Brian Crawley then wrote the lyrics and Tony-nominated composer, Andrew Lippa the music for this Western Australian premiere of this contemporary Broadway musical,

With the sudden closure of the Playlovers’ Theatre building in Floreat, Stirling Players came to the rescue and helped them stage this dark, but charming play at the Stirling Theatre, Morris Place, Innaloo.

The two and a half hour performances started at 8.00 pm, and the season ran until Saturday 12^th November, with full houses almost every night.

It is Victorian central Africa. A wall of tea chests and packing cases fill the rear of the stage. To the right is a domestic furnace. On the left apron of the stage is a bedroom set, with a mosquito net over the bed. Set designer and artists are Lisa Johnston, Amber Southall, Leon Olson and Cherie Tucker.

The Orchestra is in a side room, opening onto the auditorium. The melodic Musical Director is Paul Olsen and his harmonious musicians are Joan Millington (piccolo), Catherine Warnock and Wayne Griffiths (reeds), Seton Douglas-Smith (trumpet), Sandra McKenna (French horn), David Gee (guitar), David Thai (percussion), Elizabeth Lavalla (keyboard), Elise Rosenberg and Laura Carr (violins). Being in a separate area, meant that the balance of the instruments for the accompaniment worked very well, and the freshness of the instruments’ timbre was particularly clear.

Production Assistant, Celeste Underhill is famous for giving good value to a production, and Stage manager, Bronwyn Hammond coped superbly with the massive cast and the numerous scene changes were ‘instant’ and flawless.

     When widower, Captain Crewe (Paul Spencer) is told to travel to Timbuktu – the most dangerous place in the world – he takes his African batman, Pasko (Richard Maganga), but must leave the caring African house servant, Aljana (Shikuku Cuthbertson). He enrols his young daughter, Sara (Stephanie Shaw, Jasmine Dos Santos alternating nights) into a posh boarding school in London, run by the sadistic, frustrated headmistress, Miss Minchin (Celeste Underhill). At the docks, Captain Crewe waves goodbye, as the ship’s captain (Paul Anderson) and his crew (Alexander Fleckner, Steve Anderson) take good care of Sara on the voyage.

     Crewe pays for special treatment for Sara at her new school; so she has her own room and a nervous, caring maid, orphan Becky (Sophia Matthews). The kind but subservient teacher is Miss Amelia (Erin Craddock), the headmistress’s younger sister; who is also bullied by the Head.

       There are several children in Sara’s class, but she befriends tubby and dim, Ermengarde (Sienna Freeman) and little Lottie (Bella Freeman alternating with Josephine Ellis). A couple of the classmates, Jessie (Ella Hagon) and Jane (Ella Simpson) think Sara is a ‘princess’, and even the two bossy, older girls, Nora (Holly Jamieson) and Lavinia (Katie Price) tend to show her some respect. However, when Sara’s funds dry up, her life is about to change for several years, but her generous nature still shines through.

    As Captain Crewe is trekking north through Africa, a tribal chief, Widow Zuma (Tara Lynette Elliot) puts a deadly curse on him. Soon he is starving and ill – will he survive?

     Could Becky’s Mum (Meesha Williams) really be still alive? Why does Queen Victoria (Amber Southall) want to meet Sara?

Choreographer, Amber Southall and her dance captain, Jamie-lee Olson, could easily have taken the easy way out with their African ensemble (Samantha Chidoko, Sandra Chidoko, Tanyaradzwa Matibiri, Arthley Matibiri, Tamara Perrozzi, Kevin Romeo and David Thai. Faced with such a large and young cast, many choreographers would present a little soft shoe shuffle, or some simple tribal stomping; however, Amber has practically the whole cast dancing at a breakneck tempo, every limb flayed and vibrated, as the bodies bobbed up and down. The actors were flawless, never missing a beat, and with their broad grins the warmth flowed to the audience. Lighting consultant, John Woolrych and his designer Katrina Johnston gave a glorious multitude of colours, pulsing to the beat of the African music. Operator Katrina and Steve Ellis did a wonderful job.

The busy London street ensemble included Sharon Malcolm and Eleanor Rowe, with umbrellas – what else in London? Hair stylist, Erin Craddock’s creations along with Candice Mountford and Tara Elliott’s makeup, impeccably complemented the hard work of costume coordinator, Lyn Hutcheson and her creative team of Kimberley Shaw, Amanda Simpson, Fran Gordon, Shikuku Cuthbertson, Linda Matthews, Amber Southall and Talia Hagon.

The headsets (technicians Ian Wilson and Daniel Toomath) worked perfectly and the soundscape had real life to it. All of the singing was to put it mildly – SUPERB. One expects the adults to be harmonious, with good enunciation and note perfect, and they were! But with youngsters as young as 8 years old in the cast, one can only hope for a ‘reasonable’ bit of quality from them. It was obvious from the first few notes of music, that I had set my standard far too low, every single ‘school student’ could easily perform in a major professional production – and I am sure they will – the quality was mind-blowing.

The night I saw the show, Stephanie Shaw played Sara, and her stage presence was something special. Her whole body was acting. Her voice was flawless, reaching every note of the large vocal range demanded by the score. The storyline necessitated emotions from elation to deep sadness, and was tackled immaculately by this young performer. I have been assured that the ‘other’ Sara was top notch too.

For Director Lisa Johnston this was a massive task, but when a show looks smooth, with great singing and flawless performances then you know that there is a huge amount of work and many sleepless nights behind it.

Many congratulations to all, a vibrant and yet sensitive show.

This world famous and much-loved story is now being presented by the Stirling Players at the Stirling Theatre, Morris Place, Innaloo. The performances are at 8.00 pm on Thursday, Friday and Saturday nights until the 16^th July. There are also Sunday matinées on the 3^rd and 10^th July at 2.00 pm.

The fascinating foyer displays by Fran Gordon, Bree Vreedenberg and Kevin Forward set the mood. The usherettes are dressed in white and gold with pillbox hats.

It is the winter of 1938-39, just months before the start of the Second World War.

At the side of the stage on the apron is the corner of Laura’s swish sitting room. At the other side of the stage is cinema seating and the lounge in Alec’s flat.

The main stage depicts a railway tearoom furnished with black tables and bentwood chairs. There is a coal stove burning against one wall. To the side is a large, cafe counter with various cakes and crockery. The back wall has a photo of a railway station roof projected onto it (operator Jane Sherwood, with film footage from Fuller Media).

Another scene is a plush, candlelit restaurant brought to life by its dapper waiters, tablecloths and vases of flowers. The effect is completed with an impressive, illuminated chandelier.

A riverside scene is simple, but most effective. Despite the number of settings, each one was fully furnished with numerous props of the era. Fran Gordon, Emma den Hartog and Joel Howe’s costumes were stunning and perfectly selected. It was obvious what a huge amount of work had gone into the set design, furnishings and costumes to create the perfect mood.

      As Dr. Alec Harvey (Glenn Scott) enters the Milford railway station tearoom, he notices a smartly dressed lady trying to wash a mite of train smoke from her eye. She is, Laura Jesson (Maree Andersen) a bored and ignored housewife. As the couple share a table, the tearoom manager, Myrtle (Ann Speicher) watches them, intrigued by the warmth of their conversation. She is initially unaware of the advances being made to her by the stationmaster, Albert (Hadrian Fuller).

     Just as the young waitress, Beryl (Simonne Matthews) clears the tables and puts another lump of coal on the fire, the platform service boy, Stanley (Zack Inglis) comes into the café to have his tray replenished, and to smile longingly at Beryl. Two soldiers on leave, Bill (Damien Johnson) and Johnnie (William Errey) stagger into the café and create havoc.

   The married woman and the married doctor agree to meet for a cinema matinée the following Thursday – purely for the company. We see Laura arriving home; she kisses goodnight to her son, Bobbie (Charlie Motbey) and her daughter, Margaret (Lakeesha Motbey) before trying – unsuccessfully – to have a sensible conversation with her disinterested husband, Fred (Craig Edwards).

     Both with loveless marriages, the couple have no qualms at meeting again. As they enjoy a sumptuous meal after the film, they are unaware that two of Laura’s nosey and interfering neighbours, Hermione (Karin Staflund) and Mary (Liz Pemberton) have spotted them and are approaching in search of gossip.

     How will the love affair develop? Will they make love secretly in this morally unacceptable affair?

      Janet Brandwood and Oliver Kaiser played multiple cameos, giving depth to the storyline.

The musical numbers have been beautifully created and orchestrated by Bree Vreedenburgh, from the copyrighter’s score. The music plays very subtly in the background throughout the play, thanks to smooth operator, Melissa Skeffington. Young Zack and Simonne’s singing was delivered with feeling, and Karin and Liz gave a powerful backing chorus to several songs. Ann brought a smile with her vivacious and saucy delivery. The excellent musical interludes were often used to ‘cover’ the set changes (very efficiently carried out by the cast under the supervision of stage manager Janet Brandwood).

Ian Wilson’s lighting design is always good, but for this show it is exceptional; complex in design and filled with atmosphere. Paul Anderson had the nightmare of operating the numerous changes, but he carried out the task smoothly and with accuracy.

The low point of the play was the dreaded headsets. I appreciate that these can be very expensive, but some crackled and others dropped out. The experienced operator was probably as frustrated as the audience was. I suspect that the complete sound desk needs an overhaul, as even the speakers seemed a little unreliable too. Perhaps ditch the aging headsets and let the performers use their theatre skills? The techs were very aware of the problem, and as it was the preview I was attending, then I am sure the problem will be cleared for the opening night.

The stunningly beautiful and sensitive 1945 David Lean film was in black and white, with very few scenes filmed outside of Carnforth Station. The film’s brilliant camera work was by a Perth born cinematographer, Robert Krasker. The 1945 film was made just after WW2, at a time when virtually no one would have intimate relations before marriage. Then in 1974, just after the Free Love era of the 60s, Carlo Ponti brought out a dreadful, brash Technicoloured version that starred Ponti’s wife, Sophia Loren with Richard Burton. It was fussy, heavy handed and totally without atmosphere.

I was apprehensive as to which style the director, Jane Sherwood, would employ, and could the frustrated love translate to the stage? Thankfully, Ms Sherwood’s version was much nearer the original. Jane can be relied upon to check every aspect of her productions, ensuring depth and reality in every scene. Small touches like the train smoke drifting past the café, the dozens of railway sound effects. Her skilled direction ensured powerful and yet romantic performances from the couple, backed by a strong cast.

The play includes several Noel Coward songs, but it is not a musical, but rather a drama with songs. This blend of drama and music is the idea of the play’s adaptor, Emma Rice; and although she won an award for the adaptation, I felt it slowed the play down slightly and was even distracting.

Tackling a story that has lasted more than 70 years in the top 200 movies can be risky, as the audience will certainly have their own expectations, but this ambitious, quality and enjoyable production gave a very pleasant evening’s entertainment.

The demand for tickets has been enormous, so get in quickly for the night of your choice.