At the beginning of this year, ‘The Open Lid Ensemble’ presented ‘Halina’, one of the most admired plays of the Perth Fringe World programme.

Performed as part of the 2016 Fremantle Festival, this charming but dark play can be seen in the Red Room at Creatures Next Door nightly at 7.00 until 4^th November.

The Red Room has the seating ‘in the round’ under a colourful, Big Top canopy. To the side is a stage, showing a grey city skyline and the detritus of urban squalor.

        The dimly lit room is filled with a low echoing bass voice (Michael Biagioni), sounding a little like the haunting of a whale crying in the ocean. The live melancholic music, in a lower key, builds up, completing the feeling of a vast, lonely and open space. A beautifully melodic, ethereal voice (Isaura Malika) sensitively completes the mood.

       A raggedly dressed, pale-faced girl (Courtney Turner) lies on the pavement. As she sleeps, the black spirits of the night flit around. As morning dawns, she wakes, grabs her Salvo’s free cup of soup, before the pandemonium of the commuters (Kat Shaw, Amanda Watson, Sinead O’Hara, Hannah Evelyn) hit the streets.

       These wealthy automatons move around with no consideration for anyone except themselves. In a desperate attempt to make some money for food, the poor girl tries to sell them matches, ever hoping for a morsel of their abundance – without success.

       That night, she has graphic dreams of a large, crackling warm fire, only to find that her surroundings are still cold and miserable. Then, she meets a set of fun loving girls who are out for the night. She joins them. At last, she has found friends that she enjoys being with, and can trust.

     Until Risscht (an ancient Danish – or German – word for ‘cracks’), in this flash, has the match girl’s life at last turned around?

 

The breakthrough standard of the contemporary dancing is truly amazing. When blended with artistic movement, the whole, energy packed, choreographic effect is deeply moving. I have never seen a dance or mime routine that could depict such depth of emotion in a performance. The audience developed a genuine empathy with the poor girl that left them semi-traumatised.

The lighting (Scott Corbett) and soundscape was most effective. Again, I would like to mention the unique skills of the two musicians who took us through the poor girl’s life; with the misery depicted by a rasping violin, to the happier moments with a muted trumpet. The duo played several instruments each, all of which perfectly complemented the performance.

Terrific teamwork, and truly moving piece of dance and acting. Wonderful.

This light-hearted, two and a half hours, Shakespearean play can be seen at The Latvian Centre (LC Theatre) 60 Cleaver Terrace, Belmont each Thursday, Friday and Saturday night at 8.00, until Saturday 20^th August. There are matinées on Sunday 7^th and 14^th at 2.00 pm.

The play’s presentation is ‘in the round’, with seating on 3 sides and the stage – used minimally – on the fourth side. There is token scenery and the props negligible (Michael Falconer), but on the few occasions that they are used, they are most effective. Callum and Janet Vinsen provided the swords and shackles.

The excellent costumes are managed by Anne-Marie Piccoli, aided by Katy Piccoli and Hannah Evelyn.

The sound and lighting were designed and operated by Simon James.

      The Governess of Messina, Leonata (Julie Holmsure), is a caring woman who lives with her sweet young daughter, Hero (Hannah Evelyn), her elderly head-wagging brother, Antonio and her niece, Beatrice (Joanne Lamont) who has been brought up as Hero’s sister.

      We join the household as Leonata’s friends are returning from war. A war between the Prince of Aragon, Don Pedro (David Cotgreave) and his illegitimate half-brother, the morose, vicious and evil Don John (Paul Davey). Also returning is the admired, young nobleman, Count Claudio (Andrew Sutherland), and his intelligent, but droll friend from Padua, Benedick (Michael Lamont).

       To attract each other’s loving attention, the reluctant lovers, Benedick and Beatrice hurl abuse at each other in fun. Meanwhile, Claudio has fallen rapidly in love with Hero and wishes to marry her as soon as possible. Being jealous, Don John arranges for his drunken companion, Borachio (Brendan Ellis) to make love to Hero’s flirty maid, Margaret (Hayley White), at Hero’s bedroom window before telling Don Pedro and Claudio it is Hero, and they should go and see what is happening.

       Claudio is horrified and broken hearted, at Hero’s infidelity and that she is a mere wanton harlot. On the day of the wedding Claudio demeans Hero, and their wedding is called off by Friar Francis (Ellis R. Kinnear). Wise Benedick suspects that there has been some trickery, and this is confirmed by the watchwoman (Jeremy Smith) who has overheard Borachio bragging about his involvement.

       The constable of the Watch, Dogberry (Tara Hoban) and Headborough – the commander – Verges (Mark Falconer), arrest Borachio and Conrad, and take them before the Sexton (Charlotte Weber).

       Is it too late to save the love affair? Is Hero really dead?

Director, Jo Lamont has been acting for about twenty years. Initially with the Endeavour Theatre, then the WA Youth Theatre Company and lately with the Graduate Dramatic Society. Now she and her husband Michael are involved extensively with ARENAarts.

With a top notch piece of directing, Joanne has taken us right back to Shakespeare’s time and the Globe Theatre. Once again it is ‘in the round’ and with few props, but cleverly she has honed in on the most important part of the plays in those days – communication.

This fabulous cast were not only word perfect, but they obviously, thoroughly understood every word. Gone was the arrogant posing delivery that is too often seen in contemporary productions, and back was the rapport with the audience. Any ‘thoughts’ or soliloquys were almost discussed with the audience in a search for their approval. No swaggering and strutting, just everyday body language that we all understand.

How often have we returned from a Shakespearean production and had to double check a line, or even worse, try and confirm the storyline? Here, everyone knew their character’s strengths and foibles, so gave us a 150-minutes of fun and satisfaction without the common tedium.

There were a few songs in the style of 16^th century madrigals and even a cheerful dance at the curtain call.

All of the leads were exceptional, but a special mention of Julie Holmsure and Andrew Sutherland who were magnificent. Congrats to Jo and Michael Lamont who have obviously worked so hard.

It is a long time since I felt so in tune with a Shakespearean play. Clever and skilful work.

The powerful, energy packed, 55-minute performances run each evening at 7.00 pm until Sunday, 31^st January, in the elegant and palatial Laneway Lounge which reflects the atmosphere of New Orleans and Paris in the 30s. It is situated at 414A Murray Street in a laneway near Fast Eddys. It has a wonderful little 60-seat theatre.

As we wait for the show to begin, the live, melodious and haunting music from Michael Biagioni was remarkable. It was a complex blend of instruments and his soft vocals.

       On entering the theatre, there were bodies lying in the aisle, on the open floor space in front of the stage, on the stage and under a trolley. These people were dressed in white body stockings and white shifts.

      Dressed in her blue, hospital orderly uniform, Halina (Amanda Watson) enters the hospital laundry and starts her work. She loads (in mime) several machines, before suffering the worst traumatic, domestic experience that anyone can imagine. Some ex-patients come to her rescue, and after beginning with basic first aid, one lady (Ann-Marie Biagioni) decides to employ advanced methods of medicine that she has observed in the hospital. The treatment is supervised by another misfit (Hannah Evelyn).

       A couple of patients (Sinead O’Hara, Courtney Turner) think it is a good idea to cheer up Halina with animal impersonations, but in doing so, they don’t notice that one of their own vivacious friends (Kat Shaw) is now suffering.

My first camera was a Halina – named after the Greek for ‘light’. Here, the main character is the guiding light and example.

In this play, some loveable misfits demonstrate how, as youngsters, we are resilient and can face any challenge. As we get older this self-assurance dissipates and we have more trouble coping with even simple changes in our routine.  We watched as the actors edgily explored the dark, numerous angles on their rollercoaster ride of emotions, security and suffering. Just as we think there is stability, the quick sand sucks us back in.

The amount of energy engaged in this play was jaw dropping. There was little dialogue, the whole story clearly demonstrated by the highly skilled cast, displaying moods, emotions, advance mime and symbolism. This is a thought provoking show that makes you consider even your own life.

A huge amount of talent in this very different show; it was completely fresh and exciting.