The set depicts a rudimentary family dining room, with a large wall of kitchen units in a modern-day, American home (voice coach Julia Moody thankfully developed just a hint of accent). On the other side of the wall is a bedroom with en suite facilities. These props are on a central revolve, which no doubt created a great deal of extra work for the stage manager Hugo Lopez and his assistant Christabel Fry.
There is an outer, concentric revolve that moves in the opposite direction. On the stage apron at one side is a comfortable chair and reading lamp, on the other a bed in a hospital ward.
A massive pair of net / scrim curtains hides the whole of the rear wall of the stage. Set and costume designer, Bruce McKinven was helped with his costume construction by Jenny Edwards and Molly Werner. The Artistic Interns are the talented, still to be discovered, Ellin Sears and Sarah Courtis. Bruce has decided on a simple, uncluttered set that would not detract from the storyline. He has framed the whole stage with Tudor-like, oak beams.

          Diana Goodman (Rachael Beck) is a strong minded but ‘bipolar’ woman, determined to find ways around her mental troubles that started a decade earlier after a tragedy. When her loving, but slightly overbearing, husband Dan (Brendan Hanson) comes home, Diana relieves her anxieties with sex.
          Because of her psychological problems, Diana’s caring GP, Dr Fine (Michael Cormick) sends her to a mercenary and unethical psychiatrist, Dr Madden (Michael Cormick), in whose rooms she again finds relief by sexual fantasizing. Madden prescribes dozens of contraindicated tablets in a rainbow of colours.
          Teenage daughter, Natalie Goodman (Shannen Alyce) is experimenting with drugs, whilst managing to resist the advances of adoring classmate, Henry (Joel Horwood). Natalie’s older brother, Gabe (James Bell) is still at home, and although the father thinks it is time he left, his Mum is still keen to have Gabe around.
          Can Diana’s problems be solved? Will the family ever find relief from the hassles and stress of modern day suburban life?

The term ‘Rock Musical’ suggests ear-splitting, cacophonous music; however, this score is catchy and perfectly paced. The lyrics are fascinating short stories, giving a true insight to the family structure. The dialogue is crammed with humour, as well as explaining the tragic circumstances.
Under the guidance of the internationally admired Musical Director, David Young (also on keyboard), who has come straight from a huge tour with ‘Wicked’, are the musicians Michael Perkins (drums and percussion), Shane Pooley (bass), Andrew Weir (guitar), Brian Kruger (violin) and Laura McGorgan (cello) impeccably balanced, allowing the lyrics to be heard perfectly.
In a musical, the audience expect to have catchy tunes, meaningful lyrics, powerful delivery, clear enunciation and colourful action; sadly, we are often lucky to get only a couple of these aims in any show. Here we have a MAGNIFICENT cast of six, all outstanding singers and actors giving us all of the qualities.
Rachel Beck was amazing with her crystal clear voice, superb stage presence and movement. How often does one hear the songs being presented mechanically? In this production, every syllable was filled with emotion and really meant something. Many of the audience were close to tears. Ben Collin’s sound balance was perfect; the cast did not have to battle to be heard.
Choreographer Claudia Alessi has the actors gliding, almost dreamlike, through some of the scenes. Lighting designer Trent Suidgeest has employed a whole range of lighting techniques, from glaring pure white spots depicting tension, to the warm glow of a family gathering. The special lighting at the end of each Act was something special, the first act had a radiant, pink cloud effect that seemed to stretch to infinity; the second Act had a dazzling, warm glow that filled the whole theatre.
The story may sound depressing and even uninteresting, but in the hands of WA’s amazing director, Adam Mitchell – assisted by a new talent, Warwick Doddrell – they have given us one of the Heath Ledger Theatre’s most challenging, but best, productions. It is no surprise that show has won so many prestigious awards over the years.
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In true tradition, Black Swan State Theatre has been bold enough to give us something new and exciting. This first class ‘nested story’ can be seen in the Studio Underground, in the State Theatre Complex, Northbridge.

The 90-minute performances are nightly, with curtain up at 8.00 pm.

The scene is a comfortable, well-furnished living room, in an American flat, situated in a converted warehouse complex. The ceiling is high, the white walls arched, the floor polished concrete and a large copper heating pipe passes vertically though the room. (Set design by Patrick Howe).

       A massive flash of lightning, accompanied by an explosion of thunder (excellent soundscape, Brett Smith and lighting, Joe Lui) complements the pouring rain. There is a knock on the apartment door. The young man, Thomas (Adam Booth), answers it only to find a drenched young girl in a Parka anorak. This is Vanda (Felicity McKay).

       Vanda explains that she has arrived for her audition reading – several hours late. Even though Thomas has just seen three dozen unsuitable actors, and is desperate for someone to play the female lead in his adaptation of a German play, he is most reluctant to let Vanda read for him.

       Due to the weather and her pathetic story of her journey for this reading, he eventually relents. She explains how she loves the semi-pornographic script, and removes her coat to reveal a dominatrix outfit. Thomas is horrified at her sleazy interpretation of his treasured play adaptation, explaining that it is absolutely moral and character based.

      Will this director allow Vanda to audition for his play?

Local talent, Lawrie Cullen-Tait, is one of the few directors capable of presenting such a cleverly written play, in such an intriguing and riveting way. In the wrong hands, this could have been a long, boring struggle for the audience. Instead, with the magnificent actors capturing the ingenious script, their characters changed slowly and cleverly throughout the play, giving huge depth and interest to the situation. The sub plot – which may be considered by some, to be the main theme – is that of sexual competitiveness and dominance, and was extremely well demonstrated. The production was a little bawdy, but still quite refined and filled with humour.

The two actors are young and relatively inexperienced (one WAAPA trained, the other from NIDA), but one would never guess from the powerful and assured performances that this was the case. The depth of raw characterisation and use of various foreign accents (Coach Julia Moody) showed great theatrical skills.

This was one of these plays that looked simple in its presentation but in the hours after the show, one started to really appreciate the immense skills exhibited in the dialogue and acting.

An unusual production, but one of true quality.

‘Gasp’ is a joint presentation from the Black Swan State Theatre Company and Queensland Theatre Company. This two-hour ten minute, dark humour production can be seen at the Heath Ledger Theatre, State Theatre Centre of WA, 182 William Street, Northbridge each evening at 7.30 until Sunday 9^th November. The production then travels to Queensland.

The set is a large modern office, with high ceiling and shiny floor, painted to match the very pale grey walls. The rear of the room has a massive window overlooking the city. This window with ingenious projection (projection AV designers, Optikal Bloc) turns into numerous styles and venues, including wallpaper, curtains, plants, and security blinds.

The set and costume designer, Christina Smith and her associate, Penny Challen, have come up with something that I have not seen before. The slick scene changes seem to take place with the aid of a travelator (like the moving pavements in airports). Then there was the ‘fan’tastic wall. Very clever designing.

       When the heartless mercenary, Australian mining company boss, Chifley Lockheart (Greg McNeill) announces to his team that his mining business is running out of resources, they must come up with a completely new idea to save the company.

      No new ideas seem to be forthcoming until the junior executive, caring wimpish Phillip (Damon Lockwood) is called to the hospital bedside of his shy, rather plain girlfriend, Peggy (Lucy Goleby). Severely ill, she is on oxygen and really struggling with asthma due to the air pollution. Phillip suddenly realises that ‘designer air’ could be the answer. Clean filtered oxygen, stored until you need it.

      When Phillip takes the suggestion to the boardroom, the supercilious senior executive, the answer to every girl’s sexual prayer, Sandy (Steven Rooke) mocks Phillip. However, Chifley takes the fresh air idea to his head of marketing, the ambitious ball-breaker, Kirsten (Caroline Brazier). NOTHING will stop Kirsten and her ambitions.

     Can Kirsten do anything with the original idea? Can the company make money from such a simple commodity?

Director, Wesley Enoch and his associate, Daniel Evans have chosen the perfect cast for this madcap humour. Very few directors would have been capable of seeking out the humour in every line, and then showing the cast how to squeeze the most out of the absurdity.

Damon Lockwood, who recently proved himself in ‘Laughter on the 23rd Floor’, once more excels. Damon’s style of delivery is wonderful, he can look like a lost child and seconds later be giving a bold complex recitation.

Major Equity Award winner, Greg McNeill, has been admired over the years for his straight dramatic acting, but here he gives us a new side to his talents, wacky comedy. Not just a simple joke or aside here and there, but Greg has the special skill that Groucho Marx comedy demanded and Ben Elton’s characters require, a dry bold delivery, with precise dialogue. Queensland’s award winning actor, Steven Rooke is a new face to WA, but his chemistry with the other actors was superb. Caroline Brazier’s delivery was pan faced, but extremely funny as the ambitious bitch. Lucy Goleby’s soft, loving part brought the much-needed respite from the rich, rapid-fire lines of the comics. A great team.

The lighting design by Trent Suidgeest was electrifying and dramatic. With the set designers, he convincingly turned one venue into another within seconds. The sound design by Tony Brumpton was at its best on the office lockdown – superb.

Leave your political correctness at the theatre door, and enjoy the zany, fast-paced humour in the style of Elton’s ‘Blackadder’ that we all loved so much. No political party or famous executive is safe as Elton peels off the bulls*** and gets straight to the point. Satire is often subtle; here the writer just nails ‘the establishment’ to the wall. The script will leave you asking ‘did he really say that?’, but you will only pause for a second before the next onslaught of laugh aloud comedy hits you. A theatre master showing us that he still has his touch.

His best known film script adaptations were probably ‘The Odd Couple’ and ‘Sweet Charity’; Simon who has been compared to Molière, and George Bernard Shaw, has received more combined Oscar and Tony nominations than any other writer. He won a Pulitzer Prize for his drama, ‘Lost in Yonkers’. Almost all of his 30 plays are based in New York.

When ‘Laughter’ was launched in 1993, it ran for 320 performances, before moving to London where it ran for 5 months. It is said that Neil and his brother Danny developed their scriptwriting on the eleventh and the twelfth floors of the NBC-TV building; these numbers added together made the fictitious 23^rd floor.

The original script was updated and then re-launched in 2011, and here it is now presented by WA’s own Black Swan State Theatre Company, at the Heath Ledger Theatre within the State Theatre Centre of WA, 182 William Street, Northbridge.

In this semi-autobiographical script, Neil Simon has changed the names of his colleagues, but I have included their suspected names along with the name of the actor. Woody Allan was part of their team, but is not in the play.

The two-and-a-half hour performances at 7.30 each night until Saturday 20^th September. There are matinees available too.

It is 1953, and on the 23^rd floor of the Rockefeller Plaza, where we find the slightly tatty, Art Deco office of several comedy scriptwriters. The office has a very high ceiling, with large windows looking across New York’s vista. There is a conference table, settee and a refreshments table. There is a surprise, impressive addition made to the set that will have you asking ‘What happened there?’ Set designer, Lauren Ross is to be congratulated on this breath-taking set and the wonderful costumes. As always, Trent Suidgeest’s lighting was inspired, with all aspects achieved.

     A nervous young lad has arrived to join one of the most prestigious TV show, writing teams in New York. He is Lucas (James Sweeny, character inspired by Neil Simon). He is greeted by a flash, beret wearing, Milt Fields (Humphrey Bower as Sheldon Keller) who advises him to be first to the bagel dish. Milt explains that they all write for the central star of the show, Max Prince (Peter Rowsthorn as Sid Caesar) whose behaviour and memory is a little unpredictable due to the number of pills that he takes. The secretary, Helen (Lara Schwerdt) brings in the coffee jug and some notes, and Lucas settles down to meet the others.

       The studious looking Kenny Franks (Stuart Halusz – did not recognise him at first – as Larry Gelbart) is next to the coffee. As the fast fire, one-liners fly around the room, Kenny comes out with the odd gem. Next, to arrive is the dejected Russian immigrant, Val Skolsky (Igor Sas as Mel Tolkin) who is desperate to blend into American society, but is having trouble swearing convincingly. The door opens and the heavy smoking Irishman, Brian Doyle (Ben Mortley as Tony Webster) coughs his way in, accompanied by the petite and smart Carol Wyman (Jo Morris as Lucille Kallen) a most unlikely writer, but who can come up with lines as good as the men.

      Much later, a distraught man in a camel hair coat staggers in, he is Ira Stone (Damon Lockwood as Mel Brooks) a hypochondriacal man that has a different major ailment every day. With most of the morning frittered away the team starts work.

       In the middle of the night, spaced out, Max Prince calls a couple of the writers to inform them that NBC is likely to axe their show; what do they suggest that he can do to save their programme?

Even in this rip roaring comedy, Simon’s trademark of compassion and moral behaviour shine through. The comedy is richly written, packed with one-liners, in the style of Groucho Marx, for almost every minute of the whole 150 minutes. The play was written decades ago, but the jokes are as fresh as ever. A little corny at times, but the delivery of every word was splendid.

Although I suspect much of the comic routine and delivery may have been created by the experienced comedians, it was up to director Kate Cherry to keep the play flowing in an orderly manner.

Simon always builds into his scripts, human failings and eccentricities and these came across amongst the madcap humour, often delivered by the stressed or sad characters. The cast were quite a cross section, with a mix of professional comedians such as Peter Rowsthorn and Damon Lockwood, with the more serious actors like Humphrey Bower and Igor Sas proving their adaptability and versatility. The rapport was outstanding, with many places throughout the play when spontaneous, enthusiastic applause gave credit to the performers. The timing, body language and expressions were exceptional, the pleasure for the audience and I am sure the cast, was heart-warming.

It is a long time since I have seen so much well delivered humour in a play, and I know several patrons who have already seen this play more than once. A special theatre experience.

This 2-hour play is showing at the Heath Ledger Theatre, in the State Theatre Centre of WA, Northbridge each evening at 7.30 until 31^st August. There are some matinees.

It is a visually beautiful set. The setting is about 1900 in Russia, on a country estate. A rustic stage, complete with muslin curtains, has been erected on the shore of the lake. The wings have flats of painted, stretched muslin with the background lake scene continued onto them. Set design and immaculately tailored costumes (dressmaker, Jennifer Edwards) are by Fiona Bruce. Combined with the warm glow of the oil lamp toned lighting and the very clever, and fully convincing, moon rising over the lake complete with reflections on the water (Jon Buswell), the scene was stunning.

       For his annual holiday, Konstantin (Luke McMahon) is staying at the family’s country estate with his talented actress, mother, Arkadina (Greta Scacchi). In an attempt to follow the family into the theatre, Konstantin has written a play, a very strange and boring play. To impress his relations, he decides to have a neighbour’s daughter, Nina (Leila George) perform it on the rustic stage near the lake. The play is so bad that even his mother tells him it is awful, his only supporter being the local GP, Dr Dorn (Andrew McFarlane).

       An elderly relative, Sorin (Michael Loney) is brought along for a holiday. He hates it, ‘not nearly as exciting as the city’. Every year the estate manager, Shamrayev (Greg McNeill) and his wife, Polina (Sarah McNeill) have had to put up with a great deal of extra work, and so Shamrayev makes yet another unsuccessful annual stance for more money, or he will walk out. Shamrayev and Polina have daughter, a pessimistic and miserable wench, Masha (Rebecca Davis); but despite this apparent lack of happiness or affection, the local schoolteacher, Medvedenko (Adam Booth) craves for her.

      When a celebrated writer, Trigorin (Ben Mortley) arrives at the estate, he and Nina spend happy hours chatting, as a result, her love for Konstantin wanes – especially after his weird gift of a dead seagull.

      Will the many tortuous love affairs become resolved?

Expecting the heavy, richly written style of the Russian classic texts, I was surprised at Hilary Bell’s adaptation with much lighter contemporary dialogue. The play starts in a very light vein, this gave a warm glow to the opening Act, however after the interval, the genre seemed to swing back to the original, traditional style. Many of the audience really enjoyed this mixed combination; however, some of the purists were a little saddened by the overall result.

The acting was wonderful, with WA’s Greta Scacchi showing why she has been so admired over the years. Her real-life daughter, Leila George, effervesced with feeling, and I can see her following Greta to fame.

Director Kate Cherry and her talented assistant, Jeffrey Jay Fowler, have selected an excellent well-proven cast, who gave a great deal of depth their characters. In addition to the leads, Davis was hilarious as the temperamental maid and Loney delightful as the senile, hypochondriacal relative.

Ash Gibson Greig can always be relied upon to give a quality musical backing and soundscape (impressive storm scene).

Young teenagers and the old can appreciate this easy-going play equally.

A very good, light-hearted night at the theatre. Chekhov would have been proud.

This first class interpretation can be seen at the Heath Ledger Theatre, in the State Theatre Centre of Western Australia, 174 – 176 William Street, Northbridge.

I am pleased to say that this production is travelling around WA, taking quality entertainment to the often forgotten regions. It has already been to Albany, with Geraldton and Mandurah next.

The 160-minute performances at the Heath Ledger Theatre commence nightly at 7.30, running until Saturday 26^th July. There is one matinee at 2.15 pm on the Saturday.

The Captioned Performance is Thursday, with the Audio Described Performance at the Saturday matinee.

The scene is a basement classroom during the London Blitz. Anna Gardiner’s design is illusory and unpretentious, whilst jaw-droppingly versatile.

        It is St Crispin’s Day, 1940. As the bombs fall outside, the elderly teacher (Keith Agius) is finishing a lesson on ‘Richard II’ and ‘Henry IV’. With enthusiasm he introduces the children to ‘Henry V’ and Salian Law (written in Latin in the 8^th century to govern inheritance in most of Europe) that contained such Acts as ‘no portion of the inheritance shall come to a woman; but the whole inheritance of the land shall come to the male sex.’

      As the students read the story of war out loud, the situation becomes real. The teacher, with a cushion stuffed up his cardigan, become Falstaff. The students start enacting the play that they are studying, only to find that the war zone they are in blends remarkably with Henry’s life centuries earlier. The senior student (Michael Sheasby) dons a rugby jumper and becomes King Harry – Henry V’s ‘pet name’.

      Guided by the teacher and the school nurse (Danielle King), the students become totally embroiled in the play. Patriotic Henry, due to the strong church influence is filled with indecision. Then, because of the despicable treatment of his so called aristocratic friends, the Earl of Gloucester (Damien Strouthos) and the Earl of Salisbury (Gabriel Fancourt) who fill him with self-doubt, he has them executed.

      Welsh born Harry, Prince of Wales, wishes to marry the Princess Catherine of France (Eloise Winestock), and her father – in order to beat the Salian law – is keen to pay a dowry; but on his terms. When Harry receives a present of tennis balls from the French royalty, he realises that this is a dig at his age and vigour, so to prove them wrong Harry decides to fight it out. He sails his army across to France, landing in Harfleur.

      Seasick and generally incapacitated, Henry’s army is diminished and suffering badly as it stumbles towards Agincourt, but Henry’s oratory carries his ‘Brothers in Arms’ (soldiers) onwards. They are decimated, but against all odds, still win the day. After the battle, the French Duke of Orléans(Drew Livingston) was found on the battlefield, so weighed down by his armour that he could not escape.

      The Dauphin (Matthew Backer), Catherine’s mother (Ildiko Susany) and Alice, her lady in waiting give advice to the bride-to-be on English terminology. Catherine hears the words ‘foot’ and ‘gown’, and is appalled, declaring that they sound very like the French words ‘foutre’ and ‘con’. The marriage takes place and all is well for the time being.

      Henry died in France about 7 years later, aged 35.

With Bell Shakespeare, one expects quality and a novel outlook in every production. Director and script adaptor, Damien Ryan (assisted by Susanna Dowling), has certainly given us that. The audience soon became part of the school, genuinely experiencing and suffering, the heart-wrenching horrors going on outside. The morals of war, the pure heartbreak and waste of life are laid bare being as relevant today as they were then. There are some very poignant moments.

The two eras are skilfully blended, with famous speeches such as ‘Once more unto the breach …’ are quoted next to a radio broadcast by Churchill (dialect coach Jess Chambers). The long bow archers are fighting at Agincourt, then seconds later operating the submachine guns of today.

The ‘heavier’ scenes are broken up by brief melodies (composer Drew Livingston) sung beautifully in madrigal by the whole cast.

With today’s computer generation on the TV and cinema screens, we have become accustomed, even blasé at seeing miracles take place; but even so, the lighting (Sian James-Holland) and sound (composer and soundscape designer, Steve Francis) design team unite to give us numerous memorable and inspired moments in the theatre. Almost every minute, the schoolroom furniture and fittings are transformed into castle battlements, battlefield, or the English Channel etc., all are stunningly effective. The set changes were slick, complex and carried out by the cast. Their movement director (Scott Witt) and the designer must have spent many mind-blowing hours together to create the correct effect, and for it to morph in a couple of seconds. The costumes changes were clever, with simple everyday items being used to confirm the character being portrayed (Renata Beslik).

Shakespeare’s historical tales can often be dry and heavy on the eyelids. This script, while almost true to the original 16^th century play (there are odd occasions when an obscure words may be used, and the teacher gives a brief aside to explain the meaning), is very long and therefore one of Shakespeare’s least dramatized plays. However it has been most skilfully adapted and sprinkled with humour; it is truly gripping, inspiring and adrenaline-charged. The action and energy displayed by the whole cast was quite unique in the theatre.

You will become so involved that when you set off for home, you will feel that you, personally, have won the war.

An amazing interpretation, absolutely terrific.

The opening set is of a stage and backdrop made of the same wooden panels as the theatre wall. When the scene moves to Arden, the forest scene is truly breath-taking, and combined with the glorious autumn lighting brought gasps. (Set design, Christina Smith assisted by India Mehta; with Matt Scott as lighting designer).

       Being the eldest son, Oliver (Brett Dowson) has inherited most of his father, Sir Rowland de Bois’s estate. Instead of looking after his younger brother, Orlando (James Sweeny – brilliant), Oliver decides to keep all of the inheritance and even sacks the old family retainer, Adam (Igor Sas). When Duke Frederick’s (Geoff Kelso) court wrestling champion, Charles (Andy Fraser) hears that Orlando has challenged him to a fight, the wrestler promises Oliver that he will thrash his brother.

      Duke Senior (Geoff Kelso) has had his lands appropriated by his brother, Duke Frederick, and has fled to the Forest of Arden, to live rough with his exiled courtiers. Duke Senior’s schoolgirl daughter, Rosalind (Jovana Miletic – superb) and her cousin, Celia (Grace Smibert – excellent) are like sisters, and so the Duke Frederick allows them to live together.

      When Orlando fights the wrestler, the two girls watch and drool over Orlando’s triumph. When the popinjay organiser, Le Beau (Brendan Hanson) introduces them to the winner, Rosalind instantly falls in love with him, and he with her. The old servant, Adam (Igor Sas) warns Orlando that the Duke will be furious and that they too should take shelter in the Forest of Arden.

     Furious at the fight result, Duke Frederick banishes Rosalind from his court. She flees to the Forest with Fredrick’s daughter, and the court jester, Touchstone (Luke Hewitt). Two young women wandering in the woods is not a good idea, and so to ensure their safety, Rosalind dresses as a young man – calling herself Ganymede, whilst Celia dresses as a shepherdess and becomes Aliena.

       Duke Frederick orders Oliver to find his daughter, Celia or have his lands confiscated. Meanwhile, an exhausted Orlando and his starving companion, Adam, are welcomed into the Duke Senior’s group.

      Rosalind and Celia, still in disguise, also arrive in the forest and meet the rather dim shepherd, Corin (Greg McNeill) and his hapless assistant, Silvius (Nick Maclaine) who is desperate for the love of ‘rough’ Phebe (Cecelia Peters). Then Rosalind meets her dream, Orlando, wandering through the woods, he believes she is a man and tells ‘him’ of his dearest love Rosalind. Ganymede promises to cure Orlando of lovesickness by giving him love lessons.

    The Duke Senior’s melancholic attendant Jaques (Steve Turner) like to bring doom to every situation, and sitting on a large log in the forest he quotes ‘All the world’s a stage, and all the men and women merely players’ i.e. life is pointless in his mind.

    Deep in the forest, Touchstone has found a goat herder, Audrey (Caitlin Beresford-Ord). She is keen to be married but Touchstone is in no rush.

    Will anyone be married in the end? What will become of the cruel uncle, Duke Frederick?

The inventive and inspirational director, Roger Hodgman and his talented assistant, Lawrie Cullen-Tait have brought a wonderful fresh approach to this loved play. Every member of the cast was given their 5-minutes of fame, some as musicians but most as comedians. The personalities of every single character was alive, and filled with fun with not a weak link in the large cast.

The costumes were colourful and inventive (Christina Smith assisted by India Mehta) and immediately spelled out the required personality. Jennifer Edwards costumes were perfectly crafted, with help from Lexi Hobbs and intern Jennifer Stewart. Stage manager, Peter Sutherland and his assistant Liam Murray made the scene changes practically invisible.

Recently, composer and sound designer, Ash Gibson Greig has been in great demand, but every time he pulls a wonderful score out of the air, that matches the mood perfectly. Fight co-ordinator, Andy Fraser has been around for decades, helping and advising hundreds of actors and students on the art of fighting; so it was pleasing to hear a mutter of admiration as Andy came on dressed as the bold wrestler. The fight that ensued – with James Sweeny – must be one of WA theatre’s best ever.

An old favourite, brought up to date without spoiling the Bard’s work. Highly recommended for a fun night out.

There really was a Desire streetcar line in New Orleans. The route ran for 30 years, being closed around the epoch of this play. It ran from Bourbon through the Quarter to Desire Street in the Bywater. The character of Blanche may be based on Williams’ mentally ill sister, Rose, who after a lobotomy became debilitated.

The Black Swan State Theatre Company is presenting this star-filled classic at the Heath Ledger Theatre, in the State Theatre Centre of WA, Northbridge. The performances are 3 hours 20 minutes, and run until Sunday 6^th April. The curtain goes up each evening at 7.30.

This play has been so amazingly popular that it now has an extended season, so please check for new performances up to the 13th April.

The amazing set (designed by Christina Smith, assisted by India Mehta) is of a two-storey apartment block in the French Quarter of New Orleans just after World War ll. It is colonial style, with a metal spiral staircase on the outside. On the ground floor is a poor, dishevelled, one room flat.

Matt Scott’s exceptional lighting design creates an extra sleaziness to the house. He has lit each small area separately, often having several cool patches of greens and blue blended with the warm colours to change the mood in the room. When a streetcar rumbled past (very convincing sound design, Ben Collins) the flashing car lights lit up the room, heightening a climax in the script.

        The neon sign of a bar shows through the steamy heat of the evening. The soft jazz music of an alto sax (played by composer Ben Collins) drifts from the top floor. A woman dressed smartly in a white suit and carrying an expensive handbag is searching for a house.

       This is Faubourg Marigny, a poor quarter of New Orleans where Stella and Stanley Kowalski survive in their small Elysian Fields Avenue apartment. Although grubby, the neighbourhood is alive, vivacious and with a sensual ambiance.

       Two women are sitting on the spiral staircase, Eunice (Alison van Reeken) and her Negro friend (Irma Woods). They spot the striking, Southern Belle, Blanche DuBois (Sigrid Thornton) an alcoholic who has delusions of grandeur and pretensions to culture. Blanche is truly a delicate, disturbed woman desperate for security in her life. She explains, ‘They told me to take a streetcar named ‘Desire’, and then transfer to one called ‘Cemeteries’. After a recent traumatic period, Blanche is essentially seeking sanctuary with her sister, Stella (Jo Morris). Eunice has a spare key for Stella’s flat. On entering, Blanche is horrified by her sister’s poky apartment, especially after the ancestral Southern estate she has just left.

       Her deceptive poise is not solely to attract male partners, but is a personal shield of delusions and fantasy from the reality of having lost her family fortune and home. Neither will she face the truth about her homosexual husband’s suicide, nor her sacking for seducing a young pupil at the school where she taught, instead she tells Stanley and Stella her problem is nervous exhaustion. Blanche turns to alcohol at every chance.

      As Stella welcomes Blanche with some trepidation, she is terrified of what her husband Stanley (Nathaniel Dean) will say about the new visitor. From the beginning, Blanche is appalled at her brutish brother-in-law. Like all of the other women in the area, Stella is compliant in sex, oppression and in love with her husband.

      One evening, Stanley has some friends around for their weekly poker night. There is Pablo (Benj D’Addario), Eunice’s husband, Steve (Steve Turner) and a middle-aged mummy’s boy, Harold (Luke Hewitt). During their game, Blanche, seeing a possible answer to her prayers, snuggles up to Harold. The anger in Stanley is immediately aroused by this intrusion.

     Next day, when a young collector (Callum Fletcher) calls for the week’s newspaper money, Blanche pays him in her own way.

     Stanley, suspicious of the circumstances that led to Blanche leaving her hometown of Laurel, finds some strange truths about her affairs. Blanche’s grip on reality is becoming more fragile. By now, Stella’s first baby is due any day. A doctor (Michael Loney) and his nurse (Rhoda Lopez) arrive at the house to care for the patient.

 Black Swan’s resident artistic director, Kate Cherry has been capably assisted in the directing by Lawrie Cullen-Tait and also by renowned choreographer and movement specialist, Chrissie Parrott. The team has produced a visually exciting production, with an especially good interpretation of the script. Every nuance has been demonstrated.

Only one thing is worse than a false American accent, and that is when each member of the cast has accents from different States of America. Voice coach, Melissa Agnew has skilfully guided and blended the cast’s intonations into one authentic New Orleans’ southern drawl. This is not simply an American accent, but it has that extra roughness and Hispanic overtones of the poorer class. Although the actors were most impressive, it took me quite a few minutes to ‘tune in’ and understand the dialogue. Initially, I wished that their skills had not been quite so precise.

The delightful Sigrid Thornton nailed the part from the opening scene. There is a point where she is about to compliment Stella on her youthful looks, and pulls back and insults her clothes and hair instead. These tiny expressions and movements took the whole performance into a different league. Without spoiling the tale, the change in Blanche throughout was subtle in voice, movement and whole body demeanour, a superlative performance.

The beginning of the second Act started with a charming love scene, where poor Harold pleaded with Blanche for her hand; this was particularly well handled. Both Jo Morris and Nathaniel Dean had brilliant chemistry throughout the wild mood swings in their life.

I often wonder if it is harder for the costume maker to create luxurious gowns or to make clothing that looks well worn. A few tears and a bit of dirt rubbed in never looks authentic. The garment makers Lexi Hobbs, Susi Rigg and Rachel McCabe have created some admirable apparel from gold threads to local ethnic attire.

This is a classic play that calls for tight direction, good interpretation and excellent teamwork. Here we have a talented cast giving us a production to remember.