Now in its 35th successful year, The Spare Parts Puppet Theatre under its associate director, Michael Barlow, is presenting the World Premiere of Tohby’s stage adaptation of his inspiring book. This 50-minute show, which is aimed at children aged 5 and above, is being performed at Spare Parts Puppet Theatre, 1 Short Street in Fremantle (opposite train station).

The performances are daily, Monday to Saturday, at 10.00 am and 1.00 pm. until 8^th October, with twilight performances at 6.30 pm on Wednesday 28^th September and Friday 7^th October.

You can have a chance to meet the playwright, Tohby Riddle after the 6.30 pm show on Wednesday 28^th September, when he visits Spare Parts.

Sadly, Noriko Nishimoto, who produced some superb puppets for the company over the years and was working on this show, has passed away. Production Manager, Chad Wetton, has gathered a well-respected, puppet construction and design team to make this show’s creations; they are Leon Hendroff, Rosie Martin, Julie Reeves and Bryan Woltjen.

The finishing touches to this show come from lighting designer, Graham Walne and composer, Lee Buddle who has produced a delightful original score, ranging from light jazz with saxophone and piano, to a soft sentimental score.

The set is a backdrop of beige skyscrapers. City crowd scenes were created by life-size cut-outs pushed around by the cast.

   Covered in pigeons, Yvan (Yvan Karlsson – great fun) introduces himself as a street performer, struggling to make a living and survive. In the evening, Clive (Jessica Lewis – delightful) the fox, immaculately dressed in a copper coloured suit introduces himself.

     We then get shown around Clive’s city, before having a peep inside a local factory where the bored workers are carrying out monotonous tasks.

     After work, Clive meets his friend Humphrey (Shirley Van Sanden – great characterisation) who is a depressed, homeless donkey. The couple find a blue envelope outside the theatre, is their luck changing? It is then they see the city’s richest man, Mr Crocodile (Geoff Kelso – boo, hiss) in his astrakhan coat. A nasty man.

The delightful cast comprises some of WA’s most talented, dramatic actors – regularly seen at the Heath Ledger and Blue Room Theatres – being winners of major acting awards.

The production is cleverly presented on several levels. The young kids, 5 years and up, will just love the colourful masks and the ‘live’ glove puppets, in the style of a ‘Punch and Judy’ show. Children 7 years and older, will also enjoy the storyline and start to appreciate the underlying themes of family relationship, and how to connect with friends.

The show’s opening was wonderful as Yvan did his pigeon act (c.f. Mary Poppins’s bird lady) before introducing us to teddy bear, a fun marionette.

There is a quite dark scene when one character has a nightmare; this may frighten the younger children. I felt that other than Clive, there was very little colour to the show, as the costumes were neutral. Children need visual warmth to relax.

Be one of the 60,000 audience members each year, to catch that special piece of magic unavailable anywhere else in the area. The tickets are at a minimal cost, so treat your family and neighbours.

Based on a 14th century, Chinese fable ‘The Circle of Chalk’; this is the Black Swan State Theatre Company’s first international collaboration. Presented in the ‘Beijing or Peking Opera’ style that combines music, speech, mime, dance and acrobatics is part of the 2016 Winter Arts Festival.

‘The Chalk Circle’ parable is usually presented as a dramatic tragedy. Here we are taken back to the original folk tale. It is presented with Brechtian techniques, in a traditional setting but with contemporary middle-class dialogue, at times quite coarse. The upshot is approaching an adults’ pantomime, which may come as a shock to the purists, but it is fresh and great fun. Brecht actually wrote music and songs for the play, but these have been added to and refined.

This innovative, 3-hour presentation can be seen nightly in the Heath Ledger Theatre, within the State Theatre Centre of WA in Northbridge. Performances are at 7.30 until Sunday 14th August – the sixtieth anniversary of Brecht’s death. There are also some matinées.

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The story is set in the Soviet Union area of Galinsk around the end of the Second World War.

The stage is like that of a new theatre. There is no backcloth, no flats in the wings, any drapes or scenery of any kind. A few well-chosen props are on the stage, along with wardrobe racks. (Set Designer Richard Roberts assisted by Lui Hong Ping).

As the play begins, three layered, sculptured backcloths are raised from the floor; they give a wonderful appearance of mountains in a mist. A Chinese gateway arch is rolled into position.

The men who are exalted officials wear the stunning, brightly coloured and highly embroidered, Hanfu, and the ladies traditional Princess costumes. The Costume Designer, Zhao Yan, although still young, she has designed for more than six dozen productions.

With little scenery, the demands on the Lighting Designer, Mark Howett to create atmosphere, was high.

      The actors wander onto the stage in their black, rehearsal trackies and T-shirts. They begin their warmup routine, and then select their masks from a rack of specially designed façades (Designer of props and masks, Professor Zhang Huaxiang).

 

‘The Singer’ (Musical Director/Sound Designer, Dr Clint Bracknell) with guitar in hand, takes his seat at the foot of the proscenium arch. Accompanied by a brightly dressed, indigenous singer (Lynette Narkle), the two beautiful voices set the scene.

     The Malaysian percussionist, Arunachala, attacks the timpani – the play has begun.

     In the town of Nuhka, the church is filling for Easter Mass. The slimy Fat Prince (Luke Hewitt) ingratiates himself with the powerful Governor, Georgi (Geoff Kelso) and his egotistical wife, Natella (Caitlin Beresford-Ord) as they sweep past the peasants. The Prince admires the Governess’s new baby, Michael, who has been left outside the church with the maid, Grusha (Alex Malone). Two soldiers are admiring Grusha, when one, Simon (James Sweeny) tells his dim friend (Kenneth Ransom) how he has watched her bathing in the river. Grusha is horrified.

     The Fat Prince has arranged a political coup, and with the Government deposed and her husband dead, Natella escapes the heartless, murdering Ironshirts (Adam Booth, Alison van Reeken). In doing so, she leaves her son behind, yet takes time to collect her expensive wardrobe of clothes.

     Grusha is keen to look after the baby, but with the gestapo-like Ironshirts searching for the child, she accepts the help of a kindly peasant woman (Kylie Farmer, Indigenous name Kaarljilba Kaardn). They escape across the northern mountains to her brother (Steve Turner), Lavrenti’s farm; well away from the Governor’s friends and the Ladies of the Court (Felicity McKay) who may recognise her.

       What will become of Grusha? Her lovers on the way? Moreover, the baby? Who is Judge Azdak?

Directed by Dr Wang Xiaoying, the Vice President of the National Theatre of China, with Assistant Directors, music graduate, Chen Tao and Melbourne based, Hong Kong born, Felix Ching Ching Ho who is an independent theatre director, a new freshness was brought to the Perth stage. The pace was cracking; with stagehands and cast moving the props in and out within seconds, the story retained its drive wonderfully.

Most of the players had several characters to play, and with a different mask for each one, the appearance could change, but the facial expressions disappeared, putting the focus onto the body language. Steve Turner probably had the largest number of personalities to perform, each being rich in detail.

In the first Act, Alex Malone as Grusha was magnificent, giving a full range of emotions. The play requires the occasional song, and her beautifully soft, sweet voice was crystal clear. In Act 2, one of our masters of the stage, Geoff Kelso, proved that he still has that magic touch. His comic delivery was brilliant and his singing left the audience gaping at the quality of his crooning.

The whole cast worked unrelentingly to give the audience an inventive, novel production.