This ‘Jeffrey the Cat’, 70-minute Elinor King production has adult concepts, and is part of the City of Perth’s Winter Arts Festival.

This superbly written and structured drama – with a great twist at the end – can be seen at The Blue Room Theatre, 53 James Street, Northbridge where the performances start at 7.00 each evening until Saturday 16^th July.

Chris Brain’s set design is stunning. The scene is the back alley at the rear of the ‘Man Hole’ gay club. There are mountains of black bin bags rotting amongst the decaying brickwork, along with discarded shopping trolleys and boxes.

The lighting designer, Chloé Ogilvie came from the wilds of the bush (well Tom Price) to WAAPA to train. Her subdued lighting and subtle control of the faders helped developed the most realistic slum conditions. The whole effect is topped off by yet another WAAPA trained student, Taylor Everitt, who provided the soundscape. This show has a great deal of work for the stage manager, Rebecca Davidse.

       Tank (Maitland Schnaars) is an Aboriginal down-and-out, living with as much pride as society allows. He spends his day listening to his portable radio and drinking bottles of wine ‘acquired’ from the local grog shop. His best friend and arguing partner is Fred (James Hagan) an ex-radio announcer who lost his family, job – everything.

      One night, a half-dressed gay man is thrown out of the club and into their alley. This is Terry (James Taylor). Terry is less than polite to Tank, so the hobo forces the young man to drink his cheapest and nastiest grog. The man becomes comatose, and this is where the problems begin.

 

This story is a superbly observed piece, the dialogue is true to life and fits the characters perfectly; the topic may be a little heavy, but there is dark humour and raw ‘real life’ contained within, giving the tale the necessary lift. Just when you think you have the full picture of the characters, and you know where the story is going, the detrimental effects of the grog show in a most unexpected and dramatic way. Splendid writing from an author who developed his creative skills with ‘Playwriting Australia’.

Talented director, Ian Wilkes has gathered three very experienced actors, who were filled with unrelenting energy and wonderful chemistry, the result was three amazingly powerful performances. Not much wonder there were gasps and ‘wows’ from the audience at the final curtain.

This quality theatre is difficult to fault, and I am pleased to announce that the show is going to travel across to the eastern states to demonstrate WA’s capabilities.

This fabulous, two and a half hour play by Sandi Buckley’s Clover Creative Productions has its curtain up at 7.00 pm in the Irish Club Theatre, 61 Townshend Road, Subiaco each evening until Saturday 13^th June.

The scene is 1921, in the office / library of Churchill’s home. The walls are lined with leather-backed books. There are a couple of comfortable chairs and a writing table. Around the walls are photographs ranging from his wife Clementine to Lawrence of Arabia. Above the proscenium arch is a Union Jack and the Irish tricolour (bratach na hÉireann). Production manager – John Spurling.

     The play opens with the British Colonial Secretary, Winston Churchill (James Hagan) ranting and dictating to his secretary (Maggie Meyer), a letter ordering an Irish Rebel leader to come to England so that they may discuss a possible truce between the English controlled Ulster and Eire – the Anglo-Irish Treaty. Thankfully, Churchill’s secretary suggests modifications to this Liberal Cabinet’s member’s vitriolic letter.  

      Eamon de Valera chose Sinn Féin leader, Michael Collins (Bryn Coldrick), and although Collins fervently protested to the Irish political leader, he was ordered to go.

      On arrival at Churchill’s residence, Collins was shown into the office by Churchill’s butler, William (Kim Taylor), where he stood for a few minutes before Churchill even acknowledged his presence. Collins was about to leave in disgust, when the English politician softened and started to talk to his enemy.

      Churchill spoke condescendingly to this ardent Irishman. As they discussed their hard upbringing, Churchill tells of having to drink poor wine and how he missed his Cuban cigars, Collins tried to explain the potato famine and his ancestors being forced to emigrate to America; but this was brushed off by the Liberal statesman as a minor problem. Slowly the two men appear to bond and each seeing the man behind ‘the face’.

      What will win the argument? Churchill’s stubborn arrogance or Collins heartrending explanation of the situation?

Talented director and playwriting lecturer, Noel O’Neill, has been lucky enough to employ two of Perth’s best talents to act this two-hander play. James Hagan, who is WA’s leading teacher of voice, diction and drama and Irishman, Bryn Coldrick, who is a master of various genres. Bryn has made us laugh with his portrayal in ‘Black Books’, cringe with a Mafia like portrayal, and now, in this powerful drama, shows his full command of voice and body coordination in creating possibly the most powerful piece of acting that I have seen in years. Although the real Michael Collins was a tall and solidly built man, and Coldrick is finely built, he still managed to exert his authority over Churchill.

Hagan was wonderful as 47-year-old Churchill trying his best to bully Collins. He captured the politician’s speech defect immaculately. Both showed a huge range of emotions with genuine tears flowing, once in anger, then in total despondency.

Two hours of historical dialogue may sound like a nightmare to some theatregoers, but with the perfect pace, the powerful acting and the immense emotional tension, this production leaves you breathless.

Similar to the essence of this story, I saw a photograph in the paper the other day, of Gerry Adams and Prince Charles meeting. Both were smiling and seemed to be enjoying each other’s company, however, one wonders what Charles was really thinking when, in August 1979, his favourite uncle, Lord Mountbatten was killed on his boat, probably by Sinn Féin.

Inevitably a few friends or relatives will come to a show, and a few will give a ‘loyal supporters’ standing ovation, but when the WHOLE audience stand in rapturous applause then you know that you have seen something extra special.

At the Irish Club, one can always be assured of a warm welcome. A very short season with most seats gone already – try to catch it.