user-registration domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /home/gordonth/public_html/wp-includes/functions.php on line 6170‘Tuesdays with Morrie’ is the 1997, bestselling memoire, based on the true story of an American professor by his psychology student, and New Jersey sports journalist, Mitch Albom. As a journalist, Mitch won more awards that anyone else. Here, Albom teams up with Jeffrey Hatcher, a TV scriptwriter who has written numerous genres from ‘Casanova’, to episodes of TV cop ‘Colombo’.
The simple, easy-to-read book was rejected by numerous publishing houses before Doubleday had the courage to try it. With an initial release of 20,000 copies, it had a mention on the Oprah Winfrey Show that ensured the sales rose to 14 million, with an amazing 4 years in the bestselling list. It was also translated into 14 languages.
Many of the Royalties for this play go to neurological charities.
This very moving, hour and a half play is being presented by the Stirling Theatre Company, Stirling Theatre, Morris Place in Innaloo. The performances are each Thursday, Friday and Saturday at 8.00 pm until Saturday 5th March. Sunday matinees on February 21st and 28th at 2.00 pm.
The set is simple with two 1980 Scandinavian-styled armchairs and a side table. A couple of bentwood chairs it at the side of the stage (props Hillary Readings). The lighting design (Ian Wilson, Jon Lambert, Carole Wilson) was quite complex for the simple set, but worked perfectly, with a warm glow for the intimate scenes and the blue white spotlight for the sad, dramatic scenes.
The soundscape was also intricate and well designed (Kate McIntosh, Jon Lambert, Ian Wilson). The sound effects being produced in stereo at times.
The backstage crew (Kate McIntosh, Allen Blachford, Lisa Watts), dressed in black, were on stage but ‘invisible’, handing the actors new garments and items being mentioned in the storyline.
Lisa Watts’ understated makeup was most convincing, with Morrie looking genuinely old and sick.
We join psychology ‘coach’, Morrie (Alan Kennedy) mid lecture. He spots a bored student, Mitch (Jeff Hansen) creeping out of the door. He calls him back and convinces him that the subject is worth learning, and that he should stay in the class. In fact, Morrie gives him special tuition on Tuesday afternoons.
Mitch graduates, but is more interested in jazz piano and sports reporting, than psychology. Sixteen years later, Mitch sees Morrie on a television programme, only to discover he has Lou Gehrig’s Disease (almost a blend of MS and Motor Neurone Disease). Remembering that years earlier he had promised to keep in touch, Mitch decides to visit Morrie.
These occasional visits become a Tuesday routine.
This is the first time I have seen this vibrant play. Like many theatregoers, I looked at the topic, and thought ‘This looks like a bundle of fun’ and almost put it to the bottom of my reviewing list. How wrong can one be? The story did have the odd teary moment, but it was filled with humour and a most positive outlook on life. There were plenty of smiles and even a few belly laughs in this unforgettable play.
The emotional script is ingenious in its construction, which made the whole topic palatable and even uplifting. At 90 minutes – without an interval – and being a two-hander with little action, you would expect a slow, tedious play. Once again, wrong. The actors had perfect pace, and fed off each other. Even when Morrie was very ill, he had this quirky sense of humour and a razor sharp mind. Not once did I check my watch. The whole audience sat in total silence, completely enthralled.
The direction by Ryan Taaffe and his assistant Hillary Readings was outstanding. They developed a tremendous depth to the two men, and then the chemistry between the characters took over. Wonderful performances. The result was a most rewarding night at the theatre.
Could Alan’s performance be the best to be seen this year?
This well-crafted play is a joint Koorliny Arts Centre and Kwinana Industries Council production, and can be seen at Theatre One, Koorliny Arts Centre, 20 Sulphur Road, Kwinana Town Centre at 8.00 pm on Friday and Saturday nights until 29th August. There are two matinees, one on Saturday 22nd and the other on Sunday 23rd August – both at 2.00 pm. Kwinana is closer than you think.
The scene is an upmarket hair salon in north western Louisiana. The set is exceptional, with all the trimmings of a real beauty parlour (design Jon Lambert, Kate McIntosh, Ryan Taaffe: construction by Stephen Carr, Julian Williams). There are the hydraulic chairs, working sinks and washing sprays, electric drying hoods, trolleys with all of the necessities for hair and nail care. At the rear is a kitchen. To the side is the shop door leading onto a walled patio. The floor has a large tiled pattern. (Décor and props are by designers and Allen Blachford, Lee Germain).
The scene changes, under Kate McIntosh’s supervision, were some of the best I have seen. The stage crew, Jon Lambert, Allen Blachford, Brittany Kirk, and Josh Germain were outstanding, they knew precisely what was expected, they had their own tasks, moved in with the dimmest of light, replaced and removed props and left silently.
Alex Coutts-Smith’s lighting design was evenly spread over the large area (harder than it sounds), with one or two special effects (operated by Lee Germain). The sound was perfectly cued by Alex Coutts-Smith.
The costumes were perfect, from the designer label clothes of Clairee to the mad Christmas outfits – Lisa Watts excelled.
We enter the salon as a young nervous girl, Annelle (Chantel Bell) is applying for the trainee’s job. The beauty parlour’s owner, Truvy (Natalie Burbage) is seated in the chair whilst scatty Annelle, totally lacking in self-esteem and with hands shaking, tries to impress her. Annelle gets the job just as a wealthy client, the former Mayor’s widow, Clairee (Sue Murray) arrives for her weekly trim.
Truvy explains to Annelle that their main client today will be Shelby (Jamie Tunbridge), who is getting married that afternoon. No sooner has Shelby arrived with her mother, M’Lynn (Tracy Noble) when, being a diabetic, she has a hypoglycaemic fit. M’Lynn explains to the ladies in the salon that due to her type 1 diabetes, sadly Selby cannot have children.
Momentarily, the peace is broken by the arrival of a brash and rough-as-guts farmer, Ouiser (Leanne Tunbridge), who wants to know all about Annelle’s past and has no qualms about telling the stylist what she thinks about it.
Several months later, as Truvy is putting up the parlour’s Christmas decorations, Selby’s mum – M’Lynn – announces that she is to become a grandmother; Selby is pregnant and thankfully her diabetes seems stable.
Will Shelby’s pregnancy go uneventfully?
What a ridiculous challenge to take on, presenting one of the cinema’s Top Ten ‘weepies’, but director Ryan Taaffe – assisted by Hillary Readings – has done just that, and succeeded ! The first hurdle to overcome was the Deep South accent. Wisely, the cast have been given just a hint of the twang, and not the full annoying drawl.
Annelle and Truvy were required to deliver their lines perfectly, whilst appearing to have all of the hair dressing, cutting and trimming skills of a real stylist. Because of the warm chemistry between the actors, the emotion and tenderness of the story built up beautifully, the audience really cared about the story’s characters. Annelle oozed insecurity, Truvy was the caring motherly type, even wealthy Clairee was loved in this small village and she loved back.
Shelby and her mother could easily have overacted and ruined the effect; instead they understated their parts and immediately captured the audience. Finally there was Ouiser, an absolute rat bag who treated everyone abruptly, but in the end showed she too was a compassionate part of the community. Some richly observed scenes, beautifully presented.
After adoring the film, you may be a little apprehensive in case you see a disappointing play, thus spoiling the fond memory. Don’t worry for a second, this is a powerful production, with all of the sentiment and comradery of the book and film – you will still need the tissue box.
This cast is as good as you will see anywhere, so try and catch this production, it deserves to be seen.
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