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.

Georgia King’s production of ‘Welcome to Slaughter’ was developed with the support of PACT, centre for emerging artists, and HotHouse Theatre’s ‘A Month in the Country’ residential program, a project delivered in partnership with Albury City.

This outstanding 50-minute play can be seen at the Blue Room Theatre, 53 James Street, Northbridge nightly until 25^th October. Performances commence at 7.00 pm.

The audience are ushered through forest growth as big leafy branches trail in your face. The ground is thick with autumn leaves and rotting logs. At the side stands a very old VW (?) convertible car with the roof down – it moves! Through an arch, dense dank undergrowth can be seen. The full moon lights up the scene. Superb set and AV by Shaye Preston, with a special mention to stage manager Georgia Smith and production manager Meabh Walton.

        An old car is driving through countryside lanes. It is the middle of the night and there is a full moon. In the car are two young women who have been in a relationship for several years. They are getting away from it all with a break in the country.

      We see the glow of the twisting roadside as the kilometres fly by, and watch as the driver (Jo Morris) struggles to stay awake by inanely singing along with the car radio. Her bored partner (Michelle Robin Anderson) tries to entertain herself, but in the end succumbs to weary, childish car games. Soon the warm glow of the morning sky can be seen.

      It is time for a pee break. The car draws into the side of the road. Whilst the driver is sitting in the car waiting for her friend to return, who should arrive on the scene but someone she hadn’t seen for many a year.

Every now and again, the ‘complete production’ arrives at the theatre. This is one of those special occasions. It has an amazing storyline, very well directed (Michelle Robin Anderson, Joe Lui), tremendous actors, fabulous mood lighting (Joe Lui), realistic set, perfect costumes, makeup, mood music and effects.

Brett Smith has produced a pumping, eerie soundtrack, that ranged from a couple of decibels to 120 dBs – that of a plane taking off. The creepy voiceovers make you shudder; this really was an amazing soundscape.

When an emotion-charged production has truly succeeded, as in the case of a tragedy or as in this production, chilling horror, the applause can often be stunted, when deep down the audience would really like to give a standing ovation. Last night the actors left the stage and not a single audience member moved for about 30 seconds – totally drained and fearful of having to leave the theatre through the haunted forest.

So take your heart tablets, wear incontinence pads – I guarantee that you will jump with shock – and trot down to the Blue Room for a new experience. Un-missable quality.