These ‘must-see’ performances are at 7.30 nightly, in the PICA Performance Space at 51 James Street, Northbridge. The season runs until Saturday 19^th November. There is a matinée on Wednesday 16^th November at 11.00 am, and another on Sunday 19^th at 1.00 pm.

The time oscillates between 1981 and the present day. The scene is a Queensland courtroom, a hospital and a skating rink. The design consultant, Lawrie Cullen-Tait and her coordinator, Tessa Darcey wisely decided on minimal distracting scenery, choosing instead to have several, well-chosen props. A circle painted in the centre of the floor represents the roller skating rink. Stage managed by Isabella Strada.

Onto the back wall was projected Nancy Jones’ AV design (Blue Moon Film and Video), subtly depicting young Xan as she overlooked the local boys discussing their sexual desires and exploits, on the dark night that changed her life forever. There were many women describing how their hymen changed.

The music is by respected WA composer, Ash Gibson Greig. The tempo was symbolic of a fast beating heart. His dramatic soundscape was often loud and discordant confirming the instability of the situation.

In a production like this, it is important that the lighting should be punchy and dramatic; Chris Donnelly captured the mood perfectly. Karen Cook smoothly controlled both the sound and lighting.

      As we enter the theatre, a 12-year old girl, Xan (Daisy Coyle) is sitting at the side of a skating rink, putting on her roller skates. She meets a girl from school that she knows slightly, who asks Xan to accompany her at a boys’ party. At the revelry, the boys ply her with alcohol.

       Next, we see a couple of youths discussing the girls, and using dozens of expressions that now make me cringe in horror. 

     We flash forward to Xan Fraser (herself) as an adult, explaining how as an innocent and gullible child she was sucked into a horrendous situation.

      In a disturbing Court scene – taken from actual transcripts and police records – the audience gasp as the male chauvinism of the lawyers and even the judge is exposed. The barrister points out how this naïve child, not even a teenager, was blatantly leading the boys on. However, unlike today’s young teenagers with Internet porn access, Xan had little knowledge of male anatomy, or even a basic awareness of her own sexuality. In the courtroom, the two lawyers (Siobhan Dow-Hall, Marko Jovanovic) presented their cases on the gang rape, but for the warped judge (Nick Maclaine), the case against slut Xan was clear. The verdict he gave was to stun the already riveted, silent audience.

 

With such a delicate and tragic subject, there could be no room for half-hearted acting, and so Hellie has chosen a magnificent team, many of whom have been nominated for awards – including Equities. The power of their performances was heart stopping. With the brief, hard-hitting cameos swinging smoothly over the 35 years, the pace increased most effectively.

In a similar genre to the internationally famous ‘Laramie Project’, the playwright of ‘Project Xan’ has given us a perfect blend of courtroom action, vox-pop, malevolent rumours, facts, bigotry, local rejection and pure brutality.

Playwright Hellie Turner wrote to Xan asking if she could write a play about her trauma and her fight back to normality. Naturally, Xan was worried would she be further humiliated or exploited, and so she did not reply straightway. Gradually, she learnt of Hellie’s genuine empathy, discovering that she is one of the few writers in Australia capable of writing on such a tragic and delicate topic. There is a fine line between presenting the full drama with empathy, and going over the top with sensationalism and sycophantic sympathy. Or even worse, trying to make the script gratuitously scandalous and seedy. Hellie has sensitively presented the source of Xan’s shame, self-blame and the truth behind why the event happened.

Next, could Hellie get Xan to act ‘herself’ in such a demanding play, with the distinct possibility of causing the victim to regress and become distressed? Xan’s family are keen Community Theatre fans, and so she generously agreed. A personal thank you Xan, you made all of the difference to the play. Filled with self-blame, and never having received any counselling or moral support, Xan – who has proved herself a thousand times over with her now successful life – wanted to take part in this a cathartic experience.

Often, men who wear ‘fun’ T-shirts do not really appreciate the upset that some printed mottos can cause. When loss of the rapist’s control due excessive drinking, or the brevity of the rape are quoted in Court as a defence lines, then one has to wonder at the depths of ignorance.

30 years after the events shown, unbelievably Middle East women are still be stoned to death for ‘allowing’ men to rape them. Even the judge, in this ‘civilised’ country, blamed 12 year old Xan for being too inviting – injustice rather than civil justice. When a President seems to be decades behind in his attitude to women, and is still cheered by the masses for recommending ‘grab a pussy’, the world is still worryingly unchanged.

Director Hellie Turner, with Dramaturg by Dr David Williams, have presented this gripping, disturbing and beautifully conceived play; showing today’s girls, who may find themselves in a similar set of circumstances, that there is a sympathetic outlet for their feelings, to have pride in themselves, not to suffer self-blame but to become empowered and to warn others.

As the play powerfully states, the only thing worse than change is the status quo. Sadly, one wonders how far things have improved over the decades – possibly little.

An amazing piece of writing immaculately presented. Many congratulations to all.

Dublin born ‘Seán Ó Cathasaigh’ lost his father at the age of six, and being one of thirteen children; he had to leave school at fourteen to work on the Irish Great Northern Railway, then for a newspaper distribution business.

This highly controversial, but topical play (being the centennial of the Rising), has been decried both by the politicians and the church, however, it is still considered one of the best Irish plays ever written.

‘The Starry Plough’ – (Camchéachta) was the flag carried by the Irish Citizen Army. This wonderful play is being proudly presented by the Irish Theatre Players and can be seen at the Irish Club WA, 61 Townshend Road in Subiaco.

The superlative set (designed by Noel O’Neill) utilises the whole theatre, this really takes the audience into the blood and guts of the situation.

The setting is a Dublin tenement, with the stage being the downstairs flat in Act 1 (November 1915) and an upstairs flat in Act 4 (Easter 1916). The flats are the homes of blue-collar workers. The walls are damp, there are settling cracks appearing and the plaster is crumbling.

The proscenium arch is the brickwork of the outside of the house with a front door and upstairs window. The pavements lead down the aisles. To the side of the stage is a rustic bar. A huge amount of work in construction by Noel, Rory Buckley, Aidan Murphy and Paddy Ryan, but it certainly allowed you to feel the depth of poverty and misery. The stage management smoothly carried out by Ruhama Geiger.

     As the racy calendar shows, it is November 1915 in the Clitheroe home. Newly married, and with stars in their eyes, Jack (Brian Donohoe) and Nora (Sandi Buckley) are settling down to their evening meal. Misery-guts, Uncle Peter (Joe Purcell) is drying his underwear and shirt in front of the open fire. Whilst an old family friend, Fluther (Stanley O’Neill) is repairing the front door, Nora’s cousin, Young Covey (Rory Buckley) arrives. Covey, who is very well read in British history and army tactics, is itching for an uprising and independence.

     Widowed mother, Mrs Grogan (Siobhán Wright), who – due to stress and poverty – is looking older than her years, has two children; a sickly teenager, Mollser (Katie Toner), and a babe in arms. In the local ale house, alcoholic Bessie (Charlotte Weber), the ‘Orange bitch’ living upstairs, accuses Mrs G. of being a loose woman, and has to be separated by the bartender (John Flood), whilst the real floosy, Rosie Redmond (Michelle Delaney) looks on.

     Easter arrives along with the British troops. Captain Brennan (Brian O’Donovan), Sergeant Tinley (Aidan Murphy) and Corporal Stoddart (Adrian Mills) show that there are different types of soldiers, with very different attitudes to the Irish.

Under the supervision of multi-award winning playwright and director, Hellie Turner, aided by her talented assistant director, Mary Murphy, every aspect of the production was first class. The set decor was outstanding; the lighting design was complex and impressive (designed and operated by John Spurling and his advisor, John Woolrych). Chris Rowe’s soundscape was an intricate blend of music, background atmosphere – such as the shipyard sounds – and numerous split-second, perfectly cued sound effects.

The costumes for the era (Liz Quigley) were well researched and beautifully produced, ranging from Mollser’s cheap nightdress to the simple clothes of the day worn by the majority of the cast. The eye for detail was noticeable. WA Academy’s makeup artists along with the Valona hair specialists created the tired and elderly looks demanded by the parts. An amazing team of techs and artistic talent presented clearly in Sarah Hession’s professionally designed programme.

A powerful talented cast, but special mention must be made of Charlotte Weber and Siobhán Wright; both actors giving real depth to their parts and bringing a tear.

The Irish Theatre players are renowned for their warm welcome and high quality dramas, but this play is one of their best productions in years.

The Curtin Performance Studies Course has managed at the end of the year, to grab a few spare days at the iconic Blue Room Main Theatre, Perth Cultural Centre, James Street, Northbridge.

This 100-minute, black comedy based on well-researched facts, can be seen each evening at 7.00 pm until Saturday, 14^th December.

The two rows of seating are formed ‘in the round’. Above the central, checkerboard floor performance area are cables of dimly glowing, festoon lamps (lighting – Duncan Sharp).

         It is about 1860 in a poor area of Melbourne. In a back street, a young woman (Róisín Bevan) screams as she gives birth to her scrawny son. Frederick Bailey Deeming (Pete Townsend) has been born, but with his ginger hair, he is doomed to a life of sin. As expected, years later, Fred brutally murders his wife and finds himself in court charged with murder.

       A local theatrical producer, Bertie (Daniel O’Brien) decides to put on a show based on Fred’s gruesome life. For economic reasons Bertie has one actor (Sean Guastavino) playing both the prosecution and defence. The lawyer questions the numerous witnesses, all of whom are played by the same actor (George Ashforth – excellent) with hat changes. As the evidence is produced in the court, the young actress playing the part of the court official (Sinead O’Hara) in a desire to promote her acting career struts sensually around the courtroom to the sound of burlesque music.

      Still in the play-within-the-play, at the local morgue we see the police surgeon (Ryan Hunt) checking the ‘animated’ dead body of Fred’s wife (Rebecca Goodlet – hilarious). Two old women (Bubble Maynard, Erin Craddock) are gossiping in the street, loving the excitement and grisly reports in the newspaper.

      As the theatrical production progresses, the attitude of the actors to the lousy script and the demands being made on them, causes Bertie problems. Despite being a murderer, Fred has his admirers, one girl in particular (Heather Jerrems) did not mind blatantly flirting in court.

      Will Fred be found guilty?

Until almost a decade ago, every year, Curtin theatre students would put on a Shakespearean play, a Greek tragedy, a full-scale musical and an old-time Music Hall; then sadly many of these disappeared. The lunchtime shows have been variable and of dubious quality, so when selecting actors for my annual Theatregoer’s Awards, I have been struggling to find any REAL talent. This show has renewed my faith. EVERY actor was worthy of an award. The drive, energy and chemistry continued at a cracking pace throughout the production. There were amazing, complex dance routines, powerful singing (in tune!) and rich characterisation. It just shows that given the chance, with a quality script and a talented direction team, that even the most shy and nervous actors will surprise and astound you.

Directed by Adam Mitchell, assisted by Jesse Daniels and with dramaturg help from Emily Kingsley, this wonderful musical, styled as a mix of ‘West Side Story’ and ‘Sweeny Todd’, sparkles and glows throughout. The outstanding cast, were filled with energy as they worked the stage, filling every corner, making eye contact with each member of the audience; you became part of the scene and almost felt like getting up and joining in with the bawdy, riotous dance sequences (choreography – Claudia Alessi).

Every actor belted out the funny, lewd songs, set to Ash Gibson Greig’s catchy and memorable music, with gusto. Pete Townsend gave a most impressive solo, ‘song and dance’ performance. Many of the actors had multiple parts; they changed smoothly and gave it their all.

The costumes were beautifully designed and made, and perfect for the era (Alex Vernon, assisted by Chelsea Johnston).

The main lighting was with four large LEDs, with the colour and brightness for the many changes controlled perfectly by SM / operator, Meabh Walton and Caleb Greaves.  The intricate soundscape was designed by Ash Gibson Greig and operated by Monty Sallur. There were several unusual props required, and well sourced by Nicole Courtney. The fast pace of the production was demanding on the stage crew (Polly Seah, Jarryd Dobson).

This show was a complete surprise. Because of the writer and director, I expected above average, but I was totally blown away by the talent and professionalism. This is an extremely funny, lively musical and one of the rare shows that I would love to see again.