This captivating, 80-minute heart-rending, enthralling Red Ryder production (Benj D’Addario) can be seen at the Blue Room Theatre, James Street – in the Northbridge Arts Complex – each evening at 7.00 (time was changed) until Saturday 1^st October.

There is an AUSLAN production on 20^th September.

As well as being named one of the Top 10 London Play of 2013, the ‘Scotsman’ newspaper awarded it a prestigious ‘Fringe First’. On Broadway the pilot was played by Anne Hathaway.

The set (consultant, Frances Danckert) is simply a two-metre square, black dais and a black leather office chair. A wisp of smoke drifts across the stage. Karen Cook’s lighting was exceptional; comprising dozens of spotlights or small floods, she picked out the areas with carefully chosen lighting angles. The subtlety continued in the soft, background music (Brett Smith) and the soundscape with its magnificent sound effects. The music complemented the highly realistic, video design (Mia Holton) depicting pictures from a plane’s computer cameras.

The stage manager, Georgia Smith was operating the consoles. There was probably around a massive 200 lighting and sound cues, most of them requiring split second timing or subtle changes, and she did not miss a single one. Superb work.

The minor scene changes just ‘happened’ in the pitch dark.

      A powerful fighter jet, an F16, roars low overhead. The lights rise to show a smiling pilot, proudly dressed in a sap green, American Air Force jumpsuit. In a slight neutral American accent (coach – Luzita Fereday) the aviator (Alison van Reeken) explains how she has flown numerous types of planes, risen through the ranks and is now flying the ultimate fighting machine. She is an omnipotent fighting God.

      We learn of her joy, flying through blue beyond with her teammates and their amusing camaraderie. However, shopkeeper Eric becomes the new love in her life, and gives her the only thing missing – a baby. Unfortunately, due to health and safety regulations, she can no longer fly and is grounded.

       Three years later, she calls into the office, simple routine and is to be allotted another squadron. However, fighters are now going out of fashion and she is now assigned an $11 million ‘Reaper’, a type of drone. This will mean security, regular hours, an air-conditioned office and be home safely to the family each night. What more could a pilot ask for?

Who in their right mind would accept a part that is 80 minutes of monologue? You would have to be mad – or exceptional. Alison is exceptional, having already won the most prestigious theatre award, Equity’s ‘Best Actor (Female) of the Year’; even so, this intense play is still the ultimate challenge. Guided by an Equity award-winning director, Emily McLean, success was practically assured. All there was left was a colossal amount of work! Could this be the performance of the year?

There was little physical action by the actor, other than meaningful, discreet face and body movements. The director has carefully chosen a crew that is oozing quality, to accompany this solo performer’s tour of action and ensure a rich, vivid image.

I always feel sorry for actors in plays with tragic or surprise endings, as inevitably the applause is muted whilst the mesmerised and drained audience gathers its breath after the assault.

It is always good for publicist to have a thought-provoking show that they can be proud to promote; Alison Welburn has the very best.

Any student studying, or thinking of studying acting should see this play – it will set the bar for you and leave you gasping. A triumph.

This fast moving, 75-minute show about confrontation, is in the main Blue Room Theatre, Perth Cultural Centre, James Street, Northbridge and runs nightly at 7.00 until 28^th May.

The opening scene is the sitting room of a comfortable flat, with coffee table and settee, all in cream / white. The walls are covered with numerous, small artworks.

The three units forming the walls are rotated, and we find ourselves in a down market, somewhat sleazy pub. A clever and innovative set from WAAPA trained, Tessa Darcey and stage managed by Georgia Smith.

Joe Lui’s powerful and dramatic soundscape is taken to a new level with the stunning; electro-soul music is by Fremantle’s ‘St. South’, the work of instrumentalist and haunting vocalist Olivia Gavranich. Olivia has also composed for TV dramas.

      Quiet and easy going Max (Peter Lane Townsend) and his warm, healthy living, girlfriend, Norah (Maja Liwszyc) are having a relaxing night at home when an old, childhood friend of Max’s arrives. She is Blythe (Emily Kennedy) tense, stroppy and begging for an argument. She has recently broken up with her long-term partner and is looking for support and guidance – but is unlikely to accept it.

     The scene changes to the local pub, where barmaid Blythe is cleaning up for the night, before setting off home. At the last minute, a middle-aged man, Dean (Benj D’Addario) comes in wanting a drink – and perhaps a bit of female company, unaware that Blythe is more interested in girls. Even so, Dean will play a major part in her future life.

The much-admired director, Emily McLean, has worked several times at the Blue Room and for the Black Swan State Theatre Company, always giving us a play to remember. She is a dedicated director, carefully considering every aspect of her productions. Emily has selected a very capable cast, from the highly experienced Benj to the relative newcomer, Peter.

Emily Kennedy gives an amazing performance, filled with emotion ranging from heartbreak to raging anger and guilt.

This is a cleverly written play, with the action taking place on several ‘levels’. The strong, well-focused performances gave justice to this excellent play. Highly recommended to those that appreciate quality.