I first saw Joe about ten years ago. It was at the Nexus Theatre at Murdoch Uni; he was dressed in a dinner suit and played a grand piano as background music to a play. He unassumingly walked on, tickled the ivories and left, no bowing, no desire for recognition or adulation. Since then he has proved himself to be one of Perth’s most controversial playwrights, but always with a good solid storyline, and superb dialogue in his scripts. He is limitless in his directing techniques; nothing seems to control him in his demands of his cast. His lighting shows the most advance techniques. His music is not a simple one-instrument accompaniment; Joe gives you the whole orchestra.

Here we have a man who has proved himself a thousand times over, to be top of his many fields. He has worked with all of the major Perth-based theatrical groups and yet, as this performance will show you, he is filled with self-doubt and a driving force that constantly, dangerously makes him demand so much more of himself.

The walls are covered in polythene sheeting. There is a set of bookshelves laden with many of Joe’s treasures, especially his books. To the right is a bright scarlet, Chinese designed table and chairs. On the table is a hot coal, food steamer. Hanging above the table are several red Chinese lanterns. (Set and Costume Design by Cherish Marrington).

      There is a fanfare, timpani drum roll and like TV’s Charlie Chan, Joe emerges from a mist to a massive applause. He is dressed in his now famous black T-shirt and black jeans, but tonight he is also wearing a scarlet and gold, Mandarin coat.

      He gives us a brief history of Buddhism, a look at the expectations of family life in Singapore. We learn the story and etiquette behind Chinese weddings and New Year. Joe sits and starts to write a letter to his parents, parents that he left in Singapore a decade ago, Parents that he cannot return home to see, because by avoiding the Armed Services call-up, he could be arrested upon arrival.

Having Joe perform, as an actor is a rarity, but he managed this 80-minute exposé without any trouble, the audience were totally engrossed. Joe was mentored by Humphrey Bower, the King of Monologues, on how to deliver his jaw-dropping story. You learn how this affable actor is really quite withdrawn, shy and insecure; and yet he has a perverseness about his life that will shock the audience – especially his secret fantasy!!

Joe has composed his own distinctive music, and this is played at a very low level throughout the performance. In the background, projected onto an A2 piece of hardboard, is a wonderful video design by Mia Holton. This hour-long video cleverly picks out the main episodes of Joe’s tale, with photos, paintings and videos of his past, mingled with pictures of Chinese history and tradition. The complex, but most effective lighting design was by Chris Donnelly, who was one of Joe’s best actors and now an accomplished lighting designer.

Meabh (pronounced mave) Walton stage managed the show and was the tech on the lighting and sound. She proved her natural talent at accurately hitting the numerous cues, and ensuring the wonderful atmosphere of the whole show.

One suspects that Joe could have had a presentation three times the length, and still find an abundance of facts and memories to keep us fully entertained. An unusual show, I do not think that I have seen a memoire by an actor before, let alone one as unusual and daring as this. If you know Joe, you will especially love it. Your emotions will be very confused by the end of the performance, but this will answer many of the questions that you will have about Joe’s numerous prize winning plays. Try to catch this experience.

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 1995, unusual but fascinating, semi-erotic story has been adapted by Humphrey Bower to give us this wonderfully moving tale. ‘Wish’ is a co-production of Night Train Productions and the City of Perth.

A shorter version of this play was performed at the Blue Room Theatre about 18 months ago and was awarded the ‘Blue Room Members’ Choice Award’ and the ‘Best Performance Award’.

This two-hour production can be seen at the Studio Underground, in the State Theatre Centre of WA, 174 William Street, Northbridge until 24^th May. Performances start at 7.30 pm.

The simple set is a dark carpet surrounded by black drapes. To one side is a car tyre hanging from a rope. Nearby is a musician (Leon Ewing) playing his own compositions on an acoustic guitar.

 

       A middle-aged bachelor, John James, known as ‘JJ’ (Humphrey Bower) stands in the spotlight and explains how he is the son of deaf parents who, when he was a child, caused embarrassment by speaking to him with their strange accent in front of his friends. Now JJ is employed in the local deaf institute teaching Auslan – sign language – to the families of deaf people.

        One night his class is interrupted by two newcomers, a rich businessman, Clive and his gushing wife, Stella. JJ recognises the couple as famous animal rights activists who have been on TV, stating that animals should have the same rights as humans. At the end of the class, they ask if he is willing to give private tuition to their eight-year-old disabled, but highly intelligent daughter, Eliza (Danielle Micich) who is too shy to attend the classes.

     JJ drives to their country estate and finds that his task is much more difficult than expected. However, Eliza and JJ both have both had lonely lives, and so find an instant bond.

 

For years, Bower has been recognised as WA’s premiere raconteur. He has a unique ability to draw you into his tale by creating several characters, all with different accents and personalities. Here, he has to give a two-hour monologue, complete with Auslan signing throughout, and yet keep a perfect pace and hold the 250 audience engrossed.

With his Equity award-winning partner of several shows, Danielle Micich, the atmosphere is tender, challenging and at times disturbing. Trained dancer Micich is silent throughout, but assumes her character and with the use of her supple, powerful body, she carries the part off amazingly. Some scenes are semi-erotic, beautifully handled, without being objectionable or embarrassing. The lighting (designer, Andrew Lake assisted by Joe Lui) is simple and unobtrusive.

The overall product is faultless with amazing performances by two of Perth’s best. Goldsworthy’s riveting story is very unusual and perfectly handled. Highly recommended.