This two and a half hour WA premiere is a Blak Yak Theatre production, and it can be seen at the Chrissie Parrott Arts space, 4 Sussex Street, Maylands on Thursday, Friday and Saturday evenings at 8.00, until Saturday 13^th August. There is also a Sunday matinée on 7^th August at 2.00 pm.

Established in 1993, Blak Yak is an award-winning, not-for-profit, community theatre group that gives anyone with talent – whether acting or behind the scenes – a chance to try something new or daring. They produce several genres of quality theatre, helping people to develop their ideas.

The scene is of Her Majesty’s Prison, Larkhall. Around the perimeter of the large, floor level stage is an iron-framed cell bed, an office, gents’ toilet and a settee. A cell security door (convincing, Michael McAllan, Adam Shuttleworth), on castors moved around the stage. Central were cafeteria tables and chairs. Well done Stuart Porter, production manager and Michael McAllan, stage manager

      A diminutive, petrified, drug dealer, Rachel (Tay Howard) is abusively ‘greeted’ by the worn-out, harsh Senior Officer, Sylvia ‘Bodybag’ (Lisa Skrypichayko). The new G-Wing Governor, Helen Stewart (Cassie Skinner) is a little more sympathetic to this prison ‘virgin’.

       Principal Officer Jim Fenner (Tom Hutton) and Bodybag are furious when the meddlesome Wing Governor repeatedly appears on their territory. Because Rachel is upset, Fenner offers to give her special attention. On hearing, there is a new druggie inmate; murderer Shell (Sarsi Grace) and her rough partner in crime, arsonist Denny (Helen Kerr) also want to advise Rachel on prison routine.

       Rachel dobs-in Shell to Fenner. Governor Helen wants to help Nikki (Joanna Tyler) – who killed a rapist – win her appeal. Bodybag and Fenner are furious that this troublemaker is getting privileges, but the Governor Helen is adamant. Seeing his power being drained from him, Fenner decides to create problems for Helen, by maliciously hinting to ‘Number One’, The Governing Governor (Dean McAskil) of Helen’s naiveté with the inmates.

      Shell hears of Nikki’s special treatment and starts a fight, with ASBO shoplifter, Noreen (Sherryl Spencer) shouting rude hints as to where Nikki should be kicked. Nikki becomes the scapegoat. A couple of sex-starved, thieving prostitutes, Julie J (Hayley Currie) and Julie S (Sam Jade) who want to be thought of as one, receive bad news from Helen about a family member.

     Another new arrival, with a renowned gangland reputation is Yvonne (Caroline Perks) who immediately threatens Shell’s dominance. Yvonne has hidden talents for winning over the girls on her wing. Nikki starts a surprise romance, as does the shy, nervous young warder, Justin Mattison (Daniel Buckle).

     The tension rises and after days in their cells, a Bible-thumping thief, Crystal (Thérèse Cruise) sings her opposition to the regime.

     With such a fine balance between the dedicated and corrupt staff, and the first-timers and the hardened criminals, will evil eventually overtake goodness?

Highly experienced director, Lorna Mackie, has a magical touch with musicals. Her last show, ‘Saucy Jack and the Space Vixens’ was off the planet fun. This show has a serious theme, but is crammed with humour. On selecting the cast, Lorna had to choose people who could give convincing dramatic performances, sing well and dance. Simple? How often have we seen strong performances and then the actor sings nervously off key? In this magnificent show, the acting was excellent, thankfully every member of the cast had powerful, melodious voices that could get them in any major musical in Perth. They sang with full emotion. The libretti for the dozen tunes were meaningful. The songs ranged from the anger packed ‘One Moment’ performed by frustrated Nikki, to the heart-breaking ‘Sorry’ sung with tears rolling down her face, by Julie S. Several of the singers, such as Shell and Crystal, could belt out numbers, and still keep perfect control. Not a single bum note.

The musical director, Andrew Partington, did a superb job. His live piano accompaniment was played with feeling and as a garnish to the singer’s voice, not in competition.

Choreographers, Joanna Tyler and Thérèse Cruise had several styles of dancing to bring to the stage. There was the tongue in cheek fun of the warders’ soft-shoe shuffle, tap dancing, long-legged, ‘Tiller Girl’- style formation dancing and modern jazz. The cast just went for it; enjoyed performing and the audience revelled in their fun.

Elizabeth McAskil smoothly operated Don Allen’s complex lighting design. Sound designer, Graeme Johnson cleverly noticed the possible reverberation problem of the venue, placed the speaker carefully and kept the volume at a sensible level. Good operation by Emma Coyle.

With tickets at a sensible price for this superb show, try not to miss it. The clever words of the songs are hilarious, but have strong adult content. The show is saucy, sad, threatening, but most of all it is uplifting. I left the theatre feeling satisfied at having had a wonderful night’s entertainment. Sadly, just as the audience were rising to give a standing ovation, the stage lights dimmed and the cast made an exit, not fully aware of the audience’s immense enthusiasm.

Want a show filled with fine acting, emotion, powerful melodic singing, dancing and comedy? This is your show.

The Saturday, 7^th February’s performance is being devoted to the Kenyan charity, Nakuru Hope‘s (Health Opportunities for People Everywhere) Gabriel’s Orphanage which, although it opened only 3 months ago, is already full with abandoned and orphaned children, along with many rape and assault victims. The orphanage is generally well equipped, but still has no proper drinking water.

This quality production can be seen at the Old Mill Theatre, corner of Mends Street and Mill Point Road in South Perth. The two and a half hour shows are nightly at 8.00 pm until Saturday 21^st February. There is one matinee on Sunday 15^th.

The curtains open to reveal another excellent set. Designed by Adam Salathiel and built by Adam, Ben Davis and Tim Prosser it is of an old fashioned, Perth sitting room at Christmas 1987.

The walls are regency striped wallpaper, and a couple of oak Welsh dressers further adorn the surrounds. A decorated Christmas tree stands in front of the window. The view from the window was extremely realistic (yet another Tim Prosser masterpiece) and at one stage in the play, there was even a downpour of rain against the window.

In the second Act, all of the walls were decorated a trendier, light rust colour; the flock settee replaced with a buttoned leather couch. How did every wall change colour? This must have been a massive task for stage managers Cally Zanik and Daniel Madgwick.

The sound and lighting design were by Kath Carney (the well known spelling mistake – ‘in’ joke). Graeme Johnson helped with the setup, rigging and operated the sound. Kath’s lighting was outstanding; with soft illumination generally and the occasional dramatic spotlight or beam of early morning sun streaming through the gap between the curtains.

       We join a family Christmas reunion, and the spirit of Christmas is definitely missing. Pedantic perfectionist, Monica (Danni Close) is whinging about all of the extra work that she has to do, looking after her elderly Grandmother, Emma (Beryl Francis), although no one has actually asked her to do it.

       Next to an armchair, where her easygoing, non-house-proud, slightly supercilious sister, Alex (Hayley Currie, giving a very strong first acting performance) has been sitting, Monica spots a coffee stain on the carpet. In seconds, Monica has her rubber gloves on and is down scrubbing.

       Auntie Pat (Tracy Bolton) enters the room and catches the end of Alex’s ‘phone call. Pat drags from Alex that whilst living in Melbourne, she has moved into a flat with a divorced doctor. For the sake of all concerned – and Christmas spirit, Pat begs Alex not to tell her matriarchal mother, Sylvia (Judi Johnson) who seems to have quite a few chips on her shoulder, permanently.

       We can see the love and appreciation in the group; their problems with their miserable husbands, and how the years have seen them drift apart. Each one seems to be heading for disaster; however, will the strength of their blood ties hold them together?

Why let a sensitive sitting dog lie when things NEED to be discussed and pointed out? Forget sensitivities or family bonds; just let the feelings flow forth. Do these relatives REALLY want to bring about an equitable agreement?

Not surprisingly, the dedication of the cast is reflected in the distance that they have had to travel, and with some of the cast coming from Mandurah for rehearsals and shows. This demonstrates their enthusiasm and the faith that they have in the well-respected director, Adam Salathiel. Adam, who often goes under the nickname Mut Ley, is a building surveyor by day and thespian by night. The whole cast have years of experience and it shows in the wonderful chemistry between the actors.

Christmas dinner and the ‘relaxation period’ afterwards can be one of the most stressful periods of the year, and in this superbly written dialogue, I am sure that many couples will have nudged each other during the performance, as though to say ‘do you recognise the situation?’ or ‘that is you!’. This play shows us how the square peg does not fit the round hole, or in a Jigsaw, there is always that odd piece that does not quite fit in. You will squirm slightly as you recognise yourself as one of the characters.

Beryl Francis first played the part of Emma about a decade ago – With her husband, Ian, directing. Beryl’s monologue was a real tissue job. Plenty of laughs and gasps as the family relationships unfurled.

A professional show in all aspects. Strongly recommended.