, has done an outstanding job. The music from her seven-piece band was well-balanced and complemented the singing, rather than have the poor singers fighting to be heard (as so often happens). The band members were Tabitha Broughton (woodwind), Thomas Felton (Electric bass), Cameron Hayes and Harrison Love (Guitar), Jo Keenan and Daniel Slee (Keyboard) with Richard Pooley (Drums).

With a cast of ‘thousands’, each wearing around four intricate and stylish costumes each, wardrobe mistress Marjorie De Caux wisely enlisted the help of Shelly Miller, Rachel Vonk and Sophie Todd. The result was stunning, plenty of colour and quality, all based in that era three decades ago.

The choreography, thanks to Arianah Isaia skills, was inventive and fresh. With such a huge cast to handle, there is inevitably a couple of actors out of sync, however, this cast – right up to the final curtain – were smiling, fully charged and performing quite complex movements. Even the singers had intricate arm and hand movements. The dancing ranged from romantic waltz, boot scooting, soft shoe to tap dancing.

The sound, designed by Chris Hewitt, Greg Rusha and Dylan Borbeau, was brilliant. The train sound effects (Anita Bound, Lesley Broughton) amazing. The slight echo used on the voices gave them depth, and the ‘dreaded’ headsets actually worked perfectly.

Joy Miles and Shelly Miller’s pulsing light design was in sync with the music, with the choice of colours and brightness levels spot-on. Well done Lesley Broughton, Julie Hickling and Lachie Kessey.

The directors, Joe Isaia and his assistant Michele Acott, had to oversee dozens of youngsters and complicated teching, before they even got to the singing and dancing. Joe selected a great team and it showed. Most productions are lucky to get a couple of good singers and the rest are average. This production had at least a dozen talented singers, and most of them could dance beautifully too.

EVERY single actor was fully rehearsed, and performed immaculately. Congratulations.

This fun musical has drive, colour and vibrancy, try and catch it.

This Darlington Theatre Company production can be seen at the Marloo Theatre, Marloo Road in Greenmount on Wednesday, Friday and Saturday evenings until 12^th December, curtain up 7.30 pm, Sunday matinees 2.00 pm.

Incidentally, the Marloo Theatre website now requires an ‘au/’ at the end of the address. Their real website is not ‘for sale’, so please use   http://www.marlootheatre.com.au/

All of the flats, at the rear and side of the stage, were very pale, dappled blue. Colourful fruit barrows and their attendants stand at the side. There was the exterior of a small cottage. In another scene was the corner of a harem and a small swimming pool.

      Thunder can be heard as beautiful Fairy Bowbells (Natasha Smith) strolls onto the stage, in search of her lost friend, Rosalind (Sophie David). She finds her pal locked in a cage, and as she releases her, there is a flash of lightning and the evil Esmerelda (Siobhán Vincent) – boo hiss – arrives. She cons Bowbells into giving her a magic neck talisman. With this new power, Esmeralda turns Rosalind into a black cat, Kitty (Tanya Doogan).

      In the town square, Bosun Bowleg (David Seman) and two seamen (Adrian Ashman, Paul Presbury) are searching for a new captain for Alderman Fitzwarren’s (Paul Reed) boat. The Alderman’s atrocious cook, Sarah (Suzanna Matla) is destroying even more food in her oven. Two local idiots, ‘I’ (Jonathan Quinn) and ‘Spy’ (Angus Cummings) have been hired to follow and kidnap, Alice Fitzwarren (Melissa Bull), the Alderman’s daughter; however, Esmerelda’s press gang, the evil Rats (Sophie David – radiated stage presence, Thomas Outred, James Dick,) led by King Rat (David Bain) – boo, hiss – were also out to kidnap any able-looking man.

      As handsome Dick Whittington (Channing Whitworth – good singing) is helping scout leader, Miss Peabody (Jacqui Ashman), he is captured and whisked away onto a ship. They set sail for Morocco but their boat sinks.

       The extremely wealthy Sultan (Michael Hart – at his best) and his gorgeous daughter, the appropriately named Maneeta (Tyler Morgan) capture the crew. The Sultan’s butler, Jeeves (Timothy Presant) pleads on behalf of the captives, but the Sultan continues to admire the harem dancers (Jenny Trestrail, Natasha Smith, Rachel Vonk).

       Will dangerous Esmerelda be stripped of her powers? Is there any happiness or love left in the World?

 

Marloo has one of the largest stages in the WA community theatre group, and although the small amount of set was of quality (George Boyd), the quantity let it down. The stage often looked stark. Whenever the chorus left the stage, the two or three actors remaining appeared lost in a void. Perhaps leaving a few ‘peasants’ loitering whilst the singers performed would have helped. There was good and speedy set changes by stage manager Hayley Derwort’s team of Jordan Tabb, Elanor Cooper-Ritter, Graham Dick, Michael Dick and Ashley Johnson. When the LED lighting changed from white to colour, it certainly helped make the scene more intimate and less clinical (lighting designed by Michael Hart and David Bain, operated by Mike Smale).

The lightning and explosion effects were MOST impressive, especially when topped off with Greg Rusha and Brendan Tobin’s inventive sound design.

The costumes (Rachel Vonk, Tracy Vonk, Sallie Ketteringham) were perfect for the characters, ranging from the beautiful gown of Fairy Bowbells, to the ‘horrible rats’ outfits. Then there was the diaphanous dress of the Sultan’s drag queen daughter, Maneeta – great fun. Then there is that very different camel (constructed by Annie Bramble) – not your typical Panto camel – it was meant to be ridiculous, matching the two mad characters inside.

‘Dick Whittington’ was enthusiastically directed by the talented Rachel Vonk. The intricate choreography was clever and well rehearsed, thanks to Joanne Neesham. The musical directors, Brendan Tobin and Amanda Minutillo gave us catchy tunes, with a sensible sound level to ‘accompany’ rather than take over the singer’s vocal cords. At times, perhaps too many different themes were taking place on stage simultaneously. Plenty of action is wonderful, but to have serious singing, with dancing and a comedic camel altogether can be a little overwhelming.

A thought :- Who was the Dame of this panto? What does a Dame normally look like?

When comedians crack jokes, the script can be first-class, but much of the success depends upon the style of delivery. The cast were word perfect and well-rehearsed, but often the lines were delivered as though they were part of a drama – clearly, at a good pace but in the wrong genre, so many of the jokes did not quite work correctly. The corny humour especially needs to be spelt out – as though telling a four year old a joke – with even a boom boom noise from the musical accompaniment or a simple bass drum just to drive home the point. Pantos are the one time that ‘ham’ is best.

‘Marloo’ can be relied on to entertain children of all ages. Your kids would love this.

This very funny two and a half hour, dark comedy by the Darlington Theatre Players, can be seen at the Marloo Theatre, 20 Marloo Road, Greenmount on a Friday and Saturday nights at 8.00 until Saturday 16^th May. There are two Sunday matinees at 2.00 pm.

It is present day in the upmarket living and dining area of the Patterson’s home, somewhere in Australia.

Another magnificent set from George Boyd. The dining area is raised and the table is set for a special family meal. The sitting room area has a comfortable three-piece suite and jarrah furnishings. There are two arches leading to the bedrooms and front door. The director and his assistant, the technical crew, George Boyd, Michael Hart, Dennis Sutton and the stage crew, Graeme Dick and James Dick, combined efforts to build this stunning set. Lesley Sutton has carefully chosen props give a truly authentic ‘lived in’ finish.

Very good, well thought-out, lighting design operated by David Bain. Two large pendants light the area. David has taken the time to light passageways, and when the room door was opened the area beyond was lit up and not, as often seen, just a black void. Chantelle Pitt operated George Boyd’s sound design with precision.

       A spotlight picks out a wall clock and dour Ron Patterson (Ray Egan). Ron explains how three months ago his specialist told him he is dying, and that he had three months to live. Ron took him at his word – not 3 and a bit months, but three months precisely to the minute. Today is the day; he has 111 minutes left to live. His wife Dawn (Siobhán Vincent) has decided to gather the family around for party pies and Pavlova, in an attempt to help Ron tie up the loose ends of his strained family life.

      The lights dim, and seconds later we join Ron’s high flying, businessman son, Michael (Richard Hadler) and his elder daughter, Debbie (Belinda Djurdjevic), 35 and still not married! They are trying to decide why their father has called the family gathering. Could he have discovered that Michael is gay?

      The younger daughter, Karen (Laura Williams) arrives, wearing a miniskirt, bright red shoes and a massive chip on her shoulders. She moans and complains, ‘why is her Dad wasting her time?’, but as soon as Ron and Dawn enter the room, her little pet-lip pouts and they tell her how wonderful she is, so much better than the two disappointing older children.

      Before long, at Ted’s request, a young undertaker (Harry MacLennan) calls to check the funeral details.

This is a hilarious script, and with a laugh about every twenty seconds, it required a first class, inspired director and Brendan Tobin was just the man, most capably assisted by Rachel Vonk. The dialogue was perfectly delivered by a cast that thoroughly understood their characters. All of the personality traits were there, brought to life by great body language and facial expressions. The father’s stern and miserable outlook, the loving caring mother who went with the flow, the petulant and jealous Karen, Michael was anxious and impatient with Debbie trying to be patient despite being the one who is bottom of the family tree. The euphoric undertaker, Ron, just sat with an angelic smile. Rarely I have I seen such a perfectly integrated cast, everyone gets 10/10 for performances. The pace and chemistry outstanding. A massive compliment but thoroughly deserved.

Happy Birthday for tomorrow to director Brendan, you deserve a rest and be pampered.

The laughter did not let up for a moment; sit near the aisle you will need it to roll in. Try to catch it, funniest show in years.

This wonderful observation of family life and attitudes in the 1960s was published in 1997 and first produced the same year. The play is thought to be semiautobiographical.

This fine production from the Darlington Theatre Players can be seen nightly at the Marloo Theatre, Marloo Road, Greenmount until 21^st March. Curtain up at 8.00 pm.

The stage is divided into three areas. To the left is a hospital bed complete with drips etc. At the rear of the stage is a raised area representing the mother’s home, with black drapes for the walls. The simplicity of the scene is compensated for by the high quality of the props, ranging from an old record player to antique furniture (Carol Hall).

On the right is a turntable stage with a 1960s kitchen on one-half and on rotation a comfortable 1990s sitting room. Again, the extras make the scene, such as little touches as the calendar changing as the years go by. Another clever set from George Boyd.

       The opening scene is an intensive care unit of the local hospital. An elderly woman takes a deep breath through her oxygen mask. This is Kate Macrae (Amanda Minutillo). Her loving and caring daughter, Judy Macrae (Kerri-Anne Mulley) and her son, who has travelled from France to see her, visit the mother. The son, Stephen Macrae (Paul Reed) is more interested in getting back home, than talking to his matriarchal mother. Even on her deathbed, Kate is not giving up on being the boss.

      As they, sit chatting in the ward, Kate recalls her now departed, racially bigoted and politically one-eyed husband, Ron. The mother, despite having suffered at his hand for years, stills seems to show affection for the bully.

      Later at the mother’s home, the siblings are going through old photos and letters in preparation for her passing. As they talk, there is a flashback to the stormy lifestyle in their 1963 childhood home, where the father Ron Macrae (Richard Milner) is trying to run rehearsals for a community play. A younger Kate Macrae (Irma McCullen) is trying to help a very nervous, incompetent actress, Maureen Donahue (Alyssa Burton – hilarious) struggle through her lines. Director, Ron is far too busy admiring the many ‘qualities’ of another actress, Claire (Rachel Bartlett).

      A couple of years later, in 1965, as the family are eating their breakfast, the father is ranting as usual and the young son, Stephen Macrae (Ben Constantin) tells his kid sister, Judy Macrae (Elanor Cooper-Ritter) that he is going to leave home and his Uni course, travel abroad and become a film director.

       Does the passing of the years mellow this family?

As the scenes are many (two dozen) and quite short, I suspect that this play was written with TV or cinema in mind, with simple intercutting between scenes. Despite clever set design and fast changes by the crew, the flow was inevitably broken up.

David Bain operated both Greg Rusha’s sound design, and Michael Hart’s intricate lighting design.

Director Hayley Derwort and her assistant Rachel Vonk are two of Marloo’s younger members, both of them directing for the first time. They were faced with a large number of very different characters in the script, but this did not faze them, the interaction between the actors, the pace and the chemistry all worked well. The acting was such that the lady behind me in the audience kept forgetting it was a play, and became quite irate at the attitude of the father – especially to immigration – and to the son’s feelings for his mother, with comments like ‘He can’t say that!’ and ‘That is terrible!’. A sure sign that the cast and directing are working as one. A very good first stab at direction, the slickness will come after a few shows.

This play is very different to David Williamson’s normal, easy-going, fun plays. It is a wonderful, punchy observation of family life, combined with the outdated viewpoints; it is amazing how much opinions have changed for the better in just a couple of decades. We also get a brief glimpse at the employment conditions of the 60s. The younger Kate Macrae (Irma McCullen) captured the wife’s torment perfectly and her spar with Stephen (Ben) is one of the play’s highlights.

Rachel was also responsible for the costumes, which demanded styles from several eras, from 1960s flares and Paisley, to the attire of the 2000s. Her clever outfits described the fashion and personality of the wearer instantly.

Certainly worth seeing. There are plenty of laughs, but with many occasions where you will cringe at the diabolical dialogue. Very well acted, another winning production from Marloo.

This fine 90-minute production is being presented by the Darlington Theatre Players at the Marloo Theatre, Marloo Road, Greenmount on Wednesday, Friday and Saturday nights at 8.00 until Saturday 19^th July.

Reflecting the (deliberate) amateur theme of the play, the rough-hewn set (built by John Hillan) comprises sandstone castle walls, with a series of arches across the rear of the stage. These arches face towards the rear of the stage, as the audience find themselves ‘on the stage’ watching the actors perform to their audience – the backcloth.

          Pianist Gwynneth (Marjorie De Caux) warms up the audience with a burst of ‘The Sound of Music’ and ‘Tequila’, an unusual choice for ‘Macbeth’, but as we are to find out, nothing in a Farndale, play is usual.

         Onto the stage strides Mrs Reece (Neroli Burton) the proud director of this production. This haughty thespian seems unaware of the true inadequacy of her cast and crew. She introduces the audience to a special guest; he is Mr Peach (Ray Egan), an adjudicator for a prestigious acting competition, who will oversee the play.

         The curtains open, catching the stage hand, Henry (Rodney Stickells-Palmer) trying to organise the three witches (Alyssa Burton, Rachel Vonk, Taneal Thompson) who are late for their entrance. To make things worse, one of the witches has lost her voice. Then the stage manager, David (Richard Coleman) discovers that Lady Macbeth has called in sick, the performance has started; before he knew what had hit him, Henry was volunteered for the part.

        The play progresses and we see Macbeth (Siobhan Vincent) witness an original entrance for the ghost of Banquo (Fi Livings).

        How will Mr Peach see this theatrical disaster?

Gail Palmer, the director, and her assistant Marjorie De Caux have chosen a VERY difficult genre to produce. This series of comedies is famous for failing and being un-funny, but Gail has captured the subtleties of the style and skilfully directed her talented cast to give a very dry, humour filled performance. The blunderings are perfectly carried out, appearing as accidents and NOT with the boom-boom calamities of a pantomime. To make such chaos succeed, every member of the cast must capture their very different personalities and appear to go their own separate ways – this every member did, flawlessly.

The techs have their ‘mistakes’ down to a split second, with sound effects (Greg Rusha) and lighting (Michael Hart) cues out of sync. The costume girls (Marjorie De Caux and Sallie Ketteringham) and the props arrangers had their work really cut out. The costumes were varied and unusual, the props weird and wonderful, but both gave the audience plenty of laughs. Stage managers, David Bain and George Boyd, had several crazy moments operating the strange props.

This play may not be everyone’s type of humour, but it will win your admiration. To make anything, whether magic, slapstick or blundering look unrehearsed, it requires a huge amount of practice; this team were at their very best when delivering the laughs.

‘Political Correction’ (40-minutes), is a clever comedy / thriller, written by mathematician James Forte. James is part of this year’s Black Swan Writers’ development course. The play was directed by Douglas Sutherland-Bruce who was assisted by the playwright, James Forte.

In a comfortable suburban home, live two politically active teenagers; the slightly nervous Colin (Harrison ‘Harry’ MacLennan) and his temptress sister, Sarah (Melissa Scott). Their parents, a chemistry professor and his wife are out for the evening, and so the teenagers have taken the opportunity to invite local politician, Frank Armstrong (Alex Sutton) around to the house under the pretence of arranging a research grant for the father.

What is the true reason for the invitation?

Written satirically in parts like, ‘Yes Prime Minister’, with all of the warped political lies, this very funny play is particularly relevant at the moment. It is a novel idea that has been well constructed. The audience loved the sugar-coated hypocrisy, spontaneously applauding some of the lines that could have come straight from the TV’s evening news. The three actors were all excellent, with Alex convincingly playing a man twice his age.

‘Holly and Ivy’ (40-minutes) is a heart wrenching play written by WAAPA lecturer Noel O’Neill. It is exactly 5 years since I first saw this play at the Rechabites Hall with the same actresses playing Holly and Ivy. This production was directed by ‘the cast’, and what a magnificent job they did.

It is Christmas Eve in a small town in central Scotland (Broxburn?). Ivy (Sandra Sando) is making a cup of tea for heryounger sister, Holly (Catriona M. Coe) who has just arrived at the family home for the funeral of their mother.

Ivy is grieving deeply and is somewhat annoyed by the ‘couldn’t care’ attitude of her sister. An argument starts as the sibling rivalry reignites. Both women have a lot to get off their chest, and they are not going to hold back. However, Tommy (Ray Egan) an old friend of their Mum arrives, intoxicated as ever, and cramps their belligerent style.

Can the family ever be the same again?

This poignant play has won many richly deserved awards since its first production. It is a real tear-jerker. The two sisters captured their parts perfectly, and with such a wonderfully true to life script, the whole story was a delight. We all know families just like this one. Ray was impressive with his Scottish accent matching the two girls perfectly. A memorable play, beautifully presented.

‘La Divina Speaks’ (35-minutes) is the life story of Maria Callas, brought to life on the page by award winning writer Douglas Sutherland-Bruce and Elisa Wilson. Douglas then went on to direct this piece.

It is 1972 and we join Maria Callas (Elisa Wilson) as she finishes a passion filled passage from Puccini’s ‘Tosca’. Dressed in a stunning peacock blue satin dress, and dripping with jewels, she takes her bow.

We then join her after the show at her home in Long Island, where Maria tells us of her youth. How as a dowdy, fat, pimply girl with thick myopic glasses she had to perform for her parents in Greece. Then the war arrived and the family was split up.

Her fascinating, and at times, gripping tale takes us through her love affairs and family dramas. She ‘knew’ (in the Biblical sense) many famous people of the era, from soldiers to the extremely rich.

I don’t need to say that the tremendous delivery by WAAPA graduate and International opera soprano, Elisa Wilson, was jaw dropping. Not surprisingly, Elisa was a winner of a prestigious Armstrong-Martin Opera Scholarship. Delivering an emotional song from an opera with such
skill and tenderness is a challenge beyond most performers, but to then do a half hour monologue which entranced the audience and had them hanging onto every word of the story, is another difficult art in itself.

The back stage team of Marjorie DeCaux (costumes), sound (Greg Rusha), lighting (Michael Hart, Hayley Dewort and David Bain) excelled.

How often do we see trilogies when one play will be good, one average and the third diabolical? Here we have three superbly written plays, well directed and top notch acting. A really special night at the theatre.