‘Nexus Theatre’, ‘Murdoch Theatre Company’ and ‘From The Hip Productions’ are presenting this fun-filled production at the Nexus Theatre, Murdoch University, 90 South Street, Murdoch – near car park 3. The series has a crew of over 40, and combined casts of over 30, promising us something that Perth has never yet experienced.

After a warm welcome from Front of House, Rachel Doulton, the one and a half hour performances commence at 7.30 each evening until 16^th July, with one matinée at 2.00 pm on Saturday 16^th July.

The scene is Saqqara, the City of the Dead in Egypt. The year, 1890. The stage is divided into the Waldren’s home and the tomb of Artek Bey. An inscribed, limestone sarcophagus leans against a wall. The rear wall of the cavernous tomb is covered in hieroglyphics.

Later the stage becomes the storeroom at the British Museum. Another triumph from production designer, Allison Snell and her construction and artwork team, John King, Katie Southwell, Andrew David and Sam Knox. There was clever use of the smoke machines, such as when the coffin was opened, and there were cobwebs everywhere.

The period costumes were stunning, and beautifully tailored by Alli Snell, Sophie Braham and Bella Doyle. The Mummy was not simply wrapped in crêpe bandages, but had tassels and rotting material on him too.

The stage management was slick, thanks to Keaton Howe and his assistant Mike Casas.

       It is Egypt 1890, and we hear the sounds of the explorers hacking through the final layer of stone, before entering the tomb of Grand Vizier, Artek Bey. The leader of the British expedition, John Waldren (Tim Brain) and his labourers, Alfie (Andrew David) and Charlie (Tay Broadley) are first into the cavernous tomb.

      Then Lord Preston (Dean Lovatt) demands that they open the sarcophagus. The leader’s daughter, Claire Waldren (Christie Strauss) is an expert on hieroglyphic, so warns them that on opening the coffin a curse will result on all of those invaders. The casket lid is prized open and the bandaged Mummy, Artek Bey (Andrew Dawson) appears to move. There is a rapid exit from the grave, but poor Charlie was a little too slow in leaving.

       Back in the Waldren home, Claire is saying ‘Goodbye’ to Lady Harriet Preston (Anna Weir) who is being treated abominably by her husband. Young Alfie calls around, and we find that there is romance in the air.

       All of the treasures are shipped back to the British Museum in London, where we meet the mad librarians, Miss Dalrymple (Kate Willoughby) and Cora (Abbey McCaughan) trying to catalogue the new items. As they work, the lights flicker and the attractive Priestess, Abrar Ali (Bella Doyle) seems to appear from nowhere. Uttering ancient texts, she commands Artek Bey to come back to life.

      Will her commands work? Who will die? Will the handsome policeman (Andrew Dawson) discover what is going on?

This adroit, original comedy thriller was directed by Tim Brain, with movement advice from Tym Sanders. On opening night, there were a few nerves and it took a little while for the play to gather pace and for the actors to project their voices; but by the second Act everyone was tuned-in and the show moved up a few gears. Tim is exceptionally talented in numerous theatrical fields, sound, music, directing etc., but to tackle all of these – and several more – in one play I think might have been a touch too much. Perhaps a separate director could have taken this masterful play to yet another level. It must be said that this is a very clever and brave production, with Tim breaking a huge amount of new ground in bringing it to the stage. So much talent, well done.

The soundscape of creepy noises and bodies being broken was created by Tim Brain and operated by Kiah Van Vlijmen. Tim also composed the musical backing that varied from the double bass ‘breathing’, violas scraping to ethereal organ music – even a burst of bagpipes crept into the score. Tim played the various instruments and was ‘accompanied’ by legends Anne Dudley, Jaz Coleman, Erik Satie and the Warner Music Group.

Scott McArdle’s ingenious, complex and highly atmospheric lighting design was set by Katie Southwell, Sarah Bond and Bella Doyle; being operated by Katrina Johnson. The imaginative makeup and hair designs were supervised by Leah Toyne and Sophie Braham.

The main cast members brought depth to the serious drama, with episodes that made the audience wince on occasions – well done. However, the director was a brave man in deciding to mix humour with the creepy violence, an idea that to succeed, takes special acting skills; but the eccentric librarians (Willoughby and McCaughan) captured their brief and chalked up another success for the show.

A must see quality event, but be quick.

The theatre now has a smarter entrance hall, a proper Bio Box, an improved lighting grid, cushioned bench seats, along with thickly insulated walls between the theatre and the rehearsal space next door.

The play is 65-minutes with no intermission. There are three performances, Friday 21^st August and Saturday 22^nd at 7.30 pm, with an extra matinee fitted in at 3.00 pm on the Saturday due to sell out evening performances. This leaves one wondering – Why are there so few Science Fiction plays?

 The scene (set design – John King) is a dimly lit laboratory, with a thermal awakener unit leading to the cryogenic area. There are computer screens controlling the authentic airlock doors (operator John Bailey). At the rear of the laboratory is the control centre, comprising a massive screen with never-ending computer jargon flowing and various technical boxes glowing. A hospital bed is at the side of the room.

Nick Morant operated John King, Tim Brain and Katie Southwell’s realistic and creepy lighting design. The whirring door noise was straight from space, super work by Ryan Partridge.

       The Esana Inc. cryonics facility is available to the public for hire. If for some reason you wish to be stored at icy temperatures until a future date, then for a fee this company will look after you. Seven very different people, who had signed up, are now being urgently awoken.

     First out of the chamber is James (Dean Lovatt), who has been in storage until a cure is found for his ‘delicate condition’. He checks the computer screen information, hoping to find the date, or even the decade! The airlock door buzzes and angry Hedy (Anna Weir) emerges, quickly followed by conman Matt (Aaron Jay) who looks very sick. Matt explains how he had arrived 10 years after Hedy had expected to depart – why had not she been woken up?

     Disabled Paula (Nicola Brescianini) and pregnant Tara (Bethsaida Tapsall) are both looking for some special medical treatment. The Transfer door buzzes and a happy, elderly man emerges, this is John (Ron Arthurs), who believes every day should be joyous. Seconds later Dr. Ettinger (Jason Dohle), the controller of the Unit, emerges. At last, there might be some good answers to the pandemonium and upset.

Writer / director Stephen Platt has skilfully created seven believable characters for his unusual story. So rare is this genre for the stage, that when I was trying to think of a play to compare it with, I was at a loss. In the last decade, I think this production has a unique style. The characters are well considered, filled with traits and attitudes that helped keep the story threads twisting. The storyline included all of the important elements, suspense, black comedy, straight slapstick, mild violence, tragedy and of course, love. The dialogue was a little thin near the beginning, but by the end, the interaction was crisp and the words matched the personalities well.

The costumes were simple grey, medical pathology suits with the company logo. John had a wild waistcoat (wardrobe – Ellin Sears, Denise Smith, Dean Lovatt). All of the inpatients had blue-flashing earpiece monitors – nice touch. Catherine Dunn dexterously created the hair and makeup.

Sci-Fi is not normally my favourite style, but I really enjoyed this play. It was so much more than being blinded by weird science; the storyline was solid, with a clever, unexpected ending.

To a nice bloke and a name to remember, good luck for the future Stephen B. Platt.